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FREE- ADOBE AFTER EFFECTS FOR BEGINNERS WEBINAR AVAILABLE ONLINE

January 21, 2015   Uncategorized

 

 




LEARNING FROM THE BEST

Ask a Video Pro is a webinar series  where users can learn from the video
production experts to help them get more out of their Creative Cloud tools.
Every few weeks attendees log on to find out more about new new features, deepen
their knowedge, or expand their skill set by learning a new application.

In 2014 over 2,000 people attended sessions and well over 20,000 watched
recordings of them afterwards. Based on registration numbers, the most popular
session this year was presented by Vashi Nedomansky (10 Tips for a More
Efficient Editing Workflow), closely followed by Optimizing Your System for Peak
Performance (by our own Todd Kopriva). Going user feedback, the biggest hit may
have been How to Build a Successful Corporate Video Business, by Mark Drager and
Kyle Wilson from Phanta Media, and there was a lot of love shown for Faster
Filmmaking, as well. The most watched recording was Crafting the Perfect Image,
by Will Read. And there were some sleeper hits, too, such as LOG and RAW
Workflows (it must have been the sexy title that got them).

It has been a great year for Ask a Video Pro and it’s not over yet! You can
still log on and watch (or re-watch) any of them. Below is a complete list of
all the sessions presented this year, including descriptions and links to the
recordings.

Still want more? We just posted our first webinar for 2015 and we’ll be posting
more sessions early in the New Year. We also have a live panel discussion from
the Sundance Film Festival coming up on January 23.  If you have questions, or
requests for topics or Adobe apps you’d like to learn more about in 2015, please
let me know. I can be reached at @EricPhilpott

Watch This Webinar Now at

https://seminars.adobeconnect.com/_a227210/p2zfk48ogtp/?launcher=false&fcsContent=true&pbMode=normal

 

By Eric Philpott | December 19, 2014

 

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POND 5 INTRODUCES THE PUBLIC DOMAIN PROJECT

January 21, 2015   Free Resoures, Freebies

For years, searching for copyright-free content has required making a difficult
choice: either spend valuable time digging through remote archives and clumsy
websites, or spend valuable money to access media which supposedly exists for
free in the public domain.

Pond5 is about to change all of that.

Today we’re announcing the launch of the Pond5 Public Domain Project: a
comprehensive and ever-expanding collection of copyright-free multimedia content
that’s accessible for free search, free download and free use.



 

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6 RULES TO SUCCESS SPEECH- ARNOLD SCHWARTZENEGGER

August 1, 2014   Inspiration



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PULLING AN ALL NIGHTER- DEALING WITH SLEEP DEPRIVATION NATURALLY

July 17, 2014   The Survival Guide

Being expected to work all night without complaint is commonplace, in the
freelancing industries. To make things worst, producers expect you to perform as
well during your 20th straight hour, as you did on your first. But how do we
make that happen?

THE SOLUTION- Be prepared physically before it happens.

What is Sleep Deprivation? “We have no idea what chemicals are produced by the
body, during sleep, that make us feel rested.” explains Dr Thomas Devlin, Chief
of Neurology at Erlanger Medical Center in Chattanooga, TN. “If we could
identify what that compound was, we would be able to synthetically reproduce it
and create a pill that people could take to make them feel rested. The best
solution to sleep deprivation is to be physically prepared for it, or avoid it
all together”.

STEP 1- Live a healthy lifestyle. 

Exercise, making sure you are not overweight, not smoking and generally live a
healthy lifestyle, will all contribute to make a sleepless night less
exhausting. Also by simply adding a multi-vitamin and fish oil to your daily
regimen will get remarkable results. Nothing else is really needed. Just like a
soldier going into battle, a strong body will produce better results.

STEP 2- Hydrate and Caffeinate. Everyone knows caffeine can give you that boost
you’ll need, but few understand that it is also a strong diuretic. Drinking too
much coffee will dehydrate you, which in turn will make you feel tired. I
suggest drinking one glass of water for every one cup of coffee. If you notice
that you are drinking coffee but your eyes are particularly tired, it is because
you are very dehydrated. Drink a couple glasses of water and that tired feeling
will go away.

STEP 3- Exercise while working. Even 5 minutes of jumping jacks, push ups or any
exercise that brings your heart rate up will have measurable results when you
have hit the wall.

STEP 4- The Power Nap. When you sleep normally, it takes about 3 hours before we
go into deep REM sleep which revitalizes the body. But when the body is
exhausted, it kicks in to REM sleep almost immediately. A 15 minute power nap
will have more effect than 3 hours of normal sleep. It’s best to nap about six
or seven hours before you would normally go to bed. If you must take a late nap
close to bedtime, make it a short one.

Step 5- Keep Your Brain Active- When you have hours of mindless work, turn on a
movie, listen to music, play a podcast, talk with someone or do anything else
you can to keep your mind alert. Day dreaming will turn into night dreaming and
soon you may find yourself waking up on your keyboard with no idea how long
you’ve been out.

Step 6- Don’t Eat, Graze. Large meals will cause blood sugar levels to peek and
crash. Instead have small meals,  every two hours. This will keep your blood
sugar levels even and make your more alert.

Step 7- What About Energy Drinks- Don’t think energy, think Vitamin B intake. A
simple B complex tablet, a 5 Hour Energy or other power drinks that are vitamin
based are best. I find the weightlifter supplement N.O.-Explode works best for
me. Not only does it fill the blood stream with a proper amount of vitamin B
which invigorates me, but it also clears my head and makes me think better. Be
certain to follow the manufacturer’s dosing instructions. Too much can make you
jitter like too much coffee.

THE BEST SOLUTION- Avoid It- Make it clear to clients not only what your hourly
rate is, but also that your rate turns into overtime after 10 hours and double
time after 12 hours. When you have completed 10 hours of work, inform your
client that you are going into overtime and ask them if you can continue
working. Do the same at 12 hours. Company’s that work you overtime but do not
paid OT are usually the same companies that pay late or never at all. Companies
that asks you what your day or weekly rate is, are telling you in advance,
expect to be treated poorly.

 

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FINDING FREELANCE JOBS- THE BEST PLACES TO LOOK

June 30, 2014   Uncategorized

Last week, I received a few emails from artists that were starting their
freelance career and wanted to know the best sites to find freelance jobs.

The answer is simple. THERE ARE NO GOOD SITES TO FIND FREELANCE JOBS!

If searching for ads on job boards is your primary source for obtaining
freelance work, don’t be surprised if you are sadly disappointed with the
results. For every single ad placed on a job board, there are hundreds of
artists who apply. The odds of you getting hired are slim.

 

The Solution- See and be seen, and let the jobs come to you.

There is a saying in sales, “It’s a numbers game”, which means the more people
who see your work, the more work will find you.

Step 1- Linked In- Start by searching Linked In for other similar artists in
your area. Review their profiles for a list of companies who have hired them.
Connect with those artists and every one of their contacts. You will be
surprised at how quickly you can get contact information for almost every HR
person and producer who has been hiring in town. As you connect with people, you
will notice that under contact info you will have access to that person’s
telephone number, email, website and more. If you have less than 500+ contacts,
then you have not even begun to take full advantage of all the valuable contact
information available to you on Linked In. Using this method, I quickly obtain a
list of over 3600 employers in the Los Angeles area alone.

