Niall Horn VFX's Blog- Making Of My Work & RnD

Wednesday, 18 March 2015

Meteor Vs Building FX Shot

All Images © Niall Horn VFX

Hi Guys,

I posted a Work In Progress of the shot last month, Its been a super fun perosnal project to work on, in the past 2 months on and off (Mainly after work). This project got pushed into my Inactive folder through January, As I properly started the project in February again I got an amazing offer from a big VFX Studio, sadly I cant take it due to other concerns but it made me want to go back and turn this RnD into a finished shot, I am trying to do this a lot., I love doing FX RnD in my spare time, but I have been trying to find a niche for myself where I aim to put my RnD into a Production Shot, which is where my generalist skills come in handy for Lighting/Rendering/Comping. Plus I got loads of RnD and FX Notes out of this shot!

Shot Production-

Making Of Meteor Vs Building (Destruction of the NHVFX Office's!!)-

The First WIP is on the end of my 2014 Reel, as I say the idea came to me because i've been doing lots of fluids recently and wanted to do some Destruction RnD, also I knew I was going to be using thinkingParticles (TP) in production this year and hand't used it for a while. The Amazing thing with TP is the actual main setup for the Shot layout and early RBD Setup was done in one night!

Reference for this project was looking at Scanlines shot in Battleship with the Bank of China Destruction (One of my personal favourite shots/sequences,) I watched this frame by frame many times, theres so much little details put in there when you watch it frame by frame you don't notice in realtime. Also my hobby of watching lots of building demolition videos on YouTube. The Real life ref was used for the RBD/TP Sim Reference, wheras these did not serve aswell for the FumeFX Sims Reference.

The Modelling of the building is pretty simple, not based on any real building in paticular, the thing I added more time into was the interior details of the buildings break section which get torn apart and hidden by the dust! I modelled some tiny computer monitors in there, also office chairs, a few bookcases and desks are also in there! I even added a banner which flies out around frame 75 which says "Offices For Rent" for a bit of a laugh :) , but again its covered by the dust and explosions so you cant see it very well! (I'll talk more below about this, I added lots of Papaer and Extra Glass and Concrete Debris).

 Office Objects^^
Now try and find them with all the Debris ontop!

The TP System is using SC (ShapeCollison), I spent a bit of time experimenting with Pre fraging vs VolumeBreaker (VB), in the end I used VB to Procedurally Fracture the Concrete and Glass. All the Objects and extra debris were pre fragged. The Activation from the Meteor collision was in the end using an Omni Light which activates the First level of breaking, a frame before the metor collides with the building. Looking back I should/could of done this via Distance Threshold of the Building to the Metor, which is a more procedural approach. However the Omni light only activates a path of destruction led by the Meteor which then spreads to the whole buidling break section (By testing the velocity of the fragments in the first group (Break Level 1) and then if the exceed the threshold they go to a new group which breaks them again (Secondary Fragmentation).

Omni- Parented to Metor Activates Level 1 VB Fragmentation
Once Level 1 Fragments Exceed Vel Threshold, They Get Secondary Fragged

The Final sims were ran in a day why I adjusted settings, one thing with SC with is kins of a blessing and a curse is the high amount of friction you get. This is great when needing cheap bending/clustering of fragments (although ideally you'd use a Joint Setup). So I turned the Friction right down as Concrete and Glass needs mass to show the scale. The Glass VolumeBreakers Fragmentation is using a more Radial Voronoi pattern whereas the Concrete VolumeBreaker is using a more standard Voronoi Pattern. The Level 2 break has less gravity on them, as they are smaller and thus lighter. Same for the office objects they have less gravity. The bigger fragments have more spin on them however as the samller frags dont have spin which is deliberate, because I initially planned to emit dust from these and spinning frags would mean needing high substep sims. Once the sims were tweaked I used XMesh (I luckily got on a previous project an am loving it for caching!). I cached each group out to separate caches as changing topology in one cache is a nightmare to work with, especially when doing Fume and extra debri sims ontop. This means more HDD Space, but worth it.

