Staying on top of the latest software developments and additions to our VFX tools can be a tall order. It’s one of the primary missions of VFX/PDX – to make sure Portland isn’t left out or behind when it comes to the latest and greatest, and that our high end workload continues to be demolished with high end tools. VFX/PDX is your man out on I-5, flagging down would-be software company passerbys as they roll up from San Fran on to Vancouver. Hey – VFX ovahh heaaaahh!
Recently some software co’s are experimenting with taking demos online. Where these types of presentations used to be only relevant to the “decision makers,” it’s becoming more relevant to the good folks like us working in the trenches as well. The game changes fast. Why not check one out? Some artists swear by the ol’ “life drawing” lunch hour to exercise a different side of their brain, why not take a look at a different compositing package or modeling program?
Nothing beats an in-person demo with a demo artist who knows what they’re doing and can answer questions tailored to our specific problems. It’s not as good as in person, but online still allows for questions and some amount of interactivity.
At the moment – The Foundry is offering occasional presentations on their latest tools and how they connect with each other, which is especially cool given the acquisition of modo. They most recently ran a round in November and are gearing up for more. Watch The Foundry News page for more info or create an account and sign up for news emails.
In a few short days, Autodesk will be showing off the latest improvements to Flame, which is always something to keep an eye on for it’s superior commercial centric compositing workflow. Check out the presentation details here, and get signed up.
There’s a video going around the ‘net to today where someone has taken an old Alan Watts quote and put some imagery to it, music video style. It’s a little abstract in places… but being a former New Yorker, I can’t say I complain:
Strongly agree. If you love what you do, eventually you’ll be so obsessively good at it that your enthusiasm and skills will keep you in high demand. It’s a symbiotic relationship – you’ll probably have quite a few studios after your services once you get around a little and they see what you’re capable of. The money takes care of itself.
Interesting timing because I was just talking to someone today about the effect a good quote can have on ya when you’re in the mood for a little wisdom. I’ve come across his name before – Alan Watts was full of it (the wisdom, that is) and many of his words directly apply to the fight we fight as artists as we fly the sometimes not-so-friendly skies. Have s’more:
The “I Am VFX/PDX” series launches with Randy Wakerlin, a long time Portlander who’s as talented as they come. And many talents at that – Director, Animator, Compositor, Supervisor, Teacher, and let’s not skip Dad and avid Biker. I’m very excited to be catching up with Randy… and make no mistake, he is hard to catch!
VFX/PDX:Where to start — how about “the beginning?” Some of us get bitten early, you know, maybe in high school there was some equipment to play with – or maybe before that? Maybe a certain toy under the Xmas tree? The Etch-a-sketch Animator? The Fisher Price Pixelvision? The Little Orphan Annie Jr stop motion kit? Ha ha – you’ll animate your eye out, kid!
For me it was a tablet and an Atari 800XL (64k RAM!) cartridge called “Atari Artist” that got it going. I think I was 9. How did you get bitten by the film & video bug? And more specifically, the experimental video/animation bug?
Portrait of the artist as a young filmmaker/astronaut
Randy: Back in middle school I played around with my dad’s video camera shooting silly skits with friends. He also had a Super-8 camera that I coveted because it had an intervalometer and it could shoot single frame. When I was about 12 I started playing around with object and clay animation with an obsessive fervor that has yet to mellow.
I can remember the first time a piece of experimental animation really grabbed me. It was my first year at Hampshire College and we watched “Allegretto” by Oskar Fischinger (click to view). It was a beautiful film with colorful geometric shapes moving to fast paced jazz music. That film was a huge inspiration to me. His films reminded me of daydreams I had as a child while listening to music, I used to see colors and patterns choreographed to the music when I closed my eyes. The connection between music and experimental film has a long and rich history, and Fischinger turned me on to all forms of experimental film after that.
VFX/PDX: Ok, and knowing you’re a serious academic, I have to get this one out of the way. Talking all time here – who is your favorite visual artist?
Norman McLaren is my all time favorite. His films are a perfect balance of technical and poetic. I love how “Begone Dull Care” links jazz music and his direct animation techniques, simultaneously loose and precise, so amazing.
VFX/PDX:Wow, now I see where Kyle Cooper was inspired to scratch the titles directly into the film “Se7en!” With these types of interests, the Portland animation scene seems like such a perfect match. When did you arrive here, and what attracted you to Portland?
In 2002 I was on summer break from CalArts. I knew that I wanted to get out of LA for the summer and had an old college friend living up in Portland with a little room to rent for $200/month but you had to walk through a bathroom to get to it. Animation was in a lull in Portland and I didn’t think I could find a short term animation job anyway so I ended up waiting tables at Nicholas’ Restaurant serving Lebanese food to make some money. I met this cute girl at a dive bar called The Gypsy on NW 21st and we fell in love. For my 2 remaining years at CalArts I found myself working through the summers up in Portland and visiting whenever I could, mostly because of the girl (who I eventually married) but partially because Portland was the first city that really resonated with me. The art, culture, cycling, public transportation, proximity to nature, and overall vibe was really attractive, and I knew that stop-motion animation was happening up here, I just had to find it. (continued on next page)
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