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Mitch Myers is a Canadian graphic designer based in LA. In addition, he is also a prominent partner. He rose to fame for tying the knot with longtime love Tori Anderson.
Tori is an acclaimed Canadian actress. She is also an acting graduate magna cum laude. The lady is known for her works on “Open Heart”, “The Other Kingdom” and “No Tomorrow”.
Mitch and Tori first met in 2010 and started dating. After being in a romantic relationship for 8 years, they finally tied the knot in 2018. As of now, they live happily in LA.
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Surname
Mitch Myers
Age
30-40
gender
Masculine
Height
Approximately 5 feet 8 inches
nationality
Canadian
profession
graphic designer
parents
Cori Meyers
siblings
Avalon Myers
Married single
Married
Wife
Tori Anderson
@m1tchmyers
10 Facts on Mitch Myers
Mitch Myers is a graphic designer. However, he is best known as the famous celebrity spouse of Tori Anderson. To be true, Tori and Mitch Myers dated 8 years and knew each other better. Finally, in 2018, they became husband and wife. Mitch Myers lives a decent life but his net worth details are not found. On the contrary, Tori has a net worth of around $1.5 million. There is no trace of Mitch Myers’ true birthday and zodiac sign. However, he is believed to be in his 30s. No doubt some of Mitch’s biographies can be found online. Also, his partner definitely has their own Wikipedia page. Myers comes to family and is blessed. He had a glamorous childhood and was carefully raised by his parents, including his mother, Cori Myers. In fact, Mitch isn’t the only child. That means he also has a sibling. Also, Avalon Myers is his sister. Myers is a smart and educated person. Also, he is handsome, measuring about 5ft 8in tall along with a toned physique. Would you like to know more? Mitch is a creative person and has chosen a challenging field for his career. He is a graphic designer by profession. Speaking of online presence, Myers is active on Instagram. So far he has amassed 905 followers.
Who is Mitch Myers?
Mitch Myers is an art director, Motion Designer, and artistic celebrity in the Motion Design world. Mitch has done work for Universal, Gopro, the NFL, and Southwest Airlines.
Is Tory Anderson married?
Who is Tori Anderson’s Husband?
How tall is Tori Anderson?
How much is Mike Myers?
| Name | Michael John Myers |
|---|---|
| Net Worth (2022) | $200 Million |
| Profession | Actor, comedian, producer, director, and screenwriter |
| Monthly Income And Salary | $2 Million + |
| Yearly Income And Salary | $20 Million + |
What age is Stephen Huszar?
How old is Victoria Anderson?
What Hallmark movies has Tori Anderson played in?
Hallmark viewers will know Anderson from her roles in the Hallmark Channel original movie “Love Under the Olive Tree” and “Return to Christmas Creek” for Hallmark Movies & Mysteries.
Who plays Blake Crawford on blindspot?
Does Tori Anderson sing?
For the 27-year-old, who is also a singer (she shows off her pipes in the first episode), leading a major U.S. TV show was always something she “subconsciously” hoped to accomplish at some point in her career, but never something she dared mention.
How tall is Vanessa Minnillo?
How tall is Corey Sevier?
Who is Tori Anderson’s mother?
Anthony Anderson’s Lifestyle \u0026 Net Worth 2022
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Mitch Myers Net Worth: 10 Facts To Know About Tori …
Mitch Myers is a graphic designer. However, he is best known as a famous celebrity spouse of Tori Anderson.To be true, Tori and Mitch Myers dated for 8 years …
Source: 44bars.com
Date Published: 11/18/2022
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Mitch Myers Net Worth: 10 Facts To Know About Tori … – 650.org
Mitch Myers is a graphic designer. However, he is best known as a famous celebrity spouse of Tori Anderson. To be true, Tori and Mitch Myers dated for 8 years …
Source: www.650.org
Date Published: 1/28/2022
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Mitch Myers: Meet Spotlight On Christmas Tori Anderson …
Mitch Myers is a notable graphic designer. Also, he is famous for being the husband of the successful Canadian actress, Tori Anderson.
Source: ab.com.tc
Date Published: 1/18/2021
View: 1717
Mitch Myers: Tori Anderson Biography , Husband Age, Wiki …
Mitch Myers is a famous graphic designer. He is also known as the husband of Successful Canadian Actress Tory Anderson.
Source: www.ncertpoint.com
Date Published: 5/27/2021
View: 4788
Perception is (Almost) Everything with Mitch Myers
We sit down with Art Director Mitch Myers to discuss the importance of branding, perceived value and consistency in motion design.
When was the last time you thought about yourself as a brand? Like it or not, the perceived value of your Motion Design brand is just as important as the quality of your work when it comes to bringing the bacon home, and today’s guest is a branding genius.
Mitch Myers is an art director, motion designer, and artistic celebrity in the motion design world. Mitch has worked for Universal, Gopro, the NFL and Southwest Airlines.
You’ve probably seen Mitch Myer’s work close to a dozen times a day for the last several years. He designed the After Effects CC 2018 splash screen with Jorge Estrada (and we’re still not 100% sure he’s not an Illuminati member).
In this podcast episode, Mitch talks about your value as a motion designer, how to build a strong brand, and why consistency is important for aspiring MoGraph artists. Get out your notepad. You will want to take lots of notes.
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MITCH MEYER’S INTERVIEW SECTION
Joey: If you think so much about your own website and the way you present yourself and a client will recognize it, they’re going to give it a lot of thought to justify the kind of work they’re going to do for us. It will be worth the amount they charge. It just takes a little bit more professionalism, as long as you’re consistent then I think you’re golden.
If you’ve ever opened the CC2018 version of After Effects, then you’ve seen Mitch Myer’s work. He teamed up with our brilliant friend Joje Estrada aka JR Canest to create the splash screen for this release of After Effects. It was his first freelance job. How the hell could such an opportunity just fall into his lap? Well, it turns out Mitch got a lot of things right when it comes to building a personal brand, doing public relations, and having a strong online presence. He’s also very talented, which helps.
