Motion Design Live Q&A - Animation, Design & Illustration Livestream

hello everyone hello welcome to the Christmas livestream spectacular I thank you so much for joining please stay I'm gonna livestream for about an hour maybe a little bit longer depending on how good the questions are and how much fun we're having but I'm just gonna take all of your questions for the next hour I'm gonna go through some animation go to some design if you want to talk about the industry talk about my journey talk about making making YouTube stuff if you want anything you want me to answer I will answer it that's how that works right so please leave questions in the chat I'm going to just start going through them if you want to learn about you know specific things from previous projects you can ask about that I will you know open up some old projects if you want go through some you know techniques I can start something new I've got a big I've got my you know desktop here but I've also got let's get over my streaming software but I've also got my Cintiq over here so I'm going to be you know I can be drawing things as well and you know just running through the whole process so I'll say hello to everyone hello everyone here thank you for being through exotically james Tomas eh Angelica Zoe Anna Mae Alex Luke thank you so much for joining anyone got any questions how are you choosing colors for your projects Peter that is an awesome question well I have color I think is really hard to choose the projects I think I suck at it let's go into my front screen so I can explain it better but I find it really hard it takes either a lot of trial and error that's one technique second technique is eye dropping from other people's illustrations which I've done everyone does I think as long as you're not doing a very similar subject matter and you know changing it a little bit no one cares often all you know I'll see an alteration I might I drop in a three out of the four colors on it and add a new one and then oven and you get to the segment well I need a green for what I'm drawing now so you add a green into it and then you adjust the other color so they kind of work and the kind of either like that but a new tool that I found like two weeks ago that I've been using is called chroma color let's open up a new tab Omar now chroma chroma colors it's a website which generates color palettes via AI and they've got an Instagram page where they sort of collate some of the best ones look at all these awesome colors here I'm used a bunch of these this violet gold one I used for my own Zac frost illustration of the beam kicked in and a few of these I think I'm like I know these color palettes I really enjoy because they're kind of a bit unusual and these like fiercely awesome sort of Goldy brown colors which I really like which I'd never choose or get to organically if I was just going through them in in you know in Illustrator trying to find find you know fine colors so awesome resource is chroma colors that I just found recently and they're developed by an AI so it's not really stealing is it that's how I view also this is my first live stream so please let me know is the audio all right let me know if I start to really you know pick slate or something I'm not sure what I can do with that but as long as you can hear and see the screens it should be okay yeah one of the questions that we got where do you alright let's go up here oh my god we've got Flynn in the house thank you very much Flynn learned the live stream techniques from that man and hosts the amazing Adobe live streams he's host over there so go to the Adobe apec YouTube channel to see all the live streams we've done together okay awesome sounds good look at this and also I live in a very you know in any urban environment so you might hear some police sirens you might in some people screaming it's all a part of the rich tapestry of the motion design life the big things rule the love for everyone someone says your heart they love me thank you very much all right let's go up what are some more questions how do you make to transfer your animation in Photoshop to After Effects directly that's super easy like alright I'll give a demonstration here like let's go over to my Cintiq I'm gonna make a quick animation best delete this and let's choose a brush let's choose this little brush here so let's just make a quick animation I'm not gonna try to make this fancy let's do two frames another two frames onion skin on gate let's invert the background all right now the two frames bouncing the ball soo police all right that probably won't even line up let's give that one beautiful what an animation that's going straight on the reel okay so I'm using the plug-in Anam desin 2 for Photoshop if you are unfamiliar with this toolbar down here and what that does it just kind of makes video layers sort of the frame length for you do you want each of these to frame lengths and then it saves them over here as layers in the video layer so it works awesome and this is really great for exporting into After Effects so I'm just gonna save this save this let's say this is a PSD I'm not anything special to it and then if we open up After Effects it's already open but I'm just gonna go to assets control I to import project oh that's where it's my files misc it was live stream and if I just import that project and just called stellar one I'm gonna import this as composition relate retain layer sizes and it's gonna give me some options sure that's fine and then you open up the project and it's got this comp called annum which is the name of the video group that we had and inside that we just got a sequence of these layers so we can play it and it's in the right frame rate that we set a PSD in so it's really easy and the benefit of this is see I've got this frame three frame three and actually we've got this extreme down here and I hate how you know it's it's pretty wonky it's not a wine flat to the ground so I wanna jump back into Photoshop find that position and I'm just gonna you know find a nice flat edge draw change the drawing erase some of the other areas save that and then let's hop over to our productivity here and it updates automatically so it they've kind of linked which is really awesome when you're doing animation so you can see it actually composite it into the other scene god I need to make changes you just open up that PSD and make the changes in there that's how I transfer illustrations so animations from Photoshop into into After Effects just by important to project alright which tablet do you use chemists I have a Cintiq 22 HD I can't dreamy at the camera but it's about five or so years old it was they're pretty they're pretty pricey the desktops in Diggs I think this is three grand when I bought it now you can probably buy it same one for about I didn't give running around the same price in Australian dollars and but that awesome I mother wants this one breaks I'm buying a new one like day one like I've already got heaps of use out of this it was a big you know investment of the Starling do I do I get one but it may it just makes it's really good frame-by-frame animation like that's really all I use it for and design and Photoshop shading and all those things digital illustration it's great for but you know if you're just doing you know I don't use a tablet I just use Mouse for After Effects and things like that and it's some people love to use tablets for those things I don't I like the precision of a mounts Mouse and a click but for drawing these are awesome I use an iPad pro as well for a lot of my illustrations and I kind of think they're almost like I don't to say on part like I'd rather be using my big desktop Cintiq and be in Photoshop well I've got all the tools I need that you know other software it doesn't exactly have on the iPad but I bet it's a great investment they've got heaps of you know awesome software on there like appropriate it's great I like some all the Adobe sort of stuff as well sketch fresco is really interesting as well and they've got a whole bunch of stuff coming out but once we got a rough animator on the iPad is really awesome it's a ten dollar app the iPad is expensive but like it's half the price of one of those intakes and you know you can watch YouTube on it too so that's what tablet I use alright did you go to some art school Ben yeah I went you Kufa unit Soviets College of Fine Arts it's now called art design or AMD now that's in Sydney I had an awesome time there I did a four-year design degree so I didn't do any animation in there I won after these objects once in the last projects that I did but you know I didn't even learn After Effects till years after I left unique so I don't know motion design there they didn't that wasn't a thing you taught back when I was at uni and yeah but anyone else I probably wouldn't recommend going to art school especially if you're in a country that charges a lot like America in Australia it's really cheap in Europe it's even cheaper in in most places but the technical skills are not the better the best benefit of gurnie uni it's the social environments and you know be free and you know like that's what I remember the most is you know the friends I've made and the fun hanging out and especially for After Effects if you're like like really technical skills like online resources of far better like really there's motion design school school of motion which you know I would particularly enjoy a school of motion take any of their courses I think I'd hugely recommend that's what anyone asks they want you know more extended course than my tutorial that you know I can offer in eight minutes go to school of motion but there's a bunch of other online resource as well which I don't I'd look into first which you need far more bang for your buck if you're looking to learn that alright can you save the stream after this sense yeah Stream will be saved I'm gonna put it up for at least a week or so and you know over Christmas so people can watch probably stay on the channel forever it depends depends on how it goes who else go chat but - Gary so over here dresser make sure you follow his channel he does also motion design tutorials and workflow breakdowns he is a really awesome animator and definitely his channel is underrated go give him a subscribe that's a G a are ESO search for him you'll find him alright what else have we got can use effects to work in VR 360 pro games yeah I used to do a bunch of that a few years ago because a company I worked at they come hide to do some so I I was the only person that kind of knew how to do it so I got stuck with doing them so I