Meet the Studio: Blur Studio

Become a member of the CGSociety

Connect, Share, and Learn with our Large Growing CG Art Community. It's Free!

THREAD CLOSED
 
Thread Tools Search this Thread Display Modes
Old 05 May 2005   #196
http://academy.smc.edu/
What do you think about this school for animation?
I know you'd preferr CalArts Alumni, but I keep seeing people that teach at CalArts also teach at the Academy......You're in Venice, the school is in Santa Monica...I was hoping you would have some insight.


Basically I'm just repeating myself, but I've been researching the people that teach there:
http://academy.smc.edu/people/faculty.html

If you're not familiar with the school, are you familiar with the faculty?
Seems impressive to me....This is my last chance. Thought I'd give it one more shot.

Thanks!

Paul Hassett
 
Old 05 May 2005   #197
Hi

First off all, congrats with the great movies you've made and thanks for your plug-ins on the Blur Beta page.

Most of my questions have been answered already, so I only have one question left.
How did you create the terrain in Rockfish/Warhammer? You know, the desert-like with rocks scattered everywhere. I'm especially interested in the modelling, although I'd like to know about the texturing too if that's possible.
 
Old 05 May 2005   #198
render pipeline

Hi guys,

First off, I love the work you guys put out! I just want to ask if you guys can talk a little bit about your texture/rendering process what do you guys use and how did you guys develop the "blur" style look? Also, last question How did you guys develop in Gpher Broke the dirt crumbling where it breaks apart under the gopher?

Thank You

John Beran
 
Old 06 June 2005   #199
Originally Posted by siquier: Hello Tim and the rest of Blur
I just want to show my respect and admiration, I wish you good luck in the next Oscar´s nomination.
Say hello to my friend Daniel


Thanks Juan! When are you going to come and work for us? I hope Daniel hasn't scared you away with the horror stories of how much HE works.....he's part of our over-worked FX group and I can't stop him! You'd could work with our Scene Assembly guys and their jobs are SUPER easy....they usually only work 3 or 4 hours per day and take 3 hour lunches between massages.

We're ready for you to come on over now.....
 
Old 06 June 2005   #200
Bye bye!

blitzze

I love your shorts! (that came out wrong...)

My question is: How is the work distributed at Blur - do the artists specialize in one field and do only that sort of work (e.g. modeling, animation), or do they know a bit in each field and exercise all of their skills (e.g. rigger/animators, modeler/texturers)? Which way do you think is more productive?

Thanks.






HAHA! That’s pretty funny, blitzze. The work at Blur is distributed among artists that specialize. We’ve been moving in that direction for quite some time now. When I first started at Blur almost 5 years ago everyone was more of a generalist. But everyone eventually realized what they enjoyed doing best. Not to mention what they were the best at doing! Now, it certainly is a MAJOR plus to have a broad 3D background because it will help you work with others. For example, if you are a character modeler it would help to have some rigging experience for how to approach your modeling so that when the person who is going to rig it gets it they won’t have too many problems. You can take that example right down the pipeline. Riggers would do well to know animation, animators would benefit from knowing scene assembly, etc. The ultimate goal being the creation of a smooth pipeline with no hiccups. If we had our choice we’d prefer smaller teams with longer schedules. But we don’t always get that. (Warhammer 40k for example).



keithlango

Your dog also looks alot better than you do, Flappy!

Just wanted to hassle you, heh. And yes, Wilson is a rail whore. I haven't played quake since moving on. It's just not the same without Miller screaming out "Taste it!". Heh
I miss you all a bunch. Keep kicking arse. Good things are gonna roll out for you guys, I can feel it!

I thought I saw somebody in the bushes on my dog walk the other day. I thought it was just a fat-furry gopher! But it was the wild and wooly Keith Lango!



Thanks for the kind words, Keith. Well, some of them anyways.



jampoz

Thank you!

For the records: The WH40K game so damn fun, took me back to the old Westwood's C&Cs
Been awhile since I spent money for a game that was worth it!




