ICT at USC

I have been working at the Institute of CreativeTtechnologies for the past 6 months. It has beeny interesting working with virtual humans and interactive technologie,s again. Plus, it feels good to be working on something that might help someone out there. Previous to joining the group, I had no idea what ICT was. There are many application for CG outside of movies, games and commercials.

A story in today's Times features the institute, and much of the work is used by the military for purposes including training fighters to combat insurgents and calming nerves of weary soldiers. ICT’s wide-ranging technologies are now found on 65 military sites across the country.Above is a video explaining what ICT is and shows some of the various projects in production.

How NOT to hire an artist

image by Sam Taylor-Wood

How NOT to hire an artist

Everyone working in any creative company should read this article.  

My favorite quote from the article: 

How NOT to find an artist:  "Do not look for either professional artists, or an artist that has done a lot of game design work in the past."

Jon Jones:  "This is the stupidest thing I’ve ever read. Don’t hire experienced professionals? This guy must not value his time at ALL"

Scott Ross for President

Everyone should listen to this interview...

Interview with Scott Ross

This is the most articulate, solution oriented conversation I have heard yet on this subject.  If the VFX shops are awarded the money, respect, education, and deserved appreciation Ross proposes a trade organization would provide... I am confident there would be trickle down to the employees.  Ten years ago, these needs (401k, benefits, fair hiring practices) were being met.  Some shops back in the day even had car washing, dry cleaning services, meals provided, studio sponsored parties, etc.  VFX shops managed to provide these things to artists even on a "next to nothing" profit margin.  Then, times changed.  The movie studios told shops you have half the budget , twice the work, and half the time... even though profits on VFX driven films are higher than ever.  Studios told the shops, if you don't like it, the shop down the street beet your bid by 150k!  So, the VFX shops began to hire cheap labor just to make ends meet.

The VFX companies are not the enemy in this situation and the situation is not personal.  What have we got to lose?  If the shops don't organize and fix the situation now, they are out of business anyways.  Then, no one has a job. If the VFX shops paid dues to a trade organization like artists do to the VES, we might get somewhere.  As long as the new trade organization does the job presented to them and isn't fluff and just talk, like some organizations we know.  I think this is what Scott means by he would be willing to help organize as long as people made a commitment to the mission.  If shops all agreed to pay dues to get the organization started, they might have a fighting chance in this as Ross put it "race to the bottom."

I also agree completely with Ross on a Union.  The biz model for VFX shops is not one that could work with a Union. at this time  The issues that artists have with the shops  (401k, benefits, fair hiring practices) are only symptoms of the bigger problem.  VFX was never working off of fat, it was lean muscle ten years ago... now we are cutting ligaments and bone as far as budgets and any profits.  There is no room for negotiating.  A union could help after we recover from the current circumstances... possibly, but I do not see how a Union would fix the profit margin issue between the Movie Studios and FX shops.  How would a union deal with Runaway Production.  I am curious how are they handling it now?  I am pretty sure 2D ran away to Korea... no?

The one thing that did bother me in their talk was when they said the whole issue since the town hall "died because people are working."  I know more people out of work than ever.  Artists have no power, no money, no leaders, no experience in this stuff and mouths to feed.  We feel helpless.  That is why it died.  If the VFX studios have no cash, you think out of work artists do?  So, artists go overseas to help the lack of local talent for 1/3rd of their salary on even smaller budgeted movies and leave their wife and kids behind to keep a roof over their heads.  It's the unskilled talent pool overseas that needs our artists to make the incentive program work.  Again, worst biz model ever.  And I digress..  Anyways, it's the first real discussion I have seen anywhere so far.

Interview With a Robot

I thought we were supposed to be in hover cars by now and have robots cleaning the house...
this one can barely talk.  

How far Would You Go To Pursue Your Dreams?

My friend Zero quit his job in CG, terminated his lease, sold everything he couldn't fit into his truck... and is now traveling cross country - living his life, taking photos and writing about it!!!

He is accepting activity challenges along the way.

In his words...

 I will go to places that people suggest I visit, do things that people suggest I do, and meet people that want to be met. And I will connect with people around the country.

