Home
Creators
Search Recent Random
Posts
Search DMs Popular Hash Lookup Tags Random
Importer
Import FAQ
Register Favorites Keys Review DMs Logout
Community
Telegram ThePornDude
Home Creators Posts Import Register Favorites Logout

"Surreal Landscapes" 01 (VIDEO TUTORIAL) (Patreon)

Published:
2024-03-01 17:13:55
Imported:
2026-06
Tags:
haven't archived this post yet. have a subscription? use the importer!

Downloads

  • 284439534.mp4

Missing 1 full-res photo, 1 video, as this post has not yet been imported.

Content

Welcome to the first part of this series of explorations!

This first part is a generic overview of my daily process and a talk about workflows/industry/rates. Had many questions in DMs and I decided to dedicate a video rambling on how is day to day on motion design studios.

I am sure you have many questions so please hit me up in the comments below

Thanks!
T.

Files

Previews only

Comments

Mytya Varivoda

Awesome breakdown, i feel like i learn so much from videos like this when you break down the process, rnd part, thoughts behind it and countless try's

motionpunk
>>131149728

Thanks! Honestly when i was not on the inside of these things, I had SO MANY questions regarding the process. I still do btw for every studio and for every new job and new director i meet hehe. Its very important to know roughly what is going on before you accept or reject a job: from the pace of the project, the money, the client is he good is he nasty, the director, is he picky is he chill etc etc

screensnacks

Thank you for this, Thanos. These insights are huge and super interesting to see. <3

Sinan

It's been a fantastic tutorial; there are more important things than technical matters, like running a business, for instance. It's great that you touched on the budget issue. I'm currently living in Turkey, and I believe junior motion designers here usually charge around 200 euros for a project they work on for a week. Unfortunately, due to the lack of trust among people in Turkey, nobody can set daily budgets, and most projects proceed on a project-by-project basis. I feel like I've poured my heart out a bit, sorry about that lol. Sending love from Turkey <3.

motionpunk
>>131160878

Nothing to be sorry for! This is a safe place for discussing all those matters. As you are aware i am living in Greece myself and the situation here is no different. I have to say that unfortunately both of our countries are shit in terms of respecting work rights, having proper salaries, respecting arts and valuing sharp minds. The rates that i am referring to, come from work with serious studios and big clients. I do not work at all in Greece for many years now and i have become a healthier and wealthier person. The q is: how do start freelancing outside ur country borders? By being really good at the work itself, as hard as it sounds. If you are better than the majority, studios start to notice. That is the only way to get better money cause the situation in eastern countries in terms of salaries is very bad and no matter what we try to do in terms of educating clients is a waste of time. Thanks for saying this btw, cause the reason i made this small breakdown is that I know how situation is in other countries similar to mine. Stay strong and keep pushing!

Sinan
>>131160878

Greeks and Turks, as much as they may seem like enemies from the outside, it's quite funny how much these two countries resemble each other lol. I wish the best for the people of both countries; hopefully, politicians and business owners start valuing their own people. And lastly, Baklava is ours ahahaha just kidding, its all love. ♥

Michback

Hey, thank you for letting us be part of this- best is - by all this technical explorations that you enjoy your live as a professor. After 1000 of tutorials- i still miss a bit how to do nice kamera and lightsetups for those shots- even the shity shoots you showed looked great- would be nice if you can show us some tricks (example the sss fog in front of kamera) in this or another project. How to setup nice angles or beauty light- thank you

motionpunk
>>131172714

Thanks a lot bud! Hahah sorry didnt mean to say it in a way that are shit to discourage anyone :) Its just once u do a lot and a lot, u start seeing the difference in what is better. I think what you probably lack is not technical and is probably good composition and aesthetics? I ve seen that a lot of people think that what I do in comparison, is better c4d skills or tricks but in reality it is not. Its all about art direction and how to get there with simple techniques. How compositions are balanced, how colors are balanced and the technical part on my end might be how tactile things look (this is due to me practicing shaders for many years before even doing c4d). Eg. you will not see me moving my camera almost never. David Ariew's work on the other hand is 90% camera movements. Me is complex design in a way.

Dan

amazing as always!! one question: at 10:54 you mention a tutorial/creator. i didnt quite get the name... thx!

Wajeeh Arafa

Thank you Thanos, you touched on so many points and insights in this video that I think I was missing, Even though It wasn't breakdowns and techniques like we're used to seeing. Love these kind of videos :)

Tahseen Nehlawi

the insight you are sharing is pure gold. Thank you so much for it. I'm amazed at how much work you do daily, it makes me feel like a snail. I'm a bit curious about what the brief looks like. I've always struggled with weird briefs where the budget and brief never match. or with copycat briefs.

motionpunk
>>131507547

Thanks bud! I been doing 3D for so long so its like a second nature to me sometimes. Not always im productive neither creative hehe. Brief was very generic, we shaped the brief through RND.

Mantas Kava

These kind of videos have way more value than your (not yours specifically) avarage/standard tutorials on the internet IMO. Thank You!

Instance.Coffee

very very inspiring words Thanos. thanks for all the insight.

FabioSai

Great content man, nice hear and see how this dailies works and your process day by day.

