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About mshadis

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    MoGraph Regular
  • Birthday 01/07/1976

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  • Location
    Los Angeles
  1. Animate a single ring emanating the way you want it, then drop this animated ring in a cloner. Then use the step effector and offset time and you should be good to go.
  2. You might not be so off with trying to use Particular. Harry Frank has a nice tutorial that more or less gives you the organic flowing look of form with the precision and control of particular. It might help you: http://www.graymachine.com/2012/03/red-giant-tv-live-episode-10-let-it-flow/
  3. Can you use a random effector directly on the particles? I can do it via a Matrix object but I didn't know you could directly effect TP with effectors.
  4. Ok - figured it out. In order to be able to use the X Particles with Mograph Effectors, X Particles has to be generating geometry. So you need to use the Generator object. Further, in order to use Mograph Effectors you need to use them as deformers nested in a null, it seems that the mode makes little difference but maybe there is some. Regular deformers work great this way too. This is awesome! Thanks stoiqa!
  5. Tried out the lite version for a bit and checked some videos, X Particle looks interesting and it's pretty cheap. Turbulence is the same a TP though, in the XP manual it says that it can use mograph 'modifiers'. Not exactly sure what the means, does it mean effectors? If so that would killer, how does that work though? I can't figure it and the manual doesn't say. Only played with it for a bit, I'll keep trying.
  6. So I've got a project that is using a lot of TP, I've never used them this extensively before so I'm learning as I go. Basically I need to get the same kind of turbulence that you can get in Particular or when using the Random Effector in Mograph. In TP it seems that the only way to generate Turbulence is to use the Wind node, which while it does makes things turbulent has a tendency to spread particles out rather than keeping them more or less together (even with wind shut off entirely). The other half to this issue is that I need to wrangle the particles along a path while their position is affected by turbulence. Further when I use the Follow Spline preset it basically shuts out the wind effects entirely. In a perfect world I would make a cylinder without caps that the particles flow through. The cylinder is bent into the shape I need and its points are undulating from a Random Effector's noise. The particles that flow through it follow the shape of the cylinder and roil and undulate along with it. Doesn't have to be executed this way at all but that's the basic idea. Thanks for any thoughts!
  7. Fair enough, that said I've already gotten more work from the new reel so it is doing it's job! I might entertain cutting two different reels, one for the background material and one for more traditional motion graphics stuff. It's tough to get nice quality footage of the actual events though, they happen so long after I compete the work and are often far away and long after I have anything to do with it. I happened to fall into a bunch of that work this year which I was super pleased to do, good pay and got to work at my home studio for a good long time. I was stuck in a rut for a long while doing mograph work in a super small shop where my work was way on the periphery, now I'm exploring a variety of different jobs and really expanding my knowledge base and skill set in a huge way. Hopefully this trend will continue.
  8. You want either the Color shader or the Multishader, depending upon your application. Essentially you will use a random effector to color your clones a random shade of gray, and then you will use eiher of those shaders in the clones assigned texture to add the actual shading. The help has some good resources for these two. This tutorial should help: http://www.thepixellab.net/c4d-random-colors-with-mograph-color-shader
  9. Just finished my new reel with work I've done since November, 2011. Basically my first year freelancing full time in LA. Been a great year so far! Hopefully my reel reflects some of that. Thanks for checking it out and I would love to hear any comments. I feel good about where my work is at but know that there is a lot of room for improvement, if I'm doing it right there always will be! Best. http://www.matthewshadis.com/2012-Reel
  10. I'm thinking it was RAM related, as I also started to get 'after effects error: RAM preview needs 2 or more frames' when I went to preview. I restarted my machine and it seems cool now. At the time C4D, AI, PS, QT, etc. were all open so maybe that makes sense, 16Gb ain't what it used to be! But to your point Mylenium now that you say that I had a similar problem awhile back and it was from a wonky plugin. Thanks!
  11. Using AE CS6 (v11.0.1.12) and with some comps it seems that AE is constantly 'Retrieving Frames' according to the info panel. That is, every time I move my mouse over the comp or the timeline it starts retrieving frames, which is super irritating. The comp is rendered just fine and looks great, but it keeps hitting these annoying slowdowns. I've tried (without success) switching off Live Update and toying with the Fast Previews mode, the only one that eliminates the behavior is wire frame, which isn't helpful. I've also switched caching off and on to change and changed the bit depth of my comp, which also makes no difference. Anyone else seen this or have an idea what's going on? Thanks.
  12. Man how cool is that guy? Used to love watching his show when I was a kid! He is still at it, http://www.draw3d.com/ is his site.
  13. Nice work - is any of that procedural? Some of it looks synced to the music, seems like that would be tough to do in a live DJ performance. What kind of time did you have to put all that together?
  14. I think Binky hit the nail on the head with the extensive Q&A session with a client. In a perfect senario I get to spend a bunch of time working just in email and in conversation with clients before anything gets made, that way I have the best understanding possible about a given project. That said though as a freelancer I'm typically called in during a crunch time and have to produce quickly, which is part of the art too. I wish there were a way to know fully that you have all the details, but I think that giving your best effort into learning as much about a project before doing any design work is always the best option. Ask a lot of questions of your client, push them to think about their project. Then synthesize your new understanding with research you do on your own. Inevitably you'll end up with some new questions after doing some solo research. Go back to the client with the new questions. Be clear in your communications, not only for your client but for yourself. Keep it simple but aim for precision and focus on the details. Once you have all of that sorted out the actual design process should be fairly straightforward as both you and the client will have a clear understanding of the project and will be on the same page regarding its execution. But that's all perfect world stuff too. It happens sometimes but a lot of the time it's a few short emails and a ten minute conversation, it's Wednesday morning and they need something for a pitch on Friday.....! So be flexible too!
  15. So I'm not sure exactly what the issue is. Is it that you have a hard time executing ideas? Meaning to me that your issue is primarily technical, or is it that you have a hard time finding the right inspiration for a given piece? I'm willing to bet that everyone here has either or both issues on a regular basis. Both are frustrating but the technical end of things is ultimately easier as it's really just a matter of solving a maze, you already know where you are going so it's just a matter of getting there. This site and a variety of others are fantastic resources. For the inspiration side of things it is more difficult. I put a lot of stock into my ability to realize a clients vision and when I fall flat in that regard it is a major blow to my ego and I hate letting down clients, but it happens. It's tough to hit home runs every time you are up to bat, we all strike out sometimes. That said, a big part of this is inspiration. The best thing to do is to look for inspiration away from your machine and studio. Which is easier said that done sometimes but it really is true. There was a nice video of a motion designer I saw a few months ago, I can't seem to find it right now but maybe somebody else remembers it. The designer drew a lot of his inspiration from his incredible flower garden. It was a nice little piece on a consistant and focused way to seek inspiration outside of the four walls of your studio. Best.
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