Aug 02

Snr – Windows /AD Systems Engineer (130K+) SYDNEY

Posted in: The Job Lot
Background

StudioEngine™ is a 4,000 sqm production facility available to studios, producers, studio teams and production teams of Media and Entertainment properties.The facility is available on demand, with no minimum contract term, and provides a per seat production cost for access to state of the art, workstations, software, pipeline, engineering, administration and infrastructure support staff and technology.

The facility boasts reconfigurable workspaces enabling security and privacy for multiple tenants, and also has direct access to the SteamEngine™ Infrastructure as a Service facility boasting 1200 HPC class render nodes and over 2 PB of high speed BlueArc & HDS Disk. The facility is serviced by DWDM Dark Fibre connectivity to our Datacentre, and a 100MB/s internet connection.

Role: Snr Windows /AD Systems Engineer

StudioEngine AUSTRALIA is seeking an experienced Senior Windows/AD Systems Engineer to take technical ownership and co-ordination within this large Enterprise Infrastructure facility environment. This role is aimed at a Level 3 or 4 Windows/AD Engineer with a proven support background and the role requires a minimum 5+ years proven senior experience in supporting Microsoft Enterprise grade products.

The ideal candidate will bring excellent communication and documentation skills and will be a team player with the ability to think outside the box and take the lead across support, project implementation or design tasks. As a senior member of the team you will be the organisation’s subject matter expert in your field and you will provide both guidance and mentoring to junior members of the team.

Essential Requirements:

* Minimum of 5+ years in a Senior Windows/AD Systems Engineer role designing, implementing and supporting enterprise grade Windows/Active Directory environments
* Ability to lead and motivate a team of Systems Engineers to deliver the Active Directory services and associated technologies
* Excellent Experience with Windows 2008 R2 Server Support as well as earlier versions of Windows
* Excelent experience with Microsoft DNS, DHCP and WINS Technologies
* Excellent experience with Microsoft Windows Clustering

* Excellent experience in managing complex AD structures and mult-tenant AD structures.
* Ability to design, document and implement network solutions that meet business requirements.
* Proven customer service skills in a support environment.
* Excellent interpersonal and communication skills
* Positive pro-active ‘can-do-attitude’

Desirable Requirements:

* Microsoft Certified IT Professional (MCITP) Enterprise Administrator qualification
* ITIL Certification
* PowerShell Scripting
* Microsoft Systems Centre Operations Manager (SCOM) & EMS Cortex

* Windows Deployment Services (including MDT 2010 & WAIK)
* Microsoft Forefront Identity Manager (FIM)
* Riverbed / Avere WAN Acceleration Support
* Microsoft Forefront TMG / ISA
* NLB Load Balancing

Submission Requirements:

Qualified candidates should email their cover letter, resume and website to.

mechanics@studioengine.com

Only candidates with suitable VISA’s & or residency are invited to apply. StudioEngine is willing to sponsor a suitably qualified candidate for the role.

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Aug 02

Mid Systems Administrators (75K+) SYDNEY

Posted in: The Job Lot
Background

StudioEngine™ is a 4,000 sqm production facility available to studios, producers, studio teams and production teams of Media and Entertainment properties.The facility is available on demand, with no minimum contract term, and provides a per seat production cost for access to state of the art, workstations, software, pipeline, engineering, administration and infrastructure support staff and technology.

The facility boasts reconfigurable workspaces enabling security and privacy for multiple tenants, and also has direct access to the SteamEngine™ Infrastructure as a Service facility boasting 1200 HPC class render nodes and over 2 PB of high speed BlueArc & HDS Disk. The facility is serviced by DWDM Dark Fibre connectivity to our Datacentre, and a 100MB/s internet connection.

Role: Mid Systems Administrators

StudioEngine AUSTRALIA are currently searching for 2 x Mid System Administrators to join our growing tech team.

There are currently vacancies in the Systems team for 2 x Mid Systems Support positions. The roles offer the successful candidates unlimited potential to advance technical skills, offer experience with state-of-the-art technology and opportunity to learn from a unique dynamic team . The System Administrators work as part of a team providing for effective provisioning, installation/configuration, operation, and maintenance of systems hardware and software and related infrastructure to the StudioEngine facility and its clients.
The ideal candidates will have experience with Linux, Windows and Mac based systems.

