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So, um, anybody want to come to Mississippi to help me out for 2 months on a few projects? Contract position. We're swamped and I handle several positions here so I need a dedicated animator under me to help us through this busy season. PM for details if at all interested! Must be proficient in After Effects and Maya (2008 and above). Everything else is a plus. BonoMan fucked around with this message at 00:20 on Aug 9, 2012 |
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Aug 9, 2012 00:17
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mutata posted:Maybe he wants to loft or extrude it or whatever along a path? Try deleting history before attaching them. So I tried Deleting History on both curves, which didn't really appear to do much. Then I performed my attach and the same issue is happening. There has to be a step I'm missing here. Edit: Nevermind. I deleted the history on the final curve AFTER attaching and that fixed it. Thanks!
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Aug 9, 2012 01:14
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BonoMan posted:So, um, anybody want to come to Mississippi to help me out for 2 months on a few projects? Contract position. We're swamped and I handle several positions here so I need a dedicated animator under me to help us through this busy season. PM for details if at all interested! Will you guys cover any sort of residence for the duration? Could pass this on to a couple friends of mine.
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Aug 9, 2012 01:14
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Travakian posted:Will you guys cover any sort of residence for the duration? Could pass this on to a couple friends of mine. I believe so, yes. I'll have to double check though.
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Aug 9, 2012 01:27
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sigma 6 posted:Hahahah - somebody sounds a little bitter. I just got done with the Autodesk education meeting. Ran into a guy from R&H and he said that VFX studios haven't used UVs in a while and they don't use envelope weighting anymore either.  Yeah figures someone from R&H would say that [  ]. Voodoo is the exception, they are the only major studio that doesn't use envelope weighting, they use radial falloffs parented to a rig structure [called homes] so it's a rig driving a rig. Or muscles [nurbs splines and volumes] via point based deformation. R+H has gotten its poo poo down for rigging, and voodoo is great for that. But.. quote:Yeah, most good stuff at studios is proprietary anyways. Voodoo, Ice....  quote:... good stuff ... Icy ... Icy is "awesome".. in that early 1990's SGI homebrew kind of way. I wouldn't call it good. Their new compositor in development should be good... But Icy is old and dated and will drive you nuts coming from Nuke [which is the current gold standard for compositing]. For all the good proprietary stuff they do [I still think R+H has the best pipeline department in the business and one of the best creature rigging departments] , they still have to use off the shelf software [mostly in modeling, fx and some rendering] Proprietary is good, ILM's Xeno can do some neat/fast stuff when it comes to dynamics and fluids, and it was announced this week that Dreamworks is sharing its volumetric system into openSource called OpenVDB. Saw some neat things with it [including converting a huge high polygon environment into a accurate volume very very quickly compared to other solutions] DD is picking it up for use as well. http://www.openvdb.org/download/index.html Big K of Justice fucked around with this message at 03:53 on Aug 9, 2012 |
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Aug 9, 2012 03:49
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Has anybody tried the Source Filmmaker? I was kinda interested in learning it just for fun, but I´m thinking that maybe that's a waste of time.
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Aug 9, 2012 03:54
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Chernabog posted:Has anybody tried the Source Filmmaker? I was kinda interested in learning it just for fun, but I´m thinking that maybe that's a waste of time. It's definitely good in terms of if you want to make CG films, although Source Engine in general is a little lacking in terms of dynamic shadows, and it's difficult to make not-blocky maps without using a ton of hard to use displacements, etc. Otherwise, Valve's made all their trailers with it, so it's pretty solid. For example, this: https://www.youtube.com/watch?v=tMzpLnQtVuE&hd=1 Also creating good/any particles in Source from scratch is extremely hard to look right, compared to something like UDK, which in turn is extremely hard compared to a normal 3D package.
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Aug 9, 2012 05:37
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Chernabog posted:Has anybody tried the Source Filmmaker? I was kinda interested in learning it just for fun, but I´m thinking that maybe that's a waste of time. http://forums.somethingawful.com/showthread.php?threadid=3493102
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Aug 9, 2012 06:48
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Cool, I didn't know that thread. I was mostly thinking about using it to practice 3D animation without having to make or rig characters.
