Legacy was a series of special shows for the Joni show that airs on the Daystar Television Network. Its main focus was on families and the legacy that they carry through the generations.
You can read about my process below or skip to the bottom of the page to view the full package.
The preproduction for this graphics package wasn’t too hard. My art director had already produced a still of the look that had been approved. It was my job to take that still and make the entire graphics package to match.
While the still was pretty and had a really good feel to it, there wasn’t much to work with graphics wise. The open to the package was going to be around thirty seconds so I had to figure out a way to put something more into it.
Since this package was all about lineage and previous generations, I thought it would be interesting to add a sort of timeline element to it. My art director also suggested adding in old photos to help push that visual. We had a number of them in our stock folder so implementing those into the design was rather easy.
I tried several different layouts and showed them to my producer to see which one she preferred. We went with one that had the title of the show center stage and the photos and timeline off to the side as accent pieces.
After that specific Design was picked, I went on to Concept out some Name Key and Lower Third looks that matched.
After all the designs were agreed upon, I took the project into After Effects and set out to make the package.
The production was a relatively easy affair. I finished most of the package within two weeks of work. The only part that didn’t get done within that time frame was the open. The higher ups were still trying to figure out how they wanted that to progress and what they wanted to show for it. While they worked all that out, I made out all the other elements.
With all the damask patterns and lines, it was really easy to come up different types of animation ideas to play off of. I knew that I wanted to portray a feeling of depth and space in this package to give it the proper ‘weight.’ Lineage and tradition is something that people hold dear and I wanted to portray that feeling within the graphics as well.
I played around initially with adding a ‘3D’ effect to the polaroid pictures. I cut out the foreground characters and separated them from the background. I then made a camera move to fake parallax and make it appear to have depth. It was a nice effect but considering how quickly the camera would be moving past them in the main composition, it would be barely noticeable.
It also didn’t help that the pictures were changed on me constantly. Trying to cut out fifteen different pictures and apply the same effect to them only to find out that they were being changed the next day was a headache and a half. Thus I made the tactical decision to keep it all flat.
The most difficult part of the package was the break that came in the middle of it. Half way through the project, with all the elements but the open done and finalized, the project was put on an abrupt halt. Several months passed by before it was brought up again. I had to go back into it and remember everything that I had done to make the open a cohesive piece.
In the end, the producers decided to have the open rely heavily on Voice Overs. They planned out five or six shows with different VO’s each of them. The imagery that I originally came up with when I heard about that was to show the quotes that were being said, a way to visual reinforce what the audience would hear.
It gave the open that sense of weight and human connection that I thought would go well with the subject matter. The only problem was that with the five or six different shows I had to custom make the open for each one.
I split the Open into several different comps to help facilitate this. The main section of the open was a transition to the timeline element and the polaroid’s before it transitioned into the logo end plate. I kept that in its own separate comp and render it out to save on render times.
Each quote was in its own comp so it could be easily replace and swapped out. It worked out really well, especially when the quotes were being changed around so often.
In the end, I managed to create a procedural edit that allowed the front portions to be customize with ease while the back half remain the same. It worked out really well and the producers I worked under were pleased with the outcome.
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