Extended FeaturesIn depth: Instrumental video 10| 00:00 |
(MUSIC).
| | 00:10 |
So with the instrumental video projects,
basically what I was trying to do was
| | 00:13 |
make some music videos where things were
extremely synced in terms of the audio
| | 00:17 |
and video.
And this Instrumental Video Ten is the
| | 00:21 |
tenth one that I've done in the series.
The entire finished piece I think was
| | 00:26 |
about, probably two minutes and 15
seconds, and two minutes and 30 seconds.
| | 00:31 |
And, I would say I worked on this
probably about a, roughly a year that it
| | 00:34 |
took, you know, obviously in my free
time, but.
| | 00:38 |
My motivation is, I want, you know, I
want it to be done and I want people.
| | 00:42 |
I want to have not wasted the time I've
already put into it, so that kind of
| | 00:46 |
helps motivate actually finishing the
project.
| | 00:51 |
So one of the characters we have here, or
one of the, the instruments in it, is
| | 00:54 |
this sort of bomb that falls down.
Yep, right there you can kind of see,
| | 00:59 |
and, and that's just one of of the 20 or
so instruments in the piece.
| | 01:04 |
So, starting out the first thing I did
was to make the instruments themselves,
| | 01:09 |
to model and animate each single
instrument.
| | 01:13 |
So, right here you've got just one single
baby bomb, basically falling down.
| | 01:18 |
And he's got a little bit of, of spiky,
you know, sort of effect that comes out,
| | 01:22 |
as well as dust particles that break, and
his, you know, expression kind of changes.
| | 01:29 |
So basically, I, I animated all this out,
and then I took it into Sony Vegas and
| | 01:33 |
made sound effects for that.
So, (SOUND) as you can hear, you can hear
| | 01:39 |
(SOUND) just the sound of one, (SOUND)
one hit coming down.
| | 01:44 |
And so I basically took and, and you
know, layered sounds to make just that
| | 01:47 |
one sound effect.
And then took those sounds, and basically
| | 01:52 |
composed a piece of music out of it,
using Vegas as well.
| | 01:58 |
So, all of these little snippets are
different instruments within the, the
| | 02:02 |
final piece of music.
And if you play them all together, then
| | 02:07 |
you hear (MUSIC), all of the different
instruments, you know, layered on top of
| | 02:11 |
each other, which is in the end, what all
the, the video will be, all of the
| | 02:15 |
different instruments.
So, after I have all of these sequenced
| | 02:21 |
out, in terms of the music.
Then I basically take all of these back
| | 02:26 |
into Cinema 4D, and I need to sync up all
of these individual animations, so that
| | 02:30 |
they're happening on screen at that time.
One of the advantages with you know, me
| | 02:38 |
doing the, the music personally is, I can
solo each individual instrument and see
| | 02:42 |
that wave form for it.
So that I can animate something just for
| | 02:46 |
that, versus having everything squished
down into one, you know, big muddy wave
| | 02:50 |
form where I can't see what's what.
So, going from Vegas back into Cinema 4D,
| | 02:56 |
I imported all of those separate audio
tracks, like the high hats.
| | 03:02 |
So every single one of these, you know,
high hat hits, I had to sync a 3D asset
| | 03:07 |
to that is keyframed, so it hits exactly
when this hits in the music.
| | 03:14 |
So, the audio and video are never
actually really driving each other in
| | 03:17 |
terms of a direct sense through software.
It's basically just done manually.
| | 03:23 |
After we have everything synced up, and
all the audio is done, then I basically
| | 03:26 |
render everything out.
And it, in this one actually took, was
| | 03:30 |
pretty quick.
It only took about two days to render, it
| | 03:33 |
was relatively quick.
After that's done, you basically have a
| | 03:37 |
video file that has all of the
animations, and then, you know, put that
| | 03:40 |
with the audio and then, basically just
export that.
| | 03:44 |
And then I can upload it to, to Vimeo,
and, and I also release all of the, the
| | 03:48 |
project files for all of the inter,
individual instruments, as well as the
| | 03:51 |
entire, like, synced instruments.
