Tag Archives: motion graphics

Animation and design studio Lobo expands to NYC’s Chinatown

After testing the New York market with a small footprint in Manhattan, creative animation/design studio Lobo has moved its operations to a new studio in New York’s Chinatown. The new location will be led by creative director Guilherme Marcondes, art director Felipe Jornada and executive producer Luis Ribeiro.

The space includes two suites, featuring the Adobe Creative Cloud apps, Autodesk Flame, Foundry Nuke and Blackmagic Resolve. There is also a finished rooftop deck and a multipurpose production space that will allow the team to scale per the specifications of each project.

Director/founder Mateus De Paula Santos will continue to oversee both New York offices creatively. Lobo’s NYC team will work closely with the award-winning São Paulo office, offering the infrastructure and horsepower of its nearly 200 staff with their US-based creative team.

Marcondes brings a distinct styling that fuses live action and animation techniques to craft immersive worlds. His art-driven style can be seen in work for clients such as Google, Chobani, Autism Speaks, Hyundai, Pepsi, Audi and British Gas. His short films have been screened at festivals worldwide, with his Tiger winning over 20 international awards. His latest film, Caveirão, made its worldwide premiere at SXSW.

Ribeiro brings over two decades of experience running business development and producing for creative post shops in the US, including Framestore, Whitehouse Post, Deluxe, Method Studios, Beast, Company 3 and Speedshape. He also served as the US consultant for FilmBrazil for four years, connecting US and Brazilian companies in the advertising production network.

Recent work out of Lobo’s US office includes the imaginative mixed media FlipLand campaign for Chobani, the animated PSA Sunshine for Day One out of BBDO NY and an animated short for the Imaginary Friends Society out of RPA.

Our Main Image: L-R: Luis Ribeiro, Mateus De Paula Santos, Felipe Jornada and Guilherme Marcondes.

Maxon intros Cinema 4D Release 20

Maxon will be at Siggraph this year showing the next iteration of its Cinema 4D Release 20 (R20), an update of its 3D design and animation software. Release 20 introduces high-end features for VFX and motion graphics artists including node-based materials, volume modeling, CAD import and an evolution of the MoGraph toolset.

Maxon expects Cinema 4D Release 20 to be available this September for both Mac and Windows operating systems.

Key highlights in Release 20 include:
Node-Based Materials – This feature provides new possibilities for creating materials — from simple references to complex shaders — in a node-based editor. With more than 150 nodes to choose from that perform different functions, artists can combine nodes to easily build complex shading effects. Users new to a node-based material workflow still can rely on Cinema 4D’s standard Material Editor interface to create the corresponding node material in the background automatically. Node-based materials can be packaged into assets with user-defined parameters exposed in a similar interface to Cinema 4D’s Material Editor.

MoGraph Fields – New capabilities in this procedural animation toolset offer an entirely new way to define the strength of effects by combining falloffs — from simple shapes, to shaders or sounds to objects and formulas. Artists can layer Fields atop each other with standard mixing modes and remap their effects. They can also group multiple Fields together and use them to control effectors, deformers, weights and more.

CAD Data Import – Popular CAD formats can be imported into Cinema 4D R20 with a drag and drop. A new scale-based tessellation interface allows users to adjust detail to build amazing visualizations. Step, Solidworks, JT, Catia V5 and IGES formats are supported.

Volume Modeling – Users can create complex models by adding or subtracting basic shapes in Boolean-type operations using Cinema 4D R20’s OpenVDB–based Volume Builder and Mesher. They can also procedurally build organic or hard-surface volumes using any Cinema 4D object, including new Field objects. Volumes can be exported in sequenced .vdb format for use in any application or render engine that supports OpenVDB.

ProRender Enhancements — ProRender in Cinema 4D R20 extends the GPU-rendering toolset with key features including subsurface scattering, motion blur and multipasses. Also included are Metal 2 support, an updated ProRender core, out-of-core textures and other architectural enhancements.

Core Technology Modernization —As part of the transition to a more modern core in Cinema 4D, R20 comes with substantial API enhancements, the new node framework, further development on the new modeling framework and a new UI framework.

