View allAll Photos Tagged MotionGraphics
TW reel made by our Motion and Graphic Designer friend Bruno Ferreira based on all our shirts designs.
brunographer.com
CMA Video filmed the opening of Winston's Whistle Stop Tour, the latest ride at Thomasland at Drayton Manor
STORE: store.pixelfilmstudios.com/product/prodivide-entertainment/
ProDivide Entertainment
Professional Divider Titles for FCPX
ProDivide Entertainment presents an inventive way to display information and titles by splitting media to reveal your text. Each preset is professionally designed with customizable text, backgrounds, and elements. Modify the split, type in any text and change colors as you please. Simplify your life with ProDivide Entertainment from Pixel Film Studios.
Compatible in any 16:9 project. (HD, 4K UHD, 5K UHD, etc.)
30 Professional Dividers
ProDivide Entertainment features 30 divider titles designed for Final Cut Pro X. This makes sure users have lots of variety when displaying info titles. Plus, each ProDivide Entertainment preset is totally customizable and adaptable to any project.
Split Footage
ProDivide Entertainment features a unique way of displaying titles and information. ProDivide works by creating a split in your media revealing underlying text. The split can be offset horizontally, scaled in or out, and angled to add more excitement.
Enter Your Own Text
ProDivide Entertainment allows you to replace preset text with your own. Changing the text is easy. Just select the current text. Delete it. Then, type in your new text. You can change colors, fonts, and much more.
On-Screen Controls
Each ProDivide Entertainment preset features a set of on-screen controls to help you easily adjust the size, position and angle of your selected design. Adjust the size of the outer ring to change the size of the preset. Move the handle in an arc to adjust rotation. Finally, click and drag the puck to move the focus group anywhere.
Change Colors
ProDivide Entertainment designs feature a wide variety of elements. Backgrounds, text, bars, and additional elements can all be changed using color pickers and gradient bars. Using these tools, new color schemes can be applied in seconds.
Customizable Animations
Each title is ready-to-use with pre-selected animations, but you can quickly change the animation of your title by selecting presets from drop-down menus. You can individually adjust the animation of any layer of text. Fine tune the animation on any design to your liking.
vimeo.com/scottgeersen/twtwb-titles
Title Sequence: Concept, Pitch, Boards, Design, Direction, Animation, Compositing, Project Management.
This Australian film by Director Stuart Beattie is an adaptation of John Marsden’s classic first novel of the “Tomorrow” series, which has been translated into 7 languages and captured the imaginations of teenagers across the globe.
Following on from a successful titles pitch (work.scottgeersen.com/twtwb-titles-pitch) to director Stuart Beattie and EP Andrew Mason, I designed and directed the main-on-end title sequence for the film, leading a team of in-house and freelance artists, as well as undertaking much of the animation and compositing work myself.
My brief, partly self-initiated and partly from the director and EP, was to represent scenes pivotal to both plot and characters in an accelerated journey that was as forceful, aggressive, and stirring as possible.
To do so, a highly stylised, almost painterly approach was chosen, referencing visual cues very familiar to teen audiences – graphic novels, comics, silhouettes, illustrations. The most striking moments from the film were reduced and broken down into iconic representations, giving them much greater emotional resonance.
Subtle use of 3D space and perspective injects depth and tension, and frames are vividly depicted in the rich orange, brown, and gold tones of the Australian summer – a palette that is simultaneously vibrant and dangerous, suggestive of idyllic bush sunsets and fiery explosions. Search- and flood-lights, explosions, and gun flashes impart sharp details to the silhouetted forms, at once highlighting and simplifying specific features of each scene.
Process:
Once production began with a team of 5 (including myself), we had only 3 weeks to produce more than 90 seconds of 2K motion graphics and 3D, mostly from scratch. While I had pitched my own visual interpretations of narrative events, Stuart was very keen to more closely represent actual shots from the film – including key images of characters. This was a tricky process, as I never managed to see a cut of the film before the cinema release! While perhaps an unusual situation for a titles designer to be in, I was helped along by the film’s editor Marcus D’Arcy, and an intimate knowledge of original novel. In the end, about 50% of shots came from my original pitch, and my team and I created additional styleframes as Stuart relayed his ideas.
To complete the project, I enlisted the help of several freelancers. Daniel Balzer was our 3D artist, working in Cinema 4D. Morten Rowley provided additional 3D in Maya, and Daniel Bavell provided painted/illustrated elements. Designer Jess Morgan set up the opening title cards and logo as well as comping the final shot of the sequence.
