Tag Archives: motion graphics

Maxon intros Cinema 4D R21, consolidates versions into one offering

By Brady Betzel

At SIGGRAPH 2019, Maxon introduced the next release of its graphics software, Cinema 4D R21. Maxon also announced a subscription-based pricing structure as well as a very welcomed consolidation of its Cinema 4D versions into a single version, aptly titled Cinema 4D.

That’s right, no more Studio, Broadcast or BodyPaint. It all comes in one package at one price, and that pricing will now be subscription-based — but don’t worry, the online anxiety over this change seems to have been misplaced.

The cost has been substantially dropped for Cinema 4D R21, leading the way to start what Maxon is calling the “3D for the Real World” initiative. Maxon wants it to be the tool you choose for your graphics needs.

If you plan on upgrading every year or two, the new subscription-based model seems to be a great deal:

– Cinema 4D subscription paid annually: $59.99/month
– Cinema 4D subscription paid monthly: $94.99/month
– Cinema 4D subscription with Redshift paid annually: $81.99/month
– Cinema 4D subscription with Redshift paid monthly: $116.99/month
– Cinema 4D perpetual pricing: $3,495 (upgradeable)

Maxon did mention that if you have previously purchased Cinema 4D, there will be subscription-based upgrade/crossgrade deals coming.

The Updates
Cinema 4D R21 includes some great updates that will be welcomed by many users, both new and experienced. The new Field Force dynamics object allows the use of dynamic forces in modeling and animation within the MoGraph toolset. Caps and bevels have an all-new system that not only allows the extrusion of 3D logos and text effects but also means caps and bevels are integrated on all spline-based objects.

Furthering Cinema 4D’s integration with third-party apps, there is an all-new Mixamo Control rig allowing you to easily control any Mixamo characters. (If you haven’t checked out the models from Mixamo, you should. It’s a great way to find character rigs fast.)

An all-new Intel Open Image Denoise integration has been added to R21 in what seems like part of a rendering revolution for Cinema 4D. From the acquistion of Redshift to this integration, Maxon is expanding its third-party reach and doesn’t seem scared.

There is a new Node Space, which shows what materials are compatible with chosen render engines, as well as a new API available to third-party developers that allows them to integrate render engines with the new material node system. R21 has overall speed and efficiency improvements, with Cinema 4D supporting the latest processor optimizations from both Intel and AMD.

All this being said, my favorite update — or map toward the future — was actually announced last week. Unreal Engine added Cinema 4D .c4d file support via the Datasmith plugin, which is featured in the free Unreal Studio beta.

Today, Maxon is also announcing its integration with yet another game engine: Unity. In my opinion, the future lies in this mix of real-time rendering alongside real-world television and film production as well as gaming. With Cinema 4D, Maxon is bringing all sides to the table with a mix of 3D modeling, motion-graphics-building support, motion tracking, integration with third-party apps like Adobe After Effects via Cineware, and now integration with real-time game engines like Unreal Engine. Now I just have to learn it all.

Cinema 4D R21 will be available on both Mac OS and Windows on Tuesday, Sept. 3. In the meantime, watch out for some great SIGGRAPH presentations, including one from my favorite, Mike Winkelmann, better known as Beeple. You can find some past presentations on how he uses Cinema 4D to cover his “Everydays.”

Review: Maxon Cinema 4D Release 20

By Brady Betzel

Last August, Maxon made available its Cinema 4D Release 20. From the new node-based Material Editor to the all new console used to debug and develop scripts, Maxon has really upped the ante.

At the recent NAB show, Maxon announced that they acquired Redshift Rendering Technologies, the makers of the Redshift rendering engine. This acquisition will hopefully tie in an industry standard GPU-based rendering engine inside of Cinema 4D R20’s workflow and speed up rendering. As of now there is still the same licensing fees attached to Redshift as there were before the acquisition: Node-Locked is $500 and Floating is $600.

Digging In
The first update to Cinema 4D R20 that I wanted to touch on is the new node-based Material Editor. If you are familiar with Blackmagic’s DaVinci Resolve or Nuke’s applications, then you have seen how nodes work. I love how nodes work, allowing the user to not only layer up effects — or in Cinema 4D R20’s case — diffusion to camera distance. There are over 150 nodes inside of the material editor to build textures with.

One small change that I noticed inside of the updated Material Editor was the new gradient settings. When you are working with gradient knots you can now select multiple knots at once and then right click and double the selected knots, invert the knots, select different knot interpolations (including stepped, smooth, cubic, linear, and blend) and even distribute the knots to clean up your pattern. A real nice and convenient update to gradient workflows.

In Cinema 4D R20, not only can you add new nodes from the search menu, but you can also click the node dots in the Basic properties window and route nodes through there. When you are happy with your materials made in the node editor, you can save them as assets in the scene file or even compress them in a .zip file to share with others.

In a related update category, Cinema 4D Release 20 has introduced the Uber Material. In simple terms (and I mean real simple), the Uber Material is a node-based material that is different from standard or physical materials because it can be edited inside of the Attribute Manager or Material Editor but retain the properties available in the Node Editor.

The Camera Tracking and 2D Camera View has been updated. While the Camera Tracking mode has been improved, the new 2D Camera View mode has combined the Film Move mode with the Film Zoom mode. Adding the ability to use standard shortcuts to move around a scene instead of messing with the Film Offset or Focal Length in the Camera Object Properties dialogue. For someone like me who isn’t a certified pro in Cinema 4D, these little shortcuts really make me feel at home. Much more like apps I’m used to such as Mocha Pro or After Effects. Maxon has also improved the 2D tracking algorithm for much tighter tracks as well as added virtual keyframes. The virtual keyframes are an extreme help when you don’t have time for minute adjustments.

