Summer 2010 Process Book by tim Poe

DIY: Motion Design INTRO: Looking back on this experience I can say with certainty that it more than met my expectations, while I, however, failed to meet my own. As with most projects and undertakings I have worked on during my time in the program, my fragmented attention has seriously undermined my development. While much of this is due to my need to maintain a full-time job at the moment, it is also in part due to certain personal deficiencies that I must continue to improve. It has also opened my eyes to just how complex and layered the world of television can be. Motion design and animation is set of skills that form a beast unto themselves. The world of broadcast television at a major network takes the level of technical knowledge required up a notch. I was given the chance to sit in on several meetings and the shorthand and jargon was often undecipherable to my inexperienced ears. Television is most certainly not alone in that it has very specific issues, requirements, and regulations that often affect the designers and their work. Any specialized industry we might find ourselves in and designing for, will no doubt have many such instances and we must be prepared for these.

I also realized ------------------------------that I enjoy story telling the most.

-----------------------------just how far I have come.

-----------------------------just how far I have to go.

Contents Interview Process___________________________ 6 Day Zero__________________________________ 8 Getting Started_____________________________ 12 A Little Print Wonâ&#x20AC;&#x2122;t Hurt______________________ 20 A Little Support_____________________________ 26 Logo Design_______________________________ 30 Sequences________________________________ 40 Questions & Answers________________________ 48

DIY: Motion Design

The interview was set and I was both excited and anxious. It has been a serious undertaking to pursue a design education and career, and I was about to see the realities of such an endeavor. Not only was this somewhere that I wanted to intern at for the chance to learn and grow, but it also represents a true opportunity. An opportunity to establish myself, my abilities, and most importantly, my work ethic. Motion, sequence, narrative, and storytelling have also always been elements that I have enjoyed and this is a chance to apply those in a practical, deadline based environment.

Interview Process TIM POE WORK EXPERIENCE 2007 - present Reebok Intl\ Retail Division\ Sevierville TN Asst. Mgr. and 3rd Key of a $4 million per year store

2005 - 2007 Transworld Entertainment\ FYE\ Knoxville TN Store manager of an apporximately $1.2 million per year store

2000 - 2005 Musicland Inc.\ Sam Goody\ Huntsville AL Store manager of an approximately $1 million per year store.

RECOGNITION 2010 63rd Annual UT Student Art Competition: Book Store Award 2004 Sam Goody: Top sales increase in region, Customer Choice

I decided to quickly rework my resume before applying for the DIY/Scripps internship. With this in mind I wanted to streamline it and focus on clear information. I only spent an hour or so on this, including the mark, but I felt that it was suitable enough and still managed to reflect my personality to some degree.

EDUCATION 2009 - present University of Tennessee\ BFA\ Graphic Design

2004 - 2005 University of Alabama at Huntsville\ Graphic Design

Possible Business Card?

1998 - 2000 Concord University\ Graphic Design

ADDITIONAL SKILLS Drawing, Illustration, Photography

TIM POE

CONTACT 865 • 566 • 5712

tpoe@utk.edu

The actual interview itself maintained a relaxed and informal atmosphere that eased my nerves and set a tone for the experience as a whole. Todd and Trey, DIY Design Director and Designer respectively, were personable, attentive, and receptive to the work I showed. While I didn’t have a large selection of motion pieces to present, the work showed promise and they provided me with a unique perspective on both the work I had done as well as the context around which it was created. This was my first dose of real world context and audience and there would soon be many more to come.

DIY: Motion Design

Todd was gracious enough to invite me to a photo shoot before my scheduled first day of the practicum. It was really interesting and exciting to see a lot of what goes on at an event like this. As the day moved forward, I began to realize just how smoothly the shoot was going. Todd and I discussed this and it became apparent just how important planning is to successfully implementing a vision when so many logistical variables are involved. Everything form locations and compositions to shooting the sequences in order based on available lighting had already been planned out and the day went without a hitch. We even finished several hours early while also shooting additional, unplanned footage based on chance finds throughout the day.

Day Zero For me, seeing everyone from the Grips to the Production Asst. working together and contributing to a larger whole was a nice experience. Everyone contributed to what was a very successful shoot that day.

Smoke and Mirrors...well, more like smoke and screens, but you get the picture.

There were many people involved in this shoot and it was interesting to see the process of a production company, Tantrum Productions, handling the shoot. Michael Underwood, the Director, is extremely skilled both as an artist and as someone whose also responsible for managing multiple people at once. This is a trait that Todd also shares. The ability to communicate with others what their vision is as well as allowing them the freedom to explore. The skills of an Art or Design Director move well beyond aesthetic values and technical proficiency, and into a realm of logistical and behavioral management.

