Join us for an engaging dive into the world of digital art and storytelling with Roberto Ortiz, a multifaceted artist blending traditional fine arts with cutting-edge computer graphics. Roberto shares his journey from early coding experiences with classic
computers like the Commodore 64 to his current dual role as a freelance illustrator and government IT specialist. He emphasizes the importance of foundational art knowledge for aspiring digital artists, advocating for a blend of technical skill and
artistic understanding. Roberto also discusses CG Talk, a vibrant online community fostering growth through honest critique and collaborative projects, aiming to bridge gaps between CG artists and filmmakers. Expect insights into upcoming initiatives
like revived challenges and forums aimed at enhancing storytelling skills across various media. Perfect for anyone intrigued by the intersection of art, technology, and community-driven creativity.
Hello everybody and welcome to the 18th episode of CGCast.
Today I have with me Roberto Ortiz.
Hey Roberto, can you tell us a little bit about yourself?
Okay, my name is Roberto Ortiz. I'm from San Juan, Puerto
Rico.
I am a freelance illustrator here in the Washington, D.C.
area.
And I work for the U.S. government doing career assistance
work.
and I've been working doing freelance graphics and things
like that for almost 13 years and
it's about the same time I actually been working for the D
warver. Sounds cool. How did you get into
CG? Geez, I would blame a computer called the Commodore 64
for that and the Commodore Amiga
and everything that came between that. I remember back in
the 80s, which by the way it's dating me
here by saying that that i saw a couple of movies that
basically blew my mind away um of course you
know them tron uh last dark fire john sherlock holmes and i
was watching all those things i was
thinking man i want to do that and i started researching
and people back then were recommending
uh that if you wanted to do your own games and things like
that the computer you had today was
the Commodore 64, which I got.
And I was
cooked immediately. And
back then I was about 14 and
I loved the concept of, you know,
coding for about four hours
doing this, he won those
code and to get a sprite that was
about 8 pixels by 8 pixels on the
screen. And I actually was so damn proud
that I actually got that sprite on the screen
after coding all those lines of code that
I knew that basically I was
hooked for life. Wow, you started off coding.
Yes, I did.
I still do.
Actually, I had a bad experience with coding.
I spent like a few hours coding this thing
and then my mom did something to the computer
when I was really little
and I lost like four hours of work
and after that, I never coded again.
She probably did you a favor.
Yeah, coding is one of those things
that requires the patience of a monk.
I mean, you really have to concentrate
on doing all those nonless lines of code
and hoping to God that something's going to come out now.
And you have to understand that back then, it's different
to now,
that you have all this development environments
that basically give you a lot of handholding.
Back then, basically, it was like you were coding all this
stuff,
and if something went wrong, you had to have faith
that you were going to find in the next four hours what
went wrong
in order to get that pixel on the screen.
But having said that, the irony was that I started doing
programming,
But on the other side, I had this love affair with art.
I love painting.
I love sketching.
I come from a traditional arts background.
Actually, now I watch all the sketchbooks that have been
thrown at me.
I'm reminded of that.
I went to a performing arts high school that the only thing
we did was like two hours every day, just art.
And I fell in love with the concept.
I love fine art.
I love going to galleries.
And it's weird because with CG, I get to complement those
two areas of myself.
The area that loves art and the area that loves the coding,
you know, that obsessive-conspirative area that loves to
basically go and code hundreds and lines of code just to
see a big cube on screen.
Like a tech.
Wow.
Sounds cool.
Yeah.
Sounds cool.
on mixing the code and the art.
When I tried to do something experimental
like art with just code,
they were showing that at my school.
Some guys were trying to do art with code.
Because I'm a firm believer also in the concept
that in order for you to be able to break the rules of art
and in order for you to be able to be an artist for real,
you have to understand the basic concept of fundamentals.
And the reason I don't consider myself an artist,
which I'm not, is that I don't consider myself
knowledgeable enough
of the core fundamental parts before I actually can do my
own art.
And one of the mistakes I see a lot, specifically with
other so-called artists,
is basically is that they don't feel this need to actually
learn the core fundamentals of art.
