Post a reply to this thread if you are interested in any position below and I will add you to the list. People listed in orange have expressed an interest in the positions currently open. This does not guarantee a position on the film. The positions will be granted to those producing the work & meeting quality/quantity needs of this project. All others will be given credit for their assistance in the production.
Please post in this thread if you decide to withdraw your interest in the film so that the list here can be updated. Thank you.
2D Textures - Textures can probably be procedural so I don’t know if this is really needed. The textures are definately very slight to non-existant. I’m primarily concerned with adding a slight texture to the characters so that when they move or turn around it’s easier to read their movement (especially the spheres).
Animator - Animators will be supplied with character and set files that are all rigged and ready to go. As an animator your task on this film may be the most important to it’s success. You will be adding life to an otherwise lifeless block. No facial features or limbs to convey expressions or body language. Giving these characters life and emotion will be a difficult task that will require you to push your skills to the limits. And I’m a pretty tough critic … be prepared for my picking of minor details. Animators will be required to submit rough tests for critique and refinement towards a final cut. Roughs will be spliced into the pre-vis animatic as they are OK’d to help aid the sound crew in composing music and audio FX.
Note that the animator’s list is being ammended below as work is being completed (see Positions Filled).[ul][li]Abhishek Chandra (a.k.a. w0lverine)[*]Ila Soleimani (a.k.a. ila_solomon)[/ul]
Music Composer - An original sound track is going to be needed for this film as there is no budget to pay for usage rights to a pre-recorded track. The music should reflect the simple aspects of the character, environment and story premise. An orchestral movement or large complex arraingements are not needed for this film. Think minimal, such as a small jazz trio or solo performance by a pianist. Also, don’t compose a lengthy score to fill time … the music should acurately reflect the actions of the film.)
Foley Artist - Sound FX to accompany the actions of our characters on screen will make everything more believable. I know nothing about foley arts … so impress me with your talents. With this position I would imagine that you can start preliminary work immediately. Make some tracks of sound effects that could be used in this film. Thumps, Boings, Claps, Squeeks … it’s all good. We could probably use anything to emphasize the humorous elements of the film.
Lighting - Not as easy as it looks. Your task will be to light the scenes and characters to emphasize the mood of the current actions. The general idea I have is not to make the environment “moody” but rather plain (yet interesting). Use of geometric patterns on walls and floors cast by the character’s shadows will be the goal to achieve. The primary character will be isolated from the environment. So, be carefull not to have bounced orange light in too much excess. I feel this will “connect” him too much to the environment and spoil the meaning of the film.
Camera - Using the pre-vis, layouts and animation tests as a guide … you’ll be setting the final camera placement, movement and settings to most effectively tell the story. Your task will most likely be the last step before the film hits the final render stage.
Editor - Lastly, the film is all put together. All elements will come together and you’ll put sound, music and renders together to produce a finished product ready for viewing. Working closely with the Director, you will add, remove or rearrainge elements to finish this film … on deadline! This position may also assist with the development of the pre-vis reel in phase ONE.
:: Positions Filled ::
Director/Writer: [ul][li]Kirt Stanke (a.k.a. Kirt)[/ul]
[/li]Responsibilities: Original creator of story, character ideas and preliminary storyboards. Will, through constructive critique, provide guidance to all members involved in the project to ensure that quality and vision of the short film remains consistant. Through the suggestions and experience of all team members involved in the film, gives final approval on all assets used in the final production of the film. Ensures that proper screen credit is given to those involved with the production of the film.
Production Manager: [ul][li]Theresa Ryan (a.k.a. paperclip)[/ul]
[/li]Responsibilities: Manages time and personel assets to ensure that production remains on schedule. Will keep in communication with artists to ensure work is being accomplished on or before deadlines. Will assign deadlines for each milestone. Will delegate tasks to other artists as needed if production falls behind schedule. Communicates to the Director any critical bottlenecks to the production timeline.
Technical Director: [ul][li]Shawn Mcclelland (a.k.a. M.E.L.)[/ul]
[/li]Responsibilities: Provides direction and specifications for the organization of film assets in relation to use with 3D, render and compositing software. Including naming conventions, directory structures and render pass technical details (a.k.a. our “go to guy” in all matters relating to 3D assets).
Animatic/Pre-Vis: [ul][li]Kieran Ingram (a.k.a. conundrum)Tobias Roediger (a.k.a. Velk)James Woodward (a.k.a. woodyradica)[/ul]Responsibilities: Creates a motion or animated representation of the preliminary storyboard ideas to assist animators visualize storytelling elements. May be required to re-visualize scenes or provide additional layout designs as needed.
Modeling: [ul][li]Shane Richards (a.k.a. sphere)[*]Juha Saarinen (a.k.a. CornfielD)[/ul]
[/li]Responsibilities: Using 3D modeling application of choice, create all character and environment models needed for the production of this short film. Models must be exported into a format which is compatible with Maya 6.0.
Texture Artist: [ul][li]Wyatt Harris (a.k.a. WyattHarris)[/ul]
[/li]Responsibilities: Using UV unwrapped models and any paint application of choice, create texture maps as needed for each element used in the short film. Texture maps will be applied to models within the Maya workflow. Proceedural textures may be considered as well. So, texture artists should be familiar with creating complex shader networks.
Rigging: [ul][li]Juha Saarinen (a.k.a. CornFielD)[*]Shawn Mcclelland (a.k.a. M.E.L.)[/ul]
[/li]Responsibilities: Using Maya 6.0, create animator’s rig for each approved character model. Working closely with the animators and utilizing their feedback and critiques, modify rigs for animator’s needs and ease of use.
Animator: [ul][li]Trey Harrell (a.k.a. tharrell)Ryan Hagan (a.k.a. Remi)Robert Mack (a.k.a. DaddyMack)[/ul]
[/li]Responsibilities: Using Maya 6.0 and provided character models and rigs, animate assigned scenes in accordance to pre-vis layouts and director’s guidance. Must be able to make changes as recommended and adapt the animation of each scene to properly convey mood and character actions.
Additional Thanks:[ul][li]Wim Coene (a.k.a. derbyqsalano)Diogo Dubiella (a.k.a. diogo dubiella)Rodrigo Ribeiro (a.k.a. digones)Dave Logan (a.k.a. Iliketheska)Tristan Lock (a.k.a. pencil_head)[*]Robert Diaz (a.k.a. Robert Diaz)[/ul]
[/li]Thanks, to the people mentioned above for their contributions to the project. All materials submitted could not be used for various reasons within/out of their control. However, their help and submissions have been greatly appreciated.