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Colin@movecraft

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About Colin@movecraft

  • Rank
    MoGraph Demi-god
  • Birthday 11/21/1980

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  • Website URL
    http://www.movecraft.com

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  • Location
    SF, CA
  1. Spline Pen Tool. YEEEEEEESSSSSSSS. That is all.
  2. Krasner's book actually isn't bad as far as the survey of motion media in the 20th century and some useful definitions and terminology. But it has very little of use as far as professional practice is involved. And yes, the design is bad.
  3. Whatever the form, can it be in some sort of format I could use in an academic environment (Like… kinda published so I could purchase it or cite it?) I'm already showing your storyboards video in class. These video are already more useful than 90% of the content in any of the four or so motion graphics textbooks.
  4. Hey Mograph.net, While I'm sure this item could go in Resources or Showcase, I thought it would be of general enough interest for all to see. I've "open-sourced" my demo reel, making all the project files (not just the individual shots!) available for you to download. If you'd like to see more, please head to: http://www.movecraft.com/demo cheers, c
  5. Mograph eras: pre-history (resfest archaic) 2004-great crash of 06 (classic antiquity) 2006-cinema4D (the_monkey byzantine) cinema4D-vozzz (technicus renaissance) contemporary practice (long nineteenth century) All I remember is just trying to impress you fellas. And lurking, a lot. c
  6. "The Brush Size properties in the Stroke effect and in the Write-on effect now have a maximum value of 200, rather than the previous maximum value of 50" "The minimum size at which the region of interest (ROI) can be drawn with an initial click or drag is 25×25 pixels. This prevents accidental creation of a hidden ROI box." "The Auto-keyframe button has been removed from the default state of the Timeline panel. You can enter auto-keyframe mode by choosing Enable Auto-keyframe from the Timeline panel menu." "Default Auto-save" As someone who teaches AE to a lot of newbies, these are very welcome. While I know most point releases address power users with options, even the simple removing or name change of an icon can be helpful for people learning. (i.e. every semester I say the "Oh, just toggle the Collapse Transformation/continuously rasterize switch." Blink.Blink. "Yes, the sun thingy." The only nice thing is that international students aren't at a disadvantage, because absolutely no one knows what I'm talking about.) c
  7. Defining "Motion Graphics" ended up requiring more thought, attention and research then I expected when I attempted it. One could simply say “Graphics in Motion” and be done with it, but that wasn’t particularly satisfactory. Here’s what I wrote. Before we begin producing Motion Graphics, it can be useful to define it. Defining the discipline proves maddeningly difficult: even top practitioners and artists produce in wildly different mediums, disciplines, and intents. Further muddying the waters can be that the various principles and techniques that collectively make up “Motion Graphics” can be applied to other design disciplines and larger projects. Simply, motion graphics takes the approach of a graphic design practice and applies it to time-based media. Let’s further build on this definition with more concrete language. First: time-based media is a term that describes any data that changes meaningfully with respect to time. Sometimes this can be known as streaming media, because of the streaming, forward moving nature of time. In our case, the data that is changing is the designed content. Music, animation, and movies are all examples of time-based media. Unlike other types of design (…for example a poster), in which the duration of engagement is open-ended, time-based media fixes the duration of engagement of the audience explicitly. This duration must be considered and intentionally designed by the motion graphics content creator. Adding to time-based media, we attach the term pictorial. This term simply refers to the fact that motion graphics is a sequential series of pictures. Additionally, pictorial refers to the intent and usage of any photographic work. This helps differentiate the design usages of photography and cinematography from cinema. Essentially, images are treated as source footage to help communicate an idea, as opposed to “straight” photography. Building upon that, we add communicative to our definition. This helps differentiate motion graphics, which for all practical purposes is computer animation in contemporary production, from the other concerns and disciplines of computer animation. Feature length and large budget animated films have a distinctly cinematic form with the telling of a story being of paramount importance. Motion graphics, like graphic design, focuses on visual communication and presentation. String them together, and we arrive at our definition: communicative pictorial time-based media. A bit of a mouthful, but it helps the practitioner focus on what to study. While the disciplines and techniques of various other media and artistic disciplines will be helpful to motion graphics studies, the successful motion designer always has a focus on communication and adopts a design-centered approach and process.
  8. "All you do is sketch, design, model, texture paint, and optimize a bunch of beautiful 3D assets for my plugin, and then it's all in AE!" Seriously, it is nice work and must have been nice to compose, (And I'm in awe that a dude like Kramer is using his own software for his own pro IMAX jobs- amazing!) but I think saying "all in After Effects" or even all in "Element 3D" does a bit of disservice to the artists who produced the assets. c
  9. Thank you! This is now required viewing in my class.
  10. Feel free to use my reel of demonstration. Bonus- there is nearly no client work in mine (intentionally) so I'm planning on making all source files available soon. Thanks for doing this, look forward to the outcome. http://www.movecraft.com
  11. Yader shows how to do this dynamically with Hair in his Digital Tutors series. Highly recommended.
  12. As a quick aside "screwing around with expressions" is much more frustrating and less fun then screwing around with particular. Having an actual, tangible problem to solve actually makes it a lot easier in my opinion. Give yourself a series of tiny challenges or have them assigned to you ala the excellent gray machine training.
  13. I've been wondering about this ratio a lot lately. Going to NAB made me realize how small the total sum of all motion graphics (and hell, all post-production) really is in the grand scheme of things that make money in media. Of course, everyone here probably does not include themselves in the wedding crowd. Ammirite fellas? Fellas?
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