Return-Path: Received: from moutng.kundenserver.de ([212.227.126.187] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4964857 for AE-List@media-motion.tv; Sat, 02 Feb 2013 09:54:57 +0100 Received: from oxbaltgw10.schlund.de (oxbaltgw10.schlund.de [172.19.246.16]) by mrelayeu.kundenserver.de (node=mreu0) with ESMTP (Nemesis) id 0MTL2h-1UReHr2CLn-00S0IL; Sat, 02 Feb 2013 10:00:44 +0100 Date: Sat, 2 Feb 2013 10:00:44 +0100 (CET) From: "mylenium@mylenium.de" Reply-To: "mylenium@mylenium.de" To: After Effects Mail List Message-ID: <2097701357.72644.1359795644456.JavaMail.open-xchange@email.1und1.de> In-Reply-To: References: Subject: Re: [AE] The History of Adobe After Effects MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_72643_1469960567.1359795644364" X-Priority: 3 Importance: Medium X-Mailer: Open-Xchange Mailer v- X-Provags-ID: V02:K0:o4Xrm7oHVaSqtV0Ww6ohods1ZVHnH9bGhCeYpbzqQbR SLT9z7PR2uooDaMLoiSR91wempSQBI0wMErASGJXBXESU8FZm3 7pQUePkKe7P9TEek4hFUghgtHkatoVUomD8xXCGiacD6s8oGTm DIDZ49PaYLcU0L9ExWR8HjqFlgMo8vHUPF0G5Rh4xL1J/VTA/u IXG8Zlsle448YrP5ti40sOhoHPxw+1/EAMRkFpz721ujsFJ6gT O4du5ObWUjxu6TtEuwrF5YRaYEO6eJG8sLsUxEe1ZjzDYpfFLh 2kWFI1yj1z2Mc3B6vTaOF8735zJ7rP0msI5a4u2/NSnQZ0C1C5 KrVGOKKDqO7XNSsibkvNFlTp9EixbE0oZxPTt35yYP8gIq4aq+ GDLQpMHVFepQuGmPGvUdkyZfhYRrselj+M= ------=_Part_72643_1469960567.1359795644364 MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Young Padawan....! ;-) Mylenium [Pour Myl=C3=A8ne, ange sur terre] ----------------------------------------- www.mylenium.de Bruce Wainer hat am 2. Februar 2013 um 05:40 geschrieb= en: > I just finished watching the 20 years of AE History and it was very > interesting.....especially since I turn 20 this March. >=20 > Bruce Wainer >=20 >=20 > On Fri, Feb 1, 2013 at 10:37 PM, Enrique Gamez > wrote: > > > I wonder if a book on mediocrity would sell? Working title: > > > "Ordinary People". > >=20 > > -enrique > >=20 > >=20 > > From: Carey Dissmore < carey@imugonline.com > > > > > Reply-To: After Effects Mail List < AE-List@media-motion.tv > > > > > Date: Friday, February 1, 2013 3:05 PM > > To: After Effects Mail List < AE-List@media-motion.tv > > > > > Subject: Re: [AE] The History of Adobe After Effects > >=20 > > You guys should really read this book. It is absolutely brilliant an= d I > > just can't recommend it enough. > > http://amzn.to/VBP7lx > >=20 > > Carey > >=20 > > On Feb 1, 2013, at 3:07 PM, Chris Meyer < chris@crishdesign.com > > > wrote: > >=20 > >=20 > > > > > I think there are artists that have more of a knack= (or > > > > > "natural talent") than others - but I've also both learned= and > > > > > observed that even if you have that natural talent, it can= be > > > > > improved through study and practice. And meanwhile, those = with > > > > > the natural benefits can still learn most or all of what's > > > > > needed. > > >=20 > > > - Chris > > >=20 > > >=20 > > >=20 > > > On Feb 1, 2013, at 11:55 AM, Chris Bobotis wrote: > > >=20 > > >=20 > > > > > > > In my experience, I have yet to meet an > > > > > > > artist that has come by it =CB=98naturally=CB=98. = One way or > > > > > > > another you need to put in the time, be it =CB=98f= ormal=CB=98 or > > > > > > > =CB=98informal=CB=98 training. I think the 10,000 = hour rule > > > > > > > applies to art as much as anything else. In other = words > > > > > > > you need to put in the time and effort. I have wor= ked > > > > > > > with brilliant artists, some with and some without= any > > > > > > > formal training. The ones without any formal train= ing > > > > > > > had still put in the time. > > > >=20 > > > > Some take to conventional teaching methods and a cartesi= an > > > > approach others just do not. I cannot say one is better than the ot= her. > > > > The end result is what counts, at least to me. > > > >=20 > > > > Cheers, > > > > Chris > > > > mettle.com > > > > On 2013-02-01, at 1:36 PM, sean cusson wrote: > > > >=20 > > > >=20 > > > > > > > > > I get it and agree with you= that > > > > > > > > > education is always important. I just took > > > > > > > > > issue with anyone actually defining the te= rm > > > > > > > > > artist. I think 2 of the defining > > > > > > > > > characteristics of success in this busines= s are > > > > > > > > > awareness and talent. Both of which can be > > > > > > > > > greatly enhanced by education but can also= have > > > > > > > > > been come by naturally. > > > > >=20 > > > > >=20 > > > > >=20 > > > > > On 2013-02-01, at 11:39 AM, mylenium@mylenium.de > > > > > wrote: > > > > >=20 > > > > >=20 > > > > > > > > > > > I think my poin= t is > > > > > > > > > > > more that some people are devoid o= f > > > > > > > > > > > both - either an education that al= lows > > > > > > > > > > > them to provide "art" (craftsmansh= ip/ > > > > > > > > > > > tricks of the trade/ services what= ever > > > > > > > > > > > you wanna call it) in a certain ma= nner > > > > > > > > > > > or an "intuitive", inate understan= ding > > > > > > > > > > > of "art" - and those should actual= ly > > > > > > > > > > > never go near a computer or use ce= rtain > > > > > > > > > > > tools. You're not getting an argum= ent > > > > > > > > > > > about that one can make up for the > > > > > > > > > > > other, but I would still consider = a > > > > > > > > > > > certain level of education importa= nt. > > > > > > > > > > > Even if you are an artist who does > > > > > > > > > > > wonderful paintings just from his = gut > > > > > > > > > > > feeling, it helps if you can ratio= nally > > > > > > > > > > > explain some color theory, if you = get > > > > > > > > > > > my meaning. And let's not lose sig= ht > > > > > > > > > > > that everything we do is also a > > > > > > > > > > > technical process no matter what. = So if > > > > > > > > > > > not on the artsy side, at least a > > > > > > > > > > > well-founded knowledge helps to le= t > > > > > > > > > > > people see your creation. If you > > > > > > > > > > > wouldn't know how to get it on You= Tube, > > > > > > > > > > > you could producxe al lthe most > > > > > > > > > > > beautiful shorts and the world sti= ll > > > > > > > > > > > wouldn't take any notice of you as= an > > > > > > > > > > > "artist"... > > > > > >=20 > > > > > > Mylenium > > > > > >=20 > > > > > > [Pour Myl=C3=A8ne, ange sur terre] > > > > > > ----------------------------------------- > > > > > > www.mylenium.de > > > > > >=20 > > > > > > sean cusson < scusson@mac.com > > > > > > > hat am 1. Februar 2013 um 17:24 > > > > > > geschrieben: > > > > > > I think trying to define the word "artist" i= s > > > > > > pretty useless. In my opinion, if you create something that ano= ther > > > > > > person sees value in then you are an artist. Art is completely > > > > > > subjective so how could anyone possibly try to define the term > > > > > > "artist" or the requirements necessary to achieve said title? I= know > > > > > > tons of people (including myself) who have only gone to high sc= hool > > > > > > and yet have somehow MIRACULOUSLY carved out a decent living fo= r > > > > > > themselves. There are definitely advantages to pursuing an art > > > > > > education (in whatever discipline you choose) but to say you ar= e not > > > > > > an artist if you don't have formal training is as antiquated as= the > > > > > > first version of AE itself. > > > > > >=20 > > > > > >=20 > > > > > > On 2013-02-01, at 10:47 AM, Teddy Gage wrote= : > > > > > >=20 > > > > > > "When I started out as an 3d artist 19 years > > > > > > ago"... > > > > > >=20 > > > > > > You wouldn't happen to be typing this from t= he > > > > > > retirement home computer, would you? > > > > > >=20 > > > > > > You're certainly grumpy enough to be a > > > > > > grandfather... > > > > > >=20 > > > > > > Sent from my iPad > > > > > >=20 > > > > > > On Feb 1, 2013, at 10:38 AM, " > > > > > > mylenium@mylenium.de" < mylenium@mylenium.de> wrote: > > > > > > I tend to see it from a different angle, com= ing > > > > > > from a 3D graphics background. I don't think anyone was actuall= y > > > > > > excluded in the past. People just take affordable equipment or > > > > > > things like discounted education versions for granted these day= s, > > > > > > luxuries we never had. There wasn't even something like Blender > > > > > > around when I started out as an 3D artist 19 years ago. And sti= ll, > > > > > > if you only wanted hard enough you could somehow manage to buy = your > > > > > > tools no matter how expensive they may have been (not talking a= bout > > > > > > a 50000 bucks SGI workstation and another 70000 bucks Power Ani= mator > > > > > > license, obviously; more like a 3000 bucks Lightwave license). = And > > > > > > instead of the annual upgrade death spiral we have now, they go= t an > > > > > > update every 2 years and you actually had time to learn them an= d > > > > > > hone your skills and save the money. It works in many ways, if = you > > > > > > get my meaning.... And seeing how many people struggle with eve= n the > > > > > > simplest tutorials, I'm not sure if it's just a "literacy" peop= le > > > > > > can pick up or it produces more talent in any way... To me, it = still > > > > > > comes down to this: People, who can't draw a straight line with= a > > > > > > pencil probably shouldn't call themselves "motiongraphics artis= t". > > > > > > Or in other words: I consider a classical training/ education j= ust > > > > > > as important or even more important than just hacking around on= the > > > > > > computer or doing odd things with your digital camera.... > > > > > >=20 > > > > > > Mylenium > > > > > >=20 > > > > > > [Pour Myl=C3=A8ne, ange sur terre] > > > > > > ----------------------------------------- > > > > > > www.mylenium.de > > > > > > James Culbertson < albion@speakeasy.net> hat= am > > > > > > 1. Februar 2013 um 08:37 geschrieben: > > > > > > You are describing film/video Production in > > > > > > general. And film/video production is now just another literacy= , > > > > > > like writing, that people grow up with. So, yes, there are a lo= t of > > > > > > folks who just start doing it, and we are awash in competition. > > > > > > There is a tremendous amount of incompetence. But at the same t= ime > > > > > > if you have the potential for talent you are not excluded by > > > > > > inaccessibility to tools. I'll take the trade off. I find today= to > > > > > > be just as exciting a time as the 90's were. > > > > > >=20 > > > > > > James > > > > > >=20 > > > > > >=20 > > > > > > On Jan 31, 2013, at 11:03 PM, > > > > > > mylenium@mylenium.de wrote: > > > > > > You're talking like people at the retirement= home > > > > > > getting all sentimental... ;-) Things will never be the same. A= E has > > > > > > arrived at being "just another software" that is being used by = more > > > > > > people with no talent or skills than by ones who actually intim= ately > > > > > > know it. It's just the way it is, sadly... > > > > > >=20 > > > > > > Mylenium > > > > > >=20 > > > > > > [Pour