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Handiklap posted:What are you casting with, metal- and mold-wise? I feel like the wings could be doable with something less dense like aluminum and a silica shell with a ridiculous amount of venting/a tall spout to shove a shitload of pressure into it. Obviously a separate part that would need to be welded afterward, but it should be possible with the right mold. I took the wings off also for comfort. Too much pokey stuff isn't good for a cane you want to grab easily. My friend with the foundry really wants me to carve it out of styrofoam but I have already made it in zbrush and want to streamline the process between 3d sculpt -> 3d print -> silicone mold -> wax -> bronze. Aluminum would work too and would be much lighter overall. Another version here. Not sure I like the arms / legs / pattern on the horns.  Very worried the greeble detail will be lost in the process. Here is the state of the bust from earlier. Mother mold will be next. 
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Oct 11, 2015 03:18
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Thats gonna look fantastic man keep up the good work.
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Oct 11, 2015 11:17
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sigma 6 posted:I took the wings off also for comfort. Too much pokey stuff isn't good for a cane you want to grab easily. My friend with the foundry really wants me to carve it out of styrofoam but I have already made it in zbrush and want to streamline the process between 3d sculpt -> 3d print -> silicone mold -> wax -> bronze. Aluminum would work too and would be much lighter overall. Tbh I think the face/beak would look better with less greeble.
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Oct 12, 2015 06:40
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Thanks! The greeble density is the same on the body as it is on the head. I've actually cut it down from the first version. Would rather have less greeble with more depth, vs more greeble which might be too fine to show up on the 3d print. You can see a lot of the detail in the face is actually sculpted here.  Some random materials and lighting testing. Funny, but I think I like the zbrush bronze material (top) much better than the one I cooked up in Maya (under this text). Trying to get stones in the eyes is going to be a complete bitch. Not sure how I am going to do that except maybe buy the stones and then mold the wax around them, to be sure they will fit.  The zbrush render below shows off the detail with some kind of built in dirtmap. Bronze definitely darkens a lot when dirt can collect in the detail. 
sigma 6 fucked around with this message at 04:59 on Oct 13, 2015 |
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Oct 13, 2015 00:18
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cubicle gangster posted:I have a friend who does a lot of car stuff and I spoke to him about it depth a while ago - From what I remember they spend a couple days stripping down and cleaning up nurbs data and then bring that into max using power translators (used to, might be modo now) and then it's basic poly modeling with meshsmooth over the top of it deleting the original geometry as they go. He said they also sometimes just extract a bunch of splines for a lighter reference that can be always on. That's very interesting thanks. As I said previously at the moment I'm in alias production modelling. In your professional opinion, what would be the best possible work flow for me to learn to have a play with visualisation for cars. I used to shoot press kit photos and this feels like sort of a decent way for me to bridge the gap of the two. Is it going to be alias>max>vray or is there anything better/simpler? I love banging out pretty images and find it much more rewarding than solid grey block models that go into production years later after a billion revisions.
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Oct 13, 2015 10:33
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STP to max 2016's new importer is apparently the tits. You may need to use a mixture of IGES and SAT too, export each panel/section of the car as a separate file - it'll help so you can organize it as you go and check that it's coming in clean. But yeah, max and vray is generally the done thing. You may already know them, but look at everything these guys do - https://www.behance.net/Circle-Media Take a look at suurlands work too for interiors - http://www.suurland.com/ Although he's not updated his website in over 6 years... You may also want to look into HDR light studio for doing studio shots - https://www.lightmap.co.uk/blog/customer-work/automotive-cgi-studio-lighting-demo/ cubicle gangster fucked around with this message at 16:20 on Oct 13, 2015 |
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Oct 13, 2015 16:14
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I looked at hdr light studio yeah. Absolutely incredible. My trial has expired though and it's impossible to find to play with. I can't justify the cash on it until I need it for a job. Circle media are absolutely bonkers bloody hell! I should spec a new home machine really to get into this vis stuff. Anyone got any insight on what to get? Probably spend around a grand? No new screen needed.
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Oct 13, 2015 19:47
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An i7‑4790 (can be overclocked to 4ghz with no effort/additional cooling) , 32gb ram and a geforce 970 should do you.
