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alba

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Everything posted by alba

  1. Shpigford, this spot was tracked and composited in Flame (Inferno) and some Combustion. The shop was Zoic. As far as the shooting approach, it's fairly straightforward, white frames (cut out centers) tracked with footage from the same take. with some of the shots, it's sometimes easier to understand the shooting and post approach by playing the QuickTime and go frame-by-frame backwards. hope that helps. p.s. this spot HP "Picture Book" was featured in Stash #3 http://www.stashmedi...ive/stash03.htm
  2. Hi Gwen, Check http://www.nyartbeat.com/event/ for galleries, many of them are free to just walk-in and in Chelsea, they are all next to each other, you can literally hit dozens in one block. It's more industrial warehouse area but during the day very safe as many offices and studios work in that area. Someone suggested the HighLine, i suggest starting from the south end below 14th and walk up and get off in the 20s which will put you in that gallery area. Also, NYC is home to some great museums. Where are you from and what are your fave places, we can then make some better recommendations. Apple 5th ave store you should at least look in for a few minutes and you're right next to the park. So maybe stop by during the day. It's usually pretty crowded. If you're a photography gearhead, you absolutely have to visit B&H Photo http://www.bhphotovideo.com/find/HelpCenter/HoursOfOperation.jsp . Their closed until the 26th for passover but every camera person needs to walk in and explore this place if only for the Willy Wonka-esque conveyer belt system of how they move products to and from counter to pickup. The best thing about that place is you can literally ask to see any piece of gear and they'll open it up and show it to you for you to play with. It's always crowded but everything moves fast. Food, what do you like, are you a vegetarian? Gobo, http://www.yelp.com/biz/gobo-restaurant-new-york , Angela's kitchen , http://www.yelp.com/biz/angelica-kitchen-new-york Blossom, http://www.yelp.com/biz/blossom-vegan-restaurant-new-york Indian food is vegetarian by default, so Curry Hill (aka Murray Hill, Lexington ave in the 20s) has a good restaurant at almost every door front but something a little nicer and modern is Dhaba, they have an all you can eat lunch special for $10 or $11 http://www.yelp.com/biz/dhaba-new-york If you like meat, Hit the shake shack for a great burger, there are lines at the usual rush hours but in between times there are none. fantastic burger and crinkle-cut fries and shakes. Bon Chon Chicken, someone mentioned. If you've never had Korean Fried chicken, try it. Double fried with either sweet soy/garlic or spicy (or have both), share with a friend/group, they always make a bunch. I would suggest instead of city hall area try the KFC at Mono+Mono on 4th between 1st and 2nd, the atmosphere is great and they have 30,000 albums with a conveyer system for the dj to pull records. http://www.monomononyc.com . If that's too fancy, try Boka http://www.yelp.com/biz/boka-new-york# with happy hour beer and chicken specials. If you want to go up to K-Town on 32nd and 5th ave, it's worth it as there's also karaoke up there too. Hill Country BBQ, http://www.yelp.com/biz/hill-country-barbecue-market-new-york The spotted Pig burger, http://www.yelp.com/biz/the-spotted-pig-new-york the fried chicken at Redhead http://www.yelp.com/biz/the-redhead-new-york The lobster rolls at Ed's Lobster bar, http://www.yelp.com/biz/eds-lobster-bar-new-york Asia dogs, http://www.yelp.com/biz/asiadog-new-york Sweets, Momofuku Milk Bar, http://www.yelp.com/biz/momofuku-milk-bar-new-york-2 It should also be noted they make an amazing Pork Bun that you must try. Chikalicious Dessert Bar, all they do is serve dessert, http://www.yelp.com/biz/chikalicious-dessert-bar-new-york-3 (can you tell i like food?) Street art, soho, walk Wooster below Houston, also check out the Deitch while you're there. It's free. http://www.deitch.com/gallery/index.php There's also Brooklyn, which usually has bigger street art, graf going on. Search through http://www.woostercollective.com for some hints of where some recent work is at. The AENY is this Thursday. They sometimes do a thing afterwards, I would say mingle with crowd and they'll all know something good to do, it will usually involve alcohol at that time. Have fun in NYC! e
  3. these are always fun. Sorry i have to miss it!
  4. alba

