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Never saw his work, but the jokes on him I guess. Prisoners don't like pedophiles and the "but it's for artistic reference!" bullshit is not going to fly in front of any judge or jury. Burn in hell. /edit After reading a few of his posts, I know the type of artist he is. Especially when another guy did a painting recreation that got featured on a few other websites, he got his nose out of joint and pretty much dismissed it as one character with a simple background... you know, because he did one with 100's of characters and therefore his is better. Big K of Justice fucked around with this message at 19:13 on Sep 6, 2009 |
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Sep 6, 2009 18:58
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Travakian posted:No mention of Colin's Bear? Oh man. I never seen that one until last week at work, and it made me laugh more than it should. There was a pretty bad one in that vein called Tigers Picnic I saw when I worked in Canada... it was pretty horrible, enough to collect, along with the demo reel that started off by zooming out of a flyings rats anus then cutting to a phallic steam locomotive entering a tunnel shaped like a vagina.
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Sep 8, 2009 10:37
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EoinCannon posted:My dream job would involve high poly stuff. Film, TV, cinematics etc, but at the moment I would more than happy to get any kind of job that involves character modeling so I can get experience in a production environment. At the moment I do everyting from modeling and texturing, through to animation, lighting and compositing. I'm glad that I now have a wide skill base but it's time to specialise. Go film, TV's usually too low budget or time constrained. I'd do up a few animal models and a few more character studies and apply for a few jobs in California or London, UK and get into one of the big VFX houses. As for games cinematic, that's easier to go from VFX/film/animated features => games cinematic than the other way around. Then again if your work is really good, jumping industries isn't that difficult. Often times, some game cinematic get sent to VFX houses for work from time to time.
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Sep 16, 2009 04:27
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This is getting forwarded around a few studios in LA today:   http://www.youtube.com/watch?v=O5YjPteCPLo Best part is the guy rips off the planet destruction bits from another film that my friend worked on (Hey wait a minute...!) /edit I delt with assholes like this before college. Do work for cheap for this guy, who turns around and flips it for big person money. I made $300, and he flipped it for $8000. That's business but I was a quick study, figured out who the end client was and cut out the middleman  I'm willing to bet this dude is charging 10 grand or so for this work hoping to sucker someone in for 1200-1500 to do a minute bumper  Big K of Justice fucked around with this message at 22:02 on Sep 30, 2009 |
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Sep 30, 2009 21:54
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-A n i m 8- posted:Good thing I left before this whole thing went down. I dunno, I would have left the job the moment they couldn't meet payroll. I've seen the "we will pay you when the job is complete, honest..." fall apart too many times. I mean as a vendor it's normal to do that. Get a bit up front, a bit later on, and the rest upon delivery. But for rank and file employees? No. Unless something else happened at Meteor.
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Oct 6, 2009 21:53
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SynthOrange posted:Been working on a few backgrounds for a show, which I've done in Flash. There's a bus in the shot though, which is giving the 2d animators the heebly jibblies, so I foolishly agreed to do one up. That's cool, the doors are on the wrong side unless you flop the illustration. It's a nitpick but I worked on enough kids shows where network BSP dictated that we made sure everyone wore a seatbelt in a vehicle, and wore helmets and safety gear each time they biked, or rode a skateboard. So someone may point that out. Unless it's in a country with RHD I guess
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Oct 7, 2009 21:45
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How is the beard done? The method I used in the past was cloth patches which are deforming hair guides which are grouped up and controlling different fur/pelt objects. That last part is important otherwise the guides may swing naturally but the fur/pelt that it's controlling will not split or part, it'll just fill in all the gaps in motion, so you wind up requiring several different overlapping fur/pelt objects controlled by different guides. Maybe you can map a high detail segment to a lower resolution segment? I've never worked with fur in very many packages so I'm not sure how it works in max. Big K of Justice fucked around with this message at 02:02 on Oct 9, 2009 |
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Oct 9, 2009 01:53
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Mac? I use Mac the ripper and mpegClipper to pull footage/chapters from dvd's and convert to .dv or quicktime and edit in a editor. For the PC? Not sure. Back in the good ol' days when you can get shot break downs from work in any format you want. These days you have to wait until the film is out on home video before footage is released and its final shots only. So at that point, why bother? Grab the dvd.
