Pim Hendriks Curriculum Vitae
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Premier Trial Version Download Sign up for Adobe Premiere Free Trial with Zero Risk
premier trial version download Sign Up for Adobe Premiere Free Trial With Zero Risk. Adobe is a multinational computer software company based in San Jose, California. The firm is best known for its various creativity and design software products, although it has also forayed into digital marketing software. Adobe owes its household-name status to widely known, industry-standard software products such as Premiere Pro, Photoshop, Lightroom, Adobe Flash, and Adobe Acrobat Reader. There are now over 18 million subscribers of Adobe’s Creative Cloud services around the world. Adobe Premiere Pro —often simply referred to as Premiere—is Adobe’s professional video editing software. The program is equipped with state-of-the-art creative tools and is easily integrated with other apps and services. As a result, amateur and professional filmmakers and videographers are able to turn raw footage into seamless films and videos. Main Things You Should Know About the Free Trial of Adobe Premiere. You can get a seven-day Adobe Premiere Pro free trial in two different ways . You can sign up for it as: —$20.99/month after the trial A part of the Creative Cloud suite —available from $52.99/month after the trial. Credit card information is required to start your Premiere free trial. As a side note—you can cancel your Adobe Creative Cloud membership or free trial in a few minutes with the help of DoNotPay. How to Download the Adobe Premiere Free Trial. To start your seven-day free trial of Adobe Premiere Pro sold as an individual app, follow these easy steps: Visit the Adobe catalog Hit the Start Free Trial under Adobe Premiere Click the Start Free Trial button in the left column for Premiere only in the pop-up window Enter your email address in the open field Pick a plan from the drop-down menu on the right—the annual plan paid monthly is the cheapest and therefore the best bet Click on Continue to Payment Sign in with your Adobe credentials or continue with your Apple, Google, or Facebook account Enter your credit card details Click on Start Free Trial to confirm. -
Product Note: VFX Film Making 2018-19 Course Code: OV-3108 Course Category: Career INDUSTRY
Product Note: VFX Film Making 2018-19 Course Code: OV-3108 Course Category: Career INDUSTRY Indian VFX Industry grew from INR 2,320 Crore in 2016 to reach INR 3,130 Crore in 2017. The Industry is expected to grow nearly double to INR 6,350 Crore by 2020. From VFX design & pre-viz to the creation of a digital photo-realistic fantasy world as per the vision of a Film director, Visual effects has become an essential part of today's filmmaking process. The Study of Visual effects is a balance of both art and technology. You learn the art of VFX Design as well as the latest VFX techniques using the state-of-the-art 3D &VFX soft wares used in the industry. * Source :FICCI-EY Media & Entertainment Report 2018 INDUSTRY TRENDS India Becoming a Powerhouse in Global VFX Share market India has evolved in terms of skillset which has helped local & domestic studios work for Global VFX projects. The VFX Industry is expected to hire about 2,500-3,000 personnel in the coming year. Visual Effects in Hollywood Films Top Studios working on Global VFX Top International Studios like MPC, Double Negative & Frame store who have studios & Film Projects partners in India have worked on the VFX of Top Hollywood Blockbuster Films Blade Runner 2049, The Fast & the Furious 8, Pirates of the Caribbean- Dead men Tell No Tales, Technicolor India The Jungle Book and many more. MPC TIPS VFX Trace VFX Visual Effects in Bollywood Films Prime Focus World BAHUBALI 2 – The Game Changer for Bollywood VFX Double Negative Post the Box office success of Blockbuster Bahubali 2, there is a spike in VFX Budgets in Legend 3D Bollywood as well as Regional films. -
'They Made Gullah': Modernist Primitivists and The
“ ‘They Made Gullah’: Modernist Primitivists and the Discovery and Creation of Sapelo Island, Georgia’s Gullah Community, 1915-1991” By Melissa L. Cooper A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of Dr. Mia Bay and approved by New Brunswick, New Jersey January 2012 2012 Melissa L. Cooper ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION “ ‘They Made Gullah’: Modernist Primitivists and the Discovery and Creation of Sapelo Island, Georgia’s Gullah Community, 1915-1991” by Melissa L. Cooper Dissertation Director: Dr. Mia Bay ABSTRACT: The history of Sapelo Islanders in published works reveals a complex cast of characters, each one working through ideas about racial distinction and inheritance; African culture and spirituality; and the legacy of slavery during the most turbulent years in America’s race-making history. Feuding social scientists, adventure seeking journalists, amateur folklorists, and other writers, initiated and shaped the perception of Sapelo Islanders’ distinct connection to Africa during the 1920s and 1930s, and labeled them “Gullah.” These researchers characterized the “Gullah,” as being uniquely connected to their African past, and as a population among whom African “survivals” were readily observable. This dissertation argues that the popular view of Sapelo Islanders’ “uniqueness” was the product of changing formulations about race and racial distinction in America. Consequently, the “discovery” of Sapelo Island’s Gullah folk was more a sign of times than an anthropological discovery. This dissertation interrogates the intellectual motives of the researchers and writers who have explored Sapelo Islanders in their works, and argues that the advent of American Modernism, the development of new social scientific theories and popular cultural works during the 1920s and 1930s, and other trends shaped their depictions. -
