I am currently on a lengthy contract that theoretically runs until the new year, but don’t let that stop you getting in touch using the details below!
For the last couple of years I’ve been concentrating on Houdini related work, so if that’s what you’re after we’ll get along even better. I can work remotely on your machine, plus have local Houdini Indie and Redshift 3D licenses.
Prior to that I have an additional 13 years experience of other 3D software, including some Maya and a whole lot of Softimage – remember that?
After a few more years of pootling about working in London and 2 years of Houdini work, it’s about time I updated my VFX reel! The previous one missed many projects out, so it’s fitting that this one is practically a 2019 one, especially considering the months spent during lockdown working on a personal project or two.
This particular reel contains some of the more effective and impactful shots I worked on for The Planets and the second series of Britannia, both at Lola Post Production in London’s West End. The Planets mainly involved decorative spheres in space, with a strong style that leans heavily on NASA’s archives with inky blacks and no stars. See my preview post from a while back for details!
As an aside here, as someone who has switched 3D software to Houdini, if you’re considering learning Houdini, don’t be daunted! Start with the simpler stuff. At Lola, I was given a Houdini Core license which gets used in studios to do the day to day 3D tasks, working on shots, bringing in assets others have made, plus creating shaders, doing layout work etc. If you can handle that, the FX stuff becomes a lot easier to get your head around because you are already thinking Houdini. Looking back, especially now I have my own Houdini license at home, if I had dived into the FX end of things first it would have put me off the software. I can now easily work around problems with wrangles, writing my own nodes in VEX, I understand the logic with which the transforms are put together, the reason why global transforms are hardly ever differentiated from local and so on. If I had to learn that AND how to make a custom destruction sequence I’d be a full time bowl carver by now.
Enjoy the reel! And the drum and bass. Apologies, I needed something with pace and no lace. Feel free to use that last sentence in a conversation today.
A while back, working at Lola Post, as things were winding down on BBC The Planets, I was handed a few things to work on for Sky/Amazon’s Britannia.
Initially this was a case of doing a spot of modelling. Barracks and cranes were needed to pad out the layout of an outdoor set. Aulus’ house had no roof in reality, then had my CG one, then a burnt version as some hooligans set fire to it using firebombs. Those also needed making as visual effects.
Two of the sets, one for the location known as Isca, and one for Oppida (an old name for settlement) were scanned using Lidar. Once that had been wrangled into something usable, it was handed over to us and used alongside many photo references taken on set to aid in all the modelling and set extension work that needed doing.
As there were many shots in both locations, there was a lot of tracking work to be done. I’m a firm believer in not over-engineering things. Whenever I could I pinned stills in to the plate using Nuke and then passed the whole lot onto compositors. However, being an atmospheric kinda show, this wasn’t always sufficient as said compositors usually had extra elements to add and a camera track was handy. Most of the shots tracked fine once we’d figured out lens info. Even when there’s loads of moving people in shot, there’s often enough to track between foreground and background for PFTrack to grab a hold of.
Isca had its own challenge. Being a hill fort inspired by some very old principles indeed, the actual set was tiny compared to the one that needed to be seen in wider shots. I was tasked with adding details in to aid its scale and believability. A quick fence creation setup in Houdini allowed me to draw in fences around the various huts dotted about. A series of particle distributions were used to scatter rocks, piles of logs and grasses around. Water troughs, buckets and other accoutrements were hand placed on to the set.
On the subject of technical work and Houdini, this was the second project where a large chunk of my work was done in Houdini, even layout and some of the modelling. This allowed me to continue learning an enigmatic software at a generalist level, only opening Houdini FX right at the end to set up a rigid body system. The project I’m on now (a story for another day) has seen me create particle systems, pyro smoke and even water, while all the time fitting that in within what many would consider the staple tasks of a 3d generalist, in one 3d package.
I even had an opportunity (much in the same way as my Latin homework at school was a ‘learning experience’ according to our teacher) to learn the basics of crowd setup in Houdini. When Aulus’ army arrive at Isca and indeed are en route, they didn’t have the decency to be real people. Luckily for me, much of the leg work of rigging soldiers and sourcing motion capture data had already been done, but setting up new shots based on others necessitated pulling things apart to understand how they worked, then making new setups from scratch. Much of VFX work is this and asking colleagues how to do things. Asking questions isn’t a weakness. Pretending to know everything is.
