Rampant Design Tools who has been prolific about introducing new offerings and updates to its motion graphics products is at it again. This time with two new Style Effects volumes for motion graphic artists offer 1,500 new 2K, 4K and 5K effects.
Rampant Motion Graphics for Editors v1 and v2, are QuickTime elements that users can drag and drop into the software of their choice; Rampant effects are not plug-ins and, therefore, not platform dependent.
The newly launched Rampant Textured Overlays library features 230 effects for editors, also in ultra-high resolution 2K, 4K and 5K elements.
This volume provides a large amount of overlay effects for editors or anyone else looking to add a unique and modern look to video projects. Rampant Textured Overlays are suited for editing, motion graphics, photography and graphic design.
We reached out to Rampant’s Sean Mullen, who runs the company with his wife Stefanie. They create all of the effects themselves. Ok, let’s find out more.
What’s important about this new release?
The Motion Graphics for Editors series is a completely new direction for us. We’ve designed thousands of animated elements so that busy editors or anyone who doesn’t have time to design their own can easily create great looking motion graphics without having to start from scratch. These designs are the same that you see in current television and commercial trends.
Volume one is more of a base, something that you can use in just about any kind of situation. Volume 2 is more edgy and is similar to the kinds of designs that I’ve previously created for the X Games, MTV, Fuel and the National Guard. Motion Graphics for Editors is the beginning of a new trend at Rampant. You can expect to see a variety of different projects coming out of our shop in the near future. All vastly different from what people are used to seeing from Rampant. I’m super stoked about the next six to eight months.
Were the new offerings based on user feedback?
In part, yes. I have hundreds of project ideas on my whiteboards that I’d like to build out. We’re only limited by time and resources. We don’t have a studio full of artists cranking out our designs. Rampant is just Stefanie and myself. I’m always roughing out ideas and letting them percolate. The great thing about being a small company is that we get to travel and talk to editors and artists directly. We often visit with amazing groups like the Blue Collar Post Collective in NYC and talk with assistant editors, editors and colorists. This allows us to hear first hand about what people want and need in their respective workflows.
What do you expect to be the most used of the bunch?
Motion Graphics for Editors v1 was designed as a base. It’s got more of a universal appeal. It’s perfect for everything from corporate work to infographics and commercials. Volume 2 is a lot more edgy and has a specific feel.
What’s your process when developing a new release?
There are dozens of projects in various stages of development at any given time. When an idea pops into my head, I’ll start camera, compositing and animation tests right away. Everything starts at 5K resolution or higher. Typically, I’ll let a project sit for a while after the initial R&D. This allows the idea to mature and gives us time to attack the project from multiple angles. Once we decide that something is worth pursuing, I’ll shoot or animate every possible thing I can think of. This can take days or weeks, depending on the amount of post work and transcoding that is involved. From there we’ll have a vat of hundreds, or in some cases thousands, of elements.
We toss out the ones that don’t work or aren’t deemed as useful. Then we organize the elements and give them a proper naming structure. After the elements are named, we output 4K and 2K versions of our 5K master elements and begin the long process of zipping and uploading them to our servers for download delivery. The final elements, camera masters and project files are then archived. Lastly, we cut a promo video showing our new products in use, build a new product page on our site and develop a newsletter to let our customers know about the latest release. Once that cycle is complete, it’s back to the whiteboard.
Anything you want to add that’s important?
It’s our mission to save editors time and money.If something normally takes hours or days to complete and our effects can help reduce that time, we’ve achieved our goal. There are many editors out there who use our effects in a pre-visual manner. They use our effects to quickly design something in order to get a green light from their producer or client and this saves a ton of time and money.
Others look at our effects as a starting off point. They start with our elements and combine them to make something new. We receive emails every day from editors who just don’t have time to make anything from scratch. Their budgets are too tight, turnaround time is insane or they simply aren’t mograph designers but still want good-looking motion graphics. These are our people, they are why we work every single day. We read each and every email and take every phone call, even at 3am.