The quote about film editing vs non-linear editing reminded me about
Spielberg and Khan, wish I could find a direct quote, but that pair
resisted moving to digital editing for a very long time for those exact
reasons; being forced to commit, carefully think about options, sit and
think about the
All of those are people problems, not tool problems.
As long as people don’t respect each other’s work they can hurt one another
equally bad be it an H264 file or a Moviola pedal.
On 23 Mar 2014, at 13:30, matt estela m...@tokeru.com wrote:
Still, they finally caved
--
Julik Tarkhanov |
Just to pick up on what Randy wrote yesterday, the idea of the scrum system
is to be wrong as quickly as possible. The first pass let's you see all the
problems, both technical and creative, within the context of the whole
thing. You get there really fast and then you know what you're up against.
Come to think of it, we sort of had a scrum approach in school. Get a working
version first, then iterate once or twice before you reach the deadline.
Although we never gave it much thought, it came naturally.
23 mar 2014 kl. 16:49 skrev Randy Little randyslit...@gmail.com:
Oh no I get it its
The projects I mentioned were also done in scrums. It helps lots.
You get a preliminary version of the whole thing very quickly. Everybody is
then aware of several things: the problematic shots; what the whole things
looks like; what shots already kinda works; which shots will actually make
the
Isnt there the risk that half-arsed things need to be redone from scratch?
Especially paint and cleanup that it is difficult to improve on if not done
proper from the beginning.
On Sat, Mar 22, 2014 at 8:44 AM, Ron Ganbar ron...@gmail.com wrote:
The projects I mentioned were also done in
Not to talk for Frederik and Ron, but I think the idea is you work to a low
quality first, quick as you can, to judge all the work in context, anything
that _might_ need proper roto and paint work is identified and discussed,
but ideally, you just stick in a placeholder, or nothing at all, and
Or getting edited out completely at the very end.
2014-03-22 22:42 GMT+01:00 matt estela m...@tokeru.com:
Not to talk for Frederik and Ron, but I think the idea is you work to a
low quality first, quick as you can, to judge all the work in context,
anything that _might_ need proper roto and
In my first job in the industry I had the chance to work with a great
editor. He taught me something I still remember almost on a daily basis.
He had made the transition from physical film-cutting to non-linear editing
systems, and had this opinion about the many benefits that non-linear
editing
reacting to what they're seeing than directing what they
would like to see
Amen to that and everything else in your post. I could list a few
names of "visionary" directors here :-D
It is really good to see so many experiences people chime in here
with pretty
Ouch! ;)
Steve... and artists of course.. But what I think the kids are getting at,
is the barrier between physical and virtual. They live a large part of
their sparetime in front of their screens being windows into virtual worlds
with which they feel no connection. So when they are told that
I like this SCRUMming idea. Something I've always insisted on (though not
always had my way).
Nice to know there's a name for it and doesn't involve shoving your head
between other people's arses (google 'arse' if you're american ;)
What a lot of this seems to come down to is good communication
It seems like being transparent from the beginning rewards itself towards the
end. In VFX, at least in the digital age, versions and increments just comes
naturally. I'd love to be in a SCRUM team at least once to try it out.
Cheers,
Elias
21 mar 2014 kl. 16:44 skrev Howard Jones
I find a lot of places dont like or understand how to work like that. I
tend to always stop at magor points to get feed back before making the next
hard to go back step. I find that seems to meet a lot of resistance. Like
why are you showing me this? Its not done. Well because the next 3 days
Unfortunately, companies often do not value experience because it seems
expensive on paper, when all they do is compare the hourly/daily rate for
juniors and seniors; particularly when those companies are managed by
accountant type people that don't understand or want to understand the
Feeling the urge to comment :)
Been comping for 20something years - and do my daily chores as VFX producer
nowadays.
I find our business pretty mis-managed on so many levels - so no wonder all
the growing pains we've started to go through recently (we're not even
close to done with that yet).
I had a similar experience on three separate occasions.
The teams were always smaller (up to 60 people including producers and
everyone else), and the director was ALWAYS IN THE ROOM with us. I must say
it was so rewarding and everyone felt we got the best value for the money
spent, and that every
Yeah Ron but how do you manage that when there are 10 VFX houses working on
your movie? Big companies like Technicolor/MPC and Deluxe/Method/(all of
former Ascent Media) are huge corporations that aren't in the creative
business for any other reason then to make money. So if the management of
Well, I didn't say I have all the answers. Some a few good, rewarding
experiences.
