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Everything posted by joedonaldson

  1. Thanks for all the responses everyone. I went with Tim's learn C4D in one day and it was great. Exactly what I needed for a good refresher. There are still a lot of things to pick up but hopefully noodling around in various tutorials will help with that. Gonna do the one on materials and dynamics next!
  2. Yeah, there is this over on GSG: http://greyscalegorilla.com/intro-to-cinema-4d I checked it out when it first came out but fell out of it. I'll have to revisit it.
  3. Also, if it helps my end goal would be to start using C4D again for look dev and incorporating 3D for 2Ds sake in my projects. Nothing too fancy. Thanks
  4. Hey all. I try to keep the technical question limited but I was wondering if anyone has any recommendations on a good and thorough C4D learning program. I'm not really looking for tips and tricks. I'm mainly looking for a solid overview. About 3 years ago I completely uninstalled all 3D applications to focus on design and 2D and am primarily looking to get brought back up to speed. There have been about 100 C4D updates these past 2-3 years! Does this still hold up? http://motionworks.net/shop/cinema-4d-in-one-day/
  5. 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.
  6. 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://motionographer.com/2014/07/18/best-tutorial-ever/ Drop me a line if you'd like to add anything to this post. joe@motionographer.com
  7. 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.
  8. 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.
  9. 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.
  10. Hey all. Recenetly I was asked to write a post for Motionographer discussing a buisiness model I have been working with on my independant work. You can check it out here: http://motionographer.com/2014/06/02/commercial-work-with-boundaries-the-commissioned-work-model/ I'd love to hear any of your stories with similar situations and if you have any questions let me know.
  11. Thanks for the response Aaron. Luckily in my case there is no lighting, hooray! Overall its very flat. The animations will be simple, its mainy just the sheer number of animations. In the end I imagine itll be about 20 different movements and gestures. I do know what you mean about starting in the T pose, works great for a character reaching upward but if you put the arms at the hips it gets a bit funky. I should have some assets this week and Ill post some WIPS.
  12. Thaks for the reply Kitkats. Pretty much what I expected. Its an odd request to say the least and I figure its kind of a shot in the dark, especially since I cant share artwork yet. I kind of have a love hate relationship with the puppet tool. It always gets me almost exactly what I want hah. I think with a careful mix of swaping between rigs and using the IK in PuppetTools3.0 I should be fine. I'll definitely have to check out the improvments to Duik. Its been awhile since I have updated it so I am kind of in the dark.
  13. Also, I'm very familair with and use both Duik and PuppetTools3.0. I have also done FraserDavidsons skillshare on character animation and am quite familairy with general character animation. I typically use a marrionette build/rig and the concern here is the ideal way to design a character for use with the puppet tool to reduce clamping.
  14. Hey All. I will be starting a new project with a lot of small characters with a wide variety of movements. The designs are built around the characters always staying fairly small in the composition and the style is pretty simplistic. Overall, fully rigging each character will be a bit excesive and the puppet tool will sufice for much of the movements. I am working with an illustrator on them and my question is if there is an ideal starting position for the designs so that once puppet pined the movments arent restricted. For example if its a little character throwing a football if he is designed with his arm cocked ready to throw the ball straightening it after the fact will break the art. The big concern is that these arent your standard "noodle armed" motion graphics characters where you dont have to worry about pinching in th elbows as much. I would like to keep as much inegrity of the original design as I can when manipulating them. Any recommendations for a good general starting pose would be greatly appreciated.
  15. I personally have never been burned. That isnt the issue here. The issue is information. Yes the information is out there but so is ALL information via google. And yes we are in the inner circle, and before I go to just about any studio I have a friend or collegue I can contact and get the low down. The point is to have that information available to people that might not be in the inner circle or savy to the industry. I agree VFXwatchers is a shit show but there are plenty of online communties that dont resort to that. I have witnessed it and benefitted from it first hand. You mention fear like there is nothing to lose. Like I said, I have never been burned but for the sake of argument when you look at say a 4 week booking thats $10K+ at stake. If you have a family and people that depend on you thats a lot of loot and I would think that anyone could acknowledge the usefullness of a tool that could help prevent getting burned when that much is at stake. It's like viewing Kelly Blue Book as useless because your not in the market for a car. It might not be of much use to you or me but it could be of use to others and above and beyond that will document peoples experiences and create a record of the goings on in the industry. I will say that I doubt a community like this will ever get started or be successful. It would take a lot of community involvement which unfortunately seems to be on the decline.