Myl=C3=A8ne, ange sur terre] > > > > > > ----------------------------------------- > > > > > > www.mylenium.de > > > > > > Jim Lang < james.c.lang@gmail.com> hat am 1. > > > > > > Februar 2013 um 06:29 geschrieben: > > > > > > > Darn- Totally missed it. > > > > > > > I've been thinking about the AE history la= tely. > > > > > > > I was at a pottery > > > > > > > workshop, and > > > > > > > the teacher kept telling us that if anyone > > > > > > > asked "how'd you do that!" > > > > > > > To say you don't remember. > > > > > > > This got me thinking about how in the > > > > > > > beginnings of AE, that anal, > > > > > > > secretiveness was the polar opposite and y= ou > > > > > > > could go online any time > > > > > > > day or night, and a Trish Meyer would alwa= ys > > > > > > > help out. Or a TSassoon, > > > > > > > or a Brian Maffitt. And "secrets" were tab= oo. > > > > > > > And because of that, > > > > > > > AE took off, attracted geniuses from all o= ver, > > > > > > > and and made history of > > > > > > > all of the old guard dinosaurs and their > > > > > > > secrets and high-end > > > > > > > equipment. > > > > > > > That was a dazzling era. > > > > > > > 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 > > > > > > > worked in was unbelievably booby trapped. = It > > > > > > > was for a fast > > > > > > > turnaround network news show, and the dude= did > > > > > > > certain things wrong > > > > > > > then sneakily made layers invisible. All > > > > > > > designed to get the > > > > > > > producers on t > > > > > > > he phone to get him back. I pointed out al= l of > > > > > > > his shenanigans to the > > > > > > > creative director. But back to the point. = Way > > > > > > > back in the early > > > > > > > beginnings, what a classy group. > > > > > > >=20 > > > > > > > > On Jan 30, 2013, at 11:46 PM, David Simo= ns < > > > > > > > > ae@cosa.com > wrote= : > > > > > > > >=20 > > > > > > > >> In case this event tomorrow hasn't been > > > > > > > >> posted on this list yet: > > > > > > > >>=20 > > > > > > > >> ASK A VIDEO PRO: The History of Adobe A= fter > > > > > > > >> Effects > > > > > > > >>=20 > > > > > > > >> Thursday, January 31st, 2013 at 10:00am= PST > > > > > > > >>=20 > > > > > > > >> REGISTER NOW: http://adobe.ly/p6ZMbd > > > > > > > >> > > > > > > > >>=20 > > > > > > > >> About 12 hours from now, Dan Wilk & I w= ill > > > > > > > >> present an interactive history of > > > > > > > >> AE, including demos of the old versions= . We > > > > > > > >> welcome questions from the > > > > > > > >> audience via the chat pod. > > > > > > > >>=20 > > > > > > > >> -DaveS > > > > > > > >>=20 > > > > > > > >>=20 > > > > > > > >>=20 > > > > > > > >> +---End of message---+ > > > > > > > >> To unsubscribe send any message to < > > > > > > > >> ae-list-off@media-motion.tv > > > > > > > >> > > > > > > > > >=20 > > > > > > > >=20 > > > > > > > > +---End of message---+ > > > > > > > > To unsubscribe send any message to < > > > > > > > > ae-list-off@media-motion.tv > > > > > > > > > > > > > > > >=20 > > > > > > > +---End of message---+ > > > > > > > To unsubscribe send any message to < > > > > > > > ae-list-off@media-motion.tv > > > > > > > > > > > > > >=20 > > > > > >=20 > > > > > > -- > > > > > > Animator & Editor > > > > > > www.teddygage.com > > > > > > Brooklyn > > > > > >=20 > > > > > > > > > > >=20 > > > > > > > > >=20 > > > > Cheers, > > > > Chris > > > > Mettle.com > > > > Skype: Mettlecom > > > >=20 > > > >=20 > > > > > > >=20 > > > > > >=20 ------=_Part_72643_1469960567.1359795644364 MIME-Version: 1.0 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable =20 =20 =20 =20
Young Padawan....! ;-)
=20
 
