Extras

For the initial kickoff of this project, I served as the lead motion graphics artist. Working from boards and vector assets provided by the print design team, I established the animation principles, text treatments, and motion tools, and guided the team through execution to the final delivery. After Effects was used for its strong native vector and spline tools, allowing us to create organic, energetic motion while maintaining a clean, minimalist style that was clear and easy to understand. The project was both fun and highly rewarding. 

I worked remotely with Sawhorse Productions on this project, developing much of the initial visual direction and the final logo reveal, with a primary focus on the red line and marker text treatments. These elements were central to tying the entire piece together, so the solution needed to be fast, flexible, and fully dimensional. Since the red line work came late in the pipeline, I received finalized Cinema 4D renders along with exported scenes and cameras, which allowed me time to R&D the setup in advance. Most shots arrived the day before the piece was set to debut at the convention. At the time, After Effects lacked a strong native line tool, so I built the system using Particular, animating a single light as an emitter that laid down a slightly roughened procedural sprite along its path. Expressions dynamically adjusted particle birth rate and size based on the emitter’s speed, ensuring consistent spacing, efficient performance, and a clean, cohesive result.