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mintyfresh

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Everything posted by mintyfresh

  1. haha - if you call good advice and a pink motif "intimidating" seems good though. I like all the unite stuff... as if we're not paid enough though. VFX needs something of a "unite!" mograph is still pretty much a decent living if you dont suck or burn out
  2. just got a refurb deal on a quad core from 2011 taking a trip but want to get in on some remote work while im away. what OS should i look to install to run my CS5 and 6 and Cinema, with a little ableton on the side... is it all gravy? will be installing everything when it arrives tomorrow... just in case theres any knowledge, i'd love to know whats good
  3. so have any of you had weirdness with precomped layers that have collapse transformations all the way down to the source files, then when there is a move on one of the outer precomps, some layers stutter or jiggle a frame? just kind of an annoying deal on what should be super simple comping of recreated UI elements made in Illustrator when i take off collapse transformations, it works as usual but without the sharpness i need...
  4. tokyo! haha, well tokyo might sound cool, and there may be a few decent paying but fairly conventional jobs art directing at japanese branches of major international corporations but... its a long story, and there are a few people here doing well, mainly japanese nationals. the language and culture barriers are for real. i'm doing ok, but pay and design styles and work styles / client relations are different. i'm here with my wife who wnts to be by a sick fam member, so thats mainly why we remain. its only been a yr but i'm def thinking hard about getting back to west coast living at some point. definitely visit japan though, its a trippy place. just not super ideal or comfortable to work in unless its an international company or you reaaaaaaaally "love" japanese culture and want a high dose of it by living/working here. that said, i had no trouble finding work right away. its just hard to pull away from 50k/yr here as staff (i've just double dipped like a mofo but almost lost my will to turn on a computer in the process) , and a lot of people hover more around 25-40k, and the cost of living isnt cheap hehe thats all i can say without saying too much. you're on the right track thinking of ways to expand your life experience with your portable design skills
  5. i think like with pollock, especially in that time, you're buying a narrative and buying into the creator as well. what working in somewhat derivative territory does is weaken some of that originality position where you have to sell yourself a little more to make up, or come with something novel in that well worn style. pollock was doing "new" stuff so he could stand out more maybe at first. now try doing that shit. but thats the thing, flexing technique is often a sure way to date your stuff. thats why lots of whats on vimeo feels like watching someone else work out.
  6. motivation power and style power are key, but once you have those locked and loaded, you might need more power than mac mini server
  7. whats the context?
  8. for me it comes down to the value of the content and experience you are providing. the infographic/cute influenced stuff works best when theres a story or some novel, freakonomics-esque, as yet un-juxtaposed or not well known, metrics or information. when its just a word, like this example, it feels a little like a glorified test. or if its for an event or a longer form content, then as a title i guess it could still work. but these as standalones, without something unique to convey, are just iterations of the style and maybe function more as the artist putting this style on his menu. that said, for me, more and more im seeing imagery thats kind of jealous and not really offering anything uplifting, as well as some really clever, often funny stuff that cheers me up. the jealous visuals are kind of like a buff guy just flexing his muscles. been loving books and music as mediums lately that just offer the end user more freedom of imagination. like was said above, motion graphics are often in the category of short lived pop art, that because we care, we elevate it, but as a medium, it doesnt tend toward depth or repeat use. its interesting to look at the differences and similarities to chefs, fashion industry people. regular old filmmakers, musicians, comedians... some overlap and some ways that are different. our connection to the ad biz pays off well financially, but can be a mind fuck creatively because the medium we work in just happens to work in that disposable modality, and maybe deep down we want to create deeper experiences and do things more from the heart, but the medium is people selfishly browsing the web, especially away from shorts film fests with nice loud sound in a dark room. for me with my beats, i always love to see when friends have downloaded them and been able to experience life colored by my tunes, not just clicking through a few times at their desk (Edit: but im not ready to give up mograph)
  9. i would say no. to me it seems like its people who were fans of JR Canest's awesome inforgraphic work for buck for the "Waiting for Superman" doc - (dont agree with that film 100% but thats another story) then theres kind of the me too aspect, plus the fun of animating this kind of thing and AE shape layers becoming noticed and understood by more, and kind of the ease, with a bit of design ability, to make nice, "fresh" looking work that people will give props for, and boom, the style exponentially blows up seems like it still comes down to how to create something that resonates with people on more levels than beauty. the beauty level can get you really far, but to stand out from the decent but not great masses that have the same tools and dont suck bad enough to make throwaway garbage, seems like having some emotional hooks is the way to go. and abstraction is the enemy of emotion hooks most of the time, unless you have a cool way to pull it off i wouldnt say its in that style, but i loved that short "to do list" that bounced around a month or two ago, was refreshing in more ways than just style/execution but yeah, duly noted, this style is getting flogged, and im already feeling bad for some trim paths action ive perpetrated this last yr. glad i dont have a portfolio full of C4D shatters, but on the other hand, who cares. I've had a great time making music this last half year, i'm kind of enjoying having some non mograph passions again.