=20
Mylenium
=20
 
=20
[Pour Mylène, ange sur terre]
-----------------------------------------
www.mylenium.de
=20

Bruce Wainer <brwainer@gmail.com> hat am 2. Februar 2013 um= 05:40 geschrieben:
=20
=20
=20
=20
I just finished watching the 20 years of AE History and it was very i= nteresting.....especially since I turn 20 this March.

Bruce Wainer
=20


=20
On Fri, Feb 1, 2013 at 10:37 PM, Enrique Gamez=20 <enrique0210@sbcglobal.net> wrote:
=20
=20
=20
I wonder if a book on mediocrity would sell?  Working title: =  "Ordinary People".
=20
 
=20
-enrique
=20
 
=20
 
=20
From: Carey Dissmore &#= 60; carey@im= ugonline.com>
Reply-To: After Effects= Mail List < AE-Li= st@media-motion.tv>
=20 Date: Friday, February = 1, 2013 3:05 PM
To: After Effects Mail = List < AE-Li= st@media-motion.tv>
=20 Subject: Re: [AE] The H= istory of Adobe After Effects
=20
=20
=20
 
=20
=20
You guys should really read this book. It is absolutely brillia= nt and I just can't recommend it enough. =20
=20 =20
 
=20
Carey
=20

=20
=20
On Feb 1, 2013, at 3:07 PM, Chris Meyer < = chris@crishdesign.com> wrote:
=20
=20
=20
I think there are artists that have more of a knack (or &#= 34;natural talent") than others - but I've also both learned and ob= served that even if you have that natural talent, it can be improved throug= h study and practice. And meanwhile, those with the natural benefits can st= ill learn most or all of what's needed.=20
 
=20
 - Chris
=20
 
=20
 
=20

=20
=20
On Feb 1, 2013, at 11:55 AM, Chris Bobotis wrote:
=20
=20
=20
In my experience, I have yet to meet an artist that h= as come by it =CB=98naturally=CB=98. One way or another you need to put in = the time, be it =CB=98formal=CB=98 or =CB=98informal=CB=98 training. I thin= k the 10,000 hour rule applies to art as much as anything else. In other wo= rds you need to put in the time and effort. I have worked with brilliant ar= tists, some with and some without any formal training. The ones without any= formal training had still put in the time. =20
 
=20
Some take to conventional teaching methods and a car= tesian approach others just do not. I cannot say one is better than the oth= er. The end result is what counts, at least to me.=20
 
=20
Cheers,
=20
Chris
=20
me= ttle.com
=20
=20
On 2013-02-01, at 1:36 PM, sean cusson wrote:
=20
=20
=20
I get it and agree with you that education is al= ways important. I just took issue with anyone actually defining the term ar= tist. I think 2 of the defining characteristics of success in this business= are awareness and talent. Both of which can be greatly enhanced by educati= on but can also have been come by naturally. =20
 
=20

=20

=20
=20
On 2013-02-01, at 11:39 AM,=20 mylenium@mylenium.de wrote:
=20
=20
=20
I think my point is more that some people a= re devoid of both - either an education that allows them to provide "ar= t" (craftsmanship/ tricks of the trade/ services whatever you wanna cal= l it) in a certain manner or an "intuitive", inate understanding of= "art" - and those should actually never go near a computer or use = certain tools. You're not getting an argument about that one can make u= p for the other, but I would still consider a certain level of education im= portant. Even if you are an artist who does wonderful paintings just from h= is gut feeling, it helps if you can rationally explain some color theory, i= f you get my meaning. And let's not lose sight that everything we do is= also a technical process no matter what. So if not on the artsy side, at l= east a well-founded knowledge helps to let people see your creation. If you= wouldn't know how to get it on YouTube, you could producxe al lthe mos= t beautiful shorts and the world still wouldn't take any notice of you = as an "artist"...
=20
 
=20
Mylenium
=20
 
=20 [Pour Mylène, ange sur terre] 
---------------------= -------------------- 
www.mylenium.de=20

sean cusson < scusson@mac.com> hat am 1. Februar 2013 um 17:24 geschrie= ben:
=20 I think trying to define the word "artist" is pretty usele= ss. In my opinion, if you create something that another person sees value i= n then you are an artist. Art is completely subjective so how could anyone = possibly try to define the term "artist" or the requirements necess= ary to achieve said title? I know tons of people (including myself) wh= o have only gone to high school and yet have somehow MIRACULOUSLY carved ou= t a decent living for themselves. There are definitely advantages to pursui= ng an art education (in whatever discipline you choose) but to say you are = not an artist if you don't have formal training is as antiquated as the= first version of AE itself.=20
 
=20
=20
On 2013-02-01, at 10:47 AM, Teddy Gage wrot= e:
=20
=20
=20
"When I started out as an 3d artist 19= years ago"... 
=20
 
You wouldn't happen to be typing= this from the retirement home computer, would you? 
=20
 
