From: "Gordon Mah" Received: from mail-pg0-f45.google.com ([74.125.83.45] verified) by media-motion.tv (CommuniGate Pro SMTP 6.1.0) with ESMTPS id 6373039 for AE-List@media-motion.tv; Mon, 18 Dec 2017 18:42:42 +0100 Received: by mail-pg0-f45.google.com with SMTP id m25so9423221pgv.12 for ; Mon, 18 Dec 2017 09:47:05 -0800 (PST) DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20161025; h=from:content-transfer-encoding:mime-version:date:subject:message-id :references:in-reply-to:to; bh=69mKkqj48n8c63I7HpyLI2BgWtiXYh4Lkib4gJ+EFDU=; b=OOT+HL3htlMR4JUxlvnuw6M3H4mgD+wPPs5i2Yv/tG07w8B2c6IEx34NafOiSyuYMS DSKxzp7IkiDJ3weLy+6k1LaOsdTA0VfcPwuDYq5gc55YHK1MbFAgUvpFpKYWUTiBzSrK mGaV2VbbcNNRTXLGBgCtfnWmJ5Ua/4H/+YnFFeFFF0syc7qzu5ImfXhtsosdHh1vQfC0 GUACStvkmNsw7v6AUBO1l2xcjCPZvbgcvOKC+ZBjOesBhtU+puAy+ORCGT7EaaLrgELp iA2KyC7lnozqVZ4SvXVUNGSdhipQifDfQiBVBQuJAZ10EEYjmp9XV4SoBBxgbzYMiYsU GSIA== X-Google-DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=1e100.net; s=20161025; h=x-gm-message-state:from:content-transfer-encoding:mime-version:date :subject:message-id:references:in-reply-to:to; bh=69mKkqj48n8c63I7HpyLI2BgWtiXYh4Lkib4gJ+EFDU=; b=iGOR6jR7SkOWHy1cVF+vPm52DJxRzqShZ8nSfoLAxkaTRhG8X0/8x0zcuLvP8r/BfH 9wS8vPboD8U1HIryZQflw0x+uCbHS25Z06JeyP67OLTFP+lzLuPluegY3QSi0y0b6bXu sced4pC04txNjMOXFlA3gHhymxgd7fd6VY+e/s8mqAUzoX7L3VGQcBvWRxaflCrlJrl+ eFdSOExjqHMpJoRLhbFYAFxzyRR6zpmwMQiEjpPRABnocS4LAk8z9yKdqJ6P+Zfy0uo8 fhLmqRc/3VRye1mWBQZS9VY7fPn6q7JHkpSS6EBOMMNXak33XTbLEa1hqRN0NGkUz7Nd /ZEQ== X-Gm-Message-State: AKGB3mKv4FhUgeiZ6Zco4EU+MEiMnbfKveRv07T3p5zXiROkXMKLrCAR yLW19LaQ+2MmxbIhh8m65iovawAp X-Google-Smtp-Source: ACJfBot7NRam8cgVGYuoK7iSFDyRZYcmOPpOFe87y9mjScbq+GutDzU+GlFv8B0PmMIdtzka1S6Nwg== X-Received: by 10.99.107.197 with SMTP id g188mr399468pgc.295.1513619223407; Mon, 18 Dec 2017 09:47:03 -0800 (PST) Return-Path: Received: from [128.149.86.214] ([128.149.86.214]) by smtp.gmail.com with ESMTPSA id m15sm20648358pga.45.2017.12.18.09.47.01 for (version=TLS1_2 cipher=ECDHE-RSA-AES128-GCM-SHA256 bits=128/128); Mon, 18 Dec 2017 09:47:02 -0800 (PST) Content-Type: multipart/alternative; boundary=Apple-Mail-B5DF2DF3-B475-4378-A8D8-2393F3AB9B80 Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (1.0) Date: Mon, 18 Dec 2017 09:47:00 -0800 Subject: Re: [AE] Sharing my latest work - paper theatre music video Message-Id: <19902B19-D3DA-4A70-8533-F7058F437F23@gmail.com> References: In-Reply-To: To: After Effects Mail List X-Mailer: iPad Mail (15B150) --Apple-Mail-B5DF2DF3-B475-4378-A8D8-2393F3AB9B80 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable I also loved your =E2=80=9CWhen They Go Low=E2=80=9D video! Sent from my iPad > On Dec 18, 2017, at 1:59 AM, Phil Bearman wrote:= >=20 > Hi everyone, >=20 > I thought I'd share my latest music video which was created almost entirel= y in AE. >=20 > https://vimeo.com/245616677 >=20 > The singer's PR team asked me for some information about the creative proc= ess etc which I've copied below in case it's of interest to anyone. >=20 > Cheers, > Phil >=20 > + + + >=20 > It was produced in collaboration with art director Cathy McDougal from The= Rabbit Hole Group. >=20 > Cathy's vision for the music video being set in a puppet theatre really fi= red my imagination, as I loved art and craft when I was a child - I made my o= wn cardboard theatres, and loved TV programmes like 'Button Moon' when I was= young. I spent my teenage years involved in amateur dramatics too, so this p= roject was a chance to relive my youth! >=20 > Whilst it would have been great to construct and film a real puppet theatr= e for the music video, it would have been very difficult to do a good job in= the short timeframe (about two weeks) and with only Cathy and I working on t= he video. So it was all animated on computer using After Effects, but we wer= e determined to make it feel as authentic as possible by using real-world te= xtures and objects throughout the video. >=20 > For example, the origami birds, flowers and stars which appear in the vide= o were all handmade and photographed or filmed. Cathy drew some of the artwo= rk from scratch, and some started out as stock imagery which was then adjust= ed to fit our needs. I then added a paper texture to the vector artwork in P= hotoshop before importing into After Effects. >=20 > For each of Cathy's ideas in the storyboard, I tried to find a way to make= the 'mechanics' work in a way that could work in a real-world puppet theatr= e - for example, adding strings and sticks to characters and scenery, and ma= king some of the movement a bit wobbly and random to suggest the show is bei= ng operated by human hands. >=20 > To make the scenery 'magically' change from monochrome into colour, I used= lighting effects, as this would be the obvious way to achieve an effect lik= e that in theatre. So to make the leaves appear on the trees, I made them li= ght up as though they were green pealights. To make the flowers change colou= r, I put a torch bulb in the middle of my origami flower and filmed the lamp= fading up, then coloured the footage in After Effects. >=20 > When the 'rocket plans' backdrop comes down in front of the bunnies I want= ed to smooth the transition, and came up with the idea of making the backdro= p start