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Digital media & craft - Self-directed project & briefing

Today we where briefed on the second half of the digital media & craft module and were given the Self-directed project brief. The purpose of which is to explore the potential of established and emerging technology as design tools for print and/or digital media. To develop use of appropriate tools in designing for new and emerging media, and to develop self-directed leaning through the use of online resources.

The brief states that students following the Motion root are to design and develop a sequence using After Effects for a title sequence, trailer or campaign using the research we undertook for the voices project i.e. Martin Creed. I'm pleased that we are recycling the work already done from the Voices project in to this brief as it helps relieve some of the stress of starting a new brief (despite how enthused you may be to get started), and luckily Martin Creed is quite a distinct character so he's left quite a memorable impression on me. So making a start shouldn't be too much of a problem.

Having a clearer starting point will also allow us to focus much more on the implementation of the processes learnt in the workshops and other technologies we may use as opposed to working out a whole new idea and/or concept.

This brief will provide a brilliant chance to put in to action the plethora of skills I have and will be taught during the many workshops, and this module accompanied with the Workshops will help strengthen my technical abilities and confidence in my self, knowing I can trust in myself and this technical know how to produce an independent sterling result.

This is quite an open brief, despite giving us a choice out of 3 options to stick by it is really open to our own interpretation, meaning we could go in what ever direction we want. I'm pleased about this as I can really make this outcome my own (showing more personal stylings).

#Self-Directed Project

*Tutorial 6

Todays workshop was designed to cover anything we may not have been 100% on from the previous workshops. It was also a good opportunity to discuss techniques and issues relating to our self directed projects.

After talking through my rough story board I noted what effects i'd like to attempt to incorporate in my piece and at what times, and after much discussion decided my ambitions where possible, I came away feeling much more confident about my self directed projects outcome.

#workshop

Peeking beasty

I also went off task and implemented a bit of my newly obtained knowledge from previous sessions and animated the clouds to move in the background. As well as applying the 'Easy Ease' effect (A feature that I came across in 1 of the many tutorial clips i've found) to all of the keyframes on the Beast, creating a much smoother transition between movements.

#workshop

*Tutorial 5

OUTLINE

In this workshop we looked at Masks and Track Mattes (Masks are embedded in an existing layer and adopt that layer's animation where as Track Mattes have their own layer and can be animated independently of their target layer).

We looked at the different tools that can be employed to create Masks and Track Mattes, including the Pen Tool, the Rectangle Tool, Solid Layers and bespoke layers created in other programs such as Photoshop.

We also revisited keyframe animation and parenting.

Very helpful Workshop as usual that managed to clearly explain and demonstrate what appeared to be some rather complex processes. To put it simply Masks and Track mattes pretty much allow the revealing of a portion of a layer, which allows for some brilliant uses , like what we did today-

We began with retrieving the PSD file Chris had placed on Blackboard. It was comprised of 6 separate layers all placed on top of each other creating a believable composition for animating in AE. The 6th layer was one of the focal points of the session, a track matte. Chris had saved some time by creating the layer in photoshop, which is a feature of track mattes (The ability to create a Track matte layer in another application).

The main objective was animating the Never ending Story Esc beasty to peek its massive head (with a massive body accompanying it that would have otherwise trailed out from behind) out from behind a comically skinny tree. Using a mask I created with the rectangular shape tool (Although I could have used a pen tool if a more detailed outcome was required, where I would have drew around the heads outlines in the composition window to create the mask ) that I simply sized up to match the maximum height and width of the head that would be appearing from the tree. The result of which meant that the beast layer would only appear when it passes through that area the mask takes up. Then only the head appeared to peek out while the rest of the long body that was not inside the mask area stayed out of sight. I then proceeded to animate the tongue layer and using the ready prepared Track Matte layer brought over from Photoshop I attached it to the tongue layer and the animation was ready.

