Lower Third Motion Graphics for CARDA

Lower Third Graphics for the California Rescue Dog Association (CARDA)

We recently created lower third motion graphics for CARDA and their spot on Canine Corner. Founded in 1976, CARDA is a 501(c)3 non-profit, and the largest volunteer search dog organization in America.

CARDA’s mission is to train, certify, and deploy highly-qualified search dog teams to assist law enforcement and other public safety agencies in the search for lost and missing persons. CARDA search dog teams have participated in thousands of missing person searches and have saved public safety agencies millions of dollars through the use of volunteer resources.
We’ve had the pleasure of working with this great organisation for nearly a decade. It has included the projects below and many more.

Logo and Brand Evolution

Work on this brand has involved working with the existing mark, helping it evolve into something easily identifiable in modern media and social media outlets. It has also involved market research, analysis of the competition, and concept work to help the organisation grow in the future.

Pet Food Express Fundraiser Materials

CARDA participates in one big fundraising event annually in partnership with Pet Food Express. This event is crucial to the organisations funding and operations CARDA flyer design. throughout the year. We created
posters, flyers, print and digital advertising, and store displays. Their next event is scheduled for June 6 & 7, 2015 go here for more information.

Previous CARDA/Pet Food Express Fundraising Successes

Newsletter and Custom Illustrations

We’ve also designed and produced a monthly newsletter for CARDA’s internal distribution. It’s used to inform and educate CARDA members. Educational and promotional illustrations, photographs, and diagrams were created to aid articles.

Related Information

Good Design and Funding a Nonprofit


O’Connell Design is a creative studio dedicated to film and motion, game cinematics and engaging visuals. For more information on our studio and to view our portfolio go to www.oconnelldesign.com.

 

Staying Broadcast Safe with Motion Graphics for TV

“Broadcast-safe video (broadcast legal or legal signal) is a term used in the broadcast industry to define video and audio compliant with the technical or regulatory broadcast requirements of the target area or region the feed might be broadcasting to.[1] In the United States, the Federal Communications Commission (FCC) is the regulatory authority; in most of Europe, standards are set by the European Broadcasting Union (EBU).” –Wikipedia

Here are a few notes to help you with your next motion graphics for TV project.

Broadcast safe color bars.
Broadcast safe color bars.

Broadcast Safe colors, broadcast colors, or broadcast-safe colors are colors required for videos in the broadcast industry. Essentially, you need to keep each RGB value below 235. You can do this by specifying each color in the graphic but it all changes when you add an effect or a blending mode. An effect that adds to the brightness or glow can cause you to move beyond safe colors.

Solutions for Broadcast Safe Motion Graphics for TV:

  1. Use the scopes at a TV studio or let video editor handle it. It’s always nice to divide up the work and hand this over to a professional.
  2. Use Synthetic Aperture’s Color Finesse (more below)
  3. Use the After Effects plugin Broadcast Colors (although the reviews on this seem to be mixed and it might not be as accurate as you’d like)
  4. Aharon Rabinowitz’s solution is to solve the problem with an adjustment layer
  • Add adjustment layer on top of all footage
  • Layer, new, adjustment layer
  • Effect, Adjust, Levels (going to dull colors)
    • Input K: 16, Input white: 235
    • Output K:15, Output white: 235
Color Finesse for After Effects CC.
Color Finesse for After Effects CC.

Synthetic Aperture’s Color Finesse for Broadcast Safe Motion Graphics for TV

Synthetic Aperture provides professional digital video production tools. Color Finesse is a plugin that does color correction and enhancement in After Effects CC, Final Cut Pro, and Premiere Pro—and as a standalone application.

