In collaboration with designers Andrés Francken and Takeo Hirasawa. – BRONZEVILLE is a story of two African American twins who delve into a life of professional crime to support their neighborhood, family, reputation and during the Prohibition Era of 1930's Chicago. – This is the finalized version re-rendered, 3D/2D composited, edited and compiled by Zoheb Dowlut.

Throughout the few months that our team worked on this project, we thoroughly researched the life of Chicagoans during the Prohibition Era. That meant we delved into topics relating to alcohol smuggling, gang life, the lives of African Americans (specifically the town named Bronzeville), and symbolism of that era. Our preliminary research focused heavily on poetry of the Great War. Christina Rossetti's 'In the Bleak Mid-Winter' and Richard Aldington's 'Images of War' and' Images of Desire' served a major purpose to our story.

The third poem we took influence from was Richard Aldington's 'Images of War' where he depicts the atrocities faced by the men at arms amongst the trenches. He portrays images of the extremities of soldiers dealing with post-traumatic stress, shellshock and the disillusions of drafting. His works also depict the impacts of alienation, isolation and sympathy with enemy soldiers among the brigades. These poems served as the basis of how and why our two protagonists turned to a life of crime from major industrialization, to the support of the war effort from banning alcohol. Which resulted in unemployment and poverty as the destitute lives reimagine a life of stability by dealing with organized crime structures to fund their neglected neighborhoods.

Gathering an array of visual imagery for mood boards, we focused the color groups through variations of Art Deco themes. We also developed a typographical board during pre-development to project an idea of hand written lettering or headlines prominent during the time. Using textiles, we created various repetitive patterns to be later introduced among the fabric as seen in the sequence above.



By the end of the research phase, we addressed six particular questions as stated in The Futur podcast with Karin Fong as a guest. These questions were as follows:

• Does it describe the show/movie?

• What is the central theme, or emotion?
Is it unique to the show through characters, setting, storyline etc.?

• Does the title sequence foreshadow the story?

• Is there an interesting or clever metaphor (that interests the viewer - that awe factor) or a device that draws connection to the story through an abstract way?

• Is the title sequence well crafted?

Using these questions as a way to judge our title sequence, we introduced a number of changes that catered to the visual direction of the sequence. We established an abstract representation of Chicago primarily through themes of violence, sexuality, glamour and fame and divided these scenes through symbolic and literal imagery. Our aim was to showcase a sense of class reminiscent of auction items or items on display. Doing this, we would be able to reflect a feeling of richness through violence in contrast to poverty and diminishment.

Our early rough cuts were headed off into a direction that resembled historical documentaries which we tried to avoid. Instead, we adapted a quality similar to modern day title sequences that relied heavily on the explicit or sometimes abstract symbolism in tandem to the story. Finally, the title sequence was compiled, edited, and composited to completion.


CG/3D Artist, Designer and Director: Zoheb Dowlut

Pre-production 3D Artist: Andrés Francken

Pre-production & Planning: Takeo Hirasawa