The vast majority of entertainment projects (cinema, games, advertising, etc) require 3D content nowadays. It might be in the form of props, environment, characters, vehicles, VFX, just to name some.
So there is urgency of producing more, better and faster, because the audience expects outstanding open world environments and ultra-detailed visuals. Produce the required assets and dress those worlds is getting more and more expensive with traditional techniques, which involve destructive, stiff and time-consuming workflows.
The solution is to create 3D content procedurally and export it in common formats.
I can help with that
Many companies spend a lot of money on hiring pipeline artists so that the workflow can be optimized. Most times this means creating tailored tools to minimize the repetitive tasks 3D artists have to do, like saving files properly, exporting textures and such. Despite being an improvement, it is not what it is needed now:
The solution is to create content procedurally and export it as regular 3D content.
You can find the whole list of benefits within FAQ’s Benefits and Drawbacks of proceduralism, but essentially it focuses on creating procedures rather than assets.
For instance, if you need a set of houses for your project, it is better to create a tool that can output endless variations of houses following some design rules rather than create manually a batch of them. The more variations you need, the more efficient the procedure is. Of course, if you just need one or two houses, do them manually.
Therefore, you don´t need to adapt your workflow to proceduralism to benefit from it, though. The formula is to generate content through Houdini and export it in common formats (like .obj, .fbx, .abc…) that can be integrated seamlessly in your pipeline, as if it was created manually.
You already have 10 helmet variations created. You also have 10 head variations…. so you start with 10×10=100 possible combinations… to be placed upon 2.000 different characters already living in the scene….They are quite a lot of helmets to place, don´t you think?
You won’t be involved into Houdini/procedural stuff unless you want to.
I just need a common art brief. The same you would be providing to a regular 3D artist or to an outsourcing studio in charge of creating props or environments.
The reason is I am an experienced procedural 3D modeling artist, so I am used to quality standards for asset creation within both animation and AAA game projects. The plus is that I will be creating this content procedurally.
Short answer is assets, environments and tools for both real-time and animation.
Producing those art pieces include a lot of stages (Highpoly, Lowpoly, UVing, Baking, Texturing, Scattering) and subprocedures that can be vastly improved if compared to traditional methods.
For a complete overview I recommend visiting my portfolio but here you have some starters:
Lets say you got 200 photogrammetry assets from MegaScans and you need them to become game ready. The bare minimum of this process involves following steps and software:
For an experienced artist, a little asset like a tiny mushroom should take a few hours. For a mid one, like a saddle, it might take 2 or 3 working days. For a complex one, like a carved sculpt, it might take a couple of weeks.
Manpower and licenses needed scalate exponentially.
What about processing all this data automatically? You would be providing me with the raw data and I would be delivering all the processed assets polyreduced, re-UV’d and with new baked maps.
Let’s say you got to create a nice stillshot of a valley, with ton of little houses and trees. You don´t care too much about details like placing the trees, but you do care about composition and style and you need it in no time.
I would be creating that geometry for you.
What about another eample. What if you need a tool to create tyres, or a ton of different bikes for your bike racing movie/game?
Spoiler: I’m actually developing one for the sake of it.
Provide me with your design guidelines. I will output a handful, hundred variations you can get inspirated from.
I am a Houdini procedural artist and 3D teacher with a background of engineering, movie making and gamedev. This provided me with strong analitical mindset and passion for 3D art, key factor for succeeding on procedural switching.
That means I do know how to create optimized and artistically correct assets for highly demanding projects like Call of Duty WWII, Hitman2 or Animal Crackers movie. This how-to combined with Houdini proceduralism can help you bringing your project to life.
I won´t promise you a magic solution but real world tools and procedurally generated finished art instead.
The better you know what your goal is, the better I can help you!
I will also guide you if you don´t know how can your project benefit from Houdini proceduralism, though.