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Oct 13, 2015 23:43
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sigma 6 posted:Thanks! The greeble density is the same on the body as it is on the head. I've actually cut it down from the first version. Would rather have less greeble with more depth, vs more greeble which might be too fine to show up on the 3d print. I think what he meant is that the face is a big noisy mess in comparison to the nice breakup on the body between the greebly details and the flat smooth surfaces where your eye can rest. Pulling some of the detail out of the face so that it isn't a consistent level of noise will make the shapes read better. Right now he's very crinkly and then you stuck the greebles on him - smoothing out some of the crinkles will make it read more clearly.
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Oct 14, 2015 00:01
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forelle posted:https://www.thefoundry.co.uk/about-us/news-awards/mercedes-and-design/ Yeah. When I was in the Bay area and not working crazy OT at ILM I spent all my spare time and a few grand on Tech Shop classes, learned basic welding practices, 3d printing, laser cutting, water jet operations, metalworking, etc. That's when I started picking up CAD/CAM and doing simulations in non VFX software. I'd prototype on wood, do mockups, go buy steel and aluminum and started knocking out motor mounts, transmission mounts, etc. I want to get into running FEM sims for stress testing and CFD sims for heat transfer and air flow testing. I helped out with some deserting racing teams over the years, and there's a lot of trial and error there, and big money [a trophy truck runs 300K to 1M] and if I can run cooling/airflow sims on their setups it could save a lot of fab time on their end. Thought about getting into AR doing a "glass cockpit" for 4x4's using the DK2 kit I picked up, but that's going on the back burner until next year. I figure I'll join up with SEMA, they have garage days with automakers where they'll bring in their late model year car/truck that's coming out and let you take it apart in a garage to measure/scan components so you can start model aftermarket stuff for production. I need to find a vendor that'll rent out a scanner for that purpose down the road. A lot of the guys post screen shots of their solidworks/inventor files showing off their latest chassis/suspension designs and the follow up metalwork/welding. What I'd like to know if where they are picking up models of engines/transmissions, or they're building up their own internal library over time. There's got to be a place that specializes in that.. I've seen a number of great models over at turbosquid... I'm planning to hit Sema in Vegas in Nov, I've seen CAD/engineering software vendors there so I'll dig around..
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Oct 14, 2015 08:12
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I have a model of a scene that is split into two sections like so: O____/\__ _/\_____-_-_-__ Imagine that the first line is one mesh and the second line is the other half of the mesh of the whole scene. Also the bolded /\ shape is the SAME object in both halves and I want to align these two meshes using the /\ as a reference point. So the combined scene mesh would look like this: O____/\_____-_-_-__ Now what I want to do is sew these two pieces together back into a single mesh. This would be easy with a vertex snap tool if I grabbed some vertex, lets say the top of the /\ shape, in both meshes and moved them so they snap together. BUT my problem is that these meshes are rotated slightly differently from each other. So in my head the solution is to pick a triangle on the /\ shape in both halves and somehow have the software automatically move and rotate one of the pieces so that the triangles overlap perfectly. I have access to MODO 801 and Blender. Can I achieve this with either software? I'm open to downloading another software to do this as long as it's free. Thanks! StickFigs fucked around with this message at 18:51 on Oct 14, 2015 |
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Oct 14, 2015 18:48
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StickFigs posted:I have a model of a scene that is split into two sections like so: I would be surprised if MODO or Blender don't have a normal align function. This should let you align both the vert location and then the vert normal.
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Oct 14, 2015 19:59
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Sigma-X posted:I would be surprised if MODO or Blender don't have a normal align function. This should let you align both the vert location and then the vert normal. Not having any luck finding the normal align function in Modo if it exists. I'll try looking around Blender.
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Oct 14, 2015 20:50
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Sigma-X posted:I think what he meant is that the face is a big noisy mess in comparison to the nice breakup on the body between the greebly details and the flat smooth surfaces where your eye can rest. Pulling some of the detail out of the face so that it isn't a consistent level of noise will make the shapes read better. Right now he's very crinkly and then you stuck the greebles on him - smoothing out some of the crinkles will make it read more clearly. I may do one more iteration before sending it to the 3d printer. Odds are there are going to be a couple different 3d print versions before the rubber mold happens. cubicle gangster posted:An i7‑4790 (can be overclocked to 4ghz with no effort/additional cooling) , 32gb ram and a geforce 970 should do you. Hmmmm.... Now I want to see if my mobo will support that chip. This is what happens when I find a new brush to play with. 
