Finally- Incredible ‘Drag N Drop’ Software Creates Powerful Hand Drawn Sketch Video By Entering Your Text, Clicking Build And Your Done!

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• Product: Easy Sketch Pro 
  

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• Clear visual layout of your canvas
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Forklift Safety Training Videos and CBTs – They Should NOT Be Your Stand-Alone Training Solution

As corporate profit margins get tight and companies begin to squeeze their labor dollars, one will find that the first line item of scrutiny for any financial officer is the amount of money spent on a training budget. Experts on both sides of the issue argue daily about the indirect financial impact of well-trained employees vs. the direct expenditures of having them trained. For many companies, the trend of relying on video training and computer-based training programs (CBTs) has been the perfect blend of information dump and cost-efficiency.

In many cases these media provide maximum information in a minimum amount of time. They are usually well-made, presented by articulate narrators and possess the added leisure of being able to train at will without chewing up trainers’ man-hours.

But in the realm of forklift and other industrial safety subjects, they are a ticking bomb.

What many companies fail to consider when discussing the options of video training and CBTs is that workplace safety is NOT a place to cut corners. The money saved by using these methods may be far overshadowed by the cost to your business if something goes wrong. Some of the main items to consider are:

Since 1999, the Occupational Safety and Health Administration (OSHA) has required that all forklift safety training in particular (and many other equipment safety instruction requirements reflect this decision as well) must be site- and equipment-specific (operators must physically demonstrate to a trainer that they can safely operate their machinery in the exact workplace where they will do so) and training and evaluation must be done by a knowledgeable person qualified to teach adult students. Roughly translated: if you rely on a video tape or CBT only as your training program and then walk away, the first time something goes wrong (and it will), OSHA is going to take a look at your training system, deem it inadequate, and hold your company responsible.

OSHA realizes that people need to have the benefit of safety training that does more than check off a box on a to-do list. Their job is keeping people alive at work, period. That’s why they developed this rule. They want the assurance that a person who can react to specific needs of the trainees and the company is on hand to fill in the gaps and personally ascertain that the student has learned what he or she needs. Videos and computers don’t do that. They keep plugging along. They’ll talk to no one and still think they did the job well. A human trainer will look for that light bulb over the head of his or her students before moving on. When the subject is safety, OSHA wants to see far more than lip service thrown at the problem.

So you reduced the training budget by $3,000 and cost yourself $3.5 million in fines and damages. How much did you save again?

How much can one forklift accident cost you? Well, let’s break it down:

1) OSHA fines can be between $7,000 and $70,000 per willful safety violation. If they visit (and after an accident, it’s highly likely) and find that you have 10 forklifts and no one is wearing the safety belts on them, that’s 10 fines. And those operators weren’t trained properly? 10 more fines. And they all drive too fast? 10 more fines. You see the pattern.

2) Medical bills. These can get very expensive, and usually warehouse-type injuries can involve weeks or months of recovery time. The bill is getting larger.

3) Lost man-hours. You now have one or more experienced workers out of commission. Now work is not getting done. Productivity suffers.

4) The possible lawsuit. What if the person injured was hit by a forklift driven by a poorly-trained individual? Now his or her lawyer is drooling over your bank account. To make matters worse, if OSHA finds you at fault for willful safety violations, the plaintiff’s legal team will have that information in hand going into court.

5) Punitive damages. At the end of the lawsuit comes the largest hit of all. This number can have many zeros at the end of it.

6) More training. Ironically, now that you have injured your experienced worker, you have to spend money to train a less experienced one to do his or her job.

So, tens of thousands or maybe hundreds of thousands in fines, another couple hundred thousand for medical bills, a couple more in settlement, maybe a quarter of a million to several million in punitive damages, several more thousand to train a new person, and all the while productivity and morale is down. It hardly seems like you saved anything by cutting corners, does it? Would you take a gamble like that at any racetrack or casino in the world?

How people learn is as important as what they learn, to a trainer.

If you want to guarantee retention of information (and in safety training, you DO!), then you need to employ methods that cause people to learn. Most people are kinesthetic learners; they pick up information better by being physically involved. They also have relatively short attention spans. They might watch a 10-minute video, but anything more, and they are sleeping or doodling, waiting for the misery to end. CBTs may keep their attention a bit longer due to extra participation, but the usual pattern for trainees is memorization to answer the questions, not retention to show the instructor that they are smart. Remember, people are social animals; not looking dumb to their peers or trainers is a far greater motivator than their personal quest to get 100% on the pop quiz at the end of the module.

