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Dave Buckley

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  1. Me too, exactly my attitude, but there's still a limit before I think they're taking liberties
  2. Sure, what I meant was, you're 3 days into your 10 day budget. Client asks for something beyond the initial scope. Let's say it will take 2 days to incorporate that change into the work. You can either bill them for the extra 2 days, or you can take it out of the remaining 7, leaving 5 days. A lot of clients looks at it like this. This is fine, if you complete the rest of the project in those 5 days. But if you don't then they'll have to pay for anything beyond those 5 days (most likely). So they either pay now for those changes or later. I agree it's not quite that clear cut, and I'm like you, I'm lenient dependant on the severity/impact of the change. But I'll often pre warn the client, that 'they're eating into remaining budget' if I spend time working on that new request and it may impact what we can complete in the time frame.
  3. 100% and this is my point, I fully appreciate communication and clear understanding before you even turn your computer on is key. But how do you communicate it to them - James has pretty much nailed it with his approach and it's very similar to mine. Anybody have a different approach? James - one thing you mention is design changes - let's say the client wants to make a design change, you still have budget/time left from the original budget. Do you give them the option? i.e. you can pay more now for that design change or we can take it out of existing budget but you're likely to get charged more later down the line?
  4. Thanks. I was actually talking to Fabio last night about this very thing. I’m not really looking for help with it as such. I just had to have a chat with a client about it recently which triggered the question. I had to communicate to him what that initial budget covers and why/when he should expect to be charged more. Whether I went about it the right way is anyones guess hence why i’m interested to hear general opinions and approaches from people
  5. This isn’t so much of a direct question but I want to start a discussion. How do you communicate to your clients how the project budget works so that they ‘get it’. Because at the end of the day they can only have so much for their money right? Before they need to pay extra. But how do you communicate that effectively to ensure projects stay on track and more importantly profitable. I’m sure everyone has a different approach and i’m keen to here peoples thoughts. I hear the same things so often regarding endless changes, information coming to light mid project that wasn’t available at the start, which ultimately results in people working on something much longer than initially intended and very often at a personal cost. And just general ‘scope creep’.
  6. This demonstrates the issue perfectly - I just found the video while searching a resolution
  7. Using Max 2018 HF4 and Corona - I'm having issues at the minute where at any random point of me working, the viewports 'corrupt' geometry that was there, is no longer there, it's there again if I go into Wireframe, but back to shaded and it's gone. Sometimes it's there in shaded but becomes transparent and I can see other geo through it. Graphics cards are up to date etc. It's driving me insane as it's so unpredictable. Anyone else having the same issues?
  8. I'll post the question over there too then. I'm using a D810 with 24mm PC-E so full frame. Going from Camera to Max shouldn't be an issue as the good old 'eyeball' will get you pretty close. But If I've set up previz to mimic a 24mm pc-e then I want to be able to go straight to site and match the previz shot straight away or at least be very close to it.
  9. Does anybody know what the correlation is between a real world pc-e lens is and the physical camera perspective shift? My PC-E lens has a maximum shift of 11.5mm in both directions. Is there any way to figure out what the corresponding perspective shift percentage value would be on the max physical camera?
  10. After more digging, there is a lot of useful info on the Dell forums - multiple people asking the same questions. The general consensus is that a Wide Gamut monitor without calibration using a i1 Display Pro or similar is effectively useless for colour critical work. If anyone else is interested here's what I found. The user 'Yumichan' seems to know his stuff. http://en.community.dell.com/support-forums/peripherals/f/3529/p/19679044/20922452#20922452 http://en.community.dell.com/support-forums/peripherals/f/3529/p/19676561/20895209#20895209 http://en.community.dell.com/support-forums/peripherals/f/3529/p/19974659/20912428#20912428
  11. It will make the colours more saturated as I'd expect it too, but that's not what I'm trying to achieve. I'm trying to make sure that the image in sRGB is displaying as I intend and pretty close to what my client will see. I'm also trying to understand what the built in monitor 'profiles' are doing and what happens to them if/when I calibrate. I'd love to know how to check the accuracy of whatever my monitor is currently using
  12. Just opened an older image I created on my previous monitor, which looked great across the board. It now looks really desaturated in Photoshop on the new one. Not sure what this tells me, but at least it's consistent Something tells me the new monitor needs calibrating
  13. Ok cool - I think i'm back to 'how it should be' out of the box. Windows Photo Viewer is colour managed so that should display what I see in PS, and at present, it's pretty close. Dragging the tagged image into chrome shows the same as PS, and dragging the untagged image into Chrome shows a slightly saturated version (so I assume Chrome is applying it's interpretation of sRGB or Adobe RGB to that one - not sure what it applies by default). I'm happy with how it currently works - this to me seems 'correct' in terms of which look the same and which don't when viewed in the different environments. What I think is slightly out now, is the factory calibrated sRGB Emulation. It just feels like it's washing and taking just too much colour out than it should be. So I'll run a calibration in one of the on-board custom slots and compare the two. Assuming that's the issue, my biggest problem now is the iPhone 7 - and this is probably the most important as it's where a lot of clients will first view the image - as it's still appearing oversaturated when viewed here. I'm not sure if it's anything to do with the iphone 7 being the first model to implement a wider gamut?
  14. Interesting change again - just closed photoshop and reopened it and it's reverted back to yesterdays issue - I've been testing/resetting today with the image open in PS, so it's almost as if Photoshop has been ignoring what I've been doing until I restarted it.
  15. Ok cool. So why is it rendering the tagged sRGB image as incredibly desaturated? Here's where I am at present. Reset Display. Changed to sRGB Emulation (Factory Calibration) Photoshop (Settings as posted earlier, proofing off) Photoshop looks how I want Adobe Preview matches Photoshop when viewed on iPhone Save with sRGB embedded, email it to myself and view attachment on iPhone - looks like PS Windows Explorer Preview - looks like PS Windows Photo Viewer - looks desaturated Image viewed in Chrome - looks desaturated What should it say in Control Panel > Colour Management? Should the list of 'Profiles Associated with this Device' be empty or should it show a 'factory profile' that came with the monitor? The biggest issue is what's right and what's wrong? On my previous screen, the opposite was happening to what I've listed above. So attachments in Gmail were oversaturated (not much but a touch), Windows Explorer was accurate and Windows Photo Viewer was oversaturated
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