Nicholas Refalo Resume

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NICHOLAS REFALO 3D Arti st MY BACKGROUND CAREER SUMMARY Aspiring 3D and Surfacing Artist 3D Artist passionate about furthering my Battle for Middle Earth: Reforged career in the Visual Effects and February 2021 - Current Video Game industry. • Creating a vast variety of 3D assets for a non for profit/non-commercial fan project recreation of the original The Lord of the Rings: Battle for Middle Earth game currently under development. SPECIALIZATIONS Lighting Artist / 3D Generalist • Autodesk's Maya • After Effects Plastic Wax • Autodesk's 3ds Max • XNormals April 2020 - Current • Zbrush • Mari • Building production-level real time lighting and lookdev setups in Unreal Engine 4 • Speed Tree • Shotgun • Substance Painter • Perforce Version Control for our animation project for internal/client approval. • Substance Designer • Unreal Engine 4 • Assembling shots and making sure all components such as assets and VFX are • Photoshop • Houdini functioning with the lighting setup according to the internal/client feedback. • Marmoset Toolbag • Unity 3D • Collaborating with all departments to ensure that the assets, VFX and Animation • Katana contributing to the lighting shots are all functioning in line with the internal/client expectations. CORE COMPETENCIES Real Time Layout and Lighting Artist UTS Animal Logic • 3D Modelling August 2019 - December 2019 • 3D Surfacing • UV Layout • Built production-level lighting setups from ground up and level designed • Concept Art environments for our Unreal Engine 4 Data Arena Experience "Subaqua" • Layout/Previs • Look Dev 3D and Texturing Artist • Lighting UTS Animal Logic • Level Design January 2019 - December 2019 REFERENCES • Modelled and surfaced production-level 3D hard surface and organic assets from concept art for animation and video game purposes. Chris Ebeling ACADEMIC MILESTONES [email protected] linkedin.com/in/chrisebeling UTS Animal Logic Academy, Sydney chrisebeling.com/ Masters Degree in Animation and Visualisation Matt Estela January 2019 - December 2019 [email protected] linkedin.com/in/matt-estela-48311290 Appointed a leadership role overlooking the hard surface and organic environment assets for our animation short "Bounty Hunter" Daniel Flood Entrusted with the responsibility of being the lead lighting artist for our Unreal Engine [email protected] 4 real time experience "Subaqua" linkedin.com/in/danielfloodvfx Modelling/Texturing of 3D Character, Environment and Props danielflood.com Scene Layout and Design CONTACT JMC Academy, Sydney INFORMATION Diploma in 3D Animation and Visualisation September 2017 - December 2018 Sydney, N.S.W, Australia [email protected] Evocca College www.https://nickrefalo3dartist.com/ Diploma in Digital Games and Interactive Entertainment Mobile No.: 0466338805 April 2015 - September 2017.

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Animal Logic Entertainment Launch Australian Based Screenplay Competition
ANIMAL LOGIC ENTERTAINMENT LAUNCH AUSTRALIAN BASED SCREENPLAY COMPETITION Sydney, Australia, 26 August 2020 – Animal Logic Entertainment (ALE), the producing team behind ‘Peter Rabbit’, are excited to launch a new competition to recognise Australian writers in the family entertainment space. The Animal Logic Entertainment Screenplay Competition is open to Australian writers with a feature script in the family animated and family hybrid (live action/animation) space. The Competition offers a prize package of $5,000AUD for the winning entry as well as professional guidance and feedback from Producer Zareh Nalbandian, EVP Development and Production, Jonathan Hludzinski and VP Development & Production, Felicity Staunton. “We have always been committed to leveraging our profile to support and promote Australian talent,” says Nalbandian. “Over the past several years we have had the privilege of working with some of the best writers in the industry to develop entertaining and engaging stories for audiences around the world, and through this program we look forward to opening our doors to Australian writers with a compelling story to tell.” “We are experiencing an incredible time for animation and it has never been more important to uncover new voices in family entertainment”, added Hludzinski and Staunton. “We are looking for talented writers who understand tone and audience, have an original or unexpected perspective, and a lot of heart. We want to hear from Australian writers from all backgrounds and are excited to be able to support projects that we believe can succeed in both the Australian and international markets.” The competition is open to writers of all levels who are current Australian citizens or permanent residents.