Canned training has another important shortcoming that can be a serious detriment in safety training situations – it is impersonal; it may not apply to everyone in the room equally. For example, though it may seem like a mundane detail, a narrator on a videotape wearing a suit and tie and speaking with a British accent may not hold much credibility with a group of hard-hat wearing tool-pushers from Texas simply because they do not identify with him. They will respond much better to someone who can talk to them on their terms, using anecdotes that relate to their experiences.

Probably the most predominant deficiency of safety videos and CBTs is their inability to answer questions. They rarely go back over information if someone missed it. The will not stop to explain a concept if one person in the room is unclear (at best, a CBT will let you repeat the same information, with no further explanation). Remember, some people you train may not understand the terminology, or may not read well, or may not think as fast as the person who created the video or computer module. Your job in safety training is to make sure that one way or another, EVERY student gets the benefit of comprehending all the information as it applies to him or her. Keeping them alive is your job. Letting the info run them over like a runaway forklift is a sure way to guarantee that the first actual runaway forklift they encounter will, in fact, literally run them over too.

And if the safety regulations change slightly, your video is now out of date. Now you have to buy a new tape or train your people on the wrong things until you do. Not a very fluid and effective way to adjust to a changing work environment.

Common Sense is All it Takes

There are plenty of areas in every business that could use some automation, streamlining, and general cost- and corner-cutting. However, (and this is a subject near and dear to our hearts for those of us who engage in the forklift safety training business) there are certain things worth the extra time and effort. Safety training should be at the top of that list. Forklifts are dangerous, quirky beasts. Almost 1 IN EVERY 6 workplace accidents (that includes slipping on spilled coffee and stapling one’s hand to a bulletin board) involves a forklift. 1 in 4 of all workplace accidents occurs in a loading area. Someone gets hurt by one of these machines every 11 minutes and dies because of one every 3 days in the U.S. alone. Do you want to put such a potentially dangerous tool in the hands of someone you’ve trained with the quick and cheap option?

Don’t misunderstand, videos do teach. Some are well-made and worth ADDING to your tool bag. CBT’s go a step further and allow some degree of interaction, and can help your test students as you go. But as stand-alones, they’re still a ticking bomb, and when a bomb goes off, you, as the safety manager, are going to get hit with a great deal of the shrapnel. So let’s cut corners and use quick training methods on purchasing systems and new word processing software (which have much lower fatality rates), and keep a human being teaching human beings how to stay alive.

How to Be a PRO 3D Vray Artist? Chapter #3 – Additude

Hi Gang, Alex here and today I want to publish this last chapter of “How to be a PRO 3D Vray Artist” and talk about one of the most important things, and that is “Attitude”, in other words, how do you arrange your work, how do you plan your moves, how do you find potential clients in the Internet and how do you work with them.

This is really about the “Healthy way of Communication”, so you will not damage your self or your business and gather grate reputation among CG community.

I’ll try to cover the most important things that you should know as 3D artist, it will help to build your good name in the industry.

Positioning yourself as an expert so that other users see you as “The Man” who can answer and help others by providing really helpful solutions. I see this one as the best ways to become a PRO 3D Vray Artist, if you’ll be able to do that, you will no longer be jobless and your life will become much more interesting. You’ll get invited to the seminars to give a speech, you’ll be invited to the companies to give your personal opinion on the pipe-line, and most important you’ll be paid lots of good money for your services. You might say “Well I don’t need all that, I’m good as I am”. Sure, you don’t have to be involved in all that activity going on around you, but at least let’s agree on one thing “Time worth Money”, and you want to manege it wisely, so that you get good paid for what you do and be able to take a brake and “Recharge your Batteries”, so you could produce thing more efficiently and not losing all that fun that you enjoy from 3D creation.

Agreed?

Ok, first thing first, and I’ll be opening this chapter from the biggest one, and that is “Planing your work”. That’s a big and common mistake among many of us and not only 3D artist, it can do serous damage to your life, business, nerve system, and be really unhealthy in all possible aspects. Doing that “Right” will save you a lot of time=money, so before you start planing something please understand why it is so important to you. OK? Good, lets’ start.