did about I did eight like three-minute VR projects and after fix in like four weeks and then when I left there I did them for a few other places and now I refuse to do them because they are a pain in the ass they take a whole lot of work a whole lot of rendering and it's such a new medium that clients don't really know what they want and understand the limitation so if it's a lot more back and forth than you imagined and you know that's fine you know that's clients but for me I'm like it's too much trouble than it's worth you know my work isn't particularly V and 360 related it's kind of limited as well because people expect it's gonna be 360 video I'm gonna be able to integrate but really you just watchin a long video and moving your head from side to side and you've got a really direct people where you want to look and it's hard to get an immersive experience but you know you can do it in After Effects I did it when there was a plug-in called metal ma TT le and but now Alfred's bought those bought them so that's integrated into After Effects and it's way easier to do VR stuff a 360 video it's not being a 360 video but you call it BR to the client so they think they're getting a pull back with their buck ba that's integrated right into After Effects it's a lot easier to do then and it's it's definitely try it out if you're interested it you know it can be really easy and you know it's a lot easier than you think to just get started and you know you have a lot of fun what else got all right what headphones to use I'm using some audio technica I don't know what these are aah agh max 40x I got two pairs of these I just they're fine they're great I think they're like 150 you mister alien dollars and they do the job I mean you know I'm not nobody of audiophile particularly but the company they sound good they look alright that's about it way so you know animations to clients that's really I don't really sell them Lyonne at all by any stores client I mean I like something bespoke for them that's how I sell things the mail list is my gradients are stunning thank you very much thank you Oh Jessie do you sketch often how did you get so good of character design yeah I sketch pretty often not as often as I should but yeah user now use the iPad a lot I pad makes it real easy because now I can just do it on the couch while you know while I'm watching Korean soap operas and things like that or when I'm in bed things like that I don't have to be a my desk good paper and get things out it's really easy to draw so I find having tools that remove the amount of friction between doing something really helped me actually get work done I wouldn't say on that grater character design I mean my characters that I design I mainly just object for the face column and very very few have limbs or harms because they're hard and a character animation is really tricky so I don't do an awful lot of that a lot of my animators have characters because I think it's you know putting eyes on something and face gives you something more to react to and they can relate to like so it's ER just being a that's a carton of milk was like no I understand that carton of milk it has eyes it has a personality it's like me I can see myself in that situation but I like it if you know my inside will be poured out someone's coffee that type of think that's why I put faces on stuff but also lots of year years I started I started studying you need ten years ago now so and since then you know and it before thumbs for that honestly just drawing way more often at school but lots of years of practice drawing stuff I freelance illustrator for two three years so when I was just doing illustration I was doing any animation at all so over those years it was I was drawing every day for six to eight hours most days so time under the belt just keep drawing I think anyone wants to get better at illustration character design in particular keep drawing stuff and review your previous work and say that this is what I drew a year ago how like you're gonna end your thing on knowing now what I knew then there'll be things you like oh I really like from that work from a year ago but things aren't improve and sort of keep note of that don't just keep drawing like well I just gotta just draw and don't think about it I mean that's handy in the process while you're drawing but analyzing your work after the fact is can be really really helpful and also analyzing other artists but not just like looking at them ago that's awesome that's really awesome you know drawing over you know you know a cactus I'm gonna draw a cactus just like that that's you're not gonna get many places during that you can do like master studies what people that's what people call in a sort of recreate the old masters you know Michelangelo and and da Vinci and they just try to recreate their drawings and I think that's really can be really awesome exercise where you can see I how'd they capture that lighting how you did this that's more digital painters and artists could do that and you can do that with an illustrator as well so you can figure out alright how exactly does Macbeth's get this sort of stippling effect and go through and figure it out but when you do that don't post it on social media as you're in work because you're gonna get called out and you know definitely don't claim other people's ideas as your own but what's really helpful to do is you can try to figure out that stuff you can just look at them go I really like this artists work why do I like it because liking something happens I think the more deeper instinctual lizard brain level then you know like oh well this is got the colors I like and the shading I like so find something you like and go what do I like about I like that there's characters in a in a position where the story's about to happen to them so there's this feeling of anticipation of what's going to happen next or I really like this deep dark shadowed shading in this because it gives a certain mood and just find the elements of what you like that some people's work and then you're gonna like 100 different artists or so or a but it's just ten and you analyze the best thing you like about each of them and then you go all right well this is what I really like in other people's work how can I combine that into my work and they're probably gonna happen naturally if you see people to work but that's something I definitely recommend someone wanting to improve their design and illustration analyze people's work and extract the elements that they like and really understand why you know what gives you that sort of feeling of liking someone's work alright let some more questions Oh quick one here from Tom Moore best way to find potential clients awesome question by the book freelance manifesto by Joey Korman it was the thing that kick-started me in my freelance career and his awesome book I think he talks about it on a podcast a few times where it gives away some of the details essentially it's right it gives up the techniques of how to approach Klan clients coldly through cold emails and really how to sell yourself a gate self out there because that was my biggest biggest weakness throughout all my early career as an illustration as an illustrator and then before I go freelance that was a what I'm scared of I was like I'm pretty sure my works decent enough that if people knew about me and hide me I'd get in you know hide back and I do a good job but getting people to know about me that's so hard it's so hard to just put yourself forward I'm pretty pretty neurotic anxious person when I go to that type of thing but in that book freelance manifesto by Joe Goren man a-kor a man and he outlines techniques without the like searching people in your area because there's hundreds thousands of companies in your city depending on you see it Sydney there's thousands of companies that are design studios that you'd never heard of you hear the unit the big few studios and the big animation studio is I could Sydney with this like buck the mighty knife never sit still are the big you know the most known animation studios but there's thousands more that hire motion designers also one thing that I'd recommend is go on job sites if you can more creative job sites like in Australia we've got the loop calm but perhaps where anywhere and just search for search for jobs and set up a you know reminder to get weekly jobs that require graphic design and don't apply for those jobs but you'll see oh wow there's heaps of companies that have never heard of that hiring graphic designers if they're hiring graphic designers they're probably going to be in the need of a motion design and probably a freelance motion designer if there it's a hiring of graphic designer now it means you know they're growing but you know they're growing they're you know they're granted the studio element but they might not have enough resources to hire a full-time motion designer so you know Mike there might be a good chance to find their to find work there so you know essentially just I mean really when ideas you know collect a big list of all the places in your city that would potential to hire you and reach out to them email them you know find that producers email if you can people like that but email a lot of people you're not gonna get response was you know responses from all of them keep the email short and professional courteous just show them you'll say hey he's my real you know be awesome to work together something like that you don't need to be you know people people know the also you don't even say hey I want to get hired to say hey here's here's my work this is the kind of stuff that I do and good luck with your projects in the future and I'll see you work they'll understand that you wanna get hired that's out that's what I've kind of approached it but really word-of-mouth has got me more jobs than anything so once you you know I worked at a few star positions and then as I left those positions and how all the other stuff left to go into other things they remember you get off we had that uh they're the new job we used to work with its animator went freelance will maple try to get him just me a lot of people and by email and in person those are the best ways to get into clients all right let's have some more questions what's okay I was obsessed with character ringing and plugins but I've recently ended up feeling as if it was a waste graduating Union out and feel as if I like all rights that Trump the Carter Lilly feel those they lack the fundamentals I completely agree I went through a similar phase as well understanding plugins hang on I want to play this animation