DIY: Motion Design

DIY: Motion Design Personality Profile

Matt Muenster

Thursday, June 10 -- Morning

Boyish smoothie who makes people feel right at home. He’s got bad ass skills and a great eye for design. Charming, engaging, funny and willing to go the extra mile. A true natural in front of the camera. Non-threatening to guys…bit kinda hunky to the ladies. Matt doesn’t just build bathrooms…he builds friendships along the way.

Show Description Bath Crashers Playing off the success of Yard Crashers and House Crashers, DIY Network launches its third show in the franchise: Bath Crashers. Homeowners will get the bathroom makeover they never saw coming! (Press)

Props Gloves -Matt's Toolbelt -Matt's Safety Glasses - Matt's Wet Grinder Angle Grinder Protecive Face Sheild Clamps Thinset Trowels Bucket of Thinset Cement Tile Backer Board Large Sledge Hammer Small Sledge Hammer Alternate Safety Glasses *minimal frame or clear

DIY Network builds on the success of its hit show Yard Crashers + House Crashers by taking this series to the bathroom. Bath Crashers is ambush renovation at its best. Host Matt Muenster stalks a big-box home Work surfaces: improvement store looking for Saw Horses (2) unexpecting weekend warriors, then Plywood Sheet follows them home with a large crew Workmate of experts in tow. Watch as stunned homeowners who journeyed into the store to fix a simple leaky faucet end Materials for cutting: Various Size/Styles of Tiles up winning the remodeling lottery with dramatic, eye-popping room Materials for destruction: transformations Salvaged Toilets (2?)

This and the following spread is from my first assignment. I helped Todd with concepting for a footage shoot for host IDs for shows. We worked together to create and narrow down a list of tools, actions, and sequences to be shot. This was an interesting start to my internship as I was able to use my illustration and sequential storytelling skills and background in an interesting and unexpected way. Several of the ideas I developed were either shot, modified somewhat, or combined with other ideas. Week 2 consisted of more conceptualization for later shoots as well as some proprietary production tasks. I was introduced to After Effects with the task of evaluating and then stringing together a series of still images into a video sequence for inclusion in the show Blog Cabin. This was an eye opening experience as I only had a day to sort

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Getting Started Action Sequence

EndPage Portrait

+ -

CONNOTATION

This is a list of tools and actions as well their connotation, positives, and negatives.

through large amounts of stills and figure out the task within After Effects. This was my introduction to the real world of design in broadcast television. Deadlines are constant and turnaround is quick so establishing an efficient workflow that also follows the technical guidelines is a must. Collaboration is a major part of every project as often designers and animators work with producers every step of the way. Often this means changes and revisions at early stages, but due to the consistent vision the department has, the projects flow smoothly. It has been an eye opening, and extremely helpful experience. I feel that, perhaps most importantly, not only has my work improved, but my idea of what a career in this area of design is has become clear.

DIY: Motion Design BATHtastic!

Sketchpad - Matt's

What can you do to your bathroom with just a few days to work and some elbow grease? More than you can imagine. DIY Network expert Matt Muenster shows you the possibilities in the series BATHtastic! In each episode you'll learn about cutting-edge new materials, amazing design tips and essential DIY know-how that will revitalize any bathroom, great or small. It's one of your favorite and most widely used rooms in the house, so treat your bathroom to a quick upgrade to take it from bath to BATHtastic!

Sketching pencils/pens Caulk gun Caulk Bucket of thinset Variety of design tiles to install *Maybe see if Matt has suggestions?

Sponge for thinset Cement Tile Backer Board Tile spacers Work surfaces: Saw Horses (2) Plywood Sheet Workmate Small Table for Sketchbook Special surface: L-shaped surface for caulking *something like illustration

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DIY: Motion Design

Week 2 consisted of more conceptualization for later shoots as well as some proprietary production tasks. I also helped evaluate and choose photography that was used in a promotional end page for an upcoming show as well as silhouetting still photography of the hosts. It was gratifying to help and actually contribute pieces, small though they may be, that were used in the final version. I was also introduced to After Effects

task of evaluating and then stringing together a series of still images into a video sequence for inclusion in the show Blog Cabin. This was an eye opening experience as I only had a day to sort through large amounts of stills and figure out the task within After Effects. This was my introduction to the world of design in broadcast television. Establishing an efficient workflow that also follows the technical guidelines is a must.

