Reflective Critical CommentaryBA (Hons) Visual CommunicationGraphic CommunicationLevel 062009 - 2010

Amar KakadA07406208

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INTRODUCTIONOverview

BriefTarget Audience

IssuesTone of Voice

Background

UNDeRsTANDING MOTION GRAphICsHistory

Motion by GraphicsCinema and Television Graphics

Practitioners

DesIGN ChALLeNGeRepositioning

ModernisingPromoting Growth

DesIGN pROCess- e4 TeLeVIsION pROMO AND sTING

The Beginning The Middle

The End

The MILO - MOTION CONTROL RIG

What is the Milo?History

Why use a Motion Control Rig?Ways the Milo can be usedExperiments with the Milo

Analysis and Conclusion

pROpOsAL - e4 TeLeVIsION pROMO AND sTING

AimObjective

Design Solution

eXpLORATION AND sOLUTION - e4 TeLeVIsION pROMO AND sTING

TypographyTag line

Colour PaletteIconic Films

Image ReferencesInitial Sketches

Computer Generated CharactersAnimation

3D Modeling

DeVeLOpMeNTs AND ANALysIs- 30 seCONDs e4 TeLeVIsION pROMO

FINAL ReNDeR - 30 seCONDs e4 TeLeVIsION pROMO

eARLy eXpeRIMeNTs - 05 seCONDs e4 sTING

Early ExperimentsAnalysis and Conclusion

Final Storyboard - 05 seconds sting

CONTENTS/

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32 - 35323334 - 35

FINAL ReNDeR - 05 seCONDs e4 sTING

Analysis and Conclusion

OVeRALL CONCLUsIONExploring my Area of Practice

Conveying the messageHow important was technology?

Design & Layout

BIBLIOGRAphyBooks

Picture credits from WebsitesDVDs

DVD-ROM

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OverviewSince the initial stages of the course, it was important for me to gather any form of information pertaining to design. It was about exploring different frontiers and working out of my comfort zone. This opportunity led to building relations with the MA students, getting in touch with designers in and around Birmingham, participating in design competitions, attending D&AD President’s Lectures, graduation events in London etc.

Studying was not subjected to libraries and classrooms. This was about capitalising opportunities from a country where art and design flourishes and the discipline is respectable. Being a part of this design fraternity has increased my zest to perform and learn. This has introduced me to understanding other peoples perspectives, ways of thinking, approach and even question them.

For the Negotiated Project, my chosen area of practice was Motion Graphics for Television. This was the beginning of exploring a new subject. Motion Graphics is not just about moving graphics, it is a vehicle used to inform an idea or a message to the viewers. Therefore being on an undergraduate course, was an opportunity to dig deeper into my area of practice. With the abundance of software tutorials available on the internet, it was easy to equip and train myself technically. My focus and approach during this term was to learn, explore and execute the visual aspects of Motion Graphics and enhance these skills for the Major Project.

BriefFor the Negotiated Project, my chosen brief was from the D&AD Student Awards 2009, set by Channel 4. It deals with Motion Graphics for Television. The brief is as follows:

Create a 30 seconds Television Promo for Entertainment 4 (E4) publicising their Monday Night Movies strand.

Create a series of 05 seconds Stings which can be viewed in and out of advert breaks during the film.

Target AudienceYoung and savvy. They come to E4 for a dose of escapist entertainment. It is brand defining, high quality, innovative and contemporary.

IssuesE4’s viewers have a strong relationship with the channel but increasingly spend their time media stacking - watching television whilst texting or hanging out on social networks. It is harder to get the viewers attention and interest.

Tone of VoiceE4 has one of the most clearly defined tone of voices in the television market place. It is fun, irreverent, entertaining and does not take itself too seriously.

e4’s BackgroundE4 was launched in 2001. Ali G fronted the marketing campaign for embodying the channel’s irreverent attitude.

Launched as the new entertainment channel from Channel 4, it was in effect Channel 4 without the boring bits - D&AD Brief, 2009

It is now the number 1 multi-channel station targeting 16-34 year olds, regularly beating BBC 2 and FIVE.

INTRODUCTION/

historyIt would be impossible to discuss the history of Motion Graphics without considering the contributions made by none other than Saul Bass, whose graphics are the very definition of motion graphics as we know and see them today. He is legendary for the innovative title sequences for films such as Alcoa Premiere (1961), Playhouse 90 (1960) etc.

By the mid-1980s in England, Martin Lambie-Nairn was also creating innovate branding for Channel 4, the BBC etc. In the USA, Harry Marks set a standard for network branding. Others set their sights on motion graphics in broadcast such as Chris Pullman, Gene Mackles etc.

Once television had created a vehicle for Motion Graphics, the craft was brought to new artisitic levels in film titles, network and entertainment branding, idents etc.

In the words of Saul Bass, during an interview in 1996, quotes - My initial thoughts about what a title can do was to set the mood and the prime underlying core of the films story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.

Motion by GraphicsGraphics are elemental forms of storytelling. This is obvious since we were children looking at storybooks. Stories shown through pictures and movements are the most effective means of conveying messages. We relate to visuals in motion, as they are convenient and easy to remember.

David Robbins of New Media Director stated - The Passion of the Christ, from 2004, words are considered so secondary that they are spoken in a dead language, Aramaic, yet the images remain strong.

