They still need a little love but c&c are always welcome.
http://vimeo.com/18961136
http://vimeo.com/18962137
http://vimeo.com/18961237
Jobtitle: Flame artist
No of positions: 1
Location: London (trial period approx 3-4 weeks), Shanghai at least 6 mon contract.
Dates:Starting ASAP (please write when you are available)
Software/Requirements: Flame, Flint.
Genre: High end TVC
Salary: Depending on level (client will provide with flights and hotel if not local)
Deadline for applications: 110121 – 13:00 CET (the faster we can have your application the better!)
Workpermit: All nationalities welcome to apply,
Information about the client:
One of the greatest facilities in the world. Postproduction company with offices in New York, London and Shanghai. Extreme high-end work,
Information about the project:
Our client is looking for a fast and creative Flame artist that have a smashing reel and used to big projects and dealing with clients and directors in the suite. They need you ASAP and the contract will be in Shanghai, however they want to test you out for a couple of weeks in their head office in London before commiting to a long term contract overseas. Client will help you out with relocation and of course pay for transport. Salary is up to discussion directly with our client if you make it to the shortlist (we will take a 15% agency fee). You must hav a online showreel in HQ to apply for this gig (try our service www.theshowreel.tv for free). Please write in your email when you can be on location in London.
To apply for this gig:
The sooner we can get your application the better, so please send in your application as soon as possible.Email job@utopiapeople.com write the reference code for this joboffer as a subject. You must be registered as a freelancer in our books to apply (http://www.utopiapeople.se/register/) You will get notified if presented to our client. Update your CV at:http://account.utopiapeople.com/account before applying.
Gondry-fying The Green Hornet
Michel Gondry’s signature filmmaking touches are ever-abundant in The Green Hornet, the director’s take on the masked vigilante made famous in radio serials and comics. Here’s my article at fxguide where VFX supervisor Jamie Dixon guides us through some of the the film’s key 650 effects shots. Also, there’s a separate story on fxinsider looking at CIS Hollywood Kato fight sequence time bending fx.
I’m looking into the role of a Previs artist and Layout TD. Do these artists have the same role?
In some job summaries, a Previs artist works with the Director and VFX Sup by providing previs, post-vis, camera and character blocking in 3D which shows the early shot sequences of a film.
Is the Layout TD merely responsible for creating pipeline scene assets to be used in set extensions, UV mapping for compositors and integration of 3D animation for the 3D/CG Department?
If this is not the Previs artist’s job, then does the Layout TD do the previs as well as provide pipeline scene files?
Hope to hear some good answers!
Thanks
Spin VFX is looking for a talented Maya senior rigger with a minimum of three years industry experience in Film.
A Senior Riggers primary responsibility is to create highly versatile character rigging systems and animation interfaces. The rigs will be used for feature film in the animation of 3D characters and props.
We are looking for a talented rigger who can:
– implement animation control rigging systems for complex characters and props using Maya
– set up rigs for low and high-res characters
– set up and rig character models
– work with animators to design, create, and maintain animation rigs for characters that are clean, efficient, and animation friendly
– design user interfaces and controls for characters and facial animation systems (bone and blend shape driven)
– maintain and improve current animation pipeline
– knowledge of animation sharing, and motion capture transfer between character rigs
– maintain a consistent level of productivity while meeting deadlines and producing high quality work
– troubleshoot and wrangle character-rigging issues for artists
–
Requirements:
– minimum three years industry experience in 3D CG for digital animation or visual effects
– excellent communication skills a must
– experience in setting up cloth simulation rigs highly desirable
– experience with Maya and/or other high-end animation software required
– experience with mel, csh, python, TCL, perl or other scripting languages a must
– skilled knowledge of anatomy for animal/quadraped and human/biped
– ability to work well under pressure
This is a full-time position and employment is to commence as soon as possible.
To apply for this position, please submit a cover letter and resume with a link to your online website/portfolio demonstrating your ability in rigging, scripting and tools or plug-in design.
If you are submitting by mail, please send info and DVD to:
Spin VFX Toronto
620 King Street West
Toronto, Ontario Canada
M5V 1M6
Preference will be given to Canadian residents.
Due to the number of anticipated responses, only qualified applicants will be contacted.
No phone calls or drop-ins please.
Adobe Photoshop,Adobe Illustrator,3d Max,Maya,After effects
,VRay,Houdini,Realflow,Renderman.
Now i figured out a configuration through a assembling company in Ohio,USA named Magicmicro (http://magicmicro.com/) . Their prices being good though their review online is really bad. The configuration is as follows :
Intel Core 2 Quad Q8300 2.5GHz, 1333FSB (Quad Core) 4000K or i7
Corsair Cooling Hydro, extra quiet Liquid Cooling System
Gigabyte GA-EP43-DS3L P43, Sound, 1Gb LAN
8GB (4x2GB) PC5300 DDR2 667 Dual Channel
GeForce GT 210 1GB, PCI EXpress 16X dual head, HDMI
1000.0GB Western Digital Green SATA2 UDMA 300 32m cache
LG 22x DVD Recorder Dual Layer +R/RW -R/RW
Realtek HD digital audio (onboard)
Ethernet network adapter (onboard)
Cooler Master Elite 310 black, Side Window, front USB
Logisys 400W ATX Power Supply
Black Windows Keyboard, 104 key, PS/2
2-Button Wheel Mouse, PS/2 Black
Black Multimedia amplified stereo speakers
Now i just kind of pick and chose, i dont even know these components are compatable to each toher or not.
