DOCSLIB.ORG

2020 Croner Animation Position Grids.Xlsx

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Survey Position Grids STORY / VISUAL DEVELOPMENT ANIMATION Family 200 210 220 230 240 250 260 280 300 Production TV Animation / Character Visual Character Level Story Design / Art Pre-Visualization Modeling Layout Shorts Design Development Animation Direction Executive Management 12 Head of Production Management Generates and Manages the Creates the look Creates characters Creates and Creates sequences of Creates, builds and Creates 3D layouts. Defines, leads and 14 Head of Animation Studio develops story ideas, animation process of and artistic to meet established presents concepts shots that convey the maintains models Translates sketches into 3D executes major 16 Top Creative Executive sequences, an animated deliverables to vision for the and designs for the story through the of story elements, layouts and shot sequences character animation storyboards, television or short film meet the artistic, production, production, including application of traditional including and scenes. May create for productions, elements and production, ensuring creative and including look, character, sets, filmmaking principles in characters, sets and scenes. including personality Brief Job Family Descriptions enhancements that the creative aesthetic vision of personality, lighting, props, key a 3D computer graphics environments, Determines camera and animation style. throughout desires, as well as a production. movement, art. Creates plan environment. elements, sets, placement, blocks production. production expression. views and blue structures. characters, sets and props. requirements, are prints. Shepherds shots through met. final layout. Senior Production 21012 Head of TV 30012 Head of 20012 Head of Story 22012 Production Designer 28012 Head of Layout Leadership / Animation/Shorts Character Animation Head of Function Production Leadership Pipeline / 20016 Story 25016 Pre-Visualization 30016 Animation Sequence 22016 Animation Art Dir 26016 Model Supv 28016 Layout Supv Supervisor Supervisor Supv Leadership Principal 20021 Princ Story 22021 Assoc 23021 Character 24021 Princ Visual 26021 Principal 28021 Principal Layout Individual 30021 Princ Animator Artist Animation Art Dir Designer (Princ Lvl) Dev Artist Modeler Artist Contributor Advanced Individual Contributor Senior / Lead 23024 Character Individual 20024 Sr/Lead Story 24024 Sr/Lead 25024 Sr/Lead Pre- 26024 Sr/Lead 28024 Sr/Lead Layout 30024 Sr/Lead Individual Designer (Sr/Lead Contributor Artist Visual Dev Artist Visualization Artist Modeler Artist Animator Contributor Lvl) 23025 Character Individual 24025 Visual Dev 25025 Pre-Visualization 20025 Story Artist Designer (Journey 26025 Modeler 28025 Layout Artist 30025 Animator Contributor Artist Artist Lvl) Associate 23026 Character 20026 Assoc Story 24026 Assoc Visual 26026 Assoc 30026 Assoc Individual Designer (Associate 28026 Assoc Layout Artist Artist Dev Artist Modeler Animator Contributor Level) Senior Coordinator / Technician Coordinator / 24027.5 Visual Dev Support Technician Coord Assistant © THE CRONER COMPANY UNAUTHORIZED REPRODUCTION OR DISTRIBUTION PROHIBITED Page 1 of 7 Survey Position Grids TECHNICAL / SHOT PRODUCTION Family 410 420 465 467 470 471 472 475 476 480 Pipeline Character Set-Up / Shading / Texture Generalist Technical On-Set Data Level Character Simulation Matte Lighting Compositing Rendering Technical Rigging Painting Direction Acquisition Direction Constructs character rigs Designs tools and/or texture Creates, models and Creates digital Designs and Assembles previously created Renders and Manages and Provides technical Captures data and and animation controls for maps, and creates shading animates the external environments either for implements lighting assets to develop final images finishes shots, implements technical support to all aspects of reference information use by animators, including and/or surface qualities of features of characters, animated productions or and shadows of during production. including shading, processes that a production, during live shoots to be skeleton, limb, facial elements, including including hair, fur, cloth, live-action films. objects, scenes or texture, shadows facilitate single or implementing fixes and used in the creation of expression, skin and hair characters, sets, props and grooming and/or tailoring effects. and refractions, to multiple stages of work solutions in the technical visual effects. Oversees Brief Job Family Descriptions movement. environments. and dynamic simulation. create final in an animation or and artistic completion of and guarantees the appearance. visual effects shots and scenes. integrity and safety of production pipeline. data from the set to all end users. 