home jobs contact us
Our Clients:
Browse by Sport
Find us on ASAP sports on Facebook ASAP sports on Twitter
ASAP Sports RSS Subscribe to RSS
Click to go to
ASAP Sports e-Brochure View our


April 14, 2016

Seth Montgomery

Chris Sabato

SETH MONTGOMERY: I get on Google Images and type in temperature background, and you can just see all the different options that they have up here. There's different color options. There's different kinds of concrete, wood, fabric, leather, metal, sand, dirt, paints, light wood, metallic, black leather. There's just a bunch of different things that you can use to incorporate into your photos.

Going back into Photoshop, I use the hexagonal pattern and dragged it in here. Gave it a little bit of a hard light just so that you get to see the color back into the pattern. And now you see the CSU blue here, you drop the logos in and now you have the CSU logo firmly planted inside the graphic and adding the Charleston Southern to it.

You can do the same thing with the opponent. I did the same thing with the opponent tab, this is Coastal Carolina who we played yesterday with softball and there is their tab, as well.

Now the bottom layer is a layer that I put together for a splash page for basketball back during the tournament season, and it's one that I liked, so this, again, shows all the pertinent information. And depending on whether or not the game is on the Big South Network or if it's on ESPN3 or something along those lines, I can just hide and show the layer with that.

Now this type of graphic is very easy for me to adapt and change on the fly. Because it's one of those ones that I'm able to swap out the background image and very quickly, say there's a doubleheader or there's something else going on that I want to use the same teams with. So say we are going into the second game of a doubleheader, I want to use this as a pregame graphic. I will drag another photo on top of it, I'll show it; then I can just drag the layer mask on top of that. Hide the layer behind and you can see that it's still the same setup down below but the picture and the graphic is still showing.

So this is one that I've used for multiple occasions. It's also one that I've used for some of our end game stuff. Once you get into the end game situation, you can hide the bottom layer so it doesn't show anymore. And going back into the CSU and the coastal tabs, you hide the names of the teams to make this graphic a little bit more multi-functional.

And you can say, maybe it's the end of the third inning, score is eight for CSU, score is zero for the visitors. Now you have a quick score graphic that you can throw together and put it out for social media.

One of the biggest things I've found out for social media and one of the biggest things that Instagram made the change is that images no longer have to be squares. They can be rectangles, which is awesome because it's tough to fit all the information that you need in a square and most photos don't actually fit into a square-type shape. If you have a photographer that shoots length-wise versus one that shoots tall shots, it's tough to use the same shots for the same graphics.

So having something that you're not constrained to just one shape has definitely made things a little bit easier. Switching, this is again the graphic that I made for the basketball tournament. You can see how dropping the tournament logo in there just makes it a little bit more of a clean graphic, a little bit more -- definitely a clean graphic. It tells the person who is looking at the graphic everything that they need to see, and that makes it very functional.

Just a sneak peak at some of the graphics that we'll be using next year. It's going to be incorporated into our soccer graphics next year, and again, you have the teams, you have the information and down below it's just another layer of text that was added where it talks about the players who have scored.

So this is just a graphic that I will be using -- that has been easy to put together. You can simply swap out the action shots behind. All you have to do is just change the opponents in the layer and it's good to go.

So graphics like these normally take me about a minute, two minutes to churn out and get ready to go, and it's one less thing that you have to worry about on your plate on game days.

Now, switching to more of a starting lineup graphic, we have actually used two different types of starting lineup graphics at Charleston Southern. I'll show them real quick for what we've done. This was our softball starting lineup graphic. As you can see, it's very quick. It's easy. You just have two rectangles over here on the side and then just text on top of the rectangle. Very easy, you just space it out or tab it out to make sure everything is aligned right.

When it comes to the opponent information, I try to make it as simple, as easy. Renaming the layers in Photoshop has definitely been a huge benefit to just the work that I've been able to do in turning out quick and timely graphics. Like this one you see we're playing Campbell here on March 21 at 2:00 P.M. but say our next game is against East Carolina. Well, it's already set up. It's pre-setup so that it drops in. All you have to do is just change the date, the time, and change the location and it's a graphic that you can switch out and be good to go. And again, the only thing that you have to do is you have to just change out the background layer.

