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asically, the goals of a broadcast ad are no different than those of a print ad. Most important is the need to deliver a client's message quickly and clearly. Concept development, style, technique, lighting and design are the art directorial functions that can make any ad memorable. It's the addition of sound, movement and the necessity for them to relate well to each other that makes a tv spot more complex because there's more to do of everything.
However, not so complex as might be imagined because there are logical parallels that help simplify the process. Instead of a thumbnail to develop the concept, a storyboard does the same job while also defining the key scenes. Like in a print ad, there are props to find and talent of all kinds to cast and hire. Much more talent than is usually needed for a print ad, but their are many more people involved to help. Then there's all that film and tape, maybe eight hours worth for a 30 second spot. Here's where an art director thinks "editing room" instead of " retouch" artist.
After all is said and done, the main difference between print and tv is that there are more details for the art director to direct. Every sight, sound and nuance must be fine tuned until an entire half minute works beautifully without jeopardizing a nanosecond of message.
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Choose a creative approach that best suits the nature of your tv message.
There are six singularly important messages that need to be delivered in this 30 second spot. That's a lot, so it was important to find a device that would separate and clarify each point in a space of its own. In other words, come up with a concept that would make the complexity of this offering easier to understand.
Custom carved and illustrated building blocks do the job well. Each clearly defines a unique benefit . Our model stacks them so that all the images can be seen together. Then some sensitive camera work rotates the stack to reveal a carved HMO card, which dissolves into the real thing.
As art director, my part of the process included: (1) Storyboard the visuals for best look and clearest relationship to the copy and music within a given time frame. (2) Supervise camera angles and cropping for most appropriate impact. (3) Gather and manage the preparation of all things to be seen in the commercial. Such as these perfect hands and handcrafted blocks.
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