Richard Harrington, PMP @thinktap

Teaching at NAB this year (and why I keep coming back) I’ll be back in Las Vegas for NAB Show and Post|Production World — conferences/workshops run April 18–22, 2026 (show floor/exhibits April 19–22) at the Las Vegas Convention Center. (NAB Show) I first attended NAB in 2003. That’s a long run of bad coffee, great conversations, and new gear I absolutely didn’t need (but somehow still “required”). And honestly? Even after all these years, it’s still an honor to be invited back to teach. This year is also a little extra special because I’m sharing the Post|Production World program manager role with my friend Eran Stern — a motion graphics educator and AI-minded creative technologist with decades in post. (https://sternfx.co.uk) Thanks to my friend Ben Kozuch and Future Media Conferences for putting on this important industry event. Why the show is meaningful to me NAB is one of the few places where the whole ecosystem shows up at once — creators, engineers, editors, producers, vendors, and the folks who actually have to make the pipeline work on deadline. A few reasons I keep coming back: * It’s a reset button. You get out of your usual routine and look at your workflow with fresh eyes. * It’s practical. You can hear what people are really doing (and what’s quietly breaking) in production and post. * It’s community. The hallway chats, the “how are you solving this?” conversations, and the shared war stories are half the value. This will be the fourth year my daughter attends NAB with me to learn about her career. How to sign up for Post|Production World Post|Production World (PPW) is the training conference that runs alongside NAB Show. (NAB Show) Here’s the simple path: * Go to the official Post|Production World page on the NAB Show site. * Choose a PPW pass that fits how deep you want to go. * Build your schedule once you’re registered — PPW notes you can mix tracks and no pre-registration is required for sessions with a conference pass. (NAB Show) I love the roundtable interactive sessions for networing and learning My session lineup Below is a summary of what I’m teaching — trimmed down, but still specific about what you’ll walk away with. What Brands Want from Content Creators The goal: Make brand partnerships smoother and longer-lasting. What we’ll cover: * Clear deliverables, timelines, approvals, and usage/rights (before things get weird) * How to pitch your value without losing your voice * Negotiation basics: rates, scope, and protecting the relationship * Reporting results with metrics that brands actually understand --- From Story to Action: Strategic Content Creation for Brands The goal: Stop “posting” and start publishing with intent. What we’ll cover: * Picking outcomes you can measure (before you make the content) * Matching message to audience and platform * Repurposing content without becoming repetitive * Sustainable workflows: batching, cadence, and planning models --- Color Correction Essentials in Premiere Pro The goal: A repeatable “get it natural first” workflow — then push the look cleanly. What we’ll cover: * Scopes (Waveform/Vectorscope/RGB Parade) without the mystery * White balance, exposure, and saturation in the right order * Shot matching for consistency across a scene * Curves + secondaries for precision (skin, skies, product colors) * Rescue strategies for mixed lighting and tough footage There’s also ways nerd parties… like this one from Adobe. --- Productivity Strategies for Creative Pros (Interactive) The goal: Protect deep work time without turning your week into a spreadsheet tragedy. What we’ll do together: * Identify your biggest blockers (interruptions, context switching, tool chaos) * Time blocking/time slicing that survives client notes * Eisenhower Matrix prioritization (urgent vs. important) * A simple weekly review to reset and plan like a sane person --- Creating an AI Ethics Policy for Your Company (Interactive) The goal: Turn “be responsible with AI” into a policy teams can actually follow under deadline. What we’ll build: * Clear boundaries: what’s allowed, what’s banned, what needs review * Disclosure and authenticity expectations (especially around misinformation) * Consent/likeness and synthetic voice decision points * Copyright/IP risk basics for AI-assisted and generative workflows * A repeatable decision framework + workflow checkpoints --- Edutainment: How to Produce Effective Training Content The goal: Training that teaches clearly and keeps people watching. What we’ll cover: * Defining learning outcomes that shape every creative choice * Structuring lessons for clarity and retention * Working with SMEs/on-camera talent without scope drift * Choosing formats that fit budget + timeline (screen capture vs presenter vs mixed) * Measuring effectiveness (completion, comprehension, behavior change) --- PS Dynamic Link: Advanced Photoshop Techniques for After Effects Users The goal: PSDs that animate cleanly — and stay flexible when revisions hit. What we’ll cover: * Layer organization that prevents bloated comps and slow previews * Smart Objects + Camera Raw workflows that scale * Type and layer styles that behave in motion * Lens/perspective cleanup before you comp * LUT workflows and fast content-aware fixes for “save the shot” moments --- Stay on Target: Project Management Essentials for Video Pros The goal: Keep scope, schedule, and communication from quietly wrecking good creative. What we’ll cover: * Translating a creative brief into clear scope + deliverables * Estimating timelines that include reviews, revisions, and approvals * A simple project control cycle to spot problems early * Managing handoffs with freelancers/teams * Closing projects cleanly (and turning one job into the next) If you’re heading to NAB this year, I hope you’ll carve out time for a few PPW sessions. Come say hi after class Be sure to also book a show at the Sphere… the'y’re an amazing experience.

28.02.2026 19:20 — 👍 0 🔁 0 💬 0 📌 0

Scouting Is for Families—and It’s Stronger When Everyone Belongs I am making these statements as a father, not as a representative of the groups I belong to. --- Scouting was founded in the early 1900s. And like any movement that’s lasted more than a century, it hasn’t stayed frozen in time—it has grown, modernized, and adapted as society changed. That’s not a weakness in the program. It’s part of why it’s still here. It’s also worth saying plainly: Scouting has never been only about boys in the simplistic way some people talk about it today. Even long before the recent changes that get argued about online, Scouting had co-ed pathways—like Exploring becoming coeducational in April 1971 (that was before I was even born).. Young women and men explored adventure together as well as programs like police and fire programs and much more. I’m writing this as a father. Im a dad who has spent years watching what Scouting can do for young people—when we let it focus on its mission instead of using it as a political trophy. Lord Baden-Powell, the founder of the Scouting movement, wrote: “A Scout is a Friend to All, and a Brother to Every Other Scout, no matter to what Social Class the other belongs… A scout must never be a SNOB… [he] accepts the other man as he finds him…” Lord Baden-Powell That’s not a political statement. It’s a character statement. It’s a parenting statement, honestly—the kind of thing you want shaping your child when the world is trying to teach them suspicion and contempt. And that’s why I’m disappointed that our government has chosen to hold America’s Scouting program hostage with an untenable choice. This didn’t start this week If all you saw was a headline about a merit badge, it might feel sudden. It wasn’t. In November 2025, reporting based on documents reviewed by NPR described the Pentagon preparing to sever ties with Scouting America—cutting off military support for the National Jamboree and restricting Scout units from meeting on military installations in the U.S. and abroad. Then in early February 2026, the pressure turned public. The Pentagon warned Scouting America to implement what it called “core value reforms” or risk losing long-standing military support—right as many units and families were looking toward the July National Jamboree, which has historically relied on substantial military logistical and medical help. So by the time we got to late February, this wasn’t a conversation. It was a squeeze. What happened on Feb. 27 On February 27, 2026, the Department of War published a statement saying the Pentagon will conditionally continue support for Scouting America after the organization’s commitment to remove DEI initiatives, revise language in publications, discontinue the “Citizenship in Society” merit badge, and change membership and “intimate spaces” policies to align with “biological sex at birth.” That same announcement described a signed memorandum of understanding (MOU) and made it clear the Pentagon intends to evaluate whether Scouting America is making “substantial progress” over time. Whether you agree with these changes or not, the dynamic matters: this is a youth program being pushed around by the federal government in a way that feels less like partnership and more like leverage. My two pride and joys While my children are different, I am equally proud of both. I do not accept that one is better than the other. Why this hits my family so personally Both my wife and I were Scouts as youth and now serve as Scout leaders. My wife is also a special edication teacher and helps other leaders learn how to help youth who need support learn how to adapt the program while preserving the challenges and intent Both of my children are Eagle Scouts—one a son, and one a daughter. I’ve been a Scout leader in girls troops, boys troops, and a co-ed Venturing crew. I’ve mentored young men and women for about fifteen years. It’s changed my life. And I’ve seen Scouting make citizens—real citizens—who I trust to run the world. My own children benefit from diversity and inclusion. I won’t share aspects of their lives that are theirs to tell, but I will say this: one child has autism, and the other has ADHD and related challenges. Nothing about Scouting has ever felt “woke” in our day-to-day life. But every Scout learns to do their best—and *that* includes the kids who need a little more patience, a little more clarity, or a different path to confidence. That’s not politics. That’s community. That’s not coddling. That’s leadership. That’s not weakness. That’s courage. My son and I went to the World Scout Jamboree together. Along with 40,000 Scouts (young women and men) from 152 different countries. Duty to God and my country” is bigger than a slogan When Scouts say the Scout Oath, this is what we say. "On my honor I will do my best To do my duty to God and my country and to obey the Scout Law; To help other people at all times; To keep myself physically strong, mentally awake, and morally straight." This is not a pledge to one narrow idea of God. Morally straight is about ethics and integrity, not who a child takes to their Senior prom. The Scout Oath is an acknowledgement that there is a higher calling—to be better, to serve, to live with integrity. Scouting has room for families who pray differently, worship differently, or are still figuring it out. That isn’t dilution. That’s reality. And it’s part of why Scouting remains meaningful for families like mine. My daughter’s Eagle Project helped a native species plant nursery keep the ecologogy balanced. She led 45 others buidling planting beds and worktables - and she knows how to use power tools. Girls belong here— because families belong here I’ve helped many young women and young men on their journey to Eagle. They inspire me with their commitment and their willingness to learn, serve, and grow. And I’ll say this as clearly as I can: the program was not “made easier” for girls. The trail is still the trail. The expectations are still expectations. Growth (and Eagle) is still earned. Baden-Powell said it well: “I think girls can get just as much healthy fun and as much value out of scouting as boys can.” In Scouting, kids don’t join to “date.” That’s not the focus. Scouting is about the outdoors, service, leadership, skills, and character. It’s about learning to be useful and kind in the real world. And modern Scouting has worked—hard—to become one of the safest places kids can gather. Scouting America’s youth protection standards include things like two-deep leadership and no one-on-one contact rules, plus training and reporting requirements designed to protect youth. My Eagle Scout Ceremony in 1989 with my Great Grandmother and Grandmother. What I don’t understand—and what I can’t accept I don’t understand why our government felt the need to force changes around “sex assigned at birth,” or to frame a youth organization’s attempt to teach respect and ethical leadership as something dangerous. Because diversity doesn’t make us weak. It makes us stronger. It teaches us to see more of the world—and more of each other. It widens our empathy. It makes us better neighbors. It helps our kids grow up prepared to work with people who don’t look like them, pray like them, or think exactly like them. And it absolutely fits the heart of the Scout Law. I’m grateful Scouting’s leadership drew a clear line In reporting based on an NPR interview, Scouting America CEO Roger Krone described a January meeting where Secretary Hegseth demanded the organization change its name back and remove girls—something Krone said his board would not do. Krone also explained the inclusion of girls as a service to families—saying that when he was a kid, families “left parts of the family in the parking lot,” and that the organization chose to serve the whole family. Yes. That. A thousand times that. Scouting is for families. All families. And this is the part I need to say plainly Mr. Hegseth: I don’t doubt you believe you’re defending something valuable. But I believe you’re wrong about what Scouting is—and what makes it strong. Scouting doesn’t become healthier by shrinking who gets to belong. It doesn’t become “more American” by pushing out girls. It doesn’t build character by teaching kids that the right response to difference is exclusion. Strength is a Scout cleaing up a stream to preserve nature and the environment. Strength is a patrol learning to listen to the quiet kid because the quiet kid has the map figured out. Strength is a troop making room for a Scout who needs a different pace—while still expecting them to show up and do the work. That’s the program I’ve served. That’s the program that served my children. One more thing, parent to parent If you love your child, love them for all of who they are. That doesn’t mean coddling. It means acceptance with expectations. Belonging with challenge. Support with growth. We do not choose who we love. We only choose who to hate. And as a parent, I’m asking us to choose better. --- https://www.washingtonpost.com/national-security/2026/02/03/hegseth-boy-scouts-scouting-america/ https://www.war.gov/News/News-Stories/Article/Article/4417012/hegseth-says-scouting-america-support-to-continue-upon-orgs-commitment-to-drop/ https://www.theguardian.com/us-news/2026/feb/04/boy-scouting-america-pentagon-threat https://www.businessinsider.com/defense-secretary-says-scouts-america-must-end-woke-merit-badges-2026-2 https://www.opb.org/article/2025/11/25/documents-show-pentagon-preparing-to-sever-ties-with-scouting/ https://www.wfdd.org/national/2026-02-27/pentagon-puts-scouts-on-notice-over-dei-and-girl-centered-policies "Pentagon puts Scouts 'on notice' over DEI and girl-centered policies | 88.5 WFDD