I woulkd really appreciate any advice of on a good setup within $900 or if someone can edit the above configuration list for me . I am a total newbie in assembling. How hard wd it be to make it on my own ?
I would await any help or advice.
Thanks
Amlan70
I have posted a sample of my work above. Be advised that some of it could be interpreted as offensive and may not be suitable for younger audiences.
I am Kevin Miles. If I do not get a contract from a major Hollywood studio to produce a one man movie about the life of Alexander The Great by July 18th 2011 AD, I will send myself to jail by symbolically committing a crime to incacerate myself in prison. As this is a symbolic gesture I will not commit a crime in which anyone is harmed directly or indirectly as the purpose is simply to incacerate myself.
The details of this contract can be found in the 5 minute video I made on Franz Kafka’s "The Metamorphosis". I have spent the last 3 years of my life researching for and designing a short based on Kafka’s novella.
Hopefully I get my requested contract and do not end up in prison, but I am prepared to take that leap because I believe so strongly in what I do. All that is gold does not glitter. Thank you for your time and best of luck to all of you.
-Kevin Miles
”Designing in stereoscopic is very different than designing in 2D,” states Founder/Creative Director Garson Yu. ”You have to offset the conversion process and bring things closer to the audience as well as further away to create that depth and dimension. You also have to give the audience enough time to enjoy the stereoscopic sensation, so you can’t be too ‘cutty’ with scenes.”
Although yU+co. is no stranger to stereoscopic 3D, having created the 2D and 3D main-on-end title sequence to Shrek Forever After and the 3D logo for 3Ality Digital, Yogi Bear offered them the chance to accomplish more both creatively and technically in the 3D world.
‘’The initial concept was ‘Saul Bass in stereo’ — a clear use of shapes and lines that Bass’ classic designs are known for, but married to the playfulness of the Hanna-Barbera animation style,” says Art Director Synderela Peng.
‘’We decided to show only silhouettes of main characters because we didn’t want to mimic the 3D animation style seen in the film or the original look from 1960s cartoon. We knew the silhouettes would work because the image of Yogi Bear and Boo-Boo are so iconic that people would recognize them even without seeing their faces.”
Set to a rousing song by the alternative rock band Weezer, the ‘’Yogi Bear’’ title sequence begins with a series of red and orange hued vertical lines as an array of fruit falls all around. Suddenly the chase is on as we see Yogi and Boo Boo silhouetted in the background driving a cart that drags a line of picnic tables filled with food, while the alarmed Ranger tries to stop them.
The sequence cleverly uses food in every frame, such as cotton candy and popcorn clouds, trees with marshmallow flowers and giant turkey legs, watermelon slices, sandwiches, cherry pie and hot dogs that dot the landscape and serve as a surface for the credit typography.
Some of the noteworthy scenes in the sequence include a nod to the Super Mario Bros., as Yogi and Boo Boo escape the Ranger by jumping and climbing various food items; and a scene in which Yogi and Boo Boo ride a raft down a waterfall.
‘’Once we agreed on the use of the silhouette concept, the challenge became to create enough gags to carry the sequence through,” says Edwin Baker, yU+co’s writer/designer. ‘’We wanted to use the food in abstract ways that helped expand the visual language. The transitions needed to be clever, surprising and fluid. With the stereoscopic we wanted to find new ways to push the food landscape and make it more fun and exciting.’’
Among the key creative choices yU+co made was to bring a team traditional cel animators aboard to create the silhouetted version of Yogi, Boo Boo, the ranger and a new turtle character, created using Flash. While it may seem to some unnecessary to have a cell animation team work on silhouettes, Peng noted that a lot of expression needed to be conveyed in the arm and leg movements of the main characters.
‘’Because you don’t see any facial expressions, it was imperative that we work with character animators because we needed a clear articulation of what the characters are doing based only on arm and legs movements,’’ Peng says. ‘’Arms and legs had to show the emotions like joy, fear and frustration — very subtle movements and completely different from the motion graphics.’’
”Thanks to the film’s producer Donald De Line, we had the opportunity to work on this film which gave our design team another added dimension to use their storytelling talents,” comments Yu. ”As a result, we’ve developed a great 3D pipeline to produce stereoscopic work and our team can handle just about any kind of project that’s out there.”
In other yU+co news, the company recently completed work on the main-on-end title sequence for the feature length documentary Waiting for Superman, which was selected as Best Documentary by the National Board of Review and the title sequence for Universal Pictures’ recent box office hit, Little Fockers.
About yU+co:
Founded in 1998, yU+co. is an award-winning visual design and production agency with offices in Hollywood, Hong Kong, and Shanghai. yU+co.’s work encompasses a wide range of disciplines, including feature film production and visual effects, television branding and promotion, interactive and experiential design, gaming cinematics and commercial advertising.
CREDITS
Project: Yogi Bear main-on-end titles
Client: Warner Bros.
Design/Animation: yU+Co., Hollywood, CA
Creative Director: Garson Yu
Art Director: Synderela Peng
VFX Director/Supervisor: Richard Taylor
Producer: Sarah Coatts
Effects Coordinator: Sean Hoessli
Design Team: Edwin Baker, John Kim, Daryn Wakasa, Etsuko Uji
3D Stereoscopic Compositors: Stevan del George, Mark Velacruz
After Effects: Jill Dadducci, Andres Barajas, Gary Garza, Wayland Vida, Alex Yoon
Animators: Josh Dotson, Eddie Moreno, Noel Belknap, John Dusenberry, Dae In Chung,
Ben Lopez, Pota Tseng
Editorial: Jason Sikora, Latoria Ortiz
RELATED LINKS
www.yuco.com
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.
