Moochie.
Opening titles.
FILM
Black and white, printed textures and selective orange. The opening sequence brings the documentary’s different image sources into a single graphic world.
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DOCUMENTARY / CANAL+
The project.
I’m not really into true crime, but it was cool to work on this series with Samuel Collardey, one of my best friends.
For Moochie, I designed the graphic identity, opening and end titles, and motion graphics used across the episodes.
The six-part series follows the case of Dayonte Resiles, known as Moochie, accused of the murder of Jill Halliburton Su in Florida. Directed by Samuel, produced by Geko Films and Empreinte Digitale, it first aired on CANAL+ in January 2023.
- Director
- Samuel Collardey
- Art direction & graphics
- Raf / FuckYeah
- Production
- Geko Films · Empreinte Digitale
- Broadcaster
- CANAL+
- Graphic development
- 2020–2023
- First broadcast
- January 2023 · 6 episodes
01 / GRAPHIC IDENTITY
One colour.Many sources.
News footage, surveillance cameras, photographs and drone shots came with very different textures and resolutions. Black and white, halftone patterns and rough, printed edges gave them a shared visual language.
The orange came from prison uniforms. In the opening titles, rotoscoping lets that colour follow a face, a piece of clothing or a detail within the moving image. Samuel and I refined those accents shot by shot, sometimes reducing them to Moochie’s shirt.
Opening titles / selective colour.
Opening titles / a shared texture.
02 / ACROSS THE EPISODES
Following the story.
Maps locate the action. Dates and timelines mark the passage of time. Television and CCTV treatments distinguish the sources, while animated documents guide the eye through the material.
Alongside the graphic design, the work included compositing, screen inserts and selected image clean-up. I worked with Samuel and editor Stéphane Myczkowski to fit these elements to the evolving cut.
Graphics in the episodes.
FILM
Selected excerpts: surveillance and television footage, maps, dates, timelines, social posts and documents.
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03 / STYLE FRAMES · FEBRUARY 2020
Before the final image.
The first style frames, dated 7 February 2020, explore layered portraits, television screens, split images and torn paper. They set out the palette and the question of how to bring conflicting worlds into the same frame.
These are early directions, shown here as part of the process. The final sequence developed into a more restrained black-and-white treatment, with orange used in selected areas.
04 / TYPE TESTS & END CREDITS
Type tests.
FILM
Explorations of the logo and its movement. Research material, preceding the final title design.
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The first logo studies paired the impact of a bold sans serif with the more literary tone of a serif subtitle. The motion tests push the lettering through stretches, glitches, repetition and sudden changes of scale.
They were a way to test rhythm and character before settling the sequence: how much tension the type could carry, and how quickly the title could become readable.
End credits.
FILM
A twenty-second sequence of two-column credit cards, carrying the textures and typography of the opening into the end of each episode.
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The work continued beyond the finished shots. I supplied title cards with transparency, organised the effects by source type, and built editable Premiere Pro templates for the opening and end credits.
French and English exports followed, with an editable subtitle for further translations. That gave the post-production team room to update the wording and credits as the series was finalised.