Pitch films / Editorial / Title design
Pitch Sizzles
Make the idea feel real before the show exists.
Editing • Motion Design • Typography • Sound Design • Music Supervision
- Work
- Dead Ink / Difficult / Family TV Dinner / Shit Got Real
- My role
- Story shaping / footage research / editing / scratch VO / motion design / typography / sound design / music supervision
- Format
- Pitch sizzles / series opens
I often started with a brief, a beat sheet or a rough script. From there, I found or created the footage, shaped the story, recorded scratch voiceover, chose the music and built the sound, typography and motion. The job was not simply to explain a show. It was to make the show feel real before it existed.
Identity / Editorial
Dead Ink.
Black, white and red gave the pitch a tactile identity. The edit lets the mark, the characters and the atmosphere arrive as one thought.
- My role
- Story shaping / footage research / editing / title design / sound design / music selection
- Deliverable
- Full pitch sizzle + opening sequence
Editorial / Rhythm / Type
Difficult.
I cut the pitch and built its kinetic title system. Rhythm, sound and type gave the idea pressure, pace and a point of view before the premise had to explain itself.
- My role
- Pitch editing / kinetic title design / type animation / sound + music
- Deliverable
- Full pitch sizzle
Editorial / Music / Type
Family TV Dinner.
I cut the sizzle and built its escalating sitcom-theme sound-and-music mashup.
- My role
- Footage research / story edit / sitcom-theme music mashup / typography
- Deliverable
- Full pitch sizzle
Opening design / Motion
Shit Got Real.
I created the opening: a direct, high-energy front door that establishes the show and gets out of the way.
- My role
- Opening edit / motion design / graphics / sound
- Deliverable
- Series pitch opening
The outcome
The pitch had a world before the first episode did.
↗