Hi! It’s been a while since my last post so I suppose I should introduce myself again? I’m André and I am the VFX and Motion Graphics designer for the Live Action department.
I’ve worked on Million Dollars, But... , Immersion, RT Docs, Achievement Haunter, Blood Fest, RT Shorts, Eleven Little Roosters, and plenty more that I’m forgetting at the moment. I’ve also done work in the past for the Games department, Marketing and Animation.
This journal is hopefully the start of something a little more regular that I’ve been wanting to do for a while. The idea is to break down some of the thought processes behind what I design and create for the Live Action department at Rooster Teeth, and give you a little behind-the-scenes look at some things that may have been cut from the final projects or evolved significantly from their initial concepts.
I’m very often jumping immediately from one finished project to the next, or even hopping between different projects simultaneously, so these breakdowns and recaps are also helpful for me to keep track of useful things I’ve learned and review how to better approach my process.
So with all that said, let’s look at something I made with “retrospective” specifically in mind: the RT15 Live Action Bumpers, and the trailer titles for the RT Doc Why We’re Here.
It was a great pleasure to be able to work on the new video assets for the 15th Anniversary of Rooster Teeth. We met with marketing early in the process and they explained the general look and feel for the channel moving forward, a lot of cool anaglyph style superimposed images and the new logotype lockup specifically for the 15 years.
Marketing's super sexy style guide designs
When considering how we should animate these assets, and the tagline “Fifteen Friggin’ Years” there were two aspects I felt we should be highlighting. First was the traced line element of the “15”, immediately it jumped out as something that would look great being drawn on. The second was the anaglyph style separation of elements, which looks great with still images but makes type more difficult to read, and that’s compounded further if it’s in motion.
Not great for legibility
Ultimately what worked best was a middle-ground between the animation and the split anaglyph style. In separating the elements during the animation, as echoes and smearing in the motion blur, we can communicate that design style but retain the legibility we get when it resolves more clearly.
Some fun type iterations
Why We’re Here Trailer
In making the title animation for the trailer, one of the important design requirements was to closely match the work being done for the general RT15 branding. It didn’t have to be identical, but it had to feel like it belonged in the same world. We already had the logotype in place that marketing designed, so it was a matter of figuring out how to animate it in a way that felt logical and maintained readability. It also needed to transition or reveal the air-date somehow. This awful doodle is how that motion first came to mind.
Awful sketch, but the first pass of how I pictured it animating
Taking the lessons I learned while developing the RT15 animations, I was able to very quickly arrive at something close to the final animation in the trailer.
First animation export, very close to the final
It’s specifically influenced by the motion and design of the core RT15 branding, but also has a bit of its own flair. And here’s the final version that appears in the trailer.
Final, spot the differences!
This ended up being a much faster process because of all the rules, style limitations, and trial and error we had developed for the RT15 animations to begin with.
So I hope this write-up was insightful, and that I didn’t ramble excessively. If there’s anything specific you’d like me to elaborate on, I’d love to hear it! And I’m also curious what you guys might want to see moving forward, I’m happy to explore different topics, get more detailed with technical aspects, just post a montage of failed process, you name it.