Category Archives: motion graphics

Foundry intros Mari 4.0

Foundry’s Mari 4.0 is the latest version of the company’s digital 3D painting and texturing tool. Foundry launches Mari 4.0 with a host of advanced features, making the tool easier to use and faster to learn. Mari 4.0 comes equipped with more flexible and configurable exporting, simpler navigation, and a raft of improved workflows.

Key benefits of Mari 4.0 include:
Quicker start-up and export: Mari 4.0 allows artists to get projects up-and-running faster with a new startup mechanism that automatically performs the steps previously completed manually by the user. Shaders are automatically built, with channels connected to them as defined by the channel presets in the startup dialog. The user also now gets the choice of initial lighting and shading setup. The new Export Manager configures the batch exporting of Channels and Bake Point Nodes. Artists can create and manage multiple export targets from the same source, as well as perform format conversions during export. This allows for far more control and flexibility when passing Mari’s texture maps down the pipeline.

Better navigation: A new Palettes Toolbar containing all Mari’s palettes offers easy access and visibility to everything Mari can do. It’s now easier to expand a Palette to fullscreen by hitting the spacebar while your mouse is hovered over it. Tools of a similar function have been grouped under a single button in the Tools toolbar, taking up less space and allowing the user to better focus on the Canvas. Various Palettes have been merged together, removing duplication and simplifying the UI, making Mari both easier to learn and use.

Improved UI: The Colors Palette is now scalable for better precision, and the component sliders have been improved to show the resulting color at each point along the control. Users can now fine tune their procedural operations with precision keyboard stepping functionality brought into Mari’s numeric controls.

The HUD has been redesigned so it no longer draws over the paint subject, allowing the user to better focus on their painting and work more effectively. Basic Node Graph mode has been removed: Advanced is now the default. For everyone learning Mari, the Non-Commercial version now has full Node Graph access.

Enhanced workflows: A number of key workflow improvements have been brought to Mari 4.0. A drag-and-drop fill mechanism allows users to fill paint across their selections in a far more intuitive manner, reducing time and increasing efficiency. The Brush Editor has been merged into the Tool Properties Palette, with the brush being used now clearly displayed. It’s now easy to browse and load sets of texture files into Mari, with a new Palette for browsing texture sets. The Layers Palette is now more intuitive when working with Group layers, allowing users to achieve the setups they desire with less steps. And users now have a shader in Mari that previews and works with the channels that match their final 3D program/shader: The Principled BRDF, based on the 2012 paper from Brent Burley of Walt Disney Animation Studios.

Core: Having upgraded to OpenSubdiv 3.1.x and introduced the features into the UI, users are able to better match the behavior of mesh subdivision that they get in software renderers. Mari’s user preference files are now saved with the application version embedded in the file names —meaning artists can work between different versions of Mari without the danger of corrupting their UI or preferences. Many preferences have had their groups, labels and tooltips modified to be easier to understand. All third-party libraries have been upgraded to match those specified by the VFX Reference Platform 2017.
Mari 4.0 is available now.

Review: Red Giant Trapcode Suite 14

By Brady Betzel

Every year we get multiple updates to Red Giant’s Adobe After Effects plug-in behemoth, Trapcode Suite. The 14th update to the Trapcode suite is small but powerful and brings significant updates to Version 3 of Trapcode as well as Form (Trapcode Form 3 is a particle system generator much like Particular, but instead of the particles living and dying they stay alive forever as grids, 3D objects and other organic shapes). If you have the Trapcode Suite from a previous purchase the update will cost $199, and if you are new the suite costs $999, or $499 with an academic discount.

Particular 3 UI

There are three updates to the Suite that warrant the $199 upgrade fee: Trapcode 3, Form 3 and Tao 1.2 update. However, you still get the rest of the products with the Trapcode Suite 14: Mir 2.1, Shine 2.0, Lux 1.4, 3D Stroke 2.6, Echospace 1.1, Starglow 1.7, Sound Keys 1.1 and Horizon 1.1

First up is the Tao 1.2 update. Trapcode Tao allows you to create 3D geometric patterns along a path in After Effects. If you do a quick YouTube search of Tao you will find some amazing examples of what it can do. In the Tao 1.2 update Red Giant has added a Depth-of-Field tool to create realistic bokeh effects on your Tao objects. It’s a simple but insanely powerful update that really gives your Tao creations a sense of realism and beauty. To enable the new Depth-of-Field, wander over to the Rendering twirl-down menu under Tao and either select “off” or “Camera Settings.” It’s pretty simple. From there it is up to your After Effects camera skills and Tao artistry.