in the background so you can you know amuse yourselves for that while I'm talking I agree fundamentals are far more important when I was first starting I was like oh you know you learn aspects and after you're three hours into After Effects and then you're looking on videohive and a script for the best plugins to do the job don't worry about that I'm a real plugin Mentalist minimalist all you know the best animators I know don't really use an awful lot of plugins we used some plugins to speed up our workflow but really if the plugins are doing the animation for you that's that's not great because when there's feedback from the client and you're like oh the plug-in makes it like this I don't know how to change it that's that's kind of trouble I kind of think that you should be able to know how to do what the plug-in is doing before you use that plug-in obviously the some plugins different I'm not gonna make a particle system like particular is my kind of work doesn't really do that anyway but if fundamentals are more more important and I think we learn that I think we all go through that phase of like we just want to do all the cool stuff the best stuff is all the plugins and doing that but if not the exciting stuff is you know the actual simple animations the more I get into the animation industry the more I appreciate like a really simple - for frame animation that conveys an emotion or you know something really simple like I spend 99% of my time in After Effects moving the position rotation scale and shape path properties like if I was to learn only you know first learn only those four things there'll be way more effective than knowing knowing and collecting 50 plugins that can make sort of awesome you know sort of templatized effects that aren't really handy so recommend anyone focus on the basics the fundamentals of animation then we look up the 12 principles of animation when I first saw those when I was in motion design I was like oh these are for traditional animation I don't need to learn about squash and stretch and anticipation these are all real cartooning things if I was being dissing the animator animating you know traditionally dizzy awesome but they're not for professional motion design it's slick and it's graphic but those principles really applying once I understood those especially sort of anticipation properly and I'm going to make a video about that in there in the new year at some point anticipation was one of the biggest things that helped me improve my emotion design thank you alright so if someone disagrees with my answer it's good to know as many plugins as you can even if you don't know how the word it'll be really good in a pinch I disagree some plugins are awesome to know in a pinch but I kind of think the time you spend learning those plugins the best learning the fundamentals they're like I found as though it's like in the kitchen like they say you shouldn't buy you know objects that only do one thing if you understand how to use a chef's knife and a paring knife and you know I know what other chef thinks people use you know that's all the tools you need I've also buying plugins it's like well I'm buying a sword Suvi and a blender and a smoothly makin all these things and some lead kitchens full up with all of these things and you know and they're quicker at doing that one thing you know like you want to make you know a smoothie you go to the smoothie maker it'll make it quicker than you can the other way but if you understand the principles and the tools you can do anything and like anything it might take you a bit longer but you'll understand the principles how something works that's all I think but it's only in a pinch there's certainly some times when lights clients very something are you Mike let's kind of plug and do this for me quickly and then it's really handy but I'd rather be doing I want to do the work that you know challenges me and is you know that a plug-in just can't make up but of course Vienna in decline for a degree in a pinch if a plugin can save your ass get that plug-in and you know pay for it even you might think ah this plug is 200 bucks but like if it saves you you know hours every day I try to think of the plug ins custard how much time is it gonna save me versus my hourly rate and most of them you know gonna become underweight cheaper but some plugins that buy like you know oh this is great buy this plug-in and I use it once and you know never again that's what I think that's my position all right what is n frames um I don't really know n is a variable that he give to describe I think uh I'm not really honest I misunderstood the question I don't I think it means aids a number of frames as determined by an expression but that's too deep into expressions that for me to get into I did I did I did check on maths in school the basic ones what it's like to work with bug do you pre like freelancing God you reset an in-house vision if they offered it to you wouldn't it but it's been great they're the best company that I've ever worked for you know manages the environment works really good but just the art direction and the creative rection is really empowering and they give you enough time to do awesome work that's what I think the the different factor between them when you compare you know the really top-tier studios to other studios that you know ones that make really awesome work the main differential is time they've obviously built up of the you to have more time you need to be able to charge more and to be able to charge more you need to have a big back catalog of awesome work so they can demand high budgets from clients and clients know they're gonna get the best out of there which means they get more budget to spend on a longer time for the animators so it was really freeing to actually have time to experiment and find the best solution to a project not just alright I've only got four hours I don't have any time to come up with ideas my first idea has to be my best idea and that's almost never the case so it was really awesome working there I left freelance too much I wouldn't accept a full-time position mainly because I really want time to do focus on YouTube stuff and make this more of a career for me because I think oh I'm this close I'm you know this close to making it you know you know pretty profitable so I'm gonna give that a go as much as I can in the next year you know gonna take a lot of work and I'm planning on you know upping the stuff I'm doing but I like the freedom flexibility of freelance too much at the moment 18 months ago I would have you know ripped their hands off when they offered me a job but you know not today all right what I feel really intimidated now no anime game credit don't feel intimidated it's alright it's fine everyone we all started everyone was crap and they started everyone everyone started we all had to go through it to get better what are some other questions going too fast alright give you a simple example flop float save me hours of days ever since I bought it completely great I use flow it's awesome you'll see it over here that's one of the best investments of plugins I use but it's this these are kind of the plugins you told me these are fine I flow it's copied these I think it great because they're not really doing the animation for you you're deciding well on these easing values you can edit it like it's the graph editor those things these are the evil plug-ins the evil plugins are you know you know I don't to say no bug into people but ones that you know take over and do more of the job for you but I think understand the graph editor is great and flow is a plug-in that helps visualize that and it's an awesome tool completely agree with float can't come falter at all I wasn't plug-in alright what do you think you need to be a design first or or not to be mission designer we definitely don't but it will help enormous Lee I felt that I've been really fortunate in that the careers that I kind of didn't chose that you know I just found my way into really helped me put me in a good position to do well in motion design so I studied design before years a uni and then I thought no I don't want to do that anymore let's do let's be an illustrator illustrator seems more fun and then after three is that I'm like no these could move that have even better so learnt animation so I spend you know a big chunk of time spent learning one thing if you learn graphic design before you learn motion design you're gonna have a huge advantage because everything you know if you're skilled at graphic design everything that you make move will look awesome and I think the design and the you know the design the illustration it's far more important than the animation so they could be animated so I'm so slick but if the designs grab the whole thing's crap that's the foundation and what you want to do so I think everyone you know spend more time studying and learning design there's a lot less resources for that because it's a lot harder to communicate and to teach because it's you know I think it's I don't know it's more subjective but taste is involved a lot more I think animation is more of a technical skills leak and that you can learn but I definitely recommend learning more graphic design and those types of things before learning motion design but it's not essential if you just want to be an animator and animate other people's design that's fine too those you know if you're going to be the best animator you're gonna you're gonna have no problem in the industry but most of the people that I find that the best animators know a lot of that design as well so they can you know they can adapt if you know the design it didn't provide style frames of certain aspects they can improvise and add things like that and also the best is the designers design it's full animation that I know no decent about about animation is as well that's what I think all right I did let's see it's element packs of the future it seems have you seen infinity pack it's on video I haven't seen infinity pack I think I'm familiar with these packs they're the kind of things that I'm like awed at these the things that aren't that great for the industry I mean they're useful they save you time but they're just like let's just get someone else has made these animations let me just chuck them into my thing and you know then I made this and you know it just means the work not the work isn't unique and I think more unique work is better and if a client's clients are only gonna pay you a lot of money if your works unique you know if a client only adds a budget of 200 bucks I can only spend you know the bare