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Careful what you wish for. I live in NYC, a trained actor by trade, and I know all sorts of people in the entertainment industry behind and in front of the camera, it would take me no time to find successful FX people to give statements to the opposite of stringtheories friend. I know agents, directors, you name it I see them every day. The quote, at least for me and my dealings, are fair statements but not conclusive as you might have hoped they'd be for myself or other readers who share my opinion. Maya or some other level professional CG software is an assumed knowledge applicants are expected to have.
But since you seem to consider me to be clueless about an industry you are yourself an expert in (professional credits, academic credentials, demo reel maybe), I will leave you to that. The real experts in the field don't typically frequent these forums so lets be honest and admit we are all non experts here and get on with having a fair discussion. There are only opinions in this thread, facts are for each of us to discern on our own.
If I was going to offer advice to my own teenage child whom I knew was interested in landing a job at Universal Studios I'd say learn Carrara for now to see how you like 3d at in general, but before you start applying for the big studios make sure you are at least versed in these industry standard applications like Maya. This is the advice I'd offer a loved one. It's probably the wrong advice. Oh well.
I've gotta run, but before I go I wanted to show you what three minutes of searches on the subject revealed to me.
Use Google, and type these words
"how to get a job in cgi animation."
The very first link on the page points to this chart.
http://education-portal.com/articles/Become_a_CGI_Artist_Job_Description_Duties_and_Requirements.html
Maya is very much listed.
___________________________________________________
Here is a quote from Future Works
http://www.futureworks.co.uk/cgi.html
"Career-focused CGI courses
Taught by experienced industry professionals, and working in our dedicated CGI labs, you'll learn the essential skills required turn your imaginative vision into content and prepare for a career in Film, Television, Games or elsewhere.
With a strong emphasis on teamwork and project-driven learning, our graduates become proficient with leading VFX, animation and modelling software such as 3DS Max, Maya, Nuke and Motion, as well as learning to utilise other tools such as Adobe's Photoshop and After Effects packages."
___________________________________________________
If you take issue, take it up with these "experts." The argument isnt as simple as who's right or wrong.
Wow, Rashad, you're a New Yorker??? Let's say I spent a lot of time there... :) :)
I love it. Especially the people. Talk about no nonsense, and down to earth. And hilarious.
Though right now you're digging out I suppose. :)
I often miss having a big bread pretzel from the guys on the street...but only if they have enough dirt and grime on them. It helps the taste. Or maybe a Sbarro's... :) :)
Sbarros! YUMMMMMMMM!!!!!!!!!!!!!!!!!!!!!
Hey, could you do me a favor Rashad? I'm pretty much on the other side of the world from you right now, and they have no clue what a decent pizza is...
Could you stop at Sbarros and get me a sausage and mushroom pizza and FedEx it to me? It'll probably only cost a few hundred $$... :) :) :)
Thanks....
I mean...I posted multiple job postings from major studios all requiring a Maya knowledge base.
Some dude's random friend says what he thinks...and somehow the OPPOSING side is validated? lol
If you're someone looking to work for the big studios, go look at the job postings I linked, follow accordingly. Do the opposite of what the job posting requires at your own peril. :)
I've found this thread very interesting, but I also noticed some glaring omissions, or maybe more appropriately I should say generalizations of the "industry". First and foremost, the skill set needed for getting a job with DreamWorks, Pixar, etc. is much different than what is needed for a "mid sized" GFX studio, which is also much different than what is needed for a small GFX studio. A small to mid sized studio will place a lot more emphasis on the specific software than the large studios. But regardless of studio size, if you don't have the needed artistic talent/skills, you could know Maya, C4D, 3DS, etc. inside out, but if you don't have the artistic talent/skills to perform your job adequately and independently, your chances of working successfully in the industry are pretty slim (none).
