Presentation PPT

final presentation notes( for my part)

Good afternoon, everyone, Stephanie and I are going to talking about Visual effects industry today.

The presentation is divided into 7 main section, I will talking about

•        VFX Industry description,

•        VFX development history

•        Timeline technology

then Stephanie will moving on to

•      Vfx companies

•      Salary and Budget

•      Getting a career, cv and skills

•      future

Now I`d like to look at VFX industry description, so for the first question is what is digital VFX

Firstly, Filmmakers use digital VFX to modify, enhance and augment live-action cinematography.

 A subset of visual special effects available to directors that enable realization of the visual aspects of film and television projects.

Secondly, Digital technologies permit filmmakers to surpass the constraints of physical reality.

Typically VFX include integration of digital elements into live-action cinematography, combining elements from multiple sources into composite images or creating photorealistic shots totally by computer.

Then, VFX artists can create 3D elements that do not exist in reality

 – for example the monsters, horror characters, a pig can talks, a head that explodes etc.

Next, Digital set extensions permit modification of film locations

VFX can alter environmental elements such as making day-night and creating storms, tornados, fire storms, that extend beyond both physical reality and budget allowances. 

.

For the last point is The range of VFX is wide

so where are the main markets for visual effects.

The market segments served by VFX industry can be summarized as follows:
Feature Film/TV Series/TV Commercial/Music Video/Mobile content/

PC games

We have already known what are visual effects and the main market used; the next section is VFX Development History & Timeline technology

Ø  Stop-Action

       The Execution of Mary, Queen of Scots, 1894

Queen Mary enters the frame, kneels down and is beheaded, all in one take. Not only is this the oldest surviving example of stop action, it is the oldest known visual effects shot.

Ø  In-Camera Matte

       The Great Train Robbery, 1903

There got a shot of the windows were blacked out during original photography. So long as the players never pass in front of the window, it works great.

Ø  REAR PROJECTION

       Metropolis, 1927

rear projection of still images had been used since the teens, but this is the first use of a moving background image. Ø  COMPUTER GENERATED ELEMENT        Logan's Run, 1976 This element was then used on a conventional optical printer. Ø  ELECTRONIC COMPOSITE        Flash Gordon, 1980 Barry Nolan of Van derVeer Photo Effects spent a million dollars to build the world's first film resolution electronic compositing system. It would be more than 10 years before digital compositing would revolutionize visual effects.

Ø  Motion Tracking

       Blue Thunder, 1983

computer controlled cameras which would allow multiple passes in perfect registration.

Ø  3-D COMPUTER GRAPHICS IN A COMPOSITE

Young Sherlock Holmes, 1985 In 1985 they added to their long list of firsts by successfully placing a 3-D computer generated image into a film background.

How to get a job in VFX industry, There are two main types of people who go into VFX industry For the first is the artistic types; People who love drawing,They can also just be people who have a good eye for scene composition, these people typically graduate to the 3D world; 3D modelling, texture artists, animators etc. the other type is the more scientific person someone who does programming or can easily pickup complex applications and create scripts to solve technical problems. blue/green screen compositing or Technical Director work. How to get into VFX Industry Ø  Working within a Post company as a runne Most post production companies like The Mill, MPC, ILMhave runners which run messages around the company do odd jobs etc Ø  University Ø  Self Paced: a book can teach you how to use an application. And look at some gnomon DVDs is also helpful. Ø  In house classroom training vs Online: It was either going to be online learning or classroom based learning at a specialist VFX training company. There are MANY resources for online learning to name but a few:          Escape Studios – Great Maya Training          fxPHD – Good 2D training (Compositing with Shake, Flame, Roto etc) Animation Mentor – Supposed to be very good for animation, including tutor one on ones         Lynda – More how to use an application rather than the important things you need to know (tricks of the trade etc)

Primary Research(Career Fair)

