P3 as major tool in Motion Graphics for TV-Shows
This post is sort of a psudo tutorial/information post.
I have been asked by many how I create my assets, and the seemingly endless amount of GUI/FUI assets.
Some of you know my work on the pro emitters, and the monthly free emitters from Wondertouch.
But maybe less known is how we, Renderbandt llc, use it to create vfx assets for graphic laden shows and pilot productions by Spielberg, CBS, NBC, Fox, and many more.
The crux of the production cycles are really the tool that allows for flexibility and visual impact, in short, visual communication with out all the hoopla that seems to come with such production.
For instance on Fox 24, where Bauer is running around saving the world from evil masterminds, using all kinds of government developed high tech tools for tracking, analyzing, satellite surveillance, voice recognition, face recognition, finger/hand/eye recognition, data retrieval, data analytical procedures, decoding, encoding, medical information, poison detection. If you can think of it, it is probably in the heads of the writers as well, and hence needs to translate into tangible visual assets on screen at some point.
The process of creating these are deceptively "simple" but no less challenging.
In order to create such assets, you pick the clients mindset, his/hers need and what needs to be conveyed in very specific context. Pacing and tempo played a large role into this as well, color schemes, style, for instance, what fonts and kerning do CIA likely use on their fancy computers.
In the end it have to look authentic, its so easy to go overboard where you make mockery of the suspension of disbelief.
Keep in mind, its not the overall "look" that sells, or break the illusion, but the details.
The biggest mistake most novices make is lack of visual rythm, or visual lifespan methodology. That is where Particle Illusion really makes some strides. Unlike After fx, Nuke, or other feature ridden packages, P3 is relatively simple, and is as good as as what you put in. Also it forces you to think of methods, rather than looping, or a fixed time process.
Meaning, in a composition package you often find yourself solving a very specific "shot" that only lasts for a specific time using a more start/end mentality.
Whereas P3 makes you think in ways of methods, or engineering a "system" that solves the production of an vfx need.
Higher end systems that have huge potential, such that relies heavy on systematically using code derivatives in conjunction with a hook up to rendering pipelines, such as Houdini, or Maya also have huge overheads. And not feasible in relatively quick turn around production with little time and even less funding to solve a particular need.
An example of that was doing the explosion assets for Fleet Defense, Iphone game by 2XL, I relied on P3 and Adobe Bridge.
I was a direct production flow, develop a style with the developer, quickly show them in real time what they would look like. Approval, rendered out tga sequences, and used bridge to build animation-skip sheets images with Bridge.
8 different asset sequences was produced before the end of the day.
When doing UI work, its a similar process. Very straight forward production pipeline. It has one drawback however, and its kind of obvious when you think about it. Any tool that is simple, will relay more on the talent behind the controls.
Case in point, grab any artist you know, including yourself, throw out anything that can do undo...grab a pencil and a piece of paper, and don't feel the wee bit uncomfortable abut creating high quality art/dev assets...
To see some examples of what types of assets P3 can be used for outside the obvious, and is currently being used for on shows like 24, and a host of other undisclosed ones (as of yet)
Please visits these spots to see more examples such as this:
Hope this was informative.