Adobe After Effects Questions (Weeks 1-6)

Week 1

1. What is After Effects?

Adobe After Effects is a digital motion-graphics, compositing and visual-effects software for film and video post-production.  A/V pros use it to animate, alter, and composite media in 2D and 3D space. (Wikipedia)

2. What is Final Cut Pro?

Final Cut Pro is now an Apple, non-linear editing software. A/V pros use it to log, capture and store video for editing, processing, and output to a variety of formats. (Wikipedia)

3. What is Motion Graphics?

Motion graphics may use video, audio and animation to simulate motion or change over time, usually in digital multimedia, but also in manual or analog, projects.

4. Who is Saul Bass?

Bass emerged as the pioneer of the modern title sequence for creating the title for Otto Preminger’s “The Man with the Golden Arm” (1955).  He was the first designer to recognize the full potential of a movie’s opening and closing credits.  He thought a title sequence could set the film’s mood and theme.

5. Who is Kyle Cooper?

Kyle Cooper became an acclaimed title-sequence designer for his seminal 1995 title of the Se7en film.  He co-founded the innovative creative agencies, Imaginary Forces, in 1996 and Prologue, in 2003. (Wikipedia)

Week 2

1. What are the three things to remember about the process for workflow in After Effects?

- Import assets into the project.
- Adjust and manipulate assets.
- Render or output the final project as a movie.

2. Identify the panels and windows located in the After Effects interface.

A – Application window
B – Tools panel
C – Project panel
D – Composition panel
E – Timeline panel
F – Time graph
G – Grouped panels (Info and Audio)
H – Time Controls panel
I – Effects & Presets panel

3. Remember the footage you import into your project is not embedded inside the file, because of this fact, what is important to remember about your file structure?

Sources are linked to files, which must be kept organized.  Avoid moving or renaming the files.  Yet, if your footage no longer links, right click to re-find and re-link the missing files.

4. What are the 5 transform properties in After Effects?

- Anchor Point (A)
- Position (P)
- Scale (S)
- Rotation (R)
- Opacity (T)

5. What is keyframing?

Keyframing is the most important animation principle.  It is mostly automated in AE.

6. What is the three-step process for animation in After Effects?

    - Click on a property’s stopwatch icon to enable keyframing and animation to change its value over time.
    - Move the current-time indicator in the timeline.
    - Change the same property to automatically create a new keyframe.

Week 3

1. What is a storyboard?

Storyboards are graphic organizers of illustrations or images in sequence for pre-visualizing a motion picture, animation, motion graphic, interactive media sequence, or website interactivity.

2. What are the benefits of a storyboard?

It facilitates “sensitivity analysis”, in film and other industries, to experiment with storyline changes to evoke stronger reaction or interest. For example, flashbacks often result from sorting storyboards out of chronological order to build suspense and interest.  This visual planning enables the stakeholders to brainstorm together by arranging their storyboards on a wall to foster more ideas and consensus.

3. What does this timecode represent?  01:30:15:05

It indicates one hour, 30 minutes, 15 seconds, and 5 frames.

Week 4

1. Name two project goals and objectives.

    - Who is the client?
    - What does the client want this project to accomplish?

2. Name two questions important to answer regarding the target audience.

    - Who is the Audience?
    - What are their needs and expectations?
    - What should the message accomplish for this audience?

3. Name 3 out of the 4 properties outlined in the notes regarding motion design principles

    - Shape;
    - Color;
    - Texture/Surface;
    - Size.

4. What do the stacking order of your layers control?

Stacking order does not control playing order.  Rather, layers’ start and stop points control the order in which each footage is played.  Thus, stacking order applies if more than one asset is scheduled for display at the same time.

5. What are blending modes?

They are ways of stacking layers, and combining their data, to make them look cool.

6. What are adjustment layers?

Any effect applied to an adjustment layer affects all the layers underneath it.

Week 5

1. What is the title safe area? What is the size of the margin?

- Keep text inside the title safe area to avoid distortion.  It has a 10% margin on all sides.

2. What is the action safe area? What is the size of the margin?

- Keep imagery you want the viewers to see inside the action safe area. It has a 5% margin on all sides.

3. What are three valid formats for audio in After Effects?

    - wav;
    - aiff;
    - mp3

Week 6

1. Name seven criteria for assessing and critiquing motion graphics.

    - Structures and Composition;
    - Image and Image Type;
    - Symbols and Symbol types;
    - Time;
    - Sound;
    - Intent;
    - Meaning.

2. Name six of the 9 motion graphic genres we discussed in class. Give examples for 3 of them.

     A genre is a category to classify motion graphics or film, usually by form, technique, or content.

     - Fluid:  Flows smoothly from shot to shot. Psyop is the king of Fluid genre.
   
     - Organic:  Feels real, but still artistic. Visual effects are examples.
 
     - Vector:  Created in vector programs, e.g. Illustrator, Flash, to facilitate scaling without any loss of detail. Brand New School does this genre well.