Javier Reyes Delpech

Super valuable insights, Thanos! Thanks for sharing. Some questions about the workflow with the product model: Are you using a CAD model? something made in Rhinos 3D, Fusion 360, or something like that? Do this type of models can be, or need to be Subdevided for motion design projects? retopology is needed? Do you usually are in charge of shader and materials of the products? or it gets done by another artist in the pipeline? Thanks, man! :)

motionpunk
>>133230913

thanks! models are usually given by clients or modelled by hard surface guys. It really depends but in general is usually a cad model with typical crappy topology but unless deformation is needed, we inspect for artifacts and we move on without losing time on refining it. If we need to do weird rigging/deformations then yes retopo/uvs are essential. And yes, i am in charge of materials/shaders/lighting/design/overall mood and direction. Even if not final, my renders are as accurate as possible with real life product look.

Benjamin Rouyer

Hey Thanos, thanks a lot for those insights! Could i, humbly, add some thoughts for the specialized/generalist question. Being specialized is indeed very valuable for working in big studios or agencies but the rates in those is way less than working directly with a brand. And to work with a brand that doesn't know anything about 3D animation process you have to be a generalist AND as you said it very smartly, you need a lot of soft skill, like being patient enough to explain the process, being able to reassure your client, make them laugh (yes this has made me able to push some great ideas just with jokes :). Again thanks for the amazing content

motionpunk
>>137206470

Thanks so much for the input and the support! Of course and your are absolute correct. The only problem is "how can someone work directly with brands?" Cause even for me this is difficult. Especially for properly paid jobs and not the lowest in the pond. It is also very location related and so far what happens here is, they want me with local rates when it comes to direct clients. Its rude even what I face in direct convos with clients. Cause then I know the people that do the job that came to me first, and they do it with even higher budgets.. The direct client/brand world is very difficult if you are not connected locally. Do you have any insights on that front? thanks

Benjamin Rouyer
>>137206470

Well i have to admit that i was quite lucky to have worked ten years in Paris, in big agency like publicis and even if the salary was terrible and we worked 12h a day with no recognition i was able to connect with few hundreds of people that went all over the communication/publicity/brand world after so a lot of my first "brand work" were simply ppl remembering that i was doing a good job when they worked with me during agency time (which is exactly what you said about being nice to ppl you work with, you never know where they will be in 10 years and mb they will give you amazing opportunities) So you're right about locality, at least at the very beginning because now even some brands just contact me by seing my Instagram and watching project that fits there universe (i'm working in the luxury market so brands are very scared of 3D so they have to be convinced before) By the way that's my account, because i feel that it is a bit abtract to talk about the way i work without actually showing the result :) https://www.instagram.com/benjamin_rouyer/ One more thing, i also do lots of stillframes during art direction/lighting, that's my favorite part, it is like paid RnD xD

motionpunk
>>137206470

Yes thats also very important to work here and there so you get networked, great point. I am referring more to global clients, as local markets in many countries are dead (Greece being one of them). Targeting brands directly is almost impossible for the majority of people.

Adil Kamal

Hey man Thanks for this awesome knowledge.

Jesus Suarez

Loved it! It's always great to see how other artists work with big studios and it's very impressive to see the amount of output you have per day. Im curious, for this amount og output how many hours per day would you say you put in average? Is it a regular 6-8 hour day or you just go ballistic and put in way more? Also, what software are you using to view your images? It kinda looks like regular microsoft stuff but has that win11 look and I think in tjis video you were still on win10. Lastly personally it drives me insane that VLC doesn't allow you to properly scrub through a video, I can recommend CinesyncPlay for that although I'll admit it takes a little longer to open.

motionpunk
>>148613106

Thanks buddy! Usually for this type of work around 6 hours would be enough. Sometimes more sometimes less depends on how focused I am/interruptions and how ideas flow. Some days u fail and u have to put in more hours in. I never overwork myself in general cause im old haha. Also when work gets compacted in such little time, I feel very tired afterwards. Again its all situational as sometimes u need to have quantity vs quality, so it needs some critical thinking on what the project requires more of you at the time. ps. that's default windows photos!

Erich Gordon

"Good start, Thanos! These kinds of videos are the real hidden jewels in the content of this page. Just keeping it real."

Kevin Grandison

Appreciate the insights Thanos! One thing I don't hear a lot about is storyboarding in the process. I assume it's less used in the industry, but if so, what do you use as a general guide for the styleframes to ensure that there is a sense of momentum/progression of the work?

motionpunk
>>163959152

thanks! you are quite right haha. There is never such thing as storyboards when ideation phase. Things are loose on purpose and we try to discover styles, techniques. Storytelling many times is driven through visuals and not through narrative. Some claim that its bad practice, I say it depends. It is like art for me, it's about provoking emotions without necessarily explaining. The challenge though, is not having just nice visuals without flow. And that is where a good CD kicks in. If that person knows what he wants, things can go great. If not, you are left with a bunch of disconnected good visuals that make no sense hehe. It is pivotal that the creative lead, is actually good and not a person that micromanages and has no vision and waits from the artists to pull the shit out of the fire (which is usually the case out there unfortunately)