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The youngest ever employee of Platige Image

Niall Horn is a 17-year old VFX artist that has already worked on the War Thunder 2014 Gamescom trailer, including two of the main explosion shots! We find out more...

Niall Horn is a 17-year old VFX artist that has already worked on the War Thunder 2014 Gamescom trailer, including two of the main explosion shots! We find out more...

3dtotal: Can you introduce us with a little background information about you, and briefly explain your journey so far?

Niall Horn: I'm a 17-year old, 100% self-taught FX artist from North Yorkshire, in the UK.

I first discovered my interest for visual effects when I was around 7, and I got given Shrek 2 on DVD for a gift; I remember watching the documentary 'The Tech of Shrek 2' and seeing how the film was made, seeing how many people it took to make the film, seeing the amount of computers but the best thing was seeing the Playblasts and Breakdowns on the artists Computer screens! At 7 I did not understand it very well at all. But that's what sparked my interest.

From 8-12, I started developing interests in filmmaking, but filmmaking for VFX films. Over those 4 years I experimented with stop-motion animation with a simple webcam and greenscreen keying.

At the age of 12 I got a Student version of Maya 2008 and studied it as hard as I could in my free time; my work back then was awful, but it's what got me grounded in 3D VFX. When I was 14 I switched to learning 3ds Max, mainly because of all of its FX plug-ins. I did everything I could to learn 3ds Max in my spare time, and then started working on small personal projects that started getting more ambitious especially when I first joined Vimeo.

3dt: Tell us about your role in the industry what kinds of opportunities are there for someone at your age? Can you describe a typical day?

NH: As an FX artist working from home my day usually involves getting up and getting ready to go to Dailies through Skype and Cinesync, discuss FX simulations (might be fire, destruction, fluids) and renders from previous days (that had been rendering overnight), making lots of notes and looking at reference, then actually making the changes, doing lots and lots of simulations and renders in one day.

While my sims are running I usually go on Vimeo and watch other FX work, and also look for reference related to my current project. On my days off I work on my personal projects and R&D;, but do try to get out also! There are lots of late nights, very late nights and lots of tea and coffee drinking!

Niall has been doing a lot of explosions, smoke and fire simulations. He has a huge passion for fluid simulations in VFX and is currently a big RealFlow user!

Niall has been doing a lot of explosions, smoke and fire simulations. He has a huge passion for fluid simulations in VFX and is currently a big RealFlow user!

I used to believe that you could only go into VFX and FX if you have degrees in maths, physics and are also good at art. I was not good at any of those; I got a Physics GCSE at school but did not pass in Maths, and my Art skills are awful. I wanted to prove to myself that you did not have to have these skills.

As an FX artist we work with lots of different solvers to simulate fluids, destruction and so on. So one huge part is getting it to the look of what the client wants, or what the project needs. That's the kind of artistic side to FX physics and maths do come in useful, but are definitely not needed to work in VFX. The technical side of FX is a lot more to do with computing rather than maths and physics.

3dt: Do you specialize in any areas within VFX? If so, can you tell us why you feel you excel in these?

NH: Yes, as an FX artist recently I've been doing a lot of explosions, smoke and fire simulations. I have a huge passion for fluid simulations in VFX and am currently a big RealFlow user, but I'm also learning Houdini. In the past I've also done destruction FX with tools like RayFire and thinkingParticles.

FX is such a cool part of visual effects. Who doesn't like blowing a CG helicopter up or creating a photorealistic CG water splash? I'd probably say it's one of if not the most technical roles in visual effects, but once you learn the basics of the technical side, it's all about the artistry to getting these FX to look real.

For example: creating a CG explosion there are so many types of explosions a gas tank explosion is different from an artillery explosion, and that is exactly the same in FX; you would not create them the same way.

Like I say, FX simulations are called 'simulations', but there's a lot of work that goes into getting these FX to look real and cinematic; it's not just about punching in some values and hitting render. I really like doing fluid simulations, mainly because after I saw Peter Berg's Battleship in 2012 there was an explosion in the FX community to create epic fluid simulations of giant robots breaching out the ocean.

I started learning RealFlow in late 2012, but did not really start properly learning until early 2013. My main interest is doing scale fluid sims; there are a lot of really talented artists out there creating these amazing visual effects shots.

As an FX artist, Niall understand that you have to work with lots of different solvers to simulate fluids to get it to the look of what the client wants, or what the project needs

As an FX artist, Niall understand that you have to work with lots of different solvers to simulate fluids to get it to the look of what the client wants, or what the project needs

Destruction from my FX work has been a mix of rigid body and soft body dynamics. RayFire was one of the first tools I learned for 3ds Max and I use it on nearly every project. With destruction FX as with any FX it's all about small details, so it's about thinking: How would a building explode? What materials would the building be made from? What objects would be inside? thinkingParticles is a very good and expensive tool; I was lucky enough to get an EDU License for TP5 and, using Eloi Andaluz's Demolition Master Plug-in/Blackbox, it's amazing the quality of destruction you can get.

