The Icebook - the world's first projection mapped pop-up book. An exquisite experience of fragile paper cutouts and video projections that sweep you right into the heart of a fantasy world. It is an intimate and immersive experience of animation, book art and performance.
For more information on the making of and the artists please visit: theicebook.com.
Music: Ben Woods
An in-depth tutorial on color correction using Curves inside of After Effects and Photoshop. This method explains how to color correct most any footage "by the numbers". It's a bit of a science that requires only a minimum amount of understanding of RGB values.
Please bestow a ♥ like or leave a ✉ comment if you have questions!
You can skip the introduction if you so choose: 0:45 - Before and After (Full Color Correction Example Here: vimeo.com/14400218) 1:09 - Color Correction After Effects Tutorial Start 12:37 - Edit your color corrected footage in Premiere! (Dynamically Link the CC'ed Footage)
Using Photoshop for color correction is really a lot easier than you may think. In this tutorial, the method is very simple and fast - NO rendering multiple frames, NO importing video files into Photoshop, and easy access to making color changes.
This tutorial is a tad long at 15 minutes - please bear with me as I fully explain the techniques here! (It was recorded it in the middle of the night. :) Hopefully you will find the techniques in this After Effects Color Correction Tutorial helpful. UPDATE 3/31/11 - I have re-uploaded this tutorial as I have redone the intro.
✏ Choose areas that are large enough to sample and don't contain color casts or Chromatic Aberration
✏ Remember to use common sense. If the colors are just not looking right, either sample a different area or adjust to your liking.
✏ Your footage may have different areas of brightness or color shifts throughout the video. Animate your Levels for differing brightness, and animate your Curves for differing color where needed.
✏ Sometimes having crushed blacks or blown highlights are okay - especially in video. Keep this in mind when working with the Levels effect and don't worry if you have either of those in your final result.
✏ If you have the opportunity, use a gray card somewhere in the image - so that later in post, you can reference that neutral gray midtone for color correction.
✏ IMPORTANT: If you are using CS5, make sure you are using the Eyedropper Tool, NOT the Color Sampler Tool. Thanks to Ryan Yakich for the heads up.
RGB Color Correction Values Reference (also at 9:54):
Highlights ✏ 245
Midtones ✏ 135
Shadows ✏ > 12
This is my Junior Degree Project that I worked over the Spring semester at RISD. I got the original concept of creating a cutout animation for art made with a single sheet of paper and the stratastencil technique.
I wanted the animation to have a dream like quality exploring the reality and space in which the dream exists and felt that the cutout technique fit this idea. Color was another consideration that I built into the design of the animation to help enhance the dreamlike qualities of the film. From here the idea grew and as I did studies involving birds, umbrellas, water, trees, and other things I was able to refine my idea and break it down to find the core essentials of the film.
Once I had my subject matter down and I was able to start animating. Most of the animation is hand drawn (the tree was drawn by hand then animated in Adobe After Effects). Once I had the animation drawn, I filled it all in with black marker, shot it, and brought it into Adobe After Effects and ran an auto trace on it to create that cutout effect.
To create the final look of the film, I started with a basic mockup frame that I used to make rough style frames and an animatic with. Later applying the animation over the animatic to create a fine cut, while using it to do render tests and get a feel of how the workflow was going to work out. From there I made the final frame and created 7 colored backings for it, which I swapped out while hanging the frame in different places on the wall. I lit the frame to give it the shadows in the image and used these pictures later, compositing them together so that they were all hanging on the wall at the same time.
After that it was matter of compositing in all the animation, adding a drop shadow to the paper to make it flow better with the look and feel of the frame, and lots of rendering.
For the sound I partnered with a student from the Berklee School of Music in Boston named John Nolan. I explained to him what I was looking for and through different sound tests and experiments he was able to narrow down specific instruments to use. With every edit to the sound I would provide some notes, feedback and things I thought would help add to the sound as well as strengthen the animation. John took those ideas and applied them with other elements to create a really beautiful final soundtrack.
All of this came together over a 12 week period to create this final film. Feel free to comment and enjoy!
The making of "Hero," a drawing of my dad composed entirely out of 3.2 million ink dots.
Directed, Filmed, Edited and Drawn by Miguel Endara
Music by Bonobo - Noctuary
Song written by Simon Green, published by Just Isn't Music
(P) Ninja Tune 2003. Licensed courtesy of Ninja Tune - ninjatune.net
Song Download: http://bit.ly/rubVeD