During Siggraph, Maxon will have guest artists presenting at their booth each day of the show. Presentations will be live streamed on C4DLive.com.

 

 

Behind the Title: Trollbäck+Company’s David Edelstein

NAME: David Edelstein

COMPANY: Trollbäck+Company (@trollback)

CAN YOU DESCRIBE YOUR COMPANY?
We are a creative agency that believes in the power of communication, craft and collaboration.
Our mission is to promote innovation, create beauty and foster a lasting partnership. We believe that the brands of the future will thrive on the constant spirit of invention. We apply the same principle to our work, always evolving our practice and reaching across disciplines to produce unexpected, original results.

WHAT’S YOUR JOB TITLE?
Executive Director of Client Partnerships

WHAT DOES THAT ENTAIL?
I’m responsible for building on current client relationships and bringing in new ones. I work closely with the team on our strategic approach to presenting us to a wide array of clients.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think you need to be in a position of doing business development to really understand that question. The goal is to land work that the company wants to do and balance that with the needs of running a business. It is not an easy task to juggle.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love working with a talented team, and being in a position to present a company with such a strong legacy.

WHAT’S YOUR LEAST FAVORITE?
Even after all these years, rejection still isn’t easy, but it’s something you deal with on a daily, sometimes hourly, basis.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I’m a morning person, so I find it’s the perfect time to reach out to people when they’re fresh — and before their day gets chaotic.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Are you trying to tell me something? (laughs) I actually think I’d be doing the same thing, but perhaps for a different industry. I truly enjoy the experience of developing relationships and the challenge of solving creative problems with others. I think it’s a valuable skill set that can be applied to other types of jobs.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
This career came about pretty organically for me. I had a traditional production background and grew up in LA. When I moved to New York, I wound up at Showtime as a producer and discovered motion graphics. When I left there, I was fortunate enough to launch a few small studios. Being an owner makes you the head of business development from the start. These experiences have certainly prepared me for where I’ve been and where I am today.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’m only a few months in, but we are currently spearheading branding for a Fortune 500 company. Trollbäck is also coming off a fantastic title sequence and package for the final episode of the Motion Conference, which just took place in June.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It’s tough to call out one particular project, but some career highlights have been a long relationship with Microsoft, as well as traveling the world with Marriott and Hilton.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Cell phone, computer/email and iPad.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Twitter, Facebook, LinkedIn and Instagram.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
I try to give different types of music a go, so Spotify works well for me. But, honestly, I’m still a Springsteen guy.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I go home to relax and then come back the next day and try to be positive and grateful. Repeat!

Review: Maxon Cinema 4D R19 — an editor’s perspective

By Brady Betzel

It’s time for my yearly review of Maxon’s Cinema 4D. Currently in Release 19, Cinema 4D comes with a good amount of under-the-hood updates. I am an editor, first and foremost, so while I dabble in Cinema 4D, I am not an expert. There are a few things in the latest release, however, that directly correlate to editors like me.

Maxon offers five versions of Cinema 4D, not including BodyPaint 3D. There is the Cinema 4D Lite, which comes free with Adobe After Effects. It is really an amazing tool for discovering the world of 3D without having to invest a bunch of money. But, if you want all the goodies that come packed into Cinema 4D you will have to pay the piper and purchase one of the other four versions. The other versions include Prime, Broadcast, Visualize and Studio.

Cinema 4D Prime is the first version that includes features like lighting, cameras and animation. Cinema 4D Broadcast includes all of Cinema 4D Prime’s features as well as the beloved MoGraph tools and the Broadcast Library, which offers pre-built objects and cameras that will work with motion graphics. Cinema 4D Visualize includes Cinema 4D Prime features as well, but is geared more toward architects and designers. It includes Sketch and Toon, as well as an architecturally focused library of objects and presets. Cinema 4D Studio includes everything in the other versions plus unlimited Team Render nodes, a hair system, a motion/object tracker and much more. If you want to see a side-by-side comparison you can check out Maxon’s website.

