|
I immigrated to Canada and immigration lawyers have been super helpful, though I'd talk to studios first. I don't know why you'd want to leave Canada at this point though, LA's industry is still recovering and so many studios have moved to Canada.
|
#
?
Apr 30, 2016 21:10
|
|
|
|
| # ? Jun 8, 2024 07:55 |
|
|
Ccs posted:I immigrated to Canada and immigration lawyers have been super helpful, though I'd talk to studios first. I don't know why you'd want to leave Canada at this point though, LA's industry is still recovering and so many studios have moved to Canada. My partner's moving to LA for a year, figure I could jump down with her and do that for a bit, then come back up. Not a long-term thing by any means.
|
|
#
?
Apr 30, 2016 21:57
|
|
|
Travakian posted:Slightly OT-ish, but figure could be a good place to ask. Lawyer won't be much help on your own, the employee will be paying for that if they wish to sponsor you. For a TN-1 you need some formal education. It can be a college certificate level, it is not stated you need a degree for TN-1. But a lack of degree would require roughly 3-5 years of documented work experience in order to qualify. You would still need some form of college certificate program. The only two categories for TN-1 that doesn't require formal education is management consulting and scientific technician... and that last one would be a stretch for a motion graphics guy unless your employer got really really creative with the job description**. H1B could allow you to skip the educational requirements but you would need a few years experience for each year of education that you don't have to fulfill the educational requirement. Typically 12 years of documented work experience. This goes into your labor certification file for the H1B and the advisory letter from a US university which reviews your work/education experience and states you would have the equivalent of a [x] US Bachelors degree. Plus the filing window is very small, your employee would have to submit all that paperwork with premium processing in the first week of April in order to get a visa issued by October of that year. H1B is famously oversubscribed. There are more than 2 people per 1 visa issued, so there's currently a lottery so you have a 50/50 chance of getting one issued. [there's 150,000-200,000 applicants trying to snag a total of 85,000 visas issued a year... 98% are from one country  a bit screwed up category at the moment since it's being abused like hell by In-sourcing/Outsourcing IT firms]L-1 visa would be an option if you transferred from a Canadian office to a US office of the same firm... O-1 visa can work.. its designed for athletes, performers, artists, etc. But you have to prove extraordinary ability using 10 set criteria [with a minimum of 3 being met]. It's not just a US specific thing, most countries would want to see some form of formal training/education in order to secure a Work Visa. **- getting too "creative" with visa applications to the point of lying can land a permanent ban from all future US visas/travel. Big K of Justice fucked around with this message at 08:23 on May 1, 2016 |
|
#
?
May 1, 2016 08:19
|
|
|
 Re-textured a low poly robot model. https://skfb.ly/NKIM In 3d there. You can download it if you need a placeholder character for anything.
|
|
#
?
May 1, 2016 13:00
|
|
|
Thanks for the very informative posts Big K. On my end, being between jobs. I figured getting back to substance designer for fun and figuring out if I could place this tile SBS in the portfolio. I'm currently going through the substance challenge thread on polycount and trying to go through each theme for practice purposes. 
|
|
#
?
May 2, 2016 04:03
|
|
|
Odddzy posted:figuring out if I could place this tile SBS in the portfolio. I'd say no; it's a pretty bog standard looking tile material. I usually adhere to the idea that if you're going to do something common for your portfolio (guns, tile floor textures, etc.) at least make it unusual or memorable, or interesting in some way. So I'd try to add some moss in the cracks, or replace every nth tile with one that has a stamped design on it, or make them out of a more interesting material (marble, gold, diamonds, etc.). It's not visually stimulating right now, is what I'm saying, despite how technically commendable it is.
|
|
#
?
May 2, 2016 08:15
|
|
|
I understand what you're saying. I've never really strived on creativity in this industry but more on technical soundness and it can be turning into a crutch. I'll keep it in the back for the moment but I'm glad you like the technical aspects of the substance.
|
|
#
?
May 2, 2016 20:30
|
|
|
Hey guys, I'm looking to do some job apps pretty soon, but have no portfolio. What's the choices here? Some friends told me wordpess, but are there some (not free per se) portfolio websites that are good to use?
|
|
#
?
May 2, 2016 21:26
|
|
|
I've heard ArtStation is really good, and quite popular. Sketchfab is also nice, though it's a bit hard to have an actual CV on there.
|
|
#
?