     - Hand-drawn:  Employs paint drips, rough paper, or a jittery stop motion. Eyeball’s rebrand of Comedy Central is a good example.

     - Collage: This “Kitchen Sink” is often a frenetic, rapid animation style. Stardust does this well.

     - Film: Uses pacing common to film titles and trailers with heavy typography focus. Picture Mill produces good examples.

     - Kinetic typography:  Known as “moving text” to convey an idea or evoke emotion.  Examples include title sequences and credits, web animation and entertainment media.

     - Information design/Data Visualization:  Displays facts and figures. Jess3 creative agency is an example.

     - End tag:  This mainstay of motion graphics is the 5-second display of the company logo at the end of a 25-second commercial.

“Windows Error Message Haiku” Video Storyboard
The main video is a 60-second satire creating a haiku based on “death and taxes” proverb by Ben Franklin. I added all the typography animation to images and video including:1. “Windows Crashes” title animation, which displays a glass Microsoft logo to imply how shatter-prone Windows is!2. “Three things are assured” is “hand-written” on a peaceful, tranquile background.3. “Death, taxes, and Windows collapses” follows with images of the Grim Reaper, a bogus tax form, and another peaceful nature image. 4. “Guess which just occurred!” completes this haiku on a Windows “Blue Screen of Death” background.

“Windows Error Message Haiku” Video Storyboard

The main video is a 60-second satire creating a haiku based on “death and taxes” proverb by Ben Franklin.

I added all the typography animation to images and video including:

1. “Windows Crashes” title animation, which displays a glass Microsoft logo to imply how shatter-prone Windows is!

2. “Three things are assured” is “hand-written” on a peaceful, tranquile background.

3. “Death, taxes, and Windows collapses” follows with images of the Grim Reaper, a bogus tax form, and another peaceful nature image.

4. “Guess which just occurred!” completes this haiku on a Windows “Blue Screen of Death” background.

Pioneering Title Sequences of Saul Bass


Why Saul Bass?


Bass emerged as the pioneer of the modern title sequence for creating the title for Otto Preminger’s “The Man with the Golden Arm” (1955).  When the reels of this film arrived at theatres, a note pasted on the cans warned:  “Projectionists – pull curtain before titles”.  Prior to this, titles and credits were so dull that projectionists pulled back the curtains to reveal the screen only after titles had finished!


Saul Bass was the first designer to recognize the full potential of a movie’s opening and closing credits.  He thought a movie title sequence could set its mood and theme.  He claimed the title could condition “the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”  Indeed, he thought “Design is thinking made visual.”


Can His Titles be Classified?

Saul Bass’ title sequences nearly hypnotize the audience.  Strong, repetitive, swirling motion and abstract images create a dream-like state.  Bass’ techniques—cutout animation, montage, live action, and type design—display variety and inconsistency.  Bass use of color and movement is exquisite.  Sequences often start with a solid, blank color frame, e.g. “North by Northwest”.  Yet, his characteristic designs are subtle and diverse.


Bass’ titles are not just old-fashion “titles and credits”.  Indeed, when his title begins, the story telling has begun!


In addition to “The Man with the Golden Arm”, Bass used the kinetic typography Genre in Alfred Hitchcock’s “North by Northwest” and “Psycho”, among others.


Bass directed a montage “dream” sequence for John Frankenheimer’s “Grand Prix” (1966).  His short documentary, “Why Man Creates”, won an Academy Award in 1968. It was considered such a ground-breaking film that the first episode of the CBS News Magazine, 60 Minutes, broadcast it on September 24, 1968.


He later moved away from his pioneering optical techniques, into computerized Genre in such title sequences as “Casino”.  He continued to design new and innovative title sequences for such films as “Goodfellas” (1990), “Cape Fear” (1991), “The Age of Innocence” (1993)…


Critique of His “Anatomy of a Murder” Title

This is one of the most celebrated cutout-animation title sequences by Saul Bass that plays with the two key words in the title:   anatomy and murder!   Together with the stark black-and-white color-scheme, it sets the dark mood of the film right away.   Let’s examine the usual criteria for evaluating this title:


Composition


The screen provides a top view of what one will see on an autopsy table without showing the table or the gory details.  Audience only sees the cut-out body parts of a silhouette of a body.


Imagery


The image and motion implies a murder using a cold, yet rythmic movement of parts of a body sketch.


Symbolism


The imagery and music conveys a cold, yet “professional”, murder.


Timing


The timing is measured. Title’s text is white and uses a simple animation in sync the sound track.


Sound


Duke Ellington ’s virtuoso score is moody, sexy, and witty.   Sound effects confirm that this is a professional murder with no regard for morality.


Intent


This title sequence strives to prime the audience for a crime film.


Meaning


The audio, video, timing… convey a must-see, intriguing crime film.

“Don’t Text & Drive” Video Storyboard (Part 2) A couple of visitors wanted to see the storyboard as well.  Thus, I am posting this video project’s outdated storyboard, scanned from its hard-copy version. Please see my previous post entitled:  “Don’t Text & Drive” Video Flow-Chart (Part 1) for more information about this video project.

