pak dhe budhe WIP02

updating my personal project with my mate hilman
here the wip of tukang sate and indro anak nongkrong(by hilman)

an model some head model:

i found very intreresting job division in 3d annimation

here i post the description:

LOOKING FOR
Shader Writer TD
Imagemovers Digital
San Rafael, California - United States


Project: R&D
Software Utilized: Renderman, MAYA, Python, MELScript
Salary: $0 - $0
Start Date: Immediately
Required Spoken Language(s): English
Required Work Auth.: United States

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JOB DESCRIPTION AND RESPONSIBILITIES:
ImageMovers Digital is a production studio based in Marin County, CA, devoted to the performance-capture films directed and produced by Robert Zemeckis, in collaboration with Disney. We are seeking talented motion capture artists to help us build this unique environment.

Please note that due to the volume of resumes we receive, we cannot personally respond to all inquiries…we will be in touch if your skills fit our needs.

Thanks for your interest and we look forward to hearing from you!

SHADER WRITER TD ~

Job Description:

This position designs & writes RenderMan (and other renderer) shaders and DSOs that provide the surface and illumination properties of characters and objects in a scene.

Responsibilies:

- Responsible for designing and writing Surface, Light and Volume shaders from original algorithmic work or by modifying existing shaders and shader functions.

- Works closely with Surfacing, Lighting and FX departments to ensure all necessary parameters and functionality are included in production shaders and DSOs.

- Ensures that shaders and DSOs comform to the studio's shader standards and conventions.
REQUIREMENTS:
- Prior experience on large, complex feature films required. 5 years+ preferred.

- Proven ability to write production-quality RenderMan shaders.

- Familiarity with Maya, Mental Ray, MEL, Python and large-scale, high-volume pipelines a plus.

- High skill level with advanced lighting techniques such as Global Illumination and Subsurface Scattering.

- Experience with object oriented programming a plus.

- High math skill level to read, understand and implement algorithms presented in Siggraph, IEEE and similar papers.

- Ability to balance quick turnaround with achieving a high degree of aesthetic quality.

- Posses familiarity with asset management systems and procedures.

- Proven team player with excellent communication skills.

- Proven ability to interact and collaborate with visual artists to achieve specific, directable, effects, looks and phenomena.

Pak de' bu dhe'

Nuke 5.1 v6

the ple series..
damn i need to crack it

10 Top Tips To Become a Better Artist

Robert Chang wrote:

My top 10 tips would be:

1) Buckle down and really learn the foundations (composition, perspective, anatomy/figure, color theory, values/lighting...etc).
You cannot really call yourself a competent artist until you have done so. Ideally you should not only learn them, but master them, and when you do, you're not merely competent, but confident and authoritative as well.


2) Break out of tunnel vision.
If you are obsessed with anime/manga, or superhero comics, or any kind of specific style and have not been exposed to or have explored fully other art movements, styles, cultures, and time periods, then you need to become more well-rounded. Tunnel-vision is creatively crippling and it breeds imitation and homogenized artists who can't think outside the established box. Cross pollinating and hybridizing various art styles and influences is the healthiest and most creatively interesting.


3) Don't be a mindless artist.
Think about why you are creating. Is your only interest to make "cool shit" and "hot babes"? Do you even have something to say as a human being living in a complex society? Is everything about your creative works completely disposable and meaningless? I'm not saying we have to be "deep" all the time, but if you are producing works that have absolutely no meaning even to yourself and only serving the basest level of gratification, never involving the higher motivations like intellect or emotions, then maybe it's time to dig a little deeper. You have a soul--use it.


4) Don't slavishly copy reality--we invented the camera for that.
Being an artist is about interpreting the world around us, expressing ideas and emotions, telling visual stories...etc. If your commercial job as an artist is to reproduce reality, then well, a job is a job. But if you have aspirations beyond a day job, then really think about how you want to approach your personal works. As artists we have the power to stylize, exaggerate, simplify, selectively detail, idealize, use abstract and surreal approaches--it would be a shame to not utilized those powers.


