The Grid planning and final product

1. STAGE 2
DESIGN &
PLANNING
IDENTS/MOTION GRAPHICS & COMPOSITING
ASSIGNMENT 2
Joe Hill

2. GUIDANCE
Remember, you can add as much as you like to this plan – I’d
say it’s pretty much a given!
Don’t forget to convey ideas through visuals as well as
through your written plans and documents.
Delete the tutor written prompts where necessary
Final sequence(s) saved must be in 1920x1080 25fps .MOV
Export for YouTube in 1080x720 25fps .MP4

3. 1.
IDENT
PACKAGE

4. 1. IDENT PACKAGE
• This section is where you will be planning your overall
ident ‘package’
• This should include all design docs for your idents (min. 3
for the package)
• You should ensure that your package has a consistency
of design, font, colour, tone, etc
• Consider giving your ident package a working title, try and
use a title that defines your concept

5. CONCEPT
My Ident ideas and package are designed to entertain, inform
and entice the channels audience. It will do this by appealing
to our young demographic of 16-34 year olds, through
visuals that relate to their lives. I aim to implement a mixture
of comedy, ambience and social media to best appeal to our
audience's tastes, thus representing the channel as a hub for
young adults to sit back and enjoy themselves.
Social media influence- twitter Hashtag ambience/ student life Unexpected comedy

6. LOGO DESIGN
I narrowed down my designs by basing them off the font style and how they matched the channel’s initial branding. Having done a font sheet I
narrowed my choices down to three designs, and after creating some tester frame animation examples I decided that the look I’d like to go with is the
Dopestyle theme. It looks youthful with its Graffiti Esc typography, and the curvy design offers more transitional expansion than shown in the frame
animation. I then recoloured the logo to see which colours worked best and stood out: I tried to keep it simple but bold. Starting out with solid colours,
I then mixed in gradients, strokes, drop shadows, filters and inner glows to experiment with. Overall I came up with three different colour schemes
which would be interchangeable to fit over programme backdrops. This includes the channels primary design which mixes faint colours, an original
white wording and a blocky/grid-like filter to represent the channel’s name and theming. There’s also two other designs, one which is just a more
basic colourful alternative which I thought could just be mixed in to keep the channel branding fresh. And the other design is a bold white and blue
design that would fit better over black screens. The other two logo’s struggle to show up on top of the black TV show screen caps I made so I felt an
opposite colour scheme would help stand out. I also added in a stroke and inner shadow which created this cool chiselled effect.
My initial font and branding designs, these are my
foundations for the channels logo
First draft’s for channel animation- fitting into the youth
theme I prefer the Dopestyle version best.

7. SOUND DESIGN
“Think of it like planning a party. First you come up with a theme, then you plan the decorations, food, and drinks. With sound design, first you come up with a theme
or feel for the scene, then you plan sound effects and musical parts accordingly.”[1]. For my scene’s I am still a little uncertain of what my final idea
will be, though I have some general thoughts and concepts. To start with I will look at my proposed ideas and create some
soundboards/ tasters for these. I will pull pre-made sound effects and music from the internet using sources such as: Freesound ,
ZapSplat and YouTube audio library. Since these are not my original sounds, I will ensure they are royalty free and do not require
attribution: having them free to use without worrying about legality and commerciality issues. I will also try and use the audio that
is recorded when filming, though if this is too quiet or not as impactful then I will replace it afterwards with these effects. To avoid
an awkward/ dull quietness in the idents, I will also include music. This may be a theme tune that will represent the channel or a
mixture of tracks to suit the scene. My concepts are quite diverse, and so one theme tune might not represent the style of all of
these. For example I’m considering the nightlife ambience suite, which may have a range of music styles- though these will all be
quite slow and melodic to fit in with the theme of ambience. Whilst there’s my #OFFTHEGRID suite which would more likely
feature one distinctive theme tune that is recognisable to the channel. And looking into sound design for the actions in the scene,
this could be a small crackling fire noise for one of the ambience idents, and a large horde of zombies growling/ attacking in the #
series. Just to start off with, here would be some example music and sound effects designs I would consider using.
With the music track Behind_closed_Doors I was thinking this was a really fun and energetic music choice, which would fit many
themes and scenes. The vibe I got from it was one of those mornings, where you wake up with energy. You feel like putting on
something upbeat and maybe have a little dance/ sing along in your room or the shower. Therefore as an odd choice I thought it
would match the morning ambient/ relaxing ident. Something to keep people feeling active throughout the day. Bringing viewers
back for that small buzz at a part of the day that most would be grouchy over.
I also thought the Spring_In_My_Step soundtrack also played along as an opposite choice that would work with this ident, as it is
upbeat but more calm and awakening then something high pace like Behind.
This is the kind of mentality I hope to apply to my idents, keeping some choices unexpected and intriguing.
[2] Zombie
snarls
[3] Monster
Alien grunt
hiss
[4] Fire [5] behind
closed
doors
[6] spring
in my step
[7] cool club
through the
wall
[8] I want
more
[9] Silver
Lakes

