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About BoArlander

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    MoGraph Superstar
  1. Is this funny…or true? Why people actually watch Citizen Kane - Movie Reviewhttps://www.youtube.com/watch?v=WbShV1hp_Es
  2. Really nice work Ed. Your reel has blossomed at each step.
  3. Payment formula: Louisville Slugger. Heard they're effective. LMAO
  4. When I say standard... the fact that it is standard for them to disappear and stall payments is still indeed an issue. Especially with…big, well known agencies and multinational companies. We agree on the skills theory of course. But that's front-end and we're talking about back-end disappearances.
  5. Derp. But Vozzz, what he's really saying is…. Which sounds like his entire client base. He's getting plenty of work from top companies, it's just that the companies aren't paying. It's standard nowadays as a vendor for major companies, agencies and film studios. It doesn't sound like a skill issue as Vozzz claims. Freelance is one discussion. But the minute you become a vendor, the payments tend to be slower with big corporations.
  6. If I give my rate, it's often good to know what am I giving the rate for. Am I doing just Styleframes? Do they expect me to be doing some Hardcore Animation until 2am everyday? They just send this emails wanting to know my rate and if I can come in immediately. Tsk tsk you mograph thugs. Back to the main topic… The shift in how companies market themselves. It's actually an interesting topic.
  7. LA/NY mograph studios have become more and more very factory like even for designers. I try to choose projects wisely, but it’s tough to know what you’re getting. Quite often, I get these calls from these sweet sounding coordinators who don’t want to give me any courtesy of info about a project. As a designer, we’re just supposed to hold without having any info on the client, job, deadline scenario or anything else. God forbid we ask too many questions. Then we surely won’t be getting called back. They'll hold you and sub you out for lower bidder. Too often US producers squander our time and ask to 1st hold entire summers. Meanwhile, they are asking others to do the same. Next thing you know, they finally drive the price down and then release you. It was never a first or even third hold. They lied to stall for time. I’m learning that it’s better to just take the first thing that books. Deal with the fallout later. The system is too broken. [Rant Completed]
  8. Digging the work. Like Vozz said…the logo intro was lovely!
  9. This trend is definitely on an upswing in the last few years. In fact, I'd say that I have seen people running to corporate in-house recently. A bunch of my friends have. Mograph firms seem to be bleeding at the moment. And the post houses aren't doing that spectacularly either. So many freelancers and agency mographers are trying to go for the more stable companies which tend to be the big corporate clients. The game is shifting. There are still plenty of motion design firms making money, but it's a fickle thing based on luck. The aesthetic has changed. DSLR productions are now more than acceptable for global campaigns. We ain't in 1992 anymore. They have options. Have you seen the new DSLR comparisons to the RED? It's gotten awesome. Sony, Panasonic, Cannon, Black Magic. They have 4k now on GH4 et al. It's funny because Apple has recently started an in-house agency and is using that to spark and leverage the relationship with Chiat Day/MediaArtsLab. Anyone who has read the Phil Schiller emails knows what I'm talking about. They weren't happy with the work, think they know everything about advertising, etc. And it's happening for a myriad of reasons. RichardScott has made a good case. It's often easier for them to make those last minute changes in-house at the final hour. Many of them started because they didn't understand the burden. Now they see how difficult it is. This might shake out differently in 10 years, but this is definitely a booming thing right now. And the content being made is awesome. Target now has an in-house agency and they're doing awesome work.
  10. Forgive my naive question. At the end of the day is CC 2014 worth upgrading? Or is it really this lame of an update?
  11. By the time I get the old file open, takes the spirit right out of me. Less passion to design on a truly savage deadline than before! Once I fail at realizing it's an even older project than I thought, I've already wasted more time. Whoops it's CS5 after all! Or is it older!? Adobe you need to fix this. You are going to discourage artists and companies from this business. Being a business is getting harder because of this compatibility issue. It's not a light deal. Our clients expect instant turnarounds. This has come up twice in the last week. This is ridiculous.
  12. Hehe. That's an interesting theory. All though I've never really needed tech support from Adobe. When things don't work I just abort and try something else. Who the hell has time to call tech support? What I wanna know is when the CC upgrades will ever force an incompatibility with older CC versions. I stopped hitting that annoying upgrade button a long time ago and I've lost track. For example if I'm on CC of March 2013, then suddenly I hit the upgrade button in March 2016…Then I could find my project doesn't open anymore. Then how will I know how far back and which patch to apply? I won't know that I hadn't upgraded since March2013 because I likely won't have a reference point. People just hit that upgrade button without tracking the version. I just had this problem yesterday. I had some older AE files I needed to resurrect for a new job. Couldn't open them. They were just from a few years ago. Not only CC, but even Adobe CS6 wouldn't open them. The projects weren't that old! Okay, maybe 2007, lol. This may have been covered already but how will future file compatibility be kept consistent for CC…. Todd?
  13. Copy Image Plugin for AE http://obviousfx.com/products/copyimage/copyimage.php
  14. Youtube is perfectly fine for podcasts. I think you can even post up to 4k now, so it should be plenty good. When I first saw design boards on the net, I thought people were actually painting the smoke elements in photoshop. Only to find out when I got into mograph professionally, good boarders often sucked at drawing. They spoke as if elements were actually painted, yet most often they weren't. With exception of some painted falloff. I also learned that with certain boarders 99% of their concepts never get approved. But they keep getting work somehow under the radar. Very solid podcast. Hopefully motionographer will feature it. Demystification for the win.
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