The Final TP Destruction Sim/s

Becuase I find it easier and a more smooth workflow, I decided to add all the Paper, Extra Concrete and Glass Debries in using PFlow. Using PFlow particles been born on Xmesh Caches can be a bit slow however, due to the geometry not actually been in the scene and is reading in from a cache. I mainly used Lock and Bond to lock particles onto the cache and then speed test them so if they exceed a speed (Just like in the main TP Setup) they emit Concrete debris, and paper etc.I then matched gravity in PFlow which was easy, and used Spawn and Age test to birth more debris needed in the slower areas and also delete them have a set amount of time so they debris will stop emitting on the frags and then fall to the ground. These PFlow Systems were then themselves Xmeshed and I setup a Final RBD Scene with all the caches together and checked they were working. I did delete some and key-frame some fragments/debris that fell to quickly or exploded, but this was easy. I added a sign ontop of the building a basic asset saying NHVFX (NiallHornVFX) for fun, I keyframed this reacting to the impact.

PFlow Debris Playblast Running

Viewport Preview of the Final Destruction Sims

I decided to render a WIP/Clay Render with V-Ray of the Building Destruction out, because I knew I was not going to be able to work on it for a while again due to getting a job on The Sea Serpents Song Project. Note I changed the camera, this was the original camera, but I changed it to a low angle shot to give more scale.

I resumed production on the shots, on my nights off late Feburary and worked on the shot, most mights for a few hours (Including sim and test render time). So next was onto the FumeFX Sims.

I wanted to go all out on the Fume Sims, I first started on the Meteor Fire/SmokeTrail sim. I've done long burning object smoke trails on 3 projects now, from Warthunder's B17 Engine Explosion. As any FX Artist/TD knows doing Fluid sims that need to trail over a long distance is a pain! Luckily the camera is quite tight so the grid didn't have to be a long as it could of been. I first went to Fumes N-Sim, However becuase I was using 3 grids, the sim time and turnaround time for iterations even at Lowres for testing sims was too high, so I decided to stick with one grid, and switch this project over to my more powerful machine, therefore I could only work on this project a few hours a day once I'd finished work, I used ObjSrc Emission from the Metor, I wanted dual coloured smoke mixing on the trail so my plan was to use to noise maps on each side of the metor and use these as emission maps in the Obj Src, this kinda worked, but I ended up needing really dense smoke emitting otherwise it was really think, so I ended up using no maps, just diffrent sides of the metor to emit Dark Grey/Black smoke and also a Lighter coloured grey smoke on the other side.I actually didnt use Fire Creates smoke as I wanted control over the amount more easily, so I used Fuel,Temp,Col and Smoke emission all in the Obj Sources (Using Colour Caching in the Fume Grid). I also used Wind to push the smoke backwards a bit and to have it expand more, I did NOT want the typical Straight Meteor Smoke trail!On the other end of the spectrum I didn't want it to be too turbulent and thin fire and smoke. I used an Effector to control the turbulence based on the fire strength. 

 Fume- Meteor Grid WIP
Meteor- Mid Res Test Renders

The Dust was actually emitted from particles birthed on the secondary fragments XMesh Cache (No SpeedTest) I just had particles born on them for a few frames when the Meteor hits and then keyframe the smoke (Dust) emission to die down. I also used a low velocity multiplier so when the dust particles died they did not leave big mushrooms, to hide the low velocity I used wind and high gravity in the dust sims to push it following the fragments. I managed to get away with using no collisions between the Fume Voxels and Fragments/Debris at all for the Dust Sims. There was a little bit of stair stepping present in the dust sim due to the Xmesh Frags having such a high velocity from the Meteor Collision, this was hidden anyway with MotionBlur.

HighRes-Dust Sim Front

For the Impact Explosions and Firey Smoke Shooters/Trails I took advantage of something i've been working on since late last year. My own FX Asset Libary, becuase a lot of the work I do doesn't need every explosion, every smoke plume every watersplash etc, to be hero sim'd in the scene file (Although many do!). So Every Fume setup I do I save in there, so If I need to drag in an explosion or smoke trails I can just sim them, and merge them rather than having to setup Fume sims/particle emission for every sim in the scene. Both the Impact Explosions and firey shooters were made for this project, however I can re use them, readjust and re sim them in the future now. The Explosions are basic blasts using particle emission, quick burn rate, animated timescale etc. The Firey trails are PFlow particles that spawn trails and are deleted after a few frames to get the nice firey tips (Like you see in many Michael "Bayhem" Explosions both Real and CG!). So these were sim'd in there own file, I then merged each of the two trails grids and the explosions, Positioned them in the scene and set which frame they start. Of-course theres no interaction, which is not needed, if it was this approach would not work.