40010 Top Production Technical Role Senior Production Leadership / 40011 Digital Effects Supervisor Head of Function 40012 CG Supervisor Production Leadership Pipeline / 41016 Char Set-Up / 42016 Shading and/or 46516 Character Simulation 47016 Lighting 47516 Pipeline Tech 47616 Generalist Tech Sequence 46716 Matte Supv 47116 Compositing Supv 47216 Render Supv Rigging Supv Texture Painting Supv Supv Supv Dir Supv Dir Supv Leadership Principal 41021 Princ Char Set-Up / 42021 Princ Shading / Texture 46521 Princ Character 47021 Princ 47221 Princ 47521 Princ Pipeline 47621 Princ Generalist Individual 46721 Princ Matte Artist Rigging Tech Dir Painting IC Simulation Tech Dir Lighting Artist Renderer Tech Dir Techn Dir Contributor Advanced Individual Contributor Senior / Lead Individual 41024 Sr/Lead Char Set-Up 42024 Sr/Lead Shading / 46524 Sr/Lead Character 46724 Sr/Lead Digital 47024 Sr/Lead 47224 Sr/Lead 47524 Sr/Lead Pipeline 47624 Sr/Lead Generalist Individual 47124 Sr/Lead Compositor Contributor / Rigging Tech Dir Texture Painting IC Simulation Tech Dir Matte Artist Lighting Artist Renderer Tech Dir Tech Dir Contributor Individual 41025 Char Set-Up / 42025 Shading / Texture 46525 Character Simulation 46725 Digital Matte 47025 Lighting 47525 Pipeline Tech 47625 Generalist Tech 48025 On-Set Data 47125 Compositor 47225 Renderer Contributor Rigging Tech Dir Painting IC Tech Dir Artist Artist Dir Dir Wrangler Associate 41026 Assoc Char Set-Up / 42026 Assoc Shading / 46526 Assoc Character 47026 Assoc 47626 Assoc Generalist Individual 47126 Assoc Compositor Rigging Tech Dir Texture Painting IC Simulation Tech Dir Lighting Artist Tech Dir Contributor Senior Coordinator / Technician Coordinator / Support Technician Assistant © THE CRONER COMPANY UNAUTHORIZED REPRODUCTION OR DISTRIBUTION PROHIBITED Page 2 of 7 Survey Position Grids EFFECTS / LIVE ACTION Family 483 484 486 489 490 495 Rotoscope / Digital Paint Level Motion Capture Effects Crowds Stereoscopic Imaging Match Moving Art Directs and produces the Creates and animates digital Manages production and Creates, manages, and delivers 3D Digitally removes unwanted Manipulates software camera necessary motion capture effects for (super) natural delivery of digital crowds shots. assets for a production, establishing elements from frames and to align computer graphics and shots and sequences for a phenomena for live-action Develops technical tools the creative and technical approach to ensures that voids match live-action scenes into final production. Manages motion productions and integrates needed to create crowd delivering 3D shots, including frame environment in delivery shots. capture studio and equipment. effects into shots. animation. stereoscopic approach and creation of of final images. Brief Job Family Descriptions stereo rigs. Ensures quality delivery of 3D shots through post production. Senior Production 48412 Head of Effects 48912 Head of Stereoscopic Imaging Leadership / Head of Function Production Leadership Pipeline / 48316 Motion Capture 49516 Match Moving Sequence 48416 Effects Supv 48616 Crowds Supv 48916 Stereoscopic Supv Supv Supervisor Leadership Principal Individual 48421 Princ Effects Artist Contributor Advanced Individual Contributor Senior / Lead Individual 48324 Sr/Lead Motion 48624 Sr/Lead Crowds 49024 Sr/Lead Rotoscope / Individual 48424 Sr/Lead Effects Artist 48924 Sr/Lead Stereoscopic Tech Dir 49524 Sr/Lead Match Mover Contributor Capture Tech Dir Artist Digital Paint Artist Contributor Individual 48325 Motion Capture 49025 Rotoscope / Digital Paint 48425 Effects Artist 48625 Crowds Artist 48925 Stereoscopic Tech Dir 49525 Match Mover Contributor Tech Dir Artist Associate 49026 Assoc Rotoscope / Individual 48426 Assoc Effects Artist 48926 Assoc Stereoscopic Tech Dir Digital Paint Artist Contributor Senior Coordinator / Technician Coordinator / 48327.5 Motion Capture Support 48427.5 Effects Technician Technician Tech Assistant © THE CRONER COMPANY UNAUTHORIZED REPRODUCTION OR DISTRIBUTION PROHIBITED Page 3 of 7 Survey Position Grids PRODUCING Family 499 500 510 520 Producing / Production Level Development Script Feature Effects Producing Management Identifies, develops, and acquires Manages business function of a Manages the development and Manages business function for projects and related talent for the production, including assembling revision of, and maintains, master feature effects, including assembling studio. Develops a continuous resources, funding and talent; production scripts. Manages, tracks, resources, funding and talent; pipeline of projects for evaluation. negotiates resources. updates and communicates version negotiates resources. Creates changes. Attends and documents effects production schedule. Brief Job Family Descriptions dialogue sessions to track changes, line counts and script revisions. Executive
Recommended publications
  • 3-Year Academic Assessment Plan Cover Sheet Email To: Assessment@Unlv.Edu

