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  05 May 2005
Hello Blur!

Just wanna add into the fan-boyism here, and say that you guys are all fantastic, and If given the oportunity (and were I not a guy), I would gladly have your respective children.

OK-Enough of the wierd stuff! Question time:

* I've read in previous articles about your work that you use mo-cap in some of your shorts (Warhammer, Rockfish, Wolfenstein...). Do you guys have your own motion capture studio, or do you outsource your stuff?

* There are several studios that have a definitive 'you are a texture artist...texture, you are a modeler-model' mentality. Is Blur like this, or is it more of a jack-of-all-trades studio?

* How many people now work at Blur? Do you seperate into different 'groups' when handeling multiple projects, or are you guys already in different sections?

* With your foray into features-are you going to continue doing game cinematics and shorts?

* This question is specifically for Dave Wilson: As a South Africa (or any person from another country) looking at getting into Blur-how did you do it? Apply from SA, get accepted, and then go Visa hunting? Or were you already in the states when you applied for the job? What is Blurs policy on hiring 'foreign' staff? And how on earth do you live without Biltong?

And finally!

* On average, how many cups of coffee are consumed on a daily basis?

Just want to say again what an inspiration Blur studios is! And I hope to be working with you guys-one of these days!

-Chris Bischoff-
 
  05 May 2005
hey hi

i'm not gonna say much more than, u guys are doing some amazing work and i'm looking forward to seeing your upcoming projects!!

|jason
 
  05 May 2005
Hello Blur
First of all, RESPECT for all you're doing.
I got one question:
How is it at the begining. I mean how did you know how to do things. I mean compositing effects, knowing stuff about using proper resolutions and so. Everybody have to start and let's say you finally got a client who want to do comercial with you how did you know at the begining how to work, what to do first, and how to do it?
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:: www.lukeszeflinski.com photography
 
  05 May 2005
Originally Posted by sphere: Hey,

- Any word on a future feature film project?
- What's the biggest lesson learnt from your time with Blur (one per artist)?

Thank guys!


I'm gonna try and answer questions one at a time....otherwise I think I'll get corn-fused.

I checked out Paul Taylors (aka Flappy Fish) answers and I already feel inadequate! He answered a ****load of stuff already! But I'll try and throw in my 2 cents....

Feature films. Lots of talks--no deals signed as yet. We've got Rockfish in development with Vin Diesel's One Race Films and we're talking to virtually ALL the major studios in Hollywood about feature projects. BUT.....this shit takes a long time....and I don't take ANYTHING seriously until the ink is dry on the contract....and not even then! I will say that I think big shit is in the pipe.

Lots of buns in the oven and I've very hopeful that some of them will get bake up warm and tasty, well holler out when it's REAL. But how could it not happen with so much talent concentrated in one space! I'm honored to work beside the folks at blur.
 
  05 May 2005
Originally Posted by tki: Great! great GREAT! Ok...

What is the Key things that People needed to have to work within the Blur Domain and whats the longest time it took to finish a project from start to finish and what was the major problems faced.

this question is to all...

Thanks Blur...


Not sure I understand that first question....do you mean what do you need to work at blur? If so the answer would be 1. Talent 2. Endurance 3. Bullet proof ego 4. Talent 5. Great teamwork skills. 6-100. More talent. In my experience hard work can NOT make up for lack of raw talent. I get emails and reels everyday from animators swearing they'll work their fingers to little bloody nubs if we give them a shot at. But if you look at thier reel or samples and they don't have "The Eye" then it just doesn't matter--no amount of hours will make thier work great. Just better. Sad but true.....

I think Disney's "Mickey's Twice Upon a Xmas" was our longest gig at 14 months.
 
  05 May 2005
Hi People

I am just a humble character modeling type here at blur, and definetly the newbie of the bunch, so I will just answer questions pertaining to that stuff. The others guys are way more interesting...and oh so dreamy.



Originally Posted by Heber: hi guys, i absolutely love your work its very inspiring to me, i have some questions regarding modeling in particular:

1-do your modelers create models than can perform in various situations and extremeties or do you create models than can work for the shots that they need to be in and then repair in post?

2-What do you look for in a good modeler? are you looking for someone who can model characters or environments really well and can do just that? or do you like to see range , aka someone who can model and build in all different kinds of styles?

thanks for taking the time guys.

