After many years of work I’ve finally built up enough new shots to replace much of my old reel. It served me well, bringing in many projects, and indeed some of the better shots still remain, but now with spangly new work alongside!
My contribution to each shot is shown briefly in the bottom left of the screen, with a much more detailed explanation written shot by shot in the PDF breakdown.
In the past few years I’ve been fortunate enough to work on some very interesting projects that have been subject to watertight NDAs. Now that they’ve been broadcast and the dust has settled, it’s a real bonus for me to finally be able to share some of these with you.
The MARS series and Teletubbies were two such projects. MARS was seven months of my time and if I recall correctly, Teletubbies was significantly longer. This left two large projects missing from my reel and consequently any updates to it felt kinda pointless as I’d only be adding one or two shots and labelling it a new reel. The thing with working in TV or film is not all shots that I work on are actually showreel-worthy. Many are similar to each other or shots I’ve made previously, or they may be created using other people’s systems, to the point that putting them in a reel of my own work feels disingenuous.
This reel has been a long time coming, so I hope you enjoy it!
This past few months I’ve been beavering away at Lola Post on 2 series of shows, creating VFX of a weathery, Earth-scale nature for Britains’ Most Extreme Weather, and shots of all scales for series 3 of How The Universe Works.
Ordinarily I’d put together blog posts before a show goes to air, but in the case of Britain’s Most Extreme Weather it slipped from my mind as soon as I rocked back onto How The Universe Works. Much of my weathery input was particle systems and strands, either using existing setups from previous shows or creating new ones as appropriate. A particular favourite of mine was a system showing the movement of air around cyclones and anticyclones; A strand system that rotates particles around many points, allowing them to move fluidly from one direction to another as if air, all wrapped around a lovely spherical Earth.
How The Universe Works is a series I’ve been on for many many months now. I first started on it in November I think. The first episode, all about our Sun, is to be shown on 10th July on Science in the USA.
For that show I took Lola’s existing Sun cutaway setup, introducing a more boiling lava-like feel through judicious use of animated fractals and grads.
Overall I’ve worked on 8 episodes with a handful of shots in each show. After all that dedication to spheres in space I am now supervising the VFX on one of the last shows for this series!
More geeky details and videos for both shows to come!
The British cut is different to the US one. The cut shown on Sci had to be edited to allow for the ad breaks. So, if you like your Hammond unsullied, this is the showing for you! Additionally, this being the UK, Hammond appears in the title of his own show. The international cuts often drop his name so as to make them more marketable in countries where he is little known.
The second episode is likely to be broadcast a week or so later but is yet to be confirmed I think.
Not so long ago I worked at Lola Post, London, on another documentary hosted by Richard Hammond. Similar to the Journey to The Centre of The Planet and Bottom of The Ocean shows I worked on some time back, this entailed a heck of a lot of vfx.
The concept is that we see the constituent parts of scaled-down planets and the solar system being brought together in a large space over the Nevada desert. In order for Hammond to be able to present things at the necessary altitude, he is up at the top of a 2 mile high tower, which is obviously not real for various reasons. Nor is the desert much of the time. Or Hammond.
My input on the show was working on dust and sand particle systems. I was working on 2 sequences of shots. I will warn you now that some of this will get technical.
The first sequence shows a large swirling cloud of high-silica sand and iron. This includes a shot which was to become my baby for a month or two. It pulls out from Hammond at the top of the tower, back through the dust cloud swirling around him, then really far back so we see the entire 2km wide cloud in the context of the landscape around it. The whole shot is 30 seconds long.
The second sequence of shots shows the formation of Jupiter out of a large swirling disc of matter. Jupiter itself attracts dust inwards, which swirls as it approaches.
A few challenges presented themselves quite early on. One was creating particle systems in Softimage’s ICE that behaved correctly, especially when it came to dust orbiting Jupiter as the whole system itself swirls around the protosun. The initial swirling round the protosun was solved using a handy ICE compound that Lola have kicking about on their server, but if you use that twice in an ICE tree it is only evaluated once as it sets the velocity using an execute node, effectively overriding the new velocity value for each particle, rather than passing that out so it can be added to the previous velocity.
The solution to this was to break apart the compound. Integrating new nodes, including some out of a Move Towards Goal node, meant that I was able to make a new compound that I could proudly label Swirl Towards Goal. It sets the goal, then outputs a velocity which can be added to the velocity from the previous swirling compound higher up the tree. It even has sliders for distance falloff, swirl speed, and weight.
The most challenging aspect of this project was actually rendering. The swirling dust in each of my shots is made up of about 4 different clouds of particles. One alone has 60 million particles in it.