    3-Year Academic Assessment Plan Cover Sheet Email To: [email protected]

    3-Year Academic Assessment Plan Cover Sheet Email to: [email protected] Program Information: Program Assessed MFA Writing for Dramatic Media Department Film College College of Fine Arts Department Chair Heather Addison Assessment Coordinator Sean Clark Date Submitted 12/20/2018 Contact Person for This Plan Name Sean Clark Phone 54536 Email [email protected] Please address the following items: • What are the student learning outcomes? Please provide a numbered list. • Plans must include a curriculum map showing which courses will address which learning outcomes. Examples can be found here: http://provost.unlv.edu/Assessment/map.html • Which learning outcomes will be assessed in each cycle year (i.e., assessment timeline)? • How will the learning outcomes be assessed? (Programs must use at least one direct assessment of student learning.) • Undergraduate programs should assess at least one University Undergraduate Learning Outcome (UULO) each year, which may or may not overlap with a program learning outcome. • Graduate programs should assess at least one outcome related to one of the following graduate level requirements each year: o student engagement in research, scholarship, creative expression and/or appropriate high- level professional practice. o activities requiring originality, critical analysis and expertise. o the development of extensive knowledge in the field under study. • What is your plan for sharing the assessment results and acting on them (i.e., closing the loop)? Please limit the narrative portion of your report to no more than four pages. You may attach appendices with data, tables, charts, or other materials as needed. Please explain the relevant conclusions from any appendices in your narrative.
  • Experience in 2D, CGI, and Flash/Animate TV Productions and Short film

    Experience in 2D, CGI, and Flash/Animate TV Productions and Short film

    [email protected] www.katebrusk.com Los Angeles, CA 586.306.2436 I’m a story artist with experience in 2D, CGI, and Flash/Animate TV productions and short film. My drive is bringing character-driven stories to Hi! life. I love constrasting personalities and characters with a fiery spirit. This is a resume! Experience Nickelodeon Storyboard Artist May 2016 - present SKILLS Storyboarding for seasons 2,3 & 4 of Shimmer and Shine. Storytelling Reiteration & Revision Responsible for storyboarding a 16-20 page script over 4 Structuring Pipelines weeks. Character Animation Specializing in song sequences, action, and chorography. Communication Tight Deadlines Working closely with Executive Producer and Directors to Putting it to a montage create a cohesive storytelling style. Contributing to reseach and concept for new environments. SOFTWARE Acted as team consultant using 3D models in Storyboard Pro, Storyboard Pro, and developed effecient internal workflow. SBP 3d Integration Flash/Animate Photoshop Soup 2 Nuts Storyboard Artist Sept 2013 - Oct 2014 Sketchup Storyboarded seasons 1 & 2 of Astroblast using Flash in a After Effects timeline-based process. Revised scenes on a 24 hour turnaround using producer & EDUCATION director notes. College for Creative Studies Supervised storyboards for 3 episodes, which included BFA in Entertainment Arts handling internal and network notes and overseeing a team May2012 of both on- and offsite artists. Focus in Character and experimental animation Freelance Animation and Design 2012 - 2016 RECOGNITION Worked with a range of clients and studios in a variety of TAFFI Best of Show 2013 styles on commercial projects including Perrier, FOX ADHD, Tour Skechers, Biore, and Cosmic Toast Studios.
  • Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing

    Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing

    Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
  • A Process of Seamlessly Replacing Cg Elements Into Live-Action Footage

    A Process of Seamlessly Replacing Cg Elements Into Live-Action Footage

    1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- A PROCESS OF SEAMLESSLY REPLACING CG ELEMENTS INTO LIVE-ACTION FOOTAGE Jin Zhi Duncan of Jordanstone College of Art & Design, United Kingdom Abstract: This research focused on inserting a computer-generated element into live-action footage and replacing unwanted existing objects in the footage. In addition, creating a realistic and seamless visual representation in the field of digital compositing. The purpose of this paper is to cover a detailed working process of digital compositing in order to clarify the production process and provide a clear idea for those entry-level artists to improve an overall understanding of the digital compositing and visual effects and hopefully inspire further collaboration and participants particularly between academia and industry. Key Words: Digital compositing, CG elements, Realistic, Visual effects Introduction Along with the increase of digital compositing in feature films, the role of digital compositors has become of unprecedented importance. Compositors thus sit at the core of most image manipulation pipelines. In order to meet the needs of the visual effects industry, universities, art and film schools have established relevant professional courses in recent years. Nevertheless, current educational concepts still need to promote a sound scientific understanding in order to steer entry- level visual effects artists in the right direction. This study has addressed several main factors from the perspective of theory and practice. As a general discussion, the research briefly outlines the historical perspectives of digital compositing, and continues to investigate the current situation of the digital compositing and visual effects industry.
  • Magazines V17N9.Qxd

    Magazines V17N9.Qxd

    Apr COF C1:Customer 3/8/2012 3:24 PM Page 1 ORDERS DUE th 18APR 2012 APR E E COMIC H H T T SHOP’S CATALOG IFC Darkhorse Drusilla:Layout 1 3/8/2012 12:24 PM Page 1 COF Gem Page April:gem page v18n1.qxd 3/8/2012 11:16 AM Page 1 THE MASSIVE #1 STAR WARS: KNIGHT DARK HORSE COMICS ERRANT— ESCAPE #1 (OF 5) DARK HORSE COMICS BEFORE WATCHMEN: MINUTEMEN #1 DC COMICS MARS ATTACKS #1 IDW PUBLISHING AMERICAN VAMPIRE: LORD OF NIGHTMARES #1 DC COMICS / VERTIGO PLANETOID #1 IMAGE COMICS SPAWN #220 SPIDER-MEN #1 IMAGE COMICS MARVEL COMICS COF FI page:FI 3/8/2012 11:40 AM Page 1 FEATURED ITEMS COMICS & GRAPHIC NOVELS Strawberry Shortcake Volume 2 #1 G APE ENTERTAINMENT The Art of Betty and Veronica HC G ARCHIE COMIC PUBLICATIONS Bleeding Cool Magazine #0 G BLEEDING COOL 1 Radioactive Man: The Radioactive Repository HC G BONGO COMICS Prophecy #1 G D. E./DYNAMITE ENTERTAINMENT Pantha #1 G D. E./DYNAMITE ENTERTAINMENT 1 Power Rangers Super Samurai Volume 1: Memory Short G NBM/PAPERCUTZ Bad Medicine #1 G ONI PRESS Atomic Robo and the Flying She-Devils of the Pacific #1 G RED 5 COMICS Alien: The Illustrated Story Artist‘s Edition HC G TITAN BOOKS Alien: The Illustrated Story TP G TITAN BOOKS The League of Extraordinary Gentlemen III: Century #3: 2009 G TOP SHELF PRODUCTIONS Harbinger #1 G VALIANT ENTERTAINMENT LLC Winx Club Volume 1 GN G VIZ MEDIA BOOKS & MAGAZINES Flesk Prime HC G ART BOOKS DC Chess Figurine Collection Magazine Special #1: Batman and The Joker G COMICS Amazing Spider-Man Kit G COMICS Superman: The High Flying History of America‘s Most Enduring
  • New Mode of Cinema V1n1