Credits:
Titles Director: Scott Geersen
Art Direction: Scott Geersen
Design/Animation/Compositing: Scott Geersen, Daniel Bavell, Daniel Balzer, Morten Rowley, Jess Morgan
3D: Daniel Balzer, Morten Rowley
Lab Producers: Prue Fletcher, Jayne Herrmann
These are some of the title slides that we put together for the Greater Ones series back in March. I think you'll all probably notice from what gets uploaded that the week we did Superman, it was one of my favorites. He's not even my favorite superhero, but just how that week's media turned out looked really great, in my opinion.
The focus was all about bringing out types and shadows of Jesus that are seen in modern superheroes that most everyone seems to love today. Each week our Pastor focused on the particular characters, pulling out certain attributes from each one that were clearly characteristics of Jesus.
Each week we had a video that kicked off the sermon that would highlight each hero, as well as a quick teaser at the very end of service for the next week. If you want to see these videos check out the links below:
vimeo.com/87302639
vimeo.com/88578439
vimeo.com/88576743
vimeo.com/89231006
vimeo.com/89231175
vimeo.com/89844520
vimeo.com/89844533
The video portion of this project was a lot of fun to work on because it really helped to push our 3D titling abilities, and was a ton of fun to get to edit and piece together. It also helps that our church building is located in an old movie theatre. So our main auditorium has 2 large projection screens that helped really make this series a lot of fun.
To see the other portions of the project I have uploaded check them out here:
www.flickr.com/photos/toddfooshee/15199614082/
Still Frame from "K.R.E.S." Animated Video by V5MT, August 2015.
Released on September 2015, with music track by Kevin Carey.
A short animation exploring all that we, as human beings, lose in our life time. From baby teeth to hair, virginity to motivation. We're all losers, after all!
Motion graphics para la campaña de promoción de la nueva identidad corporativa de la empresa de arquitectos e ingenieros TJMa.
Con fotografías de Enrique Carrazoni, Raul Climent y Xavi Calvo.
Copyright Menta, estudio de diseño gráfico en Valencia.
Todos los derechos resevados / All rights reserved
At this Digital Design Slam, student teams had one day to design and produce an identity and motion graphics package for a music awards show. They presented their final design concepts to a panel of judges.
Learn more about VFS's one-year Digital Design program at vfs.com/digitaldesign.
Communication. Online, E-learning film For Dutch CO. AGILIS BV.
3D animation on low-poly style
Directing & Motion Graphics by Kaan Sensoy
Music by The Bee Gees '' Jive Talkin`
Motion Graphics Festival 2009
New Motion + New Sound + New Code
Washington DC :: Nov 18-22
www.MGFest.com/09/WashingtonDC/
The DC Motion Graphics Festival showcases explosive artists and motion picture creators including: Shepard Fairey, Nine Inch Nails, David Byrne, Chuck D of Public Enemy, KRS-One, Addictive TV, Digital Kitchen, The Mill, Passion Pictures, Animal Logic, Post Panic, Dvein, David Lobser and more.
MGFest presents a series of audio visual art happenings featuring live performances by: Ghostly's Matthew Dear aka Audion who recently wrapped up a European tour, the multi-talented composer and instrumentalist Benn Jordan widely known as The Flashbulb, and lightrhythm visuals sought after sketch projectionist Shantell Martin from Tokyo, plus many more surprises TBA with nightly eye-opening events.
MGFest hosts workshops and lectures about the shift in motion-picture audiences and explores the new technologies that motion designers will need on the video internet frontier. Motion design, sound design and interactivity, are all featured during November 18th through 22nd, with daytime workshops featuring amazing instructors such as: Richard Harrington and Nick Campbell at Future Media Concepts and Sterling Ledet training facilities.
MGFest Sponsors include: MGFest Sponsors include: Maxon, Netdiver, SXSW, IdN, Stash DVD Magazine, Future Media Concepts, Lumen Eclipse, Sterling Ledet, 88DC, RE:Vision Effects, DC Commission on the Arts and Humanities, RHED Pixel, DC Office of Motion Picture & Television Development, Pond5, Letelier Theater, Pinkline Project, Create Digital Motion, Livid Instruments, All City Technology, UnScene, DigiEffects, Resolume, Lift Motion Design, GarageCUBE, Boris FX, VidVox, Toolfarm, Ableton, Michael Wiese Productions, fxphd, Wondertouch, and Clif Bar.
Silent Auction for over $30,000 in software, DVDs and training materials.
.: Motion Graphics Festival :: www.MGFest.com
A motion design invitation for the classical music festival Mahler Jihlava 2010 in Czech Republic.
See the video: vimeo.com/11617795
Portfolio page: www.vitzemcik.com/#402076/Mahler-Jihlava-2010
Animación experimental. Gráfica en movimiento inspirada en los muros de la Brigada Ramona Parra.
