The creation of fluid has been tagged to be the most difficult animation to create in any 3D program. Fluid dynamics is highly complex to animate by hand and that’s where fluid simulation plugin come into play. Below mentioned are top 6 champion fluid simulation plugin of the visual effects industry:-
It is volumetric particle tool kit with 64bit and multithreading support. The particle toolkit can handle millions of particle with being less exhaustive on system resources. Shadow interactions are complex which adds to the realism. Volumetric shader does charm for the plugin. Along with creation of the fluid masses like ocean surfaces, splash, water streams etc, it can also be used to simulate volumetric smoke, fire, dust and foam.
Compatibility– 3dsmax, Maya, Cinema4d, it also packs its own standalone version.
Available Versions– Krakatoa mx2 (3ds max particle renderer)
Krakatoa my 2 (maya particle renderer)
Krakatoa c4d (cinema4d particle renderer)
Krakatoa sr2 (standalone particle renderer)
This is another plugin capable of creating realistic water, oceans and other fluids. Real Flow has got wide user base with a lot of forums and tutorials. It is one of the most popular fluid simulation plugin. Moreover, this plugin is integrated nicely with industries top 3d programs, the only problem is if you want more complex outlook and animation, you might end up with lengthy render times.
This plugin is mainly developed for volumetric Smoke and Fire but it is capable of generating fluid like physics to fire, best suited for generating molten lava and avalanches. With Features like Effectors (control over physics), Render Warps, N-sims and Gpu accelerated preview window adds ease of use along with complex results. It’s compatible with 3d studio max and Maya.
After burn along with fluid dynamics this simulation plugin is also used for explosion, Fire, Dense dust, volumetric explosions. After Burn can easily simulate water animation with almost every parameter adjustable to meet most of the complex project demands.
It’s the best fluid dynamics plugin. It takes tremendously less time for rendering and comparatively less intensive on the processor than other plugins of the same cadre. It gives the animators much control over the fine details and lets them tweak most of the parameters up to their satisfaction. Again, this plugin is also used for Simulating fire, smoke and explosions.
>Houdini Ocean tool kit (Hot4max)
It is a modifier plugin simulating ocean wave. It is a great plug-in and its GUI is easy to used. It goes superbly well with 3DS Max.
We hope this was a quick and helpful read for you guys. Let us know in the comments below, what do you guys think about this list?
Illusion of visual imagery is called Visual effects & Visual Effects Artists are Wizards of this illusion. They are the masters of actualizing realistic imagery,which are unimaginable to capture in real world. Visual Effects Artists educated and trained from different Visual effects schools have created award-winning blockbusters. With the advent of technology in Visual arts, Specialization is the biggest factor to get a job. Choice of skill has uber importance. If you want to be a character animator, you have to opt for recognized Animation school, in the same manner, if you are more inclined towards compositing and other 2D technique go for known visual effects schools in the world. We are going to list Nine of the best visual effects schools of the world, hopefully this will be helpful for the folks, who are seeking the knowledge about such institutions.
With Krish and Ra-One scoring a punch on the Indian cinematic screens, there has been a boom of movies filled with Visual Effects and Animation. Hence, the necessity for the high quality VFX has become an integral part of the Indian movie making Industry. Indian animation portfolio is currently weak though, when compared to the other developed nations. Most of our animators and India based animation companies are doing Rotoscopy and Matte painting for the outsourced projects from Hollywood as 2nd or maybe 3rd parties and that might be a good thing considering our current needs of employment but from overall scale, there is nothing much novel is being done here. However, you have to look at the brighter side of the picture because we are currently like a budding flower in this field but we have some really promising indigenous artists that are creating spectacular never been used creative VFX footage’s and believe us, they are blooming at a high pace now. We have few visual effects schools in India that are doing exceptional job in opening up the floor of animation for the younger generation and the seniors. We are going to sort out a list of top visual effects schools in India so that you can have the boot that suit your feet :-
Body doubles, Motion capture, Face replacement, CG model of Paul Walker, Do you think Brain O’Connor will look Realistic?
Vin Diesel via a facebook post articulated the difficulties the crew and the actors are facing with absence of Paul Walker.
Excerpts from his post –Vin Diesel – “There wasn’t a scene in the saga he didn’t want to discuss, improve… even with just a changing of a line or to add a specific nuance to enrich a moment.He did it with the pride of knowing, that over a decade of portraying Brian, through four directors, multiple writers and new producers he was able to maintain the inner core of the character he created”.