///

This was a series of concepts for a promo end page using preexisting footage. Todd, the design director, and Trey, the project’s designer, both liked this version. It wasn’t what the producer had in mind though, so it wasn’t used.

Collaboration is a major part of every project as often designers and animators work with producers every step of the way. Often this means changes and revisions at early stages, but due to the consistent vision the department has, the projects flow smoothly. It has been an eye opening, and extremely helpful experience. I feel that not only has my work improved, but my idea of what a career in this area of design is has become clear.

DIY: Motion Design

DIY: Motion Design GRAPHICS

MUSIC

AVID EDIT

GRAPHICS

MUSIC

AVID EDIT

Qt movies (animation compression, aks lossless) with embedded straight alpha as needed. Aspect ratio is either 720x486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 for both sizes. ALL of our show production companies have been able to deal with this format, whether on Avid, or Final Cut.

Audio from outside edited projects should be delivered in one of these 3 formats. -OMF ver 2 (embedded media) -AAF (embedded media) -WAV files of each separate track from the editing system. With all WAV files rendered from 1st frame of spot.

SD AVID EDIT

HD AVID EDIT

Preference 1: Digital Betacam, Drop Frame 30fps NTSC. Preference 2: DVCam Drop Frame 30fps NTSC. Preference 3: Hi Resolution QuickTime Movies with NoCodec unless from a Macintosh computer, then QuickTime Movies with Animation Codec is required.

1080i 59.94 Any material shot in this format will come in seamlessly to the Avid. HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disk/drive. If you are shooting XDCAM or XDCAM EX and are not shooting 24p or 23.976p then please have your DP use 59.94 instead of 29.97 to save the transcoding process. 1080i 59.94 is the only format Net Ops will accept for HD broadcast. Any deviation from this format needs to be transcoded to 1080i 59.94 before it can be delivered.

HD AVID EDIT PLEASE DO NOT SUPPLY QUICKTIME MOVIES

as the Codec issues cause problems and delay production. Final Cut systems are not capable of producing “No Codec” QT movies, the result is an Apple Pro Res Codec which cannot be read by PC’s and will not work in Avid.

Can be directly loaded into the Avid-does not require Transcoding: HDCam 1080i 59.94 from tape. Files that are 1080i 59.94 from a drive/disk including: AVC Intra 100 1080i 59.94 * XDCAM HD 50 1080i 59.94 * XDCAM EX 1080i 59.9. Files that can be brought in using Avid Media Association (AMA) links: Files that are 1080P 29.97 from a drive/disk including: *AVC Intra 100 1080p 29.97 * XDCAM HD 50 1080p 29.97 * XDCAM EX 1080p 29.97 *Once the link is established and selects are placed in a timeline, these files need to be output to HDCam 29.97PsF and then digitized back into a 1080i 59.94 project. Files that are 1080P 23.976 from a drive/disk including: XDCAM EX. These files need to be output to HDCam @ 23.976 in the Post Hallway and then Transcoded in Duplication to 1080i 59.94. Red Camera These files are transcoded to MXF files as they are brought into the Avid using Metafuze or Red Cine. This is a time consuming process and needs to be planned into your Post time. If you have any questions, please contact / Barbara Wunschel / 865-560-3353 / bwunschel@diynetwork.com / Shipping address: 9721 Sherrill Blvd Knoxville, TN 37923

GRAPHICS

MUSIC

AVID EDIT

SD AVID EDIT

HD AVID EDIT

HD AVID EDIT PLEASE DO NOT SUPPLY QUICKTIME MOVIES

GRAPHICS

MUSIC

AVID EDIT

SD AVID EDIT

HD AVID EDIT

HD AVID EDIT PLEASE DO NOT SUPPLY QUICKTIME MOVIES

Files that are 1080P 23.976 from a drive/disk including: XDCAM EX. These files need to be output to HDCam @ 23.976 in the Post Hallway and then Transcoded in Duplication to 1080i 59.94.

Red Camera These files are transcoded to MXF files as they are brought into the Avid using Metafuze or Red Cine. This is a time consuming process and needs to be planned into your Post time.

If you have any questions, please contact / Barbara Wunschel / 865-560-3353 / bwunschel@diynetwork.com / 9721 Sherrill Blvd Knoxville, TN 37923

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A Little Print Won’t Hurt GRAPHICS

MUSIC

AVID EDIT

Audio from outside edited projects should be delivered in one of these 3 formats.

SD AVID EDIT

-OMF version 2 (embedded media)

Preference 2: DVCam Drop Frame 30fps NTSC.

