MK12 common video

[Mylenium]

Now everybody calm down and let’s try this again… The type of effect you are seeing can be acieved by using one of Pete Warden’s plugins (which – lucky for you – are free). Another way to go about this is is to scale a layer, but leave it at draft quality which will AE make simply double the pixels instead of interpolating them. Yeat another technique involves the Minimax effect or as an alternative Obvious FX’ Erodilation. The only real work is to:

a) find usable edges
b) make your edge layers 3D and align them
c) animate the stretching

To wanggoo:

I understand your points, but you should be glad you haven’t seen some of those extremely cheap and cheesy music videos made here in Germany. I guess you’d prefer to wear very strong sunglasses while viewing them ;o)

To linkoping skrills:

You should try to phrase your posts more precisely. There is a million looks and techniques and with that vague descriptions you often provide, you are misleading people.

On a personal note I would advise you to focus more on learning techniques rather than copying work of others. Many of your questions could be avoided if you had more in-depth knowledge of AE (and other tools) instead of trying to be a copycat. If you will take what little advise I can give you: Try to be original and put your own ideas and abilities to work.

Mylenium

[Pour Myl

[Majorasshole]

Sometimes Labels or Producers want to you match style with whatevers trendy. Right now motion graphics are the latest trend. Most labels just chase trends until the next one comes by. For every original video or even tv ad 100 clones will follow.

[Phil Johnston]

I see where you’re coming from Alex.
I think what you’re seeing is just the progression (not necessarily the current style) of modern moving images. Traditionally I think ‘graphics’ in video and film were meant to compliment and otherwise be ‘laid overtop’ of an edit job – different story now.

Again I understand your point – but I’d argue that an interesting flow is created with those graphics that makes the space those characters inhabit more loose and organic. Don’t think the same effect could be created with fades, cuts, etc. Anyhow, take it with a grain of salt – I’m an animator 🙂

Phil Johnston
Digital Animator
_________________
https://www.pwandj.com

[Jonas Espinoza]

i know about pete’s, that why i posted it. the trick is in controlling it.

to me the whole trick with design is integration with content, ie, having graphical and content elements that are motivated logically and move the concept forward. if when using styles that are prevalent the execution is weak, then one could be called a copycat. I would like to think in my case, I am always trying to add to my toolkit, to work into concepts, not blatantly rip, and the only way sometimes to reference techniques on the cow is through links and references- which maybe makes it seem like i want to make common ” GO” II or beat the current popular styles to death. im sick of that also

I know there are bunch of garbage designers that do rely heavily on stolen styles, but in all cases I am trying to pick up a trick here and there that might be handy within my own concept. you can say what you want about my originality or AE skills, but you dont know me- just like i dont know justin, and it wasnt right for me to bash him when he was totally right. mylenium, you might have the solid software and scripting skills, but i thought you were better than jumping into the bullshit i started. you’ve always been super cool.

and so far no one has said anything i didnt already know on this particular reference. obviously masks and pete’s- but look closely. this video reference is better that most people here will EVER do. cheers

[Mylenium]

[linkoping skrills] “mylenium, you might have the solid software and scripting skills, but i thought you were better than jumping into the bullshit i started. you’ve always been super cool.”

No, please, I didn’t intend to come across as offensive, smart-assed or insulting. It just feels like you are a bit hotheaded at times and are not easily satisfied with what answers we can provide you. It’s all just reverse-engineering on our part as well, trying to provide the best solution with the tools we know – in this case AE – but that may not have been involved at all in the creation of those effects. The simple truth of the matter is that the only – perfect – answer can come from the artist who actually did it.

Mylenium

[Pour Myl

[Jonas Espinoza]

thanks man, it’s cool. I guess I am the current jackass. i made something as a graphical connection in iluistrator and am way past it. i think for mk12, the answer lies in sweaterporn. you see on example of this look where its actually almost like a side edge of a 3D form. of course i’m hotheaded. have you watched the news lately?.. 🙂

[Vinnie]

Spot on Mylenium…spot on.

I love your position on Copycats. While I believe we all inspire each other in this global community of art…I do believe simply coping effects because you saw something and liked it but lack the creativity to change it to make it your own is unacceptable. Also looking outside your medium for inspiriation is key and enlightening.

No more ranting.

Wouldnt you do the effect with precomps and masks instead of adjustment layers??

-Vinnie

[Chris Smith]

I think a philisophical discussion of originality is best discussed over coffee at 2am. Picasso didn’t jump into his cubist work right away. He copied other classic styles to learn where he currently is and how others are using the tool. Then only later did he copy African art. Just like programming. Most programmers use libraries that build on other’s work rather than worry about the originality of coding everything from scratch. Standing on the shoulders of giants. I don’t think copying this video is copying the next or current cool thing because the smear effect was overused almost 3 years ago. So I assume he was learning this technique to apply to something else. Since there are many techniques in this art that overlap.

I asked in another forum how someone did something I like and his answer was “I’d rather dsicuss the ‘whys’ and not the ‘hows'”. Which is a noble sounding way of covering his tricks. But at the end of the day one needs to know the ‘hows’ to create his own ‘whys’…if he choses to.

And many I imagine on this forum are hobbyists and are happy copying other’s tricks none-the-less the way my dad loves playing Beatles songs on the guitar and could care less about writing original songs. Can’t fault him for it. It’s just something entartaining to do instead of watching the tube.

my .02

Chris Smith
https://www.sugarfilmproduction.com

[Steve Roberts]

Way back in 1990, I did a photo-composite using cutouts and acetate to give an interesting look. It won a national award, actually. Nobody asked me why I made certain choices — they all asked me how it was done.

One discussion would have led to an interesting exchange, while the other …

my 2 cents … 🙂

[Jonas Espinoza]

the why is interesting, the how is sometimes almost better as a mystery, especially if its your own invention.

the fun for a community like this is to collectively figure out some of these tricks, in doing so, expanding our knowledge of our tools. nothing like reading a good book, taking a walk, being inspired by other medium and looking at the art side of what we do. I would say that the cow is a lot to do with craft, since in many cases so few people in our own spheres know much at all about the specifics of making the work that we make.

sorry i got all emo earlier. i think mylenium was a little harsh about me, but hey this is an anonymous thing and I probably do go a little overboard on it. the cow has been a good thing

let’s call this little thread done. i feel bad for starting it off on a chippy tone. you all have a good day and get some sun