Episode 269 — Andrey Lebrov
Episode 269 — Andrey Lebrov
Andrey Lebrov is a CG and VFX Director, as well as a Co-Founder of Out of Nothing, Ltd.
Andrey was born in Ukraine, raised in Liepaja, Latvia. He began working as a freelancer at the age of 15 as a Photoshop Artist. He eventually immigrated to the U.K. to pursue better opportunities in visual effects. Andrey is a self-taught CG Artist. He launched his YouTube Channel to share what he’s learned in CG and cinematography.
In this Podcast, Andrey shares his journey of learning, perseverance and success as a CG and VFX Artist.
Andrey Lebrov’s Website: https://www.lebrov.com
Andrey Lebrov’s YouTube Channel: https://www.youtube.com/andreylebrov
Andrey Lebrov on Behance: https://www.behance.net/anmeko
Far Away from Opportunities: Where I am from by Andrey Lebrov: https://www.youtube.com/watch?v=JxND1Q5tytI
[02:58] Andrey Lebrov Introduces Himself
[05:07] Andrey Talks About Relocating for Work
[08:12] Allan and Andrey Discuss the Importance of Having a Supportive Community
[11:27] How Important is It to Attend a VFX University?
[13:46] Allan and Andrey Discuss Elements of a Successful Demo Reel
[21:22] The Value in Being a Generalist
[29:27] Andrey Points Out the Latest Technology in His Pipeline
[34:01] Andrey Talks About His VFX Contests
[36:14] Andrey Talks About His YouTube Channel
[54:34] Perfectionism: Friend of Foe?
[57:47] Allan and Andrey Talk Productivity
[1:01:23] The New Structure of Working from Home
[1:08:49] Allan and Andrey Discuss VR as a Trend
[1:13:18] Additional Resources re: Andrey and His Work
EPISODE 269 — ANDREY LEBROV
Hello, everyone! This is Allan McKay.
Welcome to Episode 269! I’m sitting down with Andrey Lebrov, a CG and VFX Director, as well as a Co-Founder of Out of Nothing. I’m really excited for this one. You’ve probably seen his YouTube Channel and his work. Andrey shared so many great insights on this Podcast.
Let’s dive in!
FIRST THINGS FIRST:
[02:22] Just recently, I put out a course on How to Build Your Brand as a Digital Artist. Please check out the free class at Branding10X.com. It will help you with building your brand and leveraging it to position yourself as an expert.
[1:13:52] One of the biggest problems we face as artists is figuring out how much we’re worth. I’ve put together a website. Check it out: www.VFXRates.com! This is a chance for you to put in your level of experience, your discipline, your location — and it will give you an accurate idea what you and everyone else in your discipline should be charging. Check it out: www.VFXRates.com!
INTERVIEW WITH ANDREY LEBROV
[02:58] Andrey: My name is Andrey Lebrov. I’m a CG / VFX artist based in the U.K. I’m also a Co-Owner and Co-Founder of a company called Out of Nothing which specializes in film production and visual effects.
[03:12] Allan: I usually ask all my guests this [question]: Did you always want to be an artist growing up?
Andrey: Well, not really. As a child, the only creative thing I’ve done was Lego’s. Growing up, I thought I would be either a lawyer or an architect. It’s just sort of creative, but I never thought I’d be where I am now. That just randomly happened.
[03:40] Allan: Then I’m curious, why a lawyer or an architect? Was that influenced by your parents or the people around you?
Andrey: Well, yes. It’s one of those things when parents tell you about a proper profession. My grandfather is a captain. He goes to see and does all these manly things. Until the last day, he never understood what I was doing and why. He wanted me to be a seaman. That’s where that influence came from.
[04:18] Allan: That’s kind of interesting. I think a lot of people who aren’t in the industry don’t get why you’re at your computer all the time. I think it’s fun when you get to show that stuff off. At the same time, people don’t understand the dedication and the amount of work you put into it.