I posted a challenge for Zero on his forums to help me here at my loft in Los Angeles with a creative project for my paintings.  I suggest you challenge Zero to come to your house and help you clean your bathroom, tap a cold keg of beer or make dinner for your mother-in-law.  It's up to you!!!

What a wonderful idea!  Everyone should follow what their spirit is telling them to do with their life.  Otherwise, you are living skitzophrenic days on this planet doing what other people think you should be doing.  Does that sound like fun?

Check out ZeroDean.COM

VFX Town Hall Brought to you by ARTISTS

Give a listen to a town hall created by working ARTISTS

No need for art posters or self promotion here.

Just a clean and simple website with artists speaking 

on the topics and questions that artists have.

The informality of the first 20 minutes has a charm to it

until...

Listen for yourself

Art by John Van Vliet

At least 40 minutes into it, they bring an actual facilities owner  

to answer the questions and discuss solutions.  
(just scrub ahead if you can to the good stuff)

He is informative and very honest.

He explains the difference between a trade org and a guild.

One of the best points the facilities rep makes 

is that a guild would create more security 

for people who are freelancing and bouncing from job to job

through a "monster benefits package" of residuals, 

pension, welfare and health insurance.

Important thing to fight for, in such a transient industry.

The funny thing is:  He says that his clients say

"You get paid when I get paid."

Well, that chatter has found itself all the way down the tree.

I have heard that more times than I haven't as an artist, since 2007.

Art by John Van Vliet

***********************************************************************

  Here is my Dream Panel (5 people):

VFX Biz Rep

Marty Schindler

Consultant on business in VFX with clients like 

20th Century Fox, Cinesite, ILM, etc.

(I have been on panels with Marty and he is great)

One Big 8 facilitites Rep Possibilities

Examples: 

Tim Sarnoff (Sony), 

Scott Ross (DD), 

Lynwen Brennan (ILM)

One Union Rep 

 Kevin Koch

Steve Huwlett

Tom Sito

James Parris

 

One Guild Rep

SAG President - Ken Howard

One Seasoned Artist

(who has experienced the issues going on right now)

Anyone working right now

I appreciate these guys dealing with the issues 

and not have a separate agenda.

They dealt with issues that artists are concerned with
and specifically spoke about solutions instead of blame.

Lots of talk of how and why to start a trade union.

However, It was frustrating listening to two guys ponder issues 

they, themselves have never experienced.

I cannot wait until an artist who has experienced the issues below...

participates in a panel.

• not being paid at all
• or being paid 3 months after finishing a gig
• being required to be 1099 or accept a 30-day net pay schedule
  
• working for no OT
  
• working a 50 hour week for a flat day rate
  
• the need to place a trashcan next to you on the desk when it rains
• cannot find work anymore because it has all gone overseas
• has been told "you get paid, when I am paid." (up to 60-90 days)

P.S.  I want to make one thing very clear...THIS IS NOT just an issue at big studios.  In fact, my experience the small studios are the biggest offenders.

P.S.S.  I agree Digital Artist Guild (D.A.G.) would be a better name, since it covers all artists who work digitally.

Learning and Working in the Collaborative Age: A New Model for the Workplace

Pixar University's improv coach - Randy Nelson - gave a lecture about Collaboration and Perfection. He makes connections to improv to introduce his ideas on collaboration as a solution for success in the workplace.

I attended the Improv Conservatory at Bang Studio back in 2003 for over a year. Improv taught me more than any formal classes in school. I learned about myself personally and professionally. One of the best lessons is how to heighten a scene. I think society teaches us to resist and for our first instincts to be negative to new ideas, in general. Improv says you must accept every idea in order to take the scene to a new level. Otherwise, the scene or idea simply dies. By accepting the ideas put forth, you will push the envelop of what we think CG animation can be!

Nelson has some great points in this talk. He says..."Depth, Breadth, Communication and Collaboration" create a solid CG Artist. I couldn't agree more.

DEPTH:
I have run into many an animator who can rattle off every bit of his understanding of animation easily, but do they have understanding of anything else that brings a deeper take on what he is animating???

BREADTH:
Without a breadth of experience on both artistic and technical, the same animator will not have creative solutions to the obstacles we all run into in production.