Responsibilities
• Provide technical support for VFX Artists using Linux and Windows and Mac workstations.
• Configure hardware, peripherals, services, settings, directories, storage, etc. in accordance with standards and project/operational requirements.
• Taking ownership of and assist the team with various evaluation, installation, development and decommissioning projects.
• Mentoring and training junior team members.
Operations and Support
• System performance monitoring.
• Security monitoring.
• Backups and data archiving.
• User account administration.
• Application software administration.
• High level problem-solving and troubleshooting.
• Repair and recovery systems failures.
• Coordinate and communicate with impacted constituencies.
Maintenance
• Management of OS distributions.
• Perform periodic performance reporting to support capacity planning.
• Perform ongoing performance tuning, hardware upgrades, and resource optimisation as required.
• Configure CPU, memory, and disk partitions as required.
• Maintain data center environmental and monitoring equipment.
Knowledge, Skills and Experience
Essential Experience
• Previous administration experience on Linux / Mac OS X / Windows based computers.
• Good working knowledge and interest in computer hardware, networking and operating systems.
• Previous systems administration experience or help desk support.
• Candidates should give examples of the level of experience with different operating systems and hardware.
• Education to degree level, or equivalent experience. Enthusiasm, interest and the ability to learn quickly and think on your feet is essential.
• Excellent communication, people skills, and team working skills.
• Accuracy and attention to detail.
• Capacity to manage a busy workload with high productivity.
• Capacity to fill the beer fridge as requested.
Desired
• Active Directory Administration and cross-platform file sharing
• Scripting languages: bash, tcsh, perl or python.
• Enthusiasm and a commitment to learn and get involved in departmental activities.

Submission Requirements:

Qualified candidates should email their cover letter, resume and website to.

mechanics@studioengine.com

Only candidates with suitable VISA’s & or residency are invited to apply. StudioEngine is willing to sponsor a suitably qualified candidate for the role.

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Aug 02

Reliance MediaWorks Hiring

Posted in: The Job Lot
Reliance MediaWorks hiring in VFX. Please email your CV to sonali.joshi@relianceada.com.
Open positions in VFX: Animators, Riggers, Modelesr, Production Manager, Compositors, Paint Artist, FX Artist, Lighting Artist, Supervisors 2D & 3D, Matchmovers, IT, Admin
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Aug 02

Open GL

Posted in: Beginners Talk
Hello guyz,

I will like to know, how do you know that a computer or laptop is Open GL powered…:(

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Aug 01

Cinesite casts the final spell on Harry Potter and the Deathly Hallows Part 2

Posted in: Your News
Cinesite casts the final spell on Harry Potter and the Deathly Hallows Part 2

London, UK, August 1, 2011 – Cinesite, one of the world’s leading film visual effects houses, has contributed complex visual effects for Harry Potter and the Deathly Hallows Part 2. Cinesite has worked on every Potter film in the series bringing the total shot count to nearly 2000 during the course of this epic eight-part franchise.

Directed by David Yates, the eighth installment sees the final chapter begin as Harry, Ron and Hermione continue their quest to find and destroy Lord Voldemort’s three remaining Horcruxes, the magical items responsible for his immortality. But as the mystical Deathly Hallows are uncovered, and Voldemort finds out about their mission, the biggest battle begins and life as they know it will never be the same again.

Cinesite’s 2D supervisor Andy Robinson and 3D supervisor Holger Voss built on the company’s experience working on all seven previous films to create Cinesite’s most complex and stunning effects for the franchise.

One of their biggest challenges was creating an intricate digital marble staircase environment, which had to appear in various stages of destruction throughout the film, in varying lighting conditions, all seamlessly integrated into the practical set piece, which was shot at Pinewood studios. Cinesite worked with the production team to determine the different layouts and levels of the staircase and the amount of destruction and rubble as the story develops.

As they did for Part 1, Cinesite again replaced Ralph Fiennes’ nose area with Lord Voldemort’s snake-like snout. Voldemort features prominently in the film so Cinesite had to generate a large number of shots. As his performance is key to the film, it was even more important to retain the subtleties of Fiennes’ performance by ensuring a highly accurate matchmove.

