Houdini Vfx in Popular films

we have seen in the last years some of the best CGI heavy movies and a good portion of them were created using side effects Houdini in this video I will share with you the process of how some shots and sequences were made using Houdini in some of the most iconic movies of the last decade for regular Ock in Korean for Ragnarok Framestore dealt in two years of experience in effects and simulations kiss shots and these final sequences were made by relying on Houdini including fight scenes between Ford and his sister the bridge required a little bit more effort to show the area's breaking apart throughout the shots and they used Houdini to do this progressive fracturing and simulation the shots of the guards in the final battle being taken out or destroyed also involved the Houdini simulations one breaking the D guards in Houdini the main challenge was making a character fracture from an animated mask and they achieved this result by taking of the character and putting it into a rest pose the character was the fractured and the pieces were skinned back onto the original character with a point deformation for lightening shots they specifically placed them both by bolt generic lightening shots were centered more closely to the guards in the fight scenes Framestore developed a tool that automatically create bolts and Thor's body and armor with the artist able to choose how many and how quickly the bolts could move Houdini was also used for all the heavy lifting destroying effects when it comes to the Asgard city Framestore used in-house software to do initial default fracture of every published building and those pieces were fed into within er BD setup which produced a destroyed version which environments used to create an increasingly raised Asgard as the sequence progressed Moana Houdini was used a lot for this movie by Walt Disney Animation Studios for example a collection of rails were developed for the water character and incomer movements for example effects use a more procedural approach with noise functions and internal bubbles in more active seas the use of dynamic based rigs was more prevalent Moana high five in the water is an example of this typically they use this method whenever they require the occur to break apart and the secondary animation added a physically correct component to the character in another example fire and flowing lava emanated constantly from the lava monster body these effects were handled to procedurally in Houdini which meant they could generally be automated using some Houdini's built-in context like chops they were able to create effects that could automatically react to the character animators choices men in black International double- was given the task of working on one particular sequence in men in black International where the twins face off against the film's two heroes agent age and eighty M double negatives all the energy effects for the twins using Houdini which came about via combination of particle and fluid simulations they started by investigating astrophotography of galaxies and nebulas the most important visual difference between cosmic dust and the earthly dust is the presence of millions of stars so they tested both particle and smoke simulations and found they could get the detail they needed with particle renders and the motion they needed from fluid simulations and they ended up with a sort of nebulous volumetric thing with tiny stars as scattered throughout the mag the mag features giant sharks large-scale ocean action seas and some pretty nifty submarine gliders so much of the film required water interaction that visual effects were a key component in getting helping to craft the VFX with Sony Pictures Imageworks which utilized Houdini in a big way to deal with all the different kinds of water simulations in the movie hoodies flip and whitewater solvers were used to deal with surface water and water interaction although image works customized the sulfur to deal with a scale on a shot per shot basis to get a sense of air resistance of vaporizing they needed the hybrid flip and gas solution to achieve the look essentially for large-scale impacts water quickly starts to behave almost like a gas and the force causes particles to behave without surface tension the hard part will seamlessly combine that with bodies of water where that cohesion was still present ant-man and the wasp double- studio was responsible for working on four sequences in the ant-man and the wasp movie and the main one when it comes to effects was the car chase sequence and the challenge for double- was the diversity of the work they had to do because there was a good amount of VFX work that needed different methods of working on it one of the big effects they had to do in the car chase sequence was the macro water effects ant-man would come flying on a flying and jump onto the windshield wipers and the antagonist goes to enable the water spray from the wipers they had one artist kind of take a more traditional flips in particle approach but in the end when it moved on to the artist they took procedural approach to it this allowed to have macro water without even doing a simulation black panther visual effects artist in this film seemed to have found more and more ways to leverage the power of Houdini to deliver original imagery via destruction weapon effects character related simulations vegetation and more method Studios employed Houdini to develop cymatic shapes in various elements of what can be in life and warfare much of the methods to do somatic work and other Houdini offense for black panther were handled out of the company's Vancouver office the use of Houdini nff simulations in general in Vancouver has grown rapidly the production of black feather itself started with just five effects artist and ballooned up to 30 to get the work done faster Toy Story for the many challenging sequences were effects animation simulations and procedurally generated effects were necessary to tell the story many of those sequences were made possible via the further adoption of Houdini at Pixar crucial rainstorm rescue scene at the start of the movie was a major Houdini sequence while the two also found use in seas evolving vegetation cobwebs dust and animated carnival lights the team used the Houdini render man engine to create procedural workflow for modeling and the falling rain in the atmosphere and in the ground this led to modify 100 charts with a small number of files in the span of just a few minutes that also meant they could do very minor changes on a large scale that would have been not worth it in more classic workflow then there was the vast and dusty environment of the antique store here the set extensions team developed a Houdini process to generate dimensional granular environments such as dust a small debris Houdini was integral in generating initial distribution simulating a history of character interaction and facilitating flexible artist workflows adding to the ambience of the antique stores were the presence of many cobwebs which were generated using a simulator in Houdini this imitated spiderweb behavior to build complex cobweb structures artists designed areas for cobwebs and scatter initial lines from which digital spiders would jump altering existing structures and generating a new web lines faith of the Furious in the film stirred and Digital Domain Vancouver and Los Angeles teams contributed visual effects to several key shot scenes including the daring and explosive chase the production filmed as much of the sequence as possible in Iceland and on blue screen stages however it was always planned that Digital Domain would match the action with VFX and the creation of the ice filtered explosions and the breeze and huge fire inverse was something the studio handled with the help of Houdini when the submarine reaches the eye surface and since ice and vehicles flying into the air the short production and digital domain began with a low res widget dynamics body sim in Houdini you don't to get a bite off on the timing of the ice breaking and how it would interact with the cars to drive it on top simulating the ice and selling the correct amount of weight was Digital Domain his most difficult challenge to get the final look Digital domains look at reference icebreakers some submarine references existed too but only the vessels likely pushing you through the icy surface so they detonated explosives under the area of the ice that had cars being pulled using cables above it was filmed from a lot of angles at a really high frame rate so it was easy to study a lot of the details and elements they needed to recreate using Houdini spider-man into the spider-verse spider-man into the spider verse has proven to be one of the most innovative animated features released in recent times Sony Pictures Imageworks was tasked with using 3d animation combined with more of the 2d aesthetic to bring the story of the latest Spider Man to life that meant that Imageworks had to adapt and even break the existing animation pipeline to deliver the film and in doing so the studio is still used its go to tools including Houdini to realize the computer-generated imagery there are several moments in the film that involve explosions or particle effects all of which have this mix of 2d and 3d elements to it they have tried initially to do some smoke explosions using simple using simple particles and spheres and then having them erode or evolve in interesting ways using solvers and shaders while the results looked really cool they never really hit the mark and definitely never felt stylized or hand-drawn enough so they created spreadsheets for all the animations that were going to use this is actually a common technique used in games or instead of loading a specific frame of animation for every card you only have to load a single image that had all the frames on it already and you module will be eupbs to switch frames I hope you found this very useful and informative if you have something to add and please leave it in the comment section below also you can check some of our previous videos thank you very much and I will see you in the-- that's one

Channel: InspirationTuts

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Id: 8kl3gXKN9X4

Length: 10min 37sec (637 seconds)

Published: Fri Apr 17 2020