Another starting lineup graphic that we've used when we've had a little bit more time and if our coaches have gotten starting lineups to us before games, is this one. And this a graphic that took me probably an hour and a half to put together, as you can see on the left, or on right, there's a number of different layers that make it a little bit more complex than some of the basic graphics that were shown earlier. But it's anything that you can do to make the graphic stand out is what I try to do.

So up here on the left, you see Caitlyn Emberson, you see her information, her hometown, year, height, bat, throw. You look and see she's at the 5-spot in the starting lineup. It's highlighted and has a little bit of our gold bevel emboss on it and there's an action shot of her over here to the right.

Now say I decided not to use Caitlyn Emberson in this graphic. I would go ahead just hide her layer, say I want to use Stephanie Bergmann. So I'll just go over here and click and show her hitter information. I'll scroll down to Stephanie Bergmann is of course second in the starting lineup so I'll go ahead and highlight the effects of Stephanie Bergmann. I'll go ahead and close the effects of Caitlyn Emberson. And then scroll down to the head shots, again, show Stephanie Bergmann, close out Caitlyn Emberson. And then again, the action shot, hide Caitlyn Emberson and show Stephanie Bergmann, and the graphic is good to go for starting lineups.

I tend to do a lot of motion work with this, as well and the motion would be a scrolling down of the starting lineup with the changing pictures and motion is something that Chris will be talking about more here in a little bit.

Another graphic that I've done and worked on is our home run graphics. This one just very simple, you have the head shot cut-out. You have an actual shot of the player in the background, home run in the text, you have her name which I've made to stand out a little bit and showing the layers, say it's not Amanda Matsumoto. Well, there's a layer of names here that I've created already. Again, let's go back to Stephanie Bergmann, close out Amanda Matsumoto, and you show Stephanie Bergmann and her information is there.

You go to head shots. Again, you close Amanda Matsumoto, you show Stephanie Bergmann, and then you go to background images and again you show Amanda Matsumoto, or hide Amanda Matsumoto, and you Stephanie Bergmann, and the home run graphic is good to go.

A lot of this work is definitely set up before games, but where I try to focus on is ease and functionality, being able to quickly turn it around. I have a couple students that I work with as far as these graphics go and I've been training them.

It's been interesting for me to create some of these graphics and make them look as sharp as I'd like them to while also making them simple and easy to churn out for students that have necessarily not touched Photoshop for the first time. So trying to get a lot of the pre-prep work out of the way is definitely key.

Going to final graphic, the post-game graphic that I've been working on is volleyball. Here is the volleyball one that we'll be using next year. As you can see, again, there's a number of layers over here on the side that I tend to work with. Right here is the header folder. Once you close that, there's a first-set folder, second-set folder, third-set folder, fourth-set folder, and fifth-set folder. So say the match only goes to four sets. You hide the four-set folder -- or goes four sets, you hide the fifth-set folder, you're good to go. It goes three sets, you hide the third-set folder, you're good to go.

And say, how I plan on using this this year, the gold set mark is going to be Charleston Southern set wins and the blue mark is going to be the Charleston Southern set losses. So say we win the first set, I just hide the effects that I've put on the numbers, I hide the color overlay, and then right there you have Charleston Southern winning the first set and now you have them winning the second set, as well.

Changing the header, again, trying to make this as easily functional as I can. Switch, say we're not playing College of Charleston anymore; we're playing Coastal Carolina. Well, you show Coastal Carolina, you go change the shape color. So Coastal Carolina, of course, is teal. Change the shape color and then I want to change the gradient back behind the Coastal, as well, because they are not gold. I'll just drop a paint bucket in there and all of a sudden you have a different color.

So trying to make these as simple and as easy as possible has definitely been one of the things I've tried to do, and there's a lot of prep work that goes into a lot of the graphics that I do. But at the same time, once they are done, it's very easy. It's a matter of showing layers, showing different layers, making sure all the information is in there that I need it to be, and that's essentially what I've done with graphics.

Clarke, I think I'm going to go ahead and turn it back to you.