 All the Grids- Voxel Preview's 
Impact and Exit Explosion and Trails- RAM Player Test Render

I didn't use much mutliscattering here as for One the shots in daylight, so there would be not as much scatter from the fire to the smoke, Two the camera would be exposed properly so there wouldn't be much visbile light coming through the smoke anyway, and Three its not the look I was going for! The Impact Explosions and Trails were rendered togheter, then the Meteor Grid by itself, then the Dust by itself, for more control in comp. Each of these rendered, Beauty,Fire,Smoke,Velocity and Z-Depth passes for later use in Comp.

The Building,Meteor and Debris were rendered in V-Ray  in a Single Pass, (Beauty,Vel,Z-Depth,Refraction). I rendered a Refraction pass so in comp I could use it to pull a luma matte on the glass and convert to an alpha matte which would be use to fake the sky reflection on the windows for more realistic reflections, then off the HDRI only. I also used a few other V-Ray lights on the building, I dont think I ever light only using a HDRI! The XMeshed Caches carried the UV's from TP so I added Procedural concrete textures of fractal noise and bump fractal noise aswell. Also the Glint on the Glass is done in comp with an animated lens flare, I felt that was a good idea and helped sell the shot as been more real, its a subtle thing not many people notice which is exactly what its meant to do!

 Building Beauty Render- With Motion Blur and Z-Depth DOF
Basic AE, Creating Luma/Alpha Matte for Glass Through Refraction Pass

All the Fume Passes were rendred with Holdouts/Mattes for all of the debris, becuase the XMesh's are cached they wont change position so aslong as you match the motion blur on all passes you cant see the mattes of each fragment. (They are nearly 10,000 frags, all with mattes). The Skydome was rendered and the background buildings are 3D Layers using a 3D Camera matching the camera in Max. There was a small amount of ColCorrection done on the building but not much.

Building Comp WIP

The FumeFX renders were comp'd smoke first, then fire. I wanted to make sure the fire stayed saturated, on previous projects I've ended up taking a lot of the saturation and contrast from the fire, to help blend it to the show, but this is a bad habit as fire needs to be saturated in a shot like this with sunny environment/lighting. The fume sims were lit using Spot Lights to match the HDRI however I deliberately added a bounce light/second sun at behind the grids so theres nice light shining through the smoke. I also rendred a GI pass of all the Fume sims fire casting onto the building and used this in comp. I did some minor masking to get softer edges on some parts of the smoke, but due to fire and smoke been sperate not much of this was needed. I added a small grade and sharpened the final renders deliberately.

Fume Passes Comp'n WIP

Once I finished the shot after quite a few iterations, mainly from tweaking the fume passes I made a few breakdowns, I love breakdowns, mainly watching them, creating them can be more time consuming than the actual shot, as alot of people know! But its worth it to show the work you put in.

More Comp WIP!

Overall I spent 2 Months ish on and off working on this shot, Its been good fun! I plan to step up my personal projects to more epic ambitious FX Shots this year!


One another note, Please dont reupload screenshots or the final shot without permission (PM Me , i'll respond ASAP) and ofcourse do not duplicate. I had work stolen earlier this year and then used as promotional material, I caught all persons involved and named and shamed. Stealing work is pretty sad and Its a frustrating experience in our industry.

Thanks For Looking! I've Got More Projects Coming Soon! -Niall

Sunday, 15 March 2015

Making Of - Station Rise Shot (Sea Serpent's Song)

All Breakdowns/Screenshots © NiallHornVFX
All Final Stills © Island Tribe Productions

*Do not Re-Upload any Images/Videos Without Permission*

Hi Guys,

I now have time to write up the making of the Station Rise shot I did for the upcoming Canadian film, The Sea Serpents Song. I am the Lead FX Artist on the project, doing mainly all the FX Shots aswell as finishing them all the way to comping them. I have my Meteor Vs Building Shot very close to been completed also, which I've been working on and off for 2 months ish. Aswell as numerous other Projects and my big Personal Project for later this year!

I started this project in Mid February and worked on it throughout February to early March. I started the project aged 17 and am now 18 haha! The reason I got approached by Tribe Productions was because of my Space Pyramid Rise Shot/RnD I did, I have a big focous on not only doing FX RnD but actually making a complete shot from this to improve my 3D Generalist Skills, as I usally end up doing lots of Lighting,Rendering and Most of the Compositing.

This shot gave me an opportunity to work on my RealFlow To 3DS Max Pipeline, I didn't have acess Krakatoa due to the budget so I switched to VRay for rendering everything (See Below). I also have been working on a "Toolkit" of Ocean Shaders and a PFlow tool for creating WhiteWater in Max.

