Your colours, your typeface, and what happens when a brand has neither

The reader takes four things from a page: the accent colour, the second colour, the typeface, and the name. It takes them from what the page actually declares, the stylesheet, the font files, the markup, rather than from a screenshot, because a screenshot cannot tell you which of nine greys is the brand.

Your typeface, not a lookalike

A film that uses a similar-looking font is a film that looks slightly wrong to the only people who notice: yours. So on a plan, Nine sets the film in your own typeface, from its real file, whenever the font's licence allows it inside a film. When it does not, the film uses another face and says so, rather than passing a lookalike off as yours.

When the stylesheet says nothing

Plenty of good brands declare no accent colour at all: the colour arrives from a logo, an image, a component library. The reader reports that honestly, no colour is declared in this stylesheet, so the colour you see is ours, and the film is made with a colour we chose rather than one we invented on your behalf. You get told which of the two happened. A film that quietly guesses is a film somebody has to correct later, and the correction costs more than the guess saved.

Contrast is a rule, not a taste

A pale accent on white is beautiful on a large logo and unreadable in a line of type. Where a colour has to be read, the film lifts it until it can be; everywhere it is only colour, it stays exactly as you wrote it.

Why this is the free part

Getting the look right is the step that usually eats the first two weeks and produces a moodboard. It is also the step a machine can do from evidence. So it is the part you can try for free: give your address to Nine's free page and it plays Nine's own films in your colours, with no account, yours to argue with before anybody is paid to argue about it.