Jampoz, I couldn’t agree with you more. I had a blast playing that game. My only disappointment, other than not having a kick-ass end cinematic, was that they didn’t allow you to play the other races in the single player mode!



sinaris

(The emperor commans tim miller and his space marines to make the winter assault cinematic now.)


lol sorry guys i just had to say that please make another warhammer 40k cinematic.
please
please
please




Dude, Dave Wilson and I practically BEGGED the Relic booth to let us do a cinematic for the expansion. Keep your fingers and your eyes crossed… you never know. But even I am having my doubts. We even have a wicked story already! Grrrrrr!



jampoz

Drooling at how cool would be having a squad of Space Marines break into a space hulk full of Tyranids, old-style stuff yo... made by Blur, would be awesome





I’m drooling.







kotsos

Well I couldn't resist after my friend sinaris posted...

Hi guys good job on all of your shorts (Warhammer 40K intro my fave)

Somebody (working in Blur) said earlier that: u" should put only your best work on your site"..I can understand that for a showreel, but a website is different... i think of it like a diary of images, showing your progress...what u learned how to make great images in one day?... i think not, so why give the wrong impression? plus if talent is so obvious, then it will be apparent in all the little experimental doodles...if u are looking for work, then actively do so, don't wait until somebody stumbles on your site... anyways




You have a good point here kotsos. I’m only referring to people who are applying for work. If you want to have a diary webpage that’s cool. But don’t expect a BUSY studio owner to look past the 1st image if it doesn’t ROCK is world. He simply doesn’t have the time. He barely has time to look at Blur work between bigwig meetings with studio execs! See what I mean?

ANother thing: i think u can teach people to become better artists, raw talent needs guidance. If somebody helps u, u make great leaps in a short space of time, i've noticed it at work, there are these two great guys (they come from 2d fantasy art world). since I've met them my artwork has made leaps, I started noticing stuff i didn't see before, i tried to maximize the impact of my images. my ego got bashed again and again. things i could get away with cos my friends couldn't draw, now fall on my head. and we 're talking about small stuff like: "hmm, that shoulder is crap" or "bliah! that's not a face" or "stick to 3d, hahaha", but i like it, cos i'm pushing myself... so i'm now not only trying to be a better 3d artist, but i'm developing my forgotten 2d skills and i've started sculpting.
now they say: "leave 3d and continue with sculpting, no seriously"
what i'm trying to say is that some times u need a nudge towards the right direction and u guys out there don't give up cos u think u don't have "raw talent", it may not be in 3d character faces, but u might be able to make the coolest armour ever and u should deffinetely try zbrush (all those dots and crude lines u sketched can now be easily palced on your 3d model and there is now stupid dispacement mapping involved, long live normal maps).

i still have a long way to go to becoming a great artist, but saying that people shouldn't even try cos they don't have raw talent is just "snobish" to me




Again, I don’t think anyone at Blur is trying to come off as being snobbish. I’m just trying to give it to you straight, the way I see it at a real company that DOES hire people with great talent, both honed and in the raw.

plus i saw a (3d animated) movie called running away, that had some lame character models, but had action, a superb sence of directing and montage, great music, i watch it again and again and gets my hairs standing on end (more than the WoW cinematic from Blizzard and more than WH 40K)...

i wrote this cos i thought there is a bit of discouragement in the air...



I think it’s great you wrote this! We don’t want to discourage anyone. Far from that! Personally, I get inspired by a lot of different styles. And not all of it is 3D either… or even animation for that matter.


now my questions are:

1. do u have strict deadlines for shorts, or do u stop working on them if a big project comes in?



We use the Academy Award submission due date as our cut-off and goal. But we submit to a lot of festivals.
2. what is the make of the mo-cap system u use? (if u can't specify, give some pointers:like is it wireless, for how many people etc)



I believe Wilson answered this question earlier.
3. i'd like to repeat the question about the hair system (i was struglling with hairfx, mainly due to lack of experience. ended up compositting all the time)



Sorry, not my area of expertise.


4. i read u use max 5 and your custom tools, do u find it more stable, or is the upgrade not worth it (i use max 7, but i would like to know the reason u still use max5)



We are on max 7 now.


5. i've covered all my cloth simulation issues with cloth extensions, but i would like to know what u use...(by the way awesome cloth sims with cloth extensions, characters can handle clothing , i mean really handle it, my tests have left me blinking)



Sorry, not my area of expertise.




