First Rule of Motion Typography: You DO NOT Read about Motion Typography…

Well, I guess you’re breaking the first rule, so I’m going to stop here. (I don’t think my tutors would take too kindly to that..)

Jokes aside, I recently made an attempt at a Motion Typography (Fancy way of saying ‘words flying all over the screen’) video, set to the ‘8 Rules of Fight Club’ We originally were tasked with only creating a less than 10 second video, animating a single phrase, but I took it a step further, in an attempt to better my skills. ANYWAY, you can watch the video HERE, but there will be stills below narrating my process description! ENJOY!

The Process:

I began by finding a montage clip of the 8 rules of fight club. I used the audio from this, and I found a background for the whole project by finding a grungy/dirty canvas image (something I thought was textually appropriate for the video) and imported them both into After Effects, setting up the base for the project. Next I created the typography by using a Font found online (Link below). I created several layers, layering the project word by word (sometimes with individual letters), and lined them up with the audio track using the RAM preview button.

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Once the words were in place, I used ‘key frames’ to show where the word needed to start, and where it needed to end (in the first 5 seconds, the words change from being landscape to portrait).

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The FREE Font:



How To Handle People (Or How I Learnt To Stop Worrying And Love Bad Nightclubs)

This week we’ve been looking into Interactive Videos, using Youtube as a starting point. The idea is to give the audience the capacity to advance the narrative however the wish (given the choices) and create their own ending. Personally I thought this worked out really well. The choices were diverse, and opened up different dialogue, and endings (something we were encouraged to do.) What I didn’t realise going in was how long it would take to FILM and EDIT the different options into a simple timeline that can be advanced without much interruptions.

ANYWAY, You can enjoy the story HERE, and a word of warning – Try not get punched in the face by the weirdo in the wig (As my Mum told me she had done..)

The Process:

The video was roughly planned in advance, with minor attention paid to shot styles, dialogue choices, and gaps of time for choices to be made, but it was mostly a ‘act, and see what happens’ process. This inevitably gave us much more interesting dialogue from the characters as ‘spur of the moment’ things. We filmed the main action in order, starting with the main character reading in his room, and then being interrupted by housemates playing loud music elsewhere. In an effort to make sure we shot every possible scenario without forgetting any options, we stopped when we’d reach a crossroad, and decide which two or three options would be presented, and then film them one by one. Following the recording, I used Adobe Premiere to edit the videos into sequence.

Uploading to Youtube:

Once the videos were complete, I had to add annotations (the boxes that would advance the narrative). This meant perfectly syncing the point in which the option took you to in the narrative; and any exterior videos for the finales. This took some time, as the original annotations ended too soon, meaning you’d still see the choices just before it switched to the next point in time.

Thanks to Francis Harvey for acting, ‘scripting’, and editing the project.


When Bears Break In…

For the last three weeks, we’ve been working on Stop-motion animations. While I may be no Pixar animator, I gave it a pretty good shot

The Process:

We began using Stykz, self-teaching ourselves how to make the figures move and take the frames. I began by recording a video of myself walking across the room, and tried mimicking the leg movements on the stickfigure, in an attempt to make the walking animation look realistic. I feel like I was 90% there, but with a little more practise, I could make it more fluid, and smooth.

I also spent some time recording footstep sound effects with some heavy shoes, late at night in my kitchen, and loops this to create a more in depth animation. I also found sound effects from ‘’ which is my usual first stop for professional, free sound clips. It was finally all assembled using Adobe Premiere, and viola!

Thanks to Francis Harvey for his help in creating the animation. It was passed between the two of us, and so I cannot take full credit!


Good Karma // Bad Karma

Multiple days of filming. Some getting cancelled mid shoot due to rain, hail and snow. A lot of writing. A lot of Subway sandwiches, and RedBull. A wigs-worth of pulled out hair. A few days editing. Even more creating sound effects and level monitoring. It’s all culminated in one thing though.. MY FIRST SHORT FILM A four minute video warning of the dangers of what good karma can lead to; and what bad karma can get you.