Enter Exocortex Fury, the fabled point renderer that was to save our bacon. Aside from one fluffy cloud pass per shot, rendered as a simple Mental Ray job on a separate lower detail cache, each cloud pass was rendered with Fury. Unlike traditional particle renderers that use CPU to render, Fury is a point renderer which can take advantage of the raw power of graphics cards. The upside is a far faster render compared to traditional methods, and done correctly it is beautiful. To speed things up further, particles which were offscreen were deleted so Fury wouldn’t consider them at all. Downsides are that it can flicker or buzz if you get the particle replication settings wrong and it has no verbose output to tell you quite how far it is through rendering. Between us dust monkeys many hours were spent waiting for Fury to do something or crash.
Adding to the complications was the scale of the main scene itself. The tower is rendered in Arnold, a renderer that works best when using one Softimage unit per metre. Unfortunately the huge scene scale caused problems elsewhere. In a couple of shots the camera is so high off the ground that mathematical rounding errors were causing the translation to wobble. Also, as particles, especially Fury-rendered ones, prefer to be in a small scene to a gigantic scene for similar mathematical reasons, they weren’t rendering correctly, if at all. The particles were in their own scenes for loading speed and memory overhead purposes, but in order to fix these issues, the whole system was 1/5 of the main scene scale and offset in such a way that it was closer to the scene origin yet would composite on top of the tower renders perfectly.
Recently I’ve been retraining in Maya and giving myself extra alone time with the Arnold renderer from Solid Angle.
I decided to use this as not only an opportunity to find out how my Softimage lighting and rendering skills translate to Maya, but to show how basic compositing is something that every 3d artist should embrace if they don’t already.
One thing which has surprised me again and again is how little students and graduates of 3d courses are given a grounding in understanding what goes into their image and why it’s beneficial to use the compositing process as part of their workflow. Some students are even penalised for not showing their raw unenhanced render, having points deducted for daring to composite. To give a parallel, this to me is like a film photography student handing in negatives and no prints. The job is half done.
This won’t be a tutorial, more a pointer in the right direction for those who are starting out.
The example I use, a still life of a bowl of fruit, is a model from the very first lighting challenge hosted over at CGTalk. The files and others are downloadable at 3dRender. The model’s pretty old now so it’s not especially high detail but is still sufficient to show you what I intend to.
After a bit of setup in Maya and throwing on some pretty rough textures, here’s the beauty straight out of Arnold:
It’s lit with 3 lights; A cool exterior light, a warmer interior light, and a fill for the shadow in the middle. On their own, the images appear like this:
These images can be added together in any compositing software and they will give exactly the same result as the beauty above, to the extent that a pixel on the beauty will be exactly the same colour as when these three images are added together.
Each of these images is itself a composite image. Arnold, Mental Ray, Vray and other renderers consider many different material properties when returning the final colour for a particular pixel. Each property can be saved out as an image itself and added together to form the final image. In the case of the beauty itself, these are the images that I’ve rendered out of Arnold:
Again, added together, these form the same image as the beauty above perfectly.
(A side note here: A few component images are missing, including reflections, but were missed out of this contact sheet as they are entirely black. As none of the materials are reflective in the traditional sense, the reflection image is returned as black, whereas the direct specular contains highlights that mimic reflections. Arnold is peculiar in that it can consider reflections in 2 ways and transparency in 2 ways, depending on what is trying to be achieved.)
So what am I getting at here?
Here’s the beauty again:
Now here is a warm, evening setup:
And finally, a night lighting setup:
All three use the same component images, composited together in different ways: For example, tinting the lights, changing the intensity by blending the images with varying opacity, or even desaturating the key light to achieve a moonlit interior effect. On the night lighting I’ve changed the apple using a matte together with the specular & sss channels from the fill light. It was too bright and waxy. I could have re-rendered the 3d perhaps, but a tweak in Nuke was a lot more efficient.
The compositing process, even at this basic level, allows for flexibility from the get go. Where clients are concerned, flexibility is key. When passing work by a client it’s inevitable that changes will be requested and often they are something subtle that can be achieved in the composite. If you try to achieve that yourself using only 3d solutions, the render times will get long, especially when working on tv or film. Ordinarily I work alongside compositors and it’s up to them to do compositing tweaks whilst I work on a new shot or more substantial alterations to a current one.
Similarly, when first lighting a shot, working with many rendered channels, including additional ones of your own creation, is a rapid method of figuring out whether your setup is indeed heading in the right direction. Using the same component images for multiple looks is a time saver too.
One thing to bear in mind is once you know which channels are likely to be needed, it’s time to stop rendering the others as these can fill up hard drives quite nicely.
In short, stop tweaking your 3d scenes asap. Render out your initial lighting setup and see how much can be done in the comp. It isn’t cheating; It’s part of the process. It allows you to render the shot out, pass it on, and start a new one. Ultimately it will help your relationship with compositors who like to know what’s going into your image and what they need to add, plus [perhaps I shouldn’t say this, but here goes] it will make you more employable.