Step 2– Create a List of companies you could work for. START NOW!. Create a
spreadsheet that includes: Company Name, Persons Name, Title, Email, Telephone,
and Additional Notes. As you add a company to your list, call that company. Tell
the receptionist who you are and what you do and explain that you would like to
email a resume and link of your work. Ask who in their organization you should
send that to and what their email address is. Receptionists freely give this
information out almost daily. This list of possible employers should be in the
thousands, not hundreds.

Step 3– Review Each Company’s Website– Before contacting anyone directly; go to
that company’s website. Not only should you review the company’s work, but also
look under careers. Many times you will find positions available that are not
advertised. Be sure to fill out any online applications to make sure you are in
their database.

Step 4- Look at Job Boards, But Not For Jobs- Job boards are not very good for
actually finding jobs, but they are excellent for find emails of people that
regularly hire. Go to your favorite job board and look back for an entire year
to see who was hiring. Understand that a person who is hiring a matte painter
today, may be hiring a compositor or 3D artist tomorrow, so do not pass up
employers just because the job description does not match your skills exactly.

Step 5- Go to Where the People Are– Someone once said to me, if you want to be a
successful artist, go to where successful artists hang out. Conventions, meet
ups, user group meetings, events, company open houses, road shows, other
artist’s birthday parties are great places to make connections. Start getting
recognized as a good artist by hanging out with other good artists. Not only is
this is a great way to make new contacts and start building strong business
relationships, but it’s fun too.

Step 6- Build Relationships through Facebook– Use Facebook as a tool to let
people know who you are and what you have been doing. Make sure the ONLY
information you are giving out on Facebook is industry related. Political
opinions, personal information or even one drunken picture of you and your
friends out on the town can ruin a years worth of work. I have two Facebooks.
One for personal friends and family use and a second that is my professional
Facebook.

Step 7- Make it Easy for Companies to Contact You- Put your cell phone number
and email address EVERYWHERE. Your business card, your emails, your reel, your
Linked In profile, your Facebook profile. I have seen so many people that have
website with only an email form to contact them, and no phone number. When
people are looking for an artist, they are looking NOW. Not when you eventually
email them back. So make it easy for people to hire you by making your self easy
to reach.

Step 8- Let People Know, You are Looking for Work– It may seem silly, but just
telling people you are available and looking for work is a great way to get the
ball rolling. Email everyone on your contact list shortly before each time you
are becoming available. remember that a referral from a friend or colleague is
better than any resume, cover letter or reel. So don’t be afraid to let people
know you are available and looking for work.

Do you have a question or topic you would like to have addressed? Feel free to
email me directly at jungle@grvfxguy.com

 

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DREAMWORKS ANIMATION AIMING BEYOND FILM

June 25, 2014   In The News

GLENDALE, Calif. — For months, DreamWorksAnimation has been working on a
prototype for a product it hopes will change how the world’s children meet Santa
each Christmas. Code name: DreamHouse.

At shopping malls that buy in — and two national operators already have, Forest
City and General Growth Properties — Santa Claus will sit inside a
2,000-square-foot “cottage” with walls that are essentially giant video screens.
Children will go on a virtual sleigh ride with Shrek before meeting Santa. No
more waiting in line; appointments will be made by app.

“It’s an amazing, beautiful, big theatrical statement that represents our
efforts to diversify into new areas,” said Jeffrey Katzenberg, DreamWorks
Animation’s chief executive. “We’ve made bets, and now it’s about execution.”

Diversification has been Mr. Katzenberg’s mantra for at least two years, ever
since an effort to sell his small studio ended without success. The need to
become part of a larger company or expand into other businesses reflects a
reality Hollywood is loath to admit: Movies by themselves are a slow- to
no-growth business. A lasting film enterprise, at least in today’s marketplace,
must have other engines.

DreamWorks Animation, one of moviedom’s last studios not tied to a conglomerate,
has none of the buffers of, say, the Walt Disney Company, which can lean on
consumer products, TV or theme parks if an expensive movie flops. (DreamWorks
Animation, which is publicly traded, operates separately from Steven Spielberg’s
privately held DreamWorks Studios, which has lately been having troubles of its
own.)

Computer animation is no longer a sure thing, which has further motivated Mr.
Katzenberg in his expansion effort. The company has had to take write-downs on
three of its last four original films.



“How to Train Your Dragon 2” took in a hefty $50 million last weekend in North
America.CreditDreamworks Animation/DreamWorks Animation, via Associated Press

Even success sometimes is not enough. “How to Train Your Dragon 2” took in a
hefty $50 million last weekend in North America, but Wall Street wanted more.
Shares fell 13 percent between Friday and mid-Monday, to $23.85, before making
up ground to close at $24.73 on Tuesday.

Hence the importance of projects like DreamHouse, which Mr. Katzenberg also
intends to introduce overseas. “The goal is to create annuities so we don’t have
lumpy earnings,” said Michael Francis, DreamWorks Animation’s chief brand
officer.

So far, the studio’s most prominent diversification efforts have involved
television and the Internet. The company has contracts to produce a jaw-dropping
1,100 episodes of original cartoon programming for Netflix. Last year, the
studio acquired AwesomenessTV, a thriving collection of YouTube channels focused
on teenagers. On Monday, it introduced DreamWorksTV, a family-oriented YouTube
channel.

Last year, 71 percent of DreamWorks Animation’s revenue came from new films,
according to Anthony Wible, an analyst at Janney Montgomery Scott. Next year, he
expects it to be closer to 48 percent. This rapid shift “is a key reason we like
the company,” Mr. Wible said in an email. (Net income for 2013 totaled $55.1
million, an improvement from a loss of $36.4 million a year earlier).

Overlooked in Mr. Katzenberg’s expansion frenzy has been an aggressive move into
consumer products. The studio, under the guidance of Mr. Francis, who spent his
earlier career at Target, ultimately serving as chief marketing officer, has
quietly built a hefty merchandising division. Eighteen months ago, the studio
had 69 consumer products executives. Now there are roughly 180, and hiring
continues.

“It takes boots on the ground and long-term planning that was just not happening
before,” Mr. Francis said. “When I was at Target, Jeffrey used to call and ask
why DreamWorks wasn’t as effective as its peers with licensing. And I would say,
‘Well, because you want retail to do all the work. You call me up and thump your
chest about your latest movie and expect me to spend my money creating a
strategy.’ ”

DreamWorks Animation has been able to move quickly in part by capitalizing on
upheaval at Disney Consumer Products, which is across the street in this Los
Angeles suburb. In 2011, Disney pushed out its merchandising chief, Andrew P.
Mooney, who immediately started advising Mr. Katzenberg. (Mr. Mooney is now
chief executive of the sports apparel company Quicksilver.)

Mr. Mooney’s replacement at Disney, Bob Chapek, carried out a bold overhaul that
left dozens of employees looking for work. Mr. Francis has so far hired at least
70 former Disney employees. One of the most recent was Jim Fielding, former
president of Disney Stores Worldwide. Mr. Fielding is now leading a September
charge into stores by AwesomenessTV.

DreamWorks Animation’s merchandising onrush comes as Hollywood’s unsexy consumer
products business starts to attract more investor attention. “Disney Consumer
Products: World’s Most Valuable Afterthought?” read the headline of a March
report from Todd Juenger, a Bernstein Research analyst. Mr. Juenger estimated
that merchandise would be Disney’s fastest-growing unit through 2018, in part
because of Mr. Chapek’s strategies.

