Lessons in Channel Branding -Speaking a Brand language & Using The World Around You To Tell Stories | Brian Behm | Skillshare

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Lessons in Channel Branding -Speaking a Brand language & Using The World Around You To Tell Stories

teacher avatar Brian Behm, Creative Director and Motion Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (2h 3m)

    • 2. 01 CLIENT BRIEF





    • 7. 05 SECOND SHOOT


    • 9. 07 FOURTH SHOOT

    • 10. 08 DAILIES

    • 11. 09 BUMPER #1 FINISHING

    • 12. 10 BUMPER #2 FINISHING

    • 13. 11 THE REVEAL



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About This Class

Part of being a motion designer is learning to bring your own creativity but still speaking in a brand's voice. In this class, we'll walk through the process of designing for a brand. We'll take apart the provided brand guidelines and use that to build a visual language we can use. With that language, we'll build a mood board and then come up with story ideas based off of that board. Using simple props, we'll explore the outside world and film multiple concepts that we'll bring back to the studio and turn into finished bumpers.

This is a great class for anyone who's getting started in branding or just trying to figure out a way to improve their YouTube channel. It's also a great class for people who want to learn more about the compositing workflow of a broadcast designer.

Meet Your Teacher

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Brian Behm

Creative Director and Motion Designer


Brian Behm is a creative director, motion designer, and artist based in Austin, TX. With a long history in new media production, he develops broadcast packages and has worked on music videos, film openings, visual effects, written music themes and all sorts of other design projects. He's lectured across the United States, including the National Association of Broadcaster's convention and SIGGRAPH, and is available for freelance design, speaking and consulting work.