I've seen more than one reference to Pixar's Marionette animation software in this thread, being based on Maya, as a reason to need Maya training to work at Pixar. First, the following discussion will be limited to an animators position. Because knowledge of Maya really isn't a very important skill for a texture artist, or a shader artist, or a lighting expert (though Katana could be helpful for lighters). Now that we have defined the discussion to be for a animator position at Pixar, we can look at how important skills specific to Maya might be. Prior to Brave, Pixar used their own in-house software called Marionette, which was built off of Maya's code base, and no doubt designed to optimize Pixar's animation workflow. I'm quite certain no one on this forum has ever seen Marionette in action, but true to most such customizations of Maya, I doubt it looked anything like Maya at all. In fact, that is why Maya was used (and still is to a certain degree) by many of the large studios - they could "easily" use the facilities available in Maya to create their own software by leveraging the capabilities built into Maya's code base while integrating their own proprietary code to make the "perfect" animation tool. Seldom do these "in house" versions of Maya look anything like Maya, which means that the first thing the animator needs to do when starting to work is to learn a new software and workflow (this is the voice of experience speaking here, though I haven't done this for GFX or Maya, I have built customized interfaces that looked and acted nothing like the base software's UI).
But the need for Maya specific skills for animators at Pixar is now even less important. Brave was the first movie that was animated in Pixar's new animation software called Presto (http://www.cartoonbrew.com/tech/watch-a-rare-demo-of-pixars-animation-system-presto-98099.html), which was written in-house, and does not use Maya for any of it's code base. So, other than proof that an animator has had exposure to and/or experience with the concepts and advanced tools sets provided by Maya for animation, and demonstrated ability to effectively learn/use 3D animation software, knowledge of Maya is definitely secondary to an in depth understanding/knowledge of the principles of animation, non-verbal story telling, and being able to interpret the emotions from script to animation.
Many of the other large studios also have their own in-house animation software. If your aspiring to work as an animator for a large studio, then software specific skills are much less important than your ability to effectively interpret script, understand the wishes of the director, and insert the needed emotions/body language into animation without someone holding your hand through the whole process.
As the size of the studio decreases, the degree of specialization in software and/or position also decreases. For someone working for a small studio, knowledge of a specific "off the self" software used by the studio becomes more important, and typically haven't factored in the cost/time to train/re-train new employees into their bottom line. But even with the small studios, if you know the software they use inside out, but can't convert written script, story boards, and ideas into convincing animation, you won't be employed for long.
Is it possible that someone (animator?) could produce a demo real with Carrara that could get them employment with one of the big studios? IMVHO, without a doubt. Is it probable that someone will make their demo real that will blow everyones socks off with Carrara ... I don't think so. It would be much more difficult, and labor intensive using Carrara than it would be using Maya, C4D, Blender, etc. An outstanding demo reel speaks for itself, and if it is truly outstanding, it will get you an interview. If you can demonstrate that you have the knowledge, understanding, skills, and creative/artistic talent during the interview (as well as the proper attitude and ability to work as a part of a team and be able to accept constructive criticism), then you might be lucky enough to get the job.
Sure, knowing the "proper" software can help, as will having the proper training from the proper institution. But if you don't have the "artistic" talent combined with the proper skill set to create beautifully convincing animations, no amount of software knowledge will make up for that deficit (at least for a job as an animator). Few people break into the GFX industry, and even fewer make it to one of the big studios. If that is really your goal, then even with natural talent, formal training is still very important to help move you to the top of the list. People can make it without formal training, but it isn't easy, and will still take many years of perfecting the craft to get there.
Am I in the "industry"? No, however I have spent that past 30 years in a computer technology industry, most of that as the person "in charge", and hiring needed "talent". From many years of experience, I can honestly say that I would hire someone with the the proper technical understanding and critical thinking skills to apply the use of the software appropriately before hiring a first class software jockey (software jockey - someone who knows a given software package inside out, but doesn't understand what it is he/she is really doing when they "push those buttons"). If you don't understand the underlying principles and concepts well enough to interpret a set of general needs/instructions into a final product, you will never move beyond the level of a basic technician (i.e. capable of data entry and completing very simple/focused tasks) I also have a very close family member who works for one of those really big name studios that have been mentioned in this thread. This person would definitely not have made it into the industry without superior skills beyond the use Maya, and though this person did have experience with Maya, that was of little value because the job does not involve the use of Maya (or C4D, or 3Ds, or Houdini, or Blender,or any other commercially available 3D animation software).
As for Carrara - does any of this matter to me personally or make Carrara any less valuable/usable for me? No, I'm not looking for a job as an animator at Pixar, DreamWorks, Disney, etc., I just want to enjoy myself and make images that I would not be able to without a great product like Carrara. I'm NOT and artist, I have very little artistic talent/creativity. Carrara is a tool that helps me to enjoy myself and make "pretty" pictures (yep, I'm an big time e-dolly user, because I couldn't model a human like figure if my life depended on it). As long as Carrar provides the tools I need to do what I want to do, I'll be a happy camper. IMVHO, Carrara is just as capable of making outstanding 3D digital images as Maya or any other software.