COMMUNICATION:
Communication is one lacking often in CG. Understanding how to communicate your ideas effectively without stomping out anyone else' voice is so very important.

COLLABORATION:
And, finally collaboration is the key to CG because none of the work would be completed without every artists being involved. It's one of the most collaborative industries I have ever experienced.

Check out A New Model for the Workplace

XRay Blogs Across South East Asia

My buddy Xray has been blogging
about his travels through South East Asia.
If you wanted a true hands on look at the
experience and what is going on overseas...here it is!

Check out
XRay Blogs Across Asia

Fostering Innovation

In the beginning weeks of this blog and right after our book came out, we met Henry Caroselli. Henry wrote a great book called Cult of the Mouse. I encourage you to get it. He speaks on the loss of innovation in corporate America passionately. He makes many specific references to Disney regarding the loss of innovation, since he worked there for many years. Henry has a look at "what we as a country must do to reinvigorate idea generation––to reestablish innovation, not quarterly-profit imperatives, as the top priority in American business."

Well thanks to my friend Paolo, I see that Brad Bird also understands that its very important to keep innovation alive within your studio in order to keep creativity fresh...from Found Read.

Pixar’s Brad Bird on Fostering Innovation

This week The McKinsey Quaterly asks: what does stimulating the creativity of animators have in common with developing new product ideas or technology breakthroughs? Apparently, a lot. In Innovation lessons from Pixar, McKinsey writes:

Brad Bird makes his living fostering creativity. Academy Award-winning director (The Incredibles and Ratatouille) talks about the importance, in his work, of pushing teams beyond their comfort zones, encouraging dissent, and building morale. He also explained the value of “black sheep”—restless contributors with unconventional ideas.

Steve Jobs hired him, says Bird, because after three successes (Toy Story, A Bug’s Life, and Toy Story 2) he was worried Pixar might struggle to stay innovative. Jobs told him: “The only thing we’re afraid of is complacency—feeling like we have it all figured out,” Bird quotes his boss as saying “…We want you to come shake things up.” Bird explains to McKinsey how he did it — and why, for “imagination-based companies to succeed in the long run, making money can’t be the focus.”

The piece is behind McKinsey’s pay wall, but we extract its 9 key lessons below.

Lesson One: Herd Your Black Sheep

The Quarterly: How did your first project at Pixar—The Incredibles—shake things up?

Brad Bird: I said, “Give us the black sheep. I want artists who are frustrated. I want the ones who have another way of doing things that nobody’s listening to. Give us all the guys who are probably headed out the door.” A lot of them were malcontents because they saw different ways of doing things, but there was little opportunity to try them, since the established way was working very, very well. We gave the black sheep a chance to prove their theories, and we changed the way a number of things are done here.

Lesson Two: Perfect is the Enemy of Innovation
The Quarterly: What sorts of things did you do differently?

Brad Bird: I had to shake the purist out of them—essentially frighten them into realizing I was ready to use quick and dirty “cheats” to get something on screen… I’d say, “Look, I don’t have to do the water through a computer simulation program… I’m perfectly content to film a splash in a swimming pool and just composite the water in.” I never did film the pool splash [but] talking this way helped everyone understand that we didn’t have to make something that would work from every angle. Not all shots are created equal. Certain shots need to be perfect, others need to be very good, and there are some that only need to be good enough to not break the spell.

Lesson Three: Look for Intensity

The Quarterly: Do angry people—malcontents, in your words—make for better innovation?
Brad Bird: Involved people make for better innovation… Involved people can be quiet, loud, or anything in-between—what they have in common is a restless, probing nature: “I want to get to the problem. There’s something I want to do.” If you had thermal glasses, you could see heat coming off them.

Lesson Four: Innovation Doesn’t happen in a Vacuum
The Quarterly: How do you build and lead a team?
Brad Bird: I got everybody in a room. This was different from what the previous guy had done; he had reviewed the work in private, generated notes, and sent them to the person…. I said, “Look, this is a young team. As individual animators, we all have different strengths and weaknesses, but if we can interconnect all our strengths, we are collectively the greatest animator on earth. So I want you guys to speak up and drop your drawers. We’re going to look at your scenes in front of everybody. Everyone will get humiliated and encouraged together…

to read the other Five steps click here...

