JON KRASNER CHAPTER 5

• All about making decisions about your media
• Consider things like direction, movement, scale, timing, orientation
• Look at how these relate to each other
• Think about movement between frames, how does the piece work as a whole rather than frames?
• frame mobility= how the camera moves between the shots and in the given space
• Construct a sense of space for the viewer
• TEMPORAL CONSIDERATION= time and speed
• Vital to develop the scene and is key to portraying your message to the audience
• It can develop objects into new objects such as people into animals etc
• Gain an understanding of motion principles such as the theory behind squeeze and stretch, anticipation, follow through, overlapping
• Tweening are shots in between key frames
• These shots make it flow much better and create a larger sense of realism

Second Draft

Final Song Choice

It has taken me a long time to find the right song for my final piece yet I feel that this is a great match. The original track used for the opening titles credits was quite 'rock' like but not heavy bass or metal; it had an electronic 80s feel to it. This one I feel is quite similar. I found it on one of my favourite copyright free websites which features a huge collection of tracks that can be searched for by genre, country, popularity etc.

Royalty Free Music - Stock Music Library | Jamendo PRO

Draft

This was my first attempt to create my opening title sequence experimenting with the camera most importantly. I also loaded the correct font style and adjusted the colours based on the colour scheme of the original footage. I added a few text effects, and played around with the transform tools to create interesting effects. I also began to insert Photoshop files that include paint splatters, created using brushes that I downloaded from a website (www.brusheezy.com)

From here, I need to insert more ink splatter effects as well as some hand drawn elements as well.

Creating Titles

Hold all layers
Layer > Pre Compose
Name your new composition!

Effect > Generate > Ramp (to add a gradient to the background)

PARTICLE WORLD
Turn floor off (on the grid option)
Birth rate= how many particles are born each second
Longevity = how long particles last
Producer= adjust settings
Physics > Animation
Adjust particle type

NULL OBJECTS
Layer > New > Null Object
Make it 3D
Parent camera with null object


Pan behind tool

3D Integration Video Copilot

3D Layer switch (looks like a 3d box)
Create New > Camera
Orbit camera tool allows you to drag your object around
Ambient light slightly brightens everything up
Point Light > Cast Shadows
Hit aa twice on the keyboard to bring up a layers 3D material options
Turn on depth of field - adjust focal distance

Add black solid
Effects and presents
CC particle World in simulation

Time Remapping

Select layer and select Time Stretch
If you stretch the footage to 200% it will be twice as long
Each frame is duplicated to make it twice as long
Turn on blending switch to blend the first frame and the second frame together into one frame (dotted diagonal)
If you click again on the blending option, it allows for pixel motion (normal line diagonal) it allows for frames to be blended depending on their motion

Enabling time remapping:
Right click and select Time > Enable Time Remapping
Set keyframes, kf together footage goes fast and the further apart the footage goes slow

ANGIE TAYLOR DESIGN ESSENTIALS CHAPTER 7

EDITING CHAPTER 7

• Film was originally created by cutting and pasting together the film to change the order and timing of events
• Editing performed directly on tape is known as linear editing
• Non linear editing allows you to work backwards, forwards, or in a more random fashion
• STORYTELLING - your production work must tell a story and have a meaning!
• Include an establishing shot to set the scene - tells the audience who the characters are, the location, the time 
• Maintain flow - the viewer cannot be away of the technical process that has taken place
• Break rules - it's innovative!
• Be aware of PACING AND RHYTHM and the speed of the sequence, fast pacing makes it exciting and dramatic and used in action films. Slow is for romantic and period dramas
• Rhythm is highly associated with audio - I must take this into account when created the audio track for my design piece!
• Rhythm is also visual - rhythmic montages
• Repeat colour, texture or other design elements between frames
• You can edit clips in regards to length to create rhythm
• Long clips for an establishing shot - viewer needs to take in information
• Close ups can be quite short - not much detail in them
• TRY TO ACHIEVE GOOD CONTINUITY
• DIRECTION: direction of movement of elements can determine where the best cuts should be, movement should remain continuous, should follow the same direction
• CUTS: 
• 1. MATCH CUTS are when the editor matches action from one shot with another, shots can be related or unrelated, movement between one shot and another are continuous
• 2. JUMP CUTS are when the editor switches between different views of the same subject to create a disjointed edit, e.g in a documentary, multiple camera angles allow for this
• 3. CUTAWAYS are used as a kind of transition where editing from one shot to the next is problematic, cutting to a completely separate but related scene
• Use transitions in your work! Less is more
• Most common and effective transition is the dissolve
• A wipe pushes on image off the screen to reveal another
• Iris reveals an image from a certain point on the screen
• Map = blending into another takes into account size and subject matter, adjust transparency levels
• Take into account colour when using transitions = don't make them too drastic!

