Podcasts about motion designers

Heute mal wieder ganz ohne Gast – nur wir zwei und ein paar Themen, die uns gerade beschäftigen. Wir sprechen über euer Feedback, Max' aktuelle Positionierung als Motion Designer, was wir aus den letzten Gästefolgen mitgenommen haben und wie sich unsere Sicht auf KI nach Tools wie Google Veo 3 verändert hat. Außerdem: Wir haben unser einjähriges Podcast-Jubiläum verpennt – feiern uns aber trotzdem ein bisschen. Und ja: Die neue Sony FX2 ist auch kurz Thema.

Want personalised coaching from me? Check out Balanced Business Bootcamp: https://motionhatch.com/workwithme

Meine erste Frage an David Luepschen war erstmal, warum seine Arbeiten so weird sind. Ich bin nicht sicher, ob er mir wirklich eine Antwort darauf gegeben hat, aber wir sprachen auf jeden Fall über eine Menge Sachen und mir wurde klar, dass er in vielerlei Hinsicht einfach einen sehr eigenen Weg geht. Es ging um die Trennung zwischen seiner Kunst und seiner kommerziellen Arbeit, die sich gerade vor allem im Motion-Design abspielt, und warum ihm seine Kunst zu schade dafür ist, sie nochmal in einem Werbekontext anzubieten.

In dieser Folge haben wir Manuel Steinhauser zu Gast, auch bekannt als "Manuel does Motion" auf YouTube. Wir sprechen über seine Arbeit im Motion Design, seine persönlichen Prozesse und was ihn in seiner Arbeit antreibt.Darüber hinaus werfen wir einen Blick auf das Freelancing Business im Bereich Motion Design und wie Manuel seinen Weg in die Welt der Tutorials gefunden hat. Eine super spannende Folge für alle, die sich für Motion Design interessieren, nach Inspiration suchen oder mehr über den Werdegang eines erfolgreichen Motion Designers erfahren möchten!

In dieser Folge haben wir Sven Doelle und Robert Hranitzky von Adobe zu Gast. Wir sprechen über die neuesten Entwicklungen in Premiere Pro, After Effects und Firefly, den Einfluss von künstlicher Intelligenz auf kreative Workflows und wie sich die Rolle von Kreativen in den nächsten Jahren verändern könnte. Sven gibt uns spannende Einblicke in die technologischen Innovationen bei Adobe, während Robert aus seiner langjährigen Erfahrung als Kreativer berichtet und uns erzählt, wie sich die Branche verändert.Außerdem haben wir eure Community-Fragen mitgenommen, die Sven und Robert direkt beantworten – von der Zukunft von 3D in After Effects über KI-gestützte Farbkorrekturen bis hin zu besseren Captions in Premiere. Und natürlich sprechen wir auch über ein Thema, das viele beschäftigt: Warum gibt es immer noch kein richtiges Speedramping mit dem Warp Stabilizer?Ein absolutes Muss für alle Videoproduzenten, Motion Designer und Adobe-User!

Interested in joining Balanced Business Bootcamp? Take our quick quiz here to see if it's the best next step for your career. As we draw 2024 to a close, I thought a Q&A episode would be a nice way to end the year on the podcast. I get questions all the time about specific problems that motion designers face when running their businesses. So, the chances are that you're facing these problems, too. In this episode, I share my thoughts on how you could run a successful subscription-based motion design business, my opinions on charging for your project files and how much time you should actually be spending on outreach. In this episode, I cover:- How to justify long timelines to clients- How to stand out amongst other motion designers- Should you charge for project files?- How to build a profitable subscription-based motion design business- How to find time and motivation for business tasks- How to write the best copy for LinkedIn- How much time you should be spending on outreach Links Mentioned:Sign up to our email list hereSubmit a question hereDownload our Vivid Vision ExerciseDownload our Social Media Guide 2.0

In this episode we chat with Motion Designer, David Urbinati, about his career and how he navigates his career by pursuing his interests in music and emerging tech. We talk about his experience with the challenging economy, and how he's positioning himself to be at the forefront of some new technologies.    LINKS https://www.davidurbinati.com/ https://rocketpoweredmilktruck.com/     *Want to share your story? Reach out at hello@christianprieto.com ----------------------------------------------------------------------- *music provided by Sono Sanctus

In this week's School of Motion podcast episode, Joey speaks with Chris Hardcastle and Ian Waters, the creators of Cavalry! They discuss Cavalry's unique features, including its powerful animation capabilities, and dive into how Cavalry differentiates itself from traditional animation software like After Effects. We also look into Cavalry ability to handle high-volume projects, its potential to revolutionize motion design workflows, and get a glimpse of their vision for Cavalry's future. Check out the podcast summary and corresponding blog post here: https://www.schoolofmotion.com/blog/cavalry-animation