In this episode, I talk to Mitch about how he came up with the look of his work, which is really cool and [cinematic 00:01:23]. Also about his approach to his career. There are loads of actionable tips in this episode, and I think this is one you might want to take some notes on. Well, before we meet Mitch, let’s hear from one of our incredible alumni.
Robert: My name is Robert [Niani 00:01:39] from Columbus, Ohio and I attended Rigging Academy’s character animation boot camp. What I took away from these courses is a really great foundation for character animation. I used to dread projects that included aspects of character animation, and now it’s become my favorite part of a project. Anyone who wants to learn the basics of character animation and how to make them meaningful needs to take Character Animation Bootcamp. If you want to learn how to create the rigs you use in After Effects, you definitely need to visit the Rigging Academy. Take both, believe me, it’s worth it. My name is Robert [Niani 00:02:18] and I am a graduate of the School of Motion.
Joey: Mitch, dude, it’s great to have you on the podcast. Thanks for taking the time, dude.
Mitch: No problem, it’s good to be here.
Joey: The first thing I’m going to ask you about is that I actually ask anyone whose work I think is beautiful and well designed. Where did you develop your eye for this stuff? Especially your work has it, I tend to describe things like that as [filmnic 00:02:48]. It has a lot of lights and textures and it’s obviously 3D and you have one eye almost like a cameraman. I’m curious, when did you develop this and how?
Mitsch: Yes. So I think it’s part of a bigger process because I started out as a regular motion designer. I did a lot of 2D stuff, some 3D stuff. Early in my career I’m trying to develop my career as an artist rather than trying to develop your look and your style and stuff like that. So it didn’t take long for me to sort of find my place in 3D and start figuring out how much fun it was. It was very natural and it felt like my place.
So I started working very heavily in 3D and knew that my work should reflect what I wanted to do, what kind of work I wanted to get from an agency that would hire me. At the time, I didn’t really imagine becoming self-employed anyway. So when I got into this 3D world, I always sat in the cinema when I had free time, especially when I was at my last agency. Every lunch break I try to create something cool just to get more in tune with my programs in 3D, which is Cinema 49 first and foremost. Test the waters to see if this might be the way to go. Maybe I can be more of a specialist. When you become a specialist you almost need that look and something that differentiates you from others. Since you’re into one thing, you don’t get hired for a bunch of different types of looks and elements and things like that. So you really need to stand out.
That’s when I really… I think I started to develop an eye just for cinematography while just studying film theory, which I like to do for fun. I’m the kind of guy who watches a movie and just focuses on just arguing why he chose certain lights and camera moves. The way they edited the film and stuff like that. It just always fascinates me. I think I just do this in my spare time and don’t even realize it would carry over to my 3D work. It kind of felt natural. Also, this kind of study somehow integrates into my work and I try to find my style. I think those two combined and it helped me come up with that kind of design and look that people can kind of recognize. It was almost organic how that came about.
Joey: Cool. So you just said a few things that I kind of want to address. The first thing you said was really interesting. Did you say you just started your motion design career, that was phase one. Then you figured out what your look and style would be like. I think that’s… To me that seems like a very smart way to do it. It’s handy, sometimes as artists we’re really fixated on finding our voice and stuff like that. But as a practical matter, as someone who wants to use it to pay their bills, you think that… Would you recommend other artists to do it this way? Don’t worry about finding your voice just yet. First find a job, gain experience. Give yourself a few years and then do it.
Mitch: Yeah, it’s a lot easier to find your style and your looks when you’re not so worried about money or trying to find a job or something. It kind of went from grinding to just doing this kind of artist thing. I’m just trying to get into my art and all that cheesy stuff. But it’s a lot easier to do it like I did I think. I wasn’t really trying to make it or argue it, it just sort of happens. I think I was probably really lucky that I agreed to do it that way. That somehow staying on this path helped me get to where I wanted to be.
I always had big goals for my career, but I didn’t know how to achieve them. I just knew that eventually I would get there. So, having that larger goal in mind will help you organically create that path to what you want.
Joey: I love that you called it cheesy. This whole idea of empathizing with your art. But actually it sounds like looking at your work and your portfolio, it has a look. You may already be at a point where people can somehow figure out what Mitch did. But it seems like that actually comes from something you love, which is film theory and just the language of film in general. So that’s practically what it means to empathize with your work. It doesn’t mean, like Jim Carey, locking yourself in a painting studio for a month and not eating or painting all day. It’s really just doing what you enjoy, and it kind of carries over into your work in this weird, esoteric way.
So I want to ask you about film theory because you said I like to study film theory in my free time. But what does that mean? Do you just watch movies and sort of reverse engineer them or do you read books, do you read websites? How do you actually understand what is happening?
Mitch: Yes, that’s a good question because I think for a long time while I was working I didn’t really realize that I was studying film theory. I just studied what interests me about film. It was always this kind of behind the scenes why and the reasons for doing certain things to get certain reactions or emotions from your audience. That was always very interesting because it’s kind of the magic behind it. So it kind of evolved from just doing that when I’m watching movies.
Then I realized it was me, that’s film theory. I don’t actually do this stuff in my head. This stuff actually has a rationale. From there I tried to find as much as I could about film theory, which is actually quite difficult. If you google film theory, there are many different things that people consider film theory. So I guess you kind of have to choose what really interests you when it comes to film theory. At least that’s what I did, which would be more lighting and camera movement and cut sequences and stuff like that.
Just a way of telling a story without having a reaction. You don’t even have to have a specific actor/actress in the scene. You can tell a story just like moving a camera or lighting something or editing something, stuff like that. That’s what’s really magical to me. Of course I studied that somehow. Unfortunately, there’s nothing I can really recommend for people looking to learn about film theory. Just because I don’t have that on hand, it’s always been a kind of organic way of studying and researching for me. But it’s out there.
