Interview with Eric Hanson

Interview with Eric Hanson

Eric Hanson is an architect by trade, who has made a very successful move into the entertainment industry. He has worked on some of Hollywood's biggest CG effects movies including: The Fifth Element, Hollow Man,Cast Away and Fantasia 2000.


CGA: Could you introduce yourself?

EH: Sure, I am a former architect turned visual effects designer who concentrates primarily in digital sets and backgrounds for major feature films.

CGA: Tell us about your background and how you originally got involved with
computer graphics?

EH: I imagine I began my passion for 3d through favoring models over the cult of drawing in architecture school. Once I began working in the profession, I tended toward large commercial firms who could afford the then very expensive Unix-based CAD, which was still somewhat fledgling in the late 80's. I quickly saw the fantastic potential of 3D CAD as it began, and decided to make that an area of concentration for my career. I ended up developing early internal visualization studios for some very large firms, such as Callison and Gensler. I was an avid MicroStation/Modelview user, and of course these were originally rooted in the "Mack Truck" Intergraph Unix monster stations of the day such as the InterPro.

	InterPro Click to enlarge

I had an Intergraph FE show me a photo of one of these beasts actually being used as a honest to God boat anchor! Animation was incredibly painful in those days, and I remember the package had no shadow mapping. Of course I look back on that work as pretty dreadful now, but I suppose it broke ground back then, and it did earn me an interview at ILM just after Jurassic Park. I made a grievous error in wearing a suit and tie to the interview, having no knowledge of the looser entertainment industry. As I was working in LA at the time, CG in film seemed to explode, so I made inroads out of architectural practice and got my first break in film work.

CGA: You started your work as an architect and have since made a very successful move into the entertainment industry. How did you make that transition?

EH: Well, after seeing ILM the first time, I realized that architects do have something to offer the film industry, but one certainly needs to learn the culture first. The film effects field has this incredible draw for people, so there is a tremendous ratio of rejection that goes on, so getting the first break is key. Luckily, I found a special venue film production that had a fair amount of architectural content. That threw me in the deep end with 10 really skilled artists, so I learned the basis of my production techniques then.

	Mars Odyssey - Eric Hanson Click to enlarge	Mars Odyssey - Eric Hanson Click to enlarge	Mars Odyssey - Eric Hanson Click to enlarge

This film produced some pretty good visuals for the time, so that leveraged me into a fortunate role on Fifth Element at Digital Domain, supervising the design and creation of the city shots which were slated for digital. From there, moving to other productions and experiences has been easier. I liken effects work to an exclusive club w/ a big bouncer at the door. Once in, experience comes easy, but the bouncer is the hard part.

CGA: Having now worked in both the entertainment and architectural fields, are there any specific skills that you wish you had when you first started creating architectural visualizations? Do you have any tips or advice that you could offer to other architectural visualization artists who are looking to make this same transition?

EH: I end up being a bit of a beacon for those architects looking to do digital sets work. Fact is, the field is full of former architects, but many move on to character animation or effects, leaving their architectural skill base behind. I certainly want to capitalize on that, and still feel close to pure architectural design. As for skills required, a feel for the structures of the film vocabulary is essential for a cinematic feel. I would imagine that most walkthroughs in the architectural profession are a horror to skilled filmmakers. I would love to do a return to that, but armed with film
techniques. Even though it might be overkill, we are all very attuned to media aesthetics, and judge motion media equally. As for artists looking to make a jump, I would say understand it is quite a different mindset and culture than architecture. It is really more art than design, so one must be ready to trade the purism of design for the messy vitality of art. I find it liberating, but many might find it too loose for the architectural sensibility. However, the heritage and techniques of film effects are
analogous to the richness of the construction trade, so there is plenty to challenge one's intellect. As for breaking in, realize that 98% of all reels are lackluster, so any demonstration of clear talent, software literacy, and knowledge and affinity with your interviewers will suffice to gain entry.

CGA: You were formerly working as the Director of Art Production at Xulu Entertainment, can you tell us about this work and the goals of that project?

EH: The Xulu project is ambitious, but has yet to gain funding, so we will see what the future holds. The notion behind it is to create a rich compelling 3D world open to exploration and social interaction through venue-based centers w/ trick hardware as well as concurrently online as a massive multiplayer game. If one goes to the venue, they can ride one of 24 motion base rigs to explore the 3D world model with physical actuation, surround audio, haptic feedback sticks, and high resolution displays, all hinged off Nvidia's latest cards. They can interact and view other participants both
from inside the venue as well as those logged in online. The ambition is to create a city and backcountry with similar complexity and richness as our own. Obviously it is simplified vs reality, but still trying to capitalize from the richness of the best of CGI and the real-time graphics revolution happening currently. It is really just a clever assemblage of many existing technologies to try to create a compelling virtual world.

