I recently published my Kinetic Typography Techniques for After Effects course. In it I used a wide selection of fonts that are freely downloadable from various websites, just to make sure everyone following the tutorial could get access to the same fonts.
Unfortunately one of the websites I recommended is no longer in operation. Below I’ve providing alternative links to all of the fonts used in these workshops. I cannot guarantee that these links will always be maintained as they are from third-party sites so I’ve also included the font names so that you can search for them using your favourite search engine, should the links expire.
When downloading these shareware fonts please take a few minutes to click on the Donate button for each of them. Even if you only donate $5 it will help make sure that these hard-working font designers get rewarded for providing us all with very low priced fonts to experiment with. This is particularly important if you are going to be using any of the fonts in paid work. It’s good karma and will make you feel good that you’re helping out a fellow designer!
If you’re interested in understanding more about the financial struggles that all designers are facing, please check out this entertaining graph by Jessica Hische which determines whether a designer should work for free! Jessica is a font designer and letterer who campaigns for fair pricing for fonts and other design work.
The fonts presented here are their authors’ property. They are either freeware, shareware, demo versions or public domain. The licence is usually positioned near the download button but please check the readme-files in the zipped packages or check the author’s website for details. You can contact him/her if in doubt. If no author/licence is indicated it means that information is not available. It doesn’t mean it’s free, it is your own responsibility to find out more if you want to use it commercially.
I was asked to create a workshop on Kinetic Typography techniques for Adobe After Effects by several people including the lovely people from video2brain who produced this epic workshop for me. I’d like to thank them all for their patience and professionalism throughout this long project!
I’m pleased to say that I have finally finished this epic workshop. It was originally planned as a one-hour tutorial but has developed into a full-on, eight-hour workshop covering all sorts of weird and wonderful techniques.
I started off by covering essential kinetic typography techniques such as automatically creating text layers by importing content from a text file – using Variables and Data Sets in Photoshop and Scripts in After Effects. I demonstrated how to format text, making use of typographic controls like Kerning and Baseline Shift to get creative with negative space. In the latter stages I applied some of the free Animation Presets, created and adapted complex text animators to help you understand how to control them.
"That Day" Music by Richard Walker
While creating this piece I just couldn’t help but get creative and I slightly strayed away from the task in hand. As a result this workshop also includes techniques you may not immediately associate with traditional kinetic typography. In the included lessons we have fun animating and lighting layers in 3D space. We recreate an animated version of the Sgt. Pepper album cover using After Effects’ vector Shape Layers.
Welcome VideoIntroduction to Kinetic Typography
We even recreate an ancient stone circle from 3D text layers! You’ll also learn techniques for creating your own backgrounds, aged-film and dust and scratches effects by combining some of the built-in After Effects filters. Of course I also cover popular, requested techniques like animating handwriting on screen.
I use typography in my every-day work as a motion graphic designer but the artform of kinetic typography is different. The purpose of text in motion graphic design is to deliver a message. Generally, the text needs to be legible and on screen for long enough for the viewer to read and there are several other “rules” that are sensible to apply to motion graphic design. Kinetic typography as an artform kicks those rules into touch.
Editing and Looping AudioVariables and Data Sets in Photoshop
My understanding of kinetic typography is that the words should be used to convey moods or feelings, they don’t need to be the message, they are just there to support it. My feeling is that the words should echo the spoken words rather than simply repeat what’s being said.
In my interpretation of Richard Walkers “That Day” (a poem set to music) I wanted to portray what I took personally from the piece. I understood it to be about the dissatisfaction we have with the present moment and how we avoid enjoying it by always thinking about the past or the future. This avoidance leads to confusion, frustration and general unsettled feelings.
In this workshop you get all my project files along with my creative musings about how these ideas developed. I hope that you can enjoy working on some of my own files and diving into my own personal creative project. Here are some sample movies from the workshop to give you an idea about what you can learn.
Artbeats, your source for royalty-free stock footage, is offering everyone a free HD clip from their new Stereoscopic 3D (S3D) library. If you’ve been wanting to try your hand at working in 3D motion, this free download is the perfect opportunity to test it out.
