African Digital Art emerged from the need to make design from / by and about Africa (n’s) Visible. Running on close to two years, its now a daily design & creative magazine / blog that continues to purvey unique inspiration from artists from the continent and those living abroad. Its been a lovely discovery especially […]
You will be responsible for modeling, animation, lighting, texturing and rendering material for TV commercials and in-store films produced by JML. The successful candidate will possess creative flair and vision as demonstrated by their impressive show reel link.
This is a brand new and fantastic role for a highly skilled and enthusiastic Graduate or an individual with previous experience in a similar role.
CVs and links to: Careers@jmlgroup.co.uk
Website: www.jmldirect.com
Montreal-based Malcolm Sutherland is a busy guy, creating self-initiated short films ranging from meditations on the beach to Mayan-inspired space travel to contributing to Star Wars Uncut. His new short, Umbra, is a wonderful wormhole of a film. The precocious character will bring a smile to your face and the unraveling story is a welcome break to a busy day. Don’t scrub ahead or you’ll break the space-time continuum… or maybe do once it’s all said and done to reconstruct it.
Malcolm was kind enough to answer some questions about Umbra and the (beneficial) emptiness of existence. Interview and Credits after the jump.
Also- If you’re a fan of Malcolm’s work, there’s more goodies on his vimeo, including the more experimental/synesthetic Light Forms and Forming Game.
The Astronomer’s Dream had a very ornate cosmic-futuro-mesoamerican design. Umbra, on the other hand, uses very simple (but charismatic) shapes. Was that a decision informed by the story?
I think the design in Umbra had to be simple to convey a sense of emptiness that was key to the film. There is an idea in Buddhism which is that everything in existence is empty – this isn’t nihilistic, it just says that at the core everything is empty of a concrete, fixed, self; and the truth behind the form is that everything is transient and interconnected. For me contact with this “emptiness” can be both wonderfully liberating and a terrifying thing! So in my mind this is basically what the character in the film is confronting. A simple yet organic design seemed necessary to get that sense of pervasive “emptiness” into the film. I think it was important to have that contrast with to the dense inner voyage of the character.
Also regarding The Astronomer’s Dream, you described it as “my first ‘real’ attempt at a narrative film”. Was there anything you learned from that film that informed the making of Umbra?
I learned a lot about pacing and editing, for sure. I think the rhythm of Umbra is more subtle, and I would like to keep refining the rhythm of my films in this direction, more like a song; Umbra feels more balanced and less laboured to me. I think Astronomer’s Dream was more of an editorial challenge because of all the visual detail. Also a lot has evolved for me in regards to showing a more rich inner world for my characters, but in any case I still feel like I have a shit load to learn! Maybe when I am 90 I can make something truly awesome.
Do you have a lot of awesome dreams involving outer space travel?
Ha ha, no! I mostly dream about exploring nature and sex. Last night I dreamed I was a woman! Ha ha, my dreams are probably more like crazy inner space travel.
How do you balance time between work and creating personal films?
In a perfect world I would never do anything unless I loved it, so, as much as possible that’s what I try to follow…. I don’t want to be rich or famous – so basically if I can pay my rent and eat; whenever I am above the poverty line, so to speak, I usually won’t work again until things get hairy ….. it always feels like a bit of a leap of faith but I like to think I will get “paid” in other ways too. You know, like extra games of frisbee and long mornings with my lady.
What are you up to now?
Well I am gonna be a dad soon, thats pretty exciting, I’m stoked – although I have no idea what I am in for. Maybe the kid can help me make films, ha ha ha! I got his (her?) whole life planned already. Otherwise I am working on some animated segments for a documentary feature and working on a couple films. One is about wrestling and the other is about this shaman guy who loses his mind and is reborn. I don’t know where any of this is going though.
Credits
Directed by Malcolm Sutherland
Music by Alison Melville and Ben Grossman
Foley by Leon Lo
Sound Design/Mix by Malcolm Sutherland
Guilherme Marconi, aka My Schizophrenic Brain — updated with new projects to see –> brain.marconi.nu.
Job Title: R&D Programmer
Department: Technology
Location: London
Reporting into: Head of Technology
THE CANDIDATE:
DO YOU LIKE FILM?
This is an ideal first or second role and Double Negative welcomes graduates with a passion for film. We need people from a degree discipline ideally with a 2:1 or above in Computer Science, Mathematics or Physics with an understanding of Maya’s C++ API
and a further understanding of other programming languages and techniques in general.
In addition to the technologies listed we have developed a huge amount of in house applications that will stretch and develop your skills further.
THE COMPANY:
WE LIKE PROGRAMMERS
Double Negative is a full-service Visual Effects facility capable of handling projects from initial design through on-set supervision and production to post-production. All key post-production technologies are available in-house to allow for maximum flexibility. Our R&D Department is constantly developing groundbreaking software to ensure we remain at the cutting edge of global VFX.