The Process:

We began by brainstorming an idea for a character on the move from one location to another. We storyboarded the whole video from beginning to end, thinking about what camera angles would look good for certain scenes (The 180 degree turn when the main character looks both ways after finding the wallet) and how we would structure it in the editing suite.

First Filming Day:

A lot was accomplished on the first filming day. The bedroom, busking, and university scenes were filmed in their entirety. We struggled to keep the busking scene going as we had several members of public walking past, which would have upset the continuity. As well as this, the sun started to set (Winter for you…) as we were wrapping up the busking scene. In the editing suite we used this to our advantage as we used it as an ‘early morning sunrise’ scene, rather than one at the end of the day.

Second Filming Day:

This went less smoothly. While we did film the majority of the wallet scene, the wallet owner was wearing different clothes to the ones we wore in the busking scene, so we couldn’t film the ending for continuity reasons. Despite this, we did film enough to edit the majority of this sequence and know how to end it once we got back to filming. We also went to film the in-between ‘skateboarding’ shots. We managed to only film a few scenes before disaster struck. The skateboard basically snapped, and we were unable to continue filming with  the props we had at hand. Despite this, the footage already filmed was sufficient enough, and there was no need to reshoot, or shoot additional tricks.

FInal Filming Day:

On the final day, we filmed the ending to the wallet scene, and the car crash scene. We had to film the wallet scene as soon as possible as the weather was less than admirable. On multiple occasions we had to shut down the shoot and quickly take cover from hail, rain, and very strong winds. The concerning factor was the continuity in both the background and the actors being dry in one scene, and wet in the next. Luckily, it wasn’t so obvious, and I feel like we got away with it in the edit suite.

We planned the car scene in detail so we knew how to execute the scene without accident or damage. Originally we planned to film it in the street, or at least above ground, however, due to technical and safety limitations, we were forced to film it underground. We re-brainstormed and re-storyboarded the scene, including a transition to explain the main character’s decision to use the underground car park, and filmed accordingly. Everything went to plan, and no actors, cars or skateboards were harmed in the process.

The Editing Process:

As we had storyboarded the film from the start, it was very easy to piece it together in the editing suite. We chose a soundtrack that suited the feel of each scene, and felt the silence and background noise of the wallet scene was enough to add a sense of mystery and intensity. Overall, the edit was a success, and the final product was extremely close to how we first imagined it.

Filmed and Edited by Jonty Lendill, Pete Ohagan, Francis Harvey, and George Buxey Acted by George Buxey, Pete Ohagan, and Jonty Lendill Sound Effects by Mike Whiting and George Buxey


New York, New York

Recently, we were tasked with creating a ‘Location Profile’ of a local Liverpudlian…Location! We picked Central Perk, over on Bold Street – A quirky replica of the Friends TV Show Cafe of the same name. Everyone who worked there (and who ended up being filmed) were delightful, and incredibly friendly. A definite must for any Friends fan, anyone visiting Liverpool, or anyone in Liverpool with a spare hour or two. (I am not liable for hours lost watching Friends in Central Perk. Yes, they show it on a continuous loop – it’s like E4 a few years back, but in public..) Anyway, you can watch the video


and as always, thanks, and enjoy!

The Process

The video was tasked as a short, 90 second film. Despite this we ended up filming about an hour and a half worth of useable footage. As always though, you can never film too much! It was our first times using the cameras, or filming in a professional sense in anyway – Especially somewhere we specifically had to ask permission to film in. (Phone voices at the ready!) We negotiated access with Central Perk who were extremely invested in the idea, and wanted us to be able to film where and whenever we could, so we really jumped into the location and got some great shots.

Filming Day 1:

Our primary film day was one of many learning experiences. As we got to know the camera throughout the day, the shots got better, and more interesting aspects were filmed. We originally intended to use the theme song from Friends, and tell the story of Central Perk, so we went about getting footage of customers, workers, and the general areas of the entire Cafe. We also managed to film a few timelapses that worked really well, and were positioned excellently when played back.

