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Randy Dormans shared thisI'm helping to produce Roye Okupe's next film! This opportunity feels incredibly special—the script and the concept are inspiring and the creative energy is unmatched. Having started my career as a traditional 2D artist, helping bring a story this distinct to life in a medium I love is an absolute dream. Thanks to Doug Schwalbe for bringing me onboard, looking forward to the journey and excited for everyone to eventually experience the distinct world Roye is building.Randy Dormans shared thisA new chapter begins... Malika, your time has come ⚔️👸🏾 "Set in a richly imagined 15th-century West African empire, Malika: Warrior Queen is billed as an epic tale of power, family, and destiny, following a young queen’s rise from tragedy to legend as she unites a divided land under her rule. Okupe, who is writing and directing the feature, says it will combine the emotional precision of anime with the soul and rhythm of African storytelling, blending breathtaking action, political intrigue, and a visual style inspired by the pulse of Afrobeats. The feature is produced by Doug Schwalbe at The Co-Production Company and multiple Emmy Award-winner Randy Dormans (Kung Fu Panda, Jurassic World: Camp Cretaceous). Award-winning Nigerian actress Adesua Etomi-Wellington (The Wedding Party) will lead the cast as the voice of Malika and serves as Executive Producer, alongside Impact X Studios’ Erica Motley and Okupe via his YouNeek Studios banner." https://lnkd.in/e-FKiUUr‘Iyanu’ Creator Roye Okupe & The Co-Production Company Team On ‘Malika: Warrior Queen’ Animated Feature Starring Adesua Etomi-Wellington‘Iyanu’ Creator Roye Okupe & The Co-Production Company Team On ‘Malika: Warrior Queen’ Animated Feature Starring Adesua Etomi-Wellington
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Randy Dormans shared thisLeaving Annecy I had the privilege of sharing a shuttle with Imogen Sutton, widow of Richard Williams and Magdalena Osinska who directed the Aardman episode in the second installment of Star Wars: Visions.
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Randy Dormans shared thisThanks Zare Oganesyan for going above and beyond to send me the Spirit wrap gift. Spirit holds a special place in my heart having worked on the original 2002 film as an animator and then again in 2015 to help produce the series. Not an easy series but with so many great partners it was always inspiring and fun! So many great memories across two decades! #netflixseries #dreamworks
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Randy Dormans liked thisRandy Dormans liked thisFinally! I'm getting ready to launch the Kickstarter for K'Nayha and the Crow. K'Nayha is written for anyone to enjoy, but underneath it's inspired by my wife's struggles with Lupus and by anyone else pushing through a rough time. The book is 100% done and ready to print. Scan the QR at the end of the video to sign up for updates. #childrensbook #lupus
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Randy Dormans liked thisRandy Dormans liked thisThe snake has officially swallowed its tail... Last week, I made what I thought was a pretty innocuous post about a client who took part of the work we were doing for them in-house by using AI editing tools. That post immediately exploded in a way I've never experienced on LI, with well over 50k impressions. And a few days later, I woke up to have LI point me to a "news" article based on my post. I am reposting that article here to complete the ouroboros, but I wanted to clear up a few things: - I'm not mad. Nor am I defiant. Disappointed? Sure. - No one contacted me about this "news" story. Heck, maybe AI wrote it! - The company is not using generative AI to replace us. They are using AI editing software. - I am not anti-AI, although I am against generative AI not trained on ethical training data. In fact, we have used AI as part of our pipelines for years. AI has made us better, but hasn't replaced any of our artists. We are constantly trying to stay alert to the state of the industry and expect more tools to be integrated into big software packages this year. We will use them if they work well. - I am NOT going to out this company, for gosh sakes. Not only are they still a client, but it's a lame thing to do! They are free to do what they want. And I think they do amazing work. - I still have not seen the work that has replaced ours, so I offer no commentary as to how good or bad it is. - My in process takeway is that while AI is not very good (yet) at being creative, it is very good at doing routine activities. And since much of the work we did on these particular projects was of the more routine variety (that's how we could churn them out cheaply), it might actually be ripe for AI tools. If that's the case, it means we need to lean in harder on what AI can't do -- animation that requires a ton of creative decisions. Frankly, that kind of work makes up the lion's share of our work anyway. Will post more when I know more... https://lnkd.in/gdBfwVBMPipsqueak Animation’s Mike Blum remains defiant after long-term client turns to AIPipsqueak Animation’s Mike Blum remains defiant after long-term client turns to AI