minimum time on that let's download some packs give them that that's what they you know that's what that budget kind of deserves but if you're asking for you know tens of thousands of dollars for something and you just use attached extra packs no texture packs texture packs are great by my texture pack it's not really sure but I'll release one soon but practically gonna have all these combined elements and pre-planned you know intros and outros and stuff like that I'm not sure if that's the pack that you're talking about that might be different but it's a lot of these you know packs of like you know you know 50 you know Instagram story templates and like kind of template link things I don't think a great you know to be a most valuable the most valuable thing that you have is an animator and designer everyone is um your own unique view and how you would approach things and that's more valuable than hate learning how to use a template pack because someone else can do that better and cheaper who's in a you know isn't it area of the world that has a lower cost of living they can do that cheaper than you you you know that's gonna be the thirst the first thing that's automated so your only skill is being able to add templates to a it you know at semblance and you know manipulate them be a client that's you know that's dicey territory for the long term of the industry I think I think focusing on you know being able to come up with an idea provide an execution that is you know as best it can be for the idea is gonna be more valuable is gonna be harder for machines to do that in the future I'm not I don't think it's impossible that's gonna happen eventually but that's why the work I like the most is you don't see you know those tablets on emotional refer alright let's have a look I'm gonna get back to the bottom how is that ice cream gradient made alright I can show you that but let's go into alright let's get it - we had sparkles pen tool ice cream let's get into him this is how I did it my second tutorial I ever released his easing gradients and I had animate gradients of things done another tutorial which did another method but this was how I animating this ice cream is how I first discovered it okay so if we look he's got you know these gradients are kind of it's gonna be moving if you want to talk about how I actually designed them I did these in Illustrator with the gradient mesh tool and what I have is let's find these gradients where these sorry this is when the day when I didn't excuse me I've opened I'm nervous when I did a label fine layers so well ignore these okay so I've got two layers of ice cream here I've got these yellow ones ice cream and ice cream - beautifully layered so I'm just gonna solo the first one so this has you know a bunch of gradients that have made in the gradient mesh tool I just had you know that color palette of like five colors into sort of blobs randomly until they looked awesome and then I've got another layer where they're slightly different and how I animated those is I've just sort of used a a blobby mat so I've got a mat here on top which is just a let's slowly this so this is a green layer that I'm using is a mat and I've got a table and displace effect I've drawn some masks on there because I only wanted to cover up certain areas of the the ice cream so this is kind of just revealing one gradient in these certain areas so when we hide this one you can see that we could see there's mass shapes so around that they're just kind of moving and revealing the different gradient underneath it kind of gives a bit of a cool shimmery gray Newman effect but I've got a tutorial for that it's animated gradients it's the second one I did there's a a negative this but no need to see it if this life you're gonna stay on YouTube yeah this is stay on YouTube oh who was some designers and animators who you think are killing it in the game right now alright so teaser but for Thursday on Boxing Day definite Christmas I've got a video coming out which is a review of the best motion design and animation of the year so far so I'm gonna break down some awesome animation that you know and work I really kicked ass this year but really awesome animators hairy ball horrible arrow I'm gonna write his name in the chat so you can say no I'm gonna pull up his work on Google that's what you can see it he's been my favorite animated this year I only discovered him Harry Paul arrow and he animates and decides everything in blender which is really awesome let's pick up some of these a good stuff and it's just really fun has heaps of personality it's by added like 3d stuff I don't normally connect with it but this is such awesome fun animation and style that I really love that also my buddy from buck man new career so I just posted this awesome personal project yesterday you weren't a Sam on this unless I can turn on my desktop audio I really love this he's an awesome awesome ocean designer an animator he's he's killing it he's one to look out for but although all the cats are back awesome I start naming all of them one of them I'll have to name all of them so I went to that but every one of them is sick well ultimatum eight is a Jeff Jess Ferreira she's over in she just went freelance Jess Herrera Herrera Soros she's bird and no Jessica just gone freelance awesome news here but her animations are sick it seemed as you know 3d stuff let's find one they're dinosaurs which of course I love but they're kind of similar to Harry anyway they're just really sort of charming and simplified and I love this sort of you know don't say happy tree it's been this sort of you know like sort of really simple kind of almost like childish drawings apply to a really awesome 3d render it just looks awesome and so much drama character and it's great they're awesome and killing it and killing good these days yeah we have sound awesome all right good who else any more questions have we got have you thought about making a longer format course yes I'll probably be doing that at some point and nobody happened very soon because that takes a lot of time to to make let's open one of these yeah just takes a long long time so it's kind of saying me you know my team 80 hours to make a course I could make you know 10 tutorials and at the moment I'm focused more on sort of growing my audience and Betty I'm different gonna believe some projects and some courses and a really long form one it's gonna take yet lots of work but the similar will happen in the future I'm thinking of maybe doing sort of less intense but more just like a real breakdown of a project where it's Meade's doing a project from start to finish maybe it's a sure thing like maybe two or three scenes at 10 second loop or something but a break breaks down the process from actually just creating the idea and the concept sketching it out to designing it to animating it and just screen recording it and me just doing a voiceover every design decision that I'm making I thought that might be really valuable and you never sell that you know lower sort of medium price not as much as a course but you know more than the texture pack or something like that and you know seeing how that goes let me know if you're interested in that if that sounds like an exciting thing to do because that's you know something that I think would be you know fun to make but you know let me know if you're interested this will be a trial test alright what a small question alright why do you do a podcast we need to do a podcast of school motion any plans for that in the future um I don't do a podcast at school motion they haven't asked you may notice from a teaser one are they posted that I'm doing something with school of motion very soon which you'll see very likely in the new year but not on the podcast but I may have some plans in the world of podcasting in in the near future if people would be interested in hearing me on more podcast regularly that's a very event very cryptic hint that no no one could possibly guess what I'm talking about there all right okay how do you space your keyframes how many keyframes between each action for a seamless character in animation completely and you know is determined by you know the animation if something's moving real fast keyframes got to be close together if it real slow keep them slow together when I'm doing character animations I like to start with hold keyframes just making the basic poses and then once I've got those actions sorted out then break it down into keyframes and then figure out easing sort of last to get it smooth because you want to make sure if we get into the the detail and real into the weeds with easing and we're all there you know the fun and the kind of detail of curves can happen you want to make sure the poses and the overall timing works as well a couple of videos that I did that explain that process the video with character animation featuring William name it's the one where I animate he's an illustration of a hound it's almost like you know real an awful lot of character animation going there but there's a you know I used that process of breaking it down into hold keyframes to get the timing right and I think she'd spend a lot of time in that in that face first before you get into the actual the keyframes and stuff like that but you know I mean no means a great character animator that's the that I use that's what I've learned from some awesome character animators but you know advanced stuff with lots of legs and running and walking is some stuff that I am stuff that scares me so I really do that okay how do I know if a design composition it's good for motion I usually work with other people's designs and I often have to give direction do you have any tips um it's hard to say if it looks good its aesthetic it probably look good in motion I think kind of well you want to make sure if it doesn't look good as static it's not going to look any better in motion but what I really think is designs better when they're planned with motion in mind but they're not thinking about the constraints of animation I found a couple years ago when I was designing things to animate I'd always think like that's gonna be too hard to animate I'll simplify this and simplify that this is gonna be that's gonna be tricky if I do the cars like that simplify that I think that's a good skill to have when you know when the client only has a certain budget how much time you can actually spend on things but you shouldn't start cutting corners so quickly now I really like to just design in the design software and not even think about animation really and then when I get to animate if I get the feeling of how