Trapcode Particular 3
Trapcode Particular is one of Red Giant’s flagship plugins and it’s easy to see why. Particular allows you to create complex particle animations within After Effects. From fire to smoke to star trails, it can pretty much do whatever your mind can come up with, and Version 3 has some powerful updates, including the overhauled Trapcode Particular Designer.

The updated designer window is very reminiscent of the Magic Bullet Designer window, easy and natural to use. Here you design your particle system, including the look, speed and overall lifespan of your system. While you can also adjust all of these parameters in the Effects Window dialog, the Designer gives an immediate visual representation of your particle systems that you can drag around and see how it interacts with movement. In addition you can see any presets that you want to use or create.

Particular 3

In Particular 3, you can now use OBJ objects as emitters. An OBJ is essentially a 3D object. You can use the OBJ’s faces, vertices, edges, and the volume inside the object to create your particle system.

The largest and most important update to the entire Trapcode Suite 14 is found within Particular 3, and it is the ability to add up to eight particle systems per instance of Particular. What does that mean? Well, your particle systems will now interact in a way that you can add details such as dust or a bright core that can carry over properties from other particle systems in the same same instance, adding the ability to create way more intricate systems than before.

Personally, the newly updated Designer is what allows me to dial in these details easily without trying to twirl down tons of menus in the Effect Editor window. A specific use of this is that you want to duplicate your system and inherit the properties, but change the blend mode and/or colors, simply you click the drop down arrow under system and click “duplicate.” Another great update within the multiple particle system update is the ability to create and load “multi-system” presets quickly and easily.

Now, with all of these particle systems mashed together you probably are wondering, “How in the world will my system be able to handle all of these when it’s hard to even playback a system in the older Trapcode Suite?” Well, lucky for us Trapcode Particular 3 is now OpenGL — GPU-accelerated and allowing for sometimes 4x speed increases. To access these options in the Designer window, click the cogwheel on the lower edge of the window towards the middle. You will find the option to render using the CPU or the GPU. There are some limitations to the GPU acceleration. For instance, when using mixed blend modes you might not be able to use certain GPU acceleration types — it will not reflect the proper blend mode that you selected. Another limitation can be with Sprites that are QuickTime movies; you may have to use the CPU mode.

Last but not least, Particular 3’s AUX system (a particle system within the main particle system) has been re-designed. You can now choose custom Sprites as well as keyframe many parameters that could not be keyframed before.

Form 3 UI

Trapcode Form 3
For clarification, Trapcode Particular can create particle emitters that emit particles that have a life, so basically they are born and they die. Trapcode Form is a particle system that does not have a life — it is not born and it does not die. Some practical examples can be a ribbon like background or a starfield. These particle systems can be made from 3D models and even be dynamically driven by an audio track. And much like Particular’s updated Designer, Form 3 has an updated designer that will help you build you particle array quickly and easily. Once done inside the Designer you can hop out and adjust parameters in the Effects Panel. If you want to use pre-built objects or images as your particles you can load those as Sprites or Textured Polygons and animate their movement.

Another really handy update in Trapcode Form 3 is the addition of the Graphing System. This allows you to animate controls like color, size, opacity and dispersion over time.

Just like Particular, Form reacts to After Effect’s cameras and lights, completely immersing them into any scene that you’ve built. For someone like me, who loves After Effects and the beauty of creations from Form and Particular but who doesn’t necessarily have the time to create from scratch, there is a library of over 70 pre-built elements. Finally, Form has added a new rendering option called Shadowlet rendering which adds light falloff to your particle grid or array.

Form 3

Summing Up
In the end, the Trapcode Suite 14 has significantly updated Trapcode Particular 3 with multiple particle systems, Trapcode Form 3 with a beautiful new Designer, and Trapcode Tao with Depth-of-Field, all for an upgrade price of $199. Some Trapcode Particular users have been asking for the ability to build and manipulate multiple particle systems together, and Red Giant has answered their wishes.

