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If you could only afford one Plugin…
If you could only afford one Plugin…what would it be?
From what I’ve seen from Trapcode I’m kind of leaning in that direction.Any thoughts?
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10 Replies
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I agree, the Trapcode plugs are a must have !
Also the Genarts Sapphire package is a killer plug suite.
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I agree, the Trapcode plugs are a must have !
Also the Genarts Sapphire package is a killer plug suite.
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An interesting question. What do you mean by “afford”?
Useful Assistants: $195
Re:vision Twixtor: $329.99
Trapcode Shine: $99
Trapcode Particular: $299
Zaxwerks Invigorator: $499What happens if you follow someone’s advice, and get Particular (for example), then no particle jobs come up but a lot of light-ray (Shine) jobs come up, but you’ve already spent your money? My point is, only you know what kind of effects you need to create for specific jobs, and if you can afford only one plugin, why buy one that you don’t need yet?
Work with AE some more, using its many bundled effects if you like, then determine what you need, and buy whatever gets you there.
And don’t let your creativity be plugin-driven. Aim higher.
My opinion,
Steve -
I checked out their site. Very nice. It seems pricewise that you get a fairly
comprehensive array of plugins (Particular, Shine, etc…) for the money spent, say if you get the Trapcode Suite. Do you agree? -
Good advice. Sorry to pose such an broad question. As you say: What do you mean by “afford”? True. To put it another way, what would be considered as the most bang for the buck if one was to spend no more than around $700-$800 US.
Presently I have no jobs on the go. My thoughts were that I could put together a demo with something like the Trapcode Suite to drum up some work. I agree with the philosophy that the money spent may have been better spent elsewhere (food, rent,…:-)) but thought I’d take the risk. Perhaps a more cautious approach is advisable.
For sure, buying software/hardware can’t assure creative success.
Thanks for the input.
The other Steve
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Go to tween and look at the work by the designers, and try to pick out the work that didn’t use a plugin.
If you really want good work, build a piece with seamless transitions from scene to scene. That always wows ’em, and rarely needs a plugin.
I’m just trying to keep you from going down the dark path of The Reel That Looks Like a Plugin Demo. 🙂
Once again, it’s my opinion …
The OtherOtherSteve -
I so agree with Steve.
I’d take it a bit further if that money is totally burning a hole in your pocket. Spend the money on training products, and use this “downtime” when you haven’t got much in current production to use them.
Plugins are great, they all have their place. But, getting ot know AE from the inside out will be MUCH more valuable over the long haul. There are so many ways of doing things in AE without plugs, that if you can eventually afford to buy a plug, you’ll be able to take it’s use to the next level and create something no one had thought to create before with that software. That way you can use the plugin and still stand out from the crowd.
Also, by getting a great grasp on AE by itself, you’ll be better informed as to what plugins will give YOU the best return on investment.
Just a thought.
Of course, then there’s the time last year I was working on a national commercial, where I used a Trapcode Particular preset, right out of the box as a placeholder for an effect, and the client thought it was the coolest thing ever. I admit it, it broadcast that way all over the country and I laughed all the way to the bank…
Jon
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A well executed multilayer comp is much more likely to impress people in the business and doesn’t necessarily require any 3rd party plugins. 5 seconds of excellent roto will get you way more interest from companies than keyframing some rays emanating from behind a word. IMHO
Pete -
Thanks for the link Steve. Some wicked awesome work there! I see what you mean about the worth of good solid creative work with a plugin possibly used to supplement a piece of work. Looking at some jaw-dropping work, that as far as I can tell, hasn’t employed a Plugin gives me some serious motivation to think about what I want to accomplish in a piece and how I might enable it with AE.
I guess it’s kind of like looking for a magic pill to keep fit, instead of a little good ol’ fashion work.
Good point Jonathan about “getting ot know AE from the inside out”. I think I’ll have a gander at the offerings for AE training.
Great anecdote BTW!I see what you mean Pete, about executing solid roto work. I’ve done a fair of that myself. I think if I put my roto work on show I won’t mention that I went through a box of Kleenex (Wah) and a bottle of Jack Daniels :-). I get what you’re saying in that regard. After doing some work with masks whose form was dictated exactly by the movement of one object over another layer that would totally give away sloppy mask-making, I remarked to a friend how in comparison making a freakin’ flying logo would be a joy to create.
Thanks again guys for putting things in the proper perspective.
Steve2
“I’m not afraid of dying. I just don’t want to be there when it happens.” Woody Allen
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You can achieve almost all of the effects from plug ins from standard after effects effects. Minus particular and the invigorator. All you really need to do is push the envelope…what about when shine didn’t exist? Light rays still did — I think it is very important to learn the core effects in ae before you go out and buy plug ins. The manual doesn’t do a super good job of explaining how the effects can be used together…which is important.
But to plug-in masturbate… tinderboxset/zaxwerksglint/glow/invig/trapcode is a powerful combination — and carries a powerful pricetag also.
Nicholas Toth
Freelance Animator
nicholastoth.com
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