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Oct 10, 2009 04:03
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butterypancakes posted:MPEG Streamclip Actually yes, that was the name of the program..
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Oct 10, 2009 23:12
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mashed_penguin posted:Totally, the first thing I tell people in my class is that the grade they get means diddly squat when it comes to getting a job. The speech I got in my animation program was that... "Look around you. Half of you will not be here for the 2nd year. A quarter of you may graduate third year, and out of that, maybe half will actually get work in the industry if you are determined". That opened a few eyes. Of course that was old school Sheridan College where they would fail* your rear end out if you were slacking at all. These days it's not like that anymore but I can't tell you if that is a good thing or a bad thing. I think going to a good school with really determined people is important as it will start building up your networking ability, you will get more mileage out of your future contacts in the industry than having "just a demo reel". Assuming of course your classmates are good enough to get jobs in the industry. Half the people in any particular class is going to not really go anywhere. So in Canada I'd recommend VFS, Sheridan and Seneca's programs. *- An important footnote. When you failed one project, you were in danger of failing the entire course. Fail one course and you were kicked out of the program. Except for certain cases, you couldn't retake the program or course again. So yes, it was a very high stress environment for a number of years. It's not like that anymore though, it's a bit more sane now. I had a talented animator friend who did an amazing, Disney feature quality bit of animation for his short. It was a violinist playing as part of the short. As amazing as it was, it didn't meet the 45 [or maybe 60 ] seconds of required animation and he failed the very last project. No 3 year diploma. He was a bit pissed off about that. Meanwhile another guy met the criteria by having a single walk cycle loop over for 2 minutes with one huge panning background. He got a 50/55% pass on it because it met the minimum requirements. His short? 24 frames of an cartoon inspector gadget style Olympic runner looping over and over with different cities in the background.. "running around the world". That program was brutal back then. Big K of Justice fucked around with this message at 01:32 on Oct 18, 2009 |
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Oct 17, 2009 17:49
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HOB V2.0 posted:
$1000-2000 a week? Or more? It depends what you want to make out of it. I'd go with a weekly rate for TD time to allow for client revisions and changes vs an hourly rate. Bill it like a business. You'll need to break down expenses for yourself, benefits coverage, phone/fax photocopies and other overhead, computer and software fee, storage charges, etc. There's usually a reason why apartment buildings won't do visualization, it's too expensive unless it's to secure financing to build a new property, or to sell (expensive) condos to buyers when the property is incomplete. Last time I did a visualization of a property it was for a proposed casino and it was big money involved and it took about 6 months. On the other hand I did visualization of HVAC systems install at homes, made sure everything was to accurate scale, and the HVAC company wanted to cheat the scale of their equipment to make it actually smaller than it was, etc. So expect lots of revisions and bill accordingly.
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Oct 18, 2009 22:26
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forelle posted:Ah ok, The lighting pipeline where I work is like that. The lighting pass was more or less place lights and go for illumination and make sure you have enough bounced lights, ensure you are reading the HDRI data, make sure all the proper groups are visible then kick off a few deep raster renders which will be tweaked in composting. I'm surprised more [large] companies didn't buy the Shake source code and that modified that for their own uses using the shake foundation and UI as it's core. That was what? 8 grand? Is the source even still available to buy now?
