If by any chance you’ve seen a commercial break on Univision in the past few months you’ve probably seen my promos for the network, suggesting you to enjoy the summer on Univision. Since it’s August already, I strongly recommend you tune in ASAP and absorb one of the many different promos I did for summer before it’s too late for you to disfruta el verano. They feature various on air personalities doing cheesy-fun summer stuff outside. Strangely I myself was not cast to be in any of the fun vignettes with beach balls, picnics, and tropical drinks with umbrellas in them. Weird. Maybe next time.
Each promo ends with a shot of a nice summer scene where I placed an animation of the Univision logo splashing out of the water. The one shot that was deemed the most important of all the endings was a tilting shot from the hotel balcony overlooking beautiful Miami Beach. It was to make you want to jump through your TV on the spot and hopefully land in the Atlantic, except that it looked like this:
Awwwww. Why is it all…green? Did we have to shoot directly into the sun? There’s no detail in the water and sky, you know, the stuff that will make it look kinda nice. Really, this is the shot I’m supposed to work with? OK BRING IT:
Basically I created a scene that wasn’t technically real at all, I replaced, enhanced, and added just about everything you see. This is what I feel like a beach is supposed to look like, whether you can actually find a beach that looks like a postcard is not TV’s problem. I could direct you to way better effects breakdowns from bigger studios to show you that the best composites actually go unnoticed, and you have toruble figuring out what parts of the the image are real and what’s been fixed in post production, or you probably don’t think about it at all.
I started by tracking the camera move so that I could position all my new layers properly in the animation. The originally clip needed a massive color correction, the white balance of the camera wasn’t even close, so I had to remove a lot of green to make the beach look somewhat normal. The sun had blown out the exposure and made the water and sky look awful, so I basically took the water detail from the right hand side of the screen and finessed it into the left side of the screen so there would actually be something there. I replaced the sky with a clear image, and color corrected both new pieces to look very saturated and rich, something to original image lacked entirely. From here it was adding the 3D logo I animated in Cinema 4D, as well as compositing the water into the composition. I wish I knew how to use Real Flow, but the water is from the Compositor’s Tool Kit from Digital Juice. I matched up some pieces and had to time remap the clips just so the splashes and condensation looked right with the logo. Then I added a fake sun to make the image a little hazier, I simply placed it in the same spot as the original sun.
The result is a scene that would be nearly impossible to capture in nature, but since you are accustomed to seeing picturesque beach scenes like this, you hardly give it a second thought as to if it’s real or not. And then you rewind your DVR to watch Chiquinquirá Delgado float by on the raft again.
Yea I really wish I could have gone on location for this shoot.
I designed this as a segment open for the news show Aqui y Ahora in the same respect as my Fuego Cruzado animation. This segment shows situations where people have no idea who is their neighbor, and the person may have something unique about them.
I came up with the concept to literally translate “La Puerta de al Lado” into an animation. In English it means “The door next door” so that is essentially what I based my scene around. There were some previous designs and examples other people did that the producers thought were not alluding to content in this segment enough, they were too abstract. So I tried a rather simple concept based on just a literal translation of the title and they gave me the green light to go through with it.
A lot of questions arise from this Univision Promo and I don’t have the answers. Why are they waiting for a taxi on a bench? Are there taxi benches out there in the world? Why does the taxi refuse to stop for them? What kind of taxi is capable of brining tropical fun and cocktails in coconuts as it speeds past? Is this like the international cousin of the Cash Cab? I just don’t know, I learned a long time ago that sometimes you have to shut off your brain and do your work, because trying to make sense of what you are working on is a fruitless pursuit.
This one was pretty basic, it stars Lili and Raul from El Gordo y La Flaca. I was given a 3D car model and I made it look like a yellow taxi, it goes by so fast that you don’t need to sweat the details. Then I just needed to clean up the image a bit, add a little more style and movement to the sign, and add some leaves to the foreground to make the scene a little deeper.
Here is a Univision Promo I did featuring the lovely Greydis Gil. I want to apologize first for the music. It was not up to me to use a track that was written by Mario and Luigi in the Mushroom Kingdom.
This one took a long time to create. I started by making a butterfly in Cinema 4D that was comprised of the pieces of the Univsion logo. I imported the logo as splines and textured each piece to match the corresponding colors. Then I animated the movement of the wings by linking them together with xpresso and driving them with some user data I keyframed. Continue Reading
Here is a new Univision Promo I did with Cinema 4D and After Effects. They needed it done fast earlier this month because they wanted to air this network promo right after the coverage of the World Cup ended, and they were hoping Spain would win and they could air this promo that has an obvious Spanish theme to it. I got it done with a quick turnaround thanks to MoGraph as always. Continue Reading