CENTURY CINEMA rebrand The rebrand of CENTURY CINEMA is all about films all other aspects are secoundary. The core ideas behind the brand is to promote films along with the cinema. The images of current films are the key to the brand, the brand style guide is designed to hold the film images in a consistant and complementary fashion always promoting film. Only when a film image is not relevent should one of the high quality company images be used. The company images are not designed to stand out among the film images they are designed to blend and reasure the customer of the quality of the service.
tury Cinema
logo design A lot of time was spent creating what is quite a simple mark, the process started out with a more complicated idea which was reduced down to its visual essence. The logo is the most powerful and visible symbol of the company’s brand. Correct and consistent usage of the logo will promote the brand in the public eye. The logo is based on a number of elements the lens of a projector, an eye and a film reel. All these ellements have been condensed down into a monogram of CC. The two C’s cut out of the circle is the primary logo, the two C’s on there own can also be used as a secoundary logo.
Criteria for logo: - meaning - attributes - history - form - abstract - space - counterform - acronyms - inspiration
logo design The minimum recommended size for the logo on most communications is 10 mm as shown, can be smaller as long as legibility of the logo is not compromised. Graphics, type, photographs, or illustrations inside the minimum clear space is acceptable as long as logo is legibile. The preferred background colour for the logo is black or white. The logo can appear on colour and photographic backgrounds, as long as the legibility of the logo is not diminished.
Century Cinema 10mm
logo and signature design The primary logo should be placed on top of company name when possible this is not an important aspect of the branding as the two elements will not be used regularly together. The logo or the name on their own should be enough to push the brand.
entury Cinema CENTURY CINEMA
logo and signature design The secoundary logo should have the name placed to the right of the logo once again this is just a recommended placement.
CENTURY CINEMA
colour design cyan black white
Colour is used to evoke emotion, express personality, and stimulate brand association. The colour scheme is a simple but bold one, taking the blue from the origional design and making it much bolder, by taking away all the other colours it is allowing the brand to take ownership of this one colour.
Criteria for colour: - the ultimate goal is to own the colour - ensure consistency across multiple media formats - use colour to build meaning and expand connotation - to allow the colour system to be flexable enough to allow use on a range of applications - does the colour system support a consistent experience of the brand
typographic design
TUNGSTEN
is the main typeface been used in the branding using tungsten semibold for the CENTURY CINEMA name and any FILM names,
tungsten medium is used for all other high lighted or small chunks of text.
VITESSE book is to be used in all main body text such as letter correspondence or for the bulk of the booklet type
all main body text is to be justified with last line aligned left,
if possible all text elements should be place to the right of the page.
Typography is a core building block of an effective brand identity. A unified and coherent company image is not possible without typography that has a unique personality. The typeface needs to be flexible and easy to use, and it must provide a wide range of expression. Clarity and legibility most always be a deciding factor.
motion design Motion can help bring a brand to life for a customer. Motion most support the essence and meaning of an identity. Like any graphic element there most be a reason behind any design using motion and any non essential element should be removed. the design should always support the essence of the brand. When using motion consideration should be given to the speed and rhythm of the graphic as the movement is the expression you are trying to express.
iphone app design click on film for more info
spin to number of people, day and time
The iphone app is a quick and easy way to browse which movies or showing at the cinema and once registered you can easily book a seat for the film. This is very much in keeping with the forward thinking of CENTURY CINEMA .
your tickets are booked enjoy the show your tickets are booked for ZOMBIELAND
cancel
confirm
4 people on thursday at 18:00 please show this page at box office
web design A website is one of the greatest ways of bringing personality to the brand. It can be efficient, user friendly and a fast service for the customer, the customer is allways in charge. The online presence for the company is a very important part of the brand as it will be used regularly by customers. The main focus of the site is to provide the information people are looking for easily and quickly. The films once again take the center stage using large images of the movie when the film is high lighted on the film selection menu, when registered it is simple and easy to book a seat for your film.
Criteria for website: - Keep the customers needs, key messages and brand personality central to every decision about the site. - don’t force content onto the customer - the content should be specific for the website - Anticipate future growth - at every stage the message should be clear, the content should be accesible and the experience always be positive.
web design
web design
uniform design Correctly branded uniforms are important as they are worn by employees at the front line promoting the services to the customer. The uniform will engender pride in the employer. Tthe uniform is a simple two colour polo shirt with the logo on the top left of the chest and the name on the back and a pair of shoes to be worn with jeans or black trousers, the employs on trousers are aloud to give the uniform a casual and friendly feel and it allows the employ to change quickly as they will often be young people with busy lifestyles.