  16. I couldnt disagree with this more and think your looking at it the wrong way. Yes there are some trolls out there and yes some people will take advantage, as they do with everything. Knowledge is power and the more information that is out there the more protected and accountable people will be. When I was a student the vast majority of people wouldn't think of signing up for a class without looking up the professor on Rate My Professor. They instantly could find out how hard the class would be, how much homework would be involved, the lenght of the papers, leniency on tardiness etc etc. Comprably, as freelancer it would be wonderful to know if a compnay pays on time, are they net 30 or 60, do you have to use their payroll system, W2 or W9, do they aprove overtime/pay time and a half on weekends and are they trusting, do they let you help shape something or do they just view the freelencers as technicians and limit your responsibilitly. It could also inform us of when we need to be cautius and protect ourselves and get an established contract before we begin work if say someone was notpaid or was paid late. Just recently a friend of mine wont be recieving 4 weeks pay on a booking because the studio has filed for chapter 11. This was in the works long before his booking was confirmed and if this information could have been made available the situation could have been avoided. I dont think it would be an easy system to create but the bottom line is that other industries/communities have similar devices and it is a valubale tool. To think it wouldnt work for our community is absurd. As mentioned above, I believe in giving any studio a first chance, even if I have heard negative things. With more information to help guide are decisions we would be at much less risk when doing so.
  17. I think this could be a really great resource. A friend and I talked about setting something like this up awhile back. Essentially a Rate My Professor but for studios. http://www.ratemyprofessors.com/ Of course you have to worry about trolls but I think with very littler moderating it could be done. I would think a section for comments could be useful but a system like how KEH rates equipment could work great and cut down on personal bashing. http://www.keh.com/help.aspx#pe19 (top section)
  18. These are wonderful. I love me some texture so I bought them right up!
  19. Thanks for the love guys. You can peep the site for some of the designs as well. http://joedonaldson.tv/#/new-york-times-modern-love/ Essentially the process was pretty simple. The Times obviously doesn't have the deep pockets that advertising agencies do so the budgets are very small but on the flip side they give their vendors 100% freedom to do what they want. I received the VO which was locked and had 3 and half weeks to develop the story, design and animate it all. A bit more rushed than I would have liked for a 2:35 piece but since there were no revisions or asking for permission it was actually a very smooth process. This was definitely the biggest task I have taken on by myself. My main goal was to develop a bit more of a voice through my illustration. I'm really inspired by all things Nobrow and the folk art/print community so I really wanted to embrace that in this piece. I wanted it to be simple and imperfect. I didn't want it to be an over the top motion graphics piece. I just wanted to tell the story in a simple way. Overall, Im really happy about the experience and I appreciated the love its been getting. Thank you. Let me know if you have any other questions.
  20. I have a look I have been working with to create a distorted edge using a combination of roughen edges and turbulent displace. The results are great but the downside is that the roughen edges has to be applied to each layer individually to get the the right look. I have all the rough edge effects parented to a controller so I can change the look across all the layers if needed but the problem is how heavy things get with that many instances of roughen edges in the final comp. Is there an effect/expression that I can use on my controller that would give me the ability to toggle off the effect across all the parented layers? Currently once the effect has been applied to the layers it seems the only way to disable them is to manually check them off one by one. It would be great to have the ability to toggled off the affect across all layers when working in the file then toggle them all on for final look dev and output.
  21. I don't use Skype but it seems like google+ would be a better option for this. With the hangouts and google drive it would make it very easy to share information, files and communicate.
  22. You can assign signatures to each card. Essentially you would lay the signatures out in a single perfect grid. Then in card dance you specify where to separate each card and then use a fractal or ramp to offset them. If you check out the tutorial it explains it all.
  23. If I understand what you are wanting to achieve I think CC Card Dance can help you. Here is an old example I made where a ton of icons fly from behind camera and form the earth. @:50 http://joedonaldson.tv/#/the-noun-project/
  24. I think the difficulty here is that the term "high quality" is subjective. Seeing some work examples will help. I started out working in daily news with a position similar to what you describe with daily turn arounds. I now work with design studios and post houses and what was high quality before at the news station simply wouldn't cut it in this world. We all work in broadcast but there is a huge divide between the world of daily turn around style broadcast/news shops and those of the higher end studios likes the Bucks and the Psyops etc. For example, you could get an extremely talented designer/animator who has worked at the top tier places and understands quality but would struggle in the daily turnaround more broadcast/news environments. Its simply a different mind set. One is rooted in design/art and the other is rooted in content and shipping. One is not necessarily better than the other they are just completely different beasts. Having worked in both worlds I would recommend looking for people that come out of telecommunications programs not art programs. When working in news I worked with a ton of people like you describe and they were all telecom/photo journalist majors. In the design world it is much more art school kids.
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