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  1. 10.8.5 … been burned in the past with bugs in OS, AE, and plugins. I don't upgrade unless forced to or I have a huge chunk of down time (which is never since the recession). Also, I have Blackmagic hardware and I believe they are shipped with microscopic gremlin eggs embedded inside that awaken and hatch whenever you upgrade AE, Premiere, or your OS. The color label thing is also a big deal for me… funny reading it mentioned so many times on here, I thought I was the only weirdo on earth who cared about that.
  2. first off, in case you haven't figured it out already, about 80% of all the work in the US is shared between LA and nyc (LA having the most), with the entire rest of the country sharing the other 20%. i will be so bold as to say that i am not exaggerating. then a second tier would probably be chicago/atlanta/seattle and then i would put sf at tier three (i've been freelancing here 10 years). even though this is a huge ad agency center, LA is like a big vortex that sucks away most of the projects, budgets and people away from sf. yeah so anyway, if you're concerned about work, you straight up need to go to LA or nyc, particularly in this shitty recession. then maybe once you have your legal & networking shit worked out, move to somewhere for the quality of life rather than just for work. also, here is a dirty little secret about our industry: shops like foreigners. at least shops that are on the more competitive side. that's because in LA and nyc the freelance market is good, so any good designer/animator with half a brain will decide to go freelance and make 2x the money, or alternately work half as much. but when you have a talented employee that is obligated to work staff for you via visa sponsorship, then you no longer have to worry about that. so if you have a dynamite reel, try sending it out. best of luck & hope this somehow helps.
  3. oh wait, i just realized your project is seemingly animating a preexisting/preapproved design... i usually do a "full timeline" rough animatic to show composition & timing, with crap linear animation & dissolves, along with one or two short polished animation bits. and i make certain to not put the polished bits into the animatic, so they can see the explicit difference between the animation quality of the animatic and polished bits, which usually helps compound to them that everything in the animatic "isn't going to move like that, all herky jerky, is it?".
  4. i usually try to approach it as "how can i get the most signoff/approval process made in the least amount of time?". i know that sounds really "duh", but it will vary from client to client, project to project, so having multiple approaches is more advantageous. with a new client, i try to isolate the variables as much as possible. for the first round, i pick out 2 screens from the project (usually one title card/minimal text, and one imagery/infographic based) and do 3ish sets of semi-polished looks. key is to keep the actual content in the screens vague or minimal, because they will usually hone in on -and hence be distracted by- the content itself and how it's represented. then stay with the 2-styleframe approach, with the same content/screens until they signoff on the look. then i usually fill out more screens with *now the MOST relevant & touchy* content in it. so that way any problems with the representation of important content is tackled as stills, rather wasting a lot of time in animation to please them. then around the later part of this stage (when it seems like they are on a clear path to signoff), i'll include a short animation test of "not important" content. this will usually glide right in with the rest of the signoff of the finalized look. then the animation and all the hellish and/or heavenly complexities that ensues regarding signoff & client pleasing. in the initial project outline and/or contract, i give an overview of the approval process (and signoff dates needed to make their delivery date a reality), specifying how purely the "look" needs to be nailed down first and foremost, then building out the look of specific content, etc... so they know the game plan from the get-go and you don't have to explain repeatedly from the first presentation why "that really important complex graph" isn't in the styleframes. there is another important reason i do this: if your client liason is even a half-competent manager, they'll completely understand this and even appreciate it. and if they are resistant to this tiered approach and just wanna "see everything" from the beginning, then they are likely either A) very inexperienced in handling projects like this, B ) a machiavellian cretin who will revisionize you to death, that you're better off avoiding, or C) are overly concerned with pleasing & impressing their boss and will always want a luxuriously unnecessary amount of stuff to show him/her at like every stage of the process, which pulls important resources away from the actual making of something that will be actually good... also, these are the same people who will demand you suddenly change everything because their boss' 15 year old kid said "they think that blue stuff would all look better yellow", even after you try to explain that changing all the water to yellow will look like urine, etc. hope this is useful and somehow helps.
  5. i haven't really read all the stuff on here, but i assume what the original poster means is footage that... 1. has a depth of field far shallower than what is accustomed to being seen in motion footage, because of the vistavision-sized sensor of the 5d mark2, often in a completely unmotivated & irrelevant way... 2. and is poooooooooooorly lit, or rather just plain unlit... 3. and exhibits poooooooooooor handheld where the horizon line bobs back and forth while they just are wholly concerned with keeping some point of focus in the middle of the screen... 4. or maybe they use that slider dolly they bought for every single shot. if i check out a vimeo link and i see two or more of those seeping onto my eyeballs within the first 3 or 4 shots, i just quit watching it. but needless to say there's been plenty of great stuff shot on them and they're a great cheaper alternate to renting a red package or whatever. also, there's a special place in cinematic hades for "fashion videos" that are basically nothing more than a series of still photos in 10-second durations where their arm moves about 4 inches or the lens flare blooms 8% brighter (or maybe if you're lucky, they walk about 3 paces) all cut to some song they found on the pitchfork blog.
  6. hard to say without seeing your material, but here's something i've used for shooting multipass on real miniature models to help pull out & stack specular highlights in composite... change the color of your lights to be the additive (CMY) inverse of the diffuse/base color of the object... ie. if the base color of your objects is green, then gel your lights to be magenta. this will result in the green having minimal increase in luminance, while the highly specular bits will still reflect a lot of light (though it'll be reflecting magenta light of course). then you take that pass into AE and tweak away until you derive a matte or whatever from it. best of luck and hope this somehow helps.
  7. btw, i don't know her or have any connection to her... just feel like she deserves hella props & exposure. and donations.