In this episode of Jar of Genius, host Russ Perry is joined by Bryan Grant, Creative Director, Motion Designer, and Founder of Bryan Grant Studios. Together, they explore the evolution of creativity in motion graphics and design, how motion graphics artists can succeed beyond entertainment, and the role of AI in supercharging creativity and reviving the power of personal touch.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Motion graphics designers tend to enjoy the creative side of their jobs, but there can be aspects of their work, like editing and rendering slight variations of the same spot, that are best described as soul-sucking. Neb Savicic has lived that as a motion graphics designer, and with a couple of friends in Serbia, concluded there had to be a better way. So they put their heads together and, after testing interest, started Plainly - which automates video creation and produces finished spots at scale. Like 1,000s of videos in a matter of minutes. This is not a library of pre-made templates that end-users can then tweak. It's a SaaS tool used mainly by creatives in agencies and studios to take what's developed in a professional toolset - Adobe's AfterEffects - and plug it into Plainly's cloud platform. The net result is that a creative team that is charged with producing, let's say, 500 videos for a QSR chain can do that with one template and a spreadsheet file that has all the differences itemized per location. What might take weeks to accurately produce, instead takes one click and a few minutes to get rendered, ready-to-use videos. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Neb, thank you for joining me. It's nice to chat with you. We met in Munich a couple of months ago. I didn't know a lot about Plainly. I wrote a piece when you did some sort of a partnership with SignageLive, but for those who don't know who you are, can you tell me about the company, what it does, and how and why it was started? Neb Savicic: First of all, thank you so much for having me. So Plainly is a product that helps creative teams automate and scale up video output while keeping the quality of their videos high. What that means, in a nutshell, is we have a platform that allows users to automatically render variations of their After Effects videos just by providing data that's going to be in those variations. So the benefit of automation is you can produce videos at scale. You can produce a lot of videos quickly without all the monkey work to do each of them, right?  Neb Savicic: Yes, so the key benefit, and that's the problem we're solving, is that in many use cases, creatives have to spend their time changing text, changing images, and creating variations of the same templatized video they created a month ago for different markets, screens, and products. My background is actually in video. I was a motion designer before planning, and I always hated those kinds of projects, and that's where the inception story came from, and, I was like, there has to be some better way. So we created a platform where you can create one template, and one After Effects project, and then our platform will automatically create all of the different variations you need. At the same time, you can focus on different, more creative, and more important tasks. So I understand that for a lot of social media things, even for things like utility company bills, if they want to do a video summary, customer by customer, how would this be used in the context of digital signage or digital out of home?  Neb Savicic: When I first came into this industry, and I was looking at the content that the companies were putting out, and I said this on another podcast, the one thing that always bugged me is that these companies invest so much money into their systems into their digital signage systems and the content doesn't look that good. You invest so much money to have this great system running in the background, and the thing that's actually displayed and the thing that your customers see is the thing that's getting the least amount of effort.  So using a tool like ours, you can actually make sure that you have relevant content, personalized content, and updated content all the time on all of the screens. So you can imagine… This is the easiest example, but like a QSR where they have the same content on every screen in every restaurant across all the locations, and that's just because they have a limitation of human resources, they just don't have enough employees to create different content. So they're satisfied with the same stuff.  With a tool like Plainly and the power we give you, you can actually create individualized content for each screen. So, let's say it's raining in London. You can make different content when it's raining compared to Manchester, where it's sunny, and you're going to sell different stuff, it's that ability to automatically create different individualized relevant personalized content on a large scale that's what we give to the digital sign, to our users from the digital signage industry.  Do you have companies that are actively using this? I know I mentioned that a partnership was announced with SignageLive. SignageLive is always good about working with emerging companies doing interesting things, so it's not surprising they're one of the first to do that. But how are these company's customers using it?  Neb Savicic: We work with many agencies, some of the biggest agencies, especially in the advertising and creative industries. These agencies are using it for digital signage for their clients and the way they're using it is exactly how I described it.  They were spending so much time creating different variations of the same content and they realized they needed to offload this to machines and open up some of that time for our creative team to actually do something more, they paid these people a lot of money because they're great and spend time moving the pixels around, their users, agencies, and in-house creative teams all use Plainly in the same fashion, where you can just drop in a big CSV, a big Google sheet with all of the different video variations and in a click of a button you can get a hundred or a thousand different video variations.  To be clear, this is not a template system like a lot of digital signage CMS companies have. I think they are sometimes called composer systems where you just open it up and you use templates that exist there, and you can adjust what's on them.  This is developing templates within Adobe After Effects, usually, templates designed by motion graphics designers who know their way around AE. Then, that's where you plug in, right? Neb Savicic: Yes, exactly. One of our key selling points is that we are a native After Effects solution. So our users have to be After Effects users. That's why I'm saying they're in-house creative teams and agencies. So what this means is that we are not offering you boilerplate templates that are the same for everybody. You can actually create your own custom-branded bespoke templates that look awesome and then use our platform to increase the output of those templatized videos.  So, what would the workflow be for? Let's use that example you had about QSR chains and wanting to have different menus based on weather conditions, geography, and that sort of thing. How does that work in the real world?  Neb Savicic: Okay, so there are two ways you can achieve this. First of all, you can do what's called a batch renderer, which is very nicely demonstrated in a video we did for the SignageLive integration. Basically, what you do is upload your After Effects template into Plainly. You say, okay, we want to change the product's price, the product's name, and the product's image with every video. You create a big Google Sheet that's gonna have all of the different variations. You drop in that Google Sheet or a CSV into Plainly, click Render, and Plainly renders all of the different variations. That's the simple, no-code-needed way.  The second way, which is a bit more advanced, is using our API. With our API, you can actually create any kind of workflow, and this is where we can also talk about programmatic. You can programmatically create video variations on demand. So let's say you have a system that detects it's rainy in New York, let's create a new content piece, that just pings our API and says create a new video, and we send you back the video so there are a couple of ways you can achieve the workflow, depending on the technical abilities. What's the timing and everything of that? If you hit “Batch render” or whatever the button is, you click it, does that take 10 seconds, 10 hours, or 10 days?  Neb Savicic: You can see this on our YouTube channel. We actually made a video in which we rendered 1000 videos in 17 minutes so it's quite a fast system. Obviously, it depends on how complex the video template is, but it's quite fast, and it's quite capable of producing like we have customers doing tens of thousands of videos, like fifty thousand, a hundred thousand, so the core of our product is the scalable infrastructure that can output any number of videos. Are you using big, cloud-based compute systems, like AWS or whatever to do that, or is this your own iron?  Neb Savicic: No, of course, we use Google for the rendering.  So that gives you all the scalability you need.  Neb Savicic: Yeah, of course. It's scalable on demand, and we don't have to worry about them shutting down. No, they're not anytime soon, at least. So what is the output file?  Neb Savicic: It's a video, first of all, that's the big thing for digital signage.  It's not an HTML5, it's a video.  Neb Savicic: No. It's an actual video, MP4 or MOV. So that also has some benefits in terms of being able to play it on older screens and any kind of screen so that also has some benefits.  So any media player, unless it's a complete piece of junk, supports playing out the video, whereas it might not play out HTML5.  Neb Savicic: That's one of the benefits, yeah.  Are there settings? If I say, “I want 720p, 1080p, 4K,” and “Here's the format: it's portrait or it's landscape,” can you munch on those things?  Neb Savicic: Of course. So all of those things are actually handled in After Effects. So the customer decides what's the duration going to be, what's the dimension of the video going to be, what's the design, but then also some of the agencies we work with, they actually do stuff for broadcast. In those cases, they require very specific output parameters. Because of that, we have a feature where you can define these specific outputs, such as, if you want to change the bitrate, the FPS, or any of those more technical parameters. That's also possible after the video is rendered. If you do, use your example, a thousand videos in 17 minutes. For each of those videos, where do they go, and how do you distinguish which one is which? Can you give them names based on metadata so know this is Spanish, Escondido in California, postal code, and that sort of stuff? Neb Savicic: Yeah, of course. There are a couple of ways you can achieve this. One is naming the files. You can use the data parameters from the video. If you have a product name, and then you want also to add Spanish, you can name them. But in the case of the API usage, you can include the metadata in that API call, which will be how you distinguish those videos. But specifically for digital signage, and this is one of the things we did with SignageLive, so let's say in the spreadsheet you also have a column that says, where is this piece of content going to go? In SignageLive, it's called tags. You can actually use those tags and automatically distribute the videos to the screens with SignageLive because of their integration and the way we did it. But generally speaking, you can achieve that level of automation where you're dropping a CSV or filling out a Google sheet, the videos are read automatically, and they are distributed automatically to all of the screens where they need to be. I assume there are guardrails and checks and balances on this stuff. Automation is awesome, but it can work both ways. If somebody makes a mistake or something goes hairy and the rendered videos are incorrect in some way. How do you make sure that doesn't happen? Neb Savicic: So that's up to the user. We don't alter the data in any way. So what we get is what we put into the video, and then it's up to the user to introduce some checks and balances and security measures to make sure that the content looks right.  