Creative strategy and production company BigStar is having a busy fall season having completed two major projects for clients ABC News and Food Network. The first is a redesign of “ABC World News with Diane Sawyer,” which included a new logo, show open and graphics package. The second is a series of dramatic promos for “The Next Iron Chef Redemption.”n nFor “ABC World News,” the client was looking for a new modern and clean look atypical of the nightly news convention. The goal for the rebrand was to create a design that reflected Diane Sawyer’s smart and relevant reporting style. BigStar developed a number of ideas, ultimately honing in on 3D animated cubes, which rise to define the geography of the world on both an intimate and international scale.n nnTo view “ABC World News,” please visit here.n n"In our development process, the throughline was that ABC illuminates and defines the world around us both nationally and internationally," explains Josh Norton, BigStar President/Executive Creative Director. "Since the program portrays global news as seen through America’s eyes, we dialed-in the colors, which phase from glossy silver to red, white and blue. The 3D cubes serve as a transitional device, rising like a dynamic mosaic to form the topography."n nDiane Sawyer also weighed in on the final design, which included humanizing the program by adding more energy, color and light. The lighting effect acts as a spotlight pushing up towards the sky, capturing the personality and warmth of Sawyer as the show’s anchor.n n"ABC was great to work with," says Norton. "The creatives were able to look at rough gray-scale render animations and narrow down the behavior of the cubes and how they animated throughout the package. This saved us a lot of time, and really allowed us to focus on developing the glassy, high-end production value."n nThe “Next Iron Chef” focuses on 10 Kitchen Stadium veterans returning for a second chance at victory. Top-notch chefs such as Jehangir Mehta, Elizabeth Falkner, and Alex Guarnaschelli put their reputations on the line, battling to prove their culinary greatness for the ultimate prize: the title of Iron Chef. In the promos, the chefs perform their kitchen acrobatics with precision and skill on a massive prep table, set against an ominous dark sky and environment seemingly reaching infinity. As flames spread across the landscape, it coalesces into a fiery phoenix, the ultimate symbol of redemption.n nnnFor BigStar, the goal was to create a visual package that embodied the idea of redemption in a powerful and dynamic way.n n"We spent a lot of time developing the story of combat and salvation by using universal symbolism throughout to poetically bring the viewer through different events," says Norton, who directed the 10 chefs during a one-day shoot. "These contestants are facing one of the greatest challenges of their career to become an Iron Chef. We visually conveyed this by showing them as larger-than-life personalities surrounded by a harsh and unfriendly environment. The fire and steel added to the drama, heightening the sense of conflict, while the phoenix rising from the ashes became a metaphor for their redemption."nnnnBigStar shot on the RED Epic at 120 fps at 4K, which enabled them to take advantage of every simple movement in-camera and create a lot of drama through ramp-ups and slow-motion. Norton and his team immediately began to build textures and research background plates for the environments. Norton says the trick was to figure out how to create a fantastical world that was cinematic yet felt convincing and real.n nAn even bigger challenge was the phoenix, which involved extensive modeling and motion tests, and flame simulations. The realistic action of the flames was ultimately created from a combination of FumeFX, 3D Studio Max, and After Effects.nnnn"The team at Food Network was just amazing," concludes Norton. "Genuine and enthusiastic creative partners who entrusted us to create a rich visual experience that would blow viewers away. This was all about the cinematic production value and going after the biggest effects. Being able to handle the concepting, live-action and post was key to creating a truly successful campaign. We had a blast applying all of our thinking and creativity to this project."nnn nCreditsnnProject: ABC World News with Diane Sawyer (To view promo, visit here)nAirdate: October 1, 2012n nClient: ABC NewsnVP / EP Creative Services / Marketing / Promotions: Alan IvesnCreative Director, ABC News: Hal Aronow-Theiln nCreative Agency: BigStarnCreative Director: Josh NortonnDesigner: Phil Bichseln2D + 3D Animation: John Magbuana, AJ Kolb, Jim Hsu, Steve HarpernProducer: M. Shane Dollyn nTechnology: Cinema 4D and After Effectsn nProject: "The Next Iron Chef" Promos (To view the promos, click here)nAirdate: October 8, 2012nnClient: Food NetworknVP, Brand Creative and Production: Peter RisafinDirector of Production & Operations, Creative Services: Travis McGhien nCreative Agency: BigStarnCreative Director/Director: Josh NortonnDP: Robert BaroccinEditor: Sam GoetznDesigners: Shaun Collings, Josh NortonnStoryboards: Kurt Hugginsn2D + 3D Animation: Brandon Sugiyama, Steven Harper, Stuart Simms, Patrick ArringtonnCompositing: Brandon Sugiyama, Amilcar HillnRoto + Keyframing: Jim Hsu, Amilcar Hill, CG LabnResearch: Regina SobelnProducers: Nancy Giandomenico, M. Shane DollynSound Design: Michael Vitacco for Plushn nTechnology: RED Epic, After Effects, Final Cut Pro, Cinema 4D and 3D Studio Maxn nAbout BigStarnBigStar employs creative strategy with design, live-action, animation, and visual effects to tell compelling stories and deliver branded content that informs, engages, and inspires.nnWith a team of designers, directors, and producers dedicated to forming and refining the culture of communication, BigStar creates content for the advertising, film, and broadcast industries.n nRecent clients include: HBO, NBC Sports, ABC, KBS+P, Saatchi & Saatchi and Droga5. www.bgstr.com
Michele Lu Kumar Priya PR 310.922.0464 Contact Michele via email
Who Needs Los Angeles? We Do.
One doesn't have to be a statistician to know that there are fewer commercials being shot in the U.S. today for the American market than ever before, and a dramatic decrease in L.A. in particular. In the last five years, as reported by FilmLA (the office tasked with issuing permits), L.A. commercial production has dipped 31 percent. But here’s the thing: This doesn’t mean that L.A. has lost its importance as the production center of the world. Production in L.A. is vital. It is the go-to. It’s where you can count on access to exemplary crews, a support infrastructure second to none, varied location and backlot options, a large population of on-screen talent and (fairly) predictable weather. The fact is, with overall decline and now the devastation of the fires, we’re on the brink of losing this mainstay resource. Without employment opportunities and now many without homes, talented and trained crew are bound to leave either the industry or the LA area for other opportunities, unless there are enough job opportunities to sustain a solid living. Now is the time when we ALL must support and bolster this community. Production is needed in L.A., now! Of course, advertising is a business, and marketers’ money should be spent as efficiently as possible, BUT we have to think beyond each production and know that if we lose the incredible resource of L.A. production as we know it, then marketers, agencies and the industry loses in the long run. Over the past several days, some agencies have issued directives to production companies that are unilaterally pushing upcoming production options out of L.A. The fact is L.A. is a large area, and many sections of the city and county are not directly impacted... Read More