For those of you who are not ready for 3D, you can download the same clip in 2D for use in your everyday high def projects.
When a group of amazing animators get hold of a projection system, you’re either going to get an evening of inspiration or a cheeky light bulb joke. Post Production Magic is your event for awe-inspiring work by After Effects gurus Angie Taylor, Simon Cam of SuperGlue, Ernesto Rogata of BSkyB and colourist and trainer Simon Walker.
These artists show you how popular Red Giant tools like Magic Bullet Suite and Trapcode Particular and Trapcode Form open up big creativity on a small budget. Experience the best of design, animation, colour grading and visual effects created in After Effects and Premiere Pro, along with a networking and cocktail hour. Hosted by Red Giant and co-hosted by Adobe Systems, the event will be streamed live by Adobe and held at state-of-the-art Ravensbourne University in London (www.rave.ac.uk).
In her session Angie will share tips and tricks for creating cool and quirky motion graphics in Adobe After Effects and will show how she uses Red Giant Looks, Particular, and other Red Giant effects to give her animations a more distinctive style and pull her compositions together.
Angie Taylor is an art director, motion graphic designer and author. She enjoyed a fourteen year career producing animation, visual effects and motion graphics for television, film, video and the web. During her career Angie worked with D-Fuse designing animation for cutting-edge Beck DVD ‘Guero’ and provided animation for the controversial Aphex Twin / Chris Cunningham collaboration ‘Rubber Johnny’. She also provided visual effects on the John Williams-directed “Hibernation”, winner of six awards at international film festivals, including ‘best short’ award at the 2005 Manhattan, Rhode Island, Edinburgh and Zagreb Film festivals. Examples of her work were regularly broadcast on the BBC and Channel 4 in the UK and across Europe.Angie also works in the software industry as a software specialist, regularly touring with companies including Adobe and Apple. Angie delivers software demonstrations and seminars on digital filmmaking and animation processes at international trade shows and conferences including NAB, IBC and Macworld. She also provides bespoke training and consultancy to a wide range companies including; BBC; Channel 4; Channel 5; Carlton; HTV; B Sky B; MTV.The author of three successful books. The “Creative After Effects” books (version 5 and 7), published by Focal Press, and a third book, “Design Essentials for the motion media artist” which is also published by Focal Press. Angie is also co-author of “After Effects CS5 Learn by Video”, published by Peachpitt in association with Adobe Press. Angie also produces high quality online training workshops with video2brain, Europe’s premier source for video training since 2002.
Superglue’s projection mapping project for Toyota’s “Get Your Energy Back” campaign (http://www.vimeo.com/16466136) was a highly creative and technical challenge, utilising numerous different production techniques. The animation featured 2D, 3D, keyframed animation, dynamics, particle systems and more. Compositing, VFX and general pipeline management was performed in After Effects, whilst 3D work was created using Autodesk Maya and Maxon Cinema 4D. The team made extensive use of both Trapcode Form and Trapcode Particular in bringing to life the ‘hybrid energy’ that was the key part of the campaign’s message.
Superglue is an award winning, London-based production company specialising in innovative digital projects. The team comprises a dynamic mix of production, post and digital brains working across live action, visual effects, 3D and motion graphics. Superglue operates across the modern media spectrum, creating moving image for everything from banners to broadcast.
Ernesto Rogata, BSkyB
Ernesto will talk about the daily challenge of integrating text and other graphic elements in exciting and innovative ways in sport pieces, stings and short title sequences – usually with little time to complete the job. He will share some simple techniques to create motion graphics using After Effects and Red Giant plug-ins.
Ernesto Rogata is an award-winning senior video editor at BSkyB in London and has worked in post-production for 20 years. His professional role covers four areas: editing, grading, creating motion graphics and training.
Simon will show the grading secrets of Plot Device, a new short film produced by Red Giant, and will demonstrate how Red Giant’s Magic Bullet Suite brought to life a varied series of genres… as well as a hoard of zombies!
Simon is creative director of WiltshireVideo.com, makes online grading and editing tutorials at www.simonwalkerfreelance.com, and is an instructor for the International Colorist Academy, iColorist.com. He is an Adobe Certified Premiere Pro Instructor and trains industry professionals in editing, motion graphics, colour grading, audio sweetening, and (excitingly!) video compression.
