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Everything posted by SaintEfan

  1. As I'm sure you've seen discussed on this forum previously the general consensus is that, in general, to be commercially viable 'graphics' need to extend from good design foundations in general. (Really they are just two heads of the same coin) I'm not sure what your design background is, but if your goal is to get more heavily into motion design then I would recommend directing the lion's share of your personal-learning time to studying the fundamentals of graphic design and how graphic design can be put into motion. Assuming you're background is not already in design. Learning 3d Studio Max will probably be a lot of fun, but ultimately what will help you in your career and to reaching your goals is not learning a specific piece of software, but rather learning the concepts that can be implemented with ANY piece of software. That said it's important to be proficient with the tools once those foundations are established. Unfortunately I don't know what the best resource for 3d Studio Max is these days, but I'm sure a quick search around the interwebs (and Mograph.net) should yield some useful results.
  2. There are quite a few posts discussing how to go about personal projects that you could check out of inspiration or suggestions. In fact there was a thread in the past week discussing exactly this topic. A good place to start would be figuring out what it is you want to do moving forwards. As Dave mentioned it does feel like there's more of an editorial leaning to the reel you currently have. Are you trying to move in a new direction with your work? Are you just trying to supplement your work with some graphics?
  3. Have you tried writing your own? Sometimes it can be tough to self regulate, believe me I know how that goes, and stick to a creative brief that you create, but really it's just hard to stay on task for personal projects anyway. It can also be tough to think up projects without making them "fake" commercials for established brands so here are a handful places to start: • your own brand (reel intro, outro, promo, etc.) • title sequence for a non-existent movie. Maybe it's an intro to a short film idea you've been kicking around but haven't made yet. • promotional materials for the company you work for • 5 second animation project at greyscalegorilla.com • music video for a friend's band, or a small band you like. • telling a short story without using type • telling a short story or message with only using type creatively These are just off the top of my head based on things I've tried and suggestions I've heard. I don't know of any resource for unused or old creative briefs though. I imagine those are rarely published. anothername's suggestion on checking books is good. A lot of design books are geared towards students and professors so they often contain suggested exercises.
  4. Definitely run it by your CD. there are often times where the client or agency does not want those materials floating around and may have an agreement, in the original contract, with your employer regarding such materials.
  5. There's some really nice work in there and I like the track you chose. In my opinion it's a little bit lengthy, even for a company reel. It's a little unclear from your post whether it's an individual reel or a studio reel, but either way it could probably be made a little shorter and sweeter. There are a couple of projects that aren't on quite the same level as your premium work, and I"m sure you know which ones those are, so that would probably be a good place to start cutting. Over all good work!
  6. What do you mean exactly? You can open them with something like Nuke or Fusion and then convert them if you need them in a different format. I don't really know what you'd use if you just wanted to preview them though. Have you tried googling 'DPX file viewer' or 'DPX file reader' ?
  7. I'm glad you got the ball rolling Mary. I've been mulling this one over for a couple days do to similar mixed feelings. I really agree with most of the points that Mary makes and I'll try to elaborate or get a little more specific. What keeps coming to my mind is "Why?" I see a lot of technical facility and there is a certain level of polish but what's missing is purpose and reason. Don't forget that design, particularly for commercial application, is a form of communication and storytelling. What's not coming across in some of these pieces is a sense of story or a specific idea being communicated. Perhaps if you were to pepper more of your "commercial" work throughout rather than saving it for the end, or just working on applying some of the techniques you experiment with to a solid idea. I know you weren't trying to offend anyone with the SLUT piece and that it certainly wasn't targeted specifically at women, however I think you would be better off losing it. I'm even a little ambivalent about the FUCK YOUR COUCH piece. They come across as seeming loud/brash for brash sake. If you could create something impactful and bold without relying on the words themselves it would really show a strong sense of communication. A good critique that's always stuck with me is "show, don't tell" I'm excited to see what ideas you apply your strong technical knowledge to in the future. Keep it up.
  8. With what you're able to accomplish rig and control-wise in Maya I can see how that may be a better option. It depends on the sophistication of the final animation and your relative levels of comfort with the 2 apps. It's hard to say, in particularly specific terms, how you should go about rigging things up as it's a pretty broad question. Generally speaking I'd say take a look at the storyboards and style references to determine what you need your characters and rigs to accomplish. I've had reasonable luck with designing things in Illustrator and bringing them into Maya for rigging. There's going to need to be some cleanup, but it shouldn't be a problem if you're proficient with the modeling tools in Maya. If you need sophisticated character controls you could consider using a rig based on a full 3d character rig (with IK, squash and stretch, etc.) but then altering it to a 2d character. If you think what you know about 3d animation and then remove a dimension it's really not that different.
  9. There's some fun ideas at play and I like how you've tried to break up the kinetic typography with some treated video. Aside from the fact that a 4 minute kinetic type piece is tough to sit through I think there are a few design decisions which may be hurting the piece overall. There doesn't really seem to be a consistent illustrative style or voice to the non-type elements. Some are simple 3d, some are hand drawn, some seem to be somewhere in between. It's good to strive for variety, but this solution feels more like inconsistency. The same goes for the strokes on the fonts. If you're looking for variety perhaps the sense of character can come from the motion and the camera rather than the treatment of the type. Overall good timing to the music and some intriguing moments within. Thanks for sharing! =D
  10. I agree that an old Jeep to a newer, shinier one, may be a more appropriate transition. It would give you more of a 'story' to tell in that you'd be conveying the growth/evolution of Jeeps. If you have access to a 3d app like C4d, Blender, Maya, etc. then I'd recommend doing the text in that and comping it together in AE. This approach would give you more control over the final look of the type. I'm not sure that Nuke would be the best way to accomplish the 3d type thing, but if it's all you have then go for it, and I'd be curious to see what results you get.
