Channel 4 Idents
Channel 4 Idents
Seventeen independent creatives, artists and filmmakers came together in 2023 to create the emotionally colourful tapestry of 25 looping scenes depicting life in modern Britain for Channel 4’s bold brand transformation. Drawing on the concept of the ‘4’ as a traveller through the truths of the nation, the creative agency interpreted five themes - identity, the land, system, release and love. Viewers dive through the changing idents inside the number four, indulging in live-action, animation and full CG scenes that represent chaos held together by one system.
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What did the judges have to say?
D&AD Jury
Beautiful, crafted, epic and immersive. Full of diverse stories and real-life moments, with scale, intimacy and depth born from a simple idea and perpetual motion.
Aporva Baxi
Co-founder and ECD
DixonBaxi
It's the most highly captivating piece of the year. Beautifully conceived and produced, the writing, special effects, sound, direction and all the production works seamlessly to mesmerising effect. I think if there hadn't been so much great Channel 4 work done in the past it would have been a Black Pencil.
Doug Schiff
Chief Creative Officer
VML Ogilvy Japan
I'm surprised this piece of work didn't receive a Black Pencil – such was its originality, scale and ambition. Why was it so extraordinary? It took something we all know and showed it to us in a new light, going over and above to push the concept to the ultimate level. There were some contextual elements which made it feel perhaps a bit UK-centric, but for Channel 4, that feels valid in this instance. I have already forgotten some of the other bits of work which got a Black Pencil, but if there is one piece of work which will be remembered for a very long time to come, I suspect it will be this.
Jonathan Kneebone
Founder/Director
The Glue Society
So many executions of a theme, all bespoke but complementary, with amazing craft involved.
Jamie Watson
Executive Creative Director
Heckler
The unique looping scenes create a fantastic representation of British culture and asthetics. The iconic Channel 4 logo is the central axis of each film as the camera continually loops through the logo and shows the different scenes from one to another continously. It’s created so beautifully and breathtakingly. The combination of live-action, animation and full CG takes the films to another level.
Shailesh Khandeparkar
Executive creative director
FCB Ulka
Beautiful, crafted, epic and immersive. Full of diverse stories and real-life moments, with scale, intimacy and depth born from a simple idea and perpetual motion.
Aporva Baxi
Co-founder and ECD
DixonBaxi
It's the most highly captivating piece of the year. Beautifully conceived and produced, the writing, special effects, sound, direction and all the production works seamlessly to mesmerising effect. I think if there hadn't been so much great Channel 4 work done in the past it would have been a Black Pencil.
Doug Schiff
Chief Creative Officer
VML Ogilvy Japan
I'm surprised this piece of work didn't receive a Black Pencil – such was its originality, scale and ambition. Why was it so extraordinary? It took something we all know and showed it to us in a new light, going over and above to push the concept to the ultimate level. There were some contextual elements which made it feel perhaps a bit UK-centric, but for Channel 4, that feels valid in this instance. I have already forgotten some of the other bits of work which got a Black Pencil, but if there is one piece of work which will be remembered for a very long time to come, I suspect it will be this.
Jonathan Kneebone
Founder/Director
The Glue Society
So many executions of a theme, all bespoke but complementary, with amazing craft involved.
Jamie Watson
Executive Creative Director
Heckler
The unique looping scenes create a fantastic representation of British culture and asthetics. The iconic Channel 4 logo is the central axis of each film as the camera continually loops through the logo and shows the different scenes from one to another continously. It’s created so beautifully and breathtakingly. The combination of live-action, animation and full CG takes the films to another level.
Shailesh Khandeparkar
Executive creative director
FCB Ulka
Beautiful, crafted, epic and immersive. Full of diverse stories and real-life moments, with scale, intimacy and depth born from a simple idea and perpetual motion.
Aporva Baxi
Co-founder and ECD
DixonBaxi
It's the most highly captivating piece of the year. Beautifully conceived and produced, the writing, special effects, sound, direction and all the production works seamlessly to mesmerising effect. I think if there hadn't been so much great Channel 4 work done in the past it would have been a Black Pencil.
Doug Schiff
Chief Creative Officer
VML Ogilvy Japan
I'm surprised this piece of work didn't receive a Black Pencil – such was its originality, scale and ambition. Why was it so extraordinary? It took something we all know and showed it to us in a new light, going over and above to push the concept to the ultimate level. There were some contextual elements which made it feel perhaps a bit UK-centric, but for Channel 4, that feels valid in this instance. I have already forgotten some of the other bits of work which got a Black Pencil, but if there is one piece of work which will be remembered for a very long time to come, I suspect it will be this.
Jonathan Kneebone
Founder/Director
The Glue Society
So many executions of a theme, all bespoke but complementary, with amazing craft involved.
Jamie Watson
Executive Creative Director
Heckler
The unique looping scenes create a fantastic representation of British culture and asthetics. The iconic Channel 4 logo is the central axis of each film as the camera continually loops through the logo and shows the different scenes from one to another continously. It’s created so beautifully and breathtakingly. The combination of live-action, animation and full CG takes the films to another level.
Shailesh Khandeparkar
Executive creative director
FCB Ulka
