Hasta La Motion!

Position Summary:
With an emphasis on the aesthetics and techniques of photo-realistic image creation, the DMP artist will be responsible for painting photo real environments, elements and textures for matching into live action plates or to stand on their own as DMP plates.
These Digital Matte Painting’s may also be used in a 3D environment and may be mapped onto 3D objects. These will eventually be rendered through a variety of off the shelf and proprietary renderers.

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.

apply online@

http://www.moving-picture.com/index….rticle&id=1060

* Tackling the Compositing of shots effectively.
* Briefing junior compositors when dividing of shots into tasks (e.g. rotoscoping) is required.
* Delivering final shots that are creative and technically excellent.
* Attend daily progress reviews to obtain feedback from supervisors.
* Work to improve knowledge of MPC’s Compositing pipeline.
* Work with production to create Compositing schedules and project targets.
* Work with the Compositing HOD to define the Compositing pipeline required for the show and identify any additions or modifications to our existing toolset required to realise this pipeline.
* Supervise compositing of CG elements to match live-action footage to maintain consistent shot quality and look.
* Report on the progress of the lighting work on the show to the Lighting HOD, with particular regard to the following:
* If the team are meeting deadlines
* Technical issues
* Production issues
* R&D requests
* Team morale

Requirements:

* Previous experience with a high-level film based Compositing system using Shake and Nuke.
* Excellent understanding of techniques and technologies related to CG rendering and compositing.
* Excellent understanding of the whole digital film pipeline from scanner to film recorder.
* Proven technical and creative ability in a broadcast or feature-film production environment.
* General understanding of linux/unix-based operating systems.
* Ability to take direction and structure working practices so that design changes can be efficiently made.
* Desire to learn from other and to take on increasingly challenging shots.
* Excellent team building, communication and problem solving skills
* Excellent knowledge of node-based compositing software
* Proven technical and creative ability in a large feature-film VFX production environment

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….rticle&id=1060

So I’m trying to make a composite of an object floating on a little “pad”, and then have my hand reach in and grab it, spin it around a bit, and then place it back on the “pad” to float. (Note: Much like the Unobtainium scene in Avatar)

I have 2 clips, one of just the pad blank, and one of my hand reaching in holding and spinning the rock. The rock is taped to a pen to make it float, and I am trying to key out the pen but am not sure the best way to do it.

I tried using mocha, and followed the entire object with an X-spline track, but I don’t think that was the right thing to do, as I am trying to import it into AE and turn the x-splines into a mask, but don’t think this is possible (or easy at least).

There has to be an easy way to just mask the rock itself, and then mask my hand going in, so that besides the rock and my hand, it is all the background video that is seen.

I’m fairly new to this so if you could be as specific as possible would help! 5 second clip linked to show you what my masking in AE looks like (shit), because I have to keyframe almost every frame as it moves so much. I’ve done it fairly lazily to show you what I am trying to accomplish though.

Any help greatly appreciated.

Link: http://www.youtube.com/watch?v=NfefjNoxPJw

Location: Vancouver
Open Positions: 3

About Gener8 3D:
G83D is an industry leading developer of stereoscopic 3D solutions and technologies. We have developed advanced proprietary software and patented technologies, resulting in a highly economical and superior quality stereoscopic 3D solution. With endorsements from James Cameron and Lightstorm Entertainment, we believe that converting existing 2D films into 3D versions will give movie lovers an enhanced experience viewing their favourite films.

General Duties and Responsibilities:
· Strong interest in 3D stereography.
· Overall working knowledge of Nuke compositing techniques in motion picture pipelines.
· Developing time-saving, production-savvy techniques for the selection of difficult elements within 2D footage.
· Delivering stereo shots that are creatively converted under production timelines.
· Mentoring junior compositors.
· Attending daily scrum meetings.
· Working closely with the Stereo Production Manager to complete overall quality control requirements on finished shots.
· Work closely with the Stereo Compositing Art Lead on conversion of 2D plates.
· Troubleshoot production pipeline issues.

Qualifications:
· Education background in Digital Art or Technology.
· Previous production experience with node-based compositing.
· Proven special effects work using Nuke.
· Keen understanding of colour space and its relation to compositing.
· Open-mindedness and the ability to problem solve in a deadline driven environment.
· Able to communicate effectively with other digital artists.

Submission Process:
If you are interested in this position, please submit your resume and a link to your demo reel to recruiting@gener8.com . Demo reels attached directly to e-mails will not be accepted; please use a website like Dropbox