Tag: broadcast
The League Season 5
We’ve been sitting on a stash of trophies.
For season 5 of the FX series The League, we created an episodic package for the semi-improvised comedy about 6 friends going to absurd lengths to be crowned the winner of their fantasy football league, and thus win the coveted “Shiva” trophy.
Season 5 also saw the series move from FX to FXX. In keeping with the new network’s tone, we used a pointed color treatment, loose analog lens effects, and varied sequential capture methods to complete the package. It’s all about the win, so we built a ton of custom trophies to share the stage with the ever present Shiva. Trophies and other oddities from a non-sequitur sort of man-cave all mix and mingle in the package.
We also crafted the package for Season 6 which we’ll share more about soon.
FX – The Bridge
To promote the first season of The Bridge on FX, we were provided an illustration of a bisected body and tasked with producing a :15 sec ID/tone piece around this simple image. We did this using sequential photography, painted illustrations, and other live elements selected for their visual connection to the street exteriors of Ciudad Juárez. A matte painted look was sought and combined with in-camera diffusion while a shifting multi-plane arrangement separates and rejoins related elements.
The FX Networks series The Bridge follows two police detectives (one from Mexico, and one from the U.S.) in a joint effort to investigate a serial killer after a woman’s bisected body is found spanning the center of the bridge that links the United States and Mexico between El Paso, Texas and Ciudad Juárez.
Wilfred Seasons 3 and 4
Four, three, two, one. Four mind bending seasons and then it’s done. Farewell Wilfred. We had a great time creatively straddling the line and hanging over the edge just a little bit with these packages. So to wrap it all up, we put together a couple short montages of the elements that comprised the episodic packages we delivered to FX and FXX for season three and four respectively.
“Everything has to do with everything.” -Wilfred
FareWilfred
After four years of directing and animating Ryan and Wilfred humping, wiping, tugging, farting, laser-pointing, and dreaming, it all comes to an end as the finale airs tonight.
It’s been a real treat for us to be part of Wilfred on FX and FXX no matter how tangential. The world can always use more weird, and it’s been great to see the Wilfred team add more range to the strange.
Full post and website update for the Wilfred episodic packages for season 3 and 4 coming soon. In the meantime, take some whiffs of these gifs.
FX – Fargo
Oh yeah, you betcha. This winter, we were given the great opportunity to collaborate with the team at FX to design, direct, and deliver the episodic package for the new FX series Fargo. Restrained type, analog ice effects, and stark photography provided by FX and additional shots captured by ourselves all came together in this project. The package is comprised of several individual pieces including editable project files for further customization and updating.
Interestingly, the package includes snow footage from three geographically distant and distinct locales: Fargo, Calgary, and of all places…Portland. The secrets out, just don’t tip off Malvo.
Aces!
Some roads you shouldn’t go down. Because maps used to say “There be dragons here.” Now they don’t. But that don’t mean the dragons aren’t there.
POST UPDATED 06/07/16 with montage of the episodic package and promos.
Ho Ho Ho… Boo!! with the CN Crew!
For Halloween, the extra cool crew at Cartoon Network invited us to make a glob of promos for eight of their shows. Mixing series characters with Halloween themes, the girls and guys at Cartoon Network afforded us a ton of creative freedom in the short production timeline while still keeping things locked to a cyan, magenta, and yellow color palette. In about 30 days, we designed and animated 16 bumps in total, a :10 and a :05 for each show, including a Halloween themed menu template which would be editable and customizable for other network use.
Each piece varies in spook level and fright factor with play on Halloween themes to tie to character attributes and show ideas or storyline.
Bumps were made for Adventure Time, Regular Show, Uncle Grandpa, The Looney Tunes Show, MAD, Annoying Orange, Ben 10 Omniverse, and The Amazing World of Gumball plus the menus.
*Extra super secret Impactist production factoid: Uncle Grandpa premiered as a series during this time, so we communicated only using the phrase “Good Morning” during these weeks, regardless of time of day and for anything that need be said. Good Morning. Good Morning. Good Morning. He’s our Uncle, and our Grandpa.
For the winter holiday season, we continued making promos for the same Cartoon Network shows, but added in the new series Steven Universe. He turns his fingers into cats, so you know we’re instant fans. Meow.
The winter promos follow a tighter visual structure, with a rolling and accumulating snowball initiating movement through each piece. Though, characters and story quickly divert the ball in ways specific to each series to make each piece unique and discoverable in repeat viewings.
Again, we produced two spots for each show, a :10 and a :05, and also a menu template customizable to introduce upcoming shows in the day’s schedule and other use.
Individual bumps were made for Adventure Time, Regular Show, Uncle Grandpa, The Looney Tunes Show, MAD, Annoying Orange, Ben 10 Omniverse, The Amazing World of Gumball, and Steven Universe plus the menus.
Now, nobody sane watches TV with the sound on mute. At least, nobody we’d want to hang with. That’s cray. So, we also created a electro-peppermint tinged music track called “Wintertone” to pair with the winter promos. Nine edits of varied length and composition were delivered to afford Cartoon Network maximum flexibility and use even beyond these specific animated bumps. We think this track is shaking it just right for the holidays. Because shaking it’s all we know.
Now, we can’t lie. We love a challenge and this one was certainly up there: 36 total pieces with 9 tracks of audio in the production timeline we worked in was a test at times. But, we couldn’t be happier to work with the awesome gang at Cartoon Network.