    New Mode of Cinema V1n1

    New Mode of Cinema: How Digital Technologies are Changing Aesthetics and Style Kristen M. Daly, Columbia University, New York Abstract This article delves intrinsically into how the characteristics of digital cinema, its equipment, software and processes, differ from film and therefore afford new aesthetic and stylistic modes, changing the nature of mise-en-scène and the language of cinema as it has been defined in the past. Innovative filmmakers are exploring new aesthetic and stylistic possibilities as the encumbrances of film, which delimited a certain mode of cinema, are released. The article makes the case that the camera as part of a computer system has enabled a more cooperative relationship with the filmmaker going beyond Alexandre Astruc’s prediction of the camera-pen (camére-stylo) to become a camera-computer. The technology of digital cinema makes the natural indexicality of film and the cut simply options amongst others and permits new forms of visual aesthetics not premised on filmic norms, but based on other familiar audiovisual forms like video games and computer interface. Voir le résumé français à la fin de l’article ***** “We see in them, if you like, something of the prophetic. That’s why I am talking about avant-garde. There is always an avant-garde when something new takes place . .” (Astruc, 1948, 17) In this article, I will examine some of the material qualities and characteristics of the equipment, software and processes of digital cinema production and propose how these afford a new aesthetics and style for cinema. Of course, many styles are available, including the status quo.
  • VU Resume 111720

    VU Resume 111720

    VANESSA UHLIG vanessauhlig.com EDUCATION UNIVERSITY OF TEXAS AT AUSTIN Master of Fine Arts, May 2019 Film and Media Production, Moody College of Communication UNIVERSITY OF CALIFORNIA AT DAVIS Bachelor of Arts, Highest Honors, May 2007 English, College of Arts and Sciences SKILLS • Pre-Production: Movie Magic Scheduling, Final Draft, Shot Designer, Adobe Creative Suite • Production: Canon, Sony, Black Magic camera systems; 16mm / 35mm film cameras, field sound recording equipment • Post-Production: Avid Media Composer Certified, Adobe Premiere Pro, Final Cut, Avid Pro Tools, Adobe Audition • Languages: Spanish [proficient], Thai [intermediate], French [intermediate], Kaqchikel Maya [beginning] SELECTED PRODUCTION CREDITS Writer/Director/Producer The Low Season (narrative feature) script in development to be produced and shot in Guatemala Las Cruces (short narrative/documentary hybrid) thesis film, UT Austin [premiered at Austin FF] A Woman Loves (narrative short) screened at UT SXSW Showcase (2018) Jazz for Sleep (narrative short) screened at UT SXSW Showcase (2017) If You Were Going to Leave (short documentary) University of Texas at Austin (2016) A Note (narrative short) screened at CineAid FF and Bangkok Short FF (2015) Writing Department SKAM Austin Season 1 Facebook Watch (2018) [Script Coordinator] Production Panic Season 1 Amazon Studios (2020) [Director’s Assistant - Blocks 2 and 4] SKAM Austin Season 2 Facebook Watch (2018) [Production Assistant] Overachievers (narrative short) Sam Mohney Productions (2019) [Producer and First AD] The Fix (narrative short) Edward Jack Productions, premiered Palm Springs FF (2017) [Producer and First AD] Motorized Subcultures (TV episode) Dragonfly Media/Discovery Channel (2015) [Segment Field Producer] Kong: Skull Island (Thai Unit) Legendary Pictures/Warner Brothers (2015) [Production Assistant] Star Wars: The Last Jedi (Thai Unit) Lucasfilm/Walt Disney Pictures (2015) [Production Assistant] “Bucket List” (TVC) Expedia/Park Pictures d.
  • TAG21 Mag Q1 Web2.Pdf