May 2, 2016 21:48
|
|
|
Yeah, most artists I know now have an Artstation.
|
|
#
?
May 2, 2016 22:00
|
|
|
Artstation hands down.
|
|
#
?
May 2, 2016 22:39
|
|
|
2:05am, just finished sending 11 passes... start the server to see the first pass, check they're ok - and every render brings up the frame buffer and immediately finishes the render as if i've left 'don't render final image on' The only way i can get these to render is being doing each pass locally and waiting for it to finish - if i use backburner i get black frames that end immediately. anyone seen this? i'm going to be babysitting this for the next 6 hours...
|
|
#
?
May 3, 2016 07:23
|
|
|
Uuuuuuh I remember this exact issue but it was like 10 years ago. Destination drive has enough space? What renderer are you using? etc. e: wow theres a lot of hits for backburner black/blank frames
|
|
#
?
May 3, 2016 07:35
|
|
|
It's still saving them to the same place, cant be an issue with file space either because we have 5tb free. it's with vray. I think the only way to get this delivered tomorrow is to sit here rendering each of these 30 minute passes one by one manually :/ either that or this will be the first job we properly gently caress up in a long time.
|
|
#
?
May 3, 2016 07:41
|
|
|
Sorry, the only thing I've seen is that it could be anything. The only thing in common is 'something broke max' from all these things I've looked at.
|
|
#
?
May 3, 2016 07:43
|
|
|
Keket posted:Artstation hands down. I know one guy who makes his living based on the freelance work he gets from his fame on Artstation. Take that for what you will.
|
|
#
?
May 3, 2016 19:11
|
|
|
drat, hopefully I'll get to that point someday.. Anyway, in my 'I will not make guns' initiative, tried to make a basement garage style thing today. Think this is going to look good once its done, any input from you guys on composition/missing things? 
|
|
#
?
May 4, 2016 00:59
|
|
|
The stairs go a bit further up than the windows. Not sure if they overshoot the ground on the outside.
|
|
#
?
May 4, 2016 06:27
|
|
|
 Added some nicer fur, re-did the mask, and added some more accessories. All the clothes will get embellished in substance, but in the mean time I can't find those little details that actually make it work. Edit: lighter bg Vilgefartz fucked around with this message at 16:49 on May 4, 2016 |
|
#
?
May 4, 2016 11:11
|
|
|
In terms of making large (150m+) buildings for my game, what's a good source for references? I'm aiming for very modern to future, and so far my best luck has been finding similar models on turbosquid and just basing my models around that... Which I'm not really a fan of, since I feel like some of my output looks too similar to the existing models. I'm just not good enough at arch to be able to go off on my own, so to speak, and keeping a consistent style has been pretty hard. I've been using Google images and Pinterest, but there's gotta be a better source for the futuristic side of things. Materials for future buildings is another area I'm struggling with, but that's one I can probably solve just by examining what other people do - traditional concrete and brick just doesn't fit visually, so I've been kinda aping scifi ship hulls as reference, which I guess is turning out okay. E: I'm only modeling the outer shell of the buildings, nothing inside, since the game is an arcade-style grappling hook FPS thing where you swing around a large area.
|
|
#
?
May 4, 2016 15:40
|
|
|
Eastdrom posted:
Never use a dark background, I can't see poo poo!
|
|
#
?
May 4, 2016 16:39
|
|
|
Onto week 2, this one is a copper slab I did following reference.
|
|
#
?
May 4, 2016 20:46
|
|
|
Keket posted:drat, hopefully I'll get to that point someday.. Nice work how long did it take to do ? how you planning to texture it ? all it needs is a picture of a half naked babe on the wall and its complete
|
|
#
?
May 5, 2016 11:22
|
|
|
About 3 hours according to the twitch stream. https://www.twitch.tv/keeket/v/64378399 And yes, already textured a couple of oil filters, working my way through the smaller more 'finished' props today.  
|
|
#
?