Shot Production

The first two days of production were spent doing the Shot Layout and modelling a Proxy Mesh for the station, due to it been high poly and not modelled with Fluid Sims in mind. I am not a fan of this part at all! The station is quite a unique shape so I built the proxy in diffrent parts and then merged them together, to create the final proxy mesh. I knew the camera wasn't going to be very close, however at the same time this shot was to be rendered at 3000x1500 so the interaction/fluid collisions had to be pretty soild.

 Modelling Proxy Mesh
I was able to quickly test each proxy's Volume in RealFlow

The Next step was the RealFlow sims, I've done objects rising out the water before, each time I hope to get better and better. One thing I knew once again is that when you have a large object rising out a body of water there is not much fluid thats in a liquid/mesh state however there is lots of Whitewater and cascading Spray and Mist. Theres not much reference for this (If you dont count other FX Shots) however there is a really nice video of an Iceberg rolling over in Antarctica and you can see the iceberg breaching upwards from the ocean and that served as good reference for the shot. This shot was actually harder in some ways than Space Pyramid Rise, as the Station is a lot smaller in size, however its still got to look big and cinematic as it rises, also its rising a lot slower, so this presented the challenge all FX Artists face... Getting the Scale Right!

The Base/Core Fluid RealFlow Sim

I continued to use my "OFF Surface Bubbling Method" I devised where I use FumeFX to sim smoke swirls and then render this as a greyscale pass and use it as an animated texutre in RealFlows Ocean Force Field, to advect the grey-scale velocities into the fluid, thus creating the effect of bubbling you see when a large object breaches from the ocean, this is caused by the object pushing and creating large amounts of bubbles underwater which are pushed to the surface before the object rises. Igor Zanic created a workflow (based on ILM's Battleship Siggraph talk) in Houdini where he uses a PyroFX Sim advected into a FLIP Sim to create not only surface bubbling but also simulates airflow in the fluid which greats some super amazing Fluid Sims!

 Creating the FumeFX Smoke Swirl Sims In Max
The OFFs Scattered Across the Surface

The Core fluid sim was ran overnight with around 35 Million particles, the detail did not need to be that high as I knew I would be slicing the mesh off above the height as the Whitewater sims would take over. There was around 7 (Lowres/Midres) Iterations of the core fluid sim, my main problem as mentioned above is scale, you can have stringy fluid all over the station as instantly it looks like the fluid is a bath tub! So aswell as the bubbling force fields I also used bounded noise fields to break up the breach further thus breaking the fluid up more, I also use a bit of vorticity boost and played with the interaction factor. The simulation scale was the closest to real-world scale i've ever done however I still used low gravity and drag to fake the large fluid scale/behaviour further for cinematic effect,

All Secondary Sims were exported as Alembic Files and Stitched through RealFlows Alembic Siticher tool so they could be rendered through V-Ray 3.0's Alembic Proxy (possibly the coolest feature in VRay 3. Well worth the upgrade!). 

The main Secondary sims, were Splash (Hybrido- Dumb Particles) Foam and Bubbles (Hybrido-FLIP) aswell as the cascading spray which was an RealFlow Object emitter using Dumb Particles streaming from the station proxy, using noise fields and wind to get nicer swirls/turbulence in the whitewater. A Low res mist simulation was also ran using RealFlows VDB Mist which was rendered in RealFlowRenderKit (MentalRay).

Meshing With ThinkBox's Frost 

The Meshing was done using the PRT Files from the Core Fluid sim (Hybrido) through Thinkbox Frost. No budget for Krakatoa here, so I faked the Velocity Shading by using a Refraction pass of the fluid mesh and some comp work! The Alembic Secondarines were loaded through VRay Proxy and I ran some quick test renders to see how the shot was looking.

Early Test Render/Slap Comp

One thing a lot of people dont do (including me untill now!) is render specular passes with Whitewater, you end up with flat looking spray/foam renders without using Specular, you have to remeber that water is extremely reflective no matter what sate its in, and Foam is lots of small bubbles when you look closesly, so specular plays a big role. I simulated Normals in RealFlow for all the secondarines and used Specular and Reflection Passes in V-Ray which were comp'd into the Beauty Whitewater Renders to add more specularity. 