Joey: I know I wanted to recommend it and unfortunately it doesn’t really go any further. But Every Frame of Painting was this YouTube channel that I thought was probably the best example of someone teaching film theory in a really digestible way. It actually makes a lot of sense now that you would be drawn to 3D because if you’re interested in cinematography and lighting and camera movement and things like that, it lends itself very well to 3D. It also lends itself to After Effects, but it’s more abstract, there’s more of a one-to-one relationship. That’s really cool.
Yes, I wanted to ask you. You mentioned that you kind of fell in love with 3D and decided you wanted to specialize in it. Were there any other things about 3D that somehow pulled you away from the traditional MO Graphics After Effects thing?
Mitch: Yeah, I’d say the film theory part was pretty big in the decision simply because it’s a little bit more natural like you said in 3D. To see your camera and your lights and set things up. Especially with these new render engines, you can set something up the way you practically would and you’ll get the same results, which is awesome. Especially when you’re an art director and all. It’s much easier for you to imagine what it should be like and translate that into 3D, and you were able to do that before.
So yes, it’s a bit more natural for me to be in this 3D world. I’m just often asked how you find your look and how does that come about, how do you get your own style? It’s almost, there’s no real thing you have to do to get this. But for me, all I would do for fun was be in Cinema 40 and do 3D stuff. Everything I did that I was at least passionate about and the reason I came up with this look were these things that I did in my free time. Basically, if you’re doing these things for fun and you’re doing it all the time, that kind of thing will develop in your look in general.
Being able to take the clients and monetize them with the kind of work I would do in my downtime is something of the golden ratio.
Joey: Right. What it commemorates and we’ll go into that a little bit. But I want to say one of those things that I always kind of run into when I’m talking to people primarily about freelancing, but also just being in the field in general. If you want to get paid for something, you must first do it without being paid for it. When you’re tinkering and doing these personal projects and stuff like that, that’s the stuff you like to do. If you want to get paid for it, you better be good at it and do it enough times that you’ll do it for free for a while.
Mitch: Yes, very much.
Joey: Okay, before we get into that, I want to talk a little more about your background. I saw you on LinkedIn, you have a Bachelor of Fine Arts from Devry, which is interesting. I didn’t even know they offered BFAs. For multimedia design and development. Just curious how was that program and what skills did you develop there?
Mitch: I’m thinking college at this point, at least from what I know about the industry now. I think it’s a good thing and a bad thing for a lot of people. The good thing would be that college is the place to make connections and hopefully learn something.
Joey: Hopefully.
Mitch: Hopefully learn something. But it also costs so much money. So the school I went to wasn’t that great. I haven’t really gained any kind of knowledge or anything. I think half of my college career was prerequisites and stuff like that that wasn’t related to design. It kind of felt to me like I wasn’t paying for much. So I developed my style and my craft and my career and all that stuff way faster than college could possibly keep up. Simply because I am incredibly motivated and determined to achieve certain goals that I have set for my career. That it might even be a situation where I just sort of outdid myself and not really… I was a little bit ahead I think.
So my rationale behind the college thing was that it basically evolved into us getting this piece of paper and then getting a good paying job and sticking with that. What’s funny now is that I’m a freelancer and don’t really need this note anymore. But I think if you look back at the start of your career and stuff like that, you wouldn’t necessarily change anything. Just because the choices I’ve made up to this point have gotten me to where I am now. So I can’t really hop on to college too much. But it’s just one of those things that I’ve had to go through to make the kind of decisions I’m making now.
Joey: Right. I have many opinions about college, I have expressed them very strongly on this podcast. But I agree with you, there’s no way you can AB test your life and know what would have happened if you hadn’t gone to college. Instead, I just stayed home to practice, do tutorials, or read books, whatever. But it’s just interesting to hear that. So my next question is: where do your design skills come from? Consider your early work in particular. Now if you go to Mitch’s website you will see a lot of really cool high end 3D looking stuff. It kind of feels like it was made by the same artist.
But if you go back in time if you google Mitch a little bit you might find his Behance page or his Vimeo page, you’ll find a lot of stuff he did for the St. Louis Rams where it’s a lot more traditional broadcast graphics stuff like that. But the compositions are strong, the typography is strong, you clearly have design skills. I wonder where that came from if not from school.
Mitch: Yeah, I don’t really know because I started designing while making music. It was basically doing merch design on tour because a lot of times on the road are really boring. You have two hours really intense and then the rest of your time as a musician is very boring. So I don’t know, maybe it’s just from practice. Doing things repeatedly is probably the best way to get good at something, and maybe a little talent is it. I don’t know, it was a kind of self-discovery process in the artistic field.
Be it music or design or motion design or visual effects, whatever. It hasn’t gotten me from the start of my pro career to where I am now. It was a constant way of shaping myself. Switch directions and find out what really makes me happy. That was kind of the reason why I made a decision in my life. I’m the type to make quick decisions no matter how daunting they may be. When I feel it in my stomach that it’s the right thing. So I think that in shaping myself and my career, I’ve kind of taken what I’ve found that I need to excel at. I’ve worked incredibly hard to actually reach the caliber I envision.
So I think a lot of the design, at least up to where it’s arrived, is basically because I really focus on being the person that makes something look really good.
Joey: So we should just say that for people who don’t know, but in a past life Mitch was in a… Was it a soft rock band, sort of a jazz band? How many strings did your guitar actually have, did it have six or seven? I think that’s the real question here.
Mitch: Yes, it was six. It was before the seven-string [Giffard 00:21:02] that’s going on right now. But yeah, it’s good old metalcore stuff like [Azledying 00:21:11]. You know that situation from 2008 when Metal Core got really big and every city scene was great?
