![]() But, it does require understanding many of the fundamentals that this guide covers in-depth. It’s actually very seamless, easy and kind of fun. Realistically – a good negotiator never needs to haggle, they never have a moment of tension, they never are in an uncomfortable situation. Worse, we’re not sure what we’re actually worth, or we just plain don’t want to be in a tense back and forth negotiation. Or, just not sure how to even start the conversation. This guide was designed for Artists – whether you’re a Designer, Illustrator, Matte Painter, Animator, FX, whatever! We all need to get hired for productions, and we all need to get what we’re worth.īut, most of are afraid of missing the mark, and scaring away our employers. Money, negotiating, probably two words that build the most tension just at the thought of, other than public speaking. What are the key things that I’m doing wrong? ![]() If I ask too much, will I scare them off? So how does someone who runs a studio, manages multiple teams, works in production, shoots, runs a hit Podcast, writes articles, multiple courses and a mentorship and more, manage their day?įind out, and how YOU can apply this to your work and personal life. Meaning – we are constantly running around, jumping from one thing to another, and never really feeling in control.Īllan specifically wrote this guide, after the thousands of responses he received to his contributions on productivity on his Podcast, as well as articles he’s written on the subject, and interviews he’s given.Īllan has interviewed the New York Times Best Selling Authors David Allen (Getting Things Done) and Laura Vanderkam as well as dozens of other experts on the subject – as well as applying many of his best practices. Time is finite and we can either be pro-active with our time, or reactive. if I had the time”įor many of us, finding time and energy to do more is one of the hardest things we have. You transition it to a blue filter and suddenly all of those red splotches become bright and you can see all of the luminance difference.“How do you find the time to get so much done” So, you have all these red marks on her face but you can’t see any of that because the red filter is cutting all of it out. So, you have a red filter in front of the camera and it’s filtering out any red on her. ![]() Just like when you have like 3-D glasses, and where the red side doesn’t let you see the red lines and the blue side doesn’t let you see the blue lines. This is an effect that’s only possible in black and white. They eventually explained that the nanny’s face had been painted for the effect to work, but it was not initially visible before the transformation due to an optical trick that could only have been achieved in black and white. Weichman cut in, saying, “It’s obviously some sort of optical effect here.” Jones then said, “She’s painted, right?” Pueringer answered, “Yes.” “How do you think they did it,” asked Niko Pueringer. “There’s no transition on her face evolving and transforming.” Ok, the wig I get, but there’s like no cut,” said Weichman. The discussion was between Clinton Jones, Wren Weichman, and Niko Pueringer, who were all part of Corridor Crew at the time. In 2019, the Corridor Crew YouTube channel broke down how the movie’s “witch” effect was achieved in 1937, long before CGI was introduced later in the century. According to an article from She Blogged By Night, while it was indeed a real scene from the 1937 black-and-white movie, “Sh! The Octopus,” the visual effect showed a nanny beginning to transform into an octopus, not a “witch.” How They Did It
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