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Aug 9, 2012 07:03
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Chernabog posted:Cool, I didn't know that thread. I was mostly thinking about using it to practice 3D animation without having to make or rig characters. I think it's a good streamlined program if you want to practice storyboarding ideas. Honestly I'm a firm believer that if you want to get into animation, you should pay your dues and learn the fundamentals at some point. You want to be able to stay flexible and not let the limitations of something like this hold you back. That's not to say once you learn you can't use this to save time
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Aug 9, 2012 07:09
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Claes Oldenburger posted:I cannot believe you sculpted that hair. That is amazing and I am in awe! Love the horns too. Thanks a lot man  sigma 6 posted:SVU Fan: That is nuts that you sculpted every bit of that. Do you have any WIP of that? Or any particular workflow you followed? That seems tedious as hell, especially if you didn't use fibremesh at all. I'll try to get ya some early WIPs when I have some extra time. Fibremesh seems like it has a lot of potential, but I'm pulling more towards the printing/toy industry with what I want to do, so it seems like a bit of wasted time trying to master it, when I can easily to just sculpt a hair mesh, then paint fine hairs and depth over it in photoshop. Sculpting detailed hair (especially on a fuckin yeti where the whole body is covered) can be pretty time consuming, but it's a lot of fun IMO. Just Claytubes and dam standard, building up primary and secondary forms and layers just like real hair.
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Aug 9, 2012 07:11
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Chernabog posted:Cool, I didn't know that thread. I was mostly thinking about using it to practice 3D animation without having to make or rig characters. I'm not sure Source Film Maker is really streamlined towards pure keyframe animations, you might have a heck of an easier time picking up a free rigged character for Maya/XSI instead.
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Aug 9, 2012 07:28
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Alan Smithee posted:I think it's a good streamlined program if you want to practice storyboarding ideas. Honestly I'm a firm believer that if you want to get into animation, you should pay your dues and learn the fundamentals at some point. You want to be able to stay flexible and not let the limitations of something like this hold you back. That's not to say once you learn you can't use this to save time I'm already an animator, but 2D. I have worked on 3Ds max before but this just seemed like a fun idea to try out and get some practice. I guess I'll check out the tutorials and see from there.
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Aug 9, 2012 08:17
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I'm modelling a character and want to learn how to UV map a relatively simple object, but with as little seams as possible. I've attached the .obj and screenshots just in case. The character has a dome like hair shape. I've already uv mapped it without any seams, and it seems to be O.K. However, with the box texture applied, I can see some boxes are obviously bigger than others and when creating a hair texture, I can see I might have problems. I'd like to suitably UV map this shape for hair that will make it as easy as possible to paint in photoshop (as flat as possible) without seams. If it needs seems, can anyone suggest a place to put the seam? Its such a simple object I'm probably overthinking it, but I'd like to learn the best technique to solve this issue. Edit: Using Maya 2012 by the way.     obj data http://www.mediafire.com/?sbyjszf38ees9sw
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Aug 10, 2012 04:43
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If it's seamless, that's why you're getting the distortion. Either up the sides or back would be a good place for a seam cut.
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Aug 10, 2012 05:09
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Im actually going to remake the hair in a bit more detail. I can then break down the polygon mesh into hair chunks.
Rekka fucked around with this message at 10:35 on Aug 10, 2012 |
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Aug 10, 2012 06:43
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For you guys who work/have worked freelance, at what point do you introduce a contract in the mix? I was just hired by a company to work on site fulltime for three months, and I've signed an NDA, but no contract of any kind has been passed around or talked about. They've agreed to pay me what I asked for on an hourly rate when I'm there working, but isn't that pretty much bullshit unless an actual contract has been signed? Also, is it common for a trial run, or work "test" to be given before starting the job? It's a paid test, but it's for much less than I would be getting for doing the same project under the payment terms that they agreed to give me for the job. They look like a legitimate, professional company from all the looking around I did, so hopefully I'm not being had and this is a real job! Wooo!
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Aug 10, 2012 18:22
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Just updated my showreel and would be interested what you all thought. https://vimeo.com/47314933 All work completed in Softimage, critiques are most welcome.
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Aug 10, 2012 18:41
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SVU Fan posted:For you guys who work/have worked freelance, at what point do you introduce a contract in the mix? Immediately. If they are legit they won't be put off by it. They may negotiate terms etc. But if they don't want one that is a pretty massive read flag. Tests are common in games. Less common in film. BS either way if it is going to take more than a day of your time.
