Jump to content


  • Content count

  • Donations

    0.00 CAD 
  • Joined

  • Last visited

Community Reputation

0 Neutral

About gradualepiphany

  • Rank
  • Birthday 04/19/1982

Personal Information

  • Name
    Andrew Paules
  • Location
    Southern California
  1. VoxelB... Storm gets Academy Award

    whoo - congrats! |andrew|
  2. Layout: Horizontal? Vertical?

    Definately horizontal - I generally composite stuff for film so the aspect is very wide and it just doesn't make sense to lay it out any other way. |andrew|
  3. Houdini job

    Sure, it would be great to know all of the 3D applications. Unfortunately it's really not feasable for most people to master the oddities of each package. I'm primarially a houdini guy, but I can also use Maya or Max - the principals are the same but the tools are rather different. The reality of the professional world is that when a house needs artists, they need good ones and they need them NOW. They don't have time for people to learn new packages or get back up to speed with them - if there is a more specialized person avaliable they'll hire the person who can be productive immediately. On another note altogether though, the Houdini artists I know tend to be different from most of the Maya artists I know - The nature of Houdini tends to draw in the people who want to know what's happening when they push buttons, wheras Maya tends to have a user base that doesnt care as long as it works. Because the Houdini users tend to have a much better grasp of the underlying principals of 3D, they tend to be pretty comfortable using any application. I don't think this is true of most of the Maya artists I know. My recomendation is stick with houdini. I just graduated from school a few months ago and I'm working - there really seem to be a lot of jobs in the film world for good houdini artists. By the same token make sure you at least know your way around the other major packages, because you never know when you might have to use them |andrew| (edit: I really really really don't mean to imply that maya users are stupid or are all button pushers - just that the nature of houdini tends to attract a certain type of user. Maya's interface tends to make 3D more friendly for the non-technical person, which is arguably a very positive thing, at least for Maya.)
  4. Happy Birthday Mario Marengo

    Happy Mario day, and enjoy the sun and relaxation. |andrew|
  5. Shrek2

    Excellent writing - I about died when they came into Far Far Away - I just moved to LA myself in the last few weeks, so it was just that much funnier. I think it's easily the best looking CG feature to date - there was some work that was just stunning. I wasn't as impressed by the character animation, but overall it was excellent. |andrew|
  6. "p03"

    Anakin78z (jens I belive?): Thanks for the compliments - The ground on the first shot I agree has problems - and I spent some time trying to fix that line where the barrel layer overlaps the ground layer, but I couldn't get a composite that gave the look I wanted, and we didn't have enough time to have Ryan make a displacement for the ground & re-render both layers. Such are deadlines. Meshsmooth: The car is a Lamborghini Murcielago. |andrew|
  7. "p03"

    'ello ODities - it's been a rather long time since I've posted, and here's the project that absorbed my last quarter at school. I figured it's always a good idea to embarress myself in front of the greats of the industry, so here goes... "p03" (38.5 meg quicktime) I was responsible for the concept, direction, most of the compositing, and effects work. Ryan Gillis did all of the modeling, shading, and lighting. Richard Reed composited the live action shot. I'd like to get any feedback you guys might have on any of the piece - I seriously doubt I'll have time to go back and change anything at this point, but it's always good to learn from my mistakes. All of ryan's work was done in Maya, and my effects were all Houdini. Richard and I did the compositing in Shake. The project took 10 weeks to complete (not including storyboarding it out).
  8. Happy Birthday gradualepiphany

    Awww, thanks guys. Sorry it took me so long to reply - I just graduated from college (SCAD) and have been rather busy of late getting my act together. Looks like I'll be back out in LA within the month though - employment rules. |andrew|
  9. POPs rendering problem

    VEX Super Material also supports Cd |andrew|
  10. Composite COP & Alpha

    DOH! I should have known that. thanks much |andrew|
  11. Composite COP & Alpha

    I've found an odd bug using the over function inside of the Composite cop - I've got Image A over Image B - A has an alpha channel, B's alpha is completely white. Even if I HSV or Bright A's alpha down to complete black, A will still be about 60% visable. Any ideas? thanks, |andrew|
  12. Mysterious Black Frames

    the particles were cached right before the render sop, I actually figured out that the problem was that I was accidentally accessing one of my file sequences over the school's network instead of the local machine's disk. Our network was acting flakey, but when I fixed the file sop to read that sequence in from a local disk - no more black frames. |andrew|
  13. Day After Tomorrow Trailer

    Saw the trailer infront of Revolutions - looks like the CG is going to be incredible. Then again, it looked that way when I was seeing your monthlies |andrew|
  14. Mysterious Black Frames

    For some reason, when I render out a sequence of images, (particle system defining a metaball object and then shaded) every time I render the sequence out there will be a few frames that come out black. If I uncheck "Frame Range", go to the bad frame and render it as a single frame, it works fine. This is getting highly annoying, as I have to render, slog through the frames looking for blacks, and then go back and individually render those frames again. Anybody have any ideas as to why this might be happening? thanks in advance, |andrew|
  15. Need some halp again with my particles

    You could try using a point SOP to make all of your normals face in a particular direction (or do whatever you want to do with them for that matter). |andrew|