Production & Workflow
Production dictates the success of a project before any of the creative team is
is booked. It’s a careful balancing act between EP’s and Directors.
This goal of this project is on learning objectives is on learning through interviewing, mock exercises and through practical exercises applicable to the next phase of Senior Thesis.
Ringling College of Art + Design
Production + Direction
For the word mark, it was crucial to work within the streaming guidelines.
This came within the form of having to use just typography, without graphic connectors or bounding elements.
The simplicity of the letter form has to speak and blend with whichever visual style is developed later on in production. A variety of different styles, weights and formatting is needed.
Building, and working on a team is a crucial part of motion design. How effectively things work, are sourced and are built, directly impacts the success of a project.
For this portion of the project, I wanted to make a production tracker that was a hub for all the information a team would need.
Something that's easy to use and access as well as having the capabilities to be templatized. In development, it was crucial to include specs, deliverables, relevant links as well as a shot tracker.
The current tracker can be found here.
A big component that was more on the learning side of the objectives was learn the proper way to pitch out the project.
A director, it's important to understand how to bid out projects, the proper way to format it and how to accurately display it to clients and agencies.
Budget can be found here.
Negotiating is a crucial part of production and directing. Something that was reinforced is when dealing with a client you have three important attributes for negotiation. Time, scope and team.
It's a great trifecta to communicate with the client when you're not aligning on something. If the client expects a certain level of quality, can only afford a certain number of artists but also wants it quickly, is going to have to compromise on one of the three.
Although the next phase of this project will be completed within six weeks. It was important to consult a producer on what a real world timeline would be for a 3D cinematic title sequence project.
Using the three factors we mentioned before, we considered the team size, reference given by client, deliverables, responsibilities such as audio production and most importantly, rendering resources.
The time that would be appropriate for this project is 9 weeks. Divided into 1.5w for pitching, 3.5w for design, 1w for animating and 1w for revisions assuming there is only one point of revision for the animation phase.
Learning where type can live safely is a huge part of designing key art. With no guides or mock ups currently available, I decided to do some research on grids and guides I could repurpose for future use.
Case studies were Hulu, Netflix and HBO Max.