Here are copies of some of the qualifications part of the job listings for Pixar.
http://www.pixar.com/careers
Maybe we should be more cautious in our use of words like "every", "all", and "none."
In some cases, Maya is not mentioned at all. In others, Maya is one of several programs listed with an "or". In still others, knowledge of Maya is one of several preferred programs. In some cases, the emphasis is put on a demo reel, drawing, and knowledge of storytelling, with no mention of Maya at all. Maya is listed along with ZBrush and others as being strongly preferred for modeling positions.
Words like "some", "most", and "usually" might be more appropriate all around. Here are some excerpted qualification sections.
-------------------------------
Required Qualifications
⦁ Ph.D. or equivalent work experience.
⦁ Practical experience with photorealistic rendering (REYES, ray tracing, BXDFs, geometry processing).
⦁ Familiarity with the latest developments in the industry.
⦁ Proven experience constructing and shipping commercial software.
⦁ Fluency in C++.
⦁ A solid foundation in software engineering, including object-oriented programming.
⦁ Proven experience developing innovative and cutting-edge software solutions.
⦁ Ability to work well independently within a fast-paced, dynamic, deadline-driven environment.
⦁ A team-oriented, customer-focused, quality-obsessed mindset.
Desirable Qualifications
⦁ Relevant academic research experience.
⦁ Familiarity with programmable shading and writing shaders in the RenderMan shading language, HLSL/Cg, or the OpenGL shading language.
⦁ Experience in film or video game production.
⦁ Practical knowledge of multi-threaded software development.
⦁ Experience with Python, Perl, and other programming languages.
⦁ Familiarity with programming tools such as Valgrind, Visual Studio, Vtune, Subversion, etc.
Follow us on Twitter @PixarRecruiting
--------------------------
Degree or certificate in art, graphic design or related field or equivalent graphic design experience Practical knowledge of cinematic language, acting and staging Strong storytelling abilities that feature character, emotion and movement Strong understanding of the principles of animation; emotion, acting, movement is required Ability to analyze scenes in written form and translate into visual product Ability to express story and character through drawings Ability to invent action and express it through drawing Ability to present work in a clear and entertaining way Ability to work collaboratively Ability to work under pressure, in a fast paced, deadline driven environment Must be open to direction and able to embrace change Experience with Photoshop and Wacom Cintiq drawing tablet helpful
-------------------------------------------------------------------
Qualifications:
• Reel containing examples of work done in a 3D computer graphics environment and which includes entire sequences where you were responsible for all of the layout work.
• Work should demonstrate a strong emphasis on visual storytelling including staging, composition, and editing.
• Animated or live-action personal projects and/or short films are encouraged, if available.
• Bachelor’s Degree in Film, Animation, or Fine Arts recommended, though not required.
Pixar is an Equal Opportunity Employer
Follow us on Twitter @PixarRecruiting
-------------------------------------------------------------------
Requirements:
⦁ Education in computer science, mathematics, engineering, Media Production, or a related field. Strong familiarity with computer graphics concepts is important
⦁ Skills in the following areas are generally required: Unix or Linux OS, Scripting or Programming in C, C++, Python, or a similar language, CGI tools such as Maya, RenderMan, or Houdini
⦁ Systems administration experience is a bonus
Pixar is an Equal Opportunity Employer
Follow us on Twitter @PixarRecruiting
---------------------------------------------------------------------------------------------------
Background, Knowledge, Skills and Abilities Required at Minimum:
⦁ A strong understanding of composition, form, physical motion, weight, balance and texture is required.
⦁ Experience in efficiently modeling organic and architectural forms.
⦁ Ability to create primary, secondary and tertiary assets, with appropriately modeled complexity for each.
⦁ Experience with high-end modeling and animation systems such as Maya, Modo, XSI, Houdini or 3DStudioMax is required.
⦁ Experience in film, video games, architecture or other graphics production experience is strongly preferred.
⦁ Good written and verbal communication skills are required.
⦁ Must be able to work alone or collaboratively, often with multiple tasks and under deadline pressure.
⦁ Must be able to follow art direction but also demonstrate initiative.
For Modeling Positions:
⦁ Modelers will be required to rig set elements, such as simple bends and lattice deformations.