So if there's an approval gateway of some kind that you want to look at each piece of video and go, okay, yeah, that looks right. That's up to the customer. That's not something inherent in your system?  Neb Savicic: Yeah, of course, and we do it also for security reasons. Of course, we don't want to be liable for approving something and then making a mistake. So we leave that up to the user and ensure they have the flexibility to do it in the way they want.  I think I saw in one of the demo videos that you do have or offer users the ability, at least at the creative stage, to do a draft render, look at it, and then go in and change some of the things, right? Neb Savicic: Yeah, of course. If you see a video that may be in, the data was incorrect. You can easily re-render that video, or, as you mentioned, use a draft version to make sure that it actually looks good before it's published.  You're starting to work with AI, as everybody says they're working with AI, but how are you using it? Neb Savicic: So we are introducing AI into our tool to help our users do the tasks they always do with the assets outside of Plainly. So I'll give you an example. Let's say you have a product image. Those product images, in a lot of cases, have backgrounds, and in the video, you want to have an image without a background. So we are introducing features that will help you - we call it pre-processing - remove the background or denoise your audio, and do those things that really help make the lives of our users a bit easier. So they don't have to do things outside of Plainly. They can do everything in one place.  It's very much what I hear from people talking about the coding side and using AI to remove or take away a lot of the grunt work.  Neb Savicic: Exactly, and I think that's the right use case for AI. It's just that there are tons of tasks that people just don't want to do, and it's the same as with Plainly like nobody wants to change the text layer or the product name 10 times like you should use machines for that, and I think you should also use AI for those kinds of tasks where. It's so obvious that it's useful in that regard.  So what about the idea of putting in a chat GPT prompt that says, “Make me a video for hamburgers that are $2.99. Sundays only”?  Neb Savicic: That's a good idea, but it's not what we're trying to build, unfortunately. What's really interesting about Plainly, is that given that we are an API-first solution, we are very modular. We have clients that are actually doing a bunch of AI stuff before the assets go into Plainly. For example, we have one customer, at this point, multiple customers who are using AI avatars. So Plainly doesn't really add AI avatars. Still, since we have an API, they can quite easily bring our solutions together and have a solution that's creating an AI avatar. Then that video goes into plain to be included in the final video. If you want a ChatGPT prompt, you can just introduce ChatGPT before Plainly stringing them in a workflow and making any kind of workflow you want.  I have some history with content automation and using After Effects templates, going back 10 years. The struggle I had was where it was a partnership. The big challenge I had was people didn't get it. They didn't understand the idea of templates and automation and making their lives easier.  I'm guessing that it's much easier with this because you're not going to end users. You're not going to resellers or solutions providers. You're talking directly to the agencies by and large.  Neb Savicic: Yeah, it's quite an obvious thing for them because it might seem tricky from the outside because, you could say oh, you are making Motion Designers obsolete. You're taking somebody's job that somebody changed names of the product there all day. But being a motion designer before Plainly, I don't look at it from that angle, I look from the angle of, you can have that Motion Designer to do a lot more work, different work, different creative work and use his or her time a lot more efficiently.  Why do that menial work in that manner that's soul-sucking, when you can create different templates and different projects and that's what the agencies see. They see an opportunity for new revenue. Basically, they can take in more clients because they now have this tool that's going to help them output ten times more content than with the same amount of staff.  Yeah. I was curious about that. I suspect there's a huge problem, it depends on its qualifier, but I'm curious how much time and money this can save. Neb Savicic: Depends... I'm kidding.  I did some calculations, I was looking at some templates that are with our customers, and I was like, realistically, how much does it take to create ten videos from this template? And even if you have a fully templated project, you have all of the data ready to go, it can take anywhere between 10 and 30 minutes per video, depending on how complex it is. If you need to create ten videos, a hundred videos, thousand videos, you can see how that easily adds up where we clean with just literally one click. You add the CSV and can do thousands of these in 17 minutes. So the time savings are massive, but not easily counted. You cannot easily calculate it. At least some of it is owed to, it's the old phrase around garbage in, garbage out. If you don't tag everything properly in the After Effects file, automation is not as easy, right? Neb Savicic: Yes, of course. But it's not like you have to do some special work to prepare a template for Plainly.  You just have to name your layers and things.  Neb Savicic: Of course, every good Motion Designer or Video Editor will name their layers properly because otherwise, they won't find a way around their project if they return to it a month or six months later.  Believe me, I've fallen into that trap. It's very hard. So you just have to be organized. You have to name this name stuff properly, and everything is going to work like with some other solutions on the markets they all say they're After Effects supported, but the reality is that yes, they support After Effects, but it's not natively. First of all, you must alter your creative process a lot, meaning you have to work with a plugin or some special effect to import After Effects into their platform. With Plainly, you're just working with After Effects. You put After Effects into Plainly, and it's going to work. So we don't alter your creative process in any way. We just empower you to create more videos. The other thing is that if you're not an After Effects native, that means that with a lot of solutions, you're actually turning After Effects into some intermediary format, which means that you cannot use all the effects or there is some quality loss that happens in that transition. So that's what our users love about Plainly.  I would imagine this opens up the opportunity for a “boutique level” agency or creative shop to take on very large jobs at a scale that, in the past, they would go, “We would love to have this work, but it would kill us.” If they have this tool now, they can compete with the larger agencies, right?  Neb Savicic: Exactly. Yes, and that's what I meant when I said it opens up new revenue opportunities because you can now take on more work, be a huge company, you can be outputting hundreds and hundreds of videos, even though it's…  coming out of your spare bedroom. Neb Savicic: Yeah, out of the basement.  How does pricing work?  Neb Savicic: Oh, so it's a SaaS, which means you pay either monthly or annually for a subscription and that all depends on the number of minutes you export. It starts as low as $59 per month, but it can go higher if you need more minutes.  So classic pricing tiers are based on the amount of work you do and the amount of output.  Neb Savicic: Which makes sense.  You charge on finished rendered videos, not on the draft, in terms of time?  Neb Savicic: Yeah. We just look at the output, not what you're doing to plan on, just the output.  You started this a couple of years ago, or three, four years ago? Neb Savicic:  2019.  Okay. So five years ago, there were already some companies in the market doing maybe not the same work, but similar kinds of things. I did a podcast a few years back with Dataclay and I'm aware of SundaySky and some other ones out there.  How do you compare to them, and when people say, okay, why would I use you versus brand X, what do you tell them?  Neb Savicic: So there are a couple of things. First, if you compare Plainly to some other solutions, obviously being cloud-based, there is a difference to some of the other tools, like you don't have to worry about your rendering infrastructure because that's us. If something doesn't work, that's our fault. That's the core of our product. We ensure you can render as many videos as you want, as many videos as long as you have money. That's one thing, and then, of course, there are things like being After Effects native, where you can literally add any kind of template. We have had clients with amazing 3D-based templates that wouldn't be possible in other solutions, and then they were API-based. So a lot of our customers are actually building internal tools. They're actually integrating Plainly into their apps or internal tools for creative teams. So those three things are what separates us from the market.  So for the big agencies with internal software developers, who would use the API, this is great. But for the smaller agencies or the purely creative agencies, they can go at it using the no-code side of it and not have to worry about APIs and things. Neb Savicic: Exactly. Yeah, that's it.  Where are you guys at as a company? I saw that you got some seed funding from, what, the Serbian incubator fund or something?  Neb Savicic: That was the first thing. That was in 2020, and then we got accepted into a very prestigious US accelerator called Tiny Seed. We were the first company from the Balkans to get in there. So they obviously saw something in us, but we were growing as a team, growing the customer base. We are so lucky to be working with some of the largest agencies and names that you would recognize from both Europe and the US, and we're just trying to make them happy and create a product that makes their lives better.  I realized you're serving a whole bunch of different vertical markets and use cases, digital signage, just being one of them is, that a substantial noticeable or a friend of mine uses the term consequential part of your business or kind of an interesting sort of side aspect to what you do. Neb Savicic: I'm not sure how big digital signage is with our agency customers. I would imagine that a good portion of the content they do is for digital signage, but as for us working directly with digital signage companies, we're just getting into that industry. With the SignageLive integration, we might announce more integrations soon. That's a new industry for us. We see that there are a lot of benefits for the users in the digital signage industry we're just trying to get into.  We chatted at the digital signage summit in Munich. So, obviously, you were there to network and meet some people, and I had some beers. Would you also be at ISE?  Neb Savicic: Yes, of course, and then Munich next year and possibly Intelcom.  I assume this product will always evolve. Over the next year, are there new wrinkles you'll be rolling out that you can tell me about without alerting your competitors?  Neb Savicic: Honestly, the good thing is that I'm so happy to have a technical team that's really fast, and the product improvement cycle is insane. We are putting out new features on a bi-monthly basis. So I don't know. One year from here, who knows what will be added? Definitely, the AI features are greater than everybody. So all the normal stuff: faster, better, easier.  Neb Savicic: Exactly. The stuff that doesn't change.  Yes. All right, Neb. That was great. Very interesting. Thank you.  Neb Savicic: Yeah. Thank you too, Dave.

