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About Biederbeck

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  1. Ps. great reel, and I apologize if you're already taking on clients, there was no mention of it in your post.
  2. I've seen this question a couple of times and am surprised there have been no replies. As an in-house artist who eventually wants to go full time freelance myself I can definitely relate. Take what I say with a grain of salt, as I'm in a different market and have only been motion designing for 3 years. There are a couple things I would consider after reading the little I know about your situation. First, you mentioned that one of the draws to freelance is working on better projects. This won't happen over night. You can't quit your job and say "here I am NewYork, give me your best stuff." In fact, the most recent agency I started working with is highly established here in PHX, and several other locations, My first project with them was basically a throw away on their end to see how we worked together. There are other people who are already doing what you want to do in your area, I know of Dan DiFelice as a great 3d animator and compositor, and that's just off the top of my head from someone who doesn't live in new york! ( vimeo / dandifelice ). Agencies stick to what is working even if it is more money unless you give them a reason to switch. Every client I've worked with in town has worked with someone in my area who is great at what he does. It has taken time to give them a reason to switch to me, mainly lower pricing on lower end work, but I'd like to say I'm a pretty cool guy too! Take competition into consideration before quitting that day job. Secondly, you might not like it. I've known people who just didn't like the business aspect of it, maintaining client relationships, the phone calls, quoting, cutting losses when you quote poorly, fighting for your design when they pitch it poorly to the end client, paying for all your own stock/software, hiring out for modeling, or for sound design and lastly, my final hurdle to make the switch... paying for insurance... I've gone after freelance for the past 11 months and am finding I love it, but the learning curve is steep to get your name out there and learn how to maintain/cope with these added details. Some people are just not cut out for it. Thirdly, I encourage you to approach this venture as starting a business. This is essentially what you need to do unless you want to get screwed that extra 7% on taxes for endless w-9 misc. work. Also, telling a potential client you own your own business, and to make checks out to semifiction.tv, here is my EIN is more impressive than "I'm a freelancer, make the check out to me, here is my SS" So my suggestion is this. start picking up clients and try it out. Get some good relationships. be very particular about what you take on and who you work with, and charge more than you think on every first job and deliver it hard, well, and on time. Then use the extra money to buy the CD and owner a gift. This will set a precedent that you are not the cheapest in town, but they'll never have to worry about quality and the gift will let them know you're pretty cool too. Lastly, read Quitter by John Acuff. Seriously, download it now. It gave me incredible insight into how much I love my job! Not what you would expect from a book called quitter, but it also gave me practical steps to getting there, in due time.
  3. This would best be done in after effects, and would be even easier in c4d with a plane effector. If you have access to either I could explain from there.
  4. I think what zeperez is explaining is that if this site has been created so that you can be hired and do more work, people want to know your name. They'll pick a guy they like over someone they don't want to hang out with, don't want to have drinks with or don't want to hammer out solutions with any day out of the week. Clients are not just hiring your work, they are hiring you. I suck at design, but I do make lasting impressions and work well with clients. It has paid a lot over sitting in the corner of my office making beautiful stuff. I still work every day to get better, but clients and agencies want a personal connection and without a name, picture, or bio they are not going to get that.
  5. Some great stuff in there. I would say it may be worth it to purchase vimeo+. I want to see the details, and this can't be done in SD. HD Cannot be embedded on your site, and frankly, I don't care enough to click over to vimeo to reload. Just a thought. 5$ a month is a small investment to make sure potentials are seeing your work at its best.
  6. I can't tell how you have it set up, but you can go about it in a couple of ways. Specify the red material as R1, Keyframe the fillet caps on from zero to 2 and that will reveal the red material outlining it.
  7. It looks like it has to be in your textures. did you use sub-polygon displacement or bump for the Ice?
  8. In this sittuation, I make my camera moves in C4D, then parent a light to the camera (or null object I am using to move it), I change the light intensity to 0% and then strap the particles to my light object as the emmitter once it is imported into After effects,.
  9. Use a target object on your camera to make sure that it is centered (it seems a little over to the right to me).
  10. I'd like to see the bumper. It is PW Protected on Vimeo now.
  11. Biederbeck


    Been drinking scotch for 5 years now. My brother in law has a great cabinet and he lets me partake in exchange for pipe tobacco on a weekly basis. Now I have about 4 bottles, of 100+ scotch on my own shelf, but can't afford to have more than 2 fingers a couple times a week. For a newbie, I would actually stay away from the peaty scotches as one member mentioned he liked. You'll have plenty of time to adjust to that, but it is what turns off a lot of new scotch drinkers (if you want a good indication of what this tastes like, try talisker 14). At the end of the day, just start trying different ones! They are all good, some just hit your buds better than others. My suggestion, buy bottles, not shots... You'll appreciate it more with a friend on a balcony over paying 6x its value in a loud bar *. My first bevmo suggestion to a newer scotch drinker would be Belvanie 18 (oak barrell cask $70), Oban 14 ($50), dearstalker 14 ($70), and highland park 18 ($80). They are all perfect starters. Hope this helps! Now can I have some mo-graph lessons? *My dad bought my bro-in-law and I a $175 shot of chivas regal on new years. We looked at eachother after saying thank you, wishing he would have just given us the cash to go buy 2 nice bottles.
  12. lol tyssul, I clicked on this not even reading who posted.
  13. Thanks Sao. Really appreciated. I find GKaster and mono_fitz very intriguine. I definitely see their approach being similar to that of a camera-man, and editor. Character animation is not of any interest to me. I'm ADhD and find it too technical. Thanks for the reply! Keep it coming!
  14. So. I am a new designer, (3 years). I am newer to motion (16 months AE, 4 months C4D). It is pretty easy to find theory about general design (type, color layout etc.) and I feel as though I have a pretty good handle on this. But... In regards to motion, all I find are tutorials for recreating other people's work. I am having extreme difficulty finding topics about transition, and paceing in my projects (obviously some of the most crucial aspects to motion). Can anyone direct me to a site, or give insight into these two areas, of motion graphics theory? Or, am I missing the mark altogether... for instance: should I be looking at it more from an editor's standpoint, a camera-man's standpoint, and study up on those areas of the industry? Any ideas would be greatly appreciate. PS. I am using c4d and AE.
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