So people could make their own video, so
| | 03:57 |
long as, you know, the audio and video
are extremely tightly synced, and you're
| | 04:01 |
basically animating every instrument in
the video.
| | 04:05 |
(MUSIC) I think next time, I will
probably use other people's music.
| | 04:14 |
I'll try and find a musician to
collaborate with, just because I didn't
| | 04:17 |
really care for the music myself, and I
feel like that's best left to the professionals.
| | 04:23 |
I haven't started another one.
I'm sure I will definitely be making more
| | 04:27 |
of them in the future, just because it's
sort of a style that has has an infinite
| | 04:31 |
amount of possibilities in terms of
syncing audio and video.
| | 04:36 |
It's definitely a concept I'll be
visiting again in the future, I'm sure.
| | 04:39 |
| | Collapse this transcript |
| In depth: Creating an Everyday| 00:01 |
So yeah, we're working on the Everyday
Project where basically I take and draw
| | 00:07 |
out a picture everyday and just from
start to finish.
| | 00:13 |
Concept to completion basically to get
used to that every aspect of a project in
| | 00:19 |
terms of starting a project, choosing an
idea, going with it.
| | 00:26 |
And then, you know, actually making it.
So basically right now I'm going to be
| | 00:31 |
sketching out a concept in Adobe Ideas.
And then I can take that and, you know,
| | 00:36 |
take it to the computer, and model it
using ZBrush and then from there I'll be
| | 00:40 |
able to take that model into Cinema 4D.
And then render that out and then maybe
| | 00:47 |
do some post work in, in Photoshop and
then and then that's pretty much it.
| | 00:53 |
Here's today, we'll see (LAUGH), we'll
see how she turns out.
| | 00:57 |
Today I was thinking just, I don't know
just like, these like towers, and I'm not
| | 01:02 |
sure how I would like to make them, and
obviously my drawing skills are not the greatest.
| | 01:09 |
And this is just sort of a, a rough idea
and something I do occasionally just to,
| | 01:14 |
to sort of get a feel for what's in my
head.
| | 01:19 |
These towers with these sort of blob
things coming out.
| | 01:24 |
I mean, it's not the most illustrative or
narrative idea, but I was just thinking,
| | 01:33 |
something with these like, gooey blob
things coming out.
| | 01:42 |
And I had two ideas, one being if this,
this area or the, the tower that they're
| | 01:51 |
in would be more sort of jagged and then
the blobs would be more sort of glossy.
| | 02:05 |
just to kind of have like a contrast
between the like glossy look of these
| | 02:09 |
like gooey things coming out of this
tower.
| | 02:13 |
And that's sort of the, the idea with
these is I don't know, like I don't have
| | 02:17 |
a huge idea starting out, what it's
going to look like.
| | 02:22 |
It, I may do this, I mean, there's a very
good chance that I may do this, and it's
| | 02:26 |
like, wow, that doesn't look, or I can't
get it to look how I want.
| | 02:31 |
And so in the end, It will look totally
different than this.
| | 02:34 |
Or I'll spend, you know, two hours making
it look just like this, and then in the
| | 02:38 |
last like two seconds in Photoshop I'll
do something like mirror it.
| | 02:43 |
Or switch this around and the end-product
will look nothing like this.
| | 02:47 |
I'm a strong believer in just because you
spent a bunch of time on something
| | 02:50 |
doesn't mean that's the best thing.
Like, and I think that's something
| | 02:54 |
sometimes people have a hard time letting
go of, oh I just spent two hours drawing
| | 03:00 |
like this.
It's like, well, if in the end of that
| | 03:04 |
two hours, it looks like crap, then it
looks like crap.
| | 03:08 |
I'm fine doing what I think is best for
the end result even if I put a bunch of
| | 03:12 |
time into something and it just didn't
work out.
| | 03:17 |
So I usually spend maybe an hour to two
hours every day and do this and I've been
| | 03:22 |
doing that for six years.