May 5, 2016 12:41
|
|
|
Hey Guys, I need some modeling help! I swear I've googled every term I can think of. I prefer working within Autodesk Inventor, if possible. How can I make this shape : http://www.thingiverse.com/thing:104955 Or this shape (but one piece not a quarter piece) : http://www.thingiverse.com/thing:586668 I've tried threading a torus, revolving (and twisting/rotating) on the torus... it seems shapes like a torus and pyramid are really hard for me to work with in inventor. Circles and squares are easy enough, but twisting around something like a torus seems impossible, and I don't think they have a rotate while revolving feature, not that I can find. Any help would be greatly appreciated! PS. I also have zBrush and Maya if I need to use them.
|
|
#
?
May 5, 2016 17:58
|
|
|
make a donut in inventor or whatever, connect all the verteces together and erase the previous edges that were quads looping around the donut. take the remaining diamond edges and bevel and extrude the faces. if possible, then subdivide it once and push the geo on the diamonds so that they ''curve a bit''. It's not easy to explain and i've never tried inventor but you can do this easily in maya or max.
|
|
#
?
May 5, 2016 18:15
|
|
|
Inventor is a CAD modeler so the poly stuff doesn't really apply, but yeah, if he has access to Maya that would definitely be the easiest way to go. I'm guessing he wants to keep it in CAD formats for easier 3D printing and such. Doing all of that with curves and booleans, however, would be... a little more difficult. You'd definitely want to split things up to make it easier. I'd start with a single quadrant of the torus, then split that down the middle so you just have the front part of the shell, then draw and project the curves you need for the cutting surfaces (notice I'm glossing over this since it's the hard part ). Once you have the surfaces you need for the booleans you can then mirror the back piece, then down / across to get the opposite quadrant, and then once more to get the torus all back together. I might take a crack at this if I have some time later today. In the meantime, I hope that helped a little. 
|
|
#
?
May 5, 2016 20:29
|
|
|
Alright, I was going to stop doing these, but my Artstation has an odd number of uploads, so here we are. N. 5.5.2016  You can check the whole lot of them here: https://www.artstation.com/artist/polaroid This project brought up an interesting thing to me. What does everybody think of all these tutorials and how-to's and all that? On one hand, I think it stifles individuality and creativity because everybody is starting to use the same techniques they get from videos, but on the other hand I do think it expands people's skillset and gives people more tools to be creative. Just a weird topic to me because fine art doesn't see the video tutorial/how-to write up at all compared to CG stuff.
|
|
#
?
May 5, 2016 20:58
|
|
|
Thanks for the help guys, keeping me on the right path. In addition to the 3D Printing aspects of Inventor, I also want to control the degrees around the torus. All the voo-doo with vortex mathematics requires some specific numbers & spacing, and I'm terrible at math so stealing the work of others is easier for me. A lot of people use this kind of jig/print for what I'm doing : http://www.thingiverse.com/thing:128073 - Basically just make a circle and extrude some depth with 12 radially symmetric hash marks, then make another circular pattern (on a perpendicular plane) to create the torus. Then they just use the hash marks to lay the copper in to make the coil. That math is pretty easy when using radial symmetry, but I'm totally in over my head on this one. EDIT: I can make the shape in the link in this post, but I prefer the first links I've posted. RizieN fucked around with this message at 21:08 on May 5, 2016 |
|
#
?
May 5, 2016 21:00
|
|
|
SVU Fan posted:What does everybody think of all these tutorials and how-to's and all that? On one hand, I think it stifles individuality and creativity because everybody is starting to use the same techniques they get from videos, but on the other hand I do think it expands people's skillset and gives people more tools to be creative. Not sure how I should take this, but I'll have a go: Tutorials are vital in CGI because of the complexity, and numeracy, of the tools involved. The numerous 3d packages, plugins, external image manipulation programs, sculpting programs, rigging programs, etc. are difficult to learn. This isn't picking up a brush, dipping it in paint, and rubbing it against canvas. There's a lot to learn for any artist, and tutorials are essential to help ease them in to understanding software. While there may be techniques to master in the world of fine art, even with no technical skill or know-how you can create artwork and become a famous, critically acclaimed artist. In CGI that is nigh impossible, because even basic understanding (which itself could take months) of the fundamentals of the program you're using is required before you can even begin to express any sort of artistry or creativity. Not only that but Google gave me a quick ~2.3 million results for fine art tutorial, so not sure where you're getting the "no fine art tutorials" angle.
|
|
#
?
