Jan 11

In support of an Open Source Pipeline

It was interesting to read both VFX Law’s proposed new business model for visual effects as well as VFX Soldier’s take on it this week.

Let’s assume that something like this will eventually happen and films will start setting up ad-hoc dedicated VFX facilities for each production. (And why shouldn’t it — it’s definitely doable.) We’re left with the need for, as VFX Law describes it, “a portable infrastructure that can roam from project to project.” This possible future self-organising VFX-creating creature will start from Day 1 at the same place as all the existing VFX facilities started: nothing.

But it’s the 21st century now, folks and that’s not necessarily a deal-killer. Workstations and fileservers are rentable now. Highly refined, production-capable software is available off the shelf. Photoshop, Maya, Nuke, and all the rest of the long list of content creation applications are here and have been for quite some time. Numerous robust render-farm managers exist. Production tracking used to be custom-rolled at each studio, but Shotgun (and their competitors) are making that available now for a monthly fee.

Here’s the gotcha: Want access to some fancy in-house tool developed by one of the big 5 houses? You’re just going to have to hire them. I’m not proposing we throw out the whole existing system here. Or maybe you’ve got enough leverage to convince them to sell their in-house magic to a third party for wider distribution and maintenance. It’s been known to happen.

Well, okay you say! It’s all well and good to buy software and plug in machines and tell the artists to get working, but commodity software and hardware does not a facility make. You’re right. It doesn’t. But there are an awful lot of customised tool extensions available in places like Creative Crash and Nukepedia and many others. Many of the tools on those sites were developed and shared by artists from big fancy FX facilities. All of that comes for free. What we need is a framework to plug it into.

Have you ever done any research into building a pipeline for a VFX facility? I have. And I’m here to tell you there is almost nothing available. At a previous gig, I was involved in building a pipeline from the ground up for a small studio. I had no prior experience with big fancy pipelines, so I was very interested to learn about the sweet things a proper pipeline should have. So I did my research. And I learned that while there have been years of SIGGRAPH papers published detailing all manners of image-making magic, there is absolutely nothing published that talks about the nuts and bolts of getting all the hardware and software in a facility working together. I had to gather what little info I could find by talking to ex-employees of other facilities and from sifting mailing lists for tiny golden nuggets.

This strikes me as strange. I mean — this is the fundamental problem that any start-up (or ad-hoc) facility will run into. It’s almost equivalent to the operating-system for a facility. And there’s nothing that exists to solve the problem? I guess that’s the problem. Everyone creates their own unique system. And none of them are compatible. This was okay when there were just a few shops doing VFX. But this isn’t the same world. Even romantic comedies have multiple shops working on them these days. Most of the summer blockbusters this year had a dozen or so VFX vendors. Facilities work together now. They need to be able to communicate.

So here’s my proposal: open up and standardize. We’re going to be working together, whether in small VFX shops or in production-specific ad-hoc facilities. We could make it easier on ourselves (and on our coordinators) if our stuff worked interchangeably. We can also get up and running in a new facility if we can grab a job management system, or a directory structure or some glue-ware for the repository and just run it instead of having to develop yet another custom piece.

Just like VFX Law’s proposed new-world VFX facility is only going to happen when a production decides to give it a try, an open pipeline is only going to happen when someone shares. So I’m sharing. Here is my Open Source Pipeline on GitHub. It’s very much in development right now. My goal with it is to first provide a basic framework for setting up shows and file structures and then figure out where to go from there. I’d love to have some help. Anyone interested?

Dec 10

The two poles of tool-building.

Writing pipeline tools is a constant struggle between having a robust solution without any gotchas and having something you can use on this show right now. The struggle certainly keeps things interesting.

Oct 10

Let Me In opens today

Saw the matinee showing of Let Me In today with a few coworkers from Dive. I hope the thrill of going to see a film you worked on never goes away.

The film’s been getting a lot of press, including some hometown recognition from Philly.com. Great headline.

Philly Visual Effects House Makes Vampires Real

Aug 10

The first Marcies

A friend of mine just shared this remarkable test footage from Kodak with me. Sure, it’s not in what we consider to be “color” today – it’s only red and blue/grey – but to me this is just magic. These women were the original Marcies.

Aug 10

Elevator Poem

I spent a few days last week at a nifty pixel conference in LA. Arrived at my hotel about 3 in the morning my time. I was delirious, but not too out of it to enjoy this poem posted in the elevator.

Should the elevator doors fail to open Or the elevator become inoperative: Please do not become alarmed. Please use the button marked “Alarm” To request assistance, Or telephone “if furnished”. Remain in the car until assistance ar And do not attempt to force the do Or hatch open

It’s a little choppy but it has a sort of haiku feel that resonates with me. Trapped in this moment, in this tiny space, such things are good to think on, if furnished. I arrived safely on the tenth floor. And for the rest of my stay I used the wide Spanish staircase.