Despite this sequence cannot be qualified under the computer graphics category strictly, the publishing staff likes to make known outstanding works in the audiovisual industry too, as our slogan explains clearly in the top of this vertical portal. True Blood is a dramatic TV serie broadcasted by HBO (Home Box Office). A premium television programming subsidiary of Time Warner offering two 24-hour pay television services, HBO and Cinemax, to over 40 million U.S. subscribers.

The credits were made by Digital Kitchen and basically, the show is about vampires assimilating into rural Louisiana, curiously. We also publish the Making of True Blood's Title.



Overview According to Digital Kitchen ...

A truly hand-made sequence for one of the most watched dramatic series in HBO's history. The final edit contains over 65 shots comprised of original documentary, studio, tabletop photography and found footage. 6 separate shoots took place in Louisiana, Seattle, Chicago on 7 different still, film, and video cameras.

The Assignment

We have a unique relationship with Alan Ball. Our work with him on Six Feet Under altered not only the trajectory of our company but also that of the title design business. The opportunity to work together on a whole new series was an exciting proposition. Although Mr. Ball is addressing many of the same issues in True Blood as he did in Six Feet Under: death, morality, identity with a healthy dose of humor, True Blood is a much more wild, unrestrained ride. Our assignment was to distill the humor, sex, violence and sweaty, sultry vibe of Louisiana, and oh yeah, don't show vampires.

Actually making the titles for True Blood had mostly to do with setting aside our own prejudices of the subject matter as well as so-called "professional" production practices. We knew from the start that the best -the only way- to create a powerful introduction to True Blood was to insert ourselves into the middle of Louisiana and find out what happens unmannered and unvarnished.

Most of the outdoor footage was shot in Louisiana. The bar scenes, titles, and writhing bodies were shot in Seattle. The church scenes were shot in Chicago. We even created our own font family based on roadside hand-painted signage.

Many of us shot scenes on a multitude of formats anywhere we went. While one of us might talk to a subject, another one or two of us would operate a camera while someone else then wandered off into the woods to shoot creepy things.

As many as a dozen DKer's touched this project at one time or another. There are many influences and sources that colored our final product. We also give a big thanks to the wonderful film Searching For The Wrong-Eyed Jesus. It gave us the courage to dig deeper into the swamps and back alleys where the real color can be found.

Our approach embraced the madcap and deliberate, the lo-fi with state of the art, and a host of other dualities. But what made the project sing and connect with people is the transparency of our love for getting our hands dirty, hitting the ground running and making a little film.

More Information at www.d-kitchen.com. Image and Videos Courtesy of Digital Kitchen