UK creative agency Radiant bagged the FIFA contract to create the title sequences and graphics package that will be shown by 200 broadcasters worldwide before, during and after every World Cup match.
The company, who already produce the graphic packages for the Champions League, was awarded the contract in August last year after a competitive pitch against agencies from across the globe.
The key artwork was created inhouse and Radiant brought in Unit to complete post.
The sequences show a young South African boy calling out to the world to come and take part in the competition.
The creative director was Michael Berthon, the senior designer Matthew Malkin, the executive producer Richard Wallman and the producer Charlotte Dale. Charlie Cassidy was Unit’s producer and the composer was Matt Clifford.
In this month’s Storyboard, Fluid Pictures steps into the arena for C4; MTV sprouts an organic logo; Momoco builds a Father and Son relationship for ITV; Uli Meyer finds monsters in the toilet for Domestos; Beautiful TV heads back to the 80s for 4Music; Lola builds blocks for Expedia; Blue Zoo cheers on ITV’s World Cup hopes; Big Button channels Tron for Ash and Kream expounds on the true spirit of cricket
October Films hired Fluid Pictures to create these 300-style fight sequences for its upcoming Channel 4/Nat Geo show Gladiators: Back From the Dead. Compositing was by Cameron Gilroy and MJ Azzopardi, cg by Gilroy and Adrian Wyer and vfx production by Dave Throssell.
Beautiful TV was commissioned by 4Music to create these sponsorship bumpers for Lips: I Love The 80s, a new karaoke game for the Xbox. Design was by Roxanne Silverwood and animation by Matt Birkinshaw.
Momoco created the main titles for ITV’s upcoming thriller, Father and Son, starring Dougray Scott. The sequence, designed by Nic Benns, is a heavily textural piece that layers micro-fiche, x-rays and forensic imagery to capture the dark atmosphere of the mini-series. Newspaper clippings and family photos were also created to invoke the sinister past of Scott’s character.
Uli Meyer Animation has just finished this ad for Domestos called Face Off, a live action and animation mix ordered by Lowe London. The director was Uli Meyer and the producers were Matt Saxton and Liz Chan.
This logo animation for MTV was designed and directed by Enrico Lambiase and Giovanni Bucci. The piece, an abstract mix of 2d and 3d graphic elements and real footage, has MTV sprouting a magical environment made up of branches, nature and industrial elements combined together. The soundtrack is a dirty steel and metallic sound mixed together with female opera vocals.
Blue-Zoo was commissioned to design and animate this
20-second spot to promote ITV’s World Cup website. It was ordered by ITV Creative. The creative director was Chaka Sobhani and the art director was Tom Box.
Great Guns asked Lola to animate this ad for holiday company Expedia. It uses animated blocks to show how to build the perfect vacation. Director was Giles Greenwood, vfx supervisor was Grahame Andrew.
Big Button’s latest promo for Ash is this sci-fi inspired music video for the band’s synth-pop single Binary. The footage was shot on green screen in New York before being shipped to the BB team in the UK to add Tron-esque effects.
Kream was commissioned by the MCC to produce a sequence to promote its ‘MCC Spirit of Cricket’ programme that showcases the roles and responsibilities of captains, players and umpires. It was directed by Ed Salkeld.
Televisual's July issue contained our latest genre report, this time on factual entertainment TV. For the piece, we spoke to commissioners at Channel 4, the BBC, Five, Sky, Living and Bravo and UKTV about their programming needs in the months ahead. There wasn't room in the magazine to publish the full length Q&As, so here they are below.
Liam Humphreys Deputy head of factual entertainment, Channel 4
What’s hot right now?
We’ve got a new format called The Joy of Teen Sex, a sex advice clinic for older teenagers and their parents in the vein of Embarrassing Bodies. It’s going to be an entertaining PSB format which tackles the agony and ecstasy of young people’s sex lives. And Mary Portas has signed an exclusivity deal with us. We’ve got two formats in production with her.
What’s your aim?
We’re making an effort to commission more shows that speak directly to young people. A lot of our programmes have really young demos. If you look at Heston’s formats or Gordon’s formats they’ve got really young demos but we are commissioning more shows which speak directly to young people. A lot of factual on Channel 4 is brilliant and cutting edge but it could be a bit younger so we’re trying to address that.
How will the absence of Big Brother effect fact ent?
Fact ent will play a vital role in the slots that are going to be freed up next year. We do the entertaining side of factual and we speak to young viewers so definitely.