Volume Modeling
What seems to be one of the largest updates in Cinema 4D R20 is the addition of Volume Modeling with the OpenVDB-based Volume Builder. According to www.openvdb.org, “OpenVDB is an Academy Award-winning C++ library comprising a hierarchical data structure and a suite of tools for the efficient manipulation of sparse, time-varying, volumetric data discretized on three-dimensional grids,” developed by Ken Museth at DreamWorks Animation. It uses 3D pixels called voxels instead of polygons. When using the Volume Builder you can combine multiple polygon and primitive objects using Boolean operations: Union, Subtract or Intersect. Furthermore you can smooth your volume using multiple techniques, including one that made me do some extra Google work: Laplacian Flow.

Fields
When going down the voxel rabbit hole in Cinema 4D R20, you will run into another new update: Fields. Prior to Cinema 4D R20, we would use Effectors to affect strength values of an object. You would stack and animate multiple effectors to achieve different results. In Cinema 4D R20, under the Falloff tab you will now see a Fields list along with the types of Field Objects to choose from.

Imagine you make a MoGraph object that you want its opacity to be controlled by a box object moving through your MoGraph but also physically modified by a capsule poking through. You can combine these different field object effectors by using compositing functions in the Fields list. In addition you can animate or alter these new fields straight away in the Objects window.

Summing Up
Cinema 4D Release 20 has some amazing updates that will greatly improve efficiency and quality of your work. From tracking updates to field updates, there are plenty of exciting tools to dive into. And if you are reading this as an After Effects user who isn’t sure about Cinema 4D, now is the time to dive in. Once you learn the basics, whether it’s from Youtube tutorials or you sign up for www.cineversity.com classes, you will immediately see an increase in the quality of your work.

Combining Adobe After Effects, Element 3D and Cinema 4D R20 is the ultimate in 3D motion graphics and 2D compositing — accessible to almost everyone. And I didn’t even touch on the dozens of other updates to Cinema 4D R20 like the multitude of ProRender updates, FBX import/export options, new node materials and CAD import support for Cataia, Iges, JT, Solidworks and Step formats. Check out Cinema 4D Release 20’s newest features on YouTube and on their website.

And, finally, I think it’s safe to assume that Maxon’s acquisition of RedShift renderer poses a bright future for Cinema 4D users.


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.

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.

The hybridization of VFX and motion design

Plus the rise of the small studio

By Miguel Lee

There has long been a dichotomy between motion graphics and VFX because they have traditionally serviced very different creative needs. However, with the democratization of tools and the migration of talent between these two pillars of the CG industry, a new “hybrid” field of content creators is emerging. And for motion designers like myself, this trend reflects the many exciting things taking place in our industry today, especially as content platforms increase at an incredible rate with smartphones and new LED technologies, not to mention a renaissance in the fields of VR, AR, and projection mapping, to name a few.

Miguel Lee

I’ve always likened the comparison of motion graphics and VFX to the Science Club and the Art Club we remember at school. VFX has its roots in an objective goal: to seamlessly integrate CG into the narrative or spectacle in a convincing and highly technical way. Motion graphics, on the other hand, can be highly subjective. One studio, for instance, might produce a broadcast package laden with 3D animations, whereas another studio will opt for a more minimal, graphical approach to communicating the same brand. A case can typically be made for either direction.

So where does the new “hybrid” studios fit into this analogy? Let’s call them the “Polymath Club,” given their abilities to tap into the proverbial hemispheres of the brain — the “left” representing their affinity for the tools, and the “right” driving the aesthetics and creative. With this “Polymath” mentality, CG artists are now able to generate work that was once only achievable by a large team of artists and technicians. Concurrently, it is influencing the hybridization of the CG industry at large, as VFX companies build motion design teams in-house, while motion graphics studios increasingly incorporate VFX tools into their own workflow.

As a result, we’ve seen a proliferation in the “lean-and-mean” production studio over the last few years. Their rise is the direct result of the democratization of our industry, where content creation tools have significantly evolved in terms of technology, accessibility and reliability. One such example is the dramatic increase in render power with the rise of third-party GPU renderers, such as Otoy’s Octane and Redshift, which have essentially made 3D photorealism more attainable. Cloud rendering solutions have also popped up for conventional and third-party renderers, which mitigates the need to build out expensive renderfarms — a luxury that is still privy to companies of a certain size.

Otoy’s Octane being used on one of Midnight Sherpa’s jobs.

Motion artists, too, have become far more adventurous in employing VFX-specific software like Houdini, which has simultaneously become far more accessible and egalitarian without any compromise to its capability. Maxon’s Cinema 4D, the heavily favored 3D application in motion graphics, has had a long tradition of implementing efficient software-specific workflows to bridge its ecosystem to other programs. Coding and script-based animation has also found a nice home in the Motion repertoire to create inventive and efficient ways to generate content. Even the barrier of entry for creating VR and AR content has eased quite a bit with the latest releases of both the Unity and Unreal engines.

Aside from lower overhead costs, the horizontal work structure of the “lean-and-mean” model has also cultivated truly collaborative environments where artists of trans-disciplinary backgrounds can work together in more streamlined ways than can be done in an oversized team. In many cases, these smaller studios are forced to develop workflows that more effectively reflect their team’s makeup — these systems often enjoy more success as they reflect the styles and, even, personalities of the core teams, which institute them.

The nature of being small also pushes you to innovate and develop greater efficiencies, rather than just throwing more bodies at the problem. These solutions and workflows are often baked into the core team and rolled out on future projects. Smaller studios also have a reputation for cultivating talent. Junior artists and interns are often put on a wider range of projects and into more roles out of necessity to fulfill the various needs of production, whereas they are typically relegated to a single role at larger studios and oftentimes are not afforded the opportunity to branch out. This conversely creates an incentive to hire artists with the intent of developing them over a long term.

There are downsides, of course, to being small — chief among them is how quickly they reach physical capacity at which point jobs would have to be turned down. The proliferation of small studios equals more voices in the landscape of content, which in turn directly contributes to the greater evolution of design as a whole.

Now that the playing field has been technologically equalized, the key between failure and success for many of these companies lies in whether or not they can craft a voice that is unique amongst their peers in an increasingly saturated landscape.

Main Image: Audi – Photorealism is more achievable in a streamlined production pipeline.


Miguel Lee is partner/creative director at LA’s Midnight Sherpa, a boutique creative studio for brands and entertainment.

Liron Ashkenazi-Eldar joins The Artery as design director  

Creative studio The Artery has brought on Liron Ashkenazi-Eldar as lead design director. In her new role, she will spearhead the formation of a department that will focus on design and branding. Ashkenazi-Eldar and team are also developing in-house design capabilities to support the company’s VFX, experiential and VR/AR content, as well as website development, including providing motion graphics, print and social campaigns.

“While we’ve been well established for many years in the areas of production and VFX, our design team can now bring a new dimension to our company,” says Ashkenazi-Eldar, who is based in The Artery’s NYC office. “We are seeking brand clients with strong identities so that we can offer them exciting, new and even weird creative solutions that are not part of the traditional branding process. We will be taking a completely new approach to branding — providing imagery that is more emotional and more personal, instead of just following an existing protocol. Our goal is to provide a highly immersive experience for our new brand clients.”

Originally from Israel, the 27-year-old Ashkenazi-Eldar is a recent graduate of New York’s School of Visual Arts with a BFA degree in Design. She is the winner of a 2017 ADC Silver Cube Award from The One Club, in the category 2017 Design: Typography, for her contributions to a project titled Asa Wife Zine. She led the Creative Team that submitted the project via the School of Visual Arts.

 

Nutmeg adds Broadway Video’s former design group

New York City-based Nutmeg, a creative marketing and post production house, has acquired Broadway Video’s design team formerly known as FAC5. Under the Nutmeg brand, they are now known as NTMG Design.

The team of four — executive creative producer Doug LeBow, executive creative director Fred Salkind, creative director David Rogers and art director Karolina Dawson — is an Emmy, Telly and PromaxBDA award-winning creative collective working on design across multiple media platforms. Existing clients that could benefit from the new services include broadcast networks, cable channels and brands.

With services that include main titles and show packaging, experiential and event design, promotions and image campaigns, the group has worked with a variety of clients on a wide range of projects, including Nickelodeon HALO Awards; Nickelodeon Kids’ Choice Awards; The Emmys for Don Mischer Productions; Indy 500 100th Anniversary for ESPN; HBO’s Rock and Roll Hall of Fame Induction Ceremony for Line-by-Line Productions; Thursday Night Football and Sunday Night Football tune-in promo packaging for CBS Sports; AT&T Concert Series for iHeart Media; The Great Human Race for National Geographic Channel; The Peabody Awards for Den of Thieves and others.

“Nutmeg has always embraced growth,” says Nutmeg executive producer Laura Vick. “As our clients and the marketplace shift to engage end users, the addition of a full-service design team allows us to offer all aspects of content creation under one roof. We can now assist at the inception of an idea to help create complete visual experiences — show opens, trade shows, corporate interiors or digital billboards.”

“We look at these new design capabilities as both a new frontier unto itself, and as yet another component of what we’re already doing — telling compelling stories,” says Nutmeg executive creative director Dave Rogan. “Nothing at Nutmeg is created in a vacuum, so these new areas of design crossing over into an interactive web environment, for example, is natural.”

The new NTMG Design team will be working within Nutmeg’s midtown location. Their suite contains five workstations supported by a 10-box renderfarm, Maxon Cinema 4D, Adobe After Effects, one seat of Flame, Assimilate Scratch access for color and an insert stage for practical shooting. It is further supported by 28TBs of Infortrend storage. 

While acknowledging tools are important, executive creative director Fred Salkind says, “Sometimes when I’m asked what we work with, I say Scotch tape and scissors, because it’s the idea that puts the tools to work, not the other way around.”

Main Photo by Eljay Aguillo. L-R: Fred Salkind, David Rogers, Doug LeBow and Karolina Dawson.

Review: Maxon Cinema 4D Studio Release 18

By Brady Betzel

Each year I get to test out some of the latest and greatest software and hardware releases our industry has to offer. One of my favorites — and most challenging — is Maxon’s Cinema 4D. I say challenging because while I love Cinema 4D, I don’t use it every day. So, in order to test it thoroughly, I watched tutorials on Cineversity to brush up on what I forgot and what’s new. Even though I don’t use it every day, I do love it.

I’ve reviewed Cinema 4D Release 15 through R18. I started using the product when I was studying at California Lutheran University in Thousand Oaks, California, which coincidentally is about 10 minutes from Maxon’s Newbury Park office.

Voronoi Fracture

Each version update has been packed full of remarkable additions and updates. From the grass generator in R15, addition of the Reflectance channel in R16, lens distortion tools in R17 to the multitude of updates in R18 — Cinema 4D keeps on cranking out the hits. I say multitude because there are a ton of updates packed into the latest Cinema 4D Release 18 update. You can check out a complete list of them as well as comparisons between Cinema 4D Studio, Visualize, Broadcast, Prime, BodyPaint 3D and Lite Release 18 versions on the Maxon site.

For this review, I’m going to touch on three of what I think are the most compelling updates in Release 18: the new Voronoi Fracture, Thin Film Shader and the Push Apart Effector. Yes, I know there are a bazillion other great updates to Cinema 4D R18 — such as Weight Painting, new Knife Tools, Inverse Ambient Occlusion, the ability to save cache files externally and many more — but I’m going to stick to the features that I think stand out.

Keep in mind that I am using Cinema 4D Studio R18 for this review, so if you don’t have Studio, some of the features might not be available in your version. For instance, I am going to touch on some of the MoGraph toolset updates, and those are only inside the Studio and Broadcast versions. Finally, while you should use a super powerful workstation to get the smoothest and most robust experience when using Cinema 4D R18, I am using a tablet that uses a quad core Intel i7 3.1GHz processor, 8GB of RAM and an Intel Iris graphics 6100 GPU. Definitely on the lower end of processing power for this app, but it works and I have to credit Maxon for making it work so well.

Voronoi Fracture
If, like me, you’ve never heard of the term Voronoi, check out the first paragraph of this Wiki page. A very simple way to imagine a Voronoi diagram is a bunch of cell-like polygons that are all connected (there’s a much more intricate and deeply mathematical definition, but I can barely understand it, and it’s really beyond the scope of this review). In Cinema 4D Studio R18, the Voronoi Fracture object allows us to easily, and I mean really easily, procedurally break apart objects like MoGraph text, or any other object, without the need for external third-party plug-ins such as Nitro4D’s Thrausi.

Voronoi Fracture

To apply Voronoi Fracture in as few steps as possible, you apply the Voronoi Fracture located in the MoGraph menu to your object, adjust parameters under the Sources menu (like distribution type or point amount) add effectors to cause dispersion, keyframe values and render. With a little practice you can explode your raytraced MoGraph text in no time. The best part is your object will not look fractured until animated, which in the past took some work so this is a great update.

Thin Film Shader
Things that are hard to recreate in a photorealistic way are transparent objects, such as glass bottles, windows and bubbles. In Cinema 4D R18, Maxon has added the new Thin Film Shader, which can add the film-like quality that you see on bubbles or soap. It’s an incredible addition to Cinema 4D, furthering the idea that Maxon is concentrating on adding features that improve efficiency for people like me who want to use Cinema 4D, but sometimes don’t because making a material like Thin Film will take a long time.

To apply the Thin Film to your object, find the Reflectance channel of your material that you want to add the Thin Film property to add a new Beckmann or GGX layer, lower the Specular Strength of this layer to zero, under Layer Color choose Texture > Effects > Thin Film. From there, if you want to see the Thin Film as a true layer of film you need to change your composite setting to Add on your layer; you should then see it properly. You can get some advanced tips from the great tutorials over at Cineversity and from Andy Needham (Twitter: @imcalledandy) on lynda.com. One tip I learned from Andy is to change the Index of Refraction to get some different looks, which can be found under the Shader properties.

Push Apart Effector

Push Apart Effector
The new Push Apart Effector is a simple but super-powerful addition to Cinema 4D. The easiest way to describe the Push Apart Effector is to imagine a bunch of objects in an array or using a Cloner where all of your objects are touching — the Push Apart Effector helps to push them away from each other. To decrease the intersection of your clones, you can dial-in the specific radius of your objects (like a sphere) and then tell Cinema 4D R18 how many times you want it to look through the scene by specifying iterations. The more iterations the less chance your objects will intersect, but the more time it will take to compute.

Summing Up
I love Maxon’s continual development of Cinema 4D in Release 18. I specifically love that while they are adding new features, like Weight Painting and Update Knife Tools, they are also helping to improve efficiency for people like me who love to work in Cinema 4D but sometimes skip it because of the steep learning curve and technical know-how you need in order to operate it. You should not fear though, I cannot emphasize how much you can learn at Cineversity, Lynda.com, and on YouTube from an expert like Sean Frangella. Whether you are new to the world of Cinema 4D, mildly experienced like me, or an expert you can always learn something new.

Something I love about Maxon’s licensing for education is that if you go to a qualified school, you can get a free Cinema 4D license. Instructors can get access to Cineversity to use the tutorials in their curriculum as well as project files to use. It’s an amazing resource.

Thin Film Render

If you are an Adobe After Effects user, don’t forget that you automatically get a free version of Cinema 4D bundled with After Effects — Cinema 4D Lite. Even though you have to have After Effects open to use the Cinema 4D Lite, it is still a great way to dip your toes into the 3D world, and maybe even bring your projects back into After Effects to do some compositing.

Cinema 4D Studio R18’s pricing breaks down like this: Commercial Pricing/Annual License Pricing/Upgrade R17 to R18 pricing — Cinema 4D Studio Release 18: $3,695/$650 /$995; Cinema 4D Visualize Release 18: $2,295/$500/$795; Cinema 4D Broadcast Release 18: $1,695/$400 /$795; Cinema 4D Prime Release 18: $995/$250/$395.

Another interesting option is Maxon’s short-term licensing in three- or six-month chunks for the Studio version ($600/$1,100) and 75 percent of the fees you pay for a short-term license can be applied to your purchase of a full license later. Keep in mind, when using such a powerful and robust software like Cinema 4D you are making an investment that will payoff with concentrated effort in learning the software. With a few hours of training from some of the top trainers — like Tim Clapham on www.helloluxx.com, Greyscalegorilla.com and Motionworks.com — you will be off and running in 3D land.

For everyday Cinema 4D creations and inspiration, check out @beeple_crap on Instagram. He produces amazing work all the time.

In this review, I tested some of the new updates to Cinema 4D Studio R18 with sample projects from Andy Needham’s Lynda.com class Cinema 4D R18: New Features and Joren Kandel’s awesome website, which offers tons of free content to play with while learning the new tools.


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.

Reel FX hires Chad Mosley as senior designer

Chad Moseley has joined Reel FX as senior designer. Moseley brings with him nearly a decade of experience in motion graphics and design, spanning television, advertising and broadcast promos.

He comes to Reel FX, which has offices in Dallas and Santa Monica, from Starz Entertainment, where he spent two years as a broadcast designer, concepting and executing promotions for original programming on series such as Outlander, Da Vinci’s Demons and Flesh and Bone, including teasers, spots and graphics packages. His work for brands such as Enterprise, Nestle, Purina and Busch Gardens has earned him a Gold American Advertising Award (AAA), a Gold Addy Award and an AAF Best of Digital Award.

Texas native Moseley studied graphic design and 3D animation in Denver. He developed his career at a Texas news channel, handling the video and graphics for the channel’s website. While there he learned post production. He then worked as a video editor/animator at Denver-based ORCC, later relocating to St. Louis to take a position as senior motion graphics/VFX artist at 90 Degrees West. While there, he contributed to post projects from concept through completion for national brands including Anheuser Busch, Enterprise and UPS, among others. An opportunity as an in-house broadcast designer at Starz Entertainment led Moseley back to Denver in 2014, before once again returning to Dallas once again to join the Reel FX team.

Shipping + Handling adds Luca Giannettoni as CD of motion design/animation

Luca Giannettoni has recently joined Venice, California-based visual effects house Shipping + Handling as creative director. He has been tasked with growing its motion design and animation business.

Shipping + Handling is a creative content studio — working in broadcast, TV, Web and mobile —that offers creative finishing services such as VFX, design, motion graphics and animation. S+H has offices in LA and New York.

“S+H is expanding and we are stoked to have Giannettoni join our team here in Venice,” says executive producer Scott Friske.

While at companies such as Elastic, Oishii Creative and Yu+Co, among others, Giannettoni worked on commercials, broadcast and main titles for brands such as T-Mobile, Toyota, Coke, Hyundai, Goodyear, McDonald’s and ESPN. Giannettoni is a native from Verona, Italy, where he worked in design and fashion prior to coming to Los Angeles.

Review: Red Giant’s Trapcode Suite 13, Part 1

By Brady Betzel

Have you ever watched a commercial on YouTube and thought, how in the world do these companies have the budget for the VFX and motion graphics work featured? Well, many don’t, but they do have access to talented artists with access to affordable tools that bring pricey looks. Most motion graphics creators have a toolbox full of goodies that help them build great-looking products. Whether it’s preset transitions, graphic overlays or plugins — there are ways to incorporate high-production value without the million-dollar price tag.

Particular

One of those tools that many Adobe After Effects motion graphics artists have in their toolbox is Red Giant’s Trapcode Suite, which is currently in version 13. While it isn’t cheap, if you are focused on that style of motion graphics, it can definitely pay for itself after just a few jobs. Inside the suite are magical plug-ins like the famous Trapcode Particular, Trapcode Form, Trapcode Mir, Trapcode Tao, Trapcode Shine, Trapcode Lux, Trapcode 3D Stroke, Trapcode Echospace, Trapcode Starglow, Trapcode Sound Keys and Trapcode Horizon. Holy cow, that is a lot.

The complete Trapcode Suite 13 works with After Effects (CS6 through CC 2015 officially, including the latest 2015.3 update, just make sure to download the update installer from Red Giant since it might not appear in your Red Giant Link updater), as well as a couple like Shine, 3D Stroke and Starglow that will also work in Adobe Premiere (the same version compatibility as After Effects). A good resource to get your feet wet is on the Red Giant tutorial page where you can find a lot of info and in-depth tutorials from the likes of the master Harry Frank (@graymachine) and Chad Perkins (@chad_perkins).

That being said, if you have no idea what the Trapcode Suite entails, buckle up. It is one of the most useful but intricate plug-ins you will see with a $999 price tag to match ($199 if you are upgrading). Of course, you can pick and choose the product you want, such as Shine for $99 or even Particular for $399, but the entire suite is worth the investment.

Particular

Particular

As an editor, I spend the majority of my time inside of a nonlinear editor like Adobe Premiere or Avid Media Composer/Symphony — probably 80 percent if I had to estimate, the other 20 percent is divided between color correction solutions and VFX/graphics packages like After Effects, Blackmagic Resolve, and others. Because I don’t get a lot of time to play around creatively, I really need to know the suite I am working in and be as efficient as possible. For instance, products like Mocha Pro, Keylight in After Effects and Red Giant’s Trapcode Suite 13 are enhancers that help me be as efficient as I can be as an editor without sacrificing quality for time.

In the latest Trapcode Suite 13 update, Trapcode Particular 2.5 seems to have been updated the most while Trapcode Tao is a new addition to the suite, and the rest were given modest enhancements as well. I will try to touch on each of the products so this will be a two-part review.

Particular
Trapcode Particular is one of the plug-ins that most After Effects nerds/aficionados/experts have encountered. If you have been a little wary and intimidated of Particular because of its complexity, now is the time to dive into using Red Giant’s incredible particle building system. In the 2.5 update, Red Giant added the Effects Builder, which seems to resemble the Magic Bullet Looks builder a little, and I love that. Like I said earlier I don’t typically have eight hours to creatively throw darts at a particle system in hopes of creating a solar system fly-through.

Luckily, the new Effect Builder allows you to easily create your particle system and be emitting (or exploding) in minutes. While it isn’t “easy,” per se, to create a particle system like those featured on Trapcode creator Peder Norrby’s (@trapcode_lab) website, the Effects Builder, along with some tutorial watching (mixed with some patience and love) will send you down a Trapcode rabbit hole that will allow you to create some of the most stunning artwork I’ve seen created in After Effects. Don’t give up if you find it overwhelming, because this is one of those plug-ins that will make you money if you can grasp it. One thing I did notice was the Effects Builder interface was tiny and did not scale with the resolution I was using on my system (2560×1440), but After Effects appeared fine.

If you are an experienced user of Trapcode Particular you should be happier with the updated graphing system that lets you set size and opacity over the life of your particle by directly drawing points on your graph, smoothing, deleting and even randomizing. I really loved using this graph. I immediately saw results that mimic using color curves against an RGB Parade and Waveform on a color scope. Particular has also bumped its particle count up from 20 to 30 million, which will matter to someone creating fireworks back plates for the Fourth of July, I’m sure.

Shine

Shine

Shine
Second on my Trapcode Suite 13 hit list is Trapcode Shine, which might not be the most obviously glamorous update to many people, but still has its merits. The largest update is the ability to attach Shine to After Effects light sources easily. Before you would have to do some fancy footwork that most editors don’t have the time or interest in doing, but as long as your light is named “Shine,” with proper spelling and capitalization, your light now controls the light rays produced by the Shine plug-in.

One thing that most After Effects users know to be a staple is the use of Fractal Noise. Whether you are trying to replicate light rays with realistic and organic effects or a fancy text reveal where you use a Fractal Noise mask as your transition, Fractal Noise is a must use effect. Trapcode Shine has Fractal Noise built into the plug-in now, including the use of 3D fractal noise to create a type of parallax within your light ray work. Simply, parallax is the way the foreground moves in relation to the background. Think of a camera on a slider as it moves from left to right your foreground might stay in relatively same position while the background moves much more — this is your parallax.

One thing that you will always use when applying Fractal Noise is animating the Evolution to add realism. Plus, adding the script “*time” to multiply the evolution factor is an easy way to move the fractal noise along its path. Shine has an “Evolution Speed” under the Fractal Noise heading that allows you to easily adjust the evolution without any scripting (I love this!). Being able to quickly add fractal noise into your light rays really improves my efficiency when a client asks for “that fancy text with those light rays poking through,” but wants to pay exactly zero dollars and zero cents.

Lux and Starglow
Trapcode Lux and Starglow are some other light-focused plug-ins that can add that subtle or dramatic detail to your work setting you apart from the rest of the general motion graphics population. Lux is a fast and easy way to add volumetric drama to point and spotlights. Much like the other plug-inStarglows, you need to apply Lux to a new solid, adjust the specific parameters for the spot or point lights in your composition and, my favorite part, tell Lux if you want to apply to lights named anything, “Lux,” “Front” or “Back.”

Simply, instead of just seeing the emanating light from an After Effects light source, you will now see the physical light source when Lux is added. Lux really shows its power when you need to add a light source to something like an after burner on a jet or the tip of a comet-like fireball. Adding physical light points so easily really opened up my way of thinking. It’s a relatively small feature, but it’s similar to knowing how to do something, but also knowing it takes four hours to accomplish it, so because of diminishing returns you just move along. Now I can do that same thing in little to no time and add that finishing touch easily. This makes me more money and makes the client more confident.

Trapcode Starglow is a small-yet-powerful plug-in that gives life-like glow to bright objects. Think of the star or cross-hatch streaks that can appear on stars or street lights in TV shows and movies. Included in all of the Trapcode Suite are presets, and Starglow is no different with 49 presets, each containing various ray length, color, ray direction and more — all of which are the starting points I like to use when figuring out just what type of Starglow I want to go with.

So far, I’ve covered four of 11 plug-ins contained in the Trapcode Suite 13, all of which are amazing and full of ideas that will undoubtedly elevate your work to a higher level. Something I have noticed over the last few years is a lot of amazing work that comes from those using After Effects; most of it, though, has the scent of a preset and/or tutorial that someone watched, duplicated and exported for their display. One tip that will overstep that ordinary look is to double- and triple-stack effects (in particular the same effect) to add varying levels of depth, color and detail that you couldn’t get with just one instance of a plug-in.

In Part 2 of my Red Giant Trapcode Suite 13 Review, I will tackle the rest of this behemoth plug-in set: Trapcode Form, Trapcode Mir, Trapcode Tao, Trapcode 3D Stroke, Trapcode Echospace, Trapcode Sound Keys, and Trapcode Horizon.

Brady Betzel is an online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com, and follow him on Twitter @allbetzroff. Earlier this year, Brady was nominated for an Emmy for his work on Disney’s Unforgettable Christmas Celebration.

Postal grows staff with Uvphactory’s Damijan Saccio, Gene Nazarov

By Randi Altman

Industry vet and Uvphactory co-founder Damijan Saccio has joined New York City’s Postal as executive producer. Postal, Humble’s sister shop for design and VFX, also brought on creative director Gene Nazarov. He too arrives from motion design and visual effects studio UVPhactory, which Saccio co-founded in 2000.

I first met Saccio about 14 years ago. I remember talking to him about animation and how his role as a teacher at a variety of colleges in the New York area helped him find young talent trained on Softimage his studio’s software of choice at the time — while Saccio continues using Softimage, he did add Maya and Cinema 4D to his toolbox.

Saccio and I have kept in touch through the years — he has helped make me smarter about animation, motion graphics and stereo — so when I heard the news about his move, I decided to reach out.

This is a big move. Any hesitation at all about going from owning your own shop to working for someone else?
Yes, indeed, it was a big change. I’ve been my own boss for about 16 years now and it’s definitely going to be a bit of a change from having my own company. But I would always joke that I had the strictest boss, so I guess this new gig can only be an improvement. But, seriously, I’ve been very fortunate in finding the fine team at Humble. It turns out that the owners and head of new business all have a lot in common with me. We immediately got along and have the same goals. The best thing was that they had strengths I had been looking for and I have strength they had been looking for. It sounds like a soundbite, but if really seems like it’s a perfect match.

Does this allow you to focus more on the creative and less on the day to day?
Yeah, there’s definitely less of the “I need to make sure we order more toilet paper for the studio,” or “I need to re-wire that janky Ethernet connection,” and more about coordinating the delivering of nine versions of a set of soft drink spots on time and make sure all the crazy amount of awesome effects we’re adding are completely seamless.

What do you think you can accomplish at Postal that you might not have been able to do at Uvphactory?
Well, I think it’s mostly a question of scale. We will continue to be able to do a lot of cool artistic and experiential projects we were known for, but now we’ll be able to do more larger scale and higher-end projects that I think will really make people’s heads turn!

Humble has some amazing directors in their roster, and I look forward to helping them realize the height of their visions, in addition to doing some amazing new things that will really help define Postal as the design and creativity cauldron that it now is.

You brought some of your guys with you to Postal? Why was that important?
Well, my team is my family, and really it’s all about the individuals that make a team so good, so of course I wanted to make sure that our core crew was going to have an opportunity to really shine at this new location.

The guys at Postal are extraordinarily talented and we’re excited to work together to make cool new things. I’m all about taking people from myriad backgrounds and putting them together in one room.  I think this new mix is going to create some really cool stuff.

What tools do you use?
We’ll use whatever it takes to realize the visions of our creatives, but the usual tools that consistently get used are Maya/Softimage with Vray/Redshift, Nuke/After Effects, Flame and Final Cut Pro.  There are a lot of other bells and whistles we employ, but these are the ones that are consistently used.

What are you working on now?
Well, you know how it is, I can’t really talk about any of the things we’re in progress on, but suffice it to say there’s some super funky soft drink spots about to come out, and we’ve just started on some pretty hilarious bits for a St Patrick’s Day promo. There are a number of other commercials we’re starting on as well but I have to wait a bit longer before I can talk about those!

Main Image: Damijan Saccio and Gene Nazarov.

 

Videos from SIGGRAPH 2015

Last week at the LA Convention Center pros and product makers joined together to celebrate animation, visual effects, motion graphics, immersive worlds and more.

Walking the exhibit floor was a ton of fun. Everywhere you looked were gorgeous images being displayed in product demos and a ton of opportunities to try out virtual reality. Particularly enjoyable was the VR demo from Ford Motor Company in the Emerging Technology section of the show. Ford’s Elizabeth Baron shared how the car maker designs their cars in a virtual environment, which was powered by Silverdraft’s Devil supercomputer. Also fun was the demo at the AMD booth — from VFX and performance capture expert James Knight — which had attendees climbing mountains in a rain forest filled with pterodactyls.

If you weren’t able to make the show, we hope our coverage has helped give you a feel for what the vibe at SIGGRAPH was like.  Some of that coverage includes short videos with product makers. Here is a link to some, and there are more to come!

https://postperspective.com/siggraph-2015/

Review: Rampant Design Tools’ latest updates

By Brady Betzel

If it seems like I’m reviewing Rampant Design Tools’ latest releases every few months, it’s because I am. Sean and Stefanie Mullen, the creators of Rampant Design Tools, are creating brand new sets of overlays, transitions, paint strokes, flares and tons of other tools every month.

Typically when I do reviews there isn’t much personal interaction with the business owners, but Sean and Stefanie made themselves available for questions every step of the way. Even when I’m not doing a Rampant review, I am emailing them and they are always ready to help and even give advice. For them it’s about their customers, and they are continually releasing top shelf tools that I believe every editor and motion graphics artist should have in their toolbox.

Digging In
Before I get into what is new, you should download their free samples at www.4kfree.com. Almost every editor I show these too says, “I had no idea that’s what those were. I thought they were just stock footage elements.” Rampant Design Tools are not stock footage elements; they are color overlays, animated motion graphic elements, transitions, glitches and more. They are elements that are used in any program that can apply an Add, Multiply, Screen or any other composite mode to footage — really to any NLE or VFX app made. If you are a Blackmagic Design DaVinci Resolve user you can jump into the edit mode, place the Rampant clip on top of your original clip, select the Rampant clip to composite, open the inspector and under the composite mode pop up menu select your desired mode.

Paint Stroke Sample copy

Paint Stroke

Typically, Add mode will do the job, but each mode has some cool differences that you will want to try out for yourself — for a stark contrast check out Hard Light. If you are an Avid Media Composer or Symphony user, check out my previous write-up on discovering the elusive composite or blending modes within Media Composer: https://postperspective.com/tutorial-blending-modes-rampant-inside-media-composer.

What’s New
I think of Rampant offerings as quick and efficient tools that can add texture and interest to footage. In their latest rollout of releases, Rampant has sets of Designer Overlays, Film Burns, Matte Transitions, Flare Transitions, Glitch Transitions, Paint Stroke Transitions, and even animated motion graphics for editors. I’ll go into a few of the ones I find particularly interesting, but to find out more check out http://rampantdesigntools.com/rampant-all-products.

Matte Transitions are really useful. Not only can they be used traditionally as transitions between scenes or footage, but they can also be used to reveal a color treatment. I really like to use Rampant Design Tools in non-traditional ways, such as using mattes to reveal color treatments or effects. In Adobe Premiere I will duplicate my footage in the timeline, apply a unique color treatment to the duplicate footage, add the “Set Matte” effect and tell it to use the alpha channel of the Matte Transition. While this is a unique way to transition a color effect, it can be used in all sorts of circumstances.

Designer Overlays Sample copy

Designer Overlays Sample

My favorite is when a producer or even another editor comes in and just wants something different; they don’t know what they want but they know it needs to be totally different. You can easily throw on a few different Rampant Design Tool overlays and get very different treatments quickly. You can even use the mattes to reveal text in a lower third or main title. It really adds depth to your work.

Paint Strokes are a really cool way to reveal or transition out of text or footage. I really like to use these to reveal color in a scene. Recently, I used it on a very desaturated piece I was working on. In the last 10 seconds of the piece I used a Paint Stroke to add a vibrant splash of paint to the project. The client really liked how it left a lasting impression of vibrancy and color.

If you have seen what is going on in the land of YouTube, you might have noticed how flashy and eye catching the videos are (and if you haven’t you better get over there and get inspired before you are asked to work on something and end up under-delivering in the “wow” department). One thing that gets tricky is designing new or altered transitions. Rampant Design has tons of transitions that are great to have in your editor’s toolbox. From the ever-popular Glitch transition to Flares, Paint Strokes and even Color Overlays. I like to add a white flash under a light leak to turn it into a transition sometimes.

Motion Graphics for Editors Sample copy

Motion Graphics for Editors

Finally, my interest was captured with the “Motion Graphics for Editors” bundle. It contains lots of motion graphics elements such as Grids, Signs, Rays, Loaders, Lines, pre-made aspect ratios or even Triangles. Typically these little elements can take a ton of time to create. Usually if you are looking for these elements you are an editor who knows enough about motion graphics to be dangerous but who doesn’t have time to create these elements individually. Some uses for these are lower thirds that would typically be a boring gradient with text over the top or infographics, and while infographics seem easy they are most definitely not. They take tons and tons of time if you want them to look great. They are really easy to use with Rampant alpha channels.

Summing Up
In the end if you are looking for elements that are not stock footage, but instead handcrafted elements like organic paint strokes or unique Designer Overlays, you need to get over to www.rampantdesigntools.com. I have experienced firsthand the power these elements have. I’ve been at the end of my rope on some projects that weren’t paying enough to validate the drain on my brain power, then, remembering I had Rampant Design Tools, spent about an hour applying about 20 different treatments, transitions and effects to footage, color and text.

Film Burns Sample copyMatte Transition Sample copy
Film Burns and Matte Transition

In the end the client was happy and I was happy that I didn’t have to spend my time creating the elements from scratch. Rampant Design Tools takes projects to the next level quickly and easily by dragging and dropping, allowing you to work faster and more efficiently, making you more money in the process. I leave you with these highlights: unique non-serialized graphic overlays; easily combine color corrections to make unique color grades; and the newly-added “Motion Graphics for Editors.”

Brady Betzel is an online editor at Margarita Mix in Hollywood. Previously, he was editing The Real World at Bunim Murray Productions. You can email Brady at bradybetzel@gmail.com, and follow him on Twitter, @allbetzroff.

Review: MovieType for Element 3D

By Brady Betzel

For the past year, part of my morning “post production news gathering ritual” has been visiting AOTG, postPerspective and motion graphic designer John Dickinson’s Motionworks. Not long ago I saw that Dickinson (@Motionworks) had released a new set of presets and tools to be used with VideoCoPilot’s Element 3D inside of Adobe After Effects. It’s called MovieType for Element 3D.

I love Element 3D, so the idea of having more presets and tools to use made me happy. It has the ability to use near-realtime rendering to create stunning 3D objects like extruded text in seconds and without the need to jump into Cinema 4D. It’s a huge time saver for me when editing, especially when a client wants a “movie-type” title treatment but doesn’t have the time or money to outsource to a full motion graphics team.

Continue reading