1st 16 seconds. 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.
Thursday, 26 January 2012
Type Session 3
Third type session, involving arranging some information onto a flyer.
Version 1:
and Version 2:
Version 1:
and Version 2:
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.
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