Moving an Image (create a smart object and transform change) - 15:55 - 23:34
Animating Layers in Photoshop
Photoshop Video - Open the "Timeline". You can find it under "Window" To use video in Photoshop: 1) Drag a video file onto the Photoshop icon, it will appear in the Layers window and the Timeline window
2) Select the layer and "control"click to bring up the menu. Pick "convert to smart object" 3) To make a new video layer click the drop down menu on the videos timeline and click "new video group". 3a)You can duplicate video layers
4) Layer Adjustments, Blend modes and Opacity all work the same as still images - To save your file "Save As" a .PSD - To save the final video file goto "File" ---- "Render Video"
- pick your favorite video and take notes about the pacing and the types of imagery found in the infographic. How many cuts are there? How many seconds is each cut? How many scenes are there? 3) Research the information you want to get across to your viewer. Develop a storyboard
Step 2 - Make an 'outline'. List out the information you want to show, in the order you want to show it. For an infographic it is the information you want to show the viewer. For a title sequence it is things like the information about the movie (the actors, studio, title, producers...) Example Infographic
Introduction (what are you going to show?) First Part (what are you going to show?) Second Part (what are you going to show?) Third Part (what are you going to show?) Fourth Part (what are you going to show?) Fifth Part (what are you going to show?) Ending (what are you going to show?) Credits (what are you going to show?)
Step 3 - Making a Storyboard A Storyboard breaks the story into pieces that visually show the angle, movement and POV of the camera. Breaking a story into Cuts and Scenes
- Examples of Cuts and Scenes
Storyboarding your Motion Graphic Sequence
Questions to ask yourself!
How many changes do you want to have in the sequence?
What direction is the content moving in each part? How does it relate to the parts before and after?
How long is each part?
What content do you need to collect for each part?
What is the purpose of each part? (what do you want your viewer to get out of it?)
Moving an Image (create a smart object and transform change) - 15:55 - 23:34
Animating Layers in Photoshop
Photoshop Video - Open the "Timeline". You can find it under "Window" To use video in Photoshop: 1) Drag a video file onto the Photoshop icon, it will appear in the Layers window and the Timeline window
2) Select the layer and "control"click to bring up the menu. Pick "convert to smart object" 3) To make a new video layer click the drop down menu on the videos timeline and click "new video group". 3a)You can duplicate video layers
4) Layer Adjustments, Blend modes and Opacity all work the same as still images - To save your file "Save As" a .PSD - To save the final video file goto "File" ---- "Render Video"
- have at least 6 different cuts. each should have a different camera angle and/or point of view
- have a sound track
- exported as an MP4
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Motion Graphics
Motion Graphics: Where the element of 'time' is added to graphic design (purposeful use of text and image). This come in two main forms. Title Sequences and Information Graphics
Examples of Info Graphics
---
Ways to get video files to use in Photoshop: - Shoot it yourself. Pick up your phone, turn it horizontal and start filming!
Photoshop Video - Open the "Timeline". You can find it under "Window" To use video in Photoshop: 1) Drag a video file onto the Photoshop icon, it will appear in the Layers window and the Timeline window
2) Select the layer and "control"click to bring up the menu. Pick "convert to smart object" 3) To make a new video layer click the drop down menu on the videos timeline and click "new video group". 3a)You can duplicate video layers
4) Layer Adjustments, Blend modes and Opacity all work the same as still images - To save your file "Save As" a .PSD - To save the final video file goto "File" ---- "Render Video"
Camera Angles, Camera Movement and Point of View (POV)
Camera Angles Eye Level
An eye-level shot is the most basic type of shot and involves simply picking up a camera or video recorder and taking a straight-on, eye-level photograph. This technique is the most common shot used by photographers, seen in many casual pictures, such as family photos or vacation shots.
High Angle
A high-angle shot involves taking a photograph from someplace above a subject at a diagonal angle. This type of angle may make a subject look smaller or even childlike.
Low Angle (Worms Eye)
A low-angle shot is the opposite of the high-angle shot. In a low-angle shot, the photographer is below the subject and takes a photograph looking up at the subject. This angle is often used to make a subject appear larger, taller or more powerful.
Bird's Eye
This type of shot is similar to the high-angle shot in that the photographer is situated above the subject. However, unlike a high-angle shot, a bird's eye shot looks straight on at a subject rather than using an angle. This type of shot is used to achieve very dramatic images.