8. MOTION GRAPHICS AND
COMPOSITING TECHNIQUES
For a separate idea I have come up with- still involving the superhero- one ident will see him about to fall asleep,
then a light through the window wakes him up. He looks out the window to see a superhero beacon being shown
into the sky. We then cut to him assembling the costume and heading out. Jumping ahead to him walking up a
hill to see the beacon. Pulling a bit of a hero pose we then hear a notification sound. Switching to an over the
shoulder shot of a phone displaying a message, of which an annotated graphic pops up showing the text. The
text is a phone and peach emoji, the superhero looks at the beacon, then his watch and proceeds to go follow
his mysterious messenger. The superhero signal will then change into #OFFTHEGRID. This will use several
motion graphics techniques including animating a superhero beacon in the sky, and a text message popup
graphic. I may also adjust the lighting and add lens flares or other small little adjustments to show detail.
For other ideas such as the zombie concept, I could get footage of the performer and the school setting, and
then separately I could use a green screen studio to create the savage zombie rampage using a few people.
This would help me with lighting for as I can silhouette them out, and keep the spotlight on the performance
area. And then using motion tracking to place my poster on the wall and change it to say the grid branding.
Each ident will contain the channel’s logo. If it is static then I may add a small transition to make it more
interesting to look at. If it fits with the scene then I will use the animated version for branding, or it may take
place after the main ident: similarly to Channel 4 and how they show a scene then it switches to a small
transitional ident (https://tinyurl.com/y7e7gr6q). And other idents may not feature the logo specifically, but will contain the
channel’s #OffTheGrid branding. For example the zombie and superhero idents contain that type of branding as
a prop for the scene. Whilst something like the previously discussed ambience idents might have the logo act as
a clipping mask, or it appears at the bottom of the screen. With these ones they will be darker and therefore
require the white logo in order to stand out: I created a few variations to get around this problem.

9. IDENT 1
Superhero’s ‘important business’

10. Storyboard

11. PhotoShop mockup

12. Sound and design
For this Ident I was thinking quite an epic and cinematic sound design would create the atmosphere
needed to get across that this guy is a superhero. Many movies and TV shows use heavy and epic
combinations to bring across a powerful presence to the scene. I’ve picked out some royalty free
tracks that would accompany the ident (examples below). I’m considering implying that he flies at one
point and so I would look for a ‘whooshing’ sound effect, alongside other one’s like maybe sirens for
the hero signal, and squeaky/ rustling sounds when putting on the costume.
For the hero I already own a costume, this was leftover from Halloween and therefore I would not have
to pay anything extra for a costume department. I’m thinking of using quite dark lighting, but keeping
main features fairly exposed. For example the bedroom would be dark, but the light on the hero’s face
when looking out the window will be clear. I intend on using more saturation to pop the colours out in
the scene. Since the lighting will be dark I don’t want the protagonist to blend into the background-
otherwise you tend to lose audience interest as it all becomes one blur.
For this ident I will have to create a beacon animation, a motion tracked text message, and I’m
considering creating a superhero effect (something like flying, teleporting or super speed). I aim to
create these using tutorials I have found online, and practicing the techniques. I have already created
a tracked text message before, and so this will just be implementing skills I already know.
Echinoderm
regeneration
Moog Night Action hero
Hero theme
(Sting)

