How to work when your exhausted

Found it. Dear AD  how to work when you're exhausted

don't die without saying what you have to

been into Your Creative Push podcast lately (daily!)

this one with Angela Treat Lyon in particular really resonated.

If you knew you were about to die, would you be content with what you accomplished. If not get off your butt and get to it while you can.

Cosmic Shame - Tenacious D

Constraints and Accountability

progress is made with constraints and accountability 

Jake Parker said that in one of his videos, constraints so there's some kind of structure to it, and accountability so you don't just let yourself off the hook


David Talley
your creative push interview

at 17 min in talks about being inspired by someone doing a 365 photography project. Before he was inspired he was just idly taking photos that weren't satisfying his vision, but he didn't have a reason to work hard to make the art he wanted to make. So his goal became "take a photos every single day, and try and get better every single day". The challenge gave him the framework to improve. As creatives we love the idea but hate the hard work, but have to combine them to get stuff done. So he always has a time based project (usually 52 week themed project, like the alphabet project every 2 weeks shoot something on next letter). It's not hard to create good photos, you can have the skills and tools, but if you don't have a purpose in creating an image (like an overall project) you lose sight of your motivation and feel more and more resistance.

Jake Parker

Jake knocked me on my butt with his career timeline. I think we are just about the same age, and he's achieved so much. Makes me realize how driven he is. And also how much follow through he has, I have tons of projects I fiddle with but I never take them to finish because I never feel like I have the skill to make them good enough. 

Progress is made with constraints and accountablilty

2 sketchbook pages a day, 1 of loose exploration drawings, 1 finished (but in a year in review video he said he only did 129 drawings that year, which is 1 finished every 3 days)



a drawing every 3 days

1. specific vision (what position what level what achieved)

2. deconstruct vision (what steps to get there, what steps did others take to get there)

3. daily and weekly schedule for achieving steps (to have an achievable sense of progress)

4. Cut the Fat is this going to get me closer or further to my goal, for everything you do
(reading, tv, games, dampires (well intentioned sucky people))  (-1 day for recharge, family friends)


Routine
Daily -
    before starting 15 minute rev                 up/inspiritation meditate
        write priorities for day
    start w/ creative stuff
    biz stuff 2nd 1/2 of day
    (if has energy, sneaks back to work         after family evening stuff)
Weekly
    each day or half day is a dif project             (tue-thur=comic, sat-sun=songs)
Gobal
    to do list, read everyday so decide if you need to stick it in the days to do

do better today than you did yesterday



there are 3 types of nourishment
       1. the project feeds your spirit, creating the work is the reward
       2. other people like it and their feedback nourishes you
       3. it makes money and you can eat

so when considering a project, think about what you want to get out of it:
      I don't care if anyone else likes this, I really want to do it
      or
      I don't care what the project is, I just need to make some money

Ride that first burst of excitement about the project (the blocking buzz) as long as you can, stay up late, put in extra time, use the excitement to go go go as far as you can, knowing that once it wears off you're still going to grind through and finish the thing. Because the flush from finishing is even better than the blocking buzz, and the only thing that matters is finished things.

The Cult of Done Manifesto

1. There are three states of being. Not knowing, action and completion.
2. Accept that everything is a draft. It helps to get it done.
3. There is no editing stage.
4. Pretending you know what you're doing is almost the same as knowing what you are doing, so just accept that you know what you're doing even if you don't and do it.
5. Banish procrastination. If you wait more than a week to get an idea done, abandon it.
6. The point of being done is not to finish but to get other things done.
7. Once you're done you can throw it away.
8. Laugh at perfection. It's boring and keeps you from being done.
9. People without dirty hands are wrong. Doing something makes you right.
10. Failure counts as done. So do mistakes.
11. Destruction is a variant of done.
12. If you have an idea and publish it on the internet, that counts as a ghost of done.
13. Done is the engine of more.

 must have
1 web page
2 post on twitter instagram facebook tumblr
3 viral bait (series often works better, like star wars as samurai, or disney as robots, or fill the gap in an IP like chewbacca kylo ren backstory, or even do 100 somethings)
4 submit your viral bait to every top blog, write your own article about it
5 do it again and again, consistency

Success on Social Media (instagram)
1. post striking imagery that stops people and elicits an emotion
2. post when audience is online
3. hashtag smartly (trending & climbing, also accurate)
4. be strategic with your captions. drive engagement (call to action)
5. respond to followers/comments (especially when not overwhelmed by followers yet)turn people who followed into actual fans.
6. be a good internet citizen, be part of community, follow like comment on others, don't just drop in dump your stuff and walk off

Advice on Art and Life

You don’t become an artist. You are one or you’re not.
If you are, you’re either creating or you’re not creating.
Both have their drawbacks; but while creating is frustrating, difficult, scary, occasionally exhilarating and often humiliating, not creating is to doubt one’s own reason for being.