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Aug 10, 2012 20:23
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mashed_penguin posted:Immediately. If they are legit they won't be put off by it. They may negotiate terms etc. But if they don't want one that is a pretty massive read flag. Thank you! I'm mocking up a contract right now, so I will get that to them asap. As far as tests go, since this is a paid test, should I be including that portion into the main contract? Or for things like that where significantly less work and pay is involved, is an agreement written through email enough? I'm trying to get something going that's simple enough to not be a hassle for anybody (myself included), but it will be a much bigger hassle dealing with getting hosed out of payment or anything like that. The rights stuff is pretty confusing. I'm going to be working for a company that is providing me with sketches that I am going to convert to 3d for packaging illustrations, so I'm assuming since the concepts and characters are already properties, that I should just be looking forward to payment for labor? SVU Fan fucked around with this message at 22:49 on Aug 10, 2012 |
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Aug 10, 2012 21:44
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Geared Hub posted:Proprietary is good, ILM's Xeno can do some neat/fast stuff when it comes to dynamics and fluids... The interesting thing with Zeno is that it can do everything. It's an entire pipeline in a box. There are some things it does better than others, but it's the scale of it that causes the interesting issues. If I go upstairs, I'll see all the artists in Art sitting in front of Maya or zBrush or Photoshop. Next building over, I see the comps' sitting in front of Nuke. Digimatte sit in front of Photoshop and 3dsMax and some of the particle guys sit in front of SoftImage. Because even though they sit in the training group for a couple of weeks working directly with Zeno and running tutorials, ultimately they're still most comfortable with what they know, which is the commercial stuff they learned their trade on. Directly upstairs there's a group of eighty or so people who just develop Zeno and relating tools. It's sure great having an internal, proprietary tool like Zeno as anything we can't do is 'doable' within a few weeks. It's a bit of a headache when it comes to opening satellite offices though (LA / Vancouver) and it's a bit of a headache when it comes to sharing assets with other studios (Hi Alembic, thanks for being made!). Honestly, I'm wondering whether the infrastructure (hardware / software / developers) required to run Zeno is actually worth it considering how up to speed commercially available tools are these days - not to mention how many interchange formats there are to move stuff between different vendors and studios.
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Aug 10, 2012 22:23
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Citadel posted:Just updated my showreel and would be interested what you all thought. That's pretty sick, are some of those for the 11 second club? I think I have seen em before.
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Aug 11, 2012 01:46
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SVU Fan posted:Thank you! I'm mocking up a contract right now, so I will get that to them asap. Yeah if you are working from established concepts and making somethign for someone else your contract will usually talk about what you do as "work for hire". Massive disclaimer that I am in no way a lawyer. If you are going to be doing a bit of freelancing it really is worth contacting a lawyer who can help you not get screwed.
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Aug 11, 2012 02:12
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 An update on my little hobby project. Hardest bit is to figure out how I'm gonna fill in the scene  I stole the camera position though, so maybe I should just try to remake the photo?
International Log fucked around with this message at 10:23 on Aug 11, 2012 |
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Aug 11, 2012 10:19
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Chernabog posted:That's pretty sick, are some of those for the 11 second club? I think I have seen em before. Thanks. Yeah,I entered those 2 clips, the priest one achieved first place. I was delighted.
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Aug 11, 2012 11:17
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International Log posted:I stole the camera position though, so maybe I should just try to remake the photo? I'd use the same environment for sure. If you're going to pick a new angle, re-appropriate the entourage from that angle once it's done. edit: You may already be doing this, but google street view and flickr for the surrounding areas will be very helpful in nailing the smaller details. The building itself is looking good! The lighting is pretty special and the main features of the building are reading really well, better than the photo even. Gives it an iconic quality that really sells (ie good arch viz). I'd try and get some more depth into the windows though - around that time of night youre going to have a few lights on. Hit up cg textures and take some of the office photos, then cut out alpha channels for the desks/clutter in the foreground to apply to a copy of your glass pushed back 1m or so. mat by elements and some variations to make it random is the quickest way to populate office floors. cubicle gangster fucked around with this message at 22:14 on Aug 11, 2012 |
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Aug 11, 2012 21:59
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sigma 6 posted:Hahahah - somebody sounds a little bitter. I just got done with the Autodesk education meeting. Ran into a guy from R&H and he said that VFX studios haven't used UVs in a while and they don't use envelope weighting anymore either. The quote about UVs is pretty far from the mark. Apart from Disney and maybe Pixar, most facilities, if they use ptex at all, use it in very specific situations rather than as a general solution. Some of the most interesting work with Ptex (IMHO) is the stuff Scott Metzger is doing with onset capture, Lidar scans and projections, Mari and Vray. http://www.youtube.com/watch?v=1d8ypguQjFw&feature=youtube_gdata_player Scott showed an updated version of this at Sigraph using Faro Lidar scans and 12k spherical projections. Crazy stuff.