⦁ Skill and experience in Maya, ZBrush, 3D-Coat and Mudbox is a strong plus.
⦁ Knowledge of shading is a plus, especially UVs, topological dependencies and understanding of displacement.
⦁ Knowledge of Houdini is a plus.
For Set Dressing Positions:
⦁ Skill in the construction of various environments, both architectural and organic.
⦁ Ability to refine a shot’s composition by adjusting the set’s elements to camera.
⦁ Strong compositional skills and an awareness of how to support story through set design.
⦁ Ability to follow art direction and independently solve creative problems.
⦁ Ability to collaborate with modeling and shading to create efficient sets.
⦁ Required to support needs of downstream departments: Camera, Animation, and Lighting.
⦁ Required to shepherd the complexity of a set by appropriately culling assets and adjusting level of detail per-shot.
Additional Skills and Abilities:
⦁ Skills in both areas - modeling and set dressing - are a strong plus.
⦁ Skill and experience in one or more other areas of CG production: layout, shading, lighting, FX, and/or rendering is a plus.
⦁ Programming skills in a scripting language (e.g. Python) are a plus.
⦁ Education in Art, Architecture, Computer Science or Photography is preferred.
Follow us on Twitter @PixarRecruiting
Here is an example of modeling in Carrara and using the Daz transfer utility with Genesis/Genesis2 type figures. Phil, I thought your tutorial used a V4 rigging example. I know you update. Could I have an old version? Anyway, for genesis/2
http://www.daz3d.com/forums/discussion/45361/#676987
Sorry to interrupt the discussion on the Future of Maya, but just to let you know that the Transfer Utility can be used on any figure to make conforming clothes. I have not updated the example in the training. The advantage with Genesis and Genesis 2 is that they automatically follow the morphs in the figure, for Gen4 figures and earlier, you would need to manually build morphs for every shape you want to support, which can be a huge amount of work.
My 2p worth on the Maya vs Carrara debate, for what it's worth - if you want to work at a major studio, knowledge of Maya is never going to hurt and may well be a prerequisite. If you only know Carrara, you would need an absolutely outstanding demo reel before you were even looked at. But Carrara isn't aimed at that market, it is for the serious hobbyist and the independent, and in that role it has many of the features that Maya has - and it has built-in support for Poser and DAZ libraries which is huge for most users.
I am not a Maya user, so I may be wrong, but many of the basic functions are the same as Carrara - modelling, texturing, lighting, animation, rendering, particles, hair, replication, etc. Yes they have different interfaces, and I would hope that Maya (for it's high cost) is slicker at doing many common tasks. If there are things that your chosen software doesn't do that well, you can always use other software to cover that - I personally have Marvelous Designer for cloth and Zbrush for organic modelling (and could be all modelling with yesterday's new release. - It's funny that many users on the Zbrush forum are saying that it could enable them to get away from Maya's modeller!). Oh and Octane for rendering out of Carrara.
I am also a keyboard player and I user to think "If only I could get this new great (expensive!) keyboard, I will be able to play better, sound better and write better songs." Guess what - I still sound like me. The same goes in large part for 3D software, provided you have the basic tools - and both Carrara and Maya do, there is no magical "make my models/animation better" button in Maya - then it is the talent / experience / taste / hard work of the user that will come through and make the most difference to the final product.
I thought this was the Christmas tree lights thread. Have you ever had the chance to go to 37th street in Austin, Texas? http://texaslesstraveled.com/37thstreet.htm %-P
If you use the Daz transfer utility for M3, V4, etc., you don't need to first assign bodypart groups in the cloth mesh, which can be tedious. Poser's wardrobe wizard (which you can get as a standalone from a different Phil) can convert an ungrouped mesh to a conforming figure with appropriate groups. Wardrobe wizard can also transfer the morphs, including custom morphs. I have been using wardrobe wizard to convert my old content (for say Victoria 1 millennium woman) to V4, and then the transfer utility can convert it for use with genesis and genesis 2. It is not ideal to use any cloth with a figure it wasn't designed for, but overall I'd say I'm getting pretty good results. This is in stark contrast to the view that the introduction of genesis and genesis 2 was intended to make old content obsolete so people would have to buy more.
I'm confused why the argument keeps going back to "If you don't have the artistic talent, then..." That literally has nothing to do with which software is the best to learn on for a job as a 3D animator at a major studio.