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Nov 2, 2009 08:56
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brian encino man posted:What do you guys do when making a portfolio or applying for places but most of your best work is tied up in currently unreleased stuff? :-/ Put it on the resume. That should be enough to attract attention. Places understand if you can't show material due to NDA. Depending on the studio they may call your previous place of employment and drop a line to them that you are leaking unreleased material. On the other hand if your old job is out of business than that's another story. I had a TD friend who didn't have a demo reel for 4 years, he worked at Alias, and worked at Disney, Weta, Disney again, A few UK places and back to a major LA studio again before he actually had material for his reel. Depends on the position though. After a few years, you get enough material where it becomes a moot point. I think my next reel I'll cut it down to 1 to 1.5 minutes.. it's way too long now [3-4min]. If you are thinking of putting... high profile unreleased material on your reel. Don't do it. You'll get rear end hosed 5 ways from nowhere especially if you did work on a major job. I know a few people in VFX who did that and got caught, one got arrested and eventually deported [was on a work visa] and another guy had lawyers sent after them signing paperwork to turn over all footage and computer he had of unreleased material, including asking for his demo reels back from places he applied for. It's not your employer that you have to worry about, it's their client [major studio or publisher]. It'll vary from a case by case standpoint. I know people who have worked on stuff that will never be released, but they only keep it for an interview reel and they never leave that material with anyone else. On another hand, we had a vendor show up with this new software product we were thinking of buying. The guy was clueless technically about the actual inner workings of the process of how the software worked and really couldn't answer our questions... then he pulled out this stunt: "Check out the work that [studio x] did on [upcoming major film release y] using our software..!" Yeah, so we got to look at full CG high profile creature on a film 1 year before its release, and at that point decided we can't trust these guys at all. After all, what's stopping them from showing our work to a competitor who may be bidding against us in the near future. Big K of Justice fucked around with this message at 16:19 on Nov 6, 2009 |
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Nov 6, 2009 16:07
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brian encino man posted:I've heard that even when it is published you still need permission to show things on your reel. IMO if it's in public release it's fair game. Down to the nitty gritty,yes you technically do need permission. At a studio level, where you are using a company demo reel to get work, thats one thing and the vendor/client relationship will address the use of imagery for promotion or for something like a magazine article or siggraph. Jane animator? No one cares. Back to the DVD-rule, that's the case now with many studios, they won't supply footage for artists until it's out on home video. At that point you might as well get the footage from there. mashed_penguin posted:The circulation of a demo reel is pretty small even on the web. I don't upload my reel to youtube or anything like that. Just my own website. Same here, but I've stopped putting a reel online entirely. It's all film clips and a few breakdown shots before studios demanded vendors that demo reel materials should only contain final shots  .Big K of Justice fucked around with this message at 05:33 on Nov 8, 2009 |
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Nov 8, 2009 05:30
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brian encino man posted:Do you think this is why tests have become to prevalent? Depends on the position, if it's a technical position [rigging, fx, shaders, plug in programing, pipeline development], they can weed out people by asking detailed questions. You either know the subject or you don't. You'll get trick questions, maybe something like, how to do matrix math in one case, or how to rotate a primitive without using rotation transforms. Or explain why you set something up a certain way, etc. Test's can work well for certain things, like having td's perform an animation test or modeling test, which has been around for years. I haven't heard of any tests outside of those two positions. Even back when everything was 2d animation you'd usually have to submit some sort of test and portfolio. You'd be given a model sheet and to perform a layout and some key poses. Back in 1995 I remember a test you had to perform to get considered for a job with Origin games. You had to create a 3d creature, and a 3d environment that was basically the job application. Weeds the morons* and slackers out usually. But I think in the students case, you have a number of reels out there which are group projects with no idea who actually did what. From my experience, it's usually one person of the group [usually not the leader] who got things done well, and the rest are riding his or her coat tails. On the professional level, you'll have a number of people who may.. misrepresent what they actually did on a shot. This is why many studios ask for detailed shot sheets, I usually list 4-5 td's I worked with on a shot, that usually gives a big basket of names to check with, and with the industry being so small, it can be easy to verify who did what in some cases. * - No, claming that leading your guild in World of Warcraft does not qualify as leadership experience.
