This was an animation done for the talented Euan Mackenzie. He is a logo and graphic designer here: euanmackenzie.com/ As soon as I saw the logo I thought of this simple and elegant approach.
Technical: The real challenge for this piece was maintaining the soft gradient and shadows on the original logo. I could have made the paper segments a flat color and added lights and shadows and so forth all in after effects, but I took a different approach. I changed the color over time with the "change to color" effect. I also added the channel "blend" effect so I could turn this off over time. It still needed a little more shadow so I rotoscoped two shadows on the right side. In order to get rid of the seams between the layers I changed all the layer blending modes to "alpha add." After speed testing maybe 50 tracks I narrowed it down to 8. It took me a while to finally settle on this audio track.
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This was an animation done for Richard Fonteneau. This logo has won numerous awards for its clever design. You obviously see the golfer, but do you see the spartan? We worked with character animator Carina Simmons.
Technical: Most of this was cell animation done by Carina, so each frame of the swing was illustrated separately. I key framed a radial fast blur to the cell animation to add a little life.
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I had the chance to work with another logo from Rich Scott (Design A Bot). This logo is for sale at brandstack.com: (as of 3/5/10), and will soon come with this animation as well. All in all I am happy with how this came out. Ideally I would have liked to have had a custom music track made that was a bit shorter then this one. Check out Scott’s portfolio here: brandstack.com/users/profile/designabot
Technical: I started this project by taking apart the logo into the different pieces: eyebrows, tie, rectangle cloth, shadow, and body. I imported the illustrator file into after effects and added 9 puppet points on the body. The rectangular clothe and tie were attached on top of the animated composition that contained the eyebrows & body. I added two small red dots by the neck and crotch so I could apply a motion tracked points to the tie and red clothe. I did this so I could avoid any distortion on these two elements through the puppet tool. I used the page turn plug in on the tie. Lastly I used one of the few oriental tracks I have. This one was from digital juice. I recorded the heavy breathing (running), grunt (kick), and light breathing (whole sequence, most noticebly at end) all myself. I lowered the pitch of the kick using soundbooth. What fun!
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Inspired by the depth of field and blurry light effects that often appear in photography this concept was instantly received by Wanda & Brian from Studio 67. After several versions they gave a very kind review of the experience on their blog here: studio67blog.ca/2010/07/a-new-unveiling-at-studio-67.html Check out studio 67 here: studio67.ca/
Here is what they had to say, "We appreciate your speediness and fine tuning of the initial concept - it’s absolutely brilliant!” - Wanda & Brian
Technical: I had 4 different particle systems setup. Each had slightly different variations on the particle amount, size, speed, and color. I parented a camera to a null object and slowly rotated all of them over time. I keyframed each circle that made up the “7” over time. I also tweaked the camera till I had a shallow depth of field, and changed the focus distance over time. Lastly, I added a very fun track from smartsound.
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This is another beautiful logo from Richard Scott. He gave me creative freedom to animate this logo. Once I introduced the idea of an old film look into the animation I kept running with it from the film scratches, grain, misalignments down to the smaller screen size and distorted audio.
Technical: I used a film effects filter to add the grain and scratches. I manually created several frames to simulate the film being misaligned. I roughened the edges of the frame and cropped it to make it into a unique shape. I used levels to bring the black colors into the grey area. The whole sequence within the film has a slight wiggle applied to make it a little more dynamic. Lastly, I used the puppet tool to add minimal movement to the mouse.
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