Ultimately, FX is all about creating realistic natural and unnatural phenomena with these amazing tools; having the skills to not only know the software, but to be able to create amazing photorealistic and cinematic FX.

In my personal projects I do all my lighting, rendering and compositing sometimes even modeling and texturing. I think these are important skills because when you are creating photoreal FX you need to know how to create photoreal renders for the final shot. A big part of learning FX is learning these skills (not so much modeling and texturing). I definitely have lots of improvements to make in these areas, though!

3dt: What is it in particular about the industry that captures your imagination?

NH: As I mentioned before, that documentary on the Special Features of Shrek 2 called 'The Tech of Shrek 2' was the most amazing thing I ever saw so much that I used to watch it daily! Even then, seeing the early FX tools that DreamWorks were using for the mud FX, the magic spells FX, the rain etc it was mind-blowing. I knew I wanted to do this!

When I was 12, and really started getting into the ins and outs of VFX. I think I must have watched every 'Making of the Visual Effects' documentary there was! When I was growing up I also had a really strong interest in computers and I used to download lots of software to ou family computer, trying to find software for VFX. This was in 2008 when I was just starting secondary school.

When I was in secondary school I got a copy of Maya 2008 a Student version and completely taught myself it. I knew no one who even knew what Maya was! By 14 I had quite a good grasp on Maya's basics but, like I said, I wanted to learn 3ds Max because of its FX plug-ins; it's also just a really nice tool that I never get sick of working with.

What captured my imagination in VFX was definitely wanting to have the feeling of being able to create anything I wanted. I went through a phase of wanting to put a CG tank in my street, which actually became my first proper VFX shot when I was 12!

One of the main things was being able to get paid to create these visual effects, and another thing is that, when you work in FX, you learn a lot about the world. If you're doing a CG tornado you learn about tornados during your R&D; phase; if you're working on exploding planes you learn how a plane would explode, how they are built, you watch lots of documentaries. It's the same for fluid simulations: learning about why white water is created and how mist is formed when a large object splashes in the ocean you start getting a lot of amazing knowledge that can even make you look smart! And it all comes from visual effects!

Niall is a huge fan of making things breach out of the ocean or crashing objects into large bodies of water. He believes fluid sims have contributed to some of the most impressive VFX in recent years

Niall is a huge fan of making things breach out of the ocean or crashing objects into large bodies of water. He believes fluid sims have contributed to some of the most impressive VFX in recent years

3dt: How does it feel to be a part of the VFX industry as an artist, at such a young age? Was it all you hoped it would be? How does it compare to your dreams when you were 12?

NH: I feel so lucky to be doing what I'm doing now, being able to show people that all my hard learning pays off! It's kind of hard in some aspects: when you're applying for a job and you say you're 17, clients usually wont e-mail back after that. Age is just a number. I think that's why I always send my reel before my age!

I definitely did not think I'd be working in the industry at 17 when I was 12; I thought I'd be going to university and working as a runner first. Luckily, when I was 14, I made a great friend who has helped me so much over the past years: Graham Collier, who is a Senior VFX TD and Generalist at RealtimeUK in Lytham.

RealtimeUK's work is what got me even more hooked when I first saw one of their first cinematic trailers for World Of Warplanes. I'd not felt the same level of inspiration since I saw Shrek 2! The amazing dogfights and FX in that trailer is what made me work so hard, so I could work on projects like that. Since then they've done lots of even more amazing game cinematic trailers, and they never cease to amaze me. It's definitely my VFX goal to work there!

Again, since I was 12 and watching other VFX artists work not only in production but also in R&D; has been what's fuelling my ambition. There's been lots of amazing friends I've made in the FX industry and I really can't thank every one of them enough! Many hours of coming home from school and sitting in my room learning have got me where I am, and I could not be more grateful. I've definitely still got a long road ahead, though!

3dt: What software do you use on a daily basis for your work? Can you briefly tell us why these are your tools of choice?

NH: 3ds Max plus the amazing FX plug-ins that are constantly being developed are my most-used tools. 3ds Max is such a nicely designed program a very clean UI and really easy to learn the basics. I use PFlow which is built into 3ds Max on every single project. FumeFX is probably the one I have been using most at the moment, but that's due to working on lots of explosions and fire FX work. It's an amazing tool that's quite simple to learn and gives incredible results.

I use RayFire quite a bit; for destroying and fracturing assets I think it's the strongest tool for that for 3ds Max right now. When rendering FX passes I use 3ds Max's built-in renderer mostly, but on some projects I've used V-Ray for FX passes.

On non-commercial and personal projects I've been using thinkingParticles, mainly for destruction, with Demolition Master. I've started doing a lot of fluid simulation R&D; in my spare time with RealFlow, Krakatoa and Frost. I'm a big fan of making robots breach out the ocean or crashing a UFO into a large body of water. I think fluid simulations have contributed to some of the most amazing VFX in that past 10 years.