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Brenton Goodwin
SUMMARY Brenton Senior Modeller, Sculptor and Character Artist with over 13 years industry Goodwin experience in just about everything, from film VFX, animated features, games, VR, game cinematics, trailers and TV commercials. Senior Modeller/ Sculptor EXPERIENCE / Character Artist Defiant Studios/ Character Artist December 2017 - April 2019, New York [email protected] Real time character and prop asset development, design sculpts, modelling high and low poly assets, baking, texturing and implementation into Unreal Engine 4 for next gen titles. 917 355 0801 Real time character modeling, sculpting and texturing for external clients brenton3d.com In coordination with Technical and Animation departments to develop and implement the character pipeline, ongoing RnD, scheduling and bidding. LinkedIn Titles include: Lords of the Fallen 2, Warframe, Internal pitch work and unannounced projects. ArtStation Dreamsail Games/ Character Artist IMDb June 2017 - December 2017, New York Real time character and environmental asset development, modelling and sculpting high and low poly assets, baking, texturing. Developing and implementing a studio asset pipeline, on going RnD, managing and mentoring junior artists. SKILLS The iOTA Project, a VR Mech combat game using Unreal Engine 4, released on Steam. Animal Logic/ Senior Modeller and Creature Artist Organic and hard surface August 2014 - May 2017, Sydney Australia modelling and sculpting, Photo real character and creature sculpting for feature animations and film VFX. Hard surface and texturing, animation, pre- organic modelling from concept art, set extensions including photogrammetry and scene layout. Working visualization, scene layout, with all department heads to develop scenes from pre-production through to final render. Features include: Peter Rabbit, The LEGO Batman Movie, The LEGO NINJAGO Movie, The Divergent art direction, asset Series: Allegiant Part 1, The Monk Comes Down the Mountain, ACURA TVC’s.
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The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
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Animal Logic
SUCCESS STORY | ANIMAL LOGIC STREAMLINING PRODUCTION AND TRAINING WITH NVIDIA QUADRO VDWS Image Courtesy of Warner Bros. Pictures VIRTUAL GPU-POWERED VMS OFFER A FLEXIBLE ALTERNATIVE TO PHYSICAL SECONDARY MACHINES INTRODUCTION Animal Logic is recognized as one of the world’s leading independent creative digital studios. For over 25 years, it has produced visual effects and animation for numerous award- winning feature films, including Peter Rabbit, Happy Feet, The Matrix, 300, Moulin Rouge!, and The LEGO Movie. Founded in Image Courtesy of Warner Bros. Pictures Sydney, Australia and with offices in Los Angeles, USA, the company expanded in 2015, opening a second creative studio in SUMMARY Vancouver, Canada. > Animal Logic Studios creates visual effects and animation for feature films. > Its second studio needed a cost-effective CHALLENGE STATEMENT and flexible way to provide users with secondary desktops. Following the announcement of a three-picture deal with Warner > The IT team deployed VMs powered by Bros, Animal Logic opened a second creative studio in Vancouver NVIDIA Quadro® Virtual Data Center Workstation (Quadro vDWS) instead of in late 2015. With production for the first film, The LEGO Movie 2: purchasing new $10,000 workstations. The Second Part scheduled to begin early 2016, Animal Logic had > Today NVIDIA vGPU-enabled VMs ensure users can access both Linux- and a small window to set up the new studio. This presented many Windows-based applications from a challenges — the biggest being machine inventory. “We started single machine. the site from the ground up, purchasing brand-new workstations > A flexible training environment can also be setup and broken down in a matter of for about 275 employees,” said Gino del Rosario, Head of minutes.
