[Ryan Hill]

Draw some grey-scale gradient lines, wiggle their location, apply noise or grain, apply levels to up the contrast. Possibly apply a scatter filter in a lower-resolution composition, then scale it up and blur.

Then play with some edge filters and channel offset to make it seem a little more analog.

[Ryan Hill]

Try de-saturate, posterize, followed by colorama. Of course, the very first thing you should do is key out the background. You could also use something like “Leave Color” and “Color Replace” if you want some more complicated results.

[Ryan Hill]

There’s a lot of things going on in that video. Could you narrow it down a little?

[Ryan Hill]

AE isn’t designed for 3D primarily.

You can multiple layers to move together with “parenting.”

The blur could be achieved by animating keyframes on a blur effect filter. (you have a few to choose from.) Or you could create a camera with very shallow depth of field and move your text through it.

[Ryan Hill]

I guess this?

https://youtube.com/watch?v=vdPWrAMXGGo

I can’t say for sure. They probably computer animated it, but I’d also try to physically shoot something. Like, make a stencil of the title, paint it with ink on a plastic sheet, and then hit it with compressed air? Of course, then you’d super-impose that version of the title onto a purer original version, (because you won’t be able to get clean edges with wet ink on plastic) and erase the original version bit by bit to transfer it to the ink splatter version.

But yeah, I’m speculating. I haven’t actually tried that.

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[Ryan Hill]

Applying Grow Bounds before the cylinder will make it sort of unfurl, though it will never be completely flat.

I haven’t done the math, but to make it look like it’s unfurling at a constant speed, I think you’ll need exponential growth on the Grow Bounds.

[Ryan Hill]

Yes, I forgot to be careful posting a < sign, the line was supposed to go:
for (counter=1;counter<samples;counter++)

Whether the shape of your weight was bell-shaped or whatever wasn’t what bothered me. I was more concerned with symmetry, in terms of increases in volume versus decreases. I feel this should favour fast increases and slow decreases. Does that makes sense? Maybe it’s just my preference.

[Ryan Hill]

Yes, I forgot to be careful posting a < sign, the line was supposed to go:
for (counter=1;counter<samples;counter++)

Whether the shape of your weight was bell-shaped or whatever wasn’t what bothered me. I was more concerned with symmetry, in terms of increases in volume versus decreases. I feel this should favour fast increases and slow decreases. Does that makes sense? Maybe it’s just my preference.

[Ryan Hill]

That’s the thing where they have flames all around them, right?

I guess draw yourself the basic shape of what you want. Spiky on the outside, fuzzy on the inside. Do this in photoshop and import it, or create a solid layer and put two masks on it. The outer mask is an Add mask, the inner mask is Subtract, and should have a very high feather value, like 50 at least. Pre-comp the layer and apply a Turbulent displace. Animate the Evolution property of the displace.

Make another layer; Apply the fractal noise effect and colorama or tint to make it the colour you want your flames. Put the layer in add or lighten mode. Animate the “offset turbulence” property of the fractal noise so that it’s moving up.

Use your first layer as a track matte for the second layer.

[Ryan Hill]

Animate the position and scale properties. Also try directional blur.

In the past, I’ve tried to emulate that look with random or wiggled expressions, but it’s never been worth it.