Extensive knowledge of visual effects and Leadership are desirable.
Job Location is Pune. Salary is not constraint for the right candidate.
Please e-mail CVs/showreel links to hireme@anibrain.com.
Extensive knowledge of visual effects and Leadership are desirable.
Job Location is Pune. Salary is not constraint for the right candidate.
Please e-mail CVs/showreel links to hireme@anibrain.com.
For Creative Director/Director Chris Hoffman, the concept was inspired by his childhood in Zimbabwe where Legos were among his favorite toys – and soccer was a popular pastime. “The Lego figure is a worldwide phenomenon enjoyed by many people in many countries, and so is the sport of soccer. I felt that the Lego was the perfect character for this World Cup piece.”
It took the small team of artists over two weeks of pulling late nights and weekends to complete the spot. Hoffman credits the artists for investing their time and passion into the project, which was a labor of love – and one that everyone was proud to be a part of.
Hoffman concludes, “We hope audiences will feel the personal touch of this spot. It tells the story of how the underdog prevails through pure determination and heart. This was an opportunity to show how The Core, a well-respected and growing boutique studio, is capable of doing the A-level work that clients expect from larger companies.”
“We want our clients and potential clients to experience quality 3D character animation that’s fun and playful, but also professional – a direct reflection of our attitude as The Core,” says Chad Feeback, Executive Producer/Partner. |
LEGO CREDITS
Production Company : The Core / Los Angeles, CA / USA
Director : Chris Hoffman
Executive Producer : Chad Feeback
Lead Character Animator : Ian Mankowski
Modeling : Wendy Klein
Lighting : Chris Barischoff
3D Animators : Mike Cahill, Tom Gurney, Jeffrey Engle, Alex O’Donnell
Color and Compositing : Chris Hoffman, Alex Yoon
Production : Chris Emerson
Sound : 740 Sound Design
RELATED LINKS
www.thecore.la
Between Bears, created by Eran Hilleli at Bezalel Academy of Art and Design in Tel Aviv, Jerusalem, is a film beyond its years as a student piece and occupies a distinctive place in the spectrum of contemporary, short subject animation.
Unto itself, nearly every frame is a moving illustration. The style of the piece reduces forms to a graphical simplicity, making the visual language of the film both graceful and crude. As your eyes waft over a succession of thoughtfully composed landscapes, negative space helps to establish a vivid sense of solitary amongst the characters—sequestered, but coming to terms with a world in surrounding desolation.
Together, through a muted palette of analogous colors, the graphical beauty of the film—for some—may pull ahead of the equally abstract, yet solemn narrative, but comparatively, while the literal message of the piece may be open for interpretation, the bleak transgression of visuals paint a stark reality.
when i roto a person , i draw shape for different part of the body , but in curve editor , it only show like ( curve . 0 . left , x ,) , i can not find the right curve to editing .
and when i edit the curves , how can i change the shape freedomly ?
and what are yours workflow about roto ?
as a junior vfxer ask .thanx
Not feeling this is fair in anyway what so ever, I emailed Steve Wright directly and brought this to his attention. He said it was "annoying and wrong", but has no direct control over the pricing scheme. So I emailed Focal Press to bring this to their attention. While I believe people should be paid for their work, charging more for a digital version just isn’t right in my opinion.
I’m waiting to hear back from Focal Press about this, but I just wanted to share my slight frustration with the matter, and hopefully some good can come from this, that can benefit a lot of us who want to carry around this handy "book", without the trouble of lugging the actual book around.
————–
Hello
My name is Saeed, a digital compositor of 7 years for feature films. For a
while I have wished for a way to easily carry around Steve Wright’s Digital
Compositing Book for Film and Video around with me without the added bulk of
a book. Now with the ipad, and kindle app, this can now become a reality.
The knowledge, and easy to access reference of Steve Wright’s knowledge, in
an easy to carry tablet, is a wonderful thought. However I am put off by
your pricing structure on the digital version of your book.
The regular paperback edition sells for 37.77 on Amazon. The digital kindle
edition sells for 47.96. A difference of ten dollars, and it doesn’t even
come with the DVD. I am curious to know why this pricing difference exist,
and wanted to let you know that I don’t find it fair to pay more for a
digital copy of any medium. While I’m not expecting the price of the book to
be vastly cheaper, I was hoping it to be, at the very least, the same price
as the paperback edition.
I really want to make this purchase, but I cannot pull the trigger due to
the principles of the issue at hand.
Thank you for your time.
-Saeed
———–
I’d like to hit one key and have the layer to display ‘channels’ set to ‘depth’ and the ‘display style’ set to ‘R’ for the red channel.
Thanks,
-Cog
Natural and man-made objects on a spin cycle accumulate, disintegrate, and multiply in Andy Kennedy‘s short film, Accumulonimbus. The material is clay, but its movement is lively and effortless. Fun soundtrack by Andy as well!
Also check out the rubber molds, flash guides, and diy ceiling camera rig in the behind the scenes material.