FLY AROUND IN TERRAGEN 3 SOFTWARE
I remember playing with a software called DKB-Raytrace, (similar to Pov-Ray). I owe a lot of thanks to my beloved dad who helped my passion to grow. Everything began when I was fourteen, so we are talking about thirty years ago. There are many tools I used to use and still use daily. It is great because I have to be able to move on a different workflow and learn different softwares.
FLY AROUND IN TERRAGEN 3 FULL
GW: What new techniques and technologies to manage and assemble full CGI sets have you come across lately?ĪC: I often work with different clients and different pipelines. I’m often tired, but it is amazing what we can achieve today. In that case, I usually have other artists working with me, and I then step into the role of a supervisor too. Working hard during the past few years has given me the possibility to occasionally pick bigger projects. It all depends, month by month, case by case. Plus, these may be different tasks on the same project, or different projects all together. For example, multi-tasking can be challenging: if I am working on explosions on one workstation, water stuff on another, and working with complex shaders and lighting on my main workstation, all at the same time it can get tricky. I can’t relocate my family, so being able to work as Lighting TD and FX TD has given me more possibilities to find and work on various projects.ĭaily demands can come in many forms.
Which by the way, I love working from my home office: I’ve got my dogs around while my boy is playing with my beautiful wife in the other room… It’s been part of my dream since the beginning. If you can move and relocate it will be simpler to find it, but I have also worked remotely from my home office.
Living in a beautiful country like Italy is not good for VFX artists mainly because the market is poor, so you have to find new gigs/jobs around the world.
During past years, I decided to be specialized in two CGI/VFX areas because I love them both. GW: What do the daily demands for a freelance lightning technical director and FX technical director look like?ĪC: I can say that my daily list of things to do is long and challenging, and that’s why I love this job. To learn more, visit his Gnomon tutorial, Art Station and Cangelosi found his passion for computer graphics, VFX and technology as a young child and he still enjoys juggling multiple types projects, solving technical problems, and inventing new techniques via relentless research and development today. As a Lightning Technical Director and a FX Technical Director, Cangelosi has worked with various studios and production companies around the world and on titles such as Independence Day 2, Suspiria, Prince of Persia: The Forgotten Sands, 2012, Mobile Strike, and Ghostbusters. With two decades of experience in motion pictures, commercials, and the video game industry, Alessandro Cangelosi has garnered a wide variety of knowledge and skills.
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