On Monday, the International Licensing Industry Merchandisers’
Association released data showing that 2013 sales of film-, television- and
celebrity-themed merchandise totaled $51.4 billion, a 4.3 percent increase from
a year earlier.

Despite his determination to become a consumer products titan, Mr. Katzenberg
faces some skeptics — namely analysts who wonder what kind of grip the
DreamWorks Animation brand and stable of characters have on mothers who do much
of the buying. Success will also require new movie and television hits.

“Having success in our core movie business is critical,” Mr. Katzenberg
conceded. But he defended his brand and characters like Shrek the ogre, Po the
panda and the penguins of “Madagascar.” “These characters are known throughout
the world, and they are beloved,” he said. “Beloved.”

Mr. Francis said that efforts were underway to bring DreamWorks Animation to
higher-end retail. The fashion designer Jeremy Scott, for instance, is working
with characters for a line of clothing for young women; early concepts even
included a “Shrek” bra. “Everything we are doing is carefully designed to make
our brand continue to ascend,” Mr. Francis said.

Results of Mr. Francis’s various efforts began to enter the marketplace this
month with the release of a tablet computer for children, the DreamTab, and a
huge array of products tied to “How to Train Your Dragon 2.” (The first movie
had one retail partner; the sequel has 70.) But DreamWorks Animation’s brand
will become significantly more noticeable later this year, when a new in-house
publishing unit begins to release books and experience-based products like the
DreamHouse begin to roll out.

“We’ve just begun to scratch the surface with experiences,” Mr. Francis said.

Coming next year to London and then five additional cities is a permanent
walk-through attraction called “Shrek’s Far, Far Away Adventure.” Other plans
include licensing characters for an amusement park as part of the New Jersey
Meadowlands megamall and a trio of indoor theme parks in Russia. There is also a
shopping and entertainment complex in Shanghai called the DreamCenter.

“It’s a lot to bite off,” Mr. Francis said. “But we’re hungry.”

A version of this article appears in print on June 18, 2014, on page B1 of
the New York edition with the headline: DreamWorks Animation Aiming Beyond Film.

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MPC CONFIRMS IT WILL TAKE ON VISUAL EFFECTS FOR DISNEY’S ‘THE JUNGLE BOOK’

June 24, 2014   In The News

Jason Merritt/Getty Image

The Moving Picture Co. has confirmed the whispers that it will be serving as
lead visual effects house on Disney’s upcoming The Jungle Book.

Jon Favreau is directing the live-action/CG adaptation of
the Rudyard Kipling story. An Oct. 9, 2015, release is planned. (Warner Bros. is
also making an adaptation of The Jungle Book, with Andy Serkis set to direct).

Technicolor-owned MPC has been busy, after recently completing work on Godzilla,
X-Men: Days of Future Pastand Maleficent. Upcoming credits include Exodus,
Cinderella, Into The Woods, Frankenstein, Night at the Museum 3, Fast & Furious
7and Batman v Superman: Dawn of Justice.

MPC is headquartered in London and also maintains feature effects facilities in
Vancouver and Montreal (as well as bases for commercial work in Los Angeles and
New York). The company believes it could have up to 2,000 employed across these
facilities by the end of the year.

Technicolor also recently acquired Toronto-headquartered VFX house Mr. X, which
is focused on television work.

Reposted from The Hollywood Reporter 1:01 PM PDT 6/19/2014 by Carolyn Giardina

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CONDUIT SEMINARS OPENS THEIR DOORS

June 23, 2014   In The News

COMPANY TO PRESENT SEMINARS AND WORKSHOPS FOR PRODUCTION PROFESSIONALS

LOS ANGELES, CA, June 16, 2014 – Conduit Seminars announces the launch of their
company. Co-founded by industry insiders Debra Blanchard Knight and Pam Hogarth,
Conduit Seminars will present seminars and workshops for the entertainment
industry aimed at helping production professionals get the information and tools
they need to succeed.



The first seminar, Job Hunting in Creative Industries, will take place on
Saturday, July 26th, at Otis College of Art and Design.

“The world of production that we’ve known for decades has been turned on its
head in the past five years. People who have had outstanding careers are now at
a loss as to what to do next,” says Pam Hogarth. “Our goal is to take all of the
knowledge Debra and I have gained over the years and present it in ways that
will provide practical guides for people.”Job Hunting in Creative Industries
will be held from 1pm to 5pm on Saturday, July 26th, in The Forum at Otis
College of Art and Design, at 9045 Lincoln Boulevard, Los Angeles, CA. Topics to
be covered include: preparing your marketing package, finding potential jobs and
interviewing with confidence. Registration is $275 and can be done online
at http://conduitseminars.com.

“We’re so excited about sharing what we know with the wonderfully talented
people who make up our industry,” says Debra Blanchard Knight. “They have so
much to offer, but frequently don’t know how to survive in these crazy, changing
times. We’re here to offer some sanity and guidance.”

With a cumulative total of over 40 years of creative team-building experience,
Pam Hogarth and Debra Blanchard Knight have helped literally thousands of
individuals build successful careers in animation, visual effects, games,
special venue and film production.



 

 

Seven years ago, Blanchard Knight founded Fringe Talent, a recruiting agency
that specializes in building teams for animation, visual effects, production and
special venue. Before that she worked for companies that include Blue Sky
Studios, IDT/Starz, DreamWorks Animation and ILM.

 

Hogarth has worked in visual effects for 30 years, 25 of which were in
education. She was one of the first employees at Gnomon School of Visual effects
and was instrumental in building it into the premiere institution for vfx career
education. She has also lent her green thumb to the Visual Effects Society as a
member of the Executive Committee, Board of Directors and many, many committees.
Both women have spoken and taught at multiple colleges, universities and
conferences, here and abroad.

 

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HOW TO GET PAID, NOT PLAYED

June 11, 2014   The Survival Guide

There is nothing more frustrating than working and not getting paid.

The Solution- Prevent problems before they happen. Several ways to do this
include:

Get a deposit– Before you start a new project, make sure to require a 50%
deposit in advance to begin production. When a client has paid a deposit, you
will get their attention throughout the whole project, because they have a
vested interest to complete the project and get their money’s worth. A client
who has not paid a deposit can walk away at any time without loosing anything.
GET A DEPOSIT!

Define The Project Up Front– Be sure to define what the job is on your invoice,
so that if the client adds work to the project it is understood that would
require additional payment. When additions to the project crop up, follow up
with an email which explains the additional costs and get the client to respond
to that email before starting work on the changes.

Have a written contract for every job. Many artists do not feel comfortable
asking for contracts, but it is the best way to avoid problems in the long run.
It is important to define the work going to be performed completely, delivery
dates and payment terms. If you can not get the client to sign a contract, at
least get them to reply to an emailed deal memo which describes all the details.

Make your invoice complete- Many times large corporation will delay payment and
after 30 days by suggesting invoices were not complete. Be sure to give all your
invoices a number. Include your name as you would want the check to read,
mailing address and social security number, and be very clear as to the payment
terms.

What To Do When Things Go Bad

The best practice is to talk to the client first before taking any legal
actions. Many times a client is dealing with cash flow issues and needs to be
paid by their client before they can pay you. Making statements like “that’s not
my problem” will get you no where. Revealing your own personal problems as a
reason your client needs to pay you will encourage that client to lose respect
for you as well. It is best to ask the client what their situation is and ask
the client when they can pay you. Being patient will usually resolve the problem
and build your relationship with that client. Remember you want as many long
term clients as possible, so it is important to be as flexible as possible.

