Marcus Lamb: This Is Your Life

Marcus Lamb: This Is Your Life Open from Rebecca Megyesi on Vimeo.

General Description:

This package was a special show we filmed for the Marcus and Joni show. It was the host’s birthday and the producer in charge of it wanted to do something that was a throwback to the era in which he was born, the 1950’s. I was given a very quick deadline, just two short weeks, to come up with a concept and create an entire package from it.

You can read more about my process down below or proceed to the bottom of the page to view the rest of the package.

Preproduction:

The Preproduction on this was very short, only a day or two. Since I only had two weeks to do this project I knew that I needed to get things done quickly. I started off by gathering reference, looking up old pictures from the 1950’s, watching old title sequences from that era, and so forth.

Concept Development:

From that I developed a somewhat cheesy design that mimicked the look of a lot of the game shows that were popular around that time.

I sent it off to my producer and she had a meeting with the head of production and set design to discuss whether or not this was the look we wanted for the show. It turned out that it wasn’t, which was alright considering I didn’t like the design all that much. They liked the TV but not the cheesy colors and textures of the design.

So I was given the task to change the concept into something that was a bit more glamorous. The phrase I was given to work with was 1950’s Hollywood glamour. So with that in mind, I started the design process over again and gathered more reference.

Focusing a bit more on the glamorous side of that era, specifically the Oscars, I was able to come up with something that I thought was a much better design. It had the element of glam but still looked manly and dignified.

This design was well received and everyone was pleased with what I had come up with. We all agreed that this was the perfect choice to match the set we were building with the show and I was given the go ahead to start working on the package.

Production:

By this point I was left with barely a week and a half to come up with a full package for this show. They needed bumps, transitions, namekeys, fullscreens, a close, and an open. I started off first the bumps and namekeys since those tend to be the easiest for me to work on. I had no real idea of what I wanted to do with the open because I was told that it was basically a photo montage.

While I worked on the peripheral parts of the package I kept the open stewing in the back of my mind. I went through several ideas of how I could bring the pictures on in interesting ways but all of them seemed too complicated to finish in my allotted time or just too boring.

I managed to finish up the entire package, minus the open by Wednesday of the following week which left me with only two days to come up with the open. I had pondered over it all week and weekend but unfortunately I still had no idea what I wanted to do.

The only concrete idea I had was that I knew the producers wanted to start out with the TV and push into it like the viewer was actually entering the TV world. So, come Thursday morning, I started working on that portion. My thinking was that if I could get that part done then I’d have one third of the open finished and the rest would work itself out in my mind.

I figured I could use my main bump as the end tag of the open so that took care of two thirds. All that was left was to figure out how I was going to bring these pictures on. I started out Friday morning, my last day to work on it, with the beginning and end finished but not the middle.

Sitting down with my art director, we hashed out a few ideas in the morning before I was hit with a concept that I didn’t utterly hate. Since I didn’t have a whole lot of time to get this put together, I would work with what I had going on in the bump. I figured that instead of having multiple pictures flying in, I would have lighting ramp up to reveal a picture and then ramp down to transition to a new one. It didn’t have as much movement as I would have liked to incorporate but with so little time left it was the best solution I could come up with.

I finished it all up Friday afternoon and showed my producers and art director and they loved it. They thought it worked perfectly with the set and really conveyed the feel they wanted for this package. Even though it was a quick turn around and one of the fastest projects I have ever worked on, I had a lot of fun with it.

You can view the entire package down below. Thanks for reading!

The Package:

Marcus Lamb: This Is Your Life – Graphics Package from Rebecca Megyesi on Vimeo.

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