-Heber Alvarado


1. We usually try to do as much as we can with the models int he time frame given, usually haivng a base idea of what the character will need to do, very rarely do we actually fix them after they are rigged and in scene, tho occasionally that does happen for certain extremes.

2. I can not say what they look for, but I can say at Blur they want variety, and you have to be able to both texture and model (and anything else you do is a plus) usually breaks down to two groups, character modelers and environment modelers, and most of them (environmnet) also do scene assembly so lighting and such is key. Different styles is a great thing to, cause at Blur we do everything from Warhammer and X-Men to In the Rough and Mickey stuff, tho most people are put where they are strongest.




Originally Posted by rickmann: Well this is a first for me as well!!


My questions which may have been ask in many different ways is: Do you see your animators using other tools other than 3DS Max, like Maya or Softimage, or do you prefer them to use properitary software built by your programmers? Also as a person with not too many drawing skills to you ever hire animators (in general) based soley on there skills applied through a computer?

Thanks guys for aspiring so many with your workmanship!!


We are primarily a Max place, but we do use other peices of software for certain aspects of the pipeline. I use Zbrush and Bodypaint a lot, but for the most part we do as much as we can in Max.

I dunno about the drawing skills for Animators tho...Tim will have to field that one.


Originally Posted by Pyke: Hello Blur!

Just wanna add into the fan-boyism here, and say that you guys are all fantastic, and If given the oportunity (and were I not a guy), I would gladly have your respective children.

OK-Enough of the wierd stuff! Question time:

1.* I've read in previous articles about your work that you use mo-cap in some of your shorts (Warhammer, Rockfish, Wolfenstein...). Do you guys have your own motion capture studio, or do you outsource your stuff?

2.* There are several studios that have a definitive 'you are a texture artist...texture, you are a modeler-model' mentality. Is Blur like this, or is it more of a jack-of-all-trades studio?

3.* How many people now work at Blur? Do you seperate into different 'groups' when handeling multiple projects, or are you guys already in different sections?

4.* With your foray into features-are you going to continue doing game cinematics and shorts?

5.* This question is specifically for Dave Wilson: As a South Africa (or any person from another country) looking at getting into Blur-how did you do it? Apply from SA, get accepted, and then go Visa hunting? Or were you already in the states when you applied for the job? What is Blurs policy on hiring 'foreign' staff? And how on earth do you live without Biltong?

And finally!

6.* On average, how many cups of coffee are consumed on a daily basis?

Just want to say again what an inspiration Blur studios is! And I hope to be working with you guys-one of these days!

-Chris Bischoff-


1. We have our own Motion Capture stage but I couldnt tell you any specifics on it...its big...padded walls and shiny balls(hehe)

2. A 'modeler' (character wise)at blur is also responsible for texturing and lighting for sample stills, surfacing, hair, and even basic rigging(and boy do I mean basic...tho it still manages to take me a while hehe) for posing.

3. I think we have about 65-70 full time artists...Tim would know the specifics on that.
Project leads pick out their teams of character modelers, environment and scene assembler and fx artitsts, oh and concept artisits, then that team works on that project. This makes it sorta fun cause you get to work with a variety of people in your time at blur, always learning something new...huzzah.

4. Tims gonna have to answer that one... The game stuff is a lot of fun tho. Lots of variety.

5. I won't answer for Dave (he would slap me) but I will say we have a large variety of people from all over the land.

6. Enough that I always have to brew new pots when I want a fresh cup... and I always want a fresh cup
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*shamless plug alert* Check out my Character Modeling / Texturing DVD's

 
  05 May 2005
Originally Posted by Mysterious X: first of all congratualtions for the wonderful job your doing and keep on trying and you'll nail the oscar soon

my question is when will we be able to download the full version of Gopher Broke ?


I'm sorry to say it might be a good long while. You guys KNOW we really like to share our shorts with the animation community. But we may be developing Gopher into a larger project with a studio and they'd prefer that we keep it's exposure limited. It kinda sounds like we're selling out a bit--and we are. But the chance to tell a bigger story seems worth it. It sucks that we can't share it.
 