If you’ve never used the Trapcode Suite you should also check out the rest of the mega-bundle which includes apps like Shine, 3D Stroke, Starglow, MIr, Lux, Sound Keys, Horizon and Echospace here. And if you want to get more in-depth rundowns of each of these programs check out Harry Frank’s (@graymachine) and Chad Perkin’s tutorials on the Red Giant News website. Then immediately follow @trapcode_lab and @RedGiantNews on Twitter.

If you want to find out more about the other tools in the Trapcode Suite check out my previous two-part review of Suite 13 here on postPerspective: http://postperspective.com/review-red-giants-trapcode-suite-13-part-1 and http://postperspective.com/review-red-giant-trapcode-suite-13-part-2.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Dell 6.15

Behind the Title: Undefined Creative founder/CD Maria Rapetskaya

NAME: Maria Rapetskaya

COMPANY: Undefined Creative

CAN YOU DESCRIBE YOUR COMPANY?
Undefined Creative is a Brooklyn-based media production agency specializing in motion graphics.

Our portfolio spans television, digital marketing, social media and live events, making us the perfect studio for big brands, agencies and networks looking to establish holistic creative partnerships. We deliver premium-grade motion media, at fair and transparent prices, on time, on budget, on the mark and with a personal touch.

WHAT’S YOUR JOB TITLE?
Founder/Creative Director

WHAT DOES THAT ENTAIL?
There are two sides to my job: the entrepreneur and the creative. The “entrepreneur” is the founder part, and that makes me responsible for nearly everything, even if only in a supervising or approval role.

I am responsible for the majority of business development. I set the company vision and work on the strategy to get there. I work in tandem with my executive producer on marketing. I oversee finances and operations, and do a good deal of maintaining client relationships.

The “creative” part of my job is being the creative director of a boutique. This encompasses setting the aesthetic direction of the studio in general and each project in particular. Communication with clients about all aspects of a project, and guiding the creative along the production process and — since we are a boutique — a good deal of hands-on production. I love that last part, since I never wanted to get away entirely from actually DOING what I love.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Being both an entrepreneur and a creative director is primarily about managing people. I have to manage our clients by setting realistic expectations without creating negative sentiments, or guiding them effectively through the process so that they understand and appreciate the creative decisions and directions we’re taking.

I also have to manage my team, making sure that everyone understands, for example, that there are objective and subjective comments when it comes to my critiques. The objective comments are not a judgment on anyone’s aesthetic, but a way to develop the best solution for the problem at hand. If I fail to do any of these, all I wind up with is miserable clients and miserable co-workers. So, in essence, the success of this studio depends in a large part on my ability to communicate accurately, efficiently, courteously and emphatically.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Getting unsolicited happy feedback from our clients. We’ve gotten such amazing notes following project delivery. It’s part of our company mission to never forget that our clients are people, so knowing that we made them look good, that their experience of working with us was enjoyable… that they’re less stressed out because they know we’ll take good care of them. All these things really inspire and encourage all of us here.

WHAT’S YOUR LEAST FAVORITE?
Experiencing a project I was really excited about become drudgery. It happens and it happens everywhere, to all creatives. There’s usually a combination of factors that contribute to this, like deadlines getting pushed up suddenly and significantly, or a lot of voices in the approval process pulling in completely different directions that are incompatible. I’ve learned over the course of my career to keep a healthy distance from my work, and that helps me manage my reactions, stay focused and motivated. But I’m still human, and even if I don’t get bummed, it’s hard to see the occasional disappointment in the team when this kind of stuff happens.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Whatever I can squeeze in before 9am. Zero distractions, plenty of caffeine.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d do something that combines people, travel, teaching/mentoring and health/wellness.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I was always into, and good at, art. So once I recognized that the only high school classes I was super-excited about were my art classes, I knew I could do this for a living. I come from a creative family of people who love to work for themselves, so even starting a company of my own wasn’t a big surprise. However, with respect to the specific discipline I chose being animation and motion graphics that was pretty random. I picked animation as a college major by default, on the advice and encouragement of an older friend who was graduating from the animation department when I was a freshman. And I didn’t discover motion graphics until about a year after I graduated.

The NHL Awards

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
This summer, we branded the NHL Awards Show in Las Vegas, creating all of the live-event animations for multiple screens on the show stage. We re-branded the Maury Show for the seventh time, creating new graphics packages for on-air, marketing and social media. We did a couple of cool broadcast promo spots for A&E. We worked on an animation for the US Navy and Men’s Health that described some fun facts about sailors (did you know the fitness test includes two minutes of pushups?)