-AAF (embedded media) -WAV files of each separate track from the editing system. With all WAV files rendered from 1st frame of spot.

Preference 1: Digital Betacam, Drop Frame 30fps NTSC.

Preference 3: Hi Resolution QuickTime Movies with No-Codec unless from a Macintosh computer, then QuickTime Movies with Animation Codec is required.

HD AVID EDITPLEASE DO NOT SUPPLY QUICKTIME MOVIES as the Codec issues cause problems and delay production. Final Cut systems are not capable of producing “No Codec” QT movies, the result is an Apple Pro Res Codec which cannot be read by PC’s and will not work in Avid. Can be directly loaded into the Avid-does not require Transcoding: HDCam 1080i 59.94 from tape. Files that are 1080i 59.94 from a drive/disk including: AVC Intra 100 1080i 59.94 * XDCAM HD 50 1080i 59.94 * XDCAM EX 1080i 59.94

HD AVID EDIT 1080i 59.94- Any material shot in this format will come in seamlessly to the Avid. HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disk/drive. If you are shooting XDCAM or XDCAM EX and are not shooting 24p or 23.976p then please have your DP use 59.94 instead of 29.97 to save the transcoding process. 1080i 59.94 is the only format Net Ops will accept for HD broadcast. Any deviation from this format needs to be transcoded to 1080i 59.94 before it can be delivered.

Files that can be brought in using Avid Media Association (AMA) links: Files that are 1080P 29.97 from a drive/disk including: *AVC Intra 100 1080p 29.97 * XDCAM HD 50 1080p 29.97 * XDCAM EX 1080p 29.97 *Once the link is established and selects are placed in a timeline, these files need to be output to HDCam 29.97PsF and then digitized back into a 1080i 59.94 project. Files that are 1080P 23.976 from a drive/disk including: XDCAM EX. These files need to be output to HDCam @ 23.976 in the Post Hallway and then Transcoded in Duplication to 1080i 59.94 Red CameraThese files are transcoded to MXF files as they are brought into the Avid using Metafuze or Red Cine. This is a time consuming process and needs to be planned into your Post time.

GRAPHICS

MUSIC

AVID EDIT

SD AVID EDIT

HD AVID EDIT

HD AVID EDIT PLEASE DO NOT SUPPLY QUICKTIME MOVIES

If you have any questions, please contact / Barbara Wunschel / 865-560-3353

If you have any questions, please contact / Barbara Wunschel / 865-560-3353 / bwunschel@diynetwork.com / 9721 Sherrill Blvd Knoxville, TN 37923

bwunschel@diynetwork.com / 9721 Sherrill Blvd Knoxville, TN 37923

GRAPHICS GRAPHICS hhhhh

MUSIC Audio from outside edited projects should be delivered in one of these 3 formats. -OMF version 2 (embedded media) -AAF (embedded media) -WAV files of each separate track from the editing system. With all WAV files rendered from 1st frame of spot.

AVID EDIT SD AVID EDIT

HD AVID EDIT

Preference 1: Digital Betacam, Drop Frame 30fps NTSC. Preference 2: DVCam Drop Frame 30fps NTSC. Preference 3: Hi Resolution QuickTime Movies with No-Codec unless from a Macintosh computer, then QuickTime Movies with Animation Codec is required.

1080i 59.94- Any material shot in this format will come in seamlessly to the Avid. HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disk/drive. If you are shooting XDCAM or XDCAM EX and are not shooting 24p or 23.976p then please have your DP use 59.94 instead of 29.97 to save the transcoding process. 1080i 59.94 is the only format Net Ops will accept for HD broadcast. Any deviation from this format needs to be transcoded to 1080i 59.94 before it can be delivered.

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

AUDIO Audio files should be delivered in one of three formats: • OMF version 2 (embeddedmedia) • AAF (embedded media) • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

HDAVIDEDIT SD AVID EDIT Preference #1: Digital Betacam, Drop Frame, 30fps, NTSC. Preference #2: DVCam, Drop Frame, 30fps, NTSC. Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

A final note on HD deliverables: PLEASE DO NOT SUPPLY QUICKTIME MOVIES Codec issues cause problems and delay production. Final Cut systems are not capable of producing “No Codec” QT movies and the result is an Apple Pro Res Codec which cannot be read by PC’s and will not work in the Avids at Scripps Networks Interactive.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid. HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94. If you are shooting XDCAM or XDCAM EX and are not shooting 24p or 23.976p, please have your DIT use 59.94 instead of 29.97 to save a transcoding process. 1080i 59.94 is the only format we can accept for HD broadcast. Any deviation from this format needs to be transcoded to 1080i 59.94 before it can be delivered.

