So instead of describing the trajectories of a position like in classical mechanics, the equations describe the velocity of a region of space (in our case, a voxel) over an interval of time (a simulation step). A solution of the equations is known as a flow field or more commonly in visual effects a velocity field. Named after Claude-Louis Navier and George Gabriel Stokes, the equations describe the motion of fluid substances. So let's just quickly demystify what's going on under the hood.Īll modern fluid solvers still utilise the Navier-Stokes equations from a couple of hundreds of years ago. Simulating digital fire can get technical pretty quickly, especially in Houdini where you have a lot of control at your disposal (seriously, there are more than 100 micro-solvers).
#Houdini mplay higher resolution software#
Over the years I’ve created digital fire in various software packages, each one has its quirks and limitations but ultimately the approach I take to create and iterate pyro effects in production is the same. Instead of going over the technical aspects in a step by step order of nodes and parameter values, I thought I’d discuss something that’s less talked about but equally important: Workflow. If we do a good job, no one notices and if we don't, it's immediately recognisable, destined to join a long list of examples of why "CGI is bad". This is an unfortunate reality of our jobs.
If visual effects are done successfully, they are usually invisible to audiences. This quite often results in comments like the audience favourite "CGI sucks" rather than "man did you see how bad the turbulence looked in the fire's velocity field? Totally took me out of the movie". While audiences might not be able to articulate why something is visually wrong on screen, the human visual cortex can pick up on the most subtle of differences, immediately severing the immersion with a film. It’s a balancing act between artistry, computer power, realism and compromise. So we might as well get good at it!ĭigital pyrotechnics has long been an intimidating prospect in visual effects, right up there with digital water and characters. One thing that's for sure is that digital pyrotechnics has become a mainstay of the visual effects repertoire.
#Houdini mplay higher resolution full#
Sometimes it's just one sequence on a project (Suicide Squad) and sometimes it's an entire film full of it (Ghost Rider: Spirit of Vengeance). But the one thing I've probably done the most in my career is gaseous fluid dynamics: Smoke, explosions, dust, steam, but most of all, fire. I have created destruction, water, particles, magic, a tentacle creature made out of anti-gravity viscous liquid (yes - really). Over the years, I've been very fortunate to work with amazingly talented people on a variety of different projects, all demanding very different effects needs. Applying their knowledge of design, colour theory, light, motion, physics and complex mathematics, FX Artists can conjure up anything and everything in the most realistic and exciting way possible for film audiences. FX Artists typically garner a tonne of knowledge about the natural world in order to convincingly create things we've never seen while also re-creating digital versions of things for financial or practical reasons.
With a strong alchemy of art and science, the world of natural (and unnatural) phenomena is the FX Artist's playground. Technology is advancing exponentially every year and there are more tools and resources at our disposal than ever before. You might be simulating a monolithic tidal wave one day and then digitally casting spells for Harry Potter the next. No two projects are the same and quite often, no two days are either.
Working in the FX Department is an exciting place to be these days.
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