The blank space is where I need to add an intro and outro to the piece, but the core of the animation has come to a good point. Comparing it to my first draft, where I added an initial template, I think the whole thing has a quicker pace by repeating the same illustrations in different stages along the timeline. It adds a better build up, and reflects on the more apparent beat towards the end of the track.
To accommodate for the change of approach in the animation, I needed to axe one of my nine illustrations. This enabled me to fit eight in comfortably, without forcing the extra one into my work. Out of all of them, I felt the one with Derek Redmond and his father, timed at 00:35 on my initial template, was the weakest image. Only the top half of the body was visible, and was probably the hardest to make out.
I swapped Dick Fosbury's illustration to green, as it is the more visible colour out of that and yellow, and added kinetic lines. This was a response to my ident, but was simplified by keeping a consistent path. The change of direction was just there to add more movement to the animation, and after watching Sean Berg's logo animations, I came to the conclusion that simplicity was the key approach. It keeps the whole thing concise, and less distracting for the viewer.
I swapped Dick Fosbury's illustration to green, as it is the more visible colour out of that and yellow, and added kinetic lines. This was a response to my ident, but was simplified by keeping a consistent path. The change of direction was just there to add more movement to the animation, and after watching Sean Berg's logo animations, I came to the conclusion that simplicity was the key approach. It keeps the whole thing concise, and less distracting for the viewer.
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