Criteria for the uniform: - does the uniform suit the nature of the job - is the uniform well made - is the uniform machine washable and easy to clean - is the uniform comfortable - is the uniform immeditaly recognizable - is the uniform easy to put on - does the uniform engender pride - does the uniform consider different body sizes
stationary design The letterhead is still an important aspect of doing Criteria for stationary: business, it is regarded as credible proof of being in business. It is still regarded as the most formal - take into consideration the location of folds type of business communication andhas an implicit - does it fax properly dignity. The layout of all stationery pieces offers easy accessibility to pertinent information while allowing flexibility for the user. The logo is added to the colour bar on the stationary as it is important to show all aspects of the brand when the company is contacting customers in there home or buisness.
business card design The buisiness card is a small portable marketing tool, the quality of the card is a reflection on the card holders company and so needs to be of a high standard. The buisness card has been designed to allow for the customer the space to write on them while still supling the relative information.
Criteria for business card: - think of the business card as a marketing tool - information should be made easy retrieve - minimize the amount of information, within reason - consider the back as a place for more information - make sure all the titles are consistant - make sure the typography is consistant - do not consider an unusal size or shape unless it is in keeping with the message been promoted.
February 2010
February 2010
booklet design
Will that bring you satisfaction, my son? Killing a helpless, old, fart?
Come with me if you want to live.
Killing? No. No satisfaction. Everything up until the killing, will be a gas.
MOST SEE MOVIE of the MONTH Sin City is the most visually inventive comic book adaptation to make its way to a movie screen.
While other directors have attempted to remain faithful to the look and “feel” of their source material, Robert Rodriguez has taken things a step further, by using Frank Miller’s graphic novels as storyboards and immersing the audience neck-deep in the noir currents of Miller’s den of iniquity. It’s easy to get lost in Sin City. There’s something to appreciate around every corner - the gritty characters, the uncompromising story, and, most of all, visuals to astound and amaze. “Eye candy” doesn’t even begin to describe what Rodriguez has accomplished.
Black-and-white is the best format for film noir, and Rodriguez recognizes that - not that anyone would mistake this picture, with its kinetic energy and restless camera, for a relic of the ‘40s or ‘50s. However, what the director offers here is b&w with bells and whistles. Sin City is full of color flashes - the red of a dress or a woman’s lipstick, the blue or green of someone’s eyes, the blond of a hooker’s hair, the orange of
fire, or the yellow of a lowlife’s skin. Then there’s the blood - and there’s a lot of that. Blood is either represented as a florescent white or, more frequently, in its natural color. In fact, it wouldn’t be too much of a stretch to describe Sin City using the old cliché, “black and white and red all over.” With a movie of this ilk, where the style trumps substance, it’s easy to come up with something that engages the eyes more than the mind. Fortunately, that’s not the case here. Rodriguez and Miller give us a rogue’s gallery of memorable heroes and anti-heroes, and make sure that all three of the film’s primary episodes are fast-paced and engaging. There’s a little of Pulp Fiction in Sin City, both in the hipness and the sense of discovery. Pulp Fiction provided a bigger jolt, but Sin City isn’t far behind. Aside from the decision to shoot in black-and-white, there are plenty of things to announce Sin City as modern-day noir. There’s a running voiceover narrative that’s about a pulpy as one can imagine, right to the frequent use of the word “dames” to describe women. (Sin City exists out of time, in a world where elements
For 25 years fans have For 25 years fans have waited to see the future war between man and machine hinted at in The Terminator and Terminator 2: Judgment Day. Ragtag groups
of nearly every decade of the last century are represented in one way or another.) Ties and coats flap in the breeze, with the latter billowing behind running men like bat wings. And nearly every cool character in the film drives a convertible and smokes without concern about the health risks.
of humans, scratching out dirty, hardscrabble, post-apocalyptic lives as they are engaged in a relentless war with deadly robot endoskeletons: this is the kind of thing that excites 13 year-old boys and the 13 year-old boy living inside every grown-up moviegoer. And while Terminator 3: Rise Of The Machines brought the series to the point we’d all been waiting for — Judgment Day was here! Nuclear fire rained down on humanity! Skynet was in control! — it took two hours of rehashing to get there.
