MOTION GRAPHIC.ppt

motiongraphic,introductionmotiongraphicsaregraphicsthatusevideoand/oranimationtechnologytocreatetheillusionofmotionoratransformingappearance.motiongraphicsaregenerallyshortpiecesoftime-basedvisualmediawhichcombinethelanguagesoffilmandgraphicdesign.thiscanbeaccomplishedbyincorporatinganumberofdifferentelementssuchas2dand3danimation,video,film,typography,illustration,photography,andmusic.commonapplicationsofmotiongraphicsarefilmtitlesequences,animatedlogosattheendofcommercials,lower-thirdelements,etc.broadcastgraphicsaremotiongraphicshasastrongpresenceintelevision.commercialgraphics,entertainment,andshowpackaginggraphicsarejustafewofthevenuesinwhichmotiondesignisfound.somehistorytherehavebeenpresentationsthatcouldbeclassifiedasmotiongraphicsasearlyasthe1800s.othersources,suchasthe2003macworldconferenceandexpowebsite,claimthatitstartedinthe1990s.,introductioncontsaulbassisamongstthemostsignificantpioneerinanimatedgraphicdesign,andthathisworkmarksthetruebeginningofwhatisnowcommonlyreferredtoasmotiongraphics.hisworkincludedtitlesequencesforpopularfilmssuchasthemanwiththegoldenarm(1955),vertigo(1958),anatomyofamurder(1959),northbynorthwest(1959),psycho(1960),andadvisebutevenforthecaseswhereanobjectjustkeepsmovingwithoutstopping(forexample,untilitgetsoutofsight),addingsomesecondderivative(whichisthemathematicalequivalentforthephysicalconceptofacceleration)willmakeitsmovementmorenaturalandengaging.,non-linearanimationcontusecurvilinearmotionpathsinsteadoflinearoneswherepossible,evenifthecurveisasimplecircle.whenmovinganobjectalongalinearpath,rotatingitatsomedegreeduringtheshiftwillhelptoenlivenit.usingrotationincombinationwithaccelerationordecelerationwillmakeamotionmuchmoreorganic.addingathirddimensiontoyourmotionmaycompensateforitstoolinearcharacter.fore.g.,asimpletrickofenlargingorreducinganobjectdynamicallythusgivingitanimpressionofemergingorsinkingrelativetotheplaneofthescreen.again,thistechniquecanbeusedincombinationwithlinearmotion,accelerating/deceleratingandrotation.colorandtextureeffectscan,tosomeextent,maskthelinearityofamotion.combinedwithagradualdarkening/lightening,transparencyvariation,oramovinghighlightsuchasthatoffig.2,evenanabsolutelymonotonousprogressionmayturnintoaninterestingexperience.,non-linearanimationcontaboutanytransformationofanobject,suchasshapemorphingortweening,forcesustowatchitwithmuchcloserattention,eveniftheobjectisimmobileorinvolvedinasimplelinearmotion.transformationsaresomethingcomputerscandoamazinglywell,andcreativeopportunitiesareenormous.withlinearmotions,try,attheveryleast,tomakethemasshortaspossible;avoidfrustratingtheviewerbypushinganobjecttoofarinatoomonotonousmanner.inaddition,useanumberofshortlinearmovementsofdifferentobjectsinsteadofasingleobjectscomplexmotionpath.withavectorformatsuchasflash,youcanusemultipleinstancesofthesameobjectmovingsimultaneouslyindifferentpointsanddirectionstocreateanimpressiveswarmingeffectwithminimumbandwidth.generally,alwaysattempttocompressyourmoviestimespanbypartiallyoverlappingconsecutiveanimationstagessothattheentirecliplooksmoredynamicandthepossibledeficienciesofeachsingleobjectsbehaviorarelessnoticeable.,dynamicdesignmotioncanbethoughtofasadirectoppositeofbalance.amovingobject,beitanexplicitlymovingcartooncharacterinananimatedbanneroranimplicitlymoving(butactuallystatic)photoofajumpingathlete,makesusfeelthatnotonlythiselementisabouttomovebutthewholescenewillprobablychange.thisinstability,whenobvious,addsauniquedynamicflavourtoadesign.however,dynamicnotalwaysmeansunstable;hardlyanycompositioncanbesuccessfulwithoutsubtleyetimportantbitsofmotionspreadoverthepage.,abstractdynamismvisualsimplicity(fig.1)isanessentialprerequisiteforanyobjectsdynamicfunction:wetendtofeelthatatoocomplexofintricateobjectwouldhavetroublesmovingswiftly.quiteoftenbyjustsimplifyingthestructureofanelement,bystreamliningitandbyarrangingitspartsinamoreobviouslyhierarchicalpattern,wereducethedrag(inaerodynamicterms)andrevealtheintrinsicdynamisminthatelement.fig.1:dynamicsimplicity(thefigureontheleftismoredynamicthanthatontheright),abstractdynamismcontdiagonality,rotation,non-horizontalityandnon-verticalityallhave,aswevejustseen,astrongmotionimplication(fig.2).physicalworldaroundusoffersplentyofexamplesshowingthatanynon-architectonicobjectiseitherfalling,orjumping,orsimplyunstable-inaword,dynamic.fig.2:dynamicrotation,abstractdynamismcontslant,orskew,isaspecialcaseofrotationwithsomepartsoftheobjectssoutlinestillhorizontalorvertical,andothers,rotatedatsomeangle(fig.3).here,thearchitectonicpartsofthecontourdefinethedirectionofthemotion,whiletheslantedpartsaddforcetoitandmakeitmoreexpressive.physicalanalogsforthisfeaturewouldincludedeformationsinmovingobjectscausedbyinertiaoraerodynamicdrag.itisthiseffectthatmakessans-serifitalictypefacessoexpressivelydynamic-especiallywhencomparedtoserifitalicwhicharenotslantedvariantsoftheromanfaces,butindependentimitationsofhandwritingwithoutmuchdynamism.fig.3:dynamicskewing,abstractdynamismcontcurvaturerangeleadstoaddingmoreexplicitdynamismtotheshape,aswegofromaperfectlystillandsymmetriccirclewithitszerocurvaturerangetoexpressivebeziers,andfurtherontotheformsmadeofstraightlinesandsharpcorners(e.g.trianglesandarrowheads)-which,indeed,representnothingbuttheultimatecaseofinfinitecurvaturerange.intheworldoftextures,dynamismismostoftenexpressedbyvariousblurthemes,notablybythewindandmotionblurtexturizingeffects.indeed,anythingmovingswiftlyenoughappearsblurredtothehumaneye,andimitatingthatblurbydesignmeansisasurewaytoadddynamicflavourtothecomposition.(fig.4)fig.4:dynamictexturizing,abstractdynamismcontasymmetryofanykind,beitintheaspectofform,size,orcolor,isanothersourceofdynamicimplication(fig.5).infact,whatiscalledasymmetryisasingleobjectversionofwhatwecallcontrastforacoupleofobjects;muchascontrastisperceivedassuchonlywhentheobjectsarevisuallylinkedandnotjustdissimilar,asymmetrymayonlyproduceanyeffectwhenwegetthefeelingthattheshapecouldbesymmetricbutisnt.dynamiceyeflowsinducedbypairsofcontrastingobjectsarethesubjectofanextsection.fig.5:dynamicasymmetry,abstractdynamismcontnow,imaginethatallofthefeatureslistedabovedonotapply,andwhatwehaveisasimple,perfectlysymmetricshapewithoutanyslant,rotation,orblur.eveninthiscasesometracesofdynamismarepresentintheobject,anditseasytoseethatitsinclinationtomovemostlydependsontheobjectsproportions(fig.6)-inotherwords,onwhetheritsheightisclosetoitswidth,orthedimensionsdifferconsiderably.simplyput,astretchedrectangleismorelikelytoimplysomedynamismthanasquare.fig.6:dynamicproportions,abstractdynamismcontdynamizingalineastraightline(i.e.anultimatelystretchedrectangle),evenbeingperfectlyhorizontalorvertical,wouldhavearelativelystrongdynamicpower.muchasanaturallydynamicimageintroducesalineofmotion,anyvisiblelinecreatessomedynamism.suchalinedrivesoureyesaway,workingasarailwaytoquicklytravelfromonepartofthecompositiontoanother.thedynamiccomponentofastraightlinemostlydependsonitsendsareformed.anunconnectedline(fig.7,a)notonlyhasnodirectionofitsown.onlyasmallfragmentofthelinenearthemiddlecanserveasaguidelinefortheeye,whileattheends,anymovementtendstoslowdown-wejustdontseeanyreasontokeeprunningalongthelineassoonaswenotethattheendofthepathhasnothingtooffertoourperception.,abstractdynamismcontfig.7:dynamisingalinebyplayingwithitsends,abstractdynamismcontthefirstattempttoacceleratethedynamismofthelinebyattachingsomeobjectstoitsends(fig.7,b)isnottoosuccessful.thelineendsfailingtoattracttheviewerseyes.bychangingthemethodofattachingthelinetoanobject:fromgrowsoutoftojumpsinto(fig.7,c),althoughitsstillsymmetricandthereforedirectionless,butmoredynamicthanbefore,itlookslikethecirclesdonotbelongtothesameobjectastheline;theyworkasseparatemagnetsdrivingourperceptiontowardstheendsoftheline.(fig.7,d)hasthestrongestdynamismofallsamplesstudiedinthissection.itsleftendpushesandtherightendpulls,resultinginanpowerfuldynamicflowalongtheline,fromlefttoright.itisalsoclearthatiftherightendsimplyhangsintheairasinfig7,e(oriftherightcirclebecomestoolargeind)thenthedynamicforceisprettymuchdiminished-evenifweattempttokeepitupbyaddinganarrowheadonthelooseend.,eyeflow-directioneveninaseeminglystaticpictureatrainedeyecandiscernacomplexpatternofinteractingmovements.wheneverweestablishacontrastlinkbetweentwoobjectsinacomposition,wethusencouragetheviewertopayaspecialattentiontothispairofelements-tocomparethemandanalyz