A Journey from the Depths to the Stars

REENTRY MILITARY POD FROM ATMOSPHERE - ALL ASPECTS

Alright, let me take you through my interstellar project! 

So, I decided to create a full reentry scene for a military POD as it plunges through the atmosphere. I managed to create all the aspects of this project, from modeling and texturing to all the flashy FX and compositing.

So, first things first, I had to come up with the concept for this POD. Picture me with a cup of coffee and a sketchpad, just doodling away. Once I had a vision, I dove into MAYA to start modeling and then rigging the "wings". 

Next, I took my shiny new model into Substance Painter for texturing. This is where the magic happens, giving the POD all its gritty, battle-worn details. Think of it as adding the battle scars to a veteran warrior.

Then came the heavy lifting. I jumped into Houdini to set up the general layout of the whole scene, including all the final animations. This is where the scene starts coming to life—kind of like playing God, but with pixels.

Creating the space station docking tube was a fun challenge. I went full-on procedural with the modeling, making sure every bolt and panel was just right. Once that was set, it was time to let the simulations begin!

First up, I had to cover the POD with ice because, you know, space is cold. When the POD detaches from the dock, the ice goes flying everywhere like a frozen fireworks show. Pretty cool, huh?

Then, I tackled the first pyro simulation—the CO2 gas blast as the POD detaches from the tube. It’s like the POD was saying, "See ya, space station!" in a puff of dramatic smoke.

Now, the pièce de résistance: the reentry pyro FX. This was a beast. Getting the fire and plasma to look just right was no joke. I started by advecting particles and then followed up with some intense pyro work.

The shot where the POD falls through a massive cloud was another tricky bit. The cloud was so huge it took over a week to render! It felt like I was waiting for bread to rise, but the end result was totally worth it. I also handled the lighting within the cloud in Houdini, making sure it had that ethereal, otherworldly glow.

And let's not forget the city below. I brought that into the scene during compositing, making sure it all blended seamlessly. It's like the grand finale where everything comes together in a spectacular visual symphony.

So there you have it! From concept to the final frame, this project was a rollercoaster ride of creativity! And let’s just say, after all those hours of rendering, I’m officially a cloud-wrangling, fire-taming, POD-launching FX artist extraordinaire.

CRUISE MISSILE SPLASHDOWN

Alright, let's dive into another thrilling adventure of mine in the world of FX! This time, it was all about missiles and water simulations. Now, I did everything on this project except for modeling the missile itself—someone else had the fun of shaping that rocket.

First off, I jumped into Houdini to create the general layout and animations. This is where I get to play puppet master, setting the stage for our missile’s epic journey. I  used procedural modeling and the KineFX rig tools to get the tail of the missile and the wings moving just right. Think of it as giving the missile a bit of swagger as it soars through the sky.

Next up was shading the sea. Now, this was a tough one. Imagine trying to paint an ocean that looks real and stretches as far as the eye can see. It took a lot of time and patience, but eventually, I got it looking just right. 

Then came the real fun—creating the FX for the missile. I started with the wind influences on the wings, which created some sweet air smoke trails. Then I added the fiery blaze behind the missile and the heat distortion particles.

The grand finale was the splashdown scene. This is where things got a bit tricky. Turns out, I didn’t have enough RAM to handle all the white water particles I wanted. Imagine my computer giving me the digital equivalent of a shrug and saying, “Nope, can’t do it.” So, I had to scale back on the particles, but you know what? It still turned out awesome. Sometimes less is more, right?

So there you have it—a missile's journey from sky to sea, filled with wind, fire, and a splash that would make any fish look twice. Hope you enjoy the ride as much as I did putting it together!

Bioluminescent Jellyfish in Arctic Depths

Let me take you on a dive into one of my favorite FX projects! Picture this: a mesmerizing jellyfish gracefully gliding through the mysterious depths of Arctic waters. And yes, I made this little wonder from scratch, using the magic of Houdini.

First off, I had to design the jellyfish itself. This wasn't just any jellyfish—it had to have that perfect blend of otherworldly beauty and delicate fragility. I went all-in on the bioluminescent glow, making it light up the dark, icy surroundings like a tiny, drifting lantern.

Next, I focused on getting the motion just right. Jellyfish move in such a hypnotic, fluid way, it's like they're always dancing to some slow, serene tune. I spent hours simulating the tentacles' motion, ensuring each one moved organically, swaying and curling as if caught in an invisible underwater waltz.

The real challenge was making everything look as natural as possible. It wasn't just about the jellyfish— it was about creating an entire underwater atmosphere. The dark depths had to feel cold but real, with the jellyfish's glow cutting through like a beacon of life.

So there you have it, It was a journey to create, and I hope you find it as enchanting as I do!