Dyrdee in Berlin just dropped us the full version of their fresh, fun and fluid animated Seasonal Art Idents for Nickelodeon (above) which they hinted at in their recent Nick rebrand montage (below).
Just when we were sure we’d seen enough football advertising to last a lifetime, director Anders Schroder and the Frame team in Copenhagen hit us with this carefully choreographed matrix of CG fun to promo the Superliga (Danish soccer league) broadcasts on TV3 Sport/Viasat. [Watch]
Imaginary Forces‘ directors Dan Gregoras and Jeremy Cox keep the pallet minimal and the details intriguing in the title sequence for the new WGN original series “Manhattan.” Set in Los Alamos, NM, in 1943, the show “chronicles the lives and families of the scientists building the world’s deadliest weapon, and exposes a world full of secrets and consequences.” [Watch]
The Method Design team in New York twist classical Middle Eastern architecture into a hyper-detailed and carefully lit 3D broadcast promo toolkit designed by Danny Yount and Prodigal Pictures for FX Network’s new drama “Tyrant.”
According to Method: “The abstract frames will allow for the addition of text elements and a set of transitional elements were also provided. The artists paid particular attention to creating a detailed version of the logo treatment which is revealed front and center. The Method crew’s toolkit included Maya, V-Ray and Nuke.” [Watch]
London branding powerhouse DixonBaxi just launched their new site with a slew of new work including this punchy broadcast redesign for Sony TV across Latin-America anchored by clean typography, flat graphics and sleek CG. [Watch]
European broadcast branding veterans BDA Creative team with the CG crew at London’s Studio Hansa to refresh the on-air look for the Fine Living Channel across Europe, the Middle East and Africa with a finely detailed, photo-real and full-3D treatment
“Due to budgetary factors and logistics, shooting six wildly varying scenes was not an option (the scenes needed to embody smartly designed spaces that could be international and aspirational). We decided that the best option was to go totally CGI for flexibility, control and efficiency.”
