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The most notorious question in the creative industry. Last night I was going through my e-mail and I came across a name I haven’t seen in a while. It was one of the interns I had when I was out in California. He started with the usual “hey how are you?” “I just graduated” blah blah blah and then he said he wanted to know how to get into freelancing.

Unfortunately I sat at my computer for about 2 hours writing and re-writing my response. Sadly I couldn’t give him an answer, or at least the answer that I wanted to give him.

Ask anyone in the creative, design, animation or motion graphics industry and he or she will tell you … every scenario is different. I wanted to give him a perfect, step-by-step answer and I can’t … realistically I don’t think anyone can. I remember the time when I struggled for work and now I want to give someone a chance, just like I was given a chance years ago.

Jessica Hische wrote a blog about this a couple weeks back and this is the best way to put it

“because what works for one person does not necessarily work for all people.”

This is absolutely correct … I have never heard of any of my freelancing buddies getting work the same way. Every story is different. Everyone has a different background. Hell I know a guy that went to school in Kansas and he received a degree in theater but now he is one of the most successful 3d freelancers I’ve ever met.

So in this diatribe is my advice on getting work if you’re a video editor/motion graphics artist or 3d animator:

BE COOL BABY

The creative game is one that requires a cool head, the ability to react to a situation and not “freak-the-fuck-out!”. Being cool both personally and professionally will be huge in getting work. Realistically, would you want to work with someone who is a total ass?

I’m notorious for being very social and when the job is done I want to celebrate with the men and women that made it all possible. Having drinks, dinner, playing putt putt (hey don’t knock it haha), etc and building personal relationships with editors, directors, producers, CD’s, etc is not only a great way to expand your friend base but realistically it will make them want you to come back.

Once I took the head a studio (that will remain un-named) out the dinner just to introduce myself … I made it very clear from the beginning that I was a freelancer but the dinner wasn’t about getting work but just meeting the people in the community … We are now good friends and ever so often he’ll throw me a job, but he constantly invites me out for drinks with other producers and directors

Also build relationships with other people in your field. I have freelance buddies that give me work and anytime I have too much on my plate I hand stuff off to them. Also your friends will know people you don’t and they’ll be able to introduce you to other studios that might require your services.

Makes sure your comfortable as yourself (i.e. how you dress and act) … in the design world I’ve never seen a real 9-5 week. If your unable to get along with people, those 16 hour days or 3-day crash sessions may feel like an eternity.

PROMOTE THYSELF or WRECK THYSELF

Rule number one of getting work is having a medium that people can use to see your work, therefore they’ll want to hire you. And I can’t think of anyplace better than the internet. SO GET YOUR SELF A WEBSITE! And once you have said website unless you are a graphic designer don’t bedazzle the hell out of it. People like to see the information in a clean and organized fashion.

This I hoped last night was a no-brainer, but tons of people still don’t have websites. That right there is a recipe for disaster. So do yourself a favor go to vimeo get an account (its free) and load some videos … then go to squarespace (costs money but is totally worth it), wordpress or tumblr (both are free) and link up your stuff. It’s not rocket surgery. The most important trait to have in a portfolio site is the ability to update the damn thing … chances are once you start working you’ll be putting everything you work on, on the internet.

DEMO REELS & RESUMES … THE TRUTH

Most of the time studios don’t ask for a resume … the reel, the rate and the availability is what they need to know. And it’s all about the reel baby. Nick Campbell at Greyscale Gorilla did a great segment about this (you can find that here: Say NO to DVD Demo Reels!) about sending in DVD Demo Reels and resumes at random. He also has a great post about how the length of demo reels (http://greyscalegorilla.com/blog/2010/07/why-your-demo-reel-should-be-really-really-short/). Since he does such a great job at this, I’ll let him give you the low-down on that:

Demo Reel Stats

I have a resume that every year I update but 95% of the studios I work at have never asked for one. But the format is short, simple and to the point. Studios don’t have time to read a mass of dribble. I myself have thrown away resumes when I had a studio gig simply because it took too long to get the required info. A novel isn’t required for companies to see your skills. Also make sure you keep it too ONE page … I’ve seen wayyyyyyyyyyy too many that break a page … if your resume is legitimately 2+ pages long odds are they’ll call you for work not the other way around.

My current resume has my past STUDIO and FREELANCE experience … I don’t include any other irrelevant jobs purely on the fact that studios/production houses could care less, My skills and software certs, my rates and my reel … oh and my name haha. If they like the simplified info that you layout for them they’ll respond. Just give them what THEY need, not what you want them to know.

Craigslist is NOT the answer

Craigslist is great if you’re looking for an apartment or a coffee table but not for a job. That is the number one place if you want to get screwed over big time. Rob Loukotka (fringefocus.com or see below) had a great statement about this:

When looking for shitty clients, Craigslist is a great place to start. The ‘gigs’ section is a virtual goldmine for the bad work you’re looking for. Be sure to look for posts that say: “Student Needed” or “This will be great for your portfolio!” ALL CAPS posts are exceptional resources.

And the man couldn’t be more right. I’ve taken a few craigslist jobs and the results are as followed:

* 2 haven’t paid me
* 1 took my project to another designer that would do it cheaper
* 3 only paid half
* The rest tried to get free work

If your going to use the web to find work use the right sites.

* Motionographer.com (my fav)
* Behance.net
* Mandy
* The jobs section on mograph.net
* Etc.

Popular design and motion graphics sites generally have a jobs listing section. And if the site is popular odds are employers, producers and directors go there.

STRENGTHEN YOUR LIVER

Now this part might seem like a joke but its not. The amount of work, time, blood, sweat and tears that go into the design jobs you see companies put out is extreme. And after a 3 day C4d/AE bender I know plenty of people that want to go party and celebrate another successful challenge conquered. So most of the people I’ve meet love to drink (I myself am one of them haha) so learn to be social at bars and restaurants, but don’t overdo it … the last thing you want is to be super drunk in front of your peers/employers. Now if they get you that drunk than that’s a totally different story.

BE NOT AFRAID

Lastly don’t be afraid to take a hit the first couple of jobs. Unfortunately it is kind of a rite of passage.

If your right out of school, don’t charge what the senior guys charge. If you walked into a studio and wanted 100 bucks an hour odds are you’ll be laughed at until you have some years under you. This is where having a day-job is key.

