Opening credits (by Titmouse):
KISS transform into their METAL GODS MODE :
And as a BONUS: TRIGGER studios did animation for this Japanese Pop music video where the band meets KISS!!
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Jobs: Image Finaling Artist- DreamWorks
Image Finaling Artist
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| Company: | DreamWorks Animation Skg |
| Location: | Glendale, CA |
| Date Posted: | July 17, 2015 |
| Source: | DreamWorks Animation Skg |
Tracking Code
TBD
Job Description
DreamWorks Animation is seeking an Image Finaling Artist.
Required Skills
Image Finaling Artists "polish" each shot as it leaves the lighting department. As an Image Finaling artist, you will be required to digitally alter frames using compositing techniques in Nuke. Artists also diagnose rendering issues with Nuke scripts that were created by other artists. They review each frame to ensure that there are no issues or problems. All Image Finaling artists take feedback from supervisors and artistic leads to correct or enhance footage. Image Finaling artists also address stereoscopic discrepancies which cannot be fixed by other departments. Photoshop is also used frequently by the artists to fix and enhance large resolution still images for use in commercial products and posters.
Required Experience
- Must be proficient with the latest versions of Nuke and Photoshop.
- Must be comfortable with exploring large Nuke scripts to troubleshoot and fix issues.
- Ability to track patches, rotoscope, digitally paint, color correct, and diagnose rendering issues in Nuke.
- Strong understanding of compositing.
- A minimum of one year work experience in a production environment.
- BA or equivalent experience
- Efficient and speedy work practices for quick turn-around time under deadline pressure.
- Please be highly motivated and passionate about your work and have a positive attitude.
Bonus:
- Professional stereoscopic experience.
- Ability to create motion graphics.
- Knowledge of 3D Animation Pipeline.
- Experience with working in CG environments.
- Traditional art skills which demonstrate an eye for light, shadow, composition, and color.
- UNIX or Linux operating system experience.
- Knowledge of Nuke''s 3D environment and tools.
- Programming or scripting experience.
Job Location
Glendale, California, United States
Position Type
Full-Time/Regular
Jobs: Modeler (FEATURE ANIMATION)-ReelFX
Modeler (FEATURE ANIMATION)
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| Company: | Reel FX |
| Location: | Santa Monica, CA |
| Date Posted: | August 3, 2015 |
| Source: | Reel FX |
This is a Dallas based position. Creates character, set and prop models that support art and story concepts. May focus on developing technical drawings for model production. Utilizes modeling software to prepare and build character models. Writes, maintains and runs scripts and model databases. Able to develop character models for multiple types of productions from simple to moderately difficult. Accountable for meeting productivity and quota targets. • High to Master level of competency with poly modeling and Zbrush • Mastery of the Blendshape system, requiring 1 note pass or less for a production ready set • Able to build maquettes in pose using Zbrush or other software for hero characters • Able to polypaint or use basic textures and UVs on maquettes • Moderate level of competency lighting and rendering maquettes for show • Able to foresee problems with designs, identify 2d cheats, and tailor models to the design intent rather than matching it verbatim to the page • Available as a mentor for apprentices • Able to consistently hit deadlines under the time allotted • Able to generate high quality assets with no direct supervision • Available as a point person to interact with other departments on modeling’s behalf • Able to train other modelers in various disciplines • Able to step in as a temporary lead if necessary • Must have a good understanding of the overall studio pipeline • Able to make accurate bids on assets to your supervisor • Able to document processes in Pages • Minimum 2 years production experience • Degree/diploma in fine arts or recognized animation program, and/or equivalent work experience. • Knowledge of one or more high-end 3D software packages such as SoftImage 3D, XSI, Maya. • Knowledge of Adobe Photoshop. • Good knowledge of polygonal and patch geometry modeling. This job description is not meant to be all inclusive. Employee may be required to perform other duties to meet the ongoing needs of the organization.
Craig Clark
What is your name and your current occupation?
Craig Clark, I’m currently an artist at Grab Games, and the producer of The Kustomonsters TV show
What are some of the crazier jobs you had before getting into animation?
I was the box boy to the stars at a Safeway supermarket in Pacific Palisades.
What are some of your favorite projects you’re proud to have been a part of?
I’m very proud to been part of that first Simpson’s crew that launched the Emmy winning institution of the yellow people to the world. Also it was an honor animating JFK’s lip synch on the feature Forrest Gump. Currently I also love producing The Kustomonsters show.
The Kustomonsters show Ep 1
A video used to be embedded here but the service that it was hosted on has shut down.
How did you become interested in animation?
I’d say at age six when I was hooked on the Winchell Mahoney show and Gigantor cartoons.
Where are you from and how did you get into the animation business?
