Where am I going wrong?
I was led to believe that once I found the radial lens distortion, it would then be the same for all of my shots as I’ve used the same camera.
Responsibilities:
Create photorealistic environments for feature film projects using 3D and 2D tools and techniques
Interface with production efficiently, and participate in the success of the company on a daily basis
Requirements:
Minimum of 4 years of professional experience in visual effects
Superior 2d digital painting, 2d compositing, and 3d modeling, texturing, lighting, and rendering abilities
Advanced knowledge of Photoshop, Nuke, a high-end 3d application, and other 2d and 3d computer graphics tools
Bachelors degree in industrial design, architecture, graphic design, or similar art & design discipline
Strong traditional art and photography skills
Ability to work in a self-directed manner, and in a collaborative team environment
Self-starter with excellent written and verbal communication skills
Softimage knowledge is a plus
The aptitude to participate in all aspects of creating final shots
To Apply:
Send email to ro@whiskytree.com that contains the following:
Subject line matte painter submission – your name"
A signed and scanned Whiskytree Inc Content Submission Agreement – www.whiskytree.com/static/files/WTCSA.pdf
Your resume and cover letter
A link to your website or portfolio
Or
Send postal mail that contains the following:
A printed and signed Whiskytree Inc Content Submission Agreement – www.whiskytree.com/static/files/WTCSA.pdf
A good old-fashioned paper resume with cover letter
Demo reel
Attention:
Recruitment Offices
Whiskytree Inc
914 Mission AVE, 3rd Floor
San Rafael, CA 94901
No phone calls please
You also need to be able to prove ability in compositing 3d and live action using either Shake, Nuke or AfterEffects. All levels needed from 3 years experience plus. ( not recent graduates ). All round ability for small studio where you will model, animate, light and render your own work.
London based applicants only please, all work will be on site.
http://www.smoothdevil.com/index.php…ob&job_id=1322
closes: 4 Feb 2011
We are currently looking for an ATD for a project position.
Responsibilities:
Provide technical support for the studios artists and technicians
Assist with tasks including lighting, rigging, simulation (fluid, smoke, cloth, dynamics), camera setup/tracking/animation, render optimization, and jack-of-all trades computer graphics work
Build and maintain VFX toolsets including Softimage, Maya, Nuke, and a wide range of utility applications
Participate in the success of the company on a daily basis
Requirements:
A year or two of professional experience in visual effects
Some knowledge of and experience in Softimage, Python, Mental Ray, Nuke, and Photoshop
Bachelors degree in computer science, industrial design, architecture, or similar discipline
Strong traditional art and photography skills
Ability to work in a self-directed manner, and in a collaborative team environment
Excellent written and verbal communication skills
Capable of taking initiative to produce independent solutions to technical and artistic challenges
Familiarity with shader writing, C++, MEL, objective C, and web development is a plus
The aptitude to participate in all aspects of creating final shots
Enthusiastic and highly motivated
To Apply:
Send email to ro@whiskytree.com that contains the following:
Subject line ATD submission – your name"
A signed and scanned Content Submission Agreement –
www.whiskytree.com/static/files/WTCSA.pdf
Your resume and cover letter
A link to your website
Or
Send postal mail that contains the following:
A printed and signed Content Submission Agreement
www.whiskytree.com/static/files/WTCSA.pdf
A good old-fashioned paper resume with cover letter
Demo reel
Attention:
Recruitment Offices
Whiskytree Inc
914 Mission AVE, 3rd Floor
San Rafael, CA 94901
No phone calls please
Editor: The following post is a guest entry from JaegerSloan Inc., a new venture headed up by Doug Jaeger and Kristin Sloan.
For our first contribution to Motionographer we thought it might be interesting to reveal the driving forces behind an exciting new piece of work, while focusing on some of the more contextual details about the experience. Today we’re taking a look at the bold and controversial Comedy Central 2011 logo redesign by thelab, to understand some of the challenges and successes and meet some of the people behind the work.
We sat down with thelab partners Alicia Johnson and Hal Wolverton, the team who met in the 80’s to eventually form Johnson & Wolverton and who later worked at EuroRCG as global ECD’s. Our impression of thelab from our 2 hour immersion into their space, work, and team, is that it is a spirited skunk works, with teams of classically trained designers backed by technical skills and curiosity.
In our interview we discovered that the Comedy Central logo was not the result of a logo redesign assignment, but an invitation to solve some of Comedy Central’s core business challenges. In Alicia’s description of the brief, “They had a solid reputation with great shows, but the shows were not being attributed to the network and they were not getting as many young viewers as they wanted.”
Alicia and Hal were a bit giddy the entire interview. It seemed as though we were all laughing the entire time, which is what you would hope when discussing a brand like Comedy Central. They started the conversation by presenting their initial pitch, which was a hundred or so slide keynote presentation contextualizing how thelab approaches problems and how they would approach this one.