Also don’t be afraid to say no … just because your new, companies might try to squeeze you for less money … remember if they have already invested in you, they’re not going to fire you unless your a dick about being paid shit. Be polite but firm and if push comes to shove you might have to yield, but that director now knows you have some balls.

Also ask your co-workers for advice once you start working … If they are total assholes then avoid them, but if you meet some people and they’re cool, hit them up for some tips over a beer. People who have lived and breathed the life can give the best advice.

THANK YOU FOR LISTENING TO MY RAMBLE

Odds are I rambled alot during this, so if you have any questions please feel free to e-mail me. Obviously we only scratched the tip of the piece of frost that is the very top of the iceberg known as “freelancing” but hopefully this should fill in some of the gaps.

I wish you the best of luck

~Mike Florio

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Creativity is one of those subjects wrapped in shrouds of mystery. How does one “get creative.” How do you go from staring at a blank canvas, a black and empty composition, and then end up with a masterpiece. Everyone has a different take on it, and most people try to boil creativity down into repeatable steps. I’ve heard many variations of 3, 4, 5 or 6 step plans to getting creative:

1. Preparation 2. Incubation 3. Illumination 4. Implementation

1. Observe 2. Reflect 3. Make

1. Inspiration 2. Clarification 3. Evaluation 4. Distillation 5. Incubation 6. Perspiration

I think creativity is quite a bit more ambiguous and mystical than a clever sounding 5 step plan and I also think it will be different for every person. Let me share what works for me:

Find inspiration

Finding inspiration before I start transforming a blank canvas is key. My process usually starts with cruising the internet, taking screencaptures of design or photographs that spark something in me. It could be a color scheme, a font, a background texture etc. I compile all of these into a folder. All of these different inspirations start to focus my mind into a direction I want the piece to go.

Set boundaries

In my opinion, setting boundaries is the key to getting started. The hardest part for me is the first object/element I put onto the blank canvas. Setting boundaries helps you narrow down the infinite possibilities into something that can focus your mind on. Deadlines are one boundary that will force you to get started and do the work. I watched a video recently by Jack White of The White Stripes talking about boundaries. He said this:

“Deadlines and things make you creative, but opportunity and telling yourself “you’ve got all the time in the world, all the money in the world, you’ve all the colors in the palate you want, anything you want” — that just kills creativity.”

Start with one piece of the puzzle

I look at the client, their logo, a font they require, their color pattern, their vibe/mood. These things all set boundaries as well. If I have a certain color palate, then I have a boundary. If they require a font, then I have a boundary. These help me put something into my empty comp. They help me start the process. I find that once I get one element in place, then my mind clicks into the flow and everything else is simply getting lost in creating and filling in the pieces.

Crank up the music and get lost in the flow

Once you get that first element in place and you have started the process, the rest is easy. Your mind is prepped and ready. You have boundaries and direction. At this point I turn up the music and get lost in my mind. Simply enjoying the process of creating. Not really thinking, just enjoying. This is the “flow” that is so coveted and so sought after; A strange phenomenon where you lose track of time and simply enjoy the process.

As for the details of the process, this is my workflow: I create 3-4 style frames for a project. I generally show one style frame for how I will treat a text moment, one frame for how I would treat any video that is in the spot, and one frame for the end slate with client logo and call to action. I create these in After Effects which may or not be unusual. I know a lot of people do them in Photoshop, but I can’t stand doing that. All of the effects and plugins and presets that I have are in After Effects so I feel like I have more options and tools. I also am able to “build” the scene to some degree and then when the concept is approved I don’t have to re-build it. It’s ready to go.

I never, ever turn on the 3D layer button or animate anything. That is a limitation I put on my design phase. Everything is 2D and the layers are simply stacked on top of each other. I do this so I have more creative freedom to grab layers and push them around and try new things quickly. Animating anything or “testing out” a camera move simply takes too much time. The goal is to create a design, not to animate. Once I changed to this mindset I was able to create concepts much quicker. If I’m doing any C4D work I will render out a single frame, bring it into AE, play with it, go back to C4D and make tweaks, then render that frame out again. It makes it incredibly easy to integrate the two programs when you’re just doing one frame and it gives you the ability to try out so many different variations on a design.

Take a coffee break, then come back and look at your creation

When I’m done creating a design I step away. I go for a walk. I go refill my coffee. Then I go back and look at the design. A lot of times you need to step away, even overnight, before you can see what you have created with the perspective of someone seeing it for the first time. Getting others opinions is vital also, since you are so steeped in the design you may be blinded to little details.

And that’s my process for coming up with a design. It works for me. I’ve spent years trying to figure out the way my mind works, the way I get into the “flow” and the way I find inspiration and translate it into unique and powerful design. It most certainly is a process that you will have to figure out yourself.

I’m interested in how you stay creative and what your process is! Please share in the comments!

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I’ve seen alot of people try to learn motion graphics and videography, and I’ve obviously learned it myself in the past. I’ve also seen alot of videos posted on the internet as a result of these learnings. One thing that I’ve noticed is what separates the better videos from the others are the little details in the video.

What do I mean by the little details? Well what I mean are things like, a little bit of easing on those keyframes when the object moves, the composition of the shot, the tightness of the edit, the little bounce as the layer comes into frame or the way a particular shot is lit.

These are the things you develop and learn the more you do motion graphics or make videos, and these are the things your peers will look for when watching your video. Don’t worry about not spotting these straight away, your eye will develop for these things with your experience.

So next time you make that video what should you be looking out for?  Well how about some of the following.

• Composition of the shot
• How shallow or deep your depth of field is
• The lighting
• Tightness of your edit
• Pace of your edit
• The music or sound effects
• Sound Levels
• Easing in your animation
• The timing of your animation (is it too quick or too slow)
• Have you added motion blur (this tends to make things look better when they move)
• The colour scheme
• The typography
• The story

Remember to have a think about all these things when you start and as you work through your next project. Is there anything else you would add to the list?

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Something that goes overlooked quite often while on the hunt to be the best, most relevant person in your field is the time to step away from work for a bit and regain your life. I’m coming off a two month freelance hiatus and I’ve got to tell you how unbelievably refreshing it is to come back with a new found passion to do good work.

That seems like something a lot of us do to ourselves while on the grind to produce, produce, produce. I’ll speak from my personal experiences and assume that all, if not most of you, are the same way. Almost above all else we love what we do more than anything. The fact that none of us have to work a 9-5 doing data entry or waiting tables makes us very thankful and in love with what we do to make a living. I believe it is that fact that most of the time I will unknowingly give up basically anything and everything I’ve got going on to make sure that this privilege continues to pay out.

