Print Zzz
series of images I think might be good for the package, will most likely do them all black and white to keep it all fairly consistent as such...Maybe thinking of switching them all to one sort of theme also, i.e. portrait shots or non-portrait ones, as at the moment they are a bit of a mashup of images. But also having a variety would demonstrate more than one skill as a photographer, so I don't know yet.
Also I accidentally exported the PDF as 'smallest file size' so all the images are bad quality at the moment.
Showing posts with label OUGD202. Show all posts
Showing posts with label OUGD202. Show all posts
Thursday, 29 November 2012
Wednesday, 8 February 2012
Title Sequence + Idents
Title Sequence - Final from Mike Mooney on Vimeo.
IDENT 1 from Mike Mooney on Vimeo.
IDENT 2 from Mike Mooney on Vimeo.
IDENT 3 from Mike Mooney on Vimeo.
IDENT 4 from Mike Mooney on Vimeo.
Tuesday, 7 February 2012
Silent Movie - Final Videos
Final videos for the 'Silent Movie' Brief. Basically getting to grips with basic AfterEffects skills.
Bouncing C - Final from Mike Mooney on Vimeo.
Sliding C Final from Mike Mooney on Vimeo.
Toppling C Final from Mike Mooney on Vimeo.
Spinning Letters Final from Mike Mooney on Vimeo.
Rotating C Final from Mike Mooney on Vimeo.
Monday, 6 February 2012
60 seconds
60 seconds + audio from Mike Mooney on Vimeo.
Completed a semi-first draft type thing for my title sequence. At the beginning of this brief, I was quite worried about how I would manage to fill 60 seconds worth of video, but after getting started it was not too bad. 60 seconds still feels a bit long for a title sequence..particularly on TV where most adverts/sequences only seem to last half that time.
Without proper feedback I am unable to tell how close to completion this is, although I have already identified a number of issues that could do with addressing:
- In the initial 10/15 seconds the colours of the CMI screen compared to the logo do not match; although this will be fairly easy to sort by fixing up the original AI files.
- The audio does not match at certain points - despite my best efforts to arrange everything to fit in time with the chosen track, the track is in fact ever so slightly slower than what it needs to be. This is a result of me creating the title sequence in the wrong order; realistically I should have laid the track down first before animation, so I could have animated it directly in time, but this will be a lesson learnt for next time. To be fair I can easily solve this situation by opening up the track in Ableton and speeding it up ever so slightly.
- Wrong section of audio track used - Although the section of track used is approximately 60 seconds in length; it sounds a bit flat as there are only trebles and mids at that point in the track....so once again if I open it up in Ableton and cut and paste a few parts of the track together I should be able to get a nice range and deep sound.
Other than that, it seems pretty sweet. I've been thinking about quickly getting some circuit board imagery and allowing that to drift through the background, almost as a texture, just for a bit of extra interest as the background currently looks fairly flat and boring. Should hopefully only be a half hour job, if I've got the time.
Friday, 3 February 2012
50 seconds
title sequence - 50 seconds from Mike Mooney on Vimeo.
50 seconds of my title sequence so far. A fair amount of it is still pretty rough at times, and I have not yet laid the audio over properly, as I need to warp it a little bit to make it fit properly.
Thursday, 2 February 2012
Title sequence progress
I've started to reach around about 30 seconds of my title sequence. The first ten seconds were fairly heavy in terms of the number of layers used, and at my skill level became quite a lengthy task to achieve. Luckily the following sections of the sequence are a little bit more basic, which will allow me more time to refine them and get them spot on. Here is a semi-rough draft of the first 30 seconds:
Unfortunately the logo, being a psd file, is affected quite badly when scaled up, so I got hold of an eps file which sorted that problem out nice:
1st 30 seconds ish from Mike Mooney on Vimeo.
Unfortunately the logo, being a psd file, is affected quite badly when scaled up, so I got hold of an eps file which sorted that problem out nice:
title sequence improvement from Mike Mooney on Vimeo.
Tuesday, 31 January 2012
transitions - 909
Been testing out the transition from the first part of my title sequence into the next. The first part is based on an old computer screen used for the Fairlight CMI (which I will have to make more obvious) and the second part is based on the design of Roland Tr-909's. I figure it'd be pretty cool and convenient to switch the Fairlight screen into an LED panel, which allows me to zoom out of it revealing a 909 vectored image. Even though I have put these ideas down on a storyboard, once actually beginning to create it the timings are never what I expect, not really an issue though.
909 transition 1 from Mike Mooney on Vimeo.
909 transition 2 from Mike Mooney on Vimeo.
Monday, 30 January 2012
CMI Ident progress
Nearly finished my first ident; got it to a stage where it could be considered nearly complete. The first video shows some progress, the second one is a complete ten second sequence. There's not audio yet but I'm moving onto that soon, narrowed down a few tracks to use but I just need to get them to the correct speed to match the animations.
