Announce Your Availability

Let's say you're all set up and ready to go. You know where you'll be working, your office systems are in place, and you're ready to show your portfolio to prospective clients. Now it's time to find those prospective clients, and more importantly, to let them find you. In another video,  I talked about building your professional network but cautioned at that stage not to hit them up for work. Now it's time to get a bit more aggressive. First, follow up on all past leads. Always keep track of whom you talk to, when, and why as you go. Make that a habit.

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That's how you build your professional network over time. Once that's done, here are some things you can do to make yourself more accessible and attractive to clients going forward. The first is to beef up your website. In an earlier video, we talked about preparing your portfolio and, of course, that's going to become a substantial part of your site. But there are a few other elements it needs as well. First, a description of what you do. Put it front and center, preferably, on the homepage. This is where you express all the soul-searching you did earlier while sharpening your market focus.

It should define your business in terms of the skill you're selling, the industry you'll target and the type of customer you'll sell to. Other elements include information about your credentials. That is, why people should trust you with their projects. Finally, make sure it's easy to find a way to contact you and that it. You can also add other elements, and I recommend you start paying close attention to other freelancers' sites for ideas. But your website is not done yet. You'll also need a domain name and a place to host the site.

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Your site will also need occasional maintenance. A website isn't just a set it and forget it kind of thing that won't take a lot of time. But you'll either need to get the necessary skills or hire someone who has them. In either case realize that benefits you get from your site are directly proportional to the attention you give to its planning, creation, and promotion. Your website is only one way to announce your availability online. You'll also want to have presences on the big social networks, such as Twitter and Facebook.

I recommend that you do a land grab on those services for a name that reflects your business, even if you're not ready to add any content yet. And don't forget to add yourself to professional directories related to your skill and location. But eventually you will start building out your social media homes. Twitter of course, is only as good as the regular post you make to it, but there is a little space for self-description. And on Facebook it's possible to display quite a lot about yourself. On both systems, as on other social sites, there are opportunities for responsible promotion.

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GRAVEL - VOLUME ONE

Next to 3D people and vegetation, rendering realistic gravel is one of the last remaining challenges when it comes to architectural visualization. Most 3D artists try to avoid graveled surfaces wherever possible. But gravel is a very important building material and cannot always be avoided - nor should it be. Its role in architecture, landscaping and even interior design will let this challenge persist.

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Fortunately, technology has now caught up with the problem. With this texture collection we are attempting to close this particular gap between the imagination of the client and what you as a 3D artist can deliver. This collection contains 134 different gravel textures and - as an industry first - gravel as real 3D geometry. Along with the included 257 stone textures, this opens up a near-endless variety of different gravel styles.

The product consists of the following three major parts:

GRAVEL TEXTURES (Disks 1 and 2):

This product contains a total of 134 gravel textures, based on 15 different gravel styles. Each texture consists of diffuse, bump, normal, displacement and reflectivity maps, as well as a number of special maps that will help you to modify the gravel textures or to create entirely new textures. Also included are ready-to-use material setups for 3DS Max™ and MaxwellRender™.

GRAVEL MESHES (Disk 3):

As a first on the market, we offer gravel 'textures' in form of real 3D geometry. This product contains gravel meshes based on 15 different gravel styles in sizes of 4m² and 16m². All meshes are provided in .max format (compatible with 3DS Max™ 2010+), as well as .obj format (compatible with many other applications).

STONE TEXTURES (Disks 4 to 6):

Meant to be used with the 3D gravel meshes, this product also contains especially optimized stone textures in 257 different styles and colors, based on 94 distinct sets. Each texture set consists of diffuse, bump, normal, as well as reflectivity maps. As with the gravel textures, we also provide ready-to-use material setups for 3DS Max™ (2010+) and MaxwellRender™ (2.x). For further information to this and other products,

please visit our website: www.arroway-textures.de

 

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New, FREE 3D scene for you!