The movie attracted an impressive array of talent, including some of the biggest up-and-coming names in Hollywood, as well as a few established stars, and one has-been on the comeback trail. A lesser movie with this kind of high-octane cast could have become bogged down by the “spot the star” syndrome, but Sin City engrosses to the point where we’re no longer watching actors with names, but the characters they are playing. For example, when we see Elijah Wood, we’re not thinking of Frodo Baggins. And Bruce Willis isn’t John McClane. More than anything else, that’s a testimony to how well Rodriguez does his job.
Now comes Terminator Salvation. It’s the future war. It’s the years after Judgment Day, when the cities of man have fallen and the machines scour the landscape, killing and harvesting humans. It’s the movie we’ve been waiting for, but it’s also a movie coming in this modern age where franchise follow-ups seem to yield only disappointment. It’s the
post-prequel world, and audiences are ready to settle for less — especially when they realise Terminator Salvation comes from McG, the auteur behind the silly Charlie’s Angels films and the soppingly sentimental We Are Marshall. A man who lacks the common decency to have a complete name. So perhaps the greatest surprise doesn’t come in the form of plot twists but from the fact that the movie is... pretty damn good. Let’s not be foolish — it doesn’t hold a candle to the first two James Cameron films, but it wipes the floor with Terminator 3. As a movie all on its own, not compared to the prior entries, it works very well. Part of what makes Terminator Salvation work is that it’s unafraid to be its own entity. While the film shoehorns in the usual catchphrases — “I’ll be back” and “Come with me if you want to live” are both dutifully trotted out — it eschews the standard sequel architecture of being nothing more than a remake of the previous film. McG’s film boldly moves forward; gone is the standard chase structure of the Terminator franchise, replaced here with men-on-a-mission adventure.
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A little old for my taste, but I can forgive that just this once!
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There are three lead male characters - one to anchor each of the trio of episodes that form Sin City’s structure. For the most part, these individuals do not cross over and invade each other’s stories, although the same cannot be said of the other personalities inhabiting Basin City. Bruce Willis plays Hartigan, a toughtalking cop at the end of a career in a place where
honest guys like him are hard to find. Before accepting his pension, however, Hartigan wants to solve one last case and save an 11-year old girl from the clutches of a serial murderer/rapist. He succeeds, at least to a point, but pays a terrible price in the process. Elsewhere in the city, the burly, ugly Marv (Mickey Rourke) finds comfort in the arms of a beautiful blonde named Goldie, but when he wakes up the next morning, he discovers that she has been murdered and he has been framed for the crime. Determined to avenge her, Marv pursues a violent, murderous course that takes him to the heart of Basin City’s power structure, and seals his fate. Finally, there’s Dwight (Clive Owen), a wanted man with a new face who helps out the city’s prostitutes when they accidentally kill a sleazeball cop, Jack Rafferty. Rafferty’s demise threatens the uneasy truce that exists in Old Town between the mob, the police, and the hookers. Dwight agrees to hide the body before the cops figure out what has happened, but a group of mobsters have other ideas, and kidnap Dwight’s girlfriend,
Gail, as a means to thwart him. Another notable performer is Jessica Alba, whose career is in the process of going from red-hot to white-hot, as the stripper Nancy. Although she shows less skin than either Carla Gugino (as Marv’s lesbian parole officer) or Jamie King, her allure more than makes up for it. Model-turned-actress Devon Aoki has a role that doesn’t challenge her thespian skills. She says nary a word but does some nasty things with swords and other bladed instruments. This is very much Rodriguez’s film like most of his other projects, it was “shot and cut” by him. He is quick to give Frank Miller equal credit, indicating that although the camerawork was his, Miller’s contribution was so great that he deserves to be recognized as a codirector. The Director’s Guild disagreed, and Rodriguez ended up resigning over the dispute. Quentin Tarantino is listed as a “Special Guest Director,” whatever that means. Apparently, Tarantino shot one (or more) of the film’s scenes, but I couldn’t begin to guess which one. Any contribution by the Kill Bill filmmaker blends seamlessly into the overall production, never calling attention to itself.
Gone is John Connor as a hapless dork reliant on a benevolent robot buddy, replaced by a glowering John Connor played by Christian Bale. Gone is the LA of the late 20th/early 21st century, replaced with underground bunkers and robot factory cities.
This is blood for blood and by the gallon. These are the old days, the bad days, the all-or-nothing days. They’re back! There’s no choice left. And I’m ready for war.
