Resume Renatoscicchitano 2019

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Renato Gregorio Scicchitano Texture Artist | 3D Generalist A Straßbergerstraße 6, Munich, 80809 Germay M +49 1573 6271095 E [email protected] W www.rgs3d.com Reel: https://vimeo.com/339656431 Password: reel2019 Software knowledge Maya Topogun Katana Studio Algoritmo Designer, 3D Artist Mari Illustrator RV Rome 2015 Apr-2015 September SubstanceSuite Photoshop Nuke V-Ray Mudbox Shotgun Arnold Zbrush Ftrack Work Experience Education ISAR ANIMATION Modelling - Surfacing Artist Think Tank Training Centre Oct 2015- April 2017 STUDIO 2018 October - present Computer Animation, Visual Effects Munich and Game Design Program Modeller and Surfacing artist for assets, characters and environments. ISIA ROMA DESIGN 2012-2015 Bachelor in Industrial Design Graduate with Honor Movies: Maya the bee 3: The golden orb (2021) G.De Chirico School 2007-2012 High School Graduate Vote 100/100 TRIXTER Texture Artist - CG Artist Languages Munich 2018 May - 2018 September Italian Native Texture painter for assets, characters/creatures English Fluent and environments. Movies: Captain Marvel (2019) Achievements/Awards 2019 CG Society Feature Artist 2017 3D Total - Interview PIXOMONDO Jr Texture Artist - CG Artist Stuttgart 2017 May - 2017 May 2017 3D Total - Excellence Award Texture painter for assets, characters/creatures 2016 Targa Giovani - Honorable mention and environments. 2015 1° Price “Copper and Home 2014” Movies: Sky Hunter (2017) The Wondering Earth (2018) Reference Tv Series: Star Trek Discovery (2017) Chun Chun Yang [email protected] Legion seson 2 (2018) Senior Texture Artist at Siren (2018) Industrial2015 Light and Magic Game Of Thrones - Season 8 (2019) Jon Catapia [email protected] Lead Modeller | Texture Artist at Commericals: Mercedes-Benz Commercial (2018) Double Negative Volskawagen Commercial (2018) Cinematic Game Trailer (2017) Matthew Novak [email protected] Ark: Abberation Lead Lighting Artist at Cinematic Game Trailer (2018) Scanline VFX Far Cry 5 Nina Göldner [email protected] Live show: Appassionata (2017) Senior VFX Producer at TBA Project (2018) Pixomondo.

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Press Release
_ ____ Press release Emmy nomination for Mackevision’s visual effects in “Lost in Space” ° Netflix has the most nominations for the Emmy Awards ° Second Emmy nomination for Mackevision and second Emmy nomination for Prof. Juri Stanossek, VFX Supervisor Stuttgart, 13th July 2018 — The Emmy award nominations were announced on Thursday. Netflix leads the field with a total of 122 nominations, including the successful series “Lost in Space”. Prof. Jury Stanossek, VFX Supervisor at Mackevision, has been nominated for the Emmy in the category “Outstanding Visual Effects” together with other VFX supervisors. “I am overwhelmed and incredibly grateful for the nomination. Above all, I am proud of the team whose work laid the foundation for the nomination. I would like to express my deepest thanks to our VFX Producer, Marina Winter, who has done an incredible job” said Juri Stanossek. “35 artists worked on seven episodes over a period of six months and created 75 shots. We are especially proud of the Jupiter spaceship model because it has a strong presence in every episode of the series.” For Stanossek, this is the second Emmy nomination in the course of his career. In 2012, he received both an Emmy award and an award from the renowned American organization “Visual Effects Society” for his work on the second season of “Game of Thrones”. Led by the VFX supervisors Jabbar Raisani, Terron Pratt and Marion Spates, Mackevision was one of multiple VFX companies operating worldwide that transformed “Lost in Space” into a superlative fantasy experience. Mackevision provided digitally rendered scenes featuring the computer-generated spaceship Jupiter (including the start sequence, spatial explosion) along with digital creatures and digital environments.
