Esmeralda Ramirez

When you're multi-talented, sometimes it can difficult to clearly define yourself to a market. On one hand, if I limit communication purely to past job roles, it's straightforward - there are two main proficiencies I've developed on-job that are often available (well, used to be) and with 18 years of experience under my belt I'm capable of handling contracts in those areas easily enough. Fine. *However*, for many of us there's also an undeniable instinct to evolve, to try focusing new skills and roles we might not be immediately genius at. We think we can do more, better, or differently. Maybe we've sampled something new on the weekend and were surprised to discover talent there, or maybe we completely bombed...but *enjoyed it* enough to keep pushing forward and learn more. For me, frustratingly, it's been practical to mostly keep repeating those primary marketable skills. Back and forth. It's easy to communicate, there's a well-worn path, and project management seems to need those labels written in stone for convenience of staffing. When you want to -and can- do many different jobs, the truth is not so clean. Surely if I call myself an animator-designer-storyboard artist-game designer-supervisor-supervillain, it must be confusing (and maybe seem a little desperate) to employers. If you were hiring, wouldn't you rather hire a specialist who does one thing well than risk accidentally hiring someone for their weakest skill of the four listed? (especially when a post to fill 1 position nets you 300+ applications, yikes) I am actively juggling this dilemma right now; an old safe role for practicality, or new life aspirational venture which has the potential to cost me quite a lot for an indefinite length of time, or lean hard outside of industry to wander the void of ????. ...or all of the above? Multi-talented animation people, send me your insights before I split into twelve different personas trying to make sense of it. For now...I guess I'm making three wildly different websites. #indieanimation #animation #creative #characterdesign #animationdirector #supervillain

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Double down on what you are great at. Hire for what you aren't. In my career, I have been buried in the incredibly technical minutia of 3D animation. I started my teaching career instructing SoftImage and Maya when it first hit the market. Years later, I was managing the production assets for the Netflix animated series Twelve Forever, personally tracking over 10,000 individual drawings and their endless revision cycles. I figured out how to be good at the mechanical, microscopic aspects of the pipeline, but I fought it every step of the way. The absolute breaking point hit in 2010. I was the VFX Producer on a Sci-Fi film shot entirely in stereoscopic 3D. Two cameras, side-by-side. My core team and I had to figure out how to align 3D footage, execute over 1,000 CGI VFX shots, color grade the film, and author the 3D Blu-Rays. That is when I learned a brutal lesson: You cannot brute-force a project of that scale by yourself. I needed a team, but more importantly, I needed a structure. I had to put the right people in the right seats: The Core: Top-tier technical architects close to the structural center of the pipeline. The Mid-Level: Specialists to handle the heavy lifting of rotoscoping and motion graphics animation. The Output: A dedicated tier just to manage renders and deliverables. I built that system out of pure, desperate necessity. Looking back, I realize that was the exact moment I stopped being just a technician and actually started Directing. I learned how to delegate, how to build a machine, and how to command it. I realized that was my actual strength. I stopped trying to do it all, and I doubled down on directing the talent of others. That pivot is the exact reason I operate as a Creative Director today. Stop trying to be the best at the things you hate doing. Double down on what you are great at, and build a system to handle the rest. Want to master the mechanics of production, design, and directing? Join my Skool community, Notes from the Director, where we break down the exact rules of survival in this industry. (Link in my bio). — Notes from the Director

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Weekly Houdini Tip #3 - Whitewater rendering with Karma XPU For many years, the standard way of rendering whitewater in Houdini has been using the traditional Mantra renderer. Mantra is capable of producing a highly accurate, volumetric "wet" look that closely resembles real whitewater. However, Mantra is now becoming outdated and is being replaced because of its slow performance. As a result, it's important to explore alternative methods for rendering whitewater using Houdini’s modern, fast, and efficient built-in renderer, which is Karma XPU. While Karma XPU cannot interpret the legacy Whitewater shader from the Material Palette (since that shader is built with VEX nodes, which Karma XPU does not support), there are still several viable approaches to achieving a visually acceptable whitewater look using MaterialX-based workflows. 1. Rendering Whitewater points as particles - Adjust the pscale of your whitewater points to keep them small enough for rendering. - Apply a MaterialX Standard Surface shader to the WW points, they will be rendered as small spheres by default - Set Specular Roughness to a low value for a wet, shiny look. - Optionally tweak Transmission, Opacity or add color (you can use the Cd attribute from your points with the "MtlX Geometry Property Value" node) - This is the fastest method - on my machine, a full HD frame rendered in under 1 minute using Karma XPU. 2. Rendering Whitewater as a volume - Convert your whitewater points to a volume using nodes like "Volume Rasterize Particles", "Volume Rasterize Attributes", "VDB from Particles" - Apply a "Karma Uniform Volume" or "Karma Pyro material" and adjust Density and Shadow Density - This method takes longer to render, about 5 minutes per frame in my tests, but gives a softer, more mist-like result. 3. Combining Particle and Volume renders in comp - Volume rendering alone lacks specular highlights, so it can appear flat or dry. - To restore wetness, render the whitewater both as A) Volume for body/mist, and as B) Particles for specular highlights. - In compositing, layer the speculars from the particle pass over the volume pass. This blended result can closely match the look of the classic Mantra whitewater shader. It would be great if future Houdini releases include a ready-made Whitewater material using MaterialX nodes, that will be fully compatible with Karma XPU. If you’re aware of a better method for rendering whitewater with Karma XPU, or if I missed something, let me know in the comments. . . . #houdini #karma #sidefx #whitewater #sidefxhoudini #fx #fxartist #simualtion #flip #fluids #water #materialx #xpu #rnd #vfx #flipsimulation #tutorial #particles #volume #solaris #lops