Paint Brush and Motion Sketch Tool

Motion Sketch

"When you animate spatial properties—including Position, Anchor Point, and effect control point properties—the motion is shown as a motion path. A motion path appears as a sequence of dots, where each dot marks the position of the layer at each frame. A box in the path marks the position of a keyframe"

How close the dots are on the timeline represents the speed of the animation.

In After Effects, I can select Window and Motion Path which will the allow me to create a path to animate my text. It will record the movements and create keyframes on the timeline below. I can then return to Window and select Smoother which will reduce the number of keyframes if I created too many.

A path that you draw by hand that you want your object to follow.

1. Window > Motion Sketch
2. Presets are 100%, 1 and wireframe checked
3. Start capture
4. Window > The Smoother
5. Adjust tolerance




http://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103906c6dea-7dcba.html

Time Re Mapping

You can expand, compress, play backward, or freeze a portion of the duration of a layer using a process known as time-remapping.


Graph editor will show your changes. 
Steep line= fast motion
Straight line = freeze frame
Downwards = backwards


http://help.adobe.com/en_US/AfterEffects/9.0/WS3878526689cb91655866c1103906c6dea-7d4da.html

Tips for After EFX

• Hit F9 on a key frame which turns it into a bezier keyframe. This eases it in and makes it smoother
• Turn on motion blue (three circles symbol)
• Adjustment layers effect everything beneath it

ANGIE TAYLOR DESIGN ESSENTIALS CHAPTER 6

COLOUR CHAPTER 6

• Look around for colour combinations every day in both nature and man made designs
• Light is the source of all colour
• Long wave lengths make us see red, whereas shorter ones produce violet results
• Response to colour is highly personal; we all have different associations with it
• We absorb these meanings subconsciously
• Be aware of what different colours mean internationally and how they change over time e.g green used to represent money yet now it is for the environment
• RED: stimulating, used with caution, attracts attention easily, can represent heat, power love, anger etc, use to highlight important elements
• YELLOW: highly visible and bright, bold when against a black background, used for nature, represent sunshine, happiness, brightness, illness, betrayal
• ORANGE: warmth, fire, energetic, cheerful, brash, healthy
• BLUE: cold, winter clarity, liquid, ice, detachment, calming, peaceful, metaphor for sadness, fairly conventional and accepted, 'safe' colour
• GREEN: nature, growth, renewal, nausea, envy, evil, safety
• PURPLE: regal colour, luxury, bravery, wealth, conceit, worn by larger than life characters,  use when you want your designs to be daring and exciting
• PINK: girls, toys, dolls, make up, feminine, used by the gay community, good when combined with blues and greys  
• BLACK: formal, powerful, mysterious, sophisticated, used as a background in design
• WHITE: purity, innocence, truth, cowardice, peace, as a background it creates open space simplicity
• Take into account gender when choosing colours: soft colours for women and strong bright colours for men
• PRIMARY COLOURS are red, yellow and blue
• SECONDARY COLOURS: orange, green and violet
• TERTIARY: created by mixing a primary and secondary colour in equal measures
• Black, greys and white are neutrals
• Monochromatic is made up of different variations of one colour
• Analogous: 3 colours adjacent to each other on the colour wheel, work best when one colour is a primary one
• Complementary: colours opposite each other
• Triadic: combines three colours that are equally spaced around the colour wheel
• Clashing colours: not advisable in design

DIGITAL COLOUR MODELS

• CYMK subtractive colour model = used to explain colours reproduced with ink and paint
• RGB additive colour model = colours viewed on screen, 3 colour channels
• Hue saturation and brightness 
• Aim to create rhythm in your designs
• Calibrate your monitor!!!

Lighting

I experimented with basic lighting, adjusting the X and Y positions and also what type of light it is for example spot, ambient parallel etc.

Kinetic/Motion Typography

Motion typography refers to the art and technique of animating text. It is meant to create or evoke a particular idea or emotion. The typefaces used is an extremely important choice to make when working with motion typography as this will determine what effect it will have an the audience. The timing and pace of the composition is also highly important.


http://www.marcofolio.net/video/15_stunning_motion_typography_videos.html
http://www.webdesignerdepot.com/2009/07/18-creative-examples-of-typography-in-motion/
http://www.youtube.com/watch?v=eCvn-nX5vKE&feature=player_embedded#!
http://www.youtube.com/watch?v=SZe5V3-9l3I

After Effects

I have very basic knowledge of After Effects and so in the past few weeks I have been learning the interface and basic tools to use to animate shapes and text. Below are two videos I created experimenting with lines and space. I have stuck strictly to my company's colour scheme and fonts to achieve consistency.