Across the board we’re looking for more size and scale in what we do. There are more slots but there might be fewer things filling them. They could be competitive formats or events that could be stripped across the week. We’ll be looking to make bigger commissions, which will have a kind of scale and position in the schedule
Without Big Brother we’ll definitely need bigger runs and bigger brands. I want to build bigger brands which return. There’s some great output in fact ent but not enough returning stuff. That’s a key priority of mine and talent’s often key to that.
Is talent important
Talent’s going to be vital going forward. We’ve got a brilliant array of talent – Jamie, Gordon, Hugh, Heston, Mary, Kevin McCloud, Jo Frost. Part of our remit is new talent. It would be great to get more female faces on the channel and some younger faces and more diversity.
What else is important?
Mischief runs through all our best commissions. It’s always a slightly subversive idea rather than straight factual formats which the BBC better serves.
What’s missing for you?
A lot of our formats are talent led but we’ve been slightly underserved in factual formats in recent years. How the Other Half Live is returning. I commissioned Undercover Boss which is returning, but there haven’t been many non-talent factual formats at 9 o’clock and that’s going to be a priority along with finding new faces.
What are you not after?
We want fewer reality formats. What we do has to have proper purpose and be about something and then it can be entertaining. Fact ent might have struggled recently recently with how relevant it’s been.
We probably wouldn’t want to do a food idea unless it was genuinely new and groundbreaking because we’ve got so much of it. In terms of old-fashioned fact ent we probably wouldn’t do pop culture structured essays or archive shows unless they’re genuinely doing something new or had proper access attached to them. We wouldn’t do cut and paste biogs.
What turns you off in a pitch?
Half-baked formats with the starting point of “we take six people and put them in this place.” If that’s the opening line of the pitch your heart sinks a bit.
Pitch tapes are very important especially where talent’s concerned, an element of access is always important.
What have you enjoyed on other channels recently?
We’re the best in talent driven 9pm narratives but I do think BBC3 have done well in recent years with their array of factual formats without onscreen talent – Blood, Sweat… and Britain’s Missing Top Model, they’ve done that very well.
What budgets do you work to?
The tariff for 9pm is £160k though if it’s the right idea there’s always room to explore other ways of doing it or other avenues.
Is it just big schedule busting ideas you’ll commission?
We’ll still commission four part series. I might even still commission one off access docs if the access is right but across the channel with us as with everyone there’s going to be less room for one offs and two or three part series.
Director of commissioning, UKTV
What shows do you need?
We need shows that can spike attention, either because their concept’s noisy like Made In Britain for Blighty or Scream if You Know the Answer for Watch - they both have an attitude and a spike to them. Or because we are generating news just by the setting of the programme. For Food and Home it’s necessary that we are ahead of the trend in those areas because the terrestrials are climbing all over them.
On Yesterday, if there is a big sweeping subject then we do a very fresh and focused point of view on a broad sweeping subject. We’ve just launched a one hour special on Dunkirk. Rather than doing a general Dunkirk doc we focused in on the men who were left behind. That was a fresh story that wasn’t familiar. Ration Book Britain with Valentine Warner was Yesterday’s most successful commission ever. Off the back of that we’ve just commissioned a series.
Is talent important?
It’s important across the network. I often do strategy reviews to look across the network and make sure we’re delivering the people at the top of their game in those genres and also the new younger more interesting faces. So I’m really proud of Argumental with John Sergeant Rufus and Marcus.
What else are you looking for?
Everybody is looking for the next wave of 9 o’clock fact ent formats that feel fresh and that can stand out on any channel. We’ve got a couple of things that we’re very hopeful of but we’re very open to other ideas
What are you not after?
We can sometimes get pitched a lot of fashion and style ideas and we just don’t have a home for them. If it feels like it could be on Living, it’s probably not the right tonality for us.
What’s stood out for you on other channels?
The Day the Immigrants Left on BBC1 was an astonishing breath of fresh air. Done at the right time with the right sensibility and to put it on at 9pm on BBC1 - I really admired that. And Four Weddings was such a perfect Living show.
What sort of budgets do you work to?
It completely varies. For the smaller, more niche channels you should be coming in at the equivalent of BBC daytime rates. For the bigger entertainment channels you’re probably looking at a reasonably good budget. We can compete properly in the market. We won’t do a lot. We don’t have the ability to commission a lot and burn off some that don’t quite work. Everything has to work. It’s three or four shows a year for a channel
How do commissions work alongside your BBC acquisitions
It’s fair to say if we can get it from the BBC we probably shouldn’t be spending the commissioning budget on it, so that’s why there’s a constant need for us to think ahead and think differently. Though it might have the same tonality
Head of factual entertainment and features, Five
What’s working well right now?
