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levante

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Posts posted by levante


  1. Most mograph shops are located in Munich, the Cologne area and probably Hamburg (though i never worked up there).

    iline is right about Berlin: nice place to hang out and party but not a lot of exiting mograph work. Add low day rates for freelancers and you're probably better of some place else for working.

     

    Speaking english at work shouldn't be too much of a problem, though it might lead to confusions during work-meetings from time to time. If you plan on staying longer, i'd recommend learning German anyway.

     

    Most mograph shops in Germany are pretty small, think 5 - 10 guys. Some shops that come to mind:

    Aixsponza, Velvet, gate11, Luxlotusliner, FeedMe, United Senses, DMC, BDA, Pro7 - SAT1 Creation, Congaz, KMS Blackspace, Sehsucht

     

    Since i'm from Munich, most of these are too...


  2. As long as the offset isn't animated, there's no need for coffee or expresso:

     

    1. create a new AE comp, containing your cam, lights & nulls from c4d (but not the rendered imagery), enlarge the comp in the same dimension as your camera-offset goes.

     

    2. create a second comp with your c4d renderings in the original resolution. Add the 3d comp and shift its position according to your c4d cam-offset (example: if your cam offset in y = 10% and your comp height is 1000 pixels, you'll have to shift the pre-comp by 100 pixels in y).

     

    Thats it.

     

     

     

    http://forums.cgsociety.org/showthread.php?t=903076

    which led me to a broken link of a possible solution.

    Sort of understand the procedure he did, but not fluent enough in xpresso or COFFEE to do it myself.


  3. Some all-time favourites:

     

    La Haine

    Brazil

    Cidade de deus

    Underground

    Shallow grave

    Snatch

    Joint security area

    Fallen Angels

    Being John Malkovich

    Gattaca

    Schtonk

    23

    C'era una volta il West

    Delicatessen

    Spirited away

    Hero

    Big Lebovsky

    Barton Fink

    Mars Attacks


  4. - Fix caching system

    - Improve interface & editing speed

    - Real 3d environment, native 3d object import & camera mapping

    - Replace raytraced-render-engine with something that works reliable on any gpu

    - Start selling AE licenses again instead of (or in addition to) your rental system

    - If thats impossible: at least fix licensing issues, cause they're a pain in the rear

    - Make it easier to keep old AE versions installed when updating to a new major version (should be the default behaviour)

    - Make it easier to exchange projects between different AE versions

    - Layer groups

    - Time sync (think parenting in time)

    - Effects on text layers can use range selectors

    - World peace


  5. So if you wan't to do a tentative booking sure but if I am offered something concrete in the same time frame I will call you and give you a couple hours to get back to me if you want to book me for real in which case you get priority, but you have a very small window to shit or get off the pot.

     

    First book - first serve. Thats exactly how it works for me.


  6. Sounds like you might need to fiddle with your "Render multiple frames simultaneously" settings. I can't remember best practice with this and I tend to leave it alone, but IIRC you can set AE to allocate RAM per CPU. 20 CPUS you could allocate 3 GB per core.

     

    For huge resolutions i wouldn't recommend to use the "Render multiple frames simultaneously" option because the render processes will most likely starve on RAM and your rendering will grind to a hault. Render image sequences with multiple BG Render instances instead and keep an eye on the RAM usage to find out how many you can use without choking your machine.


  7. The old tower Mac Pro is still a powerhouse when it needs to be, check out what the guys at www.create.pro are doing with them.

     

    Second that. Got my MacPro 5.1 pimped with 12 x 3,46 GHz, SSD and a decent graphics card and it turned out to be faster and cheaper than the new MacPros.

    Windows is still driving me mad - but maybe i'm just too old for a switch ;) (been using Macs for 20 years now)


  8.  

