Hasta La Motion!

I spent today dealing with colorspaces, trying to better understand how Nuke and QuickTime and FinalCut all interact, while trying to keep things looking sensible. At one point, my editor friend had basically said, "QuickTime has some understanding of colorspaces, so if you make a QuickTime movie correctly, it should show up looking pretty much the same, regardless of the actual space used in the file." More recently he said, "WTF, why is this so dark?" So, I spent some time iterating through a lot of the possibilities, doing comparisons of things that some of what I’ve read absolutely insists should look the same. (But never seems to have checked…) A screenshot of some of my comparisons is attached.

Incidentally, my current theory is that rendering a gamma 2.2 QuickTime out of Nuke seems to match closely with what my editor buddy sees in FCP on Mac OS X 10.6.

Meh, just frustrated. Needed to rant for a bit. Hopefully, the rest of you guys here in the pad are having a more exciting day. 🙂

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ok so $500 bucks to whoever can recreate the animation at the top of this page as kick-ass as possible… feel free to use your own illustrations etc 2d/3d is ok

http://www.taskwise.com/features.php

guidelines:

1. you can use youtube or vimeo to submit your comps here in this thread
2. will give feedback here in this thread
3. will pay via paypal once its done!
4. once you get paid you submit the project, all source files and a HD uncompressed version of the final shot

if you need anything let me know, i have attached the taskwise logo

jah

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TaskWise_logo.psd (776.2 KB)

We are looking for experience rotoscopers and clean platers for our 3D conversion company. We are located in South Pasadena. Must be well versed in this field and be able to meet tight film deadlines. To start immediately. Contact Marne at:
info@stereoscopicvfx.com

VFX and Stereoscopic Supervisor Positions:

A Hollywood-based leader in premium 3D and stereoscopic VFX for feature films is looking for senior-level supervisors to oversee compositors in the conversion of 2D to 3D. Work is being performed primarily in Nuke embedded into a proprietary pipeline.

Please send resumé and applicable external reference links (e.g. IMDB) to jobs@stereoscopicvfx.com

The following two positions are available:

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VFX Compositing Supervisor

The compositing supervisor will take ownership of a team of Nuke compositors, ensuring that they are moving smoothly through shots. Key to the position is the ability to problem-solve specific compositing issues and educate individual compositors on the solutions.

The compositing supervisor will be responsible for ensuring all shot notes have been addressed prior to review by the stereoscopic supervisor.

Essential Skills
• Ability to lead a team with efficiency but also compassion. We value the lives of out compositors and are interested in mentoring, not oppressing.
• A high-level solid, intuitive understanding of Nuke and its 3D environment
• A thorough comprehension of the underlying principles of compositing
• At least two years experience supervising compositors
• Good, stereoscopic vision (sorry, no monocular eye injuries)

Desirable Skills
• Previous experience in stereoscopic production
• Knowledge of gizmo creation process and Python scripting
• Knowledge of matchmoving processes and limitations
• Experience with 3D animation packages
• Experience with the shotgun tracking system
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—————————————-
Stereoscopic Supervisor

The stereoscopic supervisor will be responsible for reviewing all shots for technical accuracy prior to delivery to client. The stereo super will make internal change lists for shots, then enter and review them in the studio’s shotgun tracking system. They will also be involved in review sessions with client studios and be responsible for accurately recording client change requests during screens and correctly communicating those requests to artists. Finally, the stereo super will be responsible for ensuring that artists understand the change requests and work with the compositing supervisor to confirm that the changes are implemented.

Essential Skills
• The stereoscopic supervisor must have solid experience evaluating stereo images for inconsistencies in depth, roundness, connectivity of objects and edges.
• The ability to communicate well with clients in a professional and friendly manner.
• The ability to work with client depth and convergence specifications and proactively address potential issues in the client’s initial choices
• Communicate well with the compositing supervisor to ensure all notes are in process and being addressed.

Desirable Skills
• Compositing and depth matte experience, especially in Nuke
• An understanding of stereoscopic playback systems
• Good management and scheduling abilities
• Experience with 3D animation packages
• Experience with the shotgun tracking system