Joey: I was there.
Mitch: [garbled 00:21:22] so crazy, it was so good. But yes, that was my previous life, it was fun.
Joey: That’s great. I hope [J Fad 00:21:29] never goes away.
Mitch: I know it’s my jam right now. It is sweet.
Joey: Anyway, what I wanted to ask you was that I think you and I probably have a similar mindset. When I started I was super ambitious and very motivated. I’ve always been pretty disciplined and able to practice things like that. But my work didn’t really get any better until I had some kind of feedback mechanism. Where I could have someone to tell me if this is good or not good, or at least have a way to really compare something and develop a taste. So I’m just curious how that happened to you or if maybe you didn’t need that. Maybe you just have a talent for it.
Mitch: Yeah, I think most of the time when I was trying to be good I was looking at other people’s work and I just felt like shit. I often love my work and five minutes later it’s like pure garbage to me. So it’s hard to keep motivated when your mindset is like that. But also if you kind of flipped it and think, okay, my work isn’t that great. At least by and large when I compare myself to what I think is the best. It’s almost a motivating factor. I always have this thing in my head and it’s about me “manifesting” my future. Basically, I’m already where I want to be in my career. I just haven’t gotten that far yet.
So I already feel great about my work. How people come to me and say my work inspires them. It’s like blah blah blah. I’m just not at this point. So it’s kind of a motivating factor that things will turn out the way I want them to and that my goals will be achieved. I just have to do whatever I have to do to get there. I think it was mainly to see how subpar I was, but motivated by the fact that there is such a high level of design and craftsmanship that I could possibly achieve. That it’s really exciting. At that point I was pretty sure where my career was going. So it’s very fluid, making decisions when they need to be made and adapting as quickly as possible. Just keep me happy and my mindset right.
Once you’re a happy person, I feel like your art can excel to a degree that you couldn’t when you’re depressed. Which is funny because every artist thinks of this depressing character. In the darkroom, pouring her emotions into her art and stuff. I don’t know, for me it’s always been about happiness and feeling successful and motivated. It kind of means I’m in that positive frame of mind when I’m doing something. It’s just endless excitement. So it’s great.
Joey: Yes. You make me think, I want to evoke your way of thinking there. I think that’s really, really, really important for people, especially when you’re starting out in the industry. Motion design, like many fields, is one that you’re going to shit on for a while. It’s just a very difficult thing to get good at and it just takes time and it takes… You have to get all those bad designs out of your brain so you can finally start getting some good ones at them. A lot of times that burns out with people, people just leave the industry to settle down or whatever.
But the way you describe your mindset is almost like anticipating the day when your expectations of yourself will become a reality. They are slowly closing this gap. It really is the way to stay motivated because there is a saying. I’m not sure if it’s really like a compliment or not, but I once heard someone say that Americans are kind of unique because everyone’s just a millionaire on the waiting list or something. In some cultures that’s not the way people think, but that’s a very ambitious, uniquely American way of looking at things. I’m already successful in the future, I just have to wait long enough to get there. I don’t know, it seems to have worked really well for you.
Mitch: Yeah, I think when you have those bigger goals in mind for yourself, it’s like you can really manifest your future, which is a weird way of saying that. It almost sounds like-
Joey: Little [unintelligible 00:26:55]
Mitch: [garbled 00:26:56] Yes, really. But it’s true and it has real legitimate basis in actual situation I think step by step. When you have these larger goals and believe that you will achieve them, you will take actions and decisions in your daily life that you will unconsciously make based on that larger goal. You might not notice it in that particular time or something. But if you look back on it you’ll think, man, I made so many small decisions that played a part in this bigger big plan of things I had for my life. It kind of ended up where I am now.
It’s strange that one can think in such an esoteric way of thinking. But then you look back and it really mattered and it actually made a difference.
Joey: Yeah, I totally agree with all that stuff. It’s interesting to talk to people who have been successful in their field, in any field. You often hear such ideas. I think about that a lot because part of my job, most of my job, is helping people get from where they are to where they want to be. It’s often just a matter of practice and time. So the key is how do you keep someone motivated enough to just get the job done? If they make an effort, they will get what they want, it’s a matter of time. Having a positive attitude towards these things, I think that’s the key.
So let’s talk a little bit about your recent work. So early in your career you mentioned that you had a full-time job, you worked. They called them agencies. But was it like an advertising agency, like a studio, what was actually the company you worked for?
Mitch: Yeah, so my first job, my first paid gig, was a motion designer for the St. Louis Rams. We’ve done a lot of this type of video work for online websites. We did some documentary stuff for NFL Network and then we did the graphics and visuals for the stadium. It was kind of a good, well-rounded kind of job. I’ve done a lot of different things. The people I worked with were super great and I was allowed to contribute my taste. Even if it was my first job back then and I didn’t have much taste. But I should at least be able to spread my little wings a bit and start thinking in a different way and way.
After that I wanted to be an agency now. I never knew I would do sports. I’m not a big athlete. I think it was just a good introduction to this type of industry. So I thought, okay, I want to go to an agency, I want to work with different clients every day. I want to know more about what this whole thing is about. I had a choice to either go to LA and stay with the Rams or go to Chicago. I had a potential position with the guys upstairs in [Lovayathan 00:30:37]. They are a great agency so I was really excited about it. Or stay in St. Louis and try to find something here.
It ended up being that I had a wife and a little girl at the time. We were a little grounded here. We even went to Chicago and looked at houses. Really a second away from making the decision when I got the call from an agency down here called Vidzu Media and they were interested in me coming over and working for them. So we decided to stay in St. Louis and work with Vidzu and it was a really cool place to work with. We work with big customers. We’ve had some pretty big ones like Sams and Southwest, things like that.