28.02.2026 04:30 — 👍 0 🔁 0 💬 0 📌 0

Overhead: The Costs That Keep You Open (and How to Price Them) Great work won’t save a business that misprices its overhead. Rent, leases, utilities, marketing, and people costs don’t show up on a shot list—but they decide whether you sleep at night. Treat overhead like any other production element: plan it, track it, and bake it into your rates on purpose. Build Your Overhead Model (Simple & Defensible) * List monthly costs in five buckets: Rent • Leases • Utilities/Comms • Marketing • Employee Benefits/Recruitment (plus insurance, software, taxes if you want the full picture). * Total it monthly and annually. * Divide annual overhead by your billable hours (remember only ~40–60% of your time is truly billable). The result is your overhead $/hour—add it to labor rates so every job carries its fair share. If overhead isn’t in your rate, it’s in your stress. The Big Five (What to Watch, What to Do) 1) Rent (or Space) * Right-size the footprint: studio days you actually use, not the one you dream about. * Flex first: month-to-month studios, co-working, short-term stages. * Negotiate levers: free build-out, rent holidays, sublet rights, shared storage. * Annual space audit: measure utilization; if a room isn’t earning, repurpose or release it. 2) Leases (Gear, Vehicles, Compuers) * Utilization target: a lease should pay for itself in booked days plus margin. * Package smart: price gear as kits; track per-project ROI. * Avoid vanity leases: if it’s “nice to have,” rent it until demand proves ownership. * Refresh calendar: note end dates 90 days early to renegotiate or exit. 3) Utilities—Especially Communications * Redundant internet: a primary and a hotspot failover; shoots don’t wait. * Phones & plans: shared plans for field teams; separate business lines. * Cloud & backup: storage, transfer, off-site backup—budget them, label them, and prune monthly. * SaaS creep: audit subscriptions quarterly; kill ghost seats and duplicate tools. 4) Marketing (Fuel, Not Confetti) * Set a fixed monthly budget (content, email, SEO, conferences, ads). * Track simple metrics: inquiries, qualified leads, close rate, cost per lead. * Maintain the storefronts: website speed, portfolio updates, case studies, reel. * Concentrate spend: 2–3 channels that convert > spraying everywhere. 5) Employee Benefits & Recruitment * Price the full load: wages plus payroll taxes, healthcare, retirement match, PTO, training. * Recruiting costs: job boards, recruiter fees, onboarding time, gear for new hires. * Retain on purpose: set a training budget and a growth path; turnover is the most expensive line item you don’t see. * Use a bench: mix staff with trusted freelancers to flex without fixed bloat. Overhead → Rates (How to Present It) * Bundle, don’t apologize: roll overhead recovery into People/Gear/Facility pricing. * Explain simply: “Our rates include professional facilities, insured gear, redundant comms, and a staffed team so we hit dates without cutting corners.” * No mystery fees: if a client asks, show the buckets—not your landlord’s name. Quick Wins (This Week) * Cancel one unused SaaS seat and one “someday” subscription. * Move your gear list into packages with current market pricing. * Book a quarterly calendar block: Overhead Audit (invites to ops + finance). * Update your rate sheet to include your overhead $/hour. Stop subsidizing clients. Common Pitfalls → Fixes * Treating rent as “just the cost of doing business” → Tie it to utilization; downsize or sublet. * Leasing gear you “hope” to book → Rent until three clients ask for it. * One fragile internet line → Add failover; put the SSID on your call sheet. * Marketing on vibes → Set a monthly budget; measure leads and wins. * Hiring in a hurry → Keep a freelancer bench; recruit continuously, not desperately. Overhead isn’t the villain; it’s the infrastructure that lets you deliver reliably. Price it on purpose, review it on a cadence, and your margins—and your sleep—get better.

24.02.2026 21:29 — 👍 0 🔁 0 💬 0 📌 0

Image Modes in Photoshop OK, here’s one of those Photoshop topics that sounds boring right up until it ruins your day. Every Photoshop document lives in an image mode—and that mode controls what the file can do, what colors it can represent, and what kinds of output it’s suited for. Choose the wrong mode and you’ll run into weird limitations (filters grayed out, colors shifting, files that print ugly, or web graphics that look fine… until they don’t). To check or change a mode: Image > Mode. Photoshop gives you eight image modes. In real life, you’ll spend most of your time in RGB, sometimes in Grayscale, and occasionally in CMYK. But it’s worth understanding all eight so you can recognize what you’re looking at and avoid accidental detours. And yes—Photoshop will sometimes warn you that converting will flatten layers, discard channels, or reduce color information. That’s not Photoshop being dramatic. That’s Photoshop being honest. The big idea: mode = color model + capabilities Think of image mode as the “operating system” for your document: * It defines how color is described * It affects what tools and adjustments are available * It influences file size, print behavior, and screen appearance Rule of thumb: Work in the mode that gives you the most flexibility while you’re editing, then convert only when you need to for output. RGB Color (your everyday workhorse) If Photoshop had a default comfort zone, it would be RGB Color. RGB uses additive color—meaning it builds color from light. Combine Red + Green + Blue at full intensity and you get white. Turn them down and you get darker values. Mix them in different intensities and you can represent a huge range of colors. Why RGB is so common: * Monitors are RGB. Your screen literally displays color using red, green, and blue subpixels. * Wider gamut. RGB generally holds more “possible colors” than CMYK. * Best filter/adjustment support. Many features work best (or only) in RGB. * Best for digital delivery. Web, video, slides, mobile—RGB is native. When to use RGB * Photo editing (almost always) * Web graphics, UI, video frames * Anything meant to be viewed on screens Common pitfall People convert to CMYK too early because they’re “printing.” Don’t. Do your creative work in RGB, then convert at the end if the print workflow requires it. CMYK Color (printing’s reality check) Professional printing typically uses CMYK inks: Cyan, Magenta, Yellow, and Black (Key). CMYK is subtractive color. Instead of adding light, you’re subtracting it—inks absorb parts of the spectrum and reflect what’s left back to your eyes. Here’s the practical part: CMYK has a smaller gamut than RGB. Translation: some colors that look electric on your monitor simply can’t be reproduced with ink on paper. Those neon greens and saturated blues? CMYK is going to do its best… and sometimes its best is still disappointing. The smart workflow * Edit and design in RGB * Convert to CMYK near the end * Soft proof if you can (more on that below) When to use CMYK * Print files that specifically require CMYK delivery (commercial presses, certain vendors) * Projects where you must preview ink limitations accurately Common pitfalls (the stuff that bites) * Converting too early: you throw away color headroom while you’re still making creative decisions. * Not using the printer’s profile: CMYK is not one universal thing. Different presses/papers/profiles behave differently. * Judging CMYK on an uncalibrated monitor: that’s like color grading with sunglasses on. Quick pro move: Use View > Proof Setup and View > Proof Colors to preview how your RGB file will map to a specific print profile (when you have one). It’s not perfect, but it’s way better than guessing. Grayscale (simple, powerful, easy to mess up) Grayscale uses shades of gray to represent image detail—no color channels, just tonal values. An 8-bit grayscale image has 256 gray levels. A 16-bit grayscale image has 65,536 levels, which can preserve smoother gradients—if your workflow and output device can actually take advantage of it. When to use Grayscale * Black-and-white photography workflows * Line art that needs clean tonal control * Projects where color is irrelevant and file simplicity is a benefit Common pitfall Assuming grayscale will automatically print beautifully. The conversion is easy. The printing is where things get real. Different printers and papers handle contrast differently, especially in the shadows. If the output matters, do test prints. Don’t trust the screen. Duotone A classier set of tones Duotone is one of those modes that sounds niche until you see it done well. A duotone file can actually be: * Monotone (one ink) * Duotone (two inks) * Tritone (three inks) * Quadtone (four inks) The classic example is sepia—but duotone isn’t just “old-timey.” The real purpose is tonal control. By using multiple inks (often black plus a gray or a warm/cool ink), you can create richer, smoother grayscale prints than a single black ink alone. When to use Duotone * Stylized black-and-white printing * High-quality grayscale reproduction where ink control matters * Cost-saving print jobs using fewer inks (when appropriate) Common pitfall Thinking duotone is a quick filter. It’s more like a print strategy. Use it when you’re controlling output, not just chasing a look. Bitmap 1-bit: brutal, tiny, and sometimes perfect Bitmap mode is not “a bitmap image.” Confusing, I know. In Photoshop, Bitmap mode means 1-bit color: every pixel is either black or white—no gray, no color, no mercy. To get there, Photoshop requires you to convert to Grayscale first, then convert to Bitmap. When to use Bitmap * Pure black-and-white line art * Certain screen printing workflows * Specialty printing or engraving workflows * When you need ultra-small file sizes and you can tolerate the harsh look Common pitfall Accidentally converting a photo to bitmap and wondering why it looks like a newspaper from 1893. Bitmap is a tool. It’s not subtle. Indexed Color 256 colors: great for logos, terrible for photos Indexed Color limits your image to up to 256 colors. The idea is simple: fewer colors = smaller files. That’s why indexed color shows up in formats like GIF and PNG-8. But it’s a tradeoff: fewer colors usually means banding, posterization, and ugly gradients—especially in photos. When to use Indexed Color * Simple illustrations * Flat-color graphics * Logos and icons (sometimes) * Animated GIF workflows Better workflow tip Instead of converting your master file to Indexed Color through Image > Mode, use an export method that creates an indexed copy while leaving your original untouched: * File > Export > Save for Web (Legacy) (common for GIF/PNG-8 workflows) * Or export to the format you need and let Photoshop create the reduced-color version during export Common pitfall Destroying your original by converting it directly. Indexed color is output-focused. Keep your master in RGB. Lab Color powerful, weird, and occasionally magical Lab Color is designed to describe color in a way that’s more tied to human vision and less tied to devices. It breaks color into three components: * L = Lightness (luminance) * a = green ↔ red axis * b = blue ↔ yellow axis Lab is often described as a “device-independent” reference model. In practice, it’s used by imaging pros when they need maximum color fidelity—or when they want to do certain edits more cleanly than in RGB. Why people use Lab Because separating luminance from color can make some adjustments easier—like boosting contrast without shifting saturation, or pushing color in controlled ways. When to use Lab * Specialized color correction work * High-end imaging workflows where you know why you’re there Common pitfall Wandering into Lab without a reason. It’s not a beginner mode, and it can create surprises when you go back to RGB/CMYK. Multichannel specialized, and usually not where you want to live) Multichannel mode is for advanced separations and specialty printing workflows. Most people never need it. One common way people end up here is accidentally: Photoshop can convert to Multichannel if you delete a channel from an RGB or CMYK image. At that point, Photoshop can no longer accurately describe the color onscreen, so what you see isn’t trustworthy. When to use Multichannel * Complex professional separations * Specialty ink workflows * Very specific repair techniques (rare) Common pitfall Trying to “fix” a normal image while in Multichannel mode. If you’re there by accident, you probably want to back up and return to RGB or CMYK. Practical “what should I use?” cheat sheet If you remember nothing else, remember this: * Editing photos / web / video / screens: RGB * Black-and-white output: Grayscale (or keep RGB and convert later) * Commercial print delivery: RGB while working, convert to CMYK at the end if required * GIF / PNG-8 / reduced web graphics: export to Indexed Color formats, don’t convert your master * Specialty print looks: Duotone * Line art / 1-bit workflows: Bitmap * High-end color work: Lab (when you know why) * Very specialized separations: Multichannel