am I gonna animate this I kind of like that challenge and it helps if you don't do that you don't push yourself further and great animation skills so much so I kind of I kinda like that that sort of process now giving direction of how to improve people's design is pretty high you know I'd kind of make sure the composition feels balanced to this you know the colors and the values of the contrast work really well but it kind of also that you could pull it the most important thing often will design something and put it into an animatic and send it to the client and they're like it's too busy I just want people to know click here that's all they want to know or most clients all they want to know is what they want to say in their product is by our product the website that's all you need to communicate and if you're doing all these crazy transitions and sell things and that moment of you know our here's how this thing works or here is whether were to click how do what it go from here if that gets muddied by all the cool stuff that you're doing the project isn't a success it needs to you know fulfill the client's needs which is to do do its job so as long as the idea is communicated quickly that's the most important thing doesn't matter how flashy or detailed the background is is the idea communicated that's the essential thing you should focus on so make sure that's the focus of the design and that may be considered into how it would act that's what I'd recommend for that do you use Pinterest yeah I use Pinterest it's awesome for collecting reference I only kind of recently in the last year or two started using it I don't use it all the time because you know I kind of think that's not the great place to start from a project is I think if you get a project you like alright let's go onto Pinterest to see how this is gonna look you should that's what the best way to do it it's you know the works only gonna end up more derivative you should at least spend time first thing me on how you think it should look and getting ideas out outside away from the internet but then if you want you know examples and resources to show the client of out how to build a mood board Pinterest is awesome being able to search by similar things is is great that's a really fun and really useful software Helen will be been streaming out when she would 45 minutes all right excellent okay all right come in the trolls somone's trolling what's the name of the plug-in you're using the one on the right side of the screen on with the yellow boxes that's Flo Flo is a it's not to plug-in it's colorful well people have answered that question ignore me thank you guys in the chat you got my back I should trust you what do you still want to learn okay so what I still want to learn what I'm focusing on this year and kinda last year it was learning how to present myself better I haven't spent an awful lot of time learning new animation skills and design skill this year I want to focus more on presenting my work being able to communicate effectively and I think I've got a little better doing that but so I want to focus at this year with animation cel animation and character animation probably cel animation and sooner because it's just really fun and it gives your work something a bit extra and the more I learn about cel animation the more it's improved my actual you know 2d after effects animation and often all you know whip up a rough in in sell really quickly and then use that as a guide to animate the keyframes and make it smooth in After Effects so that's what I'm gonna focus on and in the near future and character animation because you're gonna have characters great but it's hardly tricky so you know that's in the in the longer term I kind of I've been more tempted to try 3d as well recently seeing stuff like Jerry Wright and Harry Harry Blair and you know well it's kind of fun and the teri does it in blender is really exciting like that's free software cinema 4d really expensive and I don't know if I could contact them and say hey just give me give me some free software so I can make crap stuff for a while but 3ds intimidating because I know my work will suck for a long time and you know that's you know so fun to get back to that stage my heart I'm gonna you know which want to make fun sell things that's the moment which 3d package are using for mission design work none I don't do any 3d how many hours do you work a day how do you keep motivated I'm eight eight to ten and back sometimes and I'd like to structure a physics is working from home it's freelance you know start work at eight nine finish at five ish sometimes all you know and then sketch for an hour or two you know on the open at night maybe that's kind of how I structure I'd pretty good this year I haven't but it might start physicians there were some there were some late nights I did I did I just had 26 hours shift once and that was not fun so I'm glad I've got that behind me and something is working like just part of the UM the culture and it's hard to get outside of that and you know every once in a while that's fine as long as you know you understand you know why are you doing it and that you're being rewarded like you know you're getting time in lieu or time off in exchange for that working unpaid overtime is bad and you know the employees we should take back power sees the means of production it's not I say how do I keep motivated and having a one-week deadline every tutorial is quite the motivation a deadline is the biz you know the best motivation of a door really knowing that I I've got one thing that I've got to get out this week and you know that's a self-imposed thing but I think stating that publicly and I've got this you know promise to the audience that I'm going to deliver that it really helps me like really I'm thinking about what do I do what am i you know what do I even draw you know like I do that sometimes but now I'm like alright let's get the story alive got a big list of all the tasks that I need to do for it I need descriptive early to design I need to do the thumbnails I know which order I do them in so that keeps me ever on that keeps me on track I find a self-discipline sorry and willpower is very very feeble so discipline is a high how to how to try to you know it's more useful trait to cultivate and actually um do stuff all right how do you charge your clients hourly pay rate value based I mainly judged by day rates that's just kind of how the standard in the industry is if you're working over the studio if you're waiting direct decline you can offer a project fee I've kind of done that before the and kind of it ends up being a mix of both because you know you're just charging via you know based on your hourly rate day rate sorry excuse me another burp yeah so that's how I'm doing it at the moment but now since I'm getting into more YouTube stuff we're you know and this sponsorships and things like that where it's kind of I'm going back into like oh well this is you know I can't charge by the hour of what I'm making because the hour is you know don't talk about how long it takes me to make the sponsored segment or how long that sponsor segment is gonna get viewed because that's something that's the out the time that it takes me is a lot less it's a lot less valuable than the actual actual end product and the you know the lifetime move that I'd buy for the for the sponsor so that's more of a difficult thing so I have trouble these you know you need to charge you know charge more than you think and you know don't compare yourself to think that people on Fiverr and those places like that look they're only charging 20 bucks an hour so I have to charge if I'm gonna compete with them I have to charge something similar people are charging you know professionals in the industry the people that you know doing you know you'll talk to your work they like their charge and got a lot of money and like you know they're getting paid a lot for it you know some of them probably aren't judging as much they're worth and I think there's very few people that are charging more than they're worth so you know always you know charge more if the client says yes to your price you're not charging enough if they if they you know push back and you negotiate you hit the right amount I'm out some clients have different you know some quiet so you know might be situation I'll this budget is only for this charity job or something you can take a lot right but I don't take a lower right on the you know doing like oh but then don't we further jobs in the future they're not gonna pay any more in the future they know you they can get you for $300 a day they're gonna they're not gonna charge you six hundred dollars a day for the next project sometimes it might happen but don't don't don't believe anyone that tells you that if they say you know a good example say if someone says I will charge you you know this is gonna be free now but then if if you do a good job will pay you more for the next job you should say oh okay how about you pay me now and then if it's good I'll you know I'll refund you based on you know I'll refund you that original job - every addition job you get me no one will agree to that because employees know like no that's a bad deal I'll be out of money so you know try to play play hardball Maji can an awesome book it's called what does it call its book about negotiation called no no half measures not no half measures never saw the difference it's called really awesome book man negotiations from he was an FBI or CIA and the negotiator the negotiated with hostages and it's like negotiating to get hostages back it's really it's an awesome book and reads kind of like a thriller as well and has lots of awesome tips for how that you know negotiate those types of things charge more than I work for a submitter good you're doing you're doing well okay it's very good I'd say you actually worth more than that would you make it mend an iPad PO / Wacom Cintiq Pro I'm really interested appropriate appropriates awesome software item i but the Cintiq pro is the companion one that you take away the ipad main benefit is that it's portable that's really awesome the ipad pencil is an awesome stylus I think they're great I think he'd be working a lot at a desktop the desktop icon a desktop Cintiq is the best way to go they're more expensive but using our iPad is great as well depends on what your budget is if you're gonna be using it and more in a mobile scenario get an iPad if you're gonna be sitting at your desk spend the money get a bigger screen that can run you know the full version of Photoshop and After Effects and whatever