Video Post-Production | Pier Marton

I've actually got a healthy contempt for special effects... the simplest way of doing things is normally the way that's going to stand the test of time. Chris Cunningham

The meaning of saying today that a videotape is "well composed" has changed dramatically in the past years. With the advent of digital processes, the level of control achievable within a post-production editing session has reached unprecedented highs and one can now literally paint onto video with color, words or video brushes, and stretch or squeeze any portion of the canvas of time at will.
Through the exploration of two major compositing software, AfterEffects and Commotion, (and some Motion2 and StudioArtist3) this course serves as an introduction to some of the industry post-production practices. The goal is an integration of those two powerful software packages into your creative process.
After a couple of small class projects, you are to start the production of an ad for an existing non-profit organization. As you approach the highly formal and technical elements of special effects, it is recommended that you do not forsake the intended content The varioius software can be tempting to display gratuitous pirouettes. Thus you will be expected to think carefully as to what your subject is and how to deal with it.

Most of the grading will be a reflection of your sustained effort and creativity in the production of the assignments. If you want to have an idea of the type of grade you might receive, keep an account of the various times you might find yourself with an excuse (even technology-based), instead of having the work due. Careful planning, with appropriate back-ups is the only way to survive in the volatile digital environment. An A reflects outstanding work, a B all the work required was done well and on time, a C that the work was done in a patchy way. Anything below a C would reflect serious incompleteness. Each unexcused absence (without a doctor's note), or repeated lateness, will bring down your grade by half a mark.There might be one or two quizzes counting for 15% of the grade. The final piece (including its many installments) accounts for 80% of the grade, 5% for class participation. The required text is After Effects Apprentice by Trish and Chris Meyer. Recommended are Apple Pro Training Series: Encyclopedia of Visual Effects, Design Basics Index by Jim Krause, and The Design of Dissent by Milton Glaser and Mirko Ilic.
Please consult the RESOURCES for good links.

NOTE: whenever no specific assignment is given, the task is to apply a majority of the techniques learned to your final project elements Here are a few tips (including non-profit organizations!).

Wed. 8/29 Introductions and goals. AfterEffects (AE) and Commotion (C). Overview & differences: vector vs. bitmap animations, compositing, rotoscoping, mattes, motion tracking, keyframes. Previous student work, counter-ads and Dissent strategies. Brief intro to AE. For Next Week (FNW) duplicate ALL the effects achieved in the Meyer Lesson 1, but with your own files (jpeg & ai - no video footage) + Find organization, make initial contact and tell us what its purpose is. They should be unnknown and there should be some urgency in their need for publicity.

Wed. 9/5 C's interface, live frames vs. selection range, brush controls, wire removal/restore and clone tools, auto-paint. AE's projects,windows, palettes.AE's comps, importing multi-layered files, transform settings, continuous rasterizing, copying/pasting keyframes, motion paths. FNW: Enhance last week project by refining the keyframe behaviors as per Meyer 2. + MEET with the organization and assess what type of issues are at stake - start thinking of the type of appropriate project.

Wed. 9/12 Storyboard software. C's superclone. AE: further detail about the various windows, trimming a layer, fade-out, synchronizing animation, drop shadow effect, adjustment layers, nesting comps, RAM preview, adding/previewing audio, rendering. Basic Text effect, safe zones, in/out panels, distributing layers, editing motion paths, auto-orient, roving keyframes, motion sketch, the Smoother, draft/final movie rendering. FNW: Using the image sequencing, the blending modes, and the adjustment layers of Meyer 3 to create a three-part VIDEO storyboard based upon the Storyboard software. This is what you will propose to the organization, so make a serious attempt at something professional.

Wed. 9/19 C: paint and onionskin, wiggle, stroke only mode. AE: Masks, Track Mattes and Stencil effects. FNW: AE: Integrate Meyer 4 into at least two layers of video relevant to your piece, and work with position, opacity controls and some mask(s) + incorporate the organization's logo into that project - C: a painted animation.

Wed. 9/26 C: fx brushes, creating your own, stroking splines. AE: Text Effects FNW: Use Meyer 5's Flowiing Text principle synched up to a soundtrack you might use + present materials and setting for your piece, either as scanned materials or, preferably, newly shot video footage.

Wed. 10/3 Text tool controls in AE and C, figuring out which software to use. FNW: Use Meyer 6 to create parented and nested sequences relevant to your piece. Demonstrate the rendering issue by having two slightly different sequences.

Wed. 10/10 - C: rotoscoping tools, AE: track mattes, creating clipping masks in Photoshop and importing them. FNW: Rotoscope some of your own footage & use a (Meyer 7) expression on your project.

Wed. 10/17 AE: fine-tuning animation with Bezier keyframes. FNW: Create your own FX brush for Commotion and apply it precisely within some useable video footage + Apply a (Meyer 8) 3D lighting effect onto your sequence.

Wed. 10/24 C, AE Composite Wizard' s keying tools, an overview. FNW: Track and and Corner Pin some objects within your piece (Meyer 9).

Wed. 10/31 C: motion tracking, image stabilization. FNW: Add a painting element to your piece with astounding precision (Meyer 10)

Wed. 11/7 C: AE and C: various transfer modes and filters (ImageLounge/Knoll, Correction, and AE's). FNW: Find an efficient way of interacting your layers using the transfer mode and use a filter in a sparing but creative manner (for a small section of your piece).

Wed. 11/14 - Audio issues in AE/Soundtrack Pro. FNW: fine-tune your soundtrack*.

Wed. 11/28 Individual meetings with works in progress. Pre-final edited version. Going to tape. Flash CS3 and other output options.

*Creating original sounds is an integral part of learning how to work with the potential of sound. The point is to minimize canned or instrument- based music, and to explore the musicality of sound effects.

I cannot and I will not
	cut my conscience
		to fit this year's fashion.
		Lillian Hellman in 1952