22.02.2026 04:02 — 👍 0 🔁 0 💬 0 📌 0

Understanding Image Resolution Resolution is one of those topics where the industry has done a spectacular job of making simple things sound complicated. Worse, a lot of people (and plenty of companies) use the wrong words. So you’ll hear “dpi” thrown around for cameras, scanners, Photoshop files, websites… and none of that is technically correct. The good news: once you understand the handful of common terms—and when each one actually applies—you’ll make better choices when you’re buying gear, scanning old photos, prepping images for print, or exporting graphics for the web. Let’s walk through the four big ones: * dpi (dots per inch) → printers * ppi (pixels per inch) → screens + image files as a measurement * spi (samples per inch) → scanners * lpi (lines per inch) → commercial printing / halftones It’s only in evaluating printers that the term dpi really makes sense. Dots per Inch (dpi): A printer term dpi is the most common “resolution” word you’ll hear—and it’s also the one that gets misused the most. A printer doesn’t print pixels. It prints dots of ink. So dots per inch (dpi) is an output measurement: how many ink dots can be placed within a 1" × 1" area. * Higher dpi can mean smoother gradients and cleaner detail. * Newspapers generally use relatively low effective output resolution. * Magazines and high-end printing can go much higher. * Consumer photo printers often advertise very high dpi numbers, and with good paper they can look fantastic. The big takeaway: dpi only makes sense when you’re talking about physical output—paper, canvas, labels, packaging. Common pitfall: People say “My camera shoots 300 dpi.” No, it doesn’t. Cameras shoot pixels. Printers deal in dots. Changing a monitor’s resolution changes how many pixels are displayed across the screen—your UI and preview will look different depending on settings. Pixels per Inch (ppi): The screen When you view an image on a monitor, you’re seeing a grid of pixels. So for screens and image editing, the term that makes sense is pixels per inch (ppi). Historically: * Early Mac systems often used 72 ppi as a “logical” screen reference (tied to points/typography). * Windows often used 96 ppi as a baseline. Modern reality: it’s all over the map. A laptop display, a 27" desktop monitor, and a phone screen can have wildly different pixel densities. And operating systems also scale UI elements (especially on high-density “retina”-style screens), which adds another layer of “logical” vs “physical” size. So what should you do with that information? * In Photoshop (and most creative apps), ppi is the standard way resolution is described * For screen work, pixel dimensions matter more than the ppi number * Example: 1920×1080 is 1920×1080 no matter what ppi field says * For print work, ppi becomes important because you’re mapping pixels to inches Practical example (this is the one to remember): If your image is 3000 × 2400 pixels: * At 300 ppi, it prints at 10" × 8" * At 150 ppi, it prints at 20" × 16" * Same file. Same pixels. Different physical size. Common pitfall: Changing only the ppi value doesn’t magically add detail. Pixels are the detail. If you need more detail, you need more pixels (capture bigger, scan higher, or resample carefully). Samples per Inch (spi): What scanners actually do Scanners don’t spray ink dots. They sample an image—capturing information from the original (photo, paper, film, etc.) and converting it into pixels. So the accurate term is samples per inch (spi). Manufacturers often market scanners with “dpi” numbers. That’s sloppy language. What they’re describing is scan sampling—spi. Lines per Inch (lpi): The commercial printing world If you’ve ever been around a print shop, you’ve probably heard lpi. Lines per inch (lpi) comes from halftone screening—how continuous-tone photos get translated into printable patterns. In traditional workflows, film screens were used. Today, it’s handled digitally by an imagesetter or RIP, but the language stuck. * The dots are arranged into lines * lpi measures how many of those lines fit into one inch * Higher lpi generally produces smoother photographic reproduction (assuming the paper and press can handle it) A halftone pattern is visible as a dot structure—this is the foundation of many print processes.

22.02.2026 01:47 — 👍 0 🔁 0 💬 0 📌 0

Some thoughts on mortality An artist looks out into the world. I’m 54. I tell myself this is the middle of my life, but the reality is I’m a little past that. Every day I wake up to reminders that I am getting older. Some are good, some are bad. A blurry dog photo…. She wanted me to know it was a good idea to climb back into bed and sleep a little longer. Today, I’m up early. It is a cold rainy day, but I committed to my wife that I’d drop my daughter at school. She’s a senior, and soon these days will pass. I keep reminding myself to hold on to them—even if they’re only brief moments of connection that happen on a cold, repetitive drive to school. Like most of us, I spend my day surrounded by screens. My Apple Watch tells me I might have sleep apnea. It says that I had minor breathing issues 10 nights in the last three months. One more thing to talk to the doctor about. Earlier this year I had a cancer scare… I still need to write about that process a little more. Fearing for life can bring clarity. But let’s save that for a more dedicated and reflective post. Today I got my labs back from bloodwork. I launched the app on my phone to see the test results from my 3-month checkup. The elevated PSA test was a pretty big scare this past summer, so the doctor has been doing regular bloodwork to keep an eye on things. “Mr Harrington, Your labs were good, your chol was improved Total chol 185 to 179 (N=

20.02.2026 16:29 — 👍 0 🔁 0 💬 0 📌 0

Time Estimates That Don’t Lie Great schedules start with honest math. Here’s a lightweight, repeatable way to estimate time for creative/video work—fast enough for bids, tight enough to protect your margin. 1) Start with Historical Data Yesterday predicts tomorrow. Pull actuals from past, similar jobs and note the conditions that drove them. Build a tiny log (5 columns): Task • Original estimate • Actual time • Δ (over/under) • Why (notes) Example entries: “60s edit v1 → est 10h, actual 12h, +2h due to asset hunt” • “Color pass → est 6h, actual 5h, -1h thanks to LUT baseline.” Use this to set today’s Likely number (see formula below) and to spot chronic underestimates. 2) Use the PERT Blend: (1B + 4L + 1W) ÷ 6 This smooths optimism/pessimism with a weighted average. * B (Best): Everything clicks, assets perfect. * L (Likely): Based on your history, normal hiccups. * W (Worst): Gear hiccup, messy assets, extra revisions. Worked example: Edit a 60-sec cut * B = 6h, L = 10h, W = 20h * Calculation: (6 + 4×10 + 20) ÷ 6 = (6 + 40 + 20) ÷ 6 = 66 ÷ 6 = 11 hours Quote 11h for the task, then add policy buffer (see below). Policy buffer: add 10–15% for internal coordination on multi-person tasks, or keep the raw PERT if you’re solo and disciplined. Always state assumptions. 3) Peer Review (Inside Your Team) A 5-minute gut check catches blind spots. Ask three things: * What did I forget? (ingest, backups, captions, exports) * What could slip? (client SLAs, approvals, dependencies) * What would you quote? (and why) If your peer’s number is >20% off, reconcile before you send a bid. 4) External Review (Vendors & Specialists) When a task isn’t your specialty—ask the specialist. Send a tight scope and get a written estimate you can pass through. Mini brief (copy/paste): * Goal & deliverables * Inputs you’ll provide (formats, counts) * Assumptions (clean audio? brand kit ready?) * Milestones & due dates * Review rounds (how many) * Delivery specs (frame size, color space, loudness, captions) Use their number in your proposal plus your PM time to manage it. Estimating Rules of Thumb * Define “done.” List outputs (versions/aspect ratios/captions) before you estimate. * Estimate in units you control. Shots cut, graphics built, pages designed—then convert to hours. * Quote ranges with confidence. “11–13h at 80% confidence; expands if assets arrive late.” * Log actuals. Close the loop so next time is smarter. * Charge for assumptions. Late assets, extra rounds, rush/OT—price them in your SOW. Make this your default: Historical Data → PERT (1B+4L+1W)÷6 → Peer Review → External Review. It’s simple, defensible, and it turns estimating from guesswork into craft.

17.02.2026 20:45 — 👍 0 🔁 0 💬 0 📌 0

Accepting the Bill: How to Get Clients to Pay On Time Late payments aren’t a mystery; they’re a systems problem. Make invoices clear, expected, and easy to pay, and you’ll see cash hit the account faster. Here’s a practical playbook built around four levers you control: Accepting the Bill, Reviewing Changes, Using Discounts, and Using Deadlines. 1) Accepting the Bill (Remove Friction Before You Invoice) Set up “yes” long before Accounts Payable sees a PDF. Do this at kickoff * Collect AP details: billing email, portal logins, PO requirement, vendor forms, invoice format, and preferred payment method. Put AP on the project distro list. * Publish thresholds: “Unwatermarked masters and project files release upon receipt of final payment.” “Media releases at ≥50% paid.” * Embed pay methods: ACH by default; card or wire as alternates (note fees). Add a Pay Now link to every invoice. When you send the bill * One PDF packet (invoice first, then SOW page, change orders, receipts). * Subject line: INV-1427 | [Project] – Production Milestone | Net 15 | PO 55831 * Two contacts: your client lead and AP@client.com. Ask for an AP ticket number. Approval script (copy/paste) “This invoice matches SOW §3.2 and CO-002. Please reply ‘Approved for AP’—we’ll release finals per our payment thresholds.” 2) Review Changes (End Surprise = Payment) Surprise is the #1 reason invoices stall. Eliminate it. Mid-project * Keep a live Change Log: CO-###, description, cost/time, status. * Share a budget snapshot at each milestone (Planned vs. Actual vs. EAC). Pre-close (10-minute huddle) * Walk the client through the final tally: base scope + approved COs + pass-throughs. * Confirm who signs off and when AP can cut payment. Mini agenda * What changed (CO list) * What it costs (delta) * What’s next (invoice date + release conditions) 3) Use Discounts (Reward Speed, Don’t Devalue) Incentives work—design them so they help cash flow without killing margin. Options * Early-pay discount: 2/10 Net 30 (2% off if paid within 10 days). * Prepayment bonus: 3–5% off labor for paying an entire phase up front. * Retainer advantage: lower rate for monthly pre-funded hours. Guardrails * Apply discounts to labor only, not pass-throughs (music/stock/talent). * Make discounts time-bound and automatic (“paid by Day 10 = 2% off; Day 11 = full amount”). * Don’t discount because someone asked nicely—tie it to cash-in-advance behavior. Line to add on invoice “2% early-payment discount applies to labor if remitted by [DATE]. Pass-through costs excluded.” 4) Use Deadlines (And a Calm, Firm Cadence) Deadlines move money. Publish them, then follow them—without drama. Terms that work * Net 7/15 for new clients; extend to Net 30 once trust is earned. * Late fee (e.g., 1.5% per month or legal max). * Work stop / hold delivery after X days past due (state it in SOW). Reminder rhythm (Net 15 example) * Day 0: Send invoice (PDF + AP copied). * Day 7: Friendly check—“Landed with AP? Anything else needed?” * Day 15 (due): Reminder with invoice attached. * Day 20: “Holding delivery/next phase pending payment per SOW; please share status.” * Day 25: Escalate to the decision maker with a statement of account. Footer language (paste into template) “Unwatermarked masters and project files release upon receipt of final payment. Late balances accrue 1.5% per month (or legal max).” Templates You Can Steal Early-pay email Subject: INV-1427 — Early-pay option (2% if paid by May 10) Hi [Name], attached is INV-1427 for the Production milestone (SOW §3.2; CO-002). If AP remits by May 10, a 2% discount applies to labor. ACH and Pay Now link below. We’ll release finals upon receipt. Thanks! Overdue nudge Subject: Past due — INV-1427 (holding delivery per SOW) Hi [Name], quick follow-up—INV-1427 is 5 days past due. Per our SOW, we’re holding delivery/next phase until payment posts. Can you share AP status or the remittance advice? Happy to resend the packet if needed. Make acceptance easy, remove surprises, reward speed, and enforce deadlines with a steady hand. That’s how you stop chasing checks—and start getting paid on time.

15.02.2026 17:12 — 👍 0 🔁 0 💬 0 📌 0

Rates for Services: A Short, Practical Guide Pricing creative work isn’t guesswork—it’s math plus market. You need a rate that reflects reality (your costs and billable time) and the landscape (what comparable pros charge). Here’s a fast framework you can adopt today. 1) Start with Competitive Analysis Look sideways before you look inward. Gather 8–10 recent quotes or rate cards from comparable shops (quality, turnaround, deliverables, geography). Note how they charge (day rate vs. flat, inclusions/exclusions, revision caps). Your goal isn’t to undercut; it’s to anchor your range and learn packaging patterns clients expect. Quick check: if your proposal looks nothing like what buyers are used to seeing, they’ll have to “translate” it—friction you don’t need. 2) Price to Your Financial Need (Because Only 40–60% Is Billable) Freelancers and small studios rarely bill more than 40–60% of their working hours once you factor in sales, admin, training, and downtime. Build your rate around that truth: Formula (Base Compensation + Overhead + Target Profit) / Billable Hours = Hourly Base Rate Example (solo owner) * Target comp: $120,000 * Overhead (software, gear upkeep, insurance, rent, taxes): $60,000 * Profit goal: $30,000 * Billable hours at 50% of a 2,000-hour year = 1,000 Rate = ($120k + $60k + $30k) / 1,000 = $210/hr From there, build day rates and fixed bids. 3) Separate the Three Components: People • Gear • Facility Clients understand costs when you bucket them. * People: strategy, producing, direction, camera, audio, editing, color, mixing, PM. Quote as day rates or scoped packages with revision caps. * Gear: camera kits, lenses, audio, lighting, grip, data, teleprompter. Price at local market rental or your ownership cost model; list by package (e.g., “Camera A kit”) to reduce line-item haggling. * Facility: studio, stage, edit suite, color room, VO booth, storage/archiving. Charge by day or per deliverable. Include utilities and expendables in this bucket to stay clean. Rule: if it costs you money or time whether or not you’re shooting, it belongs on the estimate. 4) Charge for the Assumptions (So You Don’t Pay for Them) Make every hidden assumption explicit—and billable if it breaks. * Time: overtime, weekend/holiday, rush/expedite. * Scope: extra versions, additional revisions, language variants, and alternative aspect ratios. * Logistics: travel days, holds, weather days, company moves. * Data: on-set wrangling, backups, conforms, long-term storage. * Rights: stock, music, fonts, voice, talent usage, captioning, delivery specs. * Client duties: consolidated notes by X date, single approver, asset delivery deadlines. Include a one-line trade-off in your SOW: “To add X, we can extend the date, adjust the budget, or remove Y—your call.” Positioning Script (Use in Emails) “Our rates reflect two things: the market for comparable work and the real cost of delivering reliably (only ~50% of studio time is billable once we cover planning, QA, and admin). We separate people, gear, and facilities for clarity and to account for price changes when assumptions shift. That’s how we hit dates without cutting corners.” Price with intention. Anchor to the market, respect your billable reality, separate your components, and charge for the assumptions. That’s how your rates stop being a guess—and start sustaining your business.

