Broadcast design is no longer about doing logos or spinning letters. Studios are now designing for a variety of platforms, providing integrated interactive work, utilising buttoned up workflows and sophisticated design
1 May 2009
Lilian Chow Business Director, Bruce Dunlop & Associates
What are the emerging trends in broadcast design? It’s retro with a new twist!
What is your opinion on the evolution of broadcast design in the Asia-Pacific? The affordability of desktop software has made broadcast design more accessible for motion designers in the few years. Right now we are seeing very polished end product executed by desktop software whereas traditionally it was only possible with high-end post machine. I think the most important part of broadcast design is to deliver information while attracting people’s attention, and designers are starting to be more aware of how to make their design user friendly and functional in addition to just being eye candy. In my opinion, good broadcast design is both eye catching and user friendly.
What are the distinguishing characteristics of broadcast design in the region? The distinguishing characteristics of broadcast design varies from country to country, and it’s largely dependent on local culture and custom; for example, direct approach and bold colors work well in certain market while subdued color and abstract approach work better in others. In the region, the design tend to be intricate in general as compared to the European counter parts
On a scale of one to 10, how would you rate broadcast design in Asia-Pacific, and why do you give this rating? I think there’re a lot of experienced as well as young blood in Asia and they have reached a certain level of standard. Having said that, there’s always room for improvement for all of us.
Joseph Desmond Cruel Operations Manager Roadrunner Network Inc.
What are the emerging trends in broadcast design? Due to the convergence of film/TV entertainment with gaming, broadcast design trends now have a lot of elements taken from game art. There is a lot more use of icons, moving type and HUD (heads-up-display) graphics, etc. to convey messages to the captive audience.
What is your opinion on the evolution of broadcast design in the Asia-Pacific? Although starting out mostly imitating western techniques, broadcast design in the region has evolved its own language in both the technical and conceptual aspects to engage the local viewers and at the same moment understandable to the global audience.
What are the distinguishing characteristics of broadcast design in the region? A lot of use of 3D elements, multi-layered compositing, animated type, and organic shapes to express a show’s branding and the emotion the creators want to associate with it. Broadcast design in the region focuses more on the emotional analogy of the graphics.
On a scale of one to 10, how would you rate broadcast design in Asia-Pacific, and why do you give this rating? Seven. I think broadcast design in Asia is perhaps a perfect example of where designers are ‘thinking globally, acting locally’. Broadcast designers are moving forward towards using globally accepted design techniques to express local and vernacular thoughts, emotions and messages across to their audience.
Broadcast design will see a return and re-interpretation of the basics. In challenging economic times, when budgets get tighter, innovation leads the way. While it is a human tendency to look to the familiar and tangible for comfort, those weaned on a 24/7 diet of CGI may get fatigued by design that is manipulated and convenienced by technology. There is always excitement on work that has been executed and accomplished through sheer human effort and ingenuity. And I hope to see the return of the ‘Concept’, and design that is as organic and real as the executional path.
What I hope to see is less of an evolution and more of a revolution in design. Where the tried and tested is thrown out, the ability to integrate the forms and functions of other mediums comes into play.
No time, no budget. That we have always lacked the resources is old news. That we somehow managed to make it work continues to amaze me. Less imitation and more original thought that is not afraid to be reflective of the region would be refreshing. When you do come across work that is original, unexpected and engaging - that is always a pleasure to encounter.
7/10. Recognizing that there is always room for improvement is never a bad thing.
Bill Browning Executive Vice President Network Creative Services, STAR
What are the emerging trends in broadcast design? Trends can both accelerate and limit creative. Trends should not dictate concept. Asia’s love affair with anything big, bold and 3D in years gone by has now swung to illustrative, 2D and retro to name a few. One trend finding new applications is handheld digicams in combination with motion tracking software.
What is your opinion on the evolution of broadcast design in the Asia-Pacific? Broadcast design in the Asia Pacific is evolving from being a “fast follower” of its Western counterparts to gradually developing its own aesthetics and sensibilities. We are seeing our own stylistic designs that connect with minds, emotions and cultures. This is enhancing our vocabulary of design and enriching the graphics commutation in Asia.
