After Effects Archives - Page 17 of 20

Safest Fleet

10.12.2015 by Hayley Rollason //

Produced whilst employed at IAG Research Centre, this video is aimed at businesses and highlights the mutual benefit of a Safe Vehicle Policy for businesses, their employees, and the wider community. This is a policy that ensures the fleet vehicles that a company purchases are of the best possible ANCAP safety rating. Speaking to directly to businesses, we wanted to frame the video in a way to show that a Safe Vehicle Policy makes business, financial, and emotional sense.

This video involved several interview shoots, including two in Melbourne that were outsourced to a local team. My roles on this project included collaborating in the script writing, shooting a few of the interviews, shooting montage footage, and the motion graphics. The motion graphics allowed me to play with Particular, the After Effects particle-based plugin from Red Giant.

My colleague also collaborated in script writing, shot a few of the interviews and took on the edit. This was a very low budget project so we resorted to sourcing clips from previous projects and shooting around the office. We rounded up people in the office for various shots, including shots of ourselves and even my mum and brother. We also used a member of the client’s team for the voice over, recording it ourselves in our mini sound booth.

In order to get the message out, our client launched the video with a press release. The story was picked up by two industry media outlets, Insurance Business Online and Insurance News.

Insurance News Article — Insurance News article in response to Safest Fleet media release.

For more information on Safe Fleet policies contact the National Road Safety Partnership Program.

Tech Specs:

Shot on Canon C100 and DSLRs, using a combo of natural lighting and LED light panels.
Edited in Adobe Premiere Pro with graphics and animation completed in Adobe Illustrator and After Effects.
Music sourced from Premium Beats.

AMI Safety Series Rebrand

09.30.2015 by Hayley Rollason //

Produced whilst employed at IAG Research Centre, this series was a rebrand of previous advocacy videos produced for other IAG brands and refreshed for New Zealand audiences. With a bright and cute look, most of the work surrounded adapting the animations and motion graphics to fit the look and feel of AMI. Swapping out the clean science look of RACV or the friendly, trendy NRMA Insurance for bouncing bright yellow speech bubbles.

As there was a tight deadline for this project and some scripting to accompany, reflecting law differences between Australian and NZ, so we spread out the rebrands across myself, my colleague and a contractor that assisted with projects from time-to-time. We set out how we were approaching the branding first, in order to maintain consistency across the series.

Recruitment campaign

09.30.2015 by Hayley Rollason //

This video campaign was aimed at informing and enticing potential candidates to work for NPS MedicineWise, an independent, not-for-profit and evidence-based medical organisation. The client approached me with the project a week or so before the intended shoot dates. As this was when I was still working full time and the shooting was scheduled for during the work week, as well as some shoots interstate, I jumped on as editor and production manager, sourcing and managing production crews in Sydney, Melbourne and Canberra.

A campaign of 11 videos, we meet people in varying roles and different cities within the organisation. Wishing to highlight the rewarding and flexible nature of working arrangements NPS MedicineWise offers the crews interviewed 12 staff members in the colourful and friendly offices.

The crew that we collaborated with includes Ook Tong based in Sydney, Adrian Jackson in Melbourne and Ian Lumsden of Gatecrasher Media in Canberra. All teams were professional and delightful to work with delivering quality content to edit with swiftly, and only glowing feedback coming from the participants and client.

The biggest challenge with this edit was really with initial organisation of the footage, with it being quite a big series and a lot of coverage I had to really ensure the time was taken to import, sort and back up the footage in a clear and helpful way. This made the creative work far easier and quicker. This also meant when it came to client edits it was simple to identify shots and sections based on the interview we were addressing.