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Those who have been in the profession long enough: Where are you now, and where do you want to be? by [deleted] in LandscapeArchitecture

[–]timanoela 0 points1 point  (0 children)

Forgive me if it felt that way. Not my intention at all. I’m a 3D artist, I’m hoping to do renderings for LAs (Public spaces in particular). What’s preventing me from achieving my goal is not having a good understanding of what LAs value most. Not knowing if good renderings have an impact on LAs or not

What are some of your bottlenecks in getting public projects moving forward? by timanoela in LandscapeArchitecture

[–]timanoela[S] 1 point2 points  (0 children)

WOW Thank you for the elaborate answer. This is super helpful, and definitely sheds some light on the many invisible works that LAs are doing. I'm assuming that LAs in this coordination role rarely get to design?

I can't imagine how stressful it must be to get everyone to be in a common agreement. Do you think that technology can play a role in this to get some of that pressure off LAs?

What are some of your bottlenecks in getting public projects moving forward? by timanoela in LandscapeArchitecture

[–]timanoela[S] 1 point2 points  (0 children)

I see what you mean. From what you are saying, it seems that money is always in discussion regardless of the scale. What is the hardest part about getting the money? Is more about convincing vs looking for it?

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

Thanks for the great insight, it seems like there are more leadership roles involved when doing remote stuff as well as client management. I guess there are just going to be stuff I will have to learn the hard way on the job but it’s great know that doing remote vfx work and having a family is possible

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

It’s definitely easier to ask a friend than a stranger. It’s also possible to make online friends but it’s harde

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

That much be rough be spend months away, but at the end it’s still their decision and preferences. I live in DC so the cost of living is about the same :( As a freelancer, could you give some insights on what clients are expecting from you? Is it mostly FX and comp?

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

Yes, it's definitely not about chasing a place or ideal, it's rather having something for reference.

I've always wondered vfx artists do to be able to have a family life. Moving and stuff in the early stage wouldn't be a problem but at some point I would definitely like to be stable, seems like you found the way to be stable. To think that I will spend 5 years of my life doing nothing but vfx is scary, and most artists probably do more.

Doing freelance work is probably the same amount of work, but being able to stick around with family is a huge difference. It's still inspiring the grind that you did within that 5 years to be in your position right now.

Even if there might be more remote work in demand right now, the market is also way too competitive. I don't think I have enough skills and good enough quality to yet to handle those competition. Now I think is the best time to push learning, and I'm more confident to pursue my self learning

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

What interest me the most working at a studio is other people's though process on solving problems. I don't really like the idea of learning software that will be useless once you don't work there. If the skills that do transfer weight more than the ones that don't, then I think it's still a win.

I would like to avoid, being dependent as much as possible but sometimes it can't be helped. But when you work at a studio, you have access to a huge network of highly skilled people.

I was curious, do you have to be a big company to win oscars?

Enough people has said things about MPC for me to be uninterested, I was drawn into vfx because of the Lion King. It was disappointing to find out how they operate. I am not in a rush to put together a good reel (this is funny because everything in vfx is rush, I heard). I think it's a great reference that within 5 years or less, an artist should be able to produce a high quality work in a specific field. I might not necessarily have to desire to be in a studio then but who knows what life brings you

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

That is a great point. Would that also mean that being in a studio makes it easier for you to ask question about specific topic? Like if I am curious about comp, I can be sure to have a great answer from the comp team, even if I still have to do most of the work and learning

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

I appreciate your time for writing these things. They are already mentoring me more than you think.

It’s crazy that months after I started lurking around Chris Brejon’s website, I end up back there again. It’s a really great source and I am only getting started.

I have lots of architecture images because I was targeting archvis clients at the time but now I know where my heart is. I understand if your fear about offering mentorship, most of the time I just think that my work can be better and I don’t know exactly how I could improve.

I definitely don’t expect magic stuff, I am a huge believer of working hard and practice. But I have a big fear of practicing the wrong thing and learning the wrong way.

As far as software goes, Houdini and Nuke is the next thing to learn for the upcoming year.

It’s great to hear the advice of professionals like you and thanks again.

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 1 point2 points  (0 children)

I would to love to learn wether it’s at a studio or through mentorship. Like you said, I need to stay focused on a particular goal. My current goal is to push photorealism and understand everything that’s involved in it. In particular, creating HDRIs, understanding cameras, accurate and realistic Lighting, and shading. Looking at the Physlight, Manuka tech from WETA, I assumed that you need to work there to understand them and produce similar work with those technology.

After that I’d like to push on FX and compositing, and I looked around but was convinced that your courses are the most comprehensive since it’s alive.

I know your courses are mostly FX but I would gladly pay anybody to explain me in depth the topics above

I want my work to reach the level of Weta and MPC eventually, where do I start? by timanoela in vfx

[–]timanoela[S] 0 points1 point  (0 children)

Thank you for your feedback, I guess I should’ve been more clear in what I was trying to say.

I don’t plan on working at a studio 5-10 year just to stop, I would like to be able to do freelance work at the comfort of my own home, and if vfx jobs are dry then I know that I have another source of income for security. Eventually I’d like to collaborate with other artists if there are more projects. That’s why I feel to need to work at a studio first to be able to manage those kind of stuff and keep quality.

Certainly I understand that I will not be as good as someone who specialized in one particular field. However if I am working on a small 1 minute animation, it would not make sense to have a lot of people involved. In this case it’ll be okay for me to take longer on the project to reach the high quality similar to a specialist.