If you animate the layer after placing a mask down, the mask will follow the animation. A handy feature.

On the other hand Track mattes act like masks, but live in an independent layer and so are not affected by any animation on their target layer.

We also had a look at using the masks and track mattes on video footage which proved very useful. Experimenting with the collaging of multiple clips in the one composition playing around with positioning, mask shapes, looping and contrasting playback (rewinding clip over a normal clip).

The manipulation of video clips was a feature of AE i'd not yet explored. It was'nt something i'd put too much thought in to prior to the tutorial, but now that I'm aware of the possibilities AE offers in this area I'll definitely be experimenting with it in the future.

robheadleydmc

curtreek-blog

Found an outcome from Tutorial 4's session created using a layered PSD, fixing objects to a 'parent' so they follow the movements of the parent layer, adjusting pivot points to simulate where joints are on a body.

Robs Description of what was covered and how it was implemented in the animation:

We also were shown how a composition can be used inside another composition, a useful action for combining different scenes into a larger composition. With the tin man, I used this to alter my walking animation to a swimming cycle within a nestled composition. This was looped as part of the larger composition using a small piece of script called an expression. I also added the rippling of the water and the rusting as the man sinks using layer effects.

#workshop

*Tutotial 4

Unfortunately I missed this workshop but I am aware that during this session we looked at creating a number of individual compositions within the same project.

Focussing on 'Pre Comps' in particularly (Compositions within other compositions).

Pre Comps can also be used to embed animations within each other. For example, a walk cycle could be created as one composition and then added to another.

Using Pre Comps, it is possible to quickly put together a pre-production animatic.

keyframe animation was also covered again along with good practice regarding the timeline.

I will be sure to go over what was covered in my own time, using tutorial videos and sites.

#workshop

NULL OBJECT -

Handy link featuring a very concise explanation of the null object and it's uses.

What it doesn't specifically mention is the application of a null object for motion tracking. One of my most recent favourite features of AE. So here's a link i've came across featuring another concise tutorial:

http://www.youtube.com/watch?v=qDB7wt9kYFQ

PARENTING is another important word that makes so many things possible on AE.

Applied within Motion tracking, it allows for the attachment of separate layers to in this case the Null Object.

#workshop

Layered PSD

I had a simple idea (straying away from the norm of using a landscaped image with 3 sections consisting of trees buildings and sky), by taking pictures of my lower torso 1st, then each hand individually 2nd and 3rd I would be able to build up a composition that appeared as though you can see through the eyes of the person looking down at his hands and feet. But is still capable of using the same 3D Cam technique to the same extent, just with a bit more of an interesting image.

Once the 3 layers where imported in to AE I then tried to arrange them proportionately.

The next step was making the layers 3D capable which i did by hitting the 'Toggle switch'

and ticked the 3 boxes applying the effect to the 3 layers. After that I added the camera i'd be using to film within the virtual 3D space. I'm now able to manoeuvre the layers within the 3D space.. distancing them to and from the camera etc using the X.Y.Z navigation tool that pops up along with the camera. Once everything was where i wanted it, I clicked on the camera options drop down box and selected all the features for keyframe, applying an Easy Ease filter to them all. This creates a smooth finish to any movements I add.

Next I begin to film using the handy shortcut (c,c,c) to quickly navigate through the different camera specs allowing me to easily achieve different angles.

Rack Focusing was something I was interested in achieving. After I'd set the blur to 200%, turned on the Depth of Field and increased the Aperture I was ready to give it ago. Zooming in with using the camera shortcuts until I'd moved the camera in past the first layer which I kept in focus until the last possible second, I then began to focus on the next layer in front, achieving my goal. As simple as it may sound, it was quite a challenge at the time.

#workshop

* Outcome for Tutorial 3 * Working with the 3D camera. Using Layered PSD.