  10. yeah i wish i would have archived those. suuper inspiring and well done do guys like that usually pencil their motion and then use flash for cleanup? the kung fu fire is dope. i remember noticing they had a really cool illustrated style for flashback scenes. maybe i should go check out the thai dudes tutorial i had loaded up before i got super busy.
  11. nice work, i like your AE work as well as your 3D stuff, nice to see. the little 2D characters at the beginning are rad man i love guatemala also, beautiful country and i swear some of the nicest people in the world. are you in the capital or antigua, and you didnt happen to be at that first metallica concert ever in guate a couple of yrs ago? that was awesome, i wish i had a decent camera phone, would have been a great short film i was thinking as i got super drunk and full on street beers and street tacos on that road leading the stadium. i had to mention that, one of the best memories of my life cheers man
  12. loved it. the intro bit alone was genius. i think it worked great, was hella funny, had some variety between verses. and yourself and the musicians came out looking good nicely done
  13. just want to add after just starting to look at the making of, linked off of motionographer i think these titles are badass and a nice contrast to the understated (relative to other hollywood thrillers maybe?) look and feel of the film. sure theres some intense shit, but the way its shot and colored almost feels indie. except for that insane title sequence. i like that it starts that way, and then gets all european and muted and live action-y plus its dope to see this kind of conceptual non promotional shit done at nice high rez and film out'ed - just looks badass. i mean i love danny younts stuff also, but this was just some crazy cracked out macho shit that like i said above, to me, didnt get full vin diesel douche all over itself. sorry to double post. just had that come to mind
  14. edit: i thought it looked really dope btw that said, like everyone has said, it didnt really have a clever flow to it. in a way this is where the 3 minute song and abstract graphics don't always work well together. over here in asia, its almost unthinkable to have a music video not show the artists at least partly. but the nice thing about that constraint is it breaks up the monotony of the 1-3 looks you might have for your alternate worlds. over here there are still 10-30k music videos going around quite a bit, but you guys would probably think a lot of it cheesy enough for a las vegas bridal show compared to some of the top stuff on motionographer. i still feel like what chris said, that people in mograph should think of themselves as filmmakers. then we have to confront the challenge of creating a compelling flow of something, just inventing the next look - unless you want your work to be just that, mograph porn and not a lot more. even if its repetitive for 90% of it, some of the better MV directors make themselves look cool with sometimes just something happening at the end to kind of make it feel like it all was meant to be - at least in memory. chris is super keyed into if something makes you want to change the channel - i get that. but to me thats sad also, so for me, splitting the difference is trying to have something dope come of all the lingering stuff to being it home and sell yourself on conceptual skill as well as a nice compositing/render style keep it up though - the gross impact of the look you had going was dope
  15. this makes me think of tattoers. the classy tattoer friends of mine would hate directly ripping something, and some meight even hate being forced use a certain style from a direct reference. but that begs the question, what is the job of a tattoer, especially when we walk in there with our little non-professional tattoer idea of whats cool with our $250 and naive sense that, this is gonna be really cool. the kids learning thing makes sense, but some folks just dont care or know that its slippery stuff and we all see the same stuff, and its a short trip to the not-hire bin based on blatant ripoffness. the first slide of pirate bays peter sunde little talk at Wired 2011 conference starts with "i copy, therefore i am" - personally, not sure i like the word copy, its lazy and plagiaristic and not leading edge.