For a long time I had no idea how to correctly balance and make sure that work life and personal life supported each other and did not cannibalize each other. The great thing about graduating from Full Sail University is that if the school is good for one thing it is making you great at what you do while programming you to produce under any circumstance over everything else you may have going on. Which is also the worst thing about graduating from Full Sail University. I’m sure we’ve all sacrificed our personal lives in pursuit of that next great project or to finish up that insane deadline. How many of us have let work become all we do and think about? Personally, I have missed out on great moments with my friends and family in the name of “getting this done” and with the intention of “when this pays out things will be better”.

There is nothing more important in your life than friends and family and the moments you get to spend with them each and every day. You have to take time and find that balance of work and life and make sure that each gets the proper time it requires. Not to say that you shouldn’t ever work till 3am on a project that has to get done, but rather that if there is a time when that happens make sure you counteract that time spent another day and go for a bike ride on the beach or spend time with people you care about. What good is spending all the time learning our craft and creating the things we do if we’ve alienated ourselves from the people we want to share our work with most?

With all that I simply suggest to examine all that you’ve got going on and make sure everything is in balance. The worst thing in the world was getting burnt out and seeing how much I’ve removed myself from my friends and family. Take the visualization of balancing a pencil on your fingertip. One end is work, the other is personal life. You could put your finger in the exact center and the pencil would stay there balanced. However the Holidays are coming around and now there is more weight on the personal side of the pencil, so you have to move your finger closer and closer to that side to make sure the pencil does not topple over. Then the Holidays end and you’ve got multiple projects knocking down your door, now move your finger closer to the work side. The real trick is simply feeling out who needs what and keeping an even keel of everything. You don’t want to end up where I was to find you were wasting away in front of a couple of monitors and interacting with friends and family on Facebook alone.

Go take a break. Go hug someone you love more than anything and make sure they know. For crap sake, call your mother I know she’s worried. Get away and make sure the real people in your life come first. Balance.

Be good.
Timmy.

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So, what does professional mean? I decided to write this article a little after the release of Apple’s Final Cut Pro X and the fallout from that.  On the day of it’s release, there were numerous people on Twitter and various blogs crying foul of Apple saying the app didn’t have some professional features, and it couldn’t be used for professional use. This got me thinking of what features of an app make it professional and, in general, what does it mean to be professional?

So what does professional mean?

What exactly does being professional mean. Does being professional mean using specific apps? Does getting paid for your job make you professional? Can someone making a video for free not be professional? Is it the way a person acts that makes them professional? Am I not a professional because I use this piece of hardware and not that piece of hardware.  Let’s have a look at some of the things we mentioned and consider what being a professional means.

Hardware

What hardware make us professional? I think this is something that constantly moves. If we look back at the history of making video, what constituted a professional video camera in the 1980’s or 1990’s would probably look antiquated and some people would consider it unprofessional to use it these days. It can’t shoot in HD? It doesn’t have an SDI output? Well, then maybe it isn’t professional these days. You also have to look at newer technologies such as the DSLR [camera] and how these are slowly being accepted as being able to shoot professional video in some circumstances.

The computer you use was also considered, by some, for a short while, to denote whether you’re professional or not. Some years ago, being a creative professional and owning an Apple Mac went hand in hand.

I also think we can look at my previous article ‘Grab a Bargain and Don’t Always Buy New‘, and [ask yourself] does buying brand new or the latest and greatest equipment make you professional, or are you still a professional if you buy second hand or slightly out dated equipment.

Software

What constitutes professional software is how I came up with the idea for this article. I think software is a similar situation to hardware. Just because you have the latest release from Apple or Adobe, can you automatically make professional video?

If you are an editor who still edited movies by hand these days, would you be considered a professional or just someone who had an interest in the ways films use to be edited.

Even if you are using a non linear editor such as Avid, Final Cut or Premiere Pro, etc., which one of these constitutes a professional applications. Does using Avid automatically make you a professional? I think until the release of the previous version of Final Cut, unless you could edit on Avid then you were not considered a professional editor. Can you still be a professional if you use Final Cut or Premiere? You have to look a the fallout of the release of the new version of Final Cut Pro X and people crying foul that it wasn’t professional. Does that mean if you use Final Cut Pro X to edit then your not a professional? The same goes for Sony Vegas. If I edit with this, am I not a professional? I think all the applications mentioned can be used to create professional video in one form or another.

Pay

If you make money out of making videos are you a professional video maker? Also, with this, how much money do you need to make to be considered a professional? $20,000 a year?  $40,000?  In a junior role, are you considered a professional yet, or do you have to wait until you’ve moved up the ladder before you can truly be considered a professional.

We can also consider the issue of outsourcing here. Increasingly, in all industries, outsourcing is taking place where projects or parts of projects go overseas because it is cheaper (often due to currency exchange rates). If people are working for less than you but still have the same skills, then are they still professionals? Surely they are because there using the same hardware and software as you.

So can we answer what professional is?

As you can see from the previous paragraphs, there doesn’t seem to be a particular set up of software, hardware and pay that constitutes being a professional. Sometimes being a professional is also moving target–what it took to be a professional in the past would probably only get you so far to being a professional now.

In my opinion, what it takes to be a professional is various things. I think which software you use is getting less and less relevant these days. I think you can make professional videos in Avid, Old Final Cut, Premiere or even Final Cut Pro X! Certainly being a good editor is more about having good solid editing skills rather than using a particular piece of software to edit. I even think I could make a good attempt to edit with windows movie maker!

I think for some hardware there is a level that is professional, when it comes to video cameras for example, having manual controls on your camera and sometimes things like having XLR inputs make a camera professional. Although with some good lighting you could certainly make a good video on a Handycam to!

I also think getting paid for making videos also makes you professional along with what software and hardware you use. Not that just because you don’t get paid doesn’t mean you haven’t got professional skills.

Overall, I think it takes a combination of the hardware, software and pay to make you a professional. I also think that having certain skills is what makes us professional. If you have the skills, you can make decent video using a lot of different hardware and software. But, as we previously mentioned, all this a moving target so we all have to make sure we keep up to stay relevant in our industries.

So, what does professional mean to you? Let me know in the comments below.

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Back in June, in the Letter From the Editor column, I wrote “Final Cut X: Commercial Success or Critical Failure?” As it turns out, I couldn’t have picked my words any more correctly for two reasons: not only does the software not act like the “Pro” software that it has been built up to, but by all accounts this version of Final Cut seems like a commercial failure.