you need well alright umm kind of questioning behemoth kind of like david dobrik I've got that before I've got that before we're not related thank you how long we been a mission designer five six years in five years since I started learning animation but I you know I learned design and illustration for the five years before that so you know that gave me an advantage when it comes to learning motion design I sucked sucked aversion to them and I first started my early animations were crap but having their design skill even though the animation was kept the design still kind of look Dora so that helps save them a little bit what are your most used plugins is copy and FM's console they're both free they're the best flow and motion to also good good as well but each copy and a VX console VFX console dude do you know animation smash down and it's red yes I did I came second did one for a little while animation I did and yeah I I thought a Marcus Magnussen on plug-in I'm sorry I'm on patreon that's where you talking about right yeah it's good to see what's a telling on that what are you doing to get creatively stuck um are there two ways to think about this there's one quote of like created blocks for amateurs we I don't have time for creative block I just get down and do the work and I think that's alright come on come on mate create a block is something we've all experienced whether we call it by different names it's something that happens do it to us there are certain tasks we can just brute force it and just work through it some animation is like that I find animations of tasks I can do that with but I can't just sit down and force myself to you know come up with great ideas that's not gonna happen so what I think is an awesome way to you know offset that is don't expect yourself to come up with great ideas if I need to like I need an idea for a project what I do is I set aside 90 minutes say alright for 19 minutes I'm gonna come up with as many ideas as possible 19 I'm sitting there gonna be bad and that's okay and the only the only job I've got in there to have fun and create lots of different ideas this was based on a lecture by John Cleese if you look up John Cleese creativity you'll see a couple of you know 30 minute lectures from him that are really also the best resources I think understanding the process of creative thinking and getting creative ideas that's what I do I have you know try to remove the expectations that I'm gonna create something good because that's never gonna that's that sort of pressure doesn't help me pressure of a deadline helps get technical tasks done like alright let's just get these keyframes and these things may let's get this you know to toriel out and made but the actual valuable part of a project it the initial creative idea itself I think you kind of need to nurture in an environment where you can't be afraid to fail and make bad things so I think setting up as much sort of not sort of sort of constraints and boundaries so that all right I like to do it ideally I'm not on the computer I just got pen and paper got a pencil pencil paper you know I've got an eraser and a sharpener and like I did and you know I'm not gonna look at any other reference I'm just gonna come up with ideas in my head but no like I find on a plane I come up with great ideas because you know I'm not I don't have you know internet access I can't all I'm all I can do is just sit here and doodle and draw and there's no pressure I'm not in an environment where like I'm not on an airplane if I need to come up with an idea for an awesome project or anything you just hey I'm drawing for fun that's where stupid ideas come out of that's what I totally recommend and I need to do it more often and the more when I do it the better like a couple of weeks ago I sat down and just came up with a bunch of stupid Christmas ideas because they all make one place to do Christmas and then I came up with like eight ideas are like Polly's actually really funny so I've been posting those I'm like there's not enough days to post them on Instagram so I had a candy cane one today and I'd be the other day is it's the thumbnail for this for this livestream the Holly that it'll smash together and I've got another one coming out I think Christmas Day all through Christmas Eve but yeah that's how I kind of like to work to get to the most creative ideas quicker my grandmother keeps asking me what I'm gonna do when I takes over the animation industry thoughts on this I think I will take over the animation industry um eventually I think it's gonna take over the easier tasks first like rotoscoping and we're all gonna be yes hey I've taken over the rotoscoping this is great and then it'll take over all the key framing and things like that and then my this is awesome and then suddenly be like it's doing everything now what am I going to do I think you should try to position yourself that you're the one coming up with ideas and finding solutions for the clients and creating an expression those things AI is going to struggle with at first eventually it'll get there and it'll be able to create more creative ideas more satisfying solutions than we can but it will never have you know I don't say you can never have a human charm but like by definition the fact that something something being human made will be a very valuable thing in the future like saying you know something's handcrafted on Etsy like well I've got you know I could buy this an identical chopping board that you know I got from Ikea for 20 cents but ah this is an artisanal one that someone's actually crafted the tree and knowing the time and stuff has gone into that there's some value in that I've done this good I think the consumer is gonna decide there's no much value in that and that we love the 20 cents like your chopping board and they want the AI animation but I think we're just gonna have to find positioning yourself in the industry someone that has has the the I you know just executing the clients idea you're coming up with the ideas you're met you're adding value that is intrinsic to how you and yourself you know how you you end yourself how you think you know showing off the value that you have there and also I think when I when I hate when artificial intelligence does them you know an automation does you know make it will make a lot of people in the motion design and animation industry unemployable that's let's no doubt but when that happens I kind of think that's not gonna be the that's not gonna be worth there's not gonna be a problem I'm gonna be thinking about at that point people have taken over almost all other industries and society will be on either the brink of collapse or the brink of utopia and in either one of those scenarios me keeping my motion design job is not what I'm gonna be you know that worried about but also it's kind of how I I have fact that this into my business plan and career is you know I've made a few videos about you know you know advancing softwares and automation in the industry I want to do more of that is because if I become like big youtuber in educating people is that's gonna be you know that's something that's gonna take less time for AI to automate as well I think I've tried I've got to make my job a little more secure but you know well are you guys taking everyone's jobs I can be telling people how AI is taking everyone's jobs in the future yes that's that's that's how I think that's gonna work that how that's gonna go down in the future all right do we start from scratch animations already ever you stock assets such as stock victors now I really have you stock vectors I've worked at Studios where we have such little time and budget that we just you know we have a subscription that we just download stock vectors and use some of those I hate doing that I don't like it I don't find it creatively fulfilling at all stock footage and stock photos go for it like I'm not a great photographer I'm not a great you know a videographer or anything like that so if I can get assets and songs made to look awesome I use them for that but I don't know don't pretend that the you know those are my initial sort of ideas I really struggled with them with stock assets as well because it's never quite what you want and I finally just you find it being constrained and cutting corners and moving your work to match the stock asset rather than you know they're creating something yourself ideally create something yourself it's harder to do but I think it's worth it you know and that's gonna be that's gonna be the point of difference that you consult the client like I made this it's bespoke for you rather than like well here's here's the best image of a piggy bank I could find on I stock that kind of matches our style that's how I think about it thanks for the tips Hart says you're welcome I'm glad you enjoyed them do you recommend any courses any course by school demotion is also an idea advanced motion methods which was great I did the earlier this year illustration promotion looks awesome I've seen so much more since student work come out of there they look great yet totally recommend anything about skill of my shouldn't they're you know they're reasonably expensive but they're worth far more than because by far there's so much advanced motion methods I didn't know I was working freelance to do in YouTube job I didn't have the time to keep up with the amount of value and coursework and lectures and things like that so they give you a whole lot of stuff they're really intense so you know set aside a fair bit of time a week to work on them but you learn so much in such a short amount of time everyone that's taken them that I've spoken to highly recommends them how do you interact from your client from the beginning to the end like how this process of very critical like more often than not lately I work with the studio is rather than director clients because the process of you know interacting with the client managing feedback and stuff like that it's it's fun it's part of process I don't enjoy that as much I kind of like to go to a studio and I'm like hey we've we've already organized you've got the storyboard signed off we've got the designs done here or how about you come up with some designs for this pitch and you know and you animate them I like being part of a team in that sort of aspect where a lot of the young the stuff facing the client is dealt with for me um in a way that's what I enjoy but we're gonna drag the client and we Belle approached me and with an idea I'll say hey there's that much it's gonna cost and they'll say wow that's more the triple than we expected animation