And I know I'm rambling here, but it's one of those things
that actually gets me,
that I feel that in order for you to be able to be a
programmer that can do art,
you better have a very good grasp of what art entails and
its history and the fundamentals.
You cannot break the rules if you don't know what rules you
're breaking.
And I'm a firm believer in that, learning the core basics,
learning to sketch, of learning anatomy, of learning
perspective,
of learning color theory, of learning...
Because there's countless years of history behind this that
you have to learn.
And that's why if you check my forums and everything,
one of the core things that I push a lot is the concept of
history,
not only on the art side, but also on the programming side
and on the special effects side and all that.
You have to have a certain knowledge of the history behind
it
in order for you to be able to go to the next step.
So that's true because you're right.
It's important to learn the history and everything.
I'm doing art school just for that right now.
I've learned a lot of things.
We do a lot of history of art.
Picasso, Braque, Van Gogh, the blue reiter from Kandinsky
and all of that.
And it gives you a different perspective.
You're so right.
More people should do that.
That's what they should.
And basically, another brand I'm going to basically say is
that part of this is basically that the concept of art
education, at least here in the States,
was blown to smithereens back in the 60s and 70s
when they decided to implement more of a modernist
mentality
in terms of how art was taught.
Specifically, that they were telling people
that everything that came before Joseph Meyer,
just express yourself.
And that's why you see so much mediocre art today
because a lot of these artists do not have any foundation.
And it shouldn't be that way.
You actually have, for example,
you take a person like Pablo Picasso,
and he broke all the rules of art at the end,
giving moves, movement, and all that.
But if you follow his career from beginning to end,
you see that he had a solid grasp of every single movement,
and he actually moved beyond it.
He actually was an artist that was in evolution,
and that's what I really admire about him.
But hey, back into CG, sorry.
One of the things I like about CG is that
it gives an opportunity for an artist
to use that knowledge that he or she is gaining to do other
media.
And that's what's so exciting about computer graphics,
that if you know anatomy, you can implement it.
If you know sculpting, there's a way to implement it.
If you know sketching, there's a way to implement it.
And fairly quickly.
And the more of these fundamentals you have, the better you
do.
The more your images look different and original.
For example, if you check the Photoshop paintings that Ina
Bergkvist,
And I are.
At CG Talk, I mean, she's amazing.
And she has a solid understanding on the concept of
composition and anatomy.
And you can see it.
And if you said a word for Stalberg, I mean, he owns his 3D
models of the girls he makes.
I mean, he has a solid understanding of anatomy.
And you can see it on every one of his pieces.
And that's something that gets me really excited.
That when you're doing computer graphics, it's a lifelong
learning process where you just learn more.
and you implement it, and you see almost immediate results.
Then you try something else, you learn something more, more
results.
You learn, for example, if you take a photography course,
and they teach you basically a certain basic concept of the
rule of thirds
and how to trim and shove and things like that,
and you can try it almost immediately on a CG scene that
you're doing,
you can see immediate results.
And I find that extremely exciting and great.
You know, I've never thought of it that way.
Well, the photography, yes, but being able to implement
every part of real art into the
CG art, I mean, physical art into CG art, I never really
thought about it.
Agreed.
Part of the problem is basically is that people who know me
basically will tell you that one
of the things that drives me up the wall, it's people who
say, I'm an artist.
Behold me.
Usually when I hear somebody like that, I'm like, you're an
idiot.
Shut up.
When I see an artist, it's somebody who basically
understands that art is something that should not be looked
down upon.
It's not something that you're entitled to.
It's not something that it's high in a mountain, an actor,
you have slayed the gods, you get to it.
It's not that.
It's kind of like a process where a person evolves and
learns and shows more and gets to try something different
and get better every day.
There's some people who are like Mozart, who are gifted.
But most artists basically have to learn the process to be
able to improve.
And part of the problem, and I do go back to modernist,
which is my favorite enemy,
is that mentality that only a few selected can do art,
which is for me pure and absolute nonsense.