10.02.2026 21:21 — 👍 0 🔁 0 💬 0 📌 0

Delivering the Bill (Confidently, Without Awkwardness) Getting paid should feel routine—not risky. The trick is to make billing boring, traceable, and professional so clients know exactly what to do next. Here’s a practical playbook for creative business owners, with the five delivery channels you’ll actually use and how to use each with confidence. Before You Send Anything * Match reality: invoice lines mirror the signed SOW + any approved change orders. * Include the admin: PO number, project code, invoice #, due date, remit details, W-9 link, and your contact. * State thresholds: “Unwatermarked masters and project files release upon receipt of final payment.” * One-line recap: what milestone this invoice covers (e.g., “Production start per SOW §3.2”). The Five Delivery Channels (When & How) 1) PDF (Default: fast, searchable, court-friendly) Use for: 95% of invoices. Do: * Email to both your day-to-day and AP@ (accounts payable) with the PO in the subject. * Embed ACH details and a Pay Now link if you use an online processor. * Attach supporting docs: SOW page, change orders, receipt bundle—as a single PDF. Subject line: INV-1427 | [Project] – Production Milestone | Net 15 | PO 55831 Confidence script (email body): Attached is INV-1427 for the Production milestone per SOW §3.2. ACH details are below; the Pay Now link is included for convenience. We’ll release unwatermarked masters upon receipt. Please loop in AP if not already on this thread—thank you. 2) Hard Copy (For enterprises and procurement sticklers) Use for: Clients who require paper or check remittance. Do: * Send via mail and email the PDF the same day. Confidence script: Per vendor policy, a hard copy of INV-1427 was mailed today via UPS; PDF attached here for processing in parallel. 3) Fax (Yes, some AP desks still live here) Use for: Government, healthcare, legacy systems. Do: * Cover sheet with PO, pages count, and your callback. * Immediately confirm by email with a PDF copy. Confidence script: As requested, INV-1427 was faxed to AP (xxx-xxx-xxxx). PDF attached here as well for your records. 4) With Deliverables (Tie the bill to the “win”) Use for: Milestones where approval and billing align. Two safe patterns: * Preview + Invoice: send watermarked review files with the invoice; release finals on payment. * Final + Receipt-Required: if thresholds already met (e.g., ≥90% paid), deliver finals and include “Receipt required to close.” Confidence script: Here are the approved finals and INV-1427 (Closeout). Once remitted, we’ll publish project files to the archive link and mark the job complete. 5) Face-to-Face (or live call) for big closeouts Use for: Large invoices, end-of-year retainers, and relationship moments. Do: * Bring a printed invoice and a one-page summary of change orders & rights. * Walk the decision maker through totals, next-step payment, and future work. Confidence script (in meeting): This final reflects the signed scope plus CO-002 and CO-004. ACH details are here; on payment we’ll release project files and archive for 12 months. Follow-Through Cadence (Professional, Not Pushy) * Day 0 (Send): PDF + clear subject + AP copied. * Day 7 (Net 15 example): friendly confirm—“Did this land with AP? Anything else needed?” * Due Day: reminder with invoice attached again. * +5 Days: “Holding delivery/next phase pending payment per SOW; please share status.” * +10 Days: escalate to the decision maker; attach statement of account. Save these as canned emails in your CRM. Common Pitfalls → Confident Fixes * Ambiguous line items → Use the SOW language and cite the section. * “We didn’t see the PO.” → Put the PO in the subject, body, and PDF. * Lost in AP → Always CC AP and ask for a ticket/case #. * Payment strings out → Pause deliverables and reference thresholds already agreed. * Too many attachments → One PDF packet; links only for large deliverables. Delivering the bill confidently is just clear paperwork + the right channel + consistent follow-through. Make it easy to pay you, and clients will—on time, without drama.

08.02.2026 17:47 — 👍 0 🔁 0 💬 0 📌 0

Accepting the Bill: How to Get Clients to Pay On Time Late payments aren’t a mystery; they’re a systems problem. Make invoices clear, expected, and easy to pay, and you’ll see cash hit the account faster. Here’s a practical playbook built around four levers you control: Accepting the Bill, Reviewing Changes, Using Discounts, and Using Deadlines. 1) Accepting the Bill (Remove Friction Before You Invoice) Set up “yes” long before Accounts Payable sees a PDF. Do this at kickoff * Collect AP details: billing email, portal logins, PO requirement, vendor forms, invoice format, and preferred payment method. Put AP on the project distro list. * Publish thresholds: “Unwatermarked masters and project files release upon receipt of final payment.” “Media releases at ≥50% paid.” * Embed pay methods: ACH by default; card or wire as alternates (note fees). Add a Pay Now link to every invoice. When you send the bill * One PDF packet (invoice first, then SOW page, change orders, receipts). * Subject line: INV-1427 | [Project] – Production Milestone | Net 15 | PO 55831 * Two contacts: your client lead and AP@client.com. Ask for an AP ticket number. Approval script (copy/paste) “This invoice matches SOW §3.2 and CO-002. Please reply ‘Approved for AP’—we’ll release finals per our payment thresholds.” 2) Review Changes (End Surprise = Payment) Surprise is the #1 reason invoices stall. Eliminate it. Mid-project * Keep a live Change Log: CO-###, description, cost/time, status. * Share a budget snapshot at each milestone (Planned vs. Actual vs. EAC). Pre-close (10-minute huddle) * Walk the client through the final tally: base scope + approved COs + pass-throughs. * Confirm who signs off and when AP can cut payment. Mini agenda * What changed (CO list) * What it costs (delta) * What’s next (invoice date + release conditions) 3) Use Discounts (Reward Speed, Don’t Devalue) Incentives work—design them so they help cash flow without killing margin. Options * Early-pay discount: 2/10 Net 30 (2% off if paid within 10 days). * Prepayment bonus: 3–5% off labor for paying an entire phase up front. * Retainer advantage: lower rate for monthly pre-funded hours. Guardrails * Apply discounts to labor only, not pass-throughs (music/stock/talent). * Make discounts time-bound and automatic (“paid by Day 10 = 2% off; Day 11 = full amount”). * Don’t discount because someone asked nicely—tie it to cash-in-advance behavior. Line to add on invoice “2% early-payment discount applies to labor if remitted by [DATE]. Pass-through costs excluded.” 4) Use Deadlines (And a Calm, Firm Cadence) Deadlines move money. Publish them, then follow them—without drama. Terms that work * Net 7/15 for new clients; extend to Net 30 once trust is earned. * Late fee (e.g., 1.5% per month or legal max). * Work stop / hold delivery after X days past due (state it in SOW). Reminder rhythm (Net 15 example) * Day 0: Send invoice (PDF + AP copied). * Day 7: Friendly check—“Landed with AP? Anything else needed?” * Day 15 (due): Reminder with invoice attached. * Day 20: “Holding delivery/next phase pending payment per SOW; please share status.” * Day 25: Escalate to the decision maker with a statement of account. Footer language (paste into template) “Unwatermarked masters and project files release upon receipt of final payment. Late balances accrue 1.5% per month (or legal max).” Templates You Can Steal Early-pay email Subject: INV-1427 — Early-pay option (2% if paid by May 10) Hi [Name], attached is INV-1427 for the Production milestone (SOW §3.2; CO-002). If AP remits by May 10, a 2% discount applies to labor. ACH and Pay Now link below. We’ll release finals upon receipt. Thanks! Overdue nudge Subject: Past due — INV-1427 (holding delivery per SOW) Hi [Name], quick follow-up—INV-1427 is 5 days past due. Per our SOW, we’re holding delivery/next phase until payment posts. Can you share AP status or the remittance advice? Happy to resend the packet if needed. Make acceptance easy, remove surprises, reward speed, and enforce deadlines with a steady hand. That’s how you stop chasing checks—and start getting paid on time.

05.02.2026 15:10 — 👍 0 🔁 0 💬 0 📌 0

Billing That Matches Reality: From Bid to Final Bill Accurate invoicing isn’t busywork—it’s how you stay profitable and trustworthy. Tie every dollar to a document and a decision, and you’ll avoid scope creep, payment delays, and awkward end-of-project debates. Here’s a clean, four-part system you can drop into any creative business. 1) Bid (What You Propose) Purpose: Set expectations before work starts. Include: * Scope: deliverables, versions, specs, acceptance criteria. * In/Out: what’s excluded (travel, captions, talent, rush, stock, usage). * Assumptions: inputs, client duties, review cadence, single approver. * Pricing: People • Gear • Facility • Rights/Assets • Contingency (5–10%). * Timeline: milestones & approval gates. * Payment schedule: deposits/progress payments + terms (Net 7/15). * Change process: how adds affect scope/schedule/budget (and require written approval). * Validity & versioning: “Valid 30 days”; label BID_v03. 2) Budget (What You Plan to Spend) Purpose: Your internal truth source to manage burn and margin. Build by phase: Prepro • Production • Post • Finishing/Delivery Add lines for PM/Producer, contingency, and fees you pass through (music/stock/talent/locations). Track weekly: * Planned vs. Actual hours/costs * Burn rate (% used) and EAC (estimate at completion) * Notes on variance (why + fix) Deliverable: a one-page dashboard you can share selectively to build trust. 3) Change Orders (What Changed—and What It Costs) Purpose: Keep surprises from landing on your invoice (or your lap). When to issue: any new deliverable, extra round, rush/OT, new aspect ratio, language variant, travel day, or asset that wasn’t in the bid. One-line trade-off (use it verbatim): “To add X, we can extend the date, adjust the budget, or remove Y—your call.” Mini form (copy/paste): * Request: _________________________ * Reason/Impact: ___________________ * Added time/cost: __________________ * New delivery date: ________________ * Approved by (name/title/date): _____ Rules: number them (CO-001), get written approval, then update the budget and schedule. 4) Final Bill (What You Actually Earned) Purpose: Close clean, release rights, and get paid fast. Assemble: * Original Bid + all Change Orders * Actuals vs. budget by phase * Pass-through receipts/licenses (music, stock, talent, locations) * Credits for deposits and previous payments * Tax and any contractual late fees Include these lines on the invoice: * “Unwatermarked masters and project files release upon receipt of final payment.” * “Rights licensed/assigned per SOW and valid after payment clears.” * “Remit via ACH (details), check, or card (+processing fee).” Common Pitfalls → Fast Fixes * Vague scope → Add “In/Out” and assumptions to the Bid. * Free work by accident → No work on adds without a Change Order number. * Sticker shock at the end → Send a budget snapshot at each milestone. * Payment delays → Put thresholds in SOW; hold deliverables until met. * Lost paperwork → Standardize names and store all docs in 01_BID 02_BUDGET 03_CO 04_INVOICES. Accurate invoicing is just clear promises + tracked changes + consistent paperwork. Do that, and your projects finish strong, your clients stay happy, and your bank account reflects the work you actually did.