  16. same experience here. jumped on mogrph to dig up this thread and post, but it was top and still alive when i popped on for me, like ianfreeze said, i couldnt be hit with the titles fresh. but dug the movie, and that did hit me fresh because i'm a philistine when it comes to dragon tattoos apparently. people love the 2009 films and the books it seems like. the score and nice minimal feeling (who knows what the sources looked like) color correction was great for me. the titles were more a grab your ladies arm and smile type of shit, like a good bond title. for me also, it had the characteristics of good modern art, which to me is a little assaulting and being forced to look at and sit through something, that if not totally annoying is kind of rock and roll. it was also clean as fuck in the theatre - living overseas right now in asia, so it just came out in the last month or two. cool that they made budget for such a tripped out piece of work, def a stand alone in a film that was kind of all about subtle realism, but i didnt hate it sort of like i dont hate dubstep even though i cant handle tons of it in my life just because its usually over the top without being douchey and badass. i thought fincher and reznors work were really nice though.
  17. agreed on the GSG 5 second stuff having a tendency to look similar i would add that something to maybe play around with is something that might contain a fun, playful motion. seems to me, in this world and in film festivals, humor is kind of a multiplier. it also motivates your techniques to not feel like pure flexing. the other trick is the discipline to stick with one of your ideas for multiple days, the amount of time it takes any one individual to usually make good, detailed work. thats really a hard part because part of second guessing yourself is good, and part, at least for me, makes me want to start over every day or every few hours at work i have to dink around. good luck - if you can get on a roll it will really recharge your game for sure
  18. can you put everything into a null and control level of detail with a visibility tag? i remember doing that and thinking that it heped also on a more basic front - keep an eye on poly count, try to use hyper nurbed shapes instead of dense meshes. like these guys said, for cloners turn on "render instances" good luck
  19. woops wrong duplicate post got deleted. this thread is a disaster j/k
  20. so im over here in japan for a while, and saw a kind of extended promo for kung fu panda coming out on dvd. probably 5 mins of scenes cut down with a narrator explaining. theyre prob trying to drum up BR sales what i noticed is there were these flashback scenes that had that nice goebelins 2D/3D textured cell animation look any of you guys see this or work on this film? ive been noticing illustrative matte paintings more since ive been just killing down time with more drawing surreal shit in photoshop and less time reading conspiracy theories these days
  21. i remember this superfad animation that had a white egg fall and hit the ground and bunch of paint came out as i remember, and also there was some RE;MAP work done on a head model where they mapped on a matching photo of a face - it was one of their self created pieces its not a reference, but it could be cool to do that watercolor write-on gag, but having those watercolor matte cards matching the pos and rot of nulls you placed around the world...
  22. i think part of it too is the forum. we only see out shit on tv, when its for big often creepy national corporations, or when we're sitting on our asses watching vimeo links i wonder if creative commons and some kind of i dont know, partnership with movie distributors or something to have dope shorts or experimental animations play in theatres or some other scheme of getting non commercial visuals into the public space. because i feel without the evil twist of a corporate pitch, our stuff becomes a little cooler. still maybe a bit brightly colored and ADD-ish compared to other art forms but still cooler than it can feel in the forums it lives in now i hate to be harsh on vimeo, but its been a blessing and a curse. some beautiful stuff on there ( i still think most of even the really beautiful stuff lacks humanism and meaning) but it has added to this feeling us doing our work for props and advancement as opposed to i dont know, some other artistic ideal, which it def has as well... but still, something about the way the internet makes us experience art. like "what can i get out of this." i'm comparing this to having had a few, and being in the public space, and being way more open to beauty and ideas when its away from my work desk i think the thing to longevity (as if it matters, or is better or worse to last long or change it up) is the mental state and expectations management, and even expectations management of the result of spots. needing them to be liked, or just needing them to be as good as we imagined them to be, and just being satisfied that we realized an idea we had (not always easy, as we know). seems like the latter is a more sustainable. drawing just to draw because its fun. i bet years ago, maybe now, some pro jazz players had similar problems losing passion and their reason for doing it, when they would think about it away from doing work, but once they got into it, they would again lose themselves in the creative process and forget they were thinking about quitting