A 7 Year Old Aussie Can Do Your Job!

I have no words...

Thomas's Website

Pixar Online Library

This library is pretty interesting. Everything from Contacts and Collisions, Soft Reflections, Cloth, Fluids, Crowd Pipelines, Sims, Articulating Appeal, Depth of Field, Raytracing Techniques, Global Illumination, Wiggle and Jiggle Deformations, Cinematograpgy in CG, Hair Sims, LOD Issues, and on and on...

It's probably been there for years and I just got word, but this gets my trademark "wowsie-wow..." ~Angie

Pixar Online Library

Negligent Blogging amd Excuses...

I have been a bad blogger this month. I apologize reader. Lately, I have found some new interests that are taking up more and more of my time...and so I have less and less time to blog here.

Jonesie Cake is taking off. I had a booth at the Abbott Kinney Street Fair and it was very successful. I am placing my clips in salons and stores. It's growing so quickly, I cannot keep up with the website these days. Seriously, if you have a niece, a sister, a cousin. Get them a Jonesie Clip for Christmas...they will love you for it.
Oh Yeah...This is what happens when the Santa Anna Winds blow in California. It took me a couple hours to clean up this mess...and...

I also started a new gig at Asylum FX on National Treasure 2 and I am very happy to be back (I worked on the first National Treasure there in 2003). It's so nice to work at a studio that actually has a pipeline, has systems in place for doing things AND has effective, experienced people there making the calls. My days there are full with plenty of work to do and no surfing or blogging!

If that wasn't enough? I started a classical oil painting class under Cheryl Kline and I am so stoked to be there painting again. I also have an artist blog that covers my progress in the class, if you are at all interested in that stuff.

So, I hope you accept my apology, because I am about to slam you with a bunch of stuff sent to me that has just been sitting in my inbox waiting to be posted! Oh, goodie. ~Angie

Siggraph 2007 - Monday

Monday is a day for the exhibitors to unpack the trucks and vans, and get their booths put up. However, there are various panels and papers going on, as well. This installment won't have any floor pix really...just a lot of drinking, socializing and debauchery.

BTW, if you work for a software company...they have 8 am meetings every day. Yeah, you go out and have fun with your buds into the wee hours of the night and then have to roll downstairs for a staff meeting.

My roomie from SESI was Leyla who actually conducted these meetings, so I couldn't escape. I was having a slumber party with mom. Well, with Mom who goes out and drinks with you the night before, but can get up and get her act together a lot faster than I could ever try.

Leyla = Moma Bird

On Monday, I had a panel to participate in talking about
Emerging Production Demands
but that wasn't until 1 pm.
So, I went back to the room and took a nap...of course.

Houdini Expert Panel: Judith Crow, Mike Kalshalk,
Craig Zerouni, Jason Iversen and myself...
I look bored and Jason is sleeping
oh look, Craig's talking :)

Wow they either look bored or serious,
Craig must be the one talking for this picture.

I was actually a bit nervous for this panel. I don't usually get nervous, but this is a room full of hardcore fx peeps who do lots of math and write scripts and I am just a lil character animator who tried to get some new tools built in H9. But, as we went, I found my way through it.

As soon as SESI has uploaded the recording of the panel...
I will post an .mpg here for yall.

After the panel, I caught up with my co-author Jamie Oliff. Jamie is currently working for Reel FX developing original story content for their new feature films. This is his dream come true, finally he is creating original content and having too much fun doing it!

Jamie with his signature drink in front of
his face for every pic I take...

Reel FX recently acquired Radium and they have location in Dallas, San Franciso and Santa Monica. Reel FX/ Radium rented a boat in the harbor to meet and greet prospective client and employees. Jamie and I joined them for some martinis in the sun.

The Reel FX/ Radium Boat

I took this pic with my new iphone and it feels like the cam has a fish eye lens... funny, because that is how I felt on the boat at first. I have never been on a boat in the water. When I told Jamie this he looked at me like I was nuts..."So, you have only been on a boat on land?"

Please let me explain...

I used to live across the street from sea urchin divers when I lived in San Diego and would hang out on the boat while they worked on it and just talk. So, yes, I have only sat on a boat on land in their driveway.

