Rafa at Roland-Garros — Campaign Motion & Versioning

Milestone dates and lettering sit in the visual plane of the clay. Court lines and surface texture give the graphics depth as the framing moves, while animated type connects the marks to the match footage.

The airport creative uses a different motion treatment. Its portal frames Nadal within the tall composition, while the shake test explores how much movement the clay lettering can carry and stay readable.

In the landscape Forehand D2 artwork, Nadal sits to the right of a broad clay field. The tall airport version brings him toward the center, increases his scale and changes the crop around his racket and feet. The clay lettering shifts toward the left edge, and the portal grows taller around the player.

The tall canvas needs clear space above the racket for the headline and a separate zone below the figure for the footer. Those placement decisions keep the face, swing silhouette and campaign mark readable within the display’s narrower safe area.

The 960×1760 airport family carries the forehand and celebration artwork across several revisions. English and French forehand lockups show how the same layout accommodates different line lengths. The no-portal artwork shows the composition with the framing graphic removed.

The 2 m and 8 m pole exports share a 2:3 aspect ratio and use different pixel dimensions. Compared with the tall airport layout, the pole artwork adjusts the crop and the balance between Nadal, the clay lettering and the white frame. Each review export preserves its own display dimensions.

The display work moved through several edit and artwork rounds. Early and later Forehand layouts preserve different framing and graphic treatments, while the still-based and animated airport previews show two ways to carry the same creative.

Separate Premiere sequences and After Effects compositions kept the airport and both pole sizes editable at their own dimensions. The landscape promo went through its own editorial rounds, with later cuts surviving as R11, R12 and R13.

This excerpt from the standard landscape R13 cut pairs animated headline type and clay graphics with match footage. The campaign also survives in a late “Thank You Rafa” variant with an alternate end card.

The public references establish the campaign context. The exact relationship between the supplied Instagram post and this local export remains unverified.

• Public campaign post ↗
• Infosys at Roland-Garros 2024 ↗

The same forehand artwork makes the placement differences visible. The landscape frame leaves room for the clay typography, the airport versions introduce localized headline lockups, and the pole artwork tightens the composition around Nadal.