I’ve only been working at Origo for around three short months, but I’ve already done some great projects I’m really proud of. We’ve done a lot of great work for some really neat clients that I hope to share, but we also managed to fit in making a holiday promotion for ourselves. We went through a lot of concepts– more than usual, even, and ended up with a great video. It’s only mid january, so it’s still almost relevant! If you haven’t already, watch it above.
It’s a neat little video, and I had a lot of fun designing the motion for it. I was initially provided with just the end graphic and was a bit apprehensive about how it would come together. Being a typographic piece where everything fit so neatly into each other, it looked a lot more like a design built for print than for movement.
By virtue of the type being so locked up with each other, there wasn’t a lot of opportunity for some of the more high concept text builds I had up my sleeve (if you can ever call a text build high concept). And, indeed, none of the text builds in the finished piece are particularly advanced. Mostly simple wipes or moves, which works well, but aren’t things I’m usually very excited about. Creatively, the breakthrough for me came when I accepted that it was going to be a flat piece with simple builds and approached the edit as if I were tasked with showing off a physical card. I made use of product shot style slow pans that have the perfect steadiness that you can only normally achieve with a high end camera rig (or, of course, my all-digital set). I imitated some of the luscious product photography I’ve seen by liberally using depth of field to a create a “macro shot” look. And I cut between the main shot and the faux “B-Roll” like you’d expect from that sort of video.
I animated each word coming in by hand. All 258 of them. I experimented with some fractal stuff, and some fades, but there was really no substitute for giving each word its own personality and movement. It was a lot of work, but the problem was, when viewed all at once they could be overwhelming. Without the cutaways to the B-roll footage, the entire piece was like the last bit before the tree comes in:
You were watching something build, but you weren’t sure what until right before it was revealed. The only problem was that instead a few seconds of that confusion, there was 20 seconds of that confusion. By cutting in to the closer shots, where you can only see a few words, I can highlight some of the text details and movement that would otherwise be completely lost. By being able to see a few words in detail, it gives greater weight to all of the other words you don’t get to see. And giving a slow macro shot flyby of the piece gives it a feeling of weight and tangibility. Better yet, since the text and textures are digital, they will always have the crispness of a fine printed piece no matter how close the camera gets. The vector text increased render time significantly, but the payoff in quality was well worth it.
The end of the piece has its moments too. The direction for it is, obviously, “classy”, and I included soft moves and some handwriting writing in (also tediously hand animated). Once the tree is revealed, the tree is topped by the Origo burst, which makes a perfect substitute for a star. The final holiday message is stated, and fades to a URL as the last of O Christmas Tree fades away. It was an overall well received video and a really enjoyable video to create.