What are the distinguishing characteristics of broadcast design in the region? With the proliferation and affordability of new technology, broadcast design has flourished in the last ten years and new designers enter the field with relative ease. Also, the Internet enables Asian designers to learn the trends in Western countries instantly. However, Asian designers are no longer content being followers. I think it is time we built our own design expressions.
On a scale of one to 10, how would you rate broadcast design in Asia-Pacific, and why do you give this rating? With all the countries across Asia executing broadcast design, it’s impossible to give a number to rate ‘Asian broadcast design’. There’s massive variation from country to country. What’s possible to say though is, over the course of the last few years every country’s design has increased 10 fold with many at world standard and in some cases leading it!
Tracy Wong Director of Creative Services Animax Asia
In terms of channel brand packaging in general, motion graphics is getting more high end. There’s a big focus on 3D and visual effects and less 2D illustrative graphics. We are getting closer to the glossy and uber realistic standard of animated films you see from Hollywood. One reason for this is 3D software has gotten more accessible and we definitely have more designers skilled in this area.
With so many new channels coming up there is a need to simplify visual communication. Uncluttered and clean is still the look du jour. Each design choice is a deliberate attempt to stand out from other channels. We also see pools of creativity from all around the world using new ways to redefine broadcast design.
There is more collaboration between various design disciplines: designers, visual artists and illustrators coming together to create a 30 second spot is the norm. There are also cutting edge works that have 3D-rendered-to-look-2D, stop motion and claymation visual styles. User-generated content has created a whole new lo-fi style (inventive and inexpensive DIY) which has in turn influenced broadcast design.
Broadcast design in Asia Pacific progresses with the West as it tries to catch up with the latest trends but fused with Asian sensibilities. We have come a long way and the future looks bright with more students schooled in animation and graphics design.
There’s definitely localization for each market. Familiar cultural visual elements decorate a promo to resonate with and engage the viewers especially for many General Entertainment local channels.
Rating – 7. There’s definitely good work from various designers/design agencies. We don’t always have the big budgets of the West but we can come up with something that looks good and that’s a sign of our determination and capabilities.
Yoveindra Arumugam General Manager Shiroku
What do you think is the most significant development in HD technology? HD in and of itself has been, of course a major development, not just for the production side but broadcasters too. While this time the industry standards were a bit more in place before HD became pervasive in the market, it has been the cost factor that has prevented most houses from jumping full on into HD technology. However, there are so many developments happening so quickly in the HD market, that honestly, as strange as it sounds, reasonable costs for HD has been a very welcome development.
What are some of the challenges that you face in going HD? At Shiroku we insist that our people work with the most up to date equipment and technology so the addition of a fully capable HD suite to our post was a no-brainer. Needless to say, this year we’re all keeping an eye on budgets, and we find production bottom lines are not hugely affected by shooting and posting in HD. Clients are still insisting on high standards but, in some cases, reducing budgets which makes us all work harder to maintain the kind of ‘beyond expectations’ quality they expect from us.
How has HD technology being accepted in the Asia-Pacific industry? The region has been a bit behind compared to European and Western markets, and not only in production and post, but broadcast as well. With the exception of Japan and Singapore, we still have a ways to go before HD can be fully integrated and then there is the end user issues and availability of HD broadcast and reception. After all, there’s no point in creating the best, highest quality programmes, if the end user isn’t seeing them or able to receive them the way they’ve been designed and shot. But we’re getting there. The broadcasters, clients and public are becoming more demanding and we have to rise to meet that challenge.
What are some of the developments in HD technology that you look forward to? Productions are becoming more ambitious and presentation techniques are changing; greater use of smaller cameras and natural lighting for example. Once captured the way we can create and use more exciting techniques in post production. IT file based production is making life easier. Maintaining quality with reduced budgets is an additional challenge. I think we’ll all look forward to reduced cost, which is generally the route these things take, as the technology advances. Honestly, I’m most excited about what’s next; what looms over the horizon. We’ve come so far in such a short time, just imagine what the next level, the next step, will be!
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