    TAG21 Mag Q1 Web2.Pdf

    IATSE LOCAL 839 MAGAZINE SPRING 2021 ISSUE NO. 13 THE ANIMATION GUILD QUARTERLY GIMMIE SHELTER: CREATING CAPTIVATING SPACES IN ANIMATION GIMME SHELTER SPRING 2021 CREATING CAPTIVATING SPACES IN ANIMATION FOR YOUR CONSIDERATION BEST ANIMATED FEATURE GLEN KEANE, GENNIE RIM, p.g.a., PEILIN CHOU, p.g.a. GOLDEN GLOBE ® NOMINEE BEST ANIMATED FEATURE “ONE OF THE MOST GORGEOUS ANIMATED FILMS EVER MADE.” “UNLIKE ANYTHING AUDIENCES HAVE SEEN BEFORE.” “★★★★ VIBRANT AND HEARTFELT.” FROM OSCAR®WINNING FILMMAKER AND ANIMATOR GLEN KEANE FILM.NETFLIXAWARDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 NETFLIX: OVER THE MOON PUB DATE: 02/25/21 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 13 CONTENTS 46 11 AFTER HOURS 18 THE LOCAL FRAME X FRAME Jeremy Spears’ passion TAG committees’ FEATURES for woodworking collective power 22 GIMME SHELTER 4 FROM THE 14 THE CLIMB 20 DIALOGUE After a year of sheltering at home, we’re PRESIDENT Elizabeth Ito’s Looking back on persistent journey the Annie Awards all eager to spend time elsewhere. Why not use your imagination to escape into 7 EDITOR’S an animation home? From Kim Possible’s NOTE 16 FRAME X FRAME 44 TRIBUTE midcentury ambience to Kung Fu Panda’s Bob Scott’s pursuit of Honoring those regal mood, these abodes show that some the perfect comic strip who have passed of animation’s finest are also talented 9 ART & CRAFT architects and interior designers too. The quiet painting of Grace “Grey” Chen 46 SHORT STORY Taylor Meacham’s 30 RAYA OF LIGHT To: Gerard As production on Raya and the Last Dragon evolved, so did the movie’s themes of trust and distrust.
  • Women Creating Machinima Jenifer Vandagriff Georgia Institute Of

    Women Creating Machinima Jenifer Vandagriff Georgia Institute Of

    Women creating Machinima Jenifer Vandagriff Georgia Institute of Technology [email protected] Michael Nitsche Georgia Institute of Technology [email protected] Abstract We interviewed 13 female machinima artists to investigate the appeal of machinima for women. Are there any specific qualities of this game-based production that speak to those women? The research looked at engine use, personal situation of artists and motivation, production processes, and dominant themes in female produced machinima. Our findings indicate that machinima as a form of emergent play opens up promising possibilities for women to engage in game and animation production. Traditional social roles of women are present and remain relevant for machinima production but the accessibility of the tools provides a playground for these filmmakers to explore new genres and technologies and it supports the interest in meaningful engagement and artistic expression stated by participants in the study. We conclude that machinima can serve as a useful tool to explore and improve women’s position in digital media development. Keywords women, machinima, storytelling, media production 1 Women in Machinima Introduction Women comprise only a small fraction of the technical, design, and concept stages of game development. Women constitute approximately 8% for the areas of art, design, and audio. They make up less than 3% in programming (Duffy 2008). Not only are fewer women making decisions about game design, but they also earn substantially less (nearly $10,000) then male colleagues (Duff 2008). While women remain heavily underrepresented in key areas of the game industry workforce, the percentage of female gamers has grown significantly.
  • Canadian Canada $7 Fall 2016 Vol.19, No.1 Screenwriter Film | Television | Radio | Digital Media

    Canadian Canada $7 Fall 2016 Vol.19, No.1 Screenwriter Film | Television | Radio | Digital Media

    CANADIAN CANADA $7 FALL 2016 VOL.19, NO.1 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA We Celebrate Our Epic Screenwriting Success Stories It’s Time To Work On Your Pitch Baroness Von Sketch Show: Creating A World In Two Minutes Animated Conversation: Ken Cuperus Opens Up About His Live Action-Cartoon Crossover PM40011669 ★ ★ SCREENWRITERS STAY TUNED FOR IMPORTANT DEADLINES THE 21ST ANNUAL WGC SCREENWRITING AWARDS APRIL 24, 2017 | KOERNER HALL, TORONTO 2017 SPECIAL AWARDS: THE WGC SHOWRUNNER AWARD for excellence in showrunning THE JIM BURT SCREENWRITING PRIZE for longform screenwriting talent THE SONDRA KELLY AWARD for female screenwriters CALL FOR ENTRIES COMING SOON TO WWW.WGC.CA CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 19 No. 1 Fall 2016 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Contents Publisher Maureen Parker Editor Tom Villemaire Features [email protected] Having An Animated Conversation 6 Director of Communications Li Robbins We talk to Ken Cuperus about how he and his writing team create a hybrid animation and live-action comedy. Editorial Advisory Board By Mark Dillon Denis McGrath (Chair) Michael MacLennan Susin Nielsen Simon Racioppa Changing The Rules 12 President Jill Golick (Central) While bureaucrats tinker with the points system in an effort Councillors to make Canadian television more successful, we offer our Michael Amo (Atlantic) epic track record, proving the system works. Mark Ellis (Central) By Matthew Hays Dennis Heaton (Pacific) Denis McGrath (Central) Warming Up For The Pitch 16 Anne-Marie Perrotta (Quebec) Pitching is often a bigger challenge to writers than, Andrew Wreggitt (Western) well, writing.
  • CG CHARACTER ANIMATOR 253, Rue Saint Denis 75002 Paris, France

