![]() ![]() This was quite a challenging project to work on, but it was very rewarding to see the sequence I helped create play in the final film. My first professional venture as an FX artist was working on Harry Potter and the Deathly Hallows Part 2 at Gradient Effects in Los Angeles. After my years at school I managed to assemble a collection of student projects that would help me break into the Vfx industry. I still can’t thank him enough for a strong foundation in all things Houdini - digital assets, proceduralism, scripting, and rendering. His inspiring digital works of art are mathematical and intricate, but still have a very organic, tactile quality to them. I was fortunate enough to take Houdini classes by the brilliant fine artist Ken Huff. I went to SCAD (The Savannah College of Art and Design) to further my education in visual effects and hopefully land a job doing what I loved. I decided that I wanted to get serious about working in the VFX industry and learn the best tools out there. I had heard of a tool called Houdini that artists were using in production of various films that had inspired me. It’s amazing just how difficult it is to fill up a glass of water, simulate it splashing, then render it and have it look even somewhat photo-real! While it was a challenge and for the most part enjoyable, I thought that there should be a better way to direct the simulation and keep it all in a single package. After the first couple simulations and renders of splashing water that I painstakingly waited for weeks to render I was hooked. While I was still in high school I started learning Maya and Realflow as part of a video and multimedia class. Gaming got me into computer graphics, but visual effects and rendering really peaked my interest in terms of their photo-real look, complexity, and high computational demand. ![]() ![]() From a young age I was building my own computers and trying to get the best performance out of them. I was always interested in computers, graphics, and gaming. It has become much faster and user friendly, especially in regards to modeling, lighting, and lookdev, while maintaining its world class simulation environment to accomplish almost anything you can imagine. After using Houdini over 8 years I can say that if you have been curious about procedural workflows, now is the time to start using Houdini. I want to say thanks to SideFX for creating and improving upon an already amazing toolset version after version. Heavy simulations, procedural modeling, animation, lighting, and rendering all benefit greatly from Houdini’s flexible and directable workflow, allowing for agile changes and an improved quality of life for artists. While I use many tools to create, Houdini is usually my tool of choice. ![]()
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