off semi-transparent and then become opaque, similar to 'gauze' back= drops used in theatre which become opaque when they are lit from the front a= nd the light behind is dimmed. >=20 > For a rocket launch scene in a real theatre you would no doubt use a smoke= machine to add atmosphere, but in a small puppet theatre I figured we neede= d something paper-based, and came up with the idea of having smoke cloud sha= pes moving as though they were driven by a mechanical/motorised system. >=20 > For the journey to the moon I tried to create the look of a scene lit by u= ltraviolet lights with all the props painted in fluorescent colours, which y= ou often see in theatre productions. >=20 > The theatre frontage was the only component that wasn't 'flat' - it was mo= delled in Maxon Cinema 4D but rendered within After Effects via Video Copilo= t's Element 3D plugin. Although it's not that noticeable in the video, the t= heatre was textured to look like painted wood - I used colours from the albu= m artwork which gives some continuity between the music videos for the album= . >=20 > The only live action components were Peyton's head, the lips, the puppetee= rs hands and the audience members which were all shot against a green screen= at "Studio Manchester" which is close to my studio in Manchester City Centr= e. It was a simple shoot using a 4K DSLR camera (Panasonic DMC-GX80). Large q= uantities of green facepaint, and a green neoprene 'bib' were used to isolat= e our model's lips and Peyton's head! >=20 > Something that has impressed me both times I've worked with Peyton on musi= c videos is his ability to switch on 'performer mode' as soon as he's in fro= nt of the camera, and even when his movement is limited to just his face he m= anages to pack so much character and expression into his performance which r= eally brings our paper puppet to life. >=20 > The Cartoon Effect within After Effects was applied to Peyton's face which= helped blend him into our paper world, and also gave some continuity from t= he video for When They Go Low which also used that effect. >=20 > The 'Burning Moon' scene was particularly tricky because there was so much= action to cram into a just one very short scene. To help maintain focus I d= ecided to use the camera to gradually reveal the stage set, in contrast to t= he rest of the video where I've used simple camera movements and framing to m= aintain the feeling of watching a theatre show, where you can see all of the= action at once.=20 >=20 > I particularly enjoy adding layers of detail into a video like this, which= people might not notice the first time they watch it. For example, in the '= Burning Moon' scene, I created a couple of alien backing singers to stand be= hind Peyton and 'sing' part of the song! >=20 > With me in Manchester, Cathy in London, and Peyton constantly travelling a= round the world performing, I use http://Frame.io for sharing and reviewing t= he video as I worked on it. Frame.io has been (working) life-changing for me= - it's well thought-out and easy to use, allowing my clients and collaborat= ors to comment on specific frames of a video, even allowing them to 'paint' d= irectly on a frame to illustrate their comment. I can then work through thei= r comments, checking them off as I implement any changes and upload a new ve= rsion. It's so much quicker, easier and neater than using file-sending serv= ices and emails. >=20 > The two music videos that I've produced with Cathy for Peyton have actuall= y been the first time I've collaborated directly with another designer in my= 12 years working as a motion graphics designer, and it's been a really enjo= yable experience. Peyton introduced us, with the idea that we'd compliment e= ach other well and it couldn't have worked out better. Cathy's great at comi= ng up with original (and crazy) ideas for a story - ideas which would never h= ave crossed my mind - and I find it very easy to take these ideas and bring t= hem to life. We've already started work on another collaboration, but I can= 't say any more about that for now!=20 >=20 > + + + >=20 > --=20 > Phil Bearman >=20 > Phil Bearman Creative Media Solutions=20 > Motion Graphics Design >=20 > PhilBearman.co.uk >=20 >=20 > 0161 236 2581 - 9am-5pm, Monday-Friday >=20 > This message contains confidential information and is intended only for th= e individual named. If you are not the named addressee you should not dissem= inate, distribute or copy this E-Mail. Please notify the sender immediately b= y E-Mail if you have received this E-Mail by mistake and delete the E-Mail f= rom your system. E-Mail transmission cannot be guaranteed to be secure or er= ror-free as information could be intercepted, corrupted, lost, destroyed, ar= rive late or incomplete, or contain viruses. The sender therefore does not a= ccept liability for any errors or omissions in the contents of this message o= r attached documents or for any damage suffered by your computer system caus= ed by any errors or viruses contained in the E-Mail message or any attached d= ocuments. --Apple-Mail-B5DF2DF3-B475-4378-A8D8-2393F3AB9B80 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable I also loved your =E2=80=9CWhen They Go Low= =E2=80=9D video!

