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tvp

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  1. I did and I like it! They have a "Fuck Off" thread. We need a "Fuck Off" thread.
  2. I have to agree, especially with the first statement here about posting stuff out of context. I can't tell you how many times I've been shown some spot on YouTube at a gig and asked to "make it like that". Many times it's because the client has told the company they want it to "look like that one spot with the..." and been very adamant about their request. Adamant meaning, their attitude is "make it like that or we'll kill the job and take it somewhere else". Unfortunately in this economy, most people aren't in a position to reply back, "...go ahead and take it somewhere else". -Just saying.
  3. There's some truth to this statement as well. Especially at certain over priced private art schools where there is no real oversight in the hiring process and no real oversight of how department heads run their departments. It isn't always the case though. Aside from teaching, there are a lot of fields where people get hired as a result of being friends with someone, including actively working as a designer and / or animator in motion graphics. I disagree with what you're saying here in the last part of the line above, but whatever.
  4. I disagree and it's "they're" not "their". Here's a link to help you out with that: http://www.wikihow.com/Use-There,-Their-and-They're
  5. You and me both brother. That doesn't sound weird at all. It tells me you have some substance as a human being. Los Angeles is a tasteless vapid cesspool of egotistical, selfish, self centered individuals and being the "entertainment capital", that's what it attracts from all over the world as well. Unfortunately, in the LA market, motion graphics is invariably a part of the entertainment industry. The idea that a teacher is somehow someone who failed at professional life or "gave up" is the biggest load of crap. I've known plenty of teachers that are at the top of their respective fields and teach on the side to give something back. (Of course in LA, in Mograph, for some individuals who might be construed as falling into this category, it's more about head hunting for the next wave of graduates, than anything else.) That said, even if you're not at the top of your field and you teach that field on the side, that doesn't equate to being a failed professional. Yes to the first question and no, you're not crazy.
  6. Did you state that payment was to be no later than "net 30" in your booking confirmation? If not, then unfortunately, they are going to take advantage of that. They always do. There have been many threads here about booking confirmations, payment, EORS and so forth. I'm sorry to hear that you're dealing with this, but learn from it and do something about it with future bookings, no matter who it is. Also, all of your invoices should say "All invoices are due upon receipt." at the bottom of the invoice. That and the net 30 booking confirmation translate to: this is due the day I give it to you via email or whatever and you have a 30 day grace period to pay it. End of story.
  7. That soooo does not surprise me. I have enough stories to bitch all day about being low balled if I didn't have better things to do. Or rather, attempts to low ball me. When I was a noob I had a place in LA offer me a staff job for 35k, so the 50k in present day NYC, for mid level people, does not surprise me in the least. What a bunch of assholes.
  8. This is a great answer. Seriously. On a completely different topic, I also checked out your web-site and I have to say, I like your work, Dave.
  9. http://www.indeed.com/salary/q-Motion-Graphic-Designer-l-New-York,-NY.html
  10. There's another one here- www.la3d.net.
  11. Hover over artists while they try and work, like you don't trust them to do their job. Be condescending to artists in a very subtle, indirect manner. Talk incessantly about how you don't know anything about any of the technical aspects of the work artists are trying to do while you hover over them. Act like you're an art director or a creative director, even though you're the producer and you've never even taken a type class. Give artists verbal direction but refuse to send or copy them on any emails documenting that direction, so that you can always turn around and deny that you told them to do something regarding said direction, avoiding any blame for mishaps from those higher up in the chain of command. Mismanage projects and do everything in your power to blame the artists working on said project for your mismanagement. Have a subtle bitchy tone in your voice towards everyone except those with the power to fire you or have you fired. Low-ball artists on their rates as much as possible. Evade paying over-time and Employer taxes on pain of death, by using EORS and other shady business practices like intentional Employee misclassification. Make sure you always get artists to agree to net 45, net 60 or net 90 payment agreements even though no payment should be greater than net 30 and those checks your crappy EOR is sending them should in reality, be coming every two weeks; because who really cares if they need to eat and pay bills like everyone else. If they die of starvation and / or go bankrupt you can always just get a new one the next day. Manipulate newer artists just out of school into low balled rates and fail to mention that your company uses MBO or Yurcor EORS that are going to double tax them, making them pay your Employer taxes, and charge them a 5% to 10% processing fee on that crappy flat day rate you just got them to agree to. Get artists to agree to flat day rates with no over time compensation. Never specify how many hours per day artists are to work for the flat rate and then demand that they work 12 to 16 hour days once they've signed all of your shady work agreements. Try to pressure artists into signing your contracts without reading them. Put artists on hold whenever possible, even if you know there's a 90% to 99% chance you aren't going to use them. Ever. Tell artists you'll call them back or email them back by the end of the day or "shortly" and then never call or email them back. When it comes to artists, stick to the tried and true philosophy of "Turn 'em and Burn 'em". If anyone ever questions any of your shady contracts, project mismanagement, employee misclassification, refusal to pay over time, use of EORS like MBO and Yurcor, etc.. make sure that you infer that you can have them "black listed" by making some sort of off hand remark about what a "small industry it is" or something to that effect. Hell, do that on a regular basis any way just to maintain an atmosphere of underlying fear. Sometimes you'll see Creative Directors use this one too. In this case, follow their lead and enjoy the process of intimidating people. Remember, it's a fucking privilege for those peons to work 16 hour days with no over time at your mograph / vfx shop. Treat all artists like they're a dime a dozen and it's your God given right to treat them like shit. Remember that most of them are spineless with low self esteem and no business sense. The ones that aren't are so few that they're easy to get rid of and replace.
  12. The intro doesn't bother me animation-wise and I couldn't even say off hand what tutorial Adam is saying you 'ripped it off' from. The music is not really doing anything for me. I would try and find something else. Stay away from cheesy synths that sound like they come from a porn flick. I don't feel like I need to see the first clip where you're showing that you shot some stuffed animals on green and keyed them, put a cg background in and made one wink at the camera. If you want to show the wink at the camera as a vfx shot, then go ahead I guess, but just show me that and cut to the next. Also, it's not a strong enough clip to start a reel off with. The Impresa Simplice clip is way too long. I would just show the part with the paper flying up and the cubes coming down and then cut before you see that radial wipe you used on the graphic element. The city fly though could be shorter too. Like say, use only :31 to :34 in your current timeline. Next clip, cut to show only :38 to :42. I would lose the clip after it with that game show looking thing. Shave a second to a second and a half off of that abstract background / stage looking thing you have at the end. Your logo and info type on the intro and outro could be smaller and and more centered on the outro. On the outro it looks like it might be out of title safe. That big blank spot to the right on that bar you have going across isn't really good use of negative space.
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