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Everything posted by SaintEfan

  1. I agree with etown. You would have more control over the effect by hand animating between morph targets. You could also add additional deformations to create some turbulence and to generally make it look even more natural. How slo-mo does the shot need to appear? If you can find some high-speed reference footage you should be able to match pretty closely by hand and not have to deal with the unpredictability of simulations.
  2. SaintEfan


    You've got some interesting work in there. A couple of quick comments: -The intro is really long. It doesn't really give much information and it's almost 15 seconds long. -The pacing of the music track is very quick and energetic, but the cuts feel a bit long and some of the pieces linger on much longer than they need to. Try cutting to match the energy of the song a little more. Good work.
  3. SaintEfan


    You've got some interesting work in there. A couple of quick comments: -The intro is really long. It doesn't really give much information and it's almost 15 seconds long. -The pacing of the music track is very quick and energetic, but the cuts feel a bit long and some of the pieces linger on much longer than they need to. Try cutting to match the energyof the song a little more. Good work.
  4. It's very distracting that the introduction, that wipes to screen left, never fully clears. There's that feathered edge just sitting there. Being young and in your formative creative years it's a great time to really work on the foundations. By that I mean, as suggested above, really focus on the theory and practice of good graphic design and typography in general, even if it doesn't move. More generally it's never too early or too late to really start honing your attention to detail. It can really set your work apart in the future when it comes time for a career. Make sure to look at your own work with a really critical eye and ask yourself; if I was the creative director what would I see wrong with this?
  5. It's always tough to cut together a first reel. Everyone here knows that and understands that. It's particularly tough to do right out of school when everything is personal projects or class projects. That being said one thing you can do is really show your passion and creativity by taking your personal projects to the next level. Really free yourself and experiment. What I see in this reel is mostly wokr that is trying to look like average "motion graphics". Don't waste your time trying to emulate what you think is run-of-the-mill motion graphics. If you look at the big name studios and the individuals in high demand you consistently see them producing work that is new and different from everything out there. Potential employers, particularly creative directors, want to see that you have the technical skills but that you can use them for innovative work and thinking outside the box. The advice is pretty general and not specific to one area or another of your reel, but keep it in mind as you continue with your work. Also remember, you really need to like the work you do in this industry. A lot of times that's all you'll have at the end of the day.
  6. I used Shake a bit and found it a nice, node based, solution for the Mac platform. I'd say that this was its main strength. Availability for OS X, nice interface, and relatively inexpensive for a high quality node based compositor.
  7. Checkout the list of freelancers on mographwiki Are you looking for women in general? women to interview? hot-shot big name women?
  8. I have a cloner object creating a grid of tiles. The tiles' color and visibility are being driven by the shader effector using an animated texture. This creates the 8bit, pixel mosaic, wall effect. I'm trying to figure out if it's possible to assign a shader that controls the specular, reflective, etc. properties of the tile while still inheriting the color values from the shader effector. So far all I can achieve is the flat, matte, looking tiles that have the colors I want.
  9. I think you have a lot of very interesting things happening visually. THe way you formed the different characters and objects in the world was very clever and quite nice. I think that the piece could probabaly benefit from a bit of editing though. There narratvve isn't really clear enough to keep me engaged on its own, so once the novelty of the visuals wears off it's tough to stay interested. I think that a critical look at the story and the timing of the cuts would really strengthen the piece. In general I think most shots could do with being more succinct. It would help increase the pace of the whole piece. Really glad to see this kind of experimentation though. I hpoe it was fun to work on.
  10. We (Mode Project) have been hard at work on this intro/title sequence for DDB Worldwide to introduce David Plouffe's presentation (The Art of the Possible) at the Cannes Lions festival. Now that it has been presented it can finally be shared with the world. First stop, Mograph.net DDB Presents: David Plouffe “The Art of the Possible”
  11. Looking nice. The changes may have been subtle, but they definitely give it that extra layer of polish. A very nice piece. Good job!
  12. Mete is referring to the fact that the 2 line text block you have is not left aligned. In print when the lines don't align it's called ragged alignment. transform' a marketer's.... and measurable.... instead of transforms a marketer's... and measurable... I agree about the arrow at the end. It seems odd that the tip of the arrow is behind the phone. I would think that you'd want it to be in front so it's actually pointing at something. One thing that was a little awkward for legibility was the red dots that appear in front of the "I'LL TELL YOU" line. There's a little group of them right by the apostrophe in "I'LL" that make the type a little less clear. Also make sure to be careful with the background gradient and banding. Depending on what compression you'll be using for the final you'll want more or less (most likely more) noise on it to fight back the banding monster. Otherwise, looking good. Particularly for a sort production period.
  13. The time tracking feature did look pretty neat, but ultimately what I was excited about was the ability to package stuff up so easily. I hate getting a massive project home to work on over the weekend only to find that someone made a reference to a file in a different project rather than copy it to the current project. A little disappointed to hear that the packaging was kinda sketchy in the prerelease versions.
  14. We all know that some projects can become a cluster-f*ck when it comes to assets, references, versions, etc. Whether it's someone not conforming to naming standards, ad hoc solutions that never get fixed, or just overall poor asset control. Just wondering if anyone has tried this tool. If so you, do you find it worthwhile? Did it take too much getting used to? Did it require alterations to workflow or a ton of setup and preferences-tweaking?
  15. I can't wait to see the buffalo herds migrating through the streets of Chicago amongst the abandoned, fuel-less, cars. It'll be just like I Am Legend, right?
  16. Things may SEEM more stable, since every other day we're not hearing about a bank going under or Washington bailing out Wall Street, but a real turnaround is a ways off. Govinda's right about the effects being prolonged in everyday life, though I disagree about a proper turnaround in the financial sector. Things are still a mess and there's a lot of denial all around. A good deal of the "things are getting better now" sentiment is wishful thinking and self-delusion. America's still terribly in debt, both publicly and privately, the real-estate market is still in shambles and many banks are just zombies. I'm a bit mystified by the concept that paying attention to inflation and national debt at this point is a BAD thing. Printing our way out of a recession will inevitably lead to inflation. What good is a stable home price when cost of living skyrockets thanks to inflation? Maybe we should ask Zimbabwe, I hear it's working out pretty well for them.
  17. I don't know specifically which spot you're looking for, but motor oil spots often do things like that.
  18. Welcome to Mograph. You've got some well executed work in there, especially considering that this is just your part time passion at the moment. My main comment about the reel is that all of the work feels like an endtag. They are nicely executed but most of the shots feel like they are little endtags taking place in a couple seconds right in the middle of the frame. The reason for this is understandable, as I'm sure some of these are personal experiments and small, self contained, projects are good for building experience. Moving forward I'd recommend experimenting a little with branching out into longer, more narrative, pieces and getting the camera moving around a little bit more. It'll be good for potential employers to see a variety of projects. One quick comment on the website: It looks like the jpg quality might be al ittle too low on the images, they are starting to artifact a bit. Keep up the good work!
  19. I think you've got an interesting direction to explore. The hand-drawn/cutout style could be an interesting approach to the project. The camera angles and lighting that you choose sorta take the viewer out of the world though. It starts to feel like a making of video rather than a promotional video. Particularly confusing are the shots involving the surfer emerging from a big brown wave (roughly :28). There's a lot of flicker of the various layers and it's rather unclear what is happening. In general you'll probably want to keep things tight and dramatic highlighting the surfers and the waves. Avoid allowing the viewer to see that it's all taking place in a blue box. Use a skysphere instead of a box or just don't get wide enough to reveal too much of the background. Make sure that everything is setup and placed based on the camera for each shot. The trees in the opening shot come to mind. They may look alright if the camera were lower down, but from straight above they feel flat. I think that the way you treated the smoke footage for the exhaust at the beginning made for a fun collage of elements. Make sure to carry that attention to detail and subtlety through the rest of the piece. Don't rush it just to get it done (now that you've already submitted it for the grade and deadline). You can go back and take your time. Good luck!
  20. I agree, you could probably achieve a very similar look with ramps and solids with various blending modes. Is this the surfer piece you had mentioned in a previous post? I think you were looking for advice about preplanning and boarding a project like this? How did the process go? A few comments on where it is at the moment; Some of the frames are starting to look a little cluttered and are feeling closed-in. When one thinks of surfing there's generally a feeling of scale and just how small people are compared to how large the ocean is. If there was a way to open up the frame a little bit I think things would become clearer. Specifically you've got a lot of stuff coming in from the top and sides of the frame which really puts the squeeze on the rest of the content. The music is pretty smooth and the concept of surfing is all about flow but yet the camera feels kinda spastic. Look into smoothing out the camera's motion. It seems to be following a pattern of entering the scene and then suddenly bouncing around without much easing. The handwritten type could be appropriate for the style, but each frame has so many loud, textured, elements that the names start to feel lost. Don't forget that if everything is loud then nothing is loud. It's all about contrast. Good to see that you're making good headway with the project and I hope you come up with a solution for the effect you're looking for!
  21. SaintEfan