sigma 6 fucked around with this message at 04:56 on Oct 15, 2015 |
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Oct 15, 2015 03:14
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MOAR CHAIR (Wassily by Marcel Breuer) e: probably pair it with the Geller House II Handiklap fucked around with this message at 14:05 on Oct 15, 2015 |
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Oct 15, 2015 13:59
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StickFigs posted:I have a model of a scene that is split into two sections like so: No luck with Blender so far. I found these two scripts but it looks like ultimately they just rotate objects so faces are flat against each other not necessarily aligning polys. http://wiki.blender.org/index.php/Extensions:2.6/Py/Scripts/3D_interaction/Precise_Align http://wiki.blender.org/index.php/Extensions:2.6/Py/Scripts/3D_interaction/Align_by_faces EDIT: Looks like this one does exactly what I wanted: http://wiki.blender.org/index.php/Extensions:2.6/Py/Scripts/3D_interaction/Precise_Align StickFigs fucked around with this message at 19:35 on Oct 15, 2015 |
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Oct 15, 2015 15:20
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Handiklap posted:MOAR CHAIR (Wassily by Marcel Breuer)
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Oct 15, 2015 17:23
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Chas McGill posted:I'm loving this series. Glad you enjoy it! It's been a loooong time since I've done a legit series of anything, but I think I'm finally remembering how freeing and rewarding it is to just let the work find you. I know we've all got bills to pay, and I'm sure a lot of you love what you do professionally, but I urge each and every one of you to take a time out once in a while and make something completely selfish. 
Handiklap fucked around with this message at 21:59 on Oct 15, 2015 |
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Oct 15, 2015 21:54
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Handiklap posted:MOAR CHAIR (Wassily by Marcel Breuer) I have two of these in my house! I wasn't terribly stoked on getting them, but my wife swore it was a deal of a lifetime and they had a certificate and poo poo... which I don't care much about, but they actually are pretty comfortable (unlike Bertoia). Killer work, it looks amazing.
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Oct 16, 2015 20:05
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RizieN posted:I have two of these in my house! I wasn't terribly stoked on getting them, but my wife swore it was a deal of a lifetime and they had a certificate and poo poo... which I don't care much about, but they actually are pretty comfortable (unlike Bertoia). Killer work, it looks amazing. I landed a job at an arch viz firm in Oklahoma City, and when I went to visit last week, they had gotten two of them as guest chairs. They knew about the series at that point so I think maybe they got them to impress me? I was so excited about meeting everyone and seeing their farm setup that I didn't even take the opportunity to sit in them, so I felt pretty bad about it after the fact. I hope they don't feel like I was dissing their sweet seats  #guiltmodeling #lettheworkfindyoue: definitely agree on the Bertoia (I assume you're talking about the wire diamond). Dad of a good friend of mine in high school worked for Knoll, so they had at least one piece in each room, Bertoia, Womb, Barcelona, Coconut...everything. I can remember the Bertoia despite sitting in it last nearly 20 years ago. I mean, it looks like such a great idea. Handiklap fucked around with this message at 21:43 on Oct 16, 2015 |
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Oct 16, 2015 21:27
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Well it's not the world's most comfortable most amazing chair, it's no $5,000 Eames or anything, but it was way better than I thought it was going to be. The chairs are in my record room/office so in honor of this conversation I put on a vinyl and smoked a joint in my chair for you. The Bertoia (I don't have the diamonds, but the more normal looking chair, I believe it's a knock-off too, so I shouldn't really call it a Bertoia) is comfortable in very small doses, but I had one of those things as my desk chair for a while and that got to be fairly miserable. Can't wait to see your next work!