The Gadget Show goes from strength to strength, it’s our Top Gear - we own the area and have an incredibly loyal audience. The Hotel Inspector is returning this year, Cowboy Builders has another run of six this year. Extreme Fishing is back for another run of eight this year – Robson’s proving to be a real face of the channel. We’ve got another run of Rory and Paddy coming up and Build a New Life in the Country has also got a another run of revisits. They are all robust brands but the key thing is never rest on your laurels.
Are there subject areas you’d like to build on?
If I know an area we want to do I wouldn’t publicise it. The rule of thumb is look at Mondays at 8pm. We own tech and we’ve got a few new things on the go already but if there’s something else we can do in that area, we’re always interested
What else do you want?
With Alex Polizzi you have an absolutely credible expert - she has been doing this all her life. So it’s the easiest thing in the world - bring me an absolutely credible expert who’s also a TV natural. Sadly that’s the circle you have to square and when you hit someone like Alex Polizzi who is all those things it’s gold. It’s incredibly difficult to find a face that fits doing something that will bring an audience to it. It’s incredibly difficult to find those areas you can take ownership of. It’s a constant search. That’s the point of the job and the hundreds of meetings you have every year. You’re always looking for that next new face, area, format.
Any themes you’d like to build on?
Cowboy Builders is of the time. Rewarding the deserving and punishing the undeserving - they’re both really good starting points. The best new fact ent shows like The Secret Millionaire and Undercover Boss are all about rewarding the deserving and the surprise ending - a big reveal where people are getting what they deserve. Feel-good or getting our own back has many applications.
What slots do you need to fill
8pm and 9pm for me
Should fact ent reflect the recession?
I don’t think reflecting the austerity of the times is the job of an entertainment dept. Formats that are down in the mouth and about how to deal with debt are not going to fly with me. My job is to provide stuff that’s escapist, feel good with a happy ending or an adventure. Something to brighten things up.
What about celebrity adventure shows?
It’s about credibility. We had so many celebrity journey shows that when they’re clearly doing them for the appearance fee they don’t ring true. With Robson there’s an absolute passion for the area and no little ability and that comes across on screen.
What do you not want to be pitched?
Anything that’s purely female in skew. I wouldn’t look at parenting or relationships. It’s very well served elsewhere and we don’t get an audience for those kind of shows.
But I’m never sick of anything being pitched. I’m always grateful for ideas coming in.
Head of factual and features, Sky1
What’s really working for you?
Pineapple Dance Studios. The impact that’s made has been brilliant. Not only has it been a hit it’s been really interesting how the industry’s reacted to it as an innovative, breakout example of how you can refresh factual entertainment or documentaries anyway.
What do you want to from your fact ent shows?
We’re trying to do things that other people aren’t doing, trying to be liberated from the restraints and pressures that factual’s been under and get back to what good factual entertainment is about, which is really entertaining, well made stuff.
Where do you want to go from here?
We’ll try stuff out, be creatively open and experimental. We’ll be breaking the rule book a little bit. Sometimes it’ll work, sometimes it won’t. Pineapple was an example of when it worked brilliantly but we didn’t know that when we started messing about with it.
We’re not just after slightly increasing our share, it’s about having big hits. We want everything to perform well but we’d much rather have ten really big hits that people love than 30 things that do slightly better than the slot average last year.
What kind of talent works on Sky1?
There are the A listers like Davina and I’m doing a feature length documentary with David Attenborough so you’ve got the cream of the crop. But there’s also that younger level of people who have have had major mainstream exposure like James Corden and Joanna Page. I’m having conversations with terrestrial talent who think Sky is now one of the players. Making our own talent is key for us too, we’re not afraid of new talent.
What subjects don’t work for you?
We’re after what the others aren’t. If they want more property, more cooking, more gardening, we don’t want any of that. We’re the anti matter channel for all things features.
What sort of runs do you order?
We very rarely do one offs, I want returnable brands. It’s a 6x60 minimum order. If we get it right or have confidence we’ll go for a lot more.
For what slots?
8pm or 9pm and 6pm on Sundays.
What budgets do you work to?
We go from £70K to £300k depending on what it is and who it is. Something like the David Attenborough 3d doc is considerably more than that.
Do producers understand the channel?
The channel has changed so clearly on screen and our message is quite easy for people to understand. It’s fewer, bigger, better and the fact we’ve had some brilliant talent signings signifies to people we’ve upped our game a lot. And because we are doing fewer, bigger, better we can compete budget wise.
What’s the best way to pitch you?
By email. There is an electronic system that you’re supposed to use but nobody really does it that way.
Head of commissioning,
Virgin Media Television
How has Bravo changed?
