Return-Path: Received: from mail-ob0-f174.google.com ([209.85.214.174] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 5386252 for AE-List@media-motion.tv; Sat, 22 Feb 2014 01:06:25 +0100 Received: by mail-ob0-f174.google.com with SMTP id uy5so5097225obc.5 for ; Fri, 21 Feb 2014 16:06:32 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:from:date:message-id:subject:to :content-type; bh=PBaqP2aWAVSwMVLck1uGmIBVLQrlIId4SMPjrrT+iS0=; b=IqnlEf667SkJNc2zOiQMnA4azrqmp+TnGfO88XxIDFXlcXA3TOVhcTT0i8ExmTFUt3 dw3WwuncnqjH+mjwOB/jN/MKibS5dhHk5QgBBFWMvNQwP98HSY83874C5zzZ9TfV/qJ+ XemkRAMzx89IUufug2GfERFcY8vt8ieLLYj7gUcuAqwR+K9pYgEYZ29TUw7R9/vNlOIC SAarrF034NCAYAfvDc/v+JxbfTxpVBkOkRRK9mGfEnw1cIeG1x+b3RQStBtrRiruFfOu j80qkHJn3xXDH4PkXDdGHzWAPxL2DPBvIRd3iWgpD/pQPqzW5yyb5tAHqLxRI6807uE8 h7rw== X-Received: by 10.60.123.10 with SMTP id lw10mr12836576oeb.24.1393027592754; Fri, 21 Feb 2014 16:06:32 -0800 (PST) MIME-Version: 1.0 Received: by 10.182.18.40 with HTTP; Fri, 21 Feb 2014 16:06:11 -0800 (PST) In-Reply-To: References: From: Jayse Hansen Date: Fri, 21 Feb 2014 16:06:11 -0800 Message-ID: Subject: Re: [AE] New 'Ender's Game' Motion Graphics Reel! To: After Effects Mail List Content-Type: multipart/alternative; boundary=047d7b5d49ced41c0904f2f382f2 --047d7b5d49ced41c0904f2f382f2 Content-Type: text/plain; charset=ISO-8859-1 Yeah Greg - I thought the same actually - after delivering 2k for so long (2012/Apes @4k for some shots) - But Tim is exactly right - Even Avengers (which was shown IMAX) - I delivered final comps at 1920x1080 - freaked me out as well as I'm super anal on pixel precision - but it looked perfect in IMAX. Everything I've been doing lately is all closer to 1080 or exactly 1080. Elements are typically in the 2k range, but since I design in Illustrator - I always retain the option of continuous rasterization. I'll use that for times when there's a gigantic screen and you're seeing just a corner of it - like a few scenes looking over James Franco's shoulder in Planet of the Apes - or the Mess Hall Scoreboard when you're focused on Ender. The final thing that helps is to remember when we comp we're going for that 'filmed in camera' look as opposed to a 'graphic' or 'video' tack sharp look - so, to the graphics, I'm always adding an initial fast blur (usually around .5), then motion blur, then Bokeh/DOF blur (frischluft!), then rgb separation or chromatic aberrations, a super subtle glow, and then film grain on top of it all to match the plate footage. The final look is as forgiving to scaling as film is and you can get away with a lot. Hope that helps answer your question! // jayse -------------------------------- Jayse Hansen www.jayse.tv jayse@jayse.tv 702-321-3449 On Fri, Feb 21, 2014 at 3:30 PM, Tim Sassoon wrote: > IMAX does a proprietary "DMR" up-rez from 2K digital intermediates that's > really quite good. > > > Tim Sassoon > SFD > Venice, CA > > > > On Feb 21, 2014, at 3:25 PM, Greg Balint wrote: > > Quick question, Jayse. > > Those resolutions you mentioned seem really low to me. Am I just out of > the loop? I mean 2048x880? I know they were elements used for composite, > but some things were full screen at times in that movie. Seems a bit low. > Like if this film were shown in IMAX things would have been quite blurry. > > Maybe I'm just too inexperienced with film motion graphics to understand > the workflow. > > ///Greg Balint > //Art Director / Motion Graphics Designer > /321.514.4839 > delRAZOR.com/ > > Ha Coleran is the MAN! He's the one that got me into it - thanks to Angie > Taylor who introduced us long ago! He's a wizard! > > Yeah the machines used to really choke playing full-sized videos full > screen, as you can imagine. Not as much of an issue now - I was just doing > screens for onset playback on Mocking Jay, and we are using ProRes - a fave > codec! > > Thanks for all the comments guys! Was a great team! :-D > > > -------------------------------- > Jayse Hansen > www.jayse.tv > jayse@jayse.tv > 702-321-3449 > > > > On Thu, Feb 20, 2014 at 10:06 AM, Richard Green wrote: > >> Great work Jayse, and an excellent website too. Anyone interested in >> this stuff, there's a really good 50min talk by Mark Coleran from 2010 >> on YouTube. At one point, he talks about using DeBabelizer to render >> his stuff down to 256 colours and exporting to an ancient QT codec >> called Graphix. So a lot of those live on-set screen animations he >> used to produce were less than 1Mb in size! >> >> http://www.youtube.com/watch?v=Ep4nLFjEu20 >> >> Cheers >> Rich >> >> www.loopcorp.com >> >> +---End of message---+ >> To unsubscribe send any message to >> > > > --047d7b5d49ced41c0904f2f382f2 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
Yeah Greg - I thought the same actually - after delivering= 2k for so long (2012/Apes @4k for some shots) -=A0

