Today, si-community has over 2300 members (1000 or so who have ever posted) and the Softimage list has over 1300 member (450 or so who have posted this year)
Interview with Chinny Brynford-Jones: The XSI Product Manager of Softimage talks about version 4, the cg industry and his past career as a comedian — May, 12th, 2004, by Raffael Dickreuter, Bernard Lebel, Ed Harriss
What is your history with Softimage?
Over seven years of fun and an additional 40lbs of weight, I would like to think of it as additional charisma but I have a feeling I am just kidding myself. I started, weirdly enough, in 1996 in the Pitcher and Piano in Dean street London, sitting next to Adrian Hill (formerly Special Projects now Cinegroupe) at Ben White’s (formerly Softimage now Framestore) leaving do. I asked Adrian if I could come into the softimage office and learn SI3D. I thought it looked like the dog’s bollocks. He said yes and my window to weight gain had begun. An expense account, 100 flights a year around the world demoing Softimage 3D, then XSI, just sounded like a bloody good laugh. After five years of that with the odd spell in production, I met my current girlfriend. Montreal being such a crushingly superb place, I decided it was time to make the move. After years of experience in the field one thing followed another and now I am the XSI product manager. Funny how thing work out.
Can you tell us something about your past comedic career?
Mostly a disaster – the rest was just plain awful. I have tried doing a spot of stand-up in mainly friends type venues and having never been so nervous or embarrassed in my life. So I switched tack and started to write, although no matter how serious the subject matter it ends up as comedy. (Or “words” as others say) I guess always seeing the funny side of life has it good points. What has been fun tough is that Softimage has always allowed (even encouraged) me to entertain people during my demos. So the marriage of my two loves, comedy and XSI seems to be made in heaven.
You are also known as “Chinny”, what can you tell us about that name?
A friend Nick Savvy (another animator, sheesh do I know anyone else) in London and I used to write comedy stuff together -(which now sits in drawers gathering dust) He had 3D Studio release 4 installed (all legit – cough – of course) and after a year of teasing me that I should “try it” I did. I thought it looked waaaaay too complicated for my poor brain, but it really was absorbing and I was totally hooked. I conned my old man into springing for a computer, next was simply installing all the necessary software (cough, choke, splutter), which was naturally completely over my head. Although I could use 3DS4 I could not even change my login name and password. Which had been setup by Nick as login “Chinny”, password “Chin Chin”. He used to make fun of of my chin it seems. When I went to Softimage Adrian asked me for a login name, so I said, err I dunno…”Chinny”. There was a Justin King (Now EA) in the Softimage office and I used to get his calls, oddly it seems that Justin and Jason are apparently too similar. So I said why not call me Chinny and stop the confusion. The rest they say is the rest.
How challenging is your new title?
The title itself is not too challenging – but the job sure is. It takes up almost my every waking moment. In addition to all my regular duties, I really love to use the software, so doing both takes up all my time.
Now that you’ve been promoted, will you still do demos?
Fewer and fewer. I have little time to do it these days, except for the big occasions. Although preparing for them is still is an excellent way to keep my hand in using the software. Without using the software and interacting with customers one can not expect to really be a good product manager.
What do you do on your spare time?
(Embarrassed smiley) I work. Mainly making my own tools etc in XSI, but also writing marketing blurb, and future design ideas. I generally sit with my girlfriend in front of the TV with my laptop on top of my lap (how ironic). She says it’s a bit pathetic. (Another embarrassed smiley) as I am writing this interview as in the manner described above. Actually watching a DVD series called “Firefly” which is really rather good.
What impact does Special Projects have on the development of XSI?
As special projects is the ultimate in front line support, many specific production issues and requests get elevated to the top of the development cycle. This can have a direct bearing on future features and workflow being implemented inside XSI.
What is the exact nature of the relation between Softimage and Avid? Does Avid having any input in XSI’s development?
