4Creative Discuss Giant Ambitions for New Idents

If, like 99 per cent of the UK, you were glued to your sofa last night for the finale of the Great British Bake Off, you might have spotted Channel 4's brand new idents marching across your TV screen.

The latest iteration, created by the broadcaster's in-house agency, 4Creative, and directed by Blink's Dougal Wilson, sees the iconic blocks brought to life as a friendly giant in a living embodiment of the channel's values.

shots caught up with the 4Creative team, below, to discuss the evolution of the idents.

From left: Jane English, business director; Dan Watts, creative director; Shananne Lane, executive producer, 4Creative

How did you come up with the idea of a giant? Did you play around with any other ways to personify the blocks?

Our initial director’s brief was to bring 'the blocks' out into the real world and watch how the diverse people of Britain could interact with them. In doing so we wanted to illustrate the Channel 4 remit of being a risky alternative voice that celebrates the UK in all its diversity. We looked at many different ways in which to do that. From literally leaving giant blocks around in provocative places and secretly filming reactions, through to more orchestrated idents shot from above in iconic parts of the UK with the blocks forming a 4, and being smashed apart in different ways.

Dougal's take on this brief however, was to create a Giant with the blocks and have that Giant interact with Britain. We loved it and spent many months working closely with him to get to the four final scripts - each one covering off a different part of the Channel 4 remit. The Giant embodies the brand. It supports youth, disability, rich cultural diversity. Its risky and mischievous. But fallible at the same time. Furthermore we ended up using the 4 Score pneumonic as the Giant's voice - which added to its charm and quirkiness.

Channel 4’s previous idents were hugely popular, how much pressure was there to create something equally memorable and original that also paid homage to earlier iterations?

There was some pressure, mainly from ourselves. We wanted to do something equally as good, but also different – to evolve the last set in a way that felt meaningful and fresh.

How long did the process take, from creative concept to finished idents?

From getting the initial brief through to finishing the spots took around a year and a half.

Why was Dougal Wilson the right director for the job?

He has a proven track record of creating culturally potent and inspiring work. He has Channel 4 in his DNA and completely understands the brand and it’s importance as an alternative voice. And 4Creative have had a great working relationship with him in the last, having produced the Paralympics ‘Yes I Can’ campaign.

What was the most challenging aspect of the creative and production process?

Apart from the horrendous (and dangerous) weather we experienced whilst filming the Fanfare spot, probably the most challenging aspect was defining the purpose of each individual film. We all had to ensure that we fully expressed the Giant’s multi-faceted personality – which is a reflection of our brand - across the set of idents as well as using each spot to make a different point about our remit.

What’s the message that you hope viewers will take away from the idents?

With all the above in mind, we’d be happy if people come away from watching these spots having been reminded of our unique and important remit. Equally, if they just find them entertaining and engaging bits of film, well, that’s ok too.