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A motion graphics workflow differs in a lot of ways than your traditional live-action production. Here are the differences and variations when producing a motion graphics or animation piece.

Motion Graphics… not a very popular term amongst average people, but to a film and video nerd like myself, it's very common. Just about every video project you see nowadays incorporates them. The art form itself seems to never die and is constantly evolving into new trends. What's even more uncommon is an average person discussing the origins of motion graphics… a subject that is still debated to this day. Don't worry, this whole blog is not about that… we'll provide some tips later on for you MG enthusiasts to bite onto.

Augmented graphics have come a long way in the past decade, from formerly rotund weatherman Al Roker obscuring the first two days of the seven-day forecast to reporter Jessica Yellin channeling a holographic Princess Leia while discussing results of the 2008 presidential campaign with Wolf Blitzer. Fast forward ten years and the real and virtual worlds are blending into one.

Given the current social distancing climate, many broadcasters have had to find alternative approaches to news production that will ensure the health and safety of its staff. Not least among these is NBC 10 in Philadelphia, where staffers, anchors and meteorologists have taken over their living rooms, basements and guest rooms for daily newscasts. An NBC affiliate station, NBC 10 got an early jump on the work-from-home production approach. The station’s meteorologist, Bill Henley (a self-professed gear junkie), took the challenge in stride. Diving into the station’s equipment locker and reaching out to friends at various manufacturers, Henley was able to quickly set himself up with a home studio that rivalled those of colleagues at the major networks.

Multi-Emmy winning freelance 3D/motion graphics artist, Edward Hassenfratz, E.J. for short, who has worked with clients from National Geographic to Amtrak, understands that when it comes to video...you get what you pay for. Here are a few reasons why.

Every year the and the technology for the Super Bowl is both bigger and better. This year, production was broadcast in 1080p and converted to 4K UHD HDR, and even some cameras, including Canon and Sony, shooting in 8K. Audio was a big presence and stylistic new graphics also brought a fresh look to the game. No pressure at all right? Just for kicks (no pun intended) add in that Super Bowl LIV was also the culmination of the 100th Anniversary of the National Football League.

ProductionHUB sat down with President & Visual Effects Supervisor of BluFire Studios, Matt Hoffman, to talk about the CW’s new fantasy-adventure drama series The Outpost. Using Blackmagic Design’s Fusion Studio VFX and motion graphics application, his team created other-worldly characters.

This month, Quibi launched its much-anticipated platform for video content. With advanced tools like Auto Reframe, position-aware motion graphics, flexible workflows for previewing and the ability to create export presets, Premiere Pro offers an ideal production environment for delivering crafted video for Quibi. We have created a Premiere Pro workflow guide for editors and production companies who are interested in creating or adapting video for the new platform.

Video Interviews are the backbone of any corporate video. Don’t get me wrong; animations, special effects, and graphics can be great, but without rock solid interviews to drive your content, they will almost always come up short. Whether you’re looking to make a testimonial, recruitment or company culture video, few things predict the success of a project more than professionally produced, highly focused and well-executed interviews.

With the popularity of live competition TV shows continuing to increase and attract bigger audiences, the production levels required to make them have never been higher. Consequently, it’s now common practice to employ a second technical director or “screens TD” along with the lighting department’s graphics server operator to create the look and feel of the extravagant LED video tile-intensive sets. For most live productions today, a “screens team” along with the LED tech is usually needed to manage the LED tiles, as many of the stages have millions of LED pixels and countless lighting rig configurations.