Once again this year I had a the pleasure of volunteering as a staffer at the Mountain Workshops sponsored by Western Kentucky University’s Photojournalism program. As a ’92 grad of WKU‘s PJ program, it’s always a blast to be immersed in this intense “boot camp” environment for a few days along with an awesome and inspiring staff. What started over 30 years ago as a black and white still photojournalism workshop has evolved into a high tech, multimedia cross-discipline, online, twitter’d, vimeo’d and facebook’d experience.
My job as a volunteer was to assist the multimedia students with titles for their videos along with various design jobs for the behind-the-scenes workshop video.
Here is a highlight reel of some of my work this year produced over two and a half days starting with the WKU and workshop front bumper and ending with the full Mountain Workshops end bumper logo. The 3d logo was created in Cinema 4d and all motion graphics animation was done in After Effects. Enjoy!
You can see more multimedia stories from this year’s workshop here along with this behind-the-scenes workshop video produced by Tim Broekema:
In response to a cool tip posted on twitter by theangietaylor about converting text layers to shape layers and then adding shape effects, I put together this super simple example video showing those effects in motion. What a great tip, I can really see this method getting used to create some fun, simple text effects.
It may not be readily apparent, but for the last several versions After Effects has shipped with a 3rd party tracking tool called Mocha AE from Imagineer Systems. Look on your hard drive where you install AE, it’s there.
Mocha is a really nice tracking tool, but when you first open the app the interface can be a bit intimidating in that it looks nothing like what you’re used to if you’re used to After Effects.
Mocha is not a 3d camera tracker, but instead it’s strength is a method of 2.5d tracking known as planar tracking. It’s far superior than AE’s built in point tracking, it’s more accurate, can deal with motion blur and doesn’t always stumble when one of the tracking points ventures off screen or out of the camera’s view.
Here are some samples I worked up yesterday while studying how to use Mocha AE. In these examples I took some handheld HD footage of a picture frame and comped in a photo of my good friend Indiana Jones. Before shooting the source footage, I removed the actual photo from the frame and inserted a piece of black paper. This way, once I track the footage and add in the new photo, I can set the transfer mode of the photo to screen thus preserving the original reflections in the glass. This subtle effect goes a long way in increasing the realism of the comp.
At the start of each example you will see a few seconds of the original source footage, then a wipe to reveal the final comp.
We recently upgraded to Adobe After Effects CS5.5 at the office and after reading about the new Warp Stabilizer effect, I decided to do some experimenting. Here are two quick tests that I produced this morning to demonstrate the before and after of this effect.
The top shot featuring the empty hallway worked quite easily with default settings. The 2nd clip feature the school children walking down the hall way worked fine, but the synthesize edges functionality really struggled to generate clean edges.
Here’s a recent motion graphics title project that I completed for my #1 client: my son’s Cub Scout pack! Not only am I the cubmaster of Pack 84, but I’m also the self-appointed “video guy” ready to photograph and document all of our big events. Of course that also includes our annual pinewood derby, held just last week.
This piece is meant to play on the idea of personalization that is a part of every car that a scout builds with his family. To that end, I designed about 15 different car shapes in Illustrator based on some real and imagined pinewood cars. Those shapes I brought into After Effects and used as alpha mattes on a nice stock image of polished steel.
You can watch the complete video here.