THE MODERATOR: We do have some questions for that you have come in from some of the attendees. There is some interest in what font that you're using and whether that's a choice that was made through your department's style guide or a choice that you made.

SETH MONTGOMERY: Most of the time when we look at fonts, we try to find something that's clean, uncluttered. Trying to find something that's not necessarily Comic Sans or Times New Roman or anything like that.

The font that I've been using mostly this spring is the go bold family. I believe I got it off dafont.com. It's a good website for people who are looking at trying different fonts for different graphics. Most of the fonts on there are free to download and use. But I tend to use a lot of the Gobold series.

There's also the Bebas Neue. Let me see if I can pull up and show -- if you look up here on the left, there's the Gobold series, there's a whole family where it's regular, italic; you can go high, you can go thin, you can go with hollow numbers. There's a lot that go with that. And again, the Bebas Neue family, which again, it's another round font, but it's something that's clean, crisp and something that we can use.

THE MODERATOR: Great. We've got a couple other questions before we move on.

Are there any copyright issue that is you're aware of with using Google Images?

SETH MONTGOMERY: None that I'm aware of. Most of the ones that I try to find are the ones that are free to use. And if I do find one that I really like, I will pay to use it. But most of the images that I find are free to use and it seems like it should be okay.

THE MODERATOR: How do you integrate circular graphics, as well as, could you go through a little bit about dropping textures and gradients into the boxes, as well.

SETH MONTGOMERY: Textures and gradients, sure.

Looking back, I guess keep it simple with the end game graphic that I have right now. As far as circular graphics go, is it using circles or --

THE MODERATOR: Yeah, the question was about using circular graphics. So I imagine they want to know how you incorporate or create a circular-oriented graphic.

SETH MONTGOMERY: Let me pull up, there was a basketball graphic that I actually did this year that incorporated circular graphics, as well.

Circular graphics, it's kind of the same as any other shape. When you want to use graphics, here's a circular graphic that I have. It depends what you want to use the graphic for. Most of the time, I find when I have a clean picture, I want the picture to be the focus of the graphic as much as possible. There's a lot of people that -- there's a lot of times where there's a really good picture but there are so many graphics thrown on the picture that it kind of gets overshadowed, kind of the other way around.

I'd like to go ahead and focus on the picture, put the information that I need to on there but not necessarily make it the focus. So here is an example of what I did with the circular graphics, and again, it's just a matter of clipping the picture to the circle, dropping the text over it and keeping it as clean as possible there.

Now, as far as going into the textures, I do a lot of stuff with hard lights, a lot of stuff with soft lights. So when it comes to the two textures that I used here, before I put the textures on, this is kind of what it would look like. You see how it's kind of gray and metallic and doesn't really look a whole lot, importing the graphics, importing the background. I have an entire folder on here that I used for different graphics.

But here is an example of a texture, so I'll just pull it in, pull it into the photo, more often than not is when I'm using this graphic, or using a background or texture, I put it into an object.

So putting it in, I just put it over the layer and clip it to the layer so that it drops in right there and then using either a soft light, you can see it a little bit -- well, you can see it right there. You still have the colors showing over the graphic, use a hard light. It makes the texture show a little bit, shine a little bit more through. It's a little bit darker. But that's typically how I tend to use the textures and the backgrounds.

THE MODERATOR: That sounds great. Seth will remain with us for the remainder of the webinar in case questions come up for him later on.

Right now, turn things over to Chris Sabato, who is joining us to discuss the creation and use of animated graphics.

CHRIS SABATO: So to start with, this is the graphic right here that I'm going to, basically I'm going to recreate it from scratch and kind of show you how I went through creating this. It's pretty simple. And one of the things for me when I'm creating a graphic is for the most part, it's the KISS method. It's Keep-It-Simple-Stupid.

You'll often hear, you know, a good designer knows what to keep out of a graphic, not what to put in it. So I'm just going to walk you through creating that graphic.

So you should see both of my screens, so if you see me drag and dump, it's over here from bridge. I use bridge to organize all my stuff. So I'm just going to drag stuff from bridge.

