Trapcode MIR asset

- So this asset was created using a combination of mirror, find edges, and a little bit of glow, and I think that was really it. But most of this guy is actually generative. I ran sound keys, got my left, right, middle, and then strapped that to my offset parameters for mirror so basically it is kind of constantly pulsing back and forth. So we're driving our amplitude, our evolution, and our X-offset. Those are the only two things that are animated in this plane set-up. So you can see that we are getting this pulsing kind of set-up that is reacting to the audio that is coming through. I then strapped that to this edges ramp, which we just have a very simple gradient, white to black, fades itself off nicely, so that way, when it comes back in here, we don't have any fractal influences happening here on the top and bottom. So then we take another step out, where you can see that I went through and swung us over to the wire-frame view of it, so that you start getting this kind of like polygonal look to it, so it's creating this illusion of structure. So you can see that we kind of have this kind of topographical kind of look to the whole thing. And what we're doing here is, we have our original mirror, that's our bottom asset. And we have the exact same one, only this time we are using posterize and edge detect. So you can see now we're getting this kind of jostling movement style. Now I have another version of my posterization edge detect, and for this one what I had done is, I am now kind of clipping down my areas so it's a little more constrained to the highlights. I'm not so worried about getting lines for all of it. And now we start adding back in some of the actual original mirror itself. We now have a light that is sourced up here to kind of give you more of kind of that sheen-y, kind of wet fall-off kind of aspect, giving you a little more of a plastic-y feel. So now we're screening that over the base of everything else. Oh, and then I should probably touch on, you know, we have Mojo, because it was late at night so, you know, Mojo sometimes can just shellac it together pretty nicely. We have a little bit of diffusion, a little bit of color correction, and then I like doing selective saturation a lot, being able to have deep rich kind of tones in the shadows that maybe fall off to more of like a skip bleach kind of feel up top. Personal preference. (Unintelligible) graph. You kind of do what you want to do with that. Well, yeah, so when you kind of end up adding all this stuff together, you end up coming up with an asset that does this. So, in actually building out the comp itself, I went to my usual friend, which is RepeTile. So that same asset that you just saw me use a second ago. Turn everything off. There it is right there. So I'm running YY Ramp, RepeTile, hue saturation, and then I have the exposure and gamma offsets that I actually did a little bit of key-framing here and there just for some blow-outs when I needed them. So then when you turn all that on, now you have this nice kind of organic-feeling, really kind of complex, kind of fleshy shapes that you can get out of it.