Skyscraper Live

All projects

We created the broadcast graphics for Skyscraper Live, collaborating with Plimsoll to deliver a bold, screen language for a one-of-a-kind live sports event. Featuring free solo climber Alex Honnold (Free Solo, Arctic Ascent, The Devil’s Climb), the broadcast follows his ascent of Taipei 101 in Taiwan, one of the world’s tallest skyscrapers.

BRANDING AND TITLE PLATES

As the climb unfolds in real time, our graphics shaped the narrative: building tension, clarifying key moments, and heightening the stakes of an already risky endeavour. The project was delivered in two parts: an editorial graphics package to set the scene and establish context, and a live graphics system designed to track and communicate the action as it happened live on-air.

We chose a bold, dominant typeface for the show’s branding. For the titles, the priority was scale: keeping the skyscraper fully exposed on the screen, never obscured, while retaining Alex in frame so the audience could immediately gauge the enormity of the challenge.

CHALLENGE PACKAGE

Built for the top of the show, the Challenge Package is a fast, graphics-led sequence that breaks the climb into segments, giving viewers an instant read on the route and what’s at stake.

Key segments included:

The Slabs – 27 floors of angled, slippery glass, capped by a sharp ridge
The Bamboo Boxes – eight vertical sections with a vertiginous overhang; a test of
strength and endurance
The Triple Threat – the most dangerous phase: The Overhangs, The Steel Rings,
and The Spire

LOCATOR

A VFX globe locator, made in Unreal, opened the programme by pinpointing Taipei and establishing the global scale of the event.

LIVE GRAPHICS

During the climb, overlaid live graphics brought key moments into focus, showing real-time biometrics, altitude gained, and live weather conditions.

We collaborated with Eddie Delbridge at Live Digital Entertainment to bring the live system to air. Alongside the gfx overlays, we created weather maps to communicate forecast shifts and regional seismic activity.

To protect uninterrupted coverage, we used picture-in-picture, so Alex stayed on-screen even as the broadcast cut to content packages or commentary. Turnaround was extremely tight, with tweaks right up to transmission, ensuring the live team had everything needed for the day.