  23. no man, i think part of this debate is about looking at a future of more time in front of a screen for what, props over a cool fluid sim for fucking budweiser? or doing another meaningless but beautiful video on vimeo, there seem to be plenty of those. not exactly a need to fill so yeah, obviously when any of us get good ideas we should make those into shorts or frames or beats or whatever, but short of that, as you age, you kind of can get to a point of burn out of keeping up your skills when with a negative mindset about its value and deeper meaning, that time can seem to be going to waste as for me, im feeling super inspired these days, but maybe its been the change of scenery and language. good luck to you paulo, def teaching is one way to go. the tric there is politics and then the wave of the rest of the mograph burning out in secession, coming after that teach dollar like they are after the mograph dollar right now. (are there really that many new kids in the industry? when i was back in the states, i still felt like i only met good peeps from SCAD and VFS and they were more rare than later 20s badasses)
  24. i agree zook just dunked it there i was thinking about this falling asleep last night - am living in japan at the moment while the wife helps a sick fam member cause shes a nurse and thats what she wanted to do. working at a japanese company, which btw they dont pay what we're used to. much more in the 30-45k range for staff even at a company doing national spots heavy on CG. and you should see the hours these dudes put in. thats been partially effecting my thoughts about my future. they also push back way less, so there is tons of time spent running laps for the clients in the last 40% of finishing the job. it now feels to me the US still has more of a "work/life" culture than here, so its all relative. what makes sense to me though, is you kind of have to get out of this job like you got into it (unless you got in the very traditional way.) and by that i mean first develop other interests. maybe work less, but enough to kind of stipend yourself to experiment and toy around with other pursuits until you find something that grabs you. we all know people generally cant just jump into making a living at mograph, so the same goes with the next step. unless its imposed on you, self directed career changes might be better with slightly rounded corners... easing into the next phase by developing that skill as an interest first. coffee roasting, car repair, who knows. then when youve gotten your head around it, then you can consider getting paid in some capacity to do it. of course, what we all debate about, formal schooling, is always there to do this for you, but thats really a money/time issue but the thing is how mentally prepared are you to make less money? if so, then you can probably ease off sooner, if not then take a month vacation and plan on updating your reel. in a way we're like the dentists who make bucks, but have to keep doing that one skill over and over. aside from probably better finances if theyve covered their huge loans, they cant just become something new without some kind of transition, and huge balls to give up the more sure thing. to me teaching has always seemed kind of a cool way to do it, because you still can keep up on tools, work in a creative environment, maybe freelance a little on side jobs, but avoid some of the full blown rat in a cage stuff. the hours also seem decent. but the thing is, its hard to know. its easy to guess and project what other career paths are like. look at all the idiots coming into mograph and how they seem to see things. what micro dot said about the kids covered in cheetos was hilariously on point in a way. the repitition and lack of originality is unreal in that world - was looking at spline mask stuff yesterday, almost the same trick replicated by every dumbass with a copy of c4d. i can see how a youngin like vozz might see teaching along those lines (not sure what lines actually, that might have just been talking out of his ass like i am doing) work is work. if i was fully wealthy, im not sure what i'd do, but i'm not sure it'd be running around in circles to make a corporate client happy by adding to visual clutter. in my case it would probably be something involving surfing, coffee or music... in the meantime, your skills are probably primed to still make some nice beautiful lucrative shit while you decide
  25. mograph.net is back baby! there is some good stuff here, partly just the issue of burnout because making cool anything, especially anything as time consuming as polished animations, takes buying into the idea that somehow everything matters, all the details all the little voices in your head saying tweak this, improve this. i wonder if the same has happened with say commercial illustrators in the 70s and 80s - where their career life spans of really being balls deep working on "big" projects gets cut short by realizing that a lot of what we care so much about making is forgettable bullshit. i look in my downloaded reels folder and even the BNS and Buck work from say 2003-4 is starting to show an age to it i couldnt have imagine when i first drooled over it, and almost no one cares about work from the 80s that took equally long nights and strained relationships with girlfriends and spouses ive thought about teaching also. in a way I hope that there is a way to keep some film and game production in towns i would like to live in because, i kind of like those longer timelines and workflows more than agency work in terms of work/life, and because they are kind of known chunks of time, you can then teach, surf, travel in the other months when youre not busy if you have money under control and/or dont have 4 kids. right now i feel a lot more passion for making music than playing around in 3D, even though some cortexes in my brain still feel the need to stay strong in that area. the capper is we got spoiled by some good wages selling shit for the devil, so now thats what we (maybe just me) think we should be getting for breaking a sweat has commercial art almost always been a young mans game? do i need to think about living in a surf town and just run a coffee stand in order to have a sane late 40's through retirement?
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