http://jmonzani.deviantart.com/art/The-essence-of-memories-MOVIE-89770188
Thanks
amd Quad Core QX9300 (2.53Ghz, 12M L2 Cache 1066Mhz FSB)
4GB DDR2 1066Mhz
So this is the config. which i choose. Is it sufficient for my type of work ? Looking forward to your suggestions.
Thanks,
vishal
Proxies in an editor make sense, you take a downrez’d version of your source file to edit with, and then re-link to your original files upon picturelock. But with nukes proxy system, it doesnt downrez it, it reformats it, so after you’ve created your masks for your half-sized proxy images (if half size is what you chose to be your proxy size), when you disable your proxy in project settings, the image now becomes twice the proxy size, yet your masks stay the same. Come again? After effects treats proxies just like an editor does, but creating a lower quality version, so all you have to do is disable it and everything is 100% as it should be.
Whats even more confusing is the use of reformat nodes. So forsay ive set my project’s proxy at half size, when i read in an image sequence i still must reformat it. I set what its original size and its proxy size is, and then in my reformat node i set what i want it to be. Great, but how is nuke supposed to know what the new proxy size is if there is no proxy size option in the reformat node? Does it guess based of the proxy ratio of the read node?
Yeah, im pretty lost here.
We have 2 particle effects that are going on at the same time, fire and smoke. Due to the fact that fluids are so cumbersome in maya, we can’t have the particles and the fluids function at the same time. We tried to convert the fluids to polygons, but it didn’t convert the fluids cache into geometry. All that resulted, was one polyPlane that isn’t visible. We aren’t sure if there is a way to convert the fluids to geometry and have the geomtry animate identical to the fluids.
What would be the most efficient way to achieve the desired effect?
Thanks
Seems that the Golden State has finally wised up and started offering some of the same tax credits other states and countries have given up to movies and tv shows for years. The deal is that Cali will give back 20% of below the line costs capped at a $500 million dollar payout over the next five years. The tax credit also does not extend to films with a budget over $75 million (you heard me Stretch Armstrong:The Movie).
That sounds like a lot until you look at all the other tax credit schemes out there. According to the L.A. Times…
New Mexico offers a 25% rebate on production costs and does not have a cap. Neither does Michigan, where filmmakers get up to 42 cents back for each dollar they spend on filming.
So the question will be, which of the Hollywood glitterati is going to volunteer to spend 4 months of their lives eating Chile Con Carne in Albuquerque over the Pan-Roasted Organic Chicken With Oregon Morel Mushrooms at Spago to save the studios a measly 5%. I guess time will tell
LINK to the full article about the tax rebate in the L.A. Times
Share and Enjoy:
The Moving Picture Company Vancouver is looking for a qualified VFX Recruiter.
The recruiter will be responsible for recruiting in a high turnover environment, where the majority of artists are either contract or freelance. Recruiting functions include sourcing top talent, interviewing applicants, and short listing appropriate candidates. The ideal candidate will have experience of recruiting creative talent for Feature Film VFX, Television VFX, Games or similar creative/technical industries.
Principal Duties and Responsibilities:
Define, implement and execute recruiting strategies that meet the staffing
needs of the VFX hiring managers
Proactively seek out candidates through networking, cold-calling and
referrals
Prepare, post and monitor recruitment ads
Screen candidates for availability, skill level, salary range, relocation
Needs and basic qualifications
Negotiate and close contracts
Create, maintain artist database and contact list
Assist in marketing endeavours as required
Education, Experience and Skills required:
Minimum of 3 years of VFX or similar industry experience
Strong research skills
Excellent business acumen and strong written and verbal communication
skills
Outgoing personality, desire and ability to attend social networking events
and functions in evenings and weekends when required
Proven negotiation skills, the ability to persuade and influence decision
makers
To apply for this position, please submit a cover letter and resume to scott-g@moving-picture.com
-Matthew
The mind is wondrous thing, and capturing the essence of its mysterious machinations is no easy task. It was, however, the task that fell to boolab’s Nico Casavecchia, who directed this ethereal promo for Alzheimer International, an initiative promoted by the Pasqual Maragall Foundation.
I love the level of abstraction at work here. It’s all loosely rooted in the actual physiology of the brain, but it is by no means tethered to science. Rather, the focus is on the poetic nature of memories, something Nico portrays with beautiful effectiveness.
Nico explains:
When I was given the Alzheimer’s project, the idea was to speak about the power of the human mind and the risk of losing an entire life’s memories to the disease. From the beginning, I shied away from certain ideas for developing the spot. I wanted to avoid a picture of the human experience through Super 8 movies and other melodramatic devices at all costs. At the same time, the spectator needed to be able to relate to the spot and perceive the intrinsic drama of losing one’s memory.
I didn’t want to perform a technical exercise that would send a cold message. I decided that the best route possible was to use a soundtrack that would transmit “memories” while the image would be an abstract representation of these sounds. Once this became clear, I designed styleframes to define a look for the bubbles, which represented the memories.
Some technical details:
Using Maya, we created a reactive system that modified the geometric parameters of the bubbles in connection with the soundtrack. For me, it was important that keyframe animation be used as little as possible, but that the objects be permitted to come to life thanks to the actual sounds. Once the soundtrack was finished, we simply let our memory bubbles dance with the sounds, after which we only had to sew the takes together in comp.
Watch this motion test to see the “memory bubbles” reacting to audio input:
Agency: Externa Comunicación (Rory Lambert, Creative Director)
Posted on Motionographer
Specializing in animation and visual effects for television and film Acme Pictures is currently looking for a Animation/Clean Up Artists.
Responsibilities include:
l Your responsibility includes adding secondary animation to animated assets
l Clean up primary animation
l Assemble final resolution assets to scenes
Qualifications:
l Good sense of timing and realism in animation.
l Demonstrated production experience with Autodesk Maya
l A reel is required highlighting the candidates eye for realism, attention to detail and various animation examples
l Candidate must have great communication skills, the ability to take direction and work closely in a team environment.
l Previous production experience is an asset
l Must be Toronto local.
Acme Pictures
535 Queen Street East Suite 5
Toronto, ON
M5A 1V1
Email: jobs@acmepictures.com
We accept links to hosted demo reels and resumes.
Please note if you send in reel and resumes the material will not be returned.
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