<~ Note: The VFXTippingPoint Twitter Feed will be more up to date with articles, bits of news, & discussions...
June 29th
Just was speaking with a producer friend. When I mentioned "broken VFX industry" he responded with "it's not broken for us, only you guys."
— David Stripinis (@davidstripinis) June 29, 2013
Interesting how #vfx execs don't want trade assoc or union. They still speak of other options but provide none.
— Scott Squires (@scott_squires) June 29, 2013
June 28th
SPI laying off animators & at the same time advertising for animators. Where's the shortage of work? #VFXunion
— IATSE891VFX (@IATSE891VFX) June 28, 2013
- - June 28, 2013 @ 5:09 pm
- - June 28, 2013 @ 3 pm
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- - June 28, 2013
June 27th
VFXLaw Tweets...
*Newbreedvfx is a perfect example of why the #vfx industry can't fix itself, shots get pulled and finished elsewhere by other #vfx pros. *The pulling of shots is the one tool the studio can use at any moment throughout production regardless of vendor contracts #vfx. *Contracts favor the buyer and give creative, financial, and milestone "outs"; vendors, and therefore #vfx artists, pay the price. *With competition, the downfall of R&H did not affect the studios, nor will any other #vfx shop. Supply exceeds demand; a buyer's market. *Unionization, subsidies, none of this will change the #vfx balance. When supply vs. demand tips, only then will you will see change. *The following needs to occur/is already occurring: fewer #vfx vendors, fewer artists, conglomerated #vfx shops that can reign in pricing. *The #vfx industry needs a Luxottica, a conglomerate who owns all the brands but promotes individuals price control. *#vfx is bursting like a real estate bubble: an over saturated market and easy money = unsustainable supply vs demand. *Problems in #vfx compounded by oversupply of student labor, subsidies, and competition: all facets affected the current state. *That concludes my #vfx rant today folks. Those #vfx pros that can stick it out the next 5-10 years will make it, rest will have to move on. ~end of rant :)
- - June 27, 2013
- - June 27, 2013 @ 11 am
- - June 27, 2013 @ 6 am
- - June 27, 2013 @ 2 am
@SiliconRiot @scott_squires @vfxunited are vfx houses going to stand? if they are not with us they shut down and move to China everything
— Jorge Sanchez (@lafocapeloda) June 27, 2013
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| And The Fight Continues by Jesse Toves |
June 26th
- - June 26, 2013 @ 9:56 pm
- - June 26, 2013 @ 7:41 pm
- Effects Work on Daniel Radcliffe's 'Horns' Shipped to Contractor as Newbreed Struggles (Exclusive) (thewrap.com) - July 26th 2013 @ 11:04 am
- 32TEN Studios Expands Studio Capabilities (shootonline.com) - July 13th 2013
- Thoughts on the State of 3D CG in Film and Video (imsky.co) - July 13th 2013
- VFX Tech: Framestore Frames a Better Storage Approach (baselinemag.com) - July 25th 2013
- Did you miss last nights VFX Town Hall on IATSE? (vfxtippingpoint.blogspot.com) Watch it here - July 26th 2013
- #VFXTownHall on IATSE Twitter Feed (twitter.com) Some feedback on last nights town hall event via Twitter - July 26th 2013
- Da_VFX_Chick speaks To all VFX Artists out there (davfxchick.blogspot.com) - July 25th 2013 @ 10:51 pm
Referenced in Mariana's Video above : Digital Domain | newbreed VFX | Where is the happy ending for VFX Artists?
4K, 48fps VFX Is Coming - Everything Is Up for Greater Scrutiny
(metro.co.uk) Chris Harvey has helped create the special effects for movies including X-Men: The Last Stand, Superman Returns, Watchmen and Battleship. He won a Visual Effects Society Award for Outstanding Visual Effects in a Motion Picture for Zero Dark Thirty.
Cinema is embracing 4K but how much pressure does four times the resolution of high-definition put on you to make flawless effects?
It’s a big buzzword right now, but in visual effects it’s not all that new. Year’s ago you may remember the movie Swordfish and the effects for that were done in 4K. I think it’s great, it’s an evolution, but the biggest and most interesting advances are for what they did in The Hobbit, because that was 4K, it was stereoscopic 3D, and it was 48 frames per second too. The fidelity required is much, much higher and in many ways 48 frames per second has a higher impact than 4K does because you’re halving the motion blur in a frame. Everything is instantly up for greater scrutiny in terms of detail so a lot more goes into creating the visual effects.
The high frame rate really split opinion, what side of the fence do you sit on?
I like it. A lot of people had issues with it. Our eyes work closer to 60 frames per second but people reacted because they weren’t used to seeing it on a screen. In terms of animation and character or creature work it gives you a lot more opportunity to get subtleties in that you might not see with 24 frames. When you talk about The Hobbit and the response that Gollum got, what a step up he was even from Lord of the Rings, the big impact was 48 frames because they could get so much more performance into his character.
@scott_squires @vfxblog tangentially related considering it is me who is homeless due to #digitalDomain bankruptcy and wrongfull termination
— Evol-Hiem (@d3inks) June 26, 2013
(metro.co.uk) Chris Harvey has helped create the special effects for movies including X-Men: The Last Stand, Superman Returns, Watchmen and Battleship. He won a Visual Effects Society Award for Outstanding Visual Effects in a Motion Picture for Zero Dark Thirty.
Cinema is embracing 4K but how much pressure does four times the resolution of high-definition put on you to make flawless effects?
It’s a big buzzword right now, but in visual effects it’s not all that new. Year’s ago you may remember the movie Swordfish and the effects for that were done in 4K. I think it’s great, it’s an evolution, but the biggest and most interesting advances are for what they did in The Hobbit, because that was 4K, it was stereoscopic 3D, and it was 48 frames per second too. The fidelity required is much, much higher and in many ways 48 frames per second has a higher impact than 4K does because you’re halving the motion blur in a frame. Everything is instantly up for greater scrutiny in terms of detail so a lot more goes into creating the visual effects.
The high frame rate really split opinion, what side of the fence do you sit on?
I like it. A lot of people had issues with it. Our eyes work closer to 60 frames per second but people reacted because they weren’t used to seeing it on a screen. In terms of animation and character or creature work it gives you a lot more opportunity to get subtleties in that you might not see with 24 frames. When you talk about The Hobbit and the response that Gollum got, what a step up he was even from Lord of the Rings, the big impact was 48 frames because they could get so much more performance into his character.
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