GUIDELINES

DIY: Motion Design G U I DELINES:

F O R D E L I V E R I N G MATERIALS TO DIY N E T W O R K C R E ATIVE SER VICES

GRAPHICS QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

SD AVID EDIT HDAVIDEDIT

AUDIO Audio files should be delivered in one of three formats:

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

• OMF version 2 (embeddedmedia)

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

• AAF (embedded media) • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

PLEASE DO NOT SUPPLY QUICKTIME MOVIES Codec issues cause problems and delay production. Final Cut systems are not capable of producing “No Codec” QT movies and the result is an Apple Pro Res Codec which cannot be read by PC’s and will not work in the Avids at Scripps Networks Interactive.

If you have any questions, please contact Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

• AAF w/embedded media • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

• AAF (embedded media)

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

• WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

If you are shooting XDCAM or XDCAM EX and are not shooting 24p or 23.976p, please have your DIT use 59.94 instead of 29.97 to save a transcoding process. 1080i 59.94 is the only format we can accept for HD broadcast. Any deviation from this format needs to be transcoded to 1080i 59.94 before it can be delivered.

A final note on HD deliverables:

FOR DELIVERING MATERIALS TO DIY NE T WORK CREATIVE SER VICES

If you have any questions, please contact

SD AVID EDIT

HD AVID EDIT

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed.

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

A final note on HD deliverables:

PLEASE DO NOT SUPPLY QUICKTIME MOVIES

Codec issues cause problems and delay production. Final Cut systems are not capable of producing “No Codec” QT movies and the result is an Apple Pro Res Codec which cannot be read by PC’s andwill not work in the Avids at Scripps Networks Interactive.

These guidelines have been developed for the delivery of all materials from outside resources. They are intended to insure a seamless transition and reduce headaches for all involved. Please make every effort to comply.

9721 Sherrill Blvd Knoxville, TN 37923

The following guidelines have been developed for all materials being delivered from out-of house sources. They are intended to insure a seamless transition and reduce headaches for all involved. Please make every effort to comply.

GRAPHICS • OMF V2 w/embedded media

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

• OMF version 2 (embeddedmedia)

F O R D E L I V E R I N G MAT E R I A L S TO DBarbara IY Wunschel @ 865-560-3353 bwunschel@diynetwork.com N E T W O R K C R E AT I V E S E R V I C E S

GRAPHICS

Audio files should be delivered in one of three formats:

GUIDELINES:

GUIDELINES AUDIO

SD AVID EDIT HDAVIDEDIT

AUDIO

A final note on HD deliverables:

GRAPHICS

If you have any questions, please contact Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

SD AVID EDIT HDAVIDEDIT

AUDIO

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

Audio files should be delivered in one of three formats:

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

• OMF V2 w/embedded media

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

• AAF w/embedded media

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

• WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

A final note on HD deliverables:

PLEASE DO NOT SUPPLY QUICKTIME MOVIES

GUIDELINES

If you have any questions, please contact

F O R D E L I V E R I N G MAT E R I A L S TO Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com D IY N E T W O R K C R E AT I V E S E R V I C 9721 E S Sherrill Blvd Knoxville, TN 37923

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GUIDELINES

F OR DELIVERING MATERIALS TO D IY NE T WORK CREATIVE SER VICES

GUIDELINES

F O R D E L I V E R I N G MAT E R I A L S TO D IY N E T W O R K C R E AT I V E S E R V I C E S

GRAPHICS

AUDIO

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

SD AVID EDIT HDAVIDEDIT

Audio files should be delivered in one of three formats:

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

• OMF V2 w/embedded media

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

• AAF w/embedded media • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

A final note on HD deliverables:

PLEASE DO NOT SUPPLY QUICKTIME MOVIES

If you have any questions, please contact Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

This project is a print piece detailing specific guidelines for outside talent and vendors to follow when delivering materials to the DIY Network. It is intended to be viewed by working professionals who will have a solid understanding of the jargon and terms used in the content. This was a project initiated with the intent of being clear and informative while landing the importance of compliance with these guidelines. At first I welcomed the chance to have a print piece to work on while I tried to keep afloat in the world

GRAPHICS QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

AUDIO

SD AVID EDIT HDAVIDEDIT

Audio files should be delivered in one of three formats:

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

• OMF V2 w/embedded media

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

• AAF w/embedded media • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

A final note on HD deliverables:

PLEASE DO NOT SUPPLY QUICKTIME MOVIES

If you have any questions, please contact Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

of after effects. It also provided me a chance to work with practical content and typography and the many nuances that accompany it. This led to many revisions, both of my own and several at the behest of the client/director. This was my first experience working on something until someone else was pleased with the result. As an introduction to professional projects, I feel that this has been helpful to introduce me to the level of involvement the refinement stage of design requires. Although, it was somewhat difficult, I also found it very rewarding.