May 5, 2016 21:22
|
|
|
KiddieGrinder posted:Not sure how I should take this, but I'll have a go: I didn't mean anything by it, so I hope it didn't come off that way! I'm asking out of genuine curiosity. I dabble in both worlds, and Its been interesting to see how people react to different types of work. I've used plenty of tutorials and videos and stuff for CG myself, so I'm not looking down on it or anything. I have noticed that sometimes when I watch too many step by steps and then try to do some personal work with the techniques I just leaned, I naturally have a tendency to start making something in the same flavor of the video I just watched.
|
|
#
?
May 5, 2016 21:40
|
|
|
It will always be really obvious who is a tutorial executer, and who can actually absorb the information and apply it in their own way. Eventually the former will be given a task they can't find a guide about on youtube. I don't think it's a problem to learn from a guide as long as your final project is completely unique and you're just taking their workflows and techniques. The problem comes when your entire portfolio is like an cg/aetuts showcase. bring back old gbs fucked around with this message at 22:17 on May 5, 2016 |
|
#
?
May 5, 2016 22:13
|
|
|
The distinguishing factor for me is that in the CG world, whether you work freelance or in a studio, on a day to day basis you are almost always working to achieve someone else's creative vision, whereas the fine artist is generally more of a free agent. There are certain kinds of shots an FX TD will simply be expected to know how to achieve, and specific modeling techniques that a character artist will be expected to know how to utilize, and so on. This is where tutorials come in - if you have these scenarios that crop up again and again and that probably everyone working in a given field will encounter at some point in their career, it only makes sense to have those kind of resources available so that everyone's on the same page. A good CG artist recognizes tutorials as foundations to work from, a poor CG artist is simply looking for demo reel fodder. Also, efficiency counts in deadline-driven industries like games, film and TV, and quite often tutorials are not just showing you how to do something but how to do it better / faster.
|
|
#
?
May 6, 2016 00:11
|
|
|
Those are really good points. I didn't think about it in the studio context because it's been awhile since I've worked at one. I've definitely used videos to expand on my tool-set and use the concepts in my own way. I've also been noticing how extremely trend-oriented a lot of the work is on places like Artstation and even (to a lesser extent) Zbrushcentral. It seems like the top row work on those places are all the same subject matter/vibe, and I wonder if that's partially a by-product of everybody learning techniques from each other and stuff.
|
|
#
?
May 6, 2016 00:21
|
|
|
I think it's just that trends are trendy. It's a natural product of any club or social group. Monkey see monkey do and all that. You can definitely spot the tutorial kids when they post the same Tyson Murphy hand painted sword, but I think that's just a microcosm of trends in general. "Whoa that's cool and I like it! I want to make a thing like that too!" etc
|
|
#
?
May 6, 2016 00:30
|
|
|
I love when we take demo reels and like half of them showcase VideoCopilot tutorials. Like... no diversion from it at all. It's just the tutorial.
|
|
#
?
May 6, 2016 02:37
|
|
|
There's definitely a paint by numbers approach to CG that some people tend to fall into.
|
|
#
?
May 6, 2016 03:01
|
|
|
Odddzy posted:There's definitely a paint by numbers approach to CG that some people tend to fall into. A lot of that is the simple fact that CG is an industry more than an art. I don't mean that CG isn't or can't be art, but it's driven by movie and game juggernauts and CG "artists" are hired to do what the industry needs. Other more traditional art forms (painting, sculpture, what have you) are simply driven by what artists feel compelled to make. What you know how to do, and know how to do quickly and well is far more important than how creative or artistic you are. Obviously you need to have both to make it far but being technically proficient is paramount. The creative directors in all their forms will drive the vision, not the 5000 CG artists who produce it.
|
|
#
?
May 6, 2016 03:09
|
|
|
The CG world today is very similar to what fine art meant before modernism changed the definition of art. Your old grand masters has all these kids running around mixing pigments for them and painting in uninteresting parts of the commission. Kinda like how today some poor schmuck only gets to model a mouse trap in a Pixar movie.
|
|
#
?
May 6, 2016 06:56
|
|
|
|
| # ? Jun 8, 2024 07:55 |
|
|
kinnas posted:Kinda like how today some poor schmuck only gets to model a mouse trap in a Pixar movie. Hey, I'd consider myself lucky to get to do that!
|
|
#
?
May 6, 2016 08:08
|
|