For a summer blockbuster, Terminator Salvation is bursting with plot and incident.. The film is propulsive, barely stopping for breath.There are exciting chases, suspenseful close calls, edgeof- your-seat battles and adrenalinecharged set-pieces. McG’s movie doesn’t just serve up a monotonous series of humans vs. endoskeleton scenes. There’s an array of cyborgs in action, ranging from snake-like hydrobots to motorcycle Terminators that drive themselves to huge, seemingly steam-powered robots that grab humans by the handful and then pilot harvester ships away. There are hunter-killer ships and ghoulish T-600s hulking endoskeletons wearing creepy Hallowe’en masks over glowing red eyes. It’s not so much an actioner as we’ve come to understand the term: rather it’s an adventure movie, filled with abyssdefying escapes and daring heroics.
Rumor has it that some of the studio executives behind Sin City were looking for a way to get the film a PG-13 rating. Having seen the final cut, it’s mind-boggling to believe that such a watered-down version was ever considered. The violence in this movie may be stylized, but there’s far too much of it for the MPAA to consider a PG-13. Plus, there’s plenty of nudity: Jamie King bares her breasts and Carla Gugino spends about 50% of her limited screen time wearing little or nothing. I’m glad Rodriguez stuck to his guns; a PG-13 version of Sin City would have been a crime. The one that exists is a pleasure.
Lacking neither warmth nor charisma is Anton Yelchin as the young Kyle Reese. Yelchin is the film’s secret weapon: while he may seem too scrawny, too young and too soft for the role, he’s actually perfect. His Kyle is a young man on the verge, and we can see the hints of Michael Biehn in him.
Yelchin, in just a few scenes, goes from a smart but scared kid to a leader of men in desperate times, and he does it without glowering, frowning or growling. You believe every moment of it. Equally good is the gorgeous Moon Bloodgood. Like Yelchin she’s not given enough screentime, but she makes the best of a handful of scenes. Her character has the widest arc and the least time to sell it, but she nails the role of a tough combat pilot whose humanity peeks through. McG’s other strong suit is the action. Mixing practical effects with CGI, he creates immersive and thrilling moments of danger and fun. From Moto-Terminators giving chase to our heroes to a final fight with a familiar face in the Terminator factory, McG borrows from the styles of his peers to make something that breaks few barriers but works well on a visceral level. Some have worried that the film, which is appealing to a younger crowd with a softer rating, would be a kiddie picture. The truth is that the nature of the action man against robot means he can wreak all manner of havoc on the bad guys without needing to shed a drop of blood. No
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McG has made much of how dark his movie is, and it does touch on issues of humanity and despair, but throughout the pre-release hype he’s undersold just how much fun his movie is. As a director he knows enough to get good actors and step out of their way: Christian Bale does exactly what you’d want Christian Bale to do as a battle-hardened Connor; Sam Worthington, meanwhile, struggles with his American accent as Marcus Wright, the man out of time, but otherwise makes a solid, if stolid, hero. With lead roles in Avatar and Clash Of The Titans to come, Hollywood seems to have decided that Worthington is the Next Big Thing, but while he has the looks and chops of a big-screen hero, he’s perhaps missing some of the warmth and charisma that goes with it. Perhaps there’s time for him to develop it.
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punches are pulled, and the action is satisfyingly loud and explodey. Terminator Salvation’s biggest flaw is that, just as it’s building up a head of steam, it ends. Not satisfyingly, not dramatically, and not in a cliffhanger fashion; it just feels like they’ve run out of film and must wrap it all up in four quick minutes. Terminator Salvation is supposed to herald the start of a new trilogy, but the end of this one feels quite finished. Time travel is yet to happen, but the film hasn’t left enough open ends to make a sequel automatically compelling. It seems a strange critique of a film — it’s too standalone! — but this world, which had been marvellously opened in the previous 110 minutes, feels abruptly closed in the final five.
Why develop a booklet that does not directly advertise the company. The idea is to inspire, educate and build brand awareness by placing it in a medium which people are going to take with them and look at in their spare time. The booklet is a 12 page spread which focuses on the movie of the month.. The booklet is about sharing the love of films with the customer. The design should use aspects of the style guide but should always be driven by the movie. The front cover is an image of the logo which is linked to the movie it can be abstract, as long as the logo is recognizable. Through out the main spreads the logo should be
dropped in but it should never be forced into a lay out, the film images are always given prority. The booklet is big enough to store a dvd allowing for a trailer dvd if the ned arises. This should not be treated as a revenue generator and advertisments should be carefuly considered.
vehicle design The vehicle design is slightly different from the main scheme of the style guide in that it allows the type to be spread over the colour bar allowing for greater visability on the roads, due to the movement of the vehicle the type in a bar would be difficult to read.
CENTURY CENTURY