CGA: As there was quite a bit of architectural production design involved with this project, where did you start and how did you come up with the initial ideas?

EH: The only constraint was to create a city in an extraterrestrial setting, so there was plenty of room to explore. Navigation in a realtime environment was also a driving factor, so a lot of the solution addressed that. My passion for southwest landscapes influenced design of the natural setting, and long dormant architectural ideas informed the city layout.

CGA: Can you tell us about a few of the abstract diagrams and images that you created for this project?

EH :The canyon city acts a spatial placeholder for many of Xulu's gaming activities, allowing both freeform exploration and discovery, as well as destination attractions. The entire scheme is held together by a social center called the Hub. Acting as a collection point to enable avatar interactions, the Hub is effectively a vertical Times Square or Ginza. The deep excavation is rooted by a deep energy source, from which animated energy coursings provide a random grid to break up the large surfaces of the higher reaches. An elliptical plan provides a dynamic vanishing points for the moving participant.

	Canyon City - Eric Hanson Click to enlarge	The Hub - Eric Hanson Click to enlarge	The Hub - Eric Hanson Click to enlarge

	Ginza - Eric Hanson Click to enlarge	Ginza - Eric Hanson Click to enlarge	Ginza - Eric Hanson Click to enlarge

CGA: In several of your projects, including your latest work at Xulu, you have used generative modeling methods. Is this a technique that you have developed exclusively? Are there any other specialized methods that you use on a regular basis to develop your models?

EH: Well, the creation of detailed city models can become laborious quickly, so I have always been interested in procedural or derivative methods both as a labor-saving tool as well as a design exploration. An easy way I use is to use Photoshop's square wave distort filter to create architecturally inspired graphics. These can then be auto-traced, and extruded up into a cityscape.

	Photoshop/square wave distort filter Eric Hanson Click to enlarge	Autotraced and extruded Eric Hanson Click to enlarge	Maya Animation deformers Eric Hanson Click to enlarge

Then Maya's animation deformers can provide powerful further manipulations . Of course, these are simple compared to the recent L-systems-based work of Central Pictures, which I find intriguing. I have dabbled in Houdini with the same notion years ago, and would like to pursue this further.

CGA: What part of the project was the most rewarding and most challenging for you?

EH: This was a great project to experience no constraints, which was refreshing
after film work. But we architects all know constraints provide the basis for good design, so that was challenging. Getting the model over in realtime was also a challenge, but the new Nvidia boards certainly makes it do-able.

CGA: With the new Superbit version of Fifth element now released, I would be remiss if I did not ask at least a few questions about your work on this project.

EH :Well of course, it is the one project I have done that I constantly get mail
from to this day, from all points on the globe! Funny, for such a campy film..

1. Arguably some of the most stunning architectural CG works on film, what was involved in achieving the level of detail and spectacular realism for the cityscape?

EH: Fifth Element was a great project for me, the most rewarding so far. I was lucky that the basis of the city identity of set by J.C. Mezieres, but only in feel, which allowed a lot of design opportunity in execution. The concept was that urban development excavated down, rather than up. This conceptually was due to depleting the Earth's water to terrafarm other planets, a concept entirely lost on the audience due to it never being stated in the script. However, it resulted in a fantastic depiction of a future urban cityscape, where subways are turned vertically, and car traffic lanes exist in 3D space.

2. What was the most challenging aspect of your work on the Fifth Element
cityscapes?

EH: The bulk of the shots were accomplished though 1/24 scale miniatures, so we
were extremely challenged to try to match their detail and lighting. I don't feel we succeeded in indecipherable matching, but does seem to work in the light of the suspended belief so widespread in the film. I chose to use Alias for the package used both for modeling and rendering, primarily for the great creative shader environment it offered. At that time, radiosity was prohibitive, and Monte Carlo GI was unknown, so lighting was the main challenge. By using a fair amount of incandescence mapping and projective light maps, we established a sense of "shard" lighting common in a dense urban environment.

	Fifth Element - Eric Hanson Click to enlarge	Fifth Element - Eric Hanson Click to enlarge	Fifth Element - Eric Hanson Click to enlarge

Also, a neurotic sense of optimization was required to pull off the shots to make the deadline. So much of CGI film work are characters or effects, so few have dealt with the weight of complex architectural models. Worse, most architects tend to overbuild unmanageable files, forgetting the basics of theatrical set building.

3. As an architect this project had to have been a dream come true?

EH: It certainly was in the sense of creating architectural fantasy. I have always admired the Italian futurist Antonio St. Elia, so I found Fifth an enjoyable opportunity to express some of his forms.

	Fifth Element - Eric Hanson Click to enlarge	Fifth Element - Eric Hanson Click to enlarge	Fifth Element - Eric Hanson Click to enlarge

Science fiction can provide a good basis for design, but so much of it is trite and route in nature, that the genre needs to evolve. Architects can offer some of the best leadership in this regard I believe.

