Bio

Peter Shipkov's interest in computer graphics started many years ago.  He spent his first two years following university coding and designing websites until he got his first job in CG.  Since then Peter has worked at DNA, Luma Pictures, Sony Pictures Imageworks and most recently Digital Domain.  What Peter is probably best known for in the industry however is SOuP, a large collection of tools that Peter created and shares with the community. Generous with his time, he also promotes code collaboration and community tools through other partnerships. SOuP-Dev is no longer just about SOuP or Peter, as many other TD's, inspired by Peter's ideas, have now contributed their time and tools as well.​.

Q&A

1. How did you get involved with 3D computer graphics?
   
   

   Well, it happened gradually. I used to draw a lot before getting into computers and was really fascinated by visual effects in sci-fi movies. Once I got a computer at home I started playing with freeware programs. That was back in 1994, I believe. I was pretty fresh with the computers and my outlook was pretty narrow. Then one day I got introduced to 3D Studio 2.0 for DOS and Autodesk Animator 1.0., I was literally blown away. The concept, the possibilities, I still remember that day - that was the beginning for me..

2. What are some of the projects have you worked on?
   
   

   Some of the more recent are - Transformers 3, Reel Steel, 2012, Percy Jackson, GI Joe, Hancock, Beowulf, Pirates of the Caribbean 3, the list goes on ...

3. As an Autodesk Master, for what do you use the 3D software? (For example, modeling, texturing, lighting etc.)
   
   

   My work position is character lead, I also do pipeline, visual effects, writing new tools to aid the production process, I used to do lighting in the past, but not anymore - life pushed me in more technical areas.

4. What makes this industry so exciting to you?
   
   

   I think it is the creative element that is in the root of everything we do around here, also on some shows there is quite a technical challenge - it's like a game for me - can we outsmart the limitations imposed by technology, resources, etc. and put great looking pixels on screen.

5. Where do you see the industry going in the next five years?
   
   

   Our industry is rapidly maturing. In fact I think it has matured to a large extent. What used to be frontier is now commodity. Outsourcing is the new thing and the logistics of it are pretty mismanaged these days, but over the next few years the studios that survive it will figure it out one way or another. Then I don't know - it's a little fuzzy to me. That's on the management side. Technology wise, I think the focus will be on how to improve efficiency and bring cost down. Two examples from the top of my mind:
   1. Effects - 5 years ago fluid dynamics in VFX software were a quiet revolution, now pretty much every application has that. At this point the "battle" is about who gets the fastest solver and the most robust fluid shader that takes the least amount of tweaking to get useful results. Another big thing these days is unification of the different dynamic subsystems.
   2. Characters - back then designing a system to auto-build biped rigs was considered significant achievement. Today this is taken for granted. Clients don't even think about that they assume it is there. The focus is - where are my advanced deformations - physical skeletons and muscles, dynamic skin, animated displacements, skinTension driving shaders, hair, cloth, armour, and so on. We know how to do that for 1 or 2 characters, but the challenge is how to do it reliably and efficiently for a lot of them.

6. What words of wisdom do you have for anyone interested in entering the professional world of 3D computer graphics?
   
   

   1. Be passionate -sometimes I see people who are not really enjoying what we do. Their mind is somewhere else - hobby, other interests, etc. This might be okay if our job was to perform something methodically over and over again, but it does not work like that when one is supposed to be creative. job stability may deteriorate down the road.
   2. Keep your eyes on the final goal but not the process - this is more about the technical and workflow aspects of our work. Many people get fascinated by technology itself, by the process of delivering products than the actual products. I have seen quite a bit of that everywhere I have been - beautifully designed frameworks and workflows with all the right programming and logistical concepts ... that have nothing to do with film making.
   3. Don't overcomplicate, but also, be smart - don't oversimplify. Find the right balance of art, workflow and tools that will help you achieve the project goals. This greatly improves long term job stability :)