Wenn wir mal vorne anfangen wollen, ist er eigentlich 3D- und Motion-Designer, aber mit den Jahren hat sich seine Arbeit von Aufträgen für Kunden zu eigenen NFT-Drops geändert und in dem Bereich ist er echt kreativ geworden. Das hat dann auch dazu geführt, dass er damit mehrere hunderttausend Euro im Jahr verdient hat, teilweise mit einem Artwork soviel, wie andere als sehr anständiges Jahresgehalt bekommen, aber im selben Zuge hat er erfahren, wie volatil dieser Markt sein kann. Und momentan interessiert er sich nicht nur für den NFT-Markt, sondern auch für Crypto-Currency. 

Discover how visual effects are made in the first of our 2-part special with Territory Studio.If you've seen any major movies in recent years then you would've definitely seen their work; 'Guardians of the Galaxy', 'Blade Runner 2049', 'Ready Player One'; anything you saw on a screen was made by the magicians at Territory Studio.In this episode, join Stephen as he goes on a behind-the-scenes tour of their London studio and meets some of the team, including the Graphic Designer who made the key art for the new 'Federer: Twelve Final Days' documentary, and a Motion Designer who worked on 'Dune: Part Two.'Make sure you follow our socials to see some of their work, as well as a video tour of the studio!LINKS:Territory Studio websitewww.territorystudio.comFollow us!INSTAGRAMTIKTOK Hosted on Acast. See acast.com/privacy for more information.

Follow us on social @doseofblkjoy and learn more about “A Dose of Support” from the 4A's (American Association of Advertising Agencies): ⁠https://docs.google.com/forms/d/e/1FAIpQLSdEW1U3sVdZRCQHPVtmwxAITUEA5I4ojWGAgKJMMp3Tc63l-A/viewform?usp=sf_link⁠ Darryl Sharp Jr. is a well versed senior motion designer, currently lending his creative prowess to RCA Records. With a fervent passion for design, music, and culture, Darryl has cultivated a diverse background in the industry. His journey includes notable stints at advertising agencies such as 72andSunny and Laundry Service, where he honed his skills and contributed to cutting-edge campaigns with Beats by Dre, ESPN, and Activision. Venturing into the entertainment realm, Darryl made impactful contributions at renowned production companies like Funny Or Die, leaving his mark on comedic brilliance, and collaborating with industry giants Netflix and Warner Records. His unique blend of artistic flair and a keen understanding of the intersection between creative and culture trends has established him as a dynamic force in the motion design landscape.

Sign up for our free training, Balanced Business Masterclass here! https://motionhatch.com/podMothers of Mograph are trying to combat feeling alone as moms in the creative industry. Parenthood is often considered a taboo topic in the creative industry, something Jennie Davis and Kaci Smith are on a mission to change with Mothers of Mograph. In this episode, Jennie and Kaci share challenges and solutions to being a creative while being a parent, how they manage their schedules and how they've both benefitted in their careers since having children.Jennie and Kaci discuss:What is Mothers of Mograph?The impact that becoming a parent can have on your careerHow to better manage your time with kidsThe positive outcomes of being a parent and a motion designerHow the creative industry can better support parentsFollow Mothers of Mograph: Website | Instagram Free resources to grow your career:

Joey Korenman is the founder and head instructor for School of Motion, an online school for Motion Designers all over the world. Before finding his true calling as an educator, he was a working Motion Designer for over a decade, climbing the ranks from junior artist to freelancer to studio head and back to freelancer. Since founding School of Motion, he has dedicated his time to teaching aspiring and working Motion Designers how to be effective, high level, and in demand in their professional careers. He is also the author of "The Freelance Manifesto: A Field Guide for the Modern Motion Designer." In this book, he shares insights, strategies, and advice for motion designers navigating the freelance world. Thanks to Polycam for sponsoring this episode! Here is that sweet promo code we promised you guys: Type the code "BADDECISIONS" at https://poly.cam/ to save 30% on their Pro Plan. If this podcast is helping you, please take 2 minutes to rate our podcast on Spotify or Apple Podcasts, It will help us SO MUCH, you have no idea lol

Sponsor: OpenCageUse OpenCage for your geocoding needs with their APIGeomobShownotesNote: Links to books are Amazon Affiliate links. I earn a small commission if you buy any of these books.GeoLayersgeolayers.appJohnny HarrisMarkus's cameo in a recent videoSearch PartyFeltProcreate dreamsJason Boone's episodePodcast recommendation: Syntax.fmTimestamps(00:00) - Intro(02:26) - Sponsor: OpenCage(03:52) - Markus Describes himself(04:29) - GEOlayers in simple terms(05:50) - From Motion Designer, to Map Animation Developer(07:51) - The team behind GEOlayers(08:20) - How does a Motion Designer turn into software engineer?(10:45) - Tricky nature of Map Animation(13:10) - OpenStreetMap(14:57) - Markus before and after diving into GIS(17:01) - Map projections(20:01) - Business Model & Funding(24:08) - Self Funding(26:38) - Being your own user(27:37) - GEOLayers used on Youtube(30:23) - Working with creator, example of Johnny Harris(32:20) - Paid Support(33:33) - Focusing ones time on what you enjoy doing(35:11) - Making a web app(42:35) - Subscription models(46:34) - Expectations in modern software business models(49:22) - High tech barrier to entry(55:01) - Inspiration from 2 other projects(01:05:32) - The future of GEOLayers(01:07:21) - Local vs Web based software(01:16:13) - Marketing & Social Media(01:20:50) - Book/podcast recommendation(01:23:18) - Support the podcast on PatreonSupport the podcast on PatreonMy video on an introduction to satellite imagesWebsiteMy TwitterPodcast TwitterRead Previous Issues of the NewsletterEdited by Peter XiongFind more of his work

Kevin Rapp made $500,000 in his first year freelancing after discovering the value of content systems and passing this on to high-profile tech companies.Kevin is an award-winning, multi-disciplinary creative director with vast experience ranging from start-up disruptors to Fortune 500 companies.In this episode, Kevin shares his unique approach to building video content systems. We also discuss strategies for attracting clients on LinkedIn and practical tips for motion designers to transition to a more business-oriented mindset.Since recording this episode, Kevin reached an astonishing $1 million in sales!In this episode, you'll learn:How Kevin made $500,000 in his first year as a freelancerWhat are scalable content systems?How to shift your mindset into the business side of motion designHow to get clients using social mediaHow to efficiently get clients from LinkedInHow to negotiate with clientsFollow Kevin: Website | LinkedInFree resources to grow your career:

I had such a fantastic time speaking with artist, animator, and illustrator Monique Wray. Her bold, colorful, and lively art has been used by Google, Disney, Nickelodeon, Apple, and Microsoft (just to name a few places). We caught up recently to talk about her career and the evolution of her craft over the years.Throughout our conversation, Monique offered insights into her creative process. She talked about the impact of a pivotal year of self-discovery, the importance of emphasizing humanity in digital art, and she shared her experiences with freelancing and maintaining a balance between professional work and personal projects.Monique's journey is such an inspiration for anyone interested in the confluence of art and tech. Thanks to Sam Bass for the introduction!LinksMonique Wray's WebsiteMonique Wray on InstagramSkillshare: “Creating Hand-Drawn Animated Stickers for GIPHY”For a video of this interview, including a full transcript, visit revisionpath.com.==========Donate to Revision PathFor 10 years, Revision Path has been dedicated to showcasing Black designers and creatives from all over the world. In order to keep bringing you the content that you love, we need your support now more than ever.Click or tap here to make either a one-time or monthly donation to help keep Revision Path running strong.Thank you for your support!==========Follow and SubscribeLike this episode? Then subscribe to us on Apple Podcasts, Spotify, or wherever you find your favorite shows. Follow us, and leave us a 5-star rating and a review!==========CreditsRevision Path is brought to you by Lunch, a multidisciplinary creative studio in Atlanta, GA.Executive Producer and Host: Maurice CherryEditor and Audio Engineer: RJ BasilioIntro Voiceover: Music Man DreIntro and Outro Music: Yellow SpeakerThank you for listening!==========Sponsored by Brevity & WitBrevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world. They are always looking to expand their roster of freelance design consultants in the U.S., particularly brand strategists, copywriters, graphic designers and Web developers.If you know how to deliver excellent creative work reliably, and enjoy the autonomy of a virtual-based, freelance life (with no non-competes), check them out at brevityandwit.com.Brevity & Wit — creative excellence without the grind.==========Sponsored by the School of Visual Arts - BFA Design & BFA AdvertisingThe BFA Design program at the School of Visual Arts consistently produces innovative and acclaimed work that is rooted in a strong foundational understanding of visual communication. It encourages creativity through cutting-edge tools, visionary design techniques, and offers burgeoning creatives a space to find their voice.Students in BFA Advertising are prepared for success in the dynamic advertising industry in a program led by faculty from New York's top ad agencies. Situated at the center of the advertising capital of the world, the program inspires the next generation of creative thinkers and elite professionals to design the future.School of Visual Arts has been a leader in the education of artists, designers and creative professionals for over seven decades. Comprising 7,000 students at its Manhattan campus and more than 41,000 alumni from 128 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College's 30 undergraduate and graduate degree programs, visit sva.edu.