Small Claims Court– When all else fails, small claims court is always an option,
but never your best option.  Winning your case does not mean the court system
will act as your collection agency to collect the funds.

Labor Board– Regardless of whether or not you have signed an independent
contractors agreement or not, many state laws say that if a client requires you
to work at their facility, gives you specific hours to work and provides you
equipment to do the job, legally you are their employee and the Labor Board will
stand up to protect you including getting you interest for late payments.

Deduct it- If you have exhausted every avenue and still have not gotten paid,
you can write the bad debt off your taxes as a bad business debt. For more
information see http://www.irs.gov/publications/p535/ch10.html

Do you have any other suggestions on how to get paid? Write it in a comment
below.

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CALIFORNIA FILM AND TV TAX INCENTIVE BILL PASSES STATE ASSEMBLY

June 5, 2014   In The News


WITH NO DOLLAR AMOUNT ATTACHED, IT PASSES ANOTHER HURDLE — NEXT GOING ON TO FACE
INCREASED SCRUTINY IN THE STATE SENATE AND THEN TO THE GOVERNOR.

Legislation to expand and extend incentives to keep film and television
production in California passed a major milestone.

As expected, the California Film and Television Job Retention and Promotion Act
of 2014 was approved by the state assembly Wednesday by a unanimous vote of
71-0.

The legislation, authored by Assemblymen Mike Gatto (D-Los Angeles) and Raul
Bocanegra (D-Pacoima) had more than 60 co-authors.

However, there is still no specific amount of money the state will put up for
the new legislation, which would replace the current program that allocates $100
million a year, which has not proven to be enough to stem the flow of production
to other states and countries that offer even greater incentives.

A source in Sacramento said that the amount will be determined in coming weeks
after the budget priorities become clearer. Advocates are hoping to see the
amount authorized increased by two to four times, but that may be too ambitious.
There was a legislative analyst report that said the program doesn’t return as
much in tax dollars as backers claim, but Gatto has said that did not consider
the local tax revenue or the jobs that are created.

“We can’t sit by and watch a $17 billion dollar a year sector of our economy
leave California,” said Bocanegra. “This expanded and improved program will go a
long way toward making California more competitive with other states’ programs.”

Between 2004 and 2012, California lost more than 16,000 film- and
television-industry jobs, according to the U.S. Department of Labor, resulting
in more than $1.5 billion in lost wages and economic activity.

“I remember when our communities lost all the good aerospace jobs,” said Gatto. 
“Losing major employers really harms local families and our state economy. This
effort is a rare example of government taking proactive steps to ensure
well-paying jobs stay in our communities.”

The bill next goes to the state senate where it already has more than a dozen
co-sponsors, but also faces a much more skeptical look at the value of the
program. Some senators, especially those from northern California, question
whether too much of the benefit goes to the Los Angeles area. To try and respond
to that complaint, this bill for the first time includes an additional 5 percent
incentive for productions outside the L.A. area.

The proposed bill also, for the first time, makes big-budget movies, network TV
shows and music for movies and TV eligible for financial incentives.

On June 1, the California Film Commission will take applications for the next
year’s incentives. Those will all be used up by the end of the day, although
some will go on a waiting list in case the movie and TV shows chosen in a
lottery do not get made.

If the bill makes it through the senate, then it will go to Gov. Jerry Brown,
who has not taken any public position as of yet on whether or not he will sign
it into law. However, Brown has held discussions on the bill recently, and in
the past has signed other tax incentive bills enacted since the program began in
2009.

The California Film and Television Production Alliance — a coalition of guilds,
unions, producers, small businesses and associations that have worked toward
passage of this bill — said in a statement: “The strength of the unanimous vote
demonstrates the Assembly Members’ clear understanding of the vital economic
importance of the motion picture industry to California and their determination
to return this state to a competitive position. This could not have been
achieved without the dedication of AB 1839’s authors, and the unwavering support
of 67 co-authors. Our industry has been a vital part of California’s heritage
and we want to continue to be part of the Golden State’s economic vitality in
the 21st century.  This vote puts us one step closer to that reality.”

“This unanimous vote of support from the Assembly provides strong momentum as we
look ahead to the Senate and the Governor’s desk,” said Los Angeles Mayor Eric
Garcetti. “California needs jobs, and this legislation would generate thousands
of middle class jobs across our state.”

Reposted for The Hollywood Reporter 3:17 PM PDT 5/28/2014 by Alex Ben Block

 

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SONY’S VFX HOUSE IMAGEWORKS MOVING HEADQUARTERS TO VANCOUVER

June 5, 2014   In The News


FUTURE IMAGEWORKS AND SONY PICTURES ANIMATION PRODUCTION — INCLUDING “ANGRY
BIRDS,” “HOTEL TRANSYLVANIA 2″ AND THE UNTITLED SMURFS MOVIE — WILL BE HANDLED
ENTIRELY IN BRITISH COLUMBIA.

Sony Pictures Imageworks – well known as the lead VFX house for
the Spider-Manfranchise including The Amazing Spider-Man 2 – is moving its
headquarters from Culver City to its Vancouver operation, meaning that all
future Imageworks and Sony Picture Animation production will be handled entirely
under one roof in British Columbia.

As part of its plans, the company said it intends to relocate to a new 74,000
square foot space during 2015, which would have capacity for up to 700 artists.

The decision underscores the VFX industry’s retreat from California to cities
such as Vancouver that are attracting Hollywood productions with generous
incentives.

Imageworks, which initially opened its Vancouver base in Yaletown during 2010,
has been steadily growing its work force in the incentive-friendly city, while
shrinking its Los Angeles presence. Randy Lake, executive vp and general manager
of Sony’s digital production services unit, told The Hollywood Reporter that it
would not be immediately clear how many of the Culver City staffers will choose
to consider relocation.

Having recently finished work on The Amazing Spider-Man 2 and Warners’ Edge of
Tomorrow, the Vancouver operation has a slate of upcoming projects including
Disney’s Guardians of the Galaxy (Aug. 1), Columbia’s Pixels (May
2015), Rovio’s Angry Birds (July 2016), Sony Pictures Animation’s Hotel
Transylvania 2 (September 2015) and the Untitled Smurfs movie (August 2016). It
is also expected to continue its work on theSpider-Man franchise with The
Amazing Spider-Man 3, which is slated for a June 10, 2016 release.

Last year, during the production of The Amazing Spider-Man 2, staff in Vancouver
topped 350. That has since dropped but Lake expects it to reach that number
again by January, as the company ramps up for the aforementioned Sony Pictures
Animation features as well as one not-yet-disclosed project.

The new Vancouver space, which the company expects to open by next April, will
have capacity for up to 700 artists in the downtown area’s Cadillac Fairview
Pacific Centre.”It’s a big vote of confidence on behalf of the studio,” Lake
said of Sony’s plans for the VFX business.

According to the company, some Imageworks staff will remain in Culver City, at
least for the foreseeable future. That includes Ken Ralston, the company’s
four-time Academy Award winning senior VFX supervisor, as well as CTO/VFX
supervisor Rob Bredow (Cloudy With A Chance of Meatballs)
and VFX supervisorsDaniel Kramer (Edge of Tomorrow), Jerome Chen (The Amazing
Spider-Man 2), Scott Stokdyk (Oz The Great and Powerful), Jay Redd (Men In Black
3) and Pete Travers (Cloudy With A Chance of Meatballs 2).