    What was I expecting? A pool of passionate, highly motivated people who strive to improve with each project. A community with talented people who can inspire me and motivate me to go even further. Along with lecturers who are passionate enough to get us there. But it wasn't what I expected. There are passionate students around, but its the minority. To be specific, one other guy in my class. The rest are a mix of people who figured design might be cool and people who unfortunately doesn't have the visual eye. I have to admit, it is really frustrating when 90% of the class has never opened After Effects before one year into the course. The in-class hours are eaten up by repeating the complete basics. Thats what I meant with "not participating". I basically keep working on my own projects, and my program manager is fine with that.

    Before i started studying design, i had to apply with an artistic portfolio and take a two days qualifying examination to get a place at university. Guess that's a good way to seed out the “design might be cool” guys.

    Maybe you should look for a university class that sets higher standards for beginners (i'm not talking software knowledge - that's definitely something you can teach yourself)?

    Disclaimer: Sorry i this sounds a little snotty, but i do think that your fellow students are as influential as your tutors.


  9.  

    So do you just keep things 'hourly' or give companies a 'day rate' and say after x hours is 1.5x then 2x? Always thought day rate assumed no OT since you get the same rate on a slow day of 6 hours or longer day of 11?

    I usually charge day rates - though when i have to do overtime i just write down the hours and divide them by eight.


  10. Hi, i'm Axel and i'm an alcoholic freelancer since 2001.

     

    The good:

    - only one project at a time (as opposed to constantly having to jump between 3-4 projects in my last staff position)

    - long holidays = no burn-outs = better motivation at work

    - i enjoy working on site, learning different methods in different companys and working with changing colleagues

    - but if i wanted, i could as well work from home

    - i only work with clients i like

    - ability to choose between different projects and turn down the ones you don't like

    - less working hours (though this might turn into the opposite for unexperienced freelancers)

    - paid overtime

    - no more killing time at the office (if there is nothing to do i'll stay home)

    - briefings and feedback are usually more structured, cause nobody wants me to waste my time / their money

     

    The bad:

    - chasing after money

    - paper- & tax work

    - need for self promotion (which i'm pretty bad at)

    - no pay during holidays, illness etc.

    - choosing between projects often doesn't work out, cause offers don't arrive at the same time (you bet that one day after you signed up for a boring corporate video gig, there's gonna be a kick ass offer for a feature film main title design or similar in your inbox).

    - you'll often get hired after all the creative decisions are already made

    - stepping up the career ladder as a freelancer aint easy - for a lot of clients you'll always be the *insert job description here* guy

    - working on site, you'll sometimes end up at the slowest computer available (well at least you'll get paid by time...)

     

    The ugly:

    - some clients don't pay at all or default

    - no social security / no pension

    - who's gonna hire you when you're 50+?


  11.  

    Show me that promise. The only promise that I made was that you'd be able to save back one version.

     

    Guess it was formulated as: there will always be an option to save back to CS6. Practically that's not a lie but it just didn't sound like you'll have to keep every AE version from now on to be able to go back to CS6. In real life, new CS installers tend to fuck up older CS versions or customers skip every other release cause they're on a version lock (or whatever other reason), which makes the whole issue an even bigger mess.

     

    I still don't understand why it is so complicated to export projects for vintage versions, some programs have had this option for years (Illustrator for example) and with a lot of apps you wouldn't even need to export - new projects just open in older versions with a little warning message that some data might be skipped (C4D, Softimage, Photoshop...). After effects has had placeholders for missing plug-ins for years now - why not build on that technology to open projects from newer software releases?


  12. Though saving backwards across multiple versions has proofed pretty unreliable for me. Lots of strange errors such as “couldn't find effect tint” (wtf?) and the amount of time needed to open, export and troubleshoot a project in multiple AE versions made me stick with the same version as my clients for the most part.

    I remember with the first cc Version they promised that there will be a “save for CS6” option in every future cc release...


  13. I'd be careful with the Drive plug-in. Its a nice toy but it can be annoying as hell, when the simulation isn't doing what you want it to or scrubbing backwards in the timeline doesn't update your viewport. Using this thing on a commercial project was one of the biggest mistakes i made in my “car-animation-career.”

    If you want full control, you gotta be able to override every parameter with keyframes - so stay away from simulation or only use it on certain shots where you really need it.

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