It was a pretty cool time and I was there for I think a year and a half, almost two years when I decided it still wasn’t really for me. I was having a good time, I was doing some decently cool work, but I just didn’t feel complete. That’s when the thing about freelancers came to mind. Maybe you should. will it be ok I’m going to totally ruin my career or even hope for that kind of thing? Then it was even scarier, I thought what if I don’t like freelancers either? What should I do? I’m not completely satisfied with anything, I’m going to have to rethink this whole situation.
So I was definitely scared of almost any freelance opportunity. But as I said, I have these goals. So I thought, hey, I still want to finish this one. It seems like this is how the route worked out for me, so I just have to go for it. When my wife gave me the all-clear, I thought, okay, I’ll just do it now. She says it’s okay and she has faith in me that I can do it. I thought whatever, let’s do it. It’s crazy, it hasn’t been a year since I’ve been freelance.
Joey: That’s honestly amazing. It hasn’t even been a year and you have the work that you have in your portfolio. So let’s talk about it. So looking at your old work for the Rams and some of the other stuff I may have seen on your vimeo page or something. You are very, very different from what you are doing now. You can’t say it, you couldn’t look at a play you did a month ago and a play you did for Rams and say it was you, right?
Mitsch: Yes.
Joey: It’s like you just totally changed the kind of looks you achieve. I’m curious if this will continue because it looks like a 180 degree turnaround to me from the outside. I am sure that from your point of view it was rather gradual. But did you have to consciously make that choice and switch gears and say, okay, I don’t do that anymore? I’m freelance, I don’t wanna do stuff like that, I wanna do stuff like that and just close that door?
Mitch: Yes, I think it was very unconscious to a point. It was very new that this kind of look presented itself. While I was working with the agency, we and Vidzu did a lot of business related work, which is really cool. But I have this side of me that kind of needed that artistic outlet that I didn’t necessarily get with the clients we had. That’s when I started doing a lot more things in my free time than I used to. Doing random renders and stuff like that on my lunch break. I’m just testing different scenarios with lighting and different materials, stuff like that. I was really excited and excited about the opportunities that were presented to me.
I spontaneously ended up with the look that I have developed for myself to this day. Just having fun and going back to that kind of look over and over again just kind of happens organically. Then it got to the point where I was conscious of it and I was like, okay, I don’t do this kind of work here, but I want to do this work. It’s fun, I’m having a lot of fun with it and I want to be in Cinema 40 as much as possible. I want to be like a 3D guy. I think that was also a reason why I started my own business. At least my decision was, how do I do that? How do I make sure I’m doing the kind of work I want?
The agency I was with was amazing because they were absolutely passionate about what I was creating and they wanted to be that foundation for me. Get the kind of clients I wanted and all. It was quite amazing, I don’t think I’ll ever find that in any other agency I probably would have been in. But in doing so, I still felt like I needed full control to be able to make the really quick decisions I felt I needed to make to be a specialist rather than a jack of all trades. I really had to differentiate myself to be successful with it.
So that was that part of that jump, too. It was okay, now I can either fail or succeed, so let’s just do it. We’ll just see what people generally think.
Joey: That’s exactly what happened to me when I first became a freelancer. I had a very supportive boss, I was an editor at the time, but besides editing I also did a lot of after effects. I told them I wanted to focus on motion graphics, that’s what I want to do. He was super supportive and tried his best to get more orders like this. But in the end, if it was an editing job, that’s what I was doing, I had to do it. So that’s something I talk about a lot too. When you are an employee it can be an amazing situation but you have no control. That’s just one of the things you give up being an employee.
So your portfolio, actually your entire brand. Let me take a step back. Lots of freelancers when I go to their website and when I was a freelancer I certainly was guilty too. You go to my site and it would say Joey Korenman, Motion Designer and you would have little thumbnails of all my work. It looked very clean and very professional but there really wasn’t any branding. There wasn’t really a lot of personality, nothing to differentiate it. Your hand has this very strong mark. You have your logo and color palette and even the tone of the copy on your page. It kind of fits the way you present yourself in real life, in podcasts, in videos I’ve seen you in. I think while doing some research I noticed that it kind of feels like a band’s website. Almost more than a movement page is. I’m interested, how did you come up with that? Did you think I had to come up with a brand and sit down and brainstorm? How did you come up with this look and feel?
Mitch: Yes, I’ve always had a great passion for branding. Probably even more than the film-theoretical side of my work. It’s because of the same thing, it’s like this magic behind the art and with advertising and branding and stuff. It’s manipulative. It can be either for better or for worse I guess, but just the fact that it can be is really interesting to me. So I’ve always studied advertising and branding and why things work and why other things don’t and stuff like that. When I got the chance to do it myself, it was incredibly exciting. I’m like that self-promoter and the guy who likes to talk about himself and his work and stuff. I think it’s very exciting for me.
So I thought, honey, let’s get this brand badass. So if I look at the style that I’ve developed during that time, the brand that I have now was also only recently made. I’ve always had a logo for myself, but it’s just a logo. It wasn’t even the one I have today. I did a little refresher on that. If you look down, my instagram is probably the best place where you can see the logo changed on a specific date in the photos. At that point I was really solidifying how I wanted people to see me as an artist and a professional.
It got so granular that I wanted people to see a specific color and think of me. It didn’t even have to be a specific style like 3D rendering or anything. I just wanted it to be very natural for me to show up in people’s minds. I knew that would be one thing that would at least contribute to my success. At this point, going freelance and feeling nervous, I figured I’ll do what I can. To make sure I can be some kind of standout artist in this huge pool of other artists trying to make money.
So I think in developing the kind of brand that I was, I was very selective and very… I had a reason for every kind of decision I made. Yeah it helped quite a bit I think and I think it helped me see myself as more than just an artist but a real brand. That people can either relate to them or enjoy following them or something. Hopefully as it continues to evolve into something cool.