Today this concept of Motion Graphics has evolved and continues to transcend through a convergence of graphic designs and film technologies by acclaimed practioners such as Kyle Cooper of Prologue, Dan Pappalardo of Troika, Garson Yu of yU+co. etc.

Graphic Design that implies movement always fascinates me, but the limitations of static frame make it challenging. With sequential images we have more at our disposal to involve an audience and transport them to another world. We have more frames to let a story unfold.

Work that successfully captures the viewers whose purpose is to entertain and inform is appreciated. To back my previous statement, as motion designers we have to create an impact that viewers do not lean back to watch but lean forward to participate. The onslaught of media and messages, combined with a shortened audience attention span has raised the stakes on developing effective and evocative communication design.

The hyperactive arenas of information design and entertainment are at the mercy of the moment - the critical seconds in which the viewers decide whether or not to change a channel. The job of Motion Graphics is to involve us, consciously or inadvertently.

Technological innovation continues to be valued, but technology allows only certain modes of production. It does not provide a good story or clear communication. To elucidate, it is not true that a typographer cannot tell a story. Motion Graphics can be a medium through which typographers become visually sophisticated. Some recent examples include Pink Panther (2006), Silent Hill (2006) etc.

Noah Harris of Precursor Studios in 2008 stated - TV Graphics rely on overblown computer graphics to impress. It is better to have a core idea that informs the end visual. With regard to the previous statement, the idea was to create a television promo and sting that would resonate and become memorable.

The important effect Motion Graphics can have is to make an emotional connection with the audience. This connection is made by strategically integrating the visuals with sound. Garson Yu of yU+co. states - It takes 51% music and audio effects plus 49% picture to create a complete emotional sensation.

Cinema and Television GraphicsCinema Motion Graphics, represent a convergence of graphic design, film, video and photographic technology. They are about image-making, storytelling. They are not about a moment of Motion Graphic expression such as we see on television; it creates a film sequence that informs the audience of the story that is about to unfold.

Television Motion Graphics tend to have in-your-face-visuals, eye catching layouts and are intended for fast reading which is also underpinned by a core idea. Wally Olins quoted - Purpose and belonging are two facets of design.

UNDERSTANDING MOTION GRAPHICS/

practitionersHere are some of the pioneers who have inspired a new sense of motion by design.

Kyle CooperPrologue FilmsSpecialises in branding, broadcast •design, film titles, network branding, entertainment branding etc.Designed motion titles, brands for •Victoria’s Secret, ESPN, Sci-Fi, Rock n Rolla, Incredible Hulk, Spiderman etc.

Image Courtesy: www.prologue.com

ESPN

Rock n Rolla

Victoria’s Secret

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Dan PappalardoTroika Design GroupSpecialises in brand identities, logo •design, sports branding etc.Designed brand identities for FOX, TNT, •Sports Centre etc.

Image Courtesy: www.troika.com

TNT

Sports Centre

FOX

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Garson YuyU+co.

Specialises in branding, logo design, •film titles, broadcast design etc.

Designed motion designs for CNN, •300, Ugly Betty etc.

300

Ugly Betty

Image Courtesy: www.yu+co.comwww.robertjohn.com

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Robert BrownjohnA graphic designer and motion designer.•Designed title sequence for early James •Bond films - From Russia with love & Goldfinger and the Rolling Stones album sleeves etc.Known for his sex related designs.•

Goldfinger

Obsession

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Martin Lambie-NairnLambie-Nairn & Company Ltd.Created brands and motion idents for •BBC, O2, Channel 4 etc.A branding and motion design agency.•

Image Courtesy: www.lambie-nairn.com

BBC

02

Channel 4

Image Courtesy: www.d-kitchen.com

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Paul MatthaeusDigital KitchenDesigned motion titles for Nip/Tuck, •Six Feet Under, House etc.A branding and motion design agency.•

Six Feet Under

Windows

Nip/Tuck

Introducing a sub-brand within a brand is about maintaining continuity so it does not become an unrelated brand. How to make this work is the question? In addition to the usual considerations of the market and aesthetics, it was necessary to consider emotional issues.

Do the other idents have characteristics that needs to be preserved? Will the viewers become wary or turn defensive when presented with something new? When thinking of creating, it is about introducing or generating an awareness of an experience for someone.

A poor response could cause the channel to suffer or even fail. E4 as a channel is quite strong, there are many reasons to introduce a sub-brand as there are other competitors introducing them. These reasons fall into 3 general categories.

Repositioning:The decision to change or modify arises because changes in the generation have provoked to reconsider its positioning. A brand in need of repositioning usually does not represent that it is struggling. It is looking for alternatives to improve its presence even more, by making slight, drastic and smart adjustments.

We should not consider change because change is construed as good, rather we must be certain that the change is good. As it will bring something refreshing. Examples include Pepsi and 7up.

Modernising:Existing brands are reinvented or refreshed, because the world in which we operate is changing. Technologies change, trends change etc. These affect business and therefore their brands have to change too.

A fresh look, a more practical design, an aesthetic that speaks better to viewers: These can be the result of a modernised design. Be it creating a brand or even introducing a sub-brand, it should be a reflection of the companies new inner self. Examples include Apple and Gucci.