Andrey: It’s always funny when someone asks you what you do for a living. And what do you answer? I usually answer, “Oh, I’m shooting videos.” Because there is no point in trying to explain.
[05:07] Allan: Where are you originally from?
Andrey: I’m originally from Latvia. But we were born in the USSR. We’re Russians, the European kind.
[05:18] Allan: Cool! So when did you move to the U.K.?
Andrey: I moved to the U.K. in the beginning of 2014. My wife has been here since 2008 or earlier.
[05:37] Allan: At the time, was that something that was a move for a bigger industry?
Andrey: I’ve been freelancing since I was 15 and I was doing Photoshop in the beginning. That was my source of income. It’s only that in 2010 that I became interested in 3D. But until then, I was freelancing. But then that stuff in the Ukraine happened and all of my clients were in Russia. And I was in Latvia which was in the European Union. So they stopped ordering anything from me because financially, it made more sense for them to find freelancers in Russia. And I lost all income. My wife has lived here for a long time and she suggested I should try myself there. I didn’t know much English. I came here speaking like a true immigrant. I didn’t have any corporate experience. I didn’t have a reel, just a 2012 Mac Book.
[07:17] Allan: What kind of places were you targeting at the time? Was it still Photoshop stuff?
Andrey: To be honest, in that place in life, I didn’t care. I was applying anywhere. Graphic designer, art worker, whatever! But at least something related to the industry. I got refused a lot. I looked for a job for 7 months. My wife’s brother gave me room and board. I found my first job in South Hampton at an agency as a motion cap designer.
[08:12] Allan: I think it’s super critical to have people around who are supportive, whether it’s financially or emotionally. What was it like for you to get that rejection for 7 months? A lot of people decide that they want to be creative and don’t expect that struggle. But the ones that stick with it — are the ones that make it. What was it like for you?
Andrey: I did mention that I didn’t have any show reel but I did have a 2012 Mac Book. I spent these 7 months just learning like a maniac, then sleep while rendering on this little Mac Book. I know what you’re talking about and I think it’s a hot topic because I see the comments under my YouTube videos: “Oh, my God, you’re a son of a rich parent.” Sometimes, I do reply that I started from nothing. I even recorded a video called Far Away from Opportunities. Where I am from. I told my story a little bit and hoped it would inspire people. I don’t know how it is in 2020 and it’s another generation, opportunities and technologies. It can’t happen in a moment. You need to have some sort of a strategy. You have to get support from relatives a little bit. The job is another crooked question for people. Should they go to school or should they learn it on their own?
[11:27] Allan: I feel the same way. These days, the older me was very against universities but there are certain personalities for whom that kind of structure works. The way I personally feel is that the real experience you’d get from the job.
[12:04] Allan: So the longer you’re in school, the longer you’re delaying getting started. For a lot of us, we can get going as soon as possible. And as soon as you get your foot in the door, those first few weeks of learning will be worth years!
Andrey: Well, my problem with education — especially when it comes to graphics — it’s really clumsy. Technology evolves crazy fast. And education cannot keep up. When my business partner tells me, “Look at that guy! He just graduated!” — I don’t bloody care! Let his showreel speak for him. It doesn’t mean they’re bad artists. But it’s not time that is most efficiently spent, necessarily. People like yourself and other amazing artists are there to offer that practical knowledge. Everything is there for free, you just need to type in the question and you get your answers.
[13:45] Allan: I think there is too much information out there and it’s about finding the right avenues to go down. I still get jealous that people learn 3D in high school. When I was starting out, it took me years to explain what I did. It wasn’t until Toy Story came out that I could say, “Yeah, that kind of stuff!” because no one knew what that thing was. I think it is such a critical topic. Coming from nothing and people having an expectation that everything is handed to you, for a lot of us is about paving the way for ourselves. And the more you expect people to do things for you, the less you’ll be tough enough to make it later on. For you, what was like building your portfolio, for example? It really does come down to a reel or portfolio. I see people spending a year on building that. But if you’re really desperate, you can make that in a week or two. What advice would you give on the key essentials that it takes to make it out there?
