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About adam

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    MoGraph Superstar

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  1. Thank you Scott I appreciate you taking the time to share that. I don't have much in the way of a back catalog I can put up... I was mainly thinking of making new stuff. So yes a very large time investment up front. I do have some ideas for things that aren't out there in huge quantities as far as I can tell... but I suppose the only way to really find out if they would be in demand is to make them and put them out there.
  2. Hi everyone, I've been googling around a while and I can't seem to find much discussion on selling stock motion graphics... especially any that's relatively recent (many discussions are from around 2010 or earlier). Is that because no one is really doing it as much anymore? I've been thinking of starting to sell some online. I searched here and I see maybe a couple people do it, or used to at least. Would anyone who does it be willing to to share any thoughts or general info on how they're liking it? I don't expect anyone to disclose numbers if they prefer not to, but I am curious if anyone is finding a way to sell enough clips to make, if not a full income, at least an income equivalent of doing freelance part-time? Any comments from those who are doing it or have tried in the last year or two are much appreciated. Thank you!
  3. Hello Mographers, I wanted to share my recently finished animated short with you. It's been in the works for the last 2 years, while I also studied at AM and worked a little freelance. It's the story of a small flying mammal's attempt to win the heart of a large flightless bird. I hope you enjoy it There's lots more info on the vimeo page if you are interested. Software was primarily C4D and AE. http://vimeo.com/adamsinger/cassowary
  4. God I loved these when I was a kid. They were my childhood "motionographer"
  5. I'm going to have to start tooling around in Maya again pretty soon for an online course I'm gonna take, and that lead me to this: https://renderman.pixar.com/products/tools/rfm.html Anyone used it? Is it really as easy as they make it sound on the site? Would be pretty awesome if so... and only $300 more than vray for a licence...
  6. I like the surreal look you have going with the color and lighting. It's got appeal. What I think you really could work on is the animation. You may be able to add a lot of life to these if you take the physics of this into account. A quick win would be to add some camera shake on the impacts of the words. You could also sell this more if the words didn't just plop straight down into the dirt and stop on a dime. Perhaps the words come down at a slight angle and when they hit the ground, different letters come to rest at different times. Look at some video reference of falling objects hitting the ground (or make your own) to see what I mean in action. The only other thing that got me was the angle and speed of the splashes and debris. I see what you're trying to do with the angled splashes but when the drops start coming back down it kills the believability to see the droplets moving back towards the point of impact. They should keep flying away from the point of impact. Also I would consider speeding them up. They were shot in slow motion to give you that option, but if you want the timing to match the impact of the words (not in slow motion), they've got to be faster. Nice start, keep it up!
  7. I would take different approaches whether you want the pieces to be able to flatten out or if they can just stay in their curved shape all the time. If they can stay curved, I would make the whole puzzle as a rectangle, with all the pieces as separate objects. Then I'd spherify that puzzle. Make editable. At this point you could do some extruding and beveling to the pieces if you want. Then take all the pieces and put them in a cloner on "iterate" mode. If you want the pieces to be able to, say, flatten out if they move off of the sphere, it would be a little more complicated but it could still work.
  8. I'm wondering if lens-flare and gradient backlash will be as severe as it was back in the late 90s-early 00s, or if people will be a little more forgiving this time. I remember back when I was in school, use of either = instant chastisement
  9. That, and also his general attitude about taking feedback and being honest with himself about his own work. That's the part I would have liked to share with our esteemed mr. welker. He could have stopped at any point along the way and said "Welp, I've finally made it. Look how many pages this thread is! Look how many hits my site has!" but that's not at all where his head is at.
  10. edit: ha woops. Well I just saw this was dug up from october. So I deleted my "advice" to sam. But I left this link in cause it's pretty amazing anyway. Check out the first and last pages, and check out the author's site. Pretty inspiring I thought. http://www.conceptart.org/forums/showthread.php?t=870
  11. seems like it's dead to me. BUT I came across this in my wanderings a few days ago. Not directly related to motion graphics, but still helpful. Lower left, click on "2010 wage survey" http://animationguild.org/contracts-wages/
  12. Definitely. In this case the two work really well together and they both help each other out. But for me it's only a good match here because it's not super deep... if we as viewers had been watching this character for more than 15 seconds and were really emotionally invested in her scenario, those nice flourishes would turn into the thing that breaks the illusion. But I see what you mean about having it throughout. seems like if you were to have a whole short film or long film with this kind of approach, where these kinds of enhancements became the norm, the established reality, then that could offer some real room to work with. "Into the Void" comes to mind as an example of that kind of format... But yeah, this kind of application is definitely a step in the right direction in finding the potential in mograph.
  13. Doesn't seem realistic to me to compare mograph to film at all. Film is at its best when it gets out of the way and just lets the message & feeling through. Any piece of creative work will have lasting and true impact when it does that. Mograph in its very nature is more in the way. When was the last time you saw motion graphics that didn't, no matter how subtle and appropriate, draw your attention over and say "hey, I'm motion graphics! look at me!" Looking for the next phase in mograph that's going to take it deeper seems to me like looking for a cake frosting recipe that will make a great substitute for cake. Not saying it's a craft that can't be made more powerful, but I think it's like anothername said, mograph's potency isn't going to go anywhere as long as it's tied to advertising. thank goodness.
  14. adam

    Here for the potluck

    Thanks Ultrus, I'm glad to hear that's what you took from it, I am really trying with this new reel and site to push towards animation only... the "jack of all trades" in mograph thing is starting to burn me out. I am hoping I can land myself in projects where I can just be an animator. It's my favorite part of the work and I usually end up only spending 20% of my time on it, with all the other stuff that needs to be done!
  15. adam

    Here for the potluck

    Jlee, chizmniz, thanks! The site is finished, in case anyone wants to see the animations in entirety... the "play" link isn't up yet, that will go to a separate portfolio for personal work (sick of trying to combine the two!) but otherwise it should all be working now. adamsinger.tv
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