Broadcast & Film
B R O A D C A S T - F I L M - P O S T - I N F O T A I N M E N T T E C H N O L O G Y BROADCAST GLOBAL MEDIA FOR BROADCAST, FILM, POST & INFOTAINMENT & FILM TECHNOLOGY & BUSINESS Inaugural Issue I n f l u e n c e r s KEITAN YADAV, HARRY HINGORANI, P JAYAKUMAR COO & VFX Producer CCO & VFX Supervisor CEO, SHAHRUKH KHAN Toonz Media Group & redchillies.vfx T e c h n o l o g y T r e n d s KIREET KHURANA RAJKUMAR HIRANI Animator & Filmmaker Ace Filmmaker SUSHANT RAI SATISH AGGARWAL VP, Sales – South Asia, MEA Managing Director TVU Networks Visual Technologies Contents 5 Editorial 6 News NEWS... Editor: MANOJ MADHAVAN manoj,[email protected] Shah Rukh Khan’s redchillies.vfx 9 Garnering Critical Acclaim Production: PRASHANT KARANGUTKAR 15 Covid 19 Lockdown Impact on the Entertainment Business Rajkumar Hirani : Ace Filmmaker 17 on Technology Trends in Cinema Editorial & Advertising 19 Gamechanger in the M&E Industry: NürnbergMesse India Pvt. Ltd. Real-Time Virtual Production 312/313, A Wing, 3rd Floor, Dynasty Business Park, Andheri Kurla Road, Andheri (E), Mumbai – 400059. Tel.: +91-22-6216 5313 Satish Aggarwal – The Broadcast Technocrat Par Excellence Mob.: +91-91082 32956 22 Email: manoj,[email protected] www.broadcastandfilm.com Broadcast industry ensures Business 24 Continuity with Cloud-based Solutions Copyright Disclaimer BROADCAST AND FILM Magazine is Digitally published Sushant Rai to Drive Growth for TVU Networks bi-monthly. It is available only through subscription. -
Linux Mint - 2Nde Partie
Linux Mint - 2nde partie - Mise à jour du 10.03.2017 1 Sommaire 1. Si vous avez raté l’épisode précédent… 2. Utiliser Linux Mint au quotidien a) Présentation de la suite logicielle par défaut b) Et si nous testions un peu ? c) Windows et Linux : d’une pratique logicielle à une autre d) L’installation de logiciels sous Linux 3. Vous n’êtes toujours pas convaincu(e)s par Linux ? a) Encore un argument : son prix ! b) L’installer sur une vieille ou une nouvelle machine, petite ou grande c) Par philosophie et/ou curiosité d) Pour apprendre l'informatique 4. À retenir Sources 2 1. Si vous avez raté l’épisode précédent… Linux, c’est quoi ? > Un système d’exploitation > Les principaux systèmes d'exploitation > Les distributions 3 1. Si vous avez raté l’épisode précédent… Premiers pas avec Linux Mint > Répertoire, dossier ou fichier ? > Le bureau > Gestion des fenêtres > Gestion des fichiers 4 1. Si vous avez raté l’épisode précédent… Installation > Méthode « je goûte ! » : le LiveUSB > Méthode « j’essaye ! » : le dual-boot > Méthode « je fonce ! » : l’installation complète 5 1. Si vous avez raté l’épisode précédent… Installation L'abréviation LTS signifie Long Term Support, ou support à long terme. 6 1. Si vous avez raté l’épisode précédent… http://www.linuxliveusb.com 7 1. Si vous avez raté l’épisode précédent… Installation 8 1. Si vous avez raté l’épisode précédent… Installation 9 1. Si vous avez raté l’épisode précédent… Installation 10 1. Si vous avez raté l’épisode précédent… Installation 11 2. Utiliser Linux Mint au quotidien a) Présentation de la suite logicielle par défaut Le fichier ISO Linux Mint est compressé et contient environ 1,6 GB de données. -
Software Guide (PDF)
Animation - Maya and 3ds Max: autodesk.com. freesoftware/ Operating system: All Educational institutions can access a range of software for 3D modelling, animation and rendering. Free trial available. Games - Synfig: synfig.org/ Operating system: All Twine: twinery.org/ - Vector-based 2D animation suite. Operating system: All Easy-to-create interactive, story-based game - Three.Js: threejs.org/ engine. Add slides and embed media. Coding Operating system: Web-based knowledge is not required. Create animated 3D computer graphics on a web browser using HTML. - GameMaker: yoyogames.com/gamemaker Operating system: Windows and macOS - Blender: blender.org/ Simple-to-use 2D game development engine. Operating system: All Coding knowledge is not required. Free trial Easy-to-use software to create 3D models, available. environments and animated films. Can be used for VFX and games. - Unreal Engine: unrealengine.com/en-US/ what-is-unreal-engine-4 - Stop Motion Studio: cateater.com/ Operating system: Web-based Operating system: Windows, macOS, Andriod Advanced game engine to create 2D, and iOS 3D, mobile and VR games. Knowledge of Stop-motion animation app with in-app programming is not required. purchases. - Playcanvas: playcanvas.com Operating system: Web-based Simple-to-use 3D game engine using HTML5. Create apps faster using Google Docs-style realtime collaboration. Learn how to use your work to build a - Unity: unity3d.com/ portfolio and get a job: Operating system: Windows and macOS screenskills.com/building-your-portfolio Easy-to-use game engine for importing 3D models, creating textures and building Software guide environments. Find a job profile that uses your skills: Free software to help you develop screenskills.com/job-profiles Chatmapper: chatmapper.com/ your skills and create a portfolio - Operating system: Windows for the film, TV, animation, Software for writing non-linear dialogue, ideal VFX (visual effects) and games industries for games. -