Musicalización, Legua York (maqueta DVD)
Diseño y Animación: ecostypo
Separador para a mtv, desenvolvido no âmbito académico para a disciplina de Motion Graphic Design.
Tirando o plano do ovo, todo vídeo foi feito apenas com fotografias, usando os programas photoshop e after effects.
Agradecimentos a
Mónica Cunha, por disponibilizar a Cozinha
Watch this video on Vimeo. Video created by hugo miguel sousa.
© All Rights Reserved - Black Diamond Images
"This year, Vivid LIVE has commissioned multi-award winning German design collective URBANSCREEN to create a new projected artwork, transforming Sydney Opera House with their reinterpretation of the sails – Vivid LIVE’s most public event. (Recommend viewing this VIDEO)
URBANSCREEN have taken the art of light projection, video mapping and motion graphics to extraordinary heights in their many large scale installations, including commissions from major art galleries, international festivals and opera companies. Recent works showcase their versatile and sensitive engagement with architecture, from the dream-themed 555 Kubik at the Hamburger Kunsthalle, the ‘operatic staging’ of Wolfgang Amadeus Mozart’s Idomeneo, Rè di Creta at Theatre Bremen, to the celebration of the 10th anniversary of the Museums Quartier in Vienna – highlighting Creative Director Thorsten Bauer’s musical approach to institutions.
The work will explore both the iconic sculptural form of the Opera House but also its place as a home for music, dance and drama, resulting in a work that is both sophisticated and spectacular." Reference
While the lightshows around the harbour are stunning it is worth noting that there is just so much more to the Vivid Sydney Festival and more than one night does need to be allocated to see all that this festival has to offer.
Check out the website for much more.
Vivid Sydney - Festival of Lights and Ideas draws to a close tomorrow night 11th June after having opened on 25th May 2012
More Vivid Sydney Photos HERE (Images to be added as time permits.)
Tormented by things he cannot control, our hero travels the streets at breakneck speeds, in hopes of possessing that which he can never know...
A Stop Motion made with Quicktime Pro, Final Cut Pro and After Effects. Shot on my Canon EOS 7D. Shot around Seattle. Special thanks to Unbearables cast and crew. Thanks to Mystic, Jeb and Mikalah who appear in my short film. Thanks to Anthony who was my partner for the traffic sequences. Special thanks to Die Antwood whose music is in the piece. Your off beat sense of humor really helps bring the piece to life.
Thanks to Phillip Bloom for your tutorial on assembling a time lapse. It works basically the same for stop motion.
Watch this video on Vimeo. Video created by Michael Kleven.
www.area75.com.ar y www.molinofilms.com.ar
Presentan este cortometraje de Juan Pablo Rainieri.
Protagonizado por Marcia Pinto y Jimena Domínguez.
Guión de Diego Rojas.
Dirección de arte y matte painting de Jorge L. Fernández.
3D de Flavio Bianchi.
Música original de Jimena Domínguez.
The Art Institute of Portland's January 2009 Portfolio Show - graduating students show their portfolios to the local business community, networking, interviewing, and meeting with potential employers in creative fields.
Find out more about The Art Institute of Portland: www.artinstitutes.edu/portland
Photo: Lulu Hoeller
An educational project made during the International Typography Workshop in Czieszyn (http://www.zamekcieszyn.pl/pl/index.php?option=com_content&task=view&id=1201&Itemid=51) led by Professor Jan Kubasiewicz, Coordinator of Dynamic Media Institute at Massachusetts College of Art and Design in Boston (http://dmiboston.org/archive/archives/by_faculty/kubasiewicz_jan/).
The task was to interpret a part of Eugeniusz Rudnik's music composition Kolaż (http://pl.wikipedia.org/wiki/Eugeniusz_Rudnik) visually using motion design.
A bit about process and behind the scenes could be found at the workshop's wiki page (http://dynamicgd.pbworks.com/V%C3%ADt-Zemč%C3%ADk).
See the video: vimeo.com/12624243
Portfolio page: www.vitzemcik.com/#467923/Partical-Collage
Planet Earth – 16 November 2138
After the discovery of life after death, humankind has stopped to see death as their enemy. Most of them already experienced it and reached the other side. Only a small number of people and all other living creatures stayed. Even though they do not feel any emotions for death, they somehow feel uncomfortable about killing animals for food. The Solution was simple; “We shall escape the absurdity of growing a whole chicken in order to eat the breast or wing, by growing the parts separately under a suitable medium.” So, they invented a machine to grow meat at homes and called it ‘Living System Device’, shortly LSD. Some romantic poets called it ‘Lovely Side of Darkness’, shortly LSD.
