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About killkillakillyo

  • Rank
    MoGraph Megastar

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  • Location
    New York
  1. This is just one of the many gray areas in the 32 bit world of advertising. Which is why you get everything in writing. And if it's not in writing, don't let them sweet talk freebies. If you pussyfoot with the client or agency (or studio for that matter), they will fuck you. They pay their people well, some solely for their ability to fuck you. I don't care how friendly they are over the phones. It's always the same assholes sitting around a speakerphone, contriving with each other under their breath. And if they're trying to capitalize on the obscure, don't feel guilty bringing the same game to their doorstep. Then they can go looking for the next poor schmuck panhandling for attention.
  2. Right. We're paid for our "creativity"... Which explains why interns are paid dirt or nothing. Because they are...less creative? Bullshit. We're paid for our technical prowess and experience, which does translate into creative ways into solving problems, which almost always lies exposed in the project files. And we're not talking exclusively AE. It's not like a guy will spend hours researching the various fluid settings to dial in for a realflow simulation? Oh no that's not a secret, but let's just bypass those hours he spent and take away the source files for free. Same thing with Houdini. Why hire a TD when we already have the project files for a tornado? Sure we'd have to dial in the settings, but Mr. TD here was nice enough to streamline the process enough that a junior Houdini tech could do it. We just saved several thousand dollars on our car insurance! And no, it's not like giving away blueprints. Blueprints don't have a render button and *poof*, we have a house. Please put the cows back in the barn, the bullshit is starting to smell.
  3. If it's explicitly outlined in the contract, then I'd do what was agreed upon in the explicit sense. Any gray area and you should consider it a favor to them. Then the question is how much do you like them? Typically a client asks for source files when they think they've found a cheaper alternative to you. But I like to think of these situations in this way. When a contractor is hired to build a deck, do you expect him to give you his tools, his secrets, and a course on engineering after he's completed construction?
  4. A good producer should be the most organized individual in the building, which in most cases should not be terribly difficult to accomplish. A good producer should know the answer to almost every question the artist has, because they've asked the client almost every question that could possibly arise. A good producer should know their client well enough that they can make creative calls when a director is busy, and have a relatively good success rate with that. A good producer should not expect the artist to be his or her own intermediary to the directors and clients. A good producer will make sure they are aware of everything related to the project. Nothing should be a surprise. A good producer will maintain a good relationship with everyone, even when a little ass-kissing is necessary. Client especially included. A good producer should be the first person in the building, and the last one to go home. If there's a problem, the producer should see it to a solution. A good producer does not expect you to work late for free. A good producer does not expect you to work for free. Did i miss anything?
  5. Your roots lie in a post production company? Well ya don't say. As opposed to dairy farming? I'm in. Where do I send my money? Freelancers can't find work because their body of work isn't up to par, or they're putting to high a value on their skillset. Not because they're living without another website offering a fee based approach to finding work.
  6. I like to put myself on a 1st 2nd and 3rd hold. I don't end up finding work, but damned if I don't look like I'm in demand. Poverty with style baby.
  7. Inher Effe with fallo. That will replace your cache tag, your plain effector, and possibly your delay effector, depending on how you set things up. And you won't have a mograph object within a mograph object being effected. That can cause problems. Read the manual. There is a gem hidden here. And rather than deforming the entire cloner with a null and your fracture, which can cause bending of the individual objects, why not create a dome poly, offset each row of polys by the radius of your hexagon, and set the cloner to object vertex? that way your normals are pointed in the right direction. Or use an xref with your baked effector.
  8. Looking at your setup I can already tell you're in over your head. For one, look at your hierarchy. It's wrong. Second, there are better ways to clone something than to throw it in a fracture object as a child of a cloner. You don't have 1000 different pieces, you have 3. Third, pay someone who knows what they're doing to do it. This is basic stuff my friend, and if you can't figure it out yourself it's probable you'll continue to struggle in the future. "tis better to teach a man to fish, than to give him a fish" - Aristotle 3200 BCE
  9. I'm on the Binky bus as well. $5-$10 motion design ebook/primer and i'm sure you'd make enough for it to be worth your while. Especially with your credibility and the seamless industry word-of-mouth. Don't let the mograph.net audience fool you. There are a good amount of lurkers, both pro and amateur.
  10. As someone who has their own shop, can you truly recognize when one of your artists are putting out? Or do you base your opinion of them purely on the last check-in you shared, or whether or not the client is happy with each round of feedback? Or do you let your producers decide these things for you? What specific qualities would you be searching for in an AD or someone in a senior position but subordinate to yourself?
  11. That sums up what I understand these titles to mean as well. But at what point do you continue to fill in the gaps left by directors and producers who just aren't pulling their weight? Or when do you take action to even the playing field, say by demanding fairer compensation or by giving detailed explanations of 'why this render is going to take so long'. Curious as to what recourse there is? For example, when you are the last leg of production before delivery, then essentially the buck stops with you unless of course you want to play the blame game and make enemies. Whether or not your excuses are legitimate makes no difference as most producers would rather leave you to hang than take responsibility for anything. Do you go to the CD and explain the situation, hoping to save your reputation? Do you refuse to fill in those gaps and subsequently take full blame for a dissatisfied client, because who wants to work in that type of environment anyways? Do you put your head down and just grind through it day in and day out? Or is there opportunity there to step over the slackers up the totem pole?
  12. Curious as to how other professionals define the roles of CD, AD, producer, and every other role in a production. Seems as if most of the time these lines are blurred and all these titles do is demarcate payscale. A lot of individuals are getting paid to essentially do nothing and play the middleman. While the artist has to pick up the slack and play several roles and walks home with chump change in comparison. So where is the tipping point when the artist can start calling themselves an AD, a producer, or even a CD, even though they're getting compensated like a waiter?
  13. people need to eat. just look at samwelker's stuff. seems like yesterday he knew nothing about c4d. now he's publishing rehashed tutorials in his own name. and how is anyone supposed to know how much of it is truly him versus someone else's sweat and tears struggling with the software? but the kid needs to eat right? so who's going to call him out on it? http:// vimeo.com/ samwelkertv there are really solid grads coming out of, not just SCAD and VFS (seriously, are those your definitions of the "it" schools?), but a shitload of other schools on both coasts, south america, europe, etc. with the growing competition for work, motion graphics may be becoming more on how you market yourself versus the quality of your portfolio. experience is one thing to consider when hiring. but of equal importance is speed, creativity, and how much abuse you're willing to take from directors and clients, and abuse to your paycheck. the old versus the new guard. adapt or die, or lead the revolution.
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