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1. 00 INTRO AND TRAILER: Hi, My name's Brian Beam and I'm a motion designer and creative director. Basement Awesome texts. Thanks for checking out my class channel branding lessons, using the world around you to tell stories. This class is somewhere in between. A design and a filmmaking class. Motion design could be that way. It's a little bit of bolt, and sometimes the line could be really blurry. For seven years, I was the Motion Design and Creative Services director, refuted productions. I created openings for shows, put Logo's on chickens, worked on music videos and did channel identity work for many of the roost boutique brands . This exercise spraying out work I did with Let's Play Channel on YouTube design is about solving problems, creatively, finding solutions that elegantly communicate and hopefully delight. We're gonna be creating channel bumpers for Kids Network. We'll look through the brand guidelines for the channel, try to understand the voice of the brand, and we're gonna do some initial thinking about what we can do will prepare some props and then we'll walk around and try to come up with ideas that we contest. If something doesn't work, we're gonna find another idea and try it out. We'll come back here afterwards. We'll take a look at everything we shot, and then we'll choose a couple of pieces to clean up and finish. Your class. Project would be to download the logo and assets I provided and create your own channel bumper. This class is for designers, for people that are trying to figure out how to define themselves better on YouTube. For filmmakers trying to think more creatively, the big goal is to give you a tool that you can use to break out of a creative rut and start to become more imaginative. I hope you'll come and join me. 2. 01 CLIENT BRIEF: Okay, let's get started. You know, before we can go on shoot, we need to have an understanding of the brand that we're going to be working with. Today's client is a youth TV channel called Gazzo, and they were kind enough to send over their brand guidelines. And we're gonna take a look through that and we're gonna try to figure out how to start speaking in the voice of the TV channel. One of the key things about doing design work for a client is figuring out how to speak in the voice that they've already created. They want your spin on things, but it needs to be able to be consistent with all of the other work that's already been created. And so we'll take a look at these brand guidelines and that will help us to start thinking about some key words that are going to help us to describe the work that we want to do 3. 02 BREAKING APART BRAND GUIDELINES: if you haven't had a chance to look at brand guidelines before, It's a packet that shows how the logo's work, how the typography works, the colors that are being used and starts to get a description of of the brand itself. So we see the cover here. Got the Yeahs Oh, brand book 2018 will go to the next page. So there's a mission there, it says at yeahs. Oh, we believe the world is a creative place. We believe their stories to be told that can bring families together. We believe weird is better than cool, but sometimes you can find a way to be both. That's the jazz away. Then we've got the mark here. We can see that this is the way the logo appears in black and white. We can see that there's an orange and blue lock up, and we can see that there are Holy blue and Holy orange lockups. Ah, lot of times in these brand guidelines, they'll have a page that just has the logo and all of the possible ways that it would be wrong to use the logo. Um, they're in the process of starting up, and they were just trying to help us out and get these things over to us that would get to work, and so we'll see how much of that is there. So here's the color palette. We can see that the black is sort of a rich black. It's not just, ah, 100% black and see him like a. There's also some science, a magenta and yellow. It's gonna be very important that we keep track of these colors because as we design and as we create, this is gonna help us to be able to color correct everything so that it gets close to where it's supposed to be. And then they've created fund. They've got a font called the as a casual Um, they say that's their display fund. And then lotto is there font for everything else. And here's an example of how that's used. So if this were in a schedule, I guess this would be showing that on Mondays at seven o'clock, and then this bolder version of Lotto is the show description, and then it looks like they have a mascot. They have a mascot named Gazza. The dinosaur is that makes sense. Let's see what it says. Yeah, Zo the dinosaur shows up throughout all Yazalde publications and content. He can appear in any of the Yazalde brand colors and is a fun and troublesome tiny T. Rex. He can show up with or without the logo. But wherever Yazalde goes, the logo isn't far behind all of you as those wars end up sounding like Gazzo, so I don't know exactly what that means. Does that mean that it sounds like we'll probably need to ask for clarification, but there might be something to that. So So looking at these things, um, going back to the mission, Um, let's start to write down some key words. From what we see, they believe that the world is created place, so creativity, the colors are very bright. We can see, um, the logo is fun. It's not very rigid and conservative, so I'm gonna write fund down on my list. Weird is better than cool, but sometimes you can find a way to be both. So let's write down weird and cool. We'll also write down does not necessarily equal cool and stories and families are also gonna be a big part of it. Um because they say that they believe their stories to be told that can bring families together. So let's look at the words that we've got. We've got creativity, bright, fun, weird cool stories and families that gives us a good leaping off place to start to do some thinking about what it is that we're going to do. Let's see what other files they sent us. So we've got this folder from the client. Looks like there are some animated logos. So we've got our logo popping in, and then it flies out. Okay, that Ah, those sparkles air Pretty cool. So let's add sparkles. Shiny, youthful, maybe metallic. Then we have a logo floating, no shadow and then a logo floating with shadow. So now we're gonna take those keywords, and we're going to start to think about ways that we could potentially use it 4. 02.5 WE'VE GOT TO TALK ABOUT FRED SEIBERT: I want to take a minute to talk about Fred Cyber was a man spread, if you haven't heard of them, has influenced you in all sorts of ways. Fred was the creative director at MTV when it launched back in the early days. He was responsible for getting MTV logo created, and he curated all of the initial MTV bumpers. And MTV was great at coming up with all of these random ways to talk about the logo. That's really kind of the spiritual ancestor of the exercise that we're gonna do today. They needed so many bumpers at MTV as they were programming content 24 hours a day, that they just started coming up with all of these random things that would allow them to show off the MTV logo on screen. You could see a couple of those various permutations of the logo, and Fred, after that, ended up going up and relaunching Nickelodeon. Um, he was behind getting adventure time onto the era. Cartoon network friends. An interesting guy. He's sort of the Forrest Gump of the broadcast branding world. He's he's touched everything and influenced way more than he's even touched. Um, you should go decent digging and watching interviews with him because he's a fascinating individual and he would say that he's not a designer, but as a creative director, he influenced an awful lot of things and continues to influence things today. 5. 