Andrey: The reel, as it stands, everyone wants to make it fancy. But if you’re really that desperate to land that job, it’s not only a video file. You also have a face-to-face interview. It can be your stills, your breakdowns, your process explanation. Explain that you know how to deliver. If there are shots that aren’t complete, explain why. Here is the thing: With photography and web design, those are cheap industries in terms of your expenses. With VFX and cinematography, there are no limits with your expenses. It’s the most expensive! When you’re starting out and you’re referencing top agencies for your reel, it’s not going to happen. Be clever! Presentation is the most important thing. That’s what I did. I sat down with my Mac Book and made a reel that was something like 40 seconds. There were shots where something was animated, no meaning behind it. Then I had a lot of stills from my photography background with some 3D on top and I explained where we can expand in terms of the studio’s services.
[18:07] Allan: I like that! I think that for live action, it’s important to demonstrate that you can integrate CG and live action together. Even looking at Photoshop, it’s context. When you’re able to go to a studio with some skills that are outside of what they typically offer, at that point you’re adding to the studio. If they’re doing something different, for some boutique studios they can offer something different.
Andrey: It’s also a tough thing to choose what you want to do because CG and 3D is so broad, it’s crazy! It’s one of the deepest industries. One of my key values as a business asset, is that I know everything about everything. I may not be proficient in all of them but I know how they work, and if a problem needs to be sorted — it will be sorted. A lot of people ask me in the comments what they should do. I don’t know. There is no problem with being a Generalist and being good at it. Only now we introduce people who specialize and there is some advantage in that. I’m a Generalist. We have all kinds of projects: VFX commercials, full CG commercials, live events that need planning. It’s tough to choose what you want to be!
[21:23] Allan: I think that is a really tricky thing. Everyone is asking about where to begin. These days, I think everyone should start as a Generalist but then start to specialize as a brand. How important, do you think, for any artist to have some understanding of every department?
Andrey: I think it’s inevitable to be a narrow focused professional for some period of time. And you can become a Generalist. A Generalist is a director. It’s a person that knows everything about anything and if need be, he can pick up that work. On my reel, I have robots I built from scratch. I was just interested in hard surface texturing. I may not be doing it for the rest of my life, but at that moment I was interested to know how it worked. It’s tough in the beginning. You don’t know where to start. I think it’s just time. Keep grinding!
[24:12] Allan: How I learned to do scripting was in Maya. In the beginning, learning scripting was overwhelming. If you set a goal — and that’s how my buddy at Weta explained it — that gives you a really simple task, that gives you some direction. I think most people get so overwhelmed with where to begin, they never start. If you just set a simple task, you at least begin learning.
Andrey: [25:29] In which case, if it does seem overwhelming, just don’t stop. It’s not that bad! Everything will start to make sense. In the beginning, you don’t even know the stages involved. The only way to do it is to focus on one topic. Then as questions start to pop up in your head, just Google that narrow question.
[23:18] Allan: One of my team members just messaged me a few minutes before the call. He was telling me about this simulation and I told him, “Don’t take this the wrong way, but have you Googled it yet?” Of course, half the problems we run into, someone has already run into and solved it.
Andrey: It actually surprises me how many people ignore Google. Even the younger generation! I guess it’s a mindset. For me and you, we grew up with the internet and we were excited about the easy access to information.
[27:34] Allan: It is pretty fascinating to think about what people are like growing up with this. I started watching a Netflix documentary that talks about people being born into social media now. For me, I can still think back to having data on cassette tapes. For other people, they’re born into those technologies. Whether they appreciate it or it becomes more intuitive, it’s fascinating to watch.
Andrey: That’s what I meant earlier on, how young people are getting jobs and they have different backgrounds and technologies. I just ran an Automotive CG Challenge where people could submit their work and they would get a prize. Dude! There were participants who were 13 years old and making crazy stuff!