Big K of Justice fucked around with this message at 17:08 on Nov 8, 2009 |
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Nov 8, 2009 17:05
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Ratmann posted:To be honest, it's the way of these industries, games and VFX, usually after a big show or 2 end there's a nice exodus of people being "laid off", meaning their contracts end. Pretty much, most of those studios shipped titles this year and were pre-production on future work. EA isn't hitting their numbers so cutting staff and closing studios on projects that don't have a lot of time and money invested makes sense on the stockholder side. Most of my friends in games usually put feelers out for work via contacts, as a project nears completion just in case EA buys out their studio or their game flops. This includes friends at AAA studios who had solid jobs for the last 10 years. I'm staff where I'm at, but all that means is I get laid off after the contractors if there's no work. My last 2 gigs were 5+ years each on some high profile stuff, but one or two times each year I toss out a few resumes and reels just to keep up to date on whos hiring for what, just in case. Some of my friends were in situations where they just showed up to work one day, and the doors were chain padded locked. Everything seemed business as normal, except they weren't paying rent... or tax remittance on payroll.. oh and the owners fled the country. Heck my first job was like that, it ended when the feds seized the studio and a few stores my boss owned. (He was a crook). Nothing like seeing an accountant run out the door with $50,000 in petty cash stuffed in a Mc Donalds bag, the secretary rolling out her pc in the parking lot, and myself getting stiffed $4,000 in pay. Good times. Big K of Justice fucked around with this message at 01:35 on Nov 19, 2009 |
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Nov 19, 2009 01:30
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Travakian posted:Anybody in Toronto work at CORE? Heard they're starting on a Shyamalan film on January. Just wondering if it's Airbender (which releases July 2) or something else -- I figure you probably can't talk about it, but with the whole anonymity thing I'm hazarding a chance. I don't think you'll have people there commenting on gossip on the internet due to NDA's. They work on a wide range of stuff, animated tv shows, effects for film, some production stuff, some 2d/flash/after effects stuff. An easy way into Core is if you are a good Houdini TD. Films get worked on all over the place. One show I worked on was largely done by California studios, but with a few shots done in Canada, a sequence in the UK and some compositing work done in South America or modeling in India, etc.
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Nov 20, 2009 00:19
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John Blaster posted:So I just got offered an interview at a company in NYC... but it's for a 3-month unpaid internship. I'm going to take the interview anyway, but as far as taking the internship, how the gently caress do they expect someone to live in manhattan on zero money? How does that work? I've had calls before from some big awesome companies before, but never flown out for interviews I think because I'm about 3,000 miles away from most companies I want to work at. So now that I've got an opportunity to interview, it's for an unpaid job in one of the most expensive cities of all time. WTF man. Are you sure it's an unpaid internship? I mean, where I work we have 1-2 month internships. We put people up in corporate housing [hotel for long term business days], and they get a shuttle bus to work and a modest food allowance. I mean, why spend money on flying an intern in? It doesn't make sense. I know big studios who are too cheap to fly experienced senior td's in for an interview
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Dec 4, 2009 20:33
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ATI can eat a bag of dicks with their driver support. I can't go into specific reasons why... but...  Anyone want free fireGL cards? I got a box of 5 hardly used ones. Not sure if they are PCI or PCI Express, they were mid range cards. They were working pulls. They may be poo poo by todays standards.. I'll have to dig them out and go see..
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Dec 8, 2009 02:25
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BonoMan posted:My Quadro is currently causing major issues in Photoshop, Maya, After Effects, and loving anything else. My god I'm fairly sure it's making GBS threads the bed, but it's killing me. Have you tried running certified drivers? You may have to roll back to an older version to get proper support. I remembered at one job where there was windows machines and we had to use a specific version of an OS and a specific video card driver version in order to have proper support for a package. Actually same deal in Linux as well.
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Dec 8, 2009 10:42
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BonoMan posted:Fur techniques. Besides something like Maya Fur, what techniques do ya'll use for large areas of hair? Define large areas of hair. #1 flaw I see with folks new to fur is they try to do everything with one big super guide/guide group and one big fur patch. Break up your fur into groups, upper arm, lower arm, neck, skull cap, back of head, however many it takes. Have one short fur base fur layer covering everything to get rid of exposed surfaces you may see between the hairs. Brake up guide work into guides to super guides using corresponding groups. You'll have split groups where you have changes in how hair is group, eg. if you have a long haired character where the hair needs to part a certain way. Sometimes you can bind guides to geometry/lattices/cloth sims to get better results and eliminating inter hair penetration issues.