The only question was, "Which software is the best software to learn if you want to work at a major studio?"
Answer: Maya.
Why anyone is arguing with this, even in the face of multiple current animation job postings, many of which included Disney, is beyond me.
Whether or not you need to be a good animator is completely irrelevant and just super, super obvious.
PhilW --
I agree, unless the job posting asks for multiple years of experience and a deep knowledge of Maya. Which most 3D animation job postings do. In which case...the software kinda sorta matters quite a bit.
Like, these companies aren't just saying you need to know a specific software just because. It's not like, "Oh, hey, let's throw that in there." They're saying it because if you *don't* know Maya, you will not be able to perform the tasks they're hiring you to perform. It's that simple.
And since people keep bringing up Pixar...I honestly do not believe that anyone has ever gotten a job at Pixar using a reel they made in DAZ studios or Carrara.
And let's say, just for the sake of argument, that someone got an *interview* to be an animator at Pixar via their reel that they made in DAZ studios.
Part of the interview is invariably going to be, "What softwares are you familiar with?"
"Daz studio."
"And...anything else?"
"Nope. Just DAZ."
In what world is that person getting a job animating at Pixar? The entire thing just seems preposterous.
And what does all this have to do with Carrara? It's my fault it was all brought up in the first place. I mentioned it in an effort to reinstate the truth and fundamental principle that Carrara is for independent artists. It is not nor should it be for artists looking to get a job at a studio. And the reason that matters is because the more Carrara chases the ideals of the studio system, the further the software moves from being what it should be intended to be -- a tool for the independent creator.
It shouldn't try to be Blender or Maya or C4D. It should FAIL MISERABLY when compared. It should continue to be the *opposite* of those things. It should continue to work *more* towards a plug-and-play interface and away from a start-from-scratch complex interface. The closer Carrara moves to Maya and Blender, the further it moves away from a logical tool for the independent animator to have in their tool belt.
Carrara is a hammer. It should stay a hammer, and be the very best hammer it can be.
If DAZ wants to chase Maya and Blender then it should create a new and separate software to do that. That's my opinion.
The main question was, what is the future of Carrara?
Other questions have ranged all over the place.
People hold a different view regarding Maya because people have posted job postings that emphasize other elements (in some cases storytelling) and don't even mention Maya.
I was willing to just accept your assertion that knowledge of Maya was emphasized so much, but now that I have done my own searches (not just the Pixar site), I don't think the industry's hiring practices are what you think they are.
I agree with PhilW. Is Maya a really good thing to master to give yourself your best chance to get a job in the industry? Yeah, sure.
Modellers all.
I have gone back to the link to Pixar that was given in a previous post. After looking at the Pixar video clips on the various positions in their organization..I would pay, and pay deeply NOT to be part of that system. I know everybody cannot be independent..but being a cog in that machine to me is a nightmare. And this oddly may be at the heart of the discussion. If you are an organizational personality and want to join the ranks of a "Big Screen" production company..then you will have to learn Maya and other programs which are the language that is spoken.
In contrast Carrara seems to be ideally suited for the independent spirit of the entrepreneur. It is amazingly flexible and I am finding that the so called e-dolls can be converted to almost any figure you can imagine. As to the future of Carrara, which is the topic of this thread, I think that DAZ should continue on the course they have already set - its a winner. Like Apple in the 1990's they have a niche market that can only grow. While Maya and other 3D programs become more complex and harder to master, Carrara remains probably the easiest 3D program to learn... When this is combined with a smooth integration of 3D figures, as a product their market position is auspicious. For when it comes to human behavior- the easier product has the habit of surviving.
Starboardtack
I thought it was interesting how the thread has turned into GFX major studio ''wannabe''.
Anyways, I was thinking of some of the positive things that DAZ programmers have added to Carrara.
Added for the most part, the tools from Hexagon to Carrara Modeler - the best they could (without work stopping bugs like Hexagon).
Added 3D paint way back in version 7.
Added 64 bit - and I just received a beta version of Zbrush 4.7r that is 64 bit.
Added Go-Z long before many software packages.
Added hair and dynamic hair.
Got on the bandwagon of bullet physics and added it. (Carrara just need some dynamic controllers for it)
Improved FBX and interactivity with DAZ Studio (already did many other formats including MDD (plug-in from Fenric). Some formats like flash and SVG allow work in 2D Vector art programs.