The choice is clear, then; to stay alive the artist needs to create like the shark needs to swim.




We live in an age of irony – everyone is superior to or laughing at someone. We mistake it for sophistication, but it’s cowardice. It’s an unwillingness to stake one’s heart and mind on something for fear of appearing naive. Irony is lazy. Its point is that conviction is meaningless; its point is that there is no point. We think of it as edgy, but nothing is edgy if everyone’s doing it. The really revolutionary act is to create art that attempts to be redemptive, to stand for something, to be unrepentantly earnest. We need that art in this world. Go make it




from Gretchen Peters

How to be Happy

A guy named Shawn Achor has been studying happiness and how it improves productivity. He has a pretty amusing ted talk. But he also has this 3 minute 5 step guide to being happier, and it's worked for me surprisingly well. He says that as animals we are programmed to look for stressors in our environment, which translates as always looking for something to complain about, and we have limited mental energy, so we often accidentally use up all our brain juice noting all the things that aren't great and then don't get around to noting the good things. So he encourages reversing that, focusing on things that you're grateful for, and reliving good moments so that you get your brain looking for other good things.

5 daily steps:
1. 3 things you are grateful for
2. 5 minutes writing about a positive experience from the last 24 hours in full sensory detail
3. get some exercise
4. stop for 2 minutes and just focus on your breath going in and out
5. 1 random kind act (like an email to a friend, family member or coworker appreciating them)

it's been working for me noticeably.

Righteous Creative

Ran across this lecture by comic artist  Lucy Bellwood

will get you pumped up to go create. 



and her notes from it

and then notes I took listening


no aspriring, you're doing it or you're not doing it

(ala yoda do or do not, there is no try)
and business cards are secret validity, Joe Schmoe comic artist on a card proves that you are

pay attention to the stuff the consumes you and you lose track of what you're doing,

that's what people will be into when you bring it

like razor scooters, they had a phase in the 90's but if you are super passionate about
it you can bring it back with your passion

lack of time, fear of failure, lack of energy, I'm not good enough
vs
don't wait until your ready or good enough, you will never be good enough or ready

enough, do it now do the best with what you have

when you feel down about your work right now, think about what 9 year old you would think of you now

done is beautiful, don't nitpick it and try and make it perfect, just get it out in the world

easiest way to finish is to make it small

it doesn't have to be perfect or beautiful, it just needs to be done

don't overinvest in people who give advice, just do the work

ways to trick yourself into work:

micromovements
break it down as small as you can (day one get a pencil and put it next to the piece of

paper done for the day) you trick yourself into getting going because you are frustrated

at the stupid slow pace

pomodoro technique
egg timer for 25 minutes, choose a task with no interuptions and just focus, work on this

comic page for 25 minutes, when timer goes off stop what you're doing set timer for 5

minutes and goof off, then another 25 minutes

boxsheets
grid of the steps you need to do, basically a check off list for everything
includes milestones for "celebrate"

limits
work with limits hourly comics day or 24 hour comics day

consistency
if you have a lot of stuff happening make a boxsheet really easy like "have to do 1 thing

comic related everyday" to give yourself a way to start checking off boxes, once you have

a line of checked boxes you'll find yourself wanting to keep it going, you're building a

postive comic creating habit

community
find a group of people trying to do what you do to keep yourself inspired
meet people, find people, be friendly, you never know when someone who knows someone has

a thing that'd be an awesome project for you

omnivore
be an omnivore, the more you bring all the different facets of your life that youre

passionate about into your work the more interesting your work will be

Steal like an Artist by Austin Kleon  (being creative in a distracting digital age)

How do you get Money at this?
get a website presence, if they look for you on google you need to be findable

do good work and share it with people
people die from "exposure" don't do work for it as payment

talk to your peers, raise your rates (if you do you'll get more work,weird stuff)


resources comics expirience, behance, illustrators market,

stop doing stuff you hate, you can make just as little money doing what you love as what you hate, you can actually make money doing what you like


Martha Graham to Agnes de Mille (one of my favorite quotes of all time):

    “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. … No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others”

(which is why the 9 year old perspective is good to have to so keep 'em both)

Ryan Woodward Animating from the Heart

 This is an old talk Ryan did about his short film. I was thinking about how if you resist your inspirations everything will just feel frustrating and ash like.

