Phoenix Editorial & Designs specializes in all aspects of post-production including creative editing and motion graphic design, visual effects, and online editing. San Francisco's most creative ad agencies including Goodby Silverstein & Partners, Publicis & Hal Riney, Venables Bell & Partners, Heat (formerly Black Rocket), and Duncan Channon have turned to Silverman for his skill in storytelling that makes a commercial memorable. Their clients need a new generation of talent-driven post houses that combine the dynamics of a small creative shop with infrastructure and expertise to complete technically challenging spots and videos in High-Definition TV.
For how long have you been using DigiEffects tools?
When I started using After Effects twelve years ago. Digieffects was one of these early pioneers, and I was quick to jump on each set that they released. I have been using DigiEffects tools since the product shipped.
What was your latest project using Damage?
The agency, AKQA, was creating an internet tie-in to the TV spots which were debuting in the NBA All Star Game. We developed a Lebron James Sprite video for the sprite.com homepage. The idea was that people would buy a bottle of Sprite and under the cap would be a number which consumers could use to access a virtual mixing board on the website. Consumers could then re-mix Lebron's tracks, and the winning track would then be used on the TV spot. The homepage played the video which explained how the process worked.
What Digieffects filters did you use on the spot?
Our direction from the agency was to create a "holographic Princess Leah" look. Since AKQA wanted a holographic look against black, we needed to change the look from Princess Leah to something else, since the Star Wars holographic look utilized transparency which would not work against black.
We started with source footage shot against green screen, and keyed the shots in After Effects using Red Giant Software Primatte Keyer and Key Correct. We then shifted channels to create a hi-contrast grayscale version of the isolated Lebron James. Next we tinted the mid-tones to green.
We created the scanline look using Interference found in Digieffects Damage for a Yahoo TV spot. We added a slight flicker through a wiggle expression.
Since Lebron is a basketball player not an actor, our editor spent a good amount of time editing the dialog together. This meant a lot of jump cuts to extend gaps in Lebron's voiceover as well as jump cuts from closeups to extreme closeups. We used After Effects' Wave Warp filter along with Digieffects' Damage as a utilitarian tool to cover up these jump cuts, while at the same time adding an interesting addition to the holographic look.
What do you like most about Digieffects tools?
Digieffects has solved complex visual problems with simple to use plug-ins. When you need an old film look or video interference, Digieffects plug-ins allow you to quickly set up a killer look. But as you can see from the Sprite job, in the right artistic hands these canned effects in combination with other plug-ins can produce amazing results which do not seem "canned" at all.
Would you recommend Delirium to a friend or colleague?
Definitely, you get a lot of handy plug-ins in one set.