Joey: Yes, it’s definitely unique and it feels polished, it feels personal. I want to talk about that, when I say branding I think people often think about the logo and maybe the color palette and stuff like that. But your brand is really much more than that. I think it really trickles down to even liking the way you describe things on your website. For example, on your about page, you had a section that included some sort of your bio. There’s a kind of confidence, I think I used the word swagger to describe it. I think there was a quote on your page that said I’ve amassed a fairly legitimate following as well. Just typing that out and being cool when potential customers read that says a lot about the kind of brand you want to build.
I want to ask you specifically about that confidence and swagger. Do you think that’s something every artist should do, just be really brave with the way they speak? Do you only do it because it suits your personality?
Mitch: Yes, I think it definitely suits my personality. I’m very laid back and just want to have fun. That’s why I work in this field. But I also think it obviously works for bigger brands, it’s crazy but they’re just now figuring that out. Being very sincere and infusing your kind of style and character into everything you do. It just helps you connect with the audience, much more than just a stale corporate situation. When I think about it, it really comes down to how I email and how I talk to my customers and how I send out invoices. For me, literally everything has branding in mind. It doesn’t just create something that people can draw on and relate to and recognize. But it’s also a great way to present yourself as more than just an artist, but an actual…
If you think so much about your own website and the way you present yourself, the client will realize that they will give a lot of thought to the type of work they will be doing for us. It will be worth the amount they charge, that’s his rate. It just brings a bit more professionalism with it. Even though you’re a bit more, I guess you’re more relaxed about how you present yourself. As long as you’re consistent, I think you’re spot on.
Joey: Yes. I want to ask you about it. Her brand and all things red is dark, a little bit edgy, super confident and all that stuff. When I look at your work, I see that you’ve done stuff for the glitch mob. I’m sure that attracts a certain type of customer as well, but I could imagine that it might turn off some other customers as well. I don’t know if a deodorant company, I’m trying to come up with a safe company, was looking for an artist and saw your page. You might think that this guy is too nervous, although of course you are also perfectly capable of doing this job. I was wondering if that bothers you at all? Is it okay that with such a strong brand you might turn away some potential customers?
Mitch: Absolutely. That’s totally cool for me. I think I’ve evolved into an artist type that has a certain look and feel and stuff, and for good reason. That is, to get the types of customers I want. I want to attract these types of clients in a way that makes me enough money to live on, but also makes me enjoy doing almost any project. Since I’ve been freelance I haven’t had a single bad project, they’ve all been incredibly fun. I think that’s a testament to how I developed my brand. I don’t have to send an email to say you’re the kind of customer I want. They can go to my website and see that they are the kind of clients I want, which makes it easier for me.
Joey: That’s really very smart. It reminds me that one of the people I follow is called Seth Godin, something of that business marketing genius. A lot of what he talks about is this idea that big companies and big brands have to please everyone. So that’s what waters it down, but there’s so much work out there. Even as a motion designer who specializes in 3D and even likes a certain look, there’s still so much work out there that you can have this kind of niche-filling brand that might turn off some customers and still get the work, you want to get. I love that it gets you the work you want and you don’t have to slam it down as much as some other motion designers have to.
Mitch: Absolutely. You can almost think of it like car brands. Ford and Chrysler and things like that kind of appeal to everyone. They have a car for almost everyone. But if you look at Lambo it’s the 1% who can have one but everyone knows how badass Lambos are.
Joey: Right. Yes, that makes a lot of sense now. So I want to talk a little bit about social media. It’s interesting when I hear motion designers talk about how social media is like a really successful channel for them to get jobs. It wasn’t that long ago that I was freelance. I think that was four years ago, was my last freelance gig or something like that. It wasn’t that easy to get booked through social media. You still had to do a lot of public relations and stuff unless you were great, unless you’re Joje.
Mitch: Right.
Joey: But now it seems like everyone is doing it. I’m curious if you could talk a little about how social media has actually contributed to your success.
Mitch: Absolutely. It was pretty incredible. Most of my clients come via email. I don’t get many clients who give me an Instagram DM or anything, it’s not that far. But there were a lot of clients who mentioned my Instagram before mentioning my website, which is funny. I think I’m incredibly glad I made the investment in social media and realized that it’s going to be a big part of my growth as an artist. Because social media is somehow growing in society. I take a lot of time to ensure I will be successful on the social media front.
It helped a lot just to be able to be in a bunch of different places for people to see. Is one of the most obvious parts of advertising. Above all, advertise and market yourself to be in as many places as possible so people see you wherever they turn. Social media helped slightly with that, just Facebook and Instagram, Twitter and even LinkedIn. Tons of different content for people to scroll around and see your work. Go somewhere else and scroll around and look at your work again. You keep popping up. Countless customers said, “Hey, our creative director has been following you on Instagram for a while and your style suits us perfectly. let’s do something
So I guess if you’re a motion designer, visual effects artist or editor of whatever. Any type of area where you’re trying to get people to pay you for your craft, use social media as much as possible. You don’t have to rush people or really advertise or be one of those serial guerrilla marketers just trying to hunt people down for work. You can just be present on all this social media stuff. When your work is good and people appreciate it, they act like it’s really organic.
Joey: Yes. I have a feeling that social media alone is probably not enough to have the success you are seeing. But I guess it’s my way of getting gigs, it’s always been a numbers game. I’ve always had a lot of success when I actually went the other way. I would go up to clients and tell them about me just because I felt like it was a little bit more efficient. Now Instagram is so ubiquitous that Behance is becoming this really great way to get booked, and they’re pretty inexpensive in terms of your time.
Mitch: Absolutely.
Joey: Take something cool you just made and put it on Instagram and hashtag it takes seconds. It can take a few hours to post a small case study on Behance for the project you just completed. But you now essentially have a worm on the hook in a pond working for you 24/7. So I think it’s great and can’t wait to see where it goes. I just encourage everyone in the audience to check out Mitch’s attendance. We will link everything to the show notes.
