Return-Path: Received: from gateway02.websitewelcome.com ([74.52.222.226] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP id 4964308 for AE-List@media-motion.tv; Fri, 01 Feb 2013 16:19:00 +0100 Received: by gateway02.websitewelcome.com (Postfix, from userid 5007) id 6AB683934A6CF; Fri, 1 Feb 2013 09:24:42 -0600 (CST) Received: from alpina.websitewelcome.com (alpina.websitewelcome.com [74.54.176.2]) by gateway02.websitewelcome.com (Postfix) with ESMTP id 5AC793934A68E for ; Fri, 1 Feb 2013 09:24:42 -0600 (CST) Received: from [199.21.106.72] (port=57540 helo=[192.168.0.19]) by alpina.websitewelcome.com with esmtpsa (TLSv1:AES128-SHA:128) (Exim 4.80) (envelope-from ) id 1U1ITs-00021s-Tk for AE-List@media-motion.tv; Fri, 01 Feb 2013 09:24:45 -0600 Subject: Re: [AE] The History of Adobe After Effects References: From: Chris Meyer Content-Type: multipart/alternative; boundary=Apple-Mail-EC88DE43-5A9A-46CA-A5C5-A0226907267E X-Mailer: iPad Mail (9B206) In-Reply-To: Message-Id: Date: Fri, 1 Feb 2013 08:24:43 -0700 To: After Effects Mail List Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (1.0) X-AntiAbuse: This header was added to track abuse, please include it with any abuse report X-AntiAbuse: Primary Hostname - alpina.websitewelcome.com X-AntiAbuse: Original Domain - media-motion.tv X-AntiAbuse: Originator/Caller UID/GID - [47 12] / [47 12] X-AntiAbuse: Sender Address Domain - crishdesign.com X-BWhitelist: no X-Source: X-Source-Args: X-Source-Dir: X-Source-Sender: ([192.168.0.19]) [199.21.106.72]:57540 X-Source-Auth: chris@crishdesign.com X-Email-Count: 1 X-Source-Cap: Y3Jpc2h3ZWI7Y3Jpc2h3ZWI7YWxwaW5hLndlYnNpdGV3ZWxjb21lLmNvbQ== --Apple-Mail-EC88DE43-5A9A-46CA-A5C5-A0226907267E Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 Speaking of sentimental memories and incompetence...there were a lot of peop= le lacking in skills in the early days of After Effects, as well (smile). It= didn't help that the first two third-party After Effects books were written= by people who didn't actually use the program; they were just trying to mak= e a quick buck.=20 A very large part of the reason we started writing books was to share with o= ur fellow users - partially out of a sense of giving back (we were influence= d by the cutting edge community at the American Film Institute in Hollywood b= ased around the then-new media and tools). It was also to help raise everyon= e's game so we as a group could counter the perception in the professional b= roadcast and film community that desktop-based solutions were just low-quali= ty toys (often the result of a poor user rather than poor tools) - we didn't= want to lose gigs because someone else had done a bad job! It is true that back in the early days, some of us were looking at each othe= r and saying "isn't it great how everyone is sharing? I wonder how long this= will last?!?" - and through our books and groups like MGLA (as well, of cou= rse, through the efforts of Brian on the other coast - he had a user group a= nd training materials before we did) we hoped to continue that positive envi= ronment and ethos. As for the potter, all too many artists try to hide their techniques (while,= OTOH, others supplement their living by writing and teaching). As for the s= ecretive worker, well, s/he was just an a-hole who should never be hired aga= in; workers and freelancers are hired to make the lives of their clients eas= ier, not harder - and shouldn't forget that. Anyway - enough nostalgia; I've got two new AE-related projects with milesto= nes to hit today, and then I'm putting on my artist hat for a gallery event t= onight. - Chris On Feb 1, 2013, at 12:37 AM, James Culbertson wrote: > You are describing film/video Production in general. And