MIPCOM . WALL SIZZLE ANIMATION
creative direction . strategy . editing
MIPCOM is an annual trade show for the television industry that takes place in Cannes, France in October.
The Ask . During MIPCOM Lionsgate hosts an expansive booth consisting of multiple spaces. At the entrance of this booth is a large video wall; imagine turning one wall from your living room into video space. The ask is that I create a piece for the wall showcasing 25 highlighted titles on a constant loop to run throughout the event.
The Challenge . I'm tasked not only with curating and editing the footage, but also building the entire visual language that weaves it all together. How do you get someone to pay attention to a 15-minute video without audio? How important is the programming content vs. the eye candy? How does one approach design on such a large piece of real estate? There has to be intention behind color and lines, flashy transitions and flares. What will play to the larger room?
The Process . The below highlights two dynamic cases (‘22 & ‘23) that were achieved using a similar process. Though the process is similar, the results are unique. It’s worth noting that I personally handle a heavy amount of editing footage for this project. That said, we are here to talk about design and animation. Back to that process.
I start by gathering a vast amount of reference material. Do I like the texture? Collect it. Do I like the color palette? Include it. Is the mortise slightly off kilter and I don’t know why but it makes me feel good inside? Put it in the pile.
reference 2022
reference 2023
After that I take time sorting everything I’ve gathered into buckets. I look for consistent themes and identify common threads. I then gather secondary reference material with a more pointed approach around the common themes I’ve uncovered.
I take the culled reference material to the design team and they expand upon the initial ideas and birth newly formed ideas that are nothing short of amazing.
It’s not all pretty pictures. At this point in the process I take a step back from the designs and evaluate them from an event perspective. Do they feel at home with the aesthetic of the company and its adjacent creative teams? Do they feel indicative of the television shows they represent? How does color theory play into the genres of the different shows? What is random, and what is purposeful?
Finally I take my findings and reevaluate the design from a visual perspective. After zeroing in on one well-rounded look I then apply that across the video of 25 unique titles. Magic.
The Result(s):
2022
style frame 2022
2022
style frame 2023
2023
2023
style frame 2023