Another part of your online presence is your website, you have actual products that you have created yourself like lighting kits and the like. You have a couple of tutorials, you actually have a newsletter, which I think I’ve almost never seen on a motion designer’s portfolio site. You’ve been doing rounds on industry podcasts and stuff like that. You talked about Maxon, you’re kind of everywhere. I’m curious, is it all that coordinated, or are these things actually the result of the success you’ve had with some of your projects like the Adobe Splash Screen? Did these things fall into your lap or did you make them and they contributed to the success?
Mitsch: Yes. So it’s a bit of both. I think getting the Adobe thing with JR was obviously a huge boost to my career. It was like my first freelance gig, which is crazy. Yes, that’s crazy. My first month as a freelancer was the busiest time of my life because I had C-Graph with Maxon who I was presenting for. I had two projects with the mill. I also had the Adobe splash screen thing in a month so I freaked out. But I think the ability to get to where I am now with all these different types of things that I do was partly due to being lucky enough to get these types of projects that really stand out. Then also to be the person who manifests a lot in their life. I think it was part of me to have this bigger goal, and then these things came up and I took the actions to actually make it happen.
I loved doing things like that. I love doing these podcasts, I love speaking for Maxon, and I’m the kind of person who can easily express myself with words, which many people might not be able to do. I know there are a lot of introverts in this industry. I was quite an introvert until I got into music, which forces you to stop being an introvert at that point. But I think being open to taking advantage of the opportunities that life offers is part of being successful. I think the reason a lot of people might struggle to be as successful as possible is because they’re scared of… either being scared or just not seeing the opportunities that life offers.
Lots of little things happen to me every day that I can strategize about. That would help me get closer to those goals that I have, and I’m just taking action for it.
Joey: Yes. Speaking of possibilities, I actually want to ask you about the Adobe After Effects splash screen. For any listeners who didn’t recognize Mitch’s name, when you open Adobe After Effects CC 2018 you’ll see a splash screen that was designed, it was actually co-designed by you and JR Canest Joje I guess. In my opinion probably the best after effects animator in the world. So I would like to hear the story about it. How did that happen? How did you and Joje work together to create that one still image? Tell me a story, Mitch?
Mitch: Dude, it was so much fun. I randomly received this email from Adobe one night. It was the weirdest email I could read because I was like, wait, what is this? I didn’t necessarily think they were asking me to do what they were asking me to do.
Joey: Why you? You are very talented but they found you by accident? How did this happen?
Mitsch: Yes. They said they were locating artists on Behance and I guess they ended up on my stuff. They basically just said that me and JR were their top picks and that they wanted to do something like a co-op thing this year because I think their idea was that they wanted to create a sense of collaboration as a team . What different kinds of artists can create when they come together. My stuff and JR’s stuff are very different. He’s very 2D oriented, I’m very 3D oriented. Mines is really I think mostly photorealistic as far as render types go and then JR stuff is very flat but it also has a lot of texture and a lot of movement. He’s very, very, very good at keyframing. I find it very fluid.
So I’m guessing here, but I think that’s probably why they chose the two of us to work together. They just saw the contrast and thought that would create something different. Shortly after having a brief chat with the folks at Adobe about what their needs were and what they thought, I and JR joined a video call. We were just like holy shit this is the busiest month of our lives, can we even do that? We both somehow agreed, there’s no way we’re going to refuse, we’re just going to suffer. Do something really great and be proud of it after this crazy month is over.
So we thought, okay, how do we do this? What are our mutual goals? First, Adobe wanted to create an animation instead of just a still image. Unfortunately our calendars were so crazy this month that we just couldn’t do any animation. But we fell on the freeze frame where we feel like ok we’re going to at least focus incredibly hard on it and make it as cool as we can possibly imagine. JR’s initial ideas were with the kind of geometric look and he ran some cool tests. You can see where he took the circle, square, and triangle on the New Composition button and aftermath. He did some cool test scenes in Illustrator with these types of shapes and this composition and see if we could do something cool with that.
We basically just came up with this geometric shape that JR made. Then I thought of a way we could find some kind of reasoning behind it. We’re going to bring this very geometric, rigid type of structure into this organic type of realistic 3D world. That it’s going to be something like this comparison, this very mechanical type of program that does these really crazy things. The artistic mindset, which is very organic, fluid and creative, and how these two worked together. That’s what we did and we created a lot of different versions of both the scene and the geometry. It was an easy process.
Adobe wanted to use these colors and that’s it, you do what you want.
Joey: That’s great.
Mitch: Which is great.
Joey: It sounds like the schedule was stressful but what a dream concert. Now, hearing that from you, it makes total sense. I know Joje and I know his work very well. This geometric, it’s almost like an After Effects [Madola 00:59:58] or something. Just use the After Effects UI, the little objectless circle you created. But then you 3D print it all and it looks like you have volume metrics, you have a bunch of glows. I love how it turned out man. You guys must be really, really excited about this. Yes.
Mitch: It’s great.
Joey: OK. Let me ask you one more thing about how you get work. They have this really great social media presence and online presence and brand and I think that takes a lot of the work off you. Do you really need to go out and tell people, hey, I’m Mitch and I’m a motion designer? Do you also do this to get work or has it just been an imbalance so far?
Mitch: Yeah, up to this point I haven’t had to email or anything, but I still do it every day. Just because I like to talk about myself and yell my work and stuff. Just because I want people’s reactions and I want to see where I’m lying. Almost everything I do is to get an outside look at where I stand in relation to the goals I have. Every day, when I’m not at the cinema, working with a client, if I have a day off or whatever, I’ll be chatting on social media. I talk to people to see if I can attend a speaking engagement or just any opportunity I can create for my career. That’s sort of my free time.