That was expected from the starry cast of the Fast & Furious 7, because development of physical looks and mannerism is possible to certain extent by visual effects, but interaction between co-actors involved in filming a scene or orchestration of dialogues between the characters cannot be imitated by a CG model or a body double. (After Cody and Caleb –brothers of Late Paul Walker are officially involved in filming Fast & Furious 7)
Hit the Next page button below to continue reading the rest of the story….
Photoshop-AfterEffects-Cinema4d, when used in conjunction, WHY this trio is considered the most powerful yet easy to use software combo?
Answer: because there makers have put up STRONG INTEGRATION across them. Adobe, makers of Photoshop –Aftereffects and Maxon the company which developed CINEMA 4D are collaborating for development of their respective products. Individually these software are EASY to LEARN in other words they are MORE user INTUITIVE. With tons of tutorial available on internet (because of wide user base) anyone with intent to succeed in the field can wield them.
Photoshop is an image editing software and Aftereffects is compositing software for video, whereas CINEMA4D is a professional level 3d modeling and animation software. We can import and export almost all vital features, necessary to produce excellent visual effects. You can motion track a video footage and import that information to cinema4d where you can add true 3d models, make textures in Photoshop import them to cinema4d and render it, back to after effects again for tweaking lighting and color and all sorts of stuff to make it realistic. Let us have a closer look at integration:-
INTEGRATION is achieved by using EXCHANGE PLUGINS
>PHOTO SHOP EXCHANGE PLUGIN
Photoshop has always integrated with Cinema4d and After effects nicely. After arrival of PHOTOSHOP EXTENDED (with 3d capability) it became easy to import 3d files to Photoshop and then export them to After effects in .psd file format. Now with launch of Cinema4d r 14 a new EXCHANGE PLUGIN FOR PHOTOSHOP is out. With it artists can open c4d scene files inside PHOTOSHOP EXTENDED. These scene files are imported as 3d layers and you can easily tweak and add more detail to texture , lighting everything in the scene.
>AFTER EFFECTS TO CINEMA4D EXCHANGE PLUGIN
This exchange plug-in enabled artist to export camera tracking data and nulls to Cinema4d r12 and above. But the integration with Cinema4d r 12 was unpredictable. With the launch of Cinema4d r 13 the integration strengthened. Exporting camera tracking data to Cinema4d r13 worked like charm, users had not to worry about adjusting axis after the import. Artists just needed to track the footage and export camera data to C4d attach 3d models or animation render in multipass. Import the renders and tweak different passes like Globel Illumination,Ambient occlusion etc to achive desired results.
With launch of Adobe After Effects CC this integration has gone to next level. AE CC ships with free version of Cinema4d lite and Cineware plug-in. For free CAN YOU BELIVE THAT!! That’s why this trio is so powerful. Cineware is the new medium of exchanging data between C4d and AE that allows importing CINEMA4D files directly to after effects without rendering. Not only c4d files can be imported inside After effects CC you can adjust every major component from camera to lights everything.
Aspiring Visual Effects Artists must seriously think of adopting this workflow . Ease of Use unleashes Creativity, Thanks for reading and YES…. BE CREATIVE .
STRANGE BEASTS (KAIJU) started reappearing cinematic screens last year with PACIFIC RIM. In 2014 GODZILLA carried the legacy forward.
SOUL-PURPOSE is to understand the ART behind “Concept Creation”, Modeling & animating based on that Concept. How these illustrious Visual Effects Studios like MPC AND ILM approach to Character development and the film itself.
Let us compare the KAIJUS of Pacific RimVs GODZILLA (most popular KAIJU also known in its Japanese context as “GOJIRA”)
Pacific Rim(2013) Directed by – Guillermo Del Toro having sound understanding and strong interest in Visual Effects Industry.
Godzilla (2014) Directed by – Gareth Edwards Visual Effects Artist Turned Hollywood director.
KAIJUS (pacific rim) were created by collaboration of ideas between Guillermo Dell Toro and his VFX Team at ILM with Supervisor John Knoll and Lindy DeQuattro. The director wanted to venerate the classic KAIJU movies from 1950s-60s.
