(QuickTime 3.4MB) [video]http://www.sundialservices.com/blender/HD_Comp_Sound0001_0146.mov[/video]
Here’s a little 146-frame video which I recently prepared for a company I’d been doing a software project for at the time. They wanted a short introductory clip (in HD) that showed their corporate logo “flying” into place, then fading to white-screen, for use as a preamble to their internal training videos. Blender and I were happy to oblige in an afternoon.
A local composer named Mike Handley provided the three-chord progression, and the company provided their logo in the form of a piece of stationery. (They did know the Pantone color-numbers, too, but couldn’t find their SVG model-file.) The music provided equally-timed “hit points” for the timing, so these were translated to frame-numbers on a spreadsheet. I then worked backward, from end to beginning.
There’s actually a sequence of two renders here: a single-frame “Toon” render of the geometry as it is positioned on the final frame of the animation, designed to be absolutely flat like the printed page; and the animated fly-in version, which simply consists of three “barn door” rotations of the various parts from off-screen positions. The slug-line “snaps” into position then rotates 90 degrees.
The finished renders were then assembled, with the cross-fade along with the fade-to-white, using the video editor. (So, there were actually three blend-files: animation, toon, and VSE. The toon-shader blend linked to all of the model information in the animation blend.)
Placing a scan of the stationery as the backdrop to the Blender modeling-screen provided the basis for modeling the various letters (as beveled curves). The stethoscope was modeled in 3D, as simply as possible. Lighting is pretty standard except that an additional spotlight was needed, whose beam the top panel actually passes through, to keep that from being too dark. There’s just enough texturing and beveling to make the whole thing plausibly look like physical things. Of course, the Toon render consciously eliminates all sense of 3D depth.
Several renders at different sizes were then produced, thereby eliminating any video artifacts that would be produced by after-the-fact reduction: each render is original and therefore fully detailed.
Blender 5.x in linear color space.
The upshot is exactly the sort of commercial thingamabob that you’re not supposed to “notice.”