An MOA from Script to Screen: 17 Tips to Get a Killer Animation Produced For Your Event

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This article originally appeared on LinkedIn

You’re a Brand Manager for a Pharmaceutical Corporation, a Product Director at a Biotech Company, or perhaps a Creative Director at a Healthcare Marketing Agency. You’re responsible for the launch of an exciting new therapeutic product scheduled to make its debut at an upcoming trade show, but you still need a stunning MOA animation for the show.

There’s still plenty of time for that, right?

There are several trade show and conference events within the healthcare industry taking place throughout the year. Lets focus on the process of producing animation for the upcoming ASCO conference on June 2nd of this year

ASCO is still 4 months away so why should you begin developing your animation now?

From script to screen, a comprehensive 3-minute Mechanism of Action video can take anywhere from 3-4 months to complete. If you’ve got a target deadline that coincides with a show coming up in that time frame, there is still time to take action and find the perfect animation team to produce your MOA.

Here are a few tips to help maximize your ability to receive the most effective and beautiful digital assets for ASCO or any other target event.

WHY IT’S IDEAL TO BEGIN SCHEDULING PRODUCTION OF YOUR MOA AT LEAST FOUR MONTH BEFORE YOU NEED IT

Lets take a look at the typical production process for a 3-minute animation.

FOUR MONTHS FROM DELIVERY: An Engaging Script

Your script is the foundation for a successful animation. It will communicate the intricate mechanisms of a disease state, and the function of the therapeutic process, but the story also needs to be engaging. A script can take an average of 4 weeks to research, write, refine, and enter the legal review process. 

  • TIP 1: Take this opportunity to strike the perfect balance between storytelling and science messaging in a way that will keep your audience engaged.
  • TIP 2: The animation team can always begin development with a general story outline so don’t rush the process. Spend this time creating a clear and appealing narrative.

THREE MONTHS TO GO: Visualizing Look & Feel with Styleframes

While the script is in development, your animation team will begin designing the players and environments in your story. Molecules, cellular environments, devices and anatomical representations will be brought to life in 3D renderings, aka: Styleframes. This process can take 2-3 weeks depending on the level of complexity or number of elements needed to tell the story.

  • Tip 3: Take this time to not only weigh in with the animation team on scientific accuracy but ask yourself if the artwork reflects the appropriate level of complexity OR simplicity for the target audience.
  • Tip 4: Determine if the imagery needs to reflect the branding guidelines, or does it need to stand apart stylistically from the current branding. 
  • Tip 5: Identify the preferred color palette and mood that the artwork needs to convey. For instance, do you want your drug/product to appear bright and shiny to visually communicate its role as the hero? Maybe you want the disease-initiating molecule to be of a darker, hotter color so it can be easily identified as the antagonist of the story.
  • Tip 6: If 3D models will need to be revised, it will have much less of an impact on production at this stage than when animation production has already been completed. Try to make sure everyone on your team weighs in on the styleframes, including the end client.

TWO AND A HALF MONTHS TO GO: Finding the Visual Flow with Storyboards

Your Animation team will usually need 2-3 weeks to produce storyboards depending on the complexity of the science.

  • Tip 7: Are you easily able to follow the story along visually from frame to frame without confusion? Try to make sure the boards not only capture the intricacies of the science story, but also follows a clear, linear narrative. 
  • Tip 8: Are there any areas where the narration covers too many details within a sentence? What works on paper may be tricky to capture visually in animation. The audience will need enough time to absorb the action onscreen. It’s OK to expand on the verbiage of the script where needed if it will help the pacing and flow of the animation. Animation studios want to produce the best results for you and an increase in word count that is beneficial to the clarity of the animation shouldn’t usually affect your budget.
  • Tip 9: This is also a great time to receive feedback from your animation team. Lean on their experience and creative advice to achieve a more fluid, visual story flow, which may require some minor structural changes to the script.

TWO MONTHS TO GO: Lets Start Animating!

Once storyboards are refined and approved, your team will begin the animation process. A rough, unpolished animatic may be provided first for initial feedback and then further refined into a second, and eventually a final pass. Towards the end of this stage, professional narration will be recorded and music and sound effects will be composed and mixed into the final video. This process of animation from rough animatic to approved final pass can take an average of 6-8 weeks.