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Oct 19, 2015 15:43
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There are a bunch of expensive computer graphics schools like "Gnomon" here in Los Angeles, are they for real? Could someone reasonably take a year or two of classes here and learn enough to secure a job? Has anyone gone to one? Are some better than others? I have done around 15 hours of tutorials for maya using lynda.com/youtube. How are these schools different from just teaching yourself? I have spent the last 6 years doing counseling for seriously/terminally ill people at a non-profit. I have no longer have a desire to do this or anything related to it. Is it silly for me to think that by working hard for a couple years to develop an in-demand skill set I could gain employment? Which skills are most valuable? Someone mentioned houdini a few a pages back. Are there any other specific in-demand areas an individual could focus on for a year or two that could lead to employment? Also, how common are stories like this today? http://www.fxguide.com/quicktakes/vfx-in-los-angeles-100-hour-weeks-homeless/ (tl/dr: guy with millions of youtube views of his work in VFX ends up homeless while working 15 hour days)
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Oct 19, 2015 23:53
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hazyrazor posted:
Trying to break into the VFX business in LA these days is a fools errand, because it's all left for Vancouver and Toronto (as well as places like Singapore and London). I'm guessing this guy went to Gnomon, which used to be a guarantee of a job, but the industry is no longer in that area. In comparison, every single person in the Sheridan VFX class this year got hired by a major studio because by going to Sheridan they were able to get Canadian work permits. If they went for 2 years they got 3 year work permits which basically guarantees that you can get PR and work anywhere in Canada because you only need a year of work experience to apply for Permanent Residency (some of my classmates and my girlfriend are already well on their way to getting PR through provincial nomination. I extended my work permit through NAFTA for another 3 years, and start applying for PR next month). Compositing and lighting were the most popular jobs to get hired for, but some got stereoscopic depth artist positions and one guy with a masters in Math from Russia got a job doing Houdini, and he makes an incredible amount of money and they pay him OT if he ever works overtime. This was his student reel: https://vimeo.com/118192492 Now the reason the business is like this is because film tax credits pay 60% of the salaries of any artist working in Canada (specifically British Columbia, Quebec, Nova Scotia, and Ontario). The only problem is nobody know how long this bubble will last. Canada is going through financial problems, and because so many VFX companies moved up here, it's making the provinces take a second look at their tax credit scheme. Nova Scotia almost lost it all this year, but thanks to some back-room dealing ended up cutting film tax credits but retaining credits for VFX and animation. If they cut it though, that's it, and we'll all have to move somewhere else and hopefully have enough experience to get work permits elsewhere (or if it goes back to the US, I guess I can move back there. Doubtful though.) So if you're set on becoming a VFX artist, I would recommend the two-year Computer Animation and then Visual Effects course at Sheridan. It's cheaper than Gnomon and you'll be very hireable. But if you don't want to move to Canada and are scared that the bubble will burst when you've just gotten settled into a career, I recommend a more stable path like Arch or Product Viz, or maybe motion graphics (i dunno if this is actually more stable). Also before you embark on this quest read Pierre Grage's book "Inside VFX". It points out the current and possible future state of this industry, which is both educational and deeply, deeply unsettling.
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Oct 20, 2015 00:54
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hazyrazor posted:There are a bunch of expensive computer graphics schools like "Gnomon" here in Los Angeles, are they for real? Could someone reasonably take a year or two of classes here and learn enough to secure a job? Has anyone gone to one? Are some better than others? I have done around 15 hours of tutorials for maya using lynda.com/youtube. How are these schools different from just teaching yourself? That article is pretty bad. If he had millions of views of his work on youtube, he would get a healthy sum of money from them. It's more likely that the videos he worked on got millions of views, but if he was doing tracker removal, it's not really any real indication of his skills. It's really hard to say if you, after a few years of studying hard, can get a job/career in VFX. It requires a combination of hard work, technical & creative ability, to be able to work with others, under pressure. Relatively few people have the correct combination of talent, which is why there's pretty much always a skill shortage. Schools have an important role, as any one can learn to create stuff. However, learning to create stuff to specific directions and adjust it accordingly to feedback is a vital skill to learn and it's a tough lesson to learn for many people.
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Oct 20, 2015 01:04
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hazyrazor posted:There are a bunch of expensive computer graphics schools like "Gnomon" here in Los Angeles, are they for real? Could someone reasonably take a year or two of classes here and learn enough to secure a job? Has anyone gone to one? Are some better than others? I have done around 15 hours of tutorials for maya using lynda.com/youtube. How are these schools different from just teaching yourself? I went to Gnomon, and I have a job. That being said, it'll take you a shitload more time and practice than 15 hours of video tutorials. I spent 2-3 years before I went to Gnomon doing 3D, and let me tell you, even though the program is only 2-3 years long, if you want a job after you graduation you're looking at making it YOUR LIFE for that period of time. Seriously, when I was at Gnomon I busted rear end (as did my 16 other classmates) for about 12 hours a day on learning and practicing the craft. Also I'll mention that out of 16 of us I was the only one who didn't have a bachelors degree, the rest of the students already had 4 year degrees. It's not an easy program to get into if you're not passionate about it and don't want to just be "employable". Basically, Gnomon didn't get me the job I started with fresh out of college,, the hundreds of hours I put into my personal work (outside of classwork) and portfolio is what got me my job. But don't be mistaken, you will be spending a good 30-40 hours a week on classwork as well. There are specializations you can take there now, but the program in general is pretty intense, but you learn from some of the best in the industry and you'll make a huge amount of connections. You really shouldn't focus on just "learning an in-demand skill" as you'll most likely end up in the same situation as your previous career path. Find something you enjoy doing, practice a few different things. Could you learn how to do it on your own? Sure. Will you actually dedicate yourself to it and not dick around at home in your underwear? Who knows. ceebee fucked around with this message at 01:15 on Oct 20, 2015 |
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Oct 20, 2015 01:13
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ImplicitAssembler posted:That article is pretty bad. If he had millions of views of his work on youtube, he would get a healthy sum of money from them. It's more likely that the videos he worked on got millions of views, but if he was doing tracker removal, it's not really any real indication of his skills. The article mentions he was working on music videos, the person getting the money was probably the label that gave out the contract.