03 DEVELOPING A MOOD BOARD: So now that we've created some words, we're gonna put together a mood board and all the mood board is is a Pinterest like board that just has a bunch of random images that are gonna help us continue to kind of evolve our ideas. The majority of the work that we're gonna be doing today is gonna be outside. But the more research that we could do up front, the better the ideas that we generate when we're walking around and experimenting and playing are gonna be so I'm just gonna go to Google images and Pinterest and stock companies and grab things that I think are interesting in looking at the logo, The love It was very sparkly and sparkling, and fund made me think about that pooping unicorn commercial that was online. And so I went and looked at stuff unicorns, looking kids, looking at kids expressions and trying to convey a funny brand families, kids and their crazy expressions or something probably going to be something way want to play with. We're not worried about copyright per se because we're not going to use any of this stuff in the actual work. We're just using it to try and help ourselves, Kind of. I understand the client. So we're gonna look at creativity and bright and fun and weird and cool, and we're gonna start to put together a collage of images. I end up building my mood board an illustrator. Um, it's just a really simple way. If you were to do this one photo shop because of the way it handles files, you would end up with this gargantuan Lee sized image. Um, that would be way less useful than this illustrator board where everything is nondestructive. So I used the key words to go to Google images and start searching for things like kids, dinosaur kids shiny trying to really combine these keywords into a way to find images that can spur imagination. Um, my convention. We're not using these for specific ideas. We're trying to jog our creativity. And so, looking at this kid's dinosaur thing like I could really see how this were something like this would be able to speak to the brand like there's a playfulness, um, and kids and fun and play all seemed like words that could speak inside of that brand lexicon. You know, looking at kids and their expressions. That says fun. Um, one of the things that I use a lot specifically when I'm designing for humor is the principles of animation. There's this visual language that was created, an animation to be able to convey concepts, things like exaggeration and wait I and abusing exaggeration a lot. And you know particular, when you look at these kids, all of these kids expressions are very exaggerated. And with exaggeration in whether it's on the happy side of the sad side conveys emotion in a stronger way than a frown or a smile. So here is Ah, search where I started searching for weird families. You know, I could see something Where, um, you know, as we continue to make these, you could go out and you could find a family and dress them up weird. And maybe there's some story that you could tell there, um, this dinosaur hand. There's something weird and funny about that. Um, you know, and I wonder if that's something that we could play with. I actually have Ah, dinosaur hand puppet. I think maybe we should grab that and take that outside. Um, and that might be a really great thing that we can try to create some stories around taco sores. Here's kids being weird. Um, I don't know if there's anything with that that we can do today, but, you know, that might be something to think about the future. Typing in shiny and kids into Google images isn't something that I would recommend. You don't know what's going on there, but I don't think that's going to be particularly useful for us today. As we looked at, uh, you know, bright and fun and sparkles and started thinking about unicorns. I wonder if there's something that we can do with unicorns. Um, you know, my daughter has a stuff unicorn that she just got and might be worth grabbing that and taking that outside today to play with kids and dinosaurs, That could be another thing that we could experiment with. Um, you know, I'm really kind of honing in on the fact that everything that we do is gonna have to revolve around play in some way. And that's really useful, because this, uh, this method of creating channel ideas is really about going out and playing, Um, and so kind of happy coincidence 6. 04 DIRECTING OUR FIRST SHOOT: all of these things that we're doing are gonna be between five around five seconds. And so the stories that we're gonna be telling are very small, But even at five seconds, we can come up with a concept that turns into like a full little story we're gonna steal blatantly from my friend Seth Orlean's story clock notebook. Let's take a look at a visual representation of what one of these pro most looks like you look at the end of that circle and you'll see that logo is gonna come up. And so we need to save a good chunk of the time for that. And then the other parts of it are gonna be a very simple beginning, middle and end. And we're gonna shoot. But we're also gonna end up with a little bit of serendipity afterwards in the editing suite, where we'll see things that we didn't see that we ended up shooting anyways. So my first thought is that we're gonna go for a little jungle chase through the weeds. I brought my stabilizer. You totally wouldn't need to use one. I have it. And so since I have it, I may as well use it, Um, and we're gonna take our iPhone, and we're going to run through the weeds and see what happens. So the first thing I noticed is that I definitely need to be closer to the edge, because as I'm going through, I can see that it looks sort of cool, But I need to have some sort of a resolution, because if I'm coming at this from the beginning of it, um, I don't have five seconds, and so, like, I could speed it up and we might play with time inside of editing. But what we really want to do is to be able to get us close to a finished thing as we can, so that we don't have to do a lot of tweaking on the motion design side. So I'm still rolling. So we're going to go again. I see kind of a hole over here, so let's see what happens. So it might look cool to be able to play this backwards. You know, when they were filming the return of the jet I and they're flying through the jungles of the forest indoor. They used a very similar thing. They adjusted the frame rate down on their cameras. And then they just went walking through the woods. And when they played it back at normal speed, suddenly it looked like they were racing through the woods for a second shot. I'm gonna get my daughter set up for some bumpers that we're gonna try shooting with her in just a second. You'll see her walking into position and then run towards Dad. And I'll tell you when. So im already filming Because I'm trying to figure out how we're gonna frame these shots. And this footage may actually end up being useful. It is better to gather more than any need. And so I've always got that camera running. I've also always got that five second rule in my head, and I'm thinking about a place where I could resolve. So here, um, I saw the sky and I thought that it might make a good end of the story to pan up and have the logo come in there. So once you're over here, Dad's gonna go back over there, and I just want you to run to Dad, Okay? So, basically, and then when you run up to Dad, you're just going to go to the lands and you're gonna go? Yeah. So can you do that? You say? Yeah. So Yeah. So Yeah. So it's the name of this channel. It's okay. Just say as Oh, it's a made up word. Yeah, So can you say as o let's practice look at the lens and say Yeah, so So you gotta look up here. Look up here. Yeah. So yeah, so is Yeahs. Oh, yeah. So, Woo, can you stick your arms out? Wow. Yeah. So you Yeah. So big and loud Go yellow lives again. Except look at the camera. Yeah, So Okay, so now I'm going to move back, and I want you to run towards dad. And when you get to dad, you're just gonna say, do what we practiced and action. Okay, Stop. What? Are we gonna yell? Yeah, So Yeah, Zo. Okay. And action. Keep going. And yet with the camera. Yeah. Okay. Let's try it again. Okay, Let's just all key, I'll move back and you just run forward again here. Actually, 7. 05 SECOND SHOOT: So we want to shoot fast. We want to try something and then try another thing and then try another thing. So we've got our little unicorn and let's go shoot something. Let's go come up with some dumb ideas with the unicorn. I think we can have the unicorn grazing on something or, you know, maybe we could do a little camera move where we come up. Maybe the logo's on the side. Maybe we could even make the unicorn talk. Uh, maybe the unicorn's horn could light up or something, and the logo could shoot out of it. Maybe there's rain bows that come out of its eyes like No, there's no rain bows to come out of its eyes. So let's let's find out what the Unicorn wants wants to do. Maybe it's a diva, so maybe we'll start with a little majestic. You think of the music swelling in the background. Whoa! Uh, we kind of move up on the unicorn. Maybe there's a little tear coming down the Unicorn II and then Yeah, so I don't know. We could try it. We'll see if it works. Focus was weird. - I don't want to over think this. I just want to try things and then we'll assemble. - Design doesn't have to be a super complicated animation. Sometimes it could be a simple is taking a stuffed unicorn and running around in the yard with it. One of the reasons you want to shoot a lot is because, inevitably, you're going to get back to your computer, start to look through footage and cringe that a camera angle isn't quite right. Just like I'm doing right now, it's hard to be thinking about everything you need to think about. So having a lot of takes raises the chance that you did at least one of them correctly. It might be really funny if when we get to it, it's voices more like years old. This is not what you expect. Sometimes humor is about, well, a lot of times. Humor is about surprised and so taking the sweet little unicorn and making him making her him sound like she's from Brooklyn or something like that. That could be really funny, and we know that this youth brand is all about humor and excitement and energy, and so anything that we can do that consort of Bring that humor is gonna help us out in post. So let's do one more thing. Unicorns can fly, right? So powered by greens. Ellie, come get your unicorn. And now handed to dead. One more try and then he has a no wait for Dad, actually. Let's move the Let's go this way. Okay, let's try once again and a dead bad. Ah, Now Okay. Here. I'm gonna grab the unicorn from you. Ah, now we'll try that again. Ah, no, he When I say now, you gotta go. Yes. Oh, Okay. Ah, now. 8. 