Animating from the Heart – Logic vs Inspiration Animator and Filmmaker Ryan Woodward from Creative Talent Network on Vimeo.


notes:
after I finish drawing the boards, I go into aftereffects, add some sound fx, some flare, some fake animation, you can have a lot of fun with it, you really feel like a film maker

The first instance when I clued in that I wanted to do stuff on the side

When I worked on Osmosis Jones I remember doing this scene that I was really excited and passionate about, it was perfect just the way I wanted and I passed it on, and when I saw it in dailies (after all the other departments had added their stuff) it had totally changed. When I saw it I was so upset and angry inside that they had touched my child and manipulated it into something I couldn't identify with anymore, it hurt. And my office partner said "you've got to chill out, you've got to go do something on the side, your own little project that you do on your own and invest all your passion into that so that when you're working on your day job you're not so emotionally invested in your drawings"

So if you have something on the side (even if it's small) it satisfies that creative monster inside you. Sometimes on a job you  don't feel like a creator you feel like a production guy. When you've been there long enough you start to forget what it's like to be a creator on your own, it just becomes a job. I noticed that my own personal aesthetic about what I think is cool in art all reflected on the movies I had worked on. I felt a bit like a slave that the studio is dictating what I like and not like. So I had to reassess what I actually like.

I loved modern dance, and figure drawing, but the idea of doing a film that way sounds like torture. Then the idea hit me, and the idea trumps all obstacles. When the idea hits you you think "either I do this, or I die inside"

Why are you making it?
I'm making it because I have to. I have to feel like I'm creating something


The one thing I really learned, I don't force inspiritation, I just try to prepare myself with a level of sensitivity that when inspiration does come it floors me like a train.

I just wait for those moments, where the heavens part and "aha". They don't happen very often, but when they happen, do something, otherwise youll be frustrated inside and you won't know why and everything will be grrrrr, and you won't know why. But if you really think about it you know what you want to do, you know inspiration hit you and you chose not to do it, that creates misery. But if you do it, even if you fail at it, that fact that you're doing it makes you feel alive and living some kind of purpose, you feel like you're being someone you were born to be, if it doesn't make a dime who gives a crap You did it. Just the fact that you did it you can lay back and breathe a sigh and you feel human.

the film: 
Thought of You from Ryan J Woodward on Vimeo.

Matt Cutts

only 3 minutes. "the next 30 days are going to happen wether you want them to or not"

Gamers Saving the IRL world

I'm glad there's some smart people out there. Article about leveraging the tenacity and creativity of gamers to come up with solutions to real world problems. Doesn't quite seem to live up to the title of the article, but it does seem like a possibility, if someone can pose the challenge in the right way that intrigues people and gets them creatively thinking then it seems possible we can leverage this human impulse to play to solve the issues that face us. Reminds me of the saying 'that if you think a single small individual can't make a difference then you have never tried to sleep with a mosquito around', it doesn't take a lot of strength it takes precise application to fulcrum points.

Banksy preaches

yes!

12 things about Creativity you weren't taught in school

From the Creativity Post by Michael Michalko

(in case it disappears I'll paste it here)

1. You are creative. The artist is not a special person, each one of us is a special kind of artist. Every one of us is born a creative, spontaneous thinker. The only difference between people who are creative and people who are not is a simple belief. Creative people believe they are creative. People who believe they are not creative, are not. Once you have a particular identity and set of beliefs about yourself, you become interested in seeking out the skills needed to express your identity and beliefs. This is why people who believe they are creative become creative. If you believe you are not creative, then there is no need to learn how to become creative and you don't. The reality is that believing you are not creative excuses you from trying or attempting anything new. When someone tells you that they are not creative, you are talking to someone who has no interest and will make no effort to be a creative thinker.

