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About Rick-T

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    London, UK
  1. I made the transition about 4 years ago... I've recently made the move from an agency to in-house (i'm at intel OTC) I'd be interested to get an insight into your workflow. I tend to work exclusively in AE to produce little 'prototypes' of each interface element and then pass them over to an engineer who builds them and then we go through the code together and tweak the easing interpolators, delays etc to get as close to the demo as possible. It works ok but i'd love to be able to export something usable as a starting point directly from AE... RT
  2. Hey, Does anyone know a successful workflow to get a decent mesh into cinema from an .IGS file? My client has given me a CAD model of their logo via an internal brand manager on their end who can't remember who created it. I'm not a cinema 4d expert by any means so would rather not have to (teach myself to) re-model it if I don't have to, it's quite an organic shape, like a smooth pebble with flowing, bevelled channels carved around its surface... I used a trial version of MOI to convert the .igs to .obj which worked fine but my problem is that the resulting mesh (once in C4d) has hundreds of tiny, tiny holes all over it. I'm continuing to animate with the 'holey' mesh and am only delivering animatics at this point but pretty soon It'll have to be looking polished. Any tips or insight into a solution would be really helpful. Cheers!
  3. Yeah I totally agree with this. For me the ability to tell engaging stories through motion is what it's about, through whatever medium, and increasingly the concept is required to be cross platform. Telling stories doesn't necessarily mean in the conventional sense either, creating a narrative around something seemingly abstract such as a user interface paradigm or mental model is a way of creating a tangible 'story' and telling it to the user through motion.
  4. I started out in New Zealand in TV doing news graphics then promos and then titles and show packages. I came to the UK 3 years ago and pretty much took the first job I got offered, which was a role doing none of the above. That role was the kinda 'motion guy' at a consultancy doing mobile service design, I was making little 'animated stories' if you like, of the services being designed by the people I worked with, usually used as a sales tool for the client (usually a product manager at a major telco or device manufacturer) to sell future concepts internally. That was fine, but I didn't really have a hand in the creative concept of whatever it was I was telling the story of, which led me into doing U.I. design as well ( interaction design, visual design ) for various screens (android, s60, iphone, ipad, web, pc, atms). But then people actually started noticing the value that 'motion design' adds to an experience on a mobile device. iPhone and Android devices had the power to provide rich transitions that really enhanced user interaction. We scored a job doing the motion design for a handset manufacturer for their new device, running a fully custom android OS, and part of that customization was designing the transitions and overall motion language from scratch (nothing visual, no startup animations or whatever, just 'pure' motion design) The deliverable included code (AS3, that the developers used as a base), and I had never even opened Flash and had zero coding experience. I worked with another designer who had a background in Flash development, he showed me how to write the basic code for the motions, I used this to tweak duration, delay, x and y values, scale, alpha etc... and we used a 3rd party transition library which closely reflected the transition interpolators available in the android sdk. Towards the end we worked (literally sat next to) with the android development team and did QC to ensure the resulting work was exactly as we had envisioned in the Flash demos. Anyway, I guess my point comes back to the idea of being a designer first, being able to adapt to whatever situation presents itself and use those skills and sensibilities learned from other disciplines in the best way.
  5. I live in E3 (Bow) and it's ok, a bit rough but not too bad but it's really close to alot of cool shit eg. Brick Lane Beigel, Shoreditch, Victoria park, Kingsland Road / Mare St for awesome Vietnamese food, Dalston nightlife etc... I cycle to work near Oxford St and it takes around 30 minutes. Alot of people have the wrong idea about East London. I'm originally from New Zealand and most of the time I feel safer walking home at night in Bow than I did in Auckland...
  6. At the moment, our whole team is integrated into one space, so all day there is this buzz from the admin/management team in my ears.. hearing a project manager arguing with a design lead about clients and budget and time can be really distracting, i don't get it, but despite complaints from the design team, they won't move us... Lately I have been working downstairs in a large project room in the basement, its nice and dark and I can adjust the environment to suit me, also it's close to the kitchen and espresso machine. Maybe it's because I spent the last 4 years of my career in a dingy dark tv network gfx studio working mostly alone, but I find that replicating those conditions at my new job makes me more productive.
  7. this is pretty 'stunning' apparently: http://prezi.com/
  8. You wouldn't happen to be a Media Design School graduate would you?
  9. Same problem here, 4 years at a fairly decent adjustable desk at my old studio using a wacom tablet and no problems whatsoever, the desks at my new job are dining tables from Ikea, I'm 6'4" and had to have my seat down real low, combine that with having to use an apple mouse and after 2 months of this, all of the fingers on my right hand went numb along with wrist pain and then a nerve in my shoulder pinched.... It ended up pretty sweet though, work got me a real nice chair, wacom and risers for the table.... and now I have no more problems
  10. Rick-T

    god DAMN!

    Sorry, I meant Neil directed the animation elements specifically. Not the overall spot, my bad
  11. Rick-T

    god DAMN!

    directed by Neil McFarland: http://www.parishair.com/ and animated by Dom Del Torto: http://www.domdeltorto.com/ I've had the pleasure of working with them both, thoroughly great guys, they've done a great job, I can only imagine the hilarity during the whole process.
  12. Ha! I work just round the corner on Marshall street, I guess there's no excuse really, I'll try to make it along.
  13. Rick-T

    MTV Birds

    I think its really nice, I went through that course way back when it was ' digital video production ', I used to go and check out the graduation exhibitions and have never seen anything this good come out of that course.... is Steve Dorner still teaching the there? If so, learn as much as you can from that dude, the things he taught me about broadcast were invaluable to my career.
  14. No worries, I was only talking about the text on the endcard, should have been more clear on that. And sorry again for critiquing the stuff you asked to be excused.
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