The Orphanage is Hiring All Your Friends

The Orphanage is hiring people. And by people, I mean these people:

VFX Supervisor
CG Supervisor
Sr. Producer
Production Manager
Production Coordinator
Production Assistant
Maya/Mental Ray TDs
3DS Max TDs
Look Dev/Shader TDs
Fusion Comp Supe
Fusion Compositors
After Effects Compositors
Matte Painters
Hard Surface Modelers
Character Modelers
Character Riggers
Creature Supervisor

Help Desk Assistant
Render Wrangler (Graveyard shift 11pm-7am)
Receptionist/HR Assistant
Recruiter

If you'd like to apply for one of these positions, please send a link to your online reel to: recruiting[at]theorphanage[dot]com. Please specify which position you're applying for in the subject line.

Alternatively, you're welcome to send your reel & resume to the following address:

Recruiting
The Orphanage
Re: specify position
39 Mesa St., Ste. 201
San Francisco, CA 94129

Be an Orphan!

Footprints is Brighter

Check it out.

US Navy SEALs "Footprints"

Navy, Minis, Toshiba Spots in HD

The new Orphanage Commercial Productions site is up, and my Director portfolio along with it. The Ruby Tuesday Minis spot, Navy SEALs Footprints, and my recent Toshiba HDDVD spot are available in HD! Better looking than YouTube by a long shot, except Footprints which is way too dark, but we're working on that. It's kind of a challenging spot for encoders.

The Minis spot is my Director's cut, which features more Hot Minis Action, so check it out!

US Navy "Footprints"

Well, the quality's not great, but someone posted my Navy SEALS spot on YouTube:

This was shot on one not-so-grueling day on an LA beach. We shot HD (Varicam) so we could roll and roll to get just the right waves. We filled ten 60-minute tapes. Four PAs stood in the surf, wearing US Navy-approved booties and awaiting their cue from my first AD. They'd run in and we'd all pray that the right wave would come through. Although we shot until dusk, the take we wound up selecting was made before lunch! Orphanage VFX Supe Ryan Tudhope supervised the compositing, which consisted of day-for-nighting the shot and simulating the lighting change in 32-bit float using After Effects 7.0. Ryan only barely enhanced the footprints, making one of the simpler post jobs we've ever done.