WhiteWater Pass Rendering

The Ocean Displacement was created using HOT (Houdini Ocean Toolkit/HOT4MAX) that creates the main waves, I then use fractal noise maps to create bump and displacement at render time for the smaller surface waves. I was matching the ocean to a plate shot on a RED EPIC Camera in 5K so that gave me some great reference! One thing I also did was the Full lookdev/Shader Setup of the Station, I had to re UV some of the station which is always a pain, the shader setups were done using VRay, the client provided the base Diffuse Maps, I then painted some basic bump maps as well as using Procedural Noise and Fractals for extra Bump maps and Specular Maps.

Station Turntable

The Compositing was done as the renders were coming out, I orignally planned to do all the fog in comp as 3D Layers, however this didn't hold up well for the foreground fog so I used VRays Environment Fog to get an atmospheric pass for the lights on the station shining through which helped sell the shot I think. The rest of the fog was done in comp though. Another first for me was the original plan for the shot was to comp in the Station/Fluid mesh into a Live Action plate of an Actress in a Kayak, However I presented some tests to the client who decided we would Roto the Kayak out and add it in the CG Shot. I managed to pull a pretty good key on the Kayak and did some basic roto to blend it into the shot.

 Compositing in After Effects
Comparing the Fog Amount

Once I was happy with the comp, there was a few iterations between me and the client to get the shot looking great! The shot was completed on March 7th (2015).

See Top Of Page For Breakdown!

Thanks For Looking Guys, 

My Personal project will be done this week, with another Blog Writeup explaining the Making of! My Main project is now doing more work on a very FX heavy Sequence for The Sea Serpents Song.

I also want to say big thanks to Next Limit for there support as I continue to use RealFlow on bigger and more ambitious shots. I hope to do a second RealFlow 2015 Beta test if I get time this spring.


Tuesday, 17 February 2015

Meteor Vs Building- FX Shot- WIP

Hi Guys,  Right now I am super busy on an awesome project doing some heavy FX work, which I can wait to show in the not so distant future! Last night I decided to render what I had so far of one my main personal projects inspired by Scanline's shot on Battleship, where one of the Alein Ships smashes into the Bank Of China in Hong Kong. My shot is a WIP Right now as you can see, however I plan to work it up in my spare time (along with countless over RnD's I want to work on over the next few months!!) so I can get a great Final Shot! I've done some FumeFX setup for the shot already aswell as most of the shaders.

The destruction is done using TP with Volume Breaker using fully procedural destruction, no pre frag at all. Becuase the setup for this was done late last year, I cached out the sim from TP to Xmesh Caches, and used PFlow to add Paper Debris, Concrete Trail Debris and also Tiny Office Objects like tables and computer monitors, which you cant really see, but play well on the eye. The Actual setup for the TP system was done in a night, all of the Groups that were cached to XMesh from TP was done in under a day, also the PFlow systems were cached to Xmesh aswell.

So Next Step Fume, also hoping to comp this into a city environment and get it looking great!


Thanks For Looking!

Tuesday, 3 February 2015

Explosive Jet-Ski'n - RealFlow 2015 Alpha Test Shot

Hi Guys, 

Here is an updated version of my Explosive Jet-Ski'n Shot as I once again got the change to Alpha & Beta test RealFlow 2015, this is my First test shot, using the RealFlow 2015 alpha. The Overall production time of this shot was around 1.5 weeks, the main purpose was testing the new Collision Volumes in RealFlow 2015 aswell as the faster sim times. The Original version from 4 days ago I was not happy with, the Ocean surface I used was mainly based on fractal noise displacement and looked really bad, this time I am using HOT (Houdini Ocean Toolkit in Max) with some additional noise to get rid of Tiling and also to add the smaller waves/ripples on the surface. I also added in the Rock the Jet Ski collides with, aswell as including side water explosions as if the Jet-Ski's are riding through a minefield! I also added more spray and mist and some rainbowing (caused by rays travelling at different lengths/Refractions through water spray, Physics Knowledge!) and also Water on the Lens which I love doing as it adds a lot of Realism. Here is the making of the shot-

Max Scene WIP

The Jet Ski models were quite lowres and had bad topo however the new collision volumes in RealFlow created an accurate isosurface without any problems! The Jet Skis were then Keyframed and the Red Ski that gets thrown in the air, was a simple RBD RayFire Sim. This was then sent to RealFlow as SD (Scaled Down to RealFlows Scale).

I used Hybrido (FLIP) for the shot, The Jet Skis have small cylinders on the back of them, these emit fluid with inital velocity to mimic the Jets on the Jet Ski, without this the velocity in the fluid would come from the collisions only which is not realistic. Also having that extra velocity in the water creates nicer Foam Patterns and Secondary Simulations.