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Randy Dormans liked thisRandy Dormans liked thisMan… Genndy Tartakovsky and his team are giving some core lessons on animation, storytelling, and composition with the new episodes of Primal. It may be too edgy for some but…. I’m loving it. Every episode he is giving us these kinds of frames!!! Come on…. Some Frezetta inspired goodness…
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Randy Dormans reacted on thisRandy Dormans reacted on thisA group of us from our union paid Willie Ito a visit this Sunday. He has had such an amazing career and at 91 has so many stories to share. He talked about one of his great mentors, Iwao Takamoto. The drawing here was a “throwaway” that Willie saved. It may be the only drawing Iwao did with his opposite hand. He drew it as a little test while another artist in the room was demonstrating his ambidextrous skills. As a young boy Willie saw Snow White and the Seven Dwarfs. Dopey made a big impression on him and kind of inspired his career in animation. Amazingly, on the first day he visited the lot, he got in the elevator and Walt Disney himself stopped it to hitch a ride up. Willie brushed elbows with so many of the greats! It was fun to hear crazy stories about his good buddy, Corny Cole — my own mentor. That really highlighted how our industry is a big family. If you happen to go to Disneyland on its birthday, you may find Willie Ito at Carnation Restaurant holding court and sharing his life’s stories. It’s an annual tradition he does on his own birthday. And, if you can find that rare book, there are great character drawings of his in it.
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Randy Dormans reacted on thisRandy Dormans reacted on thisHappy New Year Everyone! Wishing industry friends and colleagues a successful 2026 ahead... I'll be heading to San Diego next month to attend #KidscreenSummit2026 where I'll be taking part in the Pitch Prep 2 Session on Sunday 22nd February at 2pm. Plus, as Triggerfish Animation expands its international footprint into the UK, I'm keen to talk to partners about exciting new service opportunities, co-productions and original content collaboration. Get in touch!
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Randy Dormans liked thisRandy Dormans liked thisGonna keep posting these - never shared them here on LinkedIn- this was day 4 of the countdown! It’s available now:) In Amazon Prime Video and YouTube https://lnkd.in/gdXXVCSE
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Randy Dormans liked thisRandy Dormans liked thisDisney legend Andreas Deja, behind all-time great villains including Scar (‘The Lion King’) and Jafar (‘Aladdin’), has provided a major update on his Milt Kahl book: “I got Disney's verbal approval, and I am determined to make this one of the best books on Disney Animation ever.”
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Simon Dewey
We Are Covert • 4K followers
Continuing to experiment AI-assisted motion transfer. Character swaps, style changes, 3D animation, de-ageing, product replacement, wardrobe changes — the potential of all this is massive! 🚀 Earlier this year we were building some pretty heavy setups in ComfyUI just to get this level of control and delivery, but now things are moving so much faster with Kling 2.6 Wan 2.6, Ray 3 etc... 2026 is gonna be a pretty crazy year for AI & VFX 🤯
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Joseph Peters
Renaissance Productions, Ltd. • 8K followers
Los Angeles Is One Step Closer To Streamlining Local Film & TV Production Processes - new article: https://lnkd.in/gc4X7TK4 - plus City Council Unanimously Greenlights Measures to Boost Production in Los Angeles - new article: https://lnkd.in/gwc_Py7N - Carlo Perez, the business manager for Local 755 of the plasterers, sculptors, & shop hands union, recalled shooting a Fast and Furious movie in Georgia & swapping the cars’ Georgia plates for California plates - “We need to stop this, we need to cut it off while there’s still something to save”