6. and finally how many people work on a project (if it varies, just give me a range)

I think this was answered ealier.
i don't know if some of them have been answered, if they have don't bother answering them, I re-reading the whole thread anyway (other questions have already been answered,concerning rendering and setups)




Hey everyone, I just wanted to say that I had a great time here chatting with you guys. I lot of times we are so busy here at Blur we tend to forget that anyone actually sees what we do. So it’s really nice to hear all of the praise and even some of the bashing. You all had some great questions.



Kotsos brings up a good point. If you do think you have what it takes to be a working artist – in whatever field - then go for it! And if someone tells you otherwise (including some punk-ass bitches at Blur). **** ‘em!!!



Good luck!



Paul
 
Old 06 June 2005   #201
Big thanks to all the guys from Blur for taking their time to answer all these questions. And thanks to cgtalk for the initiative as well. It's really cool to have these Q&A sessions going on, I've learnt so much from it and it really inspires to actually hear straight from the Blur guys who worked on all the cool stuff.

Thanks Ian for all the information regarding character work. It gave me a clearer idea of how you guys work and the kinda CG folks you guys are looking out for. Thanks !!
__________________
dominicqwek.com[size=1]

Last edited by dominicqwek : 06 June 2005 at 06:36 AM.
 
Old 06 June 2005   #202
Thank you for your time Blurians!

(Just wanted to say it once more 'fore the closing)
__________________
Giampaolo "BOOBOO" Mannucci
<Rome, Italy>

Valentine's Day gift for my girlfriend

Starship WIP
 
Old 06 June 2005   #203
hey guys, Tim had trouble posting last night so here is his replies and answers

BEGIN THE VOICE OF MILLER
--------------------------------------------------------------------------

Tim Miller here, I’m gonna try and pick up all the last questions I thought were left hangin’…..I apologize in advance if any of the answers seem short….it’s late and I’m want to try and answer these before this thang shuts down. I’d like to thank ALL of you folks for your compliments on our work and your kind words! It’s EXTREMELY encouraging to know that folks out there have enjoyed the things we’ve done over the years—I know we’ve enjoyed doing them!



And thanks to CG talk for hosting this—MUCH appreciated!




  • as many wants to know, what are your future plans? is there any new masterpiece in making?


We’re just getting started! LOTS of stuff on the horizon for us….too much to tell. More FMV’s, CG films, shorts, game cinematics, etc.






  • Is it possible that we will be seeing a "trend" of other studios, setting up their pipelines to create their own shorts. Given that it took you guys 3-4 weeks to complete the Warhammer cinematics. Maybe not a trend, but given the success of your shorts it has certainly made some people go "hey, we can do it too".


Well, we certainly HOPE it creates a trend….but I doubt it. Other studios have been doing shorts for years too. It’s just a great film format—all meat and no filling.




  • I would like to know if you could give some pointers for someone trying to start an animation studio of their own.. Maybe some of your experience, and things to look out for...


Wow….I could write a book on that question. So many answers can only be understood in perspective….and by that I mean by digging through a mountain of bullshit and coming out the other side. If I could go back in time and tell my YOUNGER self what I know now I doubt I’d want to hear my own advice. I guess I’d just say be CLEAR about why you’re doing it. And make sure you’re willing to PAY for it—both financially (I could have made a TON more money working for other people) Physically—I think I could reclaim large chunks of my life if I worked for others. Emotionally---Dealing with the shite of others---especially whiney little punks like Wilson—could try the nerves of a saint. And Spiritually—I’m pretty sure my karma was in better shape 10 years ago when I still had time to help old ladies across the street. But on the other hand there isn’t a man on earth I’d trade places with. J




  • I'm particularly interested in how internships are handled through you guys. I guess I'm just assuming they're offered, though I didn't really see anything on it through your website.


We don’t offer internships at the moment—sorry.



  • I am very interested in how you came together and initially started Blur. What's the breakdown of your core staff, and how many projects do you generally work on at once?


I was working at Imageworks and didn’t much care for the corporate environment….so myself and a few others—being much too stupid to know better—decided we could do better on our own. And so we started blur.