I've also started learning and using Houdini in my personal projects, which is quite technical and a big learning curve, but well worth it for the results plus it has pretty much every FX tool you need to work in FX in one package. Sometimes I use Maya mainly for nCloth and DMM; I've also wanted to play with Miarmy. Sometimes in my FX shots I like to build or try to build my own assets, so using 3ds Max and Mudbox for modeling and texturing. And good old After Effects for compositing!

Of course, learning the tools only gets you half way there; the rest is the artistry of being able to produce amazing FX .

Niall was the youngest ever FX artist working on War Thunder as a freelance FX Artist at Juice Studio,
which is a part of Platige Image

3dt: How do you feel technology is changing the way VFX is produced on the artist side of things? Have there been any notable changes since you joined the VFX industry?

NH: When I was 12 and that's only 6 years ago, but in VFX evolution it's a long period of time I was using Maya, and Maya has not really changed apart from the addition of tools over the past 6 years. But since I started working in 3D, a lot of software changes to tools like FumeFX small changes like being able to use multi-colored smoke in one grid which really helps create amazing explosions that look a lot more realistic. RealFlow has had a huge makeover since I first started using RealFlow 5, which is now able to do FLIP simulations and create pretty much anything you want interacting with fluids it is such an amazing tool to have for FX artists.

Everything just keeps getting faster and more robust, and I can't wait to see what the future holds!

3dt: What has been the most rewarding project that you have worked on so far, and can you tell us why you feel this way about it?

NH: Definitely War Thunder, which I worked on as a freelance FX Artist for Juice Studio, who is a part of Platige Image. This project was a dream come true. It started in May/June when I uploaded my FumeFX showreel; a few days later I got an email asking if I would be interested in working on the project of course I said a huge Yes! The guys at Juice and Platige were amazing; I learnt so much from them. I was working remotely; however, I had access to a render farm, which is the first time I've ever had that privilege.

They trusted me to work on two of the biggest shots in the trailer. I watched so much World War II footage of dogfights and tank battles lots of airplane crashes, also. I worked on the Bomber (B-17) crashing to the ground, and also the end shot where I worked on the engine fire smoke and all the flak simulations (anti aircraft fire explosions). I did lots and lots of R&D; for these shots, and also other shots in the trailer. It was such a fun and amazing experience I really can't thank the guys enough!

I also worked alongside Bottleship VFX lead Hristo Velev, who worked on the Red Tails train crash shot, which is in my top 3 favorite VFX shots so that was amazing! In the end, the trailer was shown at Gamescom 2014, and I think the team has created an amazing trailer that not only shows off the game but also honors the brave heroes of World War II. Because that's what VFX is about! Creating amazing images to tell a story.

Niall worked on <em>War of Thunder</em> on the Bomber (B-17) crashing to the ground, and also the end shot on the engine fire smoke and all the flak simulations

Niall worked on War of Thunder on the Bomber (B-17) crashing to the ground, and also the end shot on the engine fire smoke and all the flak simulations

3dt: Where do you see your future in CGI? Do you want to stay in VFX? Can you share some of your goals and hopes for the future?

NH: I really want to work at a studio as an FX Artist and hopefully an FX TD. I definitely have my mind set on doing FX for game cinematics, but also FX for live action. I like doing these freelance jobs also so I'm really just seeing how it goes. If I were to continue freelancing and working on such projects like I have with War Thunder, I'd really want to start a small studo with some other freelancers and be able to work on projects independently like game cinematic teasers.

But full-time employment is definitely my goal. Another thing is working on a personal VFX sequence I've been doing so much R&D; in my spare time, I really want to focus on putting my FX skills I've learnt, and am learning, into a short VFX sequence. I remember watching a Brandon Young interview and he made the same point: R&D; is good, but you need to show that you can put those skills into production. The idea for doing this has been in my head for a while, because when you see VFX students, a lot of them are working on a small sequence and I think it would be really fun to do. But not only would I be doing the FX but also the lighting, rendering, and compositing, as well as other parts of the VFX pipeline. So I have a few ideas for what sequence I want to work on! We'll see what happens!

3dt: If we are to redo this interview in one year, what do you hope to have ultimately achieved by then, and why?

NH: I'd like to hope I'd be working full time for a studio doing FX for game cinematics and/or live action. Also, I hope that I would have worked or be working on a short VFX sequence.

I hope that I will have inspired young artists and students that want to work in visual effects, whether it's in FX, lighting, rendering or compositing. You can teach yourself this and it's all about having passion, being inspired, and about failing! I say that because when you fail, you never really fail; you learn what you did wrong and you never make that mistake again!

I would really like to thank everyone who has helped me in FX there are a lot of really kind people who have given me incredible advice thanks guys! Also a big thanks to my family for putting up with me using all my spare time to learn VFX during my teenage years!

Related links:

Follow Niall on Vimeo
Discover more about Platige Image
Read more interviews with awesome people
Check out 3dtotal titles: The Unreal Game Engine and 3ds Max Projects

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