RTL: Co-production Titles

Motion

Opening title sequence for RTL co-productions. Logo animation and clean graphic titling to identify co-produced shows.

Client
RTL Belgium
Role
Opening titles
Year
2025

Produced in-house at RTL Belgium.

The starting point

RTL does not co-produce under the same face it wears on air. The opening title had to place the brand as a production partner, at the level of the films it runs before, and hold its two entities together, RTL tvi and RTL play. The brief was not decorative: in a few seconds, ahead of every co-production shown on RTL play, it had to say that the company backs and makes, not only that it broadcasts.

RTL Belgium — Opening titles (visual 1)
RTL Belgium — Opening titles (visual 2)
The approach

A short opener, built to be seen hundreds of times

A co-production opener needs to be identifiable in seconds and stay pleasant to watch episode after episode. Line animation and RTL logo work on a clean background. This is an exercise in restraint. A title sequence is not the programme: it announces, it signs off, then it steps aside. Anything spectacular on first viewing would become heavy by the twentieth, so the motion stays simple and the background does not try to tell a story. The work focused on how the lines are drawn and how they lead into the logo, so the RTL signature arrives as the natural conclusion of the movement rather than as an appearance. The opener does not live on a single screen. It runs ahead of RTL co-productions in cinemas as well as on television and on RTL play, in front of Belgian and French films. That is what set the bar: the same signature has to hold on a cinema screen and on a phone, and present RTL Belgium as a co-producer to an audience that came for the film, not for the channel.

How we work

The same four steps, every project

See our expertise · Motion & TV branding

  1. Discovery

    We frame what the film has to say, to whom, and into which brand world it fits. If guidelines already exist, they become our starting point rather than a constraint to work around.

  2. Direction

    We list the boards and set the art direction as slides. You know what the film will contain and what it will look like before a single frame moves.

  3. Framing

    Still boards, approved before any animation. This is not set in stone: if the project calls for it, or if you would rather go straight to animation, we skip it. But when we keep it, it saves animating the same sequence three times over.

  4. Production and delivery

    The animation itself, with regular check-ins to avoid nasty surprises. For sound, voice and music we work with partners whose actual craft it is, rather than pretending in house.

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