The document describes the process of creating various digital graphics for a client. Key steps included importing a client's logo, separating graphic elements into layers, making adjustments to layers, and putting them together in a frame animation. Graphics were further refined in After Effects, including adding 3D effects and motion. Live photos were also manipulated to create graphics depicting a phone screen crack repair. The overall process involved precise tracing, masking, compositing and animating of graphic elements in Photoshop and After Effects to create cohesive motion graphics for video production.

1. PRODUCTION

2. UNIT STILLS
Digital graphics
I started by importing my client’s company logo from the internet.

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Digital graphics
I then selected the background with the quick selection tool and removed it.

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Digital graphics
I then separated the different components into different files to work on them
individually.

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Digital graphics
For each component, I made slight adjustments on different layers and put them through a frame animation.

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Digital graphics
In the text logo, I skewed the text slightly from the original.

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Digital graphics
Different types of skew were used on the two texts on the text logo.

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Digital graphics
This process was repeated until I had a complete frame animation. In future,
though, if I intend to undertake this process again I would just separate the layers
and work in After Effects.

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Digital graphics
With the logo, I used the same process to animate the text; I made subtle changes
in a frame animation to create the illusion of motion.

10. UNIT STILLS
Digital graphics
As with the text, different layers would be visible in a frame animation.

11. UNIT STILLS
Digital graphics
I started by removing the white portion of the logo. Then I slowly removed the outline.

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Digital graphics
I also took time to refine the edges of the logo. I also altered the light direction on
the logo to create a 3D effect.

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Digital graphics
Upon removing the outline, I started to remove a portion of the main part of the logo.

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Digital graphics
The light effect mentioned previously was achieved by repainting the logo with a
single reference point.

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Digital graphics
For erased portioned of the logo, I also redrew the outlines according to the
position of the light.

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Digital graphics
Once the frames were finished, I arranged them all in a frame animation.

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Digital graphics
I also refined the edges for a higher quality finish.

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Digital graphics
Once refining was completed it was time to put the graphics into After Effects for
further work.

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Digital graphics
The files were imported/placed into After Effects and worked with from that point on.

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Digital graphics
The software automatically set the frame size of the production based on the first
import.

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Digital graphics
To work with the 3D effects that my client insisted on, I set the logo to work on a
3D axis.

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Digital graphics
This allowed me to efficiently alter the perspective of the logo depending on what
was appropriate.

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Digital graphics
Movement was based entirely on the position of the light on the logo. It was
achieved by rotating on the X and Y axis.

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Digital graphics
For the ending animation, I reduced the size to create the illusion of distance.

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Digital graphics
At this point I came to the issue of overlapping layers obscuring the one below the
other.

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Digital graphics
I attempted to resolve this with the conventional blue screen.

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Digital graphics
This proved to be problematic, as it was visible against the black background, so I
decided to chroma key the black.

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Digital graphics
I then started to animate the position of the logo.

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Digital graphics
With this the motion of the logo was complete.

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Digital graphics
So I rendered the shot as was to see the product in the full 30fps.

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Digital graphics
After witnessing it, I adjusted the position slightly to keep the logo still when it was
not supposed to move.

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Digital graphics
For one graphic, I photographed my own phone after it had sustained a crack on
the screen.

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Digital graphics
Then I started erasing the rough edges of the quick selection.

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Digital graphics
I then used the clone stamp tool to exaggerate the cracks on the screen.

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Digital graphics
This was undertaken as over exaggeration appears to grab the average
consumer’s attention in this time.

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Digital graphics
On a photo of my own phone after it had been repaired, I moved the camera to
where it was on the broken phone.

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Digital graphics
Then I used the healing patch tool to iron out the rough edges of the alteration.

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Digital graphics
In After Effects, the phones’ opacities were arranged for the fixed phone to replace
the broken one.

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Digital graphics
For an additional effect, I masked a copy of the fixed phone to only show the screen.

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Digital graphics
The copy’s opacity was reduced and was positioned to slam into the broken phone
to “fix” it.

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Digital graphics
The result was a dynamic visual using live-action subjects, which would stand out
from the rest of the video.

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Digital graphics
For the first background animation graphic, I started by creating a graphic to track
the graphic to the centre of the screen.

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Digital graphics
What started as four lines became eight to further suite my intended graphic.

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Digital graphics
The first shape involved positioning within the frame to give some proportioning for
all the subsequent frames.

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Digital graphics
Each individual frame required a polygon contour to correctly arrange the graphics’
edges.

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Digital graphics
This process required several copies and significant reshaping before completion.

47. UNIT STILLS
Include images captured of your shoots
Upon reaching my college workspace, I put the finished frames into a frame animation.

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Digital graphics
I then sorted the rough edges using a black background for guidance.

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Digital graphics
I then set the graphic into After Effects.

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Digital graphics
Keeping wary of positioning to ensure quality.

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Digital graphics
Another graphic required me to take a screenshot of the UK in Google Maps.

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Digital graphics
I positioned the screenshot into Photoshop for work.

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Digital graphics
I used the paintbrush tool and traced the outline of the UK as part of a graphic.

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Digital graphics
After recoloring and filling with the fill bucket tool, I painted the edges out.

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Digital graphics
The final result was a perfectly shaped graphic of the UK.