  11. If this was a Jeep add a slab serif would work great, but if I'm not mistaken the point of your piece to to demonstrate something being more elegant than a Jeep, no? If so I see how a serif font like the one you chose would be tempting, but the versatility of a sans serif could allow it to look both elegant and clean as well as contemporary. Perhaps take a look at Helvetica, Gills Sans, Trade Gothic, etc.
  12. The short answer is 'no' there's not really a "preferred workflow." The preferred workflow is the one that works most efficiently for your goals and purposes. That said there are ways to optimize scenes for rendering and render settings themselves. It's difficult to give specific advice as it all depends on your scene and the look you're trying to achieve. In general, though, a good place to start would be learning about the render settings in C4D, experimenting with their results and getting a feel for what techniques take more or less time to achieve. For example, maybe your scene doesn't need soft shadows, or reflections to be maxed out, or a GI look can be faked with ambient occlusion and good lighting. A lot of optimization comes with just learning the software and what it can handle in a given amount of time.
  13. For actually creating motion graphics I don't know that I would really use either. On paper it sounds like Fusion has more to offer in that realm than Nuke. I like Nuke for straight up compositing projects and some of its more potent features, like the 3d compositing, has really come in handy on a few projects. It's also my understanding that for highend comping work Nuke is the industry favorite. My recommendation would be talking to whoever is going to be doing most of the compositing, seeing if they can check out a demo of each, and then getting their feedback on what they feel most comfortable using.
  14. As you review the work you've done so far keep in mind WHY a transition like this would be happening. Does Daloz imports turn old military Jeeps into sports cars? Do they sell sports cars and Jeeps? Answering things like this as you work through projects will help clarify the purpose which will spill over into more concise visuals. I think that the passing and 'time-ramp' feel of the explosion is well executed. I agree that the colorful pencils seem out of place. I think you could spend some time on the composition of the frame as well. For example, the car seems to be squeezed into the lower third of the frame while resting. The frame, in general, feels like it's broken into 3 distinct, and unrelated, focal points. There's the car in the lower third, the middle is dominated by the crazy pencils and some type, then there's the upper-left corner which has a logo competing for attention and screen time. I'm not even sure the logo needs to be revealed until the very end. If you really need it in there in the upper corner then let it resolve before the explosion obscures it. Right now the logo begins to animate in but while the viewer is trying to figure out what it says it is immediately blocked by the explosion and we miss the beginning of the Jeep breaking apart.
  15. The site is simple and clean which is definitely a good thing. It's also easy enough to navigate so I don't know if there's anything you would really need to do with it in that regard. The Google map on the front page seems a bit unnecessary and breaks the style of the page a bit. If you're not a business with an office space then you probably don't need a map anywhere on the site really. The copyright and redundant bottom-of-page navigation seems a but light, at least on my monitor, perhaps darkening it just a hair would help with readability. Still going through the work itself, but so far looking good.
  16. The background fur texture makes for an interesting background and the tracking seems well executed, if somewhat unnecessary. There seem to be some technical and compositional problems with the current design: • The Tiger word is a little hard to read because of the connector between the G and E • It's also a little difficult to read because of the seemingly arbitrary scribbly edges, particularly on the T • The texture and style treatment of TIGER overall could use a little tweaking. It gives the impression of being a low-res image of tiger stripes that was scaled up a little too far and is starting to get a bit soft. • TAILS starts to get a little lost in the background Technical details aside, are you sure that this specific concept fits the stated themes and goals of the piece? Had you not mentioned that it was based on a children's book I'd find myself a bit confused as to what the piece is conveying. The fur texture and the stripes says tiger, but nothing about it says children's book or even implies a story really. A good place to start if you were to rework this piece would be distilling down the story of TIGER TAILS and trying to draw some inspiration from that. Perhaps the title is a little less on the nose and the TIGER aspect is a bit more subtle? Or maybe the story is super cartoony and the text needs more character and personality? At the very least thinking about the audience should help. If it's a children's book then your target audience is probably not Mograph professionals per-se. Take a look at some of the work by the big-name studios with kids as an audience and you'll find that there are still some great design principles at play as well as subtlety and most importantly a certain fun factor. As a quick test or experiment it functions and the timing to the music worked on a technical level (though I agree with you that the music seems a little inappropriate), now you can take the time to think it out and really make something appropriate to the material that has some pop and fun to it.
  17. There's some amateur work that gets posted, but there's some amateur looking work that makes it into "professional" spots too. Is your issue with poor quality work or just with people who actually call themselves designers? You seem to carry a lot of resentment around with you and I hope that you've been able to turn it into an asset for you. Binky, all well said and, I think, a good reminder to everyone what a crit is really for. I've noticed, in certain pockets of the industry, a fraternity hazing mentality of "I was paddled when I was coming up so now I need to take my crack at this pledge." I'm not sure it's always very helpful. It seems more a right of initiation than genuine help. I was never in a frat, so maybe it is a good "team building" exercise, I don't know.
  18. I know it sounds a bit childish, but I've always found the compliment sandwich to be a good way to give and receive criticism. Nobody's work is ever ALL bad and there's always something they're doing right. I've found people are much more likely to take the bad with the good rather than just hearing "your work is weak and here's why." I may not always be the best at it, not as good as Binky, but I like to try to remember the most useful critiques I've received over my career before dishing one out to someone else. I find that most of the time those critiques were not unnecessarily harsh or intended to be shock treatment to "thicken [my] skin"
  19. SaintEfan

