Posted On: Software After EffectsGreyscalegorilla


Andrew Kramer Backstage Interview From Half Rez 2016

May 17, 2017 - By 

A backstage interview from Half Rez 2016 with Andrew Kramer from Video Copilot. We talked about how he got started in Motion Design and he gives tips on how YOU can be a better Motion Designers today.

This video was recorded during Half Rez 2016.
Half Rez is a conference to celebrate motion designers held in Chicago IL. Want to be at the next event? Learn more here:


Siggraph 2016 Maxon Presentation Videos

August 10, 2016 - By 

Thanks to our pals at Cineversity, we will be posting all of the Maxon presentations from Siggraph in Annehiem as they get released! We will be updating and adding videos to this page as they become available, so check back often! Thanks again to Maxon US and for recording and publishing the Siggraph 2016 C4DLive Presentations. Enough talk, let’s get to the videos!


Athanasios Pozantzis

Siggraph 2016 Rewind – Athanasios Pozantzis: What’s Next in Cinema 4D from Cineversity.

Chris Schmidt

Siggraph 2016 Rewind – Chris Schmidt: Creating Advanced Controllable Dynamic Splines and Tentacles from Cineversity.

EJ Hassenfratz

Siggraph 2016 Rewind – EJ Hassenfratz: 2D Character Animation from Cineversity.

Melissa Oakley

Siggraph 2016 Rewind – Melissa Oakley: From Sports to eSports: Creating a Broadcast Package from Cineversity.

Nick Campbell

Siggraph 2016 Rewind – Nick Campbell: Breaking New Ground in Cinema 4D from Cineversity.

Carlos Ferrer

Siggraph 2016 Rewind – Carlos Ferrer: Cinema 4D for Filmmakers from Cineversity.

Sekani Solomon

Siggraph 2016 Rewind – Sekani Solomon: Creating Dynamic Animated Crystals from Cineversity.

Nik Hill

Siggraph 2016 Rewind – Nik Hill: Designing and Modeling 3D Assets in C4D from Cineversity.

Derya Öztürk

Siggraph 2016 Rewind – Derya Ozturk: New MoGraph Features in R18 from Cineversity.

Brett Morris

Siggraph 2016 Rewind – Brett Morris: Procedural Methods for Motion Response from Cineversity.

Chad Ashley

Siggraph 2016 Rewind – Chad Ashley: R18, Arnold and Other Cures for Bad Clients from Cineversity.

Sekani Solomon

Siggraph 2016 Rewind – Sekani Solomon: The Dolby at AMC Prime Preshow from Cineversity.

Robert Paraguassu

Siggraph 2016 Rewind – Trevor Kerr: Hollywood VFX on an Indie Budget from Cineversity.

Trevor Kerr

Siggraph 2016 Rewind – Trevor Kerr: Hollywood VFX on an Indie Budget from Cineversity.

Casey Hupke

Siggraph 2016 Rewind – Casey Hupke: MoGraph Improvements in R18 from Cineversity.

Ryan Summers

Siggraph 2016 Rewind – Ryan Summers: 50 Tips in 50 Minutes from Cineversity.

More to Come…

Nik Hill

Siggraph 2016 Rewind – Nik Hill: MoGraph Tricks and Tips to Supplement Your Workflow from Cineversity.

Sam Balcomb

Siggraph 2016 Rewind – Sam Balcomb: Metroid: Motion Capture, and Sci-Fi Environments from Cineversity.

Derya Öztürk

Siggraph 2016 Rewind – Derya Öztürk: New MoGraph Effectors in R18 from Cineversity.

Chad Ashley

Siggraph 2016 Rewind – Chad Ashley: Color Grading for the 3D Artist from Cineversity.

Athanasios Pozantzis

Siggraph 2016 Rewind – Athanasios Pozantzis: Tips, Tricks and Techniques for Medical Animation from Cineversity.