Slanted
A slanted shot, or dutch tilt, is where the camera is tilted to the side to give the horizon a unique, angled appearance. This is a popular shot for movie stills and in magazines as it portrays a hip, edgy feeling in the photograph
Camera Movement
Camera Point of View (POV)
Close-Ups A close-up (abbreviated "CU") is when the camera focuses on just one character's face or other part of him, taking up the entire frame. These shots are used often when a character is talking, because it puts the viewer in an almost face-to-face context. When the camera zooms directly into part of a person's face or body, so that the frame shows nothing but his body, this is an extreme close-up, or ECU. Going in the opposite direction, a medium close-up (MCU) is halfway between a standard CU and a mid-shot--which shows part of the scene and the subject.
Wide Shots Wide Shots Abbreviated (WS) give a great view of the entire area your subject is standing in, and you can see the person's entire body against the backdrop of his setting. As the camera zooms out, making the person almost unrecognizable but giving a good view of the entire area, it becomes a VWS, or very wide shot. Finally, an extreme wide shot (EWS) takes the camera out so that you can't even see the subject, but gives the viewer a clear picture of where the viewer is supposed to be--these are generally used as establishing shots. VWS are generally taken from cranes, so they're sometimes called crane shots, and EWS can be taken from helicopters and called aerial shots.
Multiple People Shots Conversations between two people require a special camera angle to capture the intimacy of the conversations. A two shot (TS) is the most common way to show conversation: place both subjects in the same mid-shot. The next most familiar style is the over-the-shoulder shot, or OSS, which looks at the talking subject from the listener's perspective, quite literally over his shoulder. Some camera operators also set up the noddy shot, which is most common in interviews, and is taken from the perspective of the interviewee.
POV The first-person perspective is a useful way to put the audience almost directly in the character's shoes. The POV shot is pretty much what the character would see--as if she is actually holding the camera herself. POV, meaning point-of-view, shots are often used to heighten the intensity of a scenario.
Weather Shots If the subject is the weather itself, it is referred to as a weather shot. These images give the viewer a moment's reprieve from the action or drama of the film as well as establishing what's going on in the world around them. If the weather is wet and rainy, that will affect the mood of the film overall; a bright, shiny day on the other hand lightens the mood.
Camera Movement A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second for a moving camera shot to be effective, when the same information may be placed on screen in a series of fast cuts. Not only must the style of movement be chosen, but the method of actually moving the camera must be selected too. There are seven basic methods: 1. Pans A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame. 2. Tilts A movement which scans a scene vertically, otherwise similar to a pan. 3. Dolly Shots Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object. Complicated dolly shots will involve a track being laid on set for the camera to follow, hence the name. The camera might be mounted on a car, a plane, or even a shopping trolley (good method for independent film-makers looking to save a few dollars). A dolly shot may be a good way of portraying movement, the journey of a character for instance, or for moving from a long shot to a close-up, gradually focusing the audience on a particular object or character. 4. Hand-held shots The hand-held movie camera first saw widespread use during World War II, when news reporters took their windup Arriflexes and Eyemos into the heat of battle, producing some of the most arresting footage of the twentieth century. After the war, it took a while for commercially produced movies to catch up, and documentary makers led the way, demanding the production of smaller, lighter cameras that could be moved in and out of a scene with speed, producing a "fly-on-the-wall" effect.This aesthetic took a while to catch on with mainstream Hollywood, as it gives a jerky, ragged effect, totally at odds with the organized smoothness of a dolly shot. The Steadicam (a heavy contraption which is attached a camera to an operator by a harness. The camera is stabilized so it moves independently) was debuted in Marathon Man (1976), bringing a new smoothness to hand held camera movement and has been used to great effect in movies and TV shows ever since. No "walk and talk" sequence would be complete without one. Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position. 5. Crane Shots Basically, dolly-shots-in-the-air. A crane (or jib), is a large, heavy piece of equipment, but is a useful way of moving a camera - it can move up, down, left, right, swooping in on action or moving diagonally out of it. The camera operator and camera are counter-balanced by a heavy weight, and trust their safety to a skilled crane/jib operator. 6. Zoom Lenses A zoom lens contains a mechanism that changes the magnification of an image. On a still camera, this means that the photographer can get a 'close up' shot while still being some distance from the subject. A video zoom lens can change the position of the audience, either very quickly (a smash zoom) or slowly, without moving the camera an inch, thus saving a lot of time and trouble. The drawbacks to zoom use include the fact that while a dolly shot involves a steady movement similar to the focusing change in the human eye, the zoom lens tends to be jerky (unless used very slowly) and to distort an image, making objects appear closer together than they really are. Zoom lenses are also drastically over-used by many directors (including those holding palmcorders), who try to give the impression of movement and excitement in a scene where it does not exist. Use with caution - and a tripod! 7. The Drone(Aerial) Shot