What’s New
As usual, there are a bunch of new updates to Cinema 4D Release 19, but I am going to focus on my top three, which relate to the workflows and processes I might use as an editor: New Media Core, Scene Reconstruction and the Spherical Camera. Obviously, there are a lot more updates — including the incredible new OpenGL Previews and the cross-platform ProRender, which adds the ability to use AMD or Nvidia graphics cards — but to keep this review under 30 pages I am focusing on the three that directly impact my work.

New Media Core
Buckle up! You can now import animated GIFs into Cinema 4D. So, yes, you can import animated GIFs into Cinema 4D Release 19, but that is just one tiny aspect of this update. The really big addition is the QuickTime-free support of MP4 videos. Now MP4s can be imported and used as textures, as well as exported with different compression settings, directly from within Cinema 4D’s  interface — all of this without the need to have QuickTime installed. What is cool about this is that you no longer need to export image-based file sequences to get your movie inside of Cinema 4D. The only slowdown will be how long it takes Cinema 4D R19 to cache your MP4 so that you will have realtime playback… if possible.

In my experience, it doesn’t take that much time, but that will be dependent on your system performance. While this is a big under-the-hood type of update, it is great for those quick exports of a scene for approval. No need to take your export into Adobe Media Encoder, or something else, to squeeze out an MP4.

Scene Reconstruction
First off, for any new Cinema 4D users out there, Scene Reconstruction is convoluted and a little thick to wade through. However, if you work with footage and want to add motion graphics work to a scene, you will want to learn this. You can check out this Cineversity.com video for an eight-minute overview.

Cinema 4D’s Scene Reconstruction works by tracking your footage to generate point clouds, and then after you go back and enable Scene Reconstruction, it creates a mesh from the resulting scene calculation that Cinema 4D computes. In the end, depending on how compatible your footage is with Scene Detection (i.e. contrasting textures and good lighting will help) you will get a camera view with matching scene vertices that are then fully animatable. I, unfortunately, do not have enough time to recreate a set or scene inside of Cinema 4D R19, however, it feels like Maxon is getting very close to fully automated scene reconstruction, which would be very, very interesting.

I’ve seen a lot of ideas from pros on Twitter and YouTube that really blow my mind, like 3D scanning with a prosumer camera to recreate objects inside of Cinema 4D. Scene Reconstruction could be a game-changing update, especially if it becomes more automated as it would allow base users like me to recreate a set in Cinema 4D without having to physically rebuild a set. A pretty incredible motion graphics-compositing future is really starting to emerge from Cinema 4D.

In addition, the Motion Tracker has received some updates, including manual tracking on R, G, B, or custom channel — viewed as Tracker View — and the tracker can now work with a circular tracking pattern.

Spherical Camera
Finally, the last update, which seems incredible, is the new Spherical Camera. It’s probably because I have been testing and using a lot more 360 video, but the ability to render your scene using a Spherical Camera is here. You can now create a scene, add a camera and enable Spherical mapping, including equirectangular, cubic string, cubic cross or even Facebook’s 360 video 3×2 cubic format. In addition, there is now support for Stereo VR as well as dome projection.

Other Updates
In addition to the three top updates I’ve covered, there are numerous others updates that are just as important, if not more so to those who use Cinema 4D in other ways. In my opinion, the rendering updates take the cake. Also, as mentioned before, there is support for both Nvidia and AMD GPUs, multi-GPU support, incredible viewport enhancements with Physical Rendering and interactive Preview Renders in the viewport.

Under MoGraph, there is an improved Voronoi Fracture system (ability to destroy an object quickly) including improved performance for high polygon counts and detailing to give the fracture a more realistic look. There is also a New Sound Effector to allow for interactive MoGraph creation to the beat of the music. One final note: the new Modern Modelling Kernel has been introduced. The new kernel gives more ability to things like polygon reduction and levels of detail.

In the end, Cinema 4D Release 19 is a huge under-the-hood update that will please legacy users but will also attract new users with AMD-based GPUs. Moreover, Maxon seems to be slowly morphing Cinema 4D into a total 2D and 3D modeling and motion graphics powerhouse, much like the way Blackmagic’s Resolve is for colorists, video editors, VFX creators and audio mixers.