01.02.2026 16:57 — 👍 0 🔁 0 💬 0 📌 0

Delivering the Bill (Confidently, Without Awkwardness) Getting paid should feel routine—not risky. The trick is to make billing boring, traceable, and professional so clients know exactly what to do next. Here’s a practical playbook for creative business owners, with the five delivery channels you’ll actually use and how to use each with confidence. Before You Send Anything * Match reality: invoice lines mirror the signed SOW + any approved change orders. * Include the admin: PO number, project code, invoice #, due date, remit details, W-9 link, and your contact. * State thresholds: “Unwatermarked masters and project files release upon receipt of final payment.” * One-line recap: what milestone this invoice covers (e.g., “Production start per SOW §3.2”). The Five Delivery Channels (When & How) 1) PDF (Default: fast, searchable, court-friendly) Use for: 95% of invoices. Do: * Email to both your day-to-day and AP@ (accounts payable) with the PO in the subject. * Embed ACH details and a Pay Now link if you use an online processor. * Attach supporting docs: SOW page, change orders, receipt bundle—as a single PDF. Subject line: INV-1427 | [Project] – Production Milestone | Net 15 | PO 55831 Confidence script (email body): Attached is INV-1427 for the Production milestone per SOW §3.2. ACH details are below; the Pay Now link is included for convenience. We’ll release unwatermarked masters upon receipt. Please loop in AP if not already on this thread—thank you. 2) Hard Copy (For enterprises and procurement sticklers) Use for: Clients who require paper or check remittance. Do: * Send via mail and email the PDF the same day. Confidence script: Per vendor policy, a hard copy of INV-1427 was mailed today via UPS; PDF attached here for processing in parallel. 3) Fax (Yes, some AP desks still live here) Use for: Government, healthcare, legacy systems. Do: * Cover sheet with PO, pages count, and your callback. * Immediately confirm by email with a PDF copy. Confidence script: As requested, INV-1427 was faxed to AP (xxx-xxx-xxxx). PDF attached here as well for your records. 4) With Deliverables (Tie the bill to the “win”) Use for: Milestones where approval and billing align. Two safe patterns: * Preview + Invoice: send watermarked review files with the invoice; release finals on payment. * Final + Receipt-Required: if thresholds already met (e.g., ≥90% paid), deliver finals and include “Receipt required to close.” Confidence script: Here are the approved finals and INV-1427 (Closeout). Once remitted, we’ll publish project files to the archive link and mark the job complete. 5) Face-to-Face (or live call) for big closeouts Use for: Large invoices, end-of-year retainers, and relationship moments. Do: * Bring a printed invoice and a one-page summary of change orders & rights. * Walk the decision maker through totals, next-step payment, and future work. Confidence script (in meeting): This final reflects the signed scope plus CO-002 and CO-004. ACH details are here; on payment we’ll release project files and archive for 12 months. Follow-Through Cadence (Professional, Not Pushy) * Day 0 (Send): PDF + clear subject + AP copied. * Day 7 (Net 15 example): friendly confirm—“Did this land with AP? Anything else needed?” * Due Day: reminder with invoice attached again. * +5 Days: “Holding delivery/next phase pending payment per SOW; please share status.” * +10 Days: escalate to the decision maker; attach statement of account. Save these as canned emails in your CRM. Common Pitfalls → Confident Fixes * Ambiguous line items → Use the SOW language and cite the section. * “We didn’t see the PO.” → Put the PO in the subject, body, and PDF. * Lost in AP → Always CC AP and ask for a ticket/case #. * Payment strings out → Pause deliverables and reference thresholds already agreed. * Too many attachments → One PDF packet; links only for large deliverables. Delivering the bill confidently is just clear paperwork + the right channel + consistent follow-through. Make it easy to pay you, and clients will—on time, without drama.

29.01.2026 15:46 — 👍 0 🔁 0 💬 0 📌 0

Building an Electronic Portfolio (That Actually Books Work) If you want creative work, you need proof—a portfolio. Resumés and recommendations get you in the room; a tight body of work closes the deal. I’ve hired for agencies and my own shop, and the pattern is consistent: the pros who show clear outcomes, clean presentation, and easy contact paths get the call. Below is a practical playbook for artists—designers, photographers, illustrators, editors, motion folks—to build a portfolio that moves a client from “interesting” to “let’s talk.” What Clients Look For (in 30 seconds or less) * Taste: a consistent point of view and finish. * Relevance: samples similar to their need. * Process: how you think (a few captions go a long way). * Reliability: credits, dates, roles, and who did what. * Access: a big Contact button and response expectations. What to Include (and What to Cut) * Your top 8–12 pieces, max. Curate hard. If it’s not a hell-yes, it’s a no. * Case-study flavor: 3–6 images per project (or a 30–60s cut) with short captions: goal → your role → result. * Range without whiplash: show variety, not randomness. * Real-world work beats exercises. No “fan art” unless transformed and legally safe. * Credit collaborators. Your role is part of your value; own it. Kill list: old student pieces, inside jokes, unlicensed assets, anything you wouldn’t replicate for pay. Three Formats That Cover 99% of Needs 1) Printed (for in-person) * Portable and durable: 11×14 or smaller; sturdy sleeves. * Sequenced: open strong, build a rhythm, close strongest. * Leave-behind: a one-page highlights sheet with a QR to your site. 2) PDF Portfolio (for quick sharing) * One file, under ~15–20 MB. * 10–15 pages: cover → 8–12 projects → contact. * Live links: project anchors to your site or reel. * Security: flatten or downsample if you’re worried about asset scraping. Workflow tip: Generate decks from your DAM or use Bridge/InDesign/Keynote to export consistent PDFs with live links and a small footprint. 3) Online (your 24/7 storefront) * Fast, mobile-friendly, accessible. Test on a phone first. * Clear nav: Work • About • Services • Contact. * Project pages: hero, 3–6 images or a short embed, captions, credits, and tools used. * Lead capture: short inquiry form; calendar link for 15-minute calls. For Moving-Image Artists (Editors/Mograph/DPs) * Reel: 45–75 seconds, front-load your best 10. * Project cuts: 2–3 strong pieces with context and credits. * Specs & deliverables: list formats, aspect ratios, captions/SDH if relevant. Captions That Sell (Copy/Paste Template) * Client / Project * Brief: one line on the problem. * Role: what you owned (designer, photographer, editor, AD). * Solution: 1–2 lines on approach. * Result: metric or outcome (increased sign-ups 18%, won X award, sold out event). * Credits: collaborators/vendors. Maintenance Schedule (Because portfolios rot) * Quarterly prune: remove the weakest piece, add one new win. * Update bio & services: pricing signals and availability windows. * Refresh thumbnails: first impressions live in tiny rectangles. Ten-Day Build Sprint (No more procrastination) Day 1: List 15 projects; pick 10. Day 2: Gather masters, exports, credits, metrics. Day 3: Write captions using the template. Day 4: Design a PDF (cover, grid, contact). Day 5: Build/update your site structure and two project pages. Day 6: Export the PDF under 20 MB; test links. Day 7: Create a 60–90s reel or a “greatest hits” gallery. Day 8: Accessibility + mobile pass; fix load times. Day 9: Peer review with two trusted creatives; incorporate notes. Day 10: Publish. Add the link to your email signature and social bios. Common Pitfalls → Quick Fixes * Too much work → Cap at 12; sequence with intent. * No context → Add captions; clients hire your thinking. * Burying contact info → Button on every page. * Outdated pieces → Schedule quarterly pruning. * Illegible rights → Replace questionable assets; add credits. Build the portfolio you would hire: clear, credible, and easy to act on. Curate hard, explain briefly, and make contacting you effortless. Do that, and your portfolio stops being a gallery—and starts being a sales engine.

27.01.2026 20:18 — 👍 0 🔁 0 💬 0 📌 0

Save Everything: Animation Presets in Adobe After Effects Effect combos and tweaks you love shouldn’t live only in one timeline. Animation Presets (.ffx) let you package up effects, settings, keyframes—even expressions—and reuse them anywhere, anytime. They replaced old “Effect Favorites” and cover far more than just filters. What a preset can hold * Effects (with all their settings) * Properties & Property Groups (Transform, Text Animators, Shape groups, etc.) * Keyframes (timing and values) * Expressions (yes, they come along for the ride) Because presets are saved as .ffx files on disk (think Photoshop Actions), they work across comps and projects—and they’re easy to back up. Create your own (step by step) * Select the exact things you want to preserve: effects, properties, or whole property groups on a layer. * Choose Animation > Save Animation Preset… (or click Save Animation Preset in the Effects & Presets panel). * Name it clearly and be sure it ends with .ffx. * Save it to your User Presets/Favorites folder. You can make subfolders—they’ll show up as categories in Effects & Presets. If you had older “Favorites,” they’re automatically promoted to Animation Presets. Apply them fast * Drag from Effects & Presets > Animation Presets onto a layer. * Or choose Animation > Apply Animation Preset… and pick the .ffx. * Double-click a preset to apply it to the currently selected layer. A 60-second workflow I use * Build a look once (say, “Punchy Text Reveal” with blur, glow, and text animators). * Select the relevant effects + properties on that layer. * Save Animation Preset… into a Branding/Text subfolder. * On the next project, drag that preset onto any text layer—instant, consistent results. Pro tips & pitfalls * Scope smartly: Only select what matters. If you include Position/Scale keyframes by accident, they’ll overwrite a target layer’s transforms. * Resolution awareness: Keyframes save exact values, so a 4K-tuned motion may feel different at 1080p. Tweak once, then resave the updated preset. * Expressions that travel: Most property-linked expressions retarget fine; effects named differently can break. Keep match names standard and consider comments for future you. * Organize now, fly later: Use subfolders (Color, Text, Transitions, Utility) so the Effects & Presets panel stays clean. * Back it up: Copy your User Presets folder to cloud or version control—reinstalls and machine swaps won’t touch your library if you’ve got a backup. Save once. Reuse forever. With Animation Presets, your best looks become buttons you can press—speeding delivery and keeping your motion design consistently on brand.

25.01.2026 21:03 — 👍 0 🔁 0 💬 0 📌 0

Overhead: The Costs That Keep You Open (and How to Price Them) Great work won’t save a business that misprices its overhead. Rent, leases, utilities, marketing, and people costs don’t show up on a shot list—but they decide whether you sleep at night. Treat overhead like any other production element: plan it, track it, and bake it into your rates on purpose. Build Your Overhead Model (Simple & Defensible) * List monthly costs in five buckets: Rent • Leases • Utilities/Comms • Marketing • Employee Benefits/Recruitment (plus insurance, software, taxes if you want the full picture). * Total it monthly and annually. * Divide annual overhead by your billable hours (remember only ~40–60% of your time is truly billable). The result is your overhead $/hour—add it to labor rates so every job carries its fair share. If overhead isn’t in your rate, it’s in your stress. The Big Five (What to Watch, What to Do) 1) Rent (or Space) * Right-size the footprint: studio days you actually use, not the one you dream about. * Flex first: month-to-month studios, co-working, short-term stages. * Negotiate levers: free build-out, rent holidays, sublet rights, shared storage. * Annual space audit: measure utilization; if a room isn’t earning, repurpose or release it. 2) Leases (Gear, Vehicles, Compuers) * Utilization target: a lease should pay for itself in booked days plus margin. * Package smart: price gear as kits; track per-project ROI. * Avoid vanity leases: if it’s “nice to have,” rent it until demand proves ownership. * Refresh calendar: note end dates 90 days early to renegotiate or exit. 3) Utilities—Especially Communications * Redundant internet: a primary and a hotspot failover; shoots don’t wait. * Phones & plans: shared plans for field teams; separate business lines. * Cloud & backup: storage, transfer, off-site backup—budget them, label them, and prune monthly. * SaaS creep: audit subscriptions quarterly; kill ghost seats and duplicate tools. 4) Marketing (Fuel, Not Confetti) * Set a fixed monthly budget (content, email, SEO, conferences, ads). * Track simple metrics: inquiries, qualified leads, close rate, cost per lead. * Maintain the storefronts: website speed, portfolio updates, case studies, reel. * Concentrate spend: 2–3 channels that convert > spraying everywhere. 5) Employee Benefits & Recruitment * Price the full load: wages plus payroll taxes, healthcare, retirement match, PTO, training. * Recruiting costs: job boards, recruiter fees, onboarding time, gear for new hires. * Retain on purpose: set a training budget and a growth path; turnover is the most expensive line item you don’t see. * Use a bench: mix staff with trusted freelancers to flex without fixed bloat. Overhead → Rates (How to Present It) * Bundle, don’t apologize: roll overhead recovery into People/Gear/Facility pricing. * Explain simply: “Our rates include professional facilities, insured gear, redundant comms, and a staffed team so we hit dates without cutting corners.” * No mystery fees: if a client asks, show the buckets—not your landlord’s name. Quick Wins (This Week) * Cancel one unused SaaS seat and one “someday” subscription. * Move your gear list into packages with current market pricing. * Book a quarterly calendar block: Overhead Audit (invites to ops + finance). * Update your rate sheet to include your overhead $/hour. Stop subsidizing clients. Common Pitfalls → Fixes * Treating rent as “just the cost of doing business” → Tie it to utilization; downsize or sublet. * Leasing gear you “hope” to book → Rent until three clients ask for it. * One fragile internet line → Add failover; put the SSID on your call sheet. * Marketing on vibes → Set a monthly budget; measure leads and wins. * Hiring in a hurry → Keep a freelancer bench; recruit continuously, not desperately. Overhead isn’t the villain; it’s the infrastructure that lets you deliver reliably. Price it on purpose, review it on a cadence, and your margins—and your sleep—get better.

