“Our aim was to provide an insightful resource for creatives and commissioners, where our high-impact stills and videos can speak for themselves.We know our clients don’t always have time to view the hundreds of projects available, so work can be filtered by discipline, technique or subject matter and the Lightbox also provides a bookmarking function to enable agencies to build a bespoke selection of images which they can then share with colleagues and clients,” said Glen Taylor, MD and founder of TJ.”

There are many additional touches on the site that enhance the rich multi-media experience, including an integrated interactive blog, social networking interaction, production breakdown bars and related project links. Utilising HTML5 capabilities, the site is designed to work across all the latest platforms, from smart phone to iPad (see more on our iPad competition here).

The new site offers our viewers an in-depth understanding of how complex multi-part productions are built, from our exclusive ‘Behind the Scenes’ footage to the continuation of Taylor James’ renowned step-by-step scene build videos. This particular feature was retained due to popular demand, having been an essential reference to creatives and students alike on the previous incarnation of the Taylor James website. Our section dedicated to individual business studies also explores some of the fundamental issues that face some of our clients- from CGI photorealism to innovative solutions, made to meet client budgets and schedules.

Let us know what you think and blog about it in the comments box below!

Responsibilities to include:
- Independently manage and oversee CGI jobs from initial quotation stage through to completion, including client liaison, briefing, scheduling and team management.
- Modelling, shader-creation, lighting, rendering and compositing.
- Managing and checking CGI operator’s work and maintaining quality, give clear and concise briefs and always be willing to offer advice and support.
- Working with Studio Manager to ensure effective running of the department.

Requirements:

- 8+ years professional experience 3D Max in broadcast and print media.
- Very good knowledge of Vray, Mental Ray would be an advantage.
- Knowledge of particles, fluid dynamics an advantage
- Experience in a node based compositing package (Digital Fusion, Shake).
- An independent problem solver and have an eye for fine detail and realism.
- An interest in Photorealism is essential.

This is not for the faint hearted, so if you are hard working, and want to step into a busy, creative and challenging work environment with good long term prospects, then this is the role for you!

Please email your CV, show reel / examples of work and full contact details to: recruitment@taylorjames.com
Please note that candidates must be eligible to work in the UK. Unfortunately, we are unable to offer work-permission sponsorship.

REQUIREMENTS CHECKLIST

artists and animators across a range of disciples at all levels including;
texture artists, modellers, animators, riggers, TDs, lighting/rendering, FX/dynamics, roto/paint, compositors,motion graphics artists and camera trackers.

Our artists have experience in one or more of three main industry areas;
VFX and Animation for Film and Broadcast
Computer Games
Product and Architectural Visualisation

artists experienced in the following software tools;
Maya 3DSMax XSI Lightwave
Z-Brush Mudbox Bryce Brazil
Cinema4D Houdini MotionBuilder Poser
VRay Mental Ray RenderMan CharaterStudio
AfterEffects Shake Combustion Fusion
Nuke Toxik Silhouette Flame
Inferno Smoke Maya Live PFTrack
Boujou 3D Equalizer RealVis Commotion
RealFlow Flash Alias Studio.

To learn more about the project please click here or go Behind the Scenes for an exclusive look at how we made it.

The social initiative is running this month in conjunction with the ‘MTV’s Got Issues’ theme (the networks social programming series). At our in-house studio, the team filmed and photographed Rickie along with two female models before working their retouching magic in order to bring the concept to life. MTV commissioned the creative stunt to demonstrate to its 16-34 audience what digital enhancements are performed in everyday media and advise them not to take everything they see at face- value. Lisa Stokoe, Executive Producer, Production, MTV Networks UK & Ireland said:
“We wanted to create something visual, immediate and impactful that would highlight how unattainable the ideals created by the media are and reveal the techniques used by professional retouch artists. That’s where Taylor James came into their own!   With their extensive experience and excellent reputation within the industry, we knew they could bring our concept to life.   In a matter of clicks, they made the impossible possible. The results surprised us all!”