New wand effects were created – some of which required advanced CG techniques – for various scenes as the characters go all out in the final battle. They included fiery whips and explosive shields for MacGonagall’s confrontation with Snape, iron chains that Harry fires at a Deatheater, an inky spell fired by Ron that envelopes a Deatheater, and a wand bolt deflection that destroys part of the CG set.

Cinesite has a long history of creating the animated canvas oil paintings in the Harry Potter movies, led by the aptly named Karen Wand. A key moment involves 15 portraits on a wall in the marble staircase environment, with characters fleeing from one portrait to the next.

Cinesite again created a Patronus doe as they did for Part 1, this time from a swirl of ribbons from Snape’s wand in a very poignant moment in the film. They again used a fully-furred CG doe, but the trails were completely redesigned to give a different feel with more energetic movement.

“We’re very grateful and proud that we’ve had the opportunity to work on every film in the Harry Potter franchise,” said Antony Hunt, managing director, Cinesite. “With each installment we’ve created increasingly complex effects, culminating in our work on this film. The franchise has had a tremendous effect on the UK visual effects industry and it has certainly helped us evolve into the diverse, creative company we are today.”

About Cinesite
With one of the largest and most comprehensive facilities in Europe, Cinesite’s visual effects team has the capacity and creativity to produce all manner of effects, both digital and physical, for feature films and broadcast projects of all scales. Their award-winning team of highly talented visual effects artists take filmmakers’ ideas and turn them into spectacular cinematic reality.

Cinesite is currently working on John Carter of Mars (Disney/Pixar) and World War Z (Paramount Pictures). They’ve recently completed work on Pirates of the Caribbean: On Stranger Tides (Disney/Bruckheimer) and X-Men: First Class (Twentieth Century Fox).

For more information please visit www.cinesite.com.

-ends-

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Aug 01

NUKE COMPOSITOR – FREELANCE GIG- LOS ANGELES

Posted in: The Job Lot
NUKE COMPOSITOR – FREELANCE GIG – LOS ANGELES

We are looking for a composite artist working in Nuke for a unique music video for known/established musical artists.

The work has largely been completed, but there are still some tasks to accomplish.

The tasks are:

-Manipulating texture patterns on currently existing media.

-Further blending composted elements onto their background plates to enhance the effects.

-Composite new video elements onto background plates using existing motion tracking paths in the comp.

-Fixing anomalous errors currently in the comp.

This description is vague but more detailed information and the video itself will be given upon inquiry.

The work is in Los Angeles, CA, but we’re open to artists everywhere. Pay is negotiable based on experience and expected workload.

Please contact us (with an online reel if available) at: hoku@hokuuchiyama.com

Thank you for your time and interest.

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Aug 01

Tippett’s treasure trove of effects

Posted in: 1

Tippett’s treasure trove of effects

Deathlyhallowspt2_tippett_featured

Tippett Studio visual effects supervisor Matt Jacobs takes fxguide through his studio’s work on the treasure vault sequence in Harry Potter and the Deathly Hallows: Part 2.

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Aug 01

pftrack to nuke tutorial

Posted in: NUKE from The Foundry
hi all,

again, i’v scoured the forums and the internet and can’t seem to find an answer to my most simple of questions.

i have footage that i tracked in pftrack, then created a nuke python script via the pftrack export.

my question is, what the heck do i do with that in nuke? i go to my read node and bring in the .py file, but then what? how does the tree look? is a merge node used? do i have to setup a camera first? im completely at a loss as to how these my .mov clip and .py track combine together.

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Aug 01

stashing node name for later use

Posted in: Nuke Plugins & Scripts
thinking out loud here. i’ve got an example where I’m using a text field to link a "master" node to a "slave" node. i needed to be able to quickly/easily link up the two nodes and expresssion a bunch of stuff together… so I just rigged it up to when you type the name of the master node into the slave it links everything up.