06 THIRD SHOOT (FINDING IDEAS BY INVESTIGATING A LOCATION): So we took the child back home, and now we're gonna go out and shoot one more set of things. Um, I'm leaving the stabilizer behind. And so I've also got I ordered this cheap little $20 tripod off Amazon, and we're gonna do one more set of things with, ah, in the mascot for yes. Oh, is T Rex. And I've got this little T rex hand puppet that I think is going to be kind of cool. You know, I think that there's something that we can do with this. It's very expressive. And like, I think there's some ideas that we can explore with that. And I've got this kid's dinosaur tail. I don't know exactly what we're going to dio, but I think there's something that we can play with and come up with some ideas. So there's a bridge in my neighborhood, and we've gone underneath the bridge just to see what's going on. I don't think this is kid friendly. Um, but I No. What? What Looks interesting over here. Like that branch over there, I could see some potential things that we could do there where you say we set up the tripod and then get the camera mounted pretty low so that we can kind of focus on that branch. And maybe you see the tail coming through and if it's framed so that you're seeing the tail in the bottom of it and you sort of wiggle that tail so it looks like it's alive. Uhm, maybe maybe it reveals the logo. Like I think that could be interesting. Compositionally Um, maybe there's something where we mount the camera upside down. Um, you know, these polls look pretty cool this way. You know, it sort of looks like the trench run from Star Wars. If you're looking at it backwards, Uh, I feel like a lot of the times when you look at something upside down, it looks way cooler just because you're not used to looking at something that way. So one of the other elements of design is playing with scale, and these rocks are really cool. And I think if we set it up in the right way, we can make those rocks look a lot bigger, like their giant boulders or something. And I think there's probably interesting design decisions that we can figure out there So I've got my tripod and we're going to very carefully not fall down. And the nice thing about this thing is it's very bendy and so I can get it stabilized and level really easily. So I'm gonna put this in there, just slides in. So, you know, as we get down and we start to play with scale this this starts to look pretty interesting . Um, I think we're gonna move forward a little. The app that we're using to record everything in is a great camera app called filmic Pro. I can't recommend it enough because it gives you access to all sorts of extra controls that you don't have in the normal camera. Um, focus and aperture control, frame rate and resolution. It's really cool. So I think I can see something there were all of a sudden This is a big dinosaur tail, and maybe this comes through and use here. The swamp form, maybe it reveals the logo would be a pretty simple road. Oh, to be able to do that. So we need to check our speed because we've got five seconds. So 12345 So it might need to even be faster than that. So 123456 one more time. 123456 I don't know if I don't know if this is gonna work, but I'm taking my little tripod and I wrapped it around the tree, and that gives me a fairly stable place to stick it. And I'm gonna record And let's just play with our rubber mask. You ready, Mr Dinosaur Room? Rudy like, Okay, so one of the things that I'm having an issue with is getting my arms straight enough. So why don't we just make everything cock I and it's a little weird, but now my arm doesn't have to be as straight because the world is askew. Let's try shooting actually this way a little bit, so that we can control for some of that exposure because it's very exposed. So how does that look? So I'm just gonna keep playing until we come up with something that we like. Like maybe maybe the Maybe he's picking up rocks and throwing rocks. It's sort of interesting. Yeah. Yeah. So about about a lot of I've find fun. Bomb. Uh, my name is Dina Soul don't. Don't. Down, down, down, down, down. You know, I know this looks goofy, but we don't know what we're gonna use. And there might be something cool that, you know, maybe we need to do something where we spin around, Mr Dinosaur. And it looks like Mr Dinosaurs having a rave or something like that could be kind of cool. Uh huh. You know, maybe the logo is there, and we haven't come in. Chomp, Chomp, chomp logo on screen and chomp, chomp, chomp, shop, shop, shop chop. 9. 07 FOURTH SHOOT: - you have to be willing to look like an idiot. And frankly, a Who cares? Um, there's a guy named Marcus Aurelius who was a Roman emperor, and he wrote a lot about stoicism and this idea that you really think through, like, what is the worst thing that could happen? Like, what is the like If if I were to die today not to get morbid? Um, but like, you know what? What would be the end of the world and so thinking about going out and shooting these, Like what? What is the say? You're embarrassed by someone walking by. What does it matter like winter? You're gonna see them again. And so but what is the benefit of that? If you're trying something and you're experimenting and you look goofy, who cares? You're never going to see those people again, and you got something cool out of it. And if you got something cool out of acting goofy than it was, worth it toe, act goofy and put yourself into a position where you could be embarrassed because really, embarrassment is all in your head and experimenting and coming up with cool stuff sometimes means you're gonna put yourself into a position where you're gonna look and like, running around next to a creek. Well, you've got a rubber dinosaur on your hand is kind of weird. Thankfully, I'm shooting all of this stuff in four K and so that's really 4 10 80 screens. If you think about it, is 1920 by 2080. But the frame is 2000 160 pixels wide. And so I can take just 1/4 of that and reframe it. And so one of the things that I see is an issue with the dinosaur thing that I was shooting was I just was not nearly as far forward as I needed to be, But I think I might be able to salvage it. So you know what? It might not be a loss, but this is why we test. It actually was a loss. You know, I don't I don't know if this is gonna work, But John, our cameraman today suggested that he wanted to see some stuff floating down river. And so long as there's water in the creek and we're here, let's shoot it. So I went, I shot some slow mo you see what? That That's kind of cool. But, you know, maybe we should go and get a better angle. Like we could go a little lower. Maybe we can turn that into a raging river. Never be afraid to get down to a better angle again. Who cares if you look weird? If the shot looks better, like the most boring shot generally is going to be the one from, like, normal human height. You know, this rocks very interesting. And I bet that we could potentially use that as a framing device. So maybe we've got our logo. Kind of. Maybe it's on a little boat in that little boat goes sailing by. Okay, so I think we've shot everything that we need. We did the set up with the little girl. We've got the Unicorn. And now we've got all of this water stuff and dinosaur stuff that we shot down next to the bridge. Let's take all our footage back to the house and we'll experiment on the computer side with everything that we shot 10. 08 DAILIES: we're back in the edit suite, and I have taken all of the bits that we shot outside and put them into a timeline. I think there's some things that are working. I think there's some things that are not working, and I think there are some bits that if we messed with them, we could make work. So let's take a look at what we shot and we'll figure out what we want to finish out. So the very first thing we shot was the wander through the grass, and one of the first things that I'm really seeing is that there's just no resolution like this isn't gonna work because it doesn't go anywhere. There's nothing going on, but the 2nd 1 I think, is more interesting, and this is actually just a knacks ident. I didn't stop rolling, and as I was walking backwards instead of looking really cool, by the way, I've turned the sound off in a lot of these clips. I really want to focus on the visuals right now. As we tweak things and clean things up, we're going to go in ad in our own sound, and it's gonna sound way better than the sound that we got on the microphone. And so its almost better to just not pay attention to it right now. So this one looks really cool going backwards. And so I copied it and let's just do a quick speed reverse and see what happens. So we're going to premiere and I'm just going to click River Speed. It's now it's playing backwards, and that's kind of