VFX supervisor hiring

Job summary:

Reporting to the General Manager, the VFX Supervisor will be responsible for the overall creative and technical execution of VFX work on any given project.

Job duties and responsibilities:

· Consults with the VFX team for overall creative production and processes, design and integration
· Is the main creative contact with the client (directors, art directors)
· Supervises on-set and in-house
· Prepares creative pitch material
· Works with TD to determine project pipeline
· Works with VFX Producers and VFX Production Managers to assign tasks to artists
· Assesses artists skill levels and provides VFX Manager with talent updates
· Evaluates and integrates new software as required
· Troubleshoots and provides solutions as needed during the entire production process
· Reviewing and approving all elements at each stage of development.
· Working with department heads on resource allocation to ensure an accurate production schedule/ budget is setup and maintained
· Continually improve creative and technical capabilities of team by mentoring and training
· Responsible for the performance appraisal of his team
· Other duties as required

Required Skills / Experience:

· Minimum 5 years experience within the Visual Effects industry
· Comprehensive understanding of both compositing and 3D animation principles
· Comprehensive understanding of current compositing and 3D animation systems and softwares
· Excellent creative and technical communication skills
· Strong on-set experience
· Deep understanding of the film production process and state of the art VFX processes and procedures
· Proven leadership skills
· Design or Fine Arts degree
· Superb diplomacy and professionalism on-set
· Design or Fine Arts degree

Subject line MUST be: Compositor – <Your Name>
eg: "Compositor – John Smith"

** PDF files preferred, Word Documents or Text files accepted **

Flora.han@technicolor.com or technicolorbjhr@technicolor.com

www.technicolorbeijing.com

In an effort to expedite the delivery of demo reels, we are also accepting quicktimes and URL links. Please ensure web links point directly to your reel or it is easily accessible.We can also provide a location to upload your reel if required.

Demo Reels in DVD (NTSC or PAL) format can also be snail-mailed to:

Human Resources Manager
Technicolor (Beijing) Visual Technology Co. Ltd.
Building B, No.40, North-Middle 3rd Ring Road, Haidian District
Beijing, 100088, P.R.China

Please, No phone calls!!

Moiré patterns

Has anyone had any experience removing Moiré patterns from footage?

I am working on television series that filmed at hd, (at the is res the moire patterning is visible) but when its downsized to standard def the effects is horrendous.

please help

Keying_Hair Correction

Hello All,

I’m having a bit of trouble with the IBK. The problem is getting hair to come out smoothly on the edges. I attached a screen shot of the footage that I’m keying and my nuke script. I’m using a mask on the right side of her hair which is helping but not that much. If anyone has any ideas on how to get the key right please, LET ME KNOW!

cheers,
rdamani

Attached Thumbnails

Click image for larger version

Name:	Screen shot 2010-09-29 at 9.02.44 PM.png
Views:	N/A
Size:	103.0 KB
ID:	10597
 

Click image for larger version

Name:	Screen shot 2010-09-29 at 9.02.57 PM.png
Views:	N/A
Size:	1.19 MB
ID:	10598
 

HELP! Please!! This is sooooo frustrating!

Hi all, this is my first time posting and I’m new to using PFTrack with Cinema 4D. I’m having an issue I’m sure has been covered before somewhere regarding 3D objects NOT STICKING in C4D. Okay, here’s what I’m dealing with.
1. I do a simple tracking shot in PFtrack. Track sticks perfectly.
2. I import the Lightwave file into Cinema 4D. I see all the tracking points.
3. As a test I drop an object on to the points and it sticks like glue.
4. Then I add the background footage via bg-material etc. THEN
5. It not longer sticks. Everything is all out of whack.

Here’s what I tried as possible solutions.
1. I checked the frame rates in both Pftrack AND C4D. Made sure they matched.
2. I checked the pixel aspect in both programs. Yup, their the same.
3. I even slipped the camera key frames in C4D which seemed to help a bit but the track still shakes unacceptably.

Again, I check the frame rates in all areas where frame rate can be checked. Been trying to fix this for 3 days now and I’m at my wits end. I’ve seen numerous tutorials on PFTrack or SYNTHEYES to C4D. I’ve followed step by step to no avail. Does ANYONE have any clue what I’m missing? I know its something small. Again. Help. Thanks a ton in advance.

NUKE PARTICLES

Does anybody know where I can find a free tutorial for Nuke particles?

I know I could do it in fusion or AE, but I have to learn to do it in Nuke.

I saw the other posts about this subject, but nobody new a tutorial or even that Nuke 6.1 can work with particles, wich is not true. You can find a node in the "etc" list called "particle system".

Anyone can help me, please??
Thanks a lot,

Best regards

Caique Veloso

www.tankstudio.com.br

Help with command line renders

I’m relatively new to Nuke and have been experimenting with command line rendering. All’s been good until my most recent project where when I execute, I get a ‘segmentation fault’ and then a dialog saying Nuke has crashed. I have no idea how to start diagnosing the problem and I’d really appreciate a hand.