Added a much improved normal maps import
Added puppeteer - great for quick record and exploiting of animation.
Added non-linear work flow with many improvements including ◦Graph Editor.
God Rays - Barn Darn, IES lights, negative lights
Landscapes along with improvements in the plant editor
Great interactivity with DAZ studio and PA products.
Ocean primitive
---
That's the small list too in which I'm sure I forgot many things. Of course, I don't even use all the features of Carrara Pro software. There are some terrific plug-ins for Carrara as well that move it up into world class graphics and motion assisting software levels.
Last post I made had no curse words and wasn't directed to any one specifically (in fact was generic) but got deleted by one of the forum administrators.
Maybe this one will get deleted for looking at the improvements in Carrara.
I'm with this.
The future of Carrara should be not moving towards Maya and C4D but keeping its focus on a plug-and-play model for the independent creator.
That is what I really like about Carrara too. It's easy to use, has a ton of top quality low cost pre-made content to take advantage of, yet has all the tools to create your own content if needed. It has a lot of very useful advanced features (many of which are found in high end software), is relatively easy to learn and use, and it won't break the bank.
Right now it has a great nich, that no other software can fill quite as well. There are plenty of pro level apps out there if that is what you want, but there isn't any thing at the "pro" level that gives the hobbiest or the small (one person?) shop the same combination of features and content that Carrara does.
Hey, could you do me a favor Rashad? I'm pretty much on the other side of the world from you right now, and they have no clue what a decent pizza is...
Could you stop at Sbarros and get me a sausage and mushroom pizza and FedEx it to me? It'll probably only cost a few hundred $$... :) :) :)
Thanks....
Sbarros in NY, must be different than the craptacular franchises you see going out of business in the malls around here...
Yeah, you're right. As pizzas go, ESPECIALLY compared to what you can get in NYC (probably more Italians there than in all of Italy...), Sbarros is below average.
But it's a "you had to be there" things. When you're real hungry and running for a train at Penn Station, and you see the big lights of Sbarro's, it's just a cool place to go. Lots of choices, pizza just sitting there waiting for you, grab a coke and some slices...and it's all part of the ambience of NYC. It's like a landmark or something....hard to explain.
Yeah, you're right. As pizzas go, ESPECIALLY compared to what you can get in NYC (probably more Italians there than in all of Italy...), Sbarros is below average.
But it's a "you had to be there" things. When you're real hungry and running for a train at Penn Station, and you see the big lights of Sbarro's, it's just a cool place to go. Lots of choices, pizza just sitting there waiting for you, grab a coke and some slices...and it's all part of the ambience of NYC. It's like a landmark or something....hard to explain.
Kind of like explaining Cooties to a Brit? ;-)
I would love to see a cage match between a native New Yorker and Chicagoan arguing about which city makes the best Pizza! :ahhh:
Yeah, but they're just different...the deep dish thing in Chicago is good if that's what you want. But when you're running around NYC in a rush and need something quick and yummy, the thin crust that you can fold and eat is what you want.
I dunno, I never really got into the deep dish thing. It sounds good, but it's just too much I guess. At least for me.
Yeah, but they're just different...the deep dish thing in Chicago is good if that's what you want. But when you're running around NYC in a rush and need something quick and yummy, the thin crust that you can fold and eat is what you want.
I dunno, I never really got into the deep dish thing. It sounds good, but it's just too much I guess. At least for me.
One of the better Pizza places around here is in Wausau. They only do slate oven baked, thin crust Pizza. No other option. I don't think you would fold it that well, as their claim-to-fame is that they won't give you extra cheese, but will take some off if you want. I can attest, they're not lying.
Good thick crust pizza is square, and on Italian bread, and it is called Sicilian, not deep dish. :coolhmm:
signed, native Philadelphian (been a long time since I lived in Philly, but have never been impressed with Chicago style)
Sarcone's Bakery
758 S 9th St, Philadelphia, PA 19147
“Some of the best Sicilian Pizza in Philly”
5 of 5 stars Reviewed October 7, 2012
Sarcone's Bakery is one of the best places in Bella Vista (South Philly) for traditional Italian bread and on occupation they sell whole wheat Italian loafs. They also bake some of the best Sicilian Pizza in Philly. The pain cheese pizza is my favorite. I’ll admit that I am addicted to the pizza. There are a numerous pizza shops in the area, I tried most of them and keep going back to Sarcone's Bakery...