FCP X: Change is here

Unless you’ve been hiding under a rock for the last few weeks, you have heard about the release of Apple’s highly touted Final Cut Pro X (which isn’t actually the tenth version of the software, but a complete rewrite that they felt needed to be stamped with the now familiar “X” brand). You, undoubtedly, also heard it doesn’t quite live up to the “Pro” in its name. Gone are the OMF and XML export options, multicam, no reconnect to offline media option, no organization of project files, no more Final Cut Studio. Now, everything’s been rolled into Final Cut except Motion (for animation) and Compressor (for encoding files). Oh, and you can’t even open FCP 7 files.

All of these drastic changes have caused a ton of fallout from amateur and professional editors alike. Everybody from David Pogue (Pogue’s Posts @ The New York Times), Richard Harrington, Larry Jordan, Alex Lindsay, and Carey Dissmore are up-in-arms over the new release because of these major shortcomings. Walter Biscardi was so taken back that Apple would release such premature software that he very publicly denounced it and moved to Adobe Premiere Pro. Hell, even Conan got in on the fun.

Other software companies also took notice of Apple’s mistake. Adobe jumped all over the big letdown by offering huge savings for anyone who wanted to switch to their either the entire Production Premium or just the Premiere Pro editing software from Apple FCP X. Avid CEO Gary Greenfield was also quick to respond with a discount for Avid Media Composer and a letter proclaiming their commitment to professionals.

Apple has been reported to be issuing refunds to some customers who need the pieces that are missing from this version of their software, and they released a public announcement assuring all Final Cut users that fixes will be coming (some free, some paid) in the “near future”, but this hasn’t silenced the criticism any. In fact, many are demanding Apple to make immediate changes and pay for all those changes as well.

All of this has amounted to one of the worst product launches in Apple’s history. In fact, as of writing this, the average rating in the App Store is at 3 stars (which, to Apple’s credit, has gone up from the previous 2 1/2 stars I saw a couple of weeks back). It looks like the damage has been done.

The highest rating FCP X has gotten since released

Where I’m coming from

I am not a professional editor, but I was trained on Final Cut Pro in college, I own a copy at home (FCP 7), I have used it on many projects from simple family projects to more advanced client projects, and I loved it. However, about a year ago I stopped using it and moved over to Premiere Pro. Because of the lack of updates from Apple and their constant move to make everything more accessible to everyone, I feared they may have given up on professional software. I feel I couldn’t have made a better decision.

Even at a reduced price of $299, the software isn’t worth the money–it’s incomplete. I understand that Final Cut was in need of an overhaul, but to release a newer version of said software that is completely lacking features that an earlier version had and pull all copies of Final Cut 7 from the shelves is just absurd. Add to that the fact that they plan on releasing updates to fix these problems and have the users pay for some of them is just ridiculous. To make matters worse, nobody knows how long these updates will take to be released. Many can’t, and won’t, wait that long, and I don’t blame them.

The new FCP X

But is everybody out in the cold with this product release? What about the independent editor? What about the guy who doesn’t use the multicam tool and doesn’t care about organizing his project? Well, if you don’t plan on sharing your project with anybody and you can deal with the shortcomings of the software, then I suppose you can. If you are just a family man/woman who wants to edit family videos, then it’s great for you.

If, however, you plan on sharing you project with another editor you’ll have to either let him/her use your computer, hand over a huge project/event file with ALL the media files or send him/her just the project files and have the second editor reconnect all the media files. Do you plan on sending your audio/video files to other applications to edit, mix, color correct, do whatever you want with? Think again. You’ll have to download a $500 dollar third-party application in order to do so. It doesn’t support AAF, EDL, or exporting of XML either. Oh, and did I mention you can’t even open files created in Final Cut Pro 7? Yeah, there won’t be a fix for that either.

Wait! There has to be some positives about this software, right? Well, with a completely rewritten 64-bit architecture you’re going to get some cool features, but they’re not all they’re cracked up to be from what I see. The magnetic timeline will always allow your video and audio stay in sync, but it doesn’t take into account L cuts (when you want the video from one track to overlap the audio from the other, or vice versa). The compound clip idea for the timeline makes it difficult to quickly see quick changes to video you add because you can only see the main storyline. You can use audition, but from what I read, that isn’t any quicker than the old drag and drop method. In fact, a lot of what I read about FCP X is that it actually takes more clicks of the mouse to do a simple task. About the only positive that I see is the automatic rendering of a project, which is cool, but Premiere Pro has been doing that for a while so I’m not impressed. That really doesn’t leave you with much, but I guess it is cheaper.

The bottom line is if a tool doesn’t allow me to do my job properly or easier, then I’m not going to buy it. The same goes for my software, because they are just tools to get a job done. I already own Adobe Production Premium because I need After Effects, Photoshop and the other software they have, so it just makes sense that I’m going to learn Premiere to do my video editing. It has everything I need to get the job done and then some.

Where did apple go wrong?

If you look at Apple’s past, you will see a disturbing trend.

Apple has been making both their software and hardware more easily accessible to everyone. Sadly, that means dumbing it down to a basic level as with Final Cut Pro X. In doing so they will alienate a good portion of their market share, but they will also gain a bunch of new “lower end users” in the process. Does that all equal out? Who knows, but it’s the direction Apple has taken, either consciously or subconsciously.

After years of upgrades and several third party plug-ins Final Cut Pro X will be at the level it once was, and some of the professional editors and companies may come back. That is, if they even care about Final Cut when that happens.

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Movies are so quaint. They always have a first act that introduces the characters, their normal state of life, their opposition–everything. Sadly, that’s not real life. We aren’t always able to be introduced to everyone, know what our objectives are all the time or how to easily obtain them. No, real life often starts out smack dab in the middle of act two where we are at our lowest point trying to overcome the objectives set in our way. Life is funny like that, but that’s what makes it so interesting.

In the almost year and a half that I’ve been writing here at Fuel Your Motionography (yes, it really has been that long), I’ve worked my way up from blogger and occasional FYM staff writer to full blown contributing writer all the way up to editor-in-chief. During this time I’ve gone from being a solitary writer to working along side four very talented and motivated motion graphics artists and videographers, plus an ever growing network of extraordinarily visionary creatives that have helped me along the way. It also goes without saying, there was, and still is, a great community of readers who continually come back to read what’s new in the world of motionography. Through all of this, I’ve come to realize, I’ve never introduced myself or even said hi.

