Nuke is probably the one with the most widespread use in feature houses and it is spreading to the commercial world as well. ![]() There are lots of different packages out there and they all have their strengths and weaknesses. Nuke for sure is my compositing package of choice. I am much happier showing up at a studio that already has a tried and true established pipeline where I can just sit down and start plugging away at shots. Had to stop working at home when the footage started to go upwards of 4k in resolution. Back when a lot of projects were still a mix of standard def and HD I had decent hardware I could work with. I have done some freelancing at home in the past. I have migrated my main compositing software skills through three major programs over the last 6 years. Although many of the concepts and ideas we use every day have been around since the beginning of film the way in which we go about doing it is constantly changing. Although the output is ultimately creative the process often involves writing many different expressions to drive the behaviour of all those simulation models.īlender is a great way to get your feet wet and although the concepts are the same 3DMax and Maya are really the industry standard software packages for 3d work these days.īeing willing to adapt and learn new software and emerging tech is key to sustaining yourself in this industry. They primarily run the simulations to create cloth,hair,fur,smoke,fire,explosions,water effects and much more. If you enjoy programming you might want to consider being a technical effects and dynamics artist. ![]() On the whole (and like a lot of other jobs) you really make as much money as you can negotiate for. The markets are different from city to city and wages are very largely unregulated. Salaries run anywhere from 25k-40k as junior artists up to the low six figures for very senior. The hours can be long and I can't think of any other work I could put this much time into and still be happy to do it.
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