Hi guys here what i have so far i hve some money i would lie to upgrade my ass old pc, i am using it for just learning but when i am using cinema 4d and doing some simulation would get out of memory so i would like to gets some more but i don’t know if i can add more. Can you look at my spec and tell me what can i do and how much i can add. i am ruining 64 bid cd4 on xp pro 64 bit. Should i install windows 7 or is my pc to slow for it or will it use to much memory. Thanks guys.
CPU
Processor : AMD Athlon(tm) 64 X2 Dual Core Processor 4000+
Speed : 2099 MHz
Model : x86 Family 15 Model 107 Stepping 1
Processor ID : 178BFBFF00060FB1
Vendor Identifier : AuthenticAMD
Socket Designation : Socket AM2
Mainboard
Bus(es) : AGP PCI IMB USB i2c/SMBus
MP Support : 1 CPU(s)
Model : M2A-VM
Version : 1.XX
Serial Number : 123456789000
BIOS Version : ATI – 42302e31
BIOS Date : 12/19/07
BIOS Vendor : Phoenix Technologies, LTD
Christian Borstlap recently finished these deliciously simple animated illustrations for Dutch children’s charity, Kinderpostzegels. Paul Postma did a great job of bringing Christian’s colourful illustrations to life, complimenting them with a playfully restrained animation style to really let their personalities shine.
London based Illustrator Jimmy Turrell uploaded a new site with great new work including a D+AD winning book cover for Pentagram and all of its artwork.
Yellow Cake is a new short film by Nick Cross, an Ottawa-based animator who has worked for everyone from Nickelodeon to Spumco over the course of his career. He calls Yellow Cake a “lamentable tragedy mixed full of pleasant mirth.” Animated in Flash, with digitally painted backgrounds, the fine-tuned muted color palette, retro-styled animation and the symphonic, almost saccharine, music all work to lure you into a tale of adorable blue creatures who spend all day baking and then eating their own delicious yellow cakes. But soon the tide turns, and Nick’s film explores a modern parable of terrorism and war, addressing our own attention span in a devastating way.
1. Can you give us a brief run-down of your animation background, other shorts films you’ve done or commercial work that’s been notable in developing your own films?
A. I’ve been working in the commercial animation world since 1996, mostly working on children’s television programming. Since two of the things I enjoy the most is drawing and films, animation was a natural fit for me. However, since I never went to animation school, working in animation was a good education and grounding for making my own animated films later. I made my first film in 1998 just to sort of learn animation, and I’ve been making films ever since.
2. What was the specific inspiration for Yellow Cake?
A. In 2003, while I was working on my previous film, The Waif of Persephone, there was a lot of talk in the media about Iraq purchasing yellow cake uranium. It was talked about so much that it was eventually just referred to as yellow cake, which I thought was pretty funny since they were speaking in such ominous tones about a tasty dessert treat. I just kept thinking about it, forming the story in my head until I finished Waif of Persephone in 2006, and then I jumped right on to working on Yellow Cake.
3. I know that you’ve mentioned that you’ve worked on this film (off and on) for almost three years. Even then, at over 8 minutes, how did you ever find the time to make this all on your own?
A. Over the years, I’ve developed a pretty streamlined production method through trial-and-error. Working almost entirely digitally now saves me a lot of time; I draw right into Flash with a Cintiq tablet and paint all of the backgrounds in Photoshop. I think that I could have made the entire film in just a few months if I didn’t have to keep putting it on the shelf to do commercial jobs, but such is the life of an independent filmmaker.
4. Did you deliberately use a few visual cues from well-known photographs from history? We’re thinking of the famous Napalm Girl photo and the Orwellian / They Live references in the town… Are there any others we might have missed?
A. Yes, definitely. I think that photograph from the Vietnam War really encapsulates the horror of war, so I couldn’t help referencing it. Also, 1984 is my favorite book so I couldn’t help but put some Orwellian imagery in there. The only other overt reference that I put in the film is to the Disney short, The Brave Little Tailor. When all the cats are freaking out near to the end of the film is based off of the montage of the villagers yelling “Seven in one blow!”.
5. The ending of the film leaves the fate of the little blue guys a little bit up in the air, cutting right to cartoons, music, sports and a final test pattern before the film ends. Watching the film leaves the audience itself a bit complicit: we’re all cats, aren’t we? Is there a call to action there?
A. It’s not really a call to action, it’s just sort of my thoughts about how we as a society view war. We are interested up to a point and then, since it doesn’t really affect us in our everyday lives, we get distracted and kind of forget that there is even a war still going on.
Thanks, Nick! Good luck with the film on the festival circuit and with the release of a DVD collection of your work. We’re looking forward to that.
We should also mention that Nick is one of the creators of the pilot for Angora Napkin which premiered at the Ottawa International Animation Festival a few weeks ago.
