Job Posting - Maya 3D Animators

We are looking for experienced Maya 3D animators to join our team in house.

Candidates must be legally able to work in Canada. 

 

Responsibilities include:

—Create both realistic and cartoony creature, character and non-character animation

—Work from storyboard/animatic to create high level, key-framed animation

—Ensure animation adheres to the style and vision of the studio

—Know and follow all pipeline procedures

—Deliver quality work in a timely manner while meeting the quota assigned

 

Qualifications:

—Experience working as a 3D animator in Game, Television or Film industries

—Proficiency animating in Maya

—Ability to work within a fast-paced team environment

—Positive attitude, hard worker, flexible schedule

—Strong attention to detail and follow through

—Solid understanding of traditional animation principles

 

Experience & Additional Responsibilities include:

—Minimum 2 years of industry experience

Ability to work collaboratively, taking direction and feedback from the Directors/Leads effectively

—Animate dynamic, believable and appealing characters/non-character assets

—Ability to animate multiple types of character/non-character assets from simple to complex with minimum supervision

—Attention to detail when finalizing, approving or quality controlling work

—Manage time and resources to meet weekly targets

—Ability to interpret storyboards & layout

—Experience in Vray is a plus

—Experience in Shotgun is a plus

—A working knowledge of motion capture and/or rigging is a plus.

 

If you’re interested in becoming a member of the Sequence team, please send us an email with your availability, reel, resume including references and proposed rate to jobs@thesequencegroup.com—we look forward to hearing from you!

Nowhere Line: Voices from Manus Island

From November 2014 to February 2015, Sequence Australia's creative director Luke Bicevskis collaborated with his good friend director Lukas Shrank on a passion project of Lukas‘ – an animated short about the offshore detainment of refugees on Manus Island (perpetrated by the Australian government).

The animation is narrated by two asylum-seeking men detained in Australia’s Manus Island Offshore Processing Centre. Their stories recount the dangerous journeys that brought them to the island and their memories of the riot that erupted in 2014.

“I had worked with Lukas before on several projects so we knew a combination of his direction and storytelling would work well with my art. I ended up contributing all character art and select environment art for the short's 15-minute runtime.”

“It was fulfilling to work on a project that had such potential to raise awareness around this horrible situation. Unfortunately, a year and a half later, both these mens’ conditions remain unchanged.”

View the short below:

Job Posting—3D Generalist/Lead

We are looking for an experienced 3D Generalist/Lead to join the Sequence team in a permanent position at our Vancouver studio. This is a great opportunity for someone who is looking to move into a leadership role. The Sequence Group is a collaborative creative studio that offers a unique, tight knit and informal environment where you will have the opportunity to work on a variety of high-profile projects that span many industries and mediums. We are looking for people who have a collaborative mindset and enjoy being involved in the big picture with excellent problem solving skills.

Qualified candidates will have 3+ years of industry experience in asset modelling, texturing, shading, lighting, UV layout, rendering, look development and compositing. Interested candidates must have sound working knowledge of Maya, Vray, Zbrush and Mari and be adept at navigating project pipelines. Finally, we would consider a working knowledge of 3DS Max, Nuke, Unreal Engine, C4D or Fusion a plus.

If you’re interested in becoming a member of the Sequence team, please send us an email with your availability, reel, resume including references and proposed rate to jobs@thesequencegroup.com—we look forward to hearing from you!

After Effects Scripts for Fun and Profit

Hello, my name is Mark and I am a designer and animator at Sequence. Here are some After Effects scripts I figuratively could not live without.

Additionally, I have decided to represent each script with a dog photo.

pt_AutoExpress

pt_AutoExpress is great for quick expression-based wiggles, smooths and loops. It writes the code for you! Cause you ain’t no computer, the computer’s the computer! You’re the “artist”!

rd_CompSetter

Changing a comp’s size, aspect ratio, duration, frame rate—whatever—is a bummer when you’ve gotta change everything nested within. So don’t do that (manually [dumb]), use rd_CompSetter (automatic [smart]).

CopyMask2Layer

“When you copy a mask from one layer to another it often changes its position. With CopyMask2Layer you can copy masks while keeping them perfectly in place.” I have no idea why AE does this, but thank goodness for CopyMask2Layer.

Ease and Wizz

Expression-based easing with a click. Really snappy, really fast. Make it ease. Make it whiz. Make it yours! Link here

LinesCreator

“Have you ever wondered how to connect objects with lines in After Effects?” I sure have! Link here

MatchRate

MatchRate is an After Effects script for extending a layer property’s animation at the same rate.” Super handy for stretching out animations (use in tandem with rd_CompSetter for maximum fun!)

RepositionAnchorPoint

Reposition your anchor points while keeping everything pixel perfect. None of that “Pan behind/get it roughly where you want” crap. Link here

pt_ShiftLayers

“Shifts or staggers selected layers.” Not sure what else to say about this one. It’s really handy. I couldn't find a doggy pic for this one—if anyone has one, let me know—link here

True Comp Duplicator

True Comp Duplicator duplicates a whole dang comp—all the files, nested comps—everything! Duplicate the world!

And that's it! Enjoy!

About That FUI

We do a fair bit of screen design work at Sequence—fantasy user interfaces (FUI), holograms, that jazz—so we decided to make a screen design reel! With that stuff in it! Here it is!

And just in case you aren’t convinced that we do indeed do FUI—which would be odd—here’s a bunch of stills to seal the deal.

Much Ado About Style Frames

The pitch process doesn’t just go from idea to storyboard to shoot to cheque (even though that would be amazing). At various points in a job “style frames” need to be created—stills that communicate what a particular segment, idea etc. would look like at a finished level.

For Strange Empire, Sequence generated a metric ton of style frames (not hyperbole). And that’s a lot of work never to see the light of day, which makes us sad. Ergo, please enjoy the following gallery of unused style frames for Strange Empire! There’s 48 of ‘em so get comfortable.

Straight Outta Comp-ton

Sequence recently worked with 343 Industries to create Halo: The Fall of Reach, a 65-minute animation that tells the origin story of John 117 (aka Master Chief). We've worked with 343 before—Halo 2: Anniversary, Halo 4, Halo: CEA—but never on something this big. We needed to be quicker, more efficient—thus more creative.

In the early stages of development, the plan was to have artists paint in lighting unique to each shot to ensure a look that was both artistic and accurate. It quickly became apparent that this technique was too limiting and—more importantly—took too much time.

The comp team ended up doing the majority of the show's lighting utilizing normal passes—a technique we've used in previous Halo projects, but never to this extent.

Working with diffuse, ambient occlusion, depth and normal passes from Maya, compositors set the tone of each shot using light, shade and depth.

Beginning with a slap comp consisting of diffuse layers, compositors used the After Effects Normality plugin along with the normals pass to create a number of different lighting layers depending upon the shot. These passes were then layered on top of the diffuse pass, mimicking the lighting conditions of the background environment. Once lighting was established, the characters and background were colour corrected based upon the concept art to maintain consistency across multiple shots. Final touches such as depth of field, motion blur and any camera effects were then added before rendering and sending to the editor to cut into the show.

Diffuse pass

Normality lighting pass

Normals lighting

Colour correction

Final comp!