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Korhon last won the day on November 29 2015

Korhon had the most liked content!

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About Korhon

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  • Birthday 04/08/1983

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  1. Create HDA using python

    Thanks so much for the fast replys! Works perfectly!
  2. Create HDA using python

    Hi! Anyone know how to create an .hda using pyton? Want a script to do the same as rightclick/Create Digital Asset does. Thanks
  3. FX Artist - Gimpville, Oslo

    Bumping. Still looking for a full time Houdini TD
  4. FX Artist - Gimpville, Oslo

    Gimpville is one of the leading VFX studios in Scandinavia. Gimpville is specializing in high-end visual effects and 3d animation for feature films. We produce VFX for both domestic and international productions including The Wave, Troll Hunter, Kon-Tiki and League of Gods. Please visit www.gimpville.no for more information. Our offices are located in central Oslo, Norway. Gimpville is currently expanding it's vfx team. We're looking for skilled Houdini TDs to work on upcoming feature films. We are looking for both full time and production based employment. Responsibilities: Look developement and production of large-scale water and fire/smoke VFX. Setup and wrangle heavy simulations and render the assembled scenes using Mantra. Able to work effectively alone and as part of a team of TDs. Able to demonstrate excellent problem-solving skills Essential Skills: Experienced with both Houdini and Mantra. A thorough understanding of techniques and technologies relating to simulation and procedural setup. Minimum 3 years experience producing effects such as smoke, fire, water, steam, debris, rigid. and soft body simulation. Strong written and verbal communication skills. Ability to deliver quality shots on time. A solid understanding of the entire visual effects process, from shooting through compositing. Desirable Skills: Programming Houdini HDK assets A familiarity with pipeline issues, especially working between packages and large scale data. Python, VEX and HScript scripting Please write a few lines about yourself and your prior production experiences. Please also include a few lines about your goals and future career plans. For requests and application, please contact Lars Erik Hansen, job@gimpville.no
  5. The Wave breakdown

    Thanks for all the kind comment! This means alot! Simulations on this show was extremly huge. The avalanche scene ended up taking 35tb for 800frames :S We had 2months of rnd and lookdev on the wave before starting producing all the shots and the setup we made didnt change much during production. Its basicly a custum ocean deformer with flip ontop of it that took alot of taming and optimizing before acting as it should. We also made a custom foam emitter that uses flip instead of the regular pop workflow for the base foam simulation.Severeal pop sims was then simulated based on the basefoam sim to make mist, some pryo was involved here. The avarage sim times on the wave was : Base sim 3-6min frame Mesh base sim 10-30min frame Sources: 5-10min frame Misc Foam passes : 3-6min frame This resulted in 200-400million particles that was used in the final render render using pbr and points. The avalance had around 500.000 fractured objects and 500.000 packedprimitives (trees and rocks) in the main sim. Everything was constrained up nicely so when hitting play the avalance started fracturing. For pyro we had to build our own fluidsource that was able to simulate the containers in around 45degres angle(following the terrain) and split up to 8 different computers. Creating the smoke source was a real challanges as the data used for emitting was changing alot over time and was very heavy to work with. The avalance impacting in the water was made using the actualy simdata from the bullet sim, sending it into a flipsim as vdb collision and some custom velocity field in the impac zones for making it larger and more dramatic. Sim times on the avalance: Bullet sim: 3-4min frame Smokesource: 20min frame (this doesent make sense until you start unpacking 500.000 pieces and doing sop stuff on this many polys) Pop sims for dirt and extra debries around 2-5 min pr frame. Pyro sim: 1-20min frame each cluster. Flip impact sim time was the same as mentioned above. We have used mantra as our main render for many years now so i knew that as long mantra gets enough ram this would renderer smoothly and it did. (and it did use alot of ram) Would have loved to do this kind of job again using H15 and the new flip tools there(huge timesaver). Also you learn ALOT doing a job like this and there are severeal thing we could have solved different for more preformance and resolution on the sims, but overall we are extremely happy with the result Thanks
  6. The Wave breakdown