Also, does anyone know if it’s possible render across multiple machines just with the command line?

Thanks

Technical Director – Toronto

IMAX Corporation located in downtown Toronto is looking for an experienced technical director to work on an exciting full 2D to 3D conversion of a live-action Hollywood feature. This is a 4 week contract position. The ideal candidate will be familiar with VFX production processes and pipelines.

The ideal candidate will have:

l Proven experience in the feature film production techniques and pipelines.
l Thorough understanding of VFX techniques, technologies and processes.
l Authorized to work in Canada and we have a preference for people currently living in Toronto.
l Outstanding communication skills.
l Intimate familiarity with the production processes at various visual effects companies.

Essential Skills
l Thorough knowledge of 3D Computer Graphics and 2D image processing theory and practice.
l The ability to interface effectively and efficiently with various visual effects departments.
l The ability to validate data or processes, in Asset, Roto, match move and compositing departments.

Requirements
l Minimum of 2 years of experience as TD on high end feature films.
l Advanced knowledge of Maya, Shake and Nuke.
l Sound knowledge with scripting languages like Mel and Python.
l Rendering experience with PRman, Mental Ray and other popular industry standard renders.
l Houdini experience is preferred, but not an absolute requirement.
l Familiarity with pipeline issues and dependencies.
l A good general TD background is desirable.

Abilities
l Must be able to learn and adapt new work flows and methods
l Must be a capable and effective problem solver.
l Must work well in the context of short schedules and high pressure.

HOW TO APPLY
Interested candidates should submit the following information to work@imax.com quoting “Toronto TD – Magnitude” in the subject line.
1) Cover letter (body of email or attached as .pdf or .doc format) confirming the following information:
· Your availability
· Your ability to work evenings, weekends and overtime
· Pay expectations (daily rate)
· Confirm work authorization for Canada – Local residents preferred.
2) Current resume (attached as .pdf or .doc format)
3) Link to your online demo reel and reel breakdown information including software used

We thank all applicants for their interest in IMAX but only those selected for interview will be contacted. IMAX is an Equal Opportunity Employer.

www.IMAX.com | www.facebook.com/IMAX | www.twitter.com/IMAX | www.youtube.com/IMAXMOVIES

Screen Subtraction outside IBK

How do you guys add a hold-out matte before any processing is done on IBK?

I’m asking because I’d like to use not only the alpha, but the RGBA from IBK. Usually the Screen Subtraction operation from IBK output a good result, but if my matte have transparency on the core, the Screen Subtraction mess up too much the RGB colors.

Another option it is screen subtraction to be done after I supply a holdout matte. So any easy way to do that?

Thanks

– Rafael

Rising Sun Pictures Gets Green Light for “Green Lantern”

ADELAIDE, SOUTH AUSTRALIA— Rising Sun Pictures, Australia’s specialist feature film visual effects production house, has been contracted by Warner Bros. to provide visual effects services for “Green Lantern.” Directed by Martin Campbell (“Casino Royale”) and starring Ryan Reynolds, Blake Lively and Peter Sarsgaard, the film is scheduled for a summer 2011 release.
Working alongside major vendor Sony Pictures Imageworks, Rising Sun will deliver key CG sequences in the film. “Once again the quality the work done here in South Australia has resulted in a tent-pole picture choosing Rising Sun from a field of international competitors” said CEO Michael Taylor. “Our ability to deliver complex, photo-real effects work on tight turnarounds continues to place Rising Sun as one of the most sought after vendors in the industry”.
The production will benefit from a reduction in the 15% Post, Digital and Visual Effects Rebate threshold, but Company Director Tony Clark says the Australian Government still needs to do more to ensure the local industry can remain competitive on a larger scale. “The sustained strength of the Australian dollar is not helping attract lucrative, longer term contracts to our shores. Rising Sun is pleased to have brought a fraction of the Green Lantern spend back to Australia, however a sliding rebate scale locked in step with the dollar up to a maximum of 30% would once again position Australia as a true competitor on the international stage”.
Rising Sun’s recent expansion further increases the company’s ability to cater for the needs of multiple blockbuster productions, simultaneously delivering large volume, highly complex visual effects & character shots. Rising Sun is also working on “Harry Potter and the Deathly Hallows Part II” and the Digital Intermediate for local film “Red Dog”.

About Rising Sun Pictures
Rising Sun Pictures is a passionate team of producers, artists and technicians, known for providing complex digital visual effects and cg character work to feature film clients all around the world. With the infrastructure to deliver a full spectrum of services from Design through to Digital Intermediate, Rising Sun has recently worked on films such as Terminator Salvation, the Harry Potter series [The Goblet of Fire, The Order of the Phoenix, The Half-Blood Prince, The Deathly Hallows], X-Men Origins: Wolverine and Watchmen. For more information, visit www.rsp.com.au

Anja Buhrer