Leanne Eisen / / Crayzee images

DVD Packaging / / Possibilities

Pierre Vanni / / Moving Image / / Teaser

Pierre Vanni.

Source

Anthony Burril

I saw these motion sequences at Leeds Print Festival on Sunday.  They relate heavily to the project, but also work well with the trippy tone I want to achieve.

First Ident / / Shaky camera

To create a shaky camera effect in AfterEffects:

John Whitney is very good / /

John Whitney, Sr. (April 8, 1917 – September 22, 1995) was an American animator, composer and inventor, widely considered to be one of the fathers of computer animation.

The mechanical analogue computer.

The analogue computer Whitney used to create his most famous animations was built in the late 1950s by converting the mechanism of a World War II M-5 Antiaircraft Gun Director.^[1] Later, Whitney would augment the mechanism with an M-7 mechanism, creating a twelve-foot-high machine.^[2] Design templates were placed on three different layers of rotating tables and photographed by multiple-axis rotating cameras. Color was added during optical printing. Whitney's son, John, Jr., described the mechanism in 1970:

"I don't know how many simultaneous motions can be happening at once. There must be at least five ways just to operate the shutter. The input shaft on the camera rotates at 180 rpm, which results in a photographing speed of 8 frame/s. That cycle time is constant, not variable, but we never shoot that fast. It takes about nine seconds to make one revolution. During this nine-second cycle the tables are spinning on their own axes while simultaneously revolving around another axis while moving horizontally across the range of the camera, which may itself be turning or zooming up and down. During this operation we can have the shutter open all the time, or just at the end for a second or two, or at the beginning, or for half of the time if we want to do silt- scanning."

Source

Tauba Auerbach / / Tones / / Gradient

Source

Audio / / Tone.

This is the audio that I have chosen for my idents and intro.  

I've specifically chosen a track that has no vocals.  Spoken word create too much mental imagery that would distract from the tone of my sequence.  This track is exactly the kind of tone i'm going for.  A more psychedelic, dreamy feeling is instilled through the experimental production.  This works well with the imagery i'm working with because of the ambiguity of the visuals- microscopic patterns / / flashing images etc.  I can see it drawing people in, in a mesmerising way.

The track is titled 'Music is Math', created by Boards of Canada and features on the album 'Geogaddi'.

Discovery Science / / Bumps & Idents

A collection of idents and bumps for Discovery Science.

Art direction by David Bez.  Source

Simplicity is key.  The general rule is that a 15sec video clip is used with a 10sec text overlay, with a 5sec window of movement within this text.  However, it states in the brief that we are not allowed to use footage- the closest I can get to this will be stop motion.  I'll have to try it out and see what it looks like. 

Inspiration / / Visuals & Sound

I was aware of the concept of this video before we were shown it in our seminar, and had thought about how important it is for visuals to relate to the sound.  More specifically, if there is a beat, the visuals should either work with that beat or obviously work against it.

"The music video, directed by Michel Gondry, features a continuous shot filmed from the window of a speeding train passing through towns and countryside; however, the buildings and objects passing by appear exactly in time with the various beats and musical elements of the track. The video is based on DV footage Gondry shot while on vacation in France; the train ride between Nîmes and Valence was shot ten different times during the day to get different light gradients."


The visualisation of sound is a concept many designers / / artists have attempted to produce.  This is a very successfully executed concept, and an interesting form of infographics.  I think it's such an interesting way to depict sound.  A brilliant track with visuals to match.

Texture / / Experimentation / / Inspiration

20 Hz from Semiconductor on Vimeo.  Sourced

20Hz is an audiovisual maelstrom of an animation that takes raw data from electromagnetic storms and re-interprets it with sound and light, giving insight into the weather systems of the cosmos.
 "20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception."


This is very intriguing and inspiring.  I need to start doing more self led projects of my own interests that aren't necessarily in direct relation to graphic design.
The video is a form of infographics- making information visually exciting.