The most interesting part of this project is how they got to the solution. Alicia explained, “Comedy itself is super social . . . they were not behaving socially, they were a tv station that just talked to you, one person at a time. The old paradigms of viewing times, etc, are not how consumers interact today.” In a way they were able to look back in a media neutral way and make the decision. “We should start with digital, start with the digital presence and build around that.”
So the team at the Lab invented a branding device that they felt could live in any medium. Alicia explained “the idea of this packet” which would shorten the distance between the viewer and the channel by delivering a packet to the audience through digital media, leveraging social functionality to connect the right comedy to the right audience. The goal, Alicia said, is for the packet to “behave as an object that you could share, and the object would retain branding while being screen agnostic”. This lead to a discussion on how Comedy Central could become more visible outside of the television screen: on the street, in advertising, online, on mobile platforms, tablets and smart phones. Hal cited one of the biggest challenges, “How do we get our identity to travel along with these clips that end up on YouTube?”
The solution kept restating itself. As Alicia explained “Being screen agnostic was something that just we kept going back to them on.” thelab’s solution included pages of web, tablet and mobile design comps with new navigation models demonstrating how a viewer might find the packets of content they’re looking for and what was trending, tagged or even popular amongst friends. As this structure became clear, they needed a way for viewers to identify them.
In their pitch, thelab created the comedy mark as a branding device. The C is derived from a slide carousel of “packets” viewed from above, not unlike the Kodak Carousel Projector. This C becomes the playful center of a 3d explosion of screen caps and colors in a muted palette with elegant typography. When the action rests, the flat gothic round c, is met with a second C at the same line weight to form an incomplete circle, resulting in a c surrounded by a larger backward C. In its final representation, the mark looks not unlike the © symbol with a chunk cut out of the left side. The new symbol works in a similar spirit, effectively attributing and tagging every content packet as Comedy Central’s wherever it appears.
In the reel demonstrating the new mark, the system flexes to mark each comedic moment with the same assertiveness as a dart hitting a dart board to the upper right of each of the stations notable entertainers TOSH.0, John Stewart, and Steven Colbert as they complete each truncated humor nugget.
From the creative:
“We Should Explain, Our logo has changed. No longer do you see the big buildings and globe, that quite literally said, COMEDY CENTRAL on top of it. Please welcome the new mark. We affectionately call it the COMEDY MARK. It works WAY F*CKING better than that other one we had. Big building-y globe, you served us well, but we moved on.
Thanks, Comedy Central”
While some may find this mark to be too serious, boring, or too similar to other symbols, as it acts and behaves on every beautiful back-lit screen, it shows its unique personality. As it animates, it pukes, spins, and explodes with energy. It is frenetic. When it presents its full name-with the word central upside down and backwards-it tips its hat to slapstick heroes.
When we asked them what they wanted the takeaway of the work to be, Hal stated “The desired takeaway is that Comedy Central is not a television station, it’s a brand that connects me with comedy in all media. It surrounds me.” From Alicia, “It’s as easy for me to enjoy it as it is to share it, because I think you’ll dig it.”
—
Interview date: 12.14.2010
Interview by: Doug Jaeger/Kristin Sloan
Video by: JaegerSloan, Inc.
We are currently looking for a Technical Director for a project position.
Responsibilities:
Create visual effects for feature film and other projects with a balance of technical knowhow, artistic sensibility, and advanced problem-solving skills
Responsible for lighting, rigging, simulation (fluid, smoke, cloth, dynamics), camera setup/tracking/animation, render optimization, and jack-of-all trades computer graphics work
Build and maintain VFX toolsets including Softimage, Maya, Nuke, and a wide range of utility applications
Participate in the success of the company on a daily basis
Requirements:
Minimum of 4 years of professional experience in visual effects
Proven knowledge of and experience in Softimage, Python, and Mental Ray
Some experience in Nuke and Photoshop
Bachelors degree in computer science, industrial design, architecture, or similar discipline
Strong traditional art and photography skills
Ability to work in a self-directed manner, and in a collaborative team environment
Excellent written and verbal communication skills
Capable of taking initiative to produce independent solutions to technical and artistic challenges
Experience in shader writing, C++, MEL, objective C, and web development is a plus
The aptitude to participate in all aspects of creating final shots
To Apply:
Send email to ro@whiskytree.com that contains the following:
Subject line TD submission – your name"
A signed and scanned Whiskytree Inc Content Submission Agreement – www.whiskytree.com/static/files/WTCSA.pdf
Your resume and cover letter
A link to your website
Or
Send postal mail that contains the following:
A printed and signed Whiskytree Inc Content Submission Agreement
www.whiskytree.com/static/files/WTCSA.pdf
A good old-fashioned paper resume with cover letter
Demo reel
Attention:
Recruitment Offices
Whiskytree Inc
914 Mission AVE, 3rd Floor
San Rafael, CA 94901
No phone calls please
Submit by visiting our website at:
www.NewportBeachFilmFestival.com
*Receive a discount when you submit through Withoutabox!
