Breeder’s Title Magic for Analogue/Digital Conference

Breeder is a design-­led motion graphics studio with an all­-consuming passion for storytelling. Founded in 2010 and based in Brisbane, Australia, the team at Breeder specializes in motion graphics – taking an idea from concept to completion. Imagineer spoke with Adam Sebastian West, creative director at Breeder; and his enthusiasm for his work is inspiring. We asked Adam and his team to talk a little bit about his shop and some projects they’ve been working on. Breeder has been a long-time fan of Imagineer Systems, and since they are a big Adobe After Effects house, they started working with Mocha AE and are now running full Mocha Pro for all their Planar Tracking.

“In our studio, every project starts with great design. We let creativity run wild and we’re passionate about letting music help tell the story. We don’t limit ourselves to a certain type of project; if it fits with our skills and expertise, then it fits the Breeder mould. We believe motion can move people. We believe that, where motion leads – minds follow.”

Breeder just completed titles for ADBNE 2013, Analogue/Digital Creative Conference held this year in Brisbane. The piece, visually stunning and incredibly imaginative, was shot on a Sony NEX­FS700 and Mocha AE was used throughout post production for planar tracking and the majority of the rotoscoping.

ADBNE 2013 – Opening Titles from BREEDER on Vimeo(warning: video contains nudity)

West talked about how it came together, and how Mocha AE played a role in the roto and Planar Tracking workflow:

“Boards and design were all done in Photoshop, and the animation and compositing were completed in After Effects. Obviously we found Mocha AE easily integrated into our After Effects workflow. Strictly cutting and pasting planar tracking and roto data from Mocha AE to After Effects was a very quick way to operate.”

“I doubt we would have been able to do the project on this schedule without Mocha. We always intended the nude shoot to be completely organic, letting the talent, more or less, do as they please with only a little guidance from us. This uncertainty meant we couldn’t use tracking markers, since we weren’t sure how our talent would be moving. In the end, this was a great decision as we didn’t need to paint out the markers and that saved us a lot of time. We also used expressions to derive a lot of points for the missing parts.”

“In the end Mocha was tracking skin pore detail for us, with little to no noise – so every plate was clean and good to go. If we had gone the marker route, our talent would have been covered from head to toe. Mocha integrates so well with after effects, it’s reliable, and it does things that few other products can. Mocha is a critical tool in our day to day work!”


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