Commercial experience is a huge plus.
Please send work and rate.
If you have a knack for producing documentaries or short videos, this is perfect for you! Students and alums would also be perfect candidates, as the NCAA would love added school spirit and representation. But even if you’re just a sports fan with a low-tech camera, take part anyway! Any and everyone is welcome!
Theyre looking for videos depicting the story of a former NCAA athlete (of any sport). It’s a great opportunity for anyone whos looking to get their name out there, build their resume/portfolio, want to interact with former NCAA athletes, or make some extra money (maybe to support their own films or projects?).
For more details on the project, the brief and awards can be found via the link below. To submit a video, join Zooppa and add Buick-NCAA to your portfolio/reel.
http://zooppa.com/contests/buick-hum…etition#/brief
Zooppa members have earned more than $1 million worldwide to date for their work. Skeptical? Go to the website and youll find plenty of people who have been awarded money, merchandise, and other prizes for their work on Zooppa.
We are looking for a 3D animation Generalist. The ideal candidate would need to be able to handle the right balance between the responsibility for communicating and capturing ideas and also have the right technical skill sets.
Required Skills
* 3D modeling
* Texturing
* Animation
* Lighting
* Light to Medium Rendering
* 2D graphics design
* Simple shot editing and movie output
* Ability to design animated visuals from scratch to illustrate medium to complex concepts
* Storyboarding your own ideas very helpful
Experience with the following software is nice to have: Frame Forge
and or 3D Studio Max and or Maya
Qualifications
Salary will be commensurate with experience. The Company offers Medical, HSA, Dental, Vision, Long Term Disability and 401(k) plans.
To submit your resume for consideration, please apply at Top of Form
http://jobsco.re/gHpQml
Currently, I’ve attached a ‘LensDistortion’ node to the footage, used the ‘Line Analysis’ section to draw some vertices in, and analysed the shot. This seems to have done an awesome job straight off.
So, the next step was to roto out the moving people in the scene before tracking (it’s a busy London shot so this took awhile).
It’s only at this point that I’ve now attached the ‘CameraTracker’ node and started the tracking process, after which I’ve hooked up a ‘PointCloudGenerator’ node.
The resulting point cloud is massively disappointing though! Absolutely tiny, with little detail, and arguably less useful than the standard CameraTrackerPointCloud :confused:
So now I’m wondering if I’ve gone about this the wrong way?
I saw a tutorial on The Foundry’s site where they branched the ‘LensDistortion’ node off separately from the footage, then hooked up the ‘CameraTracker’ node directly to the clip itself, and just dragged and dropped the analysed distortion properties from the ‘LensDistortion’ node to the lens distortion section of the ‘CameraTracker’ node. They never actually included the ‘LensDistortion’ node in the CameraTracker tree like I have.
But on the other hand, they didn’t do any roto. And I wonder, if I did it this way, would I have to roto from scratch on the original/distorted plate? Or could I somehow use the undistorted roto?
I’m really hoping I can somehow make use of the original roto node because I’ve spent a couple of evenings rotoing everything using the undistorted image now.
I really hope all this makes sense. Lol. Apologies for the HUGE post!
It’s just that I’m wondering whether I’m actually doing this right or not?
Thanks in advance.
Chaz
Job Duties and Responsibilities:
Job Requirements:
Reels/Resumes can be sent to: method-la-recruiting@methodstudios.com
I’m at university at the moment conducting research to identify the way social media is used by you VFX employees, and the impact it has on the industry, from a practitioner’s point of view, and a business point of view.
Here’s the link for both practitioners and businesses, and it would be greatly appreciated and would help me a lot if you industry pros could take the time to complete it!
Questionnaire for Practitioners
Let me know if you have any questions, cheers!
Happy F5 April 15 – 16 2011 by Hi-Sim from F5 on Vimeo.
If you’ve been patiently awaiting this post, thank you.
To clue you in on the behind-the-scenes since November, we’ve been working NON-STOP to reach out and secure the speakers who you’ve all wanted to see. There have been hundreds of recommendations – tons of outreach emails – and so many wonderful responses from artists who see F5 as the gateway to new playgrounds of creativity. This curation would’ve made for a great reality show, but we lack the tans and vocal chops to secure future syndication.
Our final group of speakers for Happy F5:
Closing the show on Friday night, PressPausePlay will introduce something new to the festival’s history: a screening of a yet-to-be-released film and discussion with the filmmakers. It’s a powerful work on the future of our collective artistry in the face of a democratized culture. And a thoughtful opportunity to reassess the positives and negatives behind technological innovation.
To recap and refresh the full line-up of Happy F5:
The RE:PLAY film festival brings together a number of the best studios and independent directors out there to create short films on the simple topic of happiness.
And, as the icing on the cake, the RE:VISION gallery space will showcase the work of emerging and world-renowned artists and designers.
We’d be remiss to not point out the final piece to Happy F5 in 2011. Each morning before the festival begins, the first ever Motion Design Roundtable will convene to begin crafting a Code of Standards for the motion design industry. We’ve invited representatives from the different parts of our industry to the forum for two hours each morning. F5 is the perfect occasion for this gathering of minds, and we’re confident that the work the Motion Design Roundtable undertakes will help shape the industry for the better. All results will be posted on Motionographer for feedback from the industry-at-large. Wish them luck!
Whew. Inspiration, discussion, balloons, games, drinks…this year’s event has it all. Check out the speakers page for a schedule of all speaker sessions.
And, since some of your bosses are still breathing down your neck to hit that Friday deadline – we’re now offering one-day only tickets for Saturday, April 16th. Check the tickets page for more info.
//Hat tip to Hi-Sim for graciously allowing us to use their beautiful RE:PLAY short above! See it both days at F5//
Requirements:
Understanding of color, contrast and lighting design
Solid working knowledge of a node-based compositing system (i.e. Fusion) required
Strong problem solving skills and a good eye for color required
Performing tasks such as matte extraction, color correction, paint fixes, and assembly of 3D elements
Strong communication skills required
Candidate must be able to work within a team environment, taking direction and exercising attention to detail
An interest in Photorealism is essential
Knowledge of 3ds Max and Vray and definite advantage.
Please email your CV, show reel / examples of work and full contact details to: recruitment@taylorjames.com
Please note that candidates must be eligible to work in the UK. Unfortunately, we are unable to offer work-permission sponsorship.
Responsibilities to include:
Idea visualisation through concept art and design development.
Pre-production development for pitch work and treatments (research, style dev, collating reference material, building moodboards)
Visualising scripts into storyboard formats to clearly show the key narrative of a story
Basic editing of storyboards into 2d animatics
Concept art for character design that clearly illustrate actions, expressions, emotions working to directors vision.
Concept art for Landscape and environment design.
Create impressive 2D or 3D artwork for projects in bidding, development and in production phases.
Working on multiple jobs at any given time.
Requirements:
Must have excellent 2D skills and traditional art knowledge.
An excellent understanding of anatomy, character design, colour theory, perspective, lighting, and composition.
Modelling, shader-creation, lighting, rendering skills
Expert knowledge of 3D Max, Zbrush, Photoshop
Good knowledge of Vray, would be an advantage
Experience in a node based compositing package (Digital Fusion, Shake)
An eye for fine detail and realism
Able to develop visual ideas for any type of creative project
This is not for the faint hearted, so if you are hard working, and want to step into a busy, creative and challenging work environment with good long term prospects, then this is the role for you!
Please email your CV, show reel / examples of work and full contact details to: recruitment@taylorjames.com
Please note that candidates must be eligible to work in the UK. Unfortunately, we are unable to offer work-permission sponsorship.
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.
