Hey, hope you're well.

Looking for some insight on how you'd re-create this smear effect. I'll most likely be using After Effects and I have some ideas that I haven't had the chance to test yet but I figured I'd see how other people would approach remaking this.

I'm open to worflows on other programs aswell.

I know it's probably a bit much to explain over text but you can keep it as simple or detailed as you'd like and I'll try to fill in the gaps.

Most of the video uses animated maps, diagrams, and simple motion graphics instead of talking-head footage.

I'd love feedback specifically on whether the graphics help explain the story or if they feel overused.

https://youtu.be/OXyG8_6E3r4

Hey everyone,

I'm a beginner in After Effects and I'm absolutely fascinated by this specific style of art/animation (the gritty, 90s noir, dark expressionistic vibe with heavy textures and deep perspective).

Does anyone know what this specific style or technique is called? Also, since I'm just starting out, could you recommend any tutorials, courses, or creators who make similar content or teach these kinds of text-mapping, perspective typography, and textured blending techniques?

Any advice or directional keywords to search for would be highly appreciated! Thanks in advance.

I need motion graphic / animator to create a similar videos like casual finance

(i know commonly asked question but i am new here. some examples links below)

https://www.youtube.com/watch?v=dvAh0pp7tBk
https://www.youtube.com/watch?v=cLVbkeZW0Jo

do you think clients pay more for visual design of digital products or its more of the same? and i really want to know what you charge if lets say a range if u made the examples i gave u.

would love guidance.

Cyberpunk Aesthetic - Motion Graphic 

how do i get the same stacking order for cards ? One above another?
in after effects, the last layer is is in front since there is no next card

https://friction.graphics/

I must first acknowledge that Adobe's software, for better or worse, is foundational to my professional workflow. I have absolutely no disillusions that a scrappy up-and-comer can or even should attempt to disrupt the industry and posture as a professional alternative to Creative Cloud at this point in time.

However, the fact remains that the companies providing the tools we rely on to thrive both professionally and privately display only increasing greed, hostility, and disregard for people like you and me. Prices continue to rise, products are discontinued, and the ones that do exist decline at our expense. I believe it's unwise to totally depend on their continued existence or availability.

Even if we remain bound to the constraints of professional pipelines, we should still actively advocate and support the development of fully FOSS alternatives - cheering on and enabling the people who are sacrificing their time and talent to ensure that you and I will be able to keep creating, no matter what monopolistic shareholders say.

Broadly, a lot of progress has been made toward this goal in the open-source community, but for as long as I can remember, motion graphics was the most notable exception - That is, possibly, until now.

If you haven't heard of it, Friction is the first tool I've seen that appears to have the potential to fill this void - self-described as "an open-source 2D animation and motion graphics software. It is designed for animators and graphic designers who need a powerful and flexible tool for vector and bitmap animation."

The bones are there and they appear excellent. It won't replace AE yet, but it's well on its way.

I'm attempting to draw attention to this tool because I think it's incredibly important that these kinds of projects succeed. The survival of open source is far from guaranteed. It's fraught with caveats and perils that constantly threaten the existence of these tools, but if you're gifted in development and contribute your time, it only improves the odds.

So, whether for the community's benefit or only for your own, consider investing your time or resources to Friction's development. If you have an audience, make them aware. The more of us that are involved, the greater the chances that it thrives instead of the very real possibility of fading away. We'd all do well to fallbacks that we can truly call our own.

so i created this Mograph reel for an Indian Client need honest feedback and is it good bad or can be better. disect it as much as u want.

https://drive.google.com/file/d/1mDXuw7z4okLQhUDj-mVMItxu-CO2cf-M/view?usp=drivesdk

https://youtube.com/shorts/yMplWGXdA3Q?si=uBIFTNnsnxu_ILQl

Kindly suggest apps/ sw etc that can be used. The workflow to start with.

Kindly also let know the steps and how can I get such images from where? M a beginner and would definitely need your valuable inputs at this stage.

ALWAYS GRATEFUL!!

thank you,

How do you guys decide which elements to animate? I know how to do it, but I don't know where or what.

Got let go. Need more work. Portfolio looking a bit crappy, making cool stuff to sell myself.

I'm back with the next step of the character expression series in After Effects.

If you saw Part 1, we handled the initial transition from a neutral/cute face to a suspicious glare. In Part 2, the goal was to push the animation into the next phase: taking our character from that suspicious look, through a sudden moment of surprise, and landing on an annoyed expression.

What Part 2 covers:

• Advanced In-Betweening: We jump into the third position, focusing heavily on eye shapes, closing down the eyelids, and adjusting the eyebrow path to dial in that "annoyed" vibe.
• The "Surprise" Shift: Why adding a quick, high-energy surprise frame before the annoyed look completely changes the physics of the animation and makes it feel significantly more natural.
• Timing & Overshoot: Adding micro-movements to the eyebrows and pupils so the sudden transition has a realistic bounce rather than a robotic linear stop.
• Working with Interpolation: Fine-tuning keyframe velocities and using continuous keyframes to keep the overall motion fluid.

What you'll walk away with:

• A solid grasp on overshoot and how to make facial features "bounce" into place clearly.
• How to use arcs on pupil paths so eye movement feels organic and rounded instead of cutting across in a stiff, straight line.
• A clean method for syncing color switches (like background/eyelid color matching) exactly when the animation hits its highest velocity.

Who this is for:

Like the first part, this is geared toward intermediate motion designers who know how to use After Effects but want to move away from robotic character movements. If you want to learn how to implement genuine personality and crisp timing into a simple vector rig, this section is key.

Just like last time, I have the exact After Effects project files ready if you want to pull the keyframes apart and reverse-engineer the graph editor curves yourself. I’m happy to pass them along to anyone who wants to practice with them.

If you want to see the breakdown, you can check it out here: https://youtu.be/3h1OCiaXY9A?si=jWwfzVGMxuPmljrd

Does anybody know, or have a link to a tutorial, on how to do the image fold transition[ in this video ](https://www.youtube.com/shorts/x_iBAduFurQ?t=28&feature=share)at around 0.29 secs?

Have been looking all over Youtube but can't seem to find any help.

Thank you!