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Sean May

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  1. Sean May

    The Chambers

    Thanks for the response, Dave. Now that I've watched it a couple times, it does seem to run a bit long, and the DoF and blur does sound like a great idea. Thanks for the advice.
  2. Sean May

    The Chambers

    Here's something I've been working on for a bit, and I'd love to hear some feedback, positive or negative is more than welcome. Thanks a lot in advance, everyone.
  3. Hmm...I think I know what you want to do here, but I think it could be done easier by just adjusting the Dynamics timescale if you want your objects to move slower, like they would at a higher framerate. Then again, I'm sort of new at this stuff so I could be completely wrong
  4. I don't think anyone did it because you did what anyone should do with tutorials, you used the techniques you learned from the tutorials and made something that's entirely your creation. I can definitely see the GSG inspiration, but I wouldn't even begin to call it derivative or imitative. The reel itself is spectacular, and I love the way you make everything look slightly lived-in, and how you're able to make stuff that is at the same time clean and intricate. This is just a great reel... ...except for the music (sorry to harp on it ). Even if you love the music in the reel, it doesn't mesh well with the visuals. I don't think you need to drop a Justice track on it or anything (AE 5.5 easter egg: if you name a file "Demo Reel" in After Effects, it automatically drops a random Justice song in there by default), but something a little more chilled and ambient would probably work well and let your visuals really shine.
  5. Whether this is really useful or not to me really depends on the render times, and how quickly this plugin can really work. It seems to me that it would be easier, not to mention more realistic looking, to make something similar in Cinema 4D, which handles physics calculations pretty quickly and can produce really great results with just a little know-how. I guess this would be good for people who don't want to take the plunge into a full 3d suite, but for people already schooled in mograph, it seems like there's better ways to produce better results
  6. Sean May

    My First Reel

    Very nice stuff for the most part, Keaton, especially for a first reel. If you don't mind some constructive criticism (and if you do, just stop reading at this point), what's going on with the "900bats.com" ident toward the middle? The first time I saw it, it looked like it was rendered out at an incredibly low resolution, but now that I've reviewed it a couple of times, it looks like you might be going for a lo-fi, Super Nintendo kind of look (I'm only guessing this from the blockiness and the stripped down color palette), but I think either way it's a bit distracting, especially when it's bookended by the nice looking, clean Comedy Central bumper and then followed with the really amazing western piece. If you are going for a lo-fi look on it, I'd maybe present a little more of the animation, or just make it obvious in some way that it looks lo-fi by choice instead of a rendering mistake. Still, like I said, great work, and as a fellow mograph novice, I really admire how good the work looks, even in your early stages of working in the field.
  7. I've noticed a lot of games lately using mograph-ish stuff in their UI design. LA Noire's main menu comes to mind right now, but many other developers have seemed to take the time to create attractive, interesting menu systems and UIs that are more than a bunch of text and picture superimposed over everything.
  8. Both vids have been pulled at this point, but I will say that Arcade Fire are really amazing live. I saw them about a month ago in a pretty small venue (well, small compared to Coachella) along with The National, and I think it's safe to say it will be one of the best concerts I'll ever see.
  9. I really think this is a matter of throwing the baby out with the bathwater. Yes, there are tons of people out there working on crappy, boring videos that they shoot with a DSLR that they then treat in After Effects, copying some Video Copilot tutorial they watched once (no insult to VC, though, their tutorials are great to learn new techniques). But these people probably would have been making crappy videos and copying tutorials no matter what kind of gear they had. It just happens that they had a couple thousand bucks and a lot of free time on their hands. What really excites me about DSLR stuff is that, for the people who are truly talented and want to make something amazing, but don't have the kind of cash to buy a full 35mm set-up, a DSLR rig and some countless hours of mining the wealth of stuff AE lets you do to a video will let them make something mind-blowing that might not have been possible a few years ago, at least not at the quality that a DSLR affords. People are going to overuse new, hot techniques until the end of time. A lot of people are either lazy and don't want to try to fine tune filters and effects on their own, or they're just plain untalented and all they can do is copy the work of someone who actually has fresh, interesting ideas. But this kind of thing happens in every creative art, not just MoGraph
  10. Sean May


    I think this is really the best case for a moniker. It sort of puts a distance between yourself and the work, and some clients could potentially want to deal with a moniker (which could be one person, could be a half dozen, who knows) rather than just a single entity. It also lets you maybe dodge, or at least remove yourself psychologically, from some of the harsher criticism that may come your way. Then again, it also sort of forces you to not fully receive all the praise you may be due if people are congratulating your moniker, not you
  11. Use MoText, go into "Caps", choose Start Cap, then Fillet Cap. Boom, beveled edges on your text
  12. I think community is absolutely vital, especially in art and especially in the incredibly complex and expansive world of 3D graphics. I'm just getting started in the industry, and if it weren't for people like GSG and the dozens of other artists who have made tutorials, given scenes, plugins, textures, etc, away, I would probably still be staring at the viewport in C4D wondering how to make a cube (well, OK, maybe not that extreme, but you get the point). When I'm done with the tutorials, though, and when I've run through all the presets in the plugins, I entirely understand that I can't just take those results and slap them on a showreel. Doing something like that might endear you to some clients that don't know any better, but when it really comes down to it, using materials, ideas and tutorials from the (exceptionally good with sharing) C4D community allows me to produce some really awesome stuff by teaching me principles, by teaching me how the gears are working under the hood so I can go in and tweak them, or even change them completely. So, all this suspicion and fear about giving stuff away and pulling back the curtains, I think, is a little unfounded...and even if some artists aren't OK with giving away their work or showing how it's done, that's OK for them to make that choice, but I don't think anyone should be criticizing anybody for creating cool stuff that they want to share with the public and make completely free...because, just like the artists who feel that they need to keep their work under lock and key, the guys who are giving away "secrets" are making a choice to do that. And again, if I didn't have the resources and techniques that have been so generously provided to me from throughout the community, I would have nothing right now. So, thank you to everyone who has contributed.
  13. In '81, though, that reel could have been three hours long and probably would have blown people's minds the whole way through
  14. This would be pretty easy to improve on in just AE, without even going into a 3D program...if this is the caliber of work your client is asking for, it should be pretty easy to blow them away completely with just a little effort
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