13. IDENT 2
Zombie talent show

15. Storyboard

16. Sound and Design
For this ident the whole surprise factor comes from the extreme shift in tone and mood. From what is a methodical
and peaceful recital, turns into a bloodshed horror mess. Therefore my sound design for this will have that instant
flip of ‘oh S**T!’. I have gone for a grungier and more aggressive tone for this one, and picked out some tracks that
will accompany the Zombie rampage. The beginning will be diegetic sound from the performer, actually playing
something. Then there’s the brief silence as they finish and take a bow, we are expecting a massive round of
applause but instead we see a swarm of zombies rush the stage. This is where the heavy guitar and drums will kick
in to create an action packed horror movie vibe. I have attached some taster tracks below.
There would have to be a significant budget for this ident, as I would need to book a location, set design, and
costumes/ make up would come up quite a penny. I’d also have to find someone who can play the instrument I would
hope to use, and whether they want to charge a higher rate for this: if I don’t have any connections with someone
who would volunteer. The special effects I would hope to make practical, using blood packs and quite destructive
elements which would not come cheaply. For the performer I was thinking either a school uniform or maybe a nice
plain’ish dress: something that gives off that nerdy vibe for as it is someone playing an instrument at a school talent
show, which is usually mocked by the rest of the school (the protagonist is not to be targeted because of this, purely
aesthetic). For the audience/ zombies I was thinking just typical torn up clothing covered in blood and gore. Since
they will only be visible for roughly 5 seconds or so it has to come across instantly that they are zombies and that
impact is like a brick wall.
If I were to do this cheaply/ easier to some extent, then I could get the footage of the performer playing, their
reaction, and then the slow pan towards the poster and that change. Then later on use a group of people in front of a
green screen to act as the zombie rampage. This would allow me to control the lighting of the scene without the need
for a special lighting rig and engineer. I can have them in the Dark for the silhouette, and artificially expose them or
have a simpler lighting set up within the studio. This would also fulfill the clients requirements of having a motion
tracked sequence included.
demise Thor’s
hammer
Dead
reckoning
Demilitarized
zone
Garage The
coldest
shoulder
Let her
in
Dead
Reckoning
(sting)

17. IDENT 3
Gig of the century

18. Storyboard

19. Photoshop mockup

20. Sound and design
I felt like a similar approach for sound and music worked between this one and the zombie ident for as they are both
quite rock music oriented. Therefore I picked out some tracks that would work with the actors who are performing. For
this ident ideally We would get a band in who would play the music live as part of the ident. However this may be more
trouble than it’s worth given timing, stopping and starting, and just overall cost. Therefore by finding a track we can
overlay over the ident, we can just get actors who can look as if they are playing the instruments. By playing the music to
them they can try and mimic actions, however we will not be having many close up shots on the instruments and so this
does not have to be completely realistic, just enough that it looks believable. I would also try to cut to the beat for editing
for as it will flow smoother, but also appear more believable that the music is live for as this is what music videos tend to
do (people tend to forget that they aren’t actually playing the music live).
For costumes and actors I’m thinking a band who are maybe students, or look student like. I want them to look like
typical music students who take it a bit too seriously with their look. They’re very into the music they play and appear to
at least think themselves that they’re professional. Stuff like leather jackets or tank tops, tight trousers long hair, ripped
jeans etc. This will apply to all the characters to make them look like a formed band, despite what one member ends up
doing. The audience will just be wearing their own clothes but I would only be looking for their normal casual clothes
that they would wear to any local gig. There would be very little in special effects for this ident, due to the setting and
theme: as I intend it to feel like a similar place to where the audience would go, keeping that dim homely lighting that
pubs incorporate etc. Their may be some colour adjustment and lighting, but I would prefer it to remain natural. The
freeze frame part would require some editing as I intend it to stop and slap the logo on top.
As previously mentioned, when it came to the budget I would hope to keep this down by just recruiting actors who can
pretend to play the instruments in the band. However a drawback may be that these people don’t have their own
instruments and that could cost more to hire/ buy props. We would possibly have to pay for the audience to be extras,
though I believe it would be easy enough to just find volunteers. Maybe as an incentive we could provide drinks or so
(get a cheap price arranged to bring cost down to less than paying a normal extra’s wage). The rest of the budget would
be used on lighting and camerawork, though this shouldn’t require too much for as it’s quite a simple ident. Though the
use of multiple angles requires more work.
Engine
fire
Big
Hands
Last
Second
Iron
Curtain
Driven to
madness
Hey
Sailor

