I built geometry based on an Image in Maya and transferred the geometry and the camera I used for reference in maya via FBX into Nuke. I use Maya 2011 for this. Everything worked fine in the past with version 2009. But now the camera data seems to get imported wrong as the projection setup looks very funny. The geometry comes in fine but the camera data is completely wrong. Is there anything to know with that workflow in Maya 2011?
Thanks!
Best, Michael
DMPs can be created from scratch or sampled from photos, scanned reference or any other artwork necessary to create new objects or to match the surfaces of existing live action. A strong understanding and sympathy for real world materials and lighting is essential and must be demonstrated in the work on your reel. DMP artists may work closely with the compositors, modelling, look-dev and lighting artists and therefore must have a basic knowledge of the practices of each discipline.
A Senior Digital Matte Painter works under the guidance and direction of the project Lead, Head of Department and the show Supervisors.
Duties and Responsibilities:
Proficiency in creating photo-realistic DMPs.
Assisting and developing the look of a shot or sequence with the supervision team.
Work alongside the production team to establish schedules and technical requirements.
Works in partnership with look-dev artists, lighters and compositors to ensure that the shots are delivered to the very highest standard.
Design and construct Maya and Nuke environment scenes to develop and animate the 3D digital matte paintings, according with the visual and technical standards defined with the Environment Lead.
Check and release the renders, or the Nuke scripts for the comp department to gather.
Regularly release dailies so that progress on a shot can be assessed.
Attend dailies sessions and obtain feedback from supervisors.
Report any day-to-day problems or concerns to the lead Environment TD on the show and any software issues to the appropriate support list.
Work with the Environment HOD to improve the feature set and stability of our tool set.
Improve his or her knowledge and understanding of MPC’s Environment tool set and pipeline.
Needs to be proactive and fairly autonomous.
Act as a mentor to Junior and Mid-Level DMP artists in the department, aiding them in developing their creative and technical abilities and knowledge.
Adequately document Environment practical methods, and ensure that documentation is available centrally for use by the 3D DMP Department as a whole.
Experience, Skills and Abilities Required at Minimum:
A Senior DMP should have at least five years experience in creating matte paintings for commercials, TV or feature films.
Proficiency with Adobe Photoshop.
Knowledge of traditional art skills and techniques: composition, colour, lighting; drawing, painting, photography.
Basic understanding of Renderman compliant renders and LINUX.
Deep understanding of UV texturing and camera mapping techniques.
Autodesk Maya: Basic knowledge of hard surface modelling and general software interface.
Good knowledge of The Foundry Nuke (or any other node based compositing software).
Capacity to work collaboratively with other Matte Painters, Technical Directors and Compositors.
Excellent learning and communication skills.
Strong organizational and follow through skills with the ability to handle complex projects within a fast paced, dynamic, deadline driven environment, according to leads and supervisors expectations.
Creative problem solving.
Proactive and open to comments and critics approach.
Proficiency with Eon Vue, Autodesk Mudbox or Pixologic Zbrush is a plus.
Mel or Python scripting is a plus.
Please Apply online:
http://www.moving-picture.com/index….cruitment.html
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:
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.
http://www.moving-picture.com/index….cruitment.html
That means The Chronicles of Narnia: The Voyage of the Dawn Treader, Clash of the Titans, The Last Airbender, Percy Jackson & the Olympians: The Lightning Thief, Prince of Persia: The Sands of Time, Shutter Island, The Sorcerers Apprentice, and Unstoppable are now officially out of the competition.
In this tutorial you will read about the workflow of shading & lighting for animation projects in a studio, for all 3d software’s
Naiad is a dynamics solver and a simulation framework capable of producing animations of dynamic bodies and used in various films
As nirokugraphic, I am an independent graphic / broadcast designer and visual effects artist and have been working in this capacity since 2003 .
Corporate motiongraphic work for: Alliance + Leicester / Cadbury / FedEX / Jaguar / Michelin / Volvo
Visual effects work for: Framestore (Clash of the Titans, Salt) / CCP Games (EVE Online)
Proficient in the following software: Apple Shake / Adobe After Effects / Autodesk Composite (Toxik) / Autodesk 3dsmax / Adobe Photoshop / Adobe Illustrator / Apple Final Cut Pro / mental images Mental Ray / Genarts Sapphire
Examples of my work may be found at www.everythingwasnothing.com
Thank you for your time .
Michael
Am using Nuke 6.1 with pluing Ocula 2.1. I am trying to get the roto to be generated from my right footage to the left footage. Following error is found
1) First of all, when we right-click on the Bezier and select "Correlate" the "Use Ocula?" check out is dim, i.e., couldnt able to ‘check it’ this option
2) When correlate option is executed, it just executes for that particular frame. Meaning, the roto is generated and shifted using the Disparity vectors only for that particular frame. But for the next consecutive frames the roto continues to animate but it snaps back to the original values. Does it mean that for every frame we need to execute Correlate separately again and again.
-Prashanth
They are trying to render out multichannel exr’s from Mental Ray (With Zip compression),
Including basic passes; beauty, spec, AO, reflection, refraction… etc
And Custom passes; Point position pass, UV, Normals… etc
And they’re trying to do this in 2 Exr multichannel files (One left and One right – for stereo)
Now the renders themselves work, and the filenames come out right.
But the names of the passes themselves (The channelnames) either have the words left and right (Respectively) imbedded in the channelname.
Or, even worse… the channelname changes from frame to frame (Or shot to shot)
We’re trying to get a consistency between renders (Channelnames don’t change on any of the Exr’s)
Preferably, the channelnames would be the same in the file X_Left.0001exr as in the file X_Right.0001.exr.
Or if anyone knows how to imbed two camera views in one multichannel exr… that’d be great too.
If anyone could offer any help or insight, that’d be great… thanks
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