Well, this is my hello, of sorts.

My name is John Kostrzewski and I’m a motionographer. I probably haven’t worked on anything you’ve ever seen or even heard of. I didn’t run off to Hollywood to work on a small part of a large production movie that didn’t mean much to many people. I did, however, work on some small productions that meant a lot to a few people. That’s real life. Not all of us are going to work in “the movie biz”. Not all of us are going to get the recognition we deserve. Not all of us are going to be in the lime light. But that’s not what’s important. What’s important is that we love what we do and do what we love; that we make every project we work on a Hollywood size production, no matter how big it actually is.

Our job is to make people happy. Even deeper than that, to make ourselves happy.

It took me a while to realize that. I was working on a few smaller projects wondering when that one project would come along that would set my career sailing off into infamy. It suddenly hit me that my career had already taken off. I have been doing what I love for years now and I’ve been making people happy for that same amount of time. Sure, things can always improve such as getting more work or pay, but that comes with any career, and that comes with time.

Oddly enough, I felt the same way when I started with Fuel Your Motionography. The day I started writing here was the day I started clawing my way to the top, even though I was only “fighting” myself. I became a contributing writer and continued to push as if my big break was just around the corner. The day I became editor I continued to push thinking there was something else up there. When I realized there was no other place for me to move, I began talking with Timmy Allen about expanding in other directions. Then, one day, I realized the answer wasn’t out there in another project or a different website. The answer was, as it always has been, right in front of me.

I guess the point I’m trying to make is this: throughout life, we are constantly struggling to get further: a better job, better pay, bigger house, so on and so forth, and that’s always a good thing. You have to pay your dues in life in order to reap the rewards, and those rewards should always be worth the effort you put in. However, while you are hard at work, never lose sight of what’s in front of you. What you have been struggling to reach may have been there the whole time.

“It’s not the years, honey, it’s the mileage.”

- John

This month in fym

• Changes On the Way: We have some changes planned, some big and some small. Some are merely additions. Some are too big to be mentioned at the moment…
• Final Cut X: It’s finally here, but will it be a leap forward or just a stepping stone to a future big release?
• Super 8: The J.J. Abrams and Steven Spielberg epic adventure is about to hit theaters. Will it live up to the hype?
• Cinema 4D Quick Tips: All those tags. What do they all do?
• What’s in Your Toolbox: Effects. Plug-ins. Presets. We have all collected a series of “tools” over the years. What’s in your toolbox?
• Much more…

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We all want the latest and greatest equipment, and I know we all dream of owning really expensive equipment–we’d all love a Red One Camera, the latest version of Cinema 4D or the latest iMac or Mac Pro–but with prices going up in general, budgets being squeezed or if your just starting out in the industry and haven’t got a lot of money to spend, why not consider buying second hand or refurbished items. I know we all get excited when Adobe or Apple announce their next product or some great new feature but do you need that feature? Will it speed up your workflow? Will the benefits outweigh the cost?

At the end of the day, the items we use are just tools to help us to create; older equipment still works well the majority of the time, but sometimes it just takes a little longer to do things. Also, just because you have the most expensive equipment or the latest software doesn’t mean that it’s automatically going to make you great. Our industry is as much about craft and skill as it is about having the newest or best equipment.

Let’s take a look at some of the options we have for getting or buying used or refurbished equipment.

Software

When it comes to software, I think we all get excited when we hear new features announced in the latest upgrade, but, as we’ve discussed previously, we don’t always need that latest feature. If we’re on a budget why not consider buying a previous version of the software and saving yourself a few bucks. You can usually pick up the previous version of the software at a significant reduction of the latest version, and, for the most part, this previous version will do the majority of what the newer version does. You just need to ask yourself if you need that latest feature. Good places to find software bargains include:

• eBay
• Amazon
• Toolfarm (This quite often has deals on on various software)

Hardware

The same goes with hardware. Do you really need that brand new Mac that Apple announced last week? Most computers bought in the past few years will be capable of running either the latest software or, at least, a version not too far away from it. As long as you factor in the slower rendering time on these machines you’ll be fine.

Sometimes larger companies (who can afford to upgrade the equipment more often) will sell their older equipment which isn’t even that old–sometimes only a couple of years old–which means you can grab a bargain if you find a place doing that.

Some hardware manufacturers also have refurbished departments or sections on their online store where you can buy refurbished computers or peripherals at a reduction from the new price, and the equipment is pretty much as new. So, next time your going to purchase a new piece of hardware, have a look to see if the manufacturer has a refurbished store.

Some places to look for used or refurbished hardware include:

• eBay
• Craigslist
• Apple Refurbished Store
• DELL Outlet

Equipment

Some of the things we discussed for hardware are very much true for normal equipment too such as cameras, lighting and so on. Instead of buying brand new, try and pick up equipment second hand. As long as it’s been kept in good condition by the previous owner you’ll get a number of years out of your equipment. You can probably get twice as much kit for your money if you buy most of your kit second hand. Even if you buy slightly more inexpensive equipment brand new, this can still give you very professional results. Again, as with hardware, try and look for film or media companies upgrading their equipment, you might be able to get some pretty decent equipment for a small amount.

Good places to find second hand equipment can be:

• Amazon
• eBay
• Craiglist
• Gumtree
• B & H Photo Used Page

Even if you aren’t buying used or refurbished, make sure you check out price comparison sites like Price Grabber and New Egg to make sure you’re getting the best deals, and shop around to make sure you get the best price.

Where do you get your equipment bargains from ? (That is if you want to reveal your trade secrets!)

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When the first generation iPad was announced on January 27th, 2010, I, along with many others around the globe, had visions of the creative field changing for the better. No longer would I be tied to my desk or laptop in order to use my programs; soon, I would have the iPad to bring my programs with me or, at the very least, be a clever assistant to all of the programs I use on a daily basis. The future we have seen in the movies would finally be at our fingertips.

Sadly, months after its release, I was still waiting for a company to make my dreams a reality. The iPad was a solid device with great functionality and the backing of a lot of large and small software companies (and individuals). It was a device that stood on its own perfectly well, but it was still the awkward rookie on a team of professionals. It didn’t know how to play well with its team mates. Even when Apple released Pages and their other line of iWorks software, one of the biggest complaints was that the consumer had to connect the iPad to iTunes and awkwardly transfer files through a tacked on interface. There was always the wi-fi connection, but that just meant you were stuck to a computer again. There was, of course, the 3G network but its not strong or secure enough (or is it?). Nothing really felt right.

