Harry Frank of Red Giant on mocha Pro
Webby Award-Winning Director, Seth Worley’s “Order Up”
Our friends at Red Giant have been busy lately, producing a number of short films in support of new product launches. Recently, to showcase the cinematic impact of Knoll Light Factory 3, Red Giant produced "Order Up", a new short film in collaboration with Seth Worley, the Webby Award-winning director of Red Giant’s film Plot Device.
Harry Frank, well known motion graphics designer and visual effects artist for Red Giant also played a huge role in the post production of Order Up. We caught up with Harry to ask him about the making of Order Up, and how mocha Pro was relied on to help deliver seamless and sophisticated visual effects.
Harry shared with us a little bit about his background, and talked in depth about the role mocha played in this workflow for Order Up:
“Working as an ProTools engineer, I fell into video post production immediately after college in 1995, using After Effects 3.1, PhotoShop 3.0 and Media 100 2.0. Since then, I've stayed with After Effects all along the way, eventually specializing in a few areas such as particle effects and expression programming, but always staying nimble as a generalist.
Most recently on the short film Order Up, we had two very challenging shots that required a large amount of object removal that were a component of the story telling. An unsuspecting pizza delivery guy is sent to a vacant lot, and objects start to disappear around him. In all, there were over a dozen things that needed to be removed from these plates. mocha Pro was the key part of the workflow.”
Harry continued, “The director, Seth Worley, had done a few removals himself directly in After Effects. Stuck with its limitations - and a time crunch - the plates were handed off to me for the removals, and we knew that mocha Pro was the place to go. These were tricky shots, too. Some of the objects were on multiple planes, some had changing backgrounds due to parallax, and some went behind the actor. Plus, the camera angles and position change greatly (not to mention that it was all shot with a handheld).”
“The plates were tracked, and objects were isolated and removed, and composited in After Effects. The objects passing behind the actor required a little bit of rotoscoping. We also did a few removals in After Effects using our own Red Giant Warp, and using mocha Pro's Red Giant Warp export option.”
“The compositing was completed in After Effects, with additional effects from Trapcode Particular and our new Knoll Light Factory 3.0. Both of these plugins were able to share the tracking data from mocha Pro perfectly. We just had to export the data from mocha Pro v3, drop it on a 3D Light in After Effects, and then everything aligned perfectly.”
“About 2 weeks was spent doing the tracking, removing, roto and compositing. We owe a huge amount of gratitude to Mary Poplin of Imagineer Systems, who was kind enough to meet with me in person to give give some pointers on how to tackle these shots.”
“As an After Effects compositor, I think these shots might have been just shy of impossible without mocha Pro. The tracking and image replacement had to be rock solid. If it wasn't, the illusion would have been ruined and viewer would not be able to suspend their disbelief, distracted by odd slipping textures, or things that just "don't look right."