Things to consider with my own sequence:
Here the pace is obviously deciphered by the given information, however, it works, well.  I need to figure out a pace that reflects my subject matter and communicates the tone I want to put accross.
The textures are the most interesting aspect of the video to me.  The textures created by the (seemingly) irratic movement give amazing visuals that I can really relate to.

The videos below are also by 'Semiconductor'.  The one to the left is called 'Out of the light' and the one to right is names 'Black Rain'.

Change of Audience / / Relevance of tone.

I think that for such a specific subject of rocks, BBC2 is too broad a channel to house it.  A channel such as Discovery Science would be more likely to show a programme with such direct content.  Thus, the move from BBC2 to Discovery Science makes a lot of sense.


I now need to look into the existing idents of Discovery Science to see if the tone I am trying to achieve would work on such a channel.

Microscopic Imagery / /

'Soap film, Incident light, microscope' / /

Gerd A.Guenther.

Source

A sequence on soap.

'Blood Nose'
Hannah Jane.

  
'Piece of paper- Amon Tobin' / / 
Micheal Shainblum
Source

Pattern / / Colour

'Live in Kuala Lampur, Part 1 - Love / Comes' / /

Bannai Roo

Source 

Overlay / / Opacity / / Overlay / / Opacity . . . and so on.

There is an element of authentic cheese to this video that makes it no longer cheesy but cool in my eyes.  The mirroring of visual is the cherry on top. 

Colour / / Texture / / Movement

  

QUAZAR / / 
OK Rocco

Source

Really interesting use of 3D camera angles- create depth within the screen. 

A.E / / Texture.

WaveSlice / / 

Don Whitaker
Sourced
This is quite mental.  I think I like it.  The visuals relate to the visuals in my mind for my current sequence.  I want to get across a physchadellic feel, that looks imperfect and jittery.
The music is a bit of a treat too.  Some old school soulful jazz... with jungle beat undertones.  Possibly?

A.E / / Movement

Massive Attack - Splitting the Atom directed by Edouard Salier from edouard salier on Vimeo.

This for me is more of a focus on the beginning of the video- how the type comes in and out of view is interesting to note.  -using other aspects of the sequence to conceal and reveal type.  Works well with the movement of the camera.  The camera angles work well, whilst panning across the scene- need to keep this in mind when designing my own sequence- will look like it has more depth and movement if I animate not only the movement of the object, but change the camera angle also.

Movement / / Shapes / / ..Genius.

Listen to your hands from Sanghyeok Lee on Vimeo.

By closing one drawer of the table you cause another to shoot out at random.  The project won second prize at the [D3] Contest at imm cologne. 

Playful design.  This is what I need to remember as a general rule.  This, for me is a big part of design, taking something totally ordinary and reinventing it, placing it in a new context- a new perspective on the mundane- the done / / the re- done...etc.

In particular for my sequence within AfterEffects, movement is obviously key.  This has focused my attention on sequential movement, highlighting the question- what happens to other aspects of my design when one aspect moves.  It would work visually for everything to flow- but this design shows that it doesn't have to necessarily flow as you may expect it to.

This is very interesting.

'Gravity' / /
Jolan Van Der Weil

Gravity by Jólan van der Wiel from Dezeen on Vimeo.

This is the exact kind of thing that I find fascinating.  I try to incorporate some kind of self directed 'quest' for knowledge and understanding of something I didn't before in the majority of my projects.
Designer Jólan van der Wiel has created a machine for shaping stools using gravity and magnets. The machine and its outcomes are on display as part of the [D3] Contest for young designers at imm cologne in Germany.

I can see this process being applied in many different ways, it's definitely something I want to research into further.

However, in relation to the project at hand, this process creates shapes / / textures / / colours that would work well layered up and cut up, I can visualise more clearly how I want my sequence to look.  The close-up shots, depth of field, panning, all give the video a tone that makes you take it seriously, it has an aura of intelligence and confidence.  Take note.  Take on board.

A very interesting book.