Sony Pictures Animation’s development team — an estimated 125 employees — are
also expected to remain in Culver City, though animation production will be
handled in Vancouver. Columbia’s The Interview, opening Oct. 10, is expected to
be the last production to be completed in Culver City. (Following completion
of its work on Spider-Man 2, Imageworks shut what was its third base, in
Chennai, India.)

Jason Dowdeswell will continue to lead Imageworks’ operations in Vancouver as vp
of production operations. New to his team are Mark Breakspear, as
a VFX supervisor; and Shauna Bryan, who will serve as vp, new business and
production. Both arrive from similar roles at Method Studios’ Vancouver base.

Bryan’s background includes 10 years with Vancouver-based Rainmaker, with three
years as executive producer/head of business development. Breakspear’s credits
as visual effects supervisor or artist include Seventh Son, Thor: The Dark
World, Elysium and The Twilight Saga: Breaking Dawn Part 2.

Like Imageworks, VFX houses Industrial Light + Magic, Digital Domain, MPC and
others have opened Vancouver operations in recent years. “We initially [moved to
Vancouver] to take advantage of tax incentives,” said Lake. “But we have had
phenomenal success with great talent. It’s become a hub.”

Pointing to passage on Wednesday of the California Film and Television Job
Retention and Promotion Act of 2014 — legislation to expand incentives to keep
film and television production in California — Lake added, “I’m hopeful the
state increases its competitiveness. There won’t be any hesitation on our part
to continue to work in California (as well as Vancouver).”

The current VFX business model and impact from competition driven by production
incentives, however, is taking its toll on many artists, who are vocal about
calling for change. Rallies were held on Hollywood Blvd before both the 2013 and
2104 Academy Awards.

Reposted from The Hollywood Reporter 6:00 PM PDT 5/29/2014 by Carolyn Giardina

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FACEBOOK’S NEW FEATURE HAS THOROUGHLY CREEPED OUT!!!

June 5, 2014   In The News




Facebook recently rolled out a new feature that’s leaving some users speechless
and others running to sign a petition to have it removed, news.com.au reports.

The social network’s new quirk allows its mobile app to turn on your
smartphone’s microphone, listen in on what’s around you. Facebook identifies the
music or TV shows it hears, and can tell the world you’re currently “Listening
to Iggy Azalea” if it hears you bumping “Fancy.”

The opt-in feature has many users creeped out. More than half a million have
flocked to sign a sumofus.com petition to have the new gimmick axed from the
app.

“Tell Facebook not to release its creepy and dangerous new app feature that
listens to users’ surroundings and conversations,” the petition urges. “Facebook
says it’ll be responsible with this feature, but we know we can’t trust it.”

At a time when privacy concerns run rampant Facebook’s new feature seems to go
against the trend. In May Microsoft announced you’ll be able to buy an Xbox One
without the similarly creepy always-on Kinect watching and listening to your
every move.

The sumofus.com petition is a little less than 200,000 signatures away from its
goal: 750,000. Perhaps if it reaches that mark Facebook will actually listen to
its users.

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FEAST OR FAMINE- LEARNING HOW TO RIDE THE FREELANCE WAVE PART 5- BREATHE

May 29, 2014   Feast or Famine, The Survival Guide

 

I remember the first year I began freelancing. The phone was always ringing with
more work than I could take on. I was always working two jobs, and the money was
just rolling in. I was invincible! I was finally a success!

When July came, the calls for work just stopped and suddenly everything came to
a screeching halt. I thought that I had done something wrong. Maybe there really
was a “Black List” and somehow I was on it. I worked all day and all night
looking for new work with no results. I couldn’t sleep and my nerves were shot.
This lasted for 6 weeks.

And then suddenly, the phone rang and I was back to work. Driving into my new
job, there was only one thing I could think about. How completely exhausted I
was. After 5 months of double shifts and 6 weeks of panic, I never took a break
to refresh my batteries.

The Solution- Don’t forget to Breath.

After an intense work schedule it can be challenging to just relax and
decompress. You may experience an urge to jump right in and start searching for
your next job. It is important to understand that your mind and body need a
moment to recover.

Between jobs, I find the best way to recover, is by doing some type of physical
activity that requires my mental attention as well. When I am not working, I
like to do martial arts. I always go into a session feeling stressed and
exhausted. But I always come out feeling relaxed and rejuvenated.

Find something that can help break the spell and take you away from the
frustrations we all encounter as we live the freelance life. Sports, museums,
travel or any other activity that requires both body and mind, will help to
restore your strength and will get you prepared mentally for your next freelance
challenge.

Remind yourself that the phone can ring at anytime and when that happens, you’ll
be back to the grind.

 

Allow yourself a moment to just breathe.

 

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MARK DEVLIN VISUAL DESIGN- 2014 SCREEN VISUALS DEMO REEL

April 14, 2014   Uncategorized



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FEAST OR FAMINE- LEARNING HOW TO RIDE THE FREELANCE WAVE PART 4- BUDGETING FOR
FREELANCERS

April 14, 2014   The Survival Guide

The freelance lifestyle, in its nature, is a series of constantly changing
variables. Although you are presented with many freedoms, you are in control of
very little. Many freelancers find it difficult to maintain a sense of stability
in this ever changing environment. And the biggest problem seems to always be
finances. How can you setup a budget when you have no idea what you are going to
make?

The Solution- Rather than setting a budget for how you are going to spend your
money, try focusing on how you are NOT going to spend money.

Step 1- Live Off Last Months Income- Setting up a budget based on what you made
last month, immediately creates stability. Any checks you receive this month go
into an envelope and do not exist until next month. You will not be tempted to
spend what is not cashed.

Step 2- Start By Reviewing Your Expenses- If you can, never pay cash for
anything. Instead, write a check or use a debit  card. This will make it much
easier to analyze where every dollar went. Start by make sure you have online
banking. Each month, copy all your activity into a spreadsheet and break down
all your expenses into 3 groups:

1) Reoccurring Monthly Expenses (rent, wireless, telephone, cable, internet,
insurance)

2) Variable Monthly Expenses (food, gasoline, pharmacy)

3) One-Time Non-Essential Expenses (entertainment, clothes, music downloads)

Establish a budget for each of these categories.

Example: Reoccurring Monthly Expenses= $4500

Variable Monthly Expenses= $600

One-Time Non-Essential Expenses= What ever is leftover

Step 2- Get 4 Bank Accounts- Setting up 4 different bank accounts will make it
easier to prevent yourself from over spending. You will need a business expenses
checking account, a personal checking for reoccurring and variable monthly
expenses, a second personal checking for One-Time Non-Essential Expenses (aka:
walking around money), and finally a savings account for taxes.

All income made last month is deposited into your business expense account (used
to fund current projects or invoices due).  Once a month write a check to your
personal checking to pay for your reoccurring and variable monthly expenses
(rent, electricity, internet, cable, telephone, insurance). Next, deposit 10% of
your income into a saving account to cover taxes. After review your personal
spending in step 1, write a second check for your second personal account. This
money will determine how large you will be living this month. It is almost
always certain that this money will not be enough and you will be tempted to cut
into your savings and business account. DON’T!!!

You will be surprised how many things we do not really need. Prevent
overspending by carrying only 1 debit card from your personal spending account.
NEVER carry a credit card or debit card associated with your business account,
monthly expenses account or savings account. DO NOT link your personal spending
account debit card with any other accounts. The more difficult you make it for
you to touch your other moneys, the more peace you will have in the long run.

