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SaintEfan

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Everything posted by SaintEfan

  1. SaintEfan

    Motion Logo

    Is the inconsistent kerning a result of having to fit the letters behind the boxes? If so I would suggest an alternate reveal, one that fits a nicely designed and well kerned logo rather than the other way around. Think of it like a client assignment. No client is ever going to let you significantly alter, particularly for the worse, their logo to fit a certain concept.
  2. In regards to the Motion Graphics reel: There's a large variety of work that you want to show, which is good, but I think you could cut it down a good deal and include only the very best work to make it much more potent. If you could get it to under a minute I think you'd be in great shape. I really wished that the quality was higher. Everything looks pretty compressed with the colors and edges not looking sharp/crisp.
  3. You've used your time well. A nice looking reel. I think that given the overall quality of the work there's a ouple of pieces you could consider dropping since they just aren't as nice looking as the rest and don't add a whole lot. I could do without the "West Cornwall" piece as well as the "I Am A Peaceman" shot. Definitely some strong work overall. Good job!
  4. It sounds like a neat idea. I think anything that could add a bit of interest to the scenes would be helpful. Right now it's feeling a little flat and a little bland. The shoe scenes themselves almost feel like lockups (in fact the third one literally is) with maybe a moving hold or two thrown in. Some way to unite it all and maintain interest during the shoe scenes would be good. Don't forget that your product is the shoe, so that should be where our attention is drawn. Also, moving forward, make sure that the reason behind what the graphics are and what they are doing makes sense. It seems, at first, that it's a story about being late for class, but then we're just shown a bunch of shoes with seemingly arbitrary visual elements added. First we have graffiti guy jumping, then royalty, next we seem to be finding the buried treasure before going on a safari to outer space. I know that there are a lot of commercials that are pretty much just glorified product beauty shots without a ton of story too them, but they usually do maintain a sort of internal logic. Just some things to keep in mind. Hope some of it was helpful. Good luck!
  5. I know what you mean. There's never enough time.
  6. I think the style is fun and matches the music/audio track. When it comes to the motion everything feels a bit floaty. Even though it's a highly stylized look the lack of weight and timing is a little off-putting. If you watch even the most stylized animations there is still a definite sense of weight created by the basic animation techniques at play. Things like anticipation, easing, squash-and-stretch. These things can often be difficult and downright frustrating to really nail in After Effects but they will really add some polish to the piece. Thanks for sharing and I hope it's been a fun project to work on. =D
  7. I've done things like that in the composite phase for projects, usually for the same reasons that they did it (time). And it's definitely flexible, but can quickly become complex and a bit of a hassle dealing with a ton of masks and mattes. It's all about weighing render time versus quick turn-around changes. If I'm not mistaken they actually did everything in a single render for this spot (Bees) and only needed to do the crazy number of passes for the first spot (Paint Chips).
  8. It's not NY or LA, work-wise, but I like the city better. It's a smaller motion design community than those other markets, which can be nice. I suppose it may be the same everywhere, but I like the variety of people you meet in the Chicago design community.
  9. There are a lot of really technically and creatively knowledgeable people around here so I'm sure you could get much more thorough answers if you were to confine your question to a very specific aspect, shot, or object from the piece. From a broad perspective what sells the swatch look in this piece is several things: 1) The shape of the objects and models all feel like the could potentially be made with varying sizes of these swatch panels. All the strips have depth and aren't just 2d planes floating around. Everything has a solid feeling structure. This is apparent in the making-of video in the GI pass where, even without color and texture, things still feel 'built'. 2) The way everything moves feels very real and 'right.' If you're going to sell a paper feel then it needs to move like paper. Perhaps it has a flutter here or a bounce there. Little subtleties in the motion will go a long way to selling the overall idea. 3) The shading and lighting while perhaps not "real" like a vfx shot is still well composed and helps to sell the materials as being paper paint swatches. Probably not the technical how-to you may have been looking for, but I hope it helps with the broader level planning/thinking.
  10. It's kind of hard to give a short simple answer to how they created the swatch environment. There was no one single technique or tool. A lot of hand modelling of the various objects and details followed by some really great technical rigging and animation. I'm sure there was also a lot of one off tricks, like animating visibility of objects and nudging position keys around. There are a lot of really handy tools, effectors, deformers, simulators, etc. in packages these days, but I think you'd be surprised how often things are just done by hand in order to achieve a very specific look. I could be wrong, but that's my guess regarding the techniques at work.
  11. I've used Processing quite a bit since I started experimenting with it back in 2004. There are definitely some very neat things that can be done with it and it's found its way into several projects either as an interactive tool or to create pre-rendered graphics of complex systems which would be too difficult to execute by hand in AE. There are a lot of interesting possibilities for the use of interactive/immersive design but I don't think that advertising has even begun to scratch the surface. I don't think we'll be seeing these tools and methodologies replacing motion-design as we know it now. I think more and more it will supplement it. It's not atypical to have a designer on staff who can also act as a TD and Processing/Cinder/OpenFrameworks are just more tools to be used and experimented with.
  12. 12. I don't want to have to wear contacts!
  13. There isn't really enough of a camera move to tell if it's being reproduced in the studio. My guess is it's a tracked solution. you could fake a little perspective by putting the guy on a card and using a 3d camera move.
  14. SaintEfan