As always, we welcomed the unusual challenge, working on this creative concept with MTV.  Josh Rogers, Head of Retouch at TJ, who also featured in the video, explains the process:
“Having captured Rickie, we photographed our female models in exactly the same pose, position and lighting.  We then began the transformation, to manipulate Rickie’s photo using the female elements for the body, hair and eyelashes. We then applied some makeup, blusher, eye shadow, lipstick. At this stage, Rickie still had very short hair and muscular physique, so we went about swapping Rickie’s torso and hair for that of our females. Extensive colour work was required to carefully match up the skin tones – this was vital in achieving the seamless join between Rickie’s face and our female hair and body elements. As we work primarily on advertising campaigns, this was a rare and fun chance for us to retouch people to the extreme.”

The final part of the segment is the big unveil which was made to Rickie, and a group of unsuspecting audiences on the streets of London, who were asked to mark the new Rickie out of ten. “Seeing and hearing peoples final reactions to the final image was great! No-one suspected a thing” concluded Josh.

And what did Rickie think of his new look and what does he hope to achieve from this experience? “With a growing celebrity culture in the UK and an ever impressionable young society, it is our responsibility to make sure that our audience is made fully aware of what’s real and what’s not.   If it means I get turned into a woman in the process, then so be it!  Taylor James did a fantastic job and I’m confident this will make our audience think, as well as laugh!”

See the movie on the MTV website here: www.mtv.co.uk/shows/mtvs-got-issues-vote-2010/episode/mtvs-got-issues-digital-surgery

See the final artwork here: www.taylorjames.com/mtv-digital-surgery

TJ has come a long way since establishing ourselves as one of the leading photographic retouch houses.

(The text that follows are extracts from the feature in the Sunday Times Business pages on the 18 July, 2010 by Liz Colman )

In the past two years our workforce has doubled to 40 and turnover is expected to be £4m this year; the expansion led primarily by our decision to embrace CGI a few years ago- a technique which was reserved primarily for film productions at the time. “We spent £200,000 developing CGI in 2006, when we were turning over £1.2m, so it was quite a big investment for us,” said Glen.

Glen left school at 16 and attended the Arts Institute at Bournemouth, now the Arts University College. He was 20 when he finished the course and had dreams of becoming a film director. However, three month into a post-graduate course in advanced media he was offered a job at a digital retouching firm in London largely in part to some Photoshop skills honed through film making.

Back then, however, picture retouching was a tiny specialty- Glen estimates that only about 20 people in London could operate the £400,000 computers required for airbrushing photographs in the mid 90’s- so there was plenty of free-lance work. Which led him to his next role working in a post-production company- in turn; this would become his first rival when he left after 18 months to start up on his own.

Glen said his work ethic comes from his father, a carpet fitter. “My parents never had a lot of money. My dad has strong values about work and they were passed down to me- if you want something you need to go out and earn it.” Glen was a one-man band in a 150 sq ft basement flat in east London. After a couple of years he moved round the corner when then in 2004 he bought a five storey building in Shoreditch, where he now resides in the loft- which doesn’t help his workaholic tendencies.“It was one of the best things I have ever done. Owning this building has allowed us to grow without being constrained by leases.”

While a strong creative vision is essential to his business, Glen is a shrewd businessman as well. The key to success, he said, was to keep the business lean at the start. He still works an 11-hour day. A retoucher is a “perfectionist by nature…you have to take every opportunity, apply yourself, and deliver- and not feel that you could have done better.”

Everyone take note…

To view the article please CLICK HERE or for more of the latest from the Professional Photographer magazine, visit their site at http://www.ppmag.com//

In his thesis, Ian introduces his discovery “Superflow”, a new formula “Polarflow”, and the foundation for the visual equivalent of music, “Viusic”.  He concludes, “Combining these in a digital environment allow us to create digital harmony, a topic first discussed by John Whitney. If, there is harmony in music- why not in visual art?”

“Super flow System” used Particle Box3 3D Studio Max Plugin Extension. Developed by Ian Clemmer and Martin Stebbing & programmed by Oleg Bayborodin and Ian Clemmer.

http://www.mindflow.de> // http://www.ianclemmer.com //

Prize draw closes at midnight on 30 November 2010.

