Episode Transcript
Speaker 0 00:00:01 Hi, I'm Aaron Swarovski.
Speaker 1 00:00:03 And I'm Austin Shaw.
Speaker 0 00:00:04 This is between the Key Frames. Welcome back to another episode of Real Time Real Talk. We're jumping right in with a reel from Miles.
Speaker 1 00:00:18 Cool. All right, let's give it the play down.
Speaker 0 00:01:15 Well, my first impression is, is good. It is good. Real. I like what they're doing with their name. It's a little bit extra, but in a good way. There are these collage moments throughout that get me really excited. Right. That's like, for sure my favorite part of the reel. And as a result, I'm kind of like judging everything against that because they're so cool. Like these moments here. Yeah.
Speaker 1 00:01:40 So where are we at here? About 30 seconds in, I think out of after 30, it starts to get a little less dynamic for me. Mm-hmm. <affirmative>. Not that there's, there's nice, there's nice moments and there's nice design and illustrate, but like the camera stops moving. It gets a little bit more, I don't know. I don't know if this is the older work, you know? So it's almost, what is it? Almost a minute. So I think to me, if, if it
Speaker 0 00:02:06 Ended, if you cut this way down. Yeah.
Speaker 1 00:02:08 Yeah. If you cut it way down and have just like tight all the way through,
Speaker 0 00:02:12 I don't know that there's anything I get rid of. I just don't know that you need to show everything so long. That shot could be sped up. That could be sped up.
Speaker 1 00:02:20 Yeah. I'm fully engaged. I think it was up until, I'll call it again, like that shot was a little bit, it didn't really resolve
Speaker 0 00:02:31 Anything. Yeah.
Speaker 1 00:02:33 Here
Speaker 0 00:02:34 Again, like, just speed it up, like have it be like a little flourish instead of like, what am I looking at here?
Speaker 1 00:02:40 You know? Nice
Speaker 0 00:02:41 To
Speaker 1 00:02:41 See Hammer here. Yeah. You know,
Speaker 0 00:02:44 Drifting towards it like
Speaker 1 00:02:45 That. Yeah. Yeah.
Speaker 0 00:02:46 I don't know if I need that helicopter. This game over thing is good. The lip side speed up.
Speaker 1 00:02:51 Yeah. This is like too static. I don't know if you need it. You,
Speaker 0 00:02:55 You don't need it.
Speaker 1 00:02:55 Yeah. This is, I want a camera
Speaker 0 00:02:59 On that phone. iPhone thing. Yeah. Yeah.
Speaker 1 00:03:01 Um, just a little. It's super close. Yeah. I mean it's, we're getting nitpicky here, but every that's what we do. You know, that's, that's a portfolio. That's the classic portfolio is, right. What do they say? You're gonna get the, the weakest project in a, a montage or in a portfolio is is where it's gonna bring things down too. So yeah. Trim. Trim it.
Speaker 0 00:03:23 Trim. I think speed a couple things up. Maybe lose a couple things. Don't worry about hitting a minute. I would say think of it as a 30 to 42nd piece and make it that. And then it would be super, super, super
Speaker 1 00:03:39 Tight. Yeah. Like a 30 seconds would be really tight.
Speaker 0 00:03:42 A super tight 32nd could easily happen with this work. Yeah. Really cool. Cool. Well done.
Speaker 1 00:03:50 Okay.
Speaker 0 00:03:51 I really like their personal branding
Speaker 1 00:03:53 Of the, uh, not
Speaker 0 00:03:55 Open the clothes to typography. It feels dynamic, right? Not taking up too much time.
Speaker 1 00:04:00 Quick movements fast. Yeah. I mean in this sort of glass media realm that we live in.
Speaker 0 00:04:06 Yeah. I also got the sense that Miles was a designer before he was an animator, which was good.
Speaker 1 00:04:11 Right.