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ALE Media Release Screenworks Regional Screen in LA Final
MEDIA RELEASE- 12th November 2019 EXCLUSIVE HOLLYWOOD WORK OPPORTUNITY SCREENWORKS REGIONAL SCREEN IN LA ANIMAL LOGIC ENTERTAINMENT INTERNSHIP FOR A RECENT GRADUATE IN REGIONAL AUSTRALIA Pictured: 2019 Regional Screen In LA Program recipient Joshua Tyler, with Screenworks CEO Ken Crouch, AiF Executive Director Peter Ritchie, Chairman of AiF Simonne Overend and Australian Consul General LA Chelsey Martin Screenworks and Australians In Film (AiF) today announced that the second year of the SCREENWORKS REGIONAL SCREEN IN LA PROGRAM will be the ANIMAL LOGIC ENTERTAINMENT INTERNSHIP, giving unparalleled opportunities to an undergraduate or recent graduate living in Regional Australia who wishes to pursue a career as a development executive or producer. AiF internship programs have been running at Animal Logic Entertainment (ALE) for the past five years and recipients have gone on to successful careers in the Australian and international screen industries, including Melanie Jayne (HBO), Sleena Wilson (Black Bear Pictures) and Lauren Brown (Ludo Pictures). This exciting opportunity to work with the team of passionate storytellers in the Los Angeles offices of ALE (Peter Rabbit, Peter Rabbit 2) and subsidiary live-action production company, Truant Pictures, is open to any undergraduates or recent graduates who demonstrate significant potential and passion in their screen industry-related course of study and area of expertise. The two-month internship will involve all aspects of international feature film development, acquisitions, packaging and production. “Internships are integral to launching the careers of aspiring filmmakers and we are thrilled to be partnering this year with Screenworks to recognise storytellers from regional areas,” said Animal Logic CEO Zareh Nalbandian.
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RESUME Experienced Project Lead, Software Engineer and CG Artist
MICHAL FINEGOLD - RESUME Experienced project lead, software engineer and CG artist. Strong background in both the technical and artistic sides of app development, computer animation, and visual effects. Equally comfortable working as a project manager, artist, developer, or all of the above. Phone Number: 917.747.7518 E-mail: [email protected] Software: www.shmonster.com Reel: www.michalfinegold.com EDUCATION Master of Science - New York University, USA Bachelor of Science - Tel Aviv University, Israel Digital Imaging and Design (Focus on 3D) Double major - Physics and Computer Science Received partial academic scholarship Received partial academic scholarship from Physics Dept. Graduated with distinction in 2006, thesis received honors Graduated in 2002 PROFESSIONAL EXPERIENCE Founder, Software Designer & Developer, Shmonster, Connecticut Jan. 2016 - Present • Founded own company, Shmonster, to develop creative software. Designed and developed several original mobile apps that foster open ended play for kids and creativity in education. • Flagship app, PuppetMaster, has over 750,000 downloads, is widely used in schools, and has garnered educational accolades such as the American Association of School Librarians’ list of Best Apps for Teaching and Learning. • Went on to develop creative educational apps for clients: proposing concepts, creating detailed specs and concept art, developing timelines and budgets, then leading project implementation through to completion. • Client projects include creative educational apps using mobile and VR. Freelance CG Technical Director for Film, Television Shows and Commercials Jul. 2007 - Present Production: Focus on lighting, compositing and look development, with extensive additional work as a generalist. R&D: Pipeline development, creation and maintenance of tools for 3D and 2D artists, and technical support.