Most recently, we created a graphics package for the United Nations Equator Prize to play on stage during their 2017 Awards Ceremony.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
That’s a very hard question to answer. I don’t think it’s an individual project, but rather our commitment to doing work pro bono for social causes. We’ve created 10-plus (I am actually losing track of how many) awareness videos since 2010, as well as a number of other projects for organizations and missions we care about.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My iPhone, although I am now very conscious of when and how much I’m on it. My analog alarm clock that ensures my iPhone can stay out of the bedroom. My MacBook Air, which lets me get away from my desk even if I’m still working.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
None, if I can help it. I don’t have much love for social media, and if not for needing it to run a business, I would gladly disconnect all together. I do appreciate LinkedIn as a business community, but I try to not get sucked in.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
Funny you ask. In my twenties, I listened to music while working… loudly and all day long. Now, I just love silence when I work. Helps me focus.

THIS IS A HIGH STRESS JOB WITH DEADLINES AND CLIENT EXPECTATIONS. WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I’ve been a professional creative for nearly 20 years, and coming up with fresh ideas on demand and all the time isn’t easy. Neither is running a company, which is a Ferris wheel ride of gaining clients, losing clients, getting jobs, not getting jobs. People depend on me to pay their bills. My job can be either exhilarating or exhausting, and which it will be depends on my ability to stay creative, productive and encouraged.

If I don’t take care of my mind and body properly, consistently and thoroughly, I’ll burn out. So I take control of my time. I don’t work after hours unless it’s actually necessary. I meditate every day. I try to get a workout in daily. I disconnect whenever I can. I stay off my smartphone when possible. I don’t have a TV — in fact, I rarely watch anything once I’m done working. Staring at a screen all day for work makes it far less enticing to stare at one for leisure. I love what I do, but I take time off to travel whenever I can, and I never guilt myself for wanting a life outside of work


Red Giant Universe 2.2 gets 11 new transitions, supports Media Composer

Red Giant is now offering Universe 2.2, which features 11 new transition tools — 76 transitions and effects in total — for editors and motion graphics artists. In addition to brand new transitions, Red Giant has made updates to two existing plugins and added support for Avid Media Composer. The Universe toolset, and more, can be seen in action in the brand new short film Hewlogram, written and directed by Red Giant’s Aharon Rabinowitz, and starring David Hewlett from the Stargate: Atlantis series.

The latest update to Red Giant’s collection of GPU-accelerated plugins, Universe 2.2’s transitions range from Retrograde, which creates an authentic film strip transition using real scans from 16mm and 8mm film to a Channel Surf transition that creates the effect of changing channels on an old CRT TV.

This release brings the complete set of Universe tools to Avid Media Composer, which means that all 76 Red Giant Universe effects and transitions now run in eight host applications, including: Adobe Premiere Pro CC, After Effects CC, Apple Final Cut Pro X, Blackmagic DaVinci Resolve and more.

Retrograde

Brand-new transition effects in Red Giant Universe 2.2 include:
• VHS Transition: A transition that mimics the effect that occurs when a VCR has been used to record over pre-existing footage.
• Retrograde Transition: A transition that that uses real scans of 16mm and 8mm film to create an authentic film strip transition.
• Carousel Transition: A transition that mimics advancing to the next slide in an old slide projector.
• Flicker Cut: A transition that rapidly cuts between two clips or a solid color, and which can invert the clips or add fades.
• Camera Shake Transition: A transition that mimics camera shake while it transitions between clips.
• Channel Surf: A transition that mimics the distortion you’d get by changing the channel on a cathode ray tube TV.
• Channel Blur: A transition that blurs each of the RGB channels separately for a unique chromatic effect.
• Linear Wipe: A classic linear wipe with the addition of wipe mirroring, as well as an inner/outer stroke with glow on the wipe border.
• Shape Wipe: A transition that uses an ellipse, rectangle or star shape to move between 2 pieces of footage. Includes control over points, size, stroke and fill.
• Color Mosaic: A Transition that overlays a variety of colors in a mosaic pattern as it transitions between 2 clips.
• Clock Wipe: A classic radial wipe transition with feathering and the option for a dual clock wipe.

Updates to existing effects in Universe 2.2 include:
• VHS: This update includes new VHS noise samples, VHS style text, timecode and function icons (like play, fast-forward, rewind), updated presets, and updated defaults for better results upon application.
• Retrograde: This update includes a small but valuable addition that allows Retrograde to use the original aspect ratio of your footage for the effect.