I’m excited to be able to offer a free top-up course on my website to all my lovely visitors. In this free course, Adobe Technical Support Lead Todd Kopriva offers dozens of tips for optimizing Premiere Pro, After Effects, your operating system, your computer, and your workflow for maximum speed and performance.
He makes recommendations for RAM, CPUs, graphics cards, and hard disks – both what to buy and how to set up your applications to make optimal use of these resources – and for setting preferences and other options in After Effects and Premiere Pro to minimize the amount of processing needed at each step of your workflow.
You’ll also learn what CUDA, OpenGL, and the Mercury Playback Engine are, and what each means to you in practical terms. After completing this workshop you’ll get more done in less time, both by making things work faster and by avoiding common causes of wasted time.
I’ve been speaking at events for a long time, in fact I can’t believe how long, after fifteen years now I’m classed as an industry veteran! (I’m not sure whether to be happy or sad about that one!). It’s been great to be in this position as I’ve seen the industry develop both technically and in terms of design. I’m happy to say that I’m beginning to notice a change. We are now entering a new age where technique is gradually becoming less prevalent – aesthetics and messaging are being rediscovered as the most important aspect of our work as designers. My friend, Birgitta Hosea (now a Doctor of animation!) has coined a new term to mark this era, “the post-digital aesthetic age”.
During most of my career as a motion graphic designer I’ve witnessed so many projects that are led by technique or by the latest “how cool is that” type-of-effect. “How did they do that?” is all fine and dandy for your average man in the street, or for those concerned with visual effects or the more technical aspects of production. But for artists, designers, philosophers thinkers and appreciators of fine art it and design, I’m afraid it just doesn’t cut it every time. We like substance as well as style. Why did they do that is just as important as how, please don’t let us forget the saying “just because you can, doesn’t mean you should!”
I’m going to be teaching on the Graphic Design and Illustration courses at Brighton University this year and am so excited to be going back into an academic environment. Of course I’ll be teaching digital software techniques, I’m there to provide guidance to the students from the perspective of a motion graphic designer. But I’m also looking forward to emphasising to them the importance of the core design skills they’ll need to set themselves apart as artists and communicators. I’d love to hear the views of others on this subject. How do you ensure that the technical aspects of your work as a designer/ illustrator/ artist don’t dictate the content or quality of your work? Answers on a well thought out and constructed postcard please! 🙂
This week I’m giving a 20% discount to anyone who wants to buy the fantastic new workshop on Motion Tracking & Stabilisation by Todd Kopriva which is now available to buy from my video training store. Just enter MOTION into the Coupon Code box when buying from my shop. It’s valid till July 15th 2011.
This workshop covers all the tools and techniques used for motion tracking and image stabilization in After Effects, including the point tracker, the Warp Stabilizer Effects, and mocha-AE. The contents of this course include:
Introduction
This chapter introduces you to motion tracking and shows you frame-by-frame how manual motion tracking works.
Motion Tracking with the Point Tracker
Once you determine what kind of motion you want to track, you’ll need to decide what you will apply the tracking data to. This chapter explains your options and shows you how to remove tracking markers when you’re done.
Motion Tracking with mocha-AE
This chapter walks you through using mocha-AE, a standalone application that can export tracking data for use in After Effects.
Stabilizing Motion
Ever been frustrated working with shaky footage? This chapter shows you how to add stability to your projects by using the new Warp Stabilizer effect.
The lessons are wrapped in a feature-rich interface that lets you jump to any topic and bookmark individual sections for later review. Full-Screen mode provides a hi-def, immersive experience, and Watch-and-Work mode shrinks the video into a small window so you can play the videos alongside your application. This course also includes project files so you can follow along and try out new techniques as you learn them.
Animation as we know it has been around since Horner invented the zoetrope in 1834. Since then animators have developed rules of animation that help us to draw viewers into the world we have created. From Disney classics to the latest stereoscopic 3D productions, we’ve plundered them all to find the 12 key techniques you need to master to be a top-flight animator.
