1. This experiment took some images I painted in Photoshop, as part of my semester-long film, and manipulated each individual layer by moving them individually to create the illusion of dimensionality. This experiment was my first working with After Effects and painted objects, and was also a chance for me to take a risk with cutting and manipulating a single image.
2. I knew that distant objects needed to move more slowly while the closest buildings would need to move quickly. This would give the video the sense of depth I was looking for. In examining After Effects' position settings, I decided to not just move the buildings to the left or right, but up, down, and sideways. I tried to make buildings next to each other move in separate directions - diagonally left down or up. I was hoping this would add interest and separate the painting from a static matte background, and distance it from the 'real' effect of camera zoom.
3. The test worked in terms of creating a sense of depth but the motion was too fast. The colors were a little too yellow when taken from Photoshop to After Effects. And shifting the buildings required a lot more precision than I had originally imagined. I learned about camera projection in After Effects afterwards, as well, along with a number of other interesting particle effects to create realistic ambience. I also think that the lack of the sky background made the image feel less like a true environment and more like a collage.
4. This experiment taught me the process of bundling images into layers, and creating complex compositions from a single painting. The feedback that Photoshop and After Effects has is mind-numbingly good, and I learned the importance of timing the right motion between background images. As it stands, this particular shot doesn't have a single focus, so I think it could be enhanced with a more interesting lighting scheme that directs the viewer's eye towards the center of the screen.
5. This test has given me the experience to develop my skills in matte painting around the motion of foreground and background objects, and to paint with a sense of how the overall scene will be lit as the objects move. For the background paintings in the next twenty or so shots in the film, I will paint with a firm sense of depth and lighting with respect to how the objects will move. Above all, I want the environment to retain the principles of a realistic environment while making the content distinctly pass reality.
City Building Test from Raj Brueggemann on Vimeo.
2. I knew that distant objects needed to move more slowly while the closest buildings would need to move quickly. This would give the video the sense of depth I was looking for. In examining After Effects' position settings, I decided to not just move the buildings to the left or right, but up, down, and sideways. I tried to make buildings next to each other move in separate directions - diagonally left down or up. I was hoping this would add interest and separate the painting from a static matte background, and distance it from the 'real' effect of camera zoom.
3. The test worked in terms of creating a sense of depth but the motion was too fast. The colors were a little too yellow when taken from Photoshop to After Effects. And shifting the buildings required a lot more precision than I had originally imagined. I learned about camera projection in After Effects afterwards, as well, along with a number of other interesting particle effects to create realistic ambience. I also think that the lack of the sky background made the image feel less like a true environment and more like a collage.
4. This experiment taught me the process of bundling images into layers, and creating complex compositions from a single painting. The feedback that Photoshop and After Effects has is mind-numbingly good, and I learned the importance of timing the right motion between background images. As it stands, this particular shot doesn't have a single focus, so I think it could be enhanced with a more interesting lighting scheme that directs the viewer's eye towards the center of the screen.
5. This test has given me the experience to develop my skills in matte painting around the motion of foreground and background objects, and to paint with a sense of how the overall scene will be lit as the objects move. For the background paintings in the next twenty or so shots in the film, I will paint with a firm sense of depth and lighting with respect to how the objects will move. Above all, I want the environment to retain the principles of a realistic environment while making the content distinctly pass reality.
City Building Test from Raj Brueggemann on Vimeo.
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