Summing Up
With updates like Scene Recreation and improved motion tracking, Maxon gives users like me the ability to work way above their pay grade to composite 3D objects onto our 2D footage. If any of this sounds interesting to you and you are a paying Adobe Creative Cloud user, download and open up Cinema 4D Lite along with After Effects, then run over to Cineversity and brush up on the basics. Cinema 4D Release 19 is an immensely powerful 3D application that is blurring the boundaries between 3D and 2D compositing. With Cinema 4D Release 19’s large library of objects, preset scenes and lighting setups you can be experimenting in no time, and I didn’t even touch on the modeling and sculpting power!


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.

Quick Chat: Maxon focuses on highlighting women in mograph

By Randi Altman

Maxon is well known for having hands-on artists as presenters at their trade show booths. Highlighting these artists and their work — and streaming their presentations — has been intrinsic in what they do. Sometimes they also have artists on hand at press luncheons, where Maxon talks about their Cinema 4D product and advances that have been made while at the same time highlighting users’ work.

This year’s conversation was a bit different in that it featured an all-woman panel of motion graphics artists, including moderator Tuesday McGowan, Penelope Nederlander, Julia Siemón, Caitlin Cadieux, Robyn Haddow and Sarah Wickliffe. They talked about their career experiences, the everyday challenges women face to achieve recognition and gender parity in a male-dominated work environment and strategies women can use to advance their careers.

During the panel (which you can watch here), McGowan talked about how motion graphics, in general, is very young, and how she believes there will be a coming evolution of diversity, and not just women. “I think it will happen through awareness and panel discussions like this one that will actually increase the visibility and get the word out — to influence Generation Z, the next generation of women and people of color to get involved,” says Tuesday. “We think that the young women of Generation Z, who are more familiar and very confident with technology, will branch out and become great 3D artists.”

Paul Babb

We reached out to Maxon US president/CEO Paul Babb to find out about why promoting women in motion graphics is a cause he has dug into wholeheartedly.

How did the idea for a panel like this come about?
During one of the trade shows, we got beat up a little on one of the public forums for not having enough female artists presenting. At first I was angry because in the first place I think we had more female presenters than any other company at the show, and we have historically been sensitive to it.

Then I thought about it and realized we are one of the few companies streaming our presentations. So people who do not attend shows have no idea. So I decided we had to be more proactive about it and tried to come up with some ideas to encourage more women to come out to the shows. The idea of the panel seemed to be a great starting point — what better way to find out what would encourage women in the industry than to give successful women an opportunity to discuss it and share their insights?

Did the panel turn out the way you hoped?
Absolutely. Really, all I had hoped for was to contribute to a conversation that has already started. I wanted to give some great female artists a forum to share their experiences and hopefully encourage a new generation of female artists.

The conversation was great — candid, constructive and informative.

The panel generated frank conversation about the gender gap in 3D motion graphics. Topics examined included negotiating wages, mansplaining and being “talked-over,” the importance of flexible work time for women raising families, the need for women to seek out industry mentorship and tips for industry leaders to make workplace life inclusive to women.

What were a few takeaways from the panel?
I wasn’t surprised by any of the comments — good and bad. The biggest takeaway is that we have to find ways of encouraging more women in the industry, and encourage those in the industry to be more vocal.

What are the challenges they face and what do you think needs to change in the industry in general?
Other than the usual issues of a male-dominated society, the one thing that struck me is how women need to be more empowered — to toot their own horn, to recognize they are an expert and to stand up and be heard.

Maxon announced sponsorship of a new Women in Motion Graphics website. Tell us about the site offerings. Do you expect to continue to promote female graphic artists?
The Women in Motion Graphics website is intended as a resource to help women get ahead in the industry and to promote industry role models. It includes the video of the panel we organized at NAB 2018 featuring successful female artists, each working in different areas of the motion graphics business, addressing their struggles in the workplace. The artists who were on the panel share their insights into the motion graphics industry, its influencers and best practices for artists to achieve recognition. There is also a page with links to motion graphics education and training resources.