75 people at the moment. 6 production folks, 3 IT folks, 1 HR accounting, 3 concept artists, 3 Graphic designers, the rest are 3d folk…..and me of course.


  • Also, I know this may be an unanswerable question for legal reasons, but any ideas a brewin as far as feature film goes? Anything you know you're NOT going to do? Anything you might be willing to reveal about what kind of film you'd like to make? Animated cartoon? Science fiction?


There are SEVERAL different things on the horizon. All of them are approaching quickly….too soon to tell which ones will arrive first. NONE of them are “My Little Pony” feature films…..



One of the key things that’s different about blur from some of the other folks is that we want to make all KINDS of films—from warm light hearted stuff like Gopher Broke to the hardcore R rated Sci Fi Fantasy stuff. One of my PERSONAL goals is to make a totally KICK ASS comic book film. The Authority by Wildstorm would be my top choice. But really….there’s so much COOL STUFF out there!!




  • i wanted to ask what in the next short the studio is working on and if there was a url to check it out?? and also what is there to look out for in the future for blur??


It’s called “Gentlemans Duel” but that’s all you’ll get for now. Other than it’s going to be awesome!






  • The cinematics you guys and gals at Blur made are the kind of material that make me want to buy a game, most evidently with the Dawn of War cinematics. I'm not too keen on the idea of Warhammer (the original game), but the cinematics were done so well that I almost couldn't not buy the game. Same goes with the Hellgate: London cinematics I saw the other day. And I'm sure I'm not the only one who appreciates how much a good cinematic adds to the potential of a game. However, we all aware that Blur aspires for greater things, such as feature films, but if such an endeavor doesn't arrive as soon as the studio would like, are game cinematics and short films enough to sustain the (or any company, for that matter) company until the studio has enough corporate presence to create an I.P? What does it take for a studio to make the jump from short film to feature film, to fully independent production?


Well, we’ve managed for 10 years now without doing a feature….so I’m sure we can last a LITTLE longer. J We still enjoy everything we do….and I don’t expect we’ll stop what we’re doing NOW if and when we do features.






  • I was curious to know if Blur knows any good colleges where they would recommend me going. Also, does Blur set up tours of the studio? I live in Los Angeles and would love to come by and see how Blur operates. Thanks!


I see good reels consistently from Ringling, Vancouver Film School, Otis and a few others. But no tours for you my friend…unless you come as part of a group. We do groups of school kids from time to time…..sorry!




  • How is it at the beginning. I mean how did you know how to do things. I mean composting 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 commercial with you how did you know at the begining how to work, what to do first, and how to do it?


Well usually people that start their own business have spent a good bit of time working for OTHER folks before stepping out on their own. I spent 5 years in post houses and at places like Imageworks to learn the ropes….and the rest of the stuff you just pick up as you go along. Never be afraid to ask questions!






  • hmmm first how much employee have you got and which is the number of
    French artists ? which is nationality the most represented ?


How many Frenchmen you ask? TOO many. J Not true—I love each and every one of them—I kiss them on the cheek in Euro-style greeting each morning. J Actually we have a really diverse group…mostly because I find a lot of guys on the internet from their websites. 4 Frenchmen, 3 Belgians, 3 Turks, 1 German, 2 Canadians, 1 Mexican, 2 Spaniard, 1 South African (no more of THEM please!), 1 Chinese, 1 Japanese, 3 Koreans, 3 Republicans and the rest are good ol’ Americans.







12. I saw both In the Rough and Gopher broke at the Animated Encounters festival in Bristol recently, and thoroughly enjoyed them both! The level of detail can really be appreciated at film size. Is there any reason that Gopher Broke was the only film nominated for an Oscar? I thought In the Rough was also an worthy-worthy film.



Thanks! We thought so too….unfortunately the Academy didn’t! J







  • At the same festival I asked Jeffery Katzenburg whether he saw any point in creating short films at Dreamworks, and he basically replied that there was no economic reason for doing so. He could see the benefit to the artists but couldn't justify the cost. If you do grow to feature size do you still think you will be able to produce shorts or do you think they will be side-lined gradually?