Some of these rules are based on real-life physics, and others on observations and reactions. They provide a set of invaluable ‘tricks’ for animators that have been proven to work in almost every situation.
In the article I delve into the world of animation to pick out the 12 rules of animation that every animator and motion graphics artist must know. Drawn from the forms 150 year history, you’ll learn a wealth of dos and don’ts that will help you produce more engaging projects, whether you’re working in 2D, 3D, graphics, stop-motion or a mixture of them all.
In this session, I will share an in-depth look at the options for working with text in Adobe After Effects. I’ll show examples of successful motion graphic designs and will discuss the components of design that make them work. In this session you’ll earn about the rules of typography and how to apply the rules of typography to your designs to make them easier to read and more dynamic. I’ll also take an in-depth look at the typographic controls available in After Effects and will also show you how you can use hand-drawn text to bring a unique aspect to your designs.
I’ll also be presenting four other sessions at this event which you can find out about here. If you want to register for a full day of valuable creative sessions by me and all the other speakers you can do so here on the Eventbrite page. I hope to see some of you there, please make sure to say hello if you can make it along.
I was very pleased to get a call from John Davey, the organiser of the amazingly successful and entertaining “Flash on the Beach 2011” conference, asking me to speak at his event.
It’s an annual conference, held in my home town of Brighton. Bringing together the best designers, developers and minds in the Flash, design and web community, it’s a conference with a difference. It attracts an interesting and diverse mix of people and is focussed on the work that we do as well as the tools that we use.
I’ll be doing a session on creating Kinetic Typography animation in Adobe After Effects CS5.5. I’ll be featuring a breakdown of a real-life art project that I worked on in collaboration with Artist Richard Walker titled “That Day”. In this session I want to focus on the design process and demonstrate how After Effects allows creative flexibility throughout a project. For my more geeky attendees, don’t worry! I’ll also share plenty of my software tips and tricks as well as important techniques for structuring projects and optimising workflow in Adobe After Effects.
I’ll also feature some extracts from my book “Design Essentials for the Motion Media Artist” and will be giving away a copy of it, plus a copy of my “After Effects CS5 Learn by Video” training DVD. There are always lots of great parties, dinners and other networking events structured around Flash on the Beach and you’re guaranteed to meet and interesting and eclectic mix of creatives and geeky types. So why not book a place now, it sells out fast every year!
Well, here I am, back in the UK after an exhausting trip to Las Vegas to attend NAB 2011. I was speaking at the Post Production World Conference which I’m pleased to say was busier than ever. My sessions were very well attended and I met some great new people who gave me the most generous feedback, thanks to all of you! Keep an eye on this space for a recorded version of one of my sessions, coming soon!
Me Presenting at NAB 2011, courtesy of @mediaguy777
I also got to catch up with lots of old friends and colleagues at the Media Motion Ball and the Adobe party. I’ve made many life-long friends through this industry and it’s great to see them all in one place, although it could be a bit overwhelming for me at times-all that love and talent in one room!
So, what did I see at the show that impressed me? Well, top of my list has to be the new version of After Effects CS5.5 and companion products in the Production Premium CS5.5 suite. The new Production Premium suite delivers improved performance, workflow improvements and new powerful audio editing capabilities via Audition which I’m happy to say is finally back on the Mac!
The powerful Mercury Playback Engine has better GPU hardware support for laptops and more graphics cards are now supported. All this makes the Production Premium more compelling than ever as a comprehensive studio containing everything needed from creating your source material and storyboards to transcoding and delivering your final product in multiple formats.
Me with Chris and Trish Meyer, courtesy of @mediaguy777
After Effects in particular is very exciting for me as it is my every-day application. The flag-ship feature is the is the ‘Warp Stabilizer’. Mainly aimed at folks shooting on DSLR and other hand held cameras, it tracks, stabilizes and scales your footage automatically. It also compensates for rolling shutter artefacts and can ‘heal’ the edges of the stabilized shot to minimize scaling.
The Camera Lens Blur effect is based on real-world lenses and offers more realistic depth of field blurs. The Light Falloff effect enables users to simulate natural illumination falloff to mimic how light behaves in a 3D scene and can be used to create other light intensity effects.