21. FINAL IDENT TO
PRODUCE
I am going to go with my first designed ident, for as it is the most practical and I think it’s certainly a
way of showing off the intended branding direction. My whole #OffTheGrid idea is quite large scale,
which is a little different for TV channels (especially new one’s) however my desire is to create a
recognisable and distinctive style that doesn’t get confused with any other: and therefore worth the
extra effort. Straight away it’s creating an identity for the channel, with it’s youthful theme and tagging
we will already begin to gain a mass social media following which will help kick-start our popularity-
effectively free advertising/ promotion. Social media is nowadays what can really make and break a
product, this is why I emphasise it so much as it is dangerously close to becoming TV’s replacement
as an entertainment source: staying relevant and expanding into other influences would be in my eye’s
the direction for The Grid.
The cost for this ident will be minimal for as I will be using props that I already own, and if I need more
then it will be well under the £10-£20 budget which I have assigned myself. It’s a simple idea that I can
do independently/ one extra camera operator who is a friend and willing to trade service for my service
on her project.
I have seen some online tutorials for superhero powers and they look fairly feasible to recreate in my
own project, I will spend some time practicing these to see if they’re doable. If they don’t work or look
bad then I will ignore this technique and just use other means of transporting the hero to his next
location (I am looking at using super speed or flight take off). I will also have to create a superhero
beacon but I will use my existing Photoshop skills and maybe look for tips from other people as well. I
also intend to include my channel logo animation however I hope to make it smoother/ quicker before
publishing it.

22. 2.
PLANNING &
PRE-
PRODUCTION

23. STORYBOARD/SEQUE
NCE PLANNING

24. STORYBOARD/SEQUE
NCE PLANNING
Shot Type Shot description
Medium long shot,
Pan upwards,
Straight angle
Begins with a fading transition in at the foot of the bed, we see the superhero
sleeping with a teddy bear. They are in pyjamas and a sleeping mask.
Close up/ medium close up,
High angle
Cuts to a closer high angle on the hero, suddenly a light brightens up the room
and they wake up.
Medium close up,
Eye level angle/ low angle
Shot of the light cutting through the window onto the hero as he gets out of bed
and approaches the window.
Medium close up,
High angle
Outside view looking in, I would like to have a cinematic shot of the hero
looking out, then a change of focus to the foreground with the beacon in the
window.
Close up/ Extreme close up,
montage
Montage of the hero changing into his costume, shots of each hand putting on
gloves, shoes and mask.
Medium close up
Eye level
Fun little sting added in after the montage of hero putting on eye makeup.
Comedy comes from quick paced montage and urgency to slowly applying
make up
Medium shot,
Low angle
Dramatic hero pose as he leaves the building
Long side shot,
Wide angle
This is the super power transport, at this point it will be framed to work
with either the super speed or flight effects. But also a contingency shot in
case neither work in post production.
Long establishing shot,
High angle
Hero arrives on top of a hill overlooking city, if flight he will jump into the
scene looking like he’s just landed (maybe floor replacement), super speed
or contingency will be running in. clear hero beacon in the sky
Medium shot, Low angle Hero pose, suddenly vibration as he reaches for his pocket
Close up,
Over The shoulder
Over the shoulder shot of hero’s phone, text message pops up with a peach
and phone emoji (booty call)
Long establishing shot,
Wide angle
Hero looks back at the beacon, then his watch, shrugs and runs away.
Beacon glitches out and displays #OFFTheGrid

25. PLANNING
Main ident music
Ident sting music
Operator Error (sting) Dizzy (sting) Dub Hub (sting) Detour (sting)
Pedro Versus the world Earthy crust Echinoderm Regeneration Action Hero Never Sleep The Dope Steppa
Sound effects
Into the
Wormhole
(sting)

26. TIMESCALE
Timescale Management
23/10/2017-10/11/2017 Beginning initial ident suite design process
and idea generation- drafting, planning, story/
mood boards etc.
13/11/2017-01/12/2017 Homing in on a brand identity and putting
thought into practice. Creating mockups and
designs. Assessment and planning to take
place in order to plan out production
04/12/2017-10/12/2017 First week of production, going out and taking
shots and establishing foundations for look
and final piece. Begin editing and visuals tests
11/12/2017-17/12/2017 Full production process taking place. Hope to
have everything filmed and editing began.
Initial sequence put into place and VFX
workshop started
18/12/2017-22/12/2017 Final sequence complete and submission.