Step 3- Plan your social calendar. Last year, my six year old went crazy for
Toys-R-US. He associated buying new things with happiness. So I created a theme
for the summer “A Free Summer of Fun”. Everyday, we did something cool that cost
me nothing. We went to the beach, story time at the local library, free soccer
camp, art festivals, concerts in the park, movie night in the park, hiked in the
mountains, free days at museums, kids-eat- free days at restaurants.

Open your local newspaper’s calendar section and make a monthly social calendar
that will involves the most amount of fun for the least amount of money. If
you’re a single guy, your girlfriend will love your ingenuity.

Next evaluate where all your expenses are going. During the famine times, most
artists get killed by the unexpected or unknown expenses.

For example: Do you have a child in elementary school? There are a huge amount
of birthday parties. A $20 gift to 4-5 parties per month adds up to over $1200
by the end of the year.

You need to work these extra expenses into your budget. By reviewing all your
expenses on a monthly basis, you will be able to develop a realistic monthly
budget and find it easier to work with.

Want more  ideas about Surviving The Freelance Jungle? Sign up for our mailing
list now.

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A TRUE STORY

April 8, 2014   Inspiration

TMB bank have launched a new brand vision “Make THE Difference” by making a film
to inspire people to start thinking differently. With a hope that they will
start to Make THE Difference to their own world. It doesn’t have to be big, but
a little can create positive changes. This film is based on a true story. In
1986 a football team that lived on a little island in the south of Thailand
called “Koh Panyee”. It’s a floating village in the middle of the sea that has
not an inch of soil. The kids here loved to watch football but had nowhere to
play or practice. But they didn’t let that stop them. They challenged the norm
and have become a great inspiration for new generations on the island.

Client: TMB Bank Public Company Limited, Thailand
Advertising Agency: Leo Burnett Group Thailand by Arc Worldwide
Creative Director: Sanpathit Tavijaroen
Art Director: Park Wannasiri
Copywriter: Puttipong Pattanapongsagorn, Chanwit Nimcharoen
Producer: Sompetch Nuntasinrapachai
Account Service: Suthasi Sukpornsinchai, Phatarada Tritiprungroj
Directed by: Matt Devine of The Glue Society
D.O.P: Geoffrey Simpson
Producer: Alice Grant
Production Company: Revolver Film
Editor: Dan@ The Editors, Sydney
Sound Production: Jingle Bell Bangkok

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A NEW BIG SCREEN REIMAGINING OF BATTLESTAR GALLACTICA IS RAMPING UP AT UNIVERSAL

April 7, 2014   In The News

A “Battlestar Galactica” movie is coming – just don’t expect it to resemble the
TV show.

Universal has hired writer Jack Paglen (“Transcendence”) to pen the screenplay
for a “complete reimagining” of the sci-fi franchise, according to Variety. The
property was previously pegged for a big-screen version in 2009 with director
Bryan Singer, though the “X-Men” helmer doesn’t appear to be attached to this
new iteration.

Created by Glen A. Larson, the original “Battlestar Galactica” series ran from
1978-1979 on ABC. It went on to spawn a number of franchise follow-ups including
the low-rated spin-off “Galactica 1980,” the acclaimed 2004-2009 reboot that ran
on the Sci-Fi (now Syfy) channel, the short-lived prequel series “Caprica” and
the 10-episode webseries “Battlestar Galactica: Blood & Chrome,” which aired as
a two-hour movie on Syfy last year. The crux of the futuristic world depicted in
the television shows centers on a long-running war waged between humans and a
hostile cybernetic race known as the Cylons.
Read more
at http://www.hitfix.com/news/a-big-screen-reimagining-of-battlestar-galactica-is-ramping-up-at-universal#tCeUpeLyxcUrE9mo.99

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NAB: AUTODESK UNVEILS SMOKE 2015- FOR $195 PER MONTH!

April 7, 2014   In The News

(Las Vegas, Nevada–April 7, 2014) Autodesk, Inc. unveiled the latest version of
its powerful professional video editing software Autodesk Smoke 2015 at the
National Association of Broadcasters Convention (NAB). In addition to
significant new creative tools and performance enhancements, Smoke 2015 will
soon be available as a Desktop Subscription, so customers can access the
software on a pay-as-you-go basis for the first time.



“When Autodesk launched the ‘radically redesigned’ Smoke two years ago at NAB,
we made a commitment to bring high-quality effects to editors in post, video
production and corporate branding. And Smoke 2015 delivers on that promise,”
said Chris Bradshaw, senior vice president, Autodesk Media & Entertainment.
“Smoke 2015 not only features highly-requested new creative tools and improved
workflows with industry-standard tools such as Final Cut Pro, but also an even
easier and more affordable way for small studios to get started with the
software.”

Smoke 2015, a professional video effects and editing tool for Mac-based studios,
now features 3D Tracker, a new Timeline FX workflow, added hardware support and
optimization for the new Mac Pro running OS X Mavericks and better
interoperability with Final Cut Pro X.

“For us, Smoke is a fantastic tool. I love the one place solution that Smoke
offers; it saves hours of production time. We use Smoke as our main tool on
music videos, tour visuals and motion graphics – from Madonna to The Prodigy to
MTV. I want Smoke on every desk in my studio,” said Eugene Riecansky, creative
director, Rockstar (UK).

Key Features

 * New re-architected Timeline FX offers new effects capabilities for editors –
   such as direct access to the Action 3D compositing environment as a
   segment-based effect

 * New timeline-integrated 3D tracker allows editors to match original camera
   movements in a clip in order to realistically add new elements: video layers,
   text or 3D objects

 * Improved support for Blackmagic DesignLink card and UltraStudio for
   Thunderbolt devices and extended video IO support for AJA Video Systems to
   offer dual stream stereoscopic output
 * Improved integration with Final Cut Pro X that supports more timeline and
   effects metadata for a fast, high fidelity project transfer between the apps.
   In addition, Smoke sequences can be exported as XML with accompanying
   QuickTime media files.

Pricing and Availability
In these competitive times, software accessibility and flexibility become ever
more important especially to start-ups, freelancers and very small businesses,
which make up the majority of new Smoke customers. Autodesk polled a sample
across the professional video market and 68 percent responded that term-based
software licensing is a great option. Smoke 2015 will soon be available via
monthly, quarterly and annual Autodesk Desktop Subscription plans; customers who
commit for a year save more than $500^. Smoke 2015 Desktop Subscription will be
available starting May 8, 2014, on the Autodesk eStore for $195 SRP/month, $545
SRP/quarter and $1,750 SRP/year.

Get Connected
For features, benefits and tutorials, visit the Smoke product center, join
the Smoke community, visit the Smoke Learning Channel (which boasts over one
million cumulative views), friend us on Facebook, follow @Autodesk_ME on Twitter
and join the #AutodeskSmoke conversation. Smoke 2015 will also be featured at
theLas Vegas SuperMeet on Tuesday, April 8 at the Riviera Hotel and Casino and
on the Autodesk NAB booth SL #3319.

^The $500 savings is based on the SRP of an annual Desktop Subscription plan for
Smoke 2015 compared to purchasing a monthly Desktop Subscription plan.
*All SRPs shown are U.S. pricing only. International pricing may vary. SRPs are
for reference purposes only. For non-eStore license purchases, the actual retail
price is determined by your reseller. Autodesk Subscription plans are subject to
additional terms, and all plans and benefits may not be available for all
products and/or in all languages or geographies.