ANGIE TAYLOR DESIGN ESSENTIALS CHAPTER 9

TECHNICAL

• VIDEO FORMATS = PAL: europe, stands for phase alternating line, NTSC: united states, canada, japan, SECAM: used in france but generally being phased outing favour of PAL
• FRAME RATE: number of frames transmitted per second, higher frame rate means smoother play back, PAL is 25 fps, NTSC is 29.97, frame rate of film is 24fps. 
• Try to change to multiples of frame rates for easy conversion e.g. 30 to 15frames)
• TIMECODE: a method for measuring time, animation is measured in frames, to work out the length of a project you must divide the number of frames by the working frame rate, SMPTE TIME CODE is divided into hours, minutes, seconds and frames
• FIELDS AND INTERLACING: interlaced and progressive scanning
• PAL 25fps, fields are captured at double the frame rate (50 fields per second), when footage is captured in a computer, the two fields will be mixed together to make up each frame shown on the screen, this results in feathering 
• Adobe After Effects can deinterlace/separate the fields to reduce this 
• Make sure horizontal lines are not too thin as this may cause a flickering effect
• PIXEL ASPECT RATIOS: computers display images using square pixels, pixels used to make an image on a video monitor/TV and rectangular. The shape of the rectangle differs whether it is PAL, NTSC etc
• 788 square pixels: 4:3 PAL (width)
• 576 is the height
• FRAME ASPECT RATIOS: 1. Standard definition TV=4:3 or widescreen 16:9, 2. High definitely TV= square pixels, 16:9 or 1920X1080, 3. Computer Displays = 4:3 but more commonly 5:4
• WIDESCREEN: 16:9, has the same frame rate as 4:3
• Converting can include letter boxing, simulcasting (offering viewers an option), centre cutout, scan and pan
• CODEC: compressor/decompressor
• Spatial and Temporal compression
• CODECS BY MEDIUM: videotape: DV PAL or DV NTSC codecs, these should be used when working with generic DV footage and the footage is going back to tape
• Photoshop and After Effects allows you to change individual colour channels
• TRANSPARENCY: Mattes= an image of movie that tells the compositing software which areas should be transparent and what should be opaque
• ALPHA CHANNELS: black and white, straight (transparency information is only in the alpha channel of the image) and premultiplied (one or all of the RGB channels will have used the alpha information to change the appearance of the image)
• MASKS: user defined shapes that select areas of your image for transparency and opacity, masks can be drawn in After Effects using Bezier drawing tools, can be used to isolate part of your layer

Tutorials

http://www.videocopilot.net/tutorials/particle_explosion/
http://www.videocopilot.net/tutorials/colorful_universe/
http://www.videocopilot.net/tutorials/advanced_camera_tips/
http://www.videocopilot.net/tutorials/fun_with_ink/
http://www.videocopilot.net/tutorials/light_streaks/
http://www.videocopilot.net/tutorials/energetic_titles/

Forms of Advertising/Opening Credits

Opening Credit Sequence
This will be the longest of sequences that I do. It will probably be around 30 seconds and reveal most of the actors names, as well as the film title, production company etc. The point is to introduce who is starring in the film as well as give credit to the companies who helped to create it.

Bumper
A bumper is normally between 2-15 seconds and placed between a pause in a commercial and an advert. It does not reveal the actors names but simply there to excite the viewer and give it a 'sneak peek' at what's to come. It is not normally broadcast for a few more weeks or even months. It is simply just the title of the film.


Sponsor
Sponsor ads appear before a programme. They normally last for about 3-15seconds and are there to sponsor the programme that will be broadcast after. It normally has the words "COMPANY sponsors TV PROGRAMME"


Trailer/Teaser Trailer
These exist to promote the upcoming film. Trailers are longer than teaser trailers yet the purpose is to excite audiences about the upcoming film.

Colour Scheme Designer

I found this website extremely useful to help me define the colour schemes I am going to use for my projects. It helps to show which colours work together and are pleasing to the eye. Below are the different colour schemes I have created in relation to the colours I chose previously.

TRIAD

Main focus on colour code #a80995 (R:168, G:9, B:149)

TETRAD

Main focus on colour code #a80995 (R:168, G:9, B:149)

COMPLEMENT

Main focus on colour code #3f30a8 (R: 63, G:48, B:168)

TRIAD

Main focus on colour code #f5e82d (R:245, G:232, B:45)

ACCENTED ANALOGIC

Main focus on colour code #3c750d (R:60, G:117, B:13)

TRIAD

Main focus on colour code #ba2d84 (R:186, G:5, B:132)

TRIAD

Main focus on colour code #49f4ef (R:73, G:244, B:239)

http://colorschemedesigner.com/

Colour Scheme

Below is a list of the RGB colour codes that I am going to use throughout my projects. I decided to note these so that I remain a consistent and recognisable style that audiences will recognise as being my studios, Imaginary Forces.