    pushing back

    well, first i would say, professionally speaking, you should always try to "care" about all the projects you work on. but my advice is to be as upfront as possible with the client and the people you're going to be working with (especially if all players are new to you). but maybe it's already been determined before the brief how much creative input the client is looking for, from you. either way, an agreement or understanding on how you, your shop, works is a great way to manage expectations and i would do this in one of your first meetings. let them know you're process, how many options you might present, how much back and forth you'll have for them, how you expect the review process and how you will agree to a design phase and move forward. some buttoned-up shops have a document they present once they've been awarded, i have found it very useful. hope that helps
  5. i think you're blowing this out of proportion. they are (and part of) a major public company. they're up front about the overtime/weekend work and that it's short notice. (some people, especially junior artists don't mind) however, if there isn't at least straight time compensation on those weekend days (like they want you to work 6th & 7th day but only pay you for 5) or they're not properly paying overtime, then F That. "must be willing" to take a drug test and submit to a background investigation. my experience with this is they will run a credit check on you, you will have to sign something that will allow them to do this when you apply for the job. if the positions are higher management/executive, you might have to be investigated, to make sure you aren't a financial risk (will you steal, embezzle, etc). and my experience for drug testing is i've never done it and i've worked at most of the major film/television studio as an employee. they make no illusion that it will be a demanding job and i think that the listing is written in such a way to weed out the people who don't seriously want to work there.
  6. i prefer black for pure water but since you have to include talent (arm?), i would do blue screen over green. if you've lit it correctly, everything will pull fine. this is where you really want the screen to be under exposed and more saturated, bubbles, splash, highlights will separate more, etc.
  7. i don't care if you ever took a class, went to school. show me your reel, tell me what you did on it, tell me your rate and i'll determine if you're worth it. at the end of the day, your relevant experience/talent, professionalism and the ability to deliver is the most important thing (to me).
  8. i put some links with more info, vid and pics to give you an idea. http://log.ericalba.org/post/385764135/behind-the-scenes-of-the-sprite-spark-effect-feat
  9. what are you looking to do? there's this thing, where they shoot things into the air and they explode and people stand around the island looking out at it all night and go ooh and ahhh, i think it's on the 4th of July. other than that, bars/clubs, museum, galleries, lots of shows. a lot of locals actually get out of dodge it seems.
  10. "measure twice, cut once"- somebody smart and famous said that.
  11. a good rule is to Keep It Simple. if you're not a designer, don't try and make the resume very graphic or fancy. but if you are a designer-type, go crazy. clearly state what it is you do (not just a title, be specific and include functions "character animator", "rigger" "storyboard artist", "after effects animator") and the job you want (if they're different). list the software you know. include your credits if you've been credited on productions and what your dutices were. email is good but i like to see a mobile number on there, sometimes email is slow. references are great if you have them. after you've done this for a while, it's just going to be about your reel and then word of mouth. Your Talent plus how you work (personality, team player, etc). here's some links i've referred to in the past some don't apply to design at all and some of them are for "graphic designers" but a lot of it is worth reading: http://www.youthedesigner.com/2008/04/29/t...n-resume-guide/ http://jobmob.co.il/blog/beautiful-resume-ideas-that-work/ http://thecreativecareer.com/2009/02/03/on...-keep-it-short/ http://www.tofslie.com/hey/2008/03/10/how-...e-you-that-job/ hope that helps. sorry it's late and i'm groggy, if none of that made sense above.
  12. very very nice. photography, music, everything is great.
  13. i second that emotion. i could see you working with a 1st Ave Machine with your skillset, abstract and technical. good stuff, keep it up.
  14. there are plenty of php scripts that let you create an upload page on your own site/host. you might even be able to have your host install it. there are also, newer/fancier, ajax-y type pages and code (might need mootools and the like) that you can use to create a nicer looking page with progress bars, etc. you would still have to style the pages yourself. if you need it to be behind a password wall, you can probably set that up with your host as well. some control panels on hosted sites have the ability to create folders pages with logins. if not, again, there are scripts you can download for that. e
  15. the movie you might be referring to might be "The Kingdom" which has been discussed here http://mograph.net/board/index.php?showtopic=13769
  16. stink digital did the work
  17. I will be attending. It's a conference, i haven't looked to hard at the schedule but i don't think it's too spread out. http://f5fest.com/speakers/ has the times. Should be good.
  18. it's been often called "the bible of visual effects". it's not just for compositors, it's loaded with great technical information for anyone working in the pipeline.
  19. The first thing i would do is look at the Terms of Use for the images you're licensing. They're usually somewhere on the site of wherever you licensed the image/footage. You're liability is minimal i would think. If only because you or your company is a contracted vendor or individual. Is this for broadcast, if so, the client and possibly agency would be responsible since they are the ones broadcasting the spots. Agency usually does the diligence to make sure what they're doing is within the terms of use. e
  20. most places do the "Job_Folder_Generic_DONTDELETE" where the whole structure gets duplicated. There is however also this... http://clientfoldermaker.com/ I've tried it out, it's not bad. But again, most places do the copy folder thingee.
  21. alba

