50 Motion Graphics Tips – 모션그래픽에 대한 50가지 팁 – 번역 및 해석 2018-06-13T03:48:08+00:00

Project Description

http://www.creativebloq.com 에 2008년 12월에 50 Motion Graphics Tips (모션그래픽에 대한 50가지 팁)으로 포스팅된 글입니다. 10여 년 전의 글이지만 지금도 여전히 적용되는 팁들이기에 번역을 통해 소개해 드립니다. 좀 더 설명이 필요한 경우 추가적인 글을 포함했습니다. 50가지 중에서 굳이 소개할 필요가 없다 싶은 글은 뺏습니다. 의역과 오역이 들어갈 수 있습니다. 원본 글은 여기를 클릭하세요.

01. Eliminate the negatives

Don’t be scared to ask the client what they don’t want – the solution to the project could be in that one answer.

Liquid TV

02. Ctrl/Cmnd+U short cut

If you only learn one short cut ever, it should be Ctrl/Cmnd+U! Simply select any number of layers you like, hit Ctrl/Cmnd+U, and it shows all the keyframes you’ve made on the layer (s). Pretty handy if you’re getting bogged down with massive amounts of layers!

James Wignall

03. Be prepared

Know the problems before you begin work.

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04. Correct colour first

When using video footage, you’re probably going to give the images a strong look, but always do basic colour correction first: make the blacks black, the whites white and the greys grey. Make the colours match from cut to cut. Only then should you do the creative work.

Chris Kenworthy

05. Render separate passes

Most 3D packages now allow you to render separate frames for things like colour, shadow, highlights and even more exotic attributes like speed of movement. Rendering separate passes and then rebuilding your shot in a compositor might seem like a waste of time, but it allows you to adjust the shot far more finely and will often save you from having to re-render.

Christian Darkin

06. Be flexible

Don’t be afraid to kill off an idea, no matter how great it looks or sounds. If it’s not fitting the brief, start again. Be proud but not arrogant.

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07. Save often, auto save function

Every so often After Effects will remind you to save your work by crashing. Get into the habit of regularly pressing Ctrl/Cmnd+S, and soon it will become second nature. Alternatively you can tell After Effects to Auto Save (Preferences>Auto Save) – every 30 minutes is a good timescale.

James Wignall

08. Clear images

When it comes to video footage, the best effects are usually those that nobody notices as effects. Subtly shifting colours, darkening the blacks, or adding a slight wobble to the footage is far better than adding a lot of obvious filters and effects.

Chris Kenworthy

09. Try something new

Move away from the subject matter: if your project is about football, go fishing.

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10. Z-depth focus

A z-depth render pass is a greyscale image showing which parts of your 3D scene are closest to the camera. Combine this with a focus effect like After Effects‘ lens blur and you can produce a depth of field effect. Try doing this in your 3D package and you can look forward to quadrupling your render times.

Christian Darkin

11. Experiment

Learn about new techniques rather than trends.

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12. Colour coding layers

I find it extremely handy to colour-code layers. To do this click on your layer(s), and then click on the small coloured square next to the layer number. A menu with lots of colour options should appear, so just select your favourite colour. You can also select groups of layers with the same colour group – nifty!

James Wignall

13. Plan the edit

When working with an animation, don’t underestimate the edit. Map the path of the story from start to finish.

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14. Smoke

Another thing that wrecks render times in 3D is smoke and fire. Having lots of transparent particles calculated in 3D takes hours. However, a compositor can do a convincing 2D version virtually in real time. Just create a low opacity smudge in Photoshop, then use that as a particle in your compositor’s particle system. Create lots of almost completely transparent particles and allow them to spin and grow and you’ll end up with a convincing smoke effect.

Christian Darkin

15. Subtle effects

It’s better to use a few subtle techniques to create an effect, rather than one basic filter. Rather than just applying a Glow filter, you could use two layers of identical footage, make the top layer blur, and reduce its opacity. This is more unique than an out-of-the-box Glow filter.

Chris Kenworthy

17. Naming structures are important

Name things logically, otherwise it’s like finding a needle in a haystack as the project gets bigger! This applies to both folder structures, and within your After Effects projects. I normally set things up by having folders for Comp, Footage, Audio, IllustratorPhotoshop, and Output / Renders.

James Wignall

18. Try vignettes

Vignetting each scene with blurs, plus slightly darkening the affected areas, creates a smoothness that’s easy on the eye, and helps integrate the various shots into the sequence.

Liquid TV

19. Make it flow

Whether it’s a basic title sequence or a more complex project, there should always be a sense of flow. Don’t just put in a shot or effect for the sake of it; guide the viewer’s attention to the next piece of information.

Chris Kenworthy

20. Glows

3D renders tend to come out very sharp-edged and clean-looking. Adding a bit of grain is obvious, but why not try a subtle glow effect on the brightest parts of the shot. It gives a slight glare to the scene and slightly softens edges.

Christian Darkin

22. Adding notes to layers

Click on a layer and press the * button on the number pad to add little annotations to layers. Once you’ve pressed the * button, double-click on the arrow and a menu window will appear. Type your description in the comments box and it will appear on the layer. You can also add chapters, URLs and frame targets.