Very little. In version 4.0 there were a few items such as Mojo support, (very cool direct output which mostly does away for needing a DDR) but generally the XSI development is balanced between customer requests and our own innovations. Whilst all the time they are balanced as to what will make us money. We are a business after all. But one thing I have noticed is that since David Krall took over as head of Avid, I have seen more and more people prepared to lay down their life for him. He is a brilliant leader and a genuinely lovely guy. This has a huge impact on all of us. Never in my working career has one man so enriched a company of this size.
Now that Avid has bought NXN, will we be seeing some of that Alienbrain tech making its way into XSI?
Officially I can not comment on any future development. But if we were to look at past trends, it would fit nicely into Avid’s plans for all types of pipelines
How is Softimage structured?
Well Softimage is a business first and foremost. It just so happens that it is also a passion for the vast majority of us. Come in at the weekends or walk the halls late at night and count the people. They often have brilliant ideas which they just have to test.
As a software company we are driven by the release cycle and to a less extent major trade shows. We have all the usual suspects. Dev, support, marketing, sales, finance etc etc etc. It is a team, no… more a family. Everyone is 100% dedicated to bringing the best product to market that they can.
How different is Softimage from when you first started with them?
More experienced, more tight, more passionate.
How important are demo artist and product specialist to Softimage?
They are the well known faces of Softimage. They are the soldiers who charge into battle waving the flags, They work and play like they demo. Without them, the message would not reach the right people. But they are still as important a part as the rest of the amazing family “Softimage”
What do you see as version 4′s best new features?
Character Development Kit
Rigid Body Dynamics
Custom Display Host
Mental Ray v.3.3
Animator Audio tools
Vector and Raster Paint
Etc etc etc
What are the most drastic changes within XSI from version 3.5 to 4?
How much have the particles/simulation tools changed in XSI 4?
Not much, the core is still there, but there are new customizable controls and goals.
How easier will it be in XSI 4 for people to create custom layouts and property pages?
Just as easy, but waaaaay more options and controls. For instance any layout can have a direct relation which can also trigger scripts. And if you want you could put an entire HTML front end onto XSI
In what areas do you think XSI is way ahead of the competition?
Hair (even with Maya’s half-hearted attempt)
Almost all types of animation
What are your thoughts when looking back to XSI 1.0 and what it has now become with version 4?
It is roughly as predicted but I certainly did not see all the innovations coming. My boss Gareth Morgan did though, he is a visionary at Soft.
What do you think of the XSI community as a whole and from what is was then to what it is now?
I love itthem. They are my extended family. I am amazed at how quickly it has matured, just seeing the rapid rise in the number of members of XSI Base is testament to what has become an explosion of XSI users (particularly after v3.0). With the huge numbers of projects being done, I am very impressed at how well they (the community) push the software. For most people 3D is now almost a religion, so imagine what it is like here at Softimage. XSI is our child. It is why there is so much passion surrounding it.
If you compare the European and the Canadian markets, what things are different, what things are similar?
Commercial production is a common tread. Although there is more money in Europe (especially London) for a range of different broadcast projects. So people who want to do high profile work often have to go to one of only a few major cities. As for the work culture, I find the differences often in the teams. In Soho they work very very hard, but play equally as hard. They socialize together more than I have seen anywhere else. Even from my own experience I used to go on regular snowboarding holidays with large gangs of animators. It often made for very boring conversations in local bars always talking about work, but that is what we did. With a huge number of post houses in one square mile I guess it more easily makes for a community. It is like food courts, all your specialist needs in one place. I would be interested if that type of community is exists elsewhere.
What’s your advice to a person that is starting in the industry?
It depends on what they want to do – So generally I would say ask around, look on the net and drop Ed a line – better still buy How to get a Job in Computer Animation: If you want to be an animator etc, then make a showreel. Look for local companies and ask if you learn there or just go and show them your stuff, the catch is if you will probably have to do it for free. But working in a real production house really pays off in the long run. Think of it simply as slavery.