So now that we've got it in sync to the
| | 03:27 |
cloud I can take that, and, and sort of
take that into ZBrush and go from there.
| | 03:36 |
So, ZBrush is more of a program just for
doing sort of 3D modeling and making you
| | 03:40 |
know, sort of meshes they're called.
And then in Cinema 4D, that's where you
| | 03:48 |
can take that 3D model that you just
made, and apply, you know, lighting to it.
| | 03:55 |
Or, you know, a different texture if you
want to say, make it, okay, I want this
| | 04:01 |
to be red, and I want the, the other part
could be, you know, more of a darker color.
| | 04:10 |
And this is where you could also animate
it if you wanted to, and apply any other
| | 04:16 |
sort of effects that you wanted to.
So I'm just trying to make these look
| | 04:24 |
somewhat, they're all getting all blobbed
out, like that.
| | 04:30 |
I wanted them to look a little more
smooth.
| | 04:37 |
There's probably a better way to do this
using Z, ZSpheres would probably be have
| | 04:44 |
been a better way to do that.
If I had more time, and I knew better
| | 04:52 |
what I'm doing.
But if I went back to do it using
| | 04:55 |
ZSpheres it could take me just as long
and might not turn out at all.
| | 05:00 |
So this method, however imperfect, is
probably the route that I'm going to have
| | 05:07 |
to go.
And I guess I don't know how other
| | 05:13 |
artists work, but I think sometimes
people don't realize how much comes from
| | 05:18 |
chance or people's, how much people don't
know.
| | 05:23 |
And they're just trying to like, hide
that, you know what I mean?
| | 05:26 |
Like, it just, like I obviously am an
extreme like, beginner with this program.
| | 05:34 |
You know, so I'm trying to like, do
everything I can to hide that fact, and I
| | 05:39 |
think that will change my work in a way
that.
| | 05:43 |
You know, if I knew this program inside
and out I would do things differently and
| | 05:48 |
it might look more like everybody who
already knows this program.
| | 05:54 |
You know what I mean.
Instead of me coming at it from a,
| | 05:58 |
basically, like beginners perspective.
I would do things not the correct way,
| | 06:03 |
and that sort of makes things look a
certain way.
| | 06:06 |
So I think, and that's not always
necessarily bad, and I think, you know,
| | 06:11 |
sometimes that's almost a good thing in a
way.
| | 06:16 |
Because it will make your stuff look
different.
| | 06:18 |
Okay, so, I think that looks decent or
more specifically as good as it's going
| | 06:29 |
to look.
Okay, so now we've got the mountain in
| | 06:39 |
Cinema 4D.
In Cinema 4D that's where you can take
| | 06:45 |
that 3D model that you just made and
apply, you know, lighting to it.
| | 06:51 |
Or, you know, a different texture if you
want to say, make it, okay I want this to
| | 06:55 |
be red.
And I want the, the other part to be, you
| | 06:59 |
know, more of a darker color.
And this is where you could also animate
| | 07:05 |
it if you wanted to.
So from here, I'm going to maybe try to
| | 07:13 |
put like a reflection on these.
(NOISE) I'll put another light in the
| | 07:25 |
back just to, so that side doesn't look
so, get lost in the darkness.
| | 07:36 |
I don't really like this red.
Maybe just like a white.
| | 07:42 |
So now we've got sort of a lower
resolution copy of the structure that
| | 07:52 |
they're in.
So we can give it more of like like kind
| | 08:00 |
of a textured look.
Hm, actually, I don't know how much I
| | 08:11 |
like that.
So, with having such a, such a vague idea
| | 08:21 |
it's a lot of experimentation.