Promoting Growth:A brand is moving from the realm of precarious start-up to contender status. Perhaps it requires an even larger presence. Promoting growth through a new sub-brand is a bold, tactical move.Examples include Channel 4 and BBC.

DESIGN CHALLENGE/

Design Process within the design fraternity refers to the stages of design development i.e from inception to completion. This is divided into 3 general categories: The Beginning, Middle and End. I will be elaborating these stages.

DESIGN PROCESS - E4 TELEVISION PROMO AND STING/

Desk Research (Fig 01) was carried out which involved looking at the history, trends and structure of the brand: its performance and their competitors.

Fig 01

Fig 02

In addition, an analysis (Fig 02) of the market was reviewed which lead to understand the brand position, its issues and who it is targeted towards (Fig 03).

Fig 03

In order to understand how well the brand communicates, it was mandatory to have the tutors and consumers insight (Fig 04). This leant the capability to highlight factors such as strengths, weaknesses etc. It also provided a head start to further dissect into the subject matter and extract information that needed to be highlighted.

Fig 04

The BeginningThe journey started with decoding the given E4 brief by simplifying it and filtering the reduntant words. This made it easy to understand and stay focused on answering the brief.

The MiddleAs a result of work carried out in the first phase, the process of gathering inspiration (Fig 01) and generating ideas (Fig 02) was initiated. This turned out to be a prolonged process and was necessary to keep an open door, open mind policy. After a series of sketches, discussions with peers (Fig 03) and reflection (Fig 04), the conclusion drawn was to create something sweet and dark. The juxtaposition seemed appropriate and also wanted to persuade the viewers to participate and interact.

Since the brief was about films, a series of iconic Hollywood films had to be listed and narrowed down. The notion was to introduce an overall theme for the E4 promo, which would be the main environment and there would be a series of instances from the selected films that would populate the space.

It was exciting to be in that position as it was an opportunity to see how far the idea could be pushed. Initially, the idea was to build a live action set driven by stop motion animation and Motion Control. Due to limitations, other alternatives were considered. After finalising the core idea, the look and feel, storyboards were prepared, amended and developed accordingly.

Fig 01

Fig 03

Fig 02

Fig 04

The EndTowards the end of the journey, it was time to execute. This stage allowed me to explore methodologies and technologies of execution. As mentioned earlier, due to certain limitations other alternatives were considered. For my learning, it was vital to have looked into all possible options, although it was very laborious.

The promo was created by fusing various multimedia softwares:

Adobe Illustrator CS3:For designing the 2D elements.

Cinema 4D R10:For creating the 3D elements.

Adobe After Effects CS3:For the animation and editing.

Sound Booth: For composing the audio and foleys.

Ways the Milo can be used...There are a myriad of ways. Here is a gist of the 7 pivotal uses as given by Mark Roberts. They are as follows:

Repeat moves: Making objects appear and disappear, crowd replication, changing backgrounds and foregrounds, recording at different speeds, compositing etc.

Scaled moves: Shooting miniatures, rotating camera moves, matching scales etc.

Controlled moves: For controlled filming and lighting on products etc.

Computer generated imagery export: Combining live action with computer generated imagery.

Computer generated imagery import: Virtually plan and previsualise shots. On arrival to the set, the milo can achieve the exact same shot. This reduces production costs, time etc as it is shot beforehand.

Frozen movement integration: Insertion of moving objects into a frozen scene etc.

Audio time-code triggering: Synchronizing video to the existing audio.

THE MILO - MOTION CONTROL RIG/

What is the Milo?The aura and grandeur of movies have been facilitated by stunning and advanced state of the art special effects technology. They have rendered the impossible to be possible. For the Negotiated Project, it was in my interest to incorporate the Milo – a multi-axis Motion Control filming rig (Fig 01). The milo has seamlessly permeated into movies such as The Matrix Reloaded, Terminator 3, Saving Private Ryan etc.

Motion Control (MOCO) is a technique to repeat camera moves accurately for as many takes as necessary. The camera is suspended from the motion control rig as both form the complete piece for the milo to be operational. In the film and television industry, moco means that motion is accurately, computer controlled using electrical motors. This is a form of filming where the camera movement is controlled by a computer, operated by human intervention. The motion of the camera and its path can be repeated for the generation of visual effects (VFX).

It is essentially a camera robot, but in the industry these technical machineries are referred to using the more creative sounding term Motion Control Rig.

Milo is an academy award winning design which has been purchased from Mark Roberts Motion Control Ltd. by the School of Visual Communication in the University’s Faculty of Art & Design. Birmingham Institute of Art & Design is the first University in Europe to own Milo.

historyMark Roberts in 1967 founded the company Mark Roberts Film Services and provided motor control systems for special effects (SFX) film equipments. Towards 1983 the company began to supply Motion Control systems. In 1985, the company changed its name to Mark Robert’s Motion Control (Fig 02) to represent their services to a higher degree. From 1995 to present, the company has continued to design new models and refine existing ones which has earned the reputation of being the world leader in such type of machinery.

Mark Roberts realised that camera Motion Control was inadequate to the needs of animators. He developed a highly stable and reliable system that provided consistency and accurate camera movement. In response to this, they received the Scientific and Engineering Award in 1999.