Please read the full Terms & Conditions

Responsibilities include:

-        Blue/green screen extractions

-        Seamless integration of live action, miniature and CGI sources

-        Performing all aspects of composite fx design

-        Ensure clear and concise briefs are given and understood by all involved in the project, taking part in client reviews

-        Assisting in the effective management of clients by ensuring a production workforce that is well matched to

-        the creative and technical requirements on a per-production basis

-        Follow production methodologies and develop creative approaches and problem-solving

-        Keep lines of communication open and keep staff and production updated on work status on a daily basis

-        Ensure the progression of work to the client’s expectations, liaising with the client when required

-        Working with Studio Manager to ensure effective running of the department and management of resources

-        Liaising, assisting, and contributing to the effective recruitment of key talent to the studio

Requirements / Skills:

4+ years professional experience in VFX production for animation; Experience in advertising industry a advantage; Experience in using Digital Fusion / Node based Compositing System; Understanding of CGI workflow and related practices; Experience working directly with clients/directors; Excellent organisational, interpersonal and communication skills; A knowledge and interest in photography and practical lighting; Ability to work effectively in high pressure environments.

If you fit the bill, please email your CV and showreel/examples of work to: recruitment@taylorjames.com

Responsibilities include:

- Writing core pipeline tools and further development of the pipeline.

- Follow production methodologies and develop technical approaches and problem-solving, with proven problem solving abilities and excellent communication/documentation skills.

- Keep lines of communication open and keep staff and production updated on work status on a daily basis

- Ensure the progression of work to the client’s expectations

- Working with Head of CGI to ensure effective management of processes

- Developing Motion Capture

- Developing and investigating real-time web engines

- Training and Documentation

Requirements:

4+ years professional experience in VFX production for animation and/or software development; Experience in advertising industry a advantage; Experience in using Digital Fusion/Node based Compositing System; Python; Maxscript; Thorough understanding of CGI workflow and related practices; Excellent organisational, interpersonal and communication skills, with the ability to work effectively in high pressure environments.

If you are interested, please email your CV and examples of work to: recruitment@taylorjames.com

Our creative exploit will be one of six new collaborative artworks commissioned by Creative Review, to be showcased. The works, aptly titled Joining Forces, helped shape Creative Review’s June CGI special, released on the 25^th of May, which combined the work of six esteemed image-makers and a CGI/post production company (read TJ Creates another Head Turner).

TJ’s creative exploration, a collaborative piece between one of our Creative Lead Ed Taylor and illustrator and artist, Von, was chosen for the coveted cover of the magazine with a striking image of an owl. Taylor James was pleased to take up the invitation to participate in the magazine’s annual CGI issue with such a unique concept.

The exhibit is a first of its kind to be commissioned by Creative Review in conjunction with their CG special. The final results are experimental and visibly stunning examples of how a combination of artists can work together with pioneering technology to create new and exciting images. The creative works can be seen from 9- 30 June and admission is free.

Strong planning and management of teams is important and client-facing experience is a plus. You will have experience in a wide range of skills, techniques and software knowledge.

Responsibilities include:

- Independently manage and oversee CGI jobs from initial quotation stage through to completion, including client liaison, briefing, scheduling and team management

- Animation and VFX – rigging, roto/paint, camera tracking, FX/dynamics

- 2D Animation (Compositing)

- Modelling, shader-creation, lighting, rendering and compositing

- Leadership on projects, with the effective delegation and monitoring of the team

- Managing and checking CGI operator’s work and maintaining quality, give clear and concise briefs and always be willing to offer advice and support

- Working with Studio Manager to ensure effective running of the department

Requirements:

8+ years professional experience 3DSMax in broadcast and print media; Experience in a node based compositing package (primarily Fusion, also Shake, Nuke); knowledge of Vray, Mental Ray a plus; Knowledge of particles, fluid dynamics desirable (Commotion, RealFlow); Rotoscoping with Silhouette and camera tracking (PFTrack, Boujou); Knowledge of Z-Brush and MotionBuilder desirable; An independent problem solver and have an eye for fine detail and realism; An interest in Photorealism is essential

This is not for the faint hearted, so if you are hard working, and want to step into a busy, creative and challenging work environment with good long term prospects, then this is the role for you! Please email your CV, showreel  to: recruitment@taylorjames.com

As guest-speakers at the FMX 2010 conference in Stuttgart, Germany in May it was difficult for us to avoid the 3D ‘effect’. The first 3D TV channel is due to be launched at the end of the year by Sky, and with it comes the exciting prospect of 3D advertising.  During 3D film previews, 3D ads have already started appearing and with Sony, Toshiba, Panasonic and JVC all racing ahead trying to push their technologies to produce the best 3D TV and keep up with demands for the latest technological craze, it is only a matter of time before there is a higher demand for agencies and studios to offer a capable 3D service.