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California’s proposed post-production tax credit acknowledges that the real value of filmmaking continues in post — and investing there supports jobs, talent, and long-term industry health.

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Artists & Animators: Read Job Listings Carefully Saw a remote 2D animation job today that looked completely standard at first glance. 2D Animation Character work Asset creation $20-$70 an hour. Nothing really unusual. Then came the interesting part. Applicants were asked to: • screen record their workflow • explain creative decisions • document their process in detail Ah. That changes the nature of the job. At that point, the company is no longer only paying for animation output. They are also collecting production intelligence: • workflow strategies • timing instincts • problem-solving methods • creative decision-making patterns The listing was not presented as an AI training role. It was presented as a 2D animation job. That distinction matters. Documentation itself is not inherently bad. Strong production pipelines rely on documentation constantly. But creatives should understand when they are: • producing work and when they are: • helping build AI systems designed to replicate parts of their expertise at scale Those are not automatically the same agreement. At Sundstedt® Animation, every frame is handcrafted, keyframed, and human-authored from concept to delivery. No automated animation systems. No probabilistic outputs presented as finished communication. Because for many forms of communication, precision, accountability, and intentional design still matter. Freelancers should read these listings carefully. The creative industry is changing quietly, not loudly. Have you seen listings like this recently? #Animation #CreativeTechnology Anders Sundstedt® Human-authored animation focused on precision, clarity, and technical storytelling. sundstedt.co.uk

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Think maxing out your Post Process Volume will fix Lumen noise? Think again. Even talented artists fall into this trap: turning every quality setting to the top doesn’t magically clean up artifacts. You can get high-quality results without killing performance or fiddling with every slider. Here’s what really works: • Console Variables can be your secret weapon. For example: "r.LumenScene.Radiosity.Temporal.MaxFramesAccumulated"  Set it up to 32. Noise drops, frame rate stays healthy. • Focus on what matters in the PPV: Lumen Scene Detail. Higher values include smaller objects in reflections results in better GI, and reflections lead to more realistic lighting. After years on AAA projects, I can tell you: these tweaks are the difference between “good enough” and polished, production-ready lighting. Try them next time you’re fighting Lumen, your scenes will thank you. And if you want to elevate your lighting skills, don’t miss our customized program: Top 1% artists program for January cohort.. Fill the form in the comments #UE5 #Lighting #GameArt #CGFoundry

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5 Tips to Get a Job at Disney 🎨 After my last reel, a ton of people asked how to break into the animation industry—so I put together the 5 things I would do today if I was applying to Disney again. 1. Perfect your portfolio Study how the best artists in your niche present their work and match that level of clarity and professionalism. 2. Invest in your skills Whether it’s AnimSchool , Concept Design Academy, Warrior Painters, or YouTube—use downtime to build pieces you’re proud to show. 3. Build your online presence Studios check everything. Make sure your site, LinkedIn, and socials reflect your best work and are easy to navigate. 4. Join animation communities Your hard skills matter—but your network matters just as much. Groups like Rise Up Animation , LatinX in Animation LXiA , AfroAnimation Summit , Women in Animation, and more can help you stay inspired and connected. 5. Don’t get discouraged Everyone gets rejection emails—even senior artists. Stay consistent, stay connected, and keep improving. Your time will come. If this helped, let me know what breakdown you want next. #Disney #AnimationCareer #AnimationTip #animationjobs #animationindustry #disney #earlycareers #careertips

