![realflow 2014 keyframe particle realflow 2014 keyframe particle](http://cdn.mos.cms.futurecdn.net/2ksy4tz2euYkbEvrfeSwQR.jpg)
![realflow 2014 keyframe particle realflow 2014 keyframe particle](https://www.toolfarm.com/images/uploads/blog/dyverso_dancer.jpg)
Sometimes the visual effects team are called upon to make special things happen. It was a nice way for us to contribute in a creative way to the overall project.” ‘Where’s the salmon shot?’ “Paul liked it so much that he decided to begin the film with those shots, modified slightly,” says Robertson, “but also to end the film with that final shot which is a wider shot. Ultimately, the images created for the teaser were extremely well-received. The mandate was to treat the shots as if you’re flying over a mountain range.” “Then we added in the environments which was a hazy smokey black nebulas background,” adds Robertson. We did a test on one of the shots all the way through to confirm the stoney and lichen-looking texture which had a lot of depth and color.” “We got into lighting in about three or four days. “We found some nice ways to procedurally model the detail in the surface texture itself and had a beautiful result,” describes Robertson. Artists had three weeks to turn the shots around. The initial models with some blocking were pitched to the director and then put into production for the teaser trailer. That was even more spectacular given it was stereoscopic 3D.” “Every time the camera moved it both panned and tilted and dollied across the surface,” says Robertson, “so there was a great sense of perspective change during the shot. “We looked for interesting scenes that almost told a story even though they were just statues.”Īrtists sculpted these in MARI in high detail, since the camera would be only around 2 inches off their surface and move slowly along it. “We did some research and found some of the more moving poses,” says Robertson. X Gotham was tasked with creating a 30 second sequence out of individual tight shots of these plaster bodies for the teaser. “They found a hole and they filled out the holes with plaster and that’s how they got the shapes of the bodies. “When the excavated Pompeii they didn’t actually find remains,” explains Eric Robertson, visual effects supervisor and President of Mr. What the studio produced for the teaser was so successful that it made its way into the final film. X to create what would initially be a unique sequence of ‘micro-landscapes’ – CG renderings of dead citizens of the city in their final poses. Midway through the production on Pompeii, the filmmakers had to produce a teaser trailer. X used SpeedTree to create foliage, and then ran destruction sims with DMM and Fast Point Instancing in Houdini to populate forests. Ship sails: The team relied on Houdini Cloth, with destruction of wood and splintering carried out using DMM within Houdini. From there the team relied on RealFlow to simulate interactive foam particles which were then run through the same procedural displacements as the surface water to keep the foam on the surface. A custom displacement shader was used to apply the vector displacement along with additional small-scale noise patterns to prevent tiling. X used the Houdini OceanFX Ocean Spectrum and Ocean Evaluate tools to generate procedural ocean vector displacement maps.
#Realflow 2014 keyframe particle Patch
Water interaction: RealFlow was used to simulate a patch of hero water and then seamed that with a larger procedural surface. Lava bombs: These were a mix of Houdini’s Pyro solver and Mr. The Pyro solver was also used for the massive pyroclastic flow and fire effects From here the effects team would use Houdini Particles for secondary debris, and Houdini’s built-in Pyro solver for volumetric elements such as dust and smoke.
![realflow 2014 keyframe particle realflow 2014 keyframe particle](https://2.bp.blogspot.com/-qJbHd7aGw_Y/WglSRpE6iNI/AAAAAAAAGjo/Lnt4NiopmDQLYwe52busznLnQMv_zWTfwCLcBGAs/s1600/Particle%2BColoring%2Bwith%2BRealFlow%2Bin%2BVRay%2Bfor%2BMaya%2B%2B0.jpg)
#Realflow 2014 keyframe particle software
X’s main software for rigid body sims was its proprietary version of Bullet in Houdini. X relied upon for their shots.ĭestruction everywhere: Mr. X create the city of Pompeii, its surrounding areas (including Mount Vesuvius) and then destroy it with a mix of lava bombs, a tidal wave and a massive pyroclastic flow? The answer lies in early and constant interaction with the director to plan out the destruction, previs it and then bring it to life via the company’s Toronto and New York studios (overseen by visual effects supervisor Dennis Berardi) as well as external vendors. wp-content/uploads/2014/02/Pompeii_EPK_19_h264_hd.mp4Watch part of Pompeii in this clip from the film.įirst up, how did Mr.