Code:

set cut_paste_input [stack 0]
version 6.3 v1
push $cut_paste_input
RotoPaint {
 output alpha
 curves {AnimTree: "" {
 Version: 1.2
 Flag: 0
 RootNode: 1
 Node: {
  NodeName: "Root" {
  Flag: 512
  NodeType: 1
  Transform: 0 0 S 0 0 S 0 0 S 0 0 S 0 1 S 0 1 S 0 0 S 0 1174 S 0 576
  NumOfAttributes: 10
  "vis" S 0 1 "opc" S 0 1 "mbo" S 0 1 "mb" S 0 1 "mbs" S 0 0.5 "fo" S 0 1 "fx" S 0 0 "fy" S 0 0 "ff" S 0 1 "ft" S 0 0
  }
  NumOfChildren: 1
  Node: {
  NodeName: "Paint1" {
    Flag: 512
    NodeType: 5
    CubicCurve: "" {
    Transform: 0 0 S 0 0 S 0 0 S 0 0 S 0 1 S 0 1 S 0 0 S 0 1061 S 0 684
    Type: 3 Flag: 2080 Dim: 3
    NumOfPoints: 3
    0 S 0 658 S 0 542 S 0 1 0 0 S 0 1058.57 S 0 683.144 S 0 1 0 0 S 0 1464 S 0 826 S 0 1 0
    NumOfAttributes: 47
    "vis" S 0 1 "r" S 0 1 "g" S 0 1 "b" S 0 1 "a" S 0 1 "ro" S 0 0 "go" S 0 0 "bo" S 0 0 "ao" S 0 0 "opc" S 0 1 "bs" S 0 32 "bsp" S 0 0.05 "h" S 0 1 "src" S 0 0 "bm" S 0 0 "dt" S 0 1 "ds" S 0 0 "dh" S 0 0 "bt" S 0 0 "bu" S 0 1 "inv" S 0 0 "stx" S 0 0 "sty" S 0 0 "str" S 0 0 "sr" S 0 0 "ssx" S 0 1 "ssy" S 0 1 "ss" S 0 0 "spx" S 0 1174 "spy" S 0 576 "stot" S 0 0 "sto" S 0 0 "sv" S 0 0 "sf" S 0 1 "sb" S 0 1 "ltn" S 0 1 "ltm" S 0 1 "ltt" S 0 0 "ws" S 0 0 "we" S 0 1 "ep1" S 0 0 "ep2" S 0 0 "ep3" S 0 0 "tt" S 0 14 "nv" S 0 2 "view1" S 0 1 "view2" S 0 2
    }
  }
  NumOfChildren: 0
  }
 }
}
}
 toolbox {selectAll {
  { selectAll ssx 1 ssy 1 sf 1 }
  { createBezier ssx 1 ssy 1 sf 1 sb 1 tt 4 }
  { createBSpline ssx 1 ssy 1 sf 1 sb 1 }
  { createEllipse ssx 1 ssy 1 sf 1 sb 1 }
  { createRectangle ssx 1 ssy 1 sf 1 sb 1 }
  { addPoints ssx 1 ssy 1 sf 1 tt 8 }
  { removePoints ssx 1 ssy 1 sf 1 tt 9 }
  { cuspPoints ssx 1 ssy 1 sf 1 tt 10 }
  { curvePoints ssx 1 ssy 1 sf 1 tt 11 }
  { removeFeather ssx 1 ssy 1 sf 1 tt 12 }
  { closeCurve ssx 1 ssy 1 sf 1 tt 13 }
  { brush h 0 ssx 1 ssy 1 sf 1 sb 1 ltt 0 tt 14 }
  { eraser src 2 ssx 1 ssy 1 sf 1 sb 1 }
  { clone src 1 ssx 1 ssy 1 sf 1 sb 1 }
  { reveal src 3 ssx 1 ssy 1 sf 1 sb 1 }
  { dodge src 1 ssx 1 ssy 1 sf 1 sb 1 }
  { burn src 1 ssx 1 ssy 1 sf 1 sb 1 }
  { blur src 1 ssx 1 ssy 1 sf 1 sb 1 }
  { sharpen src 1 ssx 1 ssy 1 sf 1 sb 1 }
  { smear src 1 ssx 1 ssy 1 sf 1 sb 1 }
} }
 toolbar_show_paint_selection true
 toolbar_brush_hardness 0.200000003
 toolbar_lifetime_type all
 toolbar_source_transform_scale {1 1}
 toolbar_source_transform_center {320 240}
 colorOverlay 0
 lifetime_type "all frames"
 view {}
 motionblur_on true
 brush_size 32
 brush_spacing 0.05000000075
 brush_hardness 1
 source_black_outside true
 createNewTrack {{-1} "-1\t(none)\t-1" "1000\tNew Track Layer\t1000"}
 name three_pt_mask7
 label "left seam controller\nscratch width \[value curves.Paint1.brush_size]"
 selected true
 xpos 4878
 ypos 2967
}
OFXuk.co.thefoundry.furnace.f_scratchrepair_v402 {
 inputs 0
 output "Repair And Alpha Mask"
 scratchType "Curve Segment"
 start {(default {{"(\[value shape_name].curves.Paint\[if \{\[string equal \[value stereo] true]\} \{return 2\} else \{return 1\}].curve.0.left.x) + \[if \{\[string equal \[value stereo] true]\} \{return \[value shape_name].curves.Paint2.translate.x\} else \{return 0\}] + offset"} {"(\[value shape_name].curves.Paint\[if \{\[string equal \[value stereo] true]\} \{return 2\} else \{return 1\}].curve.0.left.y) "}} L {{"\[value shape_name].curves.Paint1.curve.0.left.x"} {"\[value shape_name].curves.Paint1.curve.0.left.y"}})}
