Interesting documentary from the Previsualization Society.
Interesting documentary from the Previsualization Society.
The A-Team is the second film released in theaters featuring Naiad fluid simulations. For more information, click on the link to the article from Animation World Network below:
Speaks for it self.
Robin Hollander from Weta Digital talks us through their use of Nuke and Ocula on Avatar at NAB 2010.
Avatar © 2009 Fox. All rights reserved.
Swedish cg studio White shark who did the full cg feature film Gnomes and trolls has changed name to Forestlight studio . At the same time they are having a public injection of capital in the company read more ,also there is some changes in the board.
In my quest to write about Swedes out there in the business of VFX, I have come to Jessica Norman, Vfx supervisor at MPC in London. She is a one of few women unfortunately in the business, we definitely need more of you in the business. Lately she has been working on Night at the Museum 2 and
Robin Hood as vfx supervisor.
Jessica started her career in digital effects at MPC in 2000 working as a Digital Compositor on feature film projects. Working her way through the ranks, she now forms part of MPC’s key team of supervisors, orchestrating visual effects both on set and in the studio.
Jessica has a wealth of experience working on both live action photo real movies as well as integrating digital effects in stop frame projects such as Tim Burton’s Corpse Bride.
At the end of 2008 she was based at MPC’s new Vancouver studio leading the effects effort for Zach Snyder’s Watchmen. She has since supervised key sequences for Night at the Museum; Battle of the Smithsonian at MPC’s London headquarters.
Following post is in Swedish. From Utopia people newsletter…
I slutet av september börjar SVT:s nya program ”PANAMA”.
PANAMA är ett showcase, dvs ett skyltfönster för det allra senaste inom CGI, 3D,
musikvideos, reklam samt elev- och kortfilmer.Sitter du som kreatör på ännu
oupptäckta guldkorn? Har du med branschintresse sett något från svenska eller
utländska kollegor som verkligen borde visas för en bred allmänhet?!
PANAMA kommer att visa det allra senaste inom datagrafik, animation,
specialeffekter, prisbelönta reklam- och kortfilmer och musikvideor. Programmet
kommer att sändas på SVT en gång i veckan på bra sändningstid med repris
samma vecka. Programledare är Thomas Gylling och bakom serien står post-
production bolaget Chimney Pot som skall producera de åtta avsnitt som börjar
sändas i slutet av september.
Thomas Gylling har ju en vana att förse tittarna med ögongodis från hela världen och
under årens lopp har det visats material från t ex: Pixar, Dreamworks, Ardman
Animation, Passion Pictures, Filmtecknarna, Nexus, Kaktus, BBH, Jonathan Glazer,
Spike Jonze, Traktor, Mother, Wieden & Kennedy, BBDP, Xbox, Orange,
Gamecube, Fido, Partizan, Suoinfocom, Ringling School of Art and Design, Puppet
Animation School, Vancouver Film School bara för att nämna några…
Nu söker PANAMA med ljus och lykta efter det bästa som ni kreatörer inom den
digitala upplevelseindustrin har gjort på egen hand men som ännu inte fått möjlighet
Ersättning kan självklart diskuteras men detta är framförallt ett showcaseprogram;
en “filmkrönika“ i kortformat där vi hoppas på er medverkan och iver att föra fram
svensk kreativitet i division 1 !
Flödande visualitet känner som bekant inga gränser men det gör dock våra
möjligheter att ta emot material. Så för att inte drunkna i den digitala flodvågen måste
vi be er att skicka ert material som en högupplöst fil på CD eller DVD med namn och
The Chimney Pot / Panama
114 36 Stockholm
Format: Minimum 720 x 576 upplösning, okomprimerad QT eller Apple Prores.
Om era filmer skulle bli aktuella för visning kommer vi självklart att kontakta er!
Director Sylvain White’s comic adaptation of The Losers tells the story of a vigilante CIA black ops team hell-bent on uncovering a double-crossing plot against them. Under the overall vfx sup. of Richard Yuricich, Image Engine completed 147 shots for the film featuring no less than planes, buses, bullets & explosions. We talk to Image Engine visual effects supervisor Simon Hughes & visual effects producer Steve Garrad.
fxg: What were the main Image Engine contributions to The Losers?