There is new, FREE scene for you in Downloads section - Living room by heobunt. Grab it here: http://goo.gl/Ex5yWi

 

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Talking Money: General Tips

Be straightforward about money and how you charge for your services. Make sure that all the financial aspects of the project are clear in your contracts, then make sure your invoices match your Designer-Client Agreements, and any change orders you provide.

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Financial consistency will facilitate, smooth sailing, and prompt payment from the client. Make sure to communicate financial information verbally, as well as in writing your agreement. There are two categories of money that you need to cover. Fees, which are the designer's compensation for their labor and expertise. Design fees are typically fixed and are only revised with the change order due to additional scope of work; and estimated expenses. These are the out-of-pocket cost for things purchased specifically for the project. All expenses are subject to the industry-standard markup of 15 to 25%.

Don't be afraid to ask for what you need. If you have issues talking about money, practice with a friend; describe the project, state your fee and then stop talking. Don't feel the need to fill the void with words, have confidence.

Here, some tips for dealing with clients regarding money.

State exactly what the price includes, define your payment terms by telling the client when you expect to be paid. For example, you might say net 30 days, meaning you require payment one month from the invoice date. Also, will you be invoicing half upfront and the balance upon completion, or will you bill progress payments at the completion of each phase. Make sure to also state the number of revisions included and then stick to that.

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Another money related tip is to keep good records. You need to keep project related expense receipts in order to pass those costs on to clients. In addition, make sure to integrate the project schedule with regular cost reviews. If you review these frequently, you can communicate any problems or issues to the team and the client. Make sure you capture all time, for example, telephone conversation, travel time, admin, etcetera, get all required client paperwork and financial information in order upfront.

If it's required by the client, get a purchase order number and/or a vendor ID number, then put these numbers on all your invoices. Also, introduce yourself to the client contact person in Accounts Payable. Make sure to have anything related to money signed by the client. For legal reasons and also to prompt a detailed conversation about money before the work gets underway, then stay in communication throughout the process. 

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Architectural Photography Shannon McGrath

Shannon has honed her practice over the last 12 years, concentrating on architecture and interior design, producing amazing photos used in many international magazines. 

Hosts: Catherine Hall and Leo Laporte

Guest: Shannon McGrath

Don't miss a chance to watch or listen to your favorite photographers -- download and subscribe to TWiT Photo podcast on iTunes for free.

Follow Catherine on Twitter. You can also check out her blog here.
Submit your guest photographer at twitphoto.feedbackroad.com
Download or subscribe to this show at twit.tv/photo.

Thanks to Cachefly for providing the bandwidth for this podcast.

 

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QUIET: INTROVERTS AT WORK

QUIET: INTROVERTS AT WORK

Not everyone is cut out to be an aggressive sales person or advertising executive. Certain jobs require certain personalities, often people who don't mind being in the limelight and speaking up. But introverts shouldn't be discouraged, as there are plenty of careers suited for them. Let's take a look at some interesting facts regarding introverts and the jobs in which they can thrive. 

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From Bits To The Lens

In essence, this is a book on digital art. It compiles a host of high resolution computer-generated images taken from the scenes and spaces contained in “The Third & The Seventh” short. Plain and simple.

At least that was the initial idea. However, as the idea for the book took shape in my head, I decided to alternate these graphic impressions with some text (which at the beginning was quite concise) to divide the book into different chapters. These chapters focus on the different stages of the actual CGI image generation process using the greatest possible degree of photorealism and they aim to cover each of the aspects I bring across in my work: the initial planning and modeling stage through to the render and post-production stage, touching upon key themes such as lighting and the virtual creation of vegetation.

Each chapter digs into thoughts, procedures, theoretical principles and my own personal, and absolutely subjective, preferences that I have compiled for this book after many years of trial and error.

This essay largely aims to transmit knowledge and experience, focusing primarily on helping the artist read, understand and appreciate both basic and advanced concepts related to pictorial, photographic and synthetic art (taken as a separate discipline and final process).

