I love to open a fresh new scene and start to create. It became my hobby (and it still is, to this day).
#Houdini fx classes software#
I enjoyed studying design, but I was always more curious about 3D software from the moment I opened one. I’ve got a master’s degree in interior design, so it's completely different to VFX. LBB> VFX is a true craft in the classic sense of the word. We are there to help you to tell your story and we want to deliver the best work possible. Once you are on set, everybody is on the same page and knows what to do. These discussions can help to save you some budget and ensure the shots with VFX will look great. Sometimes you find out that there is a much cheaper solution to certain things practically rather than recreating everything in CG. It's also good to have references of other projects which were already done and discuss what would you like to achieve.
What equipment, lenses you have in mind and planning to use. Discuss every detail with your DOP and VFX supervisor. Do the previsualisation of your shots in advance of the shoot. Kate> If you know that your show will require VFX, it is important that you involve a VFX supervisor or CG lead in early discussions of the project. LBB> As a VFX person, what should directors be aware of to make sure you do the best possible job for them? Very important aspect is the time, if you don’t have enough time for VFX, try to find other achievable solutions, otherwise you might end up with something rushed which drives the viewers attention from the story. Is your show going to be realistic or stylised? Are you aiming for something brand new and unique, that nobody hasn’t come up with yet? Sometimes teams of artists spend lots of time researching and developing, making tests before they find the right look for the show.
#Houdini fx classes full#
When you have a full CG or very heavy FX sequence, one of the biggest challenges is in my opinion the style. What we can do in CG is to recreate that asset and integrate into the following shots, or equally remove it from the previous ones. And for the continuity you need that asset, but you can’t get it physically anymore. In terms of scope of the work that could be from a set extension where the entire street is being extended, crowd in the background cheering or effects such as dust particles, breath coming out of the actor’s mouth.Īnother example, less cheerful, but lets say something breaks accidentally on set, which was in all previous shots. They need to look as realistic as possible and integrate well into your shots. When you are working on a live action sequence, where you have “invisible VFX” you need to make sure that nobody can spot them. Kate> There are certainly challenges in both. What are the challenges that come with each of those? LBB> There are two ends to the VFX spectrum - the invisible post and the big, glossy 'VFX heavy' shots.
It’s important to consider that before you start making a schedule for your project and make sure you have enough time for post.
There are of course generalists which can use more than one type of software but even those couldn’t master every single task. Each of those artists are specialists using different types of software. There are many different disciplines and artists in a chain of pipeline, working on one shot. In reality, it requires lots of skills, knowledge and years of training. Kate> People sometimes think that VFX is easy to do. LBB> What’s the biggest misconception people have about VFX? Though no longer an officer, she remains a board member of the chapter.
#Houdini fx classes professional#
In addition to her professional work, Kate has been actively involved in the VFX industry, chairing the London ACM SIGGRAPH Chapter for over five years and hosting various industry events. Kate’s recent work includes spots for Winamax ‘Everything for your Mama’, Chevy ‘New Generation for Super Bowl 2022’ and Chilly's ‘A Reusable Way of Living’ as well as a game trailer for Battlefield 2042 ‘What A Time to Be Alive’ and ‘Wild Hearts’ Cinematic Trailer for EA. Kate Gabriel is a lighting & rendering supervisor on world-class commercials for the likes of Nike, Amazon, BMW, Coca Cola and Formula-E as well as the award-winning promo for the Chemical Brothers - ‘Free Yourself’.
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