Filming Day 2: Night Shoot

To get a sense of EVERYTHING Central Perk has to offer, we went back to film the Quiz and Live acts that frequent CP on a Tuesday evening. While here, we managed to get a lot more customer shots (the Cafe was packed!). It was at this point as well that we mastered the art of focus pulls, as can be seen in a few of the night-time shots.

Final Filming Day 3

After we completed our first rough-cut of the Location Profile, our feedback, and self-evaluation was that it was missing something. It focused a little too much on creating a narrative, which made the video a little over predictable, and in all honesty – boring – in places. We then returned to CP for our final day, and filmed a lot of aesthetically pleasing shots, using focus pulls, extreme close-ups, and blurring the video to give a sense of mystery and journey to the video.

Finally, we re-edited the video with the new footage, taking out the less impressive shots we’d placed in before. We also decided that with the more ‘arty’ style to the video, the soundtrack needed to be much less intense. We went for The Only Living Boy in New York by Simon and Garfunkel, for being both lyrically appropriate, and a suitable pace for our video. Not too slow, or lacking intensity. We re-edited the film around the new soundtrack, making it work with the drum beats, and key changes. Ever since we began filming we knew how to give it a proper closure – the shutting down of the Cafe; and in essence, really telling the story of ‘A Day In The Life of Central Perk’.

Film by George Buxey, Jonty Lendill, Peter O’hagan, and Francis Harvey. // Music by Simon and Garfunkel


The Adobe Convert

Hello! I’m moving on from still images (slightly) and onto moving images (hurrah!).

This week we were tasked with creating an After Effects project using the previously taken Comic Strip, and making into a moving image using the ‘Rostrum Camera’ technique. You can view it HERE.

For those who don’t know, the ‘Rostrum Camera’ technique is where we place a virtual camera on a platform, and pan it in and around a still image, to create a more interesting moving image, than just a still image playing for 5 seconds. It’s very commonly used in documentary filmmaking, but in this instance, I’m using it to add a little more Pizzaz! to my prior work.


The process begin with the Comic Strip I’d created a few weeks ago. Using After Effects, I placed the 6 individual photos one after another on the video timeline. I then created a keyframe which stated where the image started from (in full view) and where it would smoothly pan and zoom into (the subject within the picture). Using (a lot of) intuition, I figured out how to create the effect of one image exiting the screen left, while the next came in from the right. While this may seem a very minor part to the viewer, I feel like this (much like when I first began using photoshop) was a process I can use again and again (now I actually know how to do it!!)

 After Effects didn’t offer the intuition of audio editing I like when editing sound for a production, so I exported the finished video and imported into Adobe Premiere (I’m not sponsered by Adobe, I promise…) and imported my three audio tracks. Firstly, the washing machine noises were added to give a sense of place, and immerse a video in where this actually set. The coin slot noise to show the action being taken with in the still image; and lastly, the Jaws theme tune was chopped into its finished form to create the suspense for the big reveal. All in all, I feel the audio and video merge perfectly, and as a first foray into After Effects, I can see it may only have limited use in practice, but in what it can be used for, it can be used well.

Once again, thanks for reading my process and enjoying my work.


Tell A Story In 10 Seconds…Sell Your Soul In 15.

It’s finally here. The first VIDEO made as part of my degree. It’s been a long time coming

Very simple brief here. ‘Tell a story in 10 seconds’ – not as easy to execute.

The main difficulty in this task is being scrutinous in the editing suite, and cutting everything done to its most important. Quick, invisible edits. I think I managed to achieve this, by leaving out in-between shots, allowing the viewer to fill in the gaps themselves. Originally, it was soundtracked to an original composition recorded by myself to a single channel tape deck, however it was decided that it wasn’t fast-paced enough, and so ‘5’ by Three Trapped Tigers was chosen, and chopped instead. I think it suits the final product (no pun intended) quite well. Overall, this was a great beginning to what shall end in much longer productions. Maybe ones that don’t chip away at my soul quite so much too…

Actress: Beth Ceney

Director + Editor: George Buxey // Beth Ceney // Grace Bowmaker