Creative COW SIGN IN :: SPONSORS :: ADVERTISING :: ABOUT US :: CONTACT US :: FAQ
Creative COW's LinkedIn GroupCreative COW's Facebook PageCreative COW on TwitterCreative COW's Google+ PageCreative COW on YouTube
LIBRARY:TutorialsVideo TutorialsReviewsInterviewsEditorialsFeaturesBusinessAuthorsRSS Feed

Prisoner To My Passion

COW Library : Adobe After Effects : Rob Mize : Prisoner To My Passion
Share on Facebook
CreativeCOW presents Prisoner To My Passion -- Adobe After Effects Editorial



©2013 CreativeCOW.net. All rights reserved.


"I don't know if it's addiction or adoration, but one way or the other, I'm hooked on her," says Creative COW's Rob Mize. "The signs are all there: the obsession with After Effects, the inability to function without After Effects there next to me on my laptop, waiting to be clicked. And the torment of each moment spent suffering any separation from my cherished compositor. Is it any wonder that I, a once innocent naïf in an analog world, now find myself enraptured by this non-linear, digital Delilah?"




My name is Rob Mize and I am After Effects dependent.

I don't know if it's addiction or adoration, but one way or the other, I'm hooked on her. The signs are all there: the obsession with After Effects, the inability to function without After Effects there next to me on my laptop, waiting to be clicked. And the torment of each moment spent suffering any separation from my cherished compositor. Is it any wonder that I, a once innocent naïf in an analog world, now find myself enraptured by this non-linear, digital Delilah?

My story begins some 30-plus years ago, as a part-time production technician at WMC-TV in Memphis, Tennessee. It was a great time to be at a great station. We produced a lot of local programming: Newscasts, remote special events, public affairs shows, a kids' magic show, even live studio wrestling.





Please click on individual images above for tutorials.

Dad & Lad
Consequently, my production experience was an eclectic, hands-on, linear/analog experience. Eventually I became Production Manager and transitioned our station to digital production, but, as a manager, I missed the work of a producer/director/editor that had first drawn me to television. So, after 20 years in broadcast TV, I left to become a freelance producer, and in so doing, entered the realm of compositing and motion graphics... a virtual universe composed of layers and running on key frames... a place of infinite possibilities all there within the After Effects Comp Viewer Panel.

However, realizing these possibilities was no easy task. For although she is tempting and seductive, After Effects can play very hard to get.

I was somewhat discouraged by my early encounters with After Effects... clicking clumsily toward frustration. And then I discovered CreativeCOW.net where I studied the great works of the Masters: Rabinowitz, Harrington, Park, Maltaannon, Stern and Kramer. It was during this virtual "self-apprenticeship," that I began to consider After Effects in terms of the actual Space Time Continuum in which we exist. This was the epiphany that helped me grasp the purpose and practice of using key frames to animate layers in XYZ Space along a Timeline.

My understanding of this universe began to grow, and so did my ambition. And thus it came to pass that, blinded by my own artistic aspirations, I was enraptured by the irresistible allure of After Effects.

I became hopelessly dependent on AE, using her to entice and acquire potential clients. I targeted non-profit organizations, as their projects were frequently under-valued and attracted fewer competitors for what was incorrectly presumed to be inferior or low budget work. These clients appreciated even modest efforts to improve their media. Spending only an hour or two with After Effects, I could surprise my client with a logo treatment that was immediately recognized as a value added feature of my work. Ironically, this temptress that had so bewitched me now helped charm my clients.

I continue to benefit from the efforts of the AE artists who so generously share their time and talents. Their tutelage has encouraged me to produce several After Effects tutorials of my own, an exercise which has proven instrumental to my own AE development. In my enthusiasm to engage the audience, I am compelled to consider my production choices and to explore possible alternatives.

I find viewer expectations to be an impetus toward the further reaches of competence and creativity. These tutorials are not intended as an exercise in mimicry. Rather my hope is the process will reveal techniques that are recognized, remembered and revised; and eventually applied to some project yet to be conceived. Viewer response to these efforts has yielded a number of pleasant, productive, and even profitable associations - as well as some rather barbed criticism - and I am glad to have them both. Taken as a whole, I find the dialog generated by these tutorials to be overwhelmingly constructive and I appreciate it very much.

Neither AE, nor any other software, will be the right approach for every project or the solution to every problem. But for me, After Effects is the best combination tool kit, paint box, life-ring, spice rack and Swiss Army knife in the world of motion graphics compositing. Sometimes I even do print work in After Effects. I just calculate the pixels in the composition to equal 300 dpi and save the frame as a print friendly format. I find that with AE, I can often get closer to where I want to be more quickly.