Well, I’d hate to contradict Mr. K, but we certainly PLAN on continuing to do shorts. In fact I’d think that doing full features might make it easier. But I’ll have to put on his shoes and walk a few miles to figure out if we can still do them.




  • If you are intending to grow to tackle feature-film work how are you planning to avoid the pitfalls of smaller studios growing beyond their capacity?


Clean living and good intentions!






  • Why BLUR? I hope we all know what a Blur is, but why did you pick that?


We just sat down at a table and threw out names…..and what we ended up with was “Spiral Blur” believe it or not. When I told my wife she said, WOW that’s super LAME—it should be just BLUR. So being the dutiful husband I am…and wanting to continue getting laid….blur it was.





Know about Exile-Films? They pretty much failed but you guys could produce an outstanding WH40K movie, why don't you ask Games Workshop?



We did of course! And now I’m trying to convince Hollywood folk WHY it would be cool!









  • Uh yeah, forgetting about the Blur Beta page full of cool Max plug-ins, what happened? Will you ever work again on that?


Yeah….we feel bad that it’s been down for so long. We’ve now got a new UBER programmer on staff though and it’s on his agenda to get it back on its feet.





  • What was the "breakthrough project" for your studio? I don't mean the one that got you the most accolades, but the one early project that you are most proud of and maybe represents the first project that shows best what you are all capable of?


Nobody will remember….but it was a bunch of stuff we did for a Jonny Quest animated TV show. It was our biggest and hardest project to date AND our coolest—for me it felt like we crossed a threshold ….although looking at it now I say YUCK! But then…..






  • What was the biggest hurdle in starting up your studio?


Getting those first few jobs is always tuff….later on there are many OTHER hurdles. J








  • Is there anything in production or day to day business that you wish you could go back to and take another shot at?


There have been a few of course. VERY occasionally thing have to go out of the shop looking LESS good than they should. It’s almost ALWAYS deadline issues because we won’t let it go if it’s JUST money. But sometimes you run out of time. Or occasionally you have a sucky client. J




  • Have there been any clients that you've worked with in the past (no names or anything) that you would never work for again? If so, why? (again, no names or specifics)


Lots. Some because they just prove to not know what the **** they’re doing…..some because they’re more interested in personal power and control than making the project good….some because they aren’t NICE…..some because they’re simply difficult to manage.






  • in this highly competitive and expensive industry, its hard to keep your head above the water, let alone do things you really love or believe in, and not just work for the money. you guys, seem to be going by your goal in great persistance and success. how do you manage to do it ?


That’s a tough question—lots of factors.. The simple answer is because we really really WANT to and we’re willing to sacrifice to make it happen. Most people SAY that—but we really put our money where our mouth is.
__________________
Ian Joyner | Character Designer at Legacy FX | Moderator CGtalk

*shamless plug alert* Check out my Character Modeling / Texturing DVD's

 
Old 06 June 2005   #204
Millers Answers PT 2
------------------------








  • you've been there for over 9 years, and started it because you didn't like what you had to do out there, for other bosses.... how do you manage to get funding for "fun" projects from the heart ? it is widely believed that shorts don't pay, but that they are a mean to prove yourself feature-worthy. it seems you guys are proving the second part of that belief right. so what about the first part ? how do you manage to pull out all these shorts, if a client didn't order them in advance ? do you take strictly "for the money" projects on the side ? how do you balance between the two ? it seems to me, that to anyone aspiring to establish a studio, and create good stories and animation, this is one of the biggest issues to deal with. since you are almost the only example of a growing studio that did it, I’d love to hear about it.


Well of course we spend the VAST MAJORITY of our time doing paying work….but we choose to spend any PROFIT we make on the shorts. It’s not hard for ME—money isn’t a driving force in my life personally--, but I’ve noticed for some studio owners often say something more like, “wow, we worked hard and had a good year! I’ve got this money in the bank that I could use to buy a bigger house….or do a short film. I choose the HOUSE!!”







  • Was there any reason for starting Blur Studio? Did it just happendt by working with friends, A long time plan, or did you just think "hey, i'll start a kick ass animation studio"?


I didn’t dream of becoming an Entrepreneur one day….in fact, it never crossed my mind until I got so frustrated with the way things were going where I worked that I had little choice but to leave. It just so happened that there were some others there who felt likewise….







