If think you fit the bill please reply to jobs(at)atomicarts.net with the subject line "Nuke", your daily rate (whatever currency) and links to your work.
Thank you,
If think you fit the bill please reply to jobs(at)atomicarts.net with the subject line "Nuke", your daily rate (whatever currency) and links to your work.
Thank you,
Pierre Magnol, aka BrightPhoton, concepted, directed, animated, shot and composited these titles for the Jason Arber directed short film Magnesium Project.
Artist SIT has been part of the Amsterdam creative scene for many years. Doing action painting, graphic design, advertising and more until he got fed up. He went back to square one to find his true essence. Back to head and handcraft. SIT will be debuting in the U.S with an exhibition at C.A.V.E […]
thanx
London based Realise Studio is looking for two Houdini artists available immediately.
Applicants should posses the following skillset:
– Strong knowledge of Houdini
– Knowledge of : rigid body and particle dynamics, volume modeling and rendering, procedural geometry generation and fluid dynamics
– Strong knowledge of lighting/shading/texturing
– Proven problem solving abilities
– Good communication skills
How to Apply
Please send your CV, reel, breakdowns and references to dominic@realisestudio.com
I am using PF Match It, which as far as I am concerned has the capability of tracking multiple cameras, however I am not getting the desired results.
I bring every single shot into my tree view, and an autotrack node to each one indiviually, track it, and then connect every single autotrack node into a user track node, where i set up a couple (3 to be specific – I wish i could use more, but in 23 cameras moving around can be hard to find many features in common) of common features, then add a camera solver node, connecting the 23 upouts, however some of my cameras don’t work at all….
Has anyone ever done this? Am I doing it correctly?
Any help would be greatly appreciated!
Thanks
De-compiling the VFX of Source Code
For Source Code, director Duncan Jones looked to visual effects supervisor Louis Morin to help realize 850 shots of trains, explosions, virtual transitions and other crucial sequences in the film. fxguide looks at some of the key effects work from Modus FX, MPC, Rodeo FX, Oblique FX and Fly Studio.