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FILMING in GERMANY MARCH 2021 MARCH Production Service Soft Money Incentives
PRODUCTION SERVICE PRODUCTION FILMING IN GERMANY MARCH 2021 MARCH Production Service Soft Money Incentives STUDIOBABELSBERG.COM WE LOVE MAKING MOVIES SOFT MONEY Up to 25% Cash Rebate INCENTIVES plus regional soft money The German federal government as well as regional film internationally co-produced feature films, high-end series and funds support filmmakers by a one-of-a-kind film production VoD formats with large budgets. In addition, a number of re- rebate program totalling EUR 350 million. gional film funds provide efficient support to productions of any budget. Many German states grant funds and additional The established German Federal Film Fund (DFFF) with soft money depending on the regional spend. its two columns DFFF I and DFFF II contributes annually EUR 120 million to stimulate production activities in the film The German film production rebate is internationally reco- industry. International producers can apply for a rebate of up gnized. Numerous well-known productions have benefited to 25% for their spend on the ground. from the incentive program in the last years, among others The Reader, Inglourious Basterds, The Grand Budapest Hotel, With a yearly volume of EUR 30 million, the German Motion Bridge of Spies or The Hunger Games: Mockingjay, and Picture Fund (GMPF) additionally supports the production of series as Homeland, Berlin Station, Counterpart and Dark. Studio Babelsberg is your reliable partner for all incentive, soft money and financing solutions • Access the 25% rebate and regional subsidies • Build cost-effective
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CG Supervisor Film Maker / Writer / Director Lead Generalist TD Le
RYAN GROBINS – RESUME – FEB 2020 [email protected] | +1 7788401373 #1806, 1755 Haro Street, Vancouver, Canada Recent work experience: CG Supervisor November '17 – Present SCANLINE VFX Vancouver, Canada Currently splitting my time between supervising on shows, and implementing facility wide improvements. Films: Ant-Man and the Wasp, Captain Marvel, (Emmy winning) Game of Thrones (S08), Dark Phoenix, and more. Film Maker / Writer / Director March '08 – Present NEZUI Otherworld Making award winning animated short films to tell interesting and entertaining stories. Films: Sneeze Me Away (2010, www.sneezemeaway.com) The Rose of Turaida (2013, www.theroseofturaida.com) Cyan Eyed (in production, www.cyan-eyed.com) Lead Generalist TD November '16 – November '17 SCANLINE VFX Vancouver, Canada Initially brought on to light shots on Power Rangers, I then lead a sequence on Guardians of the Galaxy 2. After which I was a lead on the The Meg. Lead Lighting TD August '12 – September '16 RISING SUN PICTURES Adelaide, Australia I became the studio's lead lighter, responsible for all lighting related teams and tasks on all projects. Coming up with new and novel solutions for all problems that arise as well as implementing Houdini as the main lighting package. Films: X-Men: Days of Future Past, The Wolverine, The Great Gatsby, The Seventh Son + more. Lighting TD / Lead Lighting TD January '11 – February '12 RISING SUN PICTURES Adelaide, Australia Within two weeks of working, I had already written a suite of tools that enabled the rest of the lighters to get shots out faster. Then I was invited to continue on for another film, where I expanded upon my lighting tools suite.
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Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
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Greater Montréal's Booming VFX Industry
Greater Montréal’s Booming VFX Industry Blade Runner 2049 © Framestore Content 01 02 03 04 A Leading Edge A Very Creative Attractive Operating Montréal Ecosystem Workforce Costs International’s p.04 p.15 and Incentives Personalized, p.22 Free and Confidential Services p.29 Montréal’s VFX industry Key facts A leading edge ecosystem A very specialized workforce Competitive costs & tailored made incentives One of the largest hubs in the world with Close to 4,000 2D/3D animation and 28% cost advantage compared to the the highest industry concentration in VFX specialists in the audiovisual sector average of the 20 largest metropolitan Canada areas in Canada and the U.S. for ICT Full-service industry made up of tool Labour pool expected to reach 5,000 Competitive employee salaries paired developers, animation, production and experts by the end of 2020 with an affordable cost of living post-production studios, etc. Global success of VFX made in . More than 15,000 university students Up to 43% tax incentives for film Montréal: Blade Runner 2049, 2018 in IT related programs and close to production services Oscar winner for best visual effects; X- 2,300 in arts and cinema Men Apocalypse; Star Wars - The Force . Close to 3,000 college students in Awakens; Game of Thrones arts and cinema related programs 3 01 A Leading Edge Ecosystem Mural painting representing Leonard Cohen © Henry MacDonald Montréal’s VFX industry Key metrics 1st city in Canada and a world leader in VFX & animation . Close to 4,000 2D/3D animation and VFX specialists . Labour pool expected to reach 5,000 experts by the end of 2020 .
