Wednesday, November 30, 2011

GUEST ARTICLE: HOW TO MAKE AN INTRO (CTG TV)

I approached several people about using their intros after the last article for a follow-up and a possible video tie-in.

Karen Demsko of Color the Grayscale TV blew my away by writing the following about the approach she took to make her very effective intro.

Coming up with the CTG TV intro, was an interesting experience, in that I was able to come up with an idea myself, without any outside interference.


Meaning I had free reign, creatively. Boo ya.


However, though I had the creative freedom to fly like an eeeeeeeeagle, I still followed the same process of creation that I always do.


The first was to ask myself “What am I looking to see?” I jotted down design ideas and thought about what CTG TV represented to me and how I wanted to convey my feelings and ideas to my audience.

From there, I took these ideas and made about four to five rough drafts, sketching out ideas and doing very basic storyboards.

More times then not, I buffet style through my ideas and come up with a Frankenstein of a project that I am truly proud of.


Something to note as well: I had to be aware, at all times, of my tools, abilities, and time.

As much as I may have longed to have a professional grade intro sequence, I may not have had the time (due to work or other priorities), the tools (such as certain computer software), or general artistic ability to create what my imagination might have cooked up.


Next was to figure out what music I wanted to use.

This seems like an odd one to add, but it’s one I feel I need to add. The likelihood that my intro would be silent was slim to none.

Music and/or voices can be one of the more challenging aspects of the creation process. I say this from my own personal experience, as I am not musically inclined. Places like istockphoto are a great for finding music that you can use (though it will cost you), but if you happen to know somehow who plays or creates music ask them for help! Having such a valuable resource should not be overlooked.


The next step was to storyboard.

People tend not to do this and I’m not exactly sure why.

Laziness perhaps? I can’t be entirely sure, but this process always, always, ALWAYS helps me further down the line (when shooting footage and animating).

This helped me organize my vision and the music down into one coherent idea.


Last, but certainly not least, was to actually get down to the nitty gritty and start production.

With my preproduction out of the way, it was time for me to get cracking on the intro.

I set up my camera and lighting so that the first two shots would have the light needed in order to look good in the gray-scale color scheme I was going to make. The third shot, in retrospect, could have been lit better, but I’m still pleased with the results.


That was the easy part. Now came the hard part. Animating.

The entire animation was done in Flash (yes I know what your saying: “what were you thinking?!” this was before I could acquire Adobe After Effects) and took about two solid weeks to complete. Making sure every patterned ribbon (there were four), every ball (there were eight), and every swirly line (there were three) was exactly the way I wanted it to be and matched the part of the music when the animation would appear. This intro was to encompass my entire brand in one short, complete burst and I knew it needed to be just right. I wanted the colors to be vibrant (representing the vibrancy that my shows would hopefully be), the logo to be revealed over a small period of time (building a small amount of anticipation that something awesome was just about to start), and, most importantly of all, to leave just as quickly as it came. I wanted it to be a small burst of something, but nothing that lingered too long on the screen.


After this was finished, I went into postproduction and I took both my live action shots and my animation and lined them up with the music in Final Cut Pro. And viola! The project was done!

Thanks so much to Karen for agreeing to do this. Check out her show, Animation Domination, if you haven't already.

...I have no idea why the formatting is so wonky.

It's at this point I should dedicate this to Montag for a talking about his own minimalistic approach to making an intro... does that even work with a guest article? Oh well.

Monday, November 14, 2011

SEVEN DEADLY SINS OF THE HOMEBREW VIDEOMAKER: TITLE SEQUENCES

Hey all, welcome to the second installment of my series on the common mistakes in Homebrew videos. In case you missed the last one... you should check it out.

Blatant self-promotion? Eh, why not.

A note about this article; though this could certainly be applied to a variety of different internet video series, this issue is most apparent in reviews.

J
oin the conversation below and suggest your own deadly sin!

DEADLY SIN NUMBER TWO: REGARDING TITLE SEQUENCE
I don't care how much you like that song, there is no purpose served in having a two minute intro to a ten minute video. Every second spent playing clips from previous episodes is a second the video is making an audience wait for fresh content.

Though it would be easier, I can't advise against title sequence universally; the reality is while a great title sequence can keep an audience interest sustained in an otherwise average review series a bad title sequence can turn the same audience off in their first episode.

The real problem is that most of those who use them don't actually understand the purpose of a title sequence. If you've got a show, be honest; do you actually know why you have a title sequence, or are you just including one because everyone else has one?

The Purpose of a Title Sequence
Guild regulations require that the key creatives be credited near the beginning of a film or television show. In all likelihood, this is where the practice would have originated.

Though movies had them in some form or another since the early 1900s, the title sequences of the homebrew scene really have their origins in television if only because episodic television, like serialized reviews, use the same title sequence in each episode (where a movie's will only be seen once). We can begin there. The following list should not be considered all inclusive, but is a start.
  1. A title sequence is intended to set the tone for the show.
  2. Every episode of an average TV series will have different writers, directors, and in the case of shows like The Outer Limits cast and settings. The title sequence gave a sense of cohesion and familiarity to the series.
  3. A title sequence gives a buffer of time for those people coming in late to the program.
The third entry, as you can imagine, is the one that absolutely doesn't apply to videos for the internet.

Common Misteps in Homebrew Title Sequences
On the internet, the audience always starts the video at the 00:00 mark. Unlike the makers of Buffy or Batman, you know absolutely where the audience starts your video. Add to that the acceleration of attention spans and well... The reasons for a long title sequence on the internet are greatly diminished. There will always be exceptions, but think in the neighborhood of 30 seconds as a maximum.

Some other practices which diminish the effectiveness of a title sequence include but are certainly not limited to:
  • REPETITIVENESS. Doing a montage of clips from previous episodes where each shot consists of the host talking or gesturing from the same camera angle. This highlights the limitations of the show. It also can send the message that the host is trying too hard with even having a title sequence.
  • BAD MUSIC CHOICE. More than anything else in an intro, the music chosen becomes tied with the show. Choosing something that's over-used or something that's at odds with the tone and concept of the series really will leave a bad taste in the mouths of your audience. Plus, you know, that whole copywrite thing.
  • BAD CUSTOM MUSIC. Commissioning a song for your video to avoid Copywrite issues is very admirable. Unfortunately most often a videomaker will go with the first musician who's willing and not the person who's the right choice for the role. This often leads to a song that's painful on the ears because of the musician's limitations or a song that's a sharp contrast to the tone of the show.
  • HAVING A TITLE SEQUENCE. Not every show needs a full title sequence. Sometimes a title and a music sting is enough (What The Fuck is Wrong With You), and sometimes a video doesn't need so much as a logo (Nostalgia Critic).
Tips for Making a Good Title Sequence...?
There's not much I can say here, really. The reality is there's no magic formula because every case is different. To do it justice, I'd have to do some case by case looks at title sequences which work (and which don't).

Honestly, that may well be something that needs more than just an article. At this point I turn it to you, guys: is there any reviewer or videomaker who'd be willing to let me publicly do an analysis of their title sequence? Any volunteers can contact me in any way they can find to do so, including by posting in the comments or by e-mail: bdmacdonald.films@gmail.com

To be continued...?

This article is dedicated to Darren Maher for being an awesome dude and posting intelligently on a previous article.

Because, I do that. Comment people!