I’m from Malibu, CA. I was doing cartoon drawings for my mother’s Continue reading
Ed Olson
What is your name and your current occupation?
Ed Olson – concept development/character designer animator:  http://designloftstudio.com/index.html
https://www.youtube.com/user/designloftstudio?feature=watch
http://www.linkedin.com/in/edolson
http://www.imdb.com/name/nm0975075/?ref_=fn_al_nm_1
What are some of the crazier jobs you had before getting into animation?
While going to college I worked construction during the summers.  Construction paid well so I could go to art school 9 months out of the year without having to work during my semesters.  After graduating, I spent several years teaching art, film and television, but didn’t think about animation as a possibility.
What are some of your favorite projects you’re proud to have been a part of?
Rescuers Down Under (clean-up) Pinky and the Brain (storyboard) 101 Dalmatians 1996 live-action release (storysketch)
How did you become interested in animation?
I was teaching live-action and television production at California Lutheran University and faced the financial challenges that comes with the under-financed nature of education. Â I had a friend who worked as an assistant at Disney. Â He told me about the program there and the test you had to take to get started. I sat for a few months straight practicing in-betweening, took the test at Disney and started there on Rescuers Down Under. Â The hardest part was learning to sit for 8 hours straight a day.
(I earlier had a B.A. in art but got interested in filmmaking at the end of my B.A., so went for a Masters in Film and Television production at the University of Iowa. Â I made documentaries for PBS in North Carolina and Iowa and taught live-action film for years, but never utilized my art training up until the point I started at Disney.)
While at CLU, Â I decided to utilize the drawing skills and subjected myself to a grueling self-training, re-introducing myself to my drawing skills which had been developed in art school. Â I passed a drawing test and Disney and my new career was launched.
Where are you from and how did you get into the animation business?
I am from Minnesota, but moved to California to attend The American Film Institute as a Producer Fellow, which was still part of my live-action film work.
What’s a typical day like for you with regards to your job?
Unless there is a tight deadline, I spend about 3 hours a day doing the “business side†of The Design Loft.  This includes emails, marketing, bidding on jobs online, networking and looking for opportunities.  Then I take a break, go for a walk, and come back and start the most highly creative part of what I do, drawing.  A lot of my work is hand-drawn, even when it comes to Flash animation, and then it is scanned into the computer for painting and line clean up. This usually lasts about three hours, then I go into the computer mode, which requires less creativity… this also lasting about four hours.  Soon a regular basis I am working around 10 hours a day.
What part of your job do you like best? Why?
The drawing. Â It is the time when I feel that the creative abilities are used to their best.
What part of your job do you like least? Why?
The marketing. Â It is somewhat tedious, but has to be done.
What is the most difficult part for you about being in the business?
The finacial instability. Â Clients pay in sporadic ways, and projects are always variable.
What kind of technology do you work with on a daily basis?
Windows PC, Flash, Photoshop, Illustrator.
In your travels, have you had any brushes with animation greatness?
Was instrumental in shaping the end of 101 Dalmatians (1996) with Stephen Herek directing.
See my profile on IMBD Â http://www.imdb.com/name/nm0975075/
Describe a tough situation you had in life.
Animation in general is tough, but very rewarding.  Concept development requires getting very involved with a client’s hopes and dreams, and then you ride the emotional roller coaster with them and they try to make their baby come to life in the marketplace.
Is there any advice you can give for an aspiring animation student or artist trying to break into the business?
If you are truly supposed to be doing this, you will be doing this.
Cedric Hohnstadt
What is your name and your current occupation?
Cedric Hohnstadt. I own an illustration studio where I specialize in character design.
What are some of the crazier jobs you had before getting into animation?
I’ve driven school bus, worked in a canning factory, and even done medical studies. Fortunately I’ve been able to make a living as an artist now for about fifteen years.
What are some of your favorite projects you’re proud to have been a part of?
I’ve done advertising concept work for brands like Coca-Cola and Walmart; designed toys for Hasbro and Disney; designed characters for VeggieTales; and supervised the animation of Mr. Potato Head for the Hasbro website. I also illustrated a Gospel tract with over five million copies in print. You can read it at www.freecartoontract.com. Â Recently I launched a Kickstarter called the Pose Drawing Sparkbook. It’s a tool to help artists put more life into their drawings and I’m getting a lot of great feedback on it. By the third day of the campaign it was featured in Kickstarter’s “Popular this week” section under the “Publishing” category and it received over 800 “likes” on Tumblr. Your readers can check it out here: http://kck.st/12K2otL
Where are you from and how did you get into the animation business?
I’m a life-long Minnesotan so all of my animation-related work has been done from my home studio. In 2000 I attended Continue reading
