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About son.of.simon

  • Rank
    MoGraph Superstar

Profile Information

  • Location
    5280' above sea level
  • Interests
    Sitting in a small room with no windows staring at a computer monitor from 9a-5p. Not sitting in a small room with no windows staring at a computer monitor all other hours of the day.
  1. I had heard this as a rumor, actually heard it was down to 1 person. This coming a year after they opened a new location. Any word on what happened over there? Not to get all up in someone elses business, but generally curious considering the size of the market.
  2. I've only had one client move over to Avid MC so far. The rest have stayed FCP 7 (including myself for now). I prefer editing in FCP so I may switch to Premiere for my own system at some point if/whenever I upgrade computers, kinda waiting to see what happens with the Mac Pro line before I make any decisions. I started using Premiere around 97 or 98, so I'm familiar with it's bugginess. Sounds like they've fixed a lot of the issues for the current version.
  3. It's funny because the market changes a bit some times. I'm a generalist, mostly working as an editor, but I also do motion graphics and occasional compositing (in AE). I've also worked in production as well. Years ago (mid 2000s), working for a producer he told me that he really only likes to hire specialist and was kind of pushing emphasis for me to move in that direction. The thought was, he'd hire the right person for each step of the way to get the project done right. This was while working in Colorado, a smaller market in comparison to most. Fast forward to earlier this year and he hired me on a corporate job because I was a generalist. He came out to me in LA because he knew I could edit and do the motion graphics on the job, and get it in under deadline. With budgets being a bit smaller, he really couldn't bring multiple people on board to do the job. Specializing in one skill and it's associated programs is great, and there are many talented & successful artists that do just that. But, depending on your location and the type of work you're going after you may need a broader set in today's market. I totally agree with what Blinky says, learn the theory and the technique behind what you're creating.
  4. On the topic of Seattle, how is it? I don't seem to see much in terms of commercial post production companies. Microsoft is obviously a big draw in that area, but what is the business like outside of the software world?
  5. For me it seems to depend on the project and the role I'm filling. Whenever I do motion graphics work, I'm on site for the most part. Usually that means I'm working from my laptop, so if I get a spark of inspiration on the drive home or after dinner. I can hop on and make try out my idea at home. I actually prefer working on site for a few different reasons. The main reason, being that I have access to the editor, asst. editors, AD, CD and producers on the job. It's a more streamlined process and I enjoy the interaction. I can immediately see if things are working or not. I'm sometimes in the room working while conference calls are going on with the executives back at the agencies. I then hear the notes from the source, not 2 or 3 people down the line. It's all about efficiency. The other plus side is that after a long day, I get to go home. When I work at home, I often feel that I'm stuck in my house for days on end, by myself, staring at the computer until my girlfriend comes home. It tends to blend into one long day. Not to mention, if I'm waiting on notes for 3 hours, I feel like I'm wasting that time because I could be doing something else. If I'm on location, not only do notes tend to come in quicker, but I can use that time to explore new ideas with the creatives from the agency. When I'm working as an editor, it seems to be about 50/50. It usually depends on the type of project, the client and how involved they are. Some times I must be on location due to the sheer volume of footage that has to be shared on a SAN (in the case of tv shows). Other times I pick up or get mailed a harddrive full of assets and work in my home office. At the end of the day, the quality of the work doesn't show whether I'm working from home or not, so I guess the only thing that matters is which is more efficient.
  6. Based off of some of the feed back + some time to work on the reel + some new projects, I have updated the reel (embedded above).
  7. It's a risky move if you're bringing the family with nothing lined up. I moved here 4 years ago with a job that dissolved 1 year later. The cost of living has been weighing on me and my lady lately even though work has been consistent for me. I live just outside of Hollywood/West Hollywood and do work in Burbank, Hollywood, Santa Monica and occasionally El Segundo. For me it's centrally located and my drives aren't usually horrible (Unless I try to leave Santa Monica between 5:30 and 7p). I have a 2BR that costs around $2k/mo. I could save $ by moving to the Valley but I'd end up spending about the same when you figure in the gas for a commute. And with gas currently around $4.50/gal it is something to consider into your budget. Not to mention the area is better for my lifestyle, but is likely a bit different for someone with kids. Also consider that the commute time will factor into your work day, so less time to be with your family. As far as being paid more here than elsewhere, I don't know if I totally agree with that. My freelance rate is about the same as I had in Colorado, but work is more consistent. Salary wise, what I was paid when I had a fulltime here was better than I made in CO, but not enough to offset the cost of living increase. My girlfriend is a middle school teacher and makes less in LA than she did in Anchorage, Alaska or Lousiville, KY (both of which have a much lower cost of living). Good luck with whatever you decide to do. It's a good place to be, but after a while a lot of people seem to develop a Love/Hate for LA.