I know that AE may have a few shortcomings. Sure, I wish she would library and apply text attributes for me, but I admit it... I'm crazy about her just as she is. For in the mastery of her mysteries, AE can be the method and the means to enlighten, enable and inspire. So if I have become a prisoner to my passion, I have done so willingly, even joyously. So regarding my devotion to my beloved After Effects, I think there is virtue in this vice.







  Adobe After Effects Tutorials   •   Adobe After Effects Forum
Reply   Like  
Share on Facebook


Related Articles / Tutorials:
Adobe After Effects
Create an After Effects Tornado

Create an After Effects Tornado
  Play Video
Rob Mize demonstrates how to create a tornado in After Effects and control all aspects of its appearance and movement. It's all done with Particle World so there are no 3rd party plug-ins required.

Tutorial, Video Tutorial
Adobe After Effects
Inspiring Me to Enable Myself

Inspiring Me to Enable Myself

"My journey with After Effects is a reflection of my journey as a creative. Fear, skepticism, blood, tears, mocking, understanding, confidence. The cycle repeats sometimes, but it expands and contracts too. Some days it's a thing of wonder and beauty, other days it's collapsing in on itself like a dying star. When you start to have more days like the former than the latter, nice things start to happen both on your screen and in your mind. For all the rest, there's coffee," says Creative COW Contributing Editor Kylee Wall.

Feature, People / Interview
Adobe After Effects
An Old Dog, Learning New Tricks

An Old Dog, Learning New Tricks

You'll be surprised at how late Andrew Devis started with After Effects, but he's thrilled to be constantly learning new tricks. The excitement he finds in turning that knowledge into tutorials has clearly been reciprocated, as he has become one of the web's most popular trainers.

Feature, People / Interview
Adobe After Effects
Ronald & Kathlyn and After Effects & The COW

Ronald & Kathlyn and After Effects & The COW

Soon after they purchased CoSA After Effects in 1994, Ronald & Kathlyn Lindeboom found themselves in a little over their heads. There were virtually no web resources for learning AE -- frankly, virtually no resources whatsoever, as this was long before training tapes and books. So, they founded a web community to help find the help that they themselves needed, and 18 years later, it's still growing! And After Effects is still playing a central role in its success.

Editorial, Feature
Adobe After Effects
Zero VFX: Why Some Effects Are Better Unseen

Zero VFX: Why Some Effects Are Better Unseen

Kyle and Gerard Andal, lead compositors at Zero VFX, bring invisible post-production magic to several films - including 2014 Academy Award-winning "American Hustle," in which the team helped transform 2013 Boston to 1978 New York - and also several commercial shots with mocha Pro.

Editorial, Feature, People / Interview
Adobe After Effects
LightGrid Script and Demo Tutorial Part TWO with New Feature

LightGrid Script and Demo Tutorial Part TWO with New Feature
  Play Video
LightGrid Script creator Brian Charles demonstrates his newly modified After Effects script for rigging lights in grids and circles. The modified script with the new feature, which adds the ability to enable individual light colors through a checkbox in the effect control panel, is available as a free download in the Project Files folder.

Tutorial, Video Tutorial
Adobe After Effects
Green Screen Billboard Compositing

Green Screen Billboard Compositing
  Play Video
This After Effects tutorial demonstrates how to simulate augmented reality centered around a city billboard by compositing green screen footage and editing it into the scene.

Tutorial, Video Tutorial
Adobe After Effects
After Effects Handwriting Tutorial

After Effects Handwriting Tutorial
  Play Video
This tutorial will show you how to create an animation of a marker writing out a logo or a few words, followed by a slick reveal to an actual logo.

Tutorial, Video Tutorial
Adobe After Effects
LightGrid Script and Demo Tutorial

LightGrid Script and Demo Tutorial
  Play Video
LightGrid Script creator Brian Charles demonstrates his After Effects script for rigging lights in grids and circles. The script is available as a free download in the Project Files folder.

Tutorial, Video Tutorial
Adobe After Effects
mocha Tracks The Wolf of Wall Street

mocha Tracks The Wolf of Wall Street

With multiple VFX Oscars (Hugo and Titanic, plus a nomination for Apollo 13) plus a couple of Emmys (Star Trek: The Next Generation and Star Trek: Deep Space Nine) under his belt, the most remarkable thing about Rob Legato's latest VFX extravaganza is that it doesn't appear to have any VFX at all! Martin Scorsese's The Wolf of Wall Street is a masterpiece of what has become known as invisible effects, and this article from our friends at Imagineer, highlighting Rob's work with mocha, is a real eye-opener.

Editorial, Feature
MORE


FORUMSTUTORIALSFEATURESVIDEOSPODCASTSEVENTSSERVICESNEWSLETTERNEWSBLOGS

Creative COW LinkedIn Group Creative COW Facebook Page Creative COW on Twitter
© 2014 CreativeCOW.net All rights are reserved. - Privacy Policy

[Top]