perk: global rebrand campaign launch
perk: global rebrand campaign launch
overview
overview
overview
a 2d motion system that launched a global rebrand across two continents, from madison square garden to the london underground
a 2d motion system that launched a global rebrand across two continents, from madison square garden to the london underground
a 2d motion system that launched a global rebrand across two continents, from madison square garden to the london underground
my role
my role
my role
motion system design
motion system design
motion system design
client
client
client
perk
perk
perk
the brief
the brief
perk was relaunching with a global out-of-home presence built entirely on two sets of witty copy: no announcement, just bold messaging that was impossible to ignore. the launch date was fixed and secret, and no motion assets existed. perk supplied strict typographic rules for font, alignment, kerning and tracking. everything else had to be built from scratch, across two continents, before launch
perk was relaunching with a global out-of-home presence built entirely on two sets of witty copy: no announcement, just bold messaging that was impossible to ignore. the launch date was fixed and secret, and no motion assets existed. perk supplied strict typographic rules for font, alignment, kerning and tracking. everything else had to be built from scratch, across two continents, before launch
perk was relaunching with a global out-of-home presence built entirely on two sets of witty copy: no announcement, just bold messaging that was impossible to ignore. the launch date was fixed and secret, and no motion assets existed. perk supplied strict typographic rules for font, alignment, kerning and tracking. everything else had to be built from scratch, across two continents, before launch
the work
the work
designed the copy movement system in after effects, segmenting each asset into structured frames and building a master template that kept every later ad consistent. once the movement was locked, i split it into landscape and portrait variants with identical timing every location had its own specs: frame rates, aspect ratios, output formats and screen rotation. madison square garden needed motion synced across 2 prism screens, 9 double-sided totems and multiple led displays. the london underground's 49-screen run had to move in rhythm end to end. the nyc/ldn and ber variants carried localised copy inside the same framework phase 2 moved into special builds. i owned chicago's three headed monster at ontario @ franklin: three vinyl panels (35'×32', 14'×48' and 18'×14') that read as one piece. i measured and placed every sticky note across all three surfaces so the layout held as a single image
designed the copy movement system in after effects, segmenting each asset into structured frames and building a master template that kept every later ad consistent. once the movement was locked, i split it into landscape and portrait variants with identical timing every location had its own specs: frame rates, aspect ratios, output formats and screen rotation. madison square garden needed motion synced across 2 prism screens, 9 double-sided totems and multiple led displays. the london underground's 49-screen run had to move in rhythm end to end. the nyc/ldn and ber variants carried localised copy inside the same framework phase 2 moved into special builds. i owned chicago's three headed monster at ontario @ franklin: three vinyl panels (35'×32', 14'×48' and 18'×14') that read as one piece. i measured and placed every sticky note across all three surfaces so the layout held as a single image
designed the copy movement system in after effects, segmenting each asset into structured frames and building a master template that kept every later ad consistent. once the movement was locked, i split it into landscape and portrait variants with identical timing every location had its own specs: frame rates, aspect ratios, output formats and screen rotation. madison square garden needed motion synced across 2 prism screens, 9 double-sided totems and multiple led displays. the london underground's 49-screen run had to move in rhythm end to end. the nyc/ldn and ber variants carried localised copy inside the same framework phase 2 moved into special builds. i owned chicago's three headed monster at ontario @ franklin: three vinyl panels (35'×32', 14'×48' and 18'×14') that read as one piece. i measured and placed every sticky note across all three surfaces so the layout held as a single image
scope & scale
scope & scale
2
2
product categories: chews and sodas, each with stills and motion
product categories: chews and sodas, each with stills and motion
product categories: chews and sodas, each with stills and motion
40+
40+
asset executions across both categories
asset executions across both categories
asset executions across both categories
14
14
formats — from 300×250 MPU to 16×20 inch print and OOH
formats — from 300×250 MPU to 16×20 inch print and OOH
formats — from 300×250 MPU to 16×20 inch print and OOH
1
1
source image — the entire campaign visual language built from a single brand asset
source image — the entire campaign visual language built from a single brand asset
source image — the entire campaign visual language built from a single brand asset
the result
the result
A single governed motion framework launched a global rebrand simultaneously across two continents, holding brand consistency across every location and format for a campaign that started with almost no supplied assets
A single governed motion framework launched a global rebrand simultaneously across two continents, holding brand consistency across every location and format for a campaign that started with almost no supplied assets
A single governed motion framework launched a global rebrand simultaneously across two continents, holding brand consistency across every location and format for a campaign that started with almost no supplied assets
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