I believe that people can learn to do art because in human
beings,
in a need to be able to express themselves.
And art is just one of those, it's like language,
it's just one of those ways that we have to be able to
express ourselves to others.
And what I find so exciting about CG Talk is that you see
that no matter,
you see people from all over the world, Australia, Africa,
Middle East,
Latin America, and they all have this need to be able to
share their art
and to improve and to go to the next step and to practice
and get better.
And that's basically something that gets me up every
morning.
And I just want to go into the forum and to see what's
happening now
because it's kind of like almost like Christmas every
morning to be able to see this
and to see an idea that had been posted as a challenge or
something like that.
And somebody does something absolutely wonderful, right?
I'm sorry if I'm rambling a little bit.
Once you get me, just get a couple of beers into me, good
God, I will never shut up.
That's perfect.
That's perfect.
That's exactly why the podcast was invented.
No problem.
But did you yourself have any formal education?
No, I don't.
I actually have, I brought my experience hard by going into
computer science.
I have a bachelor's degree in computer science.
Oh, but do you, would you, do you regret it or would you
rather have gone to an art school?
Did you regret it?
Oh, she did.
I didn't.
I think about that. Yes, I do regret. But the thing is that
, yes and no, because back then when art school would not
have offered me what I actually need right now.
Actually, one of the advantages of getting old is that you
actually gain some perspective in terms of what you really
want to do and what are the areas you actually want to
improve as an artist.
Because one thing I noticed a lot is that a lot of people,
when they go into art school, they suffer a lot from self-
delusion.
Plus, I was one of those.
And I never understood back then when I was sketching all
my life that I had so many areas that I needed to improve
as an artist.
So I do it in my part to be able to step back, see my
artwork in an objective fashion and say, man, I have to
improve in X, Y, X, Z.
And that's basically what I like about CG Talk, that it
gives you the ability to be able to compare your work
against other people who will, you know, hand you your ass.
And say, okay, let me try QQ and let's try one more time.
Yeah, but CG Talk is a bit scary for beginners.
No, no, no, no, it shouldn't be.
Actually, we're doing you a favor because the worst person
you can have is somebody who tells you,
oh, you're so freaking talented.
Oh, you're so great.
That's why I call the guest guy.
That's the guy that if you have a company, will drive the
company under.
You need somebody who look you straight in the eye and say,
you suck.
And this is what you need to do.
Your anatomy sucks.
Your perspective sucks.
Try this.
Practice again.
Do it again.
Why?
Because that's the only way you'll improve.
And that's what I like about CGTalk, that honesty.
Because I'll explain this.
The reason I actually am so much in love with the community
is that the mentality behind CGTalk is different from other
online communities.
We're not there for talented people like Stahlberg and Enyala
and Rebecca
to be telling other people, we're so great, you suck, look
at us.
It doesn't work that way.
The community is more of a place where you go, you practice
, you show it.
Okay, I'm not as good on it.
Let me practice again and show it.
Okay, improve a little bit.
Let me practice again and show it.
And that seems to be the core mentality behind CG Talk.
It turns out you have professionals who basically go there
to continue exploring
and improving their skills because they have to,
and you have people who are starting out who are learning
from the professionals.
And that's the best way to be able to compare your work in
an honest environment
where you compare your work against other people who are
honestly better than you,
And you say to yourself, let me improve.
Let me honestly hear, see what they're doing right,
and let me try to aim towards that.
That's what makes CESO different from other communities
because it's specifically designed to be an environment
where artists, no matter what program they use,
no matter if they use, I don't know, Sculpt 4D or Amiga
Paint
or something like that, we don't care.
We only care that you are showing art.
We only care that you're doing animation.
That's the core mentality of the forum, and that's why it's
so successful.
Because when not there, the people, Mott, who's drawing
there,
Leigh, who is wonderful, Leonard, Mark,
they're not there to make other people basically follow
their lead.
They're just sharing on a one-to-one basis with other
people,
and they'll be blunt and honest.
And that's something that is rare, very rare.
But a lot of fire.
