Hasta La Motion!

The Lead Layout Artist will be responsible for supervising and managing the day-to-day operations of the Layout department. This will involve working very closely with the CG Supervisor and the Lead 3D Story artist.

# Interfacing with the Lead 3D-story in San Francisco on an ongoing basis to ensure delivery of all assets, scene files and associated information necessary to recreate them in the production pipeline in LAS, Singapore.
# After 3D Story is complete the Lead Layout artist will supervise the transfer and unpacking of the data and verify it’s usability and completeness.
# During Rough Layout you will supervise a team of artists who will recreate the 3D Story scenes using the proper production assets, while keeping 3D Story assets in the file for reference. You will be responsible for verifying an accurate lineup between the San Francisco and Singapore scenes.
# You will also be required to liaise with the Animation Supervisor to determine any special needs he has before prepping the files for animation. You will oversee the artists, review the material and sign off on publication to animation.
# During the Animation process, you will be the sole individual authorized to make adjustments to the shot cameras.
# During Final Layout you will oversee the process of populating the shot with all the assets necessary for lighting, simulation, crowds and matte painting.
# Participates as a team member in determining various technical and aesthetic solutions; provides feedback to other members of the production by attending dailies on a regular basis.
# Maintains or exceeds a consistent level of productivity while meeting deadlines and producing high quality work.
# Attend any relevant meetings to promote effective communication throughout the production team.
# May participate in the recruiting and staffing of the Layout team and assesses the work of prospective candidates for hiring.
# Expected to mentor entry level Layout Artists and must be able to assist them with their shots.

Requirements:

* Bachelor’s degree or equivalent degree in Computer Science, Computer Visualization, or Computer Animation required or equivalent work experience.
* At least 8+ years work experience required in 3D CG for Digital Animation, Visuals Effects or games.
* Previous experience in a leadership role on a Feature film or Animated Feature project
* Expertise in scene, shot, camera, and character composition is preferred.
* Exposure to modeling, lighting, texturing and animation required.
* Strong knowledge of terminology and techniques used in film, animation and visual effects including knowledge of photography and camera lenses.
* Demonstrated expertise using Maya is required.
* Ability to learn and use new software as needed.
* Good organization and communication skills.
* Demonstrated artistic ability.
* Attention to detail required.
* Ability to learn quickly and assimilate new information.
* Strong communication skills required.
* Good interpersonal skills.
* Good organizational skills.
* A reel demonstrating a variety of different styles of animation including pieces which showcase the candidate’s performance and action abilities.

To apply, click here: https://www.lucasfilm.apply2jobs.com…&CurrentPage=2

For some reason open exr files will crash CS5 for me, but not CS4?
I wonder if it has something to do with graphics card, and all that CUDA stuff, or something “new that CS5 uses”. I have the the 10.0.1 version, so I’ve updated AE to the latest version as well. To make matters weirder the “master beauty files” from Maya that are open exr works, it is just all Ambience, Diffuse, Specular, etc. that crashes it. I’ve tried to turn of and on certain settings on the graphics card, but to no avail.

Oh, yes, they are all 32bpc.

It crashes as soon as I just tries to create a thumbnail in the project window, and it crashes as soon as it in the timeline as well…

Normally I would just try to re-render in a different format, but I like open exr, and I’ve spent a week rendering stuff, and I don’t want to redo that…

Got an interesting situation occuring here, maybe you come across it before?

Its simple basic run of the mill 2 node setup merged (over) with no alpha at all, yet there is weird transparency on it…WTF?? the mix slider is on default 1 so im not introducing any trans at all.

Any ideas?..i tried a premult but that created other issues.

Regards
K.

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So I have an attribute that I want to add a little bit of noise to, but I want to keyframe on top of it.

If I were to do this in Maya, I’d add a custom attribute and keyframe that, then add an expression to the target attribute that multiplied that custom attribute by a noise function.

How would I accomplish this in Nuke?

cmiVFX Releases New Houdini Procedural Animation Techniques Video
High Definition Training Videos for the Visual Effects Industry

Princeton, NJ (Sep 15, 2010) – cmiVFX launches its latest Visual FX Training Video for Side FX’s Houdini, Procedural Animation Techniques.

This video was created to assist animators, teaching a series of different techniques and methods for building effects inside Houdini. Houdini, while being incredibly deep with a formidable learning curve, also happens to be one of the most (if not the most) versatile and powerful non-proprietary graphics package available. There is virtually nothing Houdini can’t do, but this video will help teach fundamental concepts and provide focus and direction to a number of the incredibly powerful animation tools. cmiVFX breaks down each step one by one with fast and easy chapter references designed for even faster muscle memory. cmiVFX continues to deliver the training and content you need, quickly, efficient and affordably.

When it comes to high end CG and VFX training, there is only once choice… cmiVFX! This video is available today at the cmiVFX store for a Special Introductory Price!

Houdini Procedural Animation Techniques
http://www.cmivfx.com/productpages/p…ion_Techniques

Controlled Animation of Multiple Objects
As you may already know, it is crucial to be able to control every aspect of a given shot; making changes quickly and easily to an entire scene with the ability to immediately see the effect of those changes results in an environment geared perfectly for art direction and decision making. With these techniques, we can animate a single object using dynamic VOPs, CHOPs, and keyframes and then procedurally duplicate the entire network, resulting in the ability to parametrically control an infinite number of objects. CHOPs allow us to import an already keyframed parameter, apply that animation to each object, and then modify each object’s animation channels independently. This allows for gigantic animations controlled by only a few nodes. We’ll also use VOP networks to control when and where the animations take place.

Procedural Lightning Effect
Here you will learn to easily create a complex-looking lightning effect. The trick is to combine nurds modeling with CHOPs and the "ForEach" node to get a completely procedural and controllable lightning rig that allows for an infinite number of lightning bolts. The goal here is to learn the importance of choosing the right method for achieving a given result, with the least complex networks possible.

Rigging a Procedural Tentacle
Using bones and CHOPs together, we will learn how to quickly rig, animate, and instance a tentacle procedurally, as well as modifying the animation for each copy without having to duplicate any networks.

The Power of Recursive Animation
The SOP Solver gives us the opportunity to create recursive animations and modeling, where each frame, the geometry of the previous frame is passed forward and the whole network inside the solver is recalculated. This allows for effects using propagation, in this case, a growing area of points in a different group. We can then use this changing group data to animate things burning, melting, or simply changing in some way. Learn to calculate the distance from a given point and have each selected point add to its group based on the neighboring points, and then have the calculations repeat each frame to grow the group. This will be accomplished using the VOPSOP and the SOP Solver.

Creating Fully Dynamic Jellyfish Heads
Learn to create local forces for wire or cloth objects and combine them with keyframed geometry deformations to create dynamic soft-body objects mixed with sinusoidal animation. This technique will allow for incredibly versatile and interesting self-propelled soft bodies or cloth.

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cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. Register for FREE and receive hours of FREE content at cmiVFX: cmiVFX Video-on-Demand Player For additional information about cmiVFX, visit www.cmivfx.com . © 2010 cmiVFX | cmiStudios. All rights reserved.