Existing Universe customers can download the new tools directly by launching Red Giant Link. Universe is available as an annual subscription ($99/year) or as a monthly subscription ($20/month). Red Giant Universe is available in Red Giant’s Volume Program, the flexible and affordable solution for customers who need five or more floating licenses.


Sonnet’s portable eGPU accelerates computer graphics

Sonnet has introduced a Thunderbolt-connected external GPU (eGPU) device called the eGFX Breakaway Puck, which is a portable, high-performance, all-in-one eGPU for Thunderbolt 3 computers. The Puck offers accelerated graphics and provides multi-display connectivity thanks to AMD’s Eyefinity technology. Users employing a Puck will experience boosted GPU acceleration when using professional video apps.

Sonnet is offering two Puck models: the eGFX Breakaway Puck Radeon RX 560 and eGFX Breakaway Puck Radeon RX 570. Each Puck model is 6 inches wide by 5.1 inches deep by 2 inches tall. Both feature one Thunderbolt 3 port, three DisplayPorts and one HDMI port to support up to four 4K displays in multi-monitor mode.

The Puck connects to a computer with a single Thunderbolt 3 cable and provides up to 45W of power to charge the computer. On the desktop, the Puck has a minimal footprint. With an optional VESA mounting bracket kit, the Puck can be attached to the back of a display or the arm of a multi-monitor stand, leaving a zero footprint on the desktop. The kit also includes a 0.5-meter cable to help reduce cable clutter.

The eGFX Breakaway Puck Radeon RX 560 sells for $449., and the eGFX Breakaway Puck Radeon RX 570 costs $599. The optional PuckCuff VESA Mounting Bracket Kit has an MSRP of $59. All models are immediately available.

 


Quick Chat: Creating graphics package for UN’s Equator Prize ceremony

Undefined Creative (UC) was recently commissioned by the United Nations Development Programme (UNDP) to produce a fresh package of event graphics for its Equator Prize 2017 Award Ceremony. This project is the latest in a series of motion design-centered work collaborations between the creative studio and the UN, a relationship that began when UC donated their skills to the Equator Prize in 2010.

The Equator Prize recognizes local and indigenous community initiatives from across the planet that are advancing innovative on-the-ground solutions to climate, environment and poverty challenges. Award categories honor achievement and local innovation in the thematic areas of oceans, forests, grasslands and wildlife protection.

For this year’s ceremony, UNDP wanted a complete refresh that gave the on-stage motion graphics a current vibe while incorporating the key icons behind its sustainable development goals (SDGs). Consisting of a “Countdown to Ceremony” screensaver, an opening sequence, 15 winner slates, three category slates and 11 presenter slates, the package had to align visually with a presentation from National Geographic Society, which was part of the evening’s program.

To bring it all together, UC drew from the SDG color palettes and relied on subject matter knowledge of both the UNDP and National Geographic in establishing the ceremony graphics’ overall look and feel. With only still photos available for the Equator Prize winners, UC created motion and depth by strategically intertwining the best shots with moving graphics and strategically selected stock footage. Naturally moving flora and fauna livened up the photography, added visual diversity and contributed creating a unique aesthetic.

We reached out to Undefined Creative’s founder/creative director Maria Rapetskaya to find out more:

How early did you get involved in the project, and was the client open to input?
We got the call a couple of months before the event. The original show had been used multiple times since we created it in 2010, so the client was definitely looking for input on how we could refresh or even rebrand.

Any particular challenges for this one?
For non-commercial organizations, budgets and messaging are equally sensitive topics. We have to be conscious of costs, and also very aware of Do’s and Don’t’s when it comes to assets and use. Our creative discussions took place over several calls, laying out options and ideas at different budget tiers — anything from simply updating the existing package to creating something entirely different. In case of the latter, parameters had to be established right away for how different “different” could be.

For example, it was agreed that we should stick with photography provided by the 2017 award winners. However, our proposal to include stock for flora and fauna was agreed on by all involved. Which SDG icons would be used and how, what partner and UN organizational branding should be featured prominently as design inspiration, how this would integrate with content being produced for UNDP/Equator Prize by Nat Geo… all of these questions had to be addressed before we started any real ideation in order for the creative to stay on brand, on message, on budget and on time.

