Wednesday, 6 February 2013

3D tech company Gener8 bolsters team, with plans for over 40 new hires by March

Stereoscopic 3D conversion company Gener8 is expanding fast. The company says it is looking for more than 40 people to hire by March of this year. 
“We are pretty proud of the fact that we are creating so many jobs here in Vancouver,” says CEO Rory Armes. 
“People want to work at Gener8 because we’ve got an amazing culture and our people can work on films like The Amazing Spider-Man and Harry Potter.” 
Indeed, Gener8’s client base includes Sony Pictures, Warner Bros, Twentieth Century Fox and Columbia Pictures. As a result, the company has worked on a number of major films, including the last Harry Potter movie, Ghost Rider: Spirit of Vengeance and The Amazing Spider-Man.
For new hires, Gener8 says it is looking for 20 compositors, 14 rotomation artists and seven rotoscope artists to work on a variety of 3D conversion projects for major films being released in 2013 and 2014. 
Incorporated in February 2011, Gener8 describes itself as one of the top 3D conversion studios in the world. The company uses G83D, a proprietary stereoscopic 3D conversion system, which it says can meet or beat natively-shot 3D.
G83D renders this virtual set in stereoscopic 3D for every frame of every shot, resulting in the “highest quality 3D conversion available”.
After establishing itself in the 3D tech market, Gener8 broadened its offering to include data flow management. 
The company last year launched Cumul8, a cloud-based data management and analytics system that provides filmmakers with real-time insights and control of their productions. 
Cumul8 uses technology to manage the distribution of digital data, giving Hollywood studios the business intelligence to drive down costs throughout production, says the company.
"One of their biggest challenges is the movement of digital assets,” says Armes.
“As the sophistication of digital effects increases—along with digital file sizes—the need to transfer enormous amounts of data between vendors has become an increasingly costly obstacle to filmmakers.”

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