Can you create a compelling launch spot for the new season of Deadline Crime with the well known broadcast journalist and television host, Tamron Hall.
The marketing team at Investigation Discovery is one of our longest standing clients and closest partners. We have worked with them for years and many of our relationships extend back even further, starting when many of us were on the network side. So when ID calls, we answer. We know that the collaboration will be strong, the concepts chilling and the spots impactful. We have learned a lot working on the #1 crime network and we are always excited to jump in with a powerful host like Tamrom Hall.
We began by brainstorming design and concept exploration and came out the other side confident that the overall look should communicate more of a lifestyle feel. The edit should feel suspenseful yet thoughtful and we felt that Netflix’s Amanda Knox trailer was a really strong reference for this execution as Tamron is known for her interviewing prowess.
We pitched two distinctly unique concepts against the key message: For Tamron, it's always personal.
Heavily featuring her in action interviewing and interacting with victim’s case managers and families, the winning concept immediately would draw the viewer’s eye through the use of heavier text call-outs. Seeing her words as well as the interview responses on screen just felt right. Subtitles of the interview exchange between Tamron and her interviewees over negative space could put the details of these shocking stories center-stage. In the background, faded imagery from show footage plays out, giving the words themselves a stronger impact for the viewer, and further highlighting the emotional struggles present in those she interviews. As the script progresses, the back half of the spot shifts to shine a spotlight on the emotion that unfurls in her one on one interviews, the key differentiator of this series.
Overall we were really focused on highlighting Tamron and bringing the viewer out in the field with her. The heavier footage treatment was ultimately eliminated in favor of a light color treatment to the footage as to not obstruct the viewer’s experience being in the interview seat with Tamron. We ended up partially using the color palette from the alternate pitched concept we didn’t use to infuse more red into the palette. This ended up working really well as Tamron wears red often and we were able to pull a number of these scenes in order to accomplish a stronger visual cohesiveness throughout the spot.