Lets assume you have found some one who is interested in your services, or some one found you, or you just got a new project at your working place, so what you do is, turn on your computer and start importing files in to your program, “Ha, got you!” No,no, no, most common mistake #1.

1. Prepare your self to a project: In order to plan your project well and avoid unpleasant surprises you must build an exact timeline of your work, and that can be done only by knowing your dead-lines. By which date the sketches must be approved, on which date the project must be finished, if there is a any date flexibility…etc. If you have no dates you have to make them by yourself, from my experience it is the only way of accomplishing projects, it will improve your intuition regarding future project management. Quick example, you might think that several things can take X hours to make, but you might be surprised to discover that this took twice longer than expected. So you need to trace your work and make notes on every stage, plus it will help you to be better organised, by following your progress improvement, habituate yourself to work this way all the time.

So the fist thing you do is make a timeline with notes and deadlines.

2. Collect all necessary information: this you might get from your client or your boss, or leading artist, but it doesn’t mean that they did a good job, or they provide you with all “your” needs. Your have to know “your needs”, if you don’t have that necessary information about your project, things like: required design, colors to use, atmosphere, is it day or night, winter or summer, you need to define it yourself, and approve it with the client. You need to know where you “driving”, cos’ “driving no where will get you no where!”, so collect all the references for what you’re about to create, put them around you on the table and make a simple sketch. This sketch must be approved, so you will not make thing twice. With difficult client or bosses you might better to say, “I’m going to do this and that”. You can show this sketch to clients with good imagination and sketch understanding, not everyone can “dig” it, don’t forget it. The best way of course is to meet with the person and to do the “sketch” together, so you both agree on the same thing at the same time.

so the second thing you do, is finding references and creating a sketch.

3. Planing: after your did you preparations and collect all necessary data about the project you’re going to make, and you know what are you need and expected to do, now is the time for planing! “Plan more do less”, this is so true, most of my projects where I’ve planned my moves came out half of the time and much better performance! The more you plan, the smoother it goes. You have no idea how important this is to invest effort in planing your work, if you need to do some test, do them, but not over do it, know your limit between testing and producing. Know to be fast and extremely exact in your specific target, if you need to find the answer that will help you to make that decision, do it, but not over do it, know to stop when you get it.

Are we cool?

Good, so planing basically exist of your timeline that you have scheduled in previous stage and preparations with first sketches that you’ve made. Two of these are your working material and from them you build a plan, this part should take most of the project time, I would say 80% planing 20% doing.

“Yeah, but is suck! I want to do things now!”

Well it depends on what you want to do? If you want to do unprofessional crappy work that everybody will laugh and say “man this is lamest work I’ve ever seen”, go ahead, make them laugh you all the way, but if you want to do a professional job and be proud of what you’ve done, and when people will ask you “Wow man, how did you do it, it’s so brilliant”, then you can answer, “that’s what the 3D pro’s do!” and play it big shot like it was piece of cake. “Sweet!”

So the third thing you do is, exactly, you plan your work.

4. Work in progress (WIP): This is the best part of your work and you’re going to enjoy it the most if you did the previous stages well. I just want to repeat my self, please, do the preparing, collecting and planing, it doesn’t have to be long process, only if you decide so, if it must be quick and you don’t have much, do it quick, but do it, 5 – 10 minutes, what ever you got, but do it, it will make you life thousand times easier, and you clients happier. Ok! so let’s move to making.

One of the speeding work methods is to have a library, and good organised library, so you will not have to spend hours of searching for things in the Internet, or whatever you do to find what you need. All the textures, models, backgrounds, IES lights, have to be in correct folder, with suitable name. For example:

../textures/stone/marble/ red_marble.jpg

../textures/wood/oak/ dark_oak.jpg

../models/chairs/modern/ barcelona_chair.max

../lights/ies/spot_small.ies

Ok, so you get the idea, English letter, no slang or trans-lit, so it would be easier to find, and not only for you. If you work in the office, it must be easy for other people to navigate through your stuff. It’s a grate tip for life “Treat people like you would like to be treated”, yep, and that goes specially for your library organisation.

