PROJECT
stereoscopic feature film title seqeunce
STUDIO
DreamWorks Animation
DISTRIBUTOR
Paramount Pictures
Hollywood Reporter critic Todd McCarthy said, “Hans Zimmer’s score is an energetic plus, but the film’s single most striking feature are the end credits, which employ a beautifully designed flipping lantern technique accompanied by wittily ever-accelerating music.”
Director Jen Yuh Nelson and producer Melissa Cobb invited Shine back to help with the title sequence for Kung Fu Panda 2. Nelson’s direction included designing and animating in the visual style of Chinese shadow puppets. The shadow puppet-style sequence included traditional Chinese inspired art and animation. It features stylized, hand-drawn illustrations depicting key moments from the film, set against vibrant backgrounds.
The sequence was animated in the style of shadow puppets. Shadow puppets are an ancient form of storytelling and entertainment that uses flat, articulated figures to create the illusion of moving images. These figures, typically made from materials like leather or paper, are manipulated behind a translucent screen with a light source, casting shadows that depict characters and scenes. Originating in Asia, particularly in Indonesia, China, and India, shadow puppetry combines art, performance, and narration to convey myths, folktales, and historical events, captivating audiences with its magical, silhouette visuals.
Po arrived with his adoptive father, Mr. Ping, under mysterious circumstances. Mr. Ping, a noodle shop owner, found Po as a baby panda in a radish crate outside his shop and decided to raise him as his own. Despite not knowing Po's origins, Mr. Ping lovingly cared for him, instilling in Po a strong work ethic and a deep love for noodles, while Po secretly harbored dreams of becoming a kung fu master.
Po works in his father's noodle shop with dedication, despite his clumsiness and daydreams of kung fu. He serves customers, makes noodles, and handles daily tasks, often struggling to meet his father's expectations. His heart, however, lies with becoming a kung fu master, making his work feel unfulfilling.
The end crawl was designed in the style of shadow puppet art, all relating to the story of Po and the Furious Five. Shadow puppets move through the skillful manipulation of puppeteers, who control the articulated figures using rods or strings. These figures are positioned between a light source and a translucent screen, casting shadows that animate as they are moved. The coordinated movements create the illusion of dynamic storytelling. The Shine team simulated this style using various animation tools.
