This TV series was initially to be shot entirely as live-action. After my third year of Art Direction for educational children's TV series, I was given more latitude for this particular project as its Creative Director.
Having assisted in the transition from analog to FCC digital compliance at the TV facility I worked at during this time, I convinced management, writer, director, producer, studio crew and engineers, to shoot this show entirely on #chromakey (aka #greenscreen ).
It was the first time the TV station, B.E.C.O.N., had done so, and it's a practice they now carry on to this day; being more comfortable, adept, and secure in its implementation.
Although shot in SD, in only 4:2:2 colour space, and no budget apart from the resources at hand, I completed: all animation and compositing of the thirteen, 22-minute episodes, authored the master multimedia DVD (which included teaching materials and links, saving tens of thousands in printed materials, shipment, & storage), and graphic design for the face of the disks and box.
I completed every: 3D and 2D design, 3D and 2D animation, lent my voice to some characters, composited every shot of the teacher, including the enhancement of her skin (we could only have the teacher on set spaced some weeks or months apart, and since her complexion changed, I smoothed it for continuity's sake).
Rendered all the shots between 1 PC and 1 Mac, over the course of 18 months of pre-production, production, and post.
- The show was awarded a 2007 Emmy for "Outstanding Youth/Children's TV Series," by the National Academy of TV Arts & Sciences.
- The show was awarded a 2008 Telly for "Children's TV Series," by the Telly Awards association, judged by past recipients.
- The show was awarded a 2008 Aurora for "Children's TV Series," by the Aurora Awards association, judged by past recipients.
- The show was awarded a 2008 Platinum AVA, "Children's TV Series," by the Association of Marketing & Communications Professionals.
Much of the Spanish contract work displayed here, is from my first job as a Junior Editor/Animator in Puerto Rico.
Due to the very limited capabilities of digital technology at the time, & the limited resources of an island agency, most of the work is presented in Standard Definition; SD.
Despite such limitations, we did get to work with global brands for the Spanish language market. I also learned much about the advertising, marketing, and business industries through 'trail-by-fire!'
Admittedly, I miss doing agency and/or boutique work. Why? More often than not, we were given a lot more creative latitude in making these projects from start to finish. It was a degree of freedom I did not have again until well over ten years in this business.
Additionally, newcomers to TV/Agency work might get the unique opportunity to do projects that one would never be given the chance to touch in a larger design firm without more experience: such as being asked to shoot, ADR, and post "Ms. Teen Puerto Rico" for a spot I designed for #Maybelline . It would later be scanned to 35mm film for cinema advertising in all #Spanish language markets.
Other fun opportunities were motion capture for the penny in "El Chavito." Yes, we could have done it by hand, but miss a chance to try #MoCap at a facility George Lucas was secretly using to render out frames from "Episode I?" See? Opportunity!