Effects you never new were there
Ian Failes writing for fxguide:
Greenscreen plates proved a more significant challenge, partly from the various formats (Alexa, RED and even Canon 5D footage). “The (overall) VFX Supervisor, Eric Robertson, did a great job lighting the greenscreen plates, but because they had to seamlessly intercut with material which was not greenscreen, we had to do a lot of sculpting to get the color densities to match precisely,” says Davids.
Nice work everybody.
A wild tree:
A lot has been writen about what makes a good visual effects artist. Scott Squires wrote What makes a good visual effects artist. Its a wonderful look at what the core skills are, above and beyond the normal good employee. He followed that post up with Visual Effects tips 1. Also a good post more directed at non learned skills. Non learned meaning you didn't learn that said skill in Nuk101.
While I agree with what Mr. Squires says in each of his posts, I feel that there is an idea missing.
I have worked in many of the jobs in modern film[movie] production. I learned how to load film and slate as a 2nd-2nd Asst. Cameraman[Clapper]. I learned how to pull focus and operate a camera as a 1st Asst Cameraman. I have been a grip and a electrician. I learned real lighting and blocking. I watched as the stunt coordinators very, very carefully prepped the big stunt.
Your asking yourself what the f*$K is this guy talking about.
I am talking about starting at the bottom and working your way up. I started in dustbuster/roto/compositing. I did scratch removal for months on Battle of the Bulge. When there wasn't junior comp work for me I dustbusted, rotoscoped, did speed changes and digital opticals. This was amazing training to be a really good compositor. I had a great spot right by the review station and every time an artist and supervisor were going over a shot, headphones came off and I listened.If it felt right maybe even asked a question or two. Why did you do it that way, and not this way. Can you show me how you did that.
During that time I learned from the senior guys how not to act in a review. How to defend your techniques with out looking like an ass. I learned what questions to ask the supervisor so you knew what direction to go in, and what red really meant. You learn comp techniques outside of what the default use for a node. But the most important idea I learned in my first 5 years in visual effects. Compositing is a incredibility hard job. Nothing is ever the same. If you get stuck inside your box your shots will never get done.
I'd like to thank Jim O'hagen, for dragging me along with him. Joe Gareri for giving me a shot.
Mike Seymour:
This weekend (Saturday, June 16, 2012) in Los Angeles, New York and London there is the second annual VES Career Fair & Tech Expo.
The event runs all day and allows artists in the visual effects industry to meet and talk with the top companies in entertainment industry from around the world, and was a surprise big success last year.
The VES VFX Global Career Fair & Technology Expo has the distinction of being the world’s largest visual effects-specific Career Fair and Technology Expo dedicated solely to the visual effects professional.
Thanks Mike.
Scott Squires:
Here are a few tips and suggestions for visual effects artists. Some of these overlap my post on being a good visual effects artist. It takes more than just knowing how to use a visual effects software package to be good. The real key is to be able to accomplish great finished results within the constraints of the project.
There are plenty of good button pushers. It's knowing what to do after you run out of buttons to push. Thanks for the post Mr. Squires.
Stu Maschwitz:
When I described the ray-tracing 3D renderer in Adobe After Effects CS6 usable only by those with high-end graphics cards, many commenters took the opportunity to turn it into a Mac vs. Windows debate. That’s not how I saw the problem, but it did raise an interesting question:
IS IT APPLE’S JOB TO BUILD COMPUTERS FOR OUR (POSSIBLY ADOBE) SOFTWARE, OR IS IT ADOBE’S JOB TO BUILD SOFTWARE FOR OUR (POSSIBLY APPLE) COMPUTERS?
Another great post from our friend Stu. Only time will tell.
How does one make a million dollars in the movie business? Part 1
Scott Ross:
They are extremely costly to run, need an ongoing influx of cash to continually upgrade their hardware and software, are in constant turnover of their staff, have non-existant margins, incredible overhead, demanding clients, compacted schedules, outrageous competition, offshore companies that enjoy government subsidies and tax rebate programs…
Looking forward to part 2.
Scott Squires:
Unfortunately for those people, it will be a very long wait. No such organization exists and it can't materialize out of thin air.
Gather a good group of artists and have overtime pay and healthcare. Why do we need unions to do that.
Period.
Never let anyone tell you how to comp. Composite with purpose. Have a reason for everything you do, and the facts to back it up.
Defend your techniques.
If someone doesn't understand, explain yourself in a matter that gets the point across.
Most of what I do, make as many mistakes as I can in the shortest amount of time.
I love my job. Wouldn't change a thing.
Paula Nelson:
A rare annular eclipse - a ring of sunlight as the new moon, passing between Earth and sun, blocks most, but not all, of the sun's disc. It is striking to see.
A great group of photos.
Enjoy.