刚拿到Texas A&M, MS in Visualization的AD，是做电脑动画和数字视效的，自己非常喜欢这个方向，但是同时我之前又拿到了Upenn的computer graphic and game technology的AD，这个专业虽然也是做CG，但是更偏向CS一些；论专业的话我更喜欢Tamu的，不仅是因为专业课设置，更是因为学校说这个项目和Dreamwork之类的企业有很好的联系，所以对这个专业很动心；可是另一边又是upenn这样的常青藤名校，真的让我不知道该怎么选择了……论坛里面的朋友，有没有在Texas AM建筑学院读书的，知道这个专业的？或者哪位对我这个情况有自己的建议？是选择自己更喜欢的方向，还是选择一个名校，一个更好的平台？作者: runawaycow 时间: 2011-2-27 03:40:26
本人TAMU建筑毕业。平时爱看电影，所以对本校的Visualization多少有点了解。这个program最早源于1988成立的VIZ Lab，1998年改为Visualization专业，1999年设立本科专业，后来又有了master degree, 算是历史久的了（相对其它学校的这个专业），所以在美国的电影，电玩视效业界有很高的声望，和广博的人脉。其实自己当时并不知道VIZ program有这么强，是后来在实习单位听一些做渲染动画的同事讲的，他们都是其它学校Visualization的背景，但也都认为TAMU的这个program在美国算数一数二了，在业界几乎没人不知道TAMU的。作为Aggie最引以为豪的还是每年暑期档里都能看到TAMU VIZ 毕业生参与制作的视效大片，如Indian Jones 4, Iron man 2, Toy Story 3 和Wall-E等等。TAMU 的VIZ和好莱坞很多特效公司都保持紧密联系，每学期都会有Pixar, Dreamwork，Lucasfilm和ILM的人来给VIZ的学生做presentation, lecture,或review学生作业，设立奖学金，他们一般也都是TAMU VIZ的毕业生。VIZ学生暑假也能去加州的这些顶尖的特效公司做intern，让我们学建筑的都很羡慕。而且看他们的课程设置也是系统全面，并非单纯学习编程工具，很多课程是学习视觉基本原理，角色场景设计等等。建议你问他们要选课列表看看，会了解更多。
在网上随便找了几个TAMU VIZ毕业生参与制作的影片，大概你就心理有数了。
Aggies Team in animation "UP"
Six former visualization students had leadership roles in creating the film: Jean-Claude Kalache ’93, director of photography/lighting; Gary Bruins, effects supervisor; John Halstead ’97, sets supervisor; Robert Moyer ’03, character shading and groom lead, Eric Andraos ’02, sets materials lead; and Mitch Kopelman ’94, technical lighting lead.
Also contributing to the film, a critical success that led box office receipts in its opening weekend with a $68 million gross, were Christina Garcia ’97 and P. Antonio Piedra ’04, set dressing artists, Patrick James, a matte paint technician, and Landon Gray ’05, a sets technical developer.
Helping with the film’s lighting were Angelique Reisch and Kim Ross, key lighting artists, and Don Bui ’06, a shot lighting artist.
In the effects department, Jon Reisch ’02 contributed as a development and effects artist, and Chris Chapman ’95 and Keith Daniel Klohn ’93 were effects artists.
Sue Maatouk-Kalache ’94 provided production support, and Eric Peden ’04 was on the rendering pipeline group team.
Aggie Vizzers who worked on “WALL•E”.
Patrick James, Matte Paint Technical Lead
Sajan Skaria, Character Modeling & Articulation Artist
Bill Sheffler, Character Modeling & Articulation Artist
David Batte, Character Shading Artist + Effects Artist
Sarah Fowler DeLuna, Character Shading Artist
Brandon Onstott, Character Shading Artist
Don Bui, Character Intern
Seth Freeman, Character Intern
Christina Garcia, Set Dressing Artist + Additional Simulation (Crowds/Simulation)
Kevin Singleton, Modeling Artist (Sets)
Steven King, Shading Artist (Sets)
Charu Sharma Clark, Shot Lighting Artist
Angelique Ford Reisch, Shot Lighting Artist
Julie Garcia, Shot Lighting Artist
Kimberly Ross, Shot Lighting Artist
Chris Chapman, Effects Sequence Lead + Development Engineer(Technical Development)
Keith Daniel Klohn, Effects Sequence Lead + Development Engineer(Technical Development)
Kurt Phillips, Effects Intern
Alex Timchenko, Rendering Artist
Eric Peden, Rendering Intern
Clayborn Welsh, Marketing
The eight TAMU vizzers contributing to “Shrek Ever After” were Shaila Haque ’04, technical director; Rodrigo Huerta (working on MS Viz degree), animator: cycles; Pia Miniati ’00, animation rig engineer; Lei Han ’04, lighting artist; and in visual effects, Michael Losure ’08, Zeki Melek ’07, Zhang Xiao ’05, and Can Yuksel ’07.
Helping to assure the believability of “Toy Story 3” from Disney/Pixar were Aggie vizzers Jonathan (Jon) Kiker ’05, lighting artist; Christina Garcia Weiland (working on MS Viz degree), set dressing artist; Sarah Fowler Deluna ’04, character shading; Jesse Weglein, lighting technical director, marketing; Angelique Reisch (working on MS Viz degree), production training; Patrick James ’98, layout artist; Donald Fong ’08, character tailor; Eric Peden (working on MS Viz degree), render pipeline; Eric Andraos ’02, set shading artist; Vandana Reddy Sahrawat, master lighting artist; Chris Chapman ’95, shots department/FX; Jacob Brooks ’02, character grooming, simulation and effects artist; Don Bui ’06, DVD and promotion production.
Special effects in hit movies created by three former visualization students at Texas A&M’s College of Architecture were recognized with nominations Jan. 19，2009 from the Visual Effects Societyfor its 7th annual awards contest. (据说圈里人更看重的是VES的奖项，而不是Oscar的视效奖)
Craig Hammack’s work snared two nominations: he and a team of fellow animators from Industrial Light and Magic were nominated for Best Visual Effect of the Year for the valley destruction scene in “Indiana Jones and the Kingdom of the Crystal Skull.” Hammack was also nominated with another ILM team for Outstanding Models and Miniatures in a Feature Motion Picture in “Indiana Jones and the Kingdom of the Crystal Skull.”
John Walker and three collaborators from Industrial Light and Magic were nominated in the “Outstanding Animated Character in a Live Action Motion Picture” category for their work in the film “Iron Man”
Keith Klohn was among a team of animators from Pixar nominated for Outstanding Effects Animation in an Animated Feature Motion Picture in “WALL•E”
本人对藤校了解不多，所以不好枉自比较UPENN 和TAMU 的VIZ program的优劣。但根据我认识的Aggie Vizzer在美国的找工作经验来看，做电影，电玩这行，毕业后反正都是去加州工作，是不是藤校背景已经不重要了。选校主要还是取决于个人的兴趣爱好，和未来职业定位。