Over the last year the company has completed work on projects including: Angels and Demons, Quantum of Solace, Hellboy II: The Golden Army, The Dark Knight, Harry Potter and the Half-Blood Prince and many more (details on or website www.dneg.com)
THE ROLE:
LETS MAKE FILM
Your choice of course may have led you to believe a career in creative media was not available to you however Double Negative need your expertise more then you think. Our Technology and R&D department are constantly working to develop new technology solutions in an extremely tight schedule. It will be your job to write custom applications, fixes and patches to enable our artists to stretch the limits of our technology. You provide the tools for us to deliver.
FOR A CHALENGING IT CAREER WITHIN THE FILM VFX INDUSTRY PLEASE APPLY TO JOBS@DNEG.COM OR SEND YOUR CV WITH A COVER LETTER TO HANNAH ACOCK AT 77 SHAFTESBURY AVENUE, LONDON W1D 5DU
This is a step by step beginners tutorial which will explain how to model a detailed screwdriver using 3ds Maxdiv class=”feedflare”
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Autodesk, is seeking artists designers who would like to show off their best assets by submitting to the Design Show Reel 2010div class=”feedflare”
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* Supervises the effects team to deliver the expected and desired effects for the film.
* Responsible for ensuring and maintaining the quality and style of the effects across the project.
* Consult with CG Supervisor as to the technical feasibility of elements in the designs and suggest production friendly solutions that will maintain the vision of the film.
* In consultation with the Director and CG Supervisor assign work to artists based on their individual skills and strengths.
* Responsible for reviewing the work of each artist on a regular basis and approving models and mattes for submission to the Director.
* Responsible for directing and guiding the overall effects and simulations on schedule and on budget, balancing artistic and productivity requirements, in tandem with production management.
* Actively participates in the recruiting and staffing of the modeling and matte painting teams – assesses the work of prospective candidates for the hiring process and works with production management on hiring decisions.
* Partners with production management to guide artists overall professional development, providing performance feedback, mentoring, resolving performance management issues and maintaining positive morale amongst the crew.
* Attend all relevant meetings to promote effective communication throughout the production team.
Requirements:
* Bachelors degree or equivalent degree in Computer Graphics, Computer Science or equivalent professional experience.
* 8+ years work experience required in 3D CG for digital animation or visual effects film.
* Demonstrated team leadership experience preferred.
* Proficiency in hard surface, organic and procedural modeling is required.
* Proficiency with LINUX/UNIX is desirable.
* Expertise with Maya is required.
* Demonstrated artistic ability.
* Strong communication (written and verbal), interpersonal and organizational skills required.
* Ability to learn quickly and assimilate new information.
* Attention to detail required.
* Ability to work effectively with a diverse collection of individuals.
* A reel demonstrating effects work required. Work should include shot breakdown.
To apply, please click here:
https://www.lucasfilm.apply2jobs.com/Pro fExt/index.cfm?fuseaction=mExternal.show Job&RID=2159&CurrentPage=2
* Works with production team (Leads and Supervisors) to execute the desired look of CG objects.
* Responsible for creating the textures, colors, and organic surface qualities needed in the completion of CG creatures and hard-surface models used in production.
* Participates as a team member in determining various design solutions; provides feedback to other members of the production by attending dailies on a regular basis.
* Works closely with Art Directors, Modelers, and look-development TD’s in achieving desired look of models.
* Maintains or exceeds consistent level of productivity while meeting deadlines and producing high quality work.
Requirements:
# 8+ years of experience in the high-end feature film visual effects.
# Demo reel and portfolio illustrating knowledge and experience in painting, or illustration
# Basic understanding of shading principles and lighting required
# Ability to run turntables and perform basic lookdev/shader adjustments required
# Modeling skills a plus
# Familiarity with film production; computer graphics
# Attention to detail
# Ability to learn quickly and assimilate new information
# Good interpersonal skills
# Good organizational skills
To apply, please click here:
https://www.lucasfilm.apply2jobs.com…&CurrentPage=1
Heres the idea of what we have going on. We have a 2.5 week turn (starting Monday) on a relatively large-scale/low-budget commercial we will be shooting at Qwest Stadium in Seattle, WA. We are going to be shooting a small sequence of a football game on a football field against 40-60ft length of green screen. We are also shooting other elements, such as coaches, fans, photographers, etc against green screen so that they can be placed in the background. I am looking for someone (or some people) who can help with BG tracking and replacement, adding the fans into the stands, coaches and photographers in the background, etc.
We shoot Saturday on the PhantomHD and would cut together the narrative in 3 days, then deliver plates (pre-keyed if necessary). I am not certain what the number of shots would be, but its an ambitious number. Some are fast moving as well as out of focus BGs, so the detail in many of the shots would be easy to hide.
Anyway, the timeframe is from the 21st through the 1st of October for VFX completion, and at this point, we have a paltry 12K to work with. We might be able to get another 4K. I know the work is intense to tackle something this scale, but Im hoping to find someone that sees the potential in some much larger work. This project was inspired loosely by Nike Football Write the Future.
marty martin. director.
marty@themartymartin.com
www.themartymartin.com
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.
