Kinetic Typography – Update #1

Over the next week or so I am going to be producing a short kinetic typography animation in CINEMA 4D for a short section of “Quelle Surprise”, (Reynolds, 2014) by Enter Shikari (Any views depicted in the song are not my own). I chose the song due to the amount of energy in the sound, as well as the lyrics themselves – which can be well portrayed in an animation of this genre. I plan to focus particularly on contrast between motions of the type, camera angles, and use these methods to reflect on various points in the song.

Having decided on the final version of the project I have made a worklog to track what stages I need to complete and where I currently am. I’m going to begin the project by sketching the basic anatomy of the scene by hand, including some basic plans for where the word emphasis will occur, the path the camera object will take in CINEMA 4D as well as the scale and angle of words, simplistically to gain an understanding of how the scene might pan out. After doing this I’ll make another mock in Photoshop allowing me to start planning for typeface choices, as well as more accurate decisions related to the size and colour of words.

I plan to use this mock as a blueprint in CINEMA 4D, setting it up as a plane object that I can build the geometry on top of, hence retaining the original scale and other parameters of the scene. Building the environment will also involve building any lighting although I may attempt a style wherein the whole scene will be made up of flat colours and varying shades, rather than photorealism as I usually aim for when modelling. This would be achieved by switching off all channels other than illumination, which would be at 100% with a colour – hence there would be no specular highlight, reflection, or transparency – giving a 2D effect to 3D shapes yet still allowing the usage of C4D deformers and other tools in the application. I’d make a test render to ensure that all is well, and then construct the camera paths, ensuring the angles are synchronised to the audio track. I would need to smooth the f-curves created by the keyframing the camera path to avoid jerky movements also.



Reynolds, R. 2014. Enter Shikari. [online] Available at: [Accessed: 25 Mar 2014].


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