    reel2010

    The first time I watched the reel was with the sound off. I got a similar feeling of monotony. The work itself is not bad but there seems to be little variety in the editing. Many clips stay up for about the same amount of time and the choices of when to cut a piece don't seem to be motivated by much, like a camera move, a beat, a transition. Clips, even without the music, seemed to linger a couple beats longer than they needed to, which gave the feeling of "here's some things I've done, watch them in a row" rather than "here's the embodiment of my work, watch it as a whole."
  15. Well executed. I think they look nice. there's a dark shadow, or something, in both the pieces that seems out of place. Are these style frames? Do you plan on animating these scenes?
  16. I think Monkey makes a great point about weighing future revision headaches against quickly getting something done at the moment. Best advice I got from a computer graphics professor: "In computer graphics, if it looks good it is good."
  17. There's a lot of nice looking work and when I turned off the audio it helped though there were certain intriguing shots that seemed to fly by really quickly. It may be nice to have some more moments that are allowed a little time to play out, but I suppose it sort of depends on how much work you want to pack in and what the music track is you're editing to. I was totally fooled by the AE render sound. In fact I stopped the reel and switched over to AE and then had to start your reel over once I realized I did not in fact have a mystery render going.
  18. I agree that it's a bit premature to start driving traffic to your site, given the state of development it's in. I don't know what the digital cinema degree covers or what your specialty was, but if it's anything like it used to be then I'm guessing they didn't have you guys take any design or type layout classes. It's probably too late for you to add those to your course schedule, but if motion design is where you'd like to head I STRONGLY recommend that you spend some time learning the basics of graphic design without motion. I found most of the type and compositions in your reel to be indecipherable. Remember that you're always trying to convey something, some sort of message or idea. As far as specifics regarding the reel as it is: I would say you wouldn't want to start your reel with type that's awkwardly designed and hard to read. It sends the wrong message when one can barely read the first thing in a reel. I found the type that read "and at that moment we found..." as well as "we can do it real..." to be very obscured by the typeface choice and the general business of the background. What would really help all the pieces is going through the process of asking yourself why you've made the design choices you have. If you don't have good answer then it's probably not the right design choice. I'm not sure what the creative briefs or assignments were for some of the pieces but make sure that you always have one, even if you have to make it for yourself. Even if it's just a personal project pretend that you have to defend your creative decisions to a creative director. What issues may he or she have with it and how can you correct them. Sort of rambling, but I hope you find something useful in there. Good luck with that crazy busy schedule.
  19. It was definitely fun to watch. More fun than I expected actually. I don't really know what was Academy Award winning about it, but I don't really put a whole lot of stock in what the Academy chooses. Their decisions, frankly, baffle me sometimes.
  20. It seems, in my area, that advertising is marching onward. Whether this has anything to do with a real recovery, who knows. I doubt it. Remember, it's a jobless recovery. Whatever THAT means.
  21. Building your own pc is by far the cheapest option. That said I wouldn't personally do it again for anything other than casual home use. My primary home workstation was a home-built PC for a while and I was having constant problems with this or that. Maybe it was just the windows gremlins. Maybe Windows 7 has fixed all that, but I've had my mac pro for 3 years and it's never needed a reformat or any major tech support. I'm sure everyone has different experiences.
  22. Further consideration: cost for Flame/Inferno = six figures cost for Nuke = $3500 cost for After Effects = $999
  23. SaintEfan

    Reel

    I'd say that, in general, your work is on par with even some design student reals. I think it's nice that your intro matches the beats, however I didn't initially watch with my headphones on and so it ends up feeling very sluggish and somewhat bland. If you could find a way to keep it interesting and use the audio sync as a bonus that would really help. Many people, especially prospective employers, keep their sound off and let the visuals speak for themselves. As mentioned above you're starting to get a feel for timing and easing, which is hugely important. Next step, I'd say, would be to really go back and study, on your own, some traditional graphic design. The way you treat type is the most obvious give-away that you're not necessarily coming from a formal design background. Type can be tough to get the hang of, but it will really help you moving forwards. Keep at it!
  24. Some very nice work in there. I think for an individual reel it runs a bit long. If you could cut out some of the less polished pieces and get it down closer to the :60 range it would be much tighter and more impactful. Once place you could pull some time out would be showing less of certain projects. Let users checkout the full pieces if the taste in the reel grabs their attention. Good work.
  25. I agree with Dan in regards to the blending modes. I don't really get an angelic feel from the 7eaven section since the palette is so dark. I think there's some good elements throughout but that it could benefit from another pass to make sure everything is serving a purpose and sharpening the message. I really didn't read Devil or Heaven the first few times either. I found it kinda confusing actually =\
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