William Thorup

Illustrator, Motion Graphics Designer, Animator, and VFX Artist

Tag: motion graphics

  • Legends Boxing 30 Second Commercial

    Legends Boxing 30 Second Commercial

    Working with Bryce Media, I was brought on as an on-set VFX consultant and as the post-production VFX/Motion Graphics artist for a 30 second web spot for Legends Boxing.

    The Prompt

    The primary goal of the spot was to show how Legends Boxing can be used as a tool for empowerment. With this prompt Neil Bryce and one of the owners of Legend Boxing scripted a 30 second spot featuring a woman between 35 and 40 reviewing the daily struggles that she and many other face. 3D text/graphics would be incorporated inside the real space of several shots, words representing these negative feelings. Throughout the spot, this woman would be punching a punching bag, and at the same time destroying these negative words floating around her. The spot continues, the words finally all destroyed, the woman “resolves” these negative emotions, with a visible sense of relief. Graphically, positive words are illuminated on her arms and travel upwards.

    On-Set Production

    On-set, Neil and I decided to simplify our shots as much as possible in order to fit the available budget of the job. Our primary tool for this was to stick to lock-off or on rail shots in order to eliminate any 3D camera tracking that would be needed otherwise.

    Beyond these suggestions, I stayed on-set to act as director of photography and help setup lighting and shots for Neil. Just a second pair of eyes to get ensure attractive and usable shots.

    Post-Prodcution

    All post VFX work was done in blender. Most shots were locked off, so it was just a matter of matching focal lengths, and figuring out approximate height of the camera and other distances for masking our punching bags and other objects in the scene. Then, just placing animating and exploding text where appropriate.

    The tricky shots were the arms and the blue glowing words on the woman’s arms. I had to create 3D maquettes for the arms, and then manually rotoscope the maquettes to match the movement of her arms. Besides a single 2D track to get the basic movement of the arms, this needed to be an entirely manual object track.

    The maquettes where rigged and modeled as closely as possible to the real arms, but 2d masks for the silhouettes of her arms were still needed to restrict the textured glowing letters to the positive space of the woman’s arms. After masking and animating the maquettes was finished, I was able to add and composite anything on the the arms of the woman. At this point I did a 2D animation of the veins and words that would appear on the arms, and then applied this has a texture on the 3D maquette.

    The composite on top of the real footage was simple to approach. Blurring and film grain in Blender’s compositor was added. With one special case of the last close up shot, near the clavicle where her shirt covers some of the text, I needed an additional mask to blur and diffuse the light of the text to simulate it passing through the cloth of the shirt.

    All graphics went through about 3 revisions to get to their final product.

    Wrap Up & Telly Award

    The entire production of the spot has about a month turn around, and I believe was re-edit several times to multiple social media posts for the company

    Me and Bryce Media were both happy with the final result of this spot. We decided to put this in for a Telly Award and won Bronze in General Online Commercials.

  • MojiLife M3 Product Reveal Video

    MojiLife M3 Product Reveal Video

    It’s not everyday I get to do a from-scratch product render. Also, taking that product and producing a short intro/promo video to make it as sexy as possible isn’t par-the-course for me either.

    Product Preview Render Before Animation Work Started

    This small projects had a very short deadline. Everything was created and finalized in less than a week for a MojiLife conference. I wasn’t at the conference myself to see the video in action, but I was told it was used as the reveal video for their new product, and the video received a good reaction.

    Most of the time was spent on modeling the product itself, with lighting, animation and rendering done in just a couple days. Because of time constraints I wasn’t able to spend as much time as I wanted on materials and textures for the objects, but for a projected full motion video, it is convincing enough.

    I used Blender’s Cycles rendering engine for the final render. I tend to avoid Cycles because of render times primarily. But because of the run time of the video and the simplicity of the scene and its contents, the render times for this specific project were bearable. Also, because Cycles simulates light more realistically than Blender’s internal renderer, this helped make up for the mediocre materials due to time constraints.

    I don’t get modelling work like this very often. Most of the time I am going from 2D vector designs and animating in a 2.5D scene in Blender. More akin to what you would see in Adobe After Effects, but with more options for lighting and geometry manipulation. The opportunity to have to mimic a real life object in both form and material/texture in order to provide an affordable alternative to shooting live is a fun challenge, and I felt I pulled it off well for the client in this case.

  • 3D Motion Graphics | Franchise Business Law Group Company Video

    3D Motion Graphics | Franchise Business Law Group Company Video

    Thor Media was commissioned to produce a company introduction and services video for Franchise Business Law Group. A business that helps other businesses with legal protection and future planning for franchises.

    Prompt

    The commission was for a two minute motion graphics video. Something particularly emphasized by the client was to have a handmade feel, as opposed to a high technology feel. In their copy online they emphasize a customized or tailored solution for their clients. By bringing that out with symbols of creating or making things with one’s hands with everyday materials that people interact would help establish the idea of customized or tailored solutions.