Steve Garrad: There were basically three big scenes. The opening sequence featured the bus explosion and also involved a CG plane and a background matte painting by Deak Ferrand at Hatch. Then we did a big explosion made up with elements, with the ‘Losers’ running away with the kids they’ve saved. Then there’s the Miami heist. They’re flying in their helicopter and steal ‘the package’, which turns out to be an armored vehicle. Some of that was a CG helicopter, but it’s mostly practical. The magnet is all-CG and the armored car is as well. The finale is the jet runway sequence where the bad guy is killed as he flies into the engine. You’ve got to have your bad guy dying badly. It’s a CG plane, explosions and a CG digi-double. Good boy’s fun, basically!
read more at:
Can you tell us about your background?
I wanted to become a cartoonist at an early age. I was completely enchanted by the old Disney movies and admired the stories Franquin, Uderzo or Herge were able to create with their incredible draftsmanship. In rural Switzerland, working in such an artistic field was as unrealistic as becoming an astronaut, so I ended up doing a banking apprenticeship in my hometown.
I knew quite quickly that being a banker was not going to make me happy, so I started pursuing my artistic career with determination. After my military service I worked as a snow sculptor for about a year and shortly thereafter managed to get into the F&F Schule fur experimentelle Gestaltung in Zurich. After a summer internship at an animation studio in Lausanne (Animagination), I found my way to Les Gobelins animation school in Paris, which is one of the most prestigious animation schools in the world.
In my year, there were about 900 applicants and after three rounds of testing, they finally accepted 20 students into the program. Lucky for me, the big Hollywood studios knew about Les Gobelins, since a lot of their talent were former students. I had a contract offer in my hands about a year later. I moved to Los Angeles right after my graduation and started working as a 2D animator on THE PRINCE OF EGYPT in the Summer of 1997. I’ve been at the studio ever since and have worked as an Animator and Supervising Animator on many of the Studio’s animated features both in 2D and in CG, including THE ROAD TO EL DORADO, SPIRIT: STALLION OF THE CIMARRON, SINBAD: LEGEND OF THE SEVEN SEAS et SHARK TALE. I have worked as a character designer on OVER THE HEDGE and before HOW TO TRAIN YOUR DRAGON I did some additional animation on THE BEE MOVIE and KUNG FU PANDA and then was one of the Supervising Animators on the Aardman co-production, FLUSHED AWAY.
Read more at:
If you want to see the names driving Hollywood’s growth, you have to stay for the movie’s credits. The very end of the credits. After the actors and electricians — sometimes even after the people who serve the tacos on set — come the visual-effects artists. These are the people who make superheroes fly and cities fall into the ocean, and the effects-reliant films they work on, like Avatar and the Harry Potter franchise, are Hollywood’s biggest moneymakers. (See the 100 best movies of all time.)
Their place in the credits says something about visual effects (VFX) artists’ place in the Hollywood pecking order. Ironically, just as they are peaking in creativity and propelling box-office hits, VFX companies are facing a crisis years in the making. Thanks to fierce global competition, the hangover from Hollywood labor unrest and a lack of negotiating power with studios, many VFX firms are closing up shop or outsourcing to stay afloat.
“Fundamentally, visual effects is a crappy business,” James Cameron told me when I interviewed him for my book, The Futurist: The Life and Films of James Cameron. “You don’t make much of a margin. A good year for us was 5%. Sure, we were doing huge volume but at a low margin.” In 1998, after the VFX company he helped start, Digital Domain, won an Academy Award for its groundbreaking work on Titanic, Cameron resigned amid dispute about its direction. Since then, Digital Domain has emerged as one of Hollywood’s leading VFX shops, alongside George Lucas’ Industrial Light & Magic (ILM) in San Francisco; Peter Jackson’s Weta Digital in Wellington, New Zealand; and Rhythm & Hues and Sony Pictures Imageworks, both in Los Angeles.
Read more: http://www.time.com/time/magazine/article/0,9171,1990803-1,00.html#ixzz0oYZT2fBK
Read the article:
Ghost VFX in Copenhagen is extremely busy at the moment with Sorcerer’s Apprentice and a bunch of other interesting projects.
That means we are looking for a very experienced maya render / shader artist and an equally experienced fusion compositor to help out from -right now till june 11th.
Ghost will pay for airfare and hotel.
please send a reel, salary expectation and a CV to firstname.lastname@example.org.