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joedonaldson

Member Since 22 Oct 2009
Offline Last Active Aug 11 2014 06:34 PM
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Posts I've Made

In Topic: References / Imagery collection

11 August 2014 - 04:17 PM

I think when it comes to ease of use and the social aspect Pintrest is the way to go. 

 

I personally don't care for Pintrest though and use an app called Ember.

 

It is pretty wonderful. I found in the past, when I did try to use Pintest I was very sloppy with it and didn't like the process of collecting reference. Ember is much more involved but for me having a desktop app has made a world of difference. I tag and rate everything and keep it all buttoned up and specific. It is more time consuming but I have everything catalogued and saved just the way I like. It also has an RSS feature so you can check and save ref from your feed directly in the app it self. 

 

I highly recommend it, the only downside is that you have to be on a dedicated computer to save images. With freelancing that can be tough when you come across something you dont want to lose but dont have access to the app. In those cases, I have a draft in my gmail called "To Ember" and I save everything there to later catalogue. 


In Topic: Video about composition

18 July 2014 - 02:36 PM

I'm kind of late to the part here, just getting back from vacation! 

 

I havent checked out the composition one yet but the storyboarding tut was excellent. You're doing a really great job with these. 

 

http://motionographe...-tutorial-ever/

 

Drop me a line if you'd like to add anything to this post.

 

joe@motionographer.com


In Topic: Commercial Work With Boundaries

02 June 2014 - 08:24 PM

We've tried this model a bit when we do some projects for non profits or startups and I've found  sometimes the clients with lower budgets that are less experienced in commissioning  work that have the most trouble imagining what a project will be like without getting a more full version of it. 

 

 

I totally agree. I dont forsee this always being a smooth direction to go. I was really lucky since Julie came to me specifically because of The Times piece. She knew what I could do and what she wanted. You can tell when viewing both pieces they definitely live within the same space. This drastically helped in narrowing down the style/direction. Without that the project could have turned out much differently.

 

As of now it's still just kind of an experiment to see what it yields and where it takes me.


In Topic: Commercial Work With Boundaries

02 June 2014 - 07:00 PM

It's a cool post and appreciate the sharing and sparking the thought and discussion.

 

Although for me I guess it kinda seems like a weird distinction  in what you described  as there are still revisions they are just productive revisions happening within a healthy client relationship.

 

Which is why I kind of think the issue is not so much revisions as having healthy and respectful client relationships.

 

I actually like revisions if they come from a place of making the end result better and often they do, sometimes they don't. A lot of times it's also just an issue of budget and schedule e.g. in theory it would be cool to redo a spot through a bunch more revisions to really hone and tighten and the client is pushing for this even if the budget isn't there.

 

In some ways it's maybe a question of semantics but I prefer to look at it  as: I love revisions and my struggle is really to just have more and more great client relationships where everyone's approach to revisions is how can we make this project better while also staying within budget, rather than necessarily focusing on limiting revisions.

 

To clarify in the current model after the design phase the project is locked. I loosely work with the client to make sure the story and style fit, then when we are in agreement move on. Both the issues above were design related, were aired out early on in the process and both helped to tell the story better so I obliged.

This is more of a commission model than it is a commercial one.

I also dont feel this is a black and white situation. The main goal is to retain as much freedom on our end as possible. While attempting to turn demands into requests and respecting each others boundaries and expertise.

 

The idea isn't focused just on revisions, in this case that is what was cut to keep costs down, but it is more focused on boundaries.

My day job consists of working at studios and with agencies and the never ending rounds of revisions. It is my bread and butter and I love that. Admittedly, I know this won't work for the majority of clients. The way I look at it is that if I can do three or so of these a year than that is three projects I can really own.

It's quite unfortunate but more often than not the one who signs the checks calls all the shots and overreaching does happen. This was all brought about as a way of contrasting that with my independent work.

 

I dont think this is the end all be all business model just that there is room for this in the industry with small clients and that with propper communication and respect can yield great results.


In Topic: Commercial Work With Boundaries

02 June 2014 - 05:57 PM

Good read, and great spot.

I'm curious about the back and forth between you and the client. I know you probably showed them stuff along the way, which is how they chimed in on the silo on the farm scene, but how much back and forth was there?

 

Thanks for the kind words.

 

The breakdown was pretty simple. Once the contract was signed. I sent over pencil sketches of all the scenes as well as an animatic of them timed out to the VO and three style frames. The silo issue came up at the very beginning in the first set of frames. The idea of no revisions for me is pretty loose. Its more so to limit the amount of nit picking and bullshittery that tends to happens. If there is a solid reason behind a change or it helps tell the story better I am all for it. Another example is that that original trailer design didnt resemble their actual trailer so I reworked it.

 

Even though we didnt have schedued check ins I kept in pretty close contact with Julie. She knew that once the wheels were in motion it was limited what we could change so it was more so to ease their insecurities since they hadnt worked with animation before and to keep them excited about the projects progress.