25.01.2026 17:28 — 👍 0 🔁 0 💬 0 📌 0

Billing That Matches Reality: From Bid to Final Bill Accurate invoicing isn’t busywork—it’s how you stay profitable and trustworthy. Tie every dollar to a document and a decision, and you’ll avoid scope creep, payment delays, and awkward end-of-project debates. Here’s a clean, four-part system you can drop into any creative business. 1) Bid (What You Propose) Purpose: Set expectations before work starts. Include: * Scope: deliverables, versions, specs, acceptance criteria. * In/Out: what’s excluded (travel, captions, talent, rush, stock, usage). * Assumptions: inputs, client duties, review cadence, single approver. * Pricing: People • Gear • Facility • Rights/Assets • Contingency (5–10%). * Timeline: milestones & approval gates. * Payment schedule: deposits/progress payments + terms (Net 7/15). * Change process: how adds affect scope/schedule/budget (and require written approval). * Validity & versioning: “Valid 30 days”; label BID_v03. 2) Budget (What You Plan to Spend) Purpose: Your internal truth source to manage burn and margin. Build by phase: Prepro • Production • Post • Finishing/Delivery Add lines for PM/Producer, contingency, and fees you pass through (music/stock/talent/locations). Track weekly: * Planned vs. Actual hours/costs * Burn rate (% used) and EAC (estimate at completion) * Notes on variance (why + fix) Deliverable: a one-page dashboard you can share selectively to build trust. 3) Change Orders (What Changed—and What It Costs) Purpose: Keep surprises from landing on your invoice (or your lap). When to issue: any new deliverable, extra round, rush/OT, new aspect ratio, language variant, travel day, or asset that wasn’t in the bid. One-line trade-off (use it verbatim): “To add X, we can extend the date, adjust the budget, or remove Y—your call.” Mini form (copy/paste): * Request: _________________________ * Reason/Impact: ___________________ * Added time/cost: __________________ * New delivery date: ________________ * Approved by (name/title/date): _____ Rules: number them (CO-001), get written approval, then update the budget and schedule. 4) Final Bill (What You Actually Earned) Purpose: Close clean, release rights, and get paid fast. Assemble: * Original Bid + all Change Orders * Actuals vs. budget by phase * Pass-through receipts/licenses (music, stock, talent, locations) * Credits for deposits and previous payments * Tax and any contractual late fees Include these lines on the invoice: * “Unwatermarked masters and project files release upon receipt of final payment.” * “Rights licensed/assigned per SOW and valid after payment clears.” * “Remit via ACH (details), check, or card (+processing fee).” Common Pitfalls → Fast Fixes * Vague scope → Add “In/Out” and assumptions to the Bid. * Free work by accident → No work on adds without a Change Order number. * Sticker shock at the end → Send a budget snapshot at each milestone. * Payment delays → Put thresholds in SOW; hold deliverables until met. * Lost paperwork → Standardize names and store all docs in 01_BID 02_BUDGET 03_CO 04_INVOICES. Accurate invoicing is just clear promises + tracked changes + consistent paperwork. Do that, and your projects finish strong, your clients stay happy, and your bank account reflects the work you actually did.

22.01.2026 14:56 — 👍 0 🔁 0 💬 0 📌 0

Billing: Progress Payments That Protect You Video eats cash before clients see cuts. Make billing predictable with milestone invoices tied to real deliverables—not vibes. Default Schedule (Full-Service) * Initiation — 20%: signed SOW/PO. * Preproduction — 20%: script/boards/schedule delivered. * Production — 30%: day 1 of shoot (collect before media release). * Post Start — 20%: edit begins (watermark until ≥66% collected). * Closeout — 10%: final approval + change orders. Thresholds: no camera originals or unwatermarked finals until ≥50% received; no final masters until balance ≤10%. Shorter Jobs * 50/30/20 (deposit / shoot-or-edit start / final), or Shoot-only: 50/50 with payment before media handoff. * Retainers: due on the 1st; bill overages weekly. Put It in the Contract * Payment schedule + triggers * Net terms (Net 7/15), late fees, deposits/kill fees * Change-order process * Rights released upon final payment * Single client approver per gate Ops Rules (Every Job) * Invoice before big costs (shoots, rentals, travel). * Watermark review files until payment thresholds. * Hold delivery if invoices age out. * Log changes and price them before work. Do This Today Update your SOW template with the schedule, thresholds, and rights language; create three canned emails (pre-pro invoice, production-day reminder, gentle nudge). Make cash flow boring—so you can focus on the work.

20.01.2026 21:21 — 👍 0 🔁 0 💬 0 📌 0

Healthy Parent/Child Relationships in Adobe After Effects Once upon a time, grouping layers meant precomps and nesting. Today, parenting lets one layer hand down its transforms to others—Position, Scale, Rotation (not Opacity)—so you can move whole rigs as one while each child keeps its own independent animation. How parenting works (think anatomy) Your body → arm → hand → fingers. Wiggle the fingers (child-only animation), move the hand (children follow), swing the arm (everyone follows), shift the body (the whole chain follows). One parent can control many children, but a child can have only one parent. Set it up fast * If you don’t see it, right-click any timeline header and enable Columns > Parent & Link. * Pick Whip from the child to the desired parent, or choose a parent from the None dropdown. * Parenting multiple layers? Multi-select the children, then set the parent once—AE applies it to all. A 60-second rig recipe * Create a Null Object; name it Controller. * Parent related layers (title elements, lower-third pieces, a character’s arm chain) to the Null. * Animate the Null for global moves; add per-layer animation on children for fine detail. Pro tips & pitfalls * Maintain alignment: If a child jumps when you parent it, you likely moved anchors inconsistently—reset or align anchors first. * Stack parents smartly: Build simple chains (Body → Arm → Hand → Fingers) to keep edits predictable. * Opacity is independent: Parent controls don’t affect Opacity—keyframe it on the child or the parent separately. * Parenting isn’t keyframable: To stop parenting mid-shot, split the layer at the cut point and set Parent: None on the second piece. * Shy the controllers: Toggle Shy on helper Nulls to keep your timeline clean. Parenting replaces messy precomping for most rigs. Set up a solid hierarchy once, and your whole design moves like a single, well-tuned instrument—precise when you need it, flexible when you don’t.

18.01.2026 21:13 — 👍 0 🔁 0 💬 0 📌 0

Time Estimates That Don’t Lie Great schedules start with honest math. Here’s a lightweight, repeatable way to estimate time for creative/video work—fast enough for bids, tight enough to protect your margin. 1) Start with Historical Data Yesterday predicts tomorrow. Pull actuals from past, similar jobs and note the conditions that drove them. Build a tiny log (5 columns): Task • Original estimate • Actual time • Δ (over/under) • Why (notes) Example entries: “60s edit v1 → est 10h, actual 12h, +2h due to asset hunt” • “Color pass → est 6h, actual 5h, -1h thanks to LUT baseline.” Use this to set today’s Likely number (see formula below) and to spot chronic underestimates. 2) Use the PERT Blend: (1B + 4L + 1W) ÷ 6 This smooths optimism/pessimism with a weighted average. * B (Best): Everything clicks, assets perfect. * L (Likely): Based on your history, normal hiccups. * W (Worst): Gear hiccup, messy assets, extra revisions. Worked example: Edit a 60-sec cut * B = 6h, L = 10h, W = 20h * Calculation: (6 + 4×10 + 20) ÷ 6 = (6 + 40 + 20) ÷ 6 = 66 ÷ 6 = 11 hours Quote 11h for the task, then add policy buffer (see below). Policy buffer: add 10–15% for internal coordination on multi-person tasks, or keep the raw PERT if you’re solo and disciplined. Always state assumptions. 3) Peer Review (Inside Your Team) A 5-minute gut check catches blind spots. Ask three things: * What did I forget? (ingest, backups, captions, exports) * What could slip? (client SLAs, approvals, dependencies) * What would you quote? (and why) If your peer’s number is >20% off, reconcile before you send a bid. 4) External Review (Vendors & Specialists) When a task isn’t your specialty—ask the specialist. Send a tight scope and get a written estimate you can pass through. Mini brief (copy/paste): * Goal & deliverables * Inputs you’ll provide (formats, counts) * Assumptions (clean audio? brand kit ready?) * Milestones & due dates * Review rounds (how many) * Delivery specs (frame size, color space, loudness, captions) Use their number in your proposal plus your PM time to manage it. Estimating Rules of Thumb * Define “done.” List outputs (versions/aspect ratios/captions) before you estimate. * Estimate in units you control. Shots cut, graphics built, pages designed—then convert to hours. * Quote ranges with confidence. “11–13h at 80% confidence; expands if assets arrive late.” * Log actuals. Close the loop so next time is smarter. * Charge for assumptions. Late assets, extra rounds, rush/OT—price them in your SOW. Make this your default: Historical Data → PERT (1B+4L+1W)÷6 → Peer Review → External Review. It’s simple, defensible, and it turns estimating from guesswork into craft.

18.01.2026 16:43 — 👍 0 🔁 0 💬 0 📌 0

Overhead: The Costs That Keep You Open (and How to Price Them) Great work won’t save a business that misprices its overhead. Rent, leases, utilities, marketing, and people costs don’t show up on a shot list—but they decide whether you sleep at night. Treat overhead like any other production element: plan it, track it, and bake it into your rates on purpose. Build Your Overhead Model (Simple & Defensible) * List monthly costs in five buckets: Rent • Leases • Utilities/Comms • Marketing • Employee Benefits/Recruitment (plus insurance, software, taxes if you want the full picture). * Total it monthly and annually. * Divide annual overhead by your billable hours (remember only ~40–60% of your time is truly billable). The result is your overhead $/hour—add it to labor rates so every job carries its fair share. If overhead isn’t in your rate, it’s in your stress. The Big Five (What to Watch, What to Do) 1) Rent (or Space) * Right-size the footprint: studio days you actually use, not the one you dream about. * Flex first: month-to-month studios, co-working, short-term stages. * Negotiate levers: free build-out, rent holidays, sublet rights, shared storage. * Annual space audit: measure utilization; if a room isn’t earning, repurpose or release it. 2) Leases (Gear, Vehicles, Compuers) * Utilization target: a lease should pay for itself in booked days plus margin. * Package smart: price gear as kits; track per-project ROI. * Avoid vanity leases: if it’s “nice to have,” rent it until demand proves ownership. * Refresh calendar: note end dates 90 days early to renegotiate or exit. 3) Utilities—Especially Communications * Redundant internet: a primary and a hotspot failover; shoots don’t wait. * Phones & plans: shared plans for field teams; separate business lines. * Cloud & backup: storage, transfer, off-site backup—budget them, label them, and prune monthly. * SaaS creep: audit subscriptions quarterly; kill ghost seats and duplicate tools. 4) Marketing (Fuel, Not Confetti) * Set a fixed monthly budget (content, email, SEO, conferences, ads). * Track simple metrics: inquiries, qualified leads, close rate, cost per lead. * Maintain the storefronts: website speed, portfolio updates, case studies, reel. * Concentrate spend: 2–3 channels that convert > spraying everywhere. 5) Employee Benefits & Recruitment * Price the full load: wages plus payroll taxes, healthcare, retirement match, PTO, training. * Recruiting costs: job boards, recruiter fees, onboarding time, gear for new hires. * Retain on purpose: set a training budget and a growth path; turnover is the most expensive line item you don’t see. * Use a bench: mix staff with trusted freelancers to flex without fixed bloat. Overhead → Rates (How to Present It) * Bundle, don’t apologize: roll overhead recovery into People/Gear/Facility pricing. * Explain simply: “Our rates include professional facilities, insured gear, redundant comms, and a staffed team so we hit dates without cutting corners.” * No mystery fees: if a client asks, show the buckets—not your landlord’s name. Quick Wins (This Week) * Cancel one unused SaaS seat and one “someday” subscription. * Move your gear list into packages with current market pricing. * Book a quarterly calendar block: Overhead Audit (invites to ops + finance). * Update your rate sheet to include your overhead $/hour. Stop subsidizing clients. Common Pitfalls → Fixes * Treating rent as “just the cost of doing business” → Tie it to utilization; downsize or sublet. * Leasing gear you “hope” to book → Rent until three clients ask for it. * One fragile internet line → Add failover; put the SSID on your call sheet. * Marketing on vibes → Set a monthly budget; measure leads and wins. * Hiring in a hurry → Keep a freelancer bench; recruit continuously, not desperately. Overhead isn’t the villain; it’s the infrastructure that lets you deliver reliably. Price it on purpose, review it on a cadence, and your margins—and your sleep—get better.

