Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by levante

  1. Animating means putting something to life. Thats why i usually try to imagine how it feels to be the animated object. Does a bouncing logotype feel happy - or does the bouncing cause some serious headaches? How does a camera feel, that is rigged to a racing car at 270 kph etc.? Then i “simply” try to express this feelings via keyframes. (And since simulations are made to simulate the behaviour of “dead” objects, i rarely use them for “hero” objects).

  2. My personal tea policy is to offer tea to everybody, then go back to work while the water is heating up and soon forget about the water, the tea and my colleagues while fighting with some annoying yet unknown software bug. About an hour later i usually remember the tea, head back to the kitchen, heat up fresh water and go back to work while the water...


    Then from time to time one of my colleagues, silently serves me a jolly cup of tea without even asking. Thats why i love my workmates and always offer to make them some tea ^_^

  3. 1. Experience matters a lot.

    For a project that took you one semester at university, you might only have three weeks in a "real life" work environment. That's why an internship, at the side of some animation & design veterans might teach you a lot (although unpaid internships suck and i wouldn't wanna work for free).


    2. Work as a graphic designer first.

    If you you don't get a job in the motion design industry, try to work in graphic design first. Some experience in conception, design & typography as well as working under deadlines will benefit you in the long run. Later on an experienced designer looking for new challenges might also be more interesting for potential employers in the mograph industry.


    3. Motion design is rather complex.

    Just the fact that you know graphic-design and some animation software, doesn't mean your'e a readymade motion designer. You'll often have to be designer, storyboard artist, director, photographer, animator and editor in one person - that's quite a lot and once you are up to that task you'll probably feel underpaid...

  4. Export the sequence from FCP as an XML and import into AE using Pro Import. Then precomp each shot, render out each precomp that has the coloring, and online back in FCP.

    I'd prefer to do the finishing right inside AE. This will save you one pass of colour conversion / re-compression.

    The good old DV Rebel Guide shows a nice workflow and includes some helpful AE scripts for this as well.

  5. I'm still on a 2008 MacPro - works as it always did only the original graphics card died a while ago.

    A lot of people told me to buy a fast & cheap new PC - but a lot of those guys are also much slower at work than me, so i think i just give them a little head-start until Apple gets its arse up and a new MacPro out next year.

  6. 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".

    Don't focus on teaching software - try to teach design & animation. Sharpen your students eyes for motion, composition, dramaturgy and editing, in the long run this will benefit them much more than learning a bunch of fancy Trapcode presets.

  7. This is the beauty of using Photoshop as you can just import the layered psd afterwards. You do have to build it with that in mind however.

    The beauty of using After Effects is that it is non-destructive, all parameters are keyframeable and you can work in 32 bit linear color space.

    But maybe i just like it, because i usually have to animate my own boards anyway...

  8. You're not making a file to hand over for keyframing. You're making an image to sell to your client, and their client.

    Yes and no. On projects with a tight time schedule (and probably small budget) i'd always prefer to do layouts right inside the production app. Might take a little longer for the initial design but it can save you tons of time later on, when the shits needs to be animated. But if you're mainly refering to pitch work and normal projects you're probably spot on.

  9. I was just wondering if a Mac can allow for multiple start lines. meaning more than 1 copy of AE render running.

    Yes it is possible. I'm doing this all the time using the BG Render Script (though i just hit start BG Render in AE multiple times to do so). Problem with AEs built in MP option is that it often chokes on RAM (and thereby slows down the whole system to a crawl) and there is also no way to alter the amount of cores during a render. By manually starting multiple BG Renders, one can easily add or remove render threads during rendering, according to the amount of RAM and CPU power needed for other tasks.

  10. The guitars are meant to stack on top of each other at the start and then fan out.

    In this case: animate just one guitars rotation and use the "valueAtTime(t)" Expression to offset the others in time. You could as well precomp the animated guitar and use something like "Hall of Time" to get the time delay - but using expressions might be more flexible.

  11. A limited solution could be Trapcode Echospace (wich basicly connects 3D layers via expressions) or in certain cases Card Wipe / Card Dance or Trapcode Form / Particular. But in most cases your best bet will be expressions linked to controller objects - which means a lot of handwork.

    I've been hoping for Mograph-like Effectors for Shape Layers since they where implemented. An effector system that is able to affect all sorts of layers would be a huge leap forward for After Effects, just like the introduction of text animators or 3D layers (anybody remember basic text & basic 3d? :wacko: ).


    edit: the new Element plug-in from Video Copilot seems to be a bit of a quick and dirty 3D mograph module for AE. Even though it doesn't work with layers but with 3d objects.

  12. You can do "motion graphics" with ........ and spiders on the ends of sticks.

    Hey Binky, i always wanted to specialize on motion graphics utilizing spiders on the ends of sticks! Do you know of a decent school that teaches this technique? Was this used in the latest Spiderman Movie?? And what types of spiders would you prefer for a lower third???

  13. I've always been more of a generalist and i enjoy being able to handle every single task of a project myself (sans the audio in my case). But as mentioned above it will always depend on your environment and personal preferences: small shops will most likely prefer a generalist while the bigger studios might prefer to hire a bunch of specialists. I like to work in small teams but others might like the big "high-end" studios better…


    But know that the tool is only as good as the artist.

    Always listen to the wise sage of mograph!


    I completely agree with you about working with real people. But I kinda feel that better communication and less broken telephone in an in house environment is not always the case. Good communication is good communication whether in house or remote. I've had plenty of in house gigs where directors and producers were MIAbut i don't think (on location somewhere else, busy with pitches, other clients or whatever) and I still pretty much only communicated with them via email, or through a third party even though I was sitting at a desk in "their studio".

    you're right, bad communication is often a problem in our industry - but i don't think it gets better by adding even more steps to the process. I just like to talk to customers directly because if i ask the right questions, i can get straight answers instead of just interpretations of assumptions.

  15. Whenever I do motion graphics work, I'm on site for the most part. Usually that means I'm working from my laptop, so if I get a spark of inspiration on the drive home or after dinner. I can hop on and make try out my idea at home. I actually prefer working on site for a few different reasons. The main reason, being that I have access to the editor, asst. editors, AD, CD and producers on the job. It's a more streamlined process and I enjoy the interaction. I can immediately see if things are working or not. I'm sometimes in the room working while conference calls are going on with the executives back at the agencies. I then hear the notes from the source, not 2 or 3 people down the line. It's all about efficiency. The other plus side is that after a long day, I get to go home. When I work at home, I often feel that I'm stuck in my house for days on end, by myself, staring at the computer until my girlfriend comes home. It tends to blend into one long day. Not to mention, if I'm waiting on notes for 3 hours, I feel like I'm wasting that time because I could be doing something else. If I'm on location, not only do notes tend to come in quicker, but I can use that time to explore new ideas with the creatives from the agency.

    You made some good points. Most of the times i prefer to work in a team with "real" people instead of sitting at home alone all day. Especially communication can be a big issue if there are too many re-tellers between you and a customer. Anybody remember the good old chinese whispers game? Customer talks to producer - producer talks to CD - CD talks to AD - AD talks to second producer - second producer phones you - green turns blue, frame-rates and formats get mixed up and "a slight touch of humor" eventually ends up as "cartoon style"... (I'm having exactly this situation at the moment, with me being the guy in the middle between the customer, an agency and a bunch of remote freelancers and some days i'm spending more time on the phone than designing / animating myself).


    Projects that take less than two weeks and can be handled by just me are ok for remote work, for the rest - and thats the majority of my jobs - i'll prefer to work on site.

  • Create New...