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Oct 20, 2015 01:15
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It really sounds to me like victor is super naive. there are kids taken advantage of in every industry, the fashion industry in NYC has hundreds of stories like that. years of unpaid work and being taken advantage of because they're so loving desperate to do high profile work at the age of 22.
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Oct 20, 2015 16:31
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So, I'm gonna teach a semester of animation next year for some extra cash (Tulane Extension campus). Should be interesting. I haven't taught since grad school. Actually, I say animation but they want me to teach an intro to After Effects and then they want me to expose the students to Maya (for extra pay of course!) and... Poser. Poser? People still use Poser? People TEACH Poser?
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Oct 20, 2015 17:00
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cubicle gangster posted:It really sounds to me like victor is super naive. there are kids taken advantage of in every industry, the fashion industry in NYC has hundreds of stories like that. years of unpaid work and being taken advantage of because they're so loving desperate to do high profile work at the age of 22. I guess I get your point, and one will definitely make more money learning to play the game than trying to change the game, but it's still lovely. The amount of illegal unpaid internships that are just touted as the norm is ridiculous. On the other hand, when you do contact work, you agree to the contract or you don't, you don't really get to go back later and say "where's my youtube ad revenue?!" when you agreed to the terms.
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Oct 20, 2015 17:27
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I seem to have somehow found myself in the position of 'know more about the techy guts of rigging than anyone else here' at my new game studio job, which is... well, all I really know about rigging is how to get AdvancedSkeleton to generate me a rig and doing my best to avoid ever breaking it. (And yes, my coworkers know this; this isn't a case of having oversold myself in the interview, I just literally have more experience getting technical with Maya than the rest of my team bar our tools guy. It's a small team, go figure.) So, can anyone recommend a good, up-to-date primer on rigging in Maya? If it has to be video tutorials, so be it, but I'd really prefer text-and-screenshots format. I have a hard time taking in info from videos.
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Oct 20, 2015 21:14
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Question about the rigging pipeline in Maya: after I lock the skeleton definition to make the control rig is there any way to go back and make changes to the skeleton joint placement?
The Operative fucked around with this message at 00:07 on Oct 21, 2015 |
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Oct 20, 2015 23:59
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There should be a "move skinned joints" button under "Skin > Other". I've never really used Human IK though so if you're building a control rig that way then I'm not sure if there are hidden features you're gonna mess up. Try it out though, if it fucks up post the problem and I can walk you through it. For learning rigging, I think this is the best tutorial but it is a video series: https://www.youtube.com/watch?v=MV4XRgmTynY Here's a wiki that includes a lot of rig info. And for the love of god please please add space switching to your arms and head controllers so that they can be in world space. Trying to polish arcs when the arms and head are in local space is a goddamn nightmare for animators. https://sites.google.com/site/mayariggingwiki/rigging-notes
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Oct 21, 2015 01:24
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The Operative posted:Question about the rigging pipeline in Maya: after I lock the skeleton definition to make the control rig is there any way to go back and make changes to the skeleton joint placement? Like CCS said, there's the "move skinned joints" tool, which I fine to be a bit finnicky. There's a bunch of different methods though, depending on what you want to change. What I do sometimes is just export the skin-weights either as texture data (takes really long time), or export the weights with ngskintools (I think maya has a built in weight exporter now based on vertex ids too), detach the model completely, clear all history, do your changes, then rebind it and re-import the skin weights. It can get more complicated depending what you have on your rig, like if you've used rivets, or hair systems, or anything being driven by mesh or something.
