“Beyond that, I would say anything that gives us flexibility, efficiency and the ability to change things without manually regenerating all the steps involved is a huge help in any creative endeavor. “Where Houdini helped with this was the ease with which we could build hugely varied libraries from one base simulation setup” says Joseph Pepper, FX Animation Supervisor at Sony Pictures Imageworks.
This included a custom drip that used a SOP solver inside a FLIP set up to simulate tiny drops clinging to skin, and larger scale simulations like an exploding water tank, fire hose and hydrant spray. Houdini's up-res technology, re-timing tools, and rest field options were critical in allowing them to achieve the required amount of detail in their simulation work in a manner that was efficient and flexible.įor water-based VFX, Houdini’s fluid solvers were used. Houdini's Open VDB tools offered great flexibility and optimization, particularly in building inputs to fluid simulations, and the powerful capability of VOP networks allowed us to have highly specific control over the behavior of simulations.ĭue to the sheer amount of VFX in the movie, Imageworks utilized everything from off-the-shelf networks, to networks built entirely from scratch using micro-solvers, to combinations of both to get the job done right. The open nature of Houdini's dynamics tools really allowed technical artists to create custom set ups to meet a number of unique challenges.
In most cases, variations of smoke and fire created with Pyro FX solvers were used to achieve the desired aesthetic. Imageworks also performed copious amounts of fire, explosions, smoke, dust, debris, tear gas, shockwaves, mushroom clouds and mist throughout the movie.
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