  • What's your policy on hiring people from outside USA? Do you go through the whole visa dance or do you prefer to keep it simple and hire people that already have either a visa or a us citizenship? In your experience, when hiring foreign talent to work in Blur, is a degree crucial for acquiring a visa? Would a diploma coupled with a few years of work experience suffice? I have had a few interviews with US-based companies and after they check with their lawyers, they say it is worth way too much effort to bring in someone into the states with the credentials i just mentioned.


We have folks from all over the world—we love the diversity. The VISA stuff is always a pain….but I can honestly say it’s never stopped us from hiring somebody we really WANTED to…as long as they qualified. And that’s pretty straight forward—4 years of University OR 3 years of work experience for every year of University you’re missing. No University? 12 years of experience then. We even help some of our employees get their Green Cards….and we pay for all the VISA stuff. And all they owe blur in return? Just their SOULS! J










  • What do you catch artists often doing in office apart from work?


Well Dave Wilson is either masturbating in the men’s room or pretending he’s a hot chick on internet chat sites. Flappy is usually running home trying to get his wife pregnant..Ian is studying to be a Bukake master along with Derron Ross, another blur supervisor….and me—I don’t do anything BUT work—I have to pay their ridiculous salaries.







  • When you guys begin with BLUR studios, how did u financed it. Was it your own pocket money or was it loan or something. Or was it like some kind of project with some awesomely talanted people wanting to work for free for some higher ambition?And when u started how did u grow? Did u use to do any comarcial works for TV? or what sort of work did u guys use to do when u first started?....


I borrowed 20k from a relative of my wife’s who---for some strange reason—thought I would pay him back. J And then we took NO money for 6 months….and poverty level wages for another 6 months…..and then we stayed at 1k per week for the next 5 years. And now we’re still making less than Dave Wilson and Flappy. J









  • Do you have music composers in-house or work with composers in your area or elsewhere in the world?


We have 2 GREAT guys we work with often, Rob Cairns and David Norland.










  • This is just something I've been wanting to ask someone from Blur for a while so I'm happy to see the opportunity present itself. Whatever happened to Mindbridge and Out of Time? I'm more interested in Mindbrige since I seem to remember hearing that Warren Ellis wrote a script for it something like that. I saw some designs and 3d renders for both a while back but haven't heard anything about them since.


I’m still pitching Mindbridge CONSTANTLY. But truthfully when Final Fantasy came out and TANKED, it really screwed the idea of doing all-CG scifi films for YEARS to come….well until now really. Only recently is anybody even willing to TALK about doing something. That movie really put fear into the hearts of studio folk for years.. Out of Time was just a ridefilm thing….it never went anywhere. I WILL do Mindbridge one day though….mark my words!!






  • And will you ever have a Bios page on your site so we can check details on each one of you artists, with a picture and previous job experiences, it would be cool. What do you think about it or about agencies that have pages like that on their site?


And why would we do that? So ILM, Sony or EA can poach our people more effectively? Not F%$*#ing likely!! Maybe I should just send them a menu? Today’s special is sliced Dave Wilson, with a side of Paul Taylor with a dash of Ian Joyner. And how about a tasty Jeff Fowler for dessert! J






  • I don't know if this has been asked yet(this thread is gettin loong) but what's the turnover rate like at Blur? Do more than a few people leave and then come back because they liked it so much?


Considering we’re in LA, our turnover rate is exteremely LOW. We still have the first guy we hired and most of our folks have been here for 2 to 7 years. Some folks leave….but it’s usually the young stupid ones who don’t know any better. Except for Jeremy Cook---who I’m hoping WILL come back now that he’s experienced the dark side of the force. J Actually it IS usually the younger guys that leave…they’ve never worked anywhere else and they don’t know how good they’ve got it. Shitheads. J







  • Thirdly: I may have missed this somewhere in the thread, but any plans for a SIGGRAPH party this year? Last year's was pretty damn fun.


You bet spunky! Look for a repeat of last years party with the volume turned up a few notches. Crystal Method has already been booked for the gig! It’s gonna be great!!