What tools did you use on the project?
We relied on Adobe CC, in particular, After Effects, which is our staple software. In this particular project, we also relied heavily on stock from multiple vendors. Pond5 have a robust and cost-effective collection of video elements we were seeking.

Why is this project important to you?
The majority of our clients are for-profit commercial entities, and while that’s wonderful, there’s always a different feeling of reward when we have the chance to do something for the good of humanity at large, however minuscule our contribution is. The winners are coming from such different corners of the globe — at times, very remote. They’re incredibly excited to be honored, on stage, in New York City, and we can only imagine what it feels like to see their faces, the faces of their colleagues and friends, the names of their projects, up on this screen in front of a large, live audience. This particular event brings us a lot closer to what we’re creating, on a really empathetic, human level.


Updating the long-running Ford F-150 campaign

Giving a decade-long very successful campaign a bit of a goose presents unique challenges, including maintaining tone and creative continuity while bringing a fresh perspective. To help with the launch of the new 2018 Ford F-150, Big Block director Paul Trillo brought all of his tools to the table, offering an innovative spin to the campaign.

Big Block worked closely with agency GTB, from development to previz, live-action, design, editorial, all the way through color and finish.

Trillo wanted to maintain the tone and voice of the original campaign while adding a distinct technical style and energy. Dynamic camera movement and quick editing helped bring new vitality to the “Built Ford Tough” concept.

Technically challenging camera moves help guide the audience through distinct moments. While previous spots relied largely on motion graphics, Trillo’s used custom camera rigs on real locations.

Typography remained a core of the spots, all underscored by an array of stop-motion, hyperlapse, dolly zooms, drone footage, camera flips, motion control and match frames.

Premiere was used for editing. CG was a combination of Maya and 3ds Max. Compositing was done in Nuke and Flame with finishing in Flame. 


Tobin Kirk joins design/animation house Laundry as EP

Tobin Kirk has joined LA-based design and animation studio Laundry as executive producer. Kirk brings nearly 20 years of experience spanning broadcast design, main title sequences, integrated content, traditional on-air spots, branded content, digital and social. At Laundry, he will work closely with executive producer Garrett Braren on business development, as well as client and project management efforts.

Kirk was most recently managing executive producer at Troika, where he oversaw all production at the entertainment brand agency’s 25,000-square-foot facility in Hollywood, including its creative studio and live-action production subsidiary, Troika Production Group. Prior to that, he spent nearly five years as executive producer at Blind, managing projects for Xbox/Microsoft, AT&T, ancestry.com and Sealy Mattress, among others.

As a producer, Kirk’s background is highlighted by such projects as the main title sequence for David Fincher’s The Girl With the Dragon Tattoo at Blur Studio, commercials for Chrysler and Gatorade at A52 and an in-flight video for Method/Virgin America at Green Dot Films. He also spent three years with Farmer Brown working for TBS, CBS, Mark Burnett Productions, Al Roker Productions, The Ant Farm, Bunim/Murray and Endemol USA.

In addition, Kirk collaborated with video artist Bill Viola for over six years, producing projects for the London National Gallery, Athens Olympics, the Getty Museum, Opera National de Paris, Guggenheim Museum, Munich’s E.ON Corporation and Anthony d’Offay Gallery.


Behind the Title: Artist Jayse Hansen

NAME: Jayse Hansen

COMPANY: Jayse Design Group

CAN YOU DESCRIBE YOUR COMPANY?
I specialize in designing and animating completely fake-yet-advanced-looking user interfaces, HUDs (head-up displays) and holograms for film franchises such as The Hunger Games, Star Wars, Iron Man, The Avengers, Guardians of the Galaxy, Spiderman: Homecoming, Big Hero 6, Ender’s Game and others.

On the side, this has led to developing untraditional, real-world, outside-the-rectangle type UIs, mainly with companies looking to have an edge in efficiency/data-storytelling and to provide a more emotional connection with all things digital.

Iron Man

WHAT’S YOUR JOB TITLE?
Designer/Creative Director

WHAT DOES THAT ENTAIL?
Mainly, I try to help filmmakers (or companies) figure out how to tell stories in quick reads with visual graphics. In a film, we sometimes only have 24 frames (one second) to get information across to the audience. It has to look super complex, but it has to be super clear at the same time. This usually involves working with directors, VFX supervisors, editorial and art directors.