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Digital graphics
For another graphic in the same shot, I took a copy of the logo for another tracing
exercise.

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Digital graphics
I painted out the parts of the screenshot that were not required.

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Digital graphics
Over the freshly painted shield I placed the logo for tracing.

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Digital graphics
With the quick selection tool, I traced the logo and prepared the shield logo.

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Digital graphics
With the trace done, I painted the outlines of the lettering in the logo.

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Digital graphics
In the shield, I then animated a motion graphic in a separate file.

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Digital graphics
As with all my motion graphics, I rendered them as video files to work with in After
Effects.

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Digital graphics
For the shield in After Effects, I rotated it on its Y axis.

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Digital graphics
It was also positioned to stay towards the right-hand portion of the screen.

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Digital graphics
For the UK outline, I copied it and prepared to separate it.

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Digital graphics
Separation was achieved by erasing portions of the country.

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Digital graphics
Further work into this graphic was undertaken by separating the portions into
different layers.

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Digital graphics
For some the task was easy; lasso around it and cut and paste into a separate layer.

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Digital graphics
Others were more complicated, requiring a combination of polygon lasso and
quick selection.

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Digital graphics
I also created smaller pieces, but I did not go further than this due to time constraints.

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Digital graphics
I then imported these elements into After Effects for further working.

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Digital graphics
For accuracy, I used an unbroken version below the separated pieces to give guidance.

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Digital graphics
Motion of the pieces was dictated by every other piece to make sure that no piece
touches the other before the final connection.

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Digital graphics
I reduced the opacity of the pieces to showcase the the intact version.

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Digital graphics
For this text effect, I started by simply providing the text that was in my original
storyboard.

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Digital graphics
I then copied the text and rasterised the layer and erased the layer gradually with
a shift key to keep the erasing line accurate.

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Digital graphics
After the process was completed, it went into a frame animation.

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Digital graphics
For another graphic, I made a quick selection of the outside of my phone.

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Digital graphics
In the selection, I painted a white section.

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Digital graphics
Then I used the polygon lasso tool to neaten the edges.

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Digital graphics
Next I rotated the shape and skewed it straight.

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Digital graphics
I then traced over the outside of the new shape and created a graphic depicting
the inside of a smartphone.

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Digital graphics
For the copy, I used the clone stamp tool to ensure an accurate copy.

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Digital graphics
I also make one element slightly different from the original to give off the message
of accuracy.

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Digital graphics
In after effects, I ctrl-selected to selected multiple units to move exactly at the
same time with less time.

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Digital graphics
For consistency, I sampled the exact shade of green present in my client’s website.

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Digital graphics
This graphic required a central line, so I needed a precise measurement.

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Digital graphics
Perfection proved to be complicated in this case, as this was before I discovered
the grid view in Photoshop or After Effects.

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Digital graphics
With the lines discovered, I could track every line accurately and eventually fill in
the colour I had sampled.

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Digital graphics
I then shift-painted for straight lines and an accurate motion in this background
graphic.

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Digital graphics
I then used the magic wand and eraser tool to remove the portioned that were not needed.

92. UNIT STILLS
Digital graphics
After completing the graphic, I traced the lines for a more refined appearance.

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Digital graphics
With the changed background, I had to change the colour co-ordination for the
phone graphics.

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Digital graphics
This was achieved by merely applying the fill tool.

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Digital graphics
In this graphic, I separated text for motion.

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Digital graphics
I used the timeline to used the different positions, but I would not need it, as I
would use After Effects.

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Digital graphics
The additional text was inserted in the second panel and the timeline was removed.

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Digital graphics
In After Effects, I had to rearrange the layering to what was originally set in Photoshop.

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Digital graphics
I also added the background graphic to the shot.

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Digital graphics
The brand text was then made invisible and prepared for 3D effects.

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Digital graphics
It was at this point that I started arranging the footage into Premiere.

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Digital graphics
Sometimes, there were issues with frame sizing, so I had to adjust these.

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Digital graphics
For the ending background graphic, I copied the first one for a reference point and
recolored it to match the colour change pattern present in the overall video.

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Digital graphics
This graphic was arranged with Y axis present throughout the piece.

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Digital graphics
The 3D layout of After Effects allowed for the contact details to slide through the
background.

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Digital graphics
The outline of the text graphic was also improved for this shot.

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Digital graphics
The background was then positioned to keep the centre point in the centre.

108. UNIT STILLS
Digital graphics
of your shoots
Originally for the transition between shots 4 and 5, I used a simple wipe.

109. UNIT STILLS
Digital graphics
Then I created another background graphic out of rectangles.

110. UNIT STILLS
Digital graphics
For it to show in After Effects, I had to rasterize the layers.

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Digital graphics
With a mask, I could create a slight optical illusion with the layering.

112. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

113. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

114. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

115. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

116. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

117. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

118. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

119. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

120. UNIT STILLS
Digital graphics
With a mask, I could create a slight optical illusion with the layering.

121. QUALITY CONTROL
Discuss how you managed the shoot.
Did you abide by the original shot list? Did personnel act professional and
with respect? Did you stick to the roles?

122. QUALITY CONTROL
Discuss how you managed the shoot.
Did you abide by the original shot list? Did personnel act professional and
with respect? Did you stick to the roles?