We have reviewed the recent SIGGRAPH2012 Electronic Theater blu-ray disc. It has many Hollywood visual effects breakdowns which you don’t normally see anymore on DVDs of feature movies. In addition there are scientific visualizations, student animation works from leading colleges and universities across the globe.
Then there is some risque content …also computer generated…not real, but you may not want to have to explain certain animations to young children.
Hope to see you there tomorrow night November 1st at 6:30. We are using the FAU Downtown Campus Computer Graphics Laboratory Studio ( also known as the former Center for Electronic Communication). Given that this is in the heart of downtown’s entertainment district we might as well take advantage of nearby venues for social networking after the show.
Parking is available along meters or in the City Parking facility across the street, slightly north.
BIOGRAPHY / VISUAL EFFECTS
After years of formal art education, Vincent’s paintings have been exhibited in museums, galleries, and cultural centers in New York, Los Angeles, Miami and Baltimore. This art background has influenced Vincent’s understanding of light, color and space that is used in his visual effects work.
Self trained in high-end 3d animation techniques, Vincent was first a senior effects technical director at New York’s fast paced commercial house RhinoFx where he created award winning work for clients such as “Vice Grip”, “3M” and “AT&T”.
Vincent joined Sony Pictures Imageworks in 2003 on Disney’s “The Haunted Mansion”, then was quickly requested to create visual effects for Academy Award winning “Spiderman 2”. Since then, Vincent has lead the visual effects for blockbusters such as “Ghost Rider”, “Hancock”, and “Beowulf” where he received a 2008 VES Award nomination. Currently, Vincent is developing effects for the upcoming animated feature “Hotel Transylvania”.
His other credits include: The Polar Express, Cursed, The Watchmen, Cloudy With a Chance of Meatballs and Alice and Wonderland.
The Emily Project
Hosted by School of Communication & Multimedia Studies, Dorothy F. Schmidt College of Arts& Letters
Lead Technical Artist Image Metrics
Oleg Alexander’s background is in the Fine Arts and Filmmaking. He received his MFA in Computer Arts from Florida Atlantic University. He is the co-author of The Art of Rigging series of books. He is currently the Lead Technical Artist at Image Metrics, where he’s worked on dozens of game and film projects for clients like The Mill and Digital Domain. In 2008, Oleg directed and rigged The Emily Project, a high-end facial animation demo from Image Metrics. Emily generated over 500,000 hits on YouTube in the first week of its release and is considered a major leap forward for realistic facial animation.
A no-holds-barred, in-depth look into the current visual effects/digital
animation industry in Hollywood.
Caleb Owens explains how to get a job and what to expect from leading
companies. He introduces you
to the culture of the industry and reviews the current state of the
profession. His insight shows you
how to survive in Hollywood today.
- Brief history and evolution of the professions, disciplines, and trends.
- The Hollywood digital effects culture.
- Film, Game, Commercial production comparisons.
- How to get a job.
- What to expect when you do get a job.
- Hierarchy of post-production
- A visual effects shot personnel breakdown.
For over 17 years, Caleb Owens produced
stunning imagery in nearly all aspects of the digital animation industry
including feature films, commercials, games, and 3D stereoscopic media. Some of
his film credits include, “GI Joe: The Rise of Cobra”, Quentin Tarantino’s
“Inglorious Bastards”, “The Life Aquatic”, “iRobot”, “Peter Pan”. In 1999-2000
Caleb led a team at Digital Domain (DD) to create one of the first digital
clones for film. This digital face replacement of James Brown intrigued the film
industry in LA and set the groundwork for DD’s later achievements on the
Oscar-Winning VFX film, “Benjamin Buttons”. On the commercial side of production
Owens has worked on hundreds of commercials including the Michael Mann directed
“Monsters of Nascar”, and David Fincher’s “Constant Change” for HP.
Regarding game development, he landed the job as CG Supervisor for
the new U.S. division of the Japanese video game powerhouse, Square LA in 1995.
During his stay at Square, Caleb delivered several projects including “Parasite
Eve”. In 2005 he returned to the game world as a Technical Art Director for
Electronic Arts with their hit game title, “James Bond 007, From Russia with
Love”. Caleb Owens is an LA based freelance Visual Effects Supervisor / Digital
Artist. He is currently working on several film projects. In his spare time he
builds vintage motorcycles and enjoys making music.