  • How did you guys manage to accept the projects that only you'd be interested in making, especially at the first days of the studio?Did you have lots of money to cover the expenses during the period of waiting for new projects or are there some projects that you did just for "business" purposes and prefer to keep away from eyes now?




We never did anything we were ASHAMED of….but we did our fair share of things that weren’t the coolest shit ever. Thankfully though we got lucky and quickly moved on to being able to be a bit pickier.








  • Do you think that is really good for the project and for the company that the employee works more than 8-10 hours followed the day? I think that this situation is not good. the talent is not good talent if it is tired.




Ha! Ha haaa haaahahahah HAHAHAH! Oh, I’m sorry….that was a serious question….wasn’t it? J I think all artists are different and like to work at different paces. Some guys want to push themselves….some guys want to BE pushed….some want to do their 8 hours and collect their checks at the end of the week. I don’t care much for that last kind, and I wasn’t one even before I had my own company. I’ve been doing 60 hours a week for YEARS now and I feel great. When I was just starting out I didn’t even feel like I was getting STARTED until the 9th hour—I lived, breathed and ate CG for breakfast, lunch and DINNER! Seriously though—I’ve always loved it—and I think that’s the key. If the work you’re doing bores you then 8 hours is a looooong time. 9 or 10 hour days aren’t much in this biz I’m afraid…..










  • What ever happened to your visual effects work? Are you now only pursuing animation projects like shorts and FMV's, although related, was it not fx work that got Blur up and running? Just guessing, but if that was the case how did it change?




We still do it….it’s just not MY favorite thing so I don’t chase it. But it was never really our bread and butter….



  • As Dom pointed out earlier.....Really.......How good do you have to be to get a job at Blur if you are a foreigner - having to apply for a visa and all? Please by all means use me as example - Art Foundation, First Class Computer Animation BA, Some freelance and lecturing work and of course my portfolio.


The same skill level applies WHEREVER you come from.









  • My question is that I know you guys use Max, but I was wondering if you get someone's reel of really great animation, and they animated in a different software package, would that hurt his/her chances of working for you guys? Or do you guys look at skill and ability as an animator first, and then worry about what software package that animator is used to?


We don’t care WHAT you use….as long as you’re willing to switch. We have LOTS of ex MAYA, Lightwave, XSI guys here….





  • (The emperor commans tim miller and his space marines to make the winter assault cinematic now.) lol sorry guys i just had to say that please make another warhammer 40k cinematic. Please please please


I would suggest EVERY Warhammer fan out there write THQ and tell them you will refuse to buy the expansion pack UNLESS it has a blur cinematic!!! Seriously…I know they WANT to. They just have to find some pennies in their couch.



Okay!!! That’s it for me! Sorry if I missed any questions and thank you ALL so much for the kind words and interest in our little studio. Hopefully we’ll keep making cool things for you to watch!! And if you’re really good—hopefully you’ll want to come and help us make them! Cheers,



Tim Miller

Creative Director

blur

__________________
Ian Joyner | Character Designer at Legacy FX | Moderator CGtalk

*shamless plug alert* Check out my Character Modeling / Texturing DVD's

 
Old 06 June 2005   #205
Quote: We just sat down at a table and threw out names…..and what we ended up with was “Spiral Blur” believe it or not. When I told my wife she said, WOW that’s super LAME—it should be just BLUR. So being the dutiful husband I am…and wanting to continue getting laid….blur it was.


I was SURE there was some fun story behind it, or at least you made it fun, thank you!
__________________
Giampaolo "BOOBOO" Mannucci
<Rome, Italy>

Valentine's Day gift for my girlfriend

Starship WIP
 
Old 06 June 2005   #206
OK, we're done

A big thankyou to Blur Studios for participating in this Q&A!

Good luck for the future!
 
Thread Closed share thread



Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

vB code is On
Smilies are On
[IMG] code is On
HTML code is Off
CGSociety
Society of Digital Artists
www.cgsociety.org

Powered by vBulletin
Copyright ©2000 - 2006,
Jelsoft Enterprises Ltd.
Minimize Ads
Forum Jump
Miscellaneous

All times are GMT. The time now is 08:15 AM.


Powered by vBulletin
Copyright ©2000 - 2017, Jelsoft Enterprises Ltd.