film/video produc= tion is now just another literacy, like writing, that people grow up with. S= o, yes, there are a lot of folks who just start doing it, and we are awash i= n competition. There is a tremendous amount of incompetence. But at the same= time if you have the potential for talent you are not excluded by inaccessi= bility to tools. I'll take the trade off. I find today to be just as excitin= g a time as the 90's were. >=20 > James >=20 >=20 > On Jan 31, 2013, at 11:03 PM, mylenium@mylenium.de wrote: >=20 >> You're talking like people at the retirement home getting all sentimental= ... ;-) Things will never be the same. AE has arrived at being "just another= software" that is being used by more people with no talent or skills than b= y ones who actually intimately know it. It's just the way it is, sadly... >> =20 >> Mylenium >> =20 >> [Pour Myl=C3=A8ne, ange sur terre]=20 >> -----------------------------------------=20 >> www.mylenium.de >>=20 >> Jim Lang hat am 1. Februar 2013 um 06:29 geschri= eben:=20 >> > Darn- Totally missed it.=20 >> > I've been thinking about the AE history lately. I was at a pottery=20 >> > workshop, and=20 >> > the teacher kept telling us that if anyone asked "how'd you do that!"=20= >> > To say you don't remember.=20 >> > This got me thinking about how in the beginnings of AE, that anal,=20 >> > secretiveness was the polar opposite and you could go online any time=20= >> > day or night, and a Trish Meyer would always help out. Or a TSassoon,=20= >> > or a Brian Maffitt. And "secrets" were taboo. And because of that,=20 >> > AE took off, attracted geniuses from all over, and and made history of=20= >> > all of the old guard dinosaurs and their secrets and high-end=20 >> > equipment.=20 >> > That was a dazzling era.=20 >> > Of course, nothing this great lasts.=20 >> > I've been at this long enough to be able to tell the ethics of a=20 >> > worker by just looking at his/her profect. One of the last projects I=20= >> > worked in was unbelievably booby trapped. It was for a fast=20 >> > turnaround network news show, and the dude did certain things wrong=20 >> > then sneakily made layers invisible. All designed to get the=20 >> > producers on t=20 >> > he phone to get him back. I pointed out all of his shenanigans to the=20= >> > creative director. But back to the point. Way back in the early=20 >> > beginnings, what a classy group.=20 >> >=20 >> > > On Jan 30, 2013, at 11:46 PM, David Simons wrote:=20 >> > >=20 >> > >> In case this event tomorrow hasn't been posted on this list yet:=20 >> > >>=20 >> > >> ASK A VIDEO PRO: The History of Adobe After Effects=20 >> > >>=20 >> > >> Thursday, January 31st, 2013 at 10:00am PST=20 >> > >>=20 >> > >> REGISTER NOW: http://adobe.ly/p6ZMbd=20 >> > >>=20 >> > >> About 12 hours from now, Dan Wilk & I will present an interactive hi= story of=20 >> > >> AE, including demos of the old versions. We welcome questions from t= he=20 >> > >> audience via the chat pod.=20 >> > >>=20 >> > >> -DaveS=20 >> > >>=20 >> > >>=20 >> > >>=20 >> > >> +---End of message---+=20 >> > >> To unsubscribe send any message to =20 >> > >=20 >> > >=20 >> > > +---End of message---+=20 >> > > To unsubscribe send any message to =20 >> >=20 >> > +---End of message---+=20 >> > To unsubscribe send any message to >=20 --Apple-Mail-EC88DE43-5A9A-46CA-A5C5-A0226907267E Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8
Speaking of sentimental me= mories and incompetence...there were a lot of people lacking in skills in th= e early days of After Effects, as well (smile). It didn't help that the firs= t two third-party After Effects books were written by people who didn't actu= ally use the program; they were just trying to make a quick buck. 