    reel feedback

    There's a good deal of ground to cover before you have a seriously marketable reel with only 1 month of experimentation under your belt. I agree with Albert's advice on this iteration of the reel. I'd also add that you probably don't need title cards for every shot in the reel. In fact you'd probably be able to cut something together more creatively without organizing it sequentially by shot. More generally I'd recommend spending your time learning and experimenting before getting too worried about putting a serious reel together. Creating new content, at this point, should definitely be your priority with regards to time and effort.
  20. SaintEfan


    This was kinda of interesting regarding the score and some of the distorted lower register sounds. Linky
  21. Pretty trippy spot. Well executed. The making of was pretty neat too. Thanks for sharing.
  22. SaintEfan


    The second viewing let me focus more on the details and cinematography, though there were some subtleties of plot that I think I get more of the second time around. You definitely won't be disappointed watching it again on the big screen.
  23. SaintEfan


    Great fun! Saw it twice and it was just as much fun and as interesting the second time.
  24. It's great that you have a variety of work to choose from and you seem to have a good deal of it. That said, there's not need to cram it all into the reel. I think that overall the biggest issue with the reel is the length and pacing. There's no need to for the reel to be as long as it is. It actually hurts it since most people will not stick around until the end. I think that a tighter, more energetic, cut would go a long way to improving things. Definitely take a look at some of the stellar reels around here and over at places like motionographer to get a feel for how a great personal reel is cut together.
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