“Don’t Text & Drive” Video Storyboard (Part 2)

A couple of visitors wanted to see the storyboard as well.  Thus, I am posting this video project’s outdated storyboard, scanned from its hard-copy version.

Please see my previous post entitled:  “Don’t Text & Drive” Video Flow-Chart (Part 1) for more information about this video project.

“Don’t Text & Drive” Video Flow-Chart (Part 1) I am posting this video project’s flow-chart instead of its outdated, hard-copy storyboard because the flow-chart better displays this completed project. The main video is a 30-second excerpt from the so-called ‘COW’ Welsh PSA film, directed by Peter Watkins Hughes for Gwent Police in UK to educate high school youths against texting and driving. I added all the typography animation above this video to create a 34-second spot for all media outlets to fight this growing tragedy, including: 1. “Don’t Text & Drive” cascading animation, which tracks the Cell phone display whenever it appears on the screen. 2. “To Get There Alive…” animation, which displays on the last screen-cap of the video with a subtle “happy face”. 3. “Don’t Text & Drive” animation, which turns into “Don’t Text & DIE” text as a result of “r” and “v” getting destroyed in the crashes with a subtle “sad face”. This video satisfies more than the project requirements as it effectively displays all four emotion/state pairs: Slow – Fast Happy – Sad Harmony – Chaos Life – Death

“Don’t Text & Drive” Video Flow-Chart (Part 1)

I am posting this video project’s flow-chart instead of its outdated, hard-copy storyboard because the flow-chart better displays this completed project.

The main video is a 30-second excerpt from the so-called ‘COW’ Welsh PSA film, directed by Peter Watkins Hughes for Gwent Police in UK to educate high school youths against texting and driving.

I added all the typography animation above this video to create a 34-second spot for all media outlets to fight this growing tragedy, including:

1. “Don’t Text & Drive” cascading animation, which tracks the Cell phone display whenever it appears on the screen.

2. “To Get There Alive…” animation, which displays on the last screen-cap of the video with a subtle “happy face”.

3. “Don’t Text & Drive” animation, which turns into “Don’t Text & DIE” text as a result of “r” and “v” getting destroyed in the crashes with a subtle “sad face”.

This video satisfies more than the project requirements as it effectively displays all four emotion/state pairs:

Slow – Fast
Happy – Sad
Harmony – Chaos
Life – Death

Critique of Elizabeth Del Sol’s Title Sequence of El Taxista

Award Winning Short Film by Luis Robledo


Elizabeth Del Sol’s Title Sequence of this little-known, Award Winning Short Film is effective, efficient, intriguing and entertaining. Let’s consider the usual criteria for evaluating this organic-, film-genre motion-graphics title:

Composition

The screen is focused on the ground level, which is the foundation for vehicles and humans movement. Audience only sees the female character’s lower body and boots, all in black and white.

Imagery

The image and motion implies a hot, sexy, and elegant woman walking on the street in search of a taxi cab. Her face is never shown, but the imagery leaves little doubt that she must be beautiful.

Symbolism

The tall, black boots, black costume, symbolize an erotic concept. Rising smoke with her steps signifies a hot, sexy woman.

Timing

The timing is incredible, yet measured. Title’s text is white and uses a simple, wipe transition, in sync with her steps, the smoke and the sound track. She is in no hurry and is confident that the cab will stop for her, as she walks away from the “stop”, painted on the street, towards the cab.

Sound

Bogata’s score and the cab driver’s narration effectively and efficiently confirm how irresistible she must be as his concept of morality is changing from absolute to relative, at best!

Intent

This title sequence strives to seduce audience in just 36 seconds to look for a venue to see this short film.

Meaning

The audio, video, timing… convey a hot, sexy, intriguing and entertaining film.

Review of: Jason Santa Maria’s “On Web Typography”

On Web Typography

by Jason Santa Maria

Professional Web designers rarely used any typefaces other than those installed with major computer operating systems to avoid using images, Flash, or other workarounds. But, browser vendors have increasingly implemented the @font-face CSS property, which enables designers to link, and pull any font in, to their Websites.

Type makers have refused to license their raw typefaces to Websites to prevent piracy. The @font-face implementation, however, is forcing solutions, from end-user license agreements to hosted, third-party services such as Kernest, Typekit, and Typotheque. Web designers get more type font options. Whereas, foundries and type designers make money. This “List Apart” article discusses the problems that must be resolved to make this New World of Web typography a success!

The 2009 Type Director’s Club Type Designawardees, especially Haptic and Geneo, are interesting examples of great typeface designs.

Review of: End Gun Violence: Stray Bullets

Watch blind.com/work/commercials/end-gun-violence-stray-bullets/ for a disturbing trip on a “bullet train.”  The sterile GPS-navigated landscape becomes frightening as you discover that your “train car” is a stray bullet, headed straight for an innocent girl.

What makes this public education spot so effective is that it displays how playing with a real gun can result in a tragedy in a split second.  The spot effectively and efficiently show that such a tragedy is not just another video game.