They do not need to be concerned about zoonotic diseases like viruses or no need to produce large amounts of antibiotics and feeding stuff anymore. With this reforming technology, humans even developed new species to help nature to recover itself.
Of course humankind wants to have fun after they satisfy their hunger. A group of science lovers created new species with musical abilities to have fun and learn more from them. ‘Snake Jazz’ is one of the most famous of all. Their concert tickets are already sold out for the next 5 years. Hopefully, our friend Adam experienced their last concert of the year and recorded this for us. Enjoy.
Edit: @enselb
Special thanks to Winston Churchill
vimeo.com/scottgeersen/twtwb-titles
Title Sequence: Concept, Pitch, Boards, Design, Direction, Animation, Compositing, Project Management.
This Australian film by Director Stuart Beattie is an adaptation of John Marsden’s classic first novel of the “Tomorrow” series, which has been translated into 7 languages and captured the imaginations of teenagers across the globe.
Following on from a successful titles pitch (work.scottgeersen.com/twtwb-titles-pitch) to director Stuart Beattie and EP Andrew Mason, I designed and directed the main-on-end title sequence for the film, leading a team of in-house and freelance artists, as well as undertaking much of the animation and compositing work myself.
My brief, partly self-initiated and partly from the director and EP, was to represent scenes pivotal to both plot and characters in an accelerated journey that was as forceful, aggressive, and stirring as possible.
To do so, a highly stylised, almost painterly approach was chosen, referencing visual cues very familiar to teen audiences – graphic novels, comics, silhouettes, illustrations. The most striking moments from the film were reduced and broken down into iconic representations, giving them much greater emotional resonance.
Subtle use of 3D space and perspective injects depth and tension, and frames are vividly depicted in the rich orange, brown, and gold tones of the Australian summer – a palette that is simultaneously vibrant and dangerous, suggestive of idyllic bush sunsets and fiery explosions. Search- and flood-lights, explosions, and gun flashes impart sharp details to the silhouetted forms, at once highlighting and simplifying specific features of each scene.
Process:
Once production began with a team of 5 (including myself), we had only 3 weeks to produce more than 90 seconds of 2K motion graphics and 3D, mostly from scratch. While I had pitched my own visual interpretations of narrative events, Stuart was very keen to more closely represent actual shots from the film – including key images of characters. This was a tricky process, as I never managed to see a cut of the film before the cinema release! While perhaps an unusual situation for a titles designer to be in, I was helped along by the film’s editor Marcus D’Arcy, and an intimate knowledge of original novel. In the end, about 50% of shots came from my original pitch, and my team and I created additional styleframes as Stuart relayed his ideas.
To complete the project, I enlisted the help of several freelancers. Daniel Balzer was our 3D artist, working in Cinema 4D. Morten Rowley provided additional 3D in Maya, and Daniel Bavell provided painted/illustrated elements. Designer Jess Morgan set up the opening title cards and logo as well as comping the final shot of the sequence.
Credits:
Titles Director: Scott Geersen
Art Direction: Scott Geersen
Design/Animation/Compositing: Scott Geersen, Daniel Bavell, Daniel Balzer, Morten Rowley, Jess Morgan
3D: Daniel Balzer, Morten Rowley
Lab Producers: Prue Fletcher, Jayne Herrmann
'Top Screen' winning Untitled Screenplay by yours truly.
Written and Directed by: Darius M Family
Music by: Julian Langdon
Audio Recordists: Elliott Klein
DOP: Rohan Vasudevan & Vince Bufalino
Cast:
Ed Jones | Will Jones | Andrew Russell | Ryan Clayton | Antonio Cafasso
Natalie Harris | Ryan Messina | Jake Hill Brett Solomano | Ferrous Trembath
dariusfamily.com/UntitledScreenplay
Watch this video on Vimeo. Video created by Darius Family.
First-run of my animated logo for a currently fictional production company. Song is "Zippo's" by David Holmes
At this Digital Design Slam, student teams had one day to design and produce an identity and motion graphics package for a music awards show. They presented their final design concepts to a panel of judges.
Find out more about VFS's one-year Digital Design program at vfs.com/digitaldesign.
Baking up some 3d fluid simulation at work for some preproduction tests. We adopted blender 5 days ago in the office. It was great to go with opensource and never having to worry about keeping versions up to date, licenses and not having full access to the codes to write your own functions. Do give blender a go.
Here we have a rendered view which uses Zbuffer information for depth of field and glows to help make the droplets pop. Its great to be able to do it all in one app without having to deal with lost of scene information on exports.