CMI ident test 5 from Mike Mooney on Vimeo.
CMI IDENT 6 from Mike Mooney on Vimeo.
Sunday, 29 January 2012
CMI Ident tests
Some development videos for the first ident I am making, which is based on the computer screen used with a Fairlight CMI (an old synthesizer). I came to the conclusion that due to there being so many layers to deal with, I'd give this one a go first and then hopefully the others will be a little less heavy.
Obviously there is still a fair amount of work to do on this, but I'm happy with how it's going so far. 10 seconds almost feels like not enough time, so it is going to be tricky to fit everything within that timeframe whilst still maintaining an un-cluttered sort of feel.
CMI ident test 1 from Mike Mooney on Vimeo.
CMI Ident test 2 from Mike Mooney on Vimeo.
CMI Ident test 3 from Mike Mooney on Vimeo.
CMI Ident test 4 from Mike Mooney on Vimeo.
Obviously there is still a fair amount of work to do on this, but I'm happy with how it's going so far. 10 seconds almost feels like not enough time, so it is going to be tricky to fit everything within that timeframe whilst still maintaining an un-cluttered sort of feel.
storyboards...
Some quick storyboarding for the title sequence, nothing too detailed as I'm fairly sure in my mind of how I want it to go...plus there are only so many ways in which a drum machine/synth can be animated effectively, in my opinion...although this could just be me being narrow-minded and set on how I can see it in my head at the moment.
No consideration to colour yet.....as I don't have any coloured pens.
Tuesday, 24 January 2012
AfterEffects Software Workshop 24/1
ADVANCED KEYFRAME TECHNIQUES
back to solid shapes.
select all layers and press U to see all animated properties.
Shapes currently moving across the screen at constant speed. What we're going to look at is acceleration/deceleration, to give the animations a much more natural feel.
First way we're looking it is AE's quick and easy way of doing it.
In the animation menu we can select 'Easy Ease Out' and apply this to the first keyframe (we're going to do this to the green box to start with)
The spacing of the keyframe dots become closer together, making the green box start off slower and speed up, in a more naturally accelerating way.
For the blue box, we are going to use 'Easy Ease In' to cause it to decelerate towards the second keyframe.
Therefore it will start off a bit faster, allowing it time to decelerate.
And finally, with the grey box, we select 'Easy Ease'. which will cause it to accelerate AND decelerate, which is the most natural way of movement.
We can also view the timeline as a graph:
Using this, we can have a greater control over the speed of the action (in this case, change of position). The graph above shows the linear movement of the red solid.
The image below shows the motion graph of the green solid:
We can change the shape of the graph to make certain actions more pronounced:
There's a couple of quite basic methods for affecting the speed of actions.
Couple of test videos taken from the first part of this session
softwareworkshop5vid1 from Mike Mooney on Vimeo.
softwareworkshop5vid2 from Mike Mooney on Vimeo.
Making use of these skills to create a quick pendulum animation.
softwareworkshop5vid3 from Mike Mooney on Vimeo.
Parent Child Relationships:
It is possible to assign layers as 'children' to a particular layer. As this might suggest; the 'child' layer constantly follows the parent BUT can still move freely within various boundaries.
NESTED COMPOSITIONS:
We can combine (nest) layers using the pre-compose tool:
The layers have been replaced with one layer called 'car'
Changes can now be made in the 'car' composition, and this will automatically change the the 'car' that's nested in another composition...slightly like linking files in InDesign.
And a quick video combining all the skills learnt in this session. Pretty amusing little video:
softwareworkshop5vid5 from Mike Mooney on Vimeo.
back to solid shapes.
select all layers and press U to see all animated properties.
Shapes currently moving across the screen at constant speed. What we're going to look at is acceleration/deceleration, to give the animations a much more natural feel.
First way we're looking it is AE's quick and easy way of doing it.
In the animation menu we can select 'Easy Ease Out' and apply this to the first keyframe (we're going to do this to the green box to start with)
The spacing of the keyframe dots become closer together, making the green box start off slower and speed up, in a more naturally accelerating way.
For the blue box, we are going to use 'Easy Ease In' to cause it to decelerate towards the second keyframe.
Therefore it will start off a bit faster, allowing it time to decelerate.
And finally, with the grey box, we select 'Easy Ease'. which will cause it to accelerate AND decelerate, which is the most natural way of movement.
We can also view the timeline as a graph:
Using this, we can have a greater control over the speed of the action (in this case, change of position). The graph above shows the linear movement of the red solid.
The image below shows the motion graph of the green solid:
We can change the shape of the graph to make certain actions more pronounced:
There's a couple of quite basic methods for affecting the speed of actions.
