Superflow Script

This script creates a parent-child hierarchy with any selection of objects, and automatically changes the pivot point to the first…div class=”feedflare”
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VFX TD

Hi all, I’m a fx technical director.
I’m looking for a job globally, both freelance and fulltime are good.
My demoreel is here:

http://vimeo.com/12796835

Work Experience

1.GDC China,Effects Artist/Effects TD,2009.
– Winx Club II (Feature film)
2.Fontelysee Film Co., FX Artist, 2010
– Empire of the Deep (Feature Film)

And some freelance works including commercials and TV docs.

Please contact me with: ovspianist@gmail.com

===Summary of Skills:===
*Have experience with creating 3D computer-generated visual effect in animation production environment. Also some experience with live-action camera tracking, rendering and compositing.
*A year experience of writing mel script. A few years’ experience with Maya.
*Good communication skill with English and Chinese in an team atmosphere.
*Experience with Mel, Python. And some experience with Houdini.
*Quite a lot of experience with compositing tools such as Nuke, Shake, AE, Combustion.
*Maya Skills: Advanced particle/rigid body/fluid simulation, problem solving techniques for wire/soft body/cloth simulation. Mel scripting, debugging, optimizing current workflow.
*Other Skills: Max and Fumefx, Renderers within Maya, such as Mentalray or Renderman. Realflow. Traditional art like drawing and painting, simple designing.

===Self Descriptions:===
Have a keen heart on both art and science, it makes me consider both sides in production for better results.
Able to think clearly on the whole pipeline and foresee potential problems.
Able to work from ground up with flexibility to deal with for quick changes and turnarounds.
Highly self-motive and loving to bring up new ideas and unique techniques.
Know the importance to respect other’s work.
Love mentoring other artists and creating friendly environment.
Always love to take new challenges and learn new things.
Keep an eye on new technology and try to mix them in the production pipeline.
A decision is made that I will do my best to work for VISUAL EFFECTS someday in the future, ever since I’ve watched the Jurassic Park!

How to shoot a light probe for a moving scene

Hi,

I was wondering how to shoot a light probe in a scene with a moving camera. For example a camera mounted on a car. Let’s say it drives 500 meters. I assume I have to take a hdri shot every 100 meter. But how will I blend these different .hdri’s in my 3d package?

I hope someone could help me with this.

Thanks!
Maarten

Fine Tuning

Hello All,

I had posted a keying issue last week using IBK keyer, I revised my comp using IBK keyer and Primatte and I still need to know how to get the whispies of her hair more refined. I attached my nuke script, if anyone has any ideas it would be much appreciated.

Thanking all in advance,

cheers,
rdamani

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color grading Advice…TV vs Monitors

Hi all,
Ok, I read enough books & understand enough to go out and start a color grading lecture class. I understand all about black levels, luma levels, legal levels, etc, etc..

I also understand that if you watch the same movie on 10 different TVs, you might see 10 different pictures. I get that.

I get that a good calibrated monitor is a LARGE part of color grading.

But what I don’t get, and I never will, is this:

Why when I change the presets on my TV, (sports, multimedia, movie, ) I get very subtle differences on the movie that i’m watching.
But when I go thru the presets on a movie that I color graded, the difference between "Moive or Sports" can be the differences between FANTASIC or CRAPPY.

There seems to be a Large jump between presets, but again, not a big difference when watch a TV show.

Can anybody explain why this would happen?
Is my tonal range too narrow?, too wide?

I am in a total loss for words, :scorching
Thanks,
Lou

Stereoscopic/DispGeo Problem

When i view the left in 3d eye my card is displaced properly. How ever when i view the right eye it is still a flat image in 3d space. I have checked and rechecked my work and Im not sure what im doing wrong.

Sang Han: Elixir818 updates

Saint Louis based Interactive Creative Director and Designer Sang Han, aka Elixir818 recently updated his cargocollective site with great new projects.

CIS Vancouver is looking for experienced NUKE COMPOSITORS

CIS Vancouver is currently seeking strong Nuke Compositors for work on upcoming feature film projects.

Senior compositors must have 7+ years experience in visual effects compositing for feature films.

Intermediate level compositors must have 3+ years of experience, or have an amazing demo reel.

Please e-mail your CV, demo reel link, and availability to: recruiting@cis-vancouver.com with the subject line "Compositor" along with your name ("Compositor – Joe Smith").

We thank all candidates in advance for applying but only those selected will be contacted for an interview.