Why use a Motion Control Rig?Traditionally it has been used to film separate elements of a shot which are merged later. It has also been used to have complete control for precise movement. To do so, a plethora of VFX shots can be achieved which would be impossible to do without the Milo. Certain shots require tricky manoeuvers such as macro focus pulls, rolling of the camera etc. It can be easily programed on the milo rather than achieving it manually. To achieve stunning looking shots, one wants the camera to move during a take or follow a subject or some action, that is where Motion Control comes in.

Let us consider an example. A girl walking on the street and gradually disappears. This is done by 2 takes. The first one contains the girl walking on the street and the second take is just the street (blank plate). During the editing process, the shot begins with the girl walking and gradually blends to the second take. Looking at the final effect, it appears the girl vanishes. This is simple to achieve provided the camera does not move but as soon as there is motion within the shot, it is impossible without the Milo. This is because the shots would not match in perspective and speed. This is one of the different effects which would solely require a Motion Control Rig.

Fig 01

Fig 02

Shot 02A chair gradually appears...

Shot 04Actor leaves the frame and the chair gradually dissappears.

Shot 01Actor walks past the frame...

Image Courtesy: My personal library. To view video, refer DVD 01 on page 41

experiments with the MiloBased on my personal experience with the Milo at the Birmingham Institute of Art & Design (BIAD), here are a couple of effects that were achieved under the supervision of Matt Cusworth, who is the Studio Technician of the Institute. The effects are as follows:

Repeat moves:This particular application forms the basis for all Motion Control shots. The Milo can repeat any camera movement and be repeated any number of times. Based on this, a whole range of effects can be achieved. A basic effect is making elements appear and disappear. This is achieved by filming, for example, an empty room and filming it again with an actor. During the editing process, you can make it appear that the actor is vanishing and appearing.

Here are some screen grabs from my early experiments.

Shot 03Actor sits on the chair...

Image Courtesy: My personal library To view video, refer DVD 01 on page 41

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/Another possibility would be to shoot an empty room and filming it with the actor in different positions. In the finished shot, the actor has been duplicated in different positions so there are several other copies of the actor. This idea can be implemented for crowd replication as seen in movies: Troy, Spiderman etc. Here are some screen grabs of this effect from my early experiments.

Shot 01Actors walk past the screen...

Shot 02Camera Pans up...

Shot 03Shot reveals same actors across screen.

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Scaled moves:It is more than just changing a scale. The first example of a scale shot would be changing the scale. To elucidate, a set would be too costly to construct or the camera movement needed would be too large to achieve with a crane. So a miniature model/scale model is built and shot using the Milo. The second shot would have an actor filmed against a blue/green screen/set. Since the 2 shots have been filmed from the same speed and perspective, the passes will match.

For example, a scene can be created where an actor is standing against a house which is too large or probably on a castle which exists only as a miniature model. So the physical size of objects can be controlled under this category. Hollywood movies such as Harry Potter have implemented these techniques.

We tried to achieve this effect but on a smaller scale. The actor has been shrunk to a miniature version against his true scale. Here are some screen grabs of this effect from my early experiments.

Image Courtesy: My personal library To view video, refer DVD 01 on page 41

Shot 01Scaled down actor walks on platform...

Shot 02Actor sits on a set of weights...

Shot 03Actor appears behind in his true scale.

Analysis and Conclusion - Milo experiments

From the experience gathered, it was not possible to incorporate the Milo for my Negotiated Project. Circumstances did not permit to take the Milo outside the university premises. Due to this restriction, other alternatives were considered. This experience led me to understand the various possibilities of the Milo, although on a superficial level.

Being under the supervision of Matt Cusworth who is the Studio Technician of BIAD is a trained Milo Operator. Together as a team, we were able to explore Milo’s possibilities, both creative and technical.

For the Negotiated Project, my chosen area of practice is Motion Graphics for Television. Being on an undergraduate course, was an opportunity to dig deeper into my area of practice. My focus and approach during this semester was to learn, explore and execute the visual aspects of Motion Graphics and further enhance these skills for the Major Project.

AimCreate a 30 seconds Television Promo for Entertainment 4 (E4) publicising their Monday Night Movies strand.

Create a series of 05 seconds Stings which can be viewed in and out of advert breaks during the film.

ObjectiveIn the world of television graphics, there are no second chances from the audience. It is vital to create powerful, emotional experiences that resonate with the viewers and become memorable.

The television promo utilised animated and instantly recognisable Hollywood film characters. This embodied the brand spirit of movies that connects emotionally with the viewers.

Design solutionThe television promo portrays silhouttes of elements and characters from iconic Hollywood films i.e 007, Titanic, Godzilla etc., to generate an interaction amongst the viewers.

PROPOSAL - E4 TELEVISION PROMO AND STING/

Colour palettePurple in the context of E4 was incorporated as it symbolises the channel. Instead of blending other colors, purple reinforces E4’s position for Monday Night Movies.

It is a colour that denotes royalty, spirituality, nobility and ceremony. Its positive associations often include wisdom and enlightenment, but it can be used in a negative context to suggest cruelty and arrogance. It is often associated with people seeking spiritual fulfillment. It is a good colour to use if meditating as it is said to provide peace of mind and a calming influence. It is favoured by children and can assist the development of a childs imagination.

There are many interpretations. In my opinion, purple is an imaginative colour which is soothing and pleasing to watch.