In terms of, you know, by the end I'll
| | 08:29 |
usually have 50 to, I don't know, 100
different renders.
| | 08:35 |
Here where it's, you can kind of go
through and see the sort of evolution of
| | 08:38 |
like you know, changing things here.
And a lot of it is just sort of, like
| | 08:43 |
guessing and checking, and this I thought
it would look cool but I don't like the
| | 08:47 |
way these, like, little holes look around
the blobs.
| | 08:52 |
And I don't really like the look of this
very shiny things with this very square
| | 08:57 |
looking thing.
It doesn't fit the way I thought it would fit.
| | 09:02 |
So, we got to go back to it looking more
like, more rounded.
| | 09:09 |
So that's basically the mentality there.
I also would kind of like to have some
| | 09:16 |
more of those other little mountain
things, so I think I'm going to take and
| | 09:26 |
sculpt out a few more quick little,
little mountains.
| | 09:38 |
Every day is I think one of the things I
really like about them is that you do
| | 09:40 |
have a lot of freedom in terms of, you
know, I'm going to going to be done with
| | 09:43 |
this project in an hour.
So it's just something where you kind of
| | 09:47 |
can try out and it gives you a good base
of tiny ideas that you can then maybe be
| | 09:51 |
like oh, you know what?
I kind of like that thing I did two weeks
| | 09:55 |
ago, let me sort of expand on the idea.
Whether that be to expand on the idea,
| | 10:00 |
idea to a VJ clip, or a, you know, full
video or something like that.
| | 10:06 |
But it sort of, it's a great testing
ground because it's low commitment in
| | 10:10 |
terms of, you know, I'm only going to get
so far in this idea before I realize,
| | 10:14 |
okay, it's crap.
Like, there's nothing, there's nothing here.
| | 10:19 |
Like, yeah I tried it, it didn't work how
I thought it was going to.
| | 10:23 |
Didn't look, or this or that didn't work.
You know, so you've got a tiny amount of
| | 10:27 |
time invested in it, versus, you know,
something that oh, I spent, you know, the
| | 10:31 |
last two months on.
And then I realized you know I don't
| | 10:36 |
really like the look of this, or it
didn't really turn out how I thought it
| | 10:39 |
was going to turn out.
So, I think that's one of the, the big
| | 10:45 |
advantages of them.
So I'm trying to see if I can get some
| | 10:51 |
more interesting lighting with this.
because I don't really, I don't really
| | 11:00 |
like the way it.
Move the lamp.
| | 11:06 |
You could put in a volumetric lighting
that sort of lights up all of the area
| | 11:20 |
around it.
You can actually sort of see the light.
| | 11:29 |
sort of like if you were lighting through
like a, or you had like, fog kind of, so
| | 11:34 |
you can see sort of a like, light source.
And you can also add a depth of field.
| | 11:50 |
So that's basically, you can sort of,
with the camera there, set the focal point.
| | 11:54 |
And then you can see the stuff in the
background is a little more out of focus.
| | 12:02 |
And the, the settings are just like a
regular camera in terms of if I put the F
| | 12:06 |
stop down it'll be, it'll have a more
shallow depth of focus.
| | 12:11 |
So you can sort of, in going through the
old ones you can sort of heavy it and
| | 12:15 |
tweak things to your liking.
It'd be kind of cool if they were in
| | 12:21 |
like, foreground.
So I'll move them to foreground a little more.
| | 12:27 |
I think that's one thing that I don't
have in my compositions very much, is
| | 12:32 |
stuff like in the foreground out of
focus.
| | 12:39 |
For some reason it always looks weird to
me.
| | 12:42 |
I feel like it would probably help things
have a much better sense of depth, if I
| | 12:51 |
have more, more stuff in the foreground.