No, but a lot of times, like, the little guys, they don't
get attention.
It's only the people with, like, the most amazing pictures
get their touches on the forum.
Like, the little guys, they just go down to the bottom of
the list pretty fast.
Well, they should join a challenge, try to win it.
They should go to a daily sketch forum.
They should try to join it.
They should try to do often and try to win the sketch of
the week.
They should go to the anatomy review forum with Rebecca.
and they should try to impress Rebecca,
although she will give you input.
And part is a very Darwinian thing, I know,
but it's good for you as an artist.
And here's the wonderful thing about it.
Even if you participate in one of those group activities
and you do enough pieces,
you're going to end up with a very sizable and decent
portfolio.
This is something a lot of people have told me
and they like from the forum,
that they actually have been able to build a very decent
portfolio
and actually getting a lot of clients
based on the work they have Posted.
I mean, I know I sound harsh, but it's for the better of
the artists that basically they have to compete and do
better.
Because the real world, in terms of the art community, I
mean, if you're going to submit a piece up to Time Magazine
,
there's a pretty decent chance that if you're going to have
to compete against other professionals and you didn't like
it,
they will not tell you why they didn't like it.
At least we also get a chance to hear why something didn't
make the call or why it didn't work.
More questions?
No, that's great.
You know, one of those things that I liked was the two-
minute film club.
Are you still going to do that?
Thank you.
Yeah, because I participated.
I would like to.
It's just that the last one sold so highly.
I actually posted the one for the city, and it broke my
heart because I posted it,
and I only had like two participants.
I entered three of them.
I have actually a couple of ideas in mind.
I want to bring more storytelling to CG Talk in terms of
other media.
As you know, I already started basically a section on the
news section for comic books.
Sequential Art does.
The highbrow people like to call it.
Because I believe strongly that people need to develop
storytelling skills
before they can actually do it in other media.
And the best medium for that happens to be, if you're not
like, sequential art.
In the Two Minute Film Club, I was planning to bring it
back,
I'll need the input from the people who participated
because I want to make it so more people will participate.
That's what broke my heart.
It was only two people.
The thing about the two-minute film club,
it wasn't very fair for people who were doing animation
and people who were doing live action.
That's a good point.
And that's what I need from anybody who's listening to this
.
Please, is there input?
I am very open to criticism and input.
I'll ban you.
but I'll take the input
but yeah I've just
put some input basically and if you guys
want something back I'll bring it back
but we're going to have actually a couple
of very exciting things coming
from the FX War section
where one area that I
want to do is basically have kind of
like a collaborative
challenge where people
are going to be working together on one
single sequence and
I happen in other words
So it would be kind of like different people from different
parts of the planet working on one single special effects
sequence.
And be able to get to vote on the different parts of which
part of the sequence they like the best.
It's still at early stages, but it's an idea that basically
I've been trying to get together for a while.
So wish me luck there.
Well, it sounds fun, but I've never entered the FX wars
because it wasn't really my style.
But I really like it.
It's fun.
It's very exciting.
I really hope you start the Two Minute Film Club again
because now I'm in cinema school.
The reason I stopped is because I was starting school and
now I have all this free time to film.
So it'd be really fun to... I could try and get my friends
at my school to participate in it too.
Please tell them too.
One of the most surprising things I noticed with people who
are in film
is that there seems to be this huge gap between the people
who are into filmmaking, film school,
and filmmakers and people who do cg and i actually was
talking to a filmmaker today
and she is an independent filmmaker she uh has worked on a
couple of film classes and blah blah
blah and we were talking that she needed some special
effects sequences for one of her films
and i was surprised talking to her that there seems to be
kind of like this belief among
filmmakers that what we do is something so on a black box
that they cannot even go into it
I understand it.
And one other thing I noticed is basically on the other
side of the coin
that there's a lot of CG people who completely dismiss all
the knowledge
and expertise that filmmakers can bring,
specifically on how to do sequences, how to set up a camera
,
the 180 rule, how to light the scene.