  8. if you have a bathtub full of money you should probably help out this filmmaker's new project... her first film "blood tea and red string" is one of just a handful of genuinely auteur stopmotion animated feature length films ever made, and she did it completely by herself (aside from the audio) over a course of 12 years. it's like if david cronenberg and david lynch had a baby that had a fever dream after watching james & the giant peach, put through a goth filter. trust me, you wanna at least netflix that shit.
  9. i've happened to see this dude doing it in real life. it's completely unreal how slowmotiony it all is... the movement, the bursting, even the liquid dripping seems like it was shot at 72 fps and being played back as some indiscernible hologram.
  10. that site looks useful, thanks dude.
  11. hey sorry a little off topic, but has anyone seen any place that has it in stock? like a local camera shop, doesn't matter where it's located to me. it seems to be completely sold out everywhere online. shooting a project soon and would prefer it over the canon DSLRs (not hatin'). thanks in advance for any leads.
  12. neonski, you have some very strong, original looking work... though mostly in that newer stuff on your vimeo (missing from your reel) and in your print projects. especially considering you work in such a (relatively) small market. here are some thingees that might help... - like others said, recut your reel. i feel like you've managed to make your work look less impressive than it is. bolder, snappier, tighter, blah blah blah. i feel like you could just have all your individual projects on your site too, so you could just cut it down more to just the frosting moments. maybe throw in a quick sequence of your print work, to help show your more innovative design sensibilities that don't get a chance to be used in your motion projects. - at your job, if you have a lot of ho-hum projects, adapt what i call the "1.5 second rule". meaning that with every project, no matter how lame or bang-outty, put in a 1.5 second portion that you're proud of and uses some technique etc that you've been wanting to try. as for the project overall, just give the producer/client what they want instead of burning your coals on fruitlessly fighting for more innovation in the project. before too long, you'll have a bunch of new juicy clips for your reel that show a wider range of looks/techniques. - don't say where you are in your site bio if you're courting international clients. too many will see that and just prefer to find someone closer... unless you're somewhere like london or LA or somewhere where your close proximity to a lot of clients will be a benefit. maybe just specify that you're an EU citizen, i dunno?... if that seems to be a beneficial thing to mention. if you being in croatia is a benefit to a prospective client, you can mention in the email you send them, etc. - if you can't seem to get any fun, good-paying freelance projects at the time (recession, duh), then maybe go after some that fulfill the following criteria: 1. will allow you to make something quality & innovative, and 2. will reach a lot of eyeballs that are attached to the skulls of people who hire motion designers... like maybe if there's any film festivals that you can do the opening intro for (guaranteed to pay horridly but be seen by influential people and they'll probably be open creatively). - approach unconventional clients. like any interactive shops that might want prerendered motion design elements to a flash site. Or any company that ever does anything video, like to put on their youtube or whatever. these kind of new clients might be a nightmare due to a combo of their inexperience working with motion designers and low pay, but even having an initial meeting with them (even if you end up declining) will result in new contacts that later down the road could lead to good projects via a referral or them changing jobs, etc. - find the biggest band on the biggest, most organized record label you get obtain access to, and make a video for them. the good thing about this is that once you're done, someone else will be spending time & energy putting it in front of as many eyeballs as possible, which is arguably even more important that being actually good at design/animation. - make a personal project that is about something you care about. not just a strategic self-promo project, but make sure it's about something you wanna convey (ie. make 'art" as cheesy as that sounds). it won't feel like work that way. make a thingee about how you hate your current job, whatevs. - and of course... maybe move somewhere where there's greater quantity and quality of work. hope this somehow helps & best of luck.
  13. nevmindy, adapted it from one here... http://www.motionscript.com/mastering-expressions/random-3.html
  14. have a crazy deadline in the morning... this is actually a super easy expressions thing if u know how. here's my problem. i have hundreds of 3d "cards" in a comp. they need to have faces that are random, from a set of 80 images... they're named "P_000.jpg" through "P_079.jpg" i put those 80 images sequenced one frame each in a comp. now that comp is the precomp that are all the cards in the master comp. i assume i can use an expression in time remap to say "yo homeboy randomly pick one of the frames in me and make that shit a hold keyframe, staying that way forever" but i suck at expressions, even after copy pasting pieces of ones i found online. ima be pulling an all nighter, so i'll be here if anyone is feeling charitable. halllp
  15. for a student project that was almost outstanding. i say outstanding because it was first and foremost compelling and rewarding to watch, had a great tone/mood, and didn't explicitly remind me of any other projects i've seen (rare for student work that's good). i also particularly like you using elements in a 3d environment to create a kind of oskar fischinger meets busby berkeley pseudo-2d sequence. big props for that. and it was funny, that never hurts. the "almost" in "almost outstanding" is because of your use (and lack of use) of the camera. the opening shot could've been much more grandiose and enthralling or at the very least more well-crafted. the spontaneous pan/tilt when the first guy levitates is pretty unorganic and needs more love on those keyframe beziers. and in general, you could've really upped the ante by using some changes in the camera/fov. even maybe just cutting in some longer lens shots. though i understand it's a delicate balance, since that historical style is suited to the continuous static wide shot. also, when the police's colored siren occurs, it drops the quality of the project because i then become aware of the lack of any other color in it. maybe if the police light casted colored light on the environment it would've turned it into a big plus instead of hurting it, i dunno. maybe if there was also some color the first time the guy levitates, and then also a different color at the last walking shot/punchline, i dunno. i also wish there was some more variation in the buildings and trees. and one last thing-- you had a great opportunity to show off some typography skills by doing some custom work on that 1930s quasi-soviet propaganda type. but overall, it's pretty damn good. as far as getting work goes, any experienced producer or AD/CD would look at that know that you'd only need a round or two of notes/revisions to make it excellent, which is a pretty good assessment for a student. hope this somehow helps and best of luck.
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