[29:27] Allan: That’s amazing! I’ve always felt that way. I always refer to CGTalk where kids who are 13-14 are doing amazing work. That’s what I love about ZBrush because it’s so intuitive. The artist can just sit down and start creating. What kind of technology that you’ve seen that you noticed? I believe you’ve been using Corona Renderer, correct?
Andrey: No, at the moment [I’m using] Red Shift, but mostly Octane.
[30:24] Allan: Right, Octane!
Andrey: For me, that was a pivot point in my career. Games are associated with graphic art and there definitely should be a way to render using graphic cards. Octane were the pioneers. When I started using it, it was mind blowing. I couldn’t afford to buy prebuilt machines from suppliers. I started to build my own and invest into more cards. That’s what I mean about the broad spectrum of this industry! But 5 years ago, I needed those 1080 TI cards. Now they’ve released a card and two cards are 2 times faster than my whole system. It’s crazy!
[31:54] Allan: I get messages from people saying, “I want to do what you do but I don’t have a good computer.” I think the specs on an iPhone are pretty powerful. You have no excuses these days! You can do anything on a computer. And having less computer power trains you to be more efficient. It’s going to help you get more proficient at what you’re doing.
Andrey: Well, that CG Challenge again, the reason I was running it was because I was looking for sponsors for a good, expensive prize. It’s not for the prize as such. I hoped to show people this situation and how you approach it. This is a problem to solve and you need to deliver within a month. People in the comments start to moan. On their review dates, people write the stories of how they did it. Some people in the top 10, they used the Blender and some sort of a free render farm. That dude just solved the problem! As you said, there are no excuses these days.
[34:00] Allan: What gave you the idea to start this contest? And what did you discover the first time you did it?
Andrey: So, can you see [that jar] from this angle. Usually, you can see fireflies in it. It’s just a jar from IKEA but then I added those fireflies. People keep asking where they can get that lamp. I revealed the secret and made a tutorial on how to make one. I was collaborating with Razer and I was reviewing one of their laptops. I told them about this hot topic about the lamp and suggested they sponsored a contest. There are usually about 300 submissions which is alright. That’s how it started. Then I ran another one in the spring. There was no big prize, just a subscription to my membership. And the last one was sponsored. The priority in all of this is knowledge, and people will learn. That’s what you can’t develop until you get work, so I’m giving people those circumstances. I respect those participants that come back to me and tell me that they learned.
[36:14] Allan: That’s really cool! Just to jump around, when did you start your YouTube Channel? And what was the main idea behind it?
Andrey: It was my distraction from work. It doesn’t matter if you’re an artist or a studio owner, the work can get really depressive. It’s the same clients and the same work, with the demands. Work is work. Whatever pays the bills will be the least interesting part of your VFX life. I thought I would use my YouTube to post my tutorials. If I were a full-time YouTuber, it would be better. But I’m not not doing it for money.
[37:50] Allan: When you launched it, what was it like? Were there big realizations or benefits?
Andrey: At first, you appreciate all the positive comments that you get. It’s amazing energy. It’s better than antidepressants. It keeps you motivated, it keeps you moving. Then I started some haters, classic trolls. They aren’t artists or professionals. There was a period when YouTube started to take a lot of my time. I do have work to do and it was impossible to manage both. So now, I do YouTube whenever I can. It’s not my goal. In terms of actual work, I’ve had a couple of business clients and it was easier for me to establish relationships with them because they knew me from YouTube and what I was talking about.
[40:03] Allan: I think in general, that has benefits. It’s not just YouTube. There is the subject of a personal brand. It’s a matter of a reputation.
Andrey: Yeah, I’m talking to you right now. That wouldn’t happen without YouTube.
[40:24] Allan: Yeah. You’re building awareness. With anyone, all of us connect because we have this passion and we congregate in these communities. You become aware of certain people because of their brand. Getting to see people and their work, their reputation builds with you. When it’s time to hire someone, they come to mind. In a way, putting your work out there in whichever way, it’s a chance for people to see it. And it’s been a critical aspect. Some people stay offline because they don’t want those haters. It’s such a crazy thing to find a community on the internet. What are some of the things you’ve experienced?