27. RISK ASSESSMENT &
CONTINGENCY PLAN
Risk: Prevention:
Electrocution Don’t touch any exposed wiring, avoid broken wires, wear
rubber gloves if necessary, don’t overload outlets
Water damage Any equipment must be covered if filming in the rain or
near exposed water. Attempt to film during dry spells
Trip hazards Make sure cables/ wires are secured down and not sticking
up. Mark with hazard tape if necessary, avoid gathering
around clumped equipment
Sickness Filming outside at night will mean it is going to be cold.
Crew should wear warm clothing and actor should always
have warm protection nearby between shoots.
Dark locations Filming at night and in non-lit areas will reduce visibility. If
too dark then dim lights may be used for crew to see but
should avoid taking over the shot. High visibility jackets or
vests may be useful

28. RISK ASSESSMENT &
CONTINGENCY PLAN
Contingency: Alternative:
Lost footage Make back ups of all footage and multiple saves/ versions
of work. Enable an auto save function and save manually
every 30 minutes or so.
Bad footage Take three or more shots per shoot, change lighting etc. if
necessary to make sure alterations are available later on in
post.
costume Make sure the costume is in a secure place and is returned
after use. Wash if damaged/ tainted from other shots.
Consider buying a second in case.
Location Make sure locations are booked beforehand and have
permission to film there. Important to take multiple shots
as to avoid having to try and go back later on when the
space may no longer be available.
Actor Make sure the actor is free and ready to perform on
specified shooting days. Help prevent illness by taking
measures as to keep warm, hydrated and well rested.
Crew Make sure the crew is free and ready to perform on
specified shooting days. Help prevent illness by taking
measures as to keep warm, hydrated and well rested.

31. 3.
PRODUCTION LOG

32. 3. PRODUCTION LOG
In this section track your production, the decisions made and
the process of your work
Each slide has a heading and specific area to cover

33. 3. PRODUCTION LOG
METHODS OF PRODUCTION
My final sequence consisted of quite a large amount of after effects compositions and motion graphics. Going
for quite a bold idea, my ident was fairly outlandish and diverse as compared to other channels. Focusing
around a superhero, I knew that I would be putting myself through some extra work to create some superhero
like effects for the ident. As I was planning my ident I considered what would be possible to create from my
limited resources. So I began by looking online at tutorials, I found a great one that showed how to effectively
make someone look as if they are travelling at super speed. A very basic but effective look that I think really
added to the sequence: https://youtu.be/sr6hAQnl7eM. This consisted of filming footage of the actor walking slowly
in front of the camera. Then in After Effects splitting the layer, And increasing the speed of the clip of the
footage with the actor moving. This made them look as if they were walking very fast, but it looked janky and
unfinished. Therefore by applying a motion blur effect, It made it appear as if they were moving so quick that it
was blurred to the human eye. However this meant that everything in the shot that moved had motion blur
(e.g. a branch in the background). To get around this I applied a clip mask to hide part of the layer. This meant
that the original layer had not been applied to with effects and was back to it’s original self, because of this the
mask made it look as if the scene was unaffected. To fully immerse the super speed effect, an artificial shaky
cam effect was used as well. This was done by pre-composing the layers so far to merge them into one clip.
And using the keyboard shortcut ‘P’ to open the precision menu. Then, by clicking on the little stop watch
icons, I set key frames within the timeline to setup the affected area. Going into the window tab, I selected the
‘wiggler tool’ to appear in my workspace. By adjusting this, I could determine how much the frame would
shake and the intensity. The point of this is to make it appear as if the super speed has caused the camera to
physically shake, emphasising the strength of the super power. Unfortunately this causes the entire frame to
move, revealing black spots of where there is no footage. To get around this, I mirrored the edge of the frame
to fill in these spots using a stylised motion tile. Which effectively reflects and extends the edges of the frame
to appear as if there is more to the frame than what is shown.