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Sashdy Arvelo Animator
Sashdy Arvelo Animator [email protected] / 203.807 .2512 / Los Angeles, CA Goal To continue growing and expanding my knowledge of photorealistic character animation. Experience MPC, Los Angeles, CA Senior Animator, January 2019 -February 2019 · Character animation for commercials Digital Domain, Los Angeles, CA Animator, November 2018 · Character animation for hologram concert Buck, Los Angeles, CA Animator, October 2018 · Character animation for commercials Oddfellows, Portland, OR Animation Director, June 2018 -September 2018 · Managing artists to ensure production quality and deadlines are met MPC, Los Angeles, CA Senior Animator, April 2018 -June 2018 · Character animation for commercials Animal Logic, Sydney Mid-Sr Animator, April 2017 -December 2017 · Character animation for Peter Rabbit MPC, Los Angeles, CA Animator, September 2016 -December 2016 · Character animation for commercials Digital Domain, Los Angeles, CA Animator, May 2016 - July 2016 · Animation for a film · Facial animation for a hologram concert Framestore, Los Angeles, CA Lead Animator, August 2013- March 2016 · Animated commercials with a variety of characters, creatures and rigid objects · Led small teams of 3-5 animators to ensure production quality and deadlines are met · Worked closely with the Creative Directors and Director to achieve their vision · Worked closely with the rigging department to review rigs and give feedback The Mill, Los Angeles, CA Animator, July 2013 - August 2013 · Character animation for a commercial Logan, Los Angeles, CA Animator,
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Playing for Keeps Enhancing Sustainability in Australia’S Interactive Entertainment Industry © Screen Australia 2011 ISBN: 978-1-920998-17-2
Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry © Screen Australia 2011 ISBN: 978-1-920998-17-2 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s report Playing for Keeps: Enhancing Sustainability in Australia's Interactive Entertainment Industry, November 2011. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc-nd/3.0/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this report. This report draws from a number of resources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy we cannot accept responsibility for inaccuracies and omissions. www.screenaustralia.gov.au/research Cover picture: Gesundheit! Developed by Revolutionary Concepts and published by Konami Report design: Alison White Designs Pty Limited Contents EXECUTIVE SUMMARY 2 BUILDING A KNOWLEDGE BASE 4 ECOLOGY OF THE SECTOR 6 High-end console games 7 Games for digital distribution 8 Publishing and distribution 9 Creative digital services 10 Middleware and related services 11 FACTORS IMPACTING SUSTAINABILITY 13 Shifting demographics 14 Growth factors 18 Industry pressure points 20 OPTIONS TO SUPPORT SUSTAINABILITY 23 Current government support 23 Future support 24 Alternator character Courtesy: Alternator Pty Ltd 1 Executive summary The challenges facing the interactive INTERACTIVE INDUSTRY entertainment industry are intrinsically ENTERTAINMENT IS A PRESSURE POINTS linked to those of the broader screen MAINSTREAM ACTIVITY Despite growing participation, the sector.
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Autodesk Congratulates Academy Award Winners and Nominees
Autodesk Congratulates Academy Award Winners and Nominees February 27, 2007 Numerous Films Created With Autodesk Solutions SAN RAFAEL, Calif., Feb. 27 /PRNewswire-FirstCall/ -- Autodesk, Inc. (Nasdaq: ADSK) congratulates Industrial Light & Magic (ILM) and Animal Logic for their Academy Award-winning work in Pirates of the Caribbean: Dead Man's Chest and Happy Feet, respectively. Autodesk also congratulates ILM, LOLA VFX, Hydraulx, LaserPacific Media Corporation and Blue Sky Studios for their work on the Academy Award-nominated films Poseidon, The Black Dahlia and No Time for Nuts. From visualizing early concepts to finishing and color timing the final pixels, artists rely on Autodesk solutions to achieve their creative vision. (Photo: http://www.newscom.com/cgi-bin/prnh/20050415/SFF034LOGO ) "Congratulations to all the artists who won an Academy Award or were nominated for their stunning work. We salute you," said Marc Petit, Autodesk's Media & Entertainment vice president. "At Autodesk Media & Entertainment, we're dedicated to engineering the best digital tools for filmmaking. We are honored that so many of the nominees and winners trusted our technology." Pirates of the Caribbean: Dead Man's Chest For the Best Visual Effects Academy Award-winning film Pirates of the Caribbean: Dead Man's Chest, artists at ILM used the Autodesk Inferno system, as part of the SABRE visual effects system, to transport movie-goers into the wayward world of Captain Jack Sparrow. In one of the scenes shaped with Inferno, Will Turner and the crew of the Black Pearl are held captive in a cage made of bones. The system was used to composite shots of the actors filmed against a blue screen together with a water plate and a digital matte cliff, as well as to add birds, mist and foot bridges to the scene.
