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Carey

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Everything posted by Carey

  1. Carey

    PSA

    Generally I find the entire strategy of a PSA to be condescending and ultimately ineffective, but as sponsored opportunities to create non-commercially motivated art pieces, they're great! And I think this one succeeds cuz it's either hopeful or sarcastic, depending on how you take it, and hot damn that's a fantastic combo of edit and music. I had actually seen the 2nd first on youtube, with the kid through the windshield, and the way the image hangs in there for a second before the music drops in and sets a rhythm up to the whole thing is awesome. Not original, but beautiful nonetheless. And what's that track? I must know!
  2. Carey

    PSA

    Fixed it up. Enjoy the good feelings.
  3. Carey

    PSA

    While technically it contains no graphics, this, upon close inspection, is indeed the greatest PSA evar. Also, this lady has lasers. It's only apparent in slo-mo. EDIT: sorry, my bad. First two clips on THIS PAGE. Second one first. well, that pretty much took the steam outta that post.
  4. You know, I thought I'd covered for all of the unnecessary c4d idiosyncrasies, but then, I hadn't imagined that I'd have to start out with a 4000frame project, import the song, and then cut it back down to 200. That works perfectly. Thanks a ton!
  5. Anyone have any idea why a .wav file imported into c4d (that can be heard perfectly using the "Play Sound" button under the Sound Properties in the attribute manager) wouldn't be audible when playing the timeline or scrubbing through it? The little "play sound during animation" button is clicked on, so there should be audio scrubbing, as i'm told, but no such luck. Nothing on the subject from what i can tell at c4dcafe. File is 16bit, 44.1kHz, and driving me crazy.
  6. Carey

    Nuyoung Reel - 06

    Looks great. Compositional attention to detail is really apparent. I don't know if you want a crit or anything, but i'll crit it cuz i think it's really great and deserving of attention. Try to pull focus away from the character animation stuff, because it's not your strongest skill. Your reel will be superpro top-notch if you can work that stuff out. It's like i'm seeing a standout design and animation sequence and then all of a sudden something pops in that doesn't meet the standards of the rest of the work. It's apparent when the guy with the popcorn sits in the chair and when that fetus baby thing resolves, but that's it, really. The best goal is to initially surprise and set up a standard of excellence, and then occasionally surprise again and bump the standard up, so that we keep going "wow", instead of just getting used to it. So think about the order of the projects in that sense, while you're still thinking about the shot-to-shot progression. Kind of graph it out like an impressive annual sales chart in your head. The big red line should have an initial rise, then steady, then rise and steady as many times as you can afford before you finish. The character stuff is kind of a dip. You've actually picked a great song for that kind of structure. It starts out relaxed, but beautiful, and incrementally gains momentum all the way through. Pay attention to that momentum and how you can mirror it and/or play with it in your edit. Music and edit are like interacting waves. They can play against each other and with each other to many outcomes, including nasty confusing noise, intense counterpoint, and the generation of harmonics, which are points at which the two sync up so perfectly that they amplify each other several times over. I'd aim for fairly consistent harmony with moments of counterpoint.
  7. Carey

    PRIME 4

    If anyone EVER uses ANY of these to create ANY of the prescribed effects, I'll personally and forcibly deliver a fistful of thumbtacks into their anus, so that at least they can't sit comfortably while they heap such atrocities upon the world.
  8. You know, the piece is on track to being pretty solid. I mean, at its core it's really just a show-and-tell, like you say "fruit" and hold up a picture of an apple and then you say "big floppy donkey dick", and so on. But that's a decent exercise in itself. The problem, as suggested, is that it's set up as a series of scenes, but the scenes feel visually disjointed, and that's happened for two reasons: First, there's a basic disconnection in most of the scenes between the content and the form... meaning that the formal decisions you've made (resulting in the "style", if you must) seem somewhat arbitrary. It's really just one more thing to stack on the decision-making pile while you're working, but it's an important one. When you make an image, the WAY you make it is important to what it ends up signifying, so at the very least make sure that it's relevant and appropriate. What's better is if the way the image is made actually furthers our understanding of what's going on. Say, you're making a PSA about discarded paint containers in the forest and how it affects the deer population... well, you could render out a deer head composed of paint splatters! Imagine it!! Really, you might want to make that paint look bloody, and the posture and expression of the deer might be anxious, or injured. Kinda obvious. But how is that image actually made? Is it all vector? Is it oil paints and photo? Is it a woodcut print on worn leather? Is it a tattoo emblazoned on the ass of a barbie doll? Crayon over newspaper, cut out and propped upright in a miniature forest set made of styrofoam cups, candy wrappers and tiny smokestacks, photographed 8mm? Mmm, tasty. Second, the collection of scenes has no cohesion as a whole because each scene is adopting its own visual form, but there's no meaningful formal transition from scene-to-scene to tell us why it changed. That problem is kind of compounded by the first problem, but it stands on its own as well. The simplest way to go would be to find a theme that runs through the dialogue that you can represent formally, and then stick with that visual solution all the way through. Then you're not working extra hard to segue and subsequently rejustify what we're seeing in each scene. But if you can legitimize each visual solution AND keep the piece moving without any unintentionally jarring moments, then that might be more interesting than the easy way. Just depends on what you want to do and how... and why and when and where and blah blah. EDIT: I realize in retrospect this probably isn't all that helpful. Same kind of crap everyone gets from their instructor.
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