1st Edition
Motion Design Toolkit Principles, Practice, and Techniques
This book offers a comprehensive overview of techniques, processes, and professional practices in the area of Motion Design, from fundamental building blocks of organizing time and space in production to managing workflow, budgets, and client relationships. The authors provide insight into the production process from concept through execution in areas as diverse as social media to large-scale projection mapping for events and festivals. Readers will learn through real-world examples, case studies, and interviews how to effectively use their skills in various areas of Motion Design. Industry professionals provide unique perspectives on different areas of Motion Design while showcasing their outstanding and inspiring work throughout. This is a valuable resource to students who aspire to work in a broad range of visual communication disciplines and expand their practice of Motion Design.
FOREWORD
Introduction
CHAPTER 1: FOCUS AND FLOW
Working with Space
Working with Time
Getting Started in Motion Design
Designing Time & Space
Creative Brief – Basic Transformations
Professional Perspectives – Orion Tait
CHAPTER 2: BETWEEN THE KEYFRAMES
Keyframe Interpolation
Spatial Interpolation
Temporal Interpolation
Graph Editor
Creative Brief – Synesthesia
Professional Perspectives – David Conklin
CHAPTER 3: MAKSING, TYPE, & PROJECT STRUCTURES
Masking
Project Structure and Organization
Prepping Assets
Creative Brief – Animating Typography
Professional Perspectives – Jordan Lyle
CHAPTER 4: 2D CHARACTER RIGGING
2D Rigging
Parenting Hierarchies
After Effects Compositions and Pre-Compositions
Creative Brief – 2D Character Rigging
Professional Perspectives – Wendy Eduarte Briceño
CHAPTER 5: Z SPACE & VIRTUAL CAMERAS
Z Space
Virtual Cameras
Multi-View Layouts
Camera Movement
Creative Brief – Stills in Motion
Creative Brief – Juxtaposing Symbols
Professional Perspectives – Ariel Costa (Blink my Brain)
CHAPTER 6: PHSYICAL CAMERAS
The Image Revolution
Camera Basics
Recording the Image: The Sensor
The Image: Exposure and Lens Choice
Camera Support
Specialist Lenses
Alternative Visions
CHAPTER 7: EDITING FOR MOTION
Editing
Montage Editing: Meaning in Space / Meaning in Time
Editing Elements: The Sequence and Continuity
Editing Elements: The Sequence as Montage
Spatial Editing
Audio and Editing
Audio Edits / Cuts
Where and How to Edit
CHAPTER 8: ANIMATION TECHNIQUES
Early Optical Inventions
Cel Animation
12 Principles of Animation for Motion Designers
Understanding Frame Rate
Extending Frame-by-Frame Animation
Stop Motion Animation
Frame-by-Frame Techniques
CHAPTER 9: COMPOSITING
Compositing
Alpha Channels
Track Mattes
Green Screen
Blending
Color Correction
CHAPTER 10: MOTION DESIGN PRODUCTION
Production
Motion Tests
Types of Motion Tests
Boardomatics
Animatics
Rough Cuts
Finishing
Versioning
Professional Perspectives – Boo Wong
CHAPTER 11: AUDIO AND MOTION
Creative Work with Sound
Sound and Image Hierarchies
The Aura of Sound
The Material of Sound
Recording Sound
Editing and Using Sound
Creative Brief – Everyday Sounds and Images
Professional Perspectives – Mitch Paone
CHAPTER 12: MOTION DESIGN SYSTEMS
Production Systems
Software Systems
Design Systems
Media Systems
CHAPTER 13: PROJECTION MAPPING AND IMMERSIVE MEDIA
The Space Around Us
Projection, Screen, Surface
The Projection Workflow
Expanding the Canvas
Scanning the Real World
Fulldome and Immersive Cinema Production
CHAPTER 14: PROFESSIONAL PRACTICES
Hard Skills and Soft Skills
Demo Reel
Web Presence
Interviewing
Culture
Professional Perspectives – Peter Pak
CHAPTER 15: BUSINESS TOOLS
Scope
Specification
Design
Client Liaison
Production: Build
Production Schedules
Shot and Asset Lists
Delivery: Implement, Review, and Maintain
Tracking Milestones
Contracts and Agreements
Copyright, Intellectual Property and Work for Hire
The Freelance Incentive
The Hold System
Professional Perspetives – Erin Sarofsky
Biography
Austin Shaw is an assistant professor of design at Western Washington University. Previously, he taught at the Savannah College of Art and Design in Savannah, Georgia, where he was a professor in the motion media department for ten years, and at the School of Visual Arts in New York City for three years. For nearly 20 years, and in tandem with teaching, Austin has worked as a motion designer for clients including Target, Ferrari, FedEx, McGraw-Hill, Ralph Lauren, and VH1, and as a creative director, designer, and animator for companies such as Superfad, Digital Kitchen, Brand New School, and Curious Pictures.
John Colette is a professor of Motion Media Design at the Savannah College of Art and Design in Savannah, Georgia, where he previously served as department chair. As a professor, he has led collaborative industry research projects for external clients such as BMW Technology Group in Silicon Valley, Samsung, Microsoft, and Adobe Systems.