Sent from my iPad

On Dec 18, 2017, at 1:59 AM, Phil Bearman <AE-List@media-motion.tv> wrote:

=
Hi everyone,

<= div>I thought I'd share my latest music video which was created almost entir= ely in AE.


The singer's PR tea= m asked me for some information about the creative process etc which I've co= pied below in case it's of interest to anyone.

Chee= rs,
Phil

+ + +

<= div style=3D"font-size:12.8px">It was produced in collaboration with art dir= ector Cathy McDougal from The Rabbit Hole Group.

Cathy's vision for the m= usic video being set in a puppet theatre really fired my imagination, as I l= oved art and craft when I was a child - I made my own cardboard theatres, an= d loved TV programmes like 'Button Moon' when I was young. I spent my teenag= e years involved in amateur dramatics too, so this project was a chance to r= elive my youth!

Whilst it would have been great to construct and film a r= eal puppet theatre for the music video, it would have been very difficult to= do a good job in the short timeframe (about two weeks) and with only Cathy a= nd I working on the video. So it was all animated on computer using After Ef= fects, but we were determined to make it feel as authentic as possible by us= ing real-world textures and objects throughout the video.

For example, th= e origami birds, flowers and stars which appear in the video were all handma= de and photographed or filmed. Cathy drew some of the artwork from scratch, a= nd some started out as stock imagery which was then adjusted to fit our need= s. I then added a paper texture to the vector artwork in Photoshop before im= porting into After Effects.

<= div style=3D"font-size:12.8px">For each of Cathy's ideas in the storyboard, I= tried to find a way to make the 'mechanics' work in a way that could work i= n a real-world puppet theatre - for example, adding strings and sticks to ch= aracters and scenery, and making some of the movement a bit wobbly and rando= m to suggest the show is being operated by human hands.

To make the scene= ry 'magically' change from monochrome into colour, I used lighting effects, a= s this would be the obvious way to achieve an effect like that in theatre. S= o to make the leaves appear on the trees, I made them light up as though the= y were green pealights. To make the flowers change colour, I put a torch bul= b in the middle of my origami flower and filmed the lamp fading up, then col= oured the footage in After Effects.
When the 'rocket plans' backdrop come= s down in front of the bunnies I wanted to smooth the transition, and came u= p with the idea of making the backdrop start off semi-transparent and then b= ecome opaque, similar to 'gauze' backdrops used in theatre which become opaq= ue when they are lit from the front and the light behind is dimmed.

