The film and entertainment industry has always captivated audiences with its ability to transport people to different worlds and evoke a wide range of emotions. Today, this industry continues to thrive and evolve, fueled by technological advancements and the creative genius of individuals who push the boundaries of visual storytelling. Within this dynamic landscape, one name stands out for his exceptional talent and expertise – Tirumalaimuttu Shanmugam.
Tiru’s journey in the industry began during his college days in India when he was mesmerized by the fantasy world of visual effects showcased in movies. This sparked his interest in both the technological and artistic aspects of 3D Animation, setting him on a path of creative exploration and professional growth.
Tiru’s commitment to mastering his craft led him to pursue Graduate studies in Film/Animation at the prestigious Rochester Institute of Technology in New York. Armed with a deep understanding of the intersection between art and technology, Tiru embarked on a career that would showcase his versatility and adaptability across various domains of the industry.
With over 13 years of experience, Tiru has made significant contributions to the film and entertainment industry, excelling as a 3D technical artist, generalist, and instructor. His expertise spans a multitude of projects, ranging from movies and gaming to the tech industry and motion graphics. This breadth of experience demonstrates his ability to seamlessly transition between different fields and deliver exceptional results.
During our interview with Tiru, we had the opportunity to delve deeper into his expertise as a tech artist. He shared his experiences in developing automated solutions and tools, elaborating on how these innovations have streamlined production processes and improved overall efficiency. Additionally, Tiru discussed his involvement in creating procedural content for synthetic data, highlighting the importance of a strong technical foundation in achieving truly unique and organic-looking environments.
Hey, Tiru! Can you provide examples of automated solutions or tools you have developed in your role as a tech artist? How did these solutions enhance workflow efficiency or improve the overall production process?
Recently, I developed a character posing tool for a synthetic data project. The task involved separating a library of 3D-scanned models into distinct body parts and rearranging them to form a new avatar in a unique pose. My tool efficiently combined modeling, auto-rigging, fast skinning, and the ability to pose from scratch or use presets, ultimately exporting posed avatars in the chosen format. This innovation streamlined the character creation process, delivering unique 3D characters in a significantly reduced timeframe.
Creating procedural content for synthetic data requires a strong technical understanding. Can you elaborate on your experience in developing procedural systems and how they have been applied in your projects?
I’ve had the privilege of creating synthetic data for both an autonomous vehicle simulator and a computer vision-based project for machine learning algorithms. My task was to develop unique variations of 3D assets, including avatars and environmental props. I was captivated by the challenge of producing truly distinctive variations, as merely altering colors does not render an asset unique.
Consequently, I researched and developed non-destructive, or procedural, 3D asset templates. Each step of the 3D asset-building process in these templates is meticulously outlined, empowering artists to randomize attribute selections, thereby generating organic-looking 3D environments.
As a tech artist, you bridge the gap between art and technology. Can you discuss a specific project where you faced a significant technical challenge and how you overcame it to achieve the desired artistic outcome?
As a technical artist in the mobile gaming industry, achieving real-time performance presents a unique challenge. The need to strike a balance between incorporating artwork and adhering to technical limitations is vital.
I was assigned the task of creating a rig template that could be utilized by various character avatars in the Android/iOS-based mobile game, “Food Conga.” These characters had diverse ranges and were equipped with different props and weapons. To facilitate quicker iterations, I streamlined the pipeline while simultaneously conducting technical experimentation.
In the realm of real-time tools and engines, such as Unreal, what are some of the innovative techniques or features you have implemented to improve the visual quality or interactivity of the projects you have worked on?
I am presently employed at Telltale, where I am involved in a cinematic game project that requires the collaborative efforts of cinematic artists in 3D animation production. This opportunity provides technical artists like myself with a fresh perspective on technical art, viewed through the lens of cinematic language.
My current responsibilities encompass real-time rigging, specifically tailored to meet the unique demands of cinematic artists. My job is to ensure that the rig can accommodate everything from basic posing for pre-visualization to complex mocap animation. Another crucial aspect of my role involves finding a balance between performance and user interactivity. This project abounds with intriguing opportunities for Technical Artists to explore, experiment, and accrue new knowledge.
Can you explain your role in the motion capture data processing pipeline? How do you ensure the accuracy and quality of the captured data, and what techniques or tools do you utilize to streamline the processing workflow?
I’ve been intermittently utilizing motion capture technology for more than 15 years. Its application extends beyond gaming and filmmaking. Content creators have various options when planning a capture session, considering factors like the complexity of the action, budget, and space availability versus the quality of the capture.
In my experience, optical systems using markers generally yield better captures. However, the quality is contingent on multiple factors, including marker placement, the congruence of body proportions between the digital character and the live actor, the number of cameras, and the complexity of the action. I primarily use Motionbuilder and Python for batch processing, which have significantly streamlined the effort needed to produce the final output.
How do you stay updated on the latest computer vision and machine learning technologies and techniques?
Through involvement in several projects, I’ve acquired knowledge in various technical areas and make a consistent effort to stay current. However, I understand the importance of being an end-user as well and am committed to further developing my skills in this regard. I’ve been particularly impressed with AI-powered search engines, image editing tools, and demonstrations of computer vision projects.
Collaboration is essential in the field of tech art. Can you discuss a time when you worked closely with other team members, such as animators or programmers, to find technical solutions that aligned with the artistic vision of a project?
Effective communication is paramount in the role of a technical artist, as they serve as a bridge between departments in a production. Collaborating with AI scientists and developers introduces an added dimension to the role. The non-destructive construction of 3D assets is essential for a procedural workflow, which entails applying mathematical subjects like linear algebra in technical art. Observing how these concepts aid in 3D creation is truly exhilarating. For me, these concepts were previously merely theoretical, so witnessing their practical application has been enlightening.
How have you used your technical expertise to support artists in exploring different visual styles? Can you provide an example of a collaborative project where you achieved a specific visual aesthetic?
I harbor a profound passion for stylized visuals and find it exhilarating to work on projects that incorporate them. While I have experimented with creating such visuals in my independent films, doing so in a collaborative project as a technical artist expands beyond my conventional role.
Recently, I contributed to “My Divine Friends,” a touch-and-feel board book for kids featuring stylized illustrations. My assignment was to create an explanatory video for the product using the book’s illustrations. The most challenging part of this project was animating the characters, which lacked layers. Despite this, I managed to create engaging moving illustrations by adhering to the author’s visual style and technical boundaries.