Hasta La Motion!

Our boutique VFX and Post house located in Burbank, CA has recently contracted for a cable network live action episodic TV series utilizing a Final Cut Pro workflow.

We are seeking a VFX Artist/Generalist with photorealistic 3D and 2D experience to previz, construct and complete VFX shots in various stages as required.

Experience with lighting and texturing is a bonus.

As we are a small business excellent organizational, technical problem solving and communication skills is a must and your ability to be flexible in order to meet deadlines will be required.

Requirements:

• At least 2+ years working as VFX artist with extensive working knowledge of After Effects and Maya. Knowledge of Nuke and other VFX software programs is a bonus
• Experience with FCP workflow and software preferred.
• Strong and clear communication and management skills – both written and verbal.
• A proven sense of both artistic and technical abilities.
• Ability to work on flexi-time to meet deadlines and when technical issues arise.

To apply, please submit a cover letter, resume with a link to your online website/portfolio to:

institutionjobs@gmail.com

Due to the number of anticipated responses, only qualified applicants will be contacted.

NO PHONE CALLS OR DROP-INS PLEASE.

Description Overview
Paint/Prep Artists prepare 2D digital plates for compositing. Typical tasks range from wire and rig removal, cleaning greenscreens, through to plate recreation. Artists employ various techniques including compositing, painting, and projecting.
Artists at this level should have flawless and quick rotoscope capabilities. You should understand and evaluate what needs to be rotoscoped, and quality-check your own work. Basic painting and prep skills will start to be refined in this role, and artists will use software packages including Silhouette, Shake, Nuke, Mocha, Photoshop, amongst others. Artists should have a basic understanding of how to properly implement matchmove cameras to help with projecting.

Skills, Knowledge and Experience:

• Knowledge of Nuke and basic knowledge of Unix.
• At least 2+ years Roto Prep Exp
• Ability to roto in Silhouette, and import tracks from Boujou and other programs
• Compositing mattes to check paint/prep work, using Shake or Nuke
• Painting and prep skills in various software packages
• Working knowledge of projecting for paint/prep tasks
• A strong eye for detail and precision.
• Ability to organize your time, collaborate and effectively communicate with your supervisors and team mates, and be able to take direction.
• Excellent organizational, communication, and interpersonal skills.
• Ability to deliver on schedule while working under pressure if required.

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….cruitment.html

Here’s a loft i created. The design was simple but the most important thing was to place it inside realy bad filmed footage.

Still need a serious look at the masking but its just a wip…

http://vimeo.com/18665044

[NEWS=”http://www.cgnews.com/wp-content/uploads/unkle_thumbnail.jpg”]29456[/NEWS]John Nolan is a Director signed to Streetlight Films in the UK & USA and 1/33 in France for both commercials and music video representation. After 9 years in creature and special effects John shifted his focus towards directing, culminating in the short ‘Nolan’s Cheddar’ which combines his love of animatronics and simple storytelling.

Throughout his effects years John worked mostly on feature films (Where the Wild Things Are, Harry Potter, Clash Of The Titans, Hellboy 2, Warhorse, Brothers Grimm); but also TV projects including Dr Who, Being Human, Skellig and In the Night Garden. Now with his own effects company in east London Nolan’s CV also includes personal projects with Chris Cunningham, Lady Gaga live shows and now the short promo ‘Runaway Robot’ with Unkle.

John Nolan explains how the Unkle Runaway Robot project came about and the process that bought the Runaway Robot to life:

“I wanted to get in touch with Unkle after seeing them at Fabric where they projected animated drawings of Futura’s robot/aliens at a launch for Never, Never Land. I knew that I could recreate something similar to the animations but with animatronics and practical effects and it would be good to build something based on a great design.

Unkle’s music and sound is perfect for this kind of video and it reflects every idea I’ve had since wanting to build robots and shoot films. Their collaborative projects with Ian Brown, Thom Yorke, Richard Ashcroft and Mike D were, to me, an example of their style and personality and I wanted to get involved with anything they were doing.

I contacted James (Lavelle) through a friend of a friend and sent him my animatronics showreel; he invited me to his studio in London to talk about a project he was putting together. I was hoping to shoot a promo or viral or anything 10 seconds long just to have the opportunity to work with their music, but it was the perfect timing for something else. They were not looking to shoot any promos but James asked if I wanted to shoot something for the Daydreaming exhibition at the Haunch of Venison.

There was no budget involved at all, it was an opportunity to work on something together where I would produce a film and Unkle would create a track. It was a great way to work really because everyone who got involved did because they loved the track and believed in the idea, everyone was enthusiastic and excited to be part of it.

I had a few ideas involving a Futura style robot and coloured light flashes, which were mostly influenced by Audi and BMW commercials and my animatronics background.

I designed the animatronic based on human anatomy with every joint and pivot point replicating that of a real person. I wanted to achieve the perfect balance between something industrial, robotic and living, organic. The robot was made from hand-machined anodised aluminium, 28 motors and sculpted, formed plastic.

Building an animatronic of this scale and complexity you have to take many things into consideration. There are issues with weight, gravity, torque, speed but the biggest challenge with creating a robot with this amount of motors is control. We have to move every motor at once to create the perfect performance but I wanted to avoid 5 puppeteers on set trying to coordinate their movements with each other.

The track is short but aggressive and energetic. I wanted the performance of the robot to have this aggression and energy with a marching stomp towards camera. This could only be achieved with the use of an audio timeline-based control system. I used creature performer Josh Head who programmed every move of the robot in time with the track using midi.

We were able to see the track at the top of the screen as a waveform and underneath the movements of the robot. We could change the movements under the track live on set but keeping the robot and audio in total sync.

Producer Ebony Maitland put me in touch with a brilliant team of people including the incredible director of photography Christopher Sabogal and brilliant Prime Focus who did an incredible job on the post.”

CREDITS
Director: John Nolan
Producer: Ebony Maitland
DoP: Chris Sabogal
Animatronic FX: John Nolan
Music: UNKLE
Additional sound: Daniel Nolan
Editor: John Nolan
Post Production: Prime Focus London

RELATED LINKS
http://unkle.com
www.streetlightfilms.co.uk
www.primefocusworld.com

hey guys,

i have set some user values in my menu.py for ‘filetype’, ‘datatype’, ‘compression’ in the write node and ‘cliptype’ and ‘feathertype’ for the roto node.
since 6.2v1 it appears that values which are choosen from a dropdown menu, can’t be changed since ‘compression’ and ‘feathertype’ remain the default ones. can anybody confirm this behaviour?