=20 You're certainly grumpy enough to be a grandfather... 
=20

Sent from my iPad
=20
On Feb 1, 2013, at 10:38 AM, " mylenium@mylenium.= de" < mylenium@mylenium.de> wrote: 
=20
I tend to see it from a different angle, co= ming from a 3D graphics background. I don't think anyone was actually e= xcluded in the past. People just take affordable equipment or things like d= iscounted education versions for granted these days, luxuries we never had.= There wasn't even something like Blender around when I started out as = an 3D artist 19 years ago. And still, if you only wanted hard enough you co= uld somehow manage to buy your tools no matter how expensive they may have = been (not talking about a 50000 bucks SGI workstation and another 70000 buc= ks Power Animator license, obviously; more like a 3000 bucks Lightwave lice= nse). And instead of the annual upgrade death spiral we have now, they got = an update every 2 years and you actually had time to learn them and hone yo= ur skills and save the money. It works in many ways, if you get my meaning.= ... And seeing how many people struggle with even the simplest tutorials, I= 'm not sure if it's just a "literacy" people can pick up or= it produces more talent in any way... To me, it still comes down to this: = People, who can't draw a straight line with a pencil probably shouldn&#= 39;t call themselves "motiongraphics artist". Or in other words: I = consider a classical training/ education just as important or even more imp= ortant than just hacking around on the computer or doing odd things with yo= ur digital camera....
=20
 
=20
Mylenium
=20
 
=20 [Pour Mylène, ange sur terre] 
---------------------= -------------------- 
www.mylenium.de
James Culbertson < albion@spe= akeasy.net> hat am 1. Februar 2013 um 08:37 geschrieben:=20
You are describing film/video Production in= general. And film/video production is now just another literacy, like writ= ing, that people grow up with. So, yes, there are a lot of folks who just s= tart 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 by inaccessibility to tools. I'll take= the trade off. I find today to be just as exciting a time as the 90's = were.
=20
 
=20
James
=20
 
=20
On Jan 31, 2013, at 11:03 PM, mylenium@mylenium.de wrote:
=20
You're talking like people at the retir= ement 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 by ones who actually intimately = know it. It's just the way it is, sadly...
=20
 
=20
Mylenium
=20
 
=20 [Pour Mylène, ange sur terre]   -----------------------------------------   
www.mylenium.de
Jim La= ng < james.c.lang@gmail.com> hat am 1. Februar 2013 um = 06:29 geschrieben:   
> Darn- Totally missed it.= 60;  
> I've been thinking about the AE history latel= y. I was at a pottery   
> workshop, and  =  
> the teacher kept telling us that if anyone asked "how&= #39;d you do that!"   
> To say you don't r= emember.   
> This got me thinking about how in the = beginnings of AE, that anal,   
> secretiveness was = the polar opposite and you could go online any time   
&= #62; day or night, and a Trish Meyer would always help out. Or a TSassoon,&= #160;  
> or a Brian Maffitt. And "secrets" were= taboo. And because of that,   
> AE took off, attra= cted geniuses from all over, and and made history of   
= > all of the old guard dinosaurs and their secrets and high-end &#= 160; 
> equipment.   
> That was a daz= zling era.   
> 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 a= t his/her profect. One of the last projects I   
> = worked in was unbelievably booby trapped. It was for a fast  = 0;
> turnaround network news show, and the dude did certain things = wrong   
> then sneakily made layers invisible. All = designed to get the   
> producers on t  =  
> he phone to get him back. I pointed out all of his shenani= gans to the   
> creative director. But back to the = point. Way back in the early   
> beginnings, what a= classy group.   
>   
> = 2; On Jan 30, 2013, at 11:46 PM, David Simons < ae@cosa.com> wrote: &#= 160; 
> >   
> >> In case t= his event tomorrow hasn't been posted on this list yet:  = 0;
> >>   
> >> ASK A VIDEO= PRO: The History of Adobe After Effects   
> >&= #62;   
> >> Thursday, January 31st, 2013 at= 10:00am PST   
> >>   
&= #62; >> REGISTER NOW:   http://adobe.ly/p6ZMbd   
= > >>   
> >> About 12 hours from= now, Dan Wilk & I will present an interactive history of  &#= 160;
> >> AE, including demos of the old versions. We welco= me questions from the   
> >> audience via t= he chat pod.   
> >>   
= > >> -DaveS   
> >>  &= #160;
> >>   
> >> = 0; 
> >> +---End of message---+   
= > >> To unsubscribe send any message to < ae-list-off@med= ia-motion.tv>   
> >   <= br/>> >   
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> = 0; 
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-- 
Animator & Editor 
<= a target=3D"_blank" href=3D"http://www.teddygage.com/">www.teddygage.com 
Brooklyn 
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Cheers,
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Chris
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Skype: Mettlecom
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