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The thing is, the requirement of many specialized & very
technical artists over long periods of time can be especially
resource intensive.
And I think it's precisely why soft is still around.
While of course not as prominently
(mostly I think because of the lingering "Quickly!" fear factor)
But in those cases I think it's fair to say that it's mostly to
circumvent the now I think rather unfortunate (and rather harsh)
reality of things you describe ::
“Get big, get niche or get lost”
Some might find that as ideal, while others might find that as
grossly inefficient and specific to the very few very big shops
out there, which would definitely still have their place in a more
diversified environment.
I too like both big and small,
but see the small (yet "world class") as an equally important
part as the big.
I personally know of a number of shops (in my own local area) that
basically closed up, not for failure to 'move-on' but quite
directly -because- of the resources that 'moving-on' involved
getting to finished results, while satisfying clients and making
due all at the same time, ... and the whole sha-bang.
Stories about not being able live-up to material on their own reel
were abound.
The small shops that are actually still around, are mostly the
ones that went-on using soft
(exceptions may apply)
Rather unfortunate if you ask me,
but fortunately Softimage is still around!
On 11/08/17 13:20, Jordi Bares wrote:
below
Thats really awesome and
perfectly integrated!
Though it makes me miss the times when things like
this popped-up from all sorts of shop sizes around.
Such as things you'd find sprinkled around the "Great
work done with Softimage" thread.
(armies of artists is
almost a prerequisite now to get high level things
done.
My heart is split in two; on one side I love the
romantic small team that really own the shots and produces
amazing work, on the other side I love big challenges that
are nowadays flowing to the biggest places and require
highly specialised artists to produce at film level during
many many shots in a consistent way.
I suspect the trick for big shops is to be flexible
enough so artists still feel they can exercise their
craft, while being able to tackle big projects. And for
the smaller studios my guess is that they will have to
position themselves as true visual pioneers and
innovators, while providing a boutique hotel kind of
experience to clients. The middle ground is going to be a
difficult place to be.
Like an old friend and mentor told me once, “Get big,
get niche or get lost”
But then of course the outsourcing factor comes into
play and I may be totally wrong… :-P
jb
PS. In any case, the good old times with Softimage were
magical…
But regardless, that's
absolutely flawless, (and very cute!) work!
Kudos!
On 11/08/17 5:09, Jordi Bares wrote:
I hope there is a making of to show what
was done, because it was very very big project and
required an army of artists.
Just look at the hair/cloth multilayered
details, the effects, the number of props to
replicate perfectly (the sleigh to start with) and
all the fx on Paddington contact with the show… lots
and lots of it.
My biggest insight was to see a film
pipeline at full speed on Paddingto2 and others, up
close and being able to compare it with a typical
advertising one. Inspiring to say the least.
Jb
Loved it! Absolute top
notch work, and kudos to everybody
involved!
I can only hope you got a decent time
schedule to do all this in ;)
Would love to hear more on the production
side of things, as it sounds very
interesting. :)
Rob
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On 8-11-2017
0:20, Graham D. Clark wrote:
Thanks for the
insight Jordi. Would love to know more,
hopefully there's a breakdown reel for
part of it one day.
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