2. Creative thinking is work. You must have passion and the determination to immerse yourself in the process of creating new and different ideas. Then you must have patience to persevere against all adversity. All creative geniuses work passionately hard and produce incredible numbers of ideas, most of which are bad. In fact, more bad poems were written by the major poets than by minor poets. Thomas Edison created 3000 different ideas for lighting systems before he evaluated them for practicality and profitability. Wolfgang Amadeus Mozart produced more than six hundred pieces of music, including forty-one symphonies and some forty-odd operas and masses, during his short creative life. Rembrandt produced around 650 paintings and 2,000 drawings and Picasso executed more than 20,000 works. Shakespeare wrote 154 sonnets. Some were masterpieces, while others were no better than his contemporaries could have written, and some were simply bad.

3. You must go through the motions of being creative. When you are producing ideas, you are replenishing neurotransmitters linked to genes that are being turned on and off in response to what your brain is doing, which in turn is responding to challenges. When you go through the motions of trying to come up with new ideas, you are energizing your brain by increasing the number of contacts between neurons. The more times you try to get ideas, the more active your brain becomes and the more creative you become. If you want to become an artist and all you did was paint a picture every day, you will become an artist. You may not become another Vincent Van Gogh, but you will become more of an artist than someone who has never tried.

4. Your brain is not a computer. Your brain is a dynamic system that evolves its patterns of activity rather than computes them like a computer. It thrives on the creative energy of feedback from experiences real or fictional. You can synthesize experience; literally create it in your own imagination. The human brain cannot tell the difference between an "actual" experience and an experience imagined vividly and in detail. This discovery is what enabled Albert Einstein to create his thought experiments with imaginary scenarios that led to his revolutionary ideas about space and time. One day, for example, he imagined falling in love. Then he imagined meeting the woman he fell in love with two weeks after he fell in love. This led to his theory of acausality. The same process of synthesizing experience allowed Walt Disney to bring his fantasies to life.

5. There is no one right answer. Reality is ambiguous. Aristotle said it is either A or not-A. It cannot be both. The sky is either blue or not blue. This is black and white thinking as the sky is a billion different shades of blue. A beam of light is either a wave or not a wave (A or not-A). Physicists discovered that light can be either a wave or particle depending on the viewpoint of the observer. The only certainty in life is uncertainty. When trying to get ideas, do not censor or evaluate them as they occur. Nothing kills creativity faster than self-censorship of ideas while generating them. Think of all your ideas as possibilities and generate as many as you can before you decide which ones to select. The world is not black or white. It is grey.

6. Never stop with your first good idea. Always strive to find a better one and continue until you have one that is still better. In 1862, Phillip Reis demonstrated his invention which could transmit music over the wires. He was days away from improving it into a telephone that could transmit speech. Every communication expert in Germany dissuaded him from making improvements, as they said the telegraph is good enough. No one would buy or use a telephone. Ten years later, Alexander Graham Bell patented the telephone. Spencer Silver developed a new adhesive for 3M that stuck to objects but could easily be lifted off. It was first marketed as a bulletin board adhesive so the boards could be moved easily from place to place. There was no market for it. Silver didn't discard it. One day Arthur Fry, another 3M employee, was singing in the church's choir when his page marker fell out of his hymnal. Fry coated his page markers with Silver's adhesive and discovered the markers stayed in place, yet lifted off without damaging the page. Hence the Post-it Notes were born. Thomas Edison was always trying to spring board from one idea to another in his work. He spring boarded his work from the telephone (sounds transmitted) to the phonograph (sounds recorded) and, finally, to motion pictures (images recorded).

7. Expect the experts to be negative. The more expert and specialized a person becomes, the more their mindset becomes narrowed and the more fixated they become on confirming what they believe to be absolute. Consequently, when confronted with new and different ideas, their focus will be on conformity. Does it conform with what I know is right? If not, experts will spend all their time showing and explaining why it can't be done and why it can't work. They will not look for ways to make it work or get it done because this might demonstrate that what they regarded as absolute is not absolute at all. This is why when Fred Smith created Federal Express, every delivery expert in the U.S. predicted its certain doom. After all, they said, if this delivery concept was doable, the Post Office or UPS would have done it long ago.

8. Trust your instincts. Don't allow yourself to get discouraged. Albert Einstein was expelled from school because his attitude had a negative effect on serious students; he failed his university entrance exam and had to attend a trade school for one year before finally being admitted; and was the only one in his graduating class who did not get a teaching position because no professor would recommend him. One professor said Einstein was "the laziest dog" the university ever had. Beethoven's parents were told he was too stupid to be a music composer. Charles Darwin's colleagues called him a fool and what he was doing "fool's experiments" when he worked on his theory of biological evolution. Walt Disney was fired from his first job on a newspaper because "he lacked imagination." Thomas Edison had only two years of formal schooling, was totally deaf in one ear and was hard of hearing in the other, was fired from his first job as a newsboy and later fired from his job as a telegrapher; and still he became the most famous inventor in the history of the U.S.

