Post Magazine

October 2013

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postings Network Launch N EW YORK — Design agency Trollbäck + Company (www.trollback.com) recently created the branding package for Al Jazeera America, a new network that launched in August in 40 million US homes. The new network replaces Current TV and features correspondents and executives formerly of CNN, ABC News, NBC News and CBS.   The package includes animated logotypes; main IDs; interstitial IDs; news, business, sports and weather opens; and all the screen architecture for the news show. To highlight the idea of enlightenment, Trollbäck + Company created a modern look that captures the core qualities of energy and illumination. From the initial discussions, Al Jazeera was very Body Work N EW YORK — Animation and transmedia company FlickerLab (www.FlickerLab.com) has partnered with the Website KidsHealth.org to create the new animated series, How the Body Works with Chloe and the Nurb. The series offers a playful, animated way for kids to gain an understanding of how their body works. The Website recently launched eight five-minute episodes that serve as the centerpiece of a suite of content that also includes quizzes and printable activities. Nine additional episodes will be added in early 2014. The series is set in fantastical Bodylandia, where giant eyeballs stride across the landscape and floating noses trumpet daily. Chloe and the Nurb are able to dive into different areas of the body for further exploration. FlickerLab's Harold Moss is the creator of the series, which was animated using a combination of Adobe After Effects and Flash. All audio was recorded at FlickerLab's headquarters by David Wilson Audio. Athlete's Uggs L OS ANGELES — Whitehouse Post (www.whitehousepost.com), which has offices in London, New York, Chicago and Los Angeles, recently completed work on a :60 Ugg spot staring NFL MVP Tom Brady. Conceived by M&C Saatchi LA and produced by Bob Industries under the direction of Spencer Susser, the For Gamechangers commercial shows an adult Brady, sitting on a team bus, thinking about his career. As Brady leaves his seat and walks down the center aisle of the bus, the viewer sees the teams he's played for. The sequence appears as one long shot, with the bus becoming more modern as his career evolves. His Ugg footwear is highlighted during his journey. PSA Breaks Stereotypes S AN FRANCISCO — Visual effects creative shop Ntropic (www.ntropic.com) recently teamed up with agency Citizen Group to create a public service announcement for the Texas Association Against Sexual Assault (TAASA). Break the Box was directed by Ntropic's Nate Robinson, and appears in :30 and :60 versions. The PSA is designed to discourage gender stereotyping, which can lead to sexual violence. In the PSA, young people are subjected to harassment and stereotyping based on gender. Harmful words create boxes around their heads. Once they overcome the social pressures, the destructive words evaporate and the visual boxes that frame the words shatter and fall away. According to Ntropic's Robinson, each story is told in a short burst of time, but gives the audience the idea that tension has been building for months or years. Ntropic decided against a greenscreen shoot, opting instead to shoot all the scenes live and in-camera. Chromista produced the spot, with Andrew Sinagra co-directing with Robinson. Maya Korenwasser Bello served as Flame artist. 36 Post • October 2013 www.postmagazine.com clear that its brand identity had to stand apart from its other territories, and specifically, had to speak with an American voice. The main IDs incorporate dynamic choreography of light streaks, while the interstitial IDs celebrate the American landscape, positioning Al Jazeera America in the center of it. For the latter, T+Co took 360-degree panoramic shots and stitched them together to form a seamless world using a custom lens they created in Autodesk Maya. For the package's typography, Trollbäck continued Al Jazeera's tradition of Helvetica Neue, a font the news organization has used universally for all of its on-screen graphics. In addition to Maya, Trollbäck employed After Effects and Final Cut Pro on the project.

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