 

re-posted from Creative Cow- http://news.creativecow.net/story/875253

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APP OF THE WEEK- NUKEHOTKEYS

April 1, 2014   Free Apps



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TESTIMONIALS

March 25, 2014   Testimonials

 



 

 



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THE STATE OF LA’S FILM INDUSTRY

March 18, 2014   In The News

REPOSTED FROM http://www.backstage.com/news/state-ls-film-and-tv-industry/

By Sean J. Miller | Posted March 13, 2014, 3 p.m.

California performers may soon face a dilemma. Acting jobs are migrating away
from the Golden State to regional production hubs in Louisiana, North Carolina,
and Georgia. The question for performers is whether to pack up and follow them.

“If you’re having trouble getting in rooms in L.A. and you’re open to moving, or
you have some sort of connection to the Southeast, then you’re better off moving
to a hub like New Orleans or Atlanta and taking advantage of this market,” said
Chase Paris, an Atlanta-based casting director with Feldstein Paris. “Out here,
you’re at least auditioning. If you’re in L.A. and not auditioning, there’s no
point being there.”

Paris said he doesn’t see marquee talent relocating, “but people who have some
solid credits, some acting ability, who maybe aren’t getting a lot of
opportunities out west will come here and really get to flex their muscles a
little more.”

It’s a growing trend.

A new report found that California lost some 16,000 entertainment industry jobs
between 2004 and 2012.

“The single biggest problem isn’t simply the issue of losing jobs, it’s the
amount of work actually generated—the number of people who would still consider
themselves to be actors but cannot find consistent work has jumped up,” said
Kevin Klowden, director of the Milken Institute’s California Center and
co-author of the jobs report.

With that in mind, California Assemblymembers Raul Bocanegra (D-Pacoima) and
Mike Gatto (D-Los Angeles) have introduced legislation to revamp the state’s
film and television tax credit program. But an impediment to the legislation is
the cloud hanging over the program’s former champion, state Sen. Ron Calderon
(Montebello).

The Democrat was recently arraigned on bribery charges stemming from a sting in
which an FBI agent posed as a film executive, offering bribes in exchange for
changes to the incentive. Calderon announced March 2 that he’s taking a leave of
absence from the Senate.

Bocanegra, the program’s new champion, dismissed the suggestion that Calderon’s
pending trial will derail changes to the program. “We all recognize that the FBI
could have selected any other type of industry in their investigation,” he told
Backstage. “What I’m basically saying here is these are good-paying jobs in a
signature industry.”

Klowden, of the Milken Institute, said that actors could help ease the passage
of the bill. “The most important thing for actors, indeed for anyone working in
the industry, is to get their story told,” he said. “The perception in
Sacramento, when you say the movie industry, they think the big producers, the
directors, the top stars. Obviously that’s not the vast majority of who works on
productions.”

But critics of entertainment tax incentives call them a “losing proposition.”

If California augments its program, it will only get undercut by more lucrative
incentives in other states, according to Joseph Henchman, vice president of the
Tax Foundation, a conservative advocacy group.

“This isn’t going to create a permanent industry,” he said at a Feb. 27 event
hosted by the Milken Institute. “I’ve never heard of any industry developed that
way.”

Even industry executives who welcome changes to California’s program acknowledge
they’re not cure-alls.

Still, Fred Baron, an executive vice president of feature production at 20th
Century Fox, said enhancing California’s program could help keep romantic
comedies shooting in Los Angeles.

“The talent lives here,” he said at the Feb. 27 panel. “And if you want to
attract talent to your projects, whether it’s a director or a movie star, it’s
nice to be home.”

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FREEBEES- RED GIANT UNIVERSE

March 12, 2014   Freebies

Introducing Red Giant Universe — A community with access to an ever-expanding
library of new FREE tools for filmmakers, editors, VFX artists, and motion
designers. All Universe effects and transitions are GPU-accelerated, and work on
both OS X and Windows, in After Effects, Premiere Pro, Final Cut Pro and more.

Help us shape the future of our Universe: Join the Free Beta and get started
with 50 new effects and transitions right now.

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FEAST OR FAMINE- LEARNING HOW TO RIDE THE FREELANCE WAVE: PART 3- MIX IT UP WITH
YOUR CLIENTS

March 7, 2014   The Survival Guide

On a recent trip to Las Vegas I watched a man playing roulette. On every spin of
the wheel he placed $50 on the number 24. I asked him why he bet on only one
number. He told me, “This way, I can play longer”. One time his number hit and
he won $1750. For an hour more, I watched him continue to play the same number
over and over, until eventually he went broke.

Many freelancers make the same mistake, choosing to work only in only one corner
of the industry. Focusing strictly on film work, gaming, or commercials is great
strategy when the work presents itself, but when it slows down, it’s easy to go
broke waiting for the next job. If you don’t want to get stuck in the doldrums
of the slow season you have to bet on more than one number.

 

The Solution- Diversify! For example, development of television pilots begins in
January, so that’s when I take on most of my television VFX work. I start
working on music videos in February as recording artists finalize their new
albums, hoping to generate the buzz needed to attract audiences to their summer
tours. Commercial work ramps up in September in preparation for the big holiday
sales push. My corporate work gets busy in the spring as clients get ready for
fall conventions.

By marketing myself to different clienteles throughout the year, I increase the
chance of having work most of the time. I choose the Christmas and New Year’s
season for a vacation, since everybody slows down over the holidays.

July is a great time to go to Vegas, just stay away from the tables.

For more ideas about Surviving The Freelance Jungle, sign up for our mailing
list today.

 

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DISNEY LAYS OFF 700 EMPLOYEES

March 6, 2014   In The News

 



Disney has laid off 700 employees from their gaming division today, as the New
York Times reports. That’s 26% of their staff, and it’s mostly in mobile,
social, and web-based gaming.1P

 

“These are large-scale changes as we focus not just on getting to profitability
but sustained profitability and scalability,” Disney Interactive president James
A. Pitaro told the Times.P

 

This follows a Wall Street Journal report that the company would cut hundreds of
jobs last month. Last year, Disney closed down Epic Mickey developer Junction
Point Studios and the iconic studio LucasArts.

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THE VISUAL EFFECTS STUDIO MODUS FX CLOSES

March 6, 2014   In The News

The Quebec team Modus FX has worked particularly special effects film The
Avengers in 2012. ZADE ROSENTHAL PHOTO / DISNEY ARCHIVES AP

Last year, the Quebec visual effects industry has the wind in its sails with the
arrival of several European studios. But she has lost an important member:
Quebec company Modus FX, who did mandates including  The Avengers  and  Now You
See Me , closed its doors last Friday. Its 100 employees are expected to soon
replace other studios, according to one of its leaders.

“There was a misalignment of the planets,” says Yanick Wilisky, executive
supervisor, co-founder and one of the shareholders of Modus FX, a company of
Santa Teresa founded in 2007. Until last month, Modus FX was one of 10 visual
effects studios with at least 100 employees in Quebec.

Closure recalls that visual effects industry is not always a financial
paradise. In the United States, two major studios, Digital Domain and Rhythm &
Hues, placed themselves under the protection of the Bankruptcy Act for two years
before being sold. “It’s such a fragile industry. In a good year, the profit
margin is 8%. If you are one month without a warrant, you can not pay employees,
“says Yanick Wilisky.