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Dec 17, 2009 16:59
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BonoMan posted:Thanks for all the info! It's an animal like a deer. We have Maya Complete, but were looking into Shave and a Haircut instead of upping to Maya Unlimited for budgetary reasons. You should be able to get good results with nCloth/nFur I think it's called now. Buuuut. Since it's a Deer, and it has relatively short hair, you don't need to worry about animating medium to long hair via harmonics/jiggle or simulation. From an friend who used Maya and a Haircut on a [large feature production which may or may not feature pirate zombies] he felt that Shave and a Haircut gets great results fast, but lacks options for realistic animation. Not an issue for short fur, but if you have to wispy long hairs, its more work than using other packages. I'm guessing you can go with two approaches, use shave and a hair cut to get the lookdev done, and use another package to animate the guides [ncloth/whatever on maya or maybe syflex]. The only thing I've done fur in is Houdini and custom software so I can't comment on specific solutions in Maya. I need to sit down with Maya and knock out a furred critter one of these days.
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Dec 18, 2009 11:12
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ACanofPepsi posted:
Well honestly, CG "The bathroom wall of the cg industry" Talk usually has "average" or WIP reels get the silent treatment. Until the author gets all offended that no one leaves any comments then the bashing begins. Either bashing or "5 Stars bravo!" .. it's two extremes.
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Jan 19, 2010 01:55
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Goreld posted:
I worked for a few of big studios and no one really cares that much about making everything fit into quads. You'll have triangles/darts creeping in here and there. Just make sure the overal form is good and you have subdivided detail where you really need it. Don't get me wrong, it's nice, but I've worked on enough stuff with suboptimal topology that after awhile, you get what you get from the modeling department and that's it. One issue with the hyper detailed models is they're not practical for animation or rigging. Or the surfaces are not optimal for deformation. Many of the uber talented z-brush guys make great sculptures but they don't really want to go back and rebuild topology all the time to make it work in motion. It's hard to find a good modeler that can do both well.
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Jan 19, 2010 23:35
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Travakian posted:Somewhat off-topic. Again. Most of my posts seem to be. Mostly the school of hard knocks. Typically you work long enough to figure out what's needed and what doesn't work in shots, issues with lighting, tracking, camera settings. You need a mix of technical troubleshooting mixed with working with people and some production savy. Eventually you'll get elevated into a position where you are helping out production bidding time and people needed to do sequences. After a few shows you'll be promoted to that position to go on set, after doing that for a few years, you can ditch the vendor side [vfx studios] and work for the studio/production company as the show vfx supervisor directly. Generally you won't find too much on the subject since a very small segment of people get into that position, and are generally too busy to write about it. Most of the VFX supervisors I know were rank and file animators, FX TD's, lighters, that were working for years before moving up. Depends on the size of the company as well. A small studio with a dozen or so people, it would be faster to move up. Someplace with a few hundred people? It may take a decade, and even then that depends on if an existing supervisor drops dead and there's a spot available and if you are in a good enough position to be placed in it.
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Jan 20, 2010 19:39
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EoinCannon posted:cliche Cliches are awesome when done well, your's is awesome. On the other hand I spent a few hours the other day rigging a dogs junk. Good times.
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Jan 31, 2010 01:45
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Aliginge posted:
841 polygons is fine, I honestly don't see why anyone is bitching about it unless it's a game model. It's not a straight box, I see the rounded edges and curved profiles in the cross sections If it was 65,000 polygons I'd have an issue but I don't see why folks are concerned with a 841 polygon steampunk laptop model. It's fine. Unless it's for a game or something, otherwise I wouldn't be concerned about polycount as long as it's used effectively.
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Feb 8, 2010 22:23
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Ideally it would be good if you are going to showcase a gun, have it held by a well modeled character or vehicle. There are way too many demo reels out there with spinning gun props. If you want to be a prop modeler you will want to be good at modeling everything else also. From a production standpoint you don't "just" hire a prop modeler. You hire a well rounded modeler who can also do other modeling tasks [organics/hard surfaces] and occasionally they'll do props. /edit You beat me before I could resend a less snarky reply Big K of Justice fucked around with this message at 23:58 on Feb 12, 2010 |
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Feb 12, 2010 23:15
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Ratmann posted:Ahoy hoy, if it's a still that you have to use, you can probably get away with modeling it by hand, it's not that difficult to model with some geometry, sculpting fluids to get a shape like that can be quite tricky. Houdini would be great for that.. particles and meta balls  Had to do a ton of that on Happy Feet. Georg can download Houdini apprentice for free from sidefx.com and check it out. Learning curve can be a little steep though. Big K of Justice fucked around with this message at 01:19 on Feb 26, 2010 |
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Feb 26, 2010 01:15
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cubicle gangster posted:Dont use any epic poo poo, . Oh come on, chrome robots, anime chicks and dinosaurs set to Blade Runner music is awesome.
