We are still looking for applicants to fill this role. Candidates need to have at least three years experience using 3D Studio Max and be confident in Photoshop, with knowledge of Vray and of compositing programs such as Fusion/Nuke.
Motion Graphics Artist
Applicants need to have at least three years experience using Photoshop, Illustrator and After Effects. We are looking for artists with a good eye who can bring their own ideas to the work. An interest in film and architecture is essential, whilst an ability to read architectural plans would be of great benefit.
Digital Matte Painter/Photoshop Artist
We require a Digital Matte Painter responsible for painting/creating photorealistic digital images then applying those images to geometry in a 2D or 3D environment with consistent and seamless results. The Matte Painter must be highly experienced in Photoshop, and of the various proprietary software programs utilised in CG work and principally, Photoshop image manipulation. Working knowledge of compositing packages are a welcome addition.
For all positions please send examples of your work via email to:
Please send the files as one or all of the following:
PDF/Images attached to the email no bigger than 20mb or a link to your website/showreel
Alternatively you can post your portfolio of work to:
Squint/Opera have designed large scale bespoke artwork for the walls of Sonys’ Columbia Pictures, Soho. Each of the 11 rooms have unique names created by Sony, which were used to inspire our designs.
Four films were created for the University of the Arts 2010 graduation ceremonies. Student life, artwork and event photos were animated by Squint/opera and then Vj-ed and projected across 3 large screens in time with a brass band. Held in the Royal festival hall the films were a striking backdrop for such a formal yet creative event.
We are once again showcasing a series of films on the big screen in Federation Square Melbourne for a month starting on August 1st 2010.
This time our films will run for 30 minutes, daily at 5.30pm (when there are openings in fedsquare tv schedule) and 12.30 am at night. On weekends the films run again at 3pm. So come on over to peek at our films.
This winter July, Melbourne’s CINECITY group will once again present a series of workshops exploring the relationship between architecture and cinema. As part of that group, Squint/Opera/Australia will be also be giving a presentation and exhibiting our squint films. (WEEK 2: PRACITCE 03/07/10 1:00- 4:00pm)
We are pleased to announce the launch of the UK’s Virtual Pavilion, an online interactive website that accompanies the opening of the Shanghai Expo. The online experience is designed to enable visitors to explore and discover more about Thomas Heatherwick’s pavilion and Troika’s exhibition walkways through a series of immersive interactive environments. To visit the site click here.
This website accompanies the film that describes the concept behind Thomas Heatherwick’s UK Pavilion To view the film click here.
The ASAI (American Society of Architectural Illustration) have awarded Squint/Opera an Award of Excellence. “The Three Sisters” will be also be exhibited throughout America with the “Architecture in Perspective 25 Show” until the end of 2011.
In collaboration with Buro North and Peter Bennetts we’ve visualised an alternative use for Melbourne’s conceptually flawed Southern Star Big Wheel which is now non operational due to heat damage. We imagine a Wind Driven Solar Sail Powered Wheel that will act as the central docking station for a new fleet of Flying Steam Powered Punk Trams, invented to alleviate traffic congestion in a newly greened Melbourne. This project has been published in Monument Magazine, Expose 8 and Architecture Australia.
As featured on both the RSA’s Arts & Ecology website and The Center for Sustainable Practice in the Arts’ website, Squint Opera’s image ‘An afternoon Plunge’ from the Flooded London series, is part of the new Art Not Oil 2010 desk diary. Art Not Oil, the organisation that encourages people to create artworks which explore the dangers posed to the climate by the oil and gas industries, has brought out this diary to celebrate its seventh year in existence. The diary is available to buy here.
Squint Opera and Doodlearth were invited to the Rotterdam Architecture Film Festival last month. Several of Squint’s films were screened and festival goers got creative with the ongoing Doodlearth installation in the foyer. Serge Seidlitz was interviewed on Vrijdag Gesprek TV show about Doodlearth and Squint’s work and Jules’ interview appears on the festival’s website.
The recently completed Green Lighthouse, the first public CO2 neutral building in Denmark, will be showcased at the forthcoming UN Climate Conference (COP15) being held in Copenhagen in December. Our film, commissioned by Velux, will be played to demonstrate the building’s excellent intelligent and sustainable design.
Released today in the Architects Journal and Building Design were three images that we created for DCM Architects showing the proposed new visitor centre at Stonehenge. Although the controversy over this project has been great, DCM have acknowledged the challenge, and the responsibility, and have endeavoured to design a modest building that blends with its surroundings, avoiding as much disturbance of the ancient site as possible.
The images show the one-story visitors centre with its ‘forest’ of columns and ‘undulating canopy’, subtly perched away from the stone circle, sitting lightly amongst its surrounding landscape.
A series of stills currently being exhibited at the Medcalf Gallery, London, EC1R 4QE
Gravity has become a commodity. The power to harness,
control, compartmentalise and subsequently charge the
public for their use of a force previously taken for granted
is in the hands of British Gravity.
The effect is the extreme polarisation of society. The gap
between the rich and the poor has grown greater than
ever. British Gravity is immensely powerful and able to
influence government policy. Citizens unable to pay their
gravity bills are cut off and resort to desperate measures.
The longer they are subjected to zero gravity, the weaker
they become. Their muscles atrophy and their bones
wither. Gravity has become an effective tool for social engineering.
In a series of five stills, Squint/Opera explores a parallel
world of extremes. Cutting through social classes, the images
are snapshots into a world in which even the natural
forces have become traidable commodities.