There are also dedicated tools for Stereoscopic 3D workflows too including a 3D camera rig, new 3D Glasses effect and controls for 3D Focus and Convergence.
On the down side I must say that I am ever-so-slightly underwhelmed with this upgrade from the perspective of an animator/ motion graphic designer. Don’t get me wrong, what’s in there is great if these are features you need. I don’t know if it’s just my built-in habit of going against current trends but none of them are features that really excite me personally as much as past ones like Expressions, 3D, Shape and Text layers.
I guess it’s not surprising as I’m not really a visual effects artist, I’m more interested in making things look surreal than real! I want tools that help me push new boundaries and inspire me creatively, I’m afraid these features just don’t inspire me as much as say the Puppet tool or Vanishing Point feature did.
In my opinion the last couple of releases have focussed a little too much on visual effects features. I’d love to see the next release concentrate on more Motion Graphics oriented features and let Nuke and the Discreet systems fight it out for VFX supremacy.
I’m also a little disappointed that the Warp Stabilizer doesn’t include the ability to reverse the process of stabilisation to reintroduce wanted camera movement. When compositing elements into a shot, painting rigs, rotoscoping etc. It’s often desirable to steady the shot before you work, this makes adding visual effects much easier. But in many situations you may want to reintroduce the movement, it may be intentional camera movement, like seen so often these days in films shot in a hand held style.
Traditionally VFX artists would stabilize the footage, add VFX and then reverse the stabilization process, adding the movement back to the comped footage. The Warp Stabilizer does an absolutely amazing job of removing ‘unwanted camera movement’ but it doesn’t allow us to reintroduce our ‘wanted camera movements’. Sad as this addition could have made a good feature truly great.
Me with the lovely Aharon Rabinowitz (courtesy of Michele Yamazaki)
Adobe also rolled out their new Subscription based system where you can effectively ‘hire’ the Creative Suite apps on a month by month basis. A great option for folks who only want to use apps on a project by project basis. Or may only want to use newer features now and then.
Red Giant Software had exciting new releases to showcase including great free tools. Colorista Free provides a simple yet comprehensive interface for After Effects and Final Cut Pro enabling creation and sharing of color profiles via CDLs. Color Decision Lists allow users to share color settings and metadata across a variety of systems.
LUT Buddy allows you to create, read and share LUT profiles directly from After Effects using any color correction effects you want. Color Lookup Tables are similar to CDLs (they do not include all metadata) in that they allow users to share color profiles between different systems, for example between desktop apps like After Effects and high-end DaVinci or Discreet systems. Previously the only way you could save LUTs from After Effects was via the full Color Finesse interface.
Charlie's Angels! 🙂 (courtesy of Michele Yamazaki)
Magic Bullet Grinder helps you get footage from your DSLR into Final Cut Pro timeline easily. They have also utilised their Magic Bullet technology to create some funky and exciting new tools for people who want to make movies on their iPhones and iPads.
Movie Looks allows you to add stylish pre-made “looks” to your iPhone movies, giving them a slick, professional look. Noir Photo provides and amazing level of control when creating cinematic black and white, monotone, or tinted images. It includes fun controls for adding dramatic lighting to your photos and developing them into professional-looking, polished images.
And of course, predictably, the expected unexpected was announced stop-press-style from Apple! The new Final Cut Pro X (Watch the videos, part one and part two) was finally announced at the Supermeet. This brand new version has been completely rewritten from the ground up. With a brand-new 64-bit architecture Final Cut Pro X can now take full advantage of all the RAM you can fit into your Mac, from Macbook Pro’s to high-end desktops, making performance significantly better. Grand Central Dispatch support also improves performance by optimizing the way your processors operate. Both of those features should result in significant speed and workflow enhancements.
Emphasis was put on ingest operations like auto-detection of footage content, for example, it can automatically detect how many people are in a shot, then label and manage the footage accordingly. This happens on ingest, in the background and creates data to help manage and organise footage without the need for manually adding keywords. It also auto-detects color balance irregularities and corrects them on ingest, using Color sync. Once you’ve got footage into the new Browser you can add keywords to clips or even to frame-ranges from within clips, this should make searching and managing content a whole lot easier.