  • Tip 10: Consider the expertise, experience and creative sensibility of your animation studio. They can provide great ideas and solutions throughout the process to various creative challenges.
  • Tip 11: The animation stage, especially the final pass, is the most time intensive stage of the project. Communication is important. Try to chime in early with any major changes to the script, look or action as early as possible to avoid any challenging last minute crunches that could jeopardize deadlines. 
  • Tip 12: Stuff happens, but if possible, try to keep to the agreed upon schedule and avoid any sudden acceleration of the timeline or addition of content. 
  • Tip 13: Make sure you’ve identified when all deliverables need to be received, including additional ancillary assets that may need to be produced. 
  • Tip 14: Find out when the AV vendor at the booth will need to test and receive the animation and be sure to identify the digital formats they require. For instance, if the booth will have vertical LED screens, and your animation team has already produced the animation in landscape format, remedying this situation can sometimes be a challenge later in the schedule. Be sure to communicate your format needs early in the process.
  • Tip 15: Be sure to communicate the appropriate mood and style of the music/sound design.
  • Tip 16: Your animation team will push themselves to create the best results they can. They will want to express their creative expertise through dynamic animation techniques and cutting edge CG tools. Animators love to let their imagination run wild, but sometimes they can go overboard! Be sure to share your feedback if you feel the animation is looking more like Star Wars than an educational science video, and the story is getting lost in the process. But by all means, if you are looking to produce a fascinating visual journey with all the bells and whistles, a skilled and talented animation team can deliver that too.

TWO WEEKS TO GO: Client Feedback and Legal Reviews

  • Tip 17: These necessary review stages can easily add an extra 2-3 weeks to any production schedule. The larger the review team, the more voices will need to be heard. This can sometimes cause delays when attempting to gather everyone’s feedback. Try to be sure reviews are factored in from the start and that all science consultants understand the importance of sticking to the review schedule.

YOUR TARGET DATE HAS ARRIVED: Success! 

Your MOA should now be in your hands and ready to go! Enjoy the accolades for producing a beautiful and effective crowd-pleasing animation in time for your event.

But what if you don’t have 3 to 4 months in your schedule? Will your animation studio be able to deliver the MOA sooner?

Yes. Animation studios are often required to accelerate production in order to accommodate shortened timelines and can still deliver on time; however, there are a few consequences to this scenario that you may want to consider.

In order to get more animation produced within a short time frame, studios may either need to put additional animators on the job, or acquire more rendering power which can increase the budget. The complexity of the animation may also need to be simplified and the length of the script reduced as well.

These decisions can potentially impact the quality and character of your MOA. A “high-end” science animation, for example can take more time and effort to produce than an animation that is less visually complex. As a solution to meeting the shortened deadline, you may be offered the simpler “Style B” animation solution which could be the most effective path to success, but not as appealing as the high-end “Style A”. This doesn’t mean your product will be inferior or inaccurate in any way, but it can mean that you could have missed an opportunity to produce the MOA that elevates your brand in more dynamic and exciting ways.

When you choose to produce an MOA animation you are investing lots of time and budget into an effective, accurate, and esthetically pleasing product that will help your brand make a significant impact. To get optimal results, consider giving your animation team as well as your own marketing, creative and science teams the time to fully work through this creative process from the start.

To conclude, if you are planning to hire an animation partner to develop your MOA assets for the upcoming ASCO show on June 2nd, consider that you probably should be looking to secure an animation studio very soon, optimally within the next 2 weeks. No pressure!

We hope to see you at ASCO this year!

Our 2016 AMI Salon Award of Excellence!

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I had the pleasure of attending my first Association of Medical Illustrators (AMI) meeting this past July in Atlanta. There is so much talent, knowledge and inspiration to be experienced at these meetings and we are looking forward to attending more in the future.

While I was there, I got to meet many artists who I’ve admired for years, as well as get the chance meet up with friends and colleagues I haven’t seen in quite a while, including some of the folks at Maxon USA. I also got the chance to meet many artists and science professionals who I wouldnt have had the opportunity to meet otherwise. It was a great experience.

We also entered our reel “Wonders Within” into the Salon Award Competition and came out with an Award of Excellence in the category of “Animation Advertising and Marketing /Promotion”. Our award finally showed up in the mail today!

We are of course very honored for the recognition of the AMI and motivated to continue our journey towards greater artistic excellence in the field of Science and Medical Animation / BioVisalization. Looking forward to sharing some more exciting MadMicrobe news in the near future. Now, time to get back to animating blobs…

MadMicrobe teams up with Pretty Damn Sweet for Adobe MAX and Adobe Summit 2016!

MadMicrobe may be “mad” about Science Animation, but the truth is we enjoy working on all kinds of creative animation projects.  

We recently had the chance to flex our mograph muscles working under the creative direction of the talented Philly production company Pretty Damn Sweet for the gigantic show opener presented at Adobe MAX 2016 in San Diego this past November. The show was a big success and the opener looked amazing on the huge screen.

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Working closely under the technical direction of Rick Sebeck and brilliant creative direction of Stephen Gifford, the team at MadMicrobe helped produce many of the 3D elements and scenes in the 18,000 pixel-wide animation, which was projected onto an enormous, 3-dimensional stage, taking the audience on a breathtaking abstract roller coaster ride through Adobe’s line of products, which comprise their Creative Cloud platform.

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In order to meet the challenge, MadMicrobe worked with the mograph talents of Rich Nosworthy, Brett Morris, and Jeff Briant, and Dominic Faraway, notable luminaries in the field of motion design. It was a great ride working with these guys, and we are all quite proud of the results.