 startInner {254.1875308 705.6874924}
 centre {(default {{"(\[value shape_name].curves.Paint\[if \{\[string equal \[value stereo] true]\} \{return 2\} else \{return 1\}].curve.1.left.x) + \[if \{\[string equal \[value stereo] true]\} \{return \[value shape_name].curves.Paint2.translate.x\} else \{return 0\}] + offset"} {"(\[value shape_name].curves.Paint\[if \{\[string equal \[value stereo] true]\} \{return 2\} else \{return 1\}].curve.1.left.y) "}} L {{"\[value shape_name].curves.Paint1.curve.1.left.x"} {"\[value shape_name].curves.Paint1.curve.1.left.y"}})}
 endInner {277.8374973 711.5375061}
 end {(default {{"(\[value shape_name].curves.Paint\[if \{\[string equal \[value stereo] true]\} \{return 2\} else \{return 1\}].curve.2.left.x) + \[if \{\[string equal \[value stereo] true]\} \{return \[value shape_name].curves.Paint2.translate.x\} else \{return 0\}] + offset"} {"(\[value shape_name].curves.Paint\[if \{\[string equal \[value stereo] true]\} \{return 2\} else \{return 1\}].curve.2.left.y) "}} L {{"\[value shape_name].curves.Paint1.curve.2.left.x"} {"\[value shape_name].curves.Paint1.curve.2.left.y"}})}
 scratchWidth {{"\[value shape_name].curves.Paint1.brush_size"}}
 "Spatial Repair" 1
 numPoints 10
 gradientFactor 6
 medianWidth 6
 scratchWidthSecret 0
 filtering Extreme
 cacheBreaker false
 name F_ScratchRepair12
 label "3 pt - left seam"
 selected true
 xpos 4878
 ypos 3121
 addUserKnob {20 Stereo}
 addUserKnob {1 shape_name l "Line Seg Name"}
 shape_name three_pt_mask7
 addUserKnob {26 slug l "" +STARTLINE T "*type line segment name here"}
 addUserKnob {6 stereo l "Is line stereo?" +STARTLINE}
 addUserKnob {7 offset l "Right Eye Offset" R -20 20}
}

the problem is, i can’t seem to dynamically grab the name of the master when the two are created, and plug that into the text field so that it catches any namespace number that nuke adds. so like if "3 pt line1" is already in the script, when adding this node it will come in as "3 pt line2" but the text field will still be linked to 3 pt line1 instead of 2 like I’m wanting.

you’ll see what I mean if you just copy/paste the above nodes a couple of times and watch the expression links misfire.

I could create the nodes using python but it wouldn’t be trivial; there’s a ton of values I’m having to rig up.

i thought a quick band-aid might be to grab the name of the first node as it’s created and then plug it into the 2nd? but how to go about that… ?

maybe create some variable that captures the node name and then a little python that evaluates the name into my text field further down the chain? anyone ever done something like that?

node1 is created
grab name — node1.name = nodename1

node2 is created
text field — [value nodename1]

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Aug 01

3dsmax – replace rigged model

Posted in: The Pad
I’ve got a problem with a 3dsmax scene. There is a monster model rigged and posed in the scene. But I noticed somme errors on the model while rendering (some vertices needed to be weld). Now I have an other max file with the model rigged but unposed. I fixed the weldings on that model.

Now is my question: How can I replace my posed model with the good version without losing the modifier stack and having to pose it all again?

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