Aujourd'hui nous accueillons le motion designer et youtuber lyonnais Justin Buisson. Il nous parle de plein de sujets passionnants sur son métier en tant que freelance, sur son évolution, sa vision, ses médias sociaux et bien d'autres encore ! Un épisode à ne surtout pas rater ! Bonne écoute

We slice through the noise and focus on the real factors that will drive motion design success this year. And heads-up: It's more than just the latest tools and trends. :) Check out the corresponding blog post: https://www.schoolofmotion.com/blog/a...   SCHOOL OF MOTION COURSES All Courses - https://som.bz/3SUg5Yb After Effects Kickstart - https://som.bz/3ZNQnH9   Show Notes motionmondays.com How Freelancers Find BIG Clients on LinkedIn People Justin Harder Peter Tarka Mulan Fu Zack Lovatt Rosie Phillpot Ryan Plummer Omar Vicke Chris Zachary Brian Clark Mark Mograph Jen Van Horn Austin Bauwens Julie Craft DogeDesigner Nickolai Boulton Noah Aust Brett Stuart DesignResources.ai Seb Lhomme Alex (Sash) Callsen Beach Chickens April McMillan Pieces Google CEO says more job cuts are needed, CNBC Duolingo cuts 10% of its contractor workforce, TechCrunch Sister of Battle Big Boots Critterz Resources Rive Spline Frame.io Camera to Cloud Adobe Stock Motion Array Iconoir LottieFiles Crumplepop Cavalry Plainly Zapier Duolingo The Freelance Manifesto The Client Code Motion Hatch

Tu peux soutenir sur le podcast sur KissKissBankBank ou en mettant 5⭐️ sur Apple Podcasts ou Spotify !Zalihata est Design Ops Manager chez Glovo.Zalihata n'était pas du tout destinée à faire du design… Elle arrête les études très jeune et rejoint Orange, où elle vend des accès ADSL. Elle se spécialise dans les parcours de vente et apprend a écouter et répondre aux besoins et attentes de ses clients, à trouver des solutions à des problèmes et faire dialoguer les personnes entre elles.Par la suite, elle s'occupe de faire des achats. Mais ce n'est pas ce qui la passionne le plus.Ce qui la passionne, c'est les outils qu'elle utilise au quotidien : les comprendre, les faire fonctionner et en tirer profit au maximum. Grâce à ça, elle évolue en interne et donne des formations. Que ça soit sur les outils internes, les process ou encore d'autres sujets comme la comptabilité, Zalihata aime former les gens et partager ses connaissances. En parallèle d'Orange, Zalihata passe une licence d'anglais. Puis, elle s'inscrit et obtient le CAPES. Elle décide alors de mettre en parenthèse sa vie professionnelle chez l'opérateur téléphonique, pendant 4 années, et devient professeur d'anglais.Après cette expérience, Zalihata revient chez Orange et devient coach en expérience utilisateur. Zalihata revient sur la manière dont elle a appris cette nouvelle compétence avant de la mettre en application pour les clients d'Orange Business Services.Au bout de 2 ans, Zalihata souhaite avoir une reconnaissance de son expertise. Elle suit alors la formation d'un an en UX Design à l'école des Gobelins, toujours en parallèle de sa mission chez Orange.Après 11 années chez Orange, Zalihata sent qu'il y a un plafond de verre qu'elle ne peut pas dépasser. Au même moment, Payfit publie une offre pour un poste de Design Ops. Zalihata s'identifie totalement au rôle, y postule et obtient le poste. L'occasion d'expliquer ce qu'est une Design Ops, en quoi ce rôle se distingue de celui d'une personne en charge de l'équipe design et ce qu'il apporte au quotidien. Etant la première Design Ops de l'entreprise, Zalihata a tout mis en place à son arrivée. Elle détaille ce qu'elle a fait, ce qu'elle a mise en place et comment elle s'y est prise.Au bout d'un an, Zalihata qui Payfit et rejoint la start-up espagnole Glovo, en tant que Design Ops Manager. Elle nous explique son arrivée dans l'entreprise en plein plan social ou le fait me manager une Motion Designer et une Illustratrice alors qu'elle n'a jamais fait ce métier.On aborde dans cet épisode la création du Design System de l'entreprise espagnole, qui doit servir pour 3 produits différents, être utilisé par plus de 60 designers et pour lequel les développeurs ne veulent pas investir de temps.Aussi, parle-t-on de la création d'une typographie dédiée à l'entreprise, crée en interne avec des besoins très spécifiques : garder les proportions de la typographie actuelle pour ne pas casser le produit ou encore s'adapter à aux alphabets latin, cyrillique, arabe, géorgien et arménien.Enfin, on parle de la mise en place d'un process pour les designers afin d'être plus efficace dans leur communication avec les designers et les développeurs.Les ressources de l'épisodeGlovoTime to Listen, Indi YoungLeading Content Design, Rachel McConnellThe Systems View of Life, Fritjof Capra & Pier Luigi LuisiLes autres épisodes de Design Journeys#24 Mathilde Gauthier, User Researcher @ Payfit#32 Léa Mendes Da Silva, VP Design @ Payfit#48 Marie-Aline Millot, Design Ops @ Agicap#60 Gladys Diandokie, Freelance Content DesignerPour contacter ZalihataLinkedIn 

3D Artist and Motion Designer currently based out of Portland, Oregon. He often takes a playful approach to his animations that feel organic in nature, through the use of experimental modeling techniques, character design, and fun shading styles. Recently he has utilized VR (More specifically Adobe Substance 3D Modeler and Quill) to enhance his work even further, and has given talks about his VR-augmented creative process at Adobe MAX and NAB.  --- Support this podcast: https://podcasters.spotify.com/pod/show/xrmotinon/support