You know, I feel like, you know, if I
| | 13:04 |
would’ve went to like art school or
whatever or film school or something like that.
| | 13:08 |
I obviously would have learned about, you
know, how to like composition a shot,
| | 13:12 |
whereas this is sort of like, things that
I have to slowly pick up, you know?
| | 13:18 |
And certain things that are probably like
completely obvious to somebody who's had,
| | 13:22 |
you know, six months of film school, to
me it's not at all obvious.
| | 13:27 |
That it's like, it takes a long time for
me to sort of like, intuitively figure
| | 13:31 |
out like, oh you know, if I did this it
would make, give it more depth.
| | 13:36 |
Or it would make it look, you know, a
certain way.
| | 13:39 |
So, I think that also has a huge effect
on my style.
| | 13:43 |
I mean, obviously I think that's a good
way to learn is by, you know, just doing
| | 13:49 |
stuff in terms of getting used to what
this effect does or what that effect does
| | 13:54 |
on the, you know, look of the picture and
how that's going to make things look.
| | 14:03 |
So I think maybe with that we can stop
this down a little bit.
| | 14:12 |
And I think anybody who's used a, you
know, digital SLR, a lot of these
| | 14:15 |
controls will, you know, at least in
terms of the camera stuff would be pretty
| | 14:20 |
intuitive to them.
I think what's nice about them is they
| | 14:25 |
mimic real world cameras without the
limitations of real world cameras.
| | 14:29 |
You know, so the light right now how the
light is I can stop it down.
| | 14:33 |
But everything is lit the exact same, you
know, and certain, and you can set it so
| | 14:37 |
those, that would effect the brightness
of the scene.
| | 14:41 |
But you can also turn that off so that it
doesn't effect the brightness of the scene.
| | 14:46 |
And you can play with the depth of field
without having to like, okay, well now I
| | 14:50 |
need to adjust the light, and now this,
you know what I mean?
| | 14:55 |
Sometimes, very rarely it will sort of
click and it'll just be like, I'll
| | 14:59 |
realize that I'm like, just, I'm not
doing anything.
| | 15:04 |
Like, I'm just making tiny, tiny changes.
And like, it's not really changing anything.
| | 15:09 |
And I'll be like, okay this is dumb.
Like, I'm not I'm just like moving the
| | 15:13 |
curves, you know, up and down tiny
amounts.
| | 15:16 |
Where it's like in the last three
minutes, I haven't made any changes to
| | 15:19 |
it, it's just, like, it's like, okay,
this is pretty much done.
| | 15:24 |
So now I'm going to, I'm going to, you
know, take what I have, basically put the
| | 15:28 |
settings up higher in terms of a higher
resolution.
| | 15:32 |
Higher quality, in terms of the depth of
field like, blurring the anti aliasing, I
| | 15:37 |
think, is a little higher.
and then basically render out a single
| | 15:42 |
image with an alpha channel.
So that I can then take that into
| | 15:47 |
Photoshop and do any sort of, like, post
processing.
| | 15:50 |
Maybe add a background, or, you know,
tweak the colors a little bit.
| | 15:54 |
Or, put, like, sort of a texture on it,
or, or stuff like that just to, to finish things.
| | 16:00 |
So I just kind of have to get my settings
set up to save it for a file.
| | 16:04 |
And then basically hit render and, and
then wait.
| | 16:11 |
(LAUGH).
Okay so now it is 28 minutes and 43
| | 16:14 |
seconds later and it is done rendering.
So now we're going to take this picture
| | 16:20 |
with its alpha channel into Photoshop.
And we can do some sort of post effects.
| | 16:25 |
And any sort of color correction or, you
know, texturing we want to do and finish
| | 16:31 |
her up.
Now we've got it.
| | 16:38 |
And we'll just start out with a hm, maybe
like a dark blue background.
| | 16:44 |
Let's see how that looks.
Maybe something a little darker figure
| | 16:58 |
out a way, I kind of, kind of like this
portion, more.
| | 17:12 |
Maybe some star type, maybe some clouds
in the background.
| | 17:20 |
There's a site out there called
cgtextures.com.
| | 17:25 |
They've actually got, I think you can,
you can download 15 meg for free every day.
| | 17:39 |
So when I first started out, everyday I
just went on there and downloaded 15 meg
| | 17:42 |
worth of textures.