    CG CHARACTER ANIMATOR 253, Rue Saint Denis 75002 Paris, France

    Bruno MILLAS CG CHARACTER ANIMATOR 253, rue Saint Denis 75002 Paris, France +33 6 60 73 49 29 +33 1 44 76 06 62 General skills : [email protected] Animator Director - Lead Animator - Animator Director – Screenwriting - Design – Storyboard http://millasbruno.free.fr Layout - Compositing - Modeling - Rigging Professionals Expériences 2010-2012 Studio Hari : Animation director \ Animator \ Director Direction of two teams, one on site and the other in outsourcing on the Series "The Gees”, “The Owl ". Director of one episode "The Gees free falling". 2010 Digital-District : Senior Animator \ Layout Advertising « Badoit ». 2010 BAIACEDEZ : Director \ Animator Institutional movie for « LA ROCHE POSAY ». 2009 Wizz : Director \ Animator director Screenwriting, layout, modeling, rigging, animator director, animator, lighting, fur, render, compositing for the series « OXO ». Director assistant \ Rigging \Animator Advertising « Orange rugby » and game tv trailer « Redsteel2 ». 2008-2009 SolidAnim : Senior Animator Animator and motion-capture editing « Call of Juarez ». 2007-2008 Hérold & family : Senior Animator Feature film « The true story of puss n' boots ». 2007 Méthodes-films : Animation director, technical animation director, team lead Création of animation structure, animation design, bank of movement, actor director and direction of motion capture, animation team supervisor for the game « Skyland ». 2006 BAIACEDEZ : Director \ Animator Advertising « Vichy, Yarden, GSK, Skeen, LA ROCHE POSAY ». 2005-2006 UBISOFT : Senior Animator \ Character TD Teaser « Brother in Arms 3 », « Rayman 4 ». 2002-2005 NEVRAX : Senior Animator \ Character TD Vidéo game « The saga of Ryzom ». 2002 PARTISANT Midi Minuit : Senior Animator Advertising « Danone active ». 1999-2002 DARKWORKS : Director \ Lead CG animator \ Game-play senior animator Lead cinematique and game play animator for the Vidéo game « Alone in the dark 4 ».
  • 3D Compositing and Visual Effects ITP 360X (3 Units)

    3D Compositing and Visual Effects ITP 360X (3 Units)

    3D Compositing and Visual Effects ITP 360x (3 Units) Fall 2010 Objective Advanced techniques for 3D animation and visual effects development; including 3D pre-visualization, match moving, dynamics, multi-pass rendering, and digital compositing. Concepts Camera and advanced photographic applications for 3D including: Camera tracking and match moving, high dynamic range image making, image based lighting, and global illumination. Advanced materials, lighting, and rendering techniques. Multi-pass rendering and node based compositing. Film, video, and chroma-keying for 3D. Pre-visualization and pipeline planning techniques. 3D asset creation, photorealistic texturing, and asset management. Color correction, optical effects, and advanced compositing. In addition to a series of weekly assignments, students will apply their knowledge to a final capstone project. Prerequisites ITP 215x Instructor Lance S. Winkel Contacting the E-mail: [email protected] Instructor Tel: 213.740.9956 Office Hours Varies by semester Lab Assistants TBA Class Meeting 3 hours / week. Lecture and hands on lab combined. Course The course material will be structured around a series of projects. Structure Each project will extend over several weeks with assignments / progress checks due each week. See the Grading criteria below. The anticipated Course Outline contains a weekly breakdown of the lecture material and assignment due dates. Required Digital Lighting and Rendering (2nd Edition) (Paperback) Textbooks Jeremy Birn, (ISBN: 978-0321316318) Compositing Visual Effects