Couple of test videos taken from the first part of this session
softwareworkshop5vid1 from Mike Mooney on Vimeo.
softwareworkshop5vid2 from Mike Mooney on Vimeo.
Making use of these skills to create a quick pendulum animation.
softwareworkshop5vid3 from Mike Mooney on Vimeo.
Parent Child Relationships:
It is possible to assign layers as 'children' to a particular layer. As this might suggest; the 'child' layer constantly follows the parent BUT can still move freely within various boundaries.
NESTED COMPOSITIONS:
We can combine (nest) layers using the pre-compose tool:
The layers have been replaced with one layer called 'car'
Changes can now be made in the 'car' composition, and this will automatically change the the 'car' that's nested in another composition...slightly like linking files in InDesign.
And a quick video combining all the skills learnt in this session. Pretty amusing little video:
softwareworkshop5vid5 from Mike Mooney on Vimeo.
Wednesday, 18 January 2012
Quick test
404808909 quick test from Mike Mooney on Vimeo.
Just a quick animation I made earlier on today. Nothing special really, but I almost felt as if I had to make something just to help clarify the direction I need to be heading in.
Progress Crit 18/1
A second progress crit for the Top 10 brief; generally bringing ideas to the table and looking at the work of others. I'd left it a bit late to get a huge amount of stuff ready for it, although I did have a few basic storyboard sketches and some visual references:
The sketches were quite basic but gave an idea of the style of animation that would be involved. At this stage however they didn't really give much of a clue as to the aesthetics of the sequence, which is where the visual references came in handy.
Here are the crit sheets....what people wrote about my work....:
Generally the main concern was that I had not really indicated anything about colour schemes at this stage, which I will move onto shortly. Other than that, with a few more storyboards and timelines, I should be soon ready to start animating.
Audio selection
I've pretty much decided on a track to use for the title sequence; I chose this track by someone named Dusky, though I'm not sure what the actual track is called. Here it is:
I'm particularly thinking of using it from 1:18 onwards, as before that is quite a long intro. From 1:18 onwards it's quite a nice solid electronic housey beat that would hopefully be quite effective without being too much of a distraction from the actual sequence itself.
Realistically the only problem with it is that it's a 2012 beat, meaning it's probably not been made using too much actual hardware; the samples will more than likely have been manipulated beyond what was possible with actual original hardware. Regardless, the beat will have almost definitely have been made using digital drum racks and synths..
I'm particularly thinking of using it from 1:18 onwards, as before that is quite a long intro. From 1:18 onwards it's quite a nice solid electronic housey beat that would hopefully be quite effective without being too much of a distraction from the actual sequence itself.
Realistically the only problem with it is that it's a 2012 beat, meaning it's probably not been made using too much actual hardware; the samples will more than likely have been manipulated beyond what was possible with actual original hardware. Regardless, the beat will have almost definitely have been made using digital drum racks and synths..
Tuesday, 17 January 2012
A few notes
A few notes I made a bit earlier on, detailing (in quite a general way) the type of content that I will need to start collecting for the Top 10 title sequence. It is quite vague to be fair but I should be able to use the collected images to start creating storyboards and timelines.
I have slightly re-defined the Visual Concept for the sequence; I am aiming to begin the sequence with a very clean-cut, factory-fresh plastic kind of aesthetic, as if it was the first time someone had switched their synth/drum machine on. As it moves through the aesthetics will start to appear a little more decayed, broken and rusty as if it were representing the life of one of these machines. It would also represent the change in technology over the years; with the introduction of DAW's many pieces of hardware have been left in the cupboards in a state of disrepair. I could also potentially edit the sounds used to start off crisp and slowly become more and more distorted and broken; to match the aesthetic changes.
AfterEffects software workshop 17/1
First things first, make sure the composition settings are as shown below:
Creating TEXT in AfterEffects:
Grab the type tool in the bar at the top, click somewhere in the composition and begin writing.
Of course we can change the size/font etc.
Along side the standard Transformation controls; there are also some text properties that appear when a text box is created:
The anchor point of a text box is in a DIFFERENT LOCATION. It is possible however to reposition the anchor point:
However also by selecting the 'Pan Behind' tool you can move the anchor point without the layer itself being repositioned. Here it is:
Text-specific functions.
Here we've got rid of the last words and set a keyframe:
At each keyframe I added the next word, so therefore each word will appear after various intervals. The square keyframe represents a keyframe hold; as in there is no interpolation.
There are few other formatting properties that are specific to text. With these it is possible to change the colour, size etc. of individual letters and whatnot:
By selecting the 'animate' button we can obtain further options:
This will show up as 'Animator 1'.
Similarly to the Transform options, we can change the positions of text:
And we can also alter how much of the text is being affected using the 'Range Selector' tools:
These are fairly complicated and I will have to return to these when I have more time.
