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noen

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About noen

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  • Birthday 08/01/1983

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    suborbital flights

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  • About Me
    [url="http://www.defsten.com/"]www.defasten.com[/url]<br /> <br /> [url="http://www.openland.ca"]www.openland.ca[/url]<br /> <br /> [url="http://www.vimeo.com/defasten"]vimeo.com/defasten[/url]<br /> <br /> [url="http://www.youtube.com/user/defasten"]youtube.com/defasten[/url]<br /> <br /> [url="http://www.defastendefasten.com/"]www.defastendefasten.com[/url]
  1. i don't think we have those services in Canada. I think anything art legal matters would fall righteously under the aegis of intellectual property & copyright laws. in that case, i know a few lawyer friends i can look to for help. but we're edging away from my original question though; i was mostly just single handedly interested to know about anybody's experience dealing with greedy art buyers from marketing & branding agencies like Ogilvy. heh
  2. i hope that was said in sarcasm.. lol
  3. i don't think that's the kind of art buying we're talking about here. the woman is an art buyer repping for Ogilvy & Mather. So i think they are looking to buy my work and use it in a commercial and monetary context. I think this is what the Attik were known to do? either way, it does sound like i am on the loosing end, as my royalty returns wuld probably be 0.1% of their buying price. lol
  4. i was recently approach by an art buyer working for an influential international marketing group agency (i dunno if it would be appropriate to name it?), and they are interested in my work. how does this work? has anyone ever been approach by an "art buyer" before?
  5. noen

    london

    i can see why you're grumpy, but that's fine. there comes a time when you need a change of air, and this is what's drawing me to finally cross over the pond for a few years. yeah, i know here in north america, it's all about motion graphics. but i'm not (solely) really interested in that, and i don't think i'm all that good in it, so its fitting to know that london does do a lot of vfx and compositing work. that works for me.
  6. noen

    london

    thanks a lot for the detailed info! gives a good idea on what i should be expecting. you said: "companies often promote internally" do you mean companies would favour a British-born/citizenship worker over someone else? I actually have dual Canadian/French passport, would that be helpful? I expect to do some crappy gigs, that's fine by me. i'm not moving to London to "make it" in this industry (although would be nice); i'm mostly relocating as an artist (a/v, experimental work). thanks again!
  7. noen

    london

    i'm canadian and probably moving to london this summer. at a glance, how is the job market over in london? or western europe in general (paris and berlin)? i was thinking of going full-time, but from what i've read, you make more money as a freelancer. i'm aiming for motion design, post-production, compositing, graphic design. thoughts and inside info? thanks
  8. hehe, yeah... so i think i'm gonna go with the Seagate FreeAgent series.. Seagate FreeAgent Pro 750GB eSATA, FireWire-400 and USB 2.0 External Hard Drive http://www.bhphotovideo.com/c/product/4786...0GB_eSATA_.html
  9. hi there i'm looking to buy a new external harddrive for my new personal project, but i'm not really sure what new harddrive would be the best balance of reliability, speed, and archivability. i've been looking at the LaCie 500GB d2 Extreme Quad HDD http://store.apple.com/1-800-MY-APPLE/WebO...art=TM773ZM%2FA most of my collegues have recommended this to me, and we use it at work, but i have read some pretty negative reviews nonetheless, so i'm weighing my options. any recommends? thanks
  10. noen

    NYC OFFF

    i gave up doing PSAs until I feel I have enough influence to physically and politically make a difference. the medium is the message. 2005. http://www.defasten.com/-windex/noisem/index.htm
  11. noen

    NYC OFFF

    re: Monkey's comment "Moreover, what is there to really "say" about the visual arts" well that's strange. there's an industry all about "talking" about the visual arts. i hear you can even get degrees in them. someone had the great idea to preserve this brand of culture by having discussions on visual arts. maybe we can learn something from it. granted, there are different ways to "talk" about your art. from my experience, the best talks have been self-critical analyses about your own artworks as an artist (of whatever kind), mixed with a breakdown of the process behind the work. when i'm asked to give an artist presentation, i try to give a bit of background info on who i am, where i came from, how it informs my work, the constellations of things i value, and how it gets expressed within my works. additionally, if possible, i let the audience know they can ask me questions and cut me off anytime during the talk to make sure we're all on the same page. and if along the way, i found out something that might take someone 5 years to realise, then i'll include that in my speech. a bit of wisdom doesn't hurt. which i found many presenters to have done, which is great. hopefully it will be a lesson for others who intend on doing more public presentations. but i know this industry isn't like that, and just isn't cerebral. it's very commercial, and it changes very fast, and driven ultimately by economy. so i guess the conference was good by token of its nature. +1 for OFFF
  12. noen