For our final episode of Revision Path for 2023, I talked with the amazingly brilliant Salih Abdul-Karim. If you're a motion designer, then there's a good chance you've used Lottie, which Salih co-created during his time at Airbnb and is the new industry standard when it comes to animation on mobile apps and the Web.Salih talked about his current work at Cōlab, exploring their non-traditional approach which eschews agency hierarchies to maintain a hands-on, skill-diverse team that seamlessly fills in the gaps for startups and other companies. Salih also shared his personal journey of how he found his passion for combining tech and creativity, and we even gave our thoughts on Andre 3000's debut solo album, New Black Sun.Even with such a seasoned career, Salih's humility and mindset of constant learning is truly inspiring. From all of us here at Revision Path, consider this episode our holiday gift to you! Merry Christmas!LinksCōlabSalih Abdul-Karim on LinkedInFor a full transcript of this interview, visit revisionpath.com.==========Donate to Revision PathFor 10 years, Revision Path has been dedicated to showcasing Black designers and creatives from all over the world. In order to keep bringing you the content that you love, we need your support now more than ever.Click or tap here to make either a one-time or monthly donation to help keep Revision Path running strong.Thank you for your support!==========Follow and SubscribeLike this episode? Then subscribe to us on Apple Podcasts, Spotify, or wherever you find your favorite shows. Follow us, and leave us a 5-star rating and a review!==========CreditsRevision Path is brought to you by Lunch, a multidisciplinary creative studio in Atlanta, GA.Executive Producer and Host: Maurice CherryEditor and Audio Engineer: RJ BasilioIntro Voiceover: Music Man DreIntro and Outro Music: Yellow SpeakerThank you for listening!==========Sponsored by Brevity & WitBrevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world. They are always looking to expand their roster of freelance design consultants in the U.S., particularly brand strategists, copywriters, graphic designers and Web developers.If you know how to deliver excellent creative work reliably, and enjoy the autonomy of a virtual-based, freelance life (with no non-competes), check them out at brevityandwit.com.Brevity & Wit — creative excellence without the grind.==========Sponsored by the School of Visual Arts - BFA Design & BFA AdvertisingThe BFA Design program at the School of Visual Arts consistently produces innovative and acclaimed work that is rooted in a strong foundational understanding of visual communication. It encourages creativity through cutting-edge tools, visionary design techniques, and offers burgeoning creatives a space to find their voice.Students in BFA Advertising are prepared for success in the dynamic advertising industry in a program led by faculty from New York's top ad agencies. Situated at the center of the advertising capital of the world, the program inspires the next generation of creative thinkers and elite professionals to design the future.School of Visual Arts has been a leader in the education of artists, designers and creative professionals for over seven decades. Comprising 7,000 students at its Manhattan campus and more than 41,000 alumni from 128 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College's 30 undergraduate and graduate degree programs, visit sva.edu.

Welcome to another inspiring episode of the 100k Freelancer Club Podcast! In this episode, we dive into the remarkable journey of a freelance motion designer who not only faced the freelancing world but conquered it, achieving an astounding annual income of over $200,000. Join us as we unravel the secrets behind this extraordinary feat. You'll hear firsthand how our guest set and smashed their ambitious goal, the challenges they overcame, and the strategies that made all the difference. From mastering the art of client relations to navigating the ups and downs of the freelance market, this episode is packed with actionable insights and valuable lessons.   For more info on how to become a full-time freelancer visit www.100kfreelancerclub.com  100k Freelance Club Instagram @100kfreelancerclub https://twitter.com/100kfreelancer    Austin Saylor Links Instagram: @fullharbor Newsletter: https://fullharbor.ck.page/200knewsletter  Website: https://www.fullharbor.com/links   

Rodney Johnson jumped into the deep end on production with his start at Tube Creative, an independent production studio in Atlanta, which gave him his 10,000 of hours of experience and then some. Since then he's only added to his resumé, working on productions in the ad world, for music videos, and beyond. He and Brian met when Rodney was moonlighting as the Creative Circus' video editing instructor and campus guru. Now, he's bottling his extensive knowledge into an easily accessible video editing course for budding video pros and seasoned veterans alike.  We talk about his journey, editing on the 1's and 2's, Adobe Premiere vs DaVinci Resolve, and what makes him want to share his knowledge and chops with the world. Episode Links: Follow Rodney on IGDaVinci Resolve (FREE Video Editing software)Tube Creative Design/Video AgencyThanks for ad'ing a little Bad to your day ;) now follow us on Twitter dammit More Links: Pod SiteBrian's BookEric's InstagramAmelia's Book

Tu peux soutenir sur le podcast sur KissKissBankBank ou en mettant 5⭐️ sur Apple Podcasts ou Spotify ! Jean-Baptiste est Head of Product Design à Bpifrance. Jean-Baptiste n'était pas destiné à faire du design, car il est ingénieur de formation avec une spécialisation dans les objets connectés. Mais, rapidement, il se questionne sur comment fonctionne une interface. Il se renseigne sur des forums, y découvre les notions d'UX et de design et apprend ces connaissances de manière empirique en autodidacte. Au cours de ses études, Jean-Baptiste comment à faire du freelancing. Il développe principalement des sites vitrines pour des artistes et se pose une réflexion autour de la UI et des micro-interactions. En parallèle, il lance également l'application Hype. L'application sert à trouver les lieux populaires dans toutes les villes du monde. Jean-Baptiste se lance dans ce projet pour 2 raisons : apprendre à concevoir une app sur mobile et trouver facilement des lieux intéressants dans une ville. Grâce à ce projet, il apprend à faire de la recherche utilisateur afin de valider ses hypothèses. Dans cet épisode, Jean-Baptiste revient sur les 4 années de conception de l'app : sa création, sa conception, son évolution et la fin du projet. En plus de tout cela, Jean-Baptiste s'envole vers San Francisco pour faire une double cursus entrepreneuriat, ouvrir un nouveau marché pour son application et travailler dans une agence de design. Après ses études et la crise du covid, Jean-Baptiste rejoint la BNP, en tant que freelance, dans une entité du groupe dédiée à l'évolution de l'expérience utilisateur. Il travaille sur la manière dont la banque interagira dans 50 ans avec ses clients, que cela soit en agence ou via d'autres canaux. Ce travail, bien qu'intellectuellement stimulant, ne sert à rien : les réflexions menées n'aboutissent à rien et ne peuvent pas être testées. Jean-Baptiste met rapidement à sa mission pour cette raison. Ensuite, Jean-Baptiste rejoint l'agence ability et travaille sur la refonte du parcours d'achat de la Cité des Sciences de Paris. En plus de travailler sur le site internet du musée, Jean-Baptiste sera amené à travailler sur les bornes d'achat présentes sur place. Après 7 mois, la mission se termine, Jean-Baptiste quitte l'agence et se donne le temps de la réflexion. Lorsqu'il voit que Bpifrance a des besoins en design. Il contacte la banque et la rejoint pour s'occuper de l'équipe Product Design. Il doit structurer le design, mais surtout l'intégrer dans la transformation de Bpifrance vers le numérique. Dans cet épisode Jean-Baptiste revient sur ce qu'est Bpifrance, comment le numérique aide les banquiers et les entrepreneurs au quotidien et surtout comment il a mis en place une culture design au sein d'un groupe qui n'en avait jamais eu le besoin. On évoque l'évolution de l'équipe de 5 à 35 designers en un an, sa composition (entre Product Designers, Users Researchers, Content Designers, Motion Designers et Illustrateurs), la façon dont l'équipe est organisée ou encore la manière dont les designers travaillent. On aborde aussi l'étroite collaboration entre le Product Design et le Brand Design afin de mettre en avant la marque dans le produit et le produit dans la marque. On parle aussi de l'importance de l'UX Writing pour simplifier le vocabulaire bancaire et le rendre compréhensible de tous. Enfin, on évoque l'importance de la User Research, surtout lorsque l'on travaille pour 3 typologies de personnes : les entrepreneurs, les banquiers et les partenaires de Bpifrance. Enfin, Jean-Baptiste nous explique comment il fait pour démocratiser le design dans une entreprise qui n'y est pas habituée et comment les projets y sont gérés en conséquence. Les ressources de l'épisode Bpifrance Magoz The Room Podcast Snowball Future of Banking Les autres épisodes de Design Journeys #47 Stéphanie Walter, UX Researcher & Designer @ Banque Européenne d'Investissement Pour contacter Jean-Baptiste LinkedIn 