9. There is no such thing as failure. Whenever you try to do something and do not succeed, you do not fail. You have learned something that does not work. Always ask "What have I learned about what doesn't work?", "Can this explain something that I didn't set out to explain?", and "What have I discovered that I didn't set out to discover?" Whenever someone tells you that they have never made a mistake, you are talking to someone who has never tried anything new.

10. You do not see things as they are; you see them as you are. Interpret your own experiences. All experiences are neutral. They have no meaning. You give them meaning by the way you choose to interpret them. If you are a priest, you see evidence of God everywhere. If you are an atheist, you see the absence of God everywhere. IBM observed that no one in the world had a personal computer. IBM interpreted this to mean there was no market. College dropouts, Bill Gates and Steve Jobs, looked at the same absence of personal computers and saw a massive opportunity. Once Thomas Edison was approached by an assistant while working on the filament for the light bulb. The assistant asked Edison why he didn't give up. "After all," he said, "you have failed 5000 times." Edison looked at him and told him that he didn't understand what the assistant meant by failure, because, Edison said, "I have discovered 5000 things that don't work." You construct your own reality by how you choose to interpret your experiences.

11. Always approach a problem on its own terms. Do not trust your first perspective of a problem as it will be too biased toward your usual way of thinking. Always look at your problem from multiple perspectives. Always remember that genius is finding a perspective no one else has taken. Look for different ways to look at the problem. Write the problem statement several times using different words. Take another role, for example, how would someone else see it, how would Jay Leno, Pablo Picasso, George Patton see it? Draw a picture of the problem, make a model, or mold a sculpture. Take a walk and look for things that metaphorically represent the problem and force connections between those things and the problem (How is a broken store window like my communications problem with my students?) Ask your friends and strangers how they see the problem. Ask a child. How would a ten year old solve it? Ask a grandparent. Imagine you are the problem. When you change the way you look at things, the things you look at change.

12. Learn to think unconventionally. Creative geniuses do not think analytically and logically. Conventional, logical, analytical thinkers are exclusive thinkers which means they exclude all information that is not related to the problem. They look for ways to eliminate possibilities. Creative geniuses are inclusive thinkers which mean they look for ways to include everything, including things that are dissimilar and totally unrelated. Generating associations and connections between unrelated or dissimilar subjects is how they provoke different thinking patterns in their brain. These new patterns lead to new connections which give them a different way to focus on the information and different ways to interpret what they are focusing on. This is how original and truly novel ideas are created. Albert Einstein once famously remarked "Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand."


And, finally, Creativity is paradoxical. To create, a person must have knowledge but forget the knowledge, must see unexpected connections in things but not have a mental disorder, must work hard but spend time doing nothing as information incubates, must create many ideas yet most of them are useless, must look at the same thing as everyone else, yet see something different, must desire success but embrace failure, must be persistent but not stubborn, and must listen to experts but know how to disregard them.

* found on Flooby

John Cleese on creativity

John Cleese - a lecture on Creativity from janalleman on Vimeo.

be open, relaxed, look at things as they are and consider possiblities and be curious about what is up. Penecilin wouldn't have been discovered if the scientist had been closed and just went about his business, instead of being curious why this one petri dish didn't grow what he wanted.

be closed once you know what you're gonna do, be focused and see it through

conditions that can encourage being in the open mode
1.space
can't be playful and creative under usual pressures, because you're closed mode to get stuff done
2. time
have to have a time period to have your space in, you know you won't be interupted
3. time
most creative people are willing to put extra time in instead of taking the 1st easy answer that comes, push for the creative one
4. confidence
open to fail, just experimenting
"you can't be spontaneous within reason"
5. humor
gets us from closed mode to open mode quicker than anything else
laughter makes us relax by turning the world on it's ear

then keep your mind gently upon the subject your trying to crack

it is easier to do trivial little things we know we can do instead of big things that we're not sure about like "being creative",resist the noise of your mind looking around for a distraction. 1/2 hour to get in the zone

more creative when playing with friends, be open and positive. just like the rules of Improv, never say no.

