Hasta La Motion!

Start Date: Immediate

MPC is looking to recruit talented artists to join their facility in London.

Overview
Paint/Prep Artists prepare 2D digital plates for compositing. Typical tasks range from wire and rig removal, cleaning greenscreens, through to plate recreation. Artists employ various techniques including compositing, painting, and projecting.
Artists at this level should have flawless and quick rotoscope capabilities. You should understand and evaluate what needs to be rotoscoped, and quality-check your own work. Basic painting and prep skills will start to be refined in this role, and artists will use software packages including Silhouette, Shake, Nuke, Mocha, Photoshop, amongst others. Artists should have a basic understanding of how to properly implement matchmove cameras to help with projecting.

Skills, Knowledge and Experience:

• Knowledge of Nuke and basic knowledge of Unix.
• Ability to roto in Silhouette, and import tracks from Boujou and other programs
• Compositing mattes to check paint/prep work, using Shake or Nuke
• Painting and prep skills in various software packages
• Working knowledge of projecting for paint/prep tasks
• A strong eye for detail and precision.
• Ability to organize your time, collaborate and effectively communicate with your supervisors and team mates, and be able to take direction.
• Excellent organizational, communication, and interpersonal skills.
• Ability to deliver on schedule while working under pressure if required.

Salary: Competitive remuneration package
Location: London
Application Closing Date: Ongoing recruitment

This is an exciting opportunity to work in the dynamic world of visual effects. If you are interested please apply online to jobs@moving-picture.com

When I track a patch in Nuke, how do I extend it beyond the limits of the frame? In shake, I would do a viewport and with the infinite workspace, you could extend upwards and rightwards really easily. If you wanted to go left or down, you could do a move2d after the viewport to reset the frame back to the same 0,0 origin and the infinite workspace would retain the paintwork you’d done even when it was cropped off.

Nuke doesn’t work like that. In order for the plate to line up, it has to be in the same place and if you extend a crop, you have to reformat the plate to be able to paint in that new space and then transforming/cropping (with black outside turned off) afterwards does not keep the paintstrokes in the way the viewport/infite workspace did.

How do ppl solve this problem? At the moment I am having to do more and more patches at the corners (to cover up sections of road revealed by a complicated crane move) that could be done with one giant cleanplate in Shake.

3D splat maps and camera projections and all that jazz are great but I find doing a simple four-point track in Nuke needlessly complicated.

Visual Effects Department

Sky Creative is an award winning, highly creative, busy and exciting department. We are an internal Creative agency, supporting the whole business – both the platform and the network of channels, providing creative design solutions on-air, off-air and for convergent media.

The in house visual effects team provides creative effects to other areas within Sky Creative and to all business areas including Network Channels, Sports, Marketing, Sponsorship, Promotions and Corporate.

to join us.

As a Senior Lighting / Rendering Specialist, you will focus on developing workflow and rendering solutions for all animation through the visual effects department. You will be involved in many projects at any one time, and so will be proficient in Autodesk Softimage, Mental Ray, and/or RenderMan. Taking part and being on hand in shoots will also fall into your remit.

You will have a high level of ability in 3D lighting and rendering, from simple graphic looks through to fully photo-real simulation. You must have strong experience in self-management and project management within a 3D environment, and will have led small teams of 3D artists whilst developing a track record in being able to support other team members through changes both creatively and technically.

As Sky begins to embrace new, innovative technologies, you will be involved in the development and implementation of Stereoscopic 3DTV visual effects workflow.

You will supervise individual projects and assist in planning staffing and workflow on these projects for both 3D and 2D. Duties will include – project setup, time and resource planning, technical and creative direction, problem solving at a strategic and local level and day-to-day supervision.

Along the way, developing collaborative relationships with Designers, Directors, Creative Directors and all internal departments to ensure visual effects workflow is efficient and produces the level of work expected.

To build your profile and apply for this role, please visit www.workforky.com and complete an on line application form.

Sky – Believe in Better

Please note that candidates invited to interviews will be required to bring a showreel demonstrating their work.