Smart Bins can be created for clips, similar to the Smart Mailboxes from Apple Mail, or Smart Playlists from iTunes. Clips will be included into these smart bins as common data is detected. References to the clips can appear in multiple smart bins without having to create copies of the files. For example, you could have a clip of a person standing on the beach at night, this clip reference can be automatically placed both in the ‘Night shots” bin, the “beach shots” bin and the “One person” bin simultaneously without duplicating the item.
You can even edit your footage while it’s being ingested meaning there’s no need to wait while this is happening, you can get to work straight away . . . . as long as you’re working with disk-based media!
The star of the show for me though is the new Timeline. It looks and behaves like a sexy beast! The ‘Magnetic Timeline’ is so simple a concept that it’s brilliant. As you drag clips around the timeline, other clips automatically shift to accommodate the changes, there’s no need to add new tracks first to accommodate changes, Final Cut does this automatically as and when they are required. The Timeline is now fully native and resolution independent so you can get right into editing your footage straight away, mixing footage from different sources and formats without the need for transcoding,
You can now create Compound Clips which are kind of like After Effects precomposed comps. Select a few clips and group them into one single editable item. This has the benefit of simplifying the edit and making the editing process easier and more logical by reducing clutter in the timeline. I’ll be interested to see how it works practically, whether it renders the compound clips or keeps them live within the edit, very interesting though.
Keyframing motion properties of clips can be done directly in timeline now with a clear, easy to use graph editor. I’m not sure what level of control is available via the graph editor but it certainly looked pretty slick and easy to use. The application of retiming has also been simplified and improved with quick access to commonly-used speeds and the ability to easily create vari-speed effects by dragging on the edges of clips.
The new Auditioner allows yo to collect clips into ‘Audition groups’. These appear in the Timeline like little footage wells. You can sample clips within them using Cover-flow- style toggling of clips and compare results of them directly in the Viewer. This makes comparing clips and making edit decisions so much easier, great if you’re sitting with a client peering over your shoulder.
We didn’t see any plug-in-type effects used during the demo but color matching and balancing now appears to be integrated into the main application functionality. Color Board is a powerful primary and secondary color corrector which allows you to correct color based on channel selections or shapes.
Whats in there looks great but it’s hard to tell what it really operates like from a demo. Apple demo’s are always very slick and worked out to the nth degree. If it is as simple and brilliant as it looks then fantastic but I have some concerns about what’s missing from the list of features though. There was no mention of support for tape-based capturing or EDL support, making me wonder whether Apple are abandoning old technology altogether and relying on the fact that there are enough people using an exclusive disk-based workflow. I must say that most facilities I work in still use tape so I can see this being an issue if the rumours circulating are true.
There was no mention of third party plug-in support either which also concerns me. The third party plug-in developers are often the ones who push the big companies to continuously improve their apps by innovating and really listening to users. It would be a sad day if Apple was to turn it’s back on these pioneers.
So that’s a quick round up of NAB 2011. I must admit I didn’t get to see as much as I’d planned to this year. The jet lagged killed me and I was kept busy at the conference most of the time. But these are the highlights I saw on my travels. As a special NAB promotion I have a discount code for you to get money off my video training workshops here on my website. You can download free movies here and if you like them enough to buy a complete workshop, use this code on checkout. it’s good till the end of April 2011; ATV2B20. Until next year, goodbye Vegas and NAB.
For those of you who can’t make it to NAB 2011 in Las Vegas this year there’s some good news! I’ll be delivering some of my sessions from the NAB Post Production World Conference here in London at the Post Production World Conference“>Production Fiesta on the 5th and 6th of May.
There will also be some other great speakers there as well, including the legendary Barry Stevens (responsible for the remarkable and ground-breaking music video for Queen’s Bohemian Rhapsody amongst many others). Apple Final Cut Pro expert and filmmaker extraordinaire, Jonathan Tyrell will also be speaking there as well as other experts in broadcast and production workflows.
