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June 2015

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www.postmagazine.com 33 POST JUNE 2015 with the viewer, to engage them. And they bring their own stories to it," Costa explains. Furthermore, "the details provide new experiences every time you see it." This philosophy is fundamental to Roof Studio. Costa has said, "I'm tired of seeing films where the idea is already so digested and so meticulously planned that the viewer just needs to absorb it." He prefers to "engage the viewer with a narrative that doesn't give everything away immediately but asks for partici- pation and an understanding of what is going on — then a story is formed." Costa created a "surreal perspective that does not exist" for his holiday story- telling. "There's a top view, a front view, a side view. We break perspective and display the objects at different angles. We create connections with the viewer to put the puzzle together." The ID was entirely 3D modeled and animated with The Foundry's Modo software. "The hardest part wasn't the animation but the texturing," says Costa. "There are a lot of textures and colors for each object, so we used a large amount of shaders and textures, and it took a while to finish." Another challenge was "making nature come alive" in the wood- ed background, a bouquet of daisies and the foliage of the neighborhood. Elements were composited with The Foundry's Nuke. Huma-Huma performed the sound design and post audio. "We discovered that if you close your eyes and listen to the sound effects, you still have a sense of the story, so we boosted the sound effects more than the music track," Costa explains. "We'd like to do more broadcast design like our HBO and TF1 work," says Campbell. The HBO ID has been nomi- nated for a PromaxBDA Promotion, Mar- keting & Design Global Excellence Award in the Design and Art Direction category. UNDEFINED CREATIVE/CRAZY TALK It's not the first talk show about talk shows, but it certainly is the latest. Crazy Talk capitalizes on NBC Universal's ex- isting chat content as hosts Ben Aaron and Tanisha Thomas recap the zaniest moments from The Maury Show, Jerry Springer and other daily talk and reality programs for their studio audience. Undefined Creative, a broadcast design firm in New York City (www.undefined- creative.com), was charged with crafting the pilot graphics package for Crazy Talk. Now that the show has been picked up for national syndication this fall, the basic package — logo design, opening sequence, monitor loops, show bug, low- er-thirds and transitions — will be expand- ed. The promo graphics package will be deployed this summer, and the new on-air graphics will premiere once the series airs. Maria Rapetskaya, Undefined Cre- ative's founder and creative director, has a decade-long relationship with NBC Universal, branding and rebranding the graphics for Maury and updating pack- ages for Jerry Springer and Steve Wilkos. "Paul Faulhaber, the creative force behind Crazy Talk, and I have worked together for 10 years now and always have been in tune creatively," she says. "His concept for the set was orange and white, and he immediately saw the logo as squared, something evocative of the two hosts. So I played with that idea and a sort of Escher-like contraction of 'C' and 'T' stuck in my mind. I laid it out in Cinema 4D and everything clicked — the hardest part was picking a typeface that worked with the 'CT' cube." One of the reasons Rapetskaya enjoys partnering with Faulhaber is that "once he sees we're moving in the right direction, we're given a lot of creative freedom. That's especially true with a pilot — [the producers] are busy working on the content, so once we had the logo, everything else in the graphics package came together." Faulhaber wasn't sure they wanted a full-fledged show open, so he and Rapetskaya talked about creating some extra logo movements to use in editorial. Then the hosts were cast, and he sent her some still images from a shoot. "They were such fun, expressive photos — NY's Roof Studio creative team (right) created HBO Asia's network ID, featuring interlocking elements. CONTINUED ON PG 43

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