C.O.R.E. Digital Pictures located in downtown Toronto is currently looking for Senior VFX Compositors to join our VFX team. Compositors will be responsible for the contribution and completion of VFX shots in a pipelined environment.
The company was founded in 1994 and is one of Canada’s leading digital visual effects and animation studios. Over a decade later, C.O.R.E. has successfully built three divisions: C.O.R.E. Digital Pictures, C.O.R.E. Toons and C.O.R.E. Feature Animation. Over the years, with the underlying philosophy that a studio designed by artists for artists fosters the best creative environment, C.O.R.E. has produced award-winning work for more than 55 Feature Films, 24 Television Series and 24 Movies of the Week.
C.O.R.E. offers an exciting work environment; our open work structure allows for creativity and fun at the same time. The continuous flow of interesting new projects that are awarded from major studios and production companies makes working at C.O.R.E. a unique and fulfilling experience.
Job Duties:
Create vfx elements and complete shots using various cg, live action or otherelements
Work with other compositors, matte painters and cg artists
Make timely corrections to work when required
Take creative direction from leads and/or VFX Supervisor
Additional duties as required
Qualifications:
Excellent working knowledge of software packages such as fusion, shake, combustion
Knowledge of pftrack, photoshop, synth eyes/mokey an asset
Excellent eye for colour, lighting and composition
Excellent ability to assess shot requirements, flag potential problems and facilitate solutions
Accredited post secondary school compositing course or equivalent
3-5 years experience in compositing visual effects for feature film
Must be legally authorized to work in Canada
Qualified applicants can email their websites to recruiting@coredp.com or mail their resumes, demo reels in DVD-R format including shot breakdown to:
C.O.R.E. Digital Pictures
Attention: Recruiting
461 King St. West
Toronto, Ontario
M5V 1K7
We would like to thank all applicants for their interest however only those under consideration will be contacted. No phone calls please.
Stephen Wiltshire is the current blower of fine art minds at the Pratt Institute and pretty much everyone else in existence. With a quick fly-by via helicopter for a view of New York’s skyline, Mr. Wiltshire is recreating the cityscape from memory on a 20-foot panoramic mural. Born with autism and limited communicative skills, his amazing photographic memory and knack for drawing shows a tremendous insight on the capabilities of the human mind. Catch him create his masterpiece in person at the Pratt Institute or via web cam, before this week ends.
hi guys , long time no see .
i just have a question about nuke alpha .
i try to load the footage(tiff) in nuke .
when i see the footage alpha in shake , it is white
but in nuke ,it is red(in rgb)
and when i choose R ,it is white。
i dont know why ,and if i do my job in red alpha ,what will happen?
thanks!!!
Hey all, I’m Tom. I’ve been meaning to join this site for years; I don’t know what took me so long! I’ve been working at Digital Domain for the past 7 weeks as a compositing intern on the upcoming Percy Jackson & the Olympians. It’s been incredible so far; I’m under the direct guidance of VFXTalk’s own Aruna, which is basically the best possible scenario.
I have been compositing for a few years on student projects, doing background replacements, basic greenscreens, roto, and incorporating simple CG elements. I’ve also studied film editing and photography. I wrote my thesis on what makes certain effects stand the test of time.
Aruna and I are working through all the tenets of feature film compositing in order. I started with paint, doing marker removals using frame-by-frame handpainting as well as procedural painting. We moved from there to roto and then keying. This might sound like basic stuff (that you’ve done before), but trust me, it’s a whole different world when there are so many people (and companies) working together to make one seamless project. It can’t just look good. It has to be pixel perfect, down to every last color value and keyframe.
Aruna has eagle eyes; he catches everything. I can’t tell you how many times I’ve heard "You’re eating into the edges in the red channel of your key" or "I think that <insert object here> is a little too transparent." He doesn’t hold my hand and I don’t ask him to. He is teaching me to be incredibly thorough, checking every possible part of the image, in different viewing conditions, etc. The whole team of compositors here at DD is dedicated and very precise. I can’t believe I’m lucky enough to learn directly from them.
Here’s my student reel, the same one I submitted to DD at SIGGRAPH 2009.
It’s not exactly groundbreaking stuff, so I’ll ask Aruna to offer some feedback on why they chose me, what they liked about my reel/resume/interview so that maybe you all can benefit from it. Digital Domain’s new internship program seriously rocks. Mike Lusby set it up, and there are 12 of us spread between the different departments. We’re not coffee-cup fillers; we’re doing real work on the show and you’ll see it onscreen in February.
Marc Atlan Design updated their facebook group with several new projects including designs for these James Perse Window displays. Join their group for all the latest updates. We’ve heard there are some big things coming in early 2010.
long time ago i was interesting to know what computer programming lenguage is done 3d apps such as 3ds max, maya, softimage, also editing apps such as premiere pro, avid, final cut, and vfx apps like combustion, flame, afterfx.
The only thing I realized was on 3d max you can load OpenGL, so i googled it and only i found that it’s a simple library.
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.
