Brian Davis started his career in visual effects in college, where he went to film school. He then got a low-paying job as a video editor. When the facility upgraded to non-linear editing equipment, he was able to learn about computers, and started generating 3D logos, and doing opening montages and visual effects in Macintosh-based packages such as Electric Image and After Effects. After working there and refining his skills for 3 years, he then started shopping his demo reel around to the larger visual effects facilities.

He eventually landed an entry-level job at VIFX, doing screen graphics design. This gave him access to Silicon Graphics workstations, and high-end software packages. And once again, he began to train himself in these new tools. Eventually he was moved into their 2D department, and did compositing in Chalice, Morphs in Elastic Reality, and also pulled mattes in Matador. After a couple of years in 2D, he was offer the chance to train in 3D software packages. He began using PRISMS, and then Alias, Softimage, and eventually Houdini and Maya as well. Not because one package was better, but because the facility kept changing packages, and the artists had to adapt. He worked in their 3D department for about two years, and also did some matte painting and texture painting work.

He did primarily effects animation, such as creating fire and smoke, and other organic elements, as well as doing basic animation tasks. After a long stint at VIFX, the facility closed, and he went to Banned From The Ranch, where he worked on designing the screen graphics for Hollow Man and doing compositing on several other shows. After Banned From The Ranch also closed, he worked at Digital Domain on a Disney ride film, and Grinch, doing organic effects animation in Houdini, and doing some compositing in Nuke. He is now working at Rhythm and Hues, lighting and compositing 3D talking animals. If you want additional information, check out images of his work at his homepage. He is always willing to answer questions aspiring FX artists have about how to get into the industry, and how to make great demo reels. His FAQ on his site has a lot of good information to look over.. If you want additional information, check out images of his work at his homepage. He is always willing to answer questions aspiring artists have about how to get into the industry, and how to make great demo reels. His FAQ on his site has a lot of good information to look over.

Brian's thoughts on Production: Sometimes production can be stressful. Often you have little time, and little creative control. I try to remember that it is just a job, and a fairly enjoyable one. It is only unpleasant when you let the deadlines and lack of creative input get to you. A director once told me, when people give him their idea of creative input, by telling him how things should look, he tells them to make their own f***ing movie. It is the director's movie and the studio's movie, not yours. If you want to do really awesome creative stuff, make your own movie, or do cool stuff in your free time on your system at home. If it is that amazing and awesome, maybe someone will give you a movie deal, or make you a visual effects supervisor. If you don't have the motivation to do anything else other than your own job at a big company, then just accept that it is a job, just like any other job. People are going to tell you what to do, and even if you think their ideas are totally ridiculous, you need to try to do what you are asked to the best of your ability, and try to appreciate that this business is so much better than the jobs 90% of the population does on a daily basis.