It’s not often that I see something that just makes me pause and wonder in amazement, but a few days ago, I came across a short video that did just that.
Calling all escapee's and graduates... An opportunity to be part of this amazing apprentice program in California!
On Tuesday we, our Recruitment Manager, Garreth Gaydon, and I were let out of the office for the day to go and visit Aardman! I have to say, it was awesome! Based in Bristol, it's a bit of a trek but well worth the effort. They are such a brilliant studio and it's every bit as cool as you'd imagine.
Another week, another headline about English universities charging students over the odds: “University fees: Half opting for top fees”.
I'm really pleased to bring you some news of an update to our current Compositing classroom courses. As most of you will know, what sets us apart from other training institutions is the fact that our courses are entirely industry focused. To ensure we continue to deliver on our promise, our development team regularly meet with industry professionals to refine our courses and align them with the very latest industry requirements. The changes we are making to our Compositing curriculum today will be applied to our 12-week Compositing for Production course as well as our 18-week Compositing Professional course.
Are you looking for a job in the CG Industry? Here at Escape Studios Recruitment, we’ve never been busier. It’s a great time for the UK Post-Production industry and we have been inundated with requests for professional artists.
The latest version of PFTrack has just been released, and it looks like The Pixel Farm dev team have been quite busy, packing in a lot of new features, Python scripting and even a new architecture in this latest release. The full list of features have yet to be released but here are just some of the things you can expect in PFTrack 2011...
Garreth Gaydon, Lee Danskin and escapee Ben Cantor are going to be joining a live Q&A session on 'How to Break into the Visual Effects Industry' hosted by the Guardian online.
This month, I am tackling some pretty technical issues that affect CG artists on a daily basis. I am going to walk you though the often over-looked issue of Gimbal, using a whole bunch of examples to explain what it is, what causes it and the issues it can have over our animations.