Rotoscoping Software
JOB ROLE – ROTO ARTIST Sector – Media and Entertainment Sector (Qualification Pack Code: MES/Q3504) ( Class-XI ) PSS Central Institute of Vocational Education Shyamla Hills, Bhopal – 462 013 , Madhya Pradesh, India _________________________________________________________ www.psscive.ac.in 1 UNIT 2: CREATIVE AND TECHNICAL REQUIREMENT Chapter 7: Rotoscoping Software 2 Content Title Slide No. Chapter Objectives 04 Introduction 05 Rotoscoping Software 06-07 Adobe After Effects 08-13 System requirement for Adobe after Effects 14 Advantage of Adobe After Effects in Rotoscoping 15 Silhouette 2020 16- 19 System requirement of Silhouette 2020 20 Nuke 21-24 Minimum System Requirement of Nuke 25 Summary 26 3 Chapter Objectives The students will be able to: ❑ Define Rotoscoping Software, ❑ Explain Adobe After Effects software, its key features, ❑ Prepare System requirement for Adobe after Effects CC2019, ❑ Describe advantage of Adobe After Effects in Rotoscoping, ❑ Explain SilhouetteFX software, its Key features with rotoscoping feature and advantages, ❑ Prepare System requirement of Silhouette 2020, ❑ Explain Nuke, its Key feature and Advantage, ❑ Prepare Minimum System Requirement of Nuke. 4 Introduction Shifting from traditional to digital rotoscopy started in 1990s, Bob sabiston, a computer scientist made a program named ‘Rotoshop’. The technique of rotoshop is adopted from sketching, where artist traced first image and then copied it for next movement. It saves the time of sketching the second image. Another program ‘Matador’ was used for rotoscopy on hundred of feature film between 1990s to early 2000 including Jurassic park, forest gump and hulk. Matador was a paint application. Its main characteristics were paint, mask creation, animation, image stabilization and tracking. In comparison to traditional roto artist, a digital roto artist can do the eight time more work in 1/4th of time. -
Silhouette 5 User Guide • • About This Guide• 2 • • • ABOUT THIS GUIDE
Silhouette 5 User Guide • • About this Guide• 2 • • • ABOUT THIS GUIDE This User Guide is a reference for Silhouette and is available as an Acrobat PDF file. You can read from start to finish or jump around as you please. Copyright No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written consent of SilhouetteFX, LLC. Copyright © SilhouetteFX, LLC 2014. All Rights Reserved June 23, 2014 About Us SilhouetteFX brings together the unbeatable combination of superior software designers and visual effects veterans. Add an Academy Award for Scientific and Technical Achievement, 3 Emmy Awards and experience in creating visual effects for hundreds of feature films, commercials and television shows and you have a recipe for success. • • • Silhouette User Guide• • • • • About this Guide• 3 • • • • • • Silhouette User Guide• • • • • Table of Contents• 4 • • • Table of Contents • • • • • • About this Guide.............................................................................. 2 Copyright ...................................................................................... 2 About Us....................................................................................... 2 Table of Contents............................................................................. 4 Silhouette Features.......................................................................... 11 Roto............................................................................................. -
Opencolorio Documentation
OpenColorIO Documentation Contributors to the OpenColorIO Project Sep 30, 2021 CONTENTS 1 About the Documentation 3 1.1 Accessing Other Versions........................................3 2 Community 5 2.1 Mailing Lists...............................................5 2.2 Slack...................................................5 3 Search 7 3.1 Quick Start................................................7 3.1.1 Quick Start for Artists......................................7 3.1.2 Quick Start for Config Authors.................................7 3.1.3 Quick Start for Developers...................................8 3.1.4 Quick Start for Contributors..................................8 3.1.5 Downloads...........................................8 3.1.6 Installation...........................................9 3.2 Concepts................................................. 17 3.2.1 Overview............................................ 17 3.2.2 Introduction........................................... 17 3.2.3 Internal Architecture Overview................................. 19 3.2.4 Glossary............................................. 24 3.2.5 Publications........................................... 24 3.3 Tutorials................................................. 24 3.3.1 Baking LUT’s.......................................... 24 3.3.2 Contributing........................................... 31 3.4 Guides.................................................. 31 3.4.1 Using OCIO........................................... 31 3.4.2 Environment Variables.................................... -
