Giri / Haji – Ola Podgorska

GIRI /
HAJI

NETFLIX / BBC

GIRI/HAJI

Assisting graphics to Lead Graphic Designers - Erica Dorn and Matthew Jarmola-Clark (2018-2019). Some of the filming took place in Tokyo, and the graphics for this part were handled by the team in Japan, led by Tomoya Imai-San.

Production Design: Morgan Kennedy
Set Decoration: Laura Marsh & Kate Gunyan.

All artwork & photography property of Sister.

THE PROCESS

In each of the 8 scripts, there were approx 100+ scenes. In some a little less, but each of these scenes will require graphics of different types. We read the scripts, create a script breakdown, and design and make artwork for any items which are needed per scene, for each Episode. In addition to this, Set Dec will often throw additional graphics into the mix (eg: framed prints), and the Graphics Team also need to design and create these.

Quality

We usually have a few weeks of ‘preparation’ time before shooting starts to get ahead of the shooting schedule. It stands to reason that the more organised a Team is, and the more time the Art Dept. have to create graphics, the better the end result. Often scripts will change last minute, so we need to be able to design, print and deliver graphics to set, swiftly.

We also need to repeat any designs which are 'in action' on camera, so that if something gets damaged, it can be replaced, or when there are multiple camera takes, the team don't run out.

We work closely with the Clearance team to get the new designs we create cleared with the legal team, so that they’re allowed on set (shout out to Hannah Bone, Anna Wilton and Tonia Cohen at Capello Media, who worked with us on this project and made everything flow smoothly!).

For any digital graphics, these need to be ‘developed’ into working prototypes, which then get used on devices, on set. Whenever possible I'd do this myself, but sometimes we will work with a third party partner who can focus on these due to the volume of work (eg: 'action' screens for a full office set). On Giri/Haji we worked closely with Chris, at Revolver AV.

Quantity

Over the entire production, but especially once filming starts, time is of the essence. So sometimes more requests for graphics come through last minute, and we continue working on graphics for the episodes ahead while we have time.

With bumf (filler) graphics often quantity is more important than quality (as this is 'background' dressing, we only need the volume to 'sell' the idea on screen, as none of the graphics will appear close up. They serve to provide atmosphere.)

Last I counted there were approx 208 clearance forms I submitted for all 8 episodes. And that's not counting the graphics Matt and Erica created.

Here are some of the clearance forms examples:

Episode 1

Crime scenes

I designed the evidence markers for the crime scene - which were not only shown in- camera, but were also featured on all the crime-scene photography throughout the series. I also designed the menu which was featured in the shootout scene.

Taki's Room

SV University

Police Office

Screens and bumf

Throughout all the episodes, there were loads of screen graphics (we worked with Revolver to animate), and bumf. Here are some of my designs from Episode 1...

Episode 2

Hospital visit
& painkillers