TypographyChoosing a font and a typeface was amongst the most challenging aspects in creating this promo. It formed the base to generate the look and feel for the video.

Trawling through font books and other resources was an interesting experience as it made me realise the value and essence of typography in design. At one point, my decision was to create an exclusive typeface dedicated for E4. It seemed laborious and decided to use an existing font as time was limited.

My alternative was to incorporate a contemporary and modern looking font as it was targeted towards a young and savvy audience. Here are some of the early examples:

ITC American Typewriter

Berthold Baskerville

ITC Bookman Std

Century Gothic

Helvetica Neue

Frutiger

Bodoni

My final decision was to opt for Helvetica Neue, 75 Bold. It has the personality, power and is neutral.

Tag lineA tag line is similar to a slogan, a catch phrase or even copywriting as we see in advertising campaigns. They are short, witty, often memorable and makes the consumers, viewers feel good.

An effective tag line makes a simple, direct, concise and apt statement. The notion behind a tag line is to create a memorable and resonating phrase that sums up the tone, mood and premise of the product, brand, film etc. It is to reinforce the consumers or the viewers memory of the product.

They are the most effective means of drawing attention. A tag lines purpose is to emphasise a phrase that the company wishes to be remembered by. It establishes an emotional connection with the audience.

Here are some early examples:

Monday is the night

Love your Mondays

I believe in Mondays

Will make you like Mondays

My final decision was to choose Will make you like Mondays.The tag line was inspired by a song called I don’t like Mondays by Boomtown Rats. The song was written by Sir Bob Geldof.

Iconic FilmsAnother aspect was to choose an array of iconic Hollywood films which will be portrayed as silhouttes in the television promo and stings. To make it memorable for the viewers, it was important to generate a connection and participation incorporating these innuendos.

Here are the names of films that were considered. They had to be filtered based on the context of E4, which screens films based on escapist entertainment.

Day After Tomorrow Lord of the Rings Sound of MusicCharlies AngelsCaptain Nemo Indiana JonesMask of ZorroDirty DancingTransformersJames Bond Citizen KanePulp FictionSpider ManGod Father

King Kong Rush HourTaxi DriverStar WarsGladiator Godzilla Sin City Batman Scream TitanicVertigo Matrix JawsE.T.

The final list:

Day After Tomorrow Charlies Angels Indiana Jones Dirty DancingJames BondHarry Potter Transformer Spider Man

Godzilla ScreamBatman PsychoTitanicJaws E.T.

EXPLORATION AND SOLUTION - E4 TELEVISION PROMO AND STING/

Scream...

Batman...

Dirty Dancing

Lord of the Rings...

Psycho

Day After Tomorrow

Godzilla

Jaws

E.T.

Godfather...

Indiana Jones...

Titanic

Transformers

Matrix...

Here are some references that were considered.

Image ReferencesAfter deciding the names of films, it was necessary to look for image references.Looking at posters of movies was helpful. But after watching these movies, they provided stronger references.

As the design solution revolves around recognisable Hollywood film characters, this stage leant the possibility of gathering iconic poses, characters, signature styles etc that the viewers can relate to instantly.

Image Courtesy: www.wallpaper.com

James Bond...

Initial sketchesUsing references, characters were sketched and amended accordingly. The idea was to keep them simple by preserving iconic details which highlighted the essence of the characters.

It is not generally my style of working as I would start to generate these characters digitally. But this semester it was vital to work out of my comfort zone and explore different methods. Infact, this stage has proved to be fruitful as it provided potential for creativity and also taught me to manage time.

Unike working on the computer, one tends to get carried away and minimises the scope for exploration. This process helped me to organise and hone my drawing skills as it was easy to communicate and make amendments.

Here are some of the initial sketches. These were created from the earlier references which were then taken further to create them digitally.

Godzilla

Main Background...

E.T. Bicycle

Batman and Spiderman

Computer Generated CharactersWith the help of sketches, the characters and elements were further designed and developed digitally in Illustrator. This is an industry standard software used for designing vector images. Tool suchs as the pen, add anchor point, selection, live trace option etc were used effectively for creating the characters.

Here are some screen grabs showing the interface of Illustrator and how some of the elements were created.

James Bond...

Harry Potter...

Scream...

Dirty Dancing

Transformers

Indiana Jones...

E.T.

Charlies Angels...

Day After Tomorrow

Godzilla

Spiderman...

Batman...

/As mentioned earlier, the characters are simple silhouttes meant to be instantly recognisable. They were hard to visually conceive as several crucial decisions needed to be made: what details were necessary to preserve or eliminate?

Frequent discussions were conducted with peers and tutors. Constructive criticism was gathered from both parties which helped remedy the flaws and enhance it. In 2 years of experience at univerisity, this project has been most captivating and challenging.

Working out of my comfort zone has leant various possibilities. This has introduced me to understanding other peoples perspectives, ways of thinking and approach, question my own solutions, stand by them, networking with students from different departments etc.

Here are some of the finished characters created using Illustrator.

AnimationAs computer generated characters were ready, other graphical elements were incorporated for the details and animated using After Effects. This is another industry standard software package used exclusivley for Motion Graphics, Compositing, Visual Effects etc.

With the abundance of software tutorials available on the internet, it was easy to equip and train myself technically. As required for the script, various effects were achieved such as raining television screens with the help of an inbuilt plugin called CC Particle World and an external plugin called Particular.

