The art of the tittle analysis of 9 shots

I Choose to Anaylise Kung Fu Panda
in the first scence screen one the is animation of a monkey running and climbing up clouds (dreams)
and swings the bamboo stick around and sits of the moon and as if the monkey was fishing it begins to reel in dream works animation skg.
the style of the tittles are

• big


• bold


• capital


• clear to understand and read

however the title of the film itself 'kung fu panda' is in fact widely spread and curves at the sides of certain letters. then the tittle begins to float and fade away as the film starts. behind the title is a orange sunset which helps the title to if almost stand out. the type of shots which are used in the title sequence are long shot of the panda then a match cut to a extreme close up of the panda.the the camera zooms out and then a cross cut is made to another seen.( of the fowes ) throughout the title scene there are lots of zooms in's & outs and over the shoulder shots. close up and medium shots. personally about the title sequence i like the beigning in the sense of the way the 'panda' is portrayed in the sense of he is seen as a super hero , a saviour as he does good and does not do no harm to those but saves them also i find it kind of funny to watch a panda fly.

Hameed Shaukat, the producer for both the opening dream sequence and custom DreamWorks logo, as well as the 2D animation for the end credits Say's :
“I can’t stress enough, neither the opening Dream Sequence of Kung Fu Panda nor the character animation in the End Credits contain any CG animation. It’s all 2D/traditional/hand-drawn.
The dream sequence was designed and laid-out at DreamWorks Animation under the direction of Jen Yuh Nelson with Production Designer Ramone Zibach and Art Director Tang Heng, who developed the sharp, high-contrast, highly-graphic, anime-influenced style. Once the backgrounds were complete, they were delivered to James Baxter Animation; everything from animation through compositing of the final shots.
James Baxter tackled the animation in unique ways. In one shot he would hand-draw the animation completely from start to finish, and in another he would do just a few drawings that were then digitally manipulated in After Effects. In addition, all effects animation consisted of traditional hand-drawn effects as well as digitally-manipulated elements from the original Photoshop files. Can you tell which is which? Being the master animator that Baxter is, the merging of the two is seamless. It helped keep the James Baxter Animation crew to only 12 people.
Jen, Ramone and Tang also designed the custom DWA logo sequence to perfectly match and lead into the dream sequence of Kung Fu Panda. We used mostly the same crew as on the dream sequence, but this time with animation by Rodolphe Guenoden.”

Ending credit sequence

http://www.artofthetitle.com/2008/10/03/kung-fu-panda/