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Joseph Conover
Christie Digital Systems • 5K followers
I’m very excited to share our recent case study, “Beyond the Green Screen”: Virtual Projection’s Revival in Modern VFX Workflows,” presented by myself Joseph Conover and alongside Chris Barnett at this year’s Production Summit. In this session, we’ll walk through the design and implementation of the largest VFX stage of its kind, developed in partnership with CBS VFX at Paramount Pictures Stage 3. The project features Christie Digital Systems Virtual Projection Solution deployed on a CarbonBlack Technology LLC 100×24 screen wall, showcasing how “virtual projection” is redefining modern production pipelines. Production Summit is a multi-day, AI-enhanced experience that brings together professionals from the technology, media, and entertainment industries, with a strong focus on practical AI applications. It’s an incredible opportunity to learn from experts, exchange ideas, and explore tools and strategies that can be seamlessly integrated into real-world workflows. https://lnkd.in/gKCP_sai
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Nishit Parikh
Epic Games • 6K followers
I built a tool I wish existed when I started working in virtual production. 🎬 One of the most frustrating gaps in any VP or Techviz pipeline — only you know exactly what your virtual camera sees, but there's no clean, accurate, renderable way to show it to the rest of the team. Debug overlays don't render. Manual setups take too long. And guessing is never good enough when production decisions depend on it. So I spent my nights and weekends solving it. 𝗖𝗶𝗻𝗲𝗙𝗿𝘂𝘀𝘁𝘂𝗺 is now live on Fab — a native UE5 plugin that gives your cine camera a physically accurate, fully renderable frustum in the scene. Driven by real sensor and lens data. One click. No guesswork. No manual setup. Just the exact field of view — visible, accurate, and ready to render. ✅ 𝗦𝗲𝗻𝘀𝗼𝗿-𝗮𝗰𝗰𝘂𝗿𝗮𝘁𝗲 ✅ 𝗥𝗲𝗻𝗱𝗲𝗿𝘀 𝗲𝘃𝗲𝗿𝘆𝘄𝗵𝗲𝗿𝗲 ✅ 𝗢𝗻𝗲 𝗰𝗹𝗶𝗰𝗸 This one is for the technical directors, previs artists, VP supervisors, and production designers who are tired of approximating what the camera sees. UE 5.6 and 5.7. Available now on Fab🔗 https://lnkd.in/dfd2XGFM #UnrealEngine #VirtualProduction #TechViz #Previs #CineFrustum #UE5 #FilmTech #RealTimeFilm #Fab #CinematicTools #VFX
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Shaley Brooks, CSI
Iris Digital Post • 1K followers
🚀 From BASIC in ‘82 to Automated VFX Pipelines in ‘26 This weekend’s "fun project" is a deep dive into the future of post-production workflow. I’m currently building a Python script (with a little help from Claude) to bridge the gap between Avid and DaVinci Resolve for automated VFX pulls. The Workflow: Source: Avid AAFs with markers containing specific VFX naming conventions. The Bridge: A Python script that talks to the Resolve API to interpret those markers. The Output: Automated creation of 16-bit EXR image sequences for the VFX vendor. The Specs: Full respect for original camera color science + custom handles included. It’s one of those "work smarter, not harder" moments. Instead of spending hours on manual exports, I’m teaching the machines to do the heavy lifting. So far, the prototype is showing a lot of promise, and I’m optimistic I’ll have a fully functional version by the end of the weekend. It’s wild to think about the journey from writing lines of BASIC on a Commodore 64 back in 1982 to using LLMs to script complex color and editorial pipelines today. The tools have changed, but the thrill of "making it work" is exactly the same. The future is bright—I might actually need to find my shades. 😎 #VFX #PostProduction #DaVinciResolve #Avid #Python #Automation #VisualEffects
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Eric Calderon
22K followers
Sony Pictures Animation in collaboration with Yellowbrick have launched a free online course for animation fundamentals. I signed-up! Checking it out now. Here's the rub. The opening line in the advert states, "Anyone can work in animation. All you need is passion for creativity and storytelling." That is a wildly naive oversell of where we're at as an industry. Veterans with 5, 10, 20, and even 30 years of experience are having a hard time finding ANY work right now. So, is this a good thing that there's a free online course? YES. Is the marketing out-of-step with current conditions and tone deaf to the struggles of actual professionals? Also, YES. #animation #cartoons
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Divya Kongari
APPLE ARTS STUDIOS Motion… • 8K followers