The first thing I'm going to start with is the background. So I'm just going to drag that in, and this is actually a PDF. When I was creating this graphic, kind of like the background the NCAA was using. This is actually I think from their style guide. I think the one when I actually was creating it came from the par pant manual for the Division III Cross-Country Championships. I don't remember for sure. But I liked it and I wanted -- since it was the Cross-Country Championships, I wanted to kind of stick with that theme.

So I'm just going to drag it in here, and I don't want this NCAA logo and I don't want this text. So there's kind of two things I can do. One, I can go ahead and just sample out the stuff that's in there.

So I'm going to -- because it's embedded, I'm going to right click on it and select restorize (ph). And so then I will sample that color, use my brush tool, and I can just get rid of that logo. And I can do the same thing down here and just get rid of it, and it actually gets a little more complicated when the text goes over that line. So what I'm going to do actually now is show how I would recreate this background.

So the first thing I'm going to do is drop in some guides. You could probably do these without guides, but it just takes a half a second to get them, and it will make snapping the object pretty easy. So first thing I'm going to do is select the right color. I want to create this dark blue triangle, so I'm going to come over to my pen tool, and I want to make sure up here that I have shape selected and then I'm basically going to click in each one of these corners, and each one of these intersections.

Now I have that shape. That shape is done. Piece of cake. The next thing I want to do is -- so there's this background layer right here, and so this right here and right here is one gradient, and so I'm just going to create a new layer underneath my dark blue triangle.

And I'm going to sample the gradients, the colors, the darker blue here, and then the lighter blue up here. And then I'm going to select my gradient tool and make sure I've got the dark blue to light blue. And then I'm just going to drag it.

And something, I can just keep dragging until I kind of get it how I want it to be. So that's pretty close. That's close enough.

The next thing I want to do is I want to create this little line, well, thick line, and so I'm going to sample that color and I'm going to come into my rectangle tool and I'm just going to draw a big rectangle.

So what I'm now going to do, I'm just going to transform this by hitting Control-T and then I'm going to rotate it so it's the right angle and I actually know from doing this over and over again that it's actually negative 20.9. So that's the right angle.

So then I can just re-size it to the correct size, make it match exactly. And because I'm recreating it, it actually doesn't matter. I can do whatever I want. Then we're going to apply that. And then the last one is this line right here, and I'm just going to come to my line tool and I'm going to make my weight nine pixels and I'm going to come here and get as close as I can. I know 20.9, you can see up in the corner, 20.9 is correct. That's actually the wrong color, so I'll just double-click and sample that again. Bring that down.

So now I hide my original -- and let's pull that on top so you can see it. That's pretty close. Close enough for what I'm doing. So I'm going to get rid of that. I'm going to grab all those, group them, move them to the bottom. Then I'm going to relabel that background.

Okay. So the next thing I want to do, is I want a logo up here in the corner. So I'm just going to drag one in and when I drag, I'm going to hold the control key down and what that's going to do is actually create a link image. So I'm going to rotate this. Again, I know that it's negative 20.9. I'm just going to fit that in there, just like that. Actually I'm holding Alt-down, not control.

Let's do that again. So I holed Alt-down and negative 20.9, and I'm holding the shift key down while I'm dragging this so it keeps it proportional. And now you can see right here, there's this little chainlink icon, and what that means is this is linked. So if I open up this document, this logo, and change it, it will automatically be changed in here.

The other thing it does is if you have a document that has a lot of links in it, it saves a little space on your file size by using linked instead of embedded. Okay. So I've got that.

The next thing I want to do is create the player. And basically what this is, this is essentially a starting lineup type graphic only for cross-country. So I'm going to drag this photo in, and I'm going to get her roughly where I want her, and I'm going to put her in this folder. You'll see these other folders there and I'll show you those. Those are the other ones that I've actually already done, but I'm going to show you how I create one and the other ones I crate the exact same way.

What I want to do is just mask her out. So I'm going to start with the quick selection tool. And because the background is pretty clean, this actually will get me pretty close to a cut-out. Highlight what I want, then I'm going to select the mass and being there you go. That's pretty close.

