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Jobs: Nickelodeon seeks Background Painter- Wallykazam

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Nickelodeon_logo_new
Title: Background Painter- Wallykazam
Req ID: 5993
Candidate Search:Location: Burbank, CA
Candidate Search:Brands: Nickelodeon

Description
Summary:Paints backgrounds, layouts and any other background-related art that the production may require, ensuring style and quality of show is met.

Responsibilities:

  • Meet with creative supervisor(s) to ensure color needs of show are fulfilled.
  • Follow instructions of supervisor.
  • Complete all color work within assigned deadlines.
  • Resolve color problems with creative supervisors.
  • Ensure all deadlines are met.
  • Communicate progress of work to appropriate production staff.
  • Ensure all artwork is properly backed up and stored appropriately.
  • Ensure all shipping materials are prepared and ready on time.
  • Be available for questions until your department’s shipment is complete.
  • Review storyboard for background key color callouts.

Additional Responsibilities:

  • Assist with special projects.
  • Fulfill other color projects, including but not limited to color lead sheets, color script and/or color pass on storyboards.
  • If applicable, scan backgrounds and adjust digitally as necessary.

Basic Qualifications:

  • Must demonstrate proficiency in style of show.
  • Strong knowledge of color theory and lighting.
  • Knowledge of or willingness to learn applicable color software and hardware.
  • Strong time-management skills.
  • Work well under pressure.
  • Ability to multitask a plus.

Desired Qualifications:

  • Digital color experience desired.
  • BA/BS or equivalent work experience highly desired.

You can apply for the Nickelodeon background Artist position here.

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Mark Medernach

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What is your name and your current occupation
Mark Medernach, Executive Producer/Partner at DUCK Studios

What are some of the crazier jobs you had before getting into animation?
I was a PA on a shoot for KFC.  My job was to ferry the chicken between the store where they were making it and the location.  I came home each night smelling like fried chicken

What are some of your favorite projects you’re proud to have been a part of?
We’ve done a few United Airlines spots which I am really proud of.  I think the campaign is brilliant.  They choose filmmakers tomake their animated spots and the artistry of the entire campaign is just top notch.

Where are you from and how did you get into the animation business?
I grew up in Pennsylvania and went to college in San Francisco. I was out of work and was looking for a job.  I got hired as the editor at Duck Soup.  Even though I was not really an animation aficionado, over the years, and the name change to DUCK, I’ve come to really love and admire animation.
What’s a typical day like for you with regards to your job?
Here at DUCK we represent a wide variety of artist/filmmakers for advertising and other short format work.  The days are spent touching base with the different artists.  Making phone calls to advertising agencies to look for more new work and overseeing the productions we have in the studio.
What part of your job do you like best? Why?
I love it when a young director gets their first project to direct.  It is always fu to see them mature as filmmakers and become successful.
What part of your job do you like least? Why?
I wish I were able to start more directing careers.  I also hate to tell the directors that they did not get a job that they pitched on.  I know a lot of times they pour a lot of themselves into the pitch and for whatever reason they did not get it.  It is difficult to give them the bad news.
What is the most difficult part for you about being in the business?
The constant search for new work.  Once you book a job for the director there is no time to sit back and enjoy the fact that the job is in.  It is on to the next project and trying to get everyone working.
What kind of technology do you work with on a daily basis?
I am on the internet all day long.  Looking for new artists, looking at work that is out there and just looking.  For production we use a wide variety of software, but i don’t work on that side of the business.
In your travels, have you had any brushes with animation greatness?
Well we represent Eric Goldberg, who I believe is one of the most talented 2-d character animators in the world.  We also represent Jamie Caliri who I think is a genius.  Whatever he works on ALWAYS seems to turn out brilliantly.
Is there any advice you can give for an aspiring animation student or artist trying to break into the business?
I tell most of the young filmmakers I talk to the same thing, try to find a style that is yours. I think all of the successful animation directors have a signature style, which is what draws people to their work.  Try not to be a jack of all trades, try to master one.
www.duckstudios.com
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Jobs: Reel FX seeks Senior Rigger – Book of Life (Feature Animation)

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reelFx

Job Summary

 

THIS IS FOR OUR DALLAS LOCATION!!!!

We are currently hiring for our action-packed CG animated feature that tells the story of a Romeo and Juliet style love story set against a Mexican “Day of the Dead” back drop directed by Jorge Gutierrez (”El Tigre: The Adventures of Manny Rivera”) and produced by Guillermo de Toro!

Under the direct supervision of the Rigging Supervisor, this position is responsible for character, vehicle, and prop set up and designing rigs that allow for clean interaction during animation.

