I worked at the Discovery Agency, Discovery, Inc's in-house design and advertising agency. While there, I lead a few shows' campaigns and contributed to many others. While our focus was mainly on TV spots with attached print and social media activations, we touched upon out-of-home activations for our bigger shows, events, and initiatives.
I lead the visual direction for Deadliest Catch: Season 14's campaign. My concept was to enshrine the crews and their ships in streaks of light, elevating them amongst a visually dark, fractured, and gritty seascape. To contrast from a tragic and destitute Season 13, I kept the colors cool, and the action uplifting.
We rounded out the campaign with Key Art, digital banners, social graphics, and a promotion with STIHL.
Shark Week is a massive undertaking. Discovery's media strategy department came up with the concepts, tactics, and activations which were then sent to us at Discovery Agency to execute. I was lucky enough to have the opportunity to design the official logo for the 30th anniversary of Shark Week, and pitch Key Art for ad sales.
To promote the controvercial Phelps vs. Shark special for Shark Week 29, I did a complete takeover of the Fulton Center in New York City. I produced videos and motion graphics for 50 screens ranging from small wraparound banners to massive, eye-catching billboards.
Project Cat Billboard
Some outdoor media agencies in New York will donate free time on some of their most prominent billboards to be used for non-profit causes. Discovery's Project Cat got two weeks on one of the biggest billboards in Times Square. With this huge canvas and hundreds of thousands of viewers, we wanted to deploy a striking message to entice people to donate to Project Cat and the WWF. Footage of the tigers was captured at Project Cat's tiger reserve in India.
This one's actually a Science Channel show. I directed this spot and produced some of the animation. There was an incredible amount of detail in some of the gui elements that appear on the screen for mere seconds. In some of the shots, there were well over 100 layers, with some being as small as 1 pixel.
The New Mythbusters
I created Key Art for the revival of the Mythbusters with the new cast.
Motor Mega Week
I pitched Key Art and social media graphics for Motor Mega Week, a week celebrating Discovery Channel's most interesting automotive personalities.
Alaska: The Last Frontier
Motion graphics for this one were achieved by building a set from old barnwood stacked with carefully-arranged props, and gently swinging our lighting set-up and found objects to achieve an organic, realistic, swaying look and feel.
From there, we blew out the campaign into key art and social graphics