joke comes when you connect 2 different frameworks in a new waya new idea is the same thing, connecting 2 seperate ideas in a new way

if you're stuck, start generating random connections and your intuition will tell you which ones are worth keeping

* found on animation

Hey

Kenny Roy Articles

Kenny Roy's released articles he's written.

good one on email cover letters

Passion

Saw these at On Animation, and have come back to them a couple times already. I believe that if you trust your instincts and follow your passions you will find be succesfull. (You may wind up working some dumb job to pay the bills, but if you're following your passion when you can you will be happy, and that counts as a win to me. And often I think it works out that what you're passionate about will come around to pay the bills.) So anyway, always helps motivate to hear other people talking about pursuing their passion.

Made by Hand / No 1 The Distiller from Made by Hand on Vimeo.

Made by Hand / No 2 The Knife Maker from Made by Hand on Vimeo.

Nick Bruno - How he studies animation

So I guess the lost boyz of Blue Sky have a blog going. (like spline doctors, or speaking of animation)

Big 'ol long post by Nick Bruno about how he studies animation, don't want to lose it before I get a chance to read it so I'll stick it here.

Here's his questions, obviously new questions occured while he was going through this shot (unless he made the whole thing up on the spot, not just some of it. ) But this list seems a decent place to start asking questions from.

Pick a shot that resonates with you

Context:
1. brief description of the scene
2. if not stand alone, what's the context?
3. Why did you pick this shot?
4. Initial thoughts on why you responded to this shot?
5. What is the shot saying? (that she is in pain but needs to put that aside for now and find a way out)
6. What does that mean? (that there are more important things at stake then just her personal well being)
7. How does the moment feel?
8. Why do you think it feels that way?
9. How would I have screwed up that shot?
10.Is there anything else you respond to in this shot?

Mechanics of Performance:
1. What is the storytelling pose of the shot? (image)
2. Why? What does that pose communicate to audience?
3. Why is that the most important thing?
4. What are the beats? (Goals, & thought processes through the shot)
5. How is the thinking sold?
6. Quick description of the character. How did the animator convey that?
7. Can you personally relate to the characters experience in this shot?
8. Disect the poses:
8a. Body poses
8b. Facial poses
8c. Hand poses
9. What is the texture to the timing? Do different body parts have different speeds?
10. Quality of spacing texture, soft vs sharp? Do different body parts space differently consistently?
11. How does rhythm of dialogue/score affect animation? (eg. Hit beats, move lyrically)
12. What patterns of movement do you see?
13. Where are there reversals?
14. Does the animator do more then just getting the story point over?
15. What is motivating the movement?
16. Silhouette? Shapes in front of shapes?
17. Where is the viewers eye? Any choreography between elements? How is the eye lead?
18. Any twinning? How was it handled?
19. How were contacts handled?
20. How was keep alive handled?
21. Any subtle cues from the audie incorporated or ignored?
22. How is the point delivered without sound ?
23. What animated details where added?
24. Is the character an animal? How did the animator keep us reminded of that?
25. Was there anything bad in the shot?

Principles of animation
Just frame by frame through it looking for every example of every principle you can find.






Pretty cool get your energy back up post by Stewart Shaw

Getting going

I think I have a new trick. You know when it's time to get down to work but you feel that big resistence to start (the lure of nets trying to get you to put it off.) A few times now I've done 5 minutes of figure drawing (15 second poses) and that did the trick of gear shifting my brain to get to business.

Move Eat Learn

MOVE from Rick Mereki on Vimeo.

LEARN from Rick Mereki on Vimeo.

EAT from Rick Mereki on Vimeo.

Rick Mereki : Director, producer, additional camera and editing
Tim White : DOP, producer, primary editing, sound
Andrew Lees : Actor, mover, groover
All Music composed and performed by Kelsey James
Music Recorded and mixed by Jake Phillips
Colour Grade : Edel Rafferty and Roslyn Di sisto
Online Edit : Peter Mirecki
Assistance in titles and production design : Lee Gingold, Jason Milden, Rohan Newman

the world is such a small place, and we are all connected through more similarities then differences, vids like this help us remember, nice production value on this really professional feeling, but in a way Where the Hell is Matt is better because he just has more joy in it, so the lesson I take Passion trumps proficiency (not to diss the Move Eat Learn guys, there piece is really cool)



and something else Matt and the Numa Numa guy have: Dance like no one's watching just be joyfull in yourself and don't worry about everyone else