And then after a while I got a, actually
| | 17:46 |
got a like paid account just because you
can download a little.
| | 17:50 |
I needed more one day.
So, I could download this sky texture,
| | 17:56 |
save this so that you've got it for the
future.
| | 18:05 |
And then basically put that in the
background here and place that texture in
| | 18:11 |
the background and see how that looks.
I'm not really feeling that.
| | 18:19 |
yeah I don't want this one either.
Maybe if it was a little darker.
| | 18:26 |
So then a lot of times just to make
things look a, give it a little more
| | 18:30 |
texture, I'll bring in some sort of, you
know like, maybe like a plaster texture
| | 18:36 |
or something.
Just to give it, just so it doesn't look
| | 18:44 |
quite so perfect.
(SOUND).
| | 18:47 |
Kind of an older look.
Trying a bunch of stuff to see what, what
| | 19:02 |
sort of sticks.
I don’t know if I like that yellowish
| | 19:07 |
look to it.
See I just kind of sort of experimenting
| | 19:17 |
to see what, what kind of, won't work so
it doesn't work.
| | 19:24 |
And, maybe it would be interesting to put
more of like a blur, erase pieces of it.
| | 19:41 |
And there's a plug-in that's primarily
for video stuff.
| | 19:53 |
This Magic Bullet Looks.
Sometimes I'll see if there's anything in there.
| | 19:57 |
kind of look like that.
Actually, that's not bad.
| | 19:58 |
Kind of like a darker, darker look to it.
Not quite so blue.
| | 20:00 |
Sometimes like if I wanted to put in like
a lens flare or something like that I
| | 20:06 |
would take it into After Effects.
And, you know, they've got like a really
| | 20:14 |
nice optical flares thing from, a video
called pilot that will, you can add lens
| | 20:21 |
flares and do all kinds of stuff like
that.
| | 20:28 |
Or if I want to do like a, like a certain
affects, like, there's like a star glow
| | 20:32 |
effect that you can only do in, I think
you can only do it in After Effects.
| | 20:40 |
So, now that I've sort of wrapped up any
sort of like, post-work and sort of added
| | 20:45 |
like a, you know, a kind of a frame
around it.
| | 20:50 |
then I, I'll basically, you know, save
that file, and just save it as a regular
| | 20:55 |
JPEG, and then pretty much post it online
immediately.
| | 21:02 |
And I think, sort of, the reasoning
behind that is, you know.
| | 21:06 |
As soon as I post it online, it's done.
So that's kind of the, the ultimate
| | 21:11 |
cutoff, in terms of putting it out there.
And that's, you know, an in, an integral
| | 21:18 |
part of the everyday process just
because, you know, you started with a
| | 21:23 |
concept and you tried your best to make
it something, you know?
| | 21:29 |
To try and envision that concept and then
at the end you're done and you put it out
| | 21:34 |
and you can get, you know, feedback from
people and see what, what they like, what
| | 21:38 |
they didn't like.
And, you know, move on and try and do
| | 21:44 |
something hopefully better the next day.
So that's sort of the basic concept.
| | 21:50 |
And also by putting stuff, by releasing
stuff, it helps you be okay.
| | 21:58 |
I feel like releasing stuff that maybe
isn't, you know, this isn't my best work,
| | 22:03 |
I don't love this.
so, it gets you okay with like, you know
| | 22:09 |
this isn't the best thing, but you know,
I'll hopefully do better tomorrow and
| | 22:13 |
kind of move on from that.
And I feel like sometimes people get
| | 22:18 |
super paralyzed by like, oh well this has
to be perfect and I'm not going to
| | 22:21 |
release it until it's perfect.
And then they never release anything, so
| | 22:27 |
it's sort of like there's no way with,
with this that, you know, if you're doing
| | 22:31 |
something everyday and that's your
deadline.
| | 22:36 |
That's not going to happen.