DIY: Motion Design GUIDELINES

F OR DELIVERING MATERIALS TO D IY NE T WORK CREATIVE SER VICES

GUIDELINES

F O R D E L I V E R I N G MAT E R I A L S TO D IY N E T W O R K C R E AT I V E S E R V I C E S

GRAPHICS

AUDIO

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

SD AVID EDIT HD AVID

Audio files should be delivered in one of three formats:

Preference #1: Digital Betacam Drop Any material shot and/or provided 1080i Frame, 30fps, NTSC. 59.94 will import seamlessly to the Avid.

• OMF V2 w/embedded media

Preference #2: DVCam, Drop Frame, HDCam can be digitized from tape, for all 30fps, NTSC. other formats we need the Camera XML files Preference #3: Hi Resolution Quick- on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i Time Movies with NO CODEC (if coming from a Mac, Quick- 59.94, or XDCAM EX 1080i 59.94.

• AAF w/embedded media • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

Time Movies with animation codec is acceptable).

A final note on HD deliverables:

PLEASE DO NOT SUPPLY QUICKTIME MOVIES

If you have any questions, please contact Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

GRAPHICS QuickTime Movies with animation compression are preferred with embedded straight alpha as needed. Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

AUDIO

SD AVID EDIT HD AVID

Audio files should be delivered in one of three formats:

Preference #1: Digital Betacam Drop Any material shot and/or provided 1080i Frame, 30fps, NTSC. 59.94 will import seamlessly to the Avid.

• OMF V2 w/embedded media

• AAF w/embedded media • WAV files of each individual track.

WAV files should be rendered starting with the first frame of video.

Time Movies with animation codec is acceptable).

A final note on HD deliverables:

PLEASE DO NOT SUPPLY QUICKTIME MOVIES

If you have any questions, please contact Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

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GUIDELINES

FO R D E LIVE R I N G MATE R IALS TO D IY N ETWO R K C R EATIVE S E RVI C ES

AUDIO

GRAPHICS

SD AVID EDIT

HD AVID EDIT

Audio files should be delivered in one of three formats:

QuickTime Movies with animation compression are preferred with embedded straight alpha as needed.

Preference #1: Digital Betacam Drop Frame, 30fps, NTSC.

Any material shot and/or provided 1080i 59.94 will import seamlessly to the Avid.

Preference #2: DVCam, Drop Frame, 30fps, NTSC.

HDCam can be digitized from tape, for all other formats we need the Camera XML files on a disc or drive. These can include AVC Intra 100 1080i 59.94, XDCAM HD 50 1080i 59.94, or XDCAM EX 1080i 59.94.

• OMF V2 w/embedded media • AAF w/embedded media • WAV files of each individual track.

Aspect ratio is either 720 x 486 (SD) or 1920 x 1080 (HD). Frame rate is 29.97 fps.

WAV files should be rendered starting with the first frame of video.

Preference #3: Hi Resolution QuickTime Movies with NO CODEC (if coming from a Mac, QuickTime Movies with animation codec is acceptable).

A final note on HD deliverables:

FINAL:

If you have any questions, please contact: Barbara Wunschel @ 865-560-3353 bwunschel@diynetwork.com 9721 Sherrill Blvd Knoxville, TN 37923

This itteration contained many small revisions to the copy and type formatting and made use of the typeface and weights that are currently being used for the networks on air promotional look. These choices were all fairly obvious ones. They weren’t my first choice stylistically, but they were the right choice. As with every project, it became less about what I liked and wanted and more about what was right and worked.

DIY: Motion Design

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A Little Support This project was for a sponsor logo backplate and billboard for promotional use. Most sponsor logos require some sort of support plate in order to buffer the legibility of the logo as it is placed over actual footage. This was a very simple After Effects project in terms of execution. It required an extensive viewing of footage that had been shot for other purposes so as to find moments that had interesting ambience and movement without being distracting to the logo. Eventually, I decided to revisit the cropped corner idea, but this time some dimensionality was added to give the feel of a dogeared/folded piece of paper that one might be carrying around or using for their home improvement projects.

