What do you think?

[vfxjensen]

Hi there!

 

I'm a hobbyist from Denmark trying to improve my Houdini skills. I like to look at all the tutorials and to build something from scratch and share it on orbolt.

You can see some examples on my site http://www.theisjensen.com

 

What do You guys think?

In the future I would like to get a job in the 3D business but what is important to do to get your first job? Should I be able to work with other 3D application or maybe some compositing program?

Or programming?

Or is it enought to just stick to Houdini?

 

Cheers!

 

- Theis

[danw]

I reckon a generalist background is a good way to get started - everything helps, traditional & procedural modelling, texturing, animation, simulation, compositing, matchmoving, lighting, rendering etc.  You don't need to be great at everything - you'd spread yourself too thin if you tried, but it helps to fit into a production environment if you understand the basics of the whole pipeline, as you can communicate better with the people who *are* specialised in each particular discipline.

 

I don't like to admit it, but Maya is probably worth learning, even if you eventually drop it in favour of Houdini, as a lot of the industry is still very much centered around it as a base-package.

 

The fastest way to broaden your abilities is of course to get into a job, so don't necessarily hold off until you feel you've built up to a decent level on your own.  There's no substitute for professional experience - there's lots that you'll never be able to teach yourself.  Get out there and get a foot in the door as soon as you're able.  Ultimately, don't be afraid to change jobs down the line, when you feel you've improved and you want to take on bigger challenges.  Depends on the company, but you can end up being treated as an artist of whatever level you were when you joined, long past the point where you've improved beyond it.  At the very least, it's worth working at a large studio and a tiny one, as they'll both teach you things the other can't.

 

 

On the Houdini front - if ultimately you want to focus on effects work, there's no single package you could learn that will ultimately be as diversely useful as Houdini.  Even if you end up working on a primarily Maya/Max/whatever pipeline, you'll find that Houdini can come in massively handy to augment all sorts of workflows.  (Assuming a company has a license / can be convinced to get one :-)

Edited August 26, 2014 by danw

[Sierra62]

I agree with danw, learning maya is essential, whether or not you are using it for dynamics.  I usually use Maya only to get the camera, and scene geometry.   When I first started in the industry I was surprised how much time I end up spending in Nuke.  Most of the shots I work on I need to do a slap comp to submit it too dailies.  You don't need to be a good compositor or a good animator. 

[danw]

Yes, thinking about it, it can help immensely if you're supplying a highly technical render comprised of various secondaries - like water renders and such, if you can provide a 'reference' comp to show how they're supposed to be combined, which compers can use as a starting point.  From experience, I've found a lot of more junior compositors will tend to just hack a couple of your lovingly produced render passes together in whatever way looks approximately correct, unless you do this.

On very rare occasions, I've even needed to *prove* to supervisors that the problem wasn't in my 3D elements, by providing a "quick slap comp" that blatantly did the job better than the assigned comper was managing.

 

It's also very useful knowledge just for understanding what you should be providing to comp and why.

[matsbt]

It's not bad, but I think you should focus your efforts on something specific like fluids or smoke if you want to stick with Houdini. Like others have said if you want to get an entry level job in the industry learning Maya is probably a good thing since it's the de facto standard. Programming other than Python scripting is only useful if you want to get your hands dirty writing shaders or custom HDK plugins.

 

Mats

[vfxjensen]

Thank's a lot guys! I appreciate you comments a lot.

I guess I'll try to go into the area of fluids and smoke and see where it all ends.

 

Do you think it would it be too early trying to get my foot into the door now? Maybe as a runner or something?

 

What about an educational level. Is it recommended to have a degree in the field of computer graphics?

[eetu]

It's not bad, but I think you should focus your efforts on something specific like fluids or smoke if you want to stick with Houdini. 

 

I guess I'll try to go into the area of fluids and smoke and see where it all ends.

 

I think you should _eventually_ focus on something, but at first it would probably be a good idea to learn a bit of everything, and see what you are good in and what you enjoy the most doing.

 

A formal education is not mandatory, but of course it can help. All knowledge is good Some vector math and a bit of Python scripting will go a long way.

[Guest tar]

Never wait! go for it now and as soon as you can. Once you start working professionally your work will almost magically improve - seriously - as you will then be working cinematographers who shoot great images, compositors who will integrate your work superbly, highly skilled supervisors and cgi artists who know how to produce beautiful images, and, bigger budgets than you could ever manage yourself.  

 

It's like a rolling stone - the more work you do, the better work you get to do.

[vfxjensen]

Thank's a lot for the in depth comments!

Do you know some specific companies that are willing to take chances with a hobbyist who had never worked before? I'm willing to work in Europe for almost nothing as long as I can get my foot into the door.

[Guest tar]

When I started two decades ago I just cold-called companies in the phone book.  There you learn a life long critical skill - talking your way past the secretary

[vfxjensen]

Marty, Do you as a professional think my work on theisensen.com would qualify me as a serious candidate?

Edited August 27, 2014 by vfxjensen

[Guest tar]

I personally don't review work of aspiring juniors - if the attitude is first right, then review. your website isn't coming up currently

[vfxjensen]

Oh, that's because I've misspelled it    : http://www.theisjensen.com *\\O//*

[Guest tar]

I think you're mainly competing with graduates from the schools, so you might have to equal them, not too sure what all the different training skools are producing but I would check out some of the graduate reels. 

 

My personal experience is that there are uninspired companies and inspired companies out there.  Inspired companies don't require exactly XYZ of software and ABC technique to be known - they are run by more artistic people... but this then requires a great aptitude and attitude towards reaching theirs and the clients artistic goals and standards.

[pclaes]

Hey Theis,

I agree with some of the advice Marty is giving in regards to trying to jump into the industry.
That said, your first goal should be to create a demoreel and your second goal should be to aim for a specialization.

 

If effects is what you want to be doing, focus on that and get really good at it. If it's modeling, or rigging or lighting and shading, then pick one and become really good at it. There are benefits of being a generalist, but the risk is that you spread yourself too thin and you don't excel at one specific skill. A company will eventually want to place you as a part of their machine.

There should be opportunities in London, but yes, have a look  at student reels for examples too.

 

good luck!

[vfxjensen]

Thank a lot!

I'll create a demoreel now and begin to work hard on water simulations/fluids.

 

I have a lot more confidence now that I've read your answers.

 

Cheers!

[danw]

Best of luck with your work.  Keep asking questions on here, there's an industry's worth of experience to draw from, and lots of people that will be more than willing to help out.