2. FINAL CRITIQUE:
3. FINAL STORYBOARD:
Wild Boar Fangs
The title sequence is a very important part in the development of a TV Series. It isn’t just a random bunch of images or music put together; it’s the door through where spectators enter the world you have created. It should condense in 30/90 seconds all the elements that are part of your series so everyone can connect automatically when listening to the music or watching the images.
My final project features a 90″ opening title sequence designed for a Spanish crime TV Series. The action is set in the late 60’s and 70’s and follows the story of the biggest serial killer of the country: the Arropiero.
The atmosphere that surrounds the series needs to be reflected also in the title sequence that’s why red and gray or black and white are the main colors in the composition. One obviously representing death and violence and the other to look back on the pictures and papers of those years. Also, the main texture of the image should make you think about film or old paper.
As it can be seen in the storyboard, the sequence begins with an old video of a guy shooting a wealthy man. It may seem a random video but it isn’t. This was taken during a police reconstruction scene when Canalejas — one of the most important politics in 1917s Spain — was killed by an anarchist when he was looking at a library’s showcase. This event marked somehow the beginning of the violent rage that followed next years and ended tragically with the 36 year Francisco Franco’s dictatorship.
That way, the elements that appear in the title sequence are related to all the historical events that happened the same years the killings took place. The blood coming from the politic becomes the title of a famous newspaper (El Caso) really popular those years and only specialized in crime news. The picture we see in the newspaper belongs obviously to the Arropiero and was taken when he was arrested.
Later on, we enter an old make-up advertisement; this is supposed to represent the kind of femininity present those years (reflected also in the TV Show) but when her mouth opens we see a butterfly dancer. That wants to represent the other femininity represented on the show that also connects with the Spanish folklore because it reminds of a Sevillana’s dancer.
The soldiers that come from the dress are also representative of the Spanish State those years and — in the end — the wheat the wind blows through the screen must immerse the spectators into the landscape that surrounds the whole story.
Finally, I’m working on two possible songs that will go along with the images. They are both related to either tango or South American music. It may sound weird to use music that is not from Spain – where the action is set – but I really feel they have a violent tone that goes well with the general tone of the sequence.
This is a tribute to Alfred Hitchcock’s famous title sequence from the movie Vertigo’s
This is the storyboard for an opening sequence on an hypothetical Crime TV Series
Jocelyn Leung & Víctor Navarro
The thing I found the most interesting about this text was how Iterative Design always works on testing their product a lot of times before any change or release.
Nowadays, film is moving an important part of his industry into Interactive products. These are focused more on the user than the audience and it will be very important to test everything we do before it comes out because sometimes there’s a lot of money involved in that production. Some time ago I found on the internet the picture that, in my opinion, exposes perfectly how important is to think about the user before creating/building anything. I post the image as I see many connections with the text: