Saturday, 15 May 2010

First screening: FACT Liverpool 14/05/2010

As part of Sparkle VFX's launch event 'Enter 3D' at FACT liverpool.

(Note: the deadline for the academic aspect of this project was yesterday but as Mat and I develop this campaign I will continue to update this to keep any interesting info in one place)

Thanks to Sparkle and FACT

Saturday, 8 May 2010

Coming Soon...

The final video will be released online soon. If you've been dropping in to see the development thanks & I hope it's been informative and maybe even interesting.

Cheers Matt

Final touches - audio

After I sent Mat a draft render of the final video he was very happy with the video but felt his audio track sounded unpolished in relation to the visuals so he and I decided if it wasn't possible to get an engineer to clean up the existing track then it would be best to re-record it in a studio to get a more professional sounding end product. Mat was able to quickly source an old friend with a studio and in a couple of days we had a great sounding audio track.

He went through the original track and rerecorded staying as close to the original tempo and pronunciation which made it veryeasy for me to re-sync. I just had to slice the track during silences a couple of times in final cut pro and realign some of the wave forms using the original audio tracks as a guide and ensure the lip sync and edits were still in the corect place in relation to the sound.

Photo from studio


Re-record, re-render, re-joice…

Posted by matlloyd on May 7, 2010

In the studio yesterday to re-record vocals for new video ‘Two Inches to the Right’.

Yesterday afternoon was all about green tea, roll ups, mini bites and vocals. OK I didn’t get involved in the roll ups but I did indulge in the mini bites, green tea (surprisingly nice) and vocals, as we re-recorded the audio for my next video release “2 Inches to the Right”. Having got my hands on a final edit on Monday I was pleased with the video but not with the audio quality of the vocal track. Luckily, an old friend from my days working at a Skate/Surf shop has a professional studio setup and came to the rescue. A take or so in the vocal booth and he got to work. The outcome is much tighter and should really compliment the final video. The recording has been sent over to Matt Frodsham who is working his magic to sync it into the video…good luck!

I actually wrote the piece about 8 years ago after I was randomly attacked and luckily for me, saved by a number of surfers and a now very famous front man of a well known punk band. Aaaahhh well it was worth it in the end.

While you wait for the new video to be released, check out my previous, and now award winning collaboration with Matt Frodsham on my official YouTube Channel – MatLloydPoet

More news soon….

Other type

All the other small bits of type is tied in with its surroundings, for example the bold serif on the can is similar to the Fosters lager font and I chose a nice clean serif to represent the lawyers' lines. I re-used this typeface for the end credits as I wanted to use something nice and legible but not use too many fonts in the piece for copy. I think knocking the type back to lighter colour burned browns ties it in with the visuals well and

Hand made type

I wanted to add some more real hand made elements to emphasise the organic look of the visuals and tie in the styles of the typography to the characters. I'm not a big fan of 'graffiti' being over used in design so opted for a more aggressive scrawled paint for the type tied to the chavs' shots. Because they would only be on screen for short bursts the words needed to look as if they had been lazily scrawled with a large brush but many of my experiments were fairly illegible when trying to create the style on an A4 sheet to scan.

Instead I painted larger letters one by one and created a 'bank' of straight and curved strokes and manipulated the marks within photoshop to refine the words. This means they have the energyin the lines that I want but also allow me to refine the letterforms enough so they are legible when read or glanced at in a quick shot.

Lots of mattes

Using techniques mentioned before importing nulls and 3D cameras and layering up layers of the background plate masked with various object buffers I've set the hand drawn layer in 3D space and interacting with the 3D objects (ie end of bed in front of body, jail door in foreground).

Again using frischluft lenscare I can pull focus through the doors and replicate a real cameras DOF adding a bit of realism to the illustrative visuals.

Quick sketches in photoshop built up into static frame to add detail to the background before Mat is composited on top.

In cinema add 'external compositing' tags to the 2 benches and export 3D data to an after effects compositing .AEC file so the 3D cameras and tagged objects come in as replaceable Null Objects.

Added hand dawn plates as 3D layers with alpha so can be positioned anywhere in the scene and the 3D imported camera will move around them and sync with the 2D background layer (3D render). The null objects help position the new elements precisely in Z-depth.

Using a depth matte I can draw the eye to the foreground with depth of field blur using frischluft lenscare. This adds a surreal sense of reality to the sketchy hand drawn look of the image.

Using 'foreground' layer with a hand drawn frame overlayed to line up the 3D camera angle and build the sound block in relation to the gavel.

C4D render
Colour burned onto texture, drawn plate composited and also subtle ink drop bursting from impact of gavel

Compositing, foreground layers

C4D render background 'colour burned' into texture.

Hand drawn plate track matte to stencil texture out of BG

Hand drawn plate composited

'Object buffer' rendered matte to mask hand drawn plate and show texture through

Duplicate of the background and object buffer used again but inverted to mask out everything but the tree. The previous step allows this layer to be colour burned to retain the look of the rest of the background without unwanted transparency/blending with the character

Compositing Screens

Cinema 4D with imported camera track keyframes.

Export render to After Effects, use track matte from hand drawn frame as a stencil to allow paper texture to show through the background.

Character plate composited over the top with transparency to allow texture to show through

Thursday, 29 April 2010

Xpresso setup to track branch bend

The raven is going to land on this tree so needs to bend with weight and attach position to the point.

Found a good scenefie on creative cow with the nodes set up to get the global parameters of a deformed geometry point and attach a null object to it.. (example above, xpresso below)

Null now sticks to the branch when bend deformer is used

Opening Transition

Ink bleeds

Tuesday, 13 April 2010

Hand drawn type mood board

Type won't feature as heavily in this video as blokes, but I want to tie it in to the visceral hand drawn style, perhaps adding a bit more looseness to the shots. I'll experiment with brushes and inks to get a fairly consistent style. To add variety I think adding the quotes from the Lawyer in a different style, maybe a serif/typewriter style but still worn to sit with the visuals well.

Saturday, 10 April 2010