Andrey: Actually, I raised that question in one of my older videos. If you go to my IG, I’m not following too many people. You have to be careful with that stuff because it may become overwhelming. It can demotivate you. Most of my content is inspired by comments and what people are interested in. [One of them was], “Is there a point in becoming a VFX artist? There are so many of them out there already!” And I said: It’s your point of interest. You’re subscribing to follow those people. You create your own VFX bubble and you have that illusion that everyone is doing it. But it’s far from reality! The whole world is doing everything apart from VFX.
[44:41] Allan: I also think it comes down to different mindsets.
Andrey: No, I think you need to balance out and not spend all your time watching content on Instagram, trying to get inspired. If something inspires you, it will find you.
[45:05] Allan: I think that’s a good topic as well. I don’t tend to scroll too much. But there are things on Facebook. I actually found a Chrome extension that blocks the Facebook feed. I hear all these horrific stories. I don’t have a Facebook wall. Having that extension protects me from being distracted.
Andrey: That’s actually a really, really, really good point! It’s something to consider to exclude all the distracting factors from your life. Get rid of tv, the news, don’t participate in political debates. I got rid of political thoughts in my life. It was destructive in my life.
[46:44] Allan: You’re right! It’s good to supply yourself with things that are positive and will pull you up. Even with people! If you have friends that tell you to give up on art because it’s a waste of time, it’s important to separate yourself from that. If you’re focused on big goals, it’s better to find people who will get behind you.
Andrey: I think it will be gone over generation. Yet, people are still saying [things like], “You can’t do that!” You have to find the job that will feed and keep developing in the evenings. You have to hustle!
[48:03] Allan: One thing you mentioned before and that directors know everything. Once you start to branch out and supervise or manage bigger teams, you need to have that 30,000 foot view. You need to have the general understanding.
Andrey: You can’t even evaluate the time necessary for a task completion!
[48:57] Allan: When you decided to launch your own studio, were there any big realizations you had? What experiences did you have?
Andrey: The thing is that in 2020, I’m not necessarily convinced that company is necessary for an artist. In the comments people say, “I just launched a studio” or “I just launched a studio.” Why do you need that? In my case, I was sitting at my company where I got my first job. Evolution happens slowly. I had another offer and I told my company about it. The company matched that offer, but then I met my business partner. He already owned another company by then. I was making good money. At some point, I realized that my main work was dragging me down. I was a contracted supplier for my business partner. Then we thought about merging. And we did. And here we go! We’re growing. But for individual artists, you need that business partner. You can’t do that bureaucracy: taxes, etc. It’s a tedious process that has to be sorted by someone else. You have to decide whether you’re a businessman or an artist. I, personally, am an artist.
[51:17] Allan: I’ve found that that sort of partnership [works best]: where you have a producer and an artist. You have someone grounded in the business side and the artist provides the service. I’ve always been obsessed with seeing how studios are run. You have to have that realist to keep artists more grounded. One person can want to recreate this world and do all these amazing things. I think it’s important because with creatives nothing is ever finished. The two together makes it work really well. Together, you’re unstoppable.
Andrey: That’s the only way to build a company. I’m exactly that dude you just described, “Oh yeah! Let’s do everything!” And then you’re spending weeks on one shot and you have 40 more to do. Perfectionism kills me sometimes!
[54:34] Allan: A couple more things. What are your thoughts on perfectionism? I feel like I’m an artist but I respect business and coding. A lot of the time, I wear a producer’s hat.
Andrey: I’m doing that as well but just a senior artist’s responsibility.
[55:28] Allan: You’re right: It’s about the 30,000 foot view. Someone needs to have the foresight where the project is going. How do you make a finished piece? It’s important to have that foresight, but all of us would spend weeks on a piece to make it the best. At some point, we do need to let it go. How do you deal with that level of perfectionism?
