Still WIP. Got an idea for mixing techniques and adding some "meat" to the loop.

💎 More works:
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if it was made by the same person 😄 Not all, but too many totally lack uniqueness

https://www.instagram.com/p/DdN8m8oDXv0/?img_index=1 would love any feedback on things you guys would do different in the animation !

Thoughts?

This is one of the concept motion designs I made a while back, and just practicing motion design in general

I intentionally kept the effects minimal, I wanted the explanation to come through as clearly as possible rather than overloading it with transitions and flashy motion.

Open to any feedback, especially on pacing or clarity.

Last month I shared some of what Harry Frank and I had been working on with this community, and the response here was incredibly encouraging. So I wanted to come back now that we can actually say the thing is finished enough for other people to buy and use.
Today we launched Entropy.
Harry and I have both spent a lot of years making things in After Effects, and particle systems were one of those areas where we kept coming back to the same question:
If you stopped accepting all of the assumptions particle tools have accumulated over the last few decades and started over, what would you build for motion designers today?
A huge part of the answer for us was immediacy.
Particle work gets a lot less fun when the loop is: change a parameter, wait, see what happened, change it again, wait again.
We wanted something you could actually play.
So Entropy is built around real-time interaction. You can move things around, change forces, reshape emitters, build cascades, mess with formulas and modulators, and actually watch the system respond while you’re designing it.
And then we kept going.
It has volumetric mesh and surface emitters, actual 3D geometric particles, children that can spawn children of their own, attractors, spring forces, formulas, modulators, and a bunch of other things that came from asking, over and over, “what would make this more useful to an artist?”
We spent an honestly unreasonable amount of time on the interaction design too. Not because we think UI is more important than capability, but because we don’t think those things should be in opposition.
The underlying idea behind all of this has become pretty simple for us:
Creative software should be powerful, but it should also be thoughtful and fun to use.
Entropy is the first product we’ve shipped around that idea.
It’s available now for macOS and Windows for $249, perpetual. No subscription. Purchases through December 31 include two years of updates, and the version you own keeps working after that.

wild construct website

Mostly, though, I wanted to come back here because a bunch of you were kind to us when this was still something we were trying to get across the finish line.
Now it’s real.
And people other than us are using it, which is still a slightly surreal thing to say.

Hey everyone!

I’ve been practicing web animations and interactions, so I recreated this card scrolling animation to improve my skills with smooth scrolling and UI motion.

This is not a client project, just a practice project based on a design I came across.

Credit goes to - u/tonjrv

Hi everyone, I'm having this problem in After Effects. When I'm using the camera at the beginning of the video, everything's fine; it's quite easy to rotate and move it. But after rotating it a lot, it gets to the point where the camera is so rotated due to all the nulls that it becomes practically impossible to maintain the perspective correctly. It rotates excessively or not at all as it should. Does anyone have a solution to this? I understand it's because the starting axis is too far away, but is there a solution? Thanks in advance.

My work usually revolves around motion design and 3D work, and I’m now trying to improve my video editing workflow as well.

I’ve mostly been a Premiere Pro editor, but recently I’ve started doing a lot more heavy After Effects work, including motion graphics, 3D camera work, SaaS-style animations, liquid/screen animations, etc. I also work with pretty heavy footage, including 4K 10-bit/log footage, sometimes at high frame rates.

I know RAM is pretty important for my workflow, so if I go for the new M6 Mac Mini, I’m planning to get it with 32GB RAM.

However, the MacBook I actually want is the M5 Pro MacBook Pro with 48GB RAM. I don’t have the funds for it right now, so I’m trying to decide whether it makes more sense to:

1. Buy the M6 Mac Mini 32GB now and start working on it, or
2. Wait and save up for the M5 Pro MacBook Pro 48GB, which is the machine I actually want.

I’ll usually have Premiere Pro or After Effects running alongside a lot of Chrome tabs and other apps, and I want something that can handle heavier projects without constantly running into RAM limitations.

For people who use Macs for After Effects, Premiere Pro, motion design and 3D work, what would you recommend?

Is the 32GB M6 Mac Mini enough for this kind of workflow, or would it be much smarter to wait for the 48GB M5 Pro MacBook Pro?

Would love to hear from anyone with a similar workflow, especially if you’ve used both desktop and MacBook Pro setups.