    Production

    Upfront, time was spend working out the Audio/Video script. This usually takes a few revisions to get something that everyone agrees on. The voice over script usually needs to go through the client’s legal department or a copy editor for final approval. Then, the video portion of the script is always a bit ambiguous for the client, since they aren’t used to the idea of some explaining motion and other visual ideas with text. This portion of the script typically serves as a starting point for the artist, and help rangle in the visuals in the case the client tries to push the artists into ideas that exit the scope of the Audio/Video script.

    Because of the amount of effort that would be needed in regards to object modelling and texturing for props and other animated objects, we decided to approach our final product with an animation to begin with. This helped establish camera shots, compositions, lighting, and objects. Along with generally testing out ideas and overall tone and mood without the full investment into a final product. With a heavier production workload these kinds of animatic tests facilitate conversations between the client and artists to check their ideas long before bad ideas manifest themselves after a considerable amount of work done.

    As the animatic created and checked ideas and conversation are had on what the final product might look like, I was busy building and rigging animations for buildings and objects, made out of paper, that would self-assemble.

    Learning how to rig a completed model of a building, and then deconstruct in such a way to not make permanent changes, and give me controls that would easily animate and adjust animation when need was fun puzzle to work out. I was able to do this all in Blender without the need of additional plugins. Below are two examples of me working out the all important rig, but also the overall look of the paper and possible lighting styles for the final video.

    As the final vision for the video is finalized, through conversation and test renders, I began the longer process of building the set for the video, along with all the objects needed to fill that set. Couches, desks, writing utensils, books, shelves, lights, etc… Many of these objects were sourced from online repositories, but often they still need work done on them in order to get them fit the scene as a whole.

    After objects and the space have been laid out and built, lighting and rendering the space is next. The idea of a small business space was picked to match their target customer, and I chose an afternoon or evening time frame to create the base for the lighting coming through the windows. A natural light, I believed, would fit well with natural/customized/tailored fit, as opposed to a structured clean cut feel that pure white or artificial lighting would create.

    Wrap Up

    The client at one point felt that the push too hard to a naturalistic look might be a bit too much. We decided to include some technological elements into the motion graphics, while maintaining our connection to the paper motif for flat motion graphics, and the marker board with a hand drawn feel for later in the video. This ended up creating a good relatable balance for the viewer, since most people exist in both the physical and the digital life in various parts of their lives.

    The client felt final video turned out really well. The are some obvious deviations from the original animatic to the final video. The biggest was the inclusion of text cards to visually represent questions and other important text information. I personally like these because they help reinforce that paper feel used throughout the video, it gave us another use for the brand colors, and it made some really good visual breaks between different sections of the script.

  • Play Books & Times Square with Overstock.com

    Play Books & Times Square with Overstock.com

    Over the last few months Overstock.com has given me the opportunity to work on a few 15 second broadcast motion graphic spots/commercials for Overstock.com. These covered three separate sales that aired on national television between March and July of 2015.

    I first want to thank the branding team at Overstock.com for their help in putting this together with me. They usually have me come into their office to work, in order to speed things up. These spots are as good as they are because of their input and critique. Thanks guys!

    Mega March Markdown | 15sec broadcast commercial – Based heavily on the in-house design teams playbook, with addtional consulting from Trevor Rimmasch. Thanks Trev!

    Most of the work done on these was in After Effects, due to time constraints (all of these were put together withing 2-3 days!). I would have rather had done these in Blender, as I would have had more options available to me. Overall the experience was good working on these commercials, and the highlight was to see some of the designers faces light up when they first say their work animated in a final commercial.

    Generic Summer Sale Spot | 15sec broadcast commercial – Again, based on an in-house Play Book. The title card is one of the first photo maps I have done. Cutting out pieces of a photo and placing them within 3D space to give the illusion of parallax and depth.

    Something that made these so different from previous work I have done, is the inclusion of a “Play Book” or “Style Guide” put together by their in-house designers and artists, for their web departments. These guides are awesome in that they reduce the amount of questions needed to be answered when approaching the commercial, and debate is brought to a minimum as well. If there is a question about what something should look like, color to use, typeface, etc… no guess work, just look at the Play Book. A huge help when working as a team on something.

    Once in a Blue June Sale | 15sec broadcast commercial – There wasn’t much of a Play Book for this one, but it was still based on the designs of an in-house designer, with additional input by Aaron Syrett and Trevor Rimmasch.

    jewelry_sale_gtron_1jewelry_sale_gtron_3jewelry_sale_gtron_2blue_june_gtron_2blue_june_gtron_1

    And to top it all off, I also had to edit down the Once in a Blue June spot, and an additional Jewelry Sale Spot, for the Geoffrey Tron at Time’s Square in New York City. It is an awesome feeling knowing that some of my work is getting exposure in Time’s Square.