Here are some screen grabs showing the interface of After Effects and how some of the elements were animated.

Final render of sofa.

Final render sofa and E4 logo.

Wireframe of sofa...

Wireframe of sofa and E4 logo...

3D ModelingAs a part of the final shot for the E4 promo, the script demanded a sofa and an E4 logo in 3D. Initially photographs were used but did not prove be useful. It did not provide the liberty to customise it in terms of colour, perspective etc.

In order to achieve this, a 3D software called Cinema 4D was used to create these elements. This is a powerful application used for 3D modeling, animation, lighting etc. It is a renowned software used within the design industry.

Here are some screen grabs showing the interface of Cinema 4D and a comparison of the wireframe designs alongside the final render.

Stages of developments and analysis will be discussed.

SCENE - 01

Option 01My initial attempt was to have purple blotches appear as it introduced the mood and approach. In conclusion this lacked a certain amount of depth.

Option 04A 3 dimensional feel to the large E4 logo was added and still did not serve any purpose. A different style and approach needed to be adopted.

Option 02Subsequently E4 logos were fused within the blotch. This was not my solution as it seemed quite clichèd and lacked certain details.

Option 05The final decision was to create rain transforming into E4 logos as this sets the mood and serves as a narrative. It portrays how a dull monday night transports us into the world of E4. This was technically challenging and required several trial and errors before achieving the right effect.

Option 03Continued to add a couple of more E4 logos on other blotches. It looked very flat and the mesage does not seem to have crossed over.

DEVELOPMENTS AND ANALYSIS - 30 SECONDS E4 TELEVISION PROMO/

SCENE - 02

Option 01From scene 01, we pan to a different environment. It looked attractive as a visual piece but it was not answering the brief. The approach needed change.

Option 04The submarine was redesigned successfully. After discussing with my peers, it was brought to my attention that Captain Nemo does not fit in the E4 criteria and is not an escapist entertainment. It was a case of research and referencing for other iconic films. This process offered tangibility in my work.

Option 02The approach incorporated elements from iconic Hollywood films. Examples include: Titanic and Transformers. This was a good start but required more references to films.

Option 05After a series of tests, we finally found the right film; Jaws. From a design aesthetic, the frame was getting crowded. The scene required concealing or manipulating certain details. The sinking Titanic, Transformers and other elements were fitting perfectly. Further work was required for Jaws, as it seemed in-your-face. It needed to be ominous.

Option 03The submarine relates to Captain Nemo but does not portray the right characteristics. This needed a stronger and a relevant reference. The blinking E4’s on buildings suggested the public are tuned into E4.

Option 06In my final attempt, it was decided to show only the fin protruding from the surface of the sea. It created the impact, blended perfectly and looked balanced.

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SCENE - 03

Option 01From scene 02, the pan continues to a similar looking environment. There are several missing links which needed to be incorporated. The approach, style needed change as well.

Option 04A series of tests were carried out experimenting with minor details. The pieces were beginning to fit together and the overall message was showing clarity. The tag line still needed work and the scene required population.

Option 02The approach incorporated elements from iconic hollywood films. Examples include: Batman, Psycho etc. It needs to demand more attention, more subtle details and required stronger references to films.

Option 05The details were finally sorted. It looked complete; the elements and characters blended well. Some of the recent additions were Godzilla, Spiderman, E.T., etc. At this stage, the tag line was also paraphrased. It was called Will make you like Mondays.

Option 03The tag line needed to be paraphrased as feel the pleasure sounds misleading. Scream was also incorporated as it flickers across the scene. Overall, the scene required stronger references.

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SCENE - 04

Option 01My initial idea for this scene incorporated film icons within television screens. The structure needed to be recreated as there were several missing links which had to be incorporated.

Option 04The previous idea had a flaw. There was no continuity which would lead on to the last scene. A 3D E4 logo was incorporated which landed in the centre of the screen. As the television gradually disappeared, the E4 logo would lead to the last shot.

Option 02Next attempt, an ornate window was created with raining television screens. This looked heavy and inappropriate. Raining television screens was a strong idea and needed further changes.

Option 03To enhance the previous idea, raining television screens were incorporated within a television screen.This shot is portrayed from the viewers point where they are transported back to reality.

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SCENE - 05

Option 01The elements in this scene were inappropriate and did not relate to any film. It was missing the core idea. The last shot is what makes the video memorable and resonating. It took quite awhile to come up with an idea for the final title display.

Option 02In course of time and with the help of my tutor, we found the missing link. The idea was to keep it simple and memorable. All the elements and characters in the video were made into a wallpaper. Still not effective but getting there. There was this other notion of wrapping the sofa with a pattern of E4. But due to technical difficulties, other alternatives were considered. The standard font used by E4 was incorporated for the title. It was in my interest to explore other fonts and typefaces. An email was sent by me to the concerned authority at D&AD. They mentioned that it was possible to use other fonts.

Option 03A lot of time was put in achieving the last shot. Numerous attempts were made to achieve the desired effect for the perfect wallpaper but it was quite complex, technically. The idea of minimising the icons and making repetitive patterns from the used elements was incorporated. The idea was to show that we are surrounded by movies on monday nights and the experience will be worth it.