How To Make A Dynamic Title Card In Cinema 4D

August 9, 2016 - By 

In this video, you will learn how to animate a dynamic title card in Cinema 4D using Dynamics, Cloners, Mograph, And the Variation Shader. Towards the end of the video, I will show you how I get these exact reflections and textures using HDRI Studio Rig and Topcoat.

Subscribe to Greyscalegorilla on Youtube
Join The Intro To Cinema 4D Series


The First Plugin: The Origin Of Motion Design

June 30, 2016 - By 

The More You Know

Around 1984 I was sitting in my living room in my footie pajamas and watching Saturday morning cartoons. The commercial breaks and production company openers were FULL of animation. But it wasn’t cell animation or even stop motion. It was often blue and full of grids and starbursts.

“The More You Know” flashed across the screen and DIC and Hanna-Barbera logos swirled around in their blue and rainbow glow.

These animations swirled around my living room and my brain with out of tune Moog synthesizer jingles playing over them. Star-filters and dusk chrome gradients filled my head and every second of TV I could sneak in before my parents woke up.

This was the first “Motion Graphics” that I remember seeing. And those blue swirls have stuck with me throughout my over 10 year career in Motion Design and animation.

Chasing The Light

Thousands of other kids my age grew up seeing all this stuff and some of us made the decision to figure out how this animation stuff is made.

Plugin developers like Peder Norrby from Trapcode gave us ways to emulate these effects with ease. Also, Artists like Harry Frank clearly had the itch to bring these 80s effects to life.

We traded formulas around to get that TV look JUST RIGHT.

Scanlines? Check! CRT Effects? Check! Glows? Check.

So many of us were trying to emulate the look we remember from the early 80s living room. And we were getting pretty dang close!

This excellent Justice Video probably got the closest to really nailing these effects.

But as with most emulations, you can get pretty dang close but it’s never absolutely perfect.

I kept thinking “How in the heck did they make this stuff to begin with? How is it that we have all this new technology, plugins, and computing power and we cant make something look the way it did over 30 years ago?

Scanimate is the answer.

It’s All About Analog

Finally discovering Scanimate was absolutely the missing piece in the pixel puzzle.

Here was a huge analog computer from the 1970s with the ability to make real time animation.

The result was filmed and manipulated on a monochrome CRT screen and then colorized all through analog circuits.

It was then I realized why these effects were so had to emulate. The analog nature of the machine and the filming of actual phosphor made a look that was almost impossible to emulate with digital manipulation.

Just like photographers chasing the “film look” and music lovers chasing the “analog sound”, we too were looking to our past to try and emulate old technology with modern tools.

I obsessed over this machine. And when I found that there was still one in working condition, I knew that I just had to see this thing for myself. I was telling everyone about this thing. I even did my entire presentation at Half Rez 2014 on the Scanimate.

Scanimate Presentation from Half Rez 2014

My passion about the Scanimate came out during an interview with And they loved the idea of making a documentry about it. Months later, I was on a plane to North Carolina to actually see and play with a Scanimate!

I just HAD to see what the actual process was like making an authentic analog animation just like the ones I was chasing for over 30 years.

I had the pleasure of sitting down with original Scanimate Artist, Roy Weinstock and Scanimate Technician and owner Dave Sieg to talk about how the Scanimate got started and how all the magic worked.

I also couldn’t pass up the chance to make an authentic Scanimate animation with the machine. You can my perma-grin in the film when they finally got my logo up on the CRT. It looked just like what I was searching for all these years. In all it’s analog glory.

Greyscalegorilla Logo Animated With An Original Scanimate

Thanks to Roy Weinstock, Dave Sieg, Everyone on the team and the excellent film crew for helping make this kids dream come true.

Extra Link: (This is a Video of me in that exact living room and that same TV).


Three Color Correction Basics To Add To Every 3D Render

June 21, 2016 - By 

Color correction can often be the difference between making a GOOD render and a GREAT render. Add these three basic color correction tools to your workflow and get much better results on almost every project you do.

In this video, I will show you how to add basic color correction to many different 3D renders to help give your work a more polished look.

Post your before and after in the comments below. I would love to see this stuff in action.



Follow us on Instagram