You'll, you'll get used to like releasing
| | 22:40 |
stuff and you'll, you'll see that that's
a good thing, not necessarily a bad thing.
| | 22:47 |
I mean, that's just sort of my
philosophy.
| | 22:49 |
So, now it's uploaded on the site, it
looks like that is number 2,090.
| | 23:01 |
| | Collapse this transcript |
| In depth: Animating a VJ clip| 00:01 |
These are the VJ clips that I've been
working on for the past couple years.
| | 00:04 |
They're basically 20 to 30 second little
sort of, abstract videos that people can
| | 00:09 |
use for visuals for, you know, concerts
or music videos.
| | 00:14 |
Or, you know, a lot of people use it for
like YouTube, like intros to their
| | 00:17 |
channels and stuff like that.
Or, you know, commercials, school
| | 00:21 |
projects, anything like that, they're
creative commons.
| | 00:25 |
So you can use them for any commercial or
non-commercial project whatsoever.
| | 00:29 |
And a lot of them, I also give the Cinema
4D project files with as well.
| | 00:33 |
There's about 100, 180 of them now and
you can download them now, you know,
| | 00:38 |
through Vimeo.
So, here is one of them that I'd like to
| | 00:43 |
sort of go through and show you the
process of, of how this, you know, got started.
| | 00:50 |
And, and how I took it to completion as
a, as a VJ clip.
| | 00:54 |
This one actually got started as a
everyday that I did in October of last year.
| | 01:00 |
And I realized that if I sort of, you
know, maybe move the camera around and
| | 01:03 |
animated some of the things in the
project.
| | 01:07 |
That it would, you know, it could be a,
a, a decent looking VJ clip.
| | 01:11 |
And so I basically, I took the project
file, which was done in a mix of
| | 01:15 |
Illustrator and Cinema 4D.
And I already had this sort of scene set
| | 01:22 |
up in terms of the the city.
So basically, what I wanted to do was add
| | 01:28 |
in some, some little particles that were
sort of floating.
| | 01:33 |
And, and then animate some of these,
these lines so they were sort of pulsing.
| | 01:39 |
As well as these lights that were sort of
in the city, kind of blinking on and off.
| | 01:46 |
So basically, from the camera's point of
view, you can see it's just sort of
| | 01:49 |
scrolling around.
You've got the, the particles and
| | 01:51 |
everything to give it you know, a little
bit of movement.
| | 01:54 |
The camera is rotating around on a
spline, and it's, it actually one of the
| | 01:59 |
presets in Cinema 4D is this sort of
orbit camera.
| | 02:04 |
Where it automatically uses a espresso to
make the camera rotate around the path.
| | 02:11 |
It, for the exact length of the project
file.
| | 02:14 |
So if you have it, you know, 300 frames
long, it will take 300 frames to go around.
| | 02:20 |
So, it's sort of making a perfect loop.
So, these are more meant to be sort of
| | 02:25 |
have a, a bit of a broader appeal for
different purposes.
| | 02:31 |
The music, there's no music synced, you
know, directly to this.
| | 02:34 |
This is meant more to be used for a
variety of purposes.
| | 02:39 |
One being people using it as visuals for
like concerts.
| | 02:43 |
And so, nothing, there aren't a lot of,
you know, very hard changes to it or cuts
| | 02:47 |
in the video.
So that it can kind of be in a looped and
| | 02:51 |
sort of work for a variety of different
purposes like in different types of music
| | 02:55 |
as well.
And it also has, you know, I try and put
| | 02:59 |
a lot of stuff going on in the video so
that it sort of, you know, as your, if
| | 03:02 |
you're listening with to with music.
It, it's kind of seems like some of the
| | 03:07 |
stuff is synced.
If there's enough going on, you're sort
| | 03:09 |
of, your brain kind of makes those
connections, and it kind of seems like
| | 03:12 |
this or that listening to it.