There are also some advanced tools to get involved with:
For example, we can choose to deal with the Range Selector in terms of specific characters as opposed to percentages, as this may be more accurate.
After Effect text test from Mike Mooney on Vimeo.
We can also deal with the anchor points in similar ways to when importing a Composition.
When scaling for example. we can go into the 'more options' section and change how the word will be affected; whether the individual characters or the whole word becomes affected.
Once again by messing about with the Range Selector tools we can change how the transformation occurs:
Therefore it is possible to determine when each individual letter will be animated. By controlling the smoothness, we can decide how sharply the letters transform into their next state, as shown below. With a smoothness of 0% the letters will pretty much snap from one state to the next.
We can go on to add additional properties to the Animator, for example tracking:
which can be used to avoid collisions and whatnot.
We can also use paths to affect the location of the text; using the 'Path Options' set of tools:
A couple more test videos:
Creating TEXT in AfterEffects:
Grab the type tool in the bar at the top, click somewhere in the composition and begin writing.
Of course we can change the size/font etc.
Along side the standard Transformation controls; there are also some text properties that appear when a text box is created:
The anchor point of a text box is in a DIFFERENT LOCATION. It is possible however to reposition the anchor point:
However also by selecting the 'Pan Behind' tool you can move the anchor point without the layer itself being repositioned. Here it is:
Text-specific functions.
Here we've got rid of the last words and set a keyframe:
At each keyframe I added the next word, so therefore each word will appear after various intervals. The square keyframe represents a keyframe hold; as in there is no interpolation.
There are few other formatting properties that are specific to text. With these it is possible to change the colour, size etc. of individual letters and whatnot:
By selecting the 'animate' button we can obtain further options:
This will show up as 'Animator 1'.
Similarly to the Transform options, we can change the positions of text:
And we can also alter how much of the text is being affected using the 'Range Selector' tools:
These are fairly complicated and I will have to return to these when I have more time.
There are also some advanced tools to get involved with:
For example, we can choose to deal with the Range Selector in terms of specific characters as opposed to percentages, as this may be more accurate.
After Effect text test from Mike Mooney on Vimeo.
We can also deal with the anchor points in similar ways to when importing a Composition.
When scaling for example. we can go into the 'more options' section and change how the word will be affected; whether the individual characters or the whole word becomes affected.
Once again by messing about with the Range Selector tools we can change how the transformation occurs:
Therefore it is possible to determine when each individual letter will be animated. By controlling the smoothness, we can decide how sharply the letters transform into their next state, as shown below. With a smoothness of 0% the letters will pretty much snap from one state to the next.
We can go on to add additional properties to the Animator, for example tracking:
which can be used to avoid collisions and whatnot.
We can also use paths to affect the location of the text; using the 'Path Options' set of tools:
A couple more test videos:
After Effect text test 2 from Mike Mooney on Vimeo.
After Effect text test 3 from Mike Mooney on Vimeo.
Wednesday, 11 January 2012
Top 10 Concept - First crit - 11/1
To kick start this brief we had a quick morning session to present the Design Direction Boards (Concept boards), discuss a few ideas and exchange feedback. After feeling a little worried about the potentially small audience for a subject like this it was good to get a fresh perspective on the situation.
A few of the points raised:
- Could use a greater focus on the potential overall aesthetics of the title sequence/idents..i.e. a stronger visual concept; as this will help define and convey the subject matter in the actual programme.
- Further research would help; for example what determines whether one drum machine/synthesizer would be better than the next, plus maybe some background information on the creators/users of the hardware.
- A more solid title; e.g. 'ten things to know about drum machines'
- Perhaps produce a beat using a drum machine/synthesizer to work with the animation.
- Prioritise selecting a track to use; being a music-based subject, the music should lead the animation as such.
- Clearly identify a target audience; this will determine timing and placement.
A few of the points raised:
- Could use a greater focus on the potential overall aesthetics of the title sequence/idents..i.e. a stronger visual concept; as this will help define and convey the subject matter in the actual programme.
- Further research would help; for example what determines whether one drum machine/synthesizer would be better than the next, plus maybe some background information on the creators/users of the hardware.
- A more solid title; e.g. 'ten things to know about drum machines'
- Perhaps produce a beat using a drum machine/synthesizer to work with the animation.
- Prioritise selecting a track to use; being a music-based subject, the music should lead the animation as such.
- Clearly identify a target audience; this will determine timing and placement.
Initial Concept Presentation Boards
Initial concept boards, drawing on research and ideas I have come up with so far. They are quite basic at the moment, not containing too much information, as I feel there is space for quite a bit more contextual research and the like.
Also having created these at a night's notice has in some ways forced me to quite rapidly to come up with an initial plan, which of course has it's pros and cons.
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