Broadcast TECH
The creatives responsible for the shortlisted entries in the Best Use of Design category at this year’s Promax Awards reveal the technology and technique behind their work, which features graphic design at its heart
FRONTLINE BATTLE MACHINES
CHANNEL Discovery Channel TX October 2010
BRIEF The Ministry of Defence granted Dis- covery Channel unprecedented access to troops on the frontline in Afghanistan. The brief was to present the programme as the production team experienced it and allow Discovery viewers to make up their own minds about the politics behind the war.
TECH AND TECHNIQUE The series focused almost exclusively on the hardware involved in the war in Afghanistan, so the campaign had to create a link to the human dimension of the conflict. The team responsible for the promo said the copywriting idea achieved this, but the visuals didn’t exist to illus- trate it, so 3D graphics were produced to create a coherent visual thread through- out the promo. The key elements were all made in 3D and CGI by post facility Smoke & Mirrors, led by Dan Andrew and Guillaume Weiss. These include the pin and the Chinook helicopter that make up the main graphic device, plus the hanger location and delicate layers of dust and light flares that lend atmospheric realism to the environment. These were all created in Maya and the spot was composited using Avid’s DS Nitris.
CREDITS
Discovery UK Creative Writer/director: Meriem Adib Writer/art director: Lee Healy Special effects: Smoke & Mirrors Creative director: Robin Garnett Marketing director: Tim Hughes
SOUTHBANK SKY ARTS AWARDS
CHANNEL Sky Arts 1 HD TX January 2011
BRIEF
Develop a launch promo that could double up as a title sequence for The Southbank Sky Arts Awards on Sky Arts, while remaining respectful of the programme’s brand heritage..
TECH AND TECHNIQUE This idea used a mixture of light projec- tion technology and CG in a reimagining of the South Bank Show title sequence. The Sky Creative team used one flowing camera move to take the viewer through a collage of icons and iconography from the arts past and present in a bid to keep the charm and warmth of the show, but with a modern, contemporary edge. The solution was a mixture of CG,
live-action and light projection, where icons from the past and present were projected onto people, shapes and walls to keep the anarchy of previous title sequences, but also evolve the brand for its new era on Sky Arts. Post-production was provided by MPC, which 3D-tracked objects into the environment and 3D-scanned an image of Beethoven’s head and the composer’s hand. It also modelled and animated all of the 3D objects and composited all of the projected artwork.
CREDITS Sky Creative for Sky Arts Producer: Grant Branton Director: Hywel Williams Director: Jon Yeo Creative: Huw Briggs Copywriter: Craig Hanratty Creative director: Matthew Scarff
www.broadcastnow.co.uk/technology November/December 2011 Broadcast TECH | 27
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