Good thick crust pizza is square, and on Italian bread, and it is called Sicilian, not deep dish. :coolhmm:
signed, native Philadelphian (been a long time since I lived in Philly, but have never been impressed with Chicago style)
Sarcone's Bakery
758 S 9th St, Philadelphia, PA 19147
“Some of the best Sicilian Pizza in Philly”
5 of 5 stars Reviewed October 7, 2012
Sarcone's Bakery is one of the best places in Bella Vista (South Philly) for traditional Italian bread and on occupation they sell whole wheat Italian loafs. They also bake some of the best Sicilian Pizza in Philly. The pain cheese pizza is my favorite. I’ll admit that I am addicted to the pizza. There are a numerous pizza shops in the area, I tried most of them and keep going back to Sarcone's Bakery...
Sounds more like an open faced sandwich to me! ;-P
Okay, well to get back to the original topic, whatever that was...
I keep mentioning how incredibly difficult it is to generate 3D human characters. And I don't think people comprehend how difficult that is, and what it takes to even come close, and how much talent an ingenuity is required. This includes constant innovation in special rigging methods, especially for the face. I mentioned before how important the subtleties of tiny facial expressions associated with different emotions and intentions. And all of that has to be considered in rigging the human face, which is INCREDIBLY complex. It is nothing like what's available in the prepackaged content available for Poser or Carrara. It's a completely different universe, and even requires those with facial animation skills to re-think how they will animate. It is stuff that is done by specialists and experts, and is constantly being innovated and improved.
Here is an interesting video regarding some of the most expertly done facial reconstruction and animation to date, in Angelina's Maleficent (Disney).
https://www.youtube.com/watch?x-yt-ts=1422579428&v=ls29dPeOy-A&x-yt-cl=85114404&feature=player_embedded
Most of the success of that is from excellent skills and innovation. This stuff is changing constantly, so a key requirement of those working in the industry is to be able to work with the latest innovations.
The rigging systems being developed now are pretty astonishing. Here's one I heard about last year, but have yet to see it used in a major production, though it may have been:
https://www.youtube.com/watch?v=8qeOFibRmoo
And there are other methods, like the ones used in the latest Hulk (Avengers I think from a few years ago), which is for the most part a simpler, and somewhat outdated and limited facial capture. I'm sure you can find some videos on how ILM improved the facial and character animation for the most recent Hulk, compared to the less than successful Hulks in previous films.
And like I said before, any monkey can learn the software. And as you can see, it's getting more and more true as the rigging and other technologies improve. Anyone can sit down with some of those rigs and animate, but the focus becomes your skill and talent in being able to choose which expressions you need to tell the story or translate the emotions.
Carrara is not limited to prepackaged content.
Joe,
That footage of Disney's is astonishing. A one to one conversion from a real person to a 3D replica via a mocap device. Can I have it in my Carrara Upgrade 9...please. Also could DAZ throw in a set of wings. No kidding, it is truly amazing..Quite impressive. Thanks for bringing it to the forum.
Starboardtack
And unfortunately, to get all the way back to the original question posed in this thread....
The future of Carrara is, well, bleak at best. Why? Because work like this, done by Digital Domain for a feature released only something like 6 months go, is vastly improved over methods available only 2 or 3 years prior. Which means the industry is progressing at an impressive rate, and viewers will come to expect this impressive stuff in the next 3-5 years. So anything less will look, well, goofy.
So even the one-man-band and small studios will have an increasingly difficult time trying to catch up. And since Carrara is already, objectively, 20-25 years behind the times, it won't even catch up in our lifetimes, even if they start right now... :) :)
So if you're using it for your own enjoyment, then fine. But if you're hoping to market your work in any way, keep in mind that clients will be more and more discerning, and expecting stuff like what Digital Domain did in Maleficent.... :) :)
I'd agree, bleak at best. Seems any software that isn't in active development perpetually will be left behind. As more people gain educations in computer programming, more people start adding to the mix.The development cycle for Blender really seems to be the way things are going over the next few years.
Change is fantastic, but it does often come at too swift of a pace. one day a new technology hits the market and everyone suddenly thinks this is the new and best way of doing things when just a year later another new approach comes in making yesterday's new approach obsolete before the average user has even had time to become familiar with it.
8 track to cassette tape to cd to usb drive...pretty soon it'll be crystal stamps and the like. Don't get too attached to anything.