I will actually probably go in and clean up these edges by selecting my mask and my brush tool. Whatever I'm painting black is going to hide and then if I switch to white, it's going to bring it back in. So that's -- whatever I'm painting it's going to hide -- I'll clean that up. I probably spent a little more time on it when I was creating it.

And I want her name on there, so I'm going to start typing her name, Taylor Ostrander, and I want the effect of like a signature. So I'm going to go and change my fonts. What I'm actually going to do is use a font called Lakeside regular. This is a Creative Cloud font, so if you have a Creative Cloud subscription, what you can do is you come over here and click this little type-kit logo, and that will open a website, basically type-kit.

So then I can go through and find all these fonts and if I want a cursive fond; if I want a script font, I select that. And there's all my script font options. And if I want to use one, I can just click use font and click sink selected font and that's going to sync it. If I'm using Creative Cloud, it's going to sync up and be available in any of the Adobe -- or any program I use it's going to be available, so I got Lakeside from there.

So let's resize that, and again, that same angle, negative 20.9. Now I'm kind of a numbers guy, I know there's a lot of people who probably just do this by eye, but for me it's just way easier to know that all these slanted angles are all 20.9, so I can just enter 20.9 and know that I'm right.

So just fit it in there, make it look good, I'm going to make it the same -- I'm going to make it white, and then I think I want a little bit of transparency, so I'm going to adjust my opacity, probably about 40. So there we go. That's one athlete. And basically I'm going to do the same thing for all the other athletes. And these I've already done, they are already in there.

And now the last design thing I'm going to do is I just want an opening slide. I don't want to just scroll through all the photos, because we're going to animate this. And I want something to designate when I've started showing and when I've stopped. So I'm just going to create another, basically another slide, that I'm going to make dark blue and just drag another logo in here. That's probably good. Now I want to animate it.

Using Photoshop, there's a handful -- there's two ways you can animate. One is using a time line and one is basically using -- creating an image for each frame. So I'm going to start by going to window, and selecting timeline. And here I can create a frame animation or create a video timeline. Because in Photoshop, you can actually edit video, you can do all this just like you would in Premiere or i movie or any of those things. It would be exactly the same.

And when I actually did this for the first time, that's how I did it. But I'm going to show you how to do a frame animation because it's actually a little bit easier.

This is my first frame, and basically I'm going to create a frame for each thing I want to show. I'm going to show it for five seconds, each frame for five seconds -- well, half a second, rather. Then I'm going to add another one, and the second frame I'm just going to hide and show the layers I want visible.

To start with, I'll hide the top one and I'm going to show Taylor. And then I'll add another one, hide Taylor, show Olivia; hide Olivia, show Hannah, and so on and so forth down the line.

So there we go. Now all I have to do, I'm going to actually change once to forever. If I click play, there's my animated graphic. Pretty simple, pretty straightforward. Not too complicated. To save it out, we're just going to go file, export, save for web. Make sure our preset is a GIF, because it's an animated GIF, and this is one of the key things that I've actually forgotten a couple times and wondered what's going on.

We want to make sure looping options is set to forever and that's going to make sure it just keeps looping and looping over and over again, otherwise it will just loop through once and then just stop.

Then save it and there you go. That's pretty much it. Pretty simple way to create an animated graphic. Now I'm actually going to bring in another graphic.

So this is a graphic that we actually -- this is not something that I animate, but this is a graphic that we use similar to what Seth was talking about. This is the graphic that's easily updatable depending on what I want displayed.

So this is what we would use on like a game day graphic. This is also what we use actually on our digital displays throughout our building. And so real easily, with my just hiding and showing layers, I can change from softball -- I guess I've already said baseball. Baseball, today, tomorrow, whatever.

I do this every week. But real easily, I can make this an animated graphic, the same time length is actually already showing, goes through the same thing to create a time line. Add a new frame.

So let's start. We're going to go for the first frame, there's a baseball game on Saturday, it's a doubleheader. Next game, there's a softball game, and then add another frame. And so, okay, maybe now we want to go to the next day and it's back to baseball and now we're actually on Sunday. This is not a doubleheader. We'll add another frame. Let's go back to softball. And this is a doubleheader.