This pic made me laugh so hard I had to post it.

Tim from Reel FX joined Jamie and I for a while.

All of the boat's down there had really fun names...

So after a couple martinis with the Reel FX/Ra peeps, we decided to see what was up at the hotel Tiki Bar. My girlfriend Lori Frietag - Freelance Compositor Extraordinaire joined us. BTW, if my eyes get squint-ier, it usually means either Jamie is making me laugh really hard or the drinks are strong.

Jamie explains his dissatisfaction with the alcohol to mixer ratio in his drink...keep in mind if he were back there mixing we would all be asleep, falling down or sick right now. Last time I drank Jamie's Mai Tais, I fell on a cactus...true story.

The bartender put the run bottle dangerously close to Jamie and he grabbed it and fixed his Mai tai...of course, then, the bartender decided to join us.

Phillip is pondering what to drink and Darin just looks confused...or maybe he has a upset tummy.

So, I had to leave Lori and Jamie to go have dinner with the SESI folks, until the Maya/Autodesk party that night. SESI was having their company dinner at Bella Luna and I had to get moving.

SESI Dinner table...

Peter and Ron, two of SESI's instructors. Ron never smiles, but I am gonna try and get at least one pic of him tonight where he doesn't look like he is gonna mess you up. Ron was my favorite teacher at SESI. He even got me to build a spoon in Houdini. Yes, I modeled something - Holy Cow. My old modeling buddies from Oddworld - Marvin Kim and Jane Mullaney - I know are laughing now...right?

Janet and Erick decide what to eat...

Paul (CTO) and Graham (Calin's slave, Jr. Character TD)

Jeff Wagner always knows what I like to eat and how to order for me. You see, I always have ordering envy...I never order the right thing. Anyways...David Robert, in the middle...you might remember from my posting about his SEED project and finally, Mark Tucker who made a great impression on me my first day trying to learn the software...he was very kind and understanding. Thanks Mark.

Told ya I would get at least one snap where he didn't look like he was gonna kill you.

So, it was time for me to leave and get ready for the Maya/Autodesk party. I had a special party dress to change into, so I caught up with Jamie and Lori back at the hotel changed and we caught a cab to the Aircraft Carrier.

We were still early enough for the free bar and there wasn't really a line. We walked up a bunch of stairs to the very top where all the planes were. Drinks were scarce. There had to be 3 thousand people up there and only two bars. It was pretty ridiculous. A friend of mine had figured out the method of coming at the bar from the side to get drinks and did so for us. I understand a venue of this size is hard to manage but two bars with only a couple bartenders each?

We did walk around and look at the planes because as you might remember Jamie is building one in his garage.

Not quite the same as these planes huh?

I was kind of worried about the guy inside this plane and wondered if we should try and get him a cocktail?

I have no idea what this is - but it's kewl...

And that's is a missle I think... :)

Jamie explains something about the plane and now I feel like I am at the museum with my Dad.

Lori poses...

So, we got tired of planes and wanted to try and go downstairs where the dancing was. There were two choices. You could take the very narrow stairs where it seemed like 2 thousand people were waiting in line to go some where you could actually have some fun...or you could take the elevator where only about a thousand people were waiting in line to get downstairs. You think I am exaggerating, but seriously...there was no control over how many people were trying to navigate this venue.

We had maybe 30 people in the elevator. Lori and I were the only females, of course, and I started to panic that the elevator would break or stop on our way down with us crammed in there like sardines. Turns out, we got out fine...on the second floor to meet up with some crazy old man with a flash light telling us to "move along!!"

We tried to get past him, but he was like the caretaker on Scooby Doo and we were the meddling kids on his boat. He sent the entire elevator packing. Who knows how many other folks spent about 10 mins on the roof only to be ushered away afterwards? If the elevator was your path to leave the party for good, there should have been a sign and someone standing there to tell you so...like they do at the standard hotel downtown. Sad, Sad, pathetic party. I will be doing a "Best and Worst of Siggraph" posting soon, but I can tell you this was the Worst party.

We caught a cab and hit downtown San Diego for some real fun...at a Tequila Bar.

See the smiles - that's tequila!

So, that was Monday. More to come on Tuesdays fun on the floor and the Houdini party!