As time went on, companies started creating “lighter” versions of their software for the iPad such as Adobe Photoshop Express and iMovie. They were both great products, but they lacked great features that their bigger counterparts had. Photoshop, for example, is really just a basic photo editor. Sure, there were a ton of really cool creative drawing/painting apps such as SketchBook. Coupled with a stylus (if you are no good with your hands) and you have yourself a winner for best drawing/painting app for sure. Then there was the Air Display app that allowed you to use your iPad like a second monitor which was getting closer to what I had envisioned, but not quite there. There were, of course, all the truly helpful productivity apps such as Evernote, Penultimate and Celtx, but these only helped the writing/note-taking side of things. Where were the apps that were going to actually help me use the programs that I use on my computer?

I envisioned turning my iPad in a faux Wacom Cintiq tablet, and why not? You had a beautiful screen that could be used for drawing. They make iPad styluses (styli) if you don’t want to use your fingers. All that would have to be made is an app that would connect to some sort of plugin on the computer that would communicate between the two. I know there’s no pressure sensitivity settings on the iPad and Apple is holding close to some secrets that would allow a work around on this, but isn’t there a hardware solution to pressure sensitivity? I’m no programming or hardware genius, but the creative blood in me yearns for something like this to be true.

What about making a app that would hold all of my tools or effects so that for programs like After Effects or Cinema 4D so that I can easily access them with little trouble when I’m working with that program on my computer. Or give me extra controls that usually are only accessible when you buy another controller. Well, it seems the future is finally inching closer, over one year later, and it cooler than you think.

WACOM BAMBOO STYLUS

Back around the middle of April, Wacom announced they were working on the Bamboo Stylus for the iPad and immediately my ears perked. I associate Wacom with their extremely popular line of tablets, and if they are announcing a stylus, apps can’t be that far off that will allow me to use the iPad like an actual Wacom tablet!

Well, my dreams are sort of in limbo right now. Though I haven’t used it, I know the stylus looks very professional. The tip seems small as that of the PenGo, but it looks like the real strength of this stylus is in the size, weight and balance of the pen. I don’t know if it has any kind of hardware based pressure sensitivity, but I can always hope.

Another thing Wacom began working on around this time were Bamboo Apps. Sadly, these apps weren’t meant for the iPad, rather for use with your Wacom Tablet on your computer (PC or Mac). Although there are a few creatively charged apps mixed in with the games and other apps, they failed to deliver that experience to your iPad.

Hopefully, in the coming months, they will release information that they were really just getting their feet wet in the iPad department and soon they are releasing Cintiq for iPad. One can dream.

ADOBE NAV

Adobe announced three apps for the iPad around the middle of April, and each one offers an interesting experience. One of the most exciting and exceptional Adobe iPad apps is Adobe Nav. John Nack wrote this about the apps in his article Brief Thoughts on the Photoshop CS5 Touchscreen Apps which really gets me excited for the future of Adobe’s apps (my thoughts are highlighted).

• Please remember that these efforts are just part of a bigger picture that has yet to be revealed. I’ve seen comments along the lines of “Nice, but I want Lightroom for tablets”; “Why are you doing these apps instead of making improvement X to Photoshop?”; “I’d like to see more support for Android”; etc. The feedback is welcome, and none of these things are mutually exclusive.
• “Nav is one of the most exciting of our three new applications IF you think beyond Nav itself,” writes Photoshop PM Bryan O’Neil Hughes. “We’re showcasing one of the most powerful pieces of the new Photoshop SDK – the ability to drive Photoshop from a device.” See the rest of his comment for more perspective.

Indeed, Adobe Nav is one of the most exciting apps they are releasing because this little app allows you to connect to Photoshop CS5 on your computer and use all your favorite tools, rearrange them, view and open documents on your computer and more. Now this, is what I’m talking about! If we can get a few more apps like this for After Effects, Premiere and the rest of the Creative Suite, we’ll be on our way to greatness.

Watch Adobe Nav in Action

Read more about this app on the Adobe Nav website.

vWave-Lite

vWave-Lite is an interesting app that’s been out for some time now, but has gotten mixed reviews. The app allows you to control the Primary In, Secondaries and Primary Out in Apple Color from the luxury of your iPad. Some people love it as they feel it’s a step in the right direction; others dislike it because it loses the tactile feedback of a control surface. However, this was also said about the iPhone when it first came out with its virtual keyboard, and look where it is now. Besides, the app is free so it’s worth checking out if you already own an iPad!

Gradiest Cineform First Light

Coming soon is this prototype for Cineform First Light called Gradiest. It works in a similar fashion to the previous app except it adds some functionality with individual controls for exposure, tint, contrast, etc. plus some cool multi-touch control as well.

NukeControl

Another prototype, NukeControl is an iPad app coming soon for, what else, Nuke. This app contains individual color and saturation controls as well as a master saturation control, timeline slider and multi-touch controls.

On One DSLR Camera Remote

Now this is a cool idea. The On One DSLR Camera Remote allows you to control your DSLR camera (view supported cameras here) from you iPad in both camera and video mode (when applicable). You can adjust the focus, shutter speed, aperture, ISO, white balance, and more all while away from your camera with your iPad. You can, of course, also shoot, review and save/send a low-res copy of your photo as well.

REDmote iPad Controller

Red cameras are becoming more and more popular these days (James Cameron just ordered 50 for his next movie), it comes as no surprise that Red is working on an iPad camcorder controller. The big surprise here is the amazing amount of functionality that they have included in their app. You can control tint, shadow, color grading, curves, compression ratio, exposure and so much more. Watch the video and be amazed.

Air Pad + Ingenuity

If all of these apps are too much for you or your camera/camcorder are not supported, you always have the option of using the AirDisplay app and the software from your computer to operate your equipment. Though this is technically just a workaround, it still gives you most of the functionality of your camera or camcorder.

There You Have It

The future is now. These apps are hopefully just a stepping stone to bigger and brighter things (and I think they are), but only time will tell what developers come up with for your iPad and you.

Did I miss a really cool app? Did you try one of these apps and have an opinion on it? Let me know in the comments below!

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Richard Krause, director of the super-cool Teenage Mutant Ninja Turtles short Fight the Foot, is back and ready for action on his latest short film, Aftershocks.