Basically we're just hiding and showing the things we want, and creating a new frame. So this is all set to five seconds. We don't want that. That will take forever. So I can high lit them all and change it back to half a second. Then I can play. And it's just going to go through, simple.

If you're creating graphics like Seth showed that are multi-purpose and you can hide and show layers to make changes, real easily, you can also use that to create an animated GIF.

So this is something I actually don't do. I don't create GIFs out of these. As I was coming up with this presentation, I was -- realized that I have this document that I use to create these individual graphics that very easily could be turned into an animated GIF and you guys could do the same thing if you are creating your graphics like this.

Actually one thing, if I stop this, odds are they are both probably not playing -- that actually is just another thing I could turn off and say Clark is actually playing Lynnfield and maybe the second day softball is playing Whitworth. So pretty easy. Make things, you know, make things simple on yourself. If you're looking at this layers panel, you can see that these are all linked images. They have got that little thing, so the actual document size is pretty small.

And I can add and update. Basically what I'll do, usually, is I'll add all our conference schools. They are all in there from the get-go and then as we play someone who is not a conference school, I'll just add them and you leave them in the mix. So the next time that we play, losing Clarke State or Corbin, that their logo is already in there and it's easy enough just to select it.

So it's for the most part as I'm creating these graphics, I get most of it done up front and then maybe add a team or two that we don't normally see into the mix as I'm going, and then those logos just stay in the document.

So the next time I added Corbin, because our baseball team played Corbin, but when -- in the fall, if our team plays Corbin which is not in our conference, that logo is already in there and I can just add it and use it.

So that's pretty much what I've got. If there are any questions, I could answer them.

THE MODERATOR: Certainly. Have you noticed any social media limitations with the animated graphics? Are there certain social media outlets where those graphics will not animate?

CHRIS SABATO: If you're using a GIF, an animated GIF, Twitter is your best bet. They work real well in Twitter.

Facebook, it's iffy. You actually have to post them somewhere else and then place a link to them. It's a little more complicated.

Typically if I'm making an animated GIF, it's for Twitter. But because Photoshop, it can export video, I could do the same thing, export a video and use that video on Instagram, because animated don't work on Instagram, video does. File, export and render video.

So I could export of same thing but instead of exporting it as a GIF, I could export it as a video and actually technically you could upload that video to Twitter, as well.

THE MODERATOR: Okay. One more question for you, Chris, and then we've got a couple of questions for Seth.

Your opinion on using these active graphics versus static ones. Do you favor one approach over the other, or is it more of a hybrid-type of approach.

CHRIS SABATO: For me, it's if the situation warrants. I'm the only one in our department creating graphics and posting graphics, so I'm not going to do animated graphics or every event and everything we have going. We sent the women's cross-country to nationals. That was a big deal, so they are going to get an animated graphic. Our swim team came back from the conference meet and broke like six or seven school records, okay. They got an animated graphic.

But we are playing, you know, Joe-Conference-School in softball that we play every year and that every sport in our department plays; I'm not going to make an animated graphic just for them. I just don't have the bandwidth to do that.

So for me personally, it's about what the event is, what am I putting out there. Is it important; is it special; is it something more than the average? Then, yeah, I'm maybe going to give them a little bit more. Otherwise, for me it's mostly -- most of what we put out is static graphics.

THE MODERATOR: Okay. A couple of quick questions for Seth.

Seth, during your presentation, how do you link the logo and background information into the predesigned shapes within our graphic, and how do you get those shapes to stay within those constraints?

SETH MONTGOMERY: One of the biggest things that I end up doing with that, using a clipping mask is definitely your best friend after you've drawn the shape.

What I tend to do is drop the layers that I want to put within that shape on top of the shape layer, and looking at my computer screen right now, what I've got up, I've got the two different gradients that I put on top of the layer and the CSU logos. You can highlight all of them. Once you right-click on it, more often than not, one of the options that will come up on the side will be create clipping mask. It's below a disabled layer mask and disabled vector mask.

If you don't have anything that is using the mask at the moment, it will be the only option that's selected. You hit create clipping mask and it will end up constraining everything to that shape.