With hindsight, Modus FX has mismanaged its growth, says Yanick Wilisky. In
2012, the studio – majority owned by Yanick Wilisky and President Marc
Bourbonnais – won two major contracts on the films This Is the End and Now You
See Me “We took two contracts too big at the same time, said M. . Wilisky. Then
we started out wanting to restructure us and we’ve never really been able to do.
”

At the same time, risk appetite was one of the reasons why Marc Bourbonnais and
Yanick Wilisky, while employees in Hydride Technologies in Piedmont, to found
Modus FX in 2007. “Other studios in Quebec are more conservative, said
Wilisky. When we started, we wanted to take more risks. It gave us great
successes, but it has also led us to the current situation. ”

http://affaires.lapresse.ca/ Originally Published March 6, 2014 at
4:30 | Updated at 9:58

Financial woes

The arrival of European studios like Framestore and Technicolor Montreal / MPC
has nothing to do with the financial woes of Modus FX, says Wilisky. “They bring
their own contracts, he said. Some employees have gone home, but it is
marginal. Instead, I see a lot of positive aspects to their arrival. I would
have liked to enjoy it, but I did not have time. ”

There are about a month, the leaders announced to employees that Modus FX
experiencing serious financial difficulties. The number of employees increased
to one hundred twenty.Leaders are trying to pay the wages of their employees
until the end, unlike the Meteor Montreal studio, which went bankrupt in 2007
and has paid 70% of the unpaid wages of its hundreds of employees.

Modus FX also tries to replace its former employees. “I am convinced that
everyone will replace.Framestore, MPC, Rodeo, Global Vision: there are plenty of
studios in town that engage, “says Yanick Wilisky, 42, who wants to stay in the
visual effects industry despite the end of Modus FX.“It’s disappointing, but I
do not keep bitterness, he said. Nothing excites me as much as the art that the
visual effects. I am very proud of my staff. Together, we made beautiful things.
”

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LIVE FROM THE OSCARS! VFX INDUSTRY DEMONSTRATION. MARK DEVLIN OF SURVIVING THE
FREELANCE JUNGLE INTERVIEWS VFX SOLDIER DANIEL LAY

March 4, 2014   In The News



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LIFE AFTER PI- A LOOK INSIDE RHYTHM AND HUES

March 4, 2014   In The News

http://youtu.be/9lcB9u-9mVE

LIFE AFTER PI is a short documentary about Rhythm & Hues Studios, the L.A. based
Visual Effects company that won an Academy Award for its groundbreaking work on
“Life of Pi” — just two weeks after declaring bankruptcy. The film explores
rapidly changing forces impacting the global VFX community and the Film Industry
as a whole.

DIRECTED/EDITED BY: Scott Leberecht
PRODUCED BY: Christina Lee Storm
GRIP/LIGHTING/SOUND: Brian Sorbo
CAMERA OPERATORS: Nick Thiesen, David Andrade, Nick Donel
ASSISTANT EDITOR: Missy Wiechers
MUSIC BY: Kays Alatrakchi
ADDITIONAL FOOTAGE: Jud Pratt
ILLUSTRATOR: Jesse Mesa Toves
PUBLICIST: Scot Byrd
WEBSITE DESIGN BY: Chris Dalton

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FEAST OR FAMINE- LEARNING HOW TO RIDE THE FREELANCE WAVE PART 2- REFER A FRIEND

March 4, 2014   The Survival Guide

 



If you are a freelancer, you constantly suffer from the ups and downs of the
freelance workflow. It seems that companies all want you at the same time or not
at all. We drive ourselves into the ground taking every job available because we
are afraid that if we turn a client down, that they will call another artist and
you will never hear from them again. This is a valid problem, but it is also a
problem that is easily controlled.

The Solution- Develop a small network of fellow artists that you can refer
business to when you are overwhelmed. When a client calls and you are already
booked, you can control who they hire by referring them to one of your friends.
Start by talking with a few other artists and explain to them that recently you
have had several clients that had called and you were not available. Ask them if
they would be interested in getting referrals from you.

Get their cell phone numbers and explain to them that you will be referring
clients to them. Be clear that you expect the same in return. Be very selective
as to whom you choose. They need to be as good as you, but not much better. They
should be a good replacement for you. I have lost many long term clients by
referring them to artists whose skill level was far superior to mine. Try to
keep the group small, 2-4 at the most. Keep in touch with them and stay aware of
their availability. After you have referred a few jobs to them, drop them from
your list if they are not reciprocating.

By developing a group of fellow artists, not only do you drive business to
yourself when work slows down, but you will notice that your clients will call
you first knowing that you are a source of information and a solution to any of
their problems.

Got a question or topic you’d like to discuss? Email Mark at jungle@grvfxguy.com

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FEAST OR FAMINE- LEARNING HOW TO RIDE THE FREELANCE WAVE: PART 1- HOW TO PREVENT
THE WAVE

February 24, 2014   The Survival Guide

 

One of the biggest problems many freelancers face is either having too much work
or no work at all.

Many of us never look for a job until we find ourselves without one. Once we
have finished a job we have one evening of glowing in the satisfaction, of
knowing that we did a great job, followed by waking up to the shear terror of
not knowing where our next check is coming from.

The Solution- As a freelancer you must keep a constant flow of self promotion
going consistently throughout the year. Obviously it is impossible to create new
promotional efforts when you are slammed with work, so the solution is to create
and maintain a 3 month marketing calendar and produce at least 3 promotional
emails in advance so that when you get slammed with work, you already have a
database of HR people and materials which to send them.

Step 1- Create A Database of Employers- This is essential, because if you are
limiting your job search to only job boards, you are missing the majority of
work that is out there. So start by creating a list of every company you could
potentially work for. To do this, search on Linked In for similar artists in
your area. By looking at profiles of other similar artists, you can get a list
of all companies that have recently hired them. When you feel you have a full
list of all companies, pick up the phone and call them. Explain to the
receptionist what you do, and ask who you should send your reel to, and be sure
to get an email.. This is very easy, because they get these calls everyday. If
your list of companies is short, (100 or less) you will not get effective
results. You will need to continue your search or widen your area of interest.
If you work in a certain field, ( e.g. film) try reaching out to companies who
do television, music videos, corporate videos, architectural companies, theme
park design, medical illustration, etc. Your list should be well over 750
emails. Currently I have 3700 in the Los Angeles area alone.

Step 2- Get a Bulk Email Program- A bulk email program will allow you to enter a
database of email addresses into the program, either by typing them out
seperately or importing a list. Push one button and the program will send one
email out to all of your contacts.

Step 3- Design 3 Creative Emails- These emails should look more like ads then
text messages. They should include informational copy, and images of your recent
work. You should begin by designing a format for all of your emails. This format
should include your name and contact information and specific places for type
and photos to be placed. By creating the format, you will begin to “Brand”
yourself. HR people will begin to recognize your emails, and you are well on
your way to building a professional relationship with these people. Before you
know it, you’ll become “That guy/girl who….” When a need arises, you have a
better chance of them calling you first, before they pull out their stack of
resumes. Send out one of these emails every 4-6 weeks and replace it with a new
email when free time allows it.

Step 4- Write a simple “Available for Work” Email- A week or two before you
finish a job, send this email out to all your contacts. This is what I call
“Rustling the Bushes” When you rustle the bushes, 2 weeks later, the snakes come
out.

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Mark Devlin Visual Design www.grvfxguy.com 310-577-2565
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