s in print, broadcast requires that its images and typography be well designed. While print lacks movement, it must reproduce well on paper. For broadcast, decisions about cropping, color, camera movement, readability, dissolves from scene to scene and their relationships to audio are all based on how they will work on a tv screen.
The big difference, though, is the relative vulnerability of a concept in each media. Print is basic. For the most part, its design need only enhance support between a word and picture, making most ideas fairly easy to deliver in tact.
Conversely, the very aspects of broadcast that allow for the creation of incomparable excitement can also pose a threat to the message itself. Use of such a complex media demands that professionals constantly keep at least one eye focused on the communicative goals of an effort. It only takes a little loss of concentration for a message to jump track. In addition, designing for this media requires the experience to realize that available resources and talent must be up to the ambition of a concept. With detailed planning most ideas can be produced with more than acceptable quality. A comprehensive storyboard and pre-production outline will help make sure that the proposed method of execution balances well with prescribed limits of the project.
The design strength of a television spot can be built on a single visual concept.
It is akin to watching Anthony Hopkins deliver a three minute dialogue without a mistake. You know it is a great performance because the camera never breaks away. While appearing easy to do, the quality is spellbinding because every gesture, word and inflection is delivered perfectly.