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About kkamin

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  • Birthday 05/28/1977

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  • Location
    Minneapolis, MN
  • Interests
    Commercial photography, filmmaking, motion graphics, art in general, literature, boxing, yoga, culinary arts.

Profile Fields

  • About Me
    BFA from the Minneapolis College of Art and Design (2006). Majored in filmmaking. I am an emerging commercial photographer and film/videomaker. Learning motion graphics and love it (have been interning periodically with freelancer). I am into composite imagery (still and motion) and time-based art, so, motion graphics is a good fit. I am in the process of learning and will have a lot of dumb questions, so please bear with me. : )<br /> <br /> Best regards,<br /> <br /> Kevin
  1. There is no short supply of broadcast quality motion graphics out there, but does anyone have a lead on a place where people share their corporate type work? I can't find much, but I understand. It's the work we are often least proud. For instance the client hands over a bunch of mediocre video footage and photos and it's your task to make something pretty and three minutes long from it. Often you are finding ways to hide the quality of the footage and photos by clever means. Anyways, I'm crossing my fingers there's something out there. When I'm trying to draw inspiration, it would be nice to see something closer to what I am doing. Best regards, Kkamin
  2. The discussion that has ensued has been very interesting and helpful. I'm the OP. My situation is that I would like to start working at a higher bit depth in AE in order to get a better quality product. I'm thinking working in a 16-bit color space is probably the best idea in general. But I've researched what working in 32-bit floating point offers and would like to implement effects at that bit depth. •Would I need to convert my entire composition to 32-bit at that time? And what if that composition contains other effects not compatible with 32-bit color, how would I work around that? I am using Premier for this current project because it is so motion graphics heavy in every way. I know how to use FCP, but it isn't my first choice in this situation. If Premier doesn't constantly crash I'll be happy...I'm traumatized by CS4, but I digress. •But if I'm bringing comps into Premier from AE, and the comps in AE are in 32-bit color, how is Premier going to react? Thank you very much, Kkamin
  3. I am a little confused with this topic a bit and was wondering if anyone could point me to some resources. I searched this forum and googled it but haven't found anything thorough yet. Thanks.
  4. Haha thanks. This will be another thing I will forget now, along with the audio.
  5. Hello, I am trying to create a movie proxie of a precomp. It is a two layered precomp of a helicopter body and a propeller spinning around. I have motion blur selected for the propeller. When I make a RAM preview, the motion blur is active. BUT when I created a proxie the motion blur is not visible. Anyone know why that isn't being activated in the proxie? Best regards, Kkamin
  6. Thanks that worked. It's just strange to me that AE is essentially creating a black background where there is no background inside AE, just transparent pixels.
  7. Yes, I'm trying to bring it into Photoshop. The Output Mode is set to 'premultiplied' and it is being exported as a Photoshop Sequence, so a .PSD.
  8. Hello, I'm trying to export a single frame from After Effects. The frame consists of some type I added an effect to and a transparent background. The problem is that is exports a file with a black background, whereas I just want a transparent background. I do have 'RBG+Alpha' selected in the Output Module and when I click the checkerboard switch, my background is indeed transparent in the comp. Any help would be appreciated. Best regards, Kkamin
  9. Thank you everyone for your responses. I really appreciate it. @Aromakat: I agree. The letters in the center are suppose to be a pixeled screen to reference video. In order to address film, I was hoping that the projector sound along with the rotating round shape would be enough to make some sense to work; plus the logo has a little wiggle to it. Do you have any suggestions how I could make this work better. @Hyp3: The rotation is to give the logo...well, animation. The look of the letters (glowing grid) is suppose to represent pixels. Personally I like the graphic designer's treatment of the logo(the black and white version at the end). Imo, I don't think that the logo needs to be on the nose (a TV, a camera, etc.) in terms of representing my industry. McDonald's logo isn't a burger, Merrill Lynch doesn't sell bull rides and Cyberduck doesn't make bath toys. 'Gata' is Spanish for cat, and the logo is an abstract of a cat. Do you have some ideas on how I can make the animation better? Thanks. @Trione: It is suppose to be pixels. Maybe if I make them more rectangular? Do you have any ideas on how to make it read better? As for the questions to ask myself. I want to be perceived as a professional media creator--a small but sweet company. How could I better reflect that idea? Thanks again everyone. What I do like so far with the animation, is the saturation and glow of the letters and how that contrasts with the rest of the frame which is basically gray scale. I think it creates a punchy contrast. I would like that color intensity to suggest an intensity and pizazz of the company.
  10. Thanks for the add.

  11. I am an emerging commercial photographer and video/filmmaker. This logo is a part of my branding for the film/video section of my business. I had the logo created by a graphic designer and I brought it into After Effects and gave it some motion. I wanted to keep it simple. I imagine I will be doing mostly web-type content and minor broadcast pieces, so it was my thinking the logo didn't have to be over the top. This animated logo will probably greet people when they visit my website. I'm open to all comments and crits. http://www.vimeo.com/14472389 I'm still cutting my teeth with AE and work with it in conjunction with the other Adobe software. I do not currently use any 3D software. Thank you, Kevin
  12. When the sign drops down it feels a little awkward to me that the boxing gloves and joysticks are suddenly right behind the sign obscured, but still moving around. I feel like it needs a little more going on to make the concept richer and feel more complete. It could be like someone else suggested, the gloves punching each other periodically or the gloves controlling some low-bit graphics in the background. I get what you are going for and think it is a great start, but feel it needs to be resolved a little and pushed more.
  13. Thank you everyone, and thank you Doug for this very simple solution. Love it!
  14. Thanks for responding, but I don't understand your answer. I use 'slider control' in null objects all the time and pick whip properties to the 'slider control' but I don't think it would work in this situation. Here is a screen shot of what is going on: I am pick whipping the bottom layers opacity to the top layers 'glow radius' and then subtracting 20. I want this to stop at around 5 seconds and start using its own keyframes to control the opacity. Thank you for reading.
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