James Wignall

23. Visual interest

Don’t leave the viewer with a blank screen. Always have something there, even if it’s completely blurred out, or difficult to see. A blank screen invites the viewer to shift attention away from the screen, and the trance you’re trying to create is broken.

Chris Kenworthy

24. Add atmosphere

Be generous with fog and atmosphere passes – these blend all the layers together nicely.

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25. 3D puppets

3D characters are ideal candidates for After Effects‘ Puppet tool. Animate the small movements like facial expressions and hand gestures in 3D, then render out as a series of tiffs with a transparent background. You can then very quickly add big movements using the Puppet tool and even tie them to mouse movement for very natural motion.

Christian Darkin

26. Storybording

I’m sure I’m preaching to the converted and you don’t need me telling you the importance of storyboarding your project. It’s good because it allows you to see the project as a whole and how it all comes together. You can also scan in the images and make an animatic to work out timings for shots.
James Wignall

28. Don’t bombard

When motion graphics packages first made it easy for us to do speed ramps, flash frames and multiple layer, most projects used all these effects. Things have calmed down now. Decide on an overall style that reflects the meaning of your project, and use the software to create it.

Chris Kenworthy

30. Save processing power

3D and compositing both take a lot of time and processing power in rendering, but each is better at some things than others. Before you hit the render button, devote a little time to deciding what will render more efficiently in your compositor, and use render passes to give yourself all the options you can.

Christian Darkin

31. Previz your scene carefully

There is always a desire to get into the detail early – don’t! Get the broad picture sorted and signed off first.

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32. Parenting

If you are planning on animating characters, parenting becomes pretty essential. To parent one layer to another, click the drop-box menu in the layer’s ‘Parent’ column, or use the Pick Whip to select the layer you want to parent it to. The layer will now follow the Parent layer’s movements, but also allow you to move it independently too.

James Wignall

33. If in doubt, blur it out

Blurring might not seem like the most exciting thing to do to images and text, but it can have a strong effect. Switch blurring on and off at great speed, or add motion blur to animated text. This is possibly the best way to add an instant feeling of quality.

Chris Kenworthy

34. Vanishing point 3D sets

Photoshop‘s Vanishing Point tool allows you to create very simple 3D sets from photos. These can be imported straight into After Effects where you can add new elements. Vanishing point sets sometimes require a bit of adjustment in terms of camera position, but even with a few minutes’ work, the results can be more realistic than a full 3D scene.

Christian Darkin

35. Keep consistency

Agree a naming system for scene files and renders with everyone you work with – both staff and freelancers.

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36. Mask your blur

Blurring is never more powerful than when it’s combined with an animated mask. When you’re working on video footage, you can use a mask to blur out a background, to intensify the focus on the foreground. Or you can animate a mask over text, so that a sweep of blurring passes over the words.

Chris Kenworthy

38. Puppet tool

The Puppet tool is a relatively new addition to After Effects‘ arsenal. Previously making character animation seem more natural and smooth was quite hard, involving lots of trickery with distortion filters. With the addition of the Puppet tool you can now add some bendy-ness, so the movement isn’t so rigid!

James Wignall

39. Use presets

Maya provides a preset layer function for doing ambient occlusion: Ctrl/right-click on the layer and select Presets>Occlusion. The luminance depth is also useful for putting atmospheric perspective into the scene.

Liquid TV

40. Video from a still

Turn a still into a moving image by cutting out the objects that are closest to the camera, and placing them on new layers within Photoshop. Use the Clone tool to fill in the background behind the objects and then import the .psd file into your compositor. You can now arrange the layers in 3D and create a realistic pan or zoom effect. Keep it slow and gentle, and add some blur to the background to produce a more realistic shot.

Christian Darkin

41. Keep it clear

Whether you want people to read text, or see a story being told with images, maintaining the clarity is more important than using flashy techniques. So never use an effect or movement for its own sake. Whatever else you do, make sure the viewer can read the text or follow the story.

Chris Kenworthy

44. Precomping character moves

Precomping (also known as “nesting”) is when you have a composition within a composition. It comes into play with character animation as you can keep everything simple and separate. You could have a composition for a walk cycle, wave, trip – anything really. In our main composition you can simply cut between the precomps to make up the sequence.

James Wignall

45. Mix paint effects

Mix as many different types of paint effects that you can find for a realistic look. Grass, in particular, will look much better if you have some wind blowing, and combine some field grass and jungle grass.

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46. Parallax scroll

If you have a wide panoramic shot, try adding a slant filter centred on the horizon, then animate the strength of the sheer. The bottom of the shot will then pan faster than the horizon, creating the impression of a tracking shot over a real landscape.

Christian Darkin

47. Coffee break test

When all your work is done, take a break of at least 10 minutes – but preferably an hour – and then watch it afresh. You may notice mistakes, or find there are dull moments. When you’ve been working on something for hours, or days, always run this check before signing off on a job.

Chris Kenworthy

48. The finished look

Some useful trade secretes here: once you’ve finished all the legwork of animating your project, there are a few small things you can do to help seal the deal. Try adding some Adjustment Layers for a bit of Noise (Filter>Noise & Grain), a Vignette and, if adventurous, a bit of colour correction.

James Wignall

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