Aftershocks is “a short film [that] features two strangers struggling together to survive as aliens invade their city, creating massive earthquakes and destruction.” If his previous work says anything of his style, and it should, then Aftershocks should be epic.

When completed, Richard is planning on using the short film as a pitching point to reel in new investors for a feature length film based on the same idea. Right now, he needs your help to raise the initial funding for the short film. If you are interested in helping, check out the Kickstarter page for Aftershocks. All you need is one dollar, but, as always, more is always welcome. Also, as with any Kickstater campaign, there are cool rewards for donating to this great cause.

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In recent years, with have seen an abundance of motion graphics products and presets being released such as Nick Campbell’s Cinema 4D products and the rise of Envato’s motion graphics market place Video Hive. These have all proved to be very popular with the motion graphics community, but, with this, have thing started to look the same?

I neither agree nor disagree with my own question, but i certainly think it’s something that the motion graphics community should think about.  I’ve seen the same question raised by a few people in the community as well.

Don’t get me wrong, I think that some of the products are fantastic–I’ve certainly used them–but are we in danger of things looking the same?

Is this because some motion graphics designers are lazy or is it because clients are demanding more for less money, so, as motion designers, we need to find ways create more quality in a shorter amount of time?

Shouldn’t we be using these products as starting points and then trying to create something new?

Are we also in danger of losing the craft of creating motion graphics from scratch such as creating graphics from scratch, learning how to texture and learning how to animate?

I guess this kind of problem exists more for motion designers who tend to work with the lower budgets clients rather than the multi-national companies of the world. Should we be standing up and charging more or will the client just go to the next motion designer who’s prepared to charge less because they’re just going to use presets.

What do you think? Is everything looking the same?

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By now you’ve all heard about the large earthquake that devastated Japan. Our thoughts and prayers over here at FYM go out to everyone affected by the tragedy. If you would like to help, as I already have, James White over at SignalNoise.com is taking preorders of an amazing piece of work he has created to help raise money for the relief efforts in Japan. All profits received will be donated to helping Japan rebuild. If you feel more comfortable donating directly to a charity, he has a list of verified donation sites where you can do so.

The important thing is to just help Japan.

UPDATE: As of March 31st, everybody who donated to James White’s Help Japan effort has helped raise over $15,000! A big thank you goes out to everyone who has donated so far, but let’s not stop there. If you haven’t donated yet, it’s not too late. You can still purchase a Help Japan poster or donate to a charity of your choice to help Japan in their time of need!

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One of the most often asked questions of anyone starting out in the industry–freelance and otherwise–is, “What am I worth?” If you have no prior experience pricing yourself and your work, this can be a frightening thing. You don’t want to charge too much and scare your client away, but you don’t want to charge too little and not make any money while working yourself to the bone. While there’s no exact answer I can throw out that will work for everyone, I can show you a few key points that will help you find what you are worth.

Finding that magic number

It all starts here–finding that perfect per hour dollar amount, but how do you do that? Well, luckily for you, you don’t have to throw darts at a board full of numbers. Actually, if you’re good at darts, that might be a bad thing. Regardless, here are some tips that will help you figure it all out.

See what others are paying/charging

A good way to get a starting number is to see what the industry standard is and what others are getting paid or are charging for their work. This information can be used if you are freelancing or trying to get a full time gig at a studio. It’s always good to do your homework. Here are a few ways you can do this with very little effort at all.

• Check out the Motion Graphics Design Census to find out what the current low, median and high pay-points are in your specific field. A new one is released every year and the results are from all around the world so you know you are getting a broad view of the pay in the field.
• To get a more narrow view, talk to your friends who are working for a company and ask them what they are getting paid. If they are college friends or friends of similar experience, this is a great way to see what you would be making if you were in their position.
• You have no friends working in the industry? Look at the classifieds and see what companies are paying for a person in your skillset. Most ads, these days, won’t have a price listed, but you can still find some out there.
• Check Craigslist.org and see what other freelancers are charging for their skills.
• Look at websites such as VFXWages.com to see what the average pay rate is for others in your skillset. Take the information from this website with a grain of salt. It averages the high, median and low prices from information given from its members. If the information is false or not a lot of information is given for a particular field, the result will be false quotes.

Do The Math

Well, this was inevitable. The only way you’re going to be able to find a number is by doing the math. You have a base number by doing the above, but what if you want to narrow it down even further? You could manually add up all your expenses, but why, in a world of computers and calculators, would you do that? FreelanceSwitch.com has a great Hourly Rate Calculator you can use to figure out your hourly rate by filling in the blanks on what your expenses, fees are and much more are. I definitely recommend taking the time to fill this out to see how much you need to be making in order to stay afloat let alone make a profit.

Things to consider

Oh yes, there are more things to consider when it comes to pricing…

More Than Your Skills

Clients are paying for your time and skills, but they don’t always see what’s behind the curtain. The education you received to get those skills wasn’t cheap, and those bills need to be paid every month. On top of that, all the hardware and software you have that you use to create the amazing product your client receives isn’t cheap either. What about the gas you are using to get back and forth to meetings, shoots, etc.? If you’re freelancing, who is paying for the medical insurance and the days off? What about emergencies? All of this, and more, is calculated in the Hourly Rate Calculator, and a big reason I’m telling you to fill it out. You’ll probably be surprised how much you need to be making in order to get by.

What Are You Actually Doing

Are you only doing simple motion graphics for the project, or are you doing the scripting, location scouting, shooting, editing, etc. It should go without saying, the more you do, the more you should be paid.

Hourly vs. Fixed Pricing

A topic debated among many freelancers is hourly vs. fixed pricing. Obviously, hourly is a more accurate way of pricing a project, but it’s also more complex and difficult to keep track for both the freelancer and the client. It’s also harder for smaller clients to trust this system as they have no reasonable way to track your work other than by taking your word and constantly asking to see updates. You’ll find this, more often than not, working in house for bigger clients.

Fixed pricing is based upon your hourly wage, but is locked in for the project. It requires more planning on your part to foresee any work that will be required during the project, but is less worrisome for the client as they know the price won’t change unless they change their mind. This is usually favored by smaller clients.

