Website for www.fullstopcc.com.
A full Flash website with Twitter connectivity & sliding interface + non-Flash device interface.
- website loader
- website main interface
- website device interface: iPad
Concept & production of a series of high-res photographic composites for print & web.
With: Snor – Dieter Coppens
Awards: Prijs voor Overheidscommunicatie 2011
Typographic TV commercial: storyboard, design, animation
Agency:Proximity BBDO
Check out the video on Vimeo HERE
Series of HD animations for the 2010 Paris Motor Show.
Agency: Proximity BBDO
Video shoot & edit.
Visit http://www.drivechallenge.be to see a Flash version of the movie.
Agency: VVL BBDO
Video production / post production / web delivery
Agency: Proximity BBDO
Website: www.krijgterug.be (offline)
Problem: how do we get a good quality full HD video to all surfers?
Solution: use 2K video as source, crop it to HD, cut out all non-moving areas in the frame and make it a transparent PNG overlay image for the video parts.
Problem: how do we get different folder designs in the video without shooting twice?
Solution: key and track all variable elements, replace the covers in post – thanks again Mocha!
A series of 2D animations used in the theater show Appartemensen by Het Gevolg.
Tom Schoonooghe, the illustrator and also an actor in the play, provided us with the necessary graphical elements in his typical hand-drawn style. We used his drawings to create a series of basic 2D animations.
The animations are back projected in the stage during the play and show the outdoor environment of the apartment where the story is taking place.
6 great rotoscoping tips from Imagineer Systems
1) There is no such thing as a perfect matte. Rotoscoping is an art form that takes into account the background image, the movement of the object, and the new elements to be composited in the background.
2) Try to start your shape at its most complex point in time, where it will need the most control points.
3) Break a complex shape into multiple simple shapes. If you are rotoscoping a humanoid form and an arm becomes visible, consider rotoscoping the arm as its own element, rather than adding extra points on the body that will serve no purpose when the arm is obscured.
4) Imagine you are the animator who created the shot. What would your dope sheet look like? No matter the medium, whether CG, live action or otherwise, most movements are rarely linear. They normally move in arcs; they normally accelerate in and out of stopped positions. Try and understand the mechanics behind how things are moving in your shot. This will help you to minimize keyframes.
5) Watch and study the shot before you start working. Where are the changes in directions? These will normally have keyframes. Where are the starts and stops? Are there camera moves that can be stabilized to make your work easier?
6) Don’t be afraid to trash your work and start over. Beginning roto artists often make the mistake of trying to fix a flawed approach by adding more and more keyframes. Experienced roto artists learn to quickly identify an inferior approach and are unashamed to trash their work and start over, often many, many times. It is very difficult to get a good matte without a conscious effort to keep the keyframes to a minimum.
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