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Paul H. Paulino Texture Artist ______
Paul H. Paulino Texture Artist ___________________________________________ Phone: +1-604-767-0591 Email: [email protected] Website: www.paulhpaulino.com Address: 233 Robson Street, Apt. #601, Vancouver, BC, V6B0E8, Canada SOFTWARE KNOWLEDGE - MARI - Vray - NUKE - Photoshop - Zbrush - UVLayout - Maya - Mudbox - 3ds Max RELATED WORK EXPERIENCE August 2017 - Present Texture Artist Method Studios, Vancouver, BC, Canada - Feature Film: Godzilla II: King of Monsters (2019) - Feature Film: Aquaman (2018) July 2015 - August 2017 3D Generalist Scanline VFX, Vancouver, BC, Canada - Feature Film: Independence Day 2: Resurgence (2016) - Feature Film: Miss Peregrine’s Home for Peculiar Children (2016) - Feature Film: Saban’s Power Rangers (2017) - Feature Film: Guardians of the Galaxy Vol. 2 (2017) - Feature Film: Justice League (2017) - Feature Film: Black Panther (2018) July 2012 – December 2013 Generalist D2r Studios, Belo Horizonte, Minas Gerais, Brazil - Feature film: O Segredo dos diamantes (2014) - Short Film: Um ano novo danado de bom (2014) April 2011 – April 2012 Motion Graphics Designer Record Minas TV, Belo Horizonte, Minas Gerais, Brazil August 2009 – March 2011 Video Production/Editing Instructor/Motion Graphics Designer PUC Minas University, Belo Horizonte, Minas Gerais, Brazil EDUCATION June 2014 – September 2015 Computer Animation, VFX and Game Design Program (Specialization in High Quality Texturing/Modeling for Films) Think Tank Training Centre, Vancouver, BC, Canada April 2013 – April 2014 Foundation & Design Program (3 Terms) CGMA - Computer Graphics Master Academy Online January 2009 – January 2013 Bachelor in Social Communication / Advertising PUC Minas University, Belo Horizonte, MG, Brazil REFERENCES Justin Holt - Texture Supervisor @ Method Studios - [email protected] Matt Novak – Lead 3D Generalist @ Scanline VFX - [email protected] Scott Thompson – Owner, Think Tank Training Centre - [email protected] .
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Final Copy 2020 06 23 Niu
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
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Jim Su Character / Creature Supervisor [email protected]
Jim Su Character / Creature Supervisor [email protected] Summary Portfolio and online demo reel: (NEW) Demoreel 2016 https://vimeo.com/156936732/jimsuDemoreel2016 Specialties: Expert in Facial blendshapes (Visemes and FACS), Facial rigging and methodology. Maya cMuscle system, nCloth. Please visit my site www.beach-studios.com for examples. Software - Maya, Houdini, 3ds Max, Faceware, Photoshop, Illustrator, After Effects Scripting - Python, MEL, Hscript, HTML, Traditional Illustration - Pencils, Inks, Colouring Experience Character / Creature Supervisor at Zoic Studios May 2016 - Present (8 months) CEO at Beach Creative Studios Inc. March 2005 - Present (11 years 10 months) I run a Creative Services Studio that caters to high end clients including: Mattel, Hasbro, Image Metrics, and Spin Master. My studio also publishes comic books, artbooks, licensed products. Package and Product illustrations for Mattel (Wheels Division: Matchbox and Tyco) Product illustrations for Hasbro (Milton Bradley: Indiana Jones, Transformers 2, Marvel Superhero Squad) Package illustrations for Spin Master (Bakugan, Sto and Go) CG modelling for Image Metrics (Foodfight!) Publisher of Crozonia comic book. Publisher of the Art of ReBoot. Publisher of the upcoming Storm Hawks comic book! Senior Creature TD at Double Negative April 2015 - May 2016 (1 year 2 months) Page1 Senior Rigger - Star Trek: Beyond, Through The Looking Glass, Miss Peregrine's Home for Peculiar Children - Developing vfx facial rig. - Implement Faceware (Facial motion capture) into workflow. - Rig Tall ship with procedural movements. - Redesigned Cloth Rig for Tall ship. Rigging Supervisor at Scanline VFX August 2012 - April 2015 (2 years 9 months) In charge of making sure hundreds of assets are promptly rigged and export ready in the Maya to Max pipeline.
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Film & Animation
2020 TONY ANDREAS RUDOLPH Senior Art Director & Designer www.toru-media.de With a background in marketing, feature film, VFX, animation, photography & e-commerce Personal Portfolio Book & CV HELLO, my name is Tony Andreas Rudolph, I am a 29 years old 360 visual Art TECHNICAL SKILLS Director based in Germany. Doing my professional life I gathered more than 4 years experience in film production, visual effects as well as Advanced knowledge: concept design. In addition I have 3 years experience in marketing and Autodesk Maya Adobe Creative Suite e-commerce plus over 3 years experience in photography. ZBrush Final Cut Pro My strengths are planning projects, creating new workflows and sharing Intermediate knowledge: my skills and kowledge within a team. My goal is to learn new methods Autodesk 3ds Max The Foundry Nuke and thus to develop technologies that bring new creative ways to light. Autodesk Arnold The Foundry Mari Never the less, it is still important to me to combine my skills in visual ChaosGroup VRay KeyShot content creation with my marketing experience in such a way, that unique Adobe XD/Sketch Microsoft Office stories can be told. Basic knowledge: MAXXON Cinema4D Unreal Engine CONTACT LINKS DISCIPLINES Fürther Strasse 18 www.toru-media.de Art Direction Photography 90429 Nuremberg www.toru-photo.de Concept Design 3D Modeling Germany 3D Environment Art Digital Matte Painting behance.net/zulusplitter Graphic Design Motion Design [email protected] linkedin.com/in/tonyandreasrudolph Project Management Team Management (+49) 16090197007 WORK EXPERIENCE Senior Designer Senior Digital Matte Painter 05.2017 to 01.2020 - Amazon 09.2015 to 01.2016 - Scanline VFX GmbH I helped launching the Amazon Appstore in India.