CHRIS SABATO: They actually are not seeing your screen. They are seeing mine. Similarly, how I usually handle that -- and here is the thing with Photoshop is that there's some wrong ways to do things but there's no right way to do things. There's usually four or five different ways that you can accomplish the same task.

For me what I usually do, I usually apply a mask to a folder so anything I put in that folder is constrained to that mask. So you can see right here, I have this folder with this mask, and I've dumped all these images into the folder and so they are in there. As you can see, I want to uncheck that link box, so basically that means that if I move something, that this mask stays in place.

So anything I have in this folder is basically constrained to that mask, and you can see it's all back there. And I found that for me, any ways, when I'm creating these types of graphics, that it's a little faster for me to just drag a new photo into that folder and then everything is applied to it.

But you can also do what Seth was talking about, too. It's a different way to accomplish the same thing.

THE MODERATOR: Okay. Another question for Seth. How often do you change up your templates and is that something that you set in during the off-season?

SETH MONTGOMERY: Templates, honestly it all depends on some of the feedback that we get. I listen to a couple of coaches about things that they like, things they don't like. I tend to look and see what we get reactions from on Twitter, Facebook, Instagram, what draws more people's attention.

So I tend to -- I'll set up most of my graphics, like I've got most of the fall graphics, like I was showing soccer and volleyball and I've been working on football lately. I get most of those done during the time that I have during the spring. I'll set up the winter stuff during the summer, and the following spring stuff done in the fall.

As far as it goes, once the season starts, I'm committed to that template for the entire season, just because we want to provide a consistent image, and when people see the layout, they know which sport that is. They know who it's going towards, and they know who they are following at that time.

So having a -- once you get into the season, I'm very hesitant to change templates on anything just because you don't want to confuse the people that you're trying to reach out to, which are your fans, your players, anyone like that, or even recruits. You want to just make sure there's a consistent image and everyone knows what they are getting every time they see it.

THE MODERATOR: Chris, how do you determine the speed of the graphic animation, and how do you -- we have seen the animated graphics with the flashes or the motion within them. Do you have any advice on how to create those elements?

CHRIS SABATO: So to me, determining the duration is just looking at it. You watch it, and if -- let's do this. Let's change that to point 2. So if we are watching this graphic, that's going too fast. I can't read it and I don't know what I'm looking at. This is one that I think off the bat I had at five seconds. That's just too slow. I'm never going to get to the next -- the person watching is never going to get to the second slide.

So it's basically watching it, and you want it to, for me, I want it to go as fast as it can and I'm still able to consume the content on each slide.

As far as -- I talked about this that I was going to do this and I never actually showed it. So if we come down here and click on this little button right there, what this is going to bring up is it's going to convert frame animation to a time line.

So you can actually do in Photoshop just like you would in Premiere, or any of those other things, you've got all your settings and whatnot. So you can do some more complicated animations.

If you want to do bursts and things like that, your best bet is actually probably using After Effects, which is probably a little behind, or a little beyond today's tutorial, and After Effects is complicated, and it's hard to kind of grasp at first.

So if that's the kind of thing that you want to dive into, there are several options online to help with that, but it's worth it and it's neat and it's cool, but a lot of that also depends on what size shop you've got.

I talked about swimming and how I did a graphic for them, and I probably won't be able to pull it up in time, I don't remember where I saved it. I did their graphic in After Effects and it was cool and it was awesome and it took me about three hours to create.

That was fine for, you know, one awesome event, but that's not something that I'm going to spend a lot of time on -- which is why these graphics are simple. They are easy ways that you can create motion graphics but not have all the time consumption.

THE MODERATOR: Thank you very much, Chris.

We'd like to thank both of our presenters today for offering their time and expertise to help the membership. We continue to appreciate Capital One's sponsorship of this year's Continuing Education Series.

FastScripts Transcript by ASAP Sports

ASAP sports

tech 129
About ASAP SportsFastScripts ArchiveRecent InterviewsCaptioningUpcoming EventsContact Us
FastScripts | Events Covered | Our Clients | Other Services | ASAP in the News | Site Map | Job Opportunities | Links
ASAP Sports, Inc. | T: 1.212 385 0297