Andrey: That’s usually my business partner. He says, “You can stop now. The client will be happy.”
[55:41] Allan: You’re the good cop and he’s the bad cop?
Andrey: Sort of! But he’s the one restraining part of the team. I’m getting better with perfectionism: It’s better to get it done than none! It applies to personal pieces as well. Just do it and move on. Perfectionism can spoil the work. Most likely, it will. It’s better to let it go. In business, you have schedules.
[57:47] Allan: What about personal work, how do you find time for it? You have a family, you have a company. I feel you’re in a good place to discuss this.
Andrey: Well, it comes down to that social media stuff or news. It’s about how you choose to spend your time. Even at work, if I have a massive simulation, I’ll put it in a cache. That’s 2 hours. When one machine is occupied, I jump on another. I’m about to build a workstation at home where I’ll be doing case studies on Octane. Plus, I highly recommend waking up at 5:00 a.m. I go to sleep at midnight.
[59:21] Allan: I get that. My wife will work until 3:00 a.m. I get up at 4:45 a.m. When no one is awake, it’s you time!
Andrey: Oh, man! It will amaze anyone! You’re waking up at [5:00], brush your teeth, exercise. Before the work day starts, half of your working day is already finished. And you cannot believe how productive you are first thing in the morning.
[1:00:15] Allan: I also believe that it’s quality time. When people do overtime, they’re messing around. But it’s also hard to maintain a life. But if you’re waking up early, by the time everyone else rolls in, you’ve done so much work!
Andrey: And no one distracts you which is super important! So concentration has a psychological factor where if you get distracted, you need 27 minutes to get back in focus. During the working day when every producer will ask a question, that’s lost time. So in the morning, you can be super focused.
[1:01:24] Allan: I’m interested to see where the industry is going. As you mentioned, young people have their own challenges. Plus, we’re going through COVID and working from home. It’s fascinating that it’s proven that we can work from anywhere. You don’t need to be physically located at a studio — or even in that city. What’s your take on that?
Andrey: Yeah, it makes so much sense! I personally work half of the time from home. What we noticed is that the performance of the team has actually increased. People don’t need to spend money commuting to work, or parking, or lunches. People are more happy. Comminiting time in LA or in the U.K. is insane. That’s a couple of hours of your time — gone! And people can be more rested and connected.
[1:03:25] Allan: For you, at your studio, have you seen people working efficiently.
Andrey: We have catch-ups everyday at 9:00 a.m. It doesn’t matter if people are in the studio or not. We clarify what we’re all doing throughout the day. We aren’t checking or spying on people if they’re working. Everything gets done and the product gets delivered. I’m particularly proud of our CG team. We have physical stations for the server and the guys are connected remotely. We provide the laptops. I work on a Mac Book and connect to multiple machines. I can work on a sofa!
[1:04:54] Allan: The only Mac I’ve ever owned was a 2012 Mac Book Pro. I found that when I wasn’t in LA, my render farms were. There was a time I was working from that laptop on 7 feature films. As long as you have a fast internet connection, it doesn’t matter where you are.
Andrey: And these days, even the internet speed is not that critical as long as it’s not color critical work, like grading. That’s the future right here!
[1:05:54] Allan: With everyone working from home, it’s proven another point. Most major studios, like ILM, have already tested it out in 2015. Everyone in LA had a keyboard, a mouse and a screen and they were connecting to a station in San Francisco. That already proved to them that you can work from a different location.
Andrey: It even speaks to the production itself. I remember a project in December. It was a blue screen in London. I took my Razer with me and I was remoting into my studio which had backdrops that would be applied to that blue screen footage. We were using it as a timeline. It was a small little laptop. That’s all you need! Cameras are getting crazy good! Realtime is moving in an interesting direction. VR! There are so many things to be excited about! The thing that slipped my mind earlier: When I say I know everything, that’s a bold statement. Of course, I don’t mean that. There is no person in the world that knows everything. There is a whole ocean for me to learn, in front of me!