Proud to see how raw facial performance capture transforms into expressive digital characters APPLE ARTS STUDIOS Motion Capture Services. With 15+ years of experience, we continue delivering high-quality motion capture solutions for films, games, and virtual production. #MotionCapture #FacialCapture #VFX #Animation #VirtualProduction
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Christophe Stathopoulos
MATTERS FILM • 6K followers
One take. Infinite shots. Here’s a first look at our 4D x Gen AI workflow: a knight duel captured in a single volumetric take. This short test showcases our hybrid production pipeline, combining: ⚔️ Real-actor volumetric capture (live performance → 3D virtual asset) 🏰 Virtual environments built in 3D ✨ AI-powered rendering for enhanced textures and realism What makes it unique - One single take for any camera angle: no cuts, no continuity issues - Full relighting flexibility in post-production - No heavy sets, lighting rigs, camera gear, or large crews needed This first sequence was shot in one take: the entire framing, lighting, and camera work were done after the shoot, in full 3D. We’re still early in our R&D journey, but the potential is clear: a new creative freedom for filmmakers, at a fraction of traditional costs. Stay tuned - more experiments are on the way. Special Thanks to : 4Dviews for volumetric capture KOUZ for Music and sound design Sword Fighters: Dylann & Mathieu, Compagnie Briselame (France) Romain PERRIER Digital Born Producers Gilles Guerraz Malhar Mohite Clement Menier Yann Girard Varante Soudjian ESMA - Ecole Supérieure des Métiers Artistiques
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Dane Allan Smith
Dane Smith | Executive… • 4K followers
News from our California Film Commission, as reported by Variety this morning! The approval of funding for five studio films and 43 independent features showcases a substantial $94 million in tax credits. This milestone not only signifies progress but also demonstrates crucial support and accountability for our thriving film industry. It's a significant stride forward in the right direction on a complex issue and our industry has shifted away from decades of SOP #FilmIndustry #TaxCredits #CaliforniaFilms. https://lnkd.in/gxJ3AaUZ
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Rafael Bernabeu Parreño
Autónomo • 316 followers
Probably my favorite insight so far. Constantly going back to the fundamentals instead of adding extra complexity to my pipeline has been my go-to approach for the past few years, and I recommend everyone do the same. I feel like we should understand how complex operations behave, so we can extract those concepts and apply them using lighter, less complex tools.
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Khoa Trinh 🔜 Annecy
Otsu Labs • 11K followers
A trailer raised $400,000. No distributor. No studio backing. No guarantee the film would ever exist. Just a visual and a story strong enough to make people reach for their wallets. That's The Lovers, from Studio Heartbreak. A project Otsu Labs is part of. The trailer dropped in 2023. By the time the campaign closed, there was enough to produce 20 minutes of high quality animation. The model is simple. If you can't fund a full production, don't wait until you can. Package what you have. Make the best possible version of the first chapter. Put it in front of the right audience. Let them decide if it's worth finishing. It's the same logic as Steam Early Access. Some of those games took 10 years to ship. But the audience stayed because they believed in what they saw early. Studio keeps working. Audience gets something real to follow. Nobody waits for permission. Nobody waits for a greenlight that may never come. The film gets made because the people who wanted it helped make it possible. That's not crowdfunding as a last resort. That's a distribution model built on trust. #KhoaTrinh
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Pinkesh Surtani
KKDD Film Production • 879 followers