With real-world companies, the way I work is similar. I help figure out what story can be told visually with the massive amount of data we have available to us nowadays. We’re all quickly finding that data is useless without some form of engaging story and a way to quickly ingest, make sense of and act on that data. And, of course, with design-savvy users, a necessary emotional component is that the user interface looks f’n rad.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
A lot of R&D! Movie audiences have become more sophisticated, and they groan if a fake UI seems outlandish, impossible or Playskool cartoon-ish. Directors strive to not insult their audience’s intelligence, so we spend a lot of time talking to experts and studying real UIs in order to ground them in reality while still making them exciting, imaginative and new.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Research, breaking down scripts and being able to fully explore and do things that have never been done before. I love the challenge of mixing strong design principles with storytelling and imagination.

WHAT’S YOUR LEAST FAVORITE?
Paperwork!

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Early morning and late nights. I like to jam on design when everyone else is sleeping.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I actually can’t imagine doing anything else. It’s what I dream about and obsess about day and night. And I have since I was little. So I’m pretty lucky that they pay me well for it!

If I lost my sight, I’d apply for Oculus or Meta brain implants and live in the AR/VR world to keep creating visually.

SO YOU KNEW THIS WAS YOUR PATH EARLY ON?
When I was 10 I learned that they used small models for the big giant ships in Star Wars. Mind blown! Suddenly, it seemed like I could also do that!

As a kid I would pause movies and draw all the graphic parts of films, such as the UIs in the X-wings in Star Wars, or the graphics on the pilot helmets. I never guessed this was actually a “specialty niche” until I met Mark Coleran, an amazing film UI designer who coined the term “FUI” (Fictional User Interface). Once I knew it was someone’s “everyday” job, I didn’t rest until I made it MY everyday job. And it’s been an insanely great adventure ever since.

CAN YOU TALK MORE ABOUT FUI AND WHAT IT MEANS?
FUI stands for Fictional (or Future, Fantasy, Fake) User Interface. UIs have been used in films for a long time to tell an audience many things, such as: their hero can’t do what they need to do (Access Denied) or that something is urgent (Countdown Timer), or they need to get from point A to point B, or a threat is “incoming” (The Map).

Mockingjay Part I

As audiences are getting more tech-savvy, the potential for screens to act as story devices has developed, and writers and directors have gotten more creative. Now, entire lengths of story are being told through interfaces, such as in The Hunger Games: The Mockingjay Part I where Katniss, Peeta, Beetee and President Snow have some of their most tense moments.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
The most recent projects I can talk about are Guardians of the Galaxy 2 and Spider-Man: Homecoming, both with the Cantina Creative team and Marvel. For Guardians 2, I had a ton of fun designing and animating various screens, including Rocket, Gamora and Star-Lord’s glass screens and the large “Drone Tactical Situation Display” holograms for the Sovereign (gold people). Spider-Man was my favorite superhero as a child, so I was honored to be asked to define the “Stark-Designed” UI design language of the HUDs, holograms and various AR overlays.

I spent a good amount of time researching the comic book version of Spider-man. His suit and abilities are actually quite complex, and I ended up writing a 30-plus page guide to all of its functions so I could build out the HUD and blueprint diagrams in a way that made sense to Marvel fans.

In the end, it was a great challenge to blend the combination of the more military Stark HUDs for Iron Man, which I’m very used to designing, and a new, slightly “webby” and somewhat cute “training-wheels” UI that Stark designed for the young Peter Parker. I loved the fact that in the film they played up the humor of a teenager trying to understand the complexities of Stark’s UIs.

Star Wars: The Force Awakens

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I think Star Wars: The Force Awakens is the one I was most proud to be a part of. It was my one bucket list film to work on from childhood, and I got to work with some of the best talents in the business. Not only JJ Abrams and his production team at Bad Robot, but with my longtime industry friends Navarro Parker and Andrew Kramer.

WHAT SOFTWARE DID YOU RELY ON?
As always, we used a ton of Maxon Cinema 4D, Adobe’s After Effects and Illustrator and Element 3D to pull off rather complex and lengthy design sequences such as the Starkiller Base hologram and the R2D2/BB8 “Map to Luke Skywalker” holograms.

Cinema 4D was essential in allowing us to be super creative while still meeting rather insane deadlines. It also integrates so well with the Adobe suite, which allowed us to iterate really quickly when the inevitable last-minute design changes came flying in. I would do initial textures in Adobe Illustrator, then design in C4D, and transfer that into After Effects using the Element 3D plugin. It was a great workflow.