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DWA remote workers across the US, feature production workers at Netflix Animation Studios and production workers on the show “Ted” have voted to unionize with the IATSE Local 839 and the IATSE Local 700. https://lnkd.in/e_MqxrNi

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Heads up to my fellow artists and animators out there. I'm seeing a lot of posts on Linked In lately from "indy" studios getting ready to "staff up" for projects. Sounds great, the industry is rough right now and new work opportunities sounds great. That is until you dig deeper. These opportunities are often volunteer, unpaid for enthusiastic artists that want to create the next big thing. So ask yourself what are you getting in return for your free labor? In many cases the answer is nothing. Or portfolio materials. But wait in order to be "hired" to work on this free project you have to sign an NDA? So there goes your portfolio opportunity. And there's no contract or ownership of IP agreement. This "indy" studio that "hired" you for no pay can take you labor, create a pilot, pitch it to a network or stream it and maybe make ad revenue and you get nothing in return. So before you go apply for one of these position ask yourself and them a couple of questions? What is in this for me if this property makes money or ends up with some kind of real value? Part ownership? Royalties? Compensation for my time? A future guarantee of work? Will any promises be backed up by a legally binding contract? And if there is still and NDA - no thanks. You have better use for your time than whatever great idea these people are pitching. Use your critical thinking skills folks. Be safe out there. Don't give away your work. Get compensated.

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Today, I updated my Character TD reel with some of the Python tooling and rigging systems I’ve been developing recently. One of the areas I’ve been revisiting is eyelid rigging, so I wanted to share a look at this newer setup. When I first started rigging, I relied solely on blendshapes for eyelid deformation. While blendshapes are still incredibly useful, I wanted to build a system that was more modular and adaptable in a production environment. This setup focuses on: -Procedural lid behavior driven by joints and curves -Cleaner interaction between blinking, eye aim, and facial poses -Faster iteration without needing to re-sculpt corrective shapes for every adjustment -Reusability across characters with different proportions -Animator-friendly controls while keeping deformation predictable Lately, a major focus for me has been building rigs and tools that scale well in a studio setting. I’ve also been using Python to automate portions of the setup process to make iteration faster and more consistent. The model shown here was sculpted by the ever-talented Joaquin Laca for an upcoming project. I’m excited to be part of it, and I’m looking forward to sharing more soon. Updated, full reel: johnrigs.com/rigging #animation #animator #rigging #characterrigging #characteranimation #3dartist #3dgeneralist #3danimation #3danimator #3drigger #3drigging #characterrig #charactertd #maya #autodesk

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6 reasons to watch Normal (Number 5 is the best) I was invited to the press screening of “Normal”. It’s a new action thriller from director Ben Wheatley. The story centers on a temporary small-town sheriff who uncovers dark mysteries after a local bank robbery. Look, there’s nothing original about this movie, that’s for sure. But the execution is excellent, and the whole “snowy” atmosphere really makes this movie stand out. The cast is pretty solid, especially Bob Odenkirk, Henry Winkler, Lena Headey and Billy MacLellan. But ultimately, this is the Bob Odenkirk show, and he’s doing a wonderful job. He reminds me of the recent Liam Neeson movies, where he’s just fighting everyone. The first act of the movie is pretty slow, but don’t worry, from the moment the action begins – the whole movie is just ramping up. The second half is insane, full of tension, great action sequences, and some brutal death scenes. It’s all thanks to director Ben Wheatley (who already directed action films like Free Fire and The Meg 2) – his direction is incredible, especially with the energetic action sequences. Reasons to watch it: 1. The cast 2. The story 3. The director 4. The cinematography 5. Great action 6. Solid reviews My verdict: While the first act is a little slow, from the moment the action starts, this movie is almost a non-stop brutal action thriller — and it’s so cool! Normal is in theaters! Are you planning to watch it? #Filmmaking 

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Saying something has "No CGI" or "No VFX" in a film/show is not cool, especially when there's obvious CGI/VFX in them and there are even credits countering these statements. You're essentially insulting and slapping an entire hard-working department in the face and seemingly trying to discredit and erase them. We are here, we always have been, so please for the love of filmmaking, stop this trend. We can all appreciate practical approaches, but VFX exists in ways that many people forget so please remember that we're all collaborating artists and we all deserve respect for one another's craft without trying to erase each other's contributions. #vfx #filmmaking #television #visualeffects

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Producer Notes #2 - Every change has a ripple In animation, nothing is a small tweak. A timing shift affects layout… Layout affects animation… Animation affects lighting… Lighting affects comp… Clients don’t see that chain reaction, and they don’t need to. But it is our job to look at them and say confidently: “We can do this, here’s what it touches.” Transparency is always the right answer.