cool. And so if we extend that out a little bit and now maybe cut that and now we'll go to speed again and, uh, let's make that three seconds. Remember, we still have five seconds, and some of that has to have the logo in it. Let's play this back and see what it looks like. I think there might be something there, so the next one we shot is with my daughter, Eleanor. So that's her first take, and in theory, it's a screw up. But I kind of like that bit where her head hits the camera and I could see something where the logo that we have pops on right there, and maybe we blur out the screen behind her. I think that's kind of a neat little resolution. So if we use this one, we're gonna have to work on timing. That one's kind of cool. We could maybe center that up and do some repositioning and come up with logo. I really like her movement in that one. Now that one is simple, but I think has some possibilities. I really like the way she's carefully stepping through that grass. Okay, so we're onto the unicorn one and this one on the surface, I think has some problems and isn't very exciting. But let's look at some ways that we might be able to clean it up and make it cooler. So with this one, we could have the logo kind of slide in from right. Um maybe take this horn. And as it lands, rainbow comes on. We could create a little patch on the eye and trigger it on and off to make it look like the eyes blinking. Um, you know, I think there are some ways that we can potentially clean it up, so this one might be worth pursuing, even if at first glance, it doesn't see very exciting. If we want to punch the unicorn, it's sort of interesting, but I think they're stronger stuff that we created. Like if we were to do this one, it would definitely have to be pop up. Yeah, so or something. I I think that one's a waste, This one. This one's kind of funny. I really like the unicorn flying through the air. We could create some little rainbow trails that are going with it. The issue is that I really don't want it to tilt down here. I wish that it would resolve. I don't have the patient's toe, let the shot like, just kind of breathe for a second like I tilted down. And because we're going out and we're very quickly testing these ideas, it didn't really occur to me until I got back here that I really should have stayed positioned. High said that the sky was the area where it was gonna resolve, and I think there's some things we could do to solve it. But today I think this is one that's probably just gonna get put on the back burner. So even though she doesn't see Gazzo, I think there's some really interesting interaction here, and that may be due under London London is kind of cool. I think one of the motifs that we might use to find some continuity and all of these is to do some blurring at the end. Um, as a design element, sometimes you want to take things away, to be able to focus the I in on the logo. And so one of the things that blurring does is it creates foreground and background and allows you to really focus in on the logo, and it draws your eye towards that next one. Another take on that. She does say he has a there, the framing that the end is a really a little bit of weird. Her head's getting cut off their that doesn't excite me, and we have lots of other things. So this one's gon. I love her reaction here, So even though she doesn't say as O again, I think we can pop it up there. One more take. So from a storytelling perspective, there's a great resolution here having her run off. The timing's not quite right, but I think we could play with some speed and tweak some of those things. Okay, now we're onto the bridge and the dinosaur stuff. So, like I was saying when we were under the bridge, this is what the bridge looks like upside down like that looks a I have no idea what that is. It's kind of cool. Um, but as we're tracking in here, um, you know, we could go and use Mocha, and I'll open that up and show you that a little bit. And, ah, these shapes are pretty simple. And so it would be very easy for us to create some masks and be able to have the logo kind of hop up and down and fly forward. And so maybe we have several Gazzo logos that are all kind of flying forward, like there's some sort of dog fight going on you. So here's our dinosaur warm. I think this one's gonna be worth pursuing because it's super simple dinosaur chomp again. I think that's one that would be relatively easy. There's a whole bunch of different variations, so if we were to do this, we would probably grab a single frame of the background to be able to extend the shot, and then we would just take one of the dinosaurs that we liked and have it chump the logo. So here's the water, our little creek. And even though this one doesn't seem very exciting, I think this is one we're gonna pursue because, um, John, our cameraman suggested that he could see a little logo floating down the river. And we haven't done anything with you as oh, the dinosaur. And I think that he could maybe get on a little paper, boat or wooden stick boat or something and float down the water. So I think that's one that we're gonna develop. Then lastly, we shot this one, and the framing is all wrong. But there is something inherently funny about seeing me try to frame something up on camera . But I can't see what's being shot. So it's completely wrong. I really wish that this branch weren't here. So the next video I will show you what we picked, and we will start finishing some out 11. 09 BUMPER #1 FINISHING: okay, We're firmly ensconced in after effects and let's do some cleaning up and making some real pro Mohs. So I took this clip that we were looking at in Premiere, and I brought it in and right away we can see that the clip length is seven seconds, which isn't gonna work. Um, and I know that we're going to need to bring in our video, so let's go in and we will get from the client animated logos and let's bring in all three because I don't know which ones we're gonna need. So let's try the no shadow First. We know we need to hit five seconds. Okay, so you know, this timing actually is not so bad. Let's turn logo off. Um, let's slide it forward a little bit. Let's slide the clip forward. So it bugs me a little bit that she stops here so we could try re timing that, um, other things that I'm seeing. It's stabilized for the most part. So I could see here that when this resolves So we either need to move this forward so that it resolves and we get to a point where the Logan come in earlier, but that's actually sort of interesting. So she comes forward bang at three seconds. So been looking slides in. And now from here, let's do a quick little camera track and see if we could get some data that we can use. Okay, we have lots of information. Create solid and camera. And let's see how that tracks obviously doesn't tractor in the part that we didn't track that looks like it tracks pretty well. It's Now let's go grab our logo that we had before. He is the No shadow Make that three D and scale it up a little bit. And now we're gonna pick with that, too. This salad that we track, that looks pretty good. So that definitely does not look good. So what we want to do is, uh, maybe let's have this float down. So do adjust our scale again. Let's get it off screen back. I'm gonna set the in point to just where it comes in and let's have this come down. We're probably gonna just easing in a second. But, uh, let's see how that place I think that's sort of interesting. Um, I think it needs to, So I think we are gonna have to have it moving forward. So let's have it float forward. That's going to sort of follow her along. That doesn't resolve. So we really wanted to land and stop. So this isn't totally looking right. So let's bring it up. We'll delete this key, frame added, and just to make sure that that's weird. So that's, um, experimenting. Let's try having it scale over time. You know what? Let's have it come in or were it should drop in here, so this isn't gonna be tracked, but I think it might lander All right, anyways, So I have a script that I love from 80 scripts called Easing Wiz. And I know there are other options out there for creating curves, but this one's really easy. I know it's driven by expressions, Um, but it's simple, and I think for us it's gonna work today, so that's kind of cool. I like the way that's dropping in. I think we could probably extend this out a little bits that it comes in a bit earlier. Let's play that back again. We see the level drop in. I think right here will start to add some blur. So let's create an adjustment layer, and I am going to add a fast box. Poor. I own a bunch of different plug ins, but we're going to really focus on trying to use things that are built in after effects today. I think there are some times where we will try things that, ah, use filters made by third parties. But for today we're gonna keep it simple and keep it with things that you can use at home without buying anything else. So let's set this 200 and so that needs to start a bit earlier. So I'm gonna experiment with one of the other types of curves, and we'll see if one of them looks better. That one looks weird back to the