For this type of show, portraits of the protagonist mugging to camera would have been a disconnect. We needed to re-think our approach.
How do you visually represent the personality of a hacker? Knowing we needed to find a way for audiences to identify with the troubled protagonist, we pursued an alternative to the expected device of computer glitches and instead employed a number of prisms, mirrors, and other gizmos to achieve a fractured portrait of our anti-hero. Imagery of characters and landscapes were projected through the rig onto a screen and each piece of this Rube Goldberg machine spun, twirled and hummed. The result was a beautiful and disruptive snapshot of Elliot’s shattered personality.
ShivHans was looking for a visual identity with an extremely short launch schedule in time for their feature film's premiere. The brand needed to feel contemporary and smart while incorporating "ShivHans Pictures" and a swan (Shiv is derivative of the founders name & Hans means swan in Hindi). The logo lives on promotional materials, the animated production card that plays in the opening credits, and on business cards.
The result is this animated production card that plays before the opening credits of all of their movies and trailers.
As the show was set in Jerusalem, we decided to use the desert and ancient landscape as a tool to express the show's historic and religious nature. This was brought to life on-air and in several prominent out of home executions, including a Times Square "take-over".
The task is to create compelling moments that feel in line with an entire season, without the use of dialogue and while assuring the quality of the footage matches USA’s brand guidelines. With budget in mind, the challenge is to get as much variety as possible from a single location, within a limited timeframe.
We achieved this by partnering with talented commercial directors who provided a premium production quality to each shoot. Together, we developed scenes for the talent to showcase their characters in diverse locations that demonstrated the unique quality of each show while adhering to the USA brand.
As Creative Director, I researched and selected the directors for each package. Once awarded, I worked closely with them to compose and choreograph each moment. After the shoot, and color correction, my team led the integration of the messaging. I managed and art directed the designers who built a unified toolkit of assets that could be used throughout the season to promote each of USA’s originals.
The popular WNBC franchise "Live at Five" was returning with a new look and feel and new name too. This was to replace the 5pm news hour witch was suffering in the ratings. LXTV produced the show in their studio.
I created a logo to suggest 5 o'clock and animated this opening and created a new colorful and bright identity for the afternoon block.
Matchmakers competing? So it's an unscripted competition show, about love? Why not give a nod to Milton Glaser and incorporate the international symbol of love into the logotype.