Tag Archives: video editing

Sessions Wins a GD USA Award for Animation

For the second year in a row, we’re proud to announce that Sessions College has received an award from GD USA (Graphic Design USA).

Graphic Design USA has been a prominent news magazine for graphic designers and other creative professionals since 1963. One reason for its success is the GD USA awards program, which gives design companies large and small the chance to compete for recognition.

In 2011, Sessions College revamped the sessions.edu Web site (http://www.sessions.edu/) to improve site performance in navigation, information flow, content, and graphic design.  The design was recognized with a 2011 American Web Design Award, in a competition designed to “celebrate the power of well-designed websites and other online communications to attract audiences, generate engagement and response, and promote products, services and ideas.”

This year in May, the Sessions design team added another accolade to its belt, as the Media Man” Web promotion won a 2012 Inhouse Design Award. The goal of this category is to provide “a unique opportunity for inhouse design, marketing and communications departments to be recognized for their talent, for the challenges they face, and for their value to businesses and institutions.”

The Media Man campaign was a short video in cut-out animation ad style developed by Sessions Director of Multimedia Ethan Herr and Creative Director Patricio Sarzosa. The campaign features a character called Media Man who was created to brand a suite of interactive learning tools used in Sessions College courses. The short animation presents a contrast between a dull classroom with a fun and inspiring vision of online learning.

The ad was animated by Sessions Director of Multimedia Ethan Herr, working with Creative Director Patricio Sarzosa. To develop a message about what makes online education a great environment for learning design, Herr thought it was natural to revisit the Media Man icon originally designed by Sarzosa to brand video tutorials, review kits, and other media tools.

“Media Man fits the message about choosing innovation over tradition,” comments Herr. “He’s round, he floats, he’s inspired, and he’s the perfect counterpart to the squarish characters stuck in the traditional classroom trying to solve two-dimensional problems. We also thought the cut-out style was perfect for the creative minds we want to attract to Sessions.”

According to Marketing Director Robert Pullins, who originated the ad concept, the Media Man ad represents nothing less than “a contrast in the world of education. Media Man is the change, the progress, the excitement of the new way of online learning that Sessions College has developed. He became part of the campaign to symbolize the idea that there’s a better way to learn design.”

You can view the Media Man animation at the link below or by visiting this page.

New Associate Degree Program in Digital Media

digital media degree student work
Here’s some news to get animated about. Sessions College® for Professional Design has launched a new program track in the Associate of Occupational Studies (AOS) degree program. The Digital Media Associate Degree is an intensive two-year degree program for students seeking to enter careers in video production and editing, multimedia design, and animation.

Building on the success of the Associate degree programs in Graphic Design and Web Design, the new AOS in Digital Media program exposes students to art and design fundamentals and challenges students to think creatively about 3D, digital video, animation, and motion graphics. Designed for both recent high school graduates and adult learners, the program is open to new enrollments for the fall 2012 semester.

digital media program logo“Demand for digital media artists and designers is growing as consumers come to expect bigger and better movies, effects, games, and media interactivity. Employers are looking for individuals with formal training in industry-leading technology as well as demonstrated experience with the art and design principles that make for cutting-edge, creative work,” explains Sessions College Chief Academic Officer Tara MacKay.

Just like the popular Graphic and Web Design degree programs, the Digital Media Degree is a 72-credit Associate degree program with an emphasis on professional techniques and a workflow that involves research, practice, and critique. In their first year, students in all majors study 2D graphics, drawing, color theory, typography, photography, composition, and Web page creation. Second-year classes turn the focus on digital media, giving students a training in Adobe Premiere, Adobe Flash, and Autodesk Maya as well as intensive studies in video, 3D modeling, motion theory, motion graphics, and animation. See full Digital Media curriculum.

“To truly be ready for work in the field of digital media, new graduates need client experience, business experience, and a portfolio that demonstrates skill and personal style,” MacKay continues. In the final semester of the Digital Media AOS, students take a design business course that includes a live mock interview, and students undergo a capstone experience simulating an extended digital media client project. Students wrap up their program with coursework on preparing a quality portfolio and participation in a live portfolio review.

Sessions College began developing the Digital Media program in 2011 and has worked with experts in the field to plan the curriculum and develop new courses, such as Intro to Motion by new Digital Media Department Head Gregory Marlow.