first. Just try one of the sides. That was kind of cool. So we're starting to have a resolve where there's something cool going on. So now let's come in here and we're also going to and a box border to this and let's have it bore the other way. You to have those key frames drop down and you, you to have all of the key frames drop down So even if you can totally tell that there's a rack focus going on on the logo, you can feel it. And a lot of times and we're doing designed like this. Perceiving something is more important than seeing something. If it feels right, it's right. So we know that it probably needs to go to Black. So let's create a solid on his tea to bring up a pass ity. And, uh, I am going to attach this to the same know that we created before. So we need to make this three D Andi and color hit return. You can rename your layers. Um, so we need to scale this up so that it's gonna be offscreen on. Let's move it forward a little bit, so it's not interfering with that, and then I want to rotate. It just kind of centred on doesn't have to be perfect, but I want to draw mask out, and it's gonna really help if I don't have to draw a distorted mask. So in the original Yeahs, a logo flying that we saw at the beginning a little it flies in and then it flies out. We're not gonna have it fly out. But I really like this little bit here, and I want to create our own sort of circle loony tunes style transition out. I think that's gonna play really nicely with what we created. So we'll set a key for him, and we can see that I need to scale that up even more. So I didn't set this. I already did Send it to subtract. So at this frame, we're gonna want that path to be tiny. And so we're actually gonna animate this using a different setting to get to complete zero . Um, and our color is also not quite black. So let's go in and make that very black you to bring her key friends back. And so right here, I want this to be full. So it was going to scale that up and have it off screen. And now, just to make sure that we get it to zero, let's go to mask expansion. So we're gonna twirl down the mask settings, and now we can come in here and just finished closing that off by bringing it down to 30. Now, let's play that back. So that's cool. But I really want to accelerate that transition at the end, let's see how that so that's that's feeling good, although we're gonna have to move that back a little just so that it completes its transition of black. So I could see some sound design right there. We'll find a good flak and then we'll go in and do some color correction just to tweak this image a little bit more. But that's feeling pretty good. So let's go to our color and let's ah, pull these greens and experiment with some adjustments that we can do again. I'm gonna work in my adjustment layer. Don't have to but, uh, I just it feels better to me sometimes. So this green is feeling really neon. So I applied hue, saturation and mess with it and see what we can do to kind of dial that back a little bit, maybe make it a little bit warmer. The clouds were out. At this point, we're also gonna make sure that we're in 16. A lot of times I'll end up working in 32 bit, but right now, 16 bit is going to give us just enough extra color information. You did something really crazy, but the iPhone footage starts breakdown that point. It starts to look a little gross. So let's let's go into our curves instead. And let's just make sure that we have clean plate first. Bring that green down a little bit. The way the iPhone shot it, it ended up a little more saturated than I wanted it to. So there we go. Now that's starting toe. It's subtle, but there's less of a color caste, and I think that's gonna look better with logo. I see there's not quite as much saturation in here, and so it's allowing us to pay more attention to the saturation in the logo, which I think is going to increase legibility when it plays back. We'll also do sound design, so there will be a There's something to make the attention go to the logo dropping down, and we'll have some sort of a Yeah, Zo and then probably some sort of footsteps and nature sounds. It's gonna be nice. Now let's add sort of a ghazi warm Summerhays sort of like what? Putting a net over the whole thing. We're gonna create another adjustment player, and I'm gonna leave this one under the logo again. And let's just call this one Hayes. So one of the things that I love about adjustment layers is the say we've got that, and we've added a blur. Now, if we go into our adjustment layer, we back that down now it's still applying that effect in one stack bled. It's also allowing us to dial it back with the opacity. And if you just apply that filter to normal layer, you have to use you know another method to dial that back, and you can also use blending modes. So if we had that screen, put that back and see how that looks. And that's feeling pretty cool. The last thing that we're gonna do first. I really want this toe have just a little bit of motion blur. So turn on motion blur. I think that's probably gonna be too much. So we'll go into our comp settings in a second and turn that down. So one of the things that's cool about that head thunk from a comedy perspective is that it's unexpected. So when she runs forward and bunks their head against the camera and actually sort of falls into what we were talking about earlier with the principles of animation, you don't expect it. And so it's a surprise, and, uh, it makes us laugh and it takes your end of moment. The last but not least, we're gonna go in and create one more adjustment layer and this one we're gonna call grain and one of the things that I like to do to, um kind of de iPhone things is ah, add one more box border. So we're just gonna set this one toe one pixel, and then we're going to add a sharp in, said that toe like five pixels and then just duplicate that if you ah, use shift, command left and right bracket, you can move things to the top and the bottom of your effects list. That's one that I use a lot. Um, and so when you look at these effects over here, the order of operations is that the next one that's underneath the list happens next. And so it's plying a blur that it's sharpening and it's applying a border. And then it's sharpening. It might seem weird to have a box bowler again after the one that you already applied um, but we're applying it to the sharpen. And so, by doing it twice, you end up with something that's a little bit more organic. Um, because you're kind of pushing the signal just a little bit further. It's a super subtle thing, but it does end up working to kind of make all of the pixels kind of blur together. Last but not least, we're gonna go into noise and grain, and we are going to add green play. It was presets and see which one like, that's gonna be way too much noise. We can dial us down, but let's just look through the settings. Let's take that down 2.5. So since we've blurred everything, um, that ends up messing with the grain. And so we want to apply grain back on top of it because we don't want the noise that's in the video signal getting bored out. Um, it just doesn't look natural. And so, by adding a green back in over the top of everything, it's ah, makes everything kind of like again blend together. So I'm gonna hit the tilde key. We're just going to bring the window full screen so that I could look at my layers and then I'm gonna hit it again to shrink it down. And now let's go back and play one last time before we hit. Render So one thing I notice. So this isn't a three D wear. And so one of the things that you have to put it pay attention to when you're compositing, Um, and the after effects developers actually put this in is sort of a helper. But if you have a non three d layer that sandwiched between 23 d layers, it basically and this is sort of ah, doctor, strange mind bending thing. It creates 23 D worlds. And so those three D objects have been in the same world, and suddenly they're not in the same world anymore. Yeah, head explosion. And so if we make that three D, it sort of works, but we're just gonna move that underneath the logo. I don't care about grain on the logo. It'll be okay. So we're gonna just send that down a layer, and then we're gonna turn three d off because we don't care about three D on something that doesn't need three d. Okay, that's a little too strong, so let's bring that down to one. Actually, we may even try 0.5. So I think I'm gonna have the blur on the background come in just a little bit slower. I want this logo to stay up on the black for one frame, so I am going to drop this underneath, so I understand what's happening. Our logo was ending up, getting stuck behind. So I want to move that forward just a little bit now trying to go in and adjust that scale down 20 Then we're also going to bring that anchor forward just a bit more. You won't be able to tell because we're shrinking it, and then we will cut the layer off, and this is what you end up with. So I think the only other thing that we're gonna do is we're gonna slide all of this forward like two frames and then add a couple frames black because we wanted to feel like