Then just do the normal lessons with yourself. Just try to gather as much knowledge as possible and then try to spread it in the industry as well. Just being that open person that people can come to and ask questions and I’m willing to help just about anyone. It’s also incredibly satisfying. I think it comes back most of the time, most of the time. I’ve given away some clients to motion designers just because I didn’t have time on my calendar. Then it comes back to where I have about a week off and then this guy or girl comes to me. Say, hey, I got this client and I can’t take him right now. wanna hop on it Then I will like, yes.
So this industry is cool, at least when it comes to the artists and their relationships with each other, it’s very open and everyone is like a friend. If you’re a motion designer and you go to a place like NAB or something and hang around the Adobe or Cinema booths, everyone’s a great friend. How people just talk about their work and everything. Just really fun.
Joey: Yes, that’s definitely true. With every guest I have, I always try to find something to take home to teach the listener a lesson. I think you have so many. We discussed a lot. But one thing that really stuck in my mind and definitely wants to explore more is the idea of letting your brand and online presence do a lot of the work for you. You are hectic, you do everything. You do inbound, you do outbound, you do your own PR and marketing and all. But your brand and the way your website looks and the way you present yourself seems to be doing a lot of work for you. This Adobe project is a perfect example.
So it sounds like what you’re doing now is sowing a lot of seeds that you haven’t even been freelancing for a year. In another year you’ll be turning down work every day because you make friends, refer jobs, and do all those things. It’s a really good strategy, I think anyone listening should study what Mitch is doing in terms of the business side, also the artistic side. The business side, you just ruin it.
Hence my last question to you. A problem that can happen sometimes, and I suspect it will happen to you, because you are an ambitious person but have a lot of drive. Sometimes you can get into this situation, alright, well, I kind of accomplished all the goals I wrote down, now what? They collaborated with Adobe and designed the Glitch Mob album cover. I’m sure there are other things you’re working on that are really cool. They are famous because of the splash screen something like Mo Graph. What’s next for you? Do you have a goal in mind? Are you worried that one day you’ll say, shit, I’ve done it all? I don’t know how old you are, you’ll be under 40 and all those boxes would be ticked.
Mitch: Definitely. I want to be a millionaire by the time I’m 35, so that’s a big goal for me.
Joey: There you go.
Mitch: I’m 28 now, so I still have some time. But I also have a business on the side. Me and my wife own a salon together. I’m very attuned to the entrepreneurial lifestyle, it’s just how I find happiness and I get a lot of satisfaction from things like that. I think it’s easier because I’m not just putting everything in the motion design basket in terms of reasoning about being happy. I think I’ll always be a motion designer and an artist and stuff like that. But there are also plenty of other things that require my attention, which keeps things both really fresh and super busy.
But I always feel happy to either go back to my computer, jump onto Cinema 40, do something nice. Then I’m always happy to run the other businesses I happen to be running. At this point it’s hard to say what the next step for me in motion design would be. Especially as a freelancer because I’m so fresh into freelancing. I’m just enjoying this new lifestyle that I’ve created for myself. There are many other goals that I haven’t achieved yet. I’m really interested in title design and I’d love to do a title sequence and stuff like that sometime in my career. I think there are a lot of opportunities that I haven’t been able to use yet and things like that.
So I want to see where my career takes me. I’ve done so many different things, made music and stuff like that. My life has always kind of given me these little opportunities and paths I could possibly take. Also bin ich nur irgendwie gespannt, was dieses Jahr und nächstes Jahr und das Jahr danach so für sich selbst erschaffen. Wo ich in fünf Jahren landen könnte.
Joey: Schauen Sie sich Mitchs Arbeit auf mitchmyers.tv an und alle Links, die wir erwähnt haben, werden in den Shownotes auf schoolofmotion.com zu finden sein. Ich möchte Mitch dafür danken, dass er gekommen ist und einfach er selbst war und allen erzählt hat, wie er in kurzer Zeit so viel Erfolg erzielt hat. All die Dinge, die er getan hat, um seiner Karriere zu helfen, sind Dinge, die Sie tun können, und ich hoffe, Sie ergreifen Maßnahmen. Wenn Ihnen diese Folge gefällt, lassen Sie es uns bitte wissen. Besuchen Sie uns auf Twitter @schoolofmotion oder besuchen Sie die Website. Dort können Sie sich die monströsen kostenlosen Inhalte ansehen, die wir für Sie haben.
Vielen Dank fürs Zuhören und ich kann es kaum erwarten, wieder in Ihren Ohren zu sein.
Mitch Myers Meet Spotlight On Christmas Tori Anderson Husband
Mitch Myers is a notable graphic designer. He is also famous for being the husband of successful Canadian actress Tori Anderson. Actually, the couple has been in a relationship since 2010.
One Fine Day in June 2012, Anderson shared a glimpse of their romantic relationship on social media with the caption, “My love and his lady.” This is how Mitch got into the limelight after getting engaged to the actress.
However, not enough information is provided about Mitch’s personal life. Likewise, Tori is an aspiring actress who has made her name and fame in the film industry. Not only is her professional life successful, her love life is also on the radar.
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Name Mitch Myers Gender Male Nationality Canadian Occupation Graphic Designer Married/Single Married Wife Tori Anderson Instagram m1tchmyers
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Mitch Myers Tori Anderson Biography , Husband Age, Wiki And Net Worth
Mitch Myers is a famous graphic designer. He is also known as the husband of successful Canadian actress Tory Anderson. In fact, the couple has been in love since 2010.
On a Fine Day, Anderson shared their romantic relationship on social media in June 2012 with the tagline “My Love and His Lady.”
Mitch Myers Wiki
Name Mitch Myers Gender Male Nationality Canadian Occupation Graphic Designer Married/Single Married Wife Tori Anderson Instagram m1tchmyers
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