    Hi all! I just wanted to share the latest vfx job Gimpville did on The wave(norwegian disatster movie). Houdini was used for all the simulations and rendering and we couldnt have done this in any other software. Myself and Ole Geir Eidsheim was responsible for all the Houdini magic on this show. Its all flip/pops/sops/bullet/pyro and mantra awsomnes! Hope you all like it! Enjoy!
  7. Hi! I already postet this at the sidefx/forum, but no response so posting it here also Was wondering if anyone had any luck creating opencolors sonyanimation lut and sonyvfx lut for mplay? When I create a lut from nuke 7 in lut or blut format the result doesnt match what the sony luts are doing in nuke. In mplay or renderview the bright values doesnt get cliped the right way. Looks kinda clamped. So is there anyone here that had any luck creating luts for mplay that clips bright values correct? What is the workflow? Or is this a limitation of luts or mplay? Thanks!
  8. Halo 4 Spartan Ops - Behind the Scenes 1

    Amazing work! The lighting and overall look is just superb!
  9. Houdini 13 Wishlist

    Yes please!!
  10. Houdini 13 Wishlist

    - Fully threaded pops. - Open vdb! - Builtin HOT! and make it fully threaded, its kinda slow. This would make life for so many easier. - Flip speedups - Multithreaded occtree generation in mantra. It can take forever to start a displacement heavy render with raytracing. It uses 5-10% cpu in startup - Irradiance caching for mantra - Fur grooming tools. Houdini fur is so awsome , but it comes with no builtin groom tool for stylized hair and long hair. Now i can only do short fur with shelf tools. And make it faster! - Make mantra more ram efficient so we can throw more polys and points at it And speed speed speed And mooore speed
  11. Hi all! Just wanted to share our new animation reel. 90% of the shots is rendered with mantra, so most of this reel involves some kind of Houdini work! http://www.gimpville.no/reel/animation-reel-2012#animation-reel-2012 Enjoy and hope you like it
  12. Have you ever heard about this?

    The perfect software would be houdini 13 at that speed
  13. Gimpville Kontiki Breakdown

    Thanks all! Pazuzu: The clouds is just lit with several spotlights with different softness/shadow intensity/ and color. I think Serg made a post in the "pyroplastic noise demystified" thread that show a good scatter fake with 3 spotlights. I used shadowmap for the plane shots since there where noe reason to trace it , but in the space sequence when i had to move the cam over huge distances i raytraced all clouds. Should mention that the breakdown isnt based on the final grade, so colors may look a bit strange someplaces. The clouds looked much better after grade
  14. Hi all. Just wanted to share some of the work we did for the Norwegian movie Kon-Tiki. All shots except the crowd was rendered with Mantra, so there is a lot of Houdini work involved. We used HOT for all our cg oceans, and we wouldn't have any good ocean soulutions in Houdini without HOT. So a big thanks to Drew Whitehouse for creating HOT! All shots was made in H11 except two whale shots. These shots were done in H12 'cause we needed to do high-res flip-simulations around the whales as they break the ocean surface. Also a big thanks to SideFX for creating a kick-ass software that solves every problem you throw at it Visual Effects by: Gimpville AS Studio Manager: Torgeir Sanders VFX Producer / Supervisor: Lars Erik Hansen On set VFX Supervisors: Lars Erik Hansen Torgeir Sanders Christian Korhonen Modelling / Sculpting / Texturing Artists: Jan Svalland Christer Bjørklund Simon Dahle Nyhus Andreas Lønø Petter Burhol Eryk Pajewski Alexander Bjune Previz Artists: Alf Martin Løvvold Kjetil Haalnd Kulander Andreas Lønø Match Moving: Kjetil Haaland Kulander Animators: Kjetil Haaland Kulander Einar Rafoss Dunsæd Atle Blakseth Matte Painter: Olve Askim Grant Regan Houdini Artists: Christian Korhonen Ole G. Eidsheim Jan Svalland Severin Mathiesen Compositing Artists: Jan Svalland Severin Mathiesen Heidi Dahle