    NYC OFFF

    i assisted to about 30% of the OFFF festival. but of the shows i saw, here is my quick hit list highlights: - Kyle Cooper: overall did not dissapoint. was articulate, interesting, funny, had relevant things to say, and displayed a good variety of work. thanks to him, i felt happy about OFFF, inspired, and found meaning in my line of work and art. thanks. - REACATABLE: i want one of those. this thing is genius. those dudes are awesome. I want to make electronic music forever this way for decades to come. - Paula Scher: She's cool. she knows what she's doing, and has a way to convince you that graphic design is very intrinsic to our daily lives. powerful. yet not pretentious. great balance. - Chris Swann: it surprises me everytime what a geek and a bit of technology can do. i'm keeping my eye on this guy's work from now on. - listening to Jesse and Vivian of Tronic talk, always a pleasure to listen to their point of views. stimulating, articulate individuals and professional. though i am actually not too convinced with the actual execution of their work, i find they do an excellent job communicating their ideas, and this is a trait i find many so-called "designers" in this industry are lacking (see below). dissapointments or "what?": - Rob Chiu & Chris Hewitt Dstrukt: a very, major dissapointment. i think overall the audience would agree with me on this one. my respect for these two has gone down a big notch because of THEIR apparent lack of respect for the audience. microphone issues reduced their banter to mufflings, making the situation more absurd. unprofessional, unarticulate, and bad presenters. were they drunk/hung over/nervous? i'm surprised the OFFF staff didn't intervene to at least re-adjust their mics (or was that part of the joke?), but i tuned out of their "speech". i did like their work for the OFFF opening titles though - mature, and cinematic, mostly due to the restrained typography, and excellent sound design. - hillman curtis: i'm sure he's a nice guy (and i very much like his aesthetic and foray into film work) but he see seemed to be too pretentious. or trying to be, and it didn't come off well, mostly because of mic issues again. i still have issues with people calling their short 4 min video experiments "films", especially when they add closing credits that are redundantly long and pretentious. one title card would have been fine, we can mull over the film rather than stare at the fade in and out of the credits, especially when the credits are 80% your own name.. i think this is what happens when a commercial graphic artist crosses over to film - everything needs to be properly branded. i think it (his film "Embrace") felt like it took itself too seriously, considering the minimalism of the, should i say, scene of the "film". - weworkforthem: what? not even a word? i know you must be jaded and super busy and super important now and don't care for this kind of stuff - but seriously? you guys have nothing wise and deeply existentialist to say about the art you do? that's unfortunate... i didn't find their installation that impressive either, so like most people, i went for lunch. - adobe labs: boring. what's new under the sun? these fatures should have been there since version 1.0, don't try and make it sound "amazing" and "cool". the dude also couldn't open Flash, which was sad, and it made him tense. Murphy's law never fails. he should have been more chill. So what you work for Adobe.. sheesh. presenters i missed out (and wanted to see) - goodby silverstein and partners: apparently it was boring. oh well, so much for fancy websites. it's all a lie. - Leonard Shlain: i heard it was good. i'm gonna research on the books. - Frank Bretshneider: you know, this is a love it or hate it aesthetic. personally, i love it. i love digital minimalism and the raster-noton label. but in doses. - neville brody, hi res! nanika, vasava others: - Scott Hansen: a nice person. good presenter, considerate of the audience. much less ego than Rob Chiu and Dstrukt and does "similar" design work (i'm using the similarity broadly to encompass the fact that they both do graphic work that is of relevant interest to their subjective taste). and he does nice music, too bad he didn't talk about it more. i don't mind that people directly rip from boards of canada. everyone rips, get over it. - Takagi Masakatsu - i just caught a few minutes of it, but his setup seemed interesting. i'm personally not interested in this aesthetic - it's nice and cute and colourful, but i'm more interested to know what he was doing with the grand piano. i was at a bad angle and couldn't see - was it rigged to his laptop? was he controlling the video, or was he just overdubbing the sound? that would be lame.. lol. - Josh Davis - i've seen him (unintentionally) twice already in the last year. this will have been my third. his work is amazing, he's a great presenter, but i feel that he has also become kind of formulaic as a presenter, considering he always pulls out the same jokes, everytime. i would feel like i'm cheating the audience. a bit of variation would have be nice. i guess the idea is that you see Josh Davis once, you don't need to see him again, unless you have a project idea with him. anyone else have some impressions of OFFF? i guess that for a small 80$, the presenters aren't really *required* and feel motivated to do well, but seriously, i guess this is why i'm more and more jaded about this industry and edging away from it. i'm also surprised the no one in the OFFF staff tried to get rid of the technical mic issues WHILE the speakers were talking. that isn't so hard to do? i've been to other conferences, and staff would re-adjust mics on the fly, um like ok?
  13. i added a slight vertical and lowered the level values, and it seems to work just great. i completely forgot about the blurring trick. the pixels seems to be alright now. thanks for the tips!
  14. hello, does anyone have experience doing end credits for a movie? i am running into some legibility issues for the end credits of a shortfilm. The letters are strobing, and some of the partner logos are flickering as well. the format is the following: 2K frames, 24fps, *.TIFF, 16-bit. each credit title stays on screen for a bit less than 10 seconds. the credits are designed in Illustrator, animated in After Effects, then being brought to a lab for digital-to-film transfer. the lab technicians noticed the problem, and prompted us to correct the issue with the solution that the credit titles (which come out fine in the condensed slab font) are not running in intervals of 24 frames per second (ie. think of a ruler with intervals of 24 pixels), causing the titles to lose the integrity of their antialiasing due to subsample pixeling when the titles are not repositioning themselves on every other precise 24th pixel.. i'm not exactly sure what these means, heh, but i assume that i did not animated them in after effects properly. currently, the credits are animated in after effects by moving, from bottom to top, an Illustrator file (continuous rasterize one) where I layed out the end credits. i'm assuming this is what is causing the strobing problem in the digital-to-film transfer phase, as After Effects is recalculating the pixels of the vector file (the film credits) for every subsequent frame. As a solution, would it be better to export the whole credits as one solid bitmap image, that way, each pixel has already been defined, antialiasing and all, after effects wouldn't try to recalculate the pixel, as it does with a vector image. It seems like a workaround. I will be taking into consideration the 24 pixels rule. If anyone has any insight into the issue, that would be great. i'm sure others would benefit as well. I can't seem to find precise information and solutions about it on other sites at the moment. i'll post my findings if anyone is interested. thanks edit - i found a plugin here: http://www.mercuryjones.com/aepresets.html called FlickerFree Credit Roll.zip - i hope it works with 2K resolutions!
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