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Stuart Ayres Don Harwin MEDIA RELEASE 10% PDV INCENTIVE PUTS NSW in FRONT for GLOBAL FILMMAKERS
Stuart Ayres Minister for Jobs, Investment, Tourism and Western Sydney Don Harwin Minister for the Arts MEDIA RELEASE Thursday, 11 July 2019 10% PDV INCENTIVE PUTS NSW IN FRONT FOR GLOBAL FILMMAKERS NSW is now one of the most competitive locations in the world for filmmakers following the announcement of a new 10% tax incentive for the Post, Digital and Visual Effects (PDV) sector. Film and television production is currently booming across the world due to unprecedented consumer demand for content and streaming. Minister for Jobs and Investment Stuart Ayres said the NSW PDV rebate is a signal to the industry that NSW is open for business. “This decision helps achieve the NSW Government’s vision of creating great jobs in great places. It is a fantastic boost for the NSW film, television and streaming industries which increases global competitiveness, helps retain the best talent and creates jobs. “NSW as a technology focused and services driven economy is a natural fit for investment in and support of the film and PDV industries. We look forward to seeing more jobs, investment and projects being located in NSW,” Mr Ayres said. Minister for the Arts Don Harwin said this competitive post-production incentive gives filmmakers and studios even more reasons to locate in NSW. “Coupled with our extended Made in NSW funding, which so far has supported over 20,000 jobs and brought in a spend of over $700m across the State, this is a great opportunity for filmmakers and studios,” Mr Harwin said. “Time and time again, audiences are blown away by what they see on screen – be it cinema, TV or gaming.
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Animal Logic
CUSTOMER PROFILE ANIMAL LOGIC Award -winning digital animation and VFX studio builds on the success of The LEGO Movie with Dell EMC Isilon Overview ESSENTIALS Business is booming for Animal Logic! Following the huge success of The LEGO® Movie, the Sydney-based design, visual effects and animation studio is already Industry working on two spin-off titles for the same franchise. Three others, including The LEGO® Movie Sequel, are in the pipeline. The company's film development and Design, Animation & Visual FX production arm, Animal Logic Entertainment, is developing a live action Astro Boy feature, and has partnered with Simon Cowell's SYCO Entertainment to develop Company Size music-based animated and hybrid animation/live action features. The company also 500+ depending on production needs recently announced that it is producing a film adaptation of Neil Gaiman's best-selling children's book, 'Fortunately, The Milk', in partnership with Johnny Depp's Infinitum Business Challenges Nihil, through 20th Century Fox. • Storage needs driven by projects, Earlier this year, Animal Logic expanded its operations into Vancouver opening a making it difficult to plan ahead new animation studio and effectively doubling its capacity to manage an increasingly • Migration could not afford to disrupt busy production schedule and provide room for further expansion. The two locations production schedules currently operate as independent studios collaborating as required. • A major storage upgrade would be considered a poor use of capital The projects Animal Logic works on require some serious storage volumes and performance. The LEGO® Movie alone needed 345 terabytes of capacity at its peak, Results even though an aggressive file management system was deleting 50TB of data no • Additional storage can be added in longer needed for production every week.
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UTS Animal Logic Academy's Master of Animation and Visualisation
Postgraduate Courses 2022 Master of Animation and Visualisation UTS Animal Logic Academy Welcome 1 Meet the team 3 Why study with us? 4 Course structure 6 Roles in the production pipeline 10 Awards & projects 12 Graduate Certificate 14 Testimonials 16 Research opportunities 18 How to apply 20 Contact us 22 Acknowledgement of Country UTS acknowledges the Gadigal People of the Eora Nation and the Boorooberongal People of the Dharug Nation upon whose ancestral lands our campuses stand. We would also like to pay respect to the Elders both past and present, acknowledging them as the traditional custodians of knowledge for these lands. Accelerate your potential and lead the next generation of animation and visualisation professionals Ian Thomson A message from the Head of Head of UTS Animal Logic Academy UTS Animal Logic Academy At the UTS Animal Logic Academy we’re looking for the next generation of digital creatives, 3D artists and IT specialists to drive innovative, high-end production and creative excellence in the animation and visualisation industries. One of the great strengths of the Academy is that we are set up as a fully functioning digital production studio, giving students the opportunity to develop their professional skills in an immersive studio environment and work collaboratively in teams to produce high-end professional projects. Students have produced internationally recognised, award- winning animated films, interactive games, AR/VR and mixed reality experiences and have gone on to work at studios such as Luma Pictures, Flying Bark, Method Studios, Mill Film, MPC, Start VR, Plastic Wax, Double Negative, Animal Logic and many others.
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