It doesn't seem like anyone has the answers.
Ron Ganbar
email: ron...@gmail.com
tel: +44 (0)7968 007 309 [UK]
+972 (0)54 255 9765 [Israel]
url: http://ronganbar.wordpress.com/
On Thu, Mar 20, 2014 at 5:27
On 20/03/14 17:07, Fredrik Pihl wrote:
computers generated the images
Ouch! ;)
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In all kinds of productions there seems to be a heavy reliance on the director.
That's the standard I guess. Should not we, the vfx-artists, be the authority
of our own domain?
We know the pains of each new change and the cost penalty associated with it.
Because we feel the direct effects when
On 21 March 2014 10:09, Elias Ericsson Rydberg
elias.ericsson.rydb...@gmail.com wrote:
In all kinds of productions there seems to be a heavy reliance on the
director. That's the standard I guess. Should not we, the vfx-artists, be
the authority of our own domain?
I do wonder if non cg fx
Totally agree. Just because we are more flexible in post has created
a culture of creative micro management that is equivalent to man
handling actors on set rather than letting them act
On 3/21/14, 12:25 PM, matt estela
wrote:
In short, being senior is not just about being great, it's
about achieving the quality on time and in budget. If you
can do that then you may be worth your expectations.
I couldn't agree more. It's years of experience that enables people
to delivery within the
Yes, I agree it's not always über vfx, but as you both point out extremely
well, experience can be invaluable.
I can only speak as someone who has been steadily learning Nuke and Houdini for
the past 4 years; and what is obvious to me is that the knowledge to solve
problems, and thus be truly
UK companies seem to be very good at making sure that there is no such
thing as average or 'typical' day rate and its more down to how
desperate they are and how good you are at talking and whether you mean
senior as in 'been doing it for a while', or senior as in 'can do the
hard stuff' - the
Hey steve
Thank you for the info, I find it interesting that the day rate in England sits
at around 170 - 220 pounds a day it is around 450$ - 550$ AUD per day here in
oz.
senior I guess I cover both side been doing it for a long time and also can do
the hard stuff, haven't heard it explained
Hi Adam,
I guess its all down to supply and demand. There are a lot of guys
wanting to work in London/UK and the companies receive hundreds of
applications with many people applying from Eastern Europe or the Far
East where expectations for salaries are generally lower compared to
people
If you are a senior on 170 a day then you must either be the worst
negotiator on the planet or have stayed at the same company for too long.
On Fri, Mar 14, 2014 at 9:43 AM, Steve Newbold s...@dneg.com wrote:
UK companies seem to be very good at making sure that there is no such
thing as
That's kind of my point. You'll find plenty of 'seniors' on less than
45K in small facilities in London, and yup you hit the nail on the head,
people who stay in one company for a long time, get their 1-2% pay rise
every year (when not in the perpetual pay freeze) and have zero concept
oh how
Funny, the London plumbing scene can take on a wave of millions of
eastern european workers and still charge 40 quid an hour, maybe we can
learn something from them? Its all about connecting pipes, innit? ;)
On Fri, Mar 14, 2014 at 11:20 AM, Steve Newbold s...@dneg.com wrote:
Hi Adam,
I
Just out of curiosity,
A bit off topic,
What do you consider to be the hard stuff?
Sent from my iPad
On Mar 14, 2014, at 3:43 AM, Steve Newbold s...@dneg.com wrote:
UK companies seem to be very good at making sure that there is no such thing
as average or 'typical' day rate and its more
Either way, most qualified people I know tend to be under paid, and
based on my experience, companies will always try to take the piss
as the people that negotiate with you often don't have a clue where
your skill set fits into their copmany, and what you actually bring
well said frank.
you have put into word in an elegant way what I try and explain to people all
of the time, its a slow road but the more artists that think this way the
easier it will become.
cheers
-adam
On 15/03/2014, at 10:20 AM, Frank Rueter|OHUfx fr...@ohufx.com wrote:
Either way,
Absofrigin-lutley!
Very interesting thread, and considering the shear skill set needed and uber
high level of expertise required for great vfx creation, the right price can
always be negotiated confidently and reasonably.
Neil Scholes
Sent from my iPad
On 14 Mar 2014, at 23:37, adam jones
Hey all
I was wondering if some one could inform me of an average day rate for a senior
nuke comper in the UK. london or bristol
off list replies are fine if you like.
cheers all
-adam
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