Eric Hanson is a visual effects designer who specializes in digital sets and backgrounds for feature film projects. He began some years ago as a bit of a pioneer in the architectural field, doing 3D rendering on early Intergraph UNIX stations. When CG looked poised to explode in the early 1990s, Hanson moved over into the visual effects field just after ‘Jurassic Park’ was released. He knew he had something to offer the studios, coming from an architectural design background, as cityscapes often were portrayed naively in film back then. There was a lot to learn about the vocabulary and production methodology of film effects though. “Architects are well-suited for modeling and lighting“, Hanson quips, “but they make lousy animators!“ He is currently overseeing production of visual effects educational DVD titles at The Gnomon Workshop, as well as teaching there and at the USC film school.

Digital Domain
Hanson began his film career with Digital Domain working on ‘Fifth Element’. He returned later to work on ‘The Day After Tomorrow’ and, most recently, ‘Stealth’, Rob Cohen’s summer ‘05 action flick. Each film has a large digital set component to them. “Digital Domain is a legend among visual effects facilities, and for good reason“, explains Hanson. “Its infamous reputation hinges on its aggressive desire to do the best effects work possible, which has created a rich culture to produce creative work. Artists are motivated by the right reasons. Salaries and furniture are better elsewhere, but at Digital Domain there is a minimum of political clamoring, which results in a social climate that fosters working together to do the best work possible. Dysfunction does occur, but being that effects crews are social Petri dishes, that is to be expected. In general, it has a great group of artists and history, and should be a required road stop along the way for those working in the industry in LA.“

The urban sets Hanson builds as an accomplished (but not traditional) matte painter are brilliantly photorealistic. He was initially motivated and fascinated by photorealism while doing early architectural rendering, so the leap to matte painting was not a big one. He was frustrated by not being able to convey the messy imperfection of reality in architecture, where clients want a spotless building right off the showroom floor. In contrast, he found working on ‘Fifth Element’ liberating, where dirt and grime was intrinsic to the work. “While painting spec maps for urine pools on the sidewalks I realized how far I had come!“ Hanson smirks, “but the connection between architecture and matte painting can get thin, as proper matte painting is more commercial art than a study in high design.“

Hanson readily admits that ‘The Day After Tomorrow’ was quite a roller coaster for all involved. Digital Domain put it best on their Variety center spread, that stated, "Thanks for the ride of our lives." Digital Domain laid down the vast foundation that many other houses used to complete the work. Hanson’s role was to help expedite the creation of the vast cityscape models as NYC lead. So a lot of his time was spent coordinating the effort of the team to model and texture such a large undertaking. “Close to end of our involvement with the film, I began the rendering for the signature pull back shot of Dennis Quad entering the frozen city. It was the largest digital set show I have seen to date, and much was learned on the challenges of rendering in this post global illumination world.“

Eric Hanson recently released a three-disc training DVD set on creating Digital Sets - these are available from our CGProShop.

Hanson's break into film visual effects began with Luc Besson's 'The Fifth Element'.