DaVinci Resolve 20.1 is live, and it just made immersive workflows real. If you edit, grade, do VFX, or mix audio, this update is worth opening Resolve for. This application provides native Apple Immersive Video support, enabling users to edit, color, add visual effects, mix spatial audio, and deliver content for Apple Vision Pro seamlessly within a single application. Quick highlights you can actually use: - Apple Vision Pro monitoring + Immersive Viewer: Pan, tilt, and roll immersive clips on your monitor or stream directly to Vision Pro for real-time previews. - Spatial audio support in Fairlight: Apple Spatial Audio Format support and 3D panning tools enable true spatial mixes, ideal for immersive storytelling and live performance work. - Fusion & AI upgrades: Magic Mask improvements, a new 3D title, USD-friendly VFX tools, lens-space corrections, and immersive patcher utilities. - Better VFX pipeline for stereoscopic/immersive footage. Newsshooter offers enhanced editor usability and a free version. It includes MultiText character and paragraph styling, CSV import for column-aligned text, improved safe-area tools, clip compositions that respect timeline resolution, and higher-precision timeline support. Why this matters: You no longer need 3 or 4 apps to build immersive experiences. Resolve is stepping up as a single platform to create spatial video and spatial audio, from ingest to final delivery. That changes how teams plan immersive projects and lowers the barrier for creators. #DaVinciResolve #ImmersiveVideo #AppleVisionPro #SpatialAudio #PostProduction #editingworkflow #videoeditordxb #dxbvideoeditor #creativecontent #editingupdates #softwareupdate
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Esmeralda Ramirez
VFX Networking Events | Los… • 22K followers
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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Paco Ramos Koch
Lamppost VFX • 2K followers
𝗩𝗙𝗫 𝗣𝗜𝗣𝗘𝗟𝗜𝗡𝗘 𝗗𝗜𝗥𝗘𝗖𝗧𝗢𝗥𝗬 𝗦𝗧𝗥𝗨𝗖𝗧𝗨𝗥𝗘 𝗤𝗨𝗘𝗦𝗧𝗜𝗢𝗡𝗡𝗔𝗜𝗥𝗘 𝘌𝘷𝘦𝘯 𝘯𝘰𝘯-𝘱𝘪𝘱𝘦𝘭𝘪𝘯𝘦 𝘧𝘰𝘭𝘬𝘴 𝘢𝘳𝘦 𝘸𝘦𝘭𝘤𝘰𝘮𝘦 𝘵𝘰 𝘤𝘩𝘪𝘮𝘦 𝘪𝘯! I've worked at 7 different VFX/animation studios, and while each had their own pipeline implementation, one consistent principle stood out: the SG hierarchy was usually reflected on disk. That is: 𝘀𝗵𝗼𝘄 → 𝘀𝗲𝗾𝘂𝗲𝗻𝗰𝗲 → 𝘀𝗵𝗼𝘁 → 𝘀𝘁𝗲𝗽 → 𝘁𝗮𝘀𝗸 (𝘄𝗼𝗿𝗸/𝗽𝘂𝗯𝗹𝗶𝘀𝗵) In your ideal pipeline directory structure: • Where would you put the 𝗘𝗗𝗟? • Where would you put the 𝗮𝘂𝗱𝗶𝗼? • Where would you put the 𝗟𝗨𝗧? • Where would you put the 𝗖𝗗𝗟/𝗖𝗖𝗖? • Where would you put the 𝗢𝗖𝗜𝗢 𝗰𝗼𝗻𝗳𝗶𝗴? • Where would you put the 𝗿𝗲𝗳𝗲𝗿𝗲𝗻𝗰𝗲 𝘃𝗶𝗱𝗲𝗼? In short: • Would you associate any (or all) of these with a 𝗧𝗮𝘀𝗸 in 𝗦𝗚? • Would you use 𝗲𝗱𝗶𝘁/𝗴𝗿𝗮𝗱𝗲/𝗿𝗲𝗳𝗲𝗿𝗲𝗻𝗰𝗲 or other directories for these? • Would you group them all under an 𝗲𝗹𝗲𝗺𝗲𝗻𝘁𝘀 folder? • If yes, what qualifies as an "element", and what doesn't? Additionally: • Where would you put the 𝗰𝗮𝗰𝗵𝗲𝘀 and 𝗽𝗹𝗮𝘆𝗯𝗹𝗮𝘀𝘁𝘀? • If there is any data created by the pipeline, where would you put it? • Did I forget anything? 𝗪𝗵𝗮𝘁'𝘀 𝘆𝗼𝘂𝗿 𝘁𝗮𝗸𝗲 𝗼𝗻 𝘁𝗵𝗶𝘀? 𝗣𝗹𝗲𝗮𝘀𝗲 𝗱𝗼𝗻'𝘁 𝗯𝗲 𝘀𝗵𝘆.. Thanks in advance! #vfx #pipeline #folderstructure #questionnaire
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Andrii Shramko
Andrii Shramko • 13K followers
🎁 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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Gavin Dell
Hollywood Animation Academy • 4K followers
It has been 4 years now since we opened HAA, the first specialty school for animation in the US. 100% animation in person for 8 hours a day with training from experienced Hollywood animators and directors. Students learn with classical animation training and industry geared projects for film, games, and television. It has been a great joy to develop the kind of curriculum I wished I would have gotten from Cal Arts after working in the industry for 30 years. Most colleges leave their students without guidance on what they specifically need for a competitive portfolio today. Students do character designs and student films that are misguided and unpolished. We build projects that are industry relavent and train students 6 semesters deep in order for them to reach pro levels. We even help our students build their portfolio websites and teach them how to be a professional within a studio system. This is a school striving to lead education with cutting edge technology and experience. Learn feature storyboarding from experienced feature story artists. Learn TV production boards from primetime directors or TV board artists. Learn Previs from a top previs lead from Marvel and Universal. Learn game animation and cinematics from an experienced lead and game cinematic director. Learn Unreal Engine for filmmaking from feature and game directors. The animation industry is more challenging than ever and for serious students we offer one of the best solutions. Daily in person professional guidance with a structure that is second to none in practical real world training. In 2026 we launch our next intermediate level program for online students called Creative Edge and grow our 3rd year Mastercraft program with fantastic pro level projects. It's going to be an exciting year and we invite new students to check out our website and contact us if you are interested in learning more. https://lnkd.in/g8E8uFuU #animation
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