A statue of James Bond fires a gun into the camera, against a red background

No Time To Die Title Sequence

Daniel Kleinman and Framestore partner on 007th Bond title for No Time To Die which marks the seventh title sequence Framestore has created for a James Bond movie, continuing a 25 year tradition for the creative studio.

Concept Design
Animation Supervisor
Visual Effects Supervisor
Title Design
Framestore is my long-standing partner in creating these sequences and I rely on them not only for creative input and support in what isn't an easy process but the highest-quality work. I put a lot of trust in them and they don't let me down.
Daniel Kleinman

The opening title sequence for No Time To Die required a decidedly different approach for Framestore, whose relationship with EON Productions and the James Bond franchise dates back to 1995’s GoldenEye.

Returning to work alongside renowned director Daniel Kleinman, the creative direction for the title sequence included an homage to visual motifs featured in Maurice Binder’s Bond titles. “Maurice set the template for Bond title sequences, so for this era-defining film I wanted to work with a mixture of the old and the new – an analogue look with modern digital possibilities,” said Kleinman.

“The way we developed ideas for this title sequence was one of the most collaborative experiences I’ve had,” said Stephen Goalby, Head of Design, London. “We worked on the brief to conjure some really beautiful imagery. I’m thrilled that the end result conveys the themes that are needed in a 007 title. It feels like Bond, but in a very different way.”

an animated car with its head lights on. it is in air. there are animated watch cogs in the background. light is peaking through the cogs

From a statue of Britannia in several states of decay to recognisable James Bond imagery including weapons and vehicles, the team drew on the creative and artistic talents of 59 artists to create and deliver a mixture of CG elements, 2D assets, DMPs, effects and live action plates. 

“When you look at the final product, the storytelling and technical expertise shown by our team who have created a nearly four-minute film in full CG at 4K resolution is really impressive,” said Jules Janaud, VFX Supervisor, London. 

The visuals, and most-noticeably the colour palette, change dramatically over the course of the titles to signify the passage of time and allude to what’s to come in the film. The creation of each segment presented unique challenges whether creating realistic effects in sand, water and smoke, or animating a silhouette to move with Daniel Craig’s signature manner and cadence. 

The finished title sequence features a total of 5373 frames, the content of which consists of nearly 50 separate CG and 2D assets and took over two and a half million hours of CPU rendering time.

animated guns in line as dna sequence that are shooting fire in front of a dark green background

“Even after 25 years of working on 007 title sequences, we’re still aware of the privilege that it is to be asked to be a part of the creative process,” commented Helen Hughes, Head of Advertising, London. 

An iconic part of the titles of any Bond film is the gun barrel sequence, which Framestore and Kleinman have also delivered for No Time To Die. Together they created a new, completely CG barrel for Daniel Craig to open his final film as the secret agent. 

Commenting on the sequence and his work with Framestore, Daniel Kleinman said; “I’m proud of the sequence for No Time To Die. It has a unique flavour and style, yet it’s inimitably Bond. Framestore is my long-standing partner in creating these sequences and I rely on them not only for creative input and support in what isn't an easy process but the highest-quality work. I put a lot of trust in them and they don't let me down.”

Framestore and Daniel Kleinman also partnered on the Billie Eilish music video for the title track. Additionally, around 170 people worked on the film’s VFX at Framestore for the movie itself. The work included weather effects, environment extensions and even a digital recreation of London, details of which can be found here.

james bond animated as a sculpture


EON Productions
Production Company
Rattling Stick
Daniel Kleinman
Johnnie Frankel
Creative Supervisors
Jules Janaud & Stephen Goalby
2D Supervisor
Suzanne Jandu
CG Artists
Ahmed Gharraph, David Cattermole, Alice Roseberry-Haynes, Andrew Butler, Adam Smith, Gez Wright, Jorge Sanchez Ramirez, Leo Schreiber, Paola Santoro, Michael John, Omar Jason
CG Artists
Jay Khan, Tim Woods, Caspian Graca Da Silva, Ed Mykolaitis, Timothee Maron, Grant Walker, Christian Bohm, Dylan Leif Brinsbury Magee, Stephen Moroz, Aaron Hunwick, Robert Joosten, Billy Butler, Nacho Sanchez Del Hierro
Alex Jeremy, & Alex Karonis
Head of 2D
Suzanne Jandu
Composting Lead
Lionel Heath
Nuke Compositors
Michael Baker, Saruta (Puff) Pisanwalerd, Francesco Cosatti, Matthew Thomas, Pedram Razi, Stuart Bullen, Ben Cronin, Ysabel King, Grzegorz Zolnowski, Chris Redding, Tim Osborne
Andrew Salter
Rob Jewell, Jack Hubbard
Executive Producer
Helen Hughes
Vic Lovejoy
VFX Line Producer
Iraz Sanders
VFX Coordinator
Emma Hughes, Megan De Wolf