MPC is Looking for FX TD’s & DMP Artists!

MPC Vancouver seeking talented artists for current and upcoming productions!

MPC is one of the world’s leading post production facilities creating high-end digital visual effects for the television and feature film industries.

We are seeking the following:
FX TD’s
DMP Artist

These are exciting opportunities to work in the dynamic world of visual effects. To apply and view all job descriptions please visit:
http://www.moving-picture.com/index….svancouverfilm

FX TD
FX Technical Directors gather a variety of 3D assets produced by our Layout and Animation departments and use our cutting-edge proprietary toolset to create particle, rigid body, fluid, cloth, fur and hair simulations.

Primary Responsibilities:

  • Uses an array of commercial and proprietary software tools to produce photorealistic simulations of real-world phenomena while developing innovative solutions to complex problems.
  • Produces test and often final renders of FX elements for a shot.
  • Creates working test composites for review by the supervision team.
  • Works in partnership with lighters & compositors to ensure shots are delivered to the very highest standard.

Skills and Experience:

  • Proven experience in feature, commercials or broadcast visual effects production (or plenty of raw talent if you’re a recent graduate), with a showreel to back this up.
  • Experience in live action FX work preferred.
  • Good understanding of the entire visual effects process.
  • An eye for details, good sense of timing, and through understanding of techniques and technologies relating to physical simulation in computer graphics.
  • The ability to think clearly and creatively under pressure.
  • Good proficiency with Autodesk Maya, strong scripting skills in MEL, with Python, C/C++ programming and shell scripting a plus.
  • Knowledge of Pixar’s PRMan renderer preferred.
  • Familiarity with at least one node based compositing application (Shake and/or Nuke preferred), and a solid understanding of the compositing process.
  • Good computer skills, particularly with the UNIX/Linux command line.





DMP Artist

With an emphasis on the aesthetics and techniques of photorealistic image creation, the DMP artist will be responsible for painting photo real environments, elements and textures for matching into live action plates or to stand on their own as DMP plates.
These Digital Matte Painting’s may also be used in a 3D environment and may be mapped onto 3D objects. These will eventually be rendered through a variety of off the shelf and proprietary renderers.

DMPs can be created from scratch or sampled from photos, scanned reference or any other artwork necessary to create new objects or to match the surfaces of existing live action. A strong understanding and sympathy for real world materials and lighting is essential and must be demonstrated in the work on your reel. DMP artists may work closely with the modelling and shading artists and therefore must have a basic knowledge of the practices of each discipline.

Primary Responsibilities;
• Ability to demonstrate proficiency in creating photo-realistic DMPs required
• Assisting and developing the look of a shot or sequence with the
supervision team
• Work alongside the production team to establish schedules and technical requirements.
• Works in partnership with shader developer’s, lighters and compositors to ensure shots are delivered to the very highest standard.

Experience and Skills:
• Proven experience in feature film/broadcast visual effects production
• Thorough working knowledge of Photoshop, with a basic understanding of Maya and Renderman
• Strong artistic skills
• A traditional arts background with an emphasis on photo-realistic work and environments would be an advantage
• A good understanding of the entire visual effects process is also needed.

creating a stereo sequence

hi there, i saw there is a new cmivfx interesting tutorial about creating a stereo sequence from one single shot….if i didn’t misunderstood!

as far as what i read it seems you have to project the shot on a displaced geometry and then create a paired cam to "shoot" again the plate.

is this the only way? or is there a simple way to achive it even i will get worste result?

thanks in advance.

mat

How would I go about tracking this shot?

Hi,

I’ve got a clip from this site:
http://www.hollywoodcamerawork.us/gr…eenplates.html

I downloaded the second one down – Matchmove Test Close (There is a preview of it on the site), really excited that I was gonna start my first proper matchmoving test and then i thought… Oh, how would I go about tracking that? :confused:

I’m kinda new to the whole concept of matchmoving, so I have a couple of questions.

1) Just in general, what’s the best way to track the shot? Should I use an automatic tracker whilst masking out the actor, or set up target tracks on the green screen markers? If so, are there any specific ones I should track or is that irrelevant?

2) I’m making the assumption that the pole is included in the shot so I can track it and help the camera work out the perspective? If this is the case is there a specific part of it I should track? Also, what’s the point in the post-it notes?

Any feedback would be greatly appreciated,

Thanks!!

What is your “Plan B”?

I’m almost positive I asked this before, but I can’t find the thread anywhere. So based on my inability to find a previous post, that I’m almost sure I posted, but probably didn’t, I want to put the following question out to you folks in the hopes of getting a conversation going.

Tons of people on the "outside" are trying to get into Visual effects. It’s their career of choice, a dream, or something that might seem fun to do. Whatever their reasons, people are trying to get in. Once inside they come across people who want to get OUT!!! Be it the long hours, the need to put family first, or simply things just aren’t as much fun anymore.

So my question to you, "Do you want out?" "How long have you been doing this?" And most important "What is your Plan B, if you do decide to get out?"

My answer is. I’ve been doing this for probably 6 and half years. Sometimes I do think about leaving VFX, but probably not for another few years. Once I hit the ten year mark I’ll need to see where I am in life. I do enjoy VFX, but I feel like I could do more with my life. My plan B is to write. I’ve written a couple features films, one of which won second place in a screenwriting competition, and even had my script optioned by a small production company and shopped around town looking for a buyer. The responses were positive for the most part, but in the end no one bought it. But I keep trying, and I keep writing in hopes to sell something, and maybe start a new career. Of course selling a script is damn near impossible, so I would probably need a Plan C, which I don’t have.

What about you guys?

Syntax to disable nodes in the DAG

Hey Guys,

What’s the syntax to disable a node in the DAG, but automatically enables its self during renders or when its on the renderfarm?

Thanks

Sam

“Vray”–should i go for it ?

Hello vfxtalkers, Needed a thought on this.I am currently on a upcoming project which lots of photo realistic car rendering stuff.i will be shooting the bg plates and then compositing the cg car in the plates.I will be on vray for maya i just wanted to know that do vray and vray car paint materials has that capability to handle photo realistic car animation? will it be fast enough so that i can get the renders done in a genuine amount of time? I know vray is good enough in still shots but i do not know about animation sequences and should i go for it in my pipeline.Waiting for your feedback.Thanks. 🙂

multiplane setup in shake help.

Hi9 guys i wanna set up a multiplane shot with the background still and an animated vector chacrater with a 3d areoplane coming over head. the problem is. when the areoplane come and zooms past the trees. the camera needs to move down and and introduces the character.

help plesas i need this for one of my shots for my Degree project.

here a test to what i want. but at the mo it looks to flat. and lacking depth.

http://vimeo.com/11267895

multyplane setup in shake help.

Hi9 guys i wanna set up a multiplane shot with the background still and an animated vector chacrater with a 3d areoplane coming over head. the problem is. when the areoplane come and zooms past the trees. the camera needs to move down and and introduces the character.

help plesas i need this for one of my shots for my Degree project.

here a test to what i want. but at the mo it looks to flat. and lacking depth.

http://vimeo.com/11267895

GAVO: reel

Daniele has a great reel with work he’s been doing at Fox International Channels in Rome.

Rendering PSD files out of Nuke

Hello to my favourite forum people!

I’ve come across a challenge, and thought I would ask the board, as my searches haven’t found anything.

I have the need to render out multi-layer psd files out of nuke, and I know it’d be a killer to put it together manually. Does anyone have any experience with this kind of work, and perhaps the simplest way to do it?

Anyways, thanks so much for any info pointing me in a helpful direction!

-Michelle