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Why Your Storyboards Feel Confusing One thing I see often when reviewing student storyboards: The space stops making sense. A room should behave like a real location. Doors, characters, and camera placement should stay consistent from shot to shot. When that breaks, the audience feels the confusion immediately. Visual storytelling starts with clear spatial thinking before the drawings even matter. This is one of the first concepts I teach inside Vision to Visuals. #VisualStorytelling #ConceptArt #StoryboardArtist #Storyboarding #Animation #PreProduction #CreativeIndustries #FilmProduction

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You know there is a monster under your bed, and it's called animation production in Latin America. I've witnessed firsthand the challenges of creating animated content in our region, where resources are limited and opportunities seem scarce. The animation industry in Latin America faces multiple obstacles. First, there's the financial barrier - producing quality animation requires substantial investment in technology, software, and skilled professionals. I've seen talented artists struggle to find stable work in their home countries, often forced to choose between pursuing their passion locally or seeking opportunities abroad. The lack of consistent production pipelines and sustainable business models makes it difficult to maintain long-term projects. While we have incredible creative potential and unique storytelling perspectives, the infrastructure to support large-scale animation production remains underdeveloped. But rather than asking why it's so difficult, let's focus on how we can transform these challenges into opportunities. One day, instead of fearing the monster under the bed, we'll see it as a motivating force that helped Latin American animation grow and discover its special voice on the world stage, similar to how Japan did after the war.

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🎁 Free Scan #1 of 10 is here! (new pack) 🚀 Production-ready asset for Virtual Production, pre and post-production. Over the next 10 weeks, I'll be releasing a new, hyper-detailed 3DGS scan each week for you to use in your projects. This is a continuation of our large library of assets for the film industry. We're starting with this beauty: ➡️ https://lnkd.in/dw_xhXRn Want access to our entire, constantly growing library of free scans? Let me know, and I'll send you the link. I share goodies like this in almost every post, so stay tuned! Why is 3DGS the new reality for filmmaking? This isn't just "another technology"; it's a fundamental shift. Instead of spending weeks on pre-production, imagine this: ✅ Pre-production in hours, not days: We scan a complex location in a couple of hours. The director and DP can "walk" through it in VR the same day, planning every shot. ✅ No more "plastic" look: The main pain point of VP is the "game engine feel" of virtual sets. Our scans are a direct capture of the real world. We use a hybrid approach: LiDAR for huge spaces and custom multi-camera rigs for "hero" assets to ensure every detail is photorealistic. ✅ Seamless Integration: We don't just hand you a.PLY file. We are your R&D team. We'll show you and introduce you to the best solutions and plugins on the market for Unreal Engine, Unity, Nuke, After Effects, and Houdini, so you can painlessly integrate these assets into your pipeline. 🛠️ Hardware: An Honest Conversation XGRIDS scanners in Europe. But I'm not here to just sell you a product. I'm a practitioner, and my job is to help you choose the right tool. ➡️ LiDAR Scanners (XGRIDS): Perfect for massive scenes. But they have their flaws (dynamic range issues, "sky sticking"), which I write about often. If you buy a scanner through us, you get my personal, extensive expertise and consultation on how to work around these issues and achieve ideal quality. ➡️ Custom Rigs: For "impossible" tasks that require maximum detail (like in projects for Apple or Meta), I create unique multi-camera systems. If standard equipment can't do the job, we invent it. 🤝 Let's Build the Future Together! We're looking for interesting teams and projects to collaborate with. If you want to integrate 3DGS/4DGS into your pipeline but don't know where to start, or if you have an ambitious idea that others have dismissed, you've found the right person. Calendar: https://lnkd.in/dX_Gf9G5 Is the xgrids lixel l2 pro price justified for a small studio? Maybe not. Rent it or hire a pro. But if you do huge sites, this lidar for construction is a money printer. Here is the ROI breakdown: https://lnkd.in/dPPg6FQf XGRIDS & Nucleus4D #3DGS #4DGS #VirtualProduction #ImmersiveCinema #VolumetricFilm #LEDStudio #PostProduction #FilmMaking #Teleportour #ShramkoScan #Volinga #xgrids #volumetric #photogrammetry #ShramkoVR #ShramkoCamera #ShramkoSoft

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I recently wrote a brief article for Animation Studies, an organization dedicated to the history, theory, and craft of animation. You can read if you'd like 😊 https://lnkd.in/ey3sQUW3

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