Stephanie and  I were went to Career Fair Opportunities Bulletin on Friday 5 November, and we met some companies related to our major, for example,Eutechnyx, Cummins Ltd, and Jagex Games Studio.we got a short talk with the person who comes from jagex studio.
Jagex Games Studio is a world leading developer and publisher of high quality brower based games and is the largest independents game studio in the UK, with just under 400 staff across two studio in Cambridge,England.
Japex Ltd offer its employee a fun,stimulating and highly rewarding working environment and has a won number awards to demonstrates this commitment, including the recent Golden Joystick for the "UK games developer of the year" and regulary featuring in the "Sunday time top 100 best companies to work for"


the information comes form their website www.jagex.com


questions for us to ask


what`s  the jobs opportunities for graduate? 
Answer: we can offer lot of vacanies for graduate, for example, 3D modellers, Animators, Game Content Developers,Concept Artists,and GUI/Pixel Arists.and you can see more details to 
http://www.jagex.com/careers


how many number of vacancies?
Answer: probably 10+


what`s the vacancy suitable for?
Answer:we need final year,graduate or postgraduate

What should my application look like?

Answer:Wherever possible, we encourage our applicants to submit their CV, a carefully constructed covering letter (outlining your suitability for the role based on the person specification) and for some roles, a portfolio of works. Application details will be outlined on the job specification. Please do read carefully as failure to submit all the required information will lead to the application being rejected.

What is the application process?

Answer:The process will vary for each role, however the standard process is:

1. Apply for the position
2. If successful, a telephone interview will be arranged
3. We use multiple selection methods at this stage of the recruitment process, including online tests, assessment days and face to face interviews.
4. If successful, a job will be offered.

Depending on the role, you may also be asked to complete an online test or homework assignment before an interview is arranged.

Do Jagex offer internships, work placements, work from home or work experience?

Answer:Unfortunately we are not able to offer internships or work experience opportunities. Telecommuting is not available for any position. All roles are based in our offices in Cambridge or London as specified in the job description. Candidates unwilling or unable to relocate or travel to our offices should not apply.

What is the salary offered for the role?

Answer:Here at Jagex we pride ourselves on having an open salary structure across almost all of our roles. The salary information will be stated on the job specification and discussed during the interview stages.

FX Artists: How to Create a Professional CV

FX Artists: How to Create a Professional CV

Posted by Kristy Barkan on May 24, 2010 at 6:00am

View Kristy Barkan's blog

A CV (or curriculum vitae) is similar to a resume, but longer and more in-depth. A resume is an at-a-glance outline of your skills and work experience, while a CV is typically two to three pages in length and details all of the projects that you have worked on and in what capacity. This information is crucial for employers to see, so if you want to pursue a career in visual effects you will need to have a CV.

The average recruiter will spend between 8 and 10 seconds looking over your CV, so it has to be clear and easy to read. This step-by-step guide will show you how to create a polished CV that will help you stand out among the dozens of other job-seeking hopefuls.

Page One:

1. Contact Info. Put your name, address, email and website at the top. If you do not have a website but your reel is available online, include the URL. It may seem like a no-brainer, but make sure that the phone number that you provide is permanent and will always be answered by either yourself or a clear and professional voicemail message.

2. Objective. This is very important. You may be qualified to perform more than one function at a studio, so employers need to know which position you are applying for. Be brief and specific. Unless you are applying for an internship, do not put anything here about gaining experience or strengthening your skills.

Example:

Objective: Organic Modeler.

3. Experience. List your relevant employment history (that means omit the summer job where you paced in front of Tastee Juice in a banana costume). Jobs should be listed in order, with your most recent first. As a general rule, do not go back further than seven years. Put the dates of employment on the left in full years (no months). List your job title first, then the company name and location. Take one to three sentences to briefly describe what you did. Mention any notable projects that you worked on for each company.

Example:

4. Education. List chronologically, with your most recent education first. Do not include high school education, but do include certificate programs. List your graduation year on the left (anticipated date of graduation 20-- is fine for current students), then the degree or certification, department and major. Below it, specify the institution name and location. Make note of any academic honors here.