34. 3. PRODUCTION LOG
METHODS OF PRODUCTION
My second motion graphic technique I used was using parallax to create a moving beacon in
the sky. This was the hardest and most advanced method I incorporated into my video. I had
began by prepping an image that I would use for the beacon. I followed a useful Photoshop
tutorial (https://youtu.be/z6PtayQmJqA) to help me create a projection in the sky. Once I had the footage I
began by masking the image as to blend in discreetly with the background. I also had to
animate a clipping mask for part of the sequence for as the actor walks in front of it. I did this
similarly to the super speed segment, where I key framed the part of the clip and adjusted the
clip around the actor. Afterwards I began with key framing the position, scale and rotation of the
beacon image. I also incorporated the puppet tool to manipulate my still image. This was to
appear as if it were being projected onto clouds/ into the sky. I also did the same again with the
second beacon which was more statutory for as the camera moved around. The hardest part of
this was trying to keep it smooth and scaled correctly, however the sequences between each
key frame began to warp randomly. Therefore I attempted to fix this by key framing every part.
Unbeknownst to me, this made things worse for as I was even worse than the computer at
scaling everything correctly. Resulting in the beacon jittering all over the place. After taking
some time away I experimented a bit more and came to realise that by starting from the
beginning and only key framing where necessary, the footage was a lot smoother.
The easiest and more successful graphic sequence I created was the animated text message.
Just like the beacon, I had created an image in Photoshop and brought it over into after effects.
Then using the track camera tool to follow the motion of the actors phone in hand. By selecting
the target area I created a null and solid which I could afterwards turn into my Photoshop
image. Adding in a transition and key frames the text was finished and done within only a few
minutes.

35. 3. PRODUCTION LOG
SOFTWARE & FILE MANAGEMENT
From the beginning I have been using PowerPoint to help plan and document my Ident and
ideas. Starting off with my research and case studies, developing an understanding for my brief
and project. Though the main software I used throughout the production was Adobe’s creative
collection: consisting of After Effects, Premiere and Photoshop. Adobe is fantastic for
production due to the high quality tools and designs it offers. They also allow for
interchangeable formats. With the still image designs I made these in Photoshop, and I could
incorporate them into other Adobe software. After saving my finished designs as .PDF’s
(Adobe’s own high quality raw image size) I easily transferred this to After effects simply
through dragging and dropping. The same worked with After Effects and Premiere. I had two
choices. With Premiere I could create a timeline with all my clips, and editing them to a final
sequence. Then selecting a clip and right clicking, an option appears to replace this clip with an
After Effects composition. Creating a smart link between the AE and Premiere file, whatever I
edited in AE would automatically change in Premiere. On the other hand, the clip I wanted to
edit I could just open up in AE itself, render it once done and either insert as a raw file or as a
.MOV file. When using a Mac, rendering videos from AE and Premiere creates a compressed
final version of the video in a .MOV format. .MOV is the internal video player for Mac’s, similar
to .MP4 and .VLC files. They load quickly and open on most applications as a very diverse and
transferable file. This is what I have uploaded my final sequence as.
Alongside this, file management was extremely important for this project. Not only was it more
efficient to organise my files into folders (LO1/2/3/4, Photoshop, after effects, premiere, audio,
video etc…), but also a necessity for AE/ Premiere to work. These programmes are very smart,
and work off of the original file on the computer. This meant that if I moved the file from it’s
original spot, the software would not be able to locate it and therefore make the clip unusable.

36. 3. PRODUCTION LOG
QUALITY CONTROL
I think a major part to maintaining a high quality standard is in the planning and pre-production.
This is the foundation for the rest of the project, and by setting myself up early on then I could try
and make production as smooth and well thought out as possible. And so to begin this quality
control, I used storyboards and shot lists to strategize my efficiency. When it came to production
and filming I had already came up with a concept and plan to help my camera operator. This
meant we could get multiple takes and shots all filmed within one evening. I reviewed all of my
footage on site to assess and adjust, this meant that when I got to the editing stage I knew I would
have good quality clips to work with. Despite a slight delayed timing for filming, I did not waste this
production time for as I spent a lot of it working on smoothing out and upgrading my ident
animation sting. Having gone from the original Photoshop frame-by-frame approach, to an After
effects professional fluent design. Accompanied by a remixed music feature and voiceover. Along
side this I also applied my Photoshop skills to creating my assets that would come into play in post
(for example the text message and beacons). By reducing any down time and just constantly
working and improving meant that I could get the most out of my production time as I could. When
it came to the actual finished ident itself, I explained before how I had trouble with the beacons. I
tried for a couple of weeks to fix them however I couldn’t get anything to work so I moved on.
What this then meant was that when I returned to them later I had a fresh head space and was
able to come up with a solution. Unfortunately it was still not to the professional quality I was
hoping for, however the concept and visuals clearly demonstrate what the product was supposed
to be and if attempted again I could learn from this one (make sure the camera is as smooth and
still as possible as to avoid rescaling issues).

