1. Frosty Hooks the Big One!

    00:25

    from FusionCIS-dynamic fx specialists / Added

    A little holiday madness has taken over here at Fusion! The guys wanted to create a little dynamic effects fun for you. Happy Holidays everyone!! Enjoy!

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    • Mid-Air Caramel Flows

      00:15

      from FusionCIS-dynamic fx specialists / Added

      Fusion provided RealFlow simulations to Underpants in Auckland New Zealand for this Aero TVC. Underpants rendered and finished. For Underpants: Paul Freeman & Glenn Wilson, directors.

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      • Share A Coke

        00:11

        from FusionCIS-dynamic fx specialists / Added

        When Fin Design + Effects, Sydney, Australia, (http://www.findesign.com.au ) was tasked to create this effect for an end-tag for the Coca Cola "Share a Coke" campaign, they turned to Fusion to create the cg fluid simulations because of our experience with macro photography style CG fluids. Fusion has developed an extensive library of technologies and methods for these kinds of effects. Our clients come to us for challenging fluids work, so each project has unique, demanding requirements that pushes the bounds of existing technology and propels us to develop ever more advanced tools to meet creative expectations. Fusion created 2 kinds of mid-air cg fluid splashes for Fin: a splash bursting from the Coke bottle (which had to be sculptural and beautiful while also feeling explosive, pushing toward a chaotic feel), plus a variety of curving splashes that Fin's team could compose in 3D space in the comp to create a dynamic "Coca Cola space". So it was up to Fusion to experiment with digital "throws" of fluid and work up a palette of shapes from which Fin's creative director could give further direction, and then select elements to build the 3D composition. Fin provided creative direction, lit, rendered, and finished. See full credits and a case study of the spot here: http://www.fusioncis.com/press/shareacoke/FusionCaseStudy_ShareACoke.pdf

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        • Cupcake Vodka

          00:16

          from FusionCIS-dynamic fx specialists / Added

          For these deliciously creative Cupcake Wine & Vodka spots, Fusion CI Studios in LA created complete cg environments, including animation, tracking, roto, modeling, lighting, texturing, rendering and comping. The only practical elements in the spots are the hand, the cupcake, and the bottle in the end frames. Stay tuned for a complete case-study on creating these spots! CG Work: Fusion CI Studios, Los Angeles, www.fusioncis.com/ Tabletop Shoot: Crush Pictures, Emeryville, www.crushpix.com/ Marketing: Underdog Wine & Spirits, http://underdogwinemerchants.com/ Credits list for Cupcake: Crush Pictures: Director-Producer, David Ronan Assistant Director, Rob Ramirez Director of Photography, Peter Thomas 1st AC, Rod Williams DIT, Jon Bowerbank Gaffer, Darrell Flowers Key Grip, Todd Stoneman VFX Coordinator, Ben Flax Electrician, Cody Flowers Fusion CI Studios, Executive Producer/Creative Director, Lauren Millar VFX Supervisor, Mark Stasiuk Cg artist, Matthew Benson Cg artist, Forrest Arnold Cg artist, Deborah Zahler VFX/Assistant/Roto artist, Mike Callahan Tracking artist, Arwinder Singh Bhurji Lighting, Eric Rosenthal Compositing artist, Bill Gilman Compositing artist, Stuart Cripps Underdog Wine and Spirits Executive Producer, Todd Ziegenfus, Senior Marketing Director for Underdog Wine and Spirits; Brand Manager, Underdog Wine & Spirits, Reinel Adajar

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          • Coca-Cola

            01:00

            from FusionCIS-dynamic fx specialists / Added

            This classically cute Coke spot (to be released in theaters in both 2d and stereo 3d), presented a number of significant challenges so Sekretagent Productions, LA, reached out to Fusion to create the tricky CG fluid effects. The simplest was filling a flower pod with coke, but more complex were the effervescence effects for the extreme close-ups on the coke bottle and flower, and the stylized coke bubble that pops, falls into the flower pod and fills it up. The schedule for the cg fluids was very tight, so we had to work fast and work smart! Effervescence effects are usually in the genre of traditional particle effects, but this project was very art-directed and the extreme close-up framing in the shots made the effervescence quite demanding. We created an effervescence dynamics system, where fluid particles were created at random locations on the inner surface of the container below the level of the fluid coke. These bubbles then rise buoyantly, collect on the fluid surface to form a thin foam "head", and this layer then acts as a source of randomly selected bubbles which rise rapidly and pop to form the effervescence mist above the soda. The system was designed so we had explicit control on the amount of bubbles in the coke, the thickness of the head of foam, the number of bubbles in the 'mist', and the height of rise of the mist. The bursting bubble that fills the flower had to burst with a character similar to real bubble popping, so we designed a new physics sim that peeled back the fluid from the burst point, a little like an orange being peeled. It was a stimulating project and it turned out well, thanks to all those involved and to our great client, Sekretagent Productions. Fusion Studios provided Ember Lab with fluid simulations and Ember Lab rendered and finished the fluid effects. Ember Lab did all the additional cg effects in the spot as well. Credits: Fusion CI Studios: Liz Catullo: Production Assistant Lauren Millar: Executive Producer Mark Stasiuk: VFX Supervisor Director: Rob Cohen Sekretagent Productions, Inc.: Dooma Wendschuh, Co-founder/President;Corey G. May, Producer; Sarah Feeley, Producer; Unit Production Manager Meredith Kleiner Visual Effects- Ember Lab: VFX Technicians: Josh Grier, Mike Grier, Eoin Colgan, Danny Padron, Andy Thompson

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            • USA Network Burn Notice

              00:33

              from FusionCIS-dynamic fx specialists / Added

              What a fun spot to work on! When Go Film, LA, was asked to create this unusual, exciting promo for USA Network, they reached out to Fusion CI Studios for all the CG fx: water, fire, smoke, debris, bullets. In addition to RealFlow for the water, Fusion used Maya + Blast Code and 3ds Max + Fume FX. We also did the modeling on this project which included creating different kinds of bullets, the fountain that gets smashed, and creating the whole top floor of the house. The challenge was matching the practical fx to cg fx, which is never an easy task. For instance, water tends to have small scale ripples that are very hard to match and an explosion is much the same in this aspect. Explosions usually have a general character that must be re-created; they can be smokey, they can be fireballs, they can be dusty or they can be just lots of debris. This particular smokey, fire ball-like explosion spanned more than 800 frames, and was especially tough since it had to look good in very slow motion. The most important factor in creating fx for this commercial was, of