RealFlow Jet Ski, Jet Emitters

The Core Fluid sim had around 45 Million particles, Originally the camera was in from of the Skis and showed the full length of the fluid, so I didn't go for a Moving Domain method, I used a Full Static Tank approach, However I changed the camera before rendering for a better shot, in the end I could of used a Moving Fluid Emitter/Domain but it was too late! The sim took only 10-11 Hours, thats a lot quicker than RF2014, compared to how long my Space Pyramid Rise Project took to sim. One thing I found with doing a Jet Ski sim is, usually the worry is that the scale will look to small, well I was using a proper scaled scene very close to Real World Scale, however the Jet Ski Jets loved to shoot fluid really high, so I ended up using higher gravity and then cutting the top of the Fluid Mesh off at Render time.

Nice Foam Wakes from the Jet Emitters and Using HyFLIP Splash & Foam

The Secondary Sims were done using Dumb and HyFLIP for the Splash and Foam, I encountered a problem I have now named, "The Radial Spray Problem"! Its due to really fast moving objects and not using enough sub steps (I think). I solved it by using Bounded Noise Fields parented to each Jet Ski to mess up the initial emission and give more natural swirls to the splash emission. I went for Splash and Foam rather than separate Splash and Foam sims because I knew I wanted direct emission of Foam from the Splash sim. And Splash & Foam is a lot more improved than having to do Splash as a septate sim that then drives a Foam sim.

The Water Explosion was done in a Separate scene, a very simple Sphere colliding with a Low Res Hybrido sim, using Noise and attractors to get the fluid to Explode like a small depth charge, the WhiteWater Splash and Foam sim was using Dumb Particles, these were then used without the core fluid sim. I orgianlly planted to use the Ocean Force Field Daemon, however this method give me more control without having to go back and re-animate texture Sequences. The side water Explosions were using PFlow, Its quite hard to get a nice water explosion at this scale, as inreality Depth Chrage explosions are very huge and traily, where as I wanted more of a smaller scale blast explosions.

Water Explosion Sims
PFlow Side Water Explosions Setup WIP

The Hybrido PRT's were meshed through Frost, Using Krakatoa to extract the velocities and drive a V-Ray Extra Tex map (With Refraction) to create the Bubbles Refraction Velocity Effect. The Mesh was cut off as I said to stop the fluid looking out of scale from the Jet emitters at the rear of the Jet Skis. I used a Texture map under the Fluid Mesh with a Seabed map on for a more realstic ocean look.

The Fluid Mesh with Velocity Shading

The Splash and Foam was rendred also through PRT using Krakatoa, The other passes were the Water Explosion sim again through Krakatoa, the Extended Ocean Pass took the longest, the Skydome was tracked in, in comp. I added some green/bluey tint to the refraction/Velocity pass to create a nicer refraction in the whitewater. The main Splash and Foam passes were using Krakatoa Isotropic Particle rendering (With Specular based on the Normals) the Explosion passes were the same but I also rendered the same PRT's from there sims through Krakatoa Voxels and comp'd them on top to create a mist/fine spray element.

Just Some Of The Render Passes

Comp WIP (AE)
Comping the WhiteWater

Comping The Main Water Blast Passes
Adding Rainbowing and Water Droplets on the Lens
The Comp was done as the render passes were finishing, the majority of comp time as always was blending the Fluid Mesh to the Extended Ocean. The Extra Tex Vertex Colour and Refraction pass were then comp'd with the main Fluid mesh, aswell as the Secondary sim renders. I added a flares in a frame before the blast to show its an underwater explosion, I used a still image to break the extended ocean pass up to the sky using an Ocean Horizon and used RefineMatter and more masking to blend these together. Most of the motion blur is faked in comp using RSMB, the Depth of Field was rendered as Z-Depth passes and added in Comp also.

Dailies/Comp WIP


So as I mentioned, Version one of the shot I was not happy with, so I deicded to make these comparions and hopefully you'll agree with me that for another 4 days of work, Re Renders and a Full Re-Comp, The shot has now turned out better?!


Also Here is the Sim Info, I did some basic calculations looking at sim times from RealFlow 2014, and I concluded my sim times decreased 30%.

As Always Thanks For Looking!  Got some freelance FX coming up, aswell as my big Personal Project in the Works, FX RnD!! :) -Niall