Alt finished the 40 odd shots in 2 weeks.2D,8,32 Bits,2,3d,35,3D Coat,4,3D Studio Max,682,3D Tracking,6,3D-IO,1,3Delight,1,3DO,1,3ds,2,3ds Max,266,3ds max rigging,2,Adam Kormendi,1,Adobe Bridge,1,Adobe Illustrator,7,Adobe Premiere,6,Adrien Lambert,1,After Effects,246,aiStandard,1,Alembic,4,Alex Cheparev,1,Amazon Lumberyard,1,Amid Rajabi,4,Andrew Price,4,Anima,8,Animation,429,ArchiCAD,1,Architecture,141,Archviz Animation,3,Arion,1,Arnold,77,Arnold for C4D,12,Arnold for Cinema 4D,5,Arnold for Maya,43,ARQUI9,4,Art,5,ART Renderer,1,Arvid Schneider,2,Ash Oakenfold,1,Audio,2,Audio Visuals,1,AutoCAD,2,Autodesk,7,Autodesk 123D,1,Autodesk Flame,5,Autodesk Maya,240,Autodesk Mudbox,22,Autodesk Scaleform,1,Autodesk Smoke,9,Autodesk Smoke basic,2,Autodesk Softimage,16,Autodesk University,2,Automotive,41,Avid Media Composer,1,AvizStudio Tools - ATiles,1,Ben Douglas,7,Ben Mauro,2,Bezier Deformer,1,bhGhost,1,Bifrost,11,Bitmap2Material,2,Blackmagic,3,Blender,133,Blender Cycles,7,Blender Hair,1,Blizzard Entertainment,1,Bodypaint,1,Bogdan Lazar,1,Bone Dynamics,1,Boris Continuum Complete,1,Boris FX,2,Bottleship VFX,3,Box3,1,Breakdown,4,Bridge,1,BW Design,4,C4DtoA,1,Camera Mapping,6,camera projection,5,CAMERA TRACKER,1,CARA VR,2,Cartoon,3,CAT,1,CG event,1,Character,166,Christoph Schindelar,2,Christophe Desse,3,Cinema 4D,460,Cinema 4D MoGraph,18,Cineware,2,Clarisse,3,cloth,28,Cloud,3,Coat3D,6,Cobwebs Script,1,Code,2,Collapse,1,Color Finesse,1,Color Grading,8,COLORWAY,2,Compositing,184,Concept,13,Content-Aware Fill,1,Contour Generator,1,Cornucopia3D,1,CORONA,40,Corona for 3ds Max,16,Corona for Cinema 4D,8,Corona Volume Grid,1,Crazybump,1,Creature Design,18,Crowd,24,CRYENGINE,1,Cryptomatte,3,Cubebrush,1,CurseStudio,2,Cycles4D,3,CYCLO Studio,1,Daniel Cahill,1,Daryl Obert,1,Data Operators,1,DaVinci Resolve,1,DDO,2,DDO Painter,5,Deep Compositing,1,DEM Data,1,DEM Earth,1,Denoiser,1,Design,20,destruction,21,Digital Anarchy,1,Digital Domain,1,DMM,1,Download,15,Dynamesh,3,Dynamics,2,Eat3D,6,Eddy for NUKE,2,Editing,1,EEVEE,3,Element 3d,13,emPolygonizer4,1,emReader,1,Entagma,1,Environment,150,Equiloud,1,Escape Studios,1,Evermotion,18,explosion,17,Exterior,2,Farid Ghanbari,2,fayIN,4,FBX,2,Feature,598,FEM,2,fibermesh,2,finalRender,3,Fire,6,Flame Painter,1,FlatIron,1,Flex Modifier,1,Flicker Free,1,FlippedNormals,6,Fluid,26,Fluids,1,FMX,1,Food,1,Forest Pack Pro,22,FoxRenderfarm,1,FragNoiser,1,Framestore,1,FreeForm PRO,2,FreeFrom Pro,1,Freezing effect,1,Friedpixels,1,Frischluft Lenscare,1,Fryrender,2,Fstorm for 3ds Max,1,FStorm Render,3,FumeFX,35,Fusion,19,FX,3,FxChannelHouse,1,Game,57,Gary M Davis,1,Gary M. Rendering was done via Mental Ray and compositing was Autodesk Flame. The room was accurately represented to reflect and capture light from the sparks. Variables would be introduced later and some key framing accentuate his movements and enhance the effects. Every motion of the tap dancers feet automatically creates different effects, whether he is walking, tapping or dancing on the celing. This dynamic range would allow for correct lensing and flaring based on thresholds referenced from the live action plates.Īs the schedule was fairly short, it was important to have a system of sparks which could be quickly spread across all the shots easily being ‘dialed up’ as the spot progresses.
Particles would start white-hot and cool off through the black body radiation scale and rendered in floating point.
These events would be triggered, randomly, by factors such as speed, collisions and direction. The sparks cool as they die, floating upwards as they sizzle away to invoke a cool effervescence and remind us of the sparkling nature of the product.ĭifferent ‘events’ were created to simulate the pops and cracks from the flint hits made from the tap dancing reference. At that moment he creates a mist-like rain of sparkles which cascade down towards the floor below. A careful balancing of the amount of sparks was needed to build towards the crescendo at the end of the spot when he dances on the ceiling.
We used a virtual character, match-moved to the on-screen tap dancer, to emit sparks which crackled, popped and fizzed depending on his foot-steps. The “House of Sparkling” spot made heavy use of 3ds Max and Particle Flow an event-based particle system designed specifically for complicated effects work. Conceived by The Monkeys in conjunction with Finch and director Christopher Riggert – The house of sparking was a feast for our vfx crew.
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