I don’t want to do Bravo’s heritage down, it has a great history and some great commissions but they were never particularly inclusive so girlfriends and wives never felt they could come in and watch. The new era in commissioning is all about being inclusive. We are a male skewing channel and will continue to be but in order to get the volume we want to get it’s about girlfriends and wives watching as well. The model works perfectly well for Living, we get men watching – it’s about 60-40 in terms of audience now so we know it can be done. When women are watching Four Weddings they want a bit of the bitchiness and it’s a drama for them. Men who are watching are saying its all just incredibly hilarious.
What’s worked so far?
When we commissioned Alex Reid: The Fight of His Life we had a lot of women watching that haven’t watched Bravo in years. They’re watching because he’s in Heat magazine and the guys are still watching for the fight demonstrations and the drama.
Is it now about fewer, bigger, better?
Instead of saying we need ten episodes and they’re all going to cost X amount, I can come in with a show pilot like The Human Guinea Pig and say I need four times the normal budget to do this pilot and the business has been up for that. The sense of scale and ambition we’re after means we’ll sign off budgets appropriate to that.
What budgets do you offer?
Our fact ent budgets are absolutely comparable, if not better and healthier, than what’s currently being paid at terrestrial channels for peaktime shows. That’s why we attract some fantastic production companies and talent. We have the money and we’re prepared to spend it on the right ideas.
What talent are you after?
Talent’s a short cut to changing perceptions of Bravo and bringing audiences in that might not have watched for a while. So now we might spend more money on a piece of talent. They do a job. They make people reassess their opinions of the channel in a single stroke.
Gavin Henson [who’s fronting Human Guinea Pig] is a good example. He’s in the pages of Heat week in week out by association. He stays true to Bravo being a male skewing channel because he’s respected sportsman. He has that breadth of appeal.
There’s something in comedians as well, the Gavin and Stacey affect. We’re trying to get names like that on to the channel.
You can break talent but they have to be stand out amazing and what they’re doing has to be quiet shocking
What formats do you want?
Finding our returning format is a dream come true. We’ve looked at Top Gear and those shows that work for men. We can never emulate them - we don’t have the budgets and why would we? Top Gear’s already there. But we look at the ingredients and see if there’s something we can spin out from those shows, we might find nothing but that’s part of the journey we’re going on.
What’s needed on Living?
The Holy Grail for Living is the next Four Weddings. Formatted shows are still very much on our shopping list and it’s always about the talent. What names can we attract that add that bit of glitz? We know the themes that work. Our battle is because BBC3, ITV2, E4 and Sky1 are all after the same audience now so Living has to stay ahead of that pack. If we do a wedding show or makeover show it has to have a twist and have more layers to it. We have to be much cleverer.
We’ve had a lot of success in taking viewers around different parts of the world and we’d like to keep doing that but we’re also looking for some more domestic stuff as well. How do we do shows that are gripping and compelling but we’re in the kitchen and the living room or the school, rather than necessarily taking people away?
What else are you after?
We’ve had a lot of success with Britain’s Missing Top Model and then we did Dancing on Wheels. I like that way of doing disability. It doesn’t feel worthy, it feels celebratory. I’m keen for something in 2011 like that, I don’t know what it is yet.
What else are you missing?
We had and continue to have a lot of quite serious stuff, programmes around globalisation and so on. But we’ve had a lot of success with The Undercover Princes and Princesses. Formats like that are like gold dust. They’re more at the entertainment end and we need those as well as the Blood, Sweat and World’s Strictest.
Do you want fact ent to reflect tough economic times?
That’s the challenge? There’s this huge crisis going on which is going to change all our lives in ways that we’re just beginning to realise. How do we reflect that? It’s difficult because as a proposition you have to think quite hard about how it’s going to feel exciting. But if you don’t reflect what’s going on in the world then it’s not relevant to people’s lives. The best formats are about things that are going on but you have to be subtle. We can’t do a fact ent format that’s about young people looking for work, that’s too head on; you need to be a bit cleverer.
Have you found anything yet?
Not really, so I’d love some help on it. It’s tough but someone will come up with an idea that feels like it’s representing a scarier world.
What shows won’t you do?
We keep away from those features territories like cooking, gardening and property. I’m more interested in younger skewing things.
It’s aimed at a young audience, should that be reflected in the faces on screen?
You can overstate the youngness of it. It is a younger channel but we’re talking 20s and 30s we’re not talking a teen channel. A good presenter is a good presenter, generally they’re in there 20s and 30s there aren’t any rules. Young people love Alan Sugar, Jeremy Clarkson, Gordon Ramsay. You have to sometimes s be a bit counter intuitive. And we’re not putting celebs on the telly for the sake of it. It’s more lightly formatted and it’s documentary in its sensibility that’s what we found people really like.