Issue link: https://digital.copcomm.com/i/69535
Cause & Effect recently worked on a promo package for Operation Repo that makes use of live action, shot against greenscreen, and stylized graphics. BUSTER LA's Buster (www.busterdesign.tv) is a division of advertising agency Stun Creative, but their work comes from both internal and external clients, including agencies, networks and those looking strictly for design services. The studio recently completed a brand iden- tity for the launch of the "FX Movie Channel," a programming block of FX content that airs on the Fox Movie Channel. According to Jonas Morganstein, Buster's chief cre- ative officer, the project marks an ongoing relationship with the network. In fact, Michael Vamosy, executive cre- ative director at Buster, once worked for FX, which led him to the design studio. "Michael used to be at FX, so he started that relation- ship," explains Morganstein. "We originally created a look for FX for their movie packaging, and that was creating this 'architectural space.' We built the 'X' into a 3D world and that became the only brand that FX had," he adds, noting that each individual FX show has its own unique look. "When it became time to turn the Fox Movie Channel into this whole new net- work, based on the FX brand, it was sort of a no-brainer to look at what we've done." Morganstein says the studio took that original architecture and "turned it on its head a little bit," all the while trying to find new innovations that give a nod to the network. "We created those spaces out of typography," he explains. "The architectural X's are made out of type. That was a nice solution that forges a new brand but still harkens back to the original FX brand. It's interesting because you have a network that doesn't flip like a light switch to something new. It still holds on to the old package for part of the day and then slowly becomes more of the new thing as the years are going to progress." Buster relied on Autodesk Maya and Maxon's Cinema 4D to create CG elements and typography that move in and out of shadows. "We really wanted to make sure the FX brand kind of extended itself into the FX Movie Channel," explains Vamosy, "but we also wanted it to be a little bit different — not a twin brother, but something that was more of a cousin." The team spent several months on the project, developing a core package that could then be turned into an After Effects toolkit for use by the network. "One thing people don't under- stand about broadcast design is you are not just building this one master-stroke-of-genius thing and you're done," notes Mor- ganstein. "It's exactly the opposite. You are working with a net- work long-term in building a brand. You are helping them figure out what their on-air is going to look like and what their focus is going to be. You will send them elements and project files so they can continue, in-house, to work on it and even hire other vendors to continue what you've done. It's a collaborative process." While the FX project represents an entirely-CG effort, Buster is also skilled in live action, as was the case in the creating the open for the A&E show Duck Dynasty. The studio went on loca- tion to Monroe, LA, to shoot the show's stars, who have made a fortune by producing duck decoys and hunting items. Buster has also collaborated with OWN, TV One and Food Network. CAUSE & EFFECT Cause & Effect (www.causeffect.tv) in New York City has been around since 2006 and has seen an evolution from strictly edito- rial to editorial, design, animation and full-service production. The company was founded by executive producer Jason Zemlicka and creative director Jamie Hubbard, who both recognize trends in the current broadcast design field. "I see the HBO open as the gold standard," says Zemlicka. "The Game of Thrones open, going to back to Six Feet Under, and the idea of the open really carrying the true sense of what the show embodies. It's there with Weeds too. Still, I think there is a place for that sort of elongated, cinematic open." "There are a lot of networks, a lot of shows and a lot of ways www.postmagazine.com Post • June 2012 27