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[SEASON 3 FINALE]  In this mini episode, I'm excited to share with you the concept of "niche-ing down" as an artist. Have you ever struggled to find your focus as a creative? Do you feel like you're trying to appeal to everyone and ending up pleasing no one? Then this episode is for you! I'll be exploring the benefits and drawbacks of niche-ing down, and sharing tips on how to find your own niche as an artist. Plus, I'll introduce an alternative concept that will inspire you to "be your own niche". So grab a notebook, hit play, and let's find you a niche — or three!Don't forget to subscribe to the show on YouTube and follow me on Instagram and TikTok. And if you want to connect with other Latinx artists and join our co-working sessions, head to drawsinspanish.com/chat. Thanks for listening!EPISODE LINKS- Watch this Episode on YouTube- Join the FREE Discord- Join the Patreon- Follow Fabiola on Instagram, YouTube, TikTok  

On today's Minisode, I'm talking about collaboration — something that's super important but overlooked by artists! I've collaborated with a lot of artists through the podcast, and I wanted to share my four stages of collaboration with you all. First up, we have outreach — make sure you're genuine friends with the person you want to work with, or at least interact with them like a real friend would. Next, ideation — come up with an idea that's fun and fair for both sides, and make sure it aligns with both of your values. Then, collaborating — make sure the workload is equal and set a timeline that works for both of you. Finally, publishing and promoting - promote the project together and always give credit where it's due. I hope this episode inspires you to collaborate with your art pals, and if you have any questions about collaborations then please call or text me at 305-985-3729 with your follow-up questions and I'll answer them in the next episode.Don't forget to subscribe to the show on YouTube and follow me on Instagram and TikTok. And if you want to connect with other Latinx artists and join our co-working sessions, head to drawsinspanish.com/chat. Thanks for listening!EPISODE LINKS- Watch this Episode on YouTube- Join the FREE Discord- Join the Patreon- Follow Fabiola on Instagram, YouTube, TikTok  

In this episode, I answer your calls about why I make the show, what i've learned about myself, and a few tips for diversifying your revenue streams as an artist! If you want to have your questions answered next — call or text (305) 985-3729.EPISODE LINKS- Watch this Episode on YouTube- Join the FREE Discord- Join the Patreon- Follow Fabiola on Instagram, YouTube, TikTokCALLER INFOCaller 01: Lauren RonquilloCaller 02: Natalia Cardona Puerta & Her [DiS] Episode 

Simreet Kaur is a Graphic Designer from Brampton, Ontario. She pursued her Bachelor of Design (BDes), specializing in Graphic Design at OCAD University. Simreet Kaur now works as an in-house Graphic & Motion Designer and is also freelancer under the name “esskaurdesign.” Realizing the power of design and branding in today's day and age, she began exploring ways to create a positive impact in the world through her design projects - whether they be professional projects, passion projects or seva projects. Outside of work, Simreet Kaur is a foodie, enjoys hiking, and listening to keertan. In this episode we discuss the intricacies of design, her undergraduate thesis project, and how she uses her career to also give back to the Panth. 

Simreet Kaur is a Graphic Designer from Brampton, Ontario. She pursued her Bachelor of Design (BDes), specializing in Graphic Design at OCAD University. Simreet Kaur now works as an in-house Graphic & Motion Designer and is also freelancer under the name “esskaurdesign.” Realizing the power of design and branding in today's day and age, she began exploring ways to create a positive impact in the world through her design projects - whether they be professional projects, passion projects or seva projects. Outside of work, Simreet Kaur is a foodie, enjoys hiking, and listening to keertan. In this episode we discuss the intricacies of design, her undergraduate thesis project, and how she uses her career to also give back to the Panth. 

Alex trained as a musician. He followed a drumming dream to Nashville along with an internship at a 'mom & pop' business.There, they had him creating graphics and videos - those two things came together when Alex discovered motion graphics. He took to studying and developing as a motion designer. Self taught, he's always been constantly trying to learn and improve.He didn't want to be the best in his company. He wanted to learn from the best...Finding an internship in LA working on big Hollywood movies, he kept at it. Swapping socialising for learning, upskilling and sharing his self initiated projects on Instagram - he made a name for himself and studios started coming to him.Now, post-pandemic, he's trying to rebalance work-life. 4 day weeks are in. Snowboarding weekends are the norm. But it's a slippery slope when you stop learning - the instability of freelancing is still keeping him on his toes. You'll find full show notes and transcript for this episode at beingfreelance.com JOIN THE COMMUNITYYou're not alone being freelance. Come and hang out with your BFFs (Being Freelance Friends).A place to ask questions, sense-check, laugh and support.With LIVE Q&As, Coworking, Meet-ups, Socials and more.JOIN YOUR BFFS AT  beingfreelance.com/community NEW TO FREELANCING? THERE'S A COURSE FOR YOU!The Being Freelance course is made for you!There's no ‘one way' to be a successful freelancer, but this course will help you avoid the many mistakes that most of us make. Learn from the experience of Steve and hundreds of guests of the podcast.Take the course and you'll also get 6 months FREE community membership.Find out more about the course. FREELANCER MERCHGet Being Freelance merchandise at beingfreelance.com/shopLike VIDEO? - Check out the Being Freelance vlog - YouTube.com/SteveFolland

In this episode, I answer your calls! We've got such amazing questions for our first mini-episode, if you want to have your questions answered next — call (305) 985-3729.EPISODE LINKS- Watch this Episode on YouTube- Join the FREE Discord- Join the Patreon- Follow Fabiola on Instagram, YouTube, TikTok- Danny Brito Episode & Instagram- Hallye Webb Website

It all started with an old DV camera and CGI lightsabers. As a kid, Jake Bartlett's parents were excited about his interests and encouraged him in his desire to learn motion design and videography. Now, he teaches motion design to his 100,000+ YouTube subscribers! Join Daniel Heffington from Generation Joshua for a conversation with this homeschool grad—they'll talk about Jake's homeschool experience, how it gave space for creative expression and following his passion, and how he built a career in motion design.   “I feel like I at least was able to have a lot of freedom in exploring what I was interested in. Being [homeschooled and] the only student in the house, I could finish school and then spend whatever creative time I wanted, making videos, learning more about editing or you know, how to compose a shot on my little mini DV camcorder.”—Jake Bartlett

In this episode, I chat with Argentinian illustrator, painter, graphic designer Sebastian Curi. Sebastian works in a pop style using cartoonish figures, playful compositions and bright colors to depict every day. Since he recently collaborated on a clothing collection with Zara and has worked with clients like Apple, Spotify and many more. Keep on listening to hear him talk about growing up in a working class family in Buenos Aires, dropping out of college not once, but three times, and how he made a name for himself through his personal art practice. EPISODE LINKS- Watch this Episode on YouTube- Join the FREE Discord - Join the Patreon- Host: Follow Fabiola on Instagram, YouTube, TikTok- Guest: Follow Sebastian Curi on Instagram

Two major new show updates! Listen to this episode to find out why:1. Call me with your questions at (305) 985-37292. Join the FREE discord at drawsinspanish.com/chat

In this episode, I chat with Chilean Motion Graphic Designer and Illustrator Cristobal Saez. Cristo was raised in Chile and eventually made his way to New York City to attend FIT where he studied graphic design. He quickly realized that branding and logo work just wasn't for him and started creating illustrated GIFs of pop culture moments on his off time. But it was through his work creating this digital fan art that he was able to land a role at a record label creating content and now works at Universal producing visual content for artists such as Beyonce, Adele, and Lil Nas X.Keep on listening to hear us talk about why he chose to move to the US, his experience creating viral fan art, and his advice for breaking into the music industry today.EPISODE LINKS- Watch this Episode on YouTube- Join the Patreon- Host: Follow Fabiola on Instagram, YouTube, TikTok- Guest: Follow Cristo on Instagram and TikTok

Here's another perfect example of the type of project you might be on as a Motion Designer tasked with visualizing products and services that do not yet exist for Innovation teams. I saw this article about a test restaurant for McDonald's and wanted to share my take on how we might partner with a company like this to bring their ideas to life.McDonald's article in CNNMcDonald's article in Fast CompanyMcDonald's article on their corporate siteFree Masterclass - Storytelling for InnovationGet on the waitlist for my new courseDM me on Instagram and let me know what you thought of this episode: @leeanne_brennan (trying to figure out if these solo episodes are helpful)