And basically I have some friends who basically do
filmmaking
in the Washington, D.C. area,
and they have been buying me sets and things like that.
And I, as a CG guy, I'm being blown away in terms of how
many gaps in my knowledge,
how much I learned just by doing some filmmaking stuff with
them.
And actually, they were blown away on the other hand,
where I actually was telling them that some things that
they thought that were really black hat,
set extensions, adding visual models to the scene and
things like that,
were not that hard or difficult to do.
And when I would open my laptop and show them,
and see, I do this now with the video,
they were blown away.
And one thing I was trying to do
with the Two Minute Film Club
is basically kind of like gap that area
between one area and the other
where filmmakers feel that they have one area
where they can come in to see CGTalk
and they can, you know, do the outcomes
and show it to the community.
Because that's basically the direction anyway.
The whole industry seems to be ahead
of individual films from individual e-books.
Yeah, but it's a bit hard to mix 3D and live action video
because you need a camera tracker.
And we're stuck with...
Oh, yeah, but the technology is getting cheaper every day.
I'll give you an example.
Yeah, but also, like, we're stuck with mini DV cameras
and blue screen technology won't work too well with the
mini DVs.
Yes, you're absolutely right.
Well, it's getting cheaper to be able to do that.
I'll give you an example.
Right now, we have a challenge on the EPEX World called The
Ocean.
and in that challenge basically people are supposed to um
generate an ocean right yeah a
few years ago actually back in 97 if you wanted to do an
ocean you actually had to pay about 200
thousand dollars for the real um for the ocean simulation
software right now 10 years later
uh if you download blender you can actually do more or less
similar simulations as back then
for free and i've seen more and more and more that the
software that allows camera tracking
and things like that is also getting cheaper every day and
even that i mean i'm not talking about
if you're working on an independent filmmaker you don't
have to do anything that complicated i mean
they can do lock shots where the background is a blue
screen and they can actually add to the
blue screen or they can do work using after effects or they
can actually do certain tweaks
into the sequence and uh that's things that are basically
common knowledge for most cgi's that
yeah you can do this in your after effects blah blah blah
but filmmakers a lot of them they're
like completely blown away that of the power that they have
in terms of actor effects uh or
my own language or whatever that's true what you never ask
and yes you got a point there but still
there's one more factor it's when you're doing with 3d it's
rendering to render all of that stuff
issues there's time and there's the hardware yes but here's
an other area that filmmakers can bring
if you see a show like the sopranos right yeah we're in
some mob drama here in the u.s
um when they do a set for example there's a nightclub they
show on that show they only
build those areas of the set that are going to be seen and
they specifically have some camera
of setups already done and like himself specifically for
that filmmakers know that you only build what
you're going to be using cg artists being cg artists and
being the most of us are anal retentive
we go crazy and we over build and we there's as i was
saying before one of the things i can
learn from filmmakers is basically how to be able to do
more efficient or how to specifically just
model what we're going to be seeing on screen
not only that's what's going to be close
to camera
how to render in layers so when we
take it into After Effects we can do a lot of
cheats so we don't have to waste
hundreds of hours rendering
something that I could have been doing 2D
and it's my belief
and you have to remember I'm old
school and we're talking about somebody who
used to code for hours
just to do a silly sprite
that's great that I believe that
most people have enough desktop powers on their machines
to be able to do some simple films.
I mean, recently on CG Talk,
there's a guy who posted from a real,
from a French company, I believe it's called Cube,
and he was a love song.
And what was amazing about that short
was that it was done in line drawings.
Stick figures, basically.
It's one of the best shorts I saw last year.
Great.
Yes, it was.
This was Serge Kube short, and it was very emotional, very
exciting, great music, and it was very simple.
And it was because the filmmaker, the animator, who did
that, not only captured the emotion of the song that was
sung on the background,
he actually did some great filmmaking on that short, in
terms of how he did the camera setups, how he set up the
scenes.
And I believe that we get so obsessed over small details
that we miss the macro of what we're trying to do.