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Oct 23, 2015 18:43
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 currently in art school (MICA) and i had to make a personal project or i would go insane. so i did a quick chess set to mess with baking projected wood textures. you can see it in marmoset viewer here lol
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Oct 24, 2015 20:29
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hazyrazor posted:
I dunno, the guy didn't do his research or something. Minimum wages at the larger facilities were around $35,000 [which isn't much but we're talking guys with art degrees], unless it was a TAG/IATSE shop like Disney/Dreamworks or one of the union shops where a trainee/junior cg artist comes in at $70,000/yr starting. Guys like "victor" screw things up for other people, before I was out of college, I was making $25/hr doing random motion graphics and basic CG logos and minor commercial inserts in High School. Of course the more people who get into the field, they can't work so they are willing to work for less, and so begins the chase to catch the falling knife. We had this talk the other day in Vancouver during lunch in Yaletown. You can have 2 FX Houdini TD guys sitting right next to each other, one guy is making $140,000 and the guy next to him is making $70,000 with similar experience. Some people don't pay attention to wages/market trends. Vancouver is really hurting for talent yet I'm seeing guys willing to take the first offer they get [a paycut] when other guys are like "no way, I need X or I'll take a different job". I don't think that's limited to just the VFX industry though. I knew a guy who wound up homeless in LA for a bit. He worked at a few places, up at ILM, DD, R+H, etc. Short contracts here and there. Turned out he was on psych meds, and while he was on the meds he was fine, but once he was off them, he was a bit erratic. He lasted one week on a show I was on, he spent most of the day having huge political rants on the local "chat" email alias, then he got into a fight with our neighbors security guards, which was serious enough that the LAPD came to work and wanted to review our outdoors security footage. After that he was let go, and he just signed a lease to an apartment down the street. I found out afterwards he basically lived around Venice beach homeless for a few months after that. But the guy didn't have a social network here, or friends in LA I guess? (I've had guys crash at my place here and there between gigs) For every guy who makes it big with their first gig, there's going to be someone who gets screwed. You see no end of the lovely production jobs being offered on Los Angeles craigslist. Big K of Justice fucked around with this message at 19:06 on Oct 25, 2015 |
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Oct 25, 2015 19:02
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ceebee posted:
This is so dead on. It's all the extra hours you put in that gets you the work. I had to review reels looking for people and I noticed that a bunch of reels from The Lost Boys VFX school [Vancouver] had an issue... they all had very samey/similar projects. It's gotten to the point we see the reel and its like "We've seen this before" and move onto the next applicant. Don't put the minimum into the school work and just submit your projects. Do something to stand out. Pick one or two things and really focus on it. The other mistake I see people make in school is when they try to do everything [rig/texture/model/light] and show case everything, just show your strong stuff. My original school reel had no school projects, it was 45 seconds of animation exercises with a bunch of oddly built cartoon robots with springs for bodys and blinm shading. They were marshmallows with springs, lots of secondary animation. I did sack tosses, characters rolling around on a ball, acting between different characters [I just changed the scale and diffuse color, etc]. I got work right away, but I had other students tell me my reel was crap and I couldn't get a job because I didn't have hair or textures on everything and my characters were too simple. 
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Oct 25, 2015 19:15
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Big K, did you start out as an animator and later transition into FX/Houdini? I'm starting to realize a lot of people are doing that, especially if they have some technical background. That's really sad about the homeless VFX artist. I only make around $28,000 a year an animator in Canada but I've still been saving half of everything I earn so that I don't end up homeless. Walk everywhere, don't own a car, live in pre-furnished apartments, etc. At least I can live close to work. Colleagues who came over from China used to have to commute 2 hours to work in Beijing to work on projects for Dreamworks...
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Oct 25, 2015 19:45
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My graduating portfolio didn't have any school assignments in it, but I did have faculty who were cool enough and knew me well enough that I arranged with them to accept my personal projects as replacements for school assignments. I ended up getting a lot of college credit for my own personal projects, it was pretty awesome.
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Oct 25, 2015 20:02
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Ccs posted:Big K, did you start out as an animator and later transition into FX/Houdini? I'm starting to realize a lot of people are doing that, especially if they have some technical background. Wait what? 28k a year as an animator is extremely low. You would make more than that working fulltime at starbucks.
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Oct 25, 2015 21:30
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Yeah, it's not ideal. That's currently the starting salary for junior animators in TV in Canada at good companies though, and I'm far from the lowest paid junior animator. The subcontracting shops pay much less. But that's also the reason a lot of our lead animators recently abandoned TV to go work in features. As soon as they get good enough, they jump to video games or VFX. The parent company has tons of money, but they use it to pay out dividends to investors, not to pay their employees. Ccs fucked around with this message at 01:43 on Oct 26, 2015 |
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Oct 25, 2015 22:20
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