We will continue to sponsor the site and allow the women involved to drive its growth and evolution. In addition, we will continue to make great effort to get more women to come present for us at industry events, focus on doing customer profiles that feature women artists as well as sponsor scholarships and events that promote women in the industry.

Behind the Title: Julia Siemón

NAME: Julia Siemón

COMPANY: New York City-based GIMIK/Julia Siemón

CAN YOU DESCRIBE YOUR COMPANY?
We strive to achieve beauty through design with a primary focus on 3D motion content creation. We help clients solve creative challenges and constantly evolve by staying ahead of technology trends. I am currently working on developing content using Oculus VR.
.
WHAT’S YOUR JOB TITLE?
A Creative (Designer, Animator and Director)

WHAT DOES THAT ENTAIL?
Everything. I wear many hats at my job, whether it is art direction, character animation or pitching. Being a creative means you have to be able to adapt to the needs of the project and pick up where someone else left off.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Budgets. Having to always be mindful of budget and time. Also snacks. My snack game is the best in town.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Constantly discovering new ways to achieve our creative goals. Whether it’s through the use of a new technology or inspiration. Randomly seeing my work on TV, a subway or on Instagram is also pretty awesome.

WHAT’S YOUR LEAST FAVORITE?
Dealing with finances, writing up invoices and collecting. Having to “hound” clients to collect is never fun, but unfortunately frequently comes with the territory.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
I find my most productive times for creating are between 10am and 2pm, and from 5pm to 7pm. I would love to nap between 3-4pm. I think that would expand my productive time to 9pm. Just that one-hour nap would do wonders. I guess my favorite time of day is when I get to climb back into bed.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I teach at the School of Visual Arts in New York City, so I would either teach full time and/or design video games. If it wasn’t design related, I would work with plants, helping people set up and manage gardens in their backyards to produce enough fresh vegetables and herbs for their families. Or I’d run a travel blog.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
At age three, I drew a baby pram with one continuous stroke. From that moment on my mother knew I was to become an artist, so my art education began early on. However, I always gravitated towards new technology. By combining my visual talent with new media I was able to find a career path that is always surprising and rewarding.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Over the summer I worked with creative production studio Hey Beautiful Jerk on three Yahoo Fantasy Football spots. It is the type of project I love working — it included a mixture of the absurd and comic elements where the client goes for something out of their comfort zone and I get to play with Maxon Cinema 4D.

The spots each included a purple hue over everything to tie in the Yahoo brand color. I worked on several backgrounds and most of the character animation. While I did various backdrops and animations for all three spots, my favorite is called Glory Year. For this piece I created, textured and animated the floating brains and the futuristic city. I had a very limited time to create a The Fifth Element-inspired cityscape in Cinema 4D, and relied heavily on ready made models I found online, combining and adjusting them to get the desired look. I also added a sky highway to help illustrate the future. A lot of work for a half a second.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF? WHAT SOFTWARE DID YOU RELY ON?
I would have to say the CCTV-9 IDs I did with branding and design studio Trollbäck+Company a few years back. We did six IDs for the CCTV9 documentary channel promoting their new cube logo. I designed and animated CCTV ID Electronica, which was meant to reflect the energy of Chinese cities. The spots won an international BDA award that year. Cinema 4D was the perfect tool for this project; it allowed me to explore multiple creative directions fast and easy. I relied heavily on the Mograph module in Cinema 4D to give the CCTV cube the vibrancy and spirit of a Chinese metropolis.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My camera, Google maps/satellites and my Wacom tablet.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Twitter, Instagram and Pinterest.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? IF SO, WHAT KIND?
It varies greatly depending on my mood. I listen to anything from Leonard Cohen and Imogen Heap to Tool and Smashing Pumpkins, with a bit of Zedd/Deadmau5 thrown in.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I’ve been running a mini farm out in New Jersey for four years now; it helps me to clear my mind and stay close to nature and our roots as an agrarian society. I’ve also gotten into food preservation. Both have been very therapeutic. However, when the stress is too great even for dehydrated kale chips and apples I try to take time off to travel.

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: https://postperspective.com/review-red-giants-trapcode-suite-13-part-1 and https://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.