Kyle left agency life and started his self-employed journey working with friends as a collective. 8 years on though, he'd built his own name through hosting meet-ups and speaking at events to the point where it made sense to go solo.From small meet-ups he ended up speaking on some of the biggest stages with the likes of Adobe as clients. Yet in 2020 decided to switch from being a freelancer to becoming a Creative Director in-house.Now, full-time at School Of Motion, a fully remote company, he still has flexibility in his life. Kyle believes his years of working independently, general skill-set, and ability to get things done that comes from being freelance is actually making him a better employee.You'll find full show notes and transcript for this episode at beingfreelance.com This episode is sponsored by AXA Business Insurance.Get cover for your work, your tools, your reputation. It feels better being protected, being freelance.Work hard, insure easy. Check out their site or Search AXA Business Insurance.AXA Insurance UK plc is authorised by the Prudential Regulation Authority and regulated by the Financial Conduct Authority and the Prudential Regulation AuthorityThis episode is sponsored by IPSEThe Association of Independent Professionals and the Self Employed -  support for UK freelancers.Advice, networking, events, perks - and sort your pension, insurance, legal, tax..There's a lot to think about when being freelance, and IPSE have your back. New to freelancing? The Being Freelance course is made for you!Steve's rolled up everything he's learnt from over 6 years of conversations with more than 250 freelancers.There's no ‘one way' to be a successful freelancer, but this course will help you avoid the many mistakes that most of us make. Learn from our experiences.Find out more about the course. FREELANCER MERCHGet Being Freelance merchandise at beingfreelance.com/shopLooking to learn from and connect with other freelancers? Check out the website beingfreelance.com, and be part of the Being Freelance Community!Like VIDEO? - Check out the Being Freelance vlog - YouTube.com/SteveFolland

Paige Dall considers herself a multimedia designer. She brings together many skills to produce creative content. We discuss how she ended up in sports,  how her family has changed her priorities, and how she finds the balance between process and free flowing creativity.   Paige Vimeo portfolio: https://vimeo.com/paigedall Cub studio: https://www.cubstudio.com/

I was in a CVS the other day and saw construction happening to install a MinuteClinic. I looked at the door and then noticed the new HealthHUB signage. What a perfect example of a typical project I might be on as a Storyteller for innovation! In this episode, I make a bunch of guesses as their process, and share the types of illustration, video and motion design pieces that you might have made if you were partnering with this team.CVS MinuteClinicMy Free Masterclass: Storytelling for InnovationMy Instagram: @leeanne_brennanStorytelling for Innovation Digital Course Presale Get 50%OFF! (2 spots left)Questions? Email me: hello@storytellingforinnovation.com

In this episode of “Inside the Oval” presented by Dignity Health, Noah Hammerman discussed his journey to the 49ers, making on-the-fly graphics following the team's trade for RB Christian McCaffrey, his favorite projects more.See omnystudio.com/listener for privacy information.

If you're a Freelance Motion Designer wondering how to price your work, how to raise your rates, and all the other business stuff that comes along with going out on your own as a creative, this is the episode for you! Shea Lord, Freelance Art Director & Motion Designer walks us through how to think about money and step into our power in this industry.Shea Lord on LinkedInShea's Digital Course & NewsletterMy Free Masterclass - How to adapt your motion design skills to the innovation industry nicheStorytelling for Innovation Digital Course Presale - I have 5 more spots for people to get 50% off my new course in exchange for giving me feedback before I officially launch this to the world. Be one of my course testers and get all of this jam-packed info for $247 (payment plans also available)! DM me on Instagram @leeanne_brennan or email me at hello@storytellingforinnovation.com

This chat features Ryan Summers, a veteran motion designer who was just tapped as Senior Creative Director at the creative studio Spillt. Over his career, Summers has worked on projects for Warner Bros, Starbucks, Pokémon, and Google and in this chat he's going to share how to put together a portfolio to get hired in motion design. Tune in to Ibele and Summers to hear: *The four phases of animation *How Summers got his start *Summer's best advice to quick starting a career in motion design today ~[SPONSORED MESSAGE]~ The stop motion event of the year is back in person this September - Festival Stop Motion Montreal returns to the big screen at Concordia University's JA De Seve Theater from September 16-18. 75 of the top short films in stop motion cinema were selected to compete this year across 10 different screening programs for the coveted ball-and-socket trophy awards. There's going to be special guest conferences, exhibitions, meet the filmmakers, networking opportunities, and more to check out. VIP passes are on sale now; visit https://www.stopmotionmontreal.com/ for more info. ~~~ Social Links: *Follow Summers on Twitter: https://twitter.com/oddernod *Book a mentorship chat with Summers: https://calendly.com/oddernod *Watch Summer's reel: https://www.spillt.com/project/ryan-summers-reel *Follow Summers on Instagram: https://www.instagram.com/oddernod/?hl=en

Should you niche down as a designer? We've all heard this advice! So, does niching down help you to win more clients or empower you to be seen as an expert? In this podcast, Hayley speaks with one of our Accelerator students, Giuseppe about how he niched down his animation studio Motion Aptitude to work on projects he loves. About Giuseppe Forestieri Giuseppe Forestieri is the Animation Director of his own studio, Motion Aptitude and has a background in visual communication, specialising in animation and Illustration. Motion Aptitude is the fusion of two of Giuseppe's biggest passions in life: creativity, and the great outdoors. In this episode, he explains how he found his niche and hopes he can inspire other designers to pursue the work they love.  Read the full shownotes

Happy Omosuyi is a Christian, motion designer, public speaker, and a purpose driven individual. He is interested in impacting lives and being the voice of the voiceless, which has made him to volunteer in various programmmes. Happy has been able to achieve awards in various public speaking contests and debate tournaments. He believes in team work and effective communication. Currently, happy is part of fast rising and innovative companies and organizations as he is the Motion Designer of 3Swap and VEFI. His LinkedIn: /in/happy-omosuyi-973b071ab/

One of the topics on-demand in The Bear Necessities of Entrepreneurship is video content. And there's no better way to discuss this than calling on Rob Napoli's GenZ friend and content creator, Taylor King. TK is a Director and Motion Designer based in NYC, the founder of Taylor King Creative, and a part of Creators NYC. TK will be sharing his story and will be diving deep into the video content creating details.HIGHLIGHTSThe Power of VideoThe Power of Social through the PhonePlatform to channel the power of videoShoot vertical!Creators NYCQUOTESTaylor: “Seeing it is much faster than reading words.”Taylor: “Everything that you don't find interesting is typically the things that people on the internet find interesting.”Taylor: “Tiktok and Instagram are the kings right now, I think if you're super deep into business networking, I think LinkedIn is great as well.Taylor: “If you are getting video content made something that I get asked a lot something that gets asked of everybody making videos because business owners are just it's not something they should be educated.”Connect with Taylor through the links belowLinkedIn: https://www.linkedin.com/in/tkthree/TikTok: @tkthreeTK's IG: @tkthreeCreators NYC IG: @creatorsnycWebsite: www.createdbytk.comDon't forget to subscribe and leave a review.Connect with Rob:www.beacons.page/robnapoliwww.linkedin.com/in/robnapIG: @robnapoli.riseupSpecial offer for #BearNation listeners who are interested in trying Brilliantly Warm, use this 10% off discount code WELCOME10.We have teamed up with Phin, a social impact marketing firm, to give back for each episode. To learn more, visit https://app.phinforgood.com

At what level of obscurity can two people find a connection, and within 30 minutes of meeting? Well, I'd say finding a mutual appreciation on ancient Japanese woodworking methods is pretty obscure...and yet here we are. Have a listen.