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Here are the screen grabs of the final E4 promo.

TV PROMO - 01

Scene 01Rain drops transform into tiny E4 droplets...

Scene 04Dissolve to raining television screens within a television screen...

To view completed television promo, refer to DVD 02 on page 42.

Scene 02Cityscape reveals silhouttes of elements and characters from iconic Hollywood films...

scene 05Dissolve to E4 logo...

Scene 03Continues...

Scene 06Point of view from television reveals E4 Monday Night Movies.

FINAL RENDER - 30 SECONDS E4 TELEVISION PROMO/

Here are a couple of the initial experiments.

STING - 01

Scene 01A chalkboard...

STING - 02

Scene 01An explosion occurs...

To view completed stings, refer to DVD 01 on page 41.

Scene 02Logo begins to form...

scene 02E4 logo is revealed...

Scene 03Logo transforms into an E4 logo.

Scene 03E4 logo disintegrates.

EARLY EXPERIMENTS - 05 SECONDS STING/

Analysis and Conclusion - early experiments 05 seconds stings

For the 05 seconds stings, the idea was to introduce the notion of having fun, being young, entertained etc. As a video, it looked attractive but there were no core ideas. It was just a visual effect.

The core idea was to highlight Monday Night Movies. In order to do so, the notion was to maintain continuity by preserving characteristics with regard to the 30 seconds television promo. Baring this in mind, the decision was to recreate a new set of stings with a similar perspective to the 30 seconds promo. The amended stings will be discussed in the following pages.

Final storyboard - 05 seconds sting

STING - 01 / Batman

Scene 01A cityscape, Batman logo residing in the sky...

STING - 02 / E.T.

Scene 01A cityscape...

Scene 02Truck begins to capsize as Batman logo tranforms into E4 logo...

scene 02Moon rises in shape of E4...

Scene 03Truck completely capsizes.

Scene 03E.T. drags a Monday Night Movie banner.

/

STING - 03 / Psycho

Scene 01A knife slashes...

STING - 04 / Titanic

Scene 01Titanic hits against E4 glacier...

Scene 02Footprints walk across the screen...

scene 02Rear end of sinking Titanic reveals Monday Night...

Scene 03Murdered E4 logo is revealed.

Scene 03Stops sinking revealing Monday Night Movies.

Here are the screen grabs of the final E4 stings.

STING - 01 / Batman

Scene 01A cityscape...

STING - 02 / E.T.

Scene 01A cityscape...

To view completed stings, refer to DVD 02 on page 42.

Scene 02Truck capsizes...

scene 02Moon rises in shape of E4...

Scene 03Batman logo transforms into E4.

Scene 03E.T. drags a Monday Night Movie banner.

FINAL RENDER - 05 SECONDS E4 STING/

STING - 03 / Psycho

Scene 01A knife slashes...

STING - 04 / Titanic

Scene 01Titanic hits against E4 glacier...

To view completed stings, refer to DVD 02 on page 42.

Scene 02Footprints walk across the screen...

scene 02Rear end of sinking Titanic reveals Monday Night...

Scene 03Murdered E4 logo is revealed.

Scene 03Stops sinking revealing Monday Night Movies.

/

Analysis and Conclusion -Final render 05 seconds stings

These videos had a core idea. Characters and elements were picked from the 30 seconds promo and elaborated 05 seconds stings were created.

The audience can relate to the 05 seconds stings as there is a link created from the 30 seconds promo.

The Reflective Critical Commentary (RCC) is a journey of my Negotiated Project from inception to completion, supported by text and image. Each chapter is comprehensively broken down into key constituent parts. It communicates my understanding of the theoretical framework in my area of practice, demonstrates knowledge & exploration of my defined area of subject, research methods & practitioners and devising a coherent argument & solution. These were underpinned by the usage of technology & resources, conducted through various experiments.

It provided the opportunity to exercise my analytical skills, present a body of information within my area of practice by highlighting the use of basic design principles and techniques which include: image, colour, layout, typography, grid systems and distribution of information.

exploring my Area of practiceThe opportunity provided in answering the E4 brief had led me to explore brand identity for television, creating a television promo and a series of stings for an existing television channel. This has prepared me to set a larger task for the next term i.e my Major Project. The aim will be to develop the identity and creative direction for a fictitious channel.In the words of Kyle Cooper who is the Owner and Managing Creative Director of Prologue Films, quotes - I wanted to be a director, but I would first learn how to be a graphic designer.

OVERALL CONCLUSION/

Conveying the messageThe important aspects of the video was to establish an emotional connection with the viewers, engage them and make them lean forward to participate. It took me awhile to understand the craft of Motion Graphics. My exploration and experimentation led me to accept other artistic mediums of communication as discussed in pages 13 - 17.

how important was technology?Technological innovation continues to be valued, but it allows only certain modes of production. Television graphics is more than just on-screen expression of the logo. It should provide a good story or clear communication.

John Vince who first introduced Lambie-Nairn to new graphics technology in the late Seventies, explains - What I think the computer did was release his imagination. It enabled him to go into fantasy worlds and create things that would have been impossible to do using any other tool. Similarly, technology in my opinion has always been a means to an end, not a design solution.