    FFFFOUND

    I think I have an invite. Maybe I'll do a little contest for it (when i have some time) If you're looking for something similar but with tagging, i suggest: http://weheartit.com/
  22. various sizes for various distances of the camera. so bigger ones can still read further away. the reason for so many is this is a lot of camera movement on a jib arm with fast sweeping moves, very wide shots. since the final look of these spots are going to have everything rotoscoped anyway (for shirts, pants, etc), we decided to have more markers and hopefully make the tracking easier in post and save us some time in the beginning of the pipeline. we're shooting for the next three days, so we'll see how much it helps later this week and next. e
  23. http://flickr.com/photos/alba/2505310839/ i had to make about 200 of these big and small. thought I'd share. this pattern is based on feedback and experience from a bunch of different studios such as Click3X, Brand New School, N-Tropic, Riot, Manic and many others. it is by no means proprietary information, these seem to work best for Boujou, and if you have your own and wish to share, please do! you can download this template as a pdf that will print nicely and fit on a 20" by 30" self-adhesive foamboard. http://ericalba.org/vfx/TrackingMarkerTemplate20x30.pdf my friends are saying i should put the Circle-C on it or at least my domain. maybe i will when i have time. enjoy!
  24. @Sao Very true. BUT I think the point here is that while Nathan (arcfx) had good intentions by adding a "Thank you" credit/logo on the spot as a way of of showing his sincere appreciation for their rendering services, a simple email/phone call before posting it to see if it was ok would have avoided all this. In this day and age where credits, for companies, are preceived as both advertising and even an "endorsement" of the work just seen. BUT you have to know in the real world, businesses take on work that they sometimes don't want to publicize. The "Pharma" industry is a good example. The world isn't completely evil and there have been plenty of companies (I've even worked with a few) that have turned down great money and jobs simply because of the product or it's companies. Every business has the right to turn down work for any reason. (I personally think it's great when they whip out the moral compass and see if they're on course.) CREDITS in general are a touchy (read legal) but very important to artists and companies. The credit on a high profile project is sometimes better than the money they may have gotten it. Talent negotiates to get their name "above" a the title of a movie. Every guild has specific legal size, timing, position for their artist that they want. Features and TV titles have to juggle the order/size of all the people who get main title or end credits. To show how important credit look at the name "Alan Smithee" in features films. A name used to replace the film's director in the event of that director not wanting his name on the project (due to creative reasons). This could be an entire forum topic in itself. I know Nathan and have worked with him. And this seems like an oversight that blew up thanks to the internet. But I will comment on some things he says as "the voice of hindsight (uh, i mean reason)". Lesson - always know who you're working for or working with. Know the company's Creative Directors, Exec Producer(s), Owner, etc. Maybe even knowing a bit about the company's history might help. Observation and Question, the two people that you asked if ok to credit them, I assume they helped you on the project. Were they helping you as individuals right (not as the company)? Well, this is the internet. So it's really hard to put the genie back in the bottle. But isn't there a "Remove" button on youtube and wouldn't that disable the video for anyone who used the embed code of your youtube post? That won't help on anyone who actually downloaded it and re-uploaded it somewhere else. This is damage control and you should find the time, especially if they are threatening legal action. And really, it's email right? How much time would it really take to "attempt" to clear this up. Unfortunately, when someone is upset, they don't care how much work you put into it and how much money out of pocket it cost you. You still have to try and correct this as you may cost them far more money in business. I mean, what if a design shop had an opportunity to do an Obama spot and later it was discovered that the same shop did a Hillary spot. Some would think that the shop will just take anyone's money. And it might be even embarrassing to one or both of the clients. (apologies for using the candidates as an example) Working on a Ron Paul spot has a lot of visibility, you're spidey-sense should've been tingling when doing the credits to make sure everyone is cool with their respective credits. It's a common courtesy. Sorry for the rambling, Everyone have a good weekend! "I'm eric alba and i endorse this message"
  25. alba

    a

    I've seen this post several times on this board. I understand your wanting to share the experience and prevent others from getting burned, I think the last two posting were enough no? and is there a link of Sam Najah's posting here on mograph, i tried to search but didn't find. e
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