Zoic’s CSI frozen moment

Zoic Stops Time, Creates Historic ‘Frozen Moment’ Sequence for CBS’ ‘CSI’ Premiere, at I Design Your Eyes.

Ed Ulbrich on AICP

fxguide podcast with Ed Ulbrich (Digital Domain) about the AICP Digital initiative.

compositing of 3d render layer passes

Hi everyone i need help of u people anybody knows how to composite diffrent render layer passes in after effects like ao,specular,reflection,refraction,shadow,etc….pl ease help me if anyone knows………..thanks 🙁

Considering 3D

hi to all..ive been into vfx for some time…know the basic stuffs..i came to know that to enter for a job if we know 3d also it might be an extra advantage…i want to learn 3d but i feel im not good at drawing…so what should i do?

who wants framecyler to be replaced?

maybe for something made by the foundry that allows you to run it outside of nuke. make simple edits.

what would you prefer?

rv is looking good and vfxdesktop could be fantastic if it is not sued by autodesk.

Keylight and those darn glowing borders

Someone please explain to me how to rid those annoying edges in keylight. A lot of people are lyric about keylight and it does a sweet job overall, but whatever I do, I keep getting light edges on dark subjects with a black background.

I can waste hours with my keys and still have those edges forfeit all my effords to make it look good. So apparently there’s one trick unrelated to the rest of the key that I am just not getting.

Quick example:

Original footage

Pulling key
Ignoring refinement because it’s unrelated in all my effords.

Black background, nevermind the bad key
Any dark background makes this key look bad

It is as if the physical edge is fixed by a thin black line (which is okay), followed by a big whitish smear. And when compared to the alpha channel, this smear is often supposed to be pretty much invisible, but it is painly visible over any dark background, whether I unpremultiply or not.

Clipping blacks ofcourse cleans the dust in the background, but it hardly touches the light borders even they appear on very transparent area’s, according to alpha.

I can do some edgeblur and lightwrap, although dark backgrounds hardly have anything to wrap, but to overcome this I must really make unrealistic smears and blurs.

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ANIMATED FEATURE – PRODUCTION SUPERVISOR LIGHTING & FX (SYDNEY)

Animal Logic attracts highly talented people from all around the globe, who are drawn both by the impressive style and quality of our work and the opportunity to live in Sydney – one of the most beautiful, cosmopolitan cities in the world.

Our facility is situated fifteen minutes from Bondi Beach, (one of over 150 beaches in the Sydney metropolitan area), bordered on two sides by substantial areas of parklands and only ten minutes away from the Central Business district and iconic Sydney Harbour. With its temperate climate and outdoor lifestyle Sydney is both a fantastic place for families and an exciting destination for those who enjoy adventure and a spot of nightlife.

We are currently searching for a Production Supervisor for Lighting and FX to join our team on an Animated Feature. The Production Supervisor is responsible for the supervision of all processes, procedures, outputs and deliverables for the production department and ensuring the outputs and interactions of craft groups are aligned with production.

Other responsibilities include:

•Supporting dual Production Managers in creating the master schedule for production and contributing to the overall scheduling of the project.

•Building and maintaining the departmental schedule separated into craft group schedules for the Production Coordinators to work with.

•Developing processes and procedures for Production Coordinators to report completion, variances and progress of tasks on a day-to-day basis.

•Maintaining task tracking reports for the department.

•Accurate and timely communication between Production and relevant Supervisors and Artists.

•Overseeing the coordination of dailies and reviews, ensuring accurate notes are taken and all action points are distributed, understood and acted upon.

•Mentoring and developing Production Coordinators.

To be successful in these roles, the following is required of all candidates:

•A minimum of 5 years experience working in a production team within a VFX or animation production or related industry with significant experience working on one feature animation or VFX project.

•Experience in Stereoscopic production would be a definite advantage.

•Technical knowledge/experience of film formats, digital media and film techniques.

•Excellent scheduling skills.

•Advanced knowledge of Microsoft office, and strong experience and database software and tracking.

•Experience managing production staff.

•Sincere enthusiasm for facilitating the work of artists in high-pressure environments.

•A passion for animation.

•Ability to multi-task, prioritize and problem solve.

•Strong administrative skills.

•Highly developed written and oral communication skills and the ability to connect with a wide variety of personalities.

•An ability to remain focused on the big picture without losing track of the details.

If you are interested in applying for this position then please fill out our online application form for Production via our website at http://www.animallogic.com, specifying "Production Supervisor" in the position applying for section. Please also email your CV to jobs@al.com.au

Help on entering into New Zealand’s CG industry

So i’m finishing up studying at Lifeway college in a month:eek:. I’m really interested in trying to get a Job at Weta Digital. Mainly cause i would like to specialize in Modelling, and i have heard they have great training for newbies.

But what are my other options, do any of you have some advice for me or would you be able to hook me up with Key people that could help me get a job???:confused:

The Father

THE_FATHER

The Father is a new short film by Sticky Monster Lab, a collective of three artists from Seoul, South Korea. Presented in a split-screen format as if it is the pages of a book, it simultaneously tells the story of a father and son growing up and getting older, struggling with the pressure to succeed. The Father project also takes the shape of an actual book, poster, and vinyl figures of the main characters. Sticky Monster’s ongoing characters, The Monsters, also populate more of their work – including an epic sci-fi short The Monsters and The Runners for a little shoe company from Oregon.

Posted on Motionographer

Hybride’s Assassin’s Creed: Lineage

YouTube video of tour of Hybride and preview of "Assassin’s Creed Lineage Part 1".