DIY: Motion Design

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LOGO DESIGN This logo is for an upcoming sweepstakes centered around a kitchen and bath giveaway/makeover as well as programming centered around this theme. I decided to start with a strong typographic base and then consider and ass visual elements to it from there. I quickly found a structure for the type that I was pleased with, and from there began incorporating forms into this. Initially, I was determined to use a + sign as a stand in for the word â&#x20AC;&#x153;andâ&#x20AC;? to distance the logo from the previous version, as well as too play off the many strong verticalâ&#x20AC;&#x2122;s in the type. This caused two problems though. One was the concern of the audience reading the symbol literally, as in kitchen PLUS bath. The second concern was the negative space created between the + sign and the B. These two concerns forced me in another direction and I decided the legibility of an ampersand was worth the change in approach. I also began to look at visual elements such as colored squares to represent ceramic tile and a container based on a shape from a lower third on air-element. I even took a stab at a humorous approach utilizing the similar shapes of a can of food and a roll of toilet paper. It was funny to me at least. As I worked through these iterations, I added a gradient to the terms KITCHEN and BATH in order to give a slight illusion of texture, shine, and water. I included GIVEAWAY in the container outline to give it a more unified feel and started playing with a transparency overlay for the tiles in order to imply movement.

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DIY: Motion Design

This image is from the high speed footage used for flexi bumpers and buttons. This is an aggressive crop of what is some truly beautiful footage. I was constantly amazed at the visual splendor that could be drawn from ordinary, almost mundane activities and actions when they are approached with skill, vision, and collaboration.

DIY: Motion Design

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Sequences This was a promo spot for an upcoming show that I helped with. I did stock photo evaluation and found the image that is used as the backplate for the promo endpage. I also did the cut outs of the host photography that was used.

DIY: Motion Design

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For this promo spot, one of the actions I had worked on during the concepting stage was used in the final.

DIY: Motion Design

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This is part of an unfinished final version of a sequence for the show Bathtastic, obviously. Two specific concepts that I had included in a storyboard were shot and used in this spot.

DIY: Motion Design

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These style frames were for a proposed future footage shoot. The goal of the shoot would be to re-shoot some of the older footage in the library and update it to blend it into the networkâ&#x20AC;&#x2122;s new look. This would be accomplished by using more dramatic camera angles, more dramatic lighting, and possibly even extremely high-speed video for super slow-motion thanks to many of the new camera formats available. This was a quick, but fun project as it allowed me to think from a narrative stand point as well as gain some PS skills. It was an introduction to creating style frames for video and motion projects, and I feel that it will be very helpful in the future.

DIY: Motion Design 1.

Describe the interview process. Did you feel prepared? How will you prepare differently next time? Does the work environment meet the expectations established in the interview? Please describe what was expected and what was unexpected.

How do projects flow? Are you working on one project at a time, or many? How are your time management skills? Are you comfortable asking questions? Do you find that your work has been changed each time you return?

â&#x20AC;&#x153;Students will work 45 hours for each hour of semester credit received.â&#x20AC;? Are you able to work all of your hours? Are the hours that you are available working out with your supervisor? Is your work improving? Do you have any questions about your work situation?

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Questions & Answers

The actual interview itself maintained a relaxed and informal atmosphere that eased my nerves and set a tone for the experience as a whole. Todd and Trey, DIY Design Director and Designer respectively, were personable, attentive, and receptive to the work I showed. While I didnâ&#x20AC;&#x2122;t have a large selection of motion pieces to present, the work showed promise and they provided me with a unique perspective on both the work I had done as well as the context around which it was created. Next time, I will have a better prepared presentation specific to the position/employer. The work environment has been everything I hoped for. Everyone is friendly, helpful, and truly enjoys what they do.

Projects flow through an extremely collaborative sequence. Producers or management initiate projects and then the design team begins concepting, compositing, and iteration. Producers often have a concept in mind and the design team can build from there. Iâ&#x20AC;&#x2122;ve done both, and feel that my time management skills were fine. I did, however, sometimes feel under skilled and of little help. I made the most of these times when the team had stifling deadlines on large projects by exploring on my own and learning from tutorials. I was able to ask questions and receive helpful feedback whenever I needed too, though.

I havenâ&#x20AC;&#x2122;t had any issues working all of my hours and it has worked out well. I definitely feel that my work is improving in leaps and bounds. My workflow is also improving and I hope to maintain that momentum going forward. As always, my main issue is with my other obligations and I am currently in the process of trying to change that.

DIY: Motion Design 4.