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Ned Wilson Resume V2014.1.Pages
Ned Wilson 2200 S. Hobart Blvd. Los Angeles, CA 90018 http://n3d.org | [email protected]! | +1-310-567-5740 !OBJECTIVE To do first-rate compositing work, and to make the process of doing such work more efficient. ! !TECHNOLOGIES Applications !Proficient In: Nuke, Fusion, Shake, Maya, Boujou, PFTrack, SoftImage|XSI, Adobe Photoshop, MentalRay, Scratch, Combustion !VISUAL EFFECTS EXPERIENCE Senior Nuke Artist | Systems Architect Thistlewit Productions/Walt Disney Studios Los Angeles, CA, 11/2012 – present Software Used: Nuke 7.0, Photoshop Film Credits: Maleficent !Also: Designed and managed entire IT infrastructure for production, and automated all imagery conversions and delivery Senior Compositor Digital Domain Venice, CA, 6/2012 – 11/2012 Software Used: Nuke 6.3 Film Credits: 47 Ronin, Jack the Giant Slayer, Oblivion !Commercial Credits: Toyota GT86, Hawken Senior Compositor Sony Pictures Imageworks Culver City, CA, 2/2012 – 5/2012 Software Used: Nuke 6.3 !Film Credits: The Amazing Spider-Man Senior Compositor Hammerhead Productions Sherman Oaks, CA, 9/2011 – 2/2012 Software Used: Nuke 6.3 !Film Credits: Guilt Trip, Prometheus, Hansel and Gretel: Witch Hunters Senior Compositor The Mill - LA Los Angeles, CA, 8/2011 – 9/2011 Software Used: Nuke 6.3 !Commercial Credits: Carl’s Jr.: Hamblor, Sony Playstation 3: To Jimmy Senior Compositor A52 | Elastic Santa Monica, CA, 7/2011 – 8/2011 Software Used: Nuke 6.2, Nuke 6.3 !Commercial Credits: Arrowhead: Nature’s Fix Senior Compositor Scanline VFX Los Angeles, CA, 6/2011 – 7/2011 Software Used: Nuke
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Hugo Cabret - Hugo
Hugo Cabret - Hugo Scheda per i più grandi (Scheda a cura di Simonetta Della Croce) CREDITI Regia: Martin Scorsese. Soggetto: tratto dalla graphic novel “La straordinaria invenzione di Hugo Cabret” di Brian Selznick. Sceneggiatura: John Logan. Fotografia: Robert Richardson. Musiche: Howard Shore. Montaggio: Thelma Schoonmaker. Scenografia: Dante Ferretti, Francesca Lo Schiavo. Arredamento: Dorothée Baussan. Costumi: Sandy Powell. Effetti: Rob Legato, Joss Williams, Ben Grossmann, Alex Henning, With a Twist Studio, Mark Roberts Motion Control, Pixomondo. Interpreti: Asa Butterfield (Hugo Cabret), Ben Kingsley (Papa Georges/Georges Méliès), Chloë Grace Moretz (Isabelle), Sacha Baron Cohen (Gustave, Ispettore Ferroviario), Ray Winstone (Zio Claude), Emily Mortimer (Lisette), Jude Law (Padre di Hugo), Christopher Lee (Sig. Labisse), Michael Stuhlbarg (René Tabard), Helen McCrory (Mamma Jeanne), Ben Addis (Salvador Dali) Richard Griffiths (Sig. Frick), Frances de la Tour (Emilie), Angus Barnett (Manager del teatro), Gulliver Mcgrath (René Tabard da giovane), Emil Lager (Django Reinhardt), Johnny Depp (Sig. Rouleau). Produzione: GKFilms. Origine: USA. Anno di edizione: 2012. Durata: 125’. Sinossi Il piccolo Hugo vive nascosto nella Gare Montparnasse di Parigi. Rimasto orfano, si occupa di far funzionare i tanti orologi della stazione ferroviaria e coltiva il sogno di aggiustare l'uomo meccanico che conserva nel suo nascondiglio e che rappresenta tutto ciò che gli è rimasto del padre. Per farlo, sottrae gli attrezzi di cui ha bisogno dal chiosco
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Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.
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