An exciting variation of a crane shot, usually taken from a drone or a helicopter. This is often used at the beginning of a film, in order to establish setting and movement. A drone is like a particularly flexible sort of crane - it can go anywhere, keep up with anything, move in and out of a scene, and convey real drama and exhilaration
Film and Stopmotion Animation is made up of a sequence images displayed through time. These images are shown at a certain amount of frames of per second with 'persistence of vision' - FPS (frames per second) or frame rate is the number of images that are shown in one seconds worth of time. Traditional film = 24 FPS Traditional animation = 12 FPS Digital film = 30 - 120 FPS Modern animation = 12 - 30 FPS Which means 1 minute of
Film = 1440 still images
How to used the "timeline" in Photoshop
-----
Photoshop Video - Open the "Timeline". You can find it under "Window" To use video in Photoshop: 1) Drag a video file onto the Photoshop icon, it will appear in the Layers window and the Timeline window
2) Select the layer and "control"click to bring up the menu. Pick "convert to smart object" 3) To make a new video layer click the drop down menu on the videos timeline and click "new video group". 3a)You can duplicate video layers
4) Layer Adjustments, Blend modes and Opacity all work the same as still images - To save your file "Save As" a .PSD - To save the final video file goto "File" ---- "Render Video"
Bring your printed final Movie Poster to class ready to hang on the wall!
Review Movie Posters
Help with commenting for Critiques
Things to comment on:
- How the 'Color' is affecting your understanding of the logo.
-
How composition (the placement of visual elements in 2d space/positive
and negative space/ rule of thirds) is affecting your understanding of
the logo
Design Thinking for Problem Solving Design Thinking can be used to solve problems across all disciplines and is currently being used by the Promise Committee to understand how to update and change the college education experience. We have been using it in the last couple of projects as a way to make better Movie Posters and now Logos for the FabLab
Design Thinking is a process much like Analytical Thinking (used in scientific experiments) and Systems Thinking (used for understanding in psychology and sociology).
Design Thinking uses a 4 step non linear process shown below
Setting up your Movie Poster for Augmented Reality
Step 1 - Open your Movie Poster in Photoshop.
Step 2 - Figure out what content you want to separate onto 6 layers + a background layer. This would generally need to be the title, images of people, vehicles, buildings, the setting/environment as the background. Step 3 - recreate the poster as the 6 layer with transparency with the background Step 4 - Save your image as a PSD file
- Composition (placement of visual elements in 2d space...positive and negative space, rule of thirds)
- Image - subject matter
- Image - style
- Font - literal reading
- Font - style
Each
of these elements is a "signifier" to the viewer. The viewer will generate meaning from
these visual elements to make sense of the image in comparison to what they have seen before and how they understand the visual ques of the element. In the case of a movie poster, the viewer will discern the movies genre, the actors in the movie and when it will be released.
description: Create 3 different
versions of a movie poster for a movie you’d like to see.
How to Create Project 3
Part 1
a) Write out your Movie idea! First pick a movie genre.
(Horror, Sci-Fi, Romantic comedy) Then you need to figure out 'who' the
antagonist and protagonist are, 'where' the movie takes place, 'when'
the movie takes place, finally the 'what' and 'why' of the story. b) Look up and download 10 examples of posters that inspire you
c) Compile a list of
important information that needs to be on the poster including: movie title,
main actors/actresses, film company, producers, date, credits, ext…
(use the 10 examples you downloaded as a guide)
d) Collect a variety of imagery to work with for your poster
* Make sure
to find the largest images possible
Part 2
a) Create a template for
your poster 11x17” at 180dpi
b) Put in guides for the
unprintable boarder and for the middle
c) Create 3 different prototypes of your movie poster
Part 3 - Create 1 final version of
the best movie poster based on the comments derived from the critique
things to consider:
First you want to figure out a genre for your movie. Is it a Romantic comedy,
Sci-fi, Fantasy, Horror, Comedy, Drama, Action, ect… Then look at and
collect movie posters of that genre. Consider things like colors used, font
type, text placement, use of actors/actresses images, are they full body or
close up, what is their gesture.
Details:
all posters should be set for 11x17 inches at 180 dpi
Due
Tuesday Sept 27th – Part 1a,1b,1c,1d (due beginning of class) Thursday Oct 5th - Parts 2 all three on Google Photos (due beginning of class)
Tuesday Oct 10th – Part 3 Best one Printed (due beginning of class)
