Motion Graphic and Compositing / Task 2: Channel Bumper
Derin / 0354969 / Design in Creative Media
INSTRUCTIONS
Students will synthesis the knowledge gained in Task 1 for application in Task 2.
Students are to demonstrate ability to explore and generate an abstract channel bumper in any creative approach with consideration of good audio tempo and visually compelling video.
Requirements
Students are to use information for any proposed channel (*existing or fictional)
create mood-board that reflects their concept/idea style-guide that conveys final look and feel
storyboard animatics explore appropriate audio to uplift the motion tempo
Students will start with sketches and test a wide range of conceptual ideas through digitization using the appropriate software. Students conclude by selecting and presenting their personal design interpretation in the instructed format/s.
Submission
Compiled and present your progress in Slide
(*mood-board, style guide, sketches, storyboard, technical processes as posted in e- portfolio).
Final output will include a 10 – 15 sec video (*.mp4, h2.64, 16:9 - 1920 X 1080, 25 fps, ACC, 48kHz, uploaded to YouTube channel).
TASK 2: CHANNEL BUMPER
Moodboard
First and foremost, I crafted presentation slides showcasing the moodboard and style guide for my ideas. Among the two proposals—Ribena and Cult of the Lamb—I opted for Ribena. This decision stemmed from a moment of inspiration while sipping on the jelly drink, aligning perfectly with the creative process. Conversely, although Cult of the Lamb held significance as one of my favorite games, its existing art direction provided a clear reference point. I enumerated key points essential for the style guide to provide clear direction towards achieving my desired outcome.
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| Fig 1.0 Ribena Moodboard |
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| Fig 1.1 Ribena Style Guide |
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| Fig 1.2 Cult of the Lamb Moodboard |
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| Fig 1.3 Cult of the Lamb Style Guide |
During my consultation with Mr. Fauzi, he mentions that my second idea, Cult of the Lamb, seems to have more potential compared to my Ribena idea. He also advises that I treat my work as a fan art that I'm going to share to the community.
Animation Concept
After finalizing my choice, I started working on the animation concept. My idea is to create a looping animation sequence similar to Cult of the Lamb's loading screen.
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| Fig 1.4 Cult of the Lamb's loading screen |
Art Style
- Illustrative with dark fantasy elements.
- Rich, detailed imagery with a slightly whimsical yet ominous tone.
- Color Palette: Use deep, rich colors like dark blues, purples, and reds for backgrounds, contrasted with striking highlights in gold, white, and crimson.
Card Design
- Borders: Gothic-inspired borders with intricate designs.
- Symbols and Icons: Incorporate cult and mystical symbols (e.g., eyes, pentagrams, celestial bodies) subtly into the design.
- Background: Use textured backgrounds to give a sense of depth and mysticism.
3 tarot cards open consecutively, they represent the Lamb's past, present, and future.
Past: The Fool
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| Fig 1.5 The Fool |
The Fool represents the beginning of the Lamb's journey, symbolizing innocence, new beginnings, and a leap of faith. This card captures the Lamb's initial state before becoming the leader of the cult when he first obtained the crown while tied down in shackles.
Present: The Hierophant
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| Fig 1.6 The Hierophant |
The Hierophant embodies spiritual authority, religious leadership, and guidance. This card reflects the Lamb's current role as a cult leader, providing direction and wisdom to its followers, and establishing the structure and rituals of the cult.
Future: Judgement
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| Fig 1.7 Judgement |
Judgment signifies rebirth, renewal, and a new phase of existence. This card captures the profound change and transformation that occurs after such a monumental victory. It represents the Lamb's transition from merely being a cult leader to possibly ascending to a divine or supreme role, overseeing a new era that emerges from the fall of the old gods.
Storyboard
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| Fig 2.0 Sketch |
The card flips open, revealing three tarot cards representing the past, present, and future. The concept involves transitioning each element inside the frame, where they float in a loop. Afterward, the card flips back, displaying the same sequence on the first frame.
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Fig 2.1 Reference |
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| Fig 2.2 Storyboard |
Vectors
I began by creating the vector for the back of the card using Adobe Illustrator, tracing over the tarot card from the game to ensure it would be recognizable to viewers.
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| Fig 3.0 Tarot card |
Next, I worked on the vector for the first card, "The Fool." I separated each part that would be animated independently into different layers and labeled them to avoid confusion later on. Initially, I used solid colors for the vectors, but it felt too plain, so I decided to add gradient effects. The final look was great, so I kept this art style throughout the project. I added more elements from the scene, such as the cross, skull, and others. The chains were the most challenging part because I had to redo them multiple times. To save time, I duplicated the chains multiple times. Initially, I used 'Fill' under 'Appearance' in 'Properties' to create the chains. However, this made it difficult to maintain consistent shapes and gradients. In the end, I switched to using 'Stroke' and adjusted its size as needed, such as when placing it on the lamb. Afterwards, I added a glow effect for the necessary parts. The next few vectors follows the same process.