The technologies distribution network is also growing. 3D production and 3D post-production techniques has become better established and further distribution of the iconic glasses have been rolled out to most of the cinemas in the USA and Europe. Moreover, Blu-Ray discs allow full 3D movies to be distributed and viewed at home with the latest 3D TV technology and game makers are expecting to see 3D computer monitors dominating the sector in the next 24 months. This range of avenues will undoubtedly shape the way in which clients approach advertising and the promotional alternatives available to them- making it more crucial for agencies and production houses to contemplate.

So, what are the benefits? Stereo 3D is engaging; it’s an opportunity for clients to show off their brand and product in a whole new dimension. Like CGI and various forms of animation, 3D will eventually be more relevant to advertisers and not just something for the movies. Additionally, the cost of producing 3D ads has dropped over the last year. Head of DreamWorks, Jeffrey Katzenberg, said:

“There have been three revolutionary movements in the film world- the introduction of sound, colour and now 3D.”

The history of advertising runs in a similar vein- and has evolved from print to broadcast and now digital making 3D all the more important to consider.

There are two ways to realistically approach this at the moment for the advertising sector, either full live action shot with two video cameras, which is still a fairly complex operation to produce good results, and can limit the options in post-production. The second- producing an advert in full Stereo 3D CGI which allows for greater flexibility and control than when filming. It allows you to explore multiple stereo techniques, be sure that we have the desired results instantly and because everything is 3D, it enables you to create anything you want.

From a production stand point, mixing Stereo live-action and Stereo CGI is still a very complex and expensive thing to do and took James Cameron and his team of hundreds of staff almost 10 years to perfect. Even now it’s a very difficult thing to do well, but creating a completely CGI based Stereo project is now a viable option.

At TJ we are currently testing Stereo 3D on some of our current jobs and re-visiting some of our older jobs, hoping to eventually create a Stereo 3D showreel with the photo-realistic quality we are accustomed to. It’s maybe a bit too early to tell, but we think that 3D Stereo could be here to stay.

Reputed for both technical expertise and creative vision, we were ever so pleased when the lovely people at Creative Review invited us to participate in their annual CGI issue. The magazine has more traditionally approached artists and designers who work in a more hand-crafted and 2D style and was keen to explore the capabilities of incorporating CG skills with that of a designer or illustrator and how the combination could alter the outcome. The full version image forms part of a special six page feature, including other artistic collaborations.

Given the editorial time constraints, a previously completed piece of Von’s work was selected from his website, www.hellovon.com as inspiration. Von had seen Taylor James’ step by step guides of projects on our website and liked the juxtaposition between photos taken and the 3D/CG elements being added before the image was fully rendered. Von explained “we went with a drawing of an Owl I did in 2008 because it already had a very angular 3D feel which provided a great starting block for Taylor James to do their magic.”

Ed Taylor explains the creative development process: “I wanted to make the original image come out at you by introducing some subtle but dramatic lighting but without making it too over the top. I didn’t want the piece to be typically 3D i.e. with highly convincing form and shading…and I certainly didn’t want it to be a demonstration of “fancy shaders” chromes, HDRI reflections, or any kind of gimmicks.”

With the introduction of subtle 3D elements and delicate lighting and shadows, the abstract forms in the original have been embellished with translucent feathers. Two final versions have been published, a de-saturated tonal image, true to Von’s original and a bolder colour version with brilliant eyes.

“We are proud of the outcome of this creative collaboration, it respects Von’s work as inspiration and showcases our abilities at Taylor James” concludes Ed Taylor. The striking digital images of an owl can be seen in the June issue of Creative Review and at www.taylorjames.com.

One of the longest running independent international advertising competition the 40^th annual awards results can be seen on www.creativityawards.com and will also be featured in the 400-page Creativity Awards Annual out next year.