it actually ended. We're also going to turn on the motion player on that logo. When you're designing stuff like this, it's really the tiny little details that end up really making a difference. And so spending some time tweaking tiny little things and looking at what it does can make a real difference in what the end product feels like. So I'm gonna end up splitting my layer because I don't like what the motion blur is doing during the main parts of the logo being on. But I wanted at the end what is transitioning out. And I think I'm actually even going to speed up that transition out by a frame, cause I really wanted to top. So this is feeling weird to me. So let's try turning off motion Blur. You know, the other thing, we could do it. So I'm gonna go in, gonna do eat this anchor point and then I'm going to duplicate will split my black layer with shift Mandy. And then I'm going to turn off this three D and reset position, and you won't be able to tell any difference because it was already full screen. But now we won't have to worry about any of those interactions. I'm gonna go in and just manually add a radio work. So so I could also go in and adjust the shutter angle inside of after effects is comp. But because the only element I really care about is the logo, it's easier to just add it in Radio Blur and then just set a key frame because I wanted to be on for literally one frame. So here I wanted to be off on may be two frames. We'll dial it up just a bit more. But if you look at the difference, the motion blur that we had before was way stronger. I look that versus that like we still have legibility in our logo and it was faster to set up. I still love that little bit of natural, weird camera shutter role. You be really hard to program that in after effects. Okay, so what I see here is that I want this to come in frame light. It's still a little off. I think I'm going to adjust the scale so that it goes out just a little bit slower. Okay, so it looks like that Blur is starting a little early, so we really want that to come in there. It's a meeting. That's what we're feeling. And then it wasn't quite feeling snappy because it wasn't hitting at the right time. Now we shorten that up a frame. We're gonna make it go one frame faster and then make it hit one frame later. And I know this is really getting into the weeds, but that one frame is something that you can feel, even though it's 1 24th of a second. The only other thing that we could maybe experiment with, it's the logo is a little small, so we could maybe have it come down a little bit farther. So if we look at our position, putting this up position lands here, bring it down a little bit more, scale it up a little bit more now at the midpoint, it ends up centered up. Now we might still tweet that a little bit more, and we've got at our ease in. He's out back in because we got rid of it when I just the scale. So let's go back and look at where we came from and where we ended up. So this is the final and here as the original, now on to bumper to 12. 10 BUMPER #2 FINISHING: okay onto bumper number two. Let's do the dinosaur tail. So I brought my clip in from Premier and we shouted at four K, so I'm going to scale it down to 10. 80 just going to give us room to be able to reposition all of this stuff. So I know that I want to kind of focus on the top part of the frame because just give me a little cleaner if we look at this in full Uh huh. Playback. So one of the things that I see here is that we want to use this tale for Lugar reveal, and we want to be able to have the logo be fully kind of focused on in the frame. If we put it behind this tale while the framing is like this, then the logo is eventually going to be right in here. That's not gonna give us enough room, but we shot at four K, which means we could reposition everything. So now we have her tail in a much better place. We actually probably shrink that down a little bit. I think I was at 65 before, and now let's go in and do some motion tracking. So I'm gonna click where I'm gonna go track in Mocoa A and it is going to send the clip over there, and it is going to give us a clip. If we scrub through, we can see the tail is still there. So we look for a frame that's got a lot of information on the screen. We mocha works. It's a plane are tracker. So we're gonna go in here and we've got a whole bunch of information in here. Let's turn up the minimum percentage of pixels to maybe 50% and then Auto Channel. And there's not a lot of perspective change in this, So I think we can just leave this The weight is translation and scale in rotation. And let's just track forward and see what it gets us. Okay, now that we fast forward it, actually, we're gonna insert a grid just to check our track so we could go to insert clip hit grid, and then we're gonna go to our surface and just sort of adjust it until it matches. The tail holds e to bring up the zoom and access pan, and so I can sort of go in and around this. You going to do a quick and dirty version of this since this isn't really a tracking class and now we'll go back and play and see how that tracks that Looks like it tracks pretty well. You see it playing backwards right now, But you can see that the blocks really aren't slipping around this dinosaur texture. That's great. That's totally in a work for us. So now what we're gonna do is we're going to find a frame that has a lot of the detail that we need. I think this is a great one to start with, and we're gonna go in and draw again. I'm hitting Z to zoom in, draw on a mask that is a lot closer to the edges of the dinosaur tail and then rate click to be done, some to select all of them. And then I'm going to grab the little handles. And now I'm just gonna go in and click the points and tweak what I just did to make sure everything lines up. I think that's gonna work now that we're back in normal speed. So we're going to export her shape data copied a clipboard going to duplicate our tail and hit paste. And we have a dinosaur tail is not completely tracked, but for our purposes will hopefully work. Now if we go back on just and you just pour out the edges a little bit, Matt. Simple choker. Now we've got her tail separated. So let's go back to our animated logos. Let's grab the one with the shadow this time. And this is what I was talking about by the logo positioning being weird. So we're gonna have to continue to tweak that a little bit more. Obviously, our logo can't be there and we needed to be up because it needs to be able to be. He hadn't by the tail when we needed be hidden, and we need to be able to see the whole thing. So let's take our scale. I'm gonna get back up closer to 100. I think this will let her spring our logo down. I need to shrinker will go down a little bit too clear that back there's our logo so I can see that it's not totally sitting in the comp yet. So one of the things that I'm gonna do is I'm gonna go get the version of the logo that doesn't have the shadow. And if you hold down option and drag it over the original clip, it's gonna get rid of it and replace it with the new club. So one thing that we can do to start making everything blend together is to apply a curves . So effects, color correction curves and we're going to go into the Red Channel and we can see that the most black thing in the Red Channel is still a little bit brighter than black. And so if we come in here and if we get info, we can see that that's 34 83 but 3500. So basically 3500 by 3100. And this is definitely lighter. So we're gonna go to read just gonna bring it up until it feels like it's blending it. It doesn't have to be scientific, and we're gonna get a green and do the same thing, go to glue and do the same thing. And in theory, it should be more color corrective to the scene. So that's the first thing we're gonna do the next thing we're going to do. Maybe I had a little bit of camera shape just so that everything is connected in the same scene. We'll make the shake, the logo, move with the background. So I'm gonna add a new adjustment layer, and we're going to do this with the transform effect. So we're gonna go to position in transform and just go with, Oh, something small, like three times per second and maybe four pixels. And that's maybe too much. So let's bring that down to 1.5 so we can see that when the tail moves. It's casting a little bit of shadow down under there, so we should probably have something from the logo that's casting down. So let's grab the logo and we're gonna duplicate it. Got shrink it down vertically, and we're gonna blur it. Fast box player on. We're gonna add a curves, another crackers. I want to bring it down. So we want to keep some of the color. Although really, this is reflecting the bottom edge said technically, it should be much more of this bluish color so we can go color correction. You actually know what we're gonna do into the curves. So just take this and bring it down and bring green down, some to blew up. Now go planning mode. Let's try Multiply. That's a little too dark so we can try bringing the capacity down. We're also gonna try adding and extract. Actually, we're going to do this in a different