MOTION GRAPHICS
MOTION GRAPHICS
The Oscars
Motion graphics package designs for the 82nd, 83rd, and 84th Academy Awards
Hello.
About
As Senior Motion Designer at Disney/ABC Television group, I created motion graphics packages for the 82nd, 83rd and 84th Academy Awards broadcasts.
This comprehensive package included the host sequences, nominee slates, category intros(backstage, governer's ball, red carpet, thank you cam), lower thirds, transitional elements, print material and mic flags that helped establish the visual identity for Hollywood's biggest night.
About
As Senior Motion Designer at Disney/ABC Television group, I created motion graphics packages for the 82nd, 83rd and 84th Academy Awards broadcasts.
This comprehensive package included the host sequences, nominee slates, category intros(backstage, governer's ball, red carpet, thank you cam), lower thirds, transitional elements, print material and mic flags that helped establish the visual identity for Hollywood's biggest night.
About
As Senior Motion Designer at Disney/ABC Television group, I created motion graphics packages for the 82nd, 83rd and 84th Academy Awards broadcasts.
This comprehensive package included the host sequences, nominee slates, category intros(backstage, governer's ball, red carpet, thank you cam), lower thirds, transitional elements, print material and mic flags that helped establish the visual identity for Hollywood's biggest night.
About
As Senior Motion Designer at Disney/ABC Television group, I created motion graphics packages for the 82nd, 83rd and 84th Academy Awards broadcasts.
This comprehensive package included the host sequences, nominee slates, category intros(backstage, governer's ball, red carpet, thank you cam), lower thirds, transitional elements, print material and mic flags that helped establish the visual identity for Hollywood's biggest night.
My Role
Senior motion designer
Collaborations
Oscars producers, on-air broadcast teams
Partnerships
The Academy of Motion Picture Artist and Sciences
Transitions
The splash animation consisted of sourcing materials from the on-air graphics and modifying it for an intro and a loop. I defined the intro to be set at a time of 5 seconds with an indeterminate loop at 5 seconds
The broadcast utilized the fluid, choreographed transitions I created to ensure smooth and impactful shifts between different content streams.
The splash animation consisted of sourcing materials from the on-air graphics and modifying it for an intro and a loop. I defined the intro to be set at a time of 5 seconds with an indeterminate loop at 5 seconds
The broadcast utilized the fluid, choreographed transitions I created to ensure smooth and impactful shifts between different content streams.
The splash animation consisted of sourcing materials from the on-air graphics and modifying it for an intro and a loop. I defined the intro to be set at a time of 5 seconds with an indeterminate loop at 5 seconds
The broadcast utilized the fluid, choreographed transitions I created to ensure smooth and impactful shifts between different content streams.
The splash animation consisted of sourcing materials from the on-air graphics and modifying it for an intro and a loop. I defined the intro to be set at a time of 5 seconds with an indeterminate loop at 5 seconds
The broadcast utilized the fluid, choreographed transitions I created to ensure smooth and impactful shifts between different content streams.
Lower thirds
Lower thirds were crucial to capture candid moments between hosts and actors. These treatments allow viewers to easily access key information to provide context in relation to the live experience
The lower thirds I created were deployed and functioned seamlessly across the network's on-air programming.
Lower thirds were crucial to capture candid moments between hosts and actors. These treatments allow viewers to easily access key information to provide context in relation to the live experience
The lower thirds I created were deployed and functioned seamlessly across the network's on-air programming.
Lower thirds were crucial to capture candid moments between hosts and actors. These treatments allow viewers to easily access key information to provide context in relation to the live experience
The lower thirds I created were deployed and functioned seamlessly across the network's on-air programming.
Lower thirds were crucial to capture candid moments between hosts and actors. These treatments allow viewers to easily access key information to provide context in relation to the live experience
The lower thirds I created were deployed and functioned seamlessly across the network's on-air programming.
Ian Kemp
I'm currently a full time product designer at Meta Reality Labs based out of SF
Ian Kemp
I'm currently a full time product designer at Meta Reality Labs based out of SF
Ian Kemp
I'm currently a full time product designer at Meta Reality Labs based out of SF
Ian Kemp
I'm currently a full time product designer at Meta Reality Labs based out of SF