But = Tim is exactly right - Even Avengers (which was shown IMAX) - I delivered f= inal comps at 1920x1080 - freaked me out as well as I'm super anal on p= ixel precision - but it looked perfect in IMAX. Everything I've been do= ing lately is all closer to 1080 or exactly 1080.=A0

Elements are typically in the 2k range, but since I design i= n Illustrator - I always retain the option of continuous rasterization. I&#= 39;ll use that for times when there's a gigantic screen and you're = seeing just a corner of it - like a few scenes looking over James Franco= 9;s shoulder in Planet of the Apes - or the Mess Hall Scoreboard when you&#= 39;re focused on Ender.=A0

The final thing that helps is to remember when we comp = we're going for that 'filmed in camera' look as opposed to a &#= 39;graphic' or 'video' tack sharp look - so, to the graphics, I= 'm always adding an initial fast blur (usually around .5), then motion = blur, then Bokeh/DOF blur (frischluft!), then rgb separation or chromatic a= berrations, a super subtle glow, and then film grain on top of it all to ma= tch the plate footage. The final look is as forgiving to scaling as film is= and you can get away with a lot.

Hope that helps answer your question!=A0

=
// jayse




<= div style=3D"font-family:arial;font-size:small"> --------------------------------
Jayse Hansen


On Fri, Feb 21, 2014 at 3:30 PM, Tim Sas= soon <tsassoon@aol.com> wrote:
IMAX does a proprietary "DMR"= up-rez from 2K digital intermediates that's really quite good.


Tim Sassoon
SFD
Venice, CA



On Feb 21, 2014, at 3:25 PM, Greg Balint <delrazoraelist@gmail.com&= gt; wrote:

Quick question= , Jayse.

Those resolutions you mentioned seem really low to me. Am I = just out of the loop? I mean 2048x880? I know they were elements used for c= omposite, but some things were full screen at times in that movie. Seems a = bit low. Like if this film were shown in IMAX things would have been quite = blurry.

Maybe I'm just too inexperienced with film motion graphi= cs to understand the workflow.

///Greg Balint
//Art Director / Motion Graphics Designer
/321.= 514.4839
delRAZOR.com/
=A0=A0

Ha Coleran is the MAN! He's the one that got me into it - thanks t= o Angie Taylor who introduced us long ago! He's a wizard!

Yeah the machines used to really choke playing full-sized vi= deos full screen, as you can imagine. Not as much of an issue now - I was j= ust doing screens for onset playback on Mocking Jay, and we are using ProRe= s - a fave codec!=A0

Thanks for all the comments guys! Was a great team! :-D=


-------------= -------------------
Jayse Hansen


On Thu, Feb 20, 2014 at 10:06 AM, Richar= d Green <Rich@loopcorp.com> wrote:
Great work Jayse, and an excellent website too. Anyone interested in
this stuff, there's a really good 50min talk by Mark Coleran from 2010<= br> on YouTube. At one point, he talks about using DeBabelizer to render
his stuff down to 256 colours and exporting to an ancient QT codec
called Graphix. So a lot of those live on-set screen animations he
used to produce were less than 1Mb in size!

= http://www.youtube.com/watch?v=3DEp4nLFjEu20

Cheers
Rich

www.loopcorp.com=

+---End of message---+
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