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Foreword Start to finish Art direction POS Copywriting Illustration Activity packs Look no Mac 3
FOREWORD Burdock Design is headed by Paul Carr - an all-round creative that brings over 11 years experience working on some major international film releases. The following pages contain a selection of work that he was responsible for during that time. All work was produced at Empire Design Ltd between 2000 - 2010 (unless otherwise stated) and is included with kind permission.
SERVICES CAMPAIGN STRATEGY ART DIRECTION ONLINE STRATEGY AV CONCEPTS DESIGN POS COPYWRITING ILLUSTRATION ARTWORK & PRODUCTION
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START TO Many film releases require more than just poster artwork. This is when the ability to generate concepts and directions from launch right through to sustaining interest comes to the fore.
â€ŚAND A LILâ€™ BIT IN-BETWEEN
THERE’S A RAT IN THE KITCHEN. WHAT ARE WE GONNA DO?...
The first round of big campaign ideas (PR stunts and promotions) was offered in the form of a menu that Disney could select from...
Poster concepts were developed, pairing Remy up with his buddy (Linguini) to help humanise him and see them as a team - plus letting people know that he wasnâ€™t just a rat running around the kitchen.
When the teaser image came in from the U.S. it looked great - However, there was a possible issue that needed addressing. Ratatouille was due for release at the same time that the press were focusing on knife crime (It seemed like every day you would see another headline about a stabbing in London). Though completely aware that this was an animated title and to be taken lightly, everyone knows how the press can twist things given the inclination (think ‘Sachsgate’, just a year later). Considering this, it was thought possible that the ‘knife’ artwork could be taken in bad taste and bring some bad press for the film and Disney, especially if a press ad ended up sitting next to another stabbing story. So - rather than just bring problems to the table - we worked with our 3D department to render up an alternative, workable solution. We stayed true to the concept, but lessened the focus on the knives.
Though Disney chose to stick with the ‘knife’ campaign, we were satisfied that we had done our job for the client - going above & beyond, identifying a potential problem and presenting a viable option.
When it came to dressing the cinema for the Premiere event, we presented a range of concepts - including re-creating the interior of Gusteauâ€™s restaurant. There was also this cheese-takeover - taken from the invite artwork - that eventually went through to production.
Design & Art Direction POS
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We supplied cinemas a box of Minions in the form of clings, standees, mobiles and countertops.
The people behind the musical wanted to bring their campaign to life and look into a time-slice shoot for a digital poster. This was a slightly new venture for us, but we handled it in the same way we handle all other projects, breaking it down stage by stage and working as a team.
From pencil sketched storyboards and detailed diagrams, we worked to show the client as close to the finished product as possible before the actual shoot. The motion graphics department worked up a maquette with camera angles and title graphics. We then worked with the Bullet-Time company to get exact height and angle restrictions to make sure the client wasnâ€™t shown anything we couldnâ€™t achieve.
& Red Camera
A series of posters went up across London - from digital 6 sheets to escalator panel takeovers and a prime location takeover off the Finchley Road.
We presented a number of concepts to the client for Tormented (a British Horror based in a public school). The presentation went down so well, they wanted all of them shot...
With 9 set-ups, multiple camera angles and 11 characters to shoot (in 2 costumes and 2 states of make-up) we were pushed for time. ‘Organisation’ & ‘efficiency’ were the buzz words for the day.
POS When handled properly, POS design is more intricate than it looks. Not only do you need to take budget into consideration, but there’s also construction limitations, structure, installation and wear’n’tear to tackle. More often than not, these limits can actually lead to more creative solutions.