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

Behind the Title: Little Big Bang creative director Cynthia Beauclair

COMPANY: Little Big Bang Studios 

CAN YOU DESCRIBE YOUR COMPANY?
We are a motion graphics and animation studio based in Santa Fe and Miami. Most of our clients have been in the TV business. We do it all… from stage graphics to title sequences.

WHAT’S YOUR JOB TITLE?
Owner/Creative Director

WHAT DOES THAT ENTAIL?
As creative director it entails conceptualizing, developing ideas and collaborating with clients.
As a business owner… well, it would take more space than this article will allow.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The funny characters we meet, and reigning in some of their ideas.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Big picture stuff, hashing out the overall idea in a project and making new business connections.

WHAT’S YOUR LEAST FAVORITE?
When a client insists on going with an idea that’s already been done.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Early morning when everyone is asleep.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Something to do with science. But I really love my job, so it’s hard to imagine doing something else.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Since I can remember, I’ve always loved art; and when I discovered that I could make art that moves, I was hooked.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We’ve done lots of new, fun stuff for Santa Fe’s coolest art destination, Meow Wolf. It’s been really exciting to work on something without the restrictions of the corporate world.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
We branded and created a full motion graphics package for La Banda on Univision. The show was the brainchild of Simon Cowell and FremantleMedia, the people who produce American Idol. That was really a turning point for Little Big Bang, and we were honored to have been chosen to create the show’s look.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My Mac, any music player and the espresso machine.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook, Instagram, LinkedIn

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Can’t work without it! What I listen to depends on the deadline, indie rock on most days and drum-and-bass or punk rock for tight deadlines.

WHAT DO YOU DO TO DESTRESS FROM IT ALL?
I got on long hikes with my family, I play the drums, and wine helps a lot.

Adobe intros updates to Creative Cloud, including Team Projects

Later this year, Adobe will be offering new capabilities within its Adobe Creative Cloud video tools and services. This includes updates for VR/360, animation, motion graphics, editing, collaboration and Adobe Stock. Many of these features are powered by Adobe Sensei, the company’s artificial intelligence and machine learning framework. Adobe will preview these advancements at IBC.

The new capabilities coming later this year to Adobe Creative Cloud for video include:
• Access to motion graphics templates in Adobe Stock and through Creative Cloud Libraries, as well as usability improvements to the Essential Graphics panel in Premiere Pro, including responsive design options for preserving spatial and temporal.
• Character Animator 1.0 with changes to core and custom animation functions, such as pose-to-pose blending, new physics behaviors and visual puppet controls. Adobe Sensei will help improve lip-sync capability by accurately matching mouth shape with spoken sounds.
• Virtual reality video creation with a dedicated viewing environment in Premiere Pro. Editors can experience the deeply engaging qualities of content, review their timeline and use keyboard driven editing for trimming and markers while wearing the same VR head-mounts as their audience. In addition, audio can be determined by orientation or position and exported as ambisonics audio for VR-enabled platforms such as YouTube and Facebook. VR effects and transitions are now native and accelerated via the Mercury playback engine.
• Improved collaborative workflows with Team Projects on the Local Area Network with managed access features that allow users to lock bins and provide read-only access to others. Formerly in beta, the release of Team Projects will offer smoother workflows hosted in Creative Cloud and the ability to more easily manage versions with auto-save history.
• Flexible session organization to multi-take workflows and continuous playback while editing in Adobe Audition. Powered by Adobe Sensei, auto-ducking is added to the Essential Sound panel that automatically adjusts levels by type: dialogue, background sound or music.

Integration with Adobe Stock
Adobe Stock is now offering over 90 million assets including photos, illustrations and vectors. Customers now have access to over 4 million HD and 4K Adobe Stock video footage directly within their Creative Cloud video workflows and can now search and scrub assets in Premiere Pro.

Coming to this new release are hundreds of professionally-created motion graphics templates for Adobe Stock, available later this year. Additionally, motion graphic artists will be able to sell Motion Graphic templates for Premiere Pro through Adobe Stock. Earlier this year, Adobe added editorial and premium collections from Reuters, USA Today Sports, Stocksy and 500px.