Nevertheless, many of the artistic concepts described within can easily be applied to other disciplines such as painting and photography, since they share a universal foundation. All these thoughts (which are mostly abstract) are completed with concrete data, which I have tested in a genuine production environment.

The so-called “practical” part is based 100% on the VRay rendering engine inside 3dsMax. This practical section can however be exported to any other platform and/or rendering engine (describing concepts and values as timelessly as possible).

 

In addition to being a book on art (CGI art in this case), this book has a second purpose. Although I have not devoted my life to teaching, I have always found it extremely interesting. I warmed to the concept of transmitting my knowledge from the moment I began managing people (first as a senior designer and then as art director) at several companies throughout my career in the ArchVIZ sector.

The artists I was supervising that were starting out all shared two marked characteristics that immediately caught my attention. On the one hand, they had little (or no) training in any aspect of fine arts (mainly lighting and materials) and, on the other, they were relatively obsessed with simply learning about numbers and parameters without understanding or learning how to use the rendering engine.

People are going to find a strong emphasis on artistic principles as well as an important part dedicated to CG techniques. The idea is to have a book that can be useful both as a resource for strong traditional arts theory as well as a reference book, combined with a great collection of over 120 high resolution CG images. It is not a step-by-step tutorial book, though. It intends to deal with much more essential concepts that in my view are lacking in the way digital artists are trained these days, and that’s what I wanted to address.

Hence the idea for this book. This is my modest contribution to that group of people. This is what came of much, but not all, of my work with these artists. Regardless of how software evolves or how hardware advances, the principles behind an impeccable result have been the same for hundreds of years.

This is what this text is about. I have attempted to help the reader understand that both numbers and parameters will become obsolete and useless even before the reader finishes this book.

In short, and bearing in mind that experience can only come from experimenting, I have attempted to put into words my honest point of view regarding a technique called CGI so that the reader can take stock of what it takes to learn this, or any other discipline.

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What is a Genius?

A genius is someone who is both extraordinarily intelligent and extremely creative. Plenty of people are smart and even intelligent, but they aren't quite geniuses because they lack the creative abilities required. Other people are creative to some extent, but they do not have the intellectual capability to harness their creativity. Some famous examples include Mozart, Isaac Newton, and Albert Einstein, who is often used as the classic illustration for this term.

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The exact definition of this word is actually rather difficult to pin down, because there are no clear, subjective measures that can be used to classify who is a genius and who is not. Generally, it is assumed that one has a unique and novel way of approaching situations and the world, retooling ideas and potentially creating something so monumental that it changes the way other people think. Einstein, for example, came up with a mathematical formula that changed the face of physics.

Some people measure genius on the basis of someone's Intelligence Quotient (IQ). This measurement is far from ideal, however; many people think that IQ tests are limited, and the true test of a genius is what he or she produces in life. These individuals are also often talented in multiple fields, in which case they could also be considered polymaths. Leonardo da Vinci, for example, was a polymath, skilled in the arts and sciences. Einstein, on the other hand, focused on physics specifically.

Some people feel that geniuses are crippled by their own intelligence. It is true that some have had difficulty with social interactions historically, and some of them have interesting quirks. Being a genius does not inherently mean that someone cannot function in the world, however, and plenty of these people are perfectly capable of handling the events of a day to life, often with great success. Because many think in ways which are very different, sometimes it can be a challenge to follow a conversation with such a person.

Why one person becomes a genius while someone else remains relatively ordinary is a mystery. There appear to be clear genetic links, although environment is also an important factor. Scientific studies of the brain have also suggested that such people may have slightly different brains. Incredibly gifted individuals may be talented because their minds are actually wired differently, facilitating communication between normally isolated areas of the brain or changing the way in which information is processed. The fact that many of these people are child prodigies supports this belief, as it suggests that the groundwork for genius is laid early

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Foundations of Computer Graphics

CS184.1x teaches the Foundations of Computer Graphics. Students will be able to make images of 3D scenes in both real-time, and with offline raytracing.

