Fonts and jump cut sequences

So, I've been capturing and editing all this week. This is more or less, the first time I've edited and utilised Premiere Pro.

I've made a fancy jump cut sequence of both Nick and Paul, which proves quite effective, attention is grabbed with jump cuts and adds excitement to an otherwise boring sequence.
Some things that have required much of my attention are the brightness/contrast levels. They've proven to be of much use to me, as I can 'even up' brightness levels of the things that were shot at different points. Say, for instance, a cloud got in the way of the sun for one shot, and then it was fine for another shot: by using these levels, I can make them look as similar as possible. By doing this, I can remain faithful to the laws of continuity.

I've been looking for appropriate fonts to use as opening credits. I went to dafont.com for a source, because many of the students doing print coursework seem to use it often. I settled on a font that looks handwritten, the holes on each letter are filled in and looks like a font a teenager would write. I chose this font as it loosely reflects the teenage lifestyle these two boys live: educated, with a playful, friendly side.

In previous experiences with credits, there is often a difficulty in telling who is who, because the credits don't line up with the character.
I've decided to take inspiration from two of my favourite films, in terms of opening credits.

Reservoir Dogs:
http://www.youtube.com/watch?v=lzMpH9jjo4w&feature=related
Reservoir Dogs has a brilliant, iconic opening sequence. I enjoy it, because it clealy shows which actor is which, although we do not know the names of the character (Alluding to the anonymous theme of the film).

Snatch:

Snatch is effective, as it dedicates a few seconds to each character. Often film-goers forget the names of the characters, because they're only breifly mentioned. Guy Ritchie, here shows his characters with big bold letters (An allusion to the big, bold, cartoon-esque characters found in Snatch.

Mike has taught me the use of key points in the piece, which have been a great help. With key points, I can fade music in and out (something I've been secretly hoping to achieve, but didn't think was capable at AS level), I can enlarge the credits and make them generally more exciting to watch.

We nearly hit a snag with some shots: scene's filmed in Lewis Calvert's bedroom were nearly for waste, becuase they were simply too dark. After mixing brightness levels and such, I've achieved a nice visible level; the room can be seen nicely, and the darkness masks Paul's face ever so slightly. I think this makes a cool effect, especially as the next scene is a nice mid-shot of him eating breakfast in the light; his face is perfectly visible and for this reason, I chose to place the credit "Ben Wilson as Paul" next to his face in this shot.

That's everything I can think of for now.

Y'all have a nice day!
Joni Beech