  05 May 2005
1000 kudoz to u blur people
one studio that still kicks a.. in this pool of CG.
love the fact that u's sticking to simple tools doing some seriously amazing stuff.
as for mr. miller, i think u'r the only guy i've ever heard using the word f.. in an official
interview, that was hilarious (i think it was on some eyeon tape, anyway, funny as hell).
love the don;'t give a sh.. attitude (works alot for the whole studio i think)

questions, sh.. i'd have a hundred, but i'll spare u my sharp spear, and just ask a few directly related to smthng others haven't asked:
like: how's xsi workin' for you guys?
what do u think about it and how do u feel workin with it?
does it integrate well into the pipeline?
what do u use it for besides crowd/character anim?
ain't it a cutie ?

PS. this is not a question, this is a direct threat )
don't screw up the story for Rockfish, whenever that gets done, whatever gets done
make us proud.

keep on doing the kick ass work u guys do
love ya
 
  05 May 2005
I had sent Tim a message before, and I'm not sure if he received it. I'll repeat it briefly here, but without the details:

Would you guys be interested in doing a project using a non-internal director and his screenplay? My Promise project was supposed to be produced at Optidigit, but it has been put on hold due to funding problems. I'm shopping around for likely studios to pick up where Optidigit left off.
 
  05 May 2005
Originally Posted by comic_craig: What do you like for in aspiring talent- with regards to 3D artists? What is the kind of demo material that amazes you? What doesn't impress you?


Not trying to be flip when I say it's all about the WORK. Talent....pure and simple. Screw the cover letter.....forget the fancy packaging....don't bother with the clever "gag" or tricky gimmick....show some great work. A good judge of creative talent should be able to spot genius in a very small amount of submitted material--so only show the best stuff you have.

Over the years I've noticed that the FANCIER the packaging the worse the reel. When I open a submission where somebody OBVIOUSLY spent a lot of time and energy on the presentation--nice box, lovely cover letter, slick demo labels, etc. I immediately think, "Okay, this reel is gonna suck--they're trying to put a pretty frame on a crappy painting." And it's true 90% of the time. The really good people don't have time for all that fancy shit--they're busy making great CG.

Of course I seen a lot of bad work presented badly too.
 
  05 May 2005
So I should cancel that scented cover letter page then?
 
  05 May 2005
Originally Posted by Lunatique: I had sent Tim a message before, and I'm not sure if he received it. I'll repeat it briefly here, but without the details:

Would you guys be interested in doing a project using a non-internal director and his screenplay? My Promise project was supposed to be produced at Optidigit, but it has been put on hold due to funding problems. I'm shopping around for likely studios to pick up where Optidigit left off.


I got it....sorry about the delayed answer. It's been a bit crazy around here with all our E3 shizzat delivering. The short answer would be, "not so much." Truthfully we have a LOT of ideas ourselves and we're developing several original concepts....and then there's more coming in from bonafide Hollywood sources. My first allegience is to the folks here who have fallen on thier swords for blur time and again.....so if we do any non-big Hollywood studio funded stuff it will most likely come from the talented folks INSIDE the asylum. I wouldn't say NEVER, but it would have to be pretty ****ing amazing to make us turn off that course. When a big studio wants to come in and pay us to do a feature THEY have in development.....well....that's a different story. Sorry!
 
  05 May 2005
Originally Posted by marciowski: Hello,

IŽd like to know how many animators you have there. Not all 3d people. Just the animators. And How many do you need to do a feature film?
By the way... When will you make a feature film?


kisses


We have approximately 20 character animators on staff.

How many for a feature? Can't say with any accuracy--# of animators is dependent on the length of the schedule and the complexity of the animation. I can safely say that we'd probably need a least a FEW more for a feature.

We'll make a feature when somebody coughs up enough cash for us to do one. I've tried many times to get the animators to work for free so we could get started NOW....but for some reason they just won't go along with that plan. Bunch of pussies.
 
  05 May 2005
I'm sorry to be out of topic but I've noticed that most of guys here are trying to drag out Blur Studio of using 3dsmax. I really don't get it.
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:: www.lukeszeflinski.com photography
 
  05 May 2005
you guy's rock and im not going to stop until i get a job with you..
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Eddie Ellis

Last edited by eddieellis : 05 May 2005 at 08:09 AM.
 
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