37. 3. PRODUCTION LOG
TIME MANAGEMENT
Explain your process and how you have managed your time effectively
As I touched on in the previous slide, I managed to remain productive throughout the weeks of
production. Timing was an issue I had to deal with for as me and my camera operator struggled
to find time that we were both available. This delayed filming, though I had scheduled my time
appropriately beforehand in pre-production. Allotting extra time and resources to help with
these conflicts and contingencies. As much as I could look at it as a set back, I think it really
ensured that some other parts of the final product certainly matched professional quality.
During my planning and design stage, I had begun to develop my ident animation sting. Though
this remained simple and clunky due to a lack of time at the beginning. I wrapped up pre-
production quickly and got straight onto working on this piece of work in particular. I feel my
time management was definitely boosted by my effective pre planning, for as it sped up the
whole process. A clear idea from beginning to end, meant that I was never stuck at a point
hitting a wall and being misled. I recognised that a major part of my whole brand and sequence
was based around the ‘#OffTheGrid’ imagery. Despite it being featured in the final clip, I
thought it was really important to drill it into the audiences heads what they were watching.
Therefore a lot of my time (spread across 3 weeks with some other project involvement) was
allocated to this to really bring out the channel and clients potential. Certainly the most
memorable part of the final product, this was the intended direction for as the sting is something
that follows at the end of every piece. It needed to be easy to watch, not annoying and
repetitively dull, and to portray the quirky youth aspect. Looking at it I would say not a single
minute was wasted.

38. 3. PRODUCTION LOG
FITNESS FOR PURPOSE
Personally I feel everything about the ident is perfect for the channel and client: excluding the final
ident itself. Regrettably I was unable to achieve what I had set out to do. Though it would feel
rewarding for me to pass on the blame to my crew, I only have myself to blame. My main
frustration lies with the camera quality in the ident, due to poor lighting and a lack of smooth
camera control. This led to difficulty in post production with my motion graphics struggling to work
to a professional standard. Next time I will have to choose a more confident camera operator who
understands my vision of which we can recreate. I should have also done some scouting and
equipment checks to test lighting and quality. After borrowing a light box we came to realise that it
struggled to be picked up on the camera without reflections getting in the way. It may have also
worked out better if I had tested the tripod quality and to have made a decision on whether I feel it
could be to the standard that I hoped for; or whether I should look to an alternative camera mount.
It was certainly a bold and different approach to a television ident as compared to what’s
broadcasted at the moment.
Similarities lie in the motion graphics and VFX technical side, as seen with current Channel 4 and
Previous ITV idents. Of which they are heavily CG based, though, they still focus more around an
everyday community type experience with the people involved. I feel the idea and branding was
all there, and it was effective. But I will admit that it doesn’t have the same television ident feel as
the others, however I was aiming for a niche style that wasn’t generic and repetitious. As I had
seen with the BBC, ITV, and channel 5’s copycat regime. I think that if I set out and completed the
rest of the ident suite to a professional standard then I will have matched the clients and
audiences expectations. A diverse set of themed well marketed propaganda to draw in new
audiences away from their usual favourites and to match our audience demographics aspirations
for a fresh new TV channel.

39. 3. PRODUCTION LOG
LEGAL & ETHICAL
Despite focusing on a 16-25 audience demographic, the ident and it’s marketing has all
been age appropriate for any viewer. By this I mean there is no explicit language or
imagery. There is the implication of a possible adult theme, however this is not
presented explicitly and many younger viewers may not understand the joke (booty call).
Because of the ever so subtle sexual overtone of the ident, this is an ethical
consideration that I’ve taken into account. The actor/ character involved is of legal age
of consent, as they are portrayed by myself: an 18 year old adult. And is again, aimed at
an audience of appropriation, without breaching anything more than what could possibly
be a PG rating. Though it is a male character being portrayed in the ident, the other
idents within the suite all have a range of people and characteristics within them to be
all inclusive and not to target any specific gender, race, orientation, belief etc... My
production crew consisted of a male and female, and both were treated appropriately
and with respect. Throughout the design process I have had feedback from people of a
diverse background, and no issues came about with the appropriation of my material. I
understand the importance to fairly portray a wide dynamic range of characters, making
our content the most accessible to any viewer. My ident suite does not contain any
spoken dialogue, only visual representation. This means that we are not having to
censor ourselves vocally, but that does put a much larger exaggeration for persistence
in fair and ethical imagery.

40. FINAL PRODUCTS
Upload to YouTube and embed in your blog
Incude a link here with screen shots
https://youtu.be/62c81qhubbw