Isagenix Celebration
From 2014-2018 I was an integral part of an events team that built out multiple shows for Isagenix. I was given colors and boards for the main show looks, but there were also smaller moments that I was able to have more creative freedom with. I mostly worked on the Walkin which is played as people prepare for the show. The screens we had to design for fluctuated between 5x1 and 3x1 aspect ratios. There were also special screens in the shape of the Isagenix logo that had to correspond and loop exactly to the main videos that were created. The graphics I have represented here were from 2017 in Las Vegas and was one of their largest shows at that time. I built graphics leading up to the show for 3 months and I was the main motion designers on site with a total of 4 motion designers, 1 Art director and a Video Producer. I coordinated with the stage crew and production crew to make sure everything delivered was in the correct specifications for projection. The Isagenix crew was also there and would often come by to see what we were doing The most illuminating people were the attendees, since I would get real time feedback on graphics I had made.
Highlights
Average attendance at Celebration events grew from 6,000 in 2014 to 12,000 in 2018
Th main event was always in the U.S. but all deliverables were reformatted for shows in Australia, Mexico and Canada.
The crowd always went wild during large moments and we often had to have earplugs while working backstage.
Brand Discovery
Energetic | Wellness | Colorful | Loud | Bright | Soothing | International
Style Inspiration
Isagenix gave me and the team a lot of reference material for this huge undertaking. We were given testimonials from the customers and the more successful partners. Many images and keynote decks from presenters as well as their main color gradients, fonts. We were also given many of the products to try as we build out the graphics for those products. This helped me to get the feel for different solutions to the different products, for example they have a energy boosting shot that I did many iterations on exploring different ways to energize the product.
Show Look
The show look and motion theory became the design system for most of the show. It informed not only how things would move on and off but how much energy they would hold on screen. We were given simple gradients and a particle look to go off of. We explored iterations of how the particles and gradients could move. Eventually we decided that we would need one main system that was built from multiple particle rigs so it would be adjustable for each moment. When I handed off the show look to other animators, I had to make sure they understood the approved uses of the particle system as well as pitfalls they might have. If something came up while building out a separate moment we would have to make sure if it was altered it still was on brand.
Efficiency
Since the screens were so large, I had to make sure that we not only had the look we wanted, but it was efficient to render and even playback. For this reason a lot of the motion theory was based off of the showlook for efficiency sake. If there was a deliverable outside of that look we had to be careful that what we were building wouldn't eat up a ton of rendering resources.
Product Reveals
For the product reveal segments we had a PIP that smaller 16x9 videos would be played on while someone was making a keynote speech. These were big moments but they needed to fit the product, speaker and popularity of the product. I took special care when 3D rendering or building montages for the products, at times we didn't have stock footage to pull from and would shoot our own caramel, chocolate or peanut butter to better fit the product.
Scenics
When building out all graphics we would have to take into account the specifics of the screen and the PIP that you can see on the sides of the screen here. We would render out different attendee vantage points and see if our designs worked from each of the viewpoints. This mostly effected not having text or hero prodcuts on the outer edges, but also in how elements would transition in and out and if they would be jarring too bright for an audience member. We would have these scenics and screen pixel counts locked long before the show for efficiency and consistency.
While onsite I was working with and gaining information from many people not only from the video team I was on, but the projection crew, client and attendees. The first hat I had to wear when we would get onsite would be as a tech setting up the computers and making sure that we had the electrical, internet and ethernet connections we needed to be able to work. Once the necessities were set up, I would have to make sure we had all the files we needed onsite in case anything needed adjustments or there were client requests we could fill onsite. After that I would interface with the projection crew converting and delivering our video files to their specifications. Everything had to be re-labeled for their systems and we would often work out any kinks for the non traditional shaped screens. A lot of times the screens were not quite what they told us they would be in the beginning, or changed on site and all of the deliverables would need to be adjusted slightly.
