If you’ve seen the opening, you’ll note that we did plenty of the opposite. We never were going to move the camera in Person Of Interest, nor were we going to have many 3D elements.
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We will go through how to create a self-animating UI grid, as well as some tracking techniques.Ĭlass 6: Person of Interest Project Breakdown, Part 02. This week will be about creating systems that can do lots of work for you, freeing you up to spend more time designing the bigger challenges. For a project that was initially only supposed to be type over image, Person of Interest sure did get pretty complicated. We’ll look at using our old friend Trapcode Particular along with Trapcode Form to enhance the environment we built in the previous class.Ĭlass 5: Person of Interest Project Breakdown, Part 01. Once we’ve got our basic structure for the Stage Five ID project down in Cinema 4D, it’s now time to make it sing. We learn how to deconstruct text, build it back together, and elaborate on the earlier example on how to send and manipulate 3D data in After Effects.Ĭlass 4: Stage Five Project Breakdown, Part 02. For this we break down the Stage Five ID project. After a few weeks in After Effects, we start to spend some more time in Cinema 4D. Initially designed for a long-form pharmaceutical commercial, we work through how to use standard AE effects like Turbulent Displace, Beam, CC Vector Blur, and Echo to rapidly look dev for clients.Ĭlass 3: Stage Five Project Breakdown, Part 01. Building on the techniques learned in Class 01, we learn how to iterate our Particular effects quickly and cumulatively. Examples will include a National Geographic spot as well as a teaser for Elder Scrolls Online.Ĭlass 2: Lightning in a Bottle. And then I show you how to link it to data from Cinema 4D so you can integrate it with your CG renders. For the introductory class, we discuss how I used Trapcode Particular to generate a transition that is both fast to create and flexible for multiple uses. There will always be another end tag to complete and there is rarely enough time to do something cool. One of the things that you get asked to do as a motion graphics artist is end tags. Prof Frederick Ross concludes the final 3 classes of this course.Ĭlass 1: Trapcode Particular, Fast and Furious. He’s worked on kids cartoons, slot machines, and short-form documentaries before finding a home at Imaginary Forces as a director. He escaped a life of science after rewatching Jurassic Park and Toy Story back to back, quitting a promising career as a chemical engineer to go off and learn to animate. Ryan Summers is a 3D artist that has recently completed projects such as Strife: Rook, Pacific Rim, and Person of Interest. To be clear, this course isn?t a lightweight ?making of? breakdown for these projects ? but will be sharing hard core production-proven techniques for getting the job done. Using After Effects and Cinema 4D, as well as leveraging the power of plugins like Trapcode Form and Particular, Summers will show you how he achieved both in real-world projects for a variety of clients. From main-on-end sequences for films like Pacific Rim to the opening titles of shows like Person of Interest, he found two constants: tight timelines that require you to work fast and clients that need you to stay flexible to the end.
Working at Imaginary Forces, prof Ryan Summers has completed an array of motion graphics jobs over the last 12 months.
Title:?FXPHD – MOG212 Production Tested Mograph: How to Work Fast and Flexible
FXPHD – MOG212 Production Tested Mograph: How to Work Fast and Flexible