ROAM: a Rich Object Appearance Model with Application to Rotoscoping
ROAM: a Rich Object Appearance Model with Application to Rotoscoping Ondrej Miksik1∗ Juan-Manuel Perez-R´ ua´ 2∗ Philip H. S. Torr1 Patrick Perez´ 2 1University of Oxford 2Technicolor Research & Innovation Figure 1: ROAM for video object segmentation. Designed to help rotoscoping, the proposed object appearance model allows the automatic delineation of a complex object in a shot, starting from an initial outline provided by the user. Abstract 1. Introduction Modern high-end visual effects (vfx) and post-production Rotoscoping, the detailed delineation of scene elements rely on complex workflows whereby each shot undergoes through a video shot, is a painstaking task of tremendous a succession of artistic operations. Among those, rotoscop- importance in professional post-production pipelines. While ing is probably the most ubiquitous and demanding one pixel-wise segmentation techniques can help for this task, [6, 16]. Rotoscoping amounts to outlining accurately one professional rotoscoping tools rely on parametric curves that or several scene elements in each frame of a shot. This is a offer the artists a much better interactive control on the defi- key operation for compositing [28] (insertion of a different nition, editing and manipulation of the segments of interest. background, whether natural or synthetic), where it serves Sticking to this prevalent rotoscoping paradigm, we propose as an input to subsequent operations such as matting and a novel framework to capture and track the visual aspect motion blur removal.1 Rotoscoping is also a pre-requisite of an arbitrary object in a scene, given a first closed out- for other important operations, such as object colour grading, line of this object. -
VFX Assets for Students
VFX Assets for Students By Andrew Daffy, The House of Curves May 2012 Section 1 – Introduction Table of Contents 01 Introduction (INT) ................................................................................................ 1 01_INT01_v01 - Contents .................................................................................................. 2 01_INT02_v01 - Introduction from Creative Skillset ........................................................... 3 01_INT03_v01 - Foreword by Shelley Page ...................................................................... 4 01_INT04_v01 - Preface by Andrew Daffy ......................................................................... 5 01_INT05_v01 - Assets file and folder structure ................................................................ 8 01_INT06_v01 - Guidance for usage ................................................................................. 9 01_INT07_v01 - Software ................................................................................................ 10 01_INT08_v01 - Reel and logos ...................................................................................... 10 02 Organisation (ORG) ..................................................................................................... 11 02_ORG01_v01 - Folder structures ................................................................................. 11 02_ORG02_v01 - Naming conventions ........................................................................... 12 02_ORG03_v01 - Previsualisation -
Vacancies Vancouver (Pdf)
VANCOUVER JOBS PIPELINE TD – LAYOUT/ANIMATION ANIMATED FEATURE FILM The Pipeline TD is responsible for supporting creative and visual objectives through pipeline troubleshooting, user support, technical direction, and tool development. They will work closely with the Performance (Animation, Assembly, and Layout), Editorial, and R&D teams to ensure a standardized approach. Key Qualifications: • 3 + years’ experience on feature films, TV and/or animated feature • Proven pipeline TD experience in large scale animated features, animated TV series and/or VFX feature films • Experience using and troubleshooting in Maya (or other similar softwares) • Solid knowledge in Python as well as PyQt or other GUI toolkit • An understanding of traditional animation and layout techniques • Understanding of colourspace and its integration into a colour managed workflow • Ability to code review and troubleshoot problems as they arise • Knowledge of concepts like data flow, data dependencies, Meta data, publishing and retrieval • An understanding of USD and its general concepts • Ability to quickly acquire a working understanding of off-the-shelf and proprietary software tools • Adaptable and calm while balancing workload with artist and production needs • Experience with XSI, Houdini, Nuke, AVID, Baselight, or Nucoda is a bonus PIPELINE TD – ASSETS ANIMATED FEATURE FILM The Assets TD will be responsible for supporting creative and visual objectives through pipeline troubleshooting, user support, technical direction, and tool development. They should be able