3 + years production experience in television commercials, film or animated features
High level of understanding of Maya FX tools
Excellent attention to detail
Ability to work to deadlines
Ability to work within a strong team environment
Strong communication and interpersonal skills
Ability to multi-task, prioritize and problem solve.
http://www.smoothdevil.com/index.php?page=job&job_id=949
closes: 9 Aug 2009
Please send demo reel on DVD with detailed shot breakdown describing your role in each shot, or a link to an Online reel. Please also send a CV including salary requirements and references to:
MFX London
email: vfx@mfx-london.com
2nd & 3rd Floors, 32 Rathbone Place, London, W1T 1JJ
+44(0)20 7268 0068
Antwerp-based artist Kati Heck’s porn meets renaissance mosaic collage has been a recent inspiration in WMIG land. Her work expresses a complex visual narrative through photorealism and roughly illustrated images all smooshed into a massive single image that falls just short of making sense. Check out more after the jump.
Deadline is a stop motion animation made with Post-it notes by Bang-yao Liu. It was a student project at Savannah College of Art and Design.
We are currently looking for a variety of artists to join us for upcoming projects:
Lighting/Shading TDs
Using Maya, Mental Ray and Renderman. Artists should have previous experience working on Film or Longform projects. Experience of Compositing using Fusion would be an advantage. These roles will be short term contracts starting immediately for approximately 3 months, based in our Manchester office.
Modellers
Using Maya and Mudbox. Artists should have previous experience working on Film or Longform projects. These roles will be short term contracts starting in early July for five weeks, based in our Manchester office.
Previz Artists
Using Maya. Will involve setting up VFX shots and cameras. Artists should have previous experience working on Film or Longform projects. These roles will be short term contracts starting in early July for five weeks, based in our Manchester office.
Generalists
Using Maya, Mental Ray and/or Renderman. 3D Generalists with experience of completing shots from beginning to end (including own compositing). Artists should have previous experience of working on Film or Longform projects. These roles will be short term contracts starting in July for a couple of months, based in our Manchester office.
Producers and Production Coordinators
Experience of producing CG and VFX for broadcast and longform projects is required. These roles will be short term contracts starting in July for a couple of months, based in our Manchester office.
If you are interested in any of the above roles or are based in Manchester and feel that your skills could be of use to us then please get in touch with us enclosing your CV and showreel (if appropriate) at: jobs@redvision.co.uk
We look forward to hearing from you!
This massive 8-minute offering from four Supinfocom Arles students may be the most ambitious student piece I have ever seen—and it’s my favorite to date.
Amazing attention to detail, exquisite lighting, and epic matte paintings are just the beginning of this oil rigging adventure gone wrong. The suspense follows 2 futuristic oil riggers, one barring a remarkably close resemblance to Romain Jouandeau himself, as they square off against what they are looking for in the first place. Unfortunately for their sake, it finds them.
Created in 10 months by Romain Jouandeau, Adrien Chartie, Gilles Mazières and Fabien Thareau, this project has some truly beautiful moments. It also boasts a very high level of skill in the technical department, with an awesome combined use of Realflow and the 3D Max plug-in, Dreamscape.
For a behind the scenes look at the making of Oceansize and other delectable goodies, be sure to look here at the official site. For even more excellent sketches, concept art and matte painting work, have a look at Romain’s personal site.
So I’ve got my polyline mask and the shape is animated AND the Centre is animated, too. Now I just want to move the polyline up a few pixels (like I would if I used the centre).
Here are the problems: I cant move it up using Centre because it is already animated.
If I use TRANSFORM or a Bitmap Mask after my Polyline Mask to move it I have got the problem that I can NOT see the shape of my Polyline mask when moving it.
Is there a way to move it and also SEE the shape because otherwise I can’t really place my mask exactly where it has to be.
Thanks.
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