Greg Marlow, who has been teaching at Sessions College since 2010, holds a Master’s degree in Digital Media. Commented Greg: “The Sessions College Digital Media program will help you build a strong foundation in the new media options available to you and strengthen your ability to craft your work in a way that is clear and effective. . . . It is designed to empower you with the skills you need to convey your message in the way that only you can.”

Sessions Student Honored in Adobe Competition

In August 2011, Sessions College Multimedia student Matthew Brink was recognized as a Semifinalist in the Live Action category of the Adobe Design Achievement Awards.

Mat’s competition entry was a simple and moving piece called “Elegy for Brandy” that he created in the Digital Video Production course. The Semifinalist honor put him in the top 20% of a competition established by Adobe to “celebrate student and faculty achievement reflecting the powerful convergence of technology and the creative arts.” To celebrate this achievement, we interviewed Mat to discover how he approached the project and learn about his ADAA experience.

Q: Mat, the video tells a quiet story of loss in the family. Why did you choose this story for your video project?

I wasn’t going for melancholy, just a good story, and “Elegy for Brandy” was a piece I’d done that had a good backstory. I liked it for the assignment because it could fit the short form constraints, and had a dramatic hook that could stay with you, like a good song.

Q: What made you decide to enter the piece in the ADAA competition? What was your competition experience like?

I discovered the ADAA competition online when I was researching tutorials online while doing another Sessions project. Since it was free to enter, I was really excited about submitting a couple of pieces and just seeing what happened, if anything stuck. I entered the Elegy project and a couple of other projects.

After Elegy made Semifinalist, that’s when I stepped back and understood more of the scope of the competition, and it kind of blew me away. The waiting was the hardest part, being at peace while wanting closure. But as they say, “it builds character.” It was a great experience, very affirming as I’m moving into a creative career, and of course Sessions played a big part in that process.

Q: The course project is mostly about exploring different kinds of shots and yet it is the story, told by voiceover narrative and the music, that makes it all hang together. What was your process for developing the piece?

To me, for a project like this, and maybe in general, the soundtrack is the thing. The soundtrack is the skeleton I lay out on the timeline, and for me the visuals tend to serve the sound. Even when a project starts with visuals, once I begin sound design, it tends to take over and drive the visuals.

I’m fascinated by great sound design. If I’ve got a good sound design in place, it fuels my creativity. Visuals start popping in my mind, and the shots and the form just start to fall into place naturally. I get geeked in the truest sense and completely lose track of time.

Q: The overlap of voice and music is so skillful, the piece reminds me of an NPR segment. There is just the right amount of space for the impression of the words or the music to sink in.

Thanks. Whatever one may think of their ethos or content, NPR has incredible audial cinematography in their reporting: great soundscapes with great editing and timing.

Q: Can you talk about your approach to pacing?

For this project, the music was the heart. For me it’s evocative of Van Gogh’s Starry Night, very nocturnal, and full of melancholy. I edited it to fit the assigned project length, to kind of mark off my borders. That really helps me focus on the details without worrying about the bigger picture getting out of hand. Next I scripted and recorded the narrative. Then I chopped up and spliced in the narrative track to the points in the music that best fit.

With the soundtrack planted in the timeline, amped on adrenaline, filming the visuals just fell into place, then I dove right into working in the visuals. (Post is my favorite part of video production, would be my dream job, though I still have a lot to learn.) Finally I sculpted the volume levels and applied modest visual effects for a warm color scheme and the titling.

Q: You mentioned that you studied music composition before starting Sessions. Tell me more about how that background influences your video work.

Absolutely. I’ve been hugely influenced by soundtrack and foley in film. Many influences, but John Williams has had the most impact on me, because he represents the confluence of excellent visuals set to great music. He’s a pop culture icon, bringing the stylings of masters like Debussy, Stravinsky, and Brahms into modern film and culture. Having composed, arranged, and written songs, I’ve always had visual associations with my work, down to whatever I’ve got spinning on Spotify.

Classical scholarship has wrestled for centuries with the concept of ‘program music’ vs. ‘absolute’ music. Was this Beethoven symphony program music or absolute music? To which I say, “yes!” If anything, our modern screen-oriented culture has demonstrated that that’s a false dichotomy.

