THE QUESTION
What would your studio’s next creative campaign look like if BOTH print and motion assets were considered at the beginning of the process instead of trying to 'fix it in post'?
THE CHALLENGE
Traditional Entertainment Marketing pipelines have print teams that are separate from the on-air team, and in many cases, separated from the team handling the digital banners and social media. We brought those disparate pieces together under one roof to eliminate the fragmentation commonly seen at larger companies. This case study demonstrates how one, small, agile, and nimble team can deliver a high quality suite of professionally designed marketing assets for an entertainment campaign.
WELCOME TO OBLIVION
An integrated campaign for the fictional film OBLIVION. This project includes all of the key elements of a high level 360 Creative Campaign, and it was created entirely in my living room with a green screen, lights, a costume, and props.
An integrated campaign for the fictional film OBLIVION. This project includes all of the key elements of a high level 360 Creative Campaign, and it was created entirely in my living room with a green screen, lights, a costume, and props.
MAIN TITLES
By combining our own video assets and footage with After Effects, I rotoscoped the character and then composited scenes together with various stock elements and clips. From there, I animated the text, handled transitions, and everything was graded before it was cut together with the sci-fi soundtrack.
TITLE TREATMENT
The title treatment uses a semibold, extended style to convey the vast, seemingly endless desert where our main character scavenges for supplies, tools, and anything to help him survive as a world around him turns to dust. It's important to figure out how the title reads on different backgrounds. Here I created an animated version of the title incorporating the desert world with dust effects and disintegrating text.
The title treatment uses a semibold, extended style to convey the vast, seemingly endless desert where our main character scavenges for supplies, tools, and anything to help him survive as a world around him turns to dust. It's important to figure out how the title reads on different backgrounds. Here I created an animated version of the title incorporating the desert world with dust effects and disintegrating text.
TEASER + HERO POSTER
The teaser poster suggests there is a solitude and loneliness while hinting at something larger. The evolution of the teaser poster is the hero poster where we reveal the larger threat of the floating citadels. These citadels represent the greedy, the rich, and the privileged who hoard resources while everyone below fights survival.
BUILDING A
SYSTEM
The Key Art provides the pieces that establish the look and feel of the campaign while sharing important elements of the story. I used all of these pieces to bring the static artwork to life with an animated poster. Here I used After Effects and combined 3D layers with lights and sweeping movement where the camera pulls back through the scene before resolving to the final frame of the static hero poster.
THE DISCOVERY
For OBLIVION, we captured all of our own assets with lights, a green screen, a desert inspired costume, and props. This allowed us to capture all of the images and videos we needed to develop a professional, cinematic looking campaign without needing a large team or a bloated budget.
For OBLIVION, we captured all of our own assets with lights, a green screen, a desert inspired costume, and props. This allowed us to capture all of the images and videos we needed to develop a professional, cinematic looking campaign without needing a large team or a bloated budget.
OUT-OF-HOME
Like any Creative Campaign, it's important to consider how these designs will live in the real world. From wild-postings and glue posters to billboard placements and kiosks,
I placed all of my final key art and billboard animations in-situ. And for the static mockups, I used my own custom PSDs created from photos I've taken around New York City.
I placed all of my final key art and billboard animations in-situ. And for the static mockups, I used my own custom PSDs created from photos I've taken around New York City.
DIGITAL BANNERS
Using the established look and feel for the campaign, I designed a suite of digital banners in three of the most common sizes. There are also two looks for the banners, using the look of the Teaser poster for the first wave of assets, and then refreshing all of the banners using the Hero poster as a jumping off point. This keeps the creative feeling fresh over longer periods of time.
CONCLUSION
By starting with a deliberate approach to capturing purposeful static and video assets,
a full blown creative campaign came together. This project was designed to show how working with my studio can ensure that you have a suite of high quality, flexible, production-ready assets spanning from static to motion, all under one roof.
a full blown creative campaign came together. This project was designed to show how working with my studio can ensure that you have a suite of high quality, flexible, production-ready assets spanning from static to motion, all under one roof.
Working with Eric Vasquez Design for your next campaign means you are working directly with an experienced creative professional with over 16+ years of real world Key Art and Creative Direction experience. Having worked with clients like Nickelodeon, Oxygen, MLB, WWE, SYFY, Food Network and HGTV to partners like Imaginary Forces, Known, Audible, WONDERY, and more. Get in touch to discuss how we can deliver agency level results in a fraction of the time.