15.01.2026 15:27 — 👍 0 🔁 0 💬 0 📌 0

Piracy Hurts Everyone If you create video for a living, you live on the value of intellectual property. So protect it—yours and everyone else’s. I still see sloppy rights practices on sets, in edit bays, and inside agencies that should know better. It’s not edgy or clever to cut corners; it’s risky, expensive, and it undercuts the industry you depend on. This isn’t a legal brief—just the operational playbook I wish every producer, editor, and account lead followed. The Three Biggest Risk Zones 1) Music (the #1 abuse area) There are great options: stock libraries, custom composition, licensed catalogs, and algorithmic tools. Use them. What you cannot do: drop in your favorite recording and “credit the artist.” Credit is not a license. Safer paths * Budget for music up front (temp + final). * Keep a short list of libraries at different price tiers. * Build relationships with 2–3 composers for fast-turn cues. * Document the license: track title, licensor, license ID, territory, term, media, and any restrictions. Red flags * “It’s internal use only.” (Still in use.) * “We’ll swap it later.” (It never gets swapped.) * “The client said it’s fine.” (Get that in a license, not a text.) 2) Stock Footage (and imagery, fonts, templates) Buy from reputable sources and match the license to use. “Royalty-free” doesn’t mean “rights-free.” Safer paths * Maintain a preferred vendor list with approved license types. * Screenshot or save license terms at time of purchase (they change). * Track attribution requirements and usage limits (territory, seat count, end products, print/run caps). Red flags * Pulling clips/fonts/templates from random “free” sites with no clear license. * Reusing a project file that embeds a single-seat font or SFX license across multiple clients. * “Buyout” claims without documentation. 3) Client-Provided Assets (logo dumps, mood folders, “internal only” archives) If the client hands you assets, that doesn’t make them safe. You share liability if you publish copyrighted material without permission. Safer paths * Require a Client Asset Warranty (sample below). * Ask for evidence of rights when assets look third-party (music, photos, sports footage, celebrity images). * Quarantine anything unclear until it’s cleared. Red flags * “We grabbed this from Google—it’s just a placeholder.” * “Our last agency used it.” * “We own the brand, so we own the photos.” (Often false—photographers may hold rights.) Your Rights Workflow (Copy/Paste) 1) Brief & Budget * Line-item Music / Stock / Fonts / Talent / Locations / E&O in the estimate. * Define territory, term, and media early (web only vs. paid social vs. broadcast, etc.). 2) Intake & Verification * Collect all client-provided assets in a labeled folder. * For each asset, log source, owner, license type, term, territory, and media. * If unknown → stop and request proof or a replacement. 3) Temp vs. Final * Tag every temp asset clearly (e.g., TEMP_MUSIC_not_licensed.wav). * Publish a rule: no final exports until all temp assets are replaced or licensed. 4) Paper Trail * Save invoices, receipts, license PDFs, emails, and screenshots of license terms. * Please put them in a project Rights folder alongside the edit. 5) Delivery Packet Include a one-page Rights Summary: * Asset → Vendor/Owner → License ID → Term → Territory → Media → Notes → Renewal Date Templates You Can Steal Client Asset Warranty (Plain-English) Client represents and warrants that all materials it supplies (logos, photos, music, footage, fonts, data) are owned by Client or properly licensed for the intended use. Client agrees to provide documentation upon request and to indemnify Producer against claims arising from Client-supplied materials. Rights Checklist (Pre-Export) * Music licensed or replaced * Stock (video/image) licensed and logged * Fonts licensed for this use & seat count * Logos/third-party marks cleared * Talent/location releases on file * Client assets warranted * Captions/subtitles sources licensed (if third-party) * Rights summary included in delivery Myths vs. Reality * Myth: “It’s fair use—it’s only 10 seconds.” Reality: Fair use is context-specific and rare in advertising/brand work. * Myth: “We’re not monetizing, so it’s okay.” Reality: Public distribution is still a use; monetization isn’t the only test. * Myth: “We credited the artist.” Reality: Credit ≠ permission. * Myth: “AI generated it, so it’s free.” Reality: Tools have training, usage, and output terms. Please read them. The Bottom Line Piracy isn’t a victimless shortcut—it’s a tax on everyone who plays by the rules and a direct risk to your client and reputation. Respect rights like you want yours respected. Budget for licenses, track the paperwork, and ship a rights summary with every job. That’s how pros work—and how agencies keep clients for the long haul. This is operational guidance, not legal advice. For edge cases or high-risk uses, consult an attorney and your E&O carrier.

13.01.2026 20:08 — 👍 0 🔁 0 💬 0 📌 0

Roving Keyframes in Adobe After Effects: Set-It-and-Forget-It Constant Speed Got a layer weaving through multiple Position keyframes and the speed keeps lurching? Roving keyframes even out the ride so motion stays constant between the first and last keyframe—no hand-massaging gaps in the Speed Graph. What roving does (and when to use it) Roving keyframes let After Effects adjust the timing of the intermediate spatial keyframes (e.g., Position, Mask Path) so the layer moves at a steady rate along your path. First and last keyframes stay fixed in time; everything in between “roves” to maintain a flat velocity. How to enable roving * Animate your Position across several keyframes. * Select the middle keyframes (leave the first and last unselected). * Do one of the following: * Animation > Keyframe Interpolation… (Cmd+Option+K Mac / Ctrl+Alt+K Win) → set Rove Across Time. * Open the Graph Editor (Speed Graph) and click the roving toggle boxes beneath the selected keyframes. * You’ll see those keys switch to Auto Bezier timing; the Speed Graph becomes a flat line—hello constant velocity. A 60-second workflow I use * Rough in your path—don’t worry about spacing in time. * Select the intermediate keys → Rove Across Time. * Preview. Need the whole move faster or slower? Drag only the first or last keyframe earlier/later in time. The roving keys retime automatically while keeping speed perfectly even. Pro tips & pitfalls * Only for spatial properties: Position and Mask Path benefit most; non-spatial properties (like Opacity) can’t rove. * Shape first, speed second: Draw the path you want, then turn on roving to fix the cadence. * Edit after roving: You can still nudge spatial handles to refine the curve—speed stays constant. * Don’t rove endpoints: First/last keys define the overall duration; they can’t (and shouldn’t) rove. * Need purposeful slow-downs? Use ease on the endpoints or insert a non-roving keyframe where you want speed changes. Roving keyframes are the “cruise control” of AE animation: set your route, flip the switch, and let the speed smooth itself out while you focus on the path and the pixels.

11.01.2026 21:20 — 👍 0 🔁 0 💬 0 📌 0

Rates for Services: A Short, Practical Guide Pricing creative work isn’t guesswork—it’s math plus market. You need a rate that reflects reality (your costs and billable time) and the landscape (what comparable pros charge). Here’s a fast framework you can adopt today. 1) Start with Competitive Analysis Look sideways before you look inward. Gather 8–10 recent quotes or rate cards from comparable shops (quality, turnaround, deliverables, geography). Note how they charge (day rate vs. flat, inclusions/exclusions, revision caps). Your goal isn’t to undercut; it’s to anchor your range and learn packaging patterns clients expect. Quick check: if your proposal looks nothing like what buyers are used to seeing, they’ll have to “translate” it—friction you don’t need. 2) Price to Your Financial Need (Because Only 40–60% Is Billable) Freelancers and small studios rarely bill more than 40–60% of their working hours once you factor in sales, admin, training, and downtime. Build your rate around that truth: Formula (Base Compensation + Overhead + Target Profit) / Billable Hours = Hourly Base Rate Example (solo owner) * Target comp: $120,000 * Overhead (software, gear upkeep, insurance, rent, taxes): $60,000 * Profit goal: $30,000 * Billable hours at 50% of a 2,000-hour year = 1,000 Rate = ($120k + $60k + $30k) / 1,000 = $210/hr From there, build day rates and fixed bids. 3) Separate the Three Components: People • Gear • Facility Clients understand costs when you bucket them. * People: strategy, producing, direction, camera, audio, editing, color, mixing, PM. Quote as day rates or scoped packages with revision caps. * Gear: camera kits, lenses, audio, lighting, grip, data, teleprompter. Price at local market rental or your ownership cost model; list by package (e.g., “Camera A kit”) to reduce line-item haggling. * Facility: studio, stage, edit suite, color room, VO booth, storage/archiving. Charge by day or per deliverable. Include utilities and expendables in this bucket to stay clean. Rule: if it costs you money or time whether or not you’re shooting, it belongs on the estimate. 4) Charge for the Assumptions (So You Don’t Pay for Them) Make every hidden assumption explicit—and billable if it breaks. * Time: overtime, weekend/holiday, rush/expedite. * Scope: extra versions, additional revisions, language variants, and alternative aspect ratios. * Logistics: travel days, holds, weather days, company moves. * Data: on-set wrangling, backups, conforms, long-term storage. * Rights: stock, music, fonts, voice, talent usage, captioning, delivery specs. * Client duties: consolidated notes by X date, single approver, asset delivery deadlines. Include a one-line trade-off in your SOW: “To add X, we can extend the date, adjust the budget, or remove Y—your call.” Positioning Script (Use in Emails) “Our rates reflect two things: the market for comparable work and the real cost of delivering reliably (only ~50% of studio time is billable once we cover planning, QA, and admin). We separate people, gear, and facilities for clarity and to account for price changes when assumptions shift. That’s how we hit dates without cutting corners.” Price with intention. Anchor to the market, respect your billable reality, separate your components, and charge for the assumptions. That’s how your rates stop being a guess—and start sustaining your business.

11.01.2026 17:20 — 👍 0 🔁 0 💬 0 📌 0

Time Estimates That Don’t Lie Great schedules start with honest math. Here’s a lightweight, repeatable way to estimate time for creative/video work—fast enough for bids, tight enough to protect your margin. 1) Start with Historical Data Yesterday predicts tomorrow. Pull actuals from past, similar jobs and note the conditions that drove them. Build a tiny log (5 columns): Task • Original estimate • Actual time • Δ (over/under) • Why (notes) Example entries: “60s edit v1 → est 10h, actual 12h, +2h due to asset hunt” • “Color pass → est 6h, actual 5h, -1h thanks to LUT baseline.” Use this to set today’s Likely number (see formula below) and to spot chronic underestimates. 2) Use the PERT Blend: (1B + 4L + 1W) ÷ 6 This smooths optimism/pessimism with a weighted average. * B (Best): Everything clicks, assets perfect. * L (Likely): Based on your history, normal hiccups. * W (Worst): Gear hiccup, messy assets, extra revisions. Worked example: Edit a 60-sec cut * B = 6h, L = 10h, W = 20h * Calculation: (6 + 4×10 + 20) ÷ 6 = (6 + 40 + 20) ÷ 6 = 66 ÷ 6 = 11 hours Quote 11h for the task, then add policy buffer (see below). Policy buffer: add 10–15% for internal coordination on multi-person tasks, or keep the raw PERT if you’re solo and disciplined. Always state assumptions. 3) Peer Review (Inside Your Team) A 5-minute gut check catches blind spots. Ask three things: * What did I forget? (ingest, backups, captions, exports) * What could slip? (client SLAs, approvals, dependencies) * What would you quote? (and why) If your peer’s number is >20% off, reconcile before you send a bid. 4) External Review (Vendors & Specialists) When a task isn’t your specialty—ask the specialist. Send a tight scope and get a written estimate you can pass through. Mini brief (copy/paste): * Goal & deliverables * Inputs you’ll provide (formats, counts) * Assumptions (clean audio? brand kit ready?) * Milestones & due dates * Review rounds (how many) * Delivery specs (frame size, color space, loudness, captions) Use their number in your proposal plus your PM time to manage it. Estimating Rules of Thumb * Define “done.” List outputs (versions/aspect ratios/captions) before you estimate. * Estimate in units you control. Shots cut, graphics built, pages designed—then convert to hours. * Quote ranges with confidence. “11–13h at 80% confidence; expands if assets arrive late.” * Log actuals. Close the loop so next time is smarter. * Charge for assumptions. Late assets, extra rounds, rush/OT—price them in your SOW. Make this your default: Historical Data → PERT (1B+4L+1W)÷6 → Peer Review → External Review. It’s simple, defensible, and it turns estimating from guesswork into craft.