  8. But there are some great bars around there for after the meeting.
  9. Thanks for the feed back, I appreciate that it's conceptual feedback instead of technical notes. To be honest, I didn't set out with an actual goal when building out this reel. It was more of an update with some recent work, but the overall goal is to highlight additional abilities beyond editing. As I said I work mostly as an editor (90% of the time), but do work as an after effects artist as well. If I'm working as an editor, I'm often bouncing over to AE to create elements for the edit that I need. To avoid any confusion as to which role I had on the project, I build out this reel to keep separate from my editing work. True though that it is not a really strong edit, making the piece fall a bit short. It does have a "thrown together" feel to it. I agree that it's not grabbing the viewers attention strong enough off the top. Ed, as far as the work goes, it's all me. There are 3 pieces in the reel (Samsung, Toyota, RIFT) that I wasn't the editor on, but AE work is all me. On those pieces I was working under an Art Director from the agency and going off their boards. Everything else was concept & created by myself, not including logos obviously. In the case of the Kanye West Foundation piece, I was working within the brand identity already set. In most cases, there was no AD above me, rather I create boards or sample animations and send those to the producer or director for notes. I think you're right though, 1min reel is the way to go. Back to the drawing board on that one. BTW, you guys are doing some great work at Freed. It's nice to see that level and quality being done at a studio in Colorado. Four years ago today I moved from Denver to LA, and I gotta say I miss it dearly, but I had to move west to find some new opportunities. Good luck out there, it's a great place to live!
  10. ****UPDATED**** Following the advice below and having a bit more time to work on the reel (and some new projects) I've updated the cut of my reel. Looking for sincere feedback here. As of lately, I've been working more and more as an After Effects artist and am always looking to learn and grow in the area of motion graphics. I almost always am working as a solo artist when doing AE work, often when serving as the editor for the project as well. http://vimeo.com/37542696 Breakdown: Version:1.0 StartHTML:0000000105 EndHTML:0000004613 StartFragment:0000002292 EndFragment:0000004577 0:06 - 0:09 GET motorcycle parts commercial end tag (spec) - responsible for all concept, design, animation 0:09 - 0:11 AT&T commercials - logo modification, element creation, responsible for all design and animation 0:12 - 0:15 Green Living Project documentary intro concept - responsible for all concept, design, animation 0:15 - 0:20 3M "Encompass 360" brand marketing - responsible for concept, design, animation 0:20 - 0:22 SmarTees commercial - responsible for all concept, design, animation 0:22 - 0:25 Golf-Pro-X commercial (spec) - responsible for all concept, design, animation. 0:27 - 0:30 KikkorGolf - end tag (spec) responsible for all concept, design, animation including 3D element. 0:30 - 0:31 Samsung Galaxy SII commercial end tag (pre-visualization of end tag design and timing) - responsible for design and animation 0:31 - 0:33 Toyota Venza campaign "super" and end tag - responsible for all animation 0:33 - 0:36 RIFT "Not In Azeroth" campaign - responsible for design and animation of text elements 0:37 - 0:40 Mania TV "A.D.D." show promo bumper - responsible for all concept, design and animation 0:41 - 0:42 Mania TV network ID bumper - responsible for all concept, design and animation 0:42 - 0:47 3M "Encompass 360" brand marketing - responsible for all concept, design and animation 0:47 - 0:50 Kanye West Foundation investor marketing - responsible for all concept, design and animation (based off of current branding) 0:50 - 0:52 Golf Trends show open/graphics package - responsible for all concept, design and animation
  11. I know someone that took a contracted job through Creative Circle and when the company wanted to hire the person full time, it was a struggle to get out from under Creative Circle. As an agency, it seems they take more than what is the norm for other industries. Networking is key and word of mouth seems to be the best way to get recognition. It's tough for a lot of people right now, whether or not they have the right type of contacts.
  12. Don't forget to give yourself a contingency on time as well, you could always run into problems along the way. And don't forget about time for notes. It may take you 3 1/2 weeks to complete, don't be afraid to tell the client that it takes as long as it does. Don't set expectations that put you in a bind or are unachievable.
  13. Here is a video I recently cut for LA hiphop duo King Fantastic. The video was shot on RED at 4k and I cut it on FCP. I also did a fair amount of the compositing in the video in After Effects and FCP. Special Effects shots were handled by Justice FX, however I handled the overlay effects. I also created some digital prism effects that augment and enhance the practical ones that were used on set. Check out the vimeo page for a list of the full credits for the video.
  14. Have you tried narrowing the shutter angle to control the amount of blur you get from the motion. It's likely set to 180ยบ, try bringing it down a bit to get less blur from the movement.
  15. Nice work, I was actually just on your website yesterday.
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