5) Surface polish is the last on the list of things a growing artist should care about.
How clean and tight your render the surface, how expressive and organic your brushwork is, whether to use clean lines or sketchy lines...etc--they are all simply options you can pick and choose as you wish, and often different subject matters will use different surface treatments. More than anything, it's the underlying structure and foundation knowledge that needs to be strong--the surface polish is really an ongoing experiment, and it's always changing and evolving. A good artist should be able to utilize all kinds of surface polish approaches effectively, not just locked into one and knowing nothing else. If your underlying foundation is strong, then almost any surface treatment will work with it, but if your underlying foundation is weak, no surface treatment will save it. You know the saying "You can't polish turd..."?


6) Do not simply practice hard--you must also practice smart.
Don't run around in circles thinking merely filling up sketchbooks aimlessly is all it takes. Plan your growth with milestones. Set clear goals. Be resourceful and know how and where to acquire knowledge. Target your weaknesses and don't dwell on things you can already do in your sleep--train on the things you can't yet do and learn to do them well. Push yourself and explore your limits, then break those limits. Learn and grow with a clear focus--know exactly why you are doing what you're doing at any given moment, and know exactly how it will help you learn and grow. Don't just draw and paint mindlessly--think about what you're doing and analyze, observe, deconstruct, and recognize the structures and patterns--be it the scientific physical laws of our world (light, shadows, colors, stress and compression points of fabric...etc), or creative approaches that yield the most effective results (utilizing contrast in color, values, and shapes, varying edge qualities..etc).


7) Have realistic expectations; Rome was not built in a day.
It takes years of working hard and working smart to get good. Filling up a sketchbook or two means nothing in the grand scheme of things. Artists don't just draw a few dozen heads and then get it right--they draw hundreds and thousands over the years, decades, and they don't do it mindlessly--they are studying the underlying structure of the human head and the affected surface by different facial expressions. And that's just the head.


8) Learn to take criticism.
To be an artist and living among other people means you will get comments about your work, and if you cannot take criticism you will be miserable. Instead of being miserable, you should see criticism as valuable arsenal for your growth. When nobody bothers commenting is when you should be worried, because your work is not able to elicit any response from another human being, which means you are neither getting helpful criticism to help you grow, nor getting feedback on what people like about it. When you get both negative and positive comments, be grateful, be gracious, and keep an open mind. A bruised ego is an ego that's being conditioned to be stronger and more open-minded. If you cannot see beyond your bruised ego, you will become crippled by it. Also keep in mind that sometimes you don't get feedback because you are simply still too early in your growth, where everything you do is wrong, so it's very hard to give feedback on specific points other than "keep learning your foundations." When that happens, buckle down and strengthen your foundations for a while and you'll automatically see improvements.


9) Be a well-rounded person.
If you know how to draw and paint well but have no life experience, your work will suffer. Learn about the world we live in. History, politics, religion, economics, science, literature, music, photography, film...etc. You'd be surprised how the world is interconnected and so many things have direct or indirect relationships with each other beyond your initial understanding. The more insight you have about the world we live in, the better artist you will be. Have healthy relationships with other people--family, friends, lovers. They often form the core of your emotional expression as a human being and as an artist. An intellectually and emotionally sterile or vacant person will have very little to offer as an artist.


10) You may or may not be suited to become a good artist.
There are all kinds of personality types, and not all are suited to become a good artist. If you are impatient, cannot sit still, lose focus quickly, easily frustrated, lack motivation, lack ambition, cannot take negative criticism, wants only instant gratification and not willing to pay your dues...etc, then you probably won't fare well as an artist. This goes the same for many other human endeavors--not only the creative ones.

morning hazzy and pulang pergi (PP) Back & Fort

Start up engine., bbbrem... (ups my car blocked by another car)
Back again to room to call the owner of the car..
Start going to office..(ups i left my my mobile in my room)
Back again drive to home and to my room pick it up..

its hazy, lauzy, stupid morning...
hope my TVC preview going well today..

this project is count down for PH indent, im made in 3dsmax adn digital fusion
here are some snapshoot:

and here are the result, i put also on my web site, www.riovertex.com
hope you like it...