3D Design Conference & Expo
In addition to the magazine, the 3D Group at CMP held a yearly conference. With my experience front he SIGGRAPH national conference and managing a venue there as well as running the San Francisco SIGGRAPH Professional Chapter, I was more than qualified to be the conference chair and general manager for the curriculum, getting speakers, and more. Again, the team I worked with was top notch; Andrea in conference management who helped get speakers and set up course tracks, Kathleen our marketing diva, and so many others. We made a killer team and at the height of our last show in 2000, we had over 5,000 attendees and were starting to make even the 800lb gorilla SIGGRAPH a little nervous. Lucky for them CMP Sr. Management were clueless about how to deal with the Internet and wound up shuttering many successful groups. We were one, but we were profitable and popular! Sometimes being better doesn’t matter. I not only shared the Chair position in 2000 with Maija Beeton, I also designed the cover and graphics for the entire show onsite. From the registration booths to the signage and more, this last year really had my mark all over it.
Click HERE for a full PDF of the Show Guide.
Internet Killed the 3D Mag Star
3D Design magazine eventually became just 3D magazine, and it was a part of the end of an era in publishing. When the term ‘blogger’ hadn’t come to the fore, and when you actually had a full staff of people to create, edit, publish, circulate and sell a magazine. s technical editor, I was in many ways, the glue that held the group together, With my knowledge of 3D graphics, computer graphics of all kinds, and combined with being a traditional artist as well as a technology guru, I was the “go to” guy for every division in the 3D Group.
What I learned from all the amazing people I worked with could fill a book, I will just say that I still think about my time there all these years later and try to use the skills I learned in group dynamics, creative management, budgeting, conference management, editorial integrity, advertising sales and customer relationships, and so much more.
The magazine had a readership of over 50,000 subscribers and combined with newsstand sales and pass-through rates (4 to 1!) we were consistently read by over 250,000 people a month. I often led the efforts to crate our Editorial Calendar each year, which I had no problem torpedoing if the industry moved in another direction. I wrote features, tutorials, product reviews, and a monthly back page opinion piece called The End which got me nominated for one of three Maggie Awards. I interviewed top artists and animators at studios like Industril Light & Magic, Pixar, Digital Domain, Electronic Arts and others, and was widely regarded by almost everyone in the high-end digital graphics space as being not only an expert, but a futurist as well.
My approach was always honest (sometimes brutally) and open, writing as if I was actually speaking to each reader. Personable, professional, informative, and educated were all words our readers would use to describe my work. Authors I worked with had respect for my ability to help them polish their content and make it even better, and I in turn had a fantastic editorial staff working with me that made me look great at every turn. It was truly a dream job and a dream team, but one I actually fell into quite by accident. I had come to San Francisco to get into the visual effects industry as an artist, not a high-tech journalist.