Reviews on this plugin seem to be positive but mixed. For more information on Color Finesse workflows go to:

  • Color Finesse Workflow: Primary Grading (Part 1)
  • Color Finesse Workflow: Primary Grading (Part 2)
  • Color Finesse Workflow: Using a Control Surface (2011)

As always, make sure the scopes are set up for the appropriate broadcasting system. “In the USA, that means NTSC, and NTSC works from a Waveform Monitor video level black of 16-16-16 to a white of 235-235-235. Set color saturation for the Vectorscope to 75% Bars, not 100% Bars. Of the two, it’s more important to get the vectorscope right. Most NLE’s have software proc amps that sort out video levels properly. But not color saturation.” (-Dave LaRonde, Former Sr. Promotion Producer, KCRG-TV (ABC) Cedar Rapids, IA)

Dave also provides a tip for great reds used by the BBC – “they begin with fully-saturated reds, and then the MAKE THEM DARKER. The result: a nice, bright and legal red, but darker than you’d think. Try the trick yourself, and check it out in Color Finesse.” (-Dave LaRonde)

Sources


O'Connell Design
O’Connell Design

O’Connell Design is a creative studio dedicated to film and motion, game cinematics, and engaging visuals. For more information on our studio and to view our portfolio go to www.oconnelldesign.com.

Smoldering Sun & Light

Sun and Light Film Test

This short clip was primarily created using Adobe After Effects’ CC Sphere, HDR Highlight Compression, Curves and a whole lot of Fractal Noise effects. In addition Adobe Illustrator and Premiere Pro were used.

Motion graphics
Screenshot 1
motion graphics
Screenshot 2
motion graphics
Screenshot 3
motion graphics
Screenshot 4
motion graphics
Screenshot 5

 


O'Connell Design
O’Connell Design

 

O’Connell Design is a creative studio dedicated to film and motion, game cinematics, and engaging visuals. For more information on our studio and to view our portfolio go to www.oconnelldesign.com.

Shattered the Movie

Motion Graphics Movie Title: Shattered

Motion Graphics Production Notes

Movie title test for Shattered. This video was produced using After Effects, Premiere Pro, Photoshop, Audition

Credits

Motion Graphics Design, Artwork, Art Direction: L.V.O’Connell
Audio: “Light Bulb Breaking” by Mike Koenig


O'Connell Design
O’Connell Design

O’Connell Design is a creative studio dedicated to film and motion, game cinematics, and engaging visuals. For more information on our studio and to view our portfolio go to www.oconnelldesign.com.

Movie Title Test: Shadow & Light

Motion Graphics Series :: Movie Title Tests

Motion Graphics Movie Title Production Notes

Created with After Effects, Premiere Pro and Cinema 4D. This video makes use to custom textures and lighting rigs. These files were created using a procedural technique so that the text and background image can be changed to suit the audience or venue.

Credits

Motion Graphics Design, Artwork, Art Direction: L.V.O’Connell, www.oconnelldesign.com
Music:  “Bee Quiet“ by Ergo Phizmiz

Movie Title Odoacer

Motion Graphics Movie Title:: Odoacer, End of an Empire

About the Movie Title

“After the fall of the greatest empire the world has ever seen, one man is left to put the pieces back together.” A movie title design study for an historic fiction movie based of the end of the Roman Empire.

Motion Graphics Movie Title Production Notes

This movie title test for the movie, Odoacer, was created using After Effects, Photoshop, Illustrator and Premiere Pro. The title’s logotype was designed, transferred into After Effects. The animation also uses 3D effects to create depth and allow light to appear on the falling fragments.

Credits

Motion Graphics Design, Artwork, Art Direction: L.V.O’Connell, www.oconnelldesign.com
Music: “War And Peace“ by Jamie Evans, CC 3.0

Typography of Good Motion Graphics

Leading for typography.

Finding the Music in the Typography of Good Motion Graphics

When describing good typography, terms like rhythm, proportion and motion are frequently used. The music of superior typography has a good measure to each line of text in a paragraph. Horizontal motion and a vertical motion even of static typography can aid in the ease of readability and ultimately the flow. This flow is the same you find in psychology or the gaming world.