Don’t Lower Your Expectations

The economy is tough. People all over are looking to save a dime where ever they can, but if you truly think about what you have put into yourself–your business–then you know how much you need to stay afloat and how much you should charge to make a profit. You know how much others are getting paid to do the same thing you are doing right now; don’t cheat yourself. Sure you can take a job at substantially less pay just to get a “real” project on your reel or resume, but will the tough times you put yourself through during the job be worth it? Are you thinking about the jobs that will open up while you are working on your current project? They could be paying your rate or more.

I’m not going to tell you what to do in this situation. Only you can decide what your situation is and if you really need to take the job, but I want you to remember that only you can tell others, and yourself, what you are worth.

More Information on Pricing

If you want to read a little more about pricing your work, you can check out these two websites. They deal with freelancing, but their words ring true for everyone.

FreelanceSwitch.com is a great site filled to the brim with information on client relations, pricing, etc. They even have a handy and very in-depth calculator that will help you decide what you need to charge if you plan on freelancing.

Freelancefolder.com, much like the previous website, has a ton of information on freelancing. It wouldn’t hurt to jump over here and check out the articles as well.

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Hey guys and girls.

There is so much buzz about the new re-brand for Comedy Central. To my eyes it appears to be about a 50/50 split. As a guy that grew up his entire life seeing the iconic planet and cityscape I was taken back by the new clean minimal direction that thelab have taken with the logo.

Personally, I keep going back and forth on my opinion about it. There are times I’m floored with how beautiful and simple it is and all the potential it has for great movement and motion, then there are times when I can’t help but think it is simply the copyright logo with a little chunk missing. My other issue with it is that when I see it, I’m not immediately moved to think “Comedy Central”. With the planet and the buildings I could visually relate the objects in the logo to going to see a comedy show downtown somewhere. With that said, I can understand moving away from that because it seems like every time they’d want to brand a piece of their content it was a sort of overwhelmingly cumbersome shape awkwardly sitting at the bottom of my screen being maybe a bit more distracting than they’d like.

We could talk about this new direction and all the reasons why it is better or worse. When it is all said and done the name of the game is brand digestion. Personally, I feel like this new look is easier to consume. Simply because of all the motion I’ve seen so far using the new brand I can say I’m a huge fan of this new direction. From using the carousel slide projector to the simple rotations of the circles that build the identity I look forward to seeing what else they do with it.

Comedy Central Rebrand from chris west on Vimeo.

So that’s my little rant on it. There is of course a nut-ton more to say about it, and I’d love to hear your thoughts and opinions about it. Please feel free to leave a comment below and lets start discussing and tearing this circular shape to pieces and see why it works so well, or fails miserably.

Be good.
Timmy.

The results of the poll are in!

When asked the question, “Do you like the new Comedy Central logo?”:
64% said YES
34% said NO
2% said NO OPINION

Thank you to everyone who voted!

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2010 was an interesting and busy year for everyone all around the world, and it was no different here at FYM. We managed to put out 47 articles full of news, interviews, tips, tutorials and other great information, and gained a total of five skilled writers with unique knowledge and experience in different areas of the motion industry. All of that amounted to us quadrupling our readership, and we thank you all for showing up to the party. However, 2010 is behind us and 2011 is now fast in motion. In this time of change, I thought it would be a good time to look back at the year to see what you found the most interesting on Fuel Your Motionography.

10. Principles of Animation for Motionographers, Part 1 of 3

A great series of articles by Jamie Peterson, the Principles of Animation for Motionographers trilogy were the first tutorials to be featured on Fuel Your Motionography, and they set the bar high. These are a must read for those looking for not only the how animation is done, but the why as well. When you’re done with Part 1, finish it up with Part 2 and Part 3.

9. Great Typography in Video

In his first post for FYM, Matthew Carlin proved that everybody loves to see beautiful typography used well in video. Just looking at some of the amazing work he picked out for this article, you come to realize you don’t have to be a fan of typography in order to actually enjoy it in motion.

8. Tips For Making An Awesome Showreel

Inching in just above his first post, Matt pulls in the number eight spot with some great tips for anyone trying to put out a new reel or tighten up their existing reel. These are some excellent tips that everyone should keep in the back of their mind when putting together their portfolio.

7. Know Your Camera, Part I: Shot Lengths and Angles

Learning how to use a camera is one thing. Learning how to effectively use a camera within Cinema 4d and After Effects is another, and it all comes down to the basics which is proven with the number seven spot. Being the first part of a trilogy written by me, your fearless editor *, you really should finish them up with Part II: Movement and Part III: Settings.

* Fuel Your Motionography and the Fuel Brand Network make no claims at the validity of this statement.

6. Quick Tip – After Effects Flowchart

One of the fist Quick Tips published, the After Effects Flowchart was surprisingly one of the most unknown and/or unused by many using After Effects. Hopefully, after reading this article, many will find a place in their workflow for this useful tool.

5. Express Yourself With After Effects Expressions

Right in the middle of the road, almost like it’s waiting for someone to make a love/hate comparison, is my article on Expressions within After Effects. Love them or hate them (okay, I gave in), you sure were interested in them, and they sure can be useful if you use them correctly.

4. 25 Great Podcasts You Should Download

Proving you like to learn, above everything else, this article pointing out 25 of the best podcasts to do just that quickly shot up to the number four spot on the list. Of course, there were some excellent podcasts ranging from Red Giant TV to Down In Front, so that didn’t hurt.

3. Best of the Motion Industry 2009

Michael John picked out the best of the best in the motion industry for the previous year and you all loved it! Videos showing the tilt shift effect, shot on DSLR cameras such as the Canon 7D and, of course, excellent motion graphics work are only the tip of this great list. Definitely check this one out.

2. Are Business Cards Dead?

One of the most talked about articles on FYM (both commented on and spread across the web) came in the form of an article that asked the simple question, are business cards dead? Heavy hitters in the industry weighed in with their thoughts along with many others on both sides of the fence. In this digital age, the question still remains, are business cards dead?

1. Fonts Motion Designers Will Love

I remember sending a DM over Twitter to Matt when, in under two days of being up and from StumbleUpon alone, his article on fonts had brought in over 7,000 readers. I knew, at that point, his article would be at the top of the list, and here it is. You all want to find some cool fonts to use in your project? Here’s an excellent list full of them.

There you go, party people! Those were the top 10 Fuel Your Motionography articles for 2010 as voted on by you, whether you knew it or not. Thanks for visiting the website and continually coming back for more great articles! All of us here at FYM have a ball putting them together for you, and we are looking forward to 2011 so we can put out more excellent content for all of you! Once again, thank you for your continued support, and gear up for a wild ride in 2011!