Channel 4 Idents

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