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  1. zook

    Surface Studio

    The essence of everything that is wrong with Apple has been distilled and the "touch bar" is the result. This makes the days of Power Computing seem like the apex of innovation and dynamism. Still, it's not as shite as Adobe CC's bollocks of a subscription model.
  2. zook

    Surface Studio

    I've been thinking about this too. I'd consider keeping an iMac, MacBook or even a Mac Mini at the side of the PC would solve the problems of transferring data or accessing archived projects. You could use your current Mac if you have room; my aging 2010 tower needs updating but I'd consider a PC and leave the older Mac for swapping stuff about or doing the odd thing it'd be easer to do using the Mac rather than on the PC.
  3. End of era. Rest in peace Dan.
  4. Ain't ever going to happen, more's the pity. With no official union (the NGA was on it's way out here in the UK when I started work in the mid-1980's) and no-one to organise one we are lemons to be squeezed (a union would need to be truly international too to have any chance of being effective). Without any meaningful competition Adobe can pretty much do what they want, and stick two fingers up at those who disagree. They say it's our choice whether we subscribe or not, but that argument is dishonest; there is no choice if we want to work. Welcome to the shiny new world!
  5. The problem is Adobe simply don't care what we think. Maxon are far more open to some pretty robust criticism about their software and (in my experience at least) engage in a conversation about it.
  6. Agree with Binky and Levante that the rental idea is not working well, especially for those of us that are sole traders. However, Adobe have never cared about customer input on this matter and now we know why; CC is a platform for shifting other products apart from the software. Once you're tied in (a choice we don't have due to Adobe's monopoly) you're basically there to be flogged all sort of digital tat. None of this feels like genuine innovation. That whinge over, there's certainly some great ideas in CC. I like the Library concept even if it doesn't really work and is woefully inconsistent across apps. I've lost lots of data when upgrades have occurred (especially colour palettes generated from Kuler onwards) and if this worked well it would be great. Other apps such as Fuse are great bits of technology, impressive to be sure but seem a tad lost; they're bolted on gadgets that don't seem to fit. For AE: • A proper 3D system including being able to correctly interpret coordinate systems from imported files (I'm using C4D). A particle system should be included in this update. • Render speed • Whilst filter development has been subject to some ridicule over the years, it would be nice to see some new filters in AE; the app has lost it's focus as a creative tool in itself. I like the splash screens.
  7. Ah, is butdoesitfloat a blog? If it is I do follow a blog. I stand corrected.
  8. Turn off the sound by pressing the mute button on your keyboard.
  9. I can't get TR to work on R16 when rendering out A4 stills despite some discussion with Maxon. There are issues with the way Cinema accesses the network; it's unable to discern between wi-fi (of which it's intolerant) and ethernet and so it falls over every time. I've not been able to render a single image across my piddling network using TR. I only have two machines and can't have both the internet and TR running unless I wire everything together and turn my wi-fi off in the macs.
  10. Resistance is futile. Edited for crapness.
  11. Whilst an art-school education is a good basis for a career, I think once you're working in the industry you'll find things are very different. I would suggest making the most of your degree by opening yourself to as many influences as possible. Experiment. Draw. Delve deep into the subjects the 90% will not bother with: art and design history, colour theory (get the Gnomon tutorials) and explore other artistic and design disciplines such as architecture and film (not the Hollywood tripe, but directors like Kurosawa, Lynch, the German expressionists, abstract film, documentary, concentrate on foreign cinema and other less explored genres - there are wonderful, strange and inspiring filmmakers beyond the establishment). Wallow in the richness of our shared global culture! Read "Ways of Seeing" by John Berger. Go to museums and art galleries. Study walls of flyers. Find out who Neville Brody, Massimo Vignelli, Herb Lubalin and April Greiman is/were (for starters - there are many more). This will help you find develop an artistic vocabulary and enable your own development as an artist. Keep a physical sketchbook as well as Pinterest of a folder of images on your hard drive. Become a magpie. Don't get hung up on the technical details of working the software, you will learn that by necessity once you're in the commercial environment; you only need the basics. Most of all, enjoy it.
  12. All this is well and good, but there's one thing I gotta know about Fusion . . . can you freak your keyframes?
  13. - who's gonna hire you when you're 50+? Eek . . . I'm 50 in 18 months time. In the good old days you could go to studios and agencies where the elder staff were held in some respect. I can clearly remember taking some typo work I'd done to the 60 year-old ish Art Director back in the 80's. It was for a big client and I was pleased as punch to have worked on the account and proudly showed him my work . . . which he preceded to demolish totally. He then sat me down and we went through the lot letter by letter . . . I learnt more that day than I did in a year at art school. We've lost a lot of that already, and once it's gone . . . Experience counts a lot in some sectors, especially when clients need and like to use designers who knows the subtlies of the business. Ageism eventually means a loss of the craft, something all too obvious in many studios these days where the kids can't even draw, FFS. This is a generalisation of course but in many younger designers there seems to be a lack of understanding of the broader strategic context that our work often sits in (which might be due to the proliferation of project managers) and a lack of cultural appreciation beyond the immediate which leaves us as artists as less able to be effective at our work. That said, of course without the younger contingent things would get stale very quickly as there's no doubt priorities and influences change as we age. Freelancing is a state of mind. You trade the security of a regular pay check and pension for the flexibility of choice. I'm doing a part-time PhD that is both a result of my work and feeds back into it; this would be nigh on impossible in full-time employment. Of course we can do ridiculous long hours, experience feast or famine but we are masters of our own destiny . . . to a degree (see below). One more thing . . . the change of emphasis from licensed apps with one-off upgrades that you can use in perpetuity to cloud-based subscription is perhaps the biggest single change in the workings of the industry since the colour computer screen came in (yes I can remember that). It's removed choice (we all need these apps and there are no realistic alternatives at the moment) and it stifles creativity as we are funnelled into a workflow we did not create ourselves; think of the effect Powerpoint has had on motion graphics in the way some clients conceive animation and storytelling. Freelancers are now not customers of the software companies but more or less indentured slaves to them; the emphasis has shifted to the point we don't own the tools of our livelihoods and we are not independent. How we've allowed this to happen is beyond me, and I worry that our industry has become so compliant and lacking spleen that we are loosing our edge. Without the fire in our bellies, the love of design, motion and art what's the fucking point?
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