Not for re-upload.

Arguably the most iconic title sequence in Doctor Who's history, for the most iconic Doctor. This presented a challenge, as trying to replicate the actual 'slit-scan' effect would've taken a lot more time and money! I had to work around that problem:

All of the different vortexes are 3D models, with a seamless marble texture applied to create a similar effect to that seen in the 1974 title sequence created by Bernard Lodge.

The logo was created from scratch in Photoshop in order to allow for a more higher quality element to be used, instead of having to resort to a .png of the real logo.

The photograph of Tom was created using two different images from the photoshoot, neither one was of a usable quality so some work was needed on those to get them looking more or less accurate. Once the photographs were combined and applied to the sequence, an awful lot of colour correction was needed to get him close to how he looked in the real sequence, as the images from the shoot are generally more warmer in tone (and plus, there are so many active layers working above and behind Tom in the sequence, so that had to be taken into account too).

The transition for Tom (both in and out) used similar techniques to Lodge's original sequence. A DVD special feature on 'Robot' saw Lodge go into detail about his creative process, and he paid particular attention to the transition from Tom to the logo. This was of course helpful for the entire creation of my sequence, and certainly the transition phases. He went into detail of how a 'dot sheet' was applied to the picture of Tom to ease the transition into the 'face' scene. This created a fractured dissolve as he appeared (as, it turns out, not to over-expose the camera). I had to recreate this in order to make it look authentic, also applying the very brief 'red/blue' negative of Tom used to transition to the logo (which Lodge also went into detail about).

The TARDIS was originally going to be a 3D model, but after realising that it wouldn't exactly look that faithful to the sequence (and that I didn't have a 3D model of the accurate prop) I resorted to asking model maker Jonathan Sellers if I could use a photograph of his old TARDIS model (which is, as you can see, incredibly detailed - thank you Jon!). It needed to be colourised, but in the end it turned out looking pretty nice! It still retains the same feel as the real sequence, as I believe the TARDIS was also a model in the original.

Also, a big thanks to Danny and Ian Stewart for use of their theme mix.

Find Jonathan's Flickr here: [ Ссылка ]

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