CG Production coordinator

A VFX studio based in Rome, Italy is currently looking for a CG Production coordinator to assist the various phases of a 3d features production:

Qualifications:
Bachelors Degree preferred in either Film, Art, or related filed of study. Equivalent production work experience is acceptable
2+ years of VFX or cg animation work experience necessary
Proficiency with usage of both MAC and PC workstations
Must have working knowledge of MS Office Suite – Word, Excel, and Outlook Calendar
Familiarity with MS Project, Photoshop, and shot tracking systems is a plus
Must possess strong written and verbal communication skills, be extremely flexible, and willing to take on new tasks with little direction and supervision
Must be a team player, but able to work independently as well .

http://www.smoothdevil.com/index.php?page=job&job_id=936

closes: 26 Jul 2009

Student Demo Reel

Hey everyone this is my first reel, please take a look and tell me what you think

http://vimeo.com/4864348

Surfacing TD’s

A leading VFX studio based in Australia are currently looking for talented and experienced Surfacing TD’s.

• 3 years experience working on high quality texturing, shading and surfacing (preferably on photo realistic material)
• Experience scripting in MEL
• Shader writing experience
• Grooming experience
• Strong production experience in Maya and Renderman
• A traditional arts background in a relevant field an advantage.
• An interest and ability in lighting.

http://www.smoothdevil.com/index.php?page=job&job_id=934

closes: 26 Jul 2009

ABC7 on T4

abc7news interviews ILM modeling supervisor Bruce Holden about Terminator: Salvation.

Zumbie

picture-21

When we were in Palm Springs a month or so ago, we threw a party with Paul Devro at the Ace Hotel. Fun times were everywherrr and we all had hotel rooms at the Ace, which equaled: party all night, jump in the pool, throw up, throw up, etc. The following day the hotel manager called us up and was like: “Yeah..uh…your buddy Paul is throwing a fit because we need him to check out. Can you get him to calm down?” So, we went to check it out. As we walked up the stairs all you could hear was a really loud thumping and a vocoded robot voice. Paul opened the door and a waft of smoke blew by him. My eyes adjusted to the dark room and I could just barely see some half-naked, clan-of-the-cave-bear-looking chick putting on some makeup and Andy Milonakis dressed up like a zombie sitting in front of a laptop. “What’s up, Paul?” “Oh hey, just working on some tunes with Andy. You know Andy?” Things got way more normal after that.

Click here to view the embedded video.

Day to Night

hello

Is there any tutorial how when can set up a script in Nuke to make a transition from day to night in a clip?

thank you

macro to micro tracking

Hello people,

i am setting up a shot were camera goes from 20 feet towards a line of very tiny CG objects (1,5") and in the end the camera is so close that only 1 little object is visible.

i thought about having some ping pong ball markers in XYZ space and then when camera comes closer to the object also placing some 10x10x10" objects for tracking?

I did a test without the 10x10x10" object and when the camera comes close to the final CG object, my 3d floor has rotated on the X axis according to the rest of the sequence.

Any suggestions or experience about setting up this kind of tracking markers??
Thanks!
Giso

Head model not matching footage with trackers.

Hello everyone, i hope this is the right place to post this but i am having extreme problems as a newbie with an experimental trial-project that i am doing.

for people who know me, i am one who has started this thread:

http://www.vfxtalk.com/forum/possibl…ng-t17800.html

im not going to go into details jsut yet of that thread, but my problem is that, i have live-action footage of a person’s head which i have tracked well in PFTrack and followed exported that data into 3dsmax, from tere i took a crudely made head model and attached it with the trackers, i was told to go to the very first frame and match the head model to the one’s in the footage, and as i am very stuck on this, i can never get the head model to match properly its head movement and rotations and it always drifts off unaccordantly from the reference footage, see the outcome so far:

http://www.megaupload.com/?d=JHN0J8W6

I have asked advice from a couple of people, which is to (as from the previous footage i have uploaded with converning results to them) is to take and bring/move the 3d head model closer or in shot, which i have done and the outcome was that the head model was more evident in movement and rotations, but i STILL canot get it to match, nor is it syncronising with the live-action footage’s counterpart, and it is incresingly frustrating me on wanting to do such a simple thing.

i would really appreciate it if sopmeone can help me on this, as i am really wanting to get this over and done with after months on this seemingly easy task (so i can progress on more advanced thins relating to this) that a newbie with 3d interest and small understanding should know how to do so.

looking forward hearing back from you wonderful people 🙂

Rollerball

I saw the film again recently and have been working on a old looking gothic kind of machine. I have always liked this kind of stuff, playing Speedball 2 on my Amiga years ago etc.

Now I’m thinking of re-making the stadium (the round 1975 version), with a more metal feel. Sort of steampunk Rollerball. That’s the initial idea anyway.

I’m starting out by building a simple version to test sizes scale and functionality..

This is what i have so far.

What does everyone think of the scale?

Panique Au Village

E’ stato presentato pochi giorni fa, fuori concorso al 62mo Festival di Cannes, Panique Au Village, primo lungometraggio tratto dall’omonima serie televisiva animata ideata da Vincent Patar e Stéphane Aubier. Realizzata interamente in stop-motion, la pellicola – che vede la luce dopo tre anni di lavorazione – mette in scena le surreali avventure di Côboy, Indien e Cheval, pupazzetti in plastica dalle movenze chapliniane, alle prese con 50 milioni di mattoni da gestire…

Clicca qui per vedere il video incorporato.

Credits:
Camera (color) Jan Vandenbussche;
Editor Anne-Laure Guegan;
Music Dionysos, French Cowboy;
Production Designer Gilles Cuvelier;
Animation Manager Steven de Beul;
Animation Stephane Aubier, Marion Charrier, Zoe Goetgheluck, Florence Henrard, Vincent Patar,
Creation of plastic and resin figures Marion Charrier, Zoe Goetgheluck;
Sound editor Fred Piet;
Sound designer Valene Leroy.

Articolo redatto da Didier Falzone