08.01.2026 14:42 — 👍 0 🔁 0 💬 0 📌 0

Work for Hire: What Creative Pros Need to Know In video, ownership rarely follows the person holding the camera. Productions are complex, expensive, and collaborative—so the default is work for hire: the party funding the project typically owns the footage and edits. If you’re coming from photo-style licensing, recalibrate before you roll. The Default (Cash = Control) Funders generally expect to own: * Camera originals & project files (unless carved out) * All footage captured on assignment (including “extra” B-roll) * Final deliverables and derivative edits Traveling to an exotic location for a 60-minute interview? Assume they still expect everything you shot. If you want exceptions, negotiate them up front. What to Negotiate Every Time Portfolio rights (scope, timing, credit), practical access (read-only links, time-boxed file retention), and carve-outs (generic scenic B-roll you can later license). One-liner to drop in a contract: “Contractor may display the final deliverables and up to 60 seconds of non-confidential excerpts for portfolio (website, reel, social, awards) after Client’s first public release, with credit: ‘[Name], [Role].’” If you already license stills to this client, propose parallel terms for select video assets. Alternatives to the Default * License model: You own; client licenses usage (scope/territory/term/exclusivity). * Hybrid: Client owns final edits; you retain/ license specific B-roll. * Buyout: Client purchases full ownership for a premium. * Self-funded: You pay/own; distribute or license as stock. It never hurts to ask—just price the options. Contract Must-Haves * Ownership model: work for hire vs. license; who gets camera originals/project files * Deliverables & specs: formats, versions, captions, audio, aspect ratios * Portfolio clause: where/when you can show, and how you’re credited * Access & retention: what you keep and for how long (e.g., 12 months) * Change control: how adds affect scope/schedule/budget * Payment terms: deposit, milestones, late/kill fees * Confidentiality & embargo; single client approver per gate Red Flags (Slow Down Here) “In perpetuity in all media, no credit,” “no portfolio use ever,” “pay when paid” for your subcontractors, or “send all project files/IP” at no extra fee. Quick Pre-Flight (Before You Sign) * Who pays? If client funds, assume work for hire unless stated otherwise. * What’s written? If ownership/portfolio isn’t explicit, add language now. * Any carve-outs? List file names, durations, exclusivity windows. Bottom Line In video, work for hire is the norm—because money and risk are larger. That doesn’t mean you surrender your future. Negotiate portfolio rights, define access, and propose license/hybrid/buyout models when they fit. Put it in writing and play fair; that’s how you build a sustainable creative business. General guidance, not legal advice—consult an attorney for your jurisdiction and use case.

06.01.2026 20:17 — 👍 0 🔁 0 💬 0 📌 0

Everything in Its Right Place in Adobe After Effects Stop eyeballing layouts. The Align & Distribute panel snaps layers into clean grids and even spacing in seconds—no rulers, no guesswork. The essentials * You need at least two layers to align, and at least three layers to distribute. * Open it via Window > Align & Distribute, then click the icon that matches the alignment or distribution you want. * Aligning to an edge? First position one “hero” layer where you want it, then select all and choose Align Left/Right/Top/Bottom. After Effects uses the selected object that already “fits” the target edge as the anchor, pulling the others to match. * Distribute spreads layers evenly between the extremes: top ↔ bottom or left ↔ right of the outermost selected layers. * Locked layers are ignored (they won’t budge). * For predictable spacing, work with similarly sized layers—distribution measures layer bounds. A 60-second layout recipe * Rough in your layers where they belong. * Pick your edge anchor (move one layer to the perfect spot). * Select all → click an Align icon (e.g., Align Left). * With all still selected, click a Distribute icon (e.g., Distribute Vertical Centers) to even out gaps. * Nudge as needed with arrow keys, then lock key elements and repeat for the next row/column. Pro tips & pitfalls * Use guides + snapping for quick checks; you’ll see misalignments instantly. * If sizes vary wildly, precompose related elements or put them in identical shape/text boxes for more consistent distribution. * Want one oddball to stay put? Lock it before aligning the rest. * After you land a great layout, save a Workspace so the panel’s always handy. Clean edges and consistent spacing signal professionalism. Make Align & Distribute part of your muscle memory and your comps will look intentional—not accidental.

04.01.2026 20:08 — 👍 0 🔁 0 💬 0 📌 0

Rates for Services: A Short, Practical Guide Pricing creative work isn’t guesswork—it’s math plus market. You need a rate that reflects reality (your costs and billable time) and the landscape (what comparable pros charge). Here’s a fast framework you can adopt today. 1) Start with Competitive Analysis Look sideways before you look inward. Gather 8–10 recent quotes or rate cards from comparable shops (quality, turnaround, deliverables, geography). Note how they charge (day rate vs. flat, inclusions/exclusions, revision caps). Your goal isn’t to undercut; it’s to anchor your range and learn packaging patterns clients expect. Quick check: if your proposal looks nothing like what buyers are used to seeing, they’ll have to “translate” it—friction you don’t need. 2) Price to Your Financial Need (Because Only 40–60% Is Billable) Freelancers and small studios rarely bill more than 40–60% of their working hours once you factor in sales, admin, training, and downtime. Build your rate around that truth: Formula (Base Compensation + Overhead + Target Profit) / Billable Hours = Hourly Base Rate Example (solo owner) * Target comp: $120,000 * Overhead (software, gear upkeep, insurance, rent, taxes): $60,000 * Profit goal: $30,000 * Billable hours at 50% of a 2,000-hour year = 1,000 Rate = ($120k + $60k + $30k) / 1,000 = $210/hr From there, build day rates and fixed bids. 3) Separate the Three Components: People • Gear • Facility Clients understand costs when you bucket them. * People: strategy, producing, direction, camera, audio, editing, color, mixing, PM. Quote as day rates or scoped packages with revision caps. * Gear: camera kits, lenses, audio, lighting, grip, data, teleprompter. Price at local market rental or your ownership cost model; list by package (e.g., “Camera A kit”) to reduce line-item haggling. * Facility: studio, stage, edit suite, color room, VO booth, storage/archiving. Charge by day or per deliverable. Include utilities and expendables in this bucket to stay clean. Rule: if it costs you money or time whether or not you’re shooting, it belongs on the estimate. 4) Charge for the Assumptions (So You Don’t Pay for Them) Make every hidden assumption explicit—and billable if it breaks. * Time: overtime, weekend/holiday, rush/expedite. * Scope: extra versions, additional revisions, language variants, and alternative aspect ratios. * Logistics: travel days, holds, weather days, company moves. * Data: on-set wrangling, backups, conforms, long-term storage. * Rights: stock, music, fonts, voice, talent usage, captioning, delivery specs. * Client duties: consolidated notes by X date, single approver, asset delivery deadlines. Include a one-line trade-off in your SOW: “To add X, we can extend the date, adjust the budget, or remove Y—your call.” Positioning Script (Use in Emails) “Our rates reflect two things: the market for comparable work and the real cost of delivering reliably (only ~50% of studio time is billable once we cover planning, QA, and admin). We separate people, gear, and facilities for clarity and to account for price changes when assumptions shift. That’s how we hit dates without cutting corners.” Price with intention. Anchor to the market, respect your billable reality, separate your components, and charge for the assumptions. That’s how your rates stop being a guess—and start sustaining your business.

01.01.2026 15:19 — 👍 0 🔁 0 💬 0 📌 0

Playing Fair: Business Ethics for Creatives Tools got cheaper. Markets got louder. The barrier to entry dropped—and that’s good. Fresh talent brings fresh ideas. But lower barriers don’t excuse lower standards. If we want a healthy creative industry, we have to protect it with sound business practices. Translation: play fair, price sustainably, credit properly, and treat people (and their time) with respect. This isn’t gatekeeping—it’s stewardship. Jump in, contribute, and please… don’t piss in the pool. 1) Price Fairly (for the Long Term) Charge in a way that lets you survive and improve, not just win this week’s bid. * Know your costs: insurance, gear, software, studio, payroll, taxes, education, admin. * Be consistent: publish rate ranges, stick to them, and explain what’s included. * Value, not just hours: complex, high-risk, fast-turn work costs more. * Say no to unsustainable asks; today’s “cheap win” becomes tomorrow’s expectation. Quick gut-check: If this price became your average, would you still be in business in 12 months? 2) Don’t Do Spec Work Unpaid “tests,” “points,” or “deferred comp” erode the market and your confidence. * Offer paid discovery (a small, scoped engagement) instead of free concepts. * If you must build portfolio, do self-initiated projects or donate to vetted nonprofits—with clear terms and boundaries. * Remember: other professions don’t work free to “prove interest.” Neither should you. Script to decline spec: “Thanks for the opportunity. I don’t do unpaid concepts, but I can offer a paid discovery sprint to shape the brief and creative direction. Here’s a scope and flat fee.” 3) Compete Without Trash Talk Your only real competition is yesterday’s version of your work. * Don’t badmouth peers; it lowers everyone—including you. * Credit collaborators openly. Attribute stock, music, fonts, and references. * Never pass someone else’s work or ideas as your own. If inspired, cite and transform. 4) Contracts First, Romance Second Great relationships still need clear agreements. * Scope: what’s in/out, deliverables, versions, acceptance criteria. * Schedule: milestones, review gates, client response times. * Budget: fees, expenses, contingency, change-order process. * Rights: usage, territory, duration, exclusivity, credit. * Protections: deposits, kill fees, limit of revisions, liability caps, indemnities. One-line trade-off: “To add X, we can either move the date, adjust the budget, or remove Y—your call.” 5) Your Problems Are Your Problems Be the person people want to hire again. * Pay subcontractors on time—even if your client is late. Don’t push your cash-flow issues downstream. * Share POs and timelines with your vendors so they can plan. * If something slips, communicate early with options, not excuses. 6) Be Transparent About Tools & Licenses Creativity is fueled by resources—use them ethically. * Buy and track licenses for stock, fonts, plugins, and music. * Deliver a simple rights sheet with each project: what was licensed, for how long, and where. * If you use AI or third-party services, disclose how and what that means for rights and privacy. Rights summary (copy/paste): * Asset → License type → Territory → Term → Notes → Renewal date 7) Act More Like a Lawyer (and Still Make Art) You’re a creative professional. Standards apply. * Communicate clearly, document decisions, and confirm in writing. * Protect confidentiality and client data. * Keep promises. Missed a date? Own it and present a recovery plan. * Keep learning—craft and business. Common Traps → Better Choices * Race to the bottom pricing → Set sustainable rates; educate clients on value. * Spec work → Offer paid discovery or do self-funded portfolio pieces. * Trash talk → Compete on craft and service; give credit generously. * “Pay when paid” → Pay your crew on schedule; build contingency for cash flow. * Handshake deals → Use written scopes, change orders, and clear rights. * License fog → Track assets and send a rights summary at delivery. The Creative Ethics Pledge (Steal This) * I price for sustainability, not undercutting. * I decline spec; I propose paid discovery. * I respect peers and credit collaborators. * I use written agreements and honor them. * I pay my team on time—no excuses. * I license assets properly and disclose constraints. * I communicate early, honestly, and professionally. Playing fair isn’t just “nice.” It’s how you build a resilient business, attract better clients, and leave the industry stronger than you found it.

30.12.2025 11:52 — 👍 0 🔁 0 💬 0 📌 0

Draw Your Animation with Motion Sketch in Adobe After Effects Sometimes the Pen tool feels too clinical. Motion Sketch records your hand-drawn movement in real time—position and speed—so layers inherit that organic, human wobble you can’t fake with linear keyframes. What Motion Sketch does It captures a motion path (Position keyframes) as you draw in the Comp panel, including your timing. Perfect for drifting lower-thirds, flying UI chips, or handwriting reveals that should feel alive. Set up for a clean capture * Magnification: Set the Comp viewer to 100% or higher so you’re drawing at true scale. * Work Area: Trim the Work Area to the duration you want to sketch. * Select your layer, then open Window > Motion Sketch. * In the panel, enable Show Wireframe for responsiveness and Show Background if you need visual reference. * If you have a tablet, use it—Motion Sketch loves a pen. Capture Speed (the secret sauce) Capture Speed controls how long you get to draw relative to the Work Area: * Work Area = 4s, 100% capture → you have 4 seconds to draw. * 50% capture → 2 seconds to draw (faster pass). * 200% capture → 8 seconds to draw (slower, smoother hand movement). No matter what you pick, the animation plays back in real time across that 4-second Work Area. Most artists prefer above 100% for smoother, more controlled lines. Quick start (try this in a minute) * Make a new solid or shape layer; select it. * Window > Motion Sketch → Set Capture Speed to 200% and Smoothing to taste. * Click Start Capture and draw in the Comp panel (tablet recommended). * Preview (0 on numeric keypad). You’ll see natural acceleration/deceleration baked into the keyframes. Sync to sound while you draw Animating to a beat? In Time Controls, enable the Audio button so you hear playback during capture. Ride the rhythm and let timing guide your strokes. Make it prettier (refine after capture) * Smoothing: If the path jitters, raise Smoothing in Motion Sketch or use Window > Smoother on the selected motion path. * Speed Graph: Open the Graph Editor to even out spikes without losing character. * Auto-Orient: For arrows/planes, set Layer > Transform > Auto-Orient > Along Path to have rotation follow your curve. * Motion Blur: Flip it on to sell speed and soften wiggles just enough. Pro tips & pitfalls * Zoom with intent: If your line strains off-screen, you’re probably not at 100%—reset magnification and try again. * Separate clean-up pass: Sketch once for shape, then adjust a few keyframes (or influence handles) instead of re-drawing endlessly. * Tablet pressure: Vary your hand speed, not the pressure—Motion Sketch captures timing, not stroke thickness. * Pen vs. Pen tool: If you need geometric precision after the fact, you can still edit the spatial Beziers like any other motion path. Motion Sketch is your shortcut to animation with personality. Draw it once, smooth it a touch, and let After Effects keep the vibe you put in with your hand.

28.12.2025 20:42 — 👍 0 🔁 0 💬 0 📌 0

Richard Harrington, PMP

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