    Grad work

    http://mograph.net/board/index.php?showtopic=8066 Has some good advice about keying cameras, but a lot of it can be extrapolated to general keyframe advice. My personal advice is less is more with keyframes, particularly in AE. Try to accomplish the movement with as few frames as possible and let the curves control timing and speed. Are you paying attention to spatial easing as well as temporal easing? Sometimes people overlook one while focusing on the other.
  22. A large reason I never much cared for ZBrush was the pain-in-the-ass process of going back and forth with Maya. That may have just blown my mind.
  23. It may be difficult for you to estimate, given that you're new to freelance, but I would recommend trying to come up with a figure for how many hours it would take to complete all the different tasks combined and then figure out what you would be comfortable making per hour. Make sure to subtract and adjust for expenses and costs associated with the project. I wouldn't necessarily bill the client like this (hourly), but it's good to have a realistic picture of your estimated time spent in order to asses whether the budget is even worth the effort. example: $2000.00 for a project you think you'll spend 10 hours on is not bad. that same budget for 200 hours of work is shit. Do you have a day rate that you use for freelance work? If so then you may start by applying that and then, if that's over budget, discounting slightly fort he extended engagement. Just some thoughts. Good luck.
  24. ESC makes a good point about math. Graphics programming is all math. That's not to say that you need to be a math major to do some interesting things but if you start doing more complex motions, especially in 3d, you'll quickly find that math becomes important. In my experience level of mathematical understanding is what has been a big divider between people doing neat things and people doing REALLY compelling stuff. Graphics programming is a wonderful way to learn math you may not already know, since it's concrete and visual (for the most part) Good things to know at some point: Trigonometry (basically a prereq for computer graphics) Vector math (really important for 3d motion and anything with physics) Basic (newtonian) physics (particularly understanding force, velocity and acceleration for creating interesting motions)
  25. It's a really tough question to answer with any sort of brevity or definitiveness. I have had experience with all of the above and I think the best advice I could give would be to learn the principles and concepts of programming in something like Processing or Java (Processing is just Java) and then once you become comfortable with it you could start branching out into other things like C++ and OpenFrameworks if you find Processing to be too limiting. At the end of the day the language is just a tool, like anything else, and it's really all about learning the basics of programming rather than the specific language itself. Processing has a great community, good learning resources, and is fantastically easy to get up and running with. Good luck!
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