Godzilla was actualized by keeping the Toho Company movies base model Gojira in mind, they are the Japanese TV and movie industry giants, who have been making several Godzilla movies previously. The director wanted Godzilla to be severely gigantic but to be able to convey emotions as well. VFX supervisor Jim Rygiel- John Dykstra and MPC VFX Supervisor Guillaume Rocheron helped Gareth Edwards to achieve his vision.
There were 9 types of KAIJU monsters shown in Pacific Rim classified categorically with Category 1 being weakest and Category 5 being most dangerous. Popular Kaijus amongst the fans were Knife head, Otachi and Slattern, who was a category 5.
In Godzilla 2 type of monsters were depicted, the great Godzilla and the MUTOs: Massive Unidentified Terrestrial Organism, the MUTOs were capable of flying.
Animaters creating Kaijusreferenced animals like sharks and gorillas to get an idea for synthesizing their body language.
Whereas VFX team creating Godzilla mimicked body language from Reptiles and Bears.
In Pacific Rimall Kaijus had different references for looks like crabs, gorillas, bats , dinosaurs etc. One of them had Electric charge attacks, spitting blue colored toxic fluid, hidden wings or appendages. Each Kaiju had its own set of special powers.
Godzilla reveals its special power in the late half of the movie by flurrying out radioactive blasts pulverizing its preys.
Kaijus in Pacific Rim had many fighting moves few of them used biped posture while fighting, deploying punches, breaking arms of giant robos (the Jaegers), the Slattern used its tail for attack. VFX team had to figure out the right balance between Speed of animation and sense of weight they wanted to give these creatures. Slowing down the speed reinforces the sense that the creature is very heavy and thus very huge. But at the same time turning the speed down also affected different fluid simulations used in the scenes during fight sequences in sea.
Godzilla had more animal like fighting moves. And Gareth and his team did a fabulous job handling the scale and weight of Godzilla as well as for the MUTOs. They really gave the sense of humongous size and weight in every aspect they appeared on the screen.
Extensive flesh simulation were used for Kaijus and Godzilla with experts dealing with anatomy, handling different creature animation rigs and each of them were animated manually using Key frame animation. Both VFX teams for respective models kept musculoskeletal relationships in mind while working on shapes to give the feel of realistic muscle movement under the skin.
So, what did we learned with this behind the scene knowledge?
1. Every aspiring Visual Effects Artist or student while designing CREATURES for your projects or just for learning should get some REFERENCE from REAL WORLD examples.
2. Try to figure out the personality you intend to give the creature. How it should move, behave, roar and work on other such basic but minute specifics of the body language. Now, if you have a creature in mind that’s going to be funny and jittery, we can take a cue from chipmunks or monkey who have basic nature of being jumpy, fast and hilarious in their own rights. Similarly if the target is to generate a hostile, heavy and deadly monster, we can map the moves of tiger, gorilla or hippo.
3. Try learning Musculo-skeletal system of your reference animal before going to model your creature. This will help in giving the reality to the movements of the creature during close shots and the overall anatomy along with physics will be enhanced.
4. Keep your creature more VISUALY COMPREHANDABLE; this will help the audience to register its movements both while moving or during high speed fighting sequences.
5. If you want your audience to feel that the creature is huge in scale, SLOW down its movements so that it adds WEIGHT to the creature but keep in mind the environmental interaction because more heavy the creature is, its movement will cause damage in a certain way to the objects around it. This has to be pin pointed with acute accuracy or else we will jeopardize the sensation of illusion. You can get away with high speed movement closer to camera but if you are planning extreme wide shot with huge monster as your creature you better work on different speed modulations to achieve the desired outcome.
OK, Who actually WON THE BATTLE?
If we look at this faceoff from the angle of complexity, we can definitely conclude that Kaijus required much more efforts compared to Godzilla, but when observing the end audience experience impact, Godzilla will be a sure shot winner and this also gets reflected in the Box-office collections. Godzilla’s presence was much more palpable as it successfully rejuvenated the sense of “Visual Clarity”. If you would ask me, Kaijus physical features were overshadowed by the bad lighting during the fight sequences. However, Del Toro has already announced a sequel to the Pacific Rim, and knowing his caliber of direction, we can expect something good that would get some heads rolled. But in this face off our good old friendly Reptile Godzilla has won it.
Do comment below and let us know who is your favorite Monster of all time? Who won this battle in your perspective? We will be back soon, with more interesting reads.