“Flow is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.” Flow, Wikipedia]

These same qualitative terms apply to motion design. With motion design, however, you have a limited time to present the text. We all have a need to read text that is put in front of us. Here are a few recommendations of how to make the best use of the typography in order to aid in the flow of reading and assimilating content.

Audience

Determine the parameters of the project. Screen resolution, device, and distribution system all play a part in the final product as well as who the project needs to speak to. Attention to the rhythm, proportion and motion of the typography are important.

Font

Choose your font, size and color carefully. Serif fonts can be tougher to read on a smaller screen, but can be easier to read in properly leaded formatted blocks than a san serif font. Text that needs to be read quickly needs to have a higher contrast to its surroundings there is a reason why warning road signs in the US are black text on a yellow background. Its one of the best combinations for reading quickly and at a distance.

Measure Horizontal Motion of Static Typography

High contrast road sign.
High contrast road sign.

Pay attention to the measure, or the word spacing and width, of the columns. Word spacing can vary from a fixed distance in ragged right or left text, to an elastic space in justified text.

“Anything from 45 to 75 characters is widely regarded as a satisfactory length of line for a single-column page set in a serifed text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple column work, a better average is 40 to 50 characters.” [Horizontal Motion, Elements of Typographic Style Applied to the Web,
http://www.webtypography.net/Rhythm_and_Proportion/Horizontal_Motion/2.1.2/, site no longer active]

This is a useful rule of thumb but consider your audience. A dyslexic, or time-stressed executive for example, who has difficulty tracking will have trouble reading wider column.

Vertical Motion of Static Typography

Leading for typography.
Leading for typography.

The vertical space between lines of text, leading (or line-height), is used in a different way to the horizontal space but is equally important in the readability of text. Creating a rhythm and balance to the leading of paragraphs and headings allow the reader to predict a pattern and creates a comfortable flow.

When you start with these basic principles of rhythm and proportion, motion design of text and maintains greater readability across a wider audience.

A Fun example of typography in motion graphics.

Ira Glass on Storytelling from David Shiyang Liu on Vimeo.

Ira Glass on Storytelling from David Shiyang Liu on Vimeo.

 

 


O'Connell Design
O’Connell Design

O’Connell Design is a creative studio dedicated to film and motion, game cinematics, and engaging visuals. For more information on our studio and to view our portfolio go to www.oconnelldesign.com.

 

Motion Graphics Movie Title – Arctic

1st in a Motion Graphics Series :: Movie Title Tests

About the Movie Title

“As the long nights of winter close in, an expedition to the North Pole discovers something unexpected….”

The motion graphics for this Science Fiction/Thriller needed to create visual intensity and a sense of mystery. To achieve this, the images and type are dark and obscure. The type appears to move into the for foreground from deep within a frozen block of ice. The title comes into frame on a diagonal before settling in the center of the screen.

Motion Graphics Movie Title Production Notes

This movie title test for the movie, Arctic, was created using After Effects, Photoshop, Illustrator and Premiere Pro. The title’s logotype was designed and transferred into After Effects. The animation also uses 3D effects to create depth and allow a camera to move through the visual space in a number of ways.

Credits

Motion Graphics Design, Artwork, Art Direction: L.V.O’Connell, www.oconnelldesign.com
Music:Frozen“ to MaCu, CC 3.0

Motion Graphics Knotwork Animation

Celtic Design and Motion Graphics Knotwork

Art Direction, Design and Animation: L.V.O’Connell
Music: Percussive Fences by Ivan Chew / CC BY 3.0

Illuminated manuscripts date back to before the Middle Ages. Artwork in looks such as the Book of Kells is known as Insular Art. “Insular art, also known as Hiberno-Saxon art, is the style of art produced in the post-Roman history of the British Isles. The term derives from insula, the Latin term for “island”; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe.” – Insular Art, Wikipedia

The style is known for its highly dense and intricate decoration. There is a little or no depth in the art yet the interlace creates a sense of a woven or knotted object.