Example:

5. Software. Detail the relevant software that you are prepared to use without any further instruction or supervision. Do not list any programs that you have only a passing familiarity with. It will severely damage your reputation if you get hired and do not have the skills that you claimed to. It is amazing how quickly word travels in the VFX industry; so make sure that if you say you can do something, you absolutely can. If you are experienced in any programming languages or uncommon operating systems, list them here. This section provides an opportunity to target your resume to specific companies. Do you research and find out what software and operating system they use. If you are skilled in the programs that they use, list them first.

6. Professional Memberships. The Visual Effects Society, SIGGRAPH, Eurographics, etc. Each membership that you have will help to demonstrate your commitment to the field. Many memberships have no requirements and can be purchased online for a nominal fee.

Page Two (to Three):

7. Projects. This list should be one or two pages in length. Detail the projects that you have worked on in the last ten years or so. Break them up into sections, such as film and video, commercial, shorts, etc. Beneath your projects, create an awards section and list any awards or recognition that you have received for your work. Note the year on the left, the name of the project, your position and the company. Nothing else. The key here is to make this page as clear and easy to read as possible. There should be absolutely no fluff. If you are a student or are looking for your first job in VFX and have no collaborative project work, omit this page.

Example:

2004 The Hamburger that Ate Texas Compositor (Frameblast VFX)

2005 Baby the Rabbit Lead Animator (Jiggles Inc.)

Additional Tips:

1. Do not use any acronyms, jargon or abbreviations. If you need to shorten a sentence, try to be more concise. Jargon is fine for the office, but peppering your CV with it comes across as unprofessional.

2. When you finish your CV, have two friends look at it. Make any changes needed and then save it. Go do something else and come back a few hours later. Take another look at it with fresh eyes.

3. Don’t get fancy with colored ink or paper. Employers will think you’re trying to distract them from a lack of content. Just use white 20-25lb paper and dazzle them with your potential instead.

4. Pay attention to font, structure and white space. When a recruiter first lays eyes on your CV, it should say to them that the candidate is organized and competent. Anything else and it is going in the bin.

5. It goes without saying that your CV needs to be utterly error free. Competition is fierce for jobs in the visual effects industry, and it is all about attention to detail. If your CV is sloppy, employers assume that your work will be as well. 

http://www.vfxglobal.org/profiles/blogs/vfx-artists-how-to-create-a

Can low budget features deliver great VFX?

Can low budget features deliver great VFX?

Monday, 16 August 2010

Our Cross Channel Film Lab is currently researching the potential of visual effects in low to mid budget feature films (we’re looking at budgets of up to €10 milion). How can the latest technological developments be opened up to film-makers at every level - great VFX no longer solely the preserve of Avatar or even District 9?

The infamous VFX short “Panic Attack” by Uruguayan Fede Alvarez that led to a Hollywood deal, Neill Blomkamp’s pre-District 9 short - these successes demonstrate the potential of low budget ‘bedroom VFX’ (as in VFX made in someone’s bedroom, not VFX set in the bedroom, and probably not literally made in the bedroom, though you never know...) and of individuals using existing software to produce unexpectedly stunning visuals.

Other curious innovations at the very low budget end include international creatives collaborating on projects like Iron Sky at Wreckamovie, offering up an intriguing crowd-sourced VFX paradigm. While Blender continues to be a fascinating model for free ‘3D content creation’ technology that develops with its users. 

Will the next tier of low budget VFX be led by innovations in technology - or by innovations in the use of existing technology? Do the most exciting opportunities lie in creating new tools or in bringing the most creative people together to do clever things with standard software? What other opportunities for innovation exist where the development doesn’t cost a fortune?

THE VFX LAB

Our emerging proposal is the creation of a UK/French VFX lab that can match VFX experts and trainees with advanced film projects (and of course their creative teams) to stretch the possibilities of their visions and budgets - ultimately developing short taster tapes for each project as a route to finance. We want to explore whether such a model could inspire lower budget film-makers to realise greater ambitions, and more sensational visual effects...