5. Logic thinking: Now here you need to be very strategic about your thoughts, everything you create or design must be logically explained, there can not be unlogic elements in your scene. “It brings contrast to composition”, ” it gives balances to the scene”, “it lit the darken part that we need to see”, “it gives more dynamic look to the camera angle” these are the answers that you should give while adding models ot lights or adjusting camera angle of your scene. If you don’t sure about something, that means it should not be there. The client will always appreciate if you point at those mistakes, but don’t over do it, “the client is always right!” if you want to prove that you right, show 2 variations and explain why yours is correct, if the client still wants to have it his way, than you should agree with that, cos’ he is paying you money to do your job.

Most common mistake is to do something else just because you think it looks better, this makes clients or bosses very angry, cos’ they spent their time explaining you how they want thing to be, and they expect to get on what you both agreed on, getting something else might bring some serious trouble, so just stick to the plan and everything going to be alright. If you still think that what you are suggesting is better, make it as a bonus, but still, stay on the main course of pleasing the client will.

6. Feedback: that’s important to get feedback on your work, while working on the project you’re losing sense of self judgement and you can not see the small mistakes that just pop up for others, so there is community exactly for ruff moment like these (I’ve posted some links in my first post) there is also clients, your co worker, project manager, you can always show them your work in order to get it improved, this is important, ok?

grate!

So remember do your stuff till you think you’re good with it, don’t show something that is not complete, learn to know when you can show your work. Sometimes, it is important to show work on very early stages, so you know that you’re in good direction. Wouldn’t it suck if you show complete project and you stand there with the smile to get a good criticism, but, you get only disappointment to discover that you did the whole thing wrong! well avoid such situations, while planing you’re work, you will know when and to whom you need to show it, it’s a good indicator, use it!

So what you do when you get a feedback, well you collect all of them, and apply these changes all in once, then you make another render. Remember this are the stage when you use low rendering setting and low resolution render, 1200 pix on 800 pix, should be enough to criticise. Final tuning comes after you complete your mission of reaching the vision of your client, or your boss.

7. How to post your work on the internet: well congratulations, you did a good job! now when everybody are happy you can finally post your work and get some society recognition, this is important stage in development of your “3D artist persona”. So here is the tips that will help you to attract clients, professional 3D artist and finally get your attention.

Introduce your self, if you’re new to the community – mostly in such forums people know each other, and you will be welcome if you behave like you should, same thing if you came in to their House.

Write as much as possible information about your project, rendering times, software, technical stuff, dates, crew (people were involved), difficulties and problem solving – professional 3D artist and potential clients like reading this, so you show them your level of professionalism and that you well organised and that you care! and that is the key to the heart of the community, to care about other people. You can post also your sketches and planing material, that bring much more taste to your working style.

Be polite and never get people to get on your nerves, many of users are not polite, or they have problems in live and they might get jealous of seeing you succeed, don’t never, ever, let them get to you. Lately I see lot’s of useless discussions in forums, it just a waist of time. It is not personal, and if you know who you are, so stay cool, it doesn’t worth losing your reputation because of some comments, it doesn’t worth the second of your time.

8. “Recharging your batteries” OK Grate! so the job well done, and you got good critiques, you’re been accepted as 3D artist, and people just love to see your works and to get your attention. “What next?” Take a brake! No seriously, it is not less important as doing 3D, after long exhausting project you must reward your self, and how do you do it? you do something just for FUN. Go outside, meet some people, go to nature, get your head clear, “Recharging your batteries” and come back with full energy, motivation, and good will to crate more amazing stuff.

Just so you know, I saw lots of people “Get Burned” because they didn’t know when to take a brake, and that damages their life, their clients project, and some of them got fired, not so nice ha…Well, how do you know when to do it? obviously before you get sick of doing 3D then it’s too late! If you feel stuck, lost, idea-less and you don’t know how to go on, make a pause, step outside, breathe some fresh air. and don’t come back till you want to.

OK so that’s just about it! I hope you’ve enjoyed this final chapter of “How to be a PRO 3D Vray Artist?” post some comments ask me questions, if you’ll have any, don’t forget to make good preparations, collect material, plan your work, do your project the PRO way, get comments, take brakes and enjoy the life, have fun! and always, remember,

“If you want to do it RIGHT, do it like a PRO”