The field of Broadcast Design (BD) is a path that Motion Graphic artists can walk, and it comes with its own challenges. Previously, you may have been taught to make every piece of a visual exciting but in BD you have to tone it down for information display. It is very much function over form in which your designs need to complement content that is shown on screen.
When you approach Broadcast Design , you should plan your designs around an "intensity spectrum". Hence on one end, you have an exciting over-the-top animation which you can use for bump-in which usually centered around a logo. On the other end, you have a basic design with less motion for designs which primary purpose is to communicate information
My job at WarnerMedia Studios and working with Turner Sports, I have worked on several sports broadcast projects such:
NBA Opening Night 2019
NBA All-Star Draft 2020
NBA All-star Chicago 2020
Below are my notes and observations on how to approach this field.
The reason for writing a grammar of visual language is the same as for any language: to define its basic elements, describe its patterns and processes, and to understand the relationship between the individual elements in the system.
Sets of deliverables
USER INTERFACE CREATION via simple shape building / asset creation (ILLUSTRATOR)
In a way you are building UI ELEMENTS:
Containers / Frames / Connectors / Text Display / Widgets / Accents / Menu / icons / infographics
Material design / Skinning / Layer styling 4. Motion
Efficiency is diminished because not everyone is on the page, no access to same information, information lost in emails chains
In order to prevent the team from always searching for the right logos, ensure that
all different sets of logos (eg.teams, event, sponsors) are placed in their respective folders.
renamed in a consistent naming convention: eg. showname_team
Vector and EPS
Branding guides easily available to reference color codes and logo usage guidelines
To thrive well in this environment is actually quite simple but highly unorthodox to most motion designers in general.
As tempting as how automation may solve everything; it is not that simple. As sole automator, you play the roles of data wrangler, UX, designer, animator.
The data wrangling is not easy because not everyone is exposed to being training spreadsheets. You probably think I am crazy how relating spreadsheets as the foundations. I was very lucky that my sister taught me how to use Microsoft Excel when I was 12 and later in the army at 22, I had to use it again to plan guard duties for my subordinates for a year. I never thought when I begin my first job at WarnerMedia Studios, that this knowledge is extremely valuable and relevant to my job scope.
At the end of the day, broadcast design is creating a UI for media often used to identify subjects, players, segments, sponsors. To put it even simpler, it is extravagant display of logos and texts.
Automation will only carry you 80% of the way, there will still be the 20% for human intervention to tweak logo sizes or text kerning.
Prepare sprite libraries — Logos, photos, sponsors (refer to my Youtube tutorial)
Different teams = different colors = designs might not go with the colors
what about branding guides on logos variant when placed in a different background
Sharpness / High res
Consistent color with branding
Branding guide on logo usages for different background colors
20% of the time you spent is for creative production (eg. concepting, designing, approval)
80% of the time you are tasked with:
versioning dozens of your designs or animations for an event or a show
Eg. NBA AllStar 2020 has 30 teams; that means 30 different types of logo transition
In addition, there are sponsors. So there is a high volume of work that needs to be done within a short period of time
Making revisions based on clients and creative/art director notes
As a junior broadcast designer, you will be more inline with volume, diversity and speed. Quality of course does matter; but being able to adapt quickly to any project does go a long way
Build your repository of presets and graphic styles
AE - Script, animation presets
Photoshop - Text effects, Actions
Illustrator - Graphic styles,
MASTER STYLE / LOOKS
Production toolkit Begin with level 3 Motion passes Tone it down for the smaller elements
Optimal duration for animate in / resolve : ~10 – 30 frames
Optimal length for renders: 8 seconds
Output format: Prores 4444 + Alpha
Tendency to overthink the animation because it can be too simple
Versioning dozens of them with responsive sizing
Procedural / responsive design
Are elements 'inter-animating' instead of linear
LOGO DESIGNCrests — Orginate from the knights of medieval England where announcers would differentiate knights based on their crest designs. Context: Arena, large audience, quick identificationTips - iterative design eg. Aaron Draplin, Logo creedMOTION- ASSEMBLY & DISASSEMBLY — How does things come together?- LOGO RESOLVE-JOURNEY INTO THE NEW WORLD
Responsive containers with regards to type Automation with JSX FXPHD AFX210 Introduction to After Effects Scripting (Outdated but still extremely relevant) Animoplex Motionscripts All for one Layercomps in Photoshop
FUTURE IS REAL TIME; like VFX
use Houdini > Substance Designer > Unreal
hence when we pitch to clients or teams, we are look at a 3D shader ball which we can incorporate into layer styles or 2D Designs; this is call "Skinning"
All element of broadcast are essentially rectangles or containers, with stylization on top. There is minimal narrative involved because their purpose is mainly used to supplement the content; not overpowering it.
that TECHNOLGY LOOK which is characterized by
pixelization using dots or squares > data bits?
streaks of light running through a network > Electric circuitry
Horzontal Displacement > Datamosh
https://typesetinthefuture.com/ which mostly looks as typography. The still you sent looks a lot like the original AT&T animated globe from the 1980s.
One of the sources for the wire frames etc that tend to appear is a combination of DARPA project designs and older NASA computer simulations of the Pioneer and Apollo programs in the 1970s when these kinds of computer graphics were state-of-the-art. Much of what gets thought of as "future" is actually retro once you recognize what it references, often at two or three removes from the source. Much of this "interface" stuff is really diagrammatic rather than functional.... Maybe look at Edward Tufte's work with information graphics?