IN FLAGRANTI’S DISCO UNICORN FETISH FANTASY.

cre022L

In our pornographic, disco-unicorn-fetish fantasies we actually are In Flagranti. All 9 of us clad in animal skin, powdered like donuts, and baying at a giant disco ball like a turgid pagan moon. But in reality, we have to put on the record and stare at the album cover just like everyone else. Not the worst thing ever, but if somehow we could trade it all in to live out our Never-Ending-Story-meets-Larry-Levan- in-a-pile-of-illicit-substances fantasy and still hold down a life, then you know…..we probably would. Til then, check out In Flagranti’s amazing albums and their covers out on Codek Records.

Graphic Designer vs Client

Ok so what do vfx companies do when they have no projects happening?

What do vfx companies do when they have no projects happening? I’ve been listening to a couple of interviews and a guy from Weta said to keep staff on and skills up when there’s no projects happening they get their writers to publish novels based on lotrs and get the sculptures and model makers to produce limited edition sculptures to sell to the fans.

Another company said that they keep their staff on as an R&D team and develop plugin’s for programs.

Good thinking I say. Anyone have any other stories of what companies do to keep on their staff during the lay periods?

Might give me an idea as a freelance nuker twiddling my thumb on what to do to keep my skill sets up while waiting for companies to get projects to happen…:scorching:happydevi

Interview with Francisco A. Cortina

Professional 3d artist who originally started out as a traditional artist and now having own company called Cortina Digital

Denis Darzacq Photography

Denis-Darzacq
Not new (from 2007) but still good, the photo portfolio of Denis Darzacq

Martin Klimas Photography

martin-klimas
Photography by Martin Klimas

record sleeve covers

In case you’re after some daily record sleeve design inspiration here is sleevage.com

Resume questions for first “real” vfx job

Hello, all. I’m looking for some advice regarding applying for a VFX position for the first time.

I live in Denver, and my current dayjob is in IT, but I’m planning on moving to LA at the start of next year to finally pursue VFX as a career. I’ve worked on effects for student films, shorts, and hobby projects, …, for years, but the only real dayjob I’ve had relating to the industry was as a Lightwave animator doing forensic animation for trials a few years back. (And wound up being more of an inhouse tools and scripts guy when they realised I could do more than just basic 3D.)

But, I’ve also been involved in a lot of local film production outside the scope of VFX. So, do you guys think that it makes sense to include experience doing things like lighting on student films on a resume when applying for VFX work? What about acting? Currently, my only IMDB credits are for on-screen work rather than technical work.

To my mind, it seems like it makes sense to push the fact that I have production related experience, and I’m not just a guy who has had an IT career. But, I doubt that including a full acting resume as a second page to an IT resume is the best way to do it. What do you guys think? Would love some feedback on the subject as I slowly start preparing myself to hit the ground running next year.

On a vaguely related note, is there any value in creating a ‘tools reel’? In the rare cases when I have free time, I sometimes play around with writing small graphics related programs. Conceivably, I could write something just functional enough to do a few shots with my own code as the primary comp tool. Of course, any tool I might write would be much less sophisticated than something like Nuke, so the resulting reel would probably turn out much less impressive than an ‘artist reel’ done with professional tools. For somebody looking for comp / tracking type positions, would that type of extra reel just be a distraction? Or could it help get a foot in the door on a technical side such that one could eventually move to a more artistic role?

Motion504’s Main Title for AICP: 19th Century Typesetting with “Kinetic Type”

AICP_Full

Minneapolis broadcast design & animation studio Motion504 coined the main titles for the AICP Show, The Art & Technique of the American Commercial, by paying a visit to a dark and unassuming steampunk-style type foundry. In the manner of Victorian craftsmanship, the title sequence introduces each reception sponsor through the invented art of “moving type” by the means of various 19th century widgets.

Opening at the storefront of the fictional Verne Bros. Kinetic Type Company, the title ushers in a cinematic tone, as inside, we meet the elderly protagonist. At the crack of dawn, working fervently, the man opens the shop for business. While the operations of the shop remain a mystery, kinetic type gadgets curiously come to life. Jingling and rattling, the inconceivable gizmos introduce the names of each AICP reception sponsor, one by one.


Client: AICP Minnesota, Kirk Hokanson, Executive Director
Product: AICP Show 2009 reception sponsor reel

Concept, Design & VFX: motion504
Creative Director/3D/Compositor: Scott Wenner
3D/Compositor: Amy Schmitt
Executive Producer: Eric Mueller

Director: Scott Wenner
DP: Bo Hakala
Art Director: Sarah Jean Kruchowski
Producer: Todd Cobery

Editor: Joe Martin

Sound Design: BWN
Sound Designer: Carl White

Posted on Motionographer

Lead Design Artist -VFX

As our lead design artist, you will work closely with our Creative Director to develop initial designs, previs and required material for a wide range of projects ranging from Hollywood blockbusters, fast paced commercials to cutting edge corporate videos.
Responsibilities: Must have the ability to work directly with our Creative Director and our clients during the initial design and previs stages of a project. Quickly provide multiple iterations of designs, storyboards, previs and animations per the Creative Director’s needs to pitch a concept
·4+ years of experience working in high-demand, high-volume production environment
·Design, sense of space and an ability to conceive and create a compelling pitch
·Thorough knowledge of Adobe Suite, including Photoshop, After Effects and Illustrator required.
·Proficiency in Cinema 4D, Maya and Flash animation a plus.
·Experience compositing is a plus
·Ability to manage multiple projects and set priorities in order to meet deadlines and achieve required creative specifications is required
·Proficiency in polygonal modeling and setup as well as texture and lighting is desired
·MUST BE LOCATED IN THE SF BAY AREA or be willing / able to relocate without reimbursement.
·Latest Demo reel (online reel highly preferred).
email jobs@wagic.com
Looking for cutting edge work /corporate types need not apply