On my longest stint working for one client, 14 months at Lola Post, I was lucky enough to be working on The Planets, first airing on BBC 2 on Tuesday May 28th, a decade after the previous BBC show of the same title aired.
A lot has happened in the last ten years – scientific advances and space exploration has led to us having unprecedented imagery and data from our solar system which has altered the theories as to how Earth and its sisters came into being, why we have life and other planets currently don’t, inspiring future voyages into the unknown. Down here on our little blue marble, technology has marched on apace, supporting space exploration and indeed driving it, but it has another positive outcome too – a huge improvement in visual effects.
This series has hundreds of VFX shots in it, many of them involving visualising locations we can’t possibly send a film crew to and times so far in the past it’s hard to imagine. With so many shots, and so many different terrains and planetary destinations to represent, I was brought in early to do look development and some research into how things may appear. Once the series was underway this was supported by the Open University who informed of correct details and current theories regarding how a landscape looks, the colour of the sky, the variety of tones on the ground and so on.
Helping all this was the fact that NASA and ESA put a lot of their data out in to the public domain, so written information, photographs, global textures and even elevation data, are available to you and I for free. There’s a lot to wade through but it was well worth the trouble.
Much of my terrain work and planetary imagery was pieced together in Terragen, though some of the wider planet shots including contemporary Earth, Jupiter and Neptune, are made in Houdini, that also being the 3D software of choice for laying out camera moves, adding asteroids, dust clouds and so on. The probes, asteroids, meteors and landers were mostly tackled by a team of talented artists and operators, some being hired for their lighting skills, modelling, others for more challenging Houdini simulation and destruction work.
Many were working for several months, a few of us well over a year, with production itself taking 2 years in total! That’s a lot of people putting in a lot of effort, and if my recent viewing of an episode is anything to go by, it’s all been worthwile!
It’s not often I find the time to write something for my blogs these days. Even this news is 2 months old at time of writing. Back in September, the first episode of The Alienist, a show I spent many months doing modelling and texturing work on at Peerless, won the 2018 Emmy for Outstanding Special Visual Effects in a Supporting Role!
Needless to say it has gone on the CV. My colleague and good friend Rasik hopped over to LA (bravely I might add) and picked up this little lady for us. Here I am holding what has to be the most obvious hiding-in-plain-sight potential murder weapon I’ve ever held. Those lightning wings are spiky. There’s a sentence I never thought I’d write. Anyway! Onwards and upwards!
The Alienist is now available on Netflix in the UK.
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!
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
This is aimed not at vfx companies, but at individuals who need help on short films, student projects, promo work on their first independent music video and so on.
Ever since I began in this freelance career of mine I’ve been asked to work on many projects of a low budget nature, and even more of a no budget nature. My stock answer to emails asking if I wish to work on a low or no budget project is no. Here’s why.
The most common phrase used to entice me in these situations is, “We have little budget now, but it could lead to more work in the future.” This works 2 ways. More work in the future shows that you believe in this project. Or does it? The future work is the carrot, the current low budget is the stick. In business that stick is a problem.
If you have your kitchen replaced it would be fair to say that even on a shoe string budget you would find sufficient coin to pay for a plumber and a gas man. Why? Because done badly, the plumbing could flood your house causing expensive water damage and worse, a dodgy gas fitting can blow a house sky high. You are effectively investing in your future. If those tradesmen have done their job correctly first time around you should never need to call on them again. They are skilled in their craft and charge accordingly.
When I finish a job, the intellectual property rights including copyright, must be handed over to the client. Past that they can do what they like with it. Every shot I have ever done to be shown on the BBC for example is legally allowed to be placed into any show of their choosing whenever they like and they don’t have to tell me or pay for it again. In that respect, production companies get astounding value for money out of vfx companies and thence freelancers like myself. In the same way as a plumber has years of practical on-the-job training and experience, so do I.
If I have a kitchen that needs plumbing I will pay someone that knows what they are doing. If they underquote, they are underselling, possibly inexperienced or trading illegally, all of which are bad. In that situation I would call someone else.
If you contact me for a quote on a small project, find it larger than you expected and go elsewhere, don’t be shocked if that elsewhere isn’t much cop or turns out to be just as expensive thanks to needing to hire someone else to sort out mistakes.
In short, you get what you pay for.
Quality, Speed, Affordability. Pick 2, the other one will suffer.