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Feb 26, 2010 22:57
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le capitan posted:Haha, thanks for this. I pray I never have to model some testi's. I had to rig them, people sitting a few rows behind me were wondering why the gently caress I had dog cock on my monitor. Good times. Best part is when the client decides to back away from anatomically correct and go back to mushing/smoothing all the junk out.
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Mar 7, 2010 20:32
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le capitan posted:IK/FK controllers, a master control for both, and individual ball control? I just can't imagine need that much control over scrotum, but I guess it depends on the project. Still makes me smile. The industry never ceases to amaze me. Nah, just geometry groups for isolating different parts. You can run a harmonic/jiggle or go as far as a cloth simulation if you want to get crazy. We put "junk" controls on a few high profile characters and most of them are just spheroid displacement or some form of jiggle/harmonic.. no actual rigging, the desired result is usually .. subtle. Big K of Justice fucked around with this message at 04:21 on Mar 9, 2010 |
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Mar 9, 2010 04:19
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Senor Tron posted:Isn't that similar to what Carmack keeps murmuring about regarding his ideas for a future id engine? That unlimited detail video got sent around my office as well and a few people piped in as being skeptical. One mentioned that Carmack was already working on something like this.
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Mar 11, 2010 15:41
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Ratmann posted:And there goes ImageMovers and 450 jobs... Yeah, that's going to hurt, I knew a number of people who left Sony and work to go there. Sounds like Circle 7 all over again.
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Mar 14, 2010 00:09
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Fuzzy Modem posted:No one seems to like the feathers. I'm hoping they look more like teeth now, or a serrated edge. They look like... erm. http://en.wikipedia.org/wiki/Butt_plug
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Mar 15, 2010 16:02
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Travakian posted:http://www.coredp.com/ And Disney Feature Animation's The Wild and a few vfx films [Spawn, Blade 2, Xmen, etc]. During the Disney project they were the largest animation studio in Canada when I used to work there [had 2 floors at the coredp office where imax is now, plus 5 floors of an 100+ year old brewery in downtown Toronto]. 140 people got laid off today, and their paychecks on friday apparently bounced. Going to put on my Core hockey jersey and pour out a 40 for my homies.
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Mar 16, 2010 00:46
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Hot_Carl! posted:My first run cycle: I'd double or triple the run speed, it's too slow. There's some sort of odd pop between the cycle loop. I'd try to key out the ik snapping of the legs when you get the timing nailed down. If it's just a rig test it's fine, but if you want to make something interesting for a run cycle, I'd brake it up, kill the cycle part and only use it as a starting point. Have a character run, then dodge some obstacles, then jump over something then recover and run, grab a rope and swing, etc. Big K of Justice fucked around with this message at 07:35 on Mar 16, 2010 |
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Mar 16, 2010 07:31
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brian encino man posted:Man that's so dodgy and you hear about this kind of stuff all the time. Is our industry ever going to get to become more stable or atleast responsible to employees? Nah. As long as you are part of the client -> vendor relationship, it's generally a race to the bottom. That's why you don't see hardly any studio owned animation/visual effects studios anymore. The money side is in production, you just farm the work out to vendors. Most vfx/animation studios keep their books hidden, the norm is you are barely breaking even, or worse, using your current jobs money to pay for the last job [robbing peter to pay paul]. I've seen some companies go month to month for a year without its employees knowing that things were about to collapse.
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Mar 16, 2010 18:14
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I still don't like the Butt plugs lining the ship, it makes it look too busy, especially when you reduce the design to a silhouette. Are you going to put something on the end of the lower fin? The sharp tip just jutting out looks .. odd/unfinished.
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Mar 17, 2010 19:25
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Well CG-talk is a .. special bunch who gets their panties tied up in a knot over real criticism. I got some flak from a few people for suggesting that it was a waste of time to try to get blender running an O2. Fortunately other people piped in support that using 10-15 year old workstations for 3d is a bad idea in 2010.
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Mar 30, 2010 22:02
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