ABOUT THIS COURSE

CS184.1x teaches the Foundations of Computer Graphics. Students will make images of 3D scenes in real-time, and with offline raytracing. This course runs for 6 weeks and consists of four segments. Each segment includes an individual programming assignment:

  1. Overview and Basic Math (Homework 0: 10% of grade)
  2. Transformations (Homework 1: 20% of grade)
  3. OpenGL and Lighting (Homework 2: 35% of grade)
  4. Raytracing (Homework 3: 35% of grade)

This term, students who earn a total score of 50% or greater will have passed the course and may obtain a free honor code certificate from BerkeleyX.

Before your course starts, try the new edX Demo where you can explore the fun, interactive learning environment and virtual labs. Learn more.

 

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V-Ray 3.0 for 3ds Max Beta New Licensing

The release of V-Ray 3.0 for 3ds Max introduces new licensing choices and policies:


Please note: 
Users who purchased a new V-Ray 2.0 for 3ds Max commercial license between 4 August 2013 and the date of the V-Ray 3.0 for 3ds Max official release will be eligible for a free upgrade. They will receive 1 V-Ray User License (GUI) and 3 Render Node licenses.


If you have any further questions about the new licensing and pricing policies, please contact us atlicensing@chaosgroup.com.


UNIVERSAL RENDER NODES

A major part of the V-Ray roadmap includes the development of universal V-Ray assets that can be shared across multiple 3D platforms. With the release of V-Ray 3.0, we are introducing universal V-Ray Render Nodes to support distributed rendering and network rendering on multiple host applications.

One Universal Render Node may be used across the following 3D Platforms:

Host ApplicationVersionsV-Ray for 3ds Max3.0V-Ray for Maya3.0V-Ray for SoftimageTo be supported in the futureV-Ray for RhinoTo be supported in the futureV-Ray for SketchUpTo be supported in the futureV-Ray Render Nodes are required to render with V-Ray 3.0 for 3ds Max.UNIFIED LICENSING

In V-Ray 3.0 the User licenses and Render Nodes are licensed separately. This unifies licensing across applications and reduces the cost for individual User licenses.

Pricing: V-Ray 3.0 for 3ds Max

Product/ BundleUSDEURGBPV-Ray 3.0 Workstation for 3ds Max (?)1 050750650V-Ray 3.0 Workstation for 3ds Max
+ 5 V-Ray Render Nodes 3.0
2 0901 5001 290Pricing: V-Ray Render Nodes 3.0USD/ per NodeEUR/ per NodeGBP/ per Node1-4 Licenses3502502205-9 Licenses28020017010-19 Licenses25018016020-29 Licenses24017015030+ Licenses210150130
FLEXIBLE TERM LICENSING

Flexible options for monthly and annual licensing are now available. With lower upfront costs, term licensing allows artists and studios to scale as needed.

Pricing: Annual Licensing

V-Ray 3.0 Workstation for 3ds MaxUSD
License/YearEUR
License/YearGBP
License/Year
5-9 Licenses
53037532510-19 Licenses
44031527020+ Licenses
340240210V-Ray Render Node 3.0USD
License/YearEUR
License/YearGBP
License/Year
5-9 Licenses17012010010-19 Licenses1401009020+ Licenses1108070

Pricing: Monthly Licensing

V-Ray 3.0 Workstation for 3ds MaxUSD
License/MonthEUR
License/MonthGBP
License/Month
10-19 Licenses
19013512020-29 Licenses
130908030+ Licenses
1107570V-Ray Render Node 3.0USD
License/MonthEUR
License/MonthGBP
License/Month
10-19 Licenses90605020-29 Licenses70504530+ Licenses604035

* Prices do not include dongle/VAT/shipping


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