For a= rocket launch scene in a real theatre you would no doubt use a smoke machin= e to add atmosphere, but in a small puppet theatre I figured we needed somet= hing paper-based, and came up with the idea of having smoke cloud shapes mov= ing as though they were driven by a mechanical/motorised system.

For the j= ourney to the moon I tried to create the look of a scene lit by ultraviolet l= ights with all the props painted in fluorescent colours, which you often see= in theatre productions.

The theatre frontage was the only component that= wasn't 'flat' - it was modelled in Maxon Cinema 4D but rendered within Afte= r Effects via Video Copilot's Element 3D plugin. Although it's not that noti= ceable in the video, the theatre was textured to look like painted wood - I u= sed colours from the album artwork which gives some continuity between the m= usic videos for the album.

The only live action components were Peyton's h= ead, the lips, the puppeteers hands and the audience members which were all s= hot against a green screen at "Studio Manchester" which is close to my studi= o in Manchester City Centre. It was a simple shoot using a 4K DSLR camera (P= anasonic DMC-GX80). Large quantities of green facepaint, and a green neopren= e 'bib' were used to isolate our model's lips and Peyton's head!

Somethin= g that has impressed me both times I've worked with Peyton on music videos i= s his ability to switch on 'performer mode' as soon as he's in front of the c= amera, and even when his movement is limited to just his face he manages to p= ack so much character and expression into his performance which really bring= s our paper puppet to life.

<= div style=3D"font-size:12.8px">The Cartoon Effect within After Effects was a= pplied to Peyton's face which helped blend him into our paper world, and als= o gave some continuity from the video for When They Go Low which also used t= hat effect.

The 'Burning Moon' scene was particularly tricky because ther= e was so much action to cram into a just one very short scene. To help maint= ain focus I decided to use the camera to gradually reveal the stage set, in c= ontrast to the rest of the video where I've used simple camera movements and= framing to maintain the feeling of watching a theatre show, where you can s= ee all of the action at once. 
I particularly enjoy adding layers of= detail into a video like this, which people might not notice the first time= they watch it. For example, in the 'Burning Moon' scene, I created a couple= of alien backing singers to stand behind Peyton and 'sing' part of the song= !

With me in Manchester, Cathy in London, and Peyton constantly travellin= g around the world performing, I use http://Fram= e.io for sharing and reviewing the video as I worked on it. Frame.io has been (working) life-changing for me - it's w= ell thought-out and easy to use, allowing my clients and collaborators to co= mment on specific frames of a video, even allowing them to 'paint' directly o= n a frame to illustrate their comment. I can then work through their comment= s, checking them off as I implement any changes and upload a new version.&nb= sp; It's so much quicker, easier and neater than using file-sending services= and emails.

The two music videos that I've produced with Cathy for Peyto= n have actually been the first time I've collaborated directly with another d= esigner in my 12 years working as a motion graphics designer, and it's been a= really enjoyable experience.  Peyton introduced us, with the idea that= we'd compliment each other well and it couldn't have worked out better. Cat= hy's great at coming up with original (and crazy) ideas for a story - ideas w= hich would never have crossed my mind - and I find it very easy to take thes= e ideas and bring them to life.  We've already started work on another c= ollaboration, but I can't say any more about that for now! 

+ + +

=
-- 

Phi= l Bearman

Phil= Bearman Creative Media Solutions=20
Motion Graphics Design

PhilBe= arman.co.uk


0161 236 2581 - 9am-5pm, Monday-Friday

This message=20 contains confidential information and is intended only for the individual n= amed.=20 If you are not the named addressee you should not disseminate, distribute o= r=20 copy this E-Mail. Please notify the sender immediately by E-Mail if you ha= ve=20 received this E-Mail by mistake and delete the E-Mail from your system. E-= Mail=20 transmission cannot be guaranteed to be secure or error-free as informatio= n=20 could be intercepted, corrupted, lost, destroyed, arrive late or incomplet= e,=20 or contain viruses. The sender therefore does not accept liability for any= errors=20 or omissions in the contents of this message or attached documents or for a= ny=20 damage suffered by your computer system caused by any errors or viruses co= ntained=20 in the E-Mail message or any attached documents.

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