Our research process is just beginning, and it’s very much a new world to me - so of course, it’s very exciting - and a bit scary. We’re starting to talk to a range of inspiring people about if and how a VFX lab could work. Should it also support professional development and graduate training for creatives and VFX specialists? Does it meet a current need - or are we barking up the wrong computer-generated tree?

WHAT DOES THE INDUSTRY THINK SO FAR?

So far the response has been very positive - there seems to be an appetite amongst VFX professionals for a space where visual effects could be pushed to their limits, where creatives could learn more about the possibilities and costs of VFX, and industry entrants get practical experience of workflows, pipelines and real life projects. 

Talking to those on the development side, there also seems to be a growing desire from emerging writers and directors to make films with a distinctive visual sensibility - using visual effects or ‘stereo 3D’ technology at a lower budget level in order to make something really striking, with potential to attract a broad audience. 

The UK Film Council mention an increase in material coming in from creative teams with a more ‘comic book’ sensibility or stronger visual aspirations.  Gareth Edwards’ up and coming sci-fi film “Monsters” is currently highlighted as a more recent example of great bedroom VFX. While in the world of 3D, “Street Dance 3D” was made for just £5 million (but has already apparently taken £12 million at the UK box office alone) and offers proof that populist 3D films can be made at a lower budget.

The short format also seems to serve a viable purpose when playing with VFX or 3D material - both as an R&D opportunity and a financing tool. The shorts mentioned above have reached a broad audience and led to greater opportunities for new writer/directors. While established producers are also exploring the role of shorts to ease entry into these brave new worlds. Producer Julie Baines recently developed a powerful trailer (not a scene from the proposed film, but a self contained story) for a 3D movie with which to explore the film-makers’ vision, learn about the technology and raise finance for the future film.

I’ve also heard positive examples of VFX companies getting involved in TV projects at a very early stage of development - helping producers to budget effectively, and run their shoot so that they can get the best possible results from a lower VFX budget. Here again, it seems to be more about a creative use of what exists than the development of a completely new process - but we’re keen to explore this further.

THE POLITICAL CONTEXT

It’s also interesting political timing for innovations in VFX. The government has recently announced an independent review into the UK’s VFX and gaming industries - to be delivered by Nesta and Skillset; and the VFX industry is currently on a Home Office Skills Shortage list. 

The UK Companies I’ve spoken to so far are busy, particularly with US projects. Recently, visual effects in Inception, Pirates of the Caribbean, and of course Harry Potter’s wizardry have been generated by UK companies. ‘Mid size’ companies likeRushes have doubled in size in the past two years. Yet the VFX industry is still talking about how hard it can be to find graduates with the right skills. There’s clearly a need for some further innovation, and training.

It is of course a very challenging time in the UK for accessing funding for projects that attempt to innovate in film-making. The future for the UK Film Council and regional development agencies looks bleak, and we don’t yet know how the regional screen agencies will fare. Budgets are being cut across the board. 

On the positive, this sets a strong context for innovations at the lower budget level. But even if our VFX lab develops into a project with clear value, and we can prove a strong economic benefit for the UK film industry, one of our biggest challenges yet may lie in finding secure sources of funding. 

WHAT NEXT?

Our research is ongoing - so everything I’ve mulled over here may change. But at the moment, it’s really exciting to see that a lab with the best talent from the UK and France could serve a clear purpose and generate real progress. And perhaps more importantly, it’s exciting to see genuine potential for low-mid budget film-makers to use VFX in ever more compelling ways.

(And I haven’t even started to talk about the potential benefits of getting VFX practitioners and screenwriters to inspire each other at an early stage - that’s for another post...)

If you have any thoughts about how VFX can best be developed for lower budget films, do please get in touch. We’d love to hear from you.

article comes from:http://web.mac.com/pipbest/PIppaBest/Blog/Entries/2010/8/16_Can_low_budget_features_deliver_great_VFX.html