As this was my first attempt at doing anything like this, I took an hour or two before hand to have a thorough look through some very helpful tutorials, that help'd remind me and also taught me some new things. (http://www.youtube.com/watch?v=NmynUfkgOpo&feature=related - Was one of the best tut's I found).

I touched upon a few keywords again:

Compositing- Merging of multiple images from different sources, still - video - hand drawn... combined together, giving the illusion of everything existing in one unified environment.

keyframe- Central tool in AE that makes everything possible - key moment in an animation, either at the start, change or end of a movement, where certain attributes are adjusted.. position, scale, opacity etc

Composition panel- Central area where you see everything happen. Still possbile to manipulate some layers within it.

Time line- Area where you structure layers.

And gained a much better understanding of keyframes and how the operate.

I now know some handy shortcuts too that came in handy during production ( C cycles through the camera modes, allowing quick adjustments).

I really just focussed on ticking the basic boxes for this clip..

Focussing on 1 layer at a time (depth of field), blurring other layers.

Try to Rack focus.

Have some varied camera movement, working angles.

I still need to iron out a few kinks, the speed for instance needing some real attention.

Although after watching it, the rather iratic pacing throughout the clip gives the impression that this chap has just woken up in maybe a place he doesn't recognise. He's a bit concussed and cant really focus on more than one thing at a time, as his eyes (what we're seeing from) dart about the place examining himself. (Probably a bit miffed about his multicoloured extremities no doubt).

#workshop

*3rd Tutorial

Not been all too well recently so unfortunately i've managed to miss todays tutorial.

I've made my layered PSD for todays session though, and i'm roughly aware of the task. Based around animating a scene in a 3D space with the camera.

I'll see that I recieve todays brief though and get about trying to complete the task (I can check for an outline of todays task on blackboard for some guidance). Luckily there is a good selection of easy to understand After Effects tutorials on the Adobe site and equally as good amateur tutorial clips on youtube. So there's no reason why I wouldn't be able to complete todays outcome and understand the processes used to get there.

Outline

In this workshop we looked at

Using parenting to have a layer follow another layer's animation

Creating a null object that could act as an invisible parent for another layer

We looked at making layers 3D and using the control gizmo to move the layers in 3D space

We created cameras and experimented with ways to animate the camera to view a 2.5D scene

Pre-comps and Master Comps were introduced

Found a link that should guide me through the layered PSD task -

http://www.youtube.com/watch?v=NmynUfkgOpo&feature=related

#workshop

A few more AE tutorial screen shots!

#workshop

I've taken some AE tutorial screen shots during my ventures about the Adobe site. Just a bit of documentation.

#workshop

Creed text sync... minus the audio! (and it's a little bit faster).. 1st time i've uploaded D:

If i can't resolve the upload problem (which i'm sure is something to do with the audio & video saving and being placed in separate folders, a common problem I'm aware of and how to fix thanks to the topics covered during the workshops) I'll email the outcome to Chris.

#workshop

I really want to try and literally make the voice visual for this brief, and I think that altering the spelling of some words to force a scottish accent is a pretty effective way of doing so.

Thanks to Martins very recognisable Scottish timbre.. almost every word he says has a Glaswegian twang to it.

Also throughout Martin's speech, he occasionally Uttered a word or two wrong that he quickly and swiftly corrected with the correct intended word e.g 'What/Which'. I Therefor had to work out a way of showing this.

I decided not to change the weight of the font or anything as drastic, but instead coloured the font in red. Because the unintended words are said and almost instantly corrected, they will only appear on my animation for a split second, so I was stuck with the problem of having to convey the message that that word was a mistake in an effective way making the viewer understand. The colour red bares many universally understood meanings, usually relating to a general wrong. Hopefully this association with colour will be evident.

#workshop

After i'd finished placing all of the text, I could finally get down to the fun bit and use a few of the effects, playing about with opacities and gradients etc. the gradual fade out of opacity really did add some character to the text, visualising the drifting of martins concentration.

#workshop

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