Recently in America, The History Channel broadcast The Bible Series, knocking American Idol into the weeds for ratings. The real reason of course to celebrate this fact is that I worked on VFX for this, along with many others hired by / working at Lola Post, London.
There were hundreds of shots. As the series covers many well-known events that are either epic in scale or miraculous in nature, it’s hard to cut corners with this kind of content.
One of the advantages of VFX is the ability to extend sets or create new ones. The most used model shared amongst the 3d crew was that of Jerusalem. It was originally an off-the-shelf-model of a real scale model, intended to be seen from a distance, so it needed to be tweaked and improved upon where appropriate on a shot by shot basis. With so many artists having touched the model at one point or other, the lighting setup, materials and textures got improved to the extent that once composited, the shots really shone out. Many of the shots I did for The Bible featured Jerusalem, either as an entirely CG set or an extension tracked into existing footage.
One story that is covered in the show is that of Moses parting The Red Sea, with the Israelites being chased by Egyptians through the parted waves. The shot I did for this sequence is a slightly top down shot, following the fleeing crowds through the freshly created gap in the ocean. To achieve this, I effectively split the 3d ocean into horizontal grids and vertical grids. The horizontal grids were simulated with aaOcean in Softimage. The vertical ones were distorted to represent the sea walls, textured with composited footage of waterfalls running upwards. The join where the two sets of grids met was blended using a matte and Nuke’s iDistort node. Softimage’s CrowdFX was used for the fleeing crowd. Twirling smoke elements were added once passed to the comp.
An advantage of Softimage’s ICE simulation system is that making a convincing cloud or mist is a fairly straight forward procedure. I was tasked with creating a storm over Jericho, a swirling mass of cloud and debris that had to look huge and imposing whilst looking down through the eye of the storm. With clouds, water, and many other fluids, scale can be half the battle. A large wave only looks large if surrounded by smaller ones, a cloud only looks like a huge ominous mass if seen as a collection of smaller masses, but go too small and the effect is lost entirely. In the case of the cloud, if too many small details were apparent it very quickly seemed fluffy. Cute a storm is not. Once the cloud’s scale was correct, there was the issue of it having to spin, distort and generally seem organic. Handily ICE has a node for rotating clouds around points in space so that solved that one. The distortion was shape animation applied to a lattice attached to the cloud.
The rest of my involvement on The Bible was tracking shots in PFTrack and adding in set extensions. Most of the 3d content was rendered using Solid Angle’s Arnold Renderer.
The work in the following reel is created using Softimage, Terragen, Nuke and PFTrack.
Text in the bottom right shows what I created for each shot.
See PDF for further details. Download PDF shot breakdown
Edited on 15th Oct – Now updated with work from The Bible Series and How To Build a Planet
Following on from the previous post, this week’s episodes of Waking The Dead on BBC1 focussed on the story of Gemma, a girl raped twice then thrown off a bridge, and somehow surviving with a few broken bones and a shattered pelvis.
I worked on one shot for this, the falling stunt Gemma. A digital stunt double works out cheaper, and safer than a real one.
Being how she is seen at a distance I was able to get away with modifying a pre-existing female model straight out of Poser. I reduced the detail level to something managable, altered the overall shape to match the adjacent shots and set about animating using a slightly modified default rig in Softimage. Once that was cleared as being fine, the hair and clothes were added, the whole lot rendered out and passed on to Sascha for compositing.
Film 4’s Frightfest was on again this year at the Empire in London’s Leicester Square.
I was one of a few freelancers lucky enough to work on Tom Six’s ‘Human Centipede’, a thoroughly odd concept for a film. I briefly mentioned this in a previous post, incorrectly referring to it as the Human Caterpillar. I guess a caterpillar does seem slightly cuter than a centipede! The rough premise for this is that a surgeon, previously separating siamese twins for a living, is now collecting people to build a centipede where each person’s mouth is stitched to the anus of the person in front. Yup. You read that correctly.
My part in this was to fix a few things in After Effects that couldn’t be sorted on set. The lady above is having her teeth removed in order to facilitate the passage of waste from the person in front. In that instance is was up to me to remove teeth from the 3 shots involved. The rest was mostly tracking stuff, and a few blood spatters, but there were a couple of time consuming shots involving animating a load of rain drops on a car window. The shots were filmed out of sequence on a night when it genuinely was raining, but some were missing the obvious rain drops one expects from having just driven through rain. The best bit about this was Tom Six saying something like “Rain from a rain machine always looks shit. Nothing like rain,” a statement I highly agree with. Lovely guy. The kind of person you wouldn’t expect to come up with a film about stitching people together in a chain.