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dyei nightmare

¿Is anybody working remotelly as fx td or fx artist?

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i know is not usual to work remotelly on this field,  but is anybody working as remote fx td or fx artist these days?

Edited by dyei nightmare

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probably a very few people I guess. as far as I know, studios aren't very keen about hiring remote people in general (at least for film/tv work, and it's mostly for good reasons).

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Even though I have seen posts for remote effects work I don't think it is really possible due to the extreme file sizes involved. I have applied to every post for remote work I can find but I never hear back. Quite discouraging...

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marty: oh yeah? how it goes? what kind of work are you doing? are you working mostly for big or small studios? are you more in games or vfx? if you don't mind me asking... :)

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Guest tar

it's the whole gamut - small to large.  Mainly comp work on bigger shows but I bring in Fx work on the jobs where I control the whole process.  Overall I think the experience has been really good. Being technically proficient is just the start, running the whole business side is the biggest unknowable intangible. 

Probably the best takeaway from the whole experience, for me at least, is that the more creative control I have the better the work i.e. we won a Sundance and Emmy on two of those jobs ;) 

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So who are your clients Marty, how do acquire new work?

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Guest tar

Referrals mainly from the quality of the work. Always making every job the best work you can, no matter how small. Everything snowballs.

My clients are all in the end friends - it's the only way to do good work. It has to be a collaboration. If you can't make friends with people, you are dead.

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marty: that sounds good. I was working remotely for couple of years too but all the management around the actual work was killing me and I felt like getting good clients/projects was really difficult. It had some benefits working this way but overally I'm happier at the company I guess.

My GF is now trying to go freelance, and again it seems to be very hard to acquire a good/reliable clients that won't keep giving you a crap work to do .-/ 

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Guest tar

yeah - I was in the states recently and for the first time started looking at doing non-remote work for a change of scenery. Still might head on over and setup remote there too :) 

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All my previous work has been through agencies so I have never really known any of the clients I have produced work for. This leaves me high and dry right now with no contacts.

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Guest tar

That sounds weird as without referrals you are SOL. People have to trust you in some form.  In terms of selling yourself, where is your portfolio right now? Can you accept critical feedback from us?

Doesn't sound like you are really sticking your neck out to find work though, tbh.

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My current portfolio is basically motion graphics with some video editing, there seems to be no visual effects work in Columbus, Ohio AFAIK. I am currently working on a visual effect demo reel but simulations are a slow process and I'm learning as I go. My goal is to demonstrate competency in Pyro, Fluids, Scripting, Fracture & Debris as well as composition and lighting.

I guess I don't understand the sticking my neck out comment? Do you have any tips on finding work?

How does one find water in the desert?

 

I posted my first/latest Houdini work in Finished Work section and only received one comment. Feel free to critically feedback my posted video.

Edited by Atom

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Guest tar

I'm not sure I can help with the neck sticking part as this quote seems apt: 'If you have to ask what jazz is, you'll never know. - Louis Armstrong'

In terms of your video: Have you compared your work with recent graduates of media schools? Do you think it is competitive? From my point of view there is no commercial market for that type of work.

 

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29 minutes ago, marty said:

I'm not sure I can help with the neck sticking part as this quote seems apt: 'If you have to ask what jazz is, you'll never know. - Louis Armstrong'

In terms of your video: Have you compared your work with recent graduates of media schools? Do you think it is competitive? From my point of view there is no commercial market for that type of work.

 

thanks for your replies marty,   i would like to ask,  what kind of work do you think is more commercial in terms of what houdini can do?  i mean what is in most demand on the work that houdini can offer?   im under the impresion that cloth and hair sims,  is for what houdini is in more demand,  i am right???? 

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Guest tar

Hey dyei - I'm using Houdini when Nuke fails me - so I create fx work with it. I don't specialise with a single area. Essentially I produce shots in any which way I can for the director - they don't not care which package that is used.

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21 minutes ago, marty said:

Hey dyei - I'm using Houdini when Nuke fails me - so I create fx work with it. I don't specialise with a single area. Essentially I produce shots in any which way I can for the director - they don't not care which package that is used.

so,  does it means that is more probably to get compositing work as remote artist?  and, are you using houdini for die-hard compositing? :huh:    

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Guest tar

I worked in many places for over a decade before setting up remote work. Remote work isn't exclusively compositing, it's more that you are known to be reliable and do quality work. Using Nuke for compositing currently.

There's a ton more to it though, from my experience you just have to try it out. If it works, great! continue until you want to change it, if it doesn't work, great that you tried but for now you'll have work at company instead. At least you tried, and, you can try again later if you want.

Today's business courses are all about failing... you have to speak about how you failed before succeeding... hint hint :)

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11 hours ago, marty said:

 

Today's business courses are all about failing... you have to speak about how you failed before succeeding... hint hint :)

hahahaha  that sounds very  robert kiyosaky,  i sugest,  or i would like that  people with busines in the vfx industry could make a tutorial or interviews about making vfx business,  i mean the business-side of the vfx 

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Guest tar

haha - if you are reading Kiyosaky you are only at the very start of even thinking of running a business - he is great for improving your bullshit detector, because you need a highly tuned BS detector to do business ;) 

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