is way more expensive than we thought and then I say alright well because they'll they'll often you know well we want an animation we have about a thousand dollar budget and these are kind of animation references we like and then they'll send me giant ant references and our fellows and but I'm like okay well take a look at the credits of those animations that you've seen there's 20 people that are involved in that animation and that would've happened over three months we can't do that four thousand dollars but if you want something that looks um you know if you want 30 seconds of animation for a thousand dollars you're gonna have to go with a much more reduced style that looks like this he's how it's gonna work this is what I can offer and if their interests doing that you know they'll go for that but you know they wanted you know asked a half-dozen other people and if they can offer us something better for cheaper they'll go with them but often they'll find out like ah we want to get this time to probably work for a thousand dollars unless the other person works their ass off and exploits themself and then just from there go through ideally you set up a process where a story about the sign they're signed off right we've signed off now we're going to desire to make sure you over communicate once we've done the storyboards once we in design we can't go back and change storyboards do that as much as you can there's going to be changes all the products I work on you know there's always you know some little design changes at the end but let me communicate well if we want to change the storyboard now we're ready into animation we're gonna that's going to take a lot more time and therefore more money if you want to change that as long as what a client comes back with changes if you can communicate yes we can do that like immediately or sit yeah of course we can do that but it will take more time and more money like that change will cost us $800 or we can do this $200 change which will solve your problem or like a client will soon realize that their ID their feedback isn't that important if it's gonna cost them a thousand dollars and sometimes it is sometimes it's good feedback I'm not saying all client feedback is useless a lot of the times clients make the project better they really do and you know they know their needs a lot better than we do but sometimes like oh no we really think and the female should have a head tied up rather than tied down like well we've already animated in Rick's head that's going to take an extra three days that's going to take we're gonna have to hire you know a freelancers you know day rates you know six hundred seven dollars a day that's gonna be $2,000 sorry - two thousand dollars extra on top if you want to make that change and then they're gonna realize oh yeah yeah yeah it's fine hair down it's fine all right do you know how do you know how much a much valid emotion creative program at hyper island any thoughts I don't know much about the program there but I've heard it spoken a lot by people that are really no other dog mouth in the industry and they speak very highly of it and some good workers come out of there so you know it seems good to me I haven't look look look too much into it but you know it see it seems great seems great okay how do you describe your work to other people I say film and animation but they always think talking about just movies and stuff then yes that's whenever I whenever I'm gonna do what do you do I first I say I'm in now I say I'm an animator because because the next question would be what is a motion graphics what is motion design and I say I'm an animator and then my ex responses no not like Pixar like kinda no it fit ads yeah I I kind of say like mostly what I'm the people that I'm talking to you about you know my work kind of in the industry so they understand it so like if I'm speaking to someone you know like a studio I say I'm a designer and animator or I'm a motion designer I kind of I flip between wanting to call myself a motion designer or illustrator and animator or designer and animator some people call it because most of what I do is illustrating rather than design but that difference is kind of arbitrary all these differences between motion design illustration and arbitrary I put myself in motion designer I'd say that my channels about motion design because I think that's kind of the terminology that most people are using now to talk about this I find it's like if I talk about animation like if I send my channel is about animation there's gonna be more people kind of think it's broader more about 2d animation and kind of stuff like that which is kind of isn't it's more you know for more the turn of Phyllis creative after fixing thing though I kind of do is I'd kind of cool motion design more than it is an emotional illustration but all other things are combined to mental who you talking to if you're talking to you know your relatives of Christmas say I'm doing some animation on the computer I I guess it depends on what people expect but it's gonna be follow-up questions regardless regards what you say there's gonna be full of questions so you're gonna get to it eventually so that's why I handle that I think your style what are some different ways you can advertise your skills begin monetizing your skills um put together your shirt put together a show real I'm gonna do a video about how to you know the best things to have in a show real later this year or next year at some point but yeah show really it's the best tool to show off your skills and email that to potential clients put your work online make an we show you real on Vimeo and just you know show it up for people go to you know forum subreddit say hey here's my work I'd like some feedback or hey I made this so hey I made this what do you guys think but yet to start monetizing you need them yeah okay go real in front of clients so they know what you can offer don't be you know even if you just if you're beginning your and if you're a beginner yeah and I met your reals gonna have beginner content that's fine like people need beginner animators studios and they need they a lot of studios want junior and begin animators because they can you know they can nurture them and grow them and you know mould them into making the work that they want to make and they're cheaper and you know that's important as well beginner just put together your best work quick tips for making an awesome show real make it 30 to 60 seconds it doesn't need to be over 60 seconds you know you can push it over a little bit my first real was way over a minute that was a mistake and just put the best work in doesn't matter for its personal work and only put work you want to do more of in if you're just beginning and you're worried about not getting enough work put in more corporate boring stuff that you know people kind of will can imagine them own products being involved with yeah make it quick putting your best work doesn't matter if it's all personal work no one care you know no one really cares if they're hiring you they just want to see you can execute this stuff that's what I think what are you consider doing a real review or monthly things yes definitely I'm gonna do a show real sort of tips of how to make an awesome show real and then I'll do a show real review maybe a couple of weeks after that and I would kind of love to do it you know like a monthly sort of series of you know critiquing people's work and doing stuff like that so let me know in the chat if you kind of think that you'd be interested in seeing that work and submitting your own work and I think that would kind of be valuable if you know you can say you know here here's someone's work here's how I would what I would do to improve it and that kind of thing but I'm you know I'm definitely gonna I'll try that a couple of times this year hopefully gets views doesn't get views you know put my you know and if the response is a bit if the response is great I'll keep doing it but I'm you know I want to make sure that's valuable but I'm something gonna try that out and try experimenting with a few more things this year and also let me know the chat what your ideas what you want to see out of this channel well if you want to see hey and we'd love you to talk about this do you know monthly roundup with the awesome animation so you can share some awesome animation we want critique we want all of this stuff I'll you know let me know what you guys want so so I can you know serve you all right another question what what do you think is the best way to start as an animator it's not important to know how you Ella straight or draw or start in animation I I think you know I the best way I wish I think me start with design in illustration that's gonna help you an awful lot I think I discuss that a bit earlier in the stream if I was to for knowing what I knew you know now back then when I started animation I would have done our school emotions animation bootcamp I don't think after fix kickstart wasn't out then now they have a lot more cause it's for beginners but doing that I think taking a long course like that where you've got the structure which I think that's the main thing that lacks from YouTube that I can provide is this long linear structure and the curation and a curriculum to help you progress linearly that is an awesome thing with these courses offer school of motion I think are the best at it in the industry so I recommend checking those out that's what I would do if I was starting again getting expert advice rather than just you know ad hoc taking from the YouTube tutorials but take them for mine don't don't unsubscribe alright do you think if sir great way to show it yeah sure I mean I kind of make okay it's not really like I gives us a terrible format for animation you know an mp4 is much better but you know for showing work on goofy and stuff like that anyway you can show your animation it's awesome I like it's something short and consumable like a gift it has more potential to reach a wider audience which is awesome but you know there's less way that you can show substance I think it's good to have a variation you can you know have some short little animated clips or gifts which really show out you're awesome you know maybe some gooey transitions or cell animation some really cool stuff but one thing that is really valuable is telling a story of you know a product or something like that for a client over 30 to 60 seconds an example so if you have an example of one of those in your portfolio we can see they've made something awesome they've got a script and storyboard and