You can register for a two day pass here and find out about the location, schedule and opening times. Here’s a list of the sessions I’ll be delivering;
Strategies of a Successful Motion Graphic Artist
Friday, May 06, 2011 at 09:00
Angie Taylor will take you on a journey through a typical video project, showing the entire process including the creation of sketches, brainstorms and storyboards, audio production and clean up, editing and producing the final project. Angie will also discuss how creative professionals can bring unity and clarity to complex creative projects. Aspects of automating time sheets, liaising with clients, auditing jobs and packaging final files for delivery will also all be explored within this session.
Audience: If you are interesed in a streamlined way to look at the digital video process including tips and tricks using various software tools that will help maximize the project complexities, then this session is for you!
Combining Effects Creatively in Adobe After Effects
Friday, May 06, 2011 at 11:30
After Effects provides you with scores of effects that you can apply to your layers, allowing you to create virtually any look or effect you like. Imagine being able to animate all of these over time and you get a real sense of the creative flexibility that After Effects can offer you. This session tells you everything you need to know to combine effects creatively.
From Storyboard to Final Delivery in Adobe Production Premium
Friday, May 06, 2011 at 13:30
Witness the breakdown of a real-life animation project. In this session Angie will take you step-by-step through a real-life animation project that was created using Adobe’s Production Premium. She will show Drawing characters in Adobe Illustrator, Image editing in Photoshop, Storyboard and animatic production in Premiere Pro and then final animation and effects work in After Effects. Audio cleanup in Soundbooth and output via Media Encoder.
Dynamic Text Animation for Motion Graphics with After Effects
Friday, May 06, 2011 at 16:00
In this session, Angie Taylor will share an in-depth look at the options for working with text in Adobe After Effects. Angie will show examples of successful motion graphic designs and will discuss the components of design that make them work. In this session you’ll earn about the rules of typography and how to apply the rules of typography to your designs to make them easier to read and more dynamic. Angie will take an in depth look at the typographic controls available in After Effects and will also show you how you can use hand-drawn text to bring a unique aspect to your designs.
I’m very excited to be traveling back to Las Vegas this year to attend NAB 2011. I’ve been invited to speak at this year’s Post Production World Conference.
This session will give you a solid and thorough grounding with the 3D features in After Effects. Views and Axis Modes, Working with the 3D Tools and Interface, Manipulating 3D Layers, Cameras and Nulls, Lights and Material Options.
There are times when it makes sense to group layers together into a single item, either to simplify complicated comps or to make editing, moving, or applying effects a whole lot easier. In this chapter we’ll look at several methods for grouping layers together.
In this session, Angie Taylor will share an in-depth look at the options for working with text in Adobe After Effects. Angie will show examples of successful motion graphic designs and will discuss the components of design that make them work. In this session you’ll earn about the rules of typography and how to apply the rules of typography to your designs to make them easier to read and more dynamic. Angie will take an in depth look at the typographic controls available in After Effects and will also show you how you can use hand-drawn text to bring a unique aspect to your designs. Strategies of a Successful Motion Graphic Artist
Monday, 4/11/2011 05:00 PM – 06:15 PM
Angie Taylor will take you on a journey through a typical video project, showing the entire process including the creation of sketches, brainstorms and storyboards, audio production and clean up, editing and producing the final project. Angie will also discuss how creative professionals can bring unity and clarity to complex creative projects. Aspects of automating time sheets, liaising with clients, auditing jobs and packaging final files for delivery will also all be explored within this session.
Audience: If you are interesed in a streamlined way to look at the digital video process including tips and tricks using various software tools that will help maximize the project complexities, then this session is for you!
Witness the breakdown of a real-life animation project. In this session Angie will take you step-by-step through a real-life animation project that was created using Adobe’s Production Premium. She will show Drawing characters in Adobe Illustrator, Image editing in Photoshop, Storyboard and animatic production in Premiere Pro and then final animation and effects work in After Effects. Audio cleanup in Soundbooth and output via Media Encoder. Combining Effects Creatively in Adobe After Effects
Tuesday, 4/12/2011 03:30 PM – 04:45 PM
After Effects provides you with scores of effects that you can apply to your layers, allowing you to create virtually any look or effect you like. Imagine being able to animate all of these over time and you get a real sense of the creative flexibility that After Effects can offer you. This session tells you everything you need to know to combine effects creatively.
