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Binky

Member Since 26 Jul 2006
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Posts I've Made

In Topic: Hall Ramirez - Showreel 2016

29 January 2016 - 02:11 AM

Hey man, yeah, most larger studios are going to hire specialists because they have large scale projects that need specific development pipelines and need people to fit well into those pipelines, for the most part. So unless you're, for example, the king of fluid dynamics sims for smoke and explosions in some specific software, that's not really the environment for you. 

 

You would do better to be talking to smaller studios where artists have to take on a wider range of responsibilities, and find out what it is that those kinds of studios are really looking for. Whether these studios are "badass" or not is up to you because most people look at Psyop like they look at Ferrari, like they don't really even understand what makes a Ferrari good, or how, or what to do with it, they're just wowed and want to own or be a part of "the best". Ferraris are real good at a few things, and real bad a lots of other things. You wouldn't take one to the arctic, or underwater, or haul a camper with it, or go cross country and live out of it, etc. What you have to figure out is if you're actually interested in what psyop does and how they do it, or if you're merely starry-eyed by their admittedly inspiring image.

 

Your reel is mainly demonstrating 2D work in an environmental context, and then has some commercial application-type stuff peppered in. So, I might be tempted to interpret that as a collection of work from someone whose experience is primarily in environmental installations, but who hasn't found enough work in that niche to put together a reel exclusive to that. And I think you're intuiting that already, which is why you're here asking whether that's the case. The question for you is: what sort of work do you want to do, and with whom, and how are you going to present yourself as an attractive and valuable option to them? 

 

That said, if you're in the freelance pool, here's what happens... A studio is invited to pitch, or gets hired to do a job, and it occurs to them that the requirements of the project outstrip their resources or their talent in some way(s). So they go looking to fill in the gaps, usually with relatively specific talent sets in mind. So now you've got someone (a producer, usually) in a bind, skimming the talent pools very quickly for someone who meets the need. They're looking for, say, someone who "knows C4D", whatever that might mean. Or for a "designer". Sometimes they aren't informed well enough to know what they need and they're just trying to fill seats with "motion graphics people". The first two situations are why you'd want to present yourself with a specific skillset, and why you'd need to demonstrate mastery of that skillset. The third is why you might want to present yourself as a jack of all trades, however a studio that doesn't know what it needs and has producers who don't know the difference between a designer and an animator are more likely to be all around shitstorms of mediocrity and frustration, and I'll let you guess why. This is all to say that there are challenges with whichever strategy you take. But in the end, if you can get experience with enough studios, you should be able to much more easily figure out what sort of work you do and don't like, what sort of environments you favor, and how to appeal to the people who seem to have that.

 

As to the question of "what makes a body of work stand out", hopefully it's apparent at this point that the context of an employer's need is extremely important. Beyond that, that's a pretty big question of talent, aesthetic, visual communication skills, inspiration, etc., and what you're really asking is "how do I get really fucking good at this?" And I don't know if there's a straightforward answer for that one. ;)


In Topic: Do you get work from Behance?

24 January 2016 - 11:05 PM

Behance has its own site-builder that you can buy into and is relatively easy, and has that sort of functionality. But it's not really that hard to take the jpegs and vimeo links you're using for your wordpress site and slam them into behance projects. What a lot of the web designers and app developers do to make more engaging and personalized presentations is nicer though.


In Topic: Do you get work from Behance?

22 January 2016 - 09:45 PM

Yeah, I get people finding me that way sometimes. But you have to be really good about editing what you present, and then presenting it well because you typically have to attract someone's attention with a slightly-larger-than-thumbnail sized image which will be floating amongst hundreds or thousands of other images they're rifling through. And the site puts forward what seems to be popular, so there's a steep curve of added viewership from what people perceive to be "pretty good" to what they perceive to be "great". You can have pretty good work that gets no attention, and is effectively invisible.

 

As in many things, you have to be just that much more compelling. But the upside is that when you are, you become really visible. I'm no master at this, but people find me. https://www.behance.net/division05


In Topic: West LA Meetup sponsored by Red Giant

22 January 2016 - 09:31 PM

I'm down.

You might grab a bigger crowd if it's not shoved all the way over to the beach and it's after traffic. Maybe move it a little east, culver city-ish like 8:30 or even 9. 


In Topic: Tell us, the After Effects team, what to work on in 2016.

29 December 2015 - 12:36 PM

Survey inputted!

For me, renting this kind of software is a direct threat to my business, partly because the fractional update process is so unreliable in its introduction of work-stopping bugs, but much moreso because all of my files, and therefore all of my valuable work, becomes effectively inaccessible should I be unable to pay the rental fee each month. That's less like renting a tool, and more like paying a monthly ransom for the safety and well-being of my work. Work which, by all rights, I should own and control in its entirety.

 

I realize this is an argument that will slide lightly off the side of the mountains of profit that this rental system generates for Adobe, but it remains true nonetheless. Just wanted this reminder out here, or to be corrected if I somehow have it wrong.