Reel FX is looking for a lead animator for Jorge Gutierrez’s Book of Life produced by Guillermo de Toro!
From the site:
Job Summary
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 (â€El Tigre: The Adventures of Manny Riveraâ€) and produced by Guillermo de Toro!
Technicolor is home to industry-leading creative and technology professionals committed to the creation, management and delivery of entertainment content to consumers around the world. Propelled by a culture of innovation and underpinned by a dedicated research organization, the company’s thriving licensing business possesses an extensive intellectual property portfolio focused on imaging and sound technologies. Serving motion picture, television, and other media clients, the company is a leading provider of high-end visual effects, animation, and post-production services. In support of network service providers and broadcasters globally, Technicolor ranks among the world leading suppliers of digital content delivery services and home access devices, including set-top-boxes and gateways. The company also remains a large physical media service provider,
being one of the world’s largest film processors and independent manufacturers and distributors of DVDs and Blu-ray discsâ„¢.
Supervise operators and support staff on the night shift in a fast-paced 24/7 post-production environment. Ensure that all scheduled overnight work is completed correctly and on time. Oversee workflows, create transitions, problem solve discrepancies both technical and operational. Communicate with client services, technical operations & interdepartmental project management.
Managing and scheduling digital media work orders, including assigning and prioritizing jobs to operational personnel
Audit the work orders for accuracy, which includes wording and formatting, and timely placement into the production schedule
Coordinating with Client Services and Project Managers on job prioritization and job status
Coordinating with other Technicolor departments on scheduling work orders that span multiple departments
Ensure adequate 24/7 personnel coverage in each respective area (metadata, upload, data management)
3-5 years experience in a post production environment
Knowledge of digital media file formats and workflows. Knowledge of HD/SD professional content standards, formats, equipment and peripheral gear preferred;
Knowledge of computer operations and file management and electronic delivery methods such as FTP;
Knowledge of video and audio post production methodologies. Knowledge of HD/SD versioning / conversions / editorial and duplication preferred;
Comfortable with supervising and directing operational personnel
Ability to thrive under pressure in a fast-paced production nvironment, meet production deadlines, multi-task between several high priority projects simultaneously;
Ability to maintain composure under pressure;
Excellent interpersonal skills including the ability to work well both as a team member and independently; and
Willing to work extended hours, evenings and weekends, as necessary
The above are minimum requirements. Resumes from more experienced candidates are welcome. Compensation and responsibilities will depend on experience/qualifications.
What is your name and your current occupation? Nicolas Lozac’h, freelance animator
What are some of the crazier jobs you had before getting into animation? Sports/fitness equipment & clothing vendor
What are some of your favorite projects you’re proud to have been a part of? Blood Bowl, the video game : I’ve always been a fan of Warhammer 40K and GamesWorkshop in general, so working on one of their games for a first professional experience is something I won’t forget. Brand New Old school : a personal project I did to prove wrong the director of the 3D major at my school who said I wouldn’t be capable to do a 3D breakdancing animation. It isn’t the b est worked I’ve done, but it was the first project I did to improve my animation skills.
How did you become interested in animation? I’ve been playing video games since the age of 3, so working in the video game/animation industry has alwayssomething I wanted to do.Â
Where are you from and how did you get into the animation business? I’m from Francebut lived 5 years in Canada until the age of 12. My friends say I’m more North American than French.
I first got into the animation business by drawing attention on my animation skills through a personal project and then Continue reading
MSN Money is reporting that DreamWorks is partnering with Netflix to bring a new animated series to the site which I hope will continue to bring DreamWorks back into television above and beyond their fare on Nickelodeon. If you remember Dreamworks once had big plans to get into television when they first began and were ultimately thwarted by the rivalry between Eisner and Katzenberg. The only show to make it to tv was a more or less forgotten show called Toonsylvania created by Bill Kopp and Chris Otsuki. It had a star studded animation team and some great designs to boot. Sadly it never really hit the limelight as Disney effectively blocked further forays into television by buying the network ABC who was showing the series. The rest as they say is history. Whether or not it was on purpose, who knows but many insiders claim it was just that.. A block by Eisner to stop Katzenbergs’s success.
Obviously Dreamworks has come back to television in the form of Kung Fu Panda, How To Train Your Dragon and Penguins of Madagascar, but this is a breakaway from the networks and might mean big things for animators down the road.
What is your name and your current occupation? My name is Gennaro Morra, but my buds call me Gio, and I’m currently a character designer at ShadowMachine.
What are some of the crazier jobs you had before getting into animation? My parents own an Italian restaurant in Beverly Hills called Da Pasquale and I grew up in it. I basically knows the ins and outs and I did everything from prep cook to delivery boy to pizza boy and even your dreadful waiter.
What are some of your favorite projects you’re proud to have been a part of? I’ve worked on a few pilots that never made the cut. The one I’m working on now really feels like it’s going all the way.I designed some of the main characters and my director really gave me a lot of freedom.
Where are you from and how did you get into the animation business? I’m from Los Angeles and after I got my BFA in Illustration from Long Beach State, I really dedicated my time to character design. I drew and posted on my blog and was fortunate to get Continue reading
Jun Falkenstein. Sometimes animation director and writer, othertimes animation storyboard artist.
What are some of the crazier jobs you had before getting into animation?
I really haven’t had any crazier jobs than animation! I pretty much jumped right from school into a job at Warner Brothers.  Although one summer I did teach art to kids. Not very crazy.
What are some of your favorite projects you’re proud to have been a part of?
Rather say some of my favorite people that I am proud to have worked with (too many to list). Animation projects can be great or terrible, but all of the ones created in large studio settings are not usually very personal, as there are a lot of people having their say with the project. And when they aren’t personal works of art, pride becomes a two-edged feeling…you are proud that the thing was completed, but always thinking of how it could have been better had you gotten to do it differently. So by this criteria, probably I’m proudest of my short film Kyle + Rosemary, done with Frederator and Nickelodeon, because it was the closest to a pure vision than any big budget feature I was ever a part of.
