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troyA

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About troyA

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    MoGraph Superstar

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    Twin Cities
  1. I keep it really simple. Right at the start I discuss budget and calendar. I let the client know through constant communication what my expectations are and what I understand their expectations are. Once we agree (and before I work) I ask them for an email stating those expectations. I then send an email to them (multiple parties always), and myself illustrating that scope. I let them know that ANYTHING BEYOND WHAT WAS EXPLICITLY DETAILED will be added to the invoice on an hourly basis. No email, no work. I communicate with them constantly to let them know I'm as dedicated to the outcome as they are. I haven't had an issue yet (knocking on wood).
  2. Holy Shit!! I love that movie! Just last week I was in a meeting with a bunch of guys (of course we were old friends embarking on our 1,000th project together) and the producer finished his "talking points" and said, "Sexual Chocolate" and left the room. It's already the greatest project I've worked on in years. http://www.youtube.com/watch?v=nHRERLEM2eE
  3. Hey Cosmo Ray, this'll sound snarky but that is not my intention. Curiosity is. What do you consider real motion graphics? Every designer I know, especially the good ones, are ALWAYS looking for the "next thing". It's what we do. But I'm not going to NOT use a deer head, lens flare or Shine if the project could use it. Well, maybe not Shine. I would submit that not using a technique simply because you think it's been overdone is a little petulant. We're supposed to be on the cutting edge. Our clients aren't. If one of them wants some kinetic type, which so many of them still do, I'll happily do it while trying to freshen it up. A lot of us have been doing this long enough to see trends come and go and come back again. I don't think I'm smart enough to permanently retire any idea. Except maybe Shine.
  4. Absolutely. Remember Kai's Power Tools? Same issue, different decade. And Silatix, I also agree. You can always tell a hack not by the first 15%, but by the last 15%.
  5. I've got to say, I don't agree with some of this. I understand that technique, work, talent and experience rule. I know that just because my kid can make something that looks like a Pollack doesn't make it a Pollack. But if we had to reinvent the wheel everytime, there'd never be forward progress. Nick and Andrew's stuff, for example, has OFTEN allowed me to skip a few steps to get to something new. After 15 years in this business, no one can make me feel bad about cutting a few corners to get there. Sometimes, it seems to me that the people complaining about everyone not starting at Point A are the ones who HAD TO start at Point A. I believe that, as always, good work will win out. Just because I started a project with OF, Transform and the Light Kit does not make it better or worse than something else. Me being a shitty artist with no vision will make it worse. Hell, back in the day I knew a few old designers who came up as sign painters who thought I was a cheating punk for using Illustrator.
  6. I do mainly motion graphics and work almost exclusively from home. I do think that normally that can only happen once you're established in your market. I've not seen anyone able to work from home without an established client base and solid reputation. For new clients afraid of allowing me to handle their project away from watchful eyes, I offer them referrals and case studies. I explain to them that I'm faster and more efficient from my studio. I tell them that I'll send status updates or samples often. They almost always agree. Then I have to make sure they hear from me OFTEN. And almost inevitably, when that new client sees I've sent new samples or frames at 1:30am (because I can't sleep or just got home from a movie or something), they relax and realize I'm working hard for them.
  7. Hey Everyone, Does anyone know the best way to get Pro E files converted for use in Cinema? Thanks, Troy.
  8. Hey Everybody, My name is Troy, and I've probably stolen from all of you. See, I'm an unrepentant stealer and sharer. I see what you've done, and I love it. I want to know how you did it. I want to absorb that technique in the hopes of using it someday. Then I'm going to practice it until I don't have to keep looking it up. Then it's mine too. Then when a client wants to do something, I can reference your technique, make some dough, and hope I pushed it just a little bit forward. But I can't take your vision. I have to have my own. Technique is just muscle memory. I'll give and take that all day long, and remind everyone I see that you guys are frickin' geniuses.
  9. troyA

    Knot Tying

    Hey vozzz, I hadn't tried that. I'll give it a shot. Thanks. Troy.
  10. troyA

    Knot Tying

    Hey Everyone. I've been trying to solve this for years. I'm having a hell of a time finding a technique. One of my clients does a fishing series, and they asked me about 4 years ago to animate in 3D the lessons on how to tie various knots. I did the first three seasons in Maya, but I've been trying to switch them over to Cinema 4D for a couple years. In about half the animations, it requires nothing more than an animated sweep and a single morph target. The problem comes when I have to thread a doubled line through a hook. In Maya, I'd create a cage, bend the cage into the shape of the loose knot, and push the sweep curve through the cage. Then I'd use morph targets to tighten it. No matter what I do in C4D, I can't figure that part out. I can make a cage, but it's not independent of the curve. How can I pull this off? Any ideas? Thanks for your time, Troy.
  11. Hey Mike, keep me in the loop.
  12. I used to run a PC and a Mac. I went all Mac because it seemed insane to me to maintain software for both platforms.
  13. Isn't MK12 in Kansas? I think there are quite a few people/facilities in fly-over land that would dispute the "Creme (sic) of the crop" remark.
  14. Hey everyone, Did I wait long enough to have the last word? In my former life, before I decided freelance made me a more bearable person, I ran a design and animation department. The hiring decisions were mine (mostly). I found a few things to be consistent. 1. Work ethic can't be faked. When I see a reel of reproduced tutes, it's a dead give-away. They don't have the passion or energy to CREATE. They'll fold the first time I need them to stretch. The great ones see it as a challenge. They have PASSION, not just a need to sip a cocktail and tell people they're an artist. 2. I see the reproducing of tutes as someone's own work as thievery. Learning from someone's hard work, especially when they're offering it to you for that purpose, is one thing, but selling it as your own work is another. Is it not the same thing as rewriting a published novel word for word and saying it was yours? You did, in fact, WRITE it. I'm actually a little surprised all of us aren't coming down a little harder on this. When I saw a reel that had reproduced tutorials on it, it was always an automatic rejection. What's the difference, really, between that and just recording spots and putting them on a dvd? What was really learned? How is it being applied? Learn the technique from the tutorial, then do something with it.
  15. Hey everyone, I turned forty not so long ago, and have been doing this for half my life. And the stuff I did this last year was the best I've ever done. Chris and Harry are absolutely right. And I'd like to brighten it up a bit. We love what we do, and should stop when we no longer have a passion for it. I suspect that most of us will continue to create long after we stopped getting those checks. I don't feel a need anymore to add that next big name, but I do feel a need to be better at this tomorrow than I was today. Who says we have a shelf life? I'll keep going as long as I can.
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