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Colin@movecraft

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Everything posted by Colin@movecraft

  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?
  14. You're telling me. Semester schedule: Four years with four courses per semester. Classes are a semester long, meeting once a week for 15 weeks, 3 hours a session. No, they are locked into a track and then take elective classes by advisement. We have some issues here in our department that they get many many courses that cover many many subjects, and so their knowledge and path becomes less focused, but many students are competent generalists. Currently Motion 1-2 are required and 3 is an elective. Motion 4 doesn't exist yet and all the courses need to be rewritten to reflect the state of the industry and to introduce c4d. My overall goal is to expand this and have a more logical progression from 1-4 and eventually let students have motion be an emphasis of study. It's more focused then that at the moment, but the overall emphasis in this department is on front end design and interactive design. Right. No one knows where Motion should go. It's a major problem. We have motion graphics classes in the Graphic Design departments, Animation and VFX departments, and New Media departments, all of which have administrations that have different definitions of what skills even constitute motion graphics. As it is now, if students are interested in Motion Graphics, they fill their electives with classes in one of the other departments, but directors don't care for this that much because it breaks the carefully planned academic tracks and breaks down student outcomes. I've quizzed them quite a bit, and most of what students are receiving in New Media is a web design kind of training. There is not a lot of emphasis on concept or process, mostly result. However, this department is very successful for the students that stick around: We have the highest job placement of any of the schools of study. I could certainly do more of this. There is a disconnect between syllabus outlines and student skills, but I think this is not uncommon.
  15. This is something that is REALLY hard to do. Students tend to get positive feedback on recreating and posting shiny GSG renders, and negative feedback when they make something weird or original but way less polished. It's easy to say they get rewarded for originality, but it's simply not the case sometimes.
  16. Thanks for the responses everyone! I really appreciate it. edrhine's outline looks pretty similar to my own. Now, to answer some of your questions and to clarify: I understand the challenges I am up against and the general perception currently of for-profit schools. The simple fact of the matter is that tuition dollars and enrollment is a major metric for success of all tertiary academic institutions. Often times the goals of teaching and learning can feel at odds with the realities of the industry, where simply no one cares if you've made progress, they simply want results. I'm thinking hard on this balance and looking into strategies to insure we have it as right as we can. This is something else that's difficult to instruct in the information age. This department has a culture of teaching the software and the importance of becoming an expert. That's important, of course, but one of my main goals is to de-emphasize software training in classroom and offload that aspect to required student learning time. I've taught at other institutions that have this policy: typically design courses would function more like critique seminar, where students would present work and the instructors would evaluate its quality and effectiveness. Often times we would have the opposite problem: You couldn't have a technical conversation in the classroom because student's knowledge would be all over the map, and design professors weren't educated in contemporary technical considerations or techniques. Part of this is changing the culture of just make a render and additionally educating instructors and review boards as to what constitutes quality work and what does not. The official policy for our institution regarding tutorials is that it is straight plagiarism, but I feel the issue is a lot more complex than that. I've learned a lot from tutorials (hasn't everyone?) but they instill poor working practices for design. In my grading rubric I have a category that defines art direction: clarity of idea, originality of voice, and originality of concept, and you can't get high marks on these essential aspects while following a tutorial. One thing I'm trying to really do is bring in as many guest speakers as possible: We've been given a small budget for this and I want to have continuing lecture series twice a month if possible. If anyone is in the Bay Area and would like to present breakdowns, case-studies, or approach please PM me!
  17. Hey guys. I've recently been hired by the Academy of Art University, San Francisco as Motion Graphics Lead. I've been tasked to rebuild their motion design curriculum in the web design and new media department. Students will be receiving a BFA in Computer Arts. The focus of the WNM department is specifically user interface, design (with a focus on the web), code, and motion graphics. We have animation/VFX and graphic design schools as well, but currently students are only required to take their first typography classes in graphic design, and no class in animation. What, if you had four years, with one class each year, would be your dream motion curriculum? What do you wish had been taught in your school? If you never went to school, what would a modern motion design class be to you? What would you look for in the student's work and portfolios? I'm drafting an outline already. I'm not looking to have anyone do the work for me or anything... However with four classes (Motion 1 - 4) There is quite a bit of trimming and hacking to decide what is an essential "motion graphics" skill and what shouldn't be in. I'm curious what the industry thinks. Some specifics: We're on the Mac platform. Software will be Adobe CS 6 and C4D. I've already got Trapcode installed but would need to do PO's on other plugins. Students also learn Imaging, a little photo, 2 Type classes, Digital Illustration, 4 classes of Web dev and light mobile dev, along with their Liberal Art requirements (art history and etc) so I don't have to cover any of that in "Motion". Of course, I've already done a survey of the best programs: VFS, SCAD, Hyper Island and etc. My goal is to get the work coming out of AAU at those levels, and of course, increase enrollment. Thanks in advance. Also, if Binky ever wants to write a book, I will assign it as a text
  18. "Good is the enemy of great" states Voltaire, and you should state that, too. Good means good enough. Good enough to ship. It functions. It technically is type on screen. Shapes move in time and it is all spelled right. You have technically made a quicktime movie, put it on the internet, and a website has been made. But, to produce any of this work, design is a prerequisite. Sometimes, good is what it needs to be... you are out of time, or money. But a full portfolio of good enough means you never strived for great. It's hard, striving for great. It's inconvenient. You can't hang out with your friends or girlfriend, even after you are done with whatever it is you are working on. You are technically done, and then you have to have an internal voice that tells you to do it again, until it's crossed a weird, internal, arbitrary acceptability threshold. Listen to that voice. Push the threshold. Look at work and compare yourself to it. Do this as much as you can just to the point of paralysis of production. Continue to make, but hold yourself to great standards as often as is allowable. Stolen from Jonathan Ive: http://www.wired.co.uk/news/archive/2012-07/30/jonathan-ive-revenue-good-design c
  19. Like Binky, I was on the beta but had very little time to actually give them useful feedback. Without giving away anything that Andrew will announce, my thoughts: for the price it's unbeatable. The goal of making things fast and the real time and the energy to make it actually work with c4d (which seemed like it was a huge pain) shows they know who the market is. Most of what it is lacking is what you turn off for speed in a production environment anyhow (ray-trace reflections, GI). They seemed to be looking at the ease of use of trapcode plugins, too. It's also just a (super-fun to use) tinker toy unless the artist has the ability to model and texture their own 3D models, so a "real" 3D skill set isn't going away or anything. I still think that the best thing you can do with your time if you are interested in working in the industry is learn 3d software. Still, this is a "real" product. Crazy awesome that young dudes from a small company with not a huge amount of money could produce something so full-featured and focused. c
  20. I've noticed that time offset in effectors can cause lots of issues when doing this sort of thing, usually having to do with when c4d internally samples an object's params at any given time. In this case, it's confused as to when it should sample the size of the object it is supposed to be deforming, because it is actively changing. Try turning off time offset. 90% of the time when I have sampling issues like this, I drop a dynamic object in a connect object. Next, I look for little hacks, like what you did here, sampling from 1% instead of 0% for example, or try and build the effect another way. Still, no dice? Then I sigh, make it editable, manually adjust (like ... stagger the keys for an offset) and move on. c
  21. How's the beermat functionality? I've been thinking of going heineken-tosh.
  22. http://www.vaguebuttrue.com/images/1247632403-Fish%20Carp%20Huge%20.jpg
  23. Is paying college educated, soon-to-be graduates minimum wage really that much of a burden? sigh. c
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