Issue link: https://digital.copcomm.com/i/526086
www.postmagazine.com 32 POST JUNE 2015 DESIGN IN MOTION if font against a black backdrop. The cur- sive portion of the logo was designed by hand before it was given a 3D treatment in Maxon Cinema 4D. Its autographic style ties in with a new Late Late Show tradition: guests take their picture before taping their appearance and sign the photo for Corden's "Wall of Fame." Faced with a short turnaround to create the show open, T+Co opted for a one-day run 'n gun live-action shoot en- compassing key LA area locations. "We wanted to take James and Reggie on a fun journey through LA," says Chaffer. "Since we don't have an LA office, we used Radiant Images as our production service provider. We packed two vans, drove to the locations, jumped out, shot bits and moved on." Chaffer himself manned a Canon 5D camera; a Sony camera was mounted on a stabilized MoVI rig and Watts wore a Snorri body rig to capture "unexpected angles and a lot of energy as he spun around" to the high-octane theme song. "We always shoot whatever live action is required," notes Chaffer. "We're doing a lot more live-action shoots lately, and we try to do in-camera VFX where possible." The production team worked with- out a lighting truck, which meant using available light and handheld LED face lights. They lucked out when they found a flood-lit car park with a cool mural, which served as the backdrop for the lowrider scene, and witnessed a spectac- ular purple-tinged sunset on the Venice Beach boardwalk after a rain shower. Dynamic graphic elements came from a Pixelstick that created animated fluo- rescent floating graphics and typogra- phy. But since "you need long camera ex- posures for Pixelsticks," T+Co shot Watts waving a Pixelstick "like a magic wand" separately from the long exposures that captured the graphic elements, Chaffer explains. Then they "reanimated and keyed those elements back into the shots with After Effects. The Pixelstick picked up on the neon look of the logo and gave a nice sense of unexpectedness and randomness." The new show open blends Corden's humor and warmth and Watts' force-of-na- ture persona with an unmistakable LA vibe to introduce a new era in late-night talk. ROOF STUDIO/HBO ASIA HBO Asia's Christmas network ID, created by New York City's Roof Studio (www. roofstudio.tv), encapsulated the holidays in a fun :20 narrative that revealed new details with every viewing. The ID resembles an assemblage of interlocking elements, some of which animate as the story unfolds. A key turns, a garage doors lifts, a tiny car parks on the roof of an apartment house. A stove door opens, a chair pulls up to the dining room table and a miniature roast turkey plops down for dinner. A camera lens readies for a shot, pages turn in a scrapbook and the occasion has been documented for friends and family. The camera pans down and the perspective shifts to an aerial view of the neighbor- hood where HBO is spelled out in the shape of a swimming pool, the off ramps of a highway and circular train tracks. Night falls and holiday lights outline other homes where similar narratives are likely taking place. "Special holiday meals are everywhere — in every house, in every neighborhood and so is HBO," says Costa. The Christmas ID represents Roof Studio's first work for HBO. The creative studio does commercial and broadcast design projects; last year it crafted a stand-out campaign of 45 short but intri- cate IDs for French network TF1. "HBO approached us referencing the level of detail in the TF1 IDs," says Vinicius Costa, who's partnered with fellow creative director Guto Terni and executive producer Crystal Campbell in Roof Studio. "They wanted that kind of detail but offered us a lot of freedom in the design." "They gave us free rein," Campbell echoes. "The only thing we had to do was incorporate the HBO logo, but we were able to play around with that and introduce it in an unexpected way. When you present an interesting way to tell a story, you elevate the broadcast design: It's not just a spinning logo, it has a story and a purpose." Costa says the ID tells "an ordinary story" of people getting together for the holidays and features universally-recogniz- able themes: travel, cooking, taking photos, heading home. "But the way the narrative evolves, we bring something to interact New York's Trollbäck + Company created a new branding package for The Late Late Show with James Corden, featuring a neon cursive logo and dynamic, neon colors.