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| Fig 3.1 Creating the vectors |
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| Fig 3.2 Separating and Labeling layers |
Another important detail is that I kept the canvas size consistent* and positioned identically for all the card layers. This made it easier to align them in After Effects using the Align option, especially since After Effects doesn't offer guides or rulers. By maintaining uniform canvas sizes, I ensured that the elements were properly aligned during the animation process.
*note: composition size for the video is 1920x1080, 1920/3 is 640, hence the width size of the canvas. This size is the same for the rest of the cards.
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Fig 3.3 Canvas size |
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Fig 3.4 Align option |
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| Fig 3.5 Uniformed placement of cards |
Technicalities
Once I finished creating the vectors, I imported them into After Effects and organized them into four compositions: three for each of the tarot cards and one for the compilation. My plan was to animate each tarot card individually, then convert the layers into 3D objects in the compilation composition. By toggling the 3D object option, I unlocked the XYZ rotation; for this project, I primarily used the Y rotation to simulate the cards flipping left and right.
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| Fig 4.0 Card flip trick |
I used the 'Parent link whip' of the tarot card composition with the lamb to the back card composition. Both compositions were set as 3D layers. I adjusted the position of the composition layer using the third position axis that appears when you switch to 3D layers in After Effects, setting it to 1 to prevent overlap with the back card. Initially, I encountered an issue where the lamb composition was only visible when the card was mid-flip. By adjusting the layers to prevent overlapping, I was able to achieve a smoother and more realistic flipping effect. I had also masked the lamb composition layers to fit into the card frame.
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| Fig 4.1 Parent & Link |
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Fig 4.2 Positioning the cards |
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| Fig 4.3 Masking the composition |
Animating
After dealing with the technical aspects, I moved on to animating the cards themselves. I used two animation styles: the basic Transform effect and the Puppet tool. For the Transform effect, I animated layers individually when needed. To streamline the process, I often used the 'Parent link whip' technique, linking layers to a Null Object layer, which helped speed up the animation. For example, since the head and ears belonged to the same group, I linked them to the Null Object layer, as shown in the image below.
I had also made a parallax effect, it's when the background content is moved at a different speed than the foreground content while scrolling. This is done by scaling the foreground and background separately. Sir said he liked it!
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| Fig 5.1 Animating using Transform effect |
For the Puppet tool animation, I applied it to layers that I didn’t separate and that had an anchor point at the edge of the object, such as the arm and chain. I wanted the chain to appear as though it was still attached to the ground, rather than floating loosely. Animating the chain’s curve and movement smoothly would have been challenging, so the Puppet tool was the most effective solution in this case. I pin down the edge and joints of the object and positioned them accordingly as seen in Fig 5.2's timeline.
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| Fig 5.2 Puppet tool Animation |
This animation process continues up until the 3rd card.
Final Outcome
Here is the final outcome!
Fig 6.0 Presentation Slides
Fig 6.1 Final Outcome for Task 2
FEEDBACK
REFLECTION
Once I finished creating the vectors, importing them into After Effects and organizing them into four compositions was a pivotal step. With three compositions dedicated to each tarot card and one for the compilation, I could focus on animating each card individually before combining them. The process of converting layers into 3D objects was particularly exciting; by toggling the 3D object option and using the XYZ rotation, I simulated the cards flipping left and right, adding a dynamic element to the animation.
A significant part of the project involved tackling technical challenges. I spent considerable time figuring out how to align the layers and ensure they interacted seamlessly in 3D space. For instance, I encountered issues with the lamb composition only being visible mid-flip due to overlapping layers. It took multiple experiments to resolve this, including adjusting layer positions and applying masks to fit the lamb composition within the card frame.
The process was a mix of trial and error, and each experiment taught me something new. I used the 'Parent link whip' technique to link the tarot card composition with the lamb, and adjusting the position using the third axis for 3D layers helped prevent overlap and achieve a smoother flipping effect. Each technical hurdle was like solving a puzzle, and overcoming these challenges was immensely satisfying.
This experience reinforced my passion for problem-solving and creative experimentation in animation. The iterative process of experimenting, adjusting, and refining not only resolved the technical issues but also contributed to a more polished and effective final product. I’m excited to continue exploring new techniques and tackling future challenges with the same enthusiasm and creativity.