From the vast list of credits, Lambie-Nairn has experimented with a myriad of artisitc mediums. He has never been interested in technique for its own sake. It is simply a way to realise his ideas. With regard to the previous statement, my notion was to balance creative and technicals skills to create an ident that would resonate and become memorable.

Design and LayoutThe RCC allowed me to experiment in approach and form. Multiple techniques was used to add interest to the design and layout. It was about learning and understanding how to use the grid effectively. How to present information by exploiting the rigid structure and creating flowing spaces within certain parameters.

According to Josef Müller-Brockmann who is the pioneer of Swiss Graphic Design - The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use thegrid; it is an art that requires practice.

It was also about incorporating visual instruments to facilitate reading, wit, sophistication and surprise elements from one layout to another using a constant grid. This was to establish depth for the overall look & feel and to spark interest amongst the readers.

Grid and Layout:This is the positioning of elements on a page, guided by a grid. Grid is a series of horizontal and vertical reference lines which allows accurate placement of text & image. The objective of creating a good layout is for the reader to navigate through information with minimum effort. This can also be referred to as management of space and form. By incorporating this technique, exciting and dynamic pages were created.

There were occasions when the confines of the grid needed to be broken to achieve a balanced look or a certain feel as shown in page 18.

TypographyIt is the distribution of letterforms as words or sentences in a formal style or informal arrangement as shown in pages 07, 10, 11, 23, 39. This sets a tone for text and the typeface selected for its sensitive and appropriate feel to represent the message conveyed.

ImageThis refers to the graphical elements that brings a design to life. Whether it is the main focus or a subsidiary element, they play a vital role in the communication of a message, affecting the tone and impact of the design as seen in pages 09 & 10.

ColourThey have different emotive or symbolic values. The essence of colour is to enhance the message of a design. It provides added dynamism and facilitates in the process of colour coding, grouping elements, leadind the viewers eye from one point to another etc. My RCC incorporates purple as it symbolises E4.

On the whole, my focus and approach during this term was to learn, explore and execute the visual aspects of Motion Graphics and further enhance these skills for the Major Project.

BooksAmbrose, Harris (2005) Colour. Switzerland: AVA Publishing

Ambrose, Harris (2005) Typography. Switzerland: AVA Publishing

Ambrose, Harris (2005) Layout. Switzerland: AVA Publishing

Olins, Wally (2008) The Brand Handbook. UK: Thames & Hudson

Fishel, Catharine (2000) Redesigning Identity. USA: Rockport

Drate, Spencer (2006) Motion by Design. UK: Laurence King Publishing

Curran, Steve (2000) Graphic Design for Broadcast and Film. USA: Rockport

Jeff, Matt (2000) Moving Type: Designing for Time and Space. USA: Rockport

Carter, Rob (1995) Working with Computer Type 01. USA: RotoVision

Carter, Rob (1996) Working with Computer Type 02. USA: RotoVision

Carter, Rob (1997) Working with Computer Type 03. USA: RotoVision

Carter, Rob (1997) Working with Computer Type 04. USA: RotoVision

picture credits from WebsitesCooper, Kyle (2009) ESPN, Rock n Rolla, Victoria Secretshttp://www.prologue.com/[Accessed: 22/12/2009]

Pappalardo, Dan (2009) FOX, TNT, Sports Centrehttp://www.troika.com/[Accessed: 22/12/2009]

Yu, Garson (2009) 300, Ugly Bettyhttp://www.yu+co.com/[Accessed: 22/12/2009]

Brownjohn, Robert (2009) Obsession,Gold Fingerhttp://www.robertjohn.com/[Accessed: 20/12/2009]

Lambie-Nairm, Martin (2009) BBC, 02

Channel 4http://www.lambie-nairn.com/[Accessed: 22/12/2009]

Matthaeus, Paul (2009) Nip/Tuck, Six Feet Under, Windowshttp://www.d-kitchen.com/[Accessed: 18/12/2009]

Roberts, Mark (2009) The Milo & Mark Roberts Motion Control Ltd.http://www.mrmoco.com/[Accessed: 24/12/2009]

DVD’sMichael Bay (2007) Film. Directed by Michael Bay. USA: Dreamworks & Paramount Pictures.

Harry Potter and the Sorcerer’s Stone (2009) Film. Directed by David Yates. USA: Warner Bros.

Panic Room (2002) Film. Directed by David Flincher. USA: Sony Pictures Ent.

Die Another Day (2002) Film. Directed by Lee Tamahori. USA: Metro-Goldwyn-Mayer & Sony Pictures Ent.

Lord of the Rings Trilogy (2002) Film. Directed by Peter Jackson. USA: New Line Cinema.

Jaws (1995) Film. Directed by Steven Speilberg. USA: Universal Pictures.

Matrix Reloaded (2003) Film. Directed by Wachowski Brothers. USA: Warner Bros.

Titanic (1997) Film. Directed by James Cameron. USA/Canada: Paramount Pictures & 20th Century Fox.

Godzilla (1998) Film. Directed by Roland Emmerich. USA: TriStar Pictures.

BIBLIOGRAPHY/

DVD-ROM/

DVD 01 01 - Milo Experiments (3)02 - Early experiments: E4 Stings (2)

DVD 02 01 - 30 seconds E4 Television Promo (1)02 - 05 seconds E4 Stings (4)

All Creative Rights relevant for the brief, the logo belong to E4.