I believe everything in life has a pattern, a program, a subtext, a presupposition, and especially in something as intentional as the creative arts; and the beauty of great art is its ability to weave those elements together in a way that elevates the senses, provokes thought, and I think, even inspires one to live better.

Q: In the soundtrack, you used a different piece of music than the music for Elegy, though the effect was still powerful. Why did you choose an alternate track?

Great question. To be honest, I wondered about that at first, too; I didn’t understand why I did that at that moment. But I didn’t analyze it, I just knew what I was looking for for the soundtrack. What I later realized was that “Elegy: the project” was really more of a meditation or remembrance of a life event that resulted from “Elegy: the piece.” In other words, the music I selected is the voice of this narrative, not of that original life event&#8212that’s what that piece was for.

And once that piece was in place, the project totally inspired my creative muse, and made the rest of the work just fall into place, like cooking a great meal. That’s when I knew I’d made the right creative decision. I also like that the piece adds a layer of separation, kind of like looking at the Elegy through a glass case; it can make the viewer curious about the original piece.

I wouldn’t be surprised if someone watched it, saw the end titles and thought, “I wonder what the Elegy sounds like?” It’s that elusive aspect that adds to the hook to me. You see the piece being played, but what you hear swirling around and interplaying the narrative is the remembrance years later. And I didn’t realize this until later, but putting the original Elegy piece as the soundtrack, while that certainly could work, would be the predictable template for a project like this, and in this case, I found the twist of an alternate musical choice to be fascinating and inspiring.

Q: In contrast to the Elegy piece, your Lo-Fi Trombone Effects video nominated for our student gallery is fall-out-of-your-chair funny. What skills do you think you have developed in digital video editing and production over the last year? And what do you still need to work on?

[Laughing] Thanks. I actually got Hal David to write me a letter permitting me to use it, too, but I don’t know what he’d think if he heard what I did with it.

To your question, though, this year has really gotten me much more comfortable with the tools, and with professional techniques that will help take me to the next level. I feel like I still have a ton to work on&#8212a lot of technical know-how in making clean, clear clips that really sing. I watched the Finalists in the Adobe competition, and it was really instructive to me, gave me something to reach for, as if to say, the professionals who judged the works are also making a statement about what the industry considers top-tier work, and it challenges me to keep chasing my muse.

Q: Any exciting creative projects on the horizon that you can tell us about? And, do you think you’ll enter the ADAA competition next year?

I will definitely enter ADAA next year, my attitude is, what have I got to lose? I plan to enter my final project from DVP that I completed after last year’s deadline. Right now I’ve also got a few irons in the fire, the main one being an internship gig with the chamber of commerce downtown, a Web site redesign that I’m hoping will result in more open doors, or at least some quality networking. My thinking is hey, while I’m seeking to land creative employment, to continue building my freelance portfolio via BRINKwerks.com, keep networking, and see what takes off. My MO is to stay positive: onward and upward!

August Gallery Highlights

August is upon us, but student creativity (at Sessions College, at least) appears undiminished by the soaring temperatures. Here are some of the hottest highlights from this week’s Student Gallery update.

Multimedia Arts certificate student Mat Brink knocked it out of the park with his digital video production assignment on creating lo-fi trombone effects. Everything about this video show Mat’s total creativity: scripting, shooting, editing, effects, irony, and more. Not to mention the trombone effects themselves. We’re excited to hear that Mat is currently a semifinalist in the the Adobe Design Achievement Awards with another project.

New Web Design certificate student Tina Covell is off to a flying start with this wonderfully sanguine poster design for a vampire show. The bi-level composition and color wash is extremely compelling and the poster offers nice design details with its underwater air bubbles and liquid type.

The Canadian currency experienced a boost in Graphic Design certificate student Nayla Smith’s refreshing take on the twenty dollar bill. Clean layout and typography and lovely flowing leaf imagery give this design a modern look that inspires confidence.

Who’s looking at you? House fixes you with his beady glare in Graphic Design certificate student Adam Garner’s poster design. UK-based Adam smartly decided that House’ blue eyes could be a compelling graphic element along with blue pills and x-ray silhouettes.

For more August highlights, visit the student gallery.