CGA: Although your projects have been quite diverse your work still has a distinct look. Have there been any artists or influences that have help shape the look of you work?

EH: Hmm, probably a mix of film artists and architects. I admire feature film matte painters, such as Craig Mullins , and Jean-Marie Vives. I think my friend Ben
Procter is doing some great work currently. I admire the technical work that Paul Debevic has done, especially w/ Fiat Lux. And then I am influenced by great architects such as Santiago Calatrava, Stephen Holl, and Mario Botta. As well, Kent Larson has produced some amazing recreations of Louis Kahn's work in his book Unbuilt Masterworks. I basically am driven by design work or imagery that demonstrates excellence or fantastic vision.

CGA: What are your main sources of inspiration?

EH: Mostly covered above, but I would include looking at the natural world as well. Spending a lot of time in spectacular outdoor areas has provided a constant state of amazement and inspiration. My many years flying hang gliders provided a real appreciation of the spatial richness of the natural world.

CGA: Having worked on so many high profile projects. Which one did you find the most rewarding and which one the most frustrating? Why?

EH: As mentioned, Fifth Element was pretty rewarding, but all projects have their own discoveries. Also, most have equal frustrations as well, mostly for the same reasons architects are frustrated- Money will be spent, something will get created, but dim mindsets often block truly great results. Outside of unencumbered fine artists, any project involving art by committee can be tough at times. Almost all of my film projects started out much more ambitious and promising at the start, but compromises happen..

CGA: What do you not like to see in computer generated architectural work?

My primary beef is a lack of perspective correction. It is amazing how accustomed we are at looking at quality publication images such as Heidrich Blessing's work yet most architectural CGI renders have obvious third vanishing points. It is ironic that the increased realism that CG affords often introduces perceptual inaccuracy, which correction attempts to fix. Third VP's are fine for renditions of very tall buildings, but for most lower height scenes is very erroneous and sloppy. Most packages may not have provisions for correction, though, but I did find it in Maya, film offset in
camera attributes. Aside from that, a lack of real-world lighting and dirt and grime would be next. Dirt and weathering is essential in film work, and would improve most architectural visualization (in moderation of course).

CGA: What tip(s) can you give our readers to improve their architectural
renderings?

EH: Pay attention to specularity, the primary key to photo-real representation
(shy of global illumination). A perfect specular hit is the first give-away to CGI, so fractal or painted maps are essential. Learn the vocabulary of film editing, camera moves, and composition. Remember we build sets, not real buildings. Optimize and simplify!

	Fifth Element - Eric Hanson Click to enlarge	Bicentennial Man - Eric Hanson Click to enlarge	Atlantis - Eric Hanson Click to enlarge

CGA: What is in the future for Eric Hanson?

Very undecided at the moment. Continue to hone my film background skills. I
have a pet project involving CGI and the outdoors I may pursue entreprenurally. I believe the real-time arena will have very creative opportunities in the next few years. Then again, if the right film project comes along...

CGA: What is your favorite link to visit on the web? (not necessarily CG related)

Well ok you asked, here are some random and entertaining ones I picked out
from my bookmarks:

http://mars.jpl.nasa.gov/mgs/index.html (surreal martian landscape
photography)
http://www.evolutionzone.com/hardwork/index.html (great flash work)
http://www.vectorlounge.com/04_amsterdam/vectorlounge_home_uk.html (more
great flash)
http://www.illumenal.com/ (good GI resource)
http://www.movie-mistakes.co.uk/best.php (funny flaws)
http://www.corona.bc.ca/films/mainFramed.html (check upcoming film info)
http://www.solid.co.uk/ (great rendering)
http://v2d.two.ru/ (nice graphics)
http://rinkworks.com/dialect/ (hilarious, try it)
http://www.obsolete.com/120_years/ (cool archaic tech)
http://www.engrish.com/index.html (if you've been to japan)
http://www.angelwerks.com/channelzero/download.htm (nice free fonts)
http://www.saffo.org/archiveofarticles.html (good thoughts)
http://www.projectfullmoon.com/ (great book and site)
http://www.yuco.com/main.html (great site design)
http://www.zorotoss.com/index.htm (good work)
http://www.jackals-forge.com/ (good maya resource)
http://www.jackals-forge.com/gallerieabominate.html (a classic!)

CGA: Which/What web based resources that you have found the most
informative?

Your own site is excellent, I have waited for years for something like this to surface. These are all pretty well known, but here are my main sources for info:

http://www.aint-it-cool-news.com/
http://www.darkhorizons.com/news.htm
http://VFXPro.com/
http://www.cgchannel.com/
http://www.highend3d.com/
http://www.thescratchpost.com/features.shtml
http://www.ArchitectureWeek.com/
http://www.gamasutra.com/