The Newport Beach Film Festival runs April 28- May 5, 2011
San Francisco’s multi-disciplinary powerhouse, Mekanism, brings us a theatrical, stop-motion interpretation of ‘Machete’ as seen through the eyes of Danny Trejo.
Working directly with their client, Pepsi/Brisk, the folks at Mekanism banged out a clever script that condenses the entire film into one minute. It’s then met with equally engaging visuals and transitions that keep perfect pace with Danny’s punchy and digressive spoken performance.
Then he washes his hands…
PRODUCTION COMPANY: Executive Creative Director/Director
Ian Kovalik Executive Producer Jason Harris Producer Jon Derovan
Head of Production Mat Lundberg Producer Sasha Korellis Production
Coordinator Susan Ali Director of Client Strategy Michael Zlatoper
Intergrated Producer Bud Johnston Director Of Content Production
Tim Rayel Creative Director/Writer Andre Ricciardri Art Director
Dieter Wiechmann ANIMATION DEPARTMENT Animation Director Misha
Klein Animator Richard Zimmerman Animator Amy Adamy Animator Scott
Kravitz Animator Justin Kohn Animator Webster Colcord Asst.
Animator Matt Manning Design Director Emmett Feldman Storyboard
Artist Shepherd Hendrix CAMERA/LIGHTING DEPARTMENT Director of
Photography Peter Williams SET DESIGN Production Designer Fon Davis
Art Director Pierre Maurer POST PRODUCTION Visual Effects
Supervisor Colin Miller Creative Editor Michael Tuomey CG Modeler
Seryong Kim Online Editor/Spy Post Darren Orr Lead Nuke Artist Ben
Hawkins Nuke Artist Jason Arrieta Nuke Artist Daphne
Apellanes-Ackerson Nuke Artist Fabian Elmers Nuke Artist Jun Kim
CLIENT Sr. Director Pepsi Lipton Partnership Brand Marketing
Marisol Tamaro Director Pepsi Lipton Partnership Brand Marketing
Eric Fuller Brand Manager Pepsi Lipton Partnership Jamal
Henderson
As part of the pre-production process for the ghost project shoot at Lost Boys Learning, Ria Ambrose (Lost Boys’ Production Manager and owner of Colour FX Specialty Make-up) offered the students a one day Gelatin Wound Making Workshop.
The workshop was a new addition to the curriculum to inspire the students in conceptualizing the visuals for their ghost projects. During the day, the students were instructed on how to cast, apply and paint gelatin wounds. Ria also demonstrated some simplified techniques to create old age and zombie skin. The model that was used during the demonstration was also filmed over greenscreen to be later composited into one of the ghost projects (see final image below).
Ria Ambrose – Colour FX
"I so enjoyed seeing the enthusiasum of all the students once they began to apply the wounds on each other. It is amazing what a little fake blood can do to a room full of guys."
Marcelo Bassoli – Student
"The best thing about the Gelatin Make-up Workshop was that I could make things that I didn’t imagine that I could do. It was the first time that I made done anything like this this and I liked the results. It is always challenging when you have to try something for the first time. I was afraid to do something wrong or not finish it properly, but it wasn’t a problem. The workshop exceeded my expectations and I really enjoyed participating in it."
Kishor Joshi – Student
"When I started observing movies I had always wondered, how do they make wounds and blood? It makes me curious when they show a swollen/wounded eye in films, I know it’s make-up but how do they do it ? After attending this workshop, I at least know how they start, so for me and this was the best part of workshop.
As a visual effects artist this workshop should help me to get the basics right. While working on a ‘slit throat’ my focus was to blend it with (fellow student) Jason’s skin tone and to show fresh blood dripping. It was not the best looking but I think I was happy with my first attempt.
To sum up I thoroughly enjoyed the workshop. It was quite educational. One day I would like to do a swollen eye make-up. Let there be blood!"
Carlos Guzman – Student
"For me it was really interesting because I have never done makeup before. I think the class was awesome, but so fast, I would like to do more, maybe two or three more classes. I think we need more practice and would like to learn more about the techniques."
Lost Boys Learning: School of Visual Effects is an Accredited school offering training in VFX Production including pre-production, 3D for VFX and Compositing. For more information please visit our website at www.lostboys-learning.com or join us on Facebook www.facebook.com/lostboyslearning.
is it possible to create a glass Shader within Nuke? I want to create scene where a lot of glasses are visible and I don’t want to put them in at the set, because that would a bit complicated. It would be helpful to render the glasses out of Nuke because I don’t want go back to Maya and do a rerender all the time if something doesn’t look right. I’d bring the glass geometry I created in Maya through a Read Geo Node and apply the Shader and do everything out of Nuke.
Thanks!
Best, Michael
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