YOU ALSO CREATE VR AND AR CONTENT. CAN YOU TELL US MORE ABOUT THAT?
Yes! Finally, AR and VR are allowing what I’ve been doing for years in film to actually happen in the real world. With a Meta (AR) or Oculus (VR) you can actually walk around your UI like an Iron Man hologram and interact with it like the volumetric UI’s we did for Ender’s Game.

For instance, today with Google Earth VR you can use a holographic mapping interface like in The Hunger Games to plan your next vacation. With apps like Medium, Quill, Tilt Brush or Gravity Sketch you can design 3D parts for your robot like Hiro did in Big Hero 6.

Big Hero 6

While wearing a Meta 2, you can surround yourself with multiple monitors of content and pull 3D models from them and enlarge them to life size.

So we have a deluge of new abilities, but most designers have only designed on flat traditional monitors or phone screens. They’re used to the two dimensions of up and down (X and Y), but have never had the opportunity to use the Z axis. So you have all kinds of new challenges like, “What does this added dimension do for my UI? How is it better? Why would I use it? And what does the back of a UI look like when other people are looking at it?”

For instance, in the Iron Man HUD, most of the time I was designing for when the audience is looking at Tony Stark, which is the back of the UI. But I also had to design it from the side. And it all had to look proper, of course, from the front. UI design becomes a bit like product design at this point.

In AR and VR, similar design challenges arise. When we are sharing volumetric UIs — we will see other people’s UIs from the back. At times, we want to be able to understand them, and at other times, they should be disguised, blurred or shrouded for privacy reasons.

How do you design when your UI can take up the whole environment? How can a UI give you important information without distracting you from the world around you? How do you deal with additive displays where black is not a color you can use? And on and on. These are all things we tackle with each film, so we have a bit of a head start in those areas.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
I love tech, but it would be fun to be stuck with just a pen, paper and a book… for a while, anyway.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m on Twitter (@jayse_), Instagram (@jayse_) and Pinterest (skyjayse). Aside from that I also started a new FUI newsletter to discuss some behind the scenes of this type of work.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Heck yeah. Lately, I find myself working to Chillstep and Deep House playlists on Spotify. But check out The Cocteau Twins. They sing in a “non-language,” and it’s awesome.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I chill with my best friend and fiancé, Chelsea. We have a rooftop wet-bar area with a 360-degree view of Las Vegas from the hills. We try to go up each evening at sunset with our puppy Bella and just chill. Sometimes it’s all fancy-like with a glass of wine and fruit. Chelsea likes to make it all pretty.

It’s a long way from just 10 years ago where we were hunting spare-change in the car to afford 99-cent nachos from Taco Bell, so we’re super appreciative of where we’ve come. And because of that, no matter how many times my machine has crashed, or how many changes my client wants — we always make time for just each other. It’s important to keep perspective and realize your work is not life or death, even though in films sometimes they try to make it seem that way.

It’s important to always have something that is only for you and your loved ones that nobody can take away. After all, as long as we’re healthy and alive, life is good!

Heidi Netzley joins We Are Royale as director of biz dev

Creative agency We Are Royale has added Heidi Netzley as director of business development. She will be responsible for helping to evolve the company’s business development process and building its direct-to-brand vertical.

Most recently, Netzley held a similar position at Digital Kitchen, where she expanded and diversified the company’s client base and also led projects like a digital documentary series for Topgolf and show launch campaigns for CBS and E! Network. Prior to that, she was business development manager at Troika, where she oversaw brand development initiatives and broadcast network rebrands for the agency’s network clients, including ABC, AwesomenessTV, Audience Network and Sundance Cinemas.

Netzley launched her career at Disney/ABC Television Group within the entertainment marketing division. During her seven-year tenure, she held various roles ranging from marketing specialist to manager of creative services, where she helped manage the brand across multi-platform marketing campaigns for all of ABC’s primetime properties.

“With our end-to-end content creation capabilities, we can be both a strategic and creative partner to other types of brands, and I look forward to helping make that happen,” says Netzley.

When Netzley isn’t training for the 2018 LA Marathon, she’s busy fundraising for causes close to her heart, including the Leukemia & Lymphoma Society, for which she was nominated as the organization’s 2016 Woman of the Year. She currently sits on the society’s leadership committee.