I mean, again, that's why I actually tried to bring in the
sequential part in the forum,
because we need to concentrate on the storytelling,
not on the fact that the book that we're seeing on the
environment has to have all in the middle pages modeled and
rendered,
because nobody will care.
That's a good idea for the comic.
I wanted to make a comic, but I'm getting stuck in the
details as you're saying that.
I'm making it too complicated so it never starts.
I mean, there's a friend of mine, and actually I'm here on
the forum right now going to the news section,
and his username is Bondari, and he's actually doing a
sequential artwork.
The reason I actually was able to justify him is that this
guy actually is an industry professional, Jason Poore.
And he actually has done major work on movies and vlogs,
whatever.
And he has been working for a while in the industry.
But he also has this need to be able to do storytelling.
So he actually started doing this two-day sequential on it.
And the art is, sorry, Jason, if you're listening to this,
don't kill me, is very crude.
But the story he's telling is very compelling.
and people basically are subscribing to his thread telling
him what she liked the characters and
story because he got that well he's trying to tell us a
story a tale and a lot of cgr just
going back to the other areas they can learn they they miss
that it's like you are trying to be a
storyteller people will not care that you're the best
modeler in the world they they'll remember you
you can actually cause an emotion on that and when i saw
for example that too short i was telling you
about the one with the stick figures,
which was a story about two lovers
who basically were very much in love with each other,
but they kept fighting.
I mean, I was really into it
because the two characters were so alive.
And we're talking here about freaking stick figures.
And the song was in freaking French.
I don't know French.
and it got to me.
I think I saw that short,
but I'm going to check it out again.
Yes.
Look it up.
It's there.
I'll put it in the show notes.
Yeah.
Any more questions?
I love talking my head off
go ahead in CG talk you're always posting
these interesting
in CG talk you're always posting these interesting links
yes
and you're kind of famous for that
where do you get those links from
where's your hidden stash of links
if I told you I'd have to kill you
I have a couple areas where
I get information from
what happened is that
and this comes as no surprise to anybody,
is that I have billions of interest
of different areas that I find interesting
from science to math to physics
and filmmaking a lot.
And I basically just keep abreast
of all the different sites
where I know happen to be the best ones
on those specific areas
and I just check it.
I mean, and I am a hardcore geek.
I enjoy these things to death
and I love to see people talking about them.
example and I really believe that a lot of stuff I post
even the orthopics stuff
can help people to basically expand their imagination for
example recently
they found water in one of them Saturn Moors which is
extremely off topic well
that's exciting that's cool they could be live out there
somewhere else in the
universe it's like it's mind-blowing and if you're exactly
and if you're an
artist and you shouldn't get excited over that dude you
have to check your
post. I mean, that's awesome.
And that's the wonderful
thing about this crazy thing that we call life,
that there's a whole bunch of
little things out there
that are really cool.
And every time I post something,
basically, I honestly, the test
I have in my head is like, if this is
something that is going to contribute to the community,
and is it a topic?
And that's actually
the most relaxed rule.
And if it's not, I'll post.
And if it's a topic, I'll post it.
And I really like basically listening to the opinions that
different people have on different topics.
And I don't know, it's cool. I'm excited.
So if you have any more questions, ideas, suggestions,
thank you for that sincere talk.
Oh my God, you suck.
What?
Yes, please ask.
I haven't think any talk, but it's been a lot of flaming
going around with Siki Talk.
Prep the line now.
We're saying something about...
Hello?
Yeah, we were saying something about Leigh or something.
She's very, very funny.
Yeah, she's my boss.
She gave me my job.
Hi, Leigh.
You're listening to this.
Thank you for hiring me.
Oh, really?
Yeah.
How did that happen?
It's because I was fairly regular on the news section.
And she was nice enough.
She had faith in me.
And for that, I'm eternally grateful.
She only has been wonderful to me.
And I think she's great.
Yeah.
She's awesome.
Yes, she is.
And actually, one of the things I've been very grateful is
that when I met people in person from CGTalk,
they all, you have to understand, I live in the U.S.
We're talking here, Leigh lives in California.
and everybody else,
I mean, Mark,
and everybody who lives
either on Malaysia or...