Speaker 0 00:04:12 That's a good impression for somebody like me to have. So my first impression is that this person probably was in more of an animation program than a design program. Second. And we do. Yeah. And we do get a lot of submissions like this and oftentimes we don't. Exactly. Especially at my studio where it's more design centric and yes, animation is a component of that, but there are other studios that are more animation oriented that would know how to train this person up and have enough work for them. But it does seem more animation than inherently motion design.
Speaker 1 00:05:55 Yeah, I agree. Agree. Um, I think they're, some of these characters are fun. I really actually was. Yeah. Like this, this is kind of interesting. Yeah. You know, this goes to that question. Well, a couple things I'll say right off the bat, I don't think the lower third is needed. Yeah. Right. And, you know, cause if you wanna
Speaker 0 00:06:14 Put credits or something, you put that in the description or if it's on a website, like under it, so it shouldn't muck up your work.
Speaker 1 00:06:22 And then, then format. Right. So this is a, a nine 16, um, montage. I've not really seen, uh, to this point a whole lot of, I don't know if I've seen a nine 16 montage. Um, how about, have you seen any
Speaker 0 00:06:38 I don't think so. Right. And I, I don't, I don't know that I'd recommend it. Often when we're working, if we are only delivering nine 16, we will of course work nine 16, but oftentimes we're either delivering square and nine, you know, vertical or horizontal, square and vertical and this and that and all the things. And like vertically has like the least amount of flexibility from like a design and cinematic and composition standpoints. So I wouldn't restrict yourself to that. It's, it's, it seems very, it's doing you a disservice to do that.
Speaker 1 00:07:14 And, and unless there's
Speaker 0 00:07:15 A reason, unless there's
Speaker 1 00:07:16 Makes, they wonder maybe the work that they've produced up to now is done in this format on like purely for social, purely in these vertical formats, which makes you then wonder what do you do? Like how do you, how do you approach Yeah. A montage. If that's the case,
Speaker 0 00:07:32 Well then you would, you would post a vertical, but you would make a note of why somewhere.
Speaker 1 00:07:39 Right.
Speaker 0 00:07:39 Right. In either the note while you're submitting or on the site or in the, you know, in the description. Maybe that'll change in the future. I do think these designs at the end are, are really nice in the illustrations.
Speaker 1 00:07:55 Probably start with those maybe.
Speaker 0 00:07:56 Yeah, I would definitely start with those. Yeah.
Speaker 1 00:07:59 Right. That could be a nice open. Yeah. Um, you know, I'm,
Speaker 0 00:08:04 And it does say client work here. So those are obviously for client. And you,
Speaker 1 00:08:09 You so good to lead with.
Speaker 0 00:08:11 Yeah.
Speaker 1 00:08:12 Don't know if you need the, the website info on the, you know, cuz usually if they're watching it, they're, they're either watching it from Vimeo or Yeah. On they're on your website when they're watching it.
Speaker 0 00:08:25 It's so interesting, like no matter where you see stuff except TV and in film, there's always writing underneath it, whether it's a social post or like anywhere. There's just a little something below and if somebody needs more information, they can click to see more. So I would put as much as you can in the description. That's like just supporting information. Right. Because also if they're watching your thing, they're where they need to be <laugh>. They're either on your website or on your Exactly. Your beat or something.
Speaker 1 00:08:54 This is really, we don't really see type in a, in a meaningful way till we get towards the end of the reel. Yeah. If they wanna work in the motion design space. I talk to this with my students all the time, type you, you gotta showcase typography because just about every commercial driven motion project has typography in some capacity. Whether it is a minimal thing, like a n tag kind of thing. Or maybe it's the whole thing. And I know we, we've got a little bit here, but I'd probably, I'd want to see more,
Speaker 0 00:09:27 More,
Speaker 1 00:09:27 More of a range of type and, and type in motion. I
Speaker 0 00:09:31 Always say check out Jessica, is it Hitch Hich? Hich,
Speaker 1 00:09:35 Yeah.
Speaker 0 00:09:36 Hich. Yeah. She is like an incredible, I would call her illustrator slash designer <laugh>, you know, because she does like the, the most amazing typography you'll see. But it's also just, it's illustration. It's hands skilled. Here we go. Yeah. She's amazing. Right.