Prior to the Adobe MAX show, MadMicrobe also teamed up with PDS to work on the 2016 Adobe Summit show opener, which happened in late March in Las Vegas.

We create nearly 100 animation elements over the course of the production schedule, which PDS integrated into their edit along with their own footage.

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Below is a stacked version of each element of the final piece, which was projected onto  3 huge screens; a wide center screen and 2 smaller screens on either side, which together measured 425 feet wide and 20 feet tall.

We look forward to future collaborations with PDS as well as the talented animators who got to work with us to bring their vision to life.

Thanks for looking!

MadMicrobe’s work on Morgan featured in CGSociety

Meleah Maynard and I recently discussed the process of creating some CG science shots  for the film Morgan, which was released this past September.

The article is featured on CGSociety if you are interested in reading it:

Read The Article on CGSociety

Below are some stills and clips of some of our work:

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Thanks for looking!

What is Morgan?

We at MadMicrobe recently had the opportunity to work on some cg bio-viz shots for the VFX house Fugitive Studios  for the upcoming Ridley Scott-produced, and Luke Scott-directed sci-fi thriller Morgan. I was quite pleased to discover both shots made it into the trailer.

I handled design, modeling, rigging, texturing, lighting and animation, as well as initial compositing on the shots along with Cinema 4D extraordinaire Jon Bosley who helped set up and rig the injection shot. Fugitive finished the shots adding the FUI components and grading as well as some last minute animation changes to the neuron shot.

Fugitive handled many of the vfx shots in the trailer as well as titles and FUI design.
I think they did a great job and the film is looking like it might be a winner.

I hope to share more information on the project after the film is released.

Thanks for looking.

MadMicrobe: Wonders Within

Its been quite a busy and exciting year, which unfortunately meant that the blog got neglected a “little”. Well, I’m back again, with not only some new work to share, but an updated look and feel, as well as the new blog name.

Joel•O•tron has finally run its course and I have now decided to change the name of the blog here to MadMograph to better coordinate with my Animation Studio, MadMicrobe. The URL will change very soon as well.

MicroFloaties is still accessible here in the menu above, and hopefully I’ll have a slight update to the little buggers as well in the coming weeks.

Now on to the Animation.

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Throughout the past year, in between projects, I got the idea to create a new custom showreel for my Bio Viz company/studio MadMicrobe. I chose to approach this reel as a series of cohesive custom built shots rather than the typical batch of unrelated clips of past work, which is how a showreel is usually presented. I wanted to create this peice with a nod to films like Inner Space or Fantastic Voyage, ie: a journey through various systems and processes in the human body at a microscopic and sometimes molecular level, and present the reel as if it were the opening title sequence to a fictional film or tv series.

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One of the challenges I was faced with after deciding to approach this as a title sequence was what/who would the content of the credits be? I soon realized that I had about 25 shots to create on-screen credits for and it would be difficult to invent something for each shot. After trying a few things I decided I would simply research what scientists were responsible for the discoveries of the elements (cells, molecules, tissue, technology) showcased in each shot. I then thought this could be a fun puzzle for people to figure out by googling the names on their own. I also knew that the more astute science professionals and geeks alike might recognize the names and their associations to the science shown.

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The shots were all mostly custom built, by me or in some cases were models I purchased and customized. Everything was created, rigged, lit, textured, and animated with Cinema 4D, using the Physical Renderer for most shots and a few shots rendered using the Arnold render engine, C4DtoA. Each shot got quite a bit of post work in After Effects, and tons of color correction. I’m a sucker for rich color contrast.

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I am inspired by contemporary film title sequence, so I did quite a bit of research of various typography treatments using resources like Art of theTitle and others, as well as different motion graphics techniques. Due to time constraints as well as not wanting the piece to become too visually busy, I decided to go with a stark clean typography approach and hold back on things like 3D tracking layering 2D graphic element and instead keep things simple.
The result is WONDERS WITHIN, which I’m pleased to share with you below
Thanks for looking!

Happy New Year!

Wishing all a happy and healthy 2016.

I’ve been working on some new shots for a new reel for MadMicrobe.

This one depicts a tight bombing run and pull out over space squids a dendritic cell; a component of the immune system whose role is to process any harmful antigens it comes in contact with, and then present fragments of those antigens on its surface (the little dummied-down spheres) to T-cells which. Through a cacade of events,  these T-cells will trigger the production of antibodies from plasma cells, which will then help the immune system seek out and destroy these antigens.

 

In other news, I have picked up a few new bits of software that I am excited to add to the creative arsenal.  I am working with Solid Angle’s Arnold Renderer using the plugin for Cinema 4D and loving it so far. Will post some images when I have something worth sharing. I’ve also finally gotten TurbulenceFD which is one I’ve been wanting to get for quite awhile. Still much to learn.

Cesar Vonc has released an update to his useful and fun Pro3durale plugin for Cinema. Proc3durale 2 has many more features and is much faster than before. Here is a sort of stylized depiction of trabecular/spongy bone which I was able to create after  about 30 minutes of play. Thanks for looking.

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