A very large part of the reason we started writing book= s was to share with our fellow users - partially out of a sense of giving ba= ck (we were influenced by the cutting edge community at the American Film In= stitute in Hollywood based around the then-new media and tools). It was also= to help raise everyone's game so we as a group could counter the perception= in the professional broadcast and film community that desktop-based solutio= ns were just low-quality toys (often the result of a poor user rather than p= oor tools) - we didn't want to lose gigs because someone else had done a bad= job!

It is true that back in the early days, some o= f us were looking at each other and saying "isn't it great how everyone is s= haring? I wonder how long this will last?!?" - and through our books and gro= ups like MGLA (as well, of course, through the efforts of Brian on the other= coast - he had a user group and training materials before we did) we hoped t= o continue that positive environment and ethos.

As for the potter, al= l too many artists try to hide their techniques (while, OTOH, others supplem= ent their living by writing and teaching). As for the secretive worker, well= , s/he was just an a-hole who should never be hired again; workers and freel= ancers are hired to make the lives of their clients easier, not harder - and= shouldn't forget that.

Anyway - enough nostalgia; I= 've got two new AE-related projects with milestones to hit today, and then I= 'm putting on my artist hat for a gallery event tonight.

 - Chris



On Feb 1, 2013, at 12:37 AM, J= ames Culbertson <albion@speakeasy= .net> wrote:

<= div>You are describing film/video Production in general. And film/video prod= uction is now just another literacy, like writing, that people grow up with.= So, yes, there are a lot of folks who just start doing it, and we are awash= in competition. There is a tremendous amount of incompetence. But= at the same time if you have the potential for talent you are not excluded b= y inaccessibility to tools. I'll take the trade off. I find today to be just= as exciting a time as the 90's were.

James


On Jan 31, 2013, at 11:03 PM, mylenium@mylenium.de wrote:

You're talking li= ke people at the retirement home getting all sentimental... ;-) Things will n= ever be the same. AE has arrived at being "just another software" that is be= ing used by more people with no talent or skills than by ones who actually i= ntimately know it. It's just the way it is, sadly...
 
<= div>Mylenium
 
[Pour Myl=C3=A8n= e, ange sur terre] 
---= --------------------------------------=  
www.mylenium.de

Jim Lang <james.c.la= ng@gmail.com> hat am 1. Februar 2013 um 06:29 geschrieben: 
> Darn- Totally missed it. 
> I've been thinking a= bout the AE history lately. I was at a pottery 
> workshop, and 
> the teacher kept telling us that if anyone asked "= how'd you do that!" 
&g= t; To say you don't remember. 
> This got me thinking about how in the beginnings of AE, that an= al, 
> secretiveness= was the polar opposite and you could go online any time 
> day or night, and a Trish Meyer woul= d always help out. Or a TSassoon, = ;
> or a Brian Maffitt. And "secrets" were taboo. And because o= f that, 
> AE took o= ff, attracted geniuses from all over, and and made history of 
> all of the old guard dinosaurs a= nd their secrets and high-end 
> equipment. > That was a dazzling era. <= /span>
> Of course, nothing this great lasts. 
> I've been at this long enough to be able t= o tell the ethics of a > worker by just looking at his/her profect. One of the last projects I<= span class=3D"Apple-converted-space"> 
> worked in was unb= elievably booby trapped. It was for a fast 
> turnaround network news show, and the dude did cer= tain things wrong 
>= then sneakily made layers invisible. All designed to get the 
> producers on t 
> he phone to get him back. I point= ed out all of his shenanigans to the&n= bsp;
> creative director. But back to the point. Way back in th= e early 
> beginning= s, what a classy group. > 
> > On Ja= n 30, 2013, at 11:46 PM, David Simons <ae@= cosa.com> wrote: > > 
> >&= gt; In case this event tomorrow hasn't been posted on this list yet: 
> >> 
> >> ASK A VIDEO PRO: The Hi= story of Adobe After Effects 
> >> 
&= gt; >> Thursday, January 31st, 2013 at 10:00am PST 
> >> 
> >> REGISTER NOW: http://adobe= .ly/p6ZMbd 
> &g= t;> 
> >> A= bout 12 hours from now, Dan Wilk & I will present an interactive history= of 
> >> AE, i= ncluding demos of the old versions. We welcome questions from the 
> >> audience via the c= hat pod. 
> >>=  
> >> -DaveS<= span class=3D"Apple-converted-space"> 
> >> 
> >> 
> >> 
> >> +---End of message---+ 
> >> To unsubscribe se= nd any message to <ae-list= -off@media-motion.tv> 
> > 
> &= gt; 
> > +---End o= f message---+ 
> >= ; To unsubscribe send any message to <ae-list-off@media-motion.tv> 
> 
> +---End of message---+&n= bsp;
> To unsubscribe send any message to <ae-list-off@media-motion.tv>

= --Apple-Mail-EC88DE43-5A9A-46CA-A5C5-A0226907267E--