[1:07:54] Allan: The way I heard it is that you’re not limiting your focus. You’re obsessed with everything.
Andrey: I don’t want it to sound like I think too much of myself.
[1:08:20] Allan: I think you will get people who say, “I do matte painting and that’s all I care about.” And you have other people who are matte painters who also know how to do particles. Knowing there is so much stuff out there, you want to play in every sandbox.
Andrey: It’s a rabbit hole, yes!
[1:08:50] Allan: Tapping into that topic of so much stuff out there, what are the big technical trends you’re following right now? What do you think of VR?
Andrey: I think VR requires a lot of investment. Our company did consider it but for the size of our business, we cannot afford it yet. But I believe that’s the future! Jon Favreau is a massive inspiration for me, as well as James Cameron. The Mandalorian, that’s the future. OTOY is developing Brigade. It’s basically realtime thing. You can have preview in Real Engine.
[1:11:01] Allan: I think for anyone looking to make bank right now, VR is going to take over the planet.
Andrey: That’s what I’m saying to my partner.
[1:11:31] Allan: Especially with what’s going on right now! I had a call a few weeks ago with one of the guys who’s building a name in the area. There are a few key studios doing a lot of this stuff, especially because it’s not that safe to shoot with a lot of talent in one place. I think that right now, it’s starting that peak.
Andrey: Absolutely, mate! I really love that concept of production stages merging together. A good example is with Unreal Engine, it has a 3D aspect and color grading. Same with VR production. You can combine it with practical — and you have the final shot.
[1:13:17] Allan: Where can people go to find out more about you?
Andrey: My channel: https://www.youtube.com/andreylebrov. Same thing with IG: @AndreyLebrov.
[1:13:37] Allan: Thanks so much for doing this, man!
Andrey: Absolutely, mate! It’s so cool to talk to you! It’s a total pleasure to speak to a person who knows and understands what I’m talking about.
I hope you enjoyed this Episode. I want to thank Andrey for taking the time to do this Podcast. This was a lot of fun!
I made sure to link to Andrey’s video called Where I’m From: https://www.youtube.com/watch?v=JxND1Q5tytI
Go to Branding10X.com to check out my free training on brand.
Next week I will be back with a round table with a VFX Sup and Producer from Crafty Apes. There are other great Podcasts coming up as well. Keep in eye for those!
Okay! Rock on!
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Allan 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.
Allan 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.
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?
Find out, and how YOU can apply this to your work and personal life. Grab the guide (It’s FREE).
Whether you’re in games, film or design this guide is focused on giving you the answers and knowledge to confidently seek out the set-up and hardware you need to get the speed and reliability to create the most jaw-dropping visuals you can create. Without being bogged down by slow hardware, or investing in the wrong areas that ‘cost a fortune’ and don’t really make much of an impact on speed and stability.
Allan goes through how to start TODAY applying many unique approaches to building a successful career, and taking control of your year so far.
Gain access to the free guide, videos and other resources now.
From learning to front load your pay raise, to hosting networking events and positioning you as an authority. Allan goes through many tactics and ways to take control, and make this your BEST YEAR YET!
How much should I charge?
If I ask too much, will I scare them off?
What are the key things that I’m doing wrong?
Money, negotiating, probably two words that build the most tension just at the thought of, other than public speaking.
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.
But, most of are afraid of missing the mark, and scaring away our employers. Or, just not sure how to even start the conversation. 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.
Realistically – a good negotiator never needs to haggle, they never have a moment of tension, they never are in an uncomfortable situation. It’s actually very seamless, easy and kind of fun. But, it does require understanding many of the fundamentals that this guide covers in-depth. Negotiating your worth the wrong way can cost you tens of thousands of dollars per year, and it’s the most critical thing we all shouldn’t ignore.
Get the guide now, and never leave money on the table again!