CIS Vancouver is looking for a COMPOSITING SUPERVISOR

CIS Vancouver is actively seeking a Compositing Supervisor to work on upcoming feature film projects.

The Compositing Supervisor is responsible for the management of the compositing team and the quality of the compositing work and overview of the colour continuity on a given show. Working closely with the VFX Supervisor, Digital Colourists, CG Supervisor and the VFX Producer, the Compositing Supervisor communicates and delegates the compositing needs of the show to the team as well as represents the voice of the compositing crew in respect to workload and pipeline environment. The Compositing Supervisor manages both hands-on operation of a workstation as well as administration duties including mentoring artists, monitoring shot progress, monitor show resource usage.

The Compositing Supervisor reviews and reports artist progress to the Head of 2D, with constructive criticism in mind. In addition, the Compositing Supervisor serves as a key front-line representative of the company and frequently deals directly with clients. This direct client interaction requires a highly professional demeanour and diplomacy.

Duties include:

  • Ensure that the quality of the work from the compositing team is of the highest of standards
  • Ensure proper work flow methodology for all artists – mentor the compositing team
  • Develop workflow and pipeline strategies, processes, methodologies, etc.
  • Provide ongoing information and feedback to the Head of 2D regarding issues in the Compositing department
  • Composite with Shake and/or Nuke
  • Work closely with the CG team to ensure proper flow and execution of CG elements for compositing

Competencies:

  • Possess extremely strong technical and leadership capabilities
  • Solid experience in leading and training teams of compositors
  • Excellent artistic skills
  • Demonstrate the ability to communicate creative and technical thoughts and ideas

Qualifications:

  • Expert knowledge of Nuke
  • High level feature film experience in live action films
  • Strong understanding of color correction, blue & green screen, roto, mattes and tracking technologies
  • Guru-level experience in Compositing

This is a full-time contract position requiring periodic overtime, starting in late October/November.

Please e-mail recruiting@cis-vancouver.com with your resumé, demo reel with breakdowns, and upcoming availability, with subject line "Compositing Supervisor" with your name, as in: "Compositing Supervisor – Joe Smith".


We thank all candidates in advance for applying but only those selected will be contacted for an interview.

Introductions from a newcomer

Good afternoon everyone. I have been a lurker here and at CGTalk for a while mainly because I am a little shy when stepping into a pool of such talented people. I guess it is about time to get the courage up to introduce myself.

My name is Brett Dawson but I have gone by Buzz for almost twenty years. My background is about as varied as it gets but I will just touch on the major points.

I am a former NASA engineer (hence the forum name) that worked on the Checkout and Launch Control Systems project for the Space Shuttle at Kennedy Space Center. While there I became interested in robotics and competed regularly on the television series Battlebots. That led to my own television show called Robot Rivals on the Do It Yourself Network for a couple of years.

After our CLCS project was cancelled due to 9/11 I taught robotics at the University of Central Florida as a summer program where I would teach students math and physics through applied robotics. I also taught teachers how to integrate robotics into their own classroom curriculum.

After that I began working at the Orlando Science Center as the Exhibits Developer where I took complex science concepts and design and build hands-on exhibits to teach them to the general public. While there I was one of the founders of Otronicon (www.otronicon.org) and was its creative director for five years.

There was one problem with all of this though. I don’t have a degree. I am a self-taught engineer and as a result of not having a degree I was routinely paid half of what I was worth (i.e. underemployed). So, I decided to go back to school to get said degree and forego over a decade of mechanical engineering to get back to my roots as an artist.

I am a student at Full Sail University and have decided to focus on VFX because, in all honesty, I found it to be the most challenging and I have always tackled to the most difficult things that I can to make myself a more well rounded person.

I found that within the field of Visual Effects I can put my experience in math and physics to use with the eye of an animator to create some of the cool effects that I have loved in the movies and more. Now it is just a matter of learning how to do it within the confines of Maya and Houdini :-p

And that brings me here. I have followed closely people like David Schoneveld, Wayne Hollingsworth, Peter Shipkov, Duncan from The Area, and others in an effort to soak up as much information as I can. I hope to not only be able to ask a lot of questions and get great feedback to eventually give back with some of the knowledge that I have gained.

Here are some links to my personal stuff (a personal site devoted to my CG works is in the, um, works):

www.TeamDaVinci.com (my robotics and more website)

http://vimeo.com/buzznasa (my Vimeo page with a few hours of things ranging from school work to parts of episodes of my television show)

http://buzznasa.deviantart.com/ (my Deviant Art with recent stuff and stuff almost thirty years old)