 

Duties and Responsibilities

 

• Able to complete tasks with minimal supervision and feedback.
• Able to train or supervise a specified task.
• Able to communicate effectively with non-rigging artists.
• Able to step into a temporary Lead role if necessary.
• Able to create larger tools to work in our pipeline.
• Able to create complex custom modules that work within the module system and rigging pipeline.
• Possess a solid understanding of the overall studio pipeline
• Able to problem solve issues for other departments
• Work closely with Animators to develop rigs that will allow animators the full range of motion and acting that is called for by the story, as well as, a logical and easy to use control structure
• Communicate needs for custom tools, scripts, etc, to Rigging Supervisor, other Riggers, and TD’s. Assist in the planning and design, as well as developing the tools and scripts as needed.
• Maintain a thorough knowledge of the Reel FX pipeline
• Communicate work status to Rigging Supervisor, and others, as required.
• Constantly be learning and experimenting with new techniques to better our process.

 

Education and Experience Requirements

 

• Bachelor’s (BA) degree from accredited four-year college or university or equivalent experience
• 5 years production experience
• A strong understanding of animation and modeling workflows
• A strong understanding of human and animal form and bio-mechanics.
• Ability to create rigs that allow for a full range of movement, with a logical, easy to use, and well thought out control structure.
• Excellent knowledge of maya, with a strong understanding of the dependency graph, utility nodes, and the use of expressions. A working knowledge of MEL is a must. A working knowledge of Python is preferred. Knowledge of the C++ API is not required, but is a distinct advantage.
• A general understanding of the principles of animation. Must be able to think like an animator when considering how rigs will move. Prior animation experience is a plus.
• Ability to work in a team environment, possess strong communication skills, exhibit a high level of motivation.
• Able to communicate creative and technical thoughts and ideas
• Able to multi-task and prioritize
• Able to thrive in a high pressure, deadline oriented environment
• Able to follow directions well.

 

Note: This job description is not meant to be all inclusive. Employee may be required to perform other duties to meet the ongoing needs of the organization.

Click here to apply for the Reel FX Senior Rigger job.

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Jobs: Nickelodeon Seeks Lighting and Compositing Artist

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Nickelodeon_logo_new

Description
Responsibilities:

  • Developing looks and light rigs for sets and characters that meets the vision of the Director and the Supervisors.
  • Establish schedules and technical requirements to achieve high quality looks while working in a fast paced environment with high output requirements.
  • Able to work independently on creative look development using commercial and proprietary lighting and compositing tools.
  • Develop techniques to render the necessary layers with appropriate compositing software with detailed documentation.
  • Help establish suitable work techniques and lighting tools as well as macros for 2D and 3D software for other team members with detailed documentation explaining tools and techniques.

Basic Qualifications:

  • An eye for composition, detail, light, color.
  • A good understanding of color, contrast, and lighting design is required.
  • A strong visual savvy and the ability to distinguish subtle differences in lighting and color that affect the matching of sets, props and characters.
  • The ability to work in a collaborative environment with strong problem solving skills as well as being able to take direction from the corresponding supervisors.
  • The ability to work under deadlines and meet those deadlines with the high level of expertise and confidence while delivering a product that meets or exceeds the expectations of the corresponding supervisors and Directors.

Desired Qualifications:

  • Experience in Maya required.
  • Experience in Digital Fusion.
  • BA in Art, Fine Art, Illustration, Graphic Design, Computer Science or equivalent experience desired.

HOW TO APPLY:

Reel and Shot Breakdown required

Please be sure to upload your resume and website link in the online application process. Please include the website link on your resume. You MUST upload the portfolio release form to your application. You can add additional attachments in the resume section.

To download the form, please go to: http://nas.nick.com/SubmissionReleaseForm.pdf

 

You can apply here.
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ANIMATED! exhibition at Greenhill (Sept 6 – Nov 9, 2013)

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ANIMATED! (September 6 – November 9, 2013)
Curated by Edie Carpenter, ANIMATED! presents 23 artists who investigate animation from 19th century animation devices to the elaboration of original animated worlds. The exhibition will explore sequential art from flip books and storyboards to Claymation, and present works on paper as well as digital media.  The influence of animation on other art forms including jewelry, pottery, sculpture and painting will also be explored.   Associated programs include talks by Marc Russo on the conception and design of his award-winning animated narrative The Four Horsemen of the Apocalypse; by Dr. Heather Holian on contemporary art and Pixar, and panel discussions by participating artists touching on topics such as comic book heroes and the influence of Japanese animé.   In collaboration with Georges Le Chevallier, Greenhill will host a screening of selected animated shorts from the 2012 BLOC PROJECTS animation project.
Participating Artists:
Advanced Media Lab
Julie Armbruster
Ryan Buyssens
Jason Carpenter
Michael Carpenter
Paige Cox
Jill Eberle
Bill Fick
Patrick FitzGerald
Heather Freeman
Stephanie Freese
Paul Friedrich
David Huyck
Tyler Jackson
Jim Kransberger
Brett McDonough
Marc E. Russo
Eliseo Santos
Thomas Spradling
Francesca Talenti
Sarah Tector
Trevor Van Meter
Izel Vargas
James Young