Is this practicum experience meeting your expectations? What are the experiences that were expected? What was not expected? Were you prepared for this experience? What did you learn in class that has helped? Discuss how you would handle the project differently if you were in class. Discuss the similarities and differences between class expectations and professional expectations.

How has this experience affected your schoolwork? How you would handle the project differently if you were in class. Discuss the similarities and differences between class expectations and professional expectations.

What are you learning about how a studio is run? How are new clients pursued? How are current clients nurtured? How is filing and billing handled? Attach PDF files of your work for this week.

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Questions & Answers

The practicum has met my expectations, but I have not met my own expectations for myself. I had hoped to learn AE to a greater extent than what I have, but you have to start somewhere. More instruction in this area and perhaps a motion design class would have helped tremendously. The projects are not as open as class assignments and the level of expectation is much higher. Many revisions are often requested at a professional level and these are, of course, not always with design in mind.

I did not take any other classes this summer so there was no interference at all. Well, not unless you count my full-time job that is. The projects for myself are often more about finding a way to solve the problem while also including a part of my personality in them. Projects here are often much more rigid and require that someone express themselves through the concept stage more than the execution. While Todd only places loose limits on what the design team can do, it al still has to fit into the same universe.

The design department at DIY is an open, positive environment that is concerned with itâ&#x20AC;&#x2122;s employees happiness. A happy designer is a productive designer. Clients are primarily the producers so this relationship comes fairly naturally. Most of the producers have worked with everyone on the design team so everyone knows what to expect from one another

DIY: Motion Design 7.

Are you asked to provide input? Do you supply suggestions? How do you see the role of the client in the design process? Critique the work from the clientsâ&#x20AC;&#x2122; point of view.

Looking ahead, what would you look for in your next practicum experience? What would you change about your current situation? Discuss how you work differently in class as the result of this experience.

How are the details of a project addressed? Do you kern your own work? Is this level of finish applied before the piece is approved by the client? How does a piece change between the time it is approved and it goes to press?

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Questions & Answers

My input was important to the concepting stage for several projects and I often got the chance to speak with Todd, Trey, or Mike about any projects they were currently working on. My lack of proficiency with AE prevented me from being highly involved in the latter stages of many projects, but I was often asked for an opinion. The client’s role in design is often simply a matter of them peering in Trey or Mike’s cubicle and saying “Yeah, that’s cool. Go with it.” Again, everyone has worked together so they all know what everyone likes and is looking for.

I hope my next practicum experience allows me to see an agency/studio environment as opposed to an in-house art department. I also hope to build my technical proficiencies and develop more essential skills for that experience prior to it’s start. I feel that I hit the ground running, but came to a slow crawl as my usefulness in the actual execution of projects became hampered by my lack of technical proficiency. I do look forward to class projects now that I have an improved work flow in the other core programs and I have a better understanding of how paramount it is to design for audience rather than yourself.

The details of projects are handled by the respective designers with final oversight by Todd. If there is an issue Todd asks for a revision. I have kerned my own work, primarily in the logo design project. The producers generally give an okay on the direction while the project is underway. Generally, they okay the broad concept and Todd will okay the end execution. Since there is a system in place for the look of virtually every on-air piece, the changes are often only minor details that pertain to slight pacing adjustments and camera moves.

... Conclusion

I have learned the value of designing first for audience, and last for myself. In the world of practical design, the client is the all important party and hopefully we can enjoy the ride. Granted, there will be times when the stars align and we are blessed with the opportunity to work on projects that we want to do, or ideas that are solely our own, but these will be the exception and not the norm. However, there is always the chance to do more. More for our clients, more for our supervisors, and more for ourselves. Each project is an opportunity and each opportunity a stepping stone and at the end of the path lies.... For some it will be personal fulfillment and creative license, for others it will be financial security and stability, and for some it might simply be truth. Regardless, it will be different for each of us. And thatâ&#x20AC;&#x2122;s just it, these end goals are our ultimate clients. The work we do will guide us in one of these directions and it is simply a matter of figuring out which one suits us best, and then designing for that. In the end, I guess it comes down to the realization that practically every decision we make can have an impact on our future and our career and that having the foresight to see these effects is very important.

STYLE:

Is this use of texture and grunge type dated and cliché? YES. Of course it is. It is also entirely appropriate given the nature of the programming for DIY Network, it’s intended audience, and the fact that I learned a great deal about working with layers more effectively and creating textures in both PS and AI. I also learned just how raw, gritty, and unpolished my own production skills and knowledge are and how important it is to have a strong foundation in this. I could make some lame joke about foundations here, but I think I’ll keep my dignity and spare you...this time.