The news that Kill Bill would be released in 2 parts presented some interesting possibilities. We presented this solution, that would allow them to produce 1 standee for both releases. As an added bonus, it was flexible, enabling it to go in all sizes of cinema. This simple modular system has since been presented for other titles, as it solves a number of key issues when it comes to getting campaign creative in cinema foyers.
of all Standees
The brief was to come up with some designs for an â€˜all-singing, all-dancingâ€™ standee for the release of The 3rd in the Mummy series - a big title for Universal. Conscious that more than the normal standee presentation was required - a flat visual would be hard to understand and cost - we were also going to push the limits of production and placement with this standee. This meant it was imperative that everything was possible to work out and achieve. The solution was to present the usual visual with colour coded plan view ( see left ) so that layers, materials and dimensions could be clearly understood by all concerned at each stage of the process.
The construction of the new Terminal 5 at Heathrow gave JVC the perfect opportunity to obtain some premium space for their flagship range, Future Vision. It needed to be flexible, innovative and consistent with the current campaign. We researched new technologies and mocked up a visual to present to Dixons.
Future Vision also needed a presence in high street stores. Shelf space is notoriously meagre in these stores, so size had to be of a minimum and very simple to place. A heat-bent board was developed that could be cut to any size to take different formats. This had the added advantages of being easy to update ( for new products ) and looked clean, falling in line with the campaign.
With the advent of a new G Series range, we were asked for a new look. At the final stages, we needed to do a full mock-up installation to help decide on colour choice.
As with many of their other products, JVC were the first out there with their Hard drive camcorder. They wanted a bit more ownership with this format before the other brands caught up. This included booking some space in major high-street retailers - A notoriously hard place to stand out...
COPY WRITWhat came first - The concept or the copy? These two are so much a part of each other itâ€™s hard to distinguish. Thatâ€™s why we always consider these in tandem right from the start of a project.
FEAR IS NOT KNOWING.
TERROR IS FINDING OUT.
THE DEEPER YOU GO THE WEIRDER LIFE GETS The Life Aquatic 73
Bond had been re-invented with the casting of Daniel Craig as 007. Empire Design had been given the privileged responsibility of moving the franchise forward with his first two films, Casino Royale and Quantum of Solace. With the new look and new lead man making its mark, Eon chose to update the look of the style guide and itsâ€™ contents.
As a chairman from Millwall F.C., one of Empires’ clients approached us to get their logo re-drawn. The lion from the final version now adorns the pitch in front of the home dugout in the ‘New Den’.
The Scoutâ€™s Association wanted a funky map for their jubilee event at Brownsea Island. There were a lot of events going on that week, and all had to be represented.
‘SPRUNG’ The Magic Roundabout
JVCâ€™s Bi-Metal headphones are all about the internal features. An exploded view already existed so we knew what the parts looked like. All it took was to re-draw the parts and render them up for a press ad.
JVC wanted to display their Future Vision campaign as an art installation. There was no gallery space and no intention of booking one for a show - Photoshop did the job.
Final banner set
ACTIVITY The unsung hero of a kid’s film campaign! They classically consisted of an A3 sheet - poster art one side with monochrome dot to dots and word searches on the other. This was partly due to them being giveaways to kids, mixed with using supplied line-art provided by style guide creators for expediency. Over the years we’ve added colour and created our own elements to make the activity sheet into a valuable asset to a campaign. A prime example being the Bolt activity sheet (overleaf ) that contained a practically full synopsis within a FULLY AWESOME board game. We’ve since used it’s success to push the boundaries of the humble activity sheet...
Activity Sheet / Game board
DIARY OF A WIMPY KID
Games & Giveaways
Activity Sheet Concepts
TOY STORY 3
Board Game & Trumps
LOOK NO MAC Sometimes a computer just doesnâ€™t cut the mustard whether itâ€™s clients wanting to see a physical mock-up, or bringing a visual to life with a hand made object, moving from the Mac to the cutting mat can often bring something extra to a project...
This particular challenge was for Danny Boyle’s ‘Millions’. One of the designers wanted to do a shoot with the lead character looking in on his own house. The days leading up to the shoot were spent creating a living room, complete with skirting board and matching furniture and then ‘wallpapering’ it with individual miniature £20 notes that ‘Damian’ found in the film.