way. So we go to Dino Tail now a solo we owe key correct King extract extract is going to allow us to pull a mat out of the dark out of the luminous information in the channel. And so if we turn on transparency, you can see that we're grabbing things that are just part of the light things and seen. So these handles this is the amount of cutting out, and then this is the feathering. And so the longer this is more feather, this is we go into Alfa Channel, you can see I'm doing so. Feathers it out, really clamps it. So the light information in here is what would be catching the shadows from the logo. And so we want to make sure that that's getting more information than the shadows on. This is also gonna help us, just kind of mask things off a little bit more. So now that we've created that if we go back to her logo on, we go back to RGB. If we go layer track. Matte Alfa. Matt kind of feathered that out, so it's very subtle, but if we may be that it's a on off on off, on off, you got Archie, Maybe bring that down a little more. I think it could potentially come physically down. So this is also catching a little bit of the tail. So we're just gonna kind of come in and also knots that out, and this could be a very quick garbage matte. We just want to get that little bit of stuff out of there. I think that might be enough. You don't always have to do a complete Matt. Sometimes you just need a few frames to be able to sell something. It looks like everything needs to move over. Both of our logo's need to move over to the left a little bit on a lot just a little. So let's go underneath their dino tail now that we have that mask set up and let's create well first with so rename our adjustment layer camera shake. And now we're gonna create another adjustment layer. I call this one till trip. It's not even true tilt shift effect, but you apply a fast box player wearing a mask it off, feather it. So actually gonna apply this twice because we're going to apply it below the dino tail, and then we're gonna apply it again and take our mascot, apply it in a little bit different way. That's maybe a little strong. So let's bring that one down toe. Five. I'm gonna bring this one over us that it's not blurring the logo. Let's go back to our camera, shake and add just a little bit more. So we've got uniforms. Scale turned on. So we set up another wiggle for it to to now, got just a little. We've got two different movements, so it's a little more natural because the two different movements are happening. It's slightly different speeds. This might be too much, so we might turn this back down. Let's add another one. It's just a slow location, and we want to move our camera, shake up and put it all over everything. So I now that I'm watching this. I think this scale just needs to go away. So let's get rid of that. And since our tail is isolated, let's do some color correction on that dine hotel. See if we can pull those into the colors of the brand. - That's sort of interesting. I don't think it's really close. Um, keep tweaking that. Let's go to colorize instead and we can glenn this back. So that's close. Now, if we take this dino tail and duplicated, get rid of the hue saturation on the 1st 1 and then blend this with color, let's see how that looks. Actually, let's try. Let's go through a couple of different modes, said Overlay. That's sort of interesting. You you actually looks pretty good. Um, and I think if we were to add some curves in an adjustment layer, actually, it's added to aware itself. Close out some of these effects, starting bringing some of that texture. Maybe that color is wrong and be better to go blue with it. I think that Kirk can come down a little bit more. Let's play another curve. Maybe we should try applying it before the hue saturation, and let's bring that saturation just a little more. So let's add a little bit of extra camera shake. So we're gonna rename this one Jari, and we're gonna move it up to the top and were scrubbed through and see where so it lands here. So let's add a marker and it lands there. So let's add another marker. Let's try using Offset and see how offset works. So click through, so we definitely need to add board to blend those things. So let's not ever upset. Go quite is far. Let's go in and just scale up our whole effect. So let's add another transform. And so we're going to create this after our offset so that we can hide the seams that's starting to sell as fairly realistic camera shake when we could just copy the whole thing. Okay, so those settings air real much, so let's go in a dial down our border like sometimes it's better to go too far, and then you can dial it back to something that makes more sense. I also want to make sure that I'm changing the direction because if the camera was shaking , you would be getting directional blur that is in the direction of the shake. At that point in time, many let's dial that down just a bit more. Then let's go in and add eases. Maybe we'll go in and add just a little bit more color correction. So let's add another adjustment layer and we're gonna call this one color correction and we'll start with curves. Are Blacks town? We're starting to get some more detail, so we go too far. Now it's gonna start being really cool. Um, but we'll go in and just just the individual channels just a little bit to tweak it. A lot of times, this is just about finesse, like a little consumptive times go a long way and again, sound design is gonna play a big part in this. Think we could go back, dial down that glare just a bit more on? I'm gonna get rid of the ease on that and set up eases on the other key frames instead of the middle. Yeah, that feels a little more organic. I don't want to add eases on that. So the 2nd 1 is not poet working, so let's try that. Let's see what's happening with that. So on frame one, it's centered. Then over there, cancel on solo and we'll go back again. You could also use something like video copilots twitch, where there's a camera shake that's built into red giant universe. There's a lot of different ways to accomplish some of the same goals. It's really just about figuring out which one is right for you. So one thing I see is that this man could be cleaned up. So I'm gonna go in and going to take this. And, uh, let's just blur the Alfa on that, which is gonna help her color correction to blend in a bit because it's going to clean up the edges. So we look at it so low. Um, well, we can see that it's adding, is adding it into places that we don't want it. But you also can't really see. It sort of looks more like chromatic smearing than anything else. Maybe that's a little high. So, yeah, you can just tweak and tweak and tweak. So let's take a look at our final and we'll go back and do sound and that's our final. So we will get what we started with on where we ended up before. After now, I'm gonna go do sound design, and we'll come back in the last video to see what we created and talk about what your goals are next. 13. 11 THE REVEAL: so it's time to take a look at our final channel bumpers. Let's see how everything turned out. So I went, did sound design on the two that we did together and then went and did two more. So the 1st 1 is running through the grass. The 2nd 1 is dinosaur tail. So this 3rd 1 is called Float your boat and it's what we shot down in the creek. And the 4th 1 is something with our unicorn. So my wife tells me I need to get this big, so my wife tells me I need to get this big. 14. 12 FINAL THOUGHTS AND YOUR ASSIGNMENT: pretty funny stuff. I think that Unicorn has a future in show business. They even use this exercise for all sorts of things. But remember, it's mainly just that it's a exercise toe. Work your brain as a creative. You should always be looking for ways to stretch and make your imagination muscle stronger . This could potentially be one of those tools with practice. Hopefully, the next time you're stuck solving a creative problem, maybe your brain will be 5% better in it than it was before. Now that you've watched me go through the process, it's time for you to work on your own project. I've provided the logos for our fake channel as well as some other files for you download. I've also made the source footage and aftereffects projects that I shot available. Go out and shoot your own channel bumpers and upload them to the discussion board. I'll be around to get feedback, and I'll share some of the best ones on social media. I can't wait to see what you create in the next class. We're gonna be talking about bubbles. Yeah, the ones that you grew up playing with is a kid. We're gonna think about how we create an art, direct one for a project and use it as a way to think about approaching a visual effects shot. We'll look at what it takes to make a shot. Sell Israel and we'll take three different approaches to think about which one might work best. Quick follow. So you get notified when it's out. And if you have ideas for a class that you'd like to see, leave a comment and I'll add it to my list of class ideas. Now go make something. We'll see you soon. 15. BONUS VIDEO: UNICORN LUMBAGO TIMELAPSE: So my wife tells me I need to get this big.