Okay, every common net.
For example, when I met Mark,
Mark Knosswell, basically,
he's our big boss.
He was a real great guy.
He came here to Washington, D.C.
He brought in his laptop,
and he met Rebecca Kimmel,
who basically is our moderator here.
And he was a really great guy.
And when I met Steven Stoudbert a couple of years ago in
San Diego,
I remembered that in CEDRA that he was one of the most down
-to-earth people I had met.
And that's what I like about CGTalk, that the people who are
honest,
the professionals who come there are there to honestly
share and talk to others.
And they don't need to be basically, they're not there to
try to make themselves full of spirit to others.
that's not intentional and if there's other people with
that mentality we try to put them in place
and you have to understand that uh we have thousands of
users and we as moderators we have
our work cut out to us that not only we have to come up
with ideas to get the circulation going
we actually have to check the forums to make sure that
everything's okay that's the part of the most
people don't talk about but it's not that easy it's easier
um because it's kind of like easier
for people to be,
I don't know,
to try to make the forum
into a Yahoo message board
instead of trying to make it
what it's supposed to,
which is a community to share
and to discuss ideas.
Yeah, so I was like,
you guys help.
Hope it doesn't get me fired.
Nah.
I'm sorry?
I just...
Yes, we...
Thanks.
What's the future for virtualities?
Believe it or not,
I'm trying to get into
independent filmmaking and that's something i for some
reason it seems that god wants me to go
for that bad and it's happening more and more i can begin
to see more and more opportunities for
that and it's exciting and wonderful um i would love to get
into producing specifically i have
in mind uh i would like to get into the market for of a
shorts for uh cell phones and things like
that because I think that's also an expanding area.
I also started recently developing a software development
company with a couple of developers
that are making applications for small businesses.
I have in mind a couple of projects I want to do that
involve CGTalk.
Those I prefer to actually show something finished before I
bubble my head out.
Don't do it.
And that's basically my brother's CG talk.
What I want to do is basically I would like to keep the Day
Sketch Forum going.
Like for people to listen to this, to please come in.
We need more people.
I would like to bring back the Tomeo Film Club.
And I would like to basically start seeing more and more of
people working on CG projects
that are from different planets, different parts of the
planet,
and sharing to get a vision done.
And that's something I'm trying hard to push.
And I'm trying to do that with the Two Minute Farm Club,
which I'll bring back soon.
And I'm trying to do that with the FS4s.
So that's keeping me busy.
I'm called Plains.
That's a big plan, Zahed.
Well, you have to understand that, yeah, you have to.
It's a trip of life.
You better basically do something with it.
I mean, if you don't do it now, when?
And even if you...
That's how I see it.
I mean, it's better basically to shoot for the moon because
even if you fall, I mean, you went a certain distance.
And what's to learn about shooting for the moon?
I mean, as I tell people, I mean, there's not people out
there telling you that you cannot do something.
You need to help them by adding your voice to them.
You have to try.
That's the only thing that I keep learning of trying.
Trying to be positive.
Try to go forward.
Try to basically do more.
I mean, what's the point of life if you don't want to work?
Exactly.
So, any comments?
I don't know.
Would you like to add any kind of comments?
Basically, people come to the daily Sketch Forum.
They're very great.
I would like to thank my friends.
I would like to thank Steven Stalberg
Leigh
for being so cool
I would like to thank my friend
Linda
when she comes to the forum
thank you to the farms and I would like to thank
for being a good friend
and I would like to thank mom and dad
for this award it was very well deserved
and don't take it too seriously
and that part of the Oscar
I'll take it to the next day
they have a website
a personal website
Right now I have
A cg portfolio
A website
Just go there
You can
See my art
Don't be
Don't be too harsh
And I'll
Soon I'll
Whatever 30s will come
Will be up soon
Okay
I'll put that in the show notes
I'll put it up
So everybody can see at the end
So
when does this go live
Should be by tomorrow
Okay
Say bye bye to everybody
So
Bye guys
Be gentle
bye