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Aug 11, 2012 23:04
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Citadel posted:Just updated my showreel and would be interested what you all thought. Brilliant stuff, you are very talented!
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Aug 12, 2012 17:02
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This past week was my first siggraph, and I would definitely say it was pretty awesome. I experienced my first earthquake as well on Wednesday (which I thought was just me feeling ABSURDLY hung over and getting vertigo while walking, but later found out it was indeed a small quake). Emerging Technologies was indeed super awesome, and the holographic monitor with the bunny that you could sculpt and relight, while looking at it in 3d was freaking amazing (the bubble projections were super rad too). The career fair was pretty mixed, some companies (method, framestore, the mill) really had their poo poo together and were taking the time to look at anyone who was prepared, but a few others (I'm looking at you DD) seemed to have a booth with 1 recruiter and a handful of people who had no idea what was going on/could provide no information about anything. A lot of really awesome talks, but I'm super bummed I missed the Effects Omelette presentation due to my lack of a full conference pass. Live and learn, next year I'll drop the cash on a full pass. SideFX renting out the ENTIRE ESPN Zone was pretty absurd as well.
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Aug 12, 2012 19:31
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My favorite SIGGRAPH's were the ones where you got off the hotel shuttle bus in front of the convention center, only to see all the trashbins out front filled with rejected demo reels...  The best bet for siggraph is to have your stuff sent in early so your interviews are all set up for the conference. If you are submitting at siggraph.. theres no guarantee you'll even get looked at before the convention is over.
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Aug 13, 2012 23:23
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Geared Hub posted:My favorite SIGGRAPH's were the ones where you got off the hotel shuttle bus in front of the convention center, only to see all the trashbins out front filled with rejected demo reels... Hahahaha god that is a funny mental image. Also I totally agree that I should have set up interviews before I went, it was a VERY last minute trip (I got my tickets a week prior to leaving) so all in all it was a nice last minute vacation centered around being a CG nerd. Also for those who haven't heard, AutoDesk bought Naiad, which means naiad has been issued its death sentence as they've stated it will no longer be a stand alone. http://usa.autodesk.com/adsk/servlet/pc/item?siteID=123112&id=20307972 Part of me is bummed because naiad seemed really great, but the other part of me is happy I've been lazy in not learning it. Edit: Just noticed that autodesk also hired Bridson, which sounds like it could actually result in Autodesk having a chance at not destroying naiad by integrating it into max/maya/whatever. Trintintin fucked around with this message at 00:39 on Aug 14, 2012 |
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Aug 14, 2012 00:36
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Citadel posted:Just updated my showreel and would be interested what you all thought. I was really amazed by the priest sequence when I saw it as part of the 11 Second Club. Your work is really really good!
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Aug 15, 2012 01:23
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GFBeach posted:I was really amazed by the priest sequence when I saw it as part of the 11 Second Club. Your work is really really good! Thanks! I've been researching eye movement a good bit since that animation and there a lot I'd change. Live and learn I guess. Does anyone have a site they can point me towards for decent mocap .bvh files? I realise this is blasphemous for an animator. I've some detailed pre-vis to block out and I really don't want to keyframe a few walk cycles, only to have the client request to 'make them slower' or 'can we add a back-flip'.
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Aug 15, 2012 19:05
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I'm working on a film for some very expensive apartments and today I started making some props of the kinds of things these people would own. This is a $250,000 clock:  e: this one - http://www.whitehurstclocks.com/ All the references I used were taken from there. cubicle gangster fucked around with this message at 00:05 on Aug 18, 2012 |
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Aug 17, 2012 02:10
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Jesus, that's more than my first apartment.
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Aug 17, 2012 03:20
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SynthOrange posted:Jesus, that's more than my first apartment.  I'm suddenly more ok with living in the burbs.But seriously, is $250k "normal" for apartments in a metro area?
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Aug 17, 2012 19:22
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[edited out]
BonoMan fucked around with this message at 16:03 on Aug 19, 2012 |
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Aug 17, 2012 19:36
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You're working at C+C now? I know HP1 digs go for that much(and apparently only get bought my investors lol).
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Aug 17, 2012 19:38
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edit:[OUTTAHERE]
Handiklap fucked around with this message at 20:59 on Aug 20, 2012 |
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Aug 17, 2012 20:02
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Handiklap posted:[REDACTED] edit: [REDACTED] BonoMan fucked around with this message at 16:02 on Aug 19, 2012 |
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Aug 17, 2012 20:09
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