So that's sort of the reasoning behind
| | 03:16 |
some of the choices with this versus say
an instrumental on video.
| | 03:20 |
Where everything is very, very synched up
to one specific piece of music.
| | 03:26 |
After I have everything, you know, sort
of made it in terms of this, then I will
| | 03:30 |
render it out to frames.
And then take it into After Effects where
| | 03:34 |
I can do, you know, sort of post work in
terms of color correction.
| | 03:38 |
And I wanted to to make it look a little,
a little hazier and a little messier.
| | 03:44 |
Kind of, sort of like a retro 80s look
that something that's modern but has that
| | 03:48 |
same sort of, sort of old school 80s
feel.
| | 03:53 |
So basically we have a layer that does
sort of gives this kind of glow on the bottom.
| | 04:01 |
And I have another layer that, that kind
of gives that softness to it and, and
| | 04:05 |
kind of sort of pops that out.
And then, then I got another layer that
| | 04:10 |
does the adjustment in terms of, there's
a, a twitch effect on it.
| | 04:17 |
So that it sort of, the video kind of
stutters a little bit, as it's, as it's
| | 04:21 |
moving around and it gives it more of an
organic, imperfect feel to it.
| | 04:27 |
Then, I've also got like a, a scratches
layer on it that just gives it kind of
| | 04:31 |
like a scratchy, more analog look to make
it just feel like it's done on film, or
| | 04:35 |
something like that.
Just make it look a little, little more
| | 04:40 |
imperfect and not so digitally, you know,
sterile.
| | 04:45 |
Then, I've also got some color correction
stuff that I did to it, as well as
| | 04:49 |
another layer that sort of animates this
moving up and down of the sky.
| | 04:56 |
So the final piece will be 60 or I'm
sorry, 600 frames, so 20 seconds.
| | 05:02 |
After I'm, you know, have everything
finished here, I'll render it out and
| | 05:08 |
basically post it on Vimeo.
And then, maybe put some, some sort of
| | 05:14 |
80s sounding music with it just to help,
you know, reinforce that vibe.
| | 05:19 |
I'm not sure if this is going to be part
of more.
| | 05:21 |
I've got a couple other clips that have
sort of a 80s look as well.
| | 05:24 |
I might try and package those together
into sort of a pack.
| | 05:28 |
But either way, it'll be, you know, free.
And then, you'd be able to download the
| | 05:31 |
Cinema 4D project file as well, so people
can, you know, you can poke around that.
| | 05:35 |
Or if you wanted to change it or change
the colors and use it for something else
| | 05:39 |
or, you know, animate cars flying around
the city.
| | 05:42 |
You can do, you know, whatever you wanted
or see how I did anything.
| | 05:46 |
You could, you know, take that and make
whatever you wanted with it.
| | 05:50 |
With these clips, you know, I usually
spend around, you know, two or three days
| | 05:54 |
on them.
Just probably a total of, you know, maybe
| | 05:57 |
eight hours on them.
So it's, it's something that's a little
| | 06:01 |
more experimental.
A little more you know, just, it's got a
| | 06:06 |
very simple concept.
It's just, you know, this scene for, you
| | 06:11 |
know, 60 seconds.
It's sort of basically an animated
| | 06:14 |
version of the everyday.
I mean, if you look at the the final
| | 06:17 |
thing, it looks pretty much, you know,
very similar to just everyday, just an
| | 06:21 |
animated version of that.
So, that's sort of where the the VJ clips
| | 06:25 |
in, compared to like a short film.
It's not, I don't really think of these
| | 06:29 |
as short films, I think of them as more,
you know, 30 second visual experiments.
| | 06:35 |
And something that's not, doesn't have,
you know, a narrative or a strong concept.
| | 06:39 |
Or something that's just more abstract
and just something meant to, to basically
| | 06:44 |
look cool.
| | 06:46 |
| | Collapse this transcript |
|
|