What skills are needed to join the XSI development team?
Programming is a must, but more than they have to be the best. Softimage has an incredibly talented bunch of devs. Which is why they manage to make such wonderful software
What are some skillsets that you believe studios are looking for these days?
TD’s always. From to character rigging to rendering and lighting. In film and longform projects, TD’s outnumber animators. In broadcast and commercials generally a good all-rounder will go far. And in games, modelers-texturers-animators make up the bulk compared to programmers. But simply if you can do one thing really really well then you can find a home, it just means you might have to travel
Where do you see the 3D industry 5 years from now?
From my private moon in the shape of an enormous pie.
From March 2001: Skaramoosh used SOFTIMAGE|3D v3.9 and SOFTIMAGE|XSI v1 and v1.5 to create over 23 minutes of computer animation for Discovery’s flagship documentary ‘Land of the Mammoth’, a two-hour programme.
The project, involving in excess of 100 computer generated (CG) shots, took a core team of eight people four months to complete and includes the animation of not only mammoths but also a woolly rhino and a giant deer. The mammals were modelled in Softimage 3D v3.9 and animated using SOFTIMAGE|XSI.
hat tip: Dan Yargici
I recently found a Quicktime of the behind-the-scenes film for a project we did at Skaramoosh for The Discovery Channel back in 2001.
We did all the animation in XSI v1 and transferred actions back to Soft 3D (can’t remember the exact version, the last before v4 iirc) for rendering due to the fact that we created the fur using Nordisk Film Fur Designer (my responsibility on the project).
The fur renders were OpenGL in Fur Designer so there was LOTS of post fudgery, but damn it was fast! Despite the speed, we still had to rent in a ton of Octanes to push it through. It was summer and everyone had to work with an rendering Octane between their legs so the office was toasty to say the least!
I don’t know if Stefano will remember, but we looked into PhoenixTools fur for Mental Ray (which he wrote iirc) at the time and I had some direct conversations with him while I tried to get to grips with it.
It was featured in the first edition of the XSI magazine (I say first edition, I think it was the only edition!) which I still have kicking about somewhere.
I’m the guy in the grey shirt, studiously taking notes at 2:13. Other people from the list past and present who make an appearance are Sebastian Read, Olly Nash, Maarten Heinstra and Keith Fallon.
And from a news release, here’s some more background on the project:
SKARAMOOSH COMPLETE MAMMOTH CG PROJECT
DIGITAL effects company Skaramoosh have created over 23 minutes of computer animation for Discovery’s flagship documentary ‘Land of the Mammoth’, a two-hour programme.
The project, involving in excess of 100 computer generated (CG) shots, took a core team of eight people four months to complete and includes the animation of not only mammoths but also a woolly rhino and a giant deer. A large amount of the project was completed in SOFTIMAGE|XSI version 1.0 and final stages in version 1.5.
Andrew Hunter, Digital Effects Director, Skaramoosh, said: “What excited us about this project was that we were involved in the entire production process for all the special effects shots, right from the storyboarding stage. This included the commissioning of a life size mammoth model for blue screen shoots, travelling to places as far apart as Siberia and America to film realistic backplates through to actually creating and animating all required 3D mammals and finally compositing all the shots. The backplates themselves could be made up from anything up to six different layers.”
The sequences were created to illustrate the life pattern of mammoths, where and how they lived and survived. Specifically created sequences include birth, mating, fighting and, finally, dying. There is also a sequence to illustrate what the mammoth evolutionary process was thought to have been.
The mammals were modelled in Softimage v3.9, animated using SOFTIMAGE|XSI and then brought back into Softimage v3.9 to render the fur. Once rendered the animation was taken into one of two compositing systems, Avid Illusion or Avid DS, to be composited with the backplates. Careful scheduling was required to avoid any compositing bottleneck.
‘Land of the Mammoth’ airs on the Discovery Channel on March 11.