told that a big journey that's a very important skill you probably gonna get hired a lot more for that really it company is hiring you for a little gift and those sorts of things but they're good experiments to show off your skills you know the work I kind of make now my personal work is really short kind of looping gifts then I guess looping animations I'm it's hard to explore as gifts it's not hard you don't have Photoshop boy you can get give gun exposure but yeah making short animations it's a good way to you know explore your skills and I think really good because it's kind of not there's constraints of like you know it's there's no pressure starting you know I'm gonna starting a personal project with like oh I'm gonna animate a one-minute animation that's a lot of work animating 24 frame looping animation that's easy to do you're more likely to start it you're more likely to finish it which I think you know finishing and making stuff is more important than planning and how you're gonna make awesome stuff that you never get to make all right oh I'm interested in it really a string and how difficult it would be to make a full animation project as a single person graduate email animators wait Hana home it's you know I'm not gonna say like if you've got a team of four people it's not gonna be four times as hard to make it as an individual maybe three times as hard I'm just gonna take a lot more time you're not gonna have as diverse a range of skills to execute it on a higher level I used to do all my animation like you know all my personal work that I show is mainly stuff that I've designed and animated more I've started to collaborate with other people's awesome designs to make tutorials about and show off their work you know not sure they're working to you know to exploit the day to get that awesome design so I could animate some cool stuff to make my work look better really but working a Studios like Bakula there's such an awesome advantage of having so many skilled people that have skilled the different areas that like someone's like awesome and cel animation someone's great at the direction and acting someone's great at unit their design and you combine all those and you've got something way better than you can do on your own on your own you can move faster you can make decisions if there's no sort of feedback and crossover and come the compositing I mean you can work faster in a sense I mean you're gonna do all the stuff so that takes slower but um you know it's it's a it's kind of a different process because when you're doing it yourself you've got to be the director the producer the animator the compositor all of that stuff the board artist you know there's a lot more things to do I think it's you know I think everyone should make I made a short project called what is goon there's like 40 seconds and that was a lot of work I probably won't be doing that again because it was an awful lot of work and like it was like I'm home bounce like for weeks non-stop well I did over they see over a year like those weeks intermittent dispersed throughout my freelance gigs but it's a lot of work and I'd rather work together I don't mean in a team now that's kind of how I feel all right do you get animation and gigs very often or you have to wait for someone to work sometimes we work on the next project um at the moment I do pretty well so I get more and more jobs that I can take at the moment but I'm not so focusing mainly on the future bin tutorial so after making that a part of a business that's where I get you know where I want to that's really one about where I want to take my business to so I'm going to tear down a lot of work to do that when I was certainly starting freelance there was certainly there's gaps there's gaps in between work even if you're the highest you know most in-demand freelancer there's going to be gaps because a project isn't going to line up to start the day the last project finishes it's gonna be some you know I have some overlap which you know it's not a good idea or there's gonna be some gaps and that's fine and you should factor that into your costs don't just figure out well if I'm gonna get hired you know 52 days sorry 52 weeks of the year I can charge this expect they're gonna spend a third or you know a third or maybe even half of your time and with downtime especially when you're new to the freelance game when you're starting to collect clients it's gonna be a lot of diet downtime and so I'd recommend having personal projects to do in those downtime you know like that's how I did that but first few predict that was my down time project for my first year of freelance so do ya find find products to fill your time with a lot of people that's not hard work because everyone wants to just be making the cool stuff all the time and yet billion there's gonna be gaps don't feel like you're not successful if you have gaps between jobs holidays are great and also it breaks to make personal work great as well that's part of the score alright do you play any video games if so it was the game that you really enjoyed in 2019 idea that winded I'm about as much this year the ones I spent a lot of time playing the last year then a lot of time playing Red Dead last year I played pokemon sword I haven't finished it yet I'm about to face Leon the champion it's fine exactly I have the nostalgia at the beginning but there's a lot of flaws to it and one of the way I played this year I played some spider-man that came out last year though I've really haven't played it an awful awful lot this year heave-ho is a really fun game on switch as well that was really good I got on yeah I think the wild but that's a game from last year maybe even the year before yeah not an awful lot I'm next year it's gonna be intense cuz we got Last of Us 2 coming out and some punk 37 on China very excited for havoc if you've seen no tutorials up for a two-month period that's why I'll keep tutorials up but um yeah inside to play those video games love a CD Projekt RED they're doing great oh happy Christmas to you Christy thank you very much oh thanks oh thank you for you know thank you yes star sorry I didn't how to pronounce your name but you know thank you very live stream that's great I'm glad you enjoyed it how long will you be going forth we've been doing an hour and 20 ok I'm gonna wrap this up in 10 minutes at 11:30 so yeah so yeah that's a dozen we're gonna get you got 10 minutes so sorry if I've skipped your questions it looks like I've skipped one from Matt and watch the job okay I don't know with skewing jobs I'm saying rest leave me in the price of details never all can I avoid it sorry I've just mumbled his question Matt says I've got a lot of crimes on Instagram but only end up securing jobs with ten percent and the rest leave after finding out details is that inevitable the clients I get from Instagram are probably a lot of them it's people hey can you animate my youtube intro for free kind of things most people more interested in hiring goo is Nana made professionally will probably contact you through other means like email and things like that because so it's easier to track their end if they're a studio some places places will country detect you on Instagram that's fine but you know 10% is you know I wouldn't worry you know worried about that you know unless there's something really wrong with your details that that's probably fine I wouldn't I don't suspect you're overcharging from that I reckon if I told every if I applied to all home you know interest I get an Instagram with an accurate inaccurate price I'd scare away at least 90 percent of them that should be fine all I think Thank You chip oh that's awesome you to say what do you live I live in Sydney that's all you're gonna find out agreements with Columbia Oh wonderful thank you very much Gambia I very much enjoy narcos you know as I do it short and simple only takes a couple hours awesome but see what see what you do if you had you know what did you do if you had 40 hours to do an animation what would you do that that's interesting exciting how should a start freelancer get clients actually priced at work by the freelancer manifesto that will answer all your questions price your work based on the hourly rate sorry day rate of people who live in your city and at your skill level that's the best way to do it if you can pace all the stuff online you're gonna be people charging way more in different you know different industries you're gonna be have people charging you way less in countries with lower cost of living so figure out what people's charging your area ask freelancers you know you can ask people say hey you know hey your day or it is I'm just starting in the industry I'd love to you know get some advice most people probably you know probably okay to share that thing who knows you know find out you can even ask producers the worker places just saying hey what's the range of you know day rect you're gonna you pay your freelancers they're probably gonna tell you a decent range you know and that's fine you know that's how I'd do it well how do I think you in the UK I was I am British I'm British Australian my family was all born all from the UK I grew up over here in Australia though it's and my accents kind of you know it'll load the place alright no no you got the you nailed the accent you use sense thing but tutorials oh you're so welcome thank you for thank you thank you everyone from all the other ways other side of the world David Rafael Jordan Tony David has and a cop thank you all so much for joining the livestream um any last things before we leave I didn't get to show off more much animation it's mainly me talking I hope that was okay if you would like me to cover more specific things in different live streams or just take questions I might theme them a little bit based on you know freelance Q&A and this one we shouldn't open want to test how how in life games going whether you guys enjoy them whether I enjoy them and turns out I do I didn't realize we've been live feeling for so long so thank you all so much thank you thank you everyone that's tuned in I'm trying to read all your names but like look at the camera at the same time it's not working Merry Christmas to all of you label your layers charge double have fun create original ideas and don't be hard on yourself learn learn more your work is better than you think it is alright goodbye everyone have a Merry Christmas

Channel: Ben Marriott

Views: 44,763

Rating: 4.9736457 out of 5

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Id: qI-LcOxj19E

Length: 82min 58sec (4978 seconds)

Published: Sun Dec 22 2019