Speaker 1 00:09:53 And then I look at this kind of type and I'm just like, okay, let's make it move. That would be fun. Yeah. I'd like to animate that.
Speaker 0 00:10:00 Right, right. Cool. Exactly. Cool.
Speaker 1 00:10:04 All right. Good recommend there.
Speaker 0 00:10:09 Evan West.
Speaker 1 00:10:10 All right. Ne Yeah. Evan West. Up next. Yay.
Speaker 2 00:10:15 Brand new. Favorite part. Singing prizes in the rain. And I'm dancing. I got a brand new lens to look through.
Speaker 0 00:10:43 What the heck? <laugh>, there was all the hacks.
Speaker 1 00:10:48 Oh the heck. Heck. This stuff is very like, I didn't, I didn't get it <laugh>.
Speaker 0 00:10:52 He didn't really watch what this is a talented 3D artist.
Speaker 1 00:10:58 Yeah. Yeah. And not just 3d. Right. Cuz there's like, there's some nice obviously Yeah, that, well that's 3d. 3D is there for sure. But you know, getting into here.
Speaker 0 00:11:08 Yeah. That's 2d,
Speaker 1 00:11:09 Right? First impression. I think strong. Like lots of strong work. My biggest critiques would be there's probably like some editing, timing things like, I think shorter the shot could go. Yeah. Even the shot before I thought was like on maybe a little, this one I really like. Yeah. But this one I'm like, okay, that could cut it. Just a piece. Moat, move sooner. This could go a little quicker.
Speaker 0 00:11:32 All of them,
Speaker 1 00:11:33 But yeah. Yeah. But it's nice work. Yeah. What do you think?
Speaker 0 00:11:37 I think it's great. I mean it will definitely inspire me to pop into their work and look,
Speaker 1 00:11:45 Look more. Okay. So you're cur this would make you curious to dig
Speaker 0 00:11:47 Deeper. This would make me curious. Uh, cuz I don't a hundred percent know if this is client work or personal work or what the heck this, heck stuff is. But I am like, okay, this person clearly is a designer. They're clearly a 3D artist. They're doing all these different styles, like where are they from? What are they doing? What experience do they have? Where did they learn all this? And so, and with your minor suggestions, which I totally agree with. I, I would, I would say this reel is ready to roll right on montage. Yeah.
Speaker 1 00:12:23 Yeah. Nice. I, the depth of field there now that I'm seeing over and over though, I'm like, there's a lot of this heck project. The cool thing is that it is mixed media. So it's like, okay, well
Speaker 0 00:12:33 That's why I like it.
Speaker 1 00:12:34 Showcase all the, the styles of it, but yeah. Yeah,
Speaker 0 00:12:38 Yeah. But it does make me like wonder what else,
Speaker 1 00:12:41 What else? You like art? Is there more? I like to see more, even though we're, we're hitting that 30 seconds, which is nice.
Speaker 0 00:12:47 This piece is amazing. Whatever's going on here. Like the lighting, the rendering, all that stuff was really beautiful on the, the wood balls. Yeah. Yeah. So like it pique my interest.
Speaker 1 00:12:58 Cool. Well done. Tighten it up a little. Keep sending it.
Speaker 0 00:13:03 Send it west. What's that? Uh, no,
Speaker 1 00:13:07 Go west.
Speaker 0 00:13:08 Go west.
Speaker 1 00:13:08 Go west. Young man or
Speaker 0 00:13:10 East. You can go wherever you want. Send it out or so or so. He is so over people talking about him like that. I'm a hundred percent certain of
Speaker 1 00:13:20 That. Oh yeah, Wes got it. <laugh>,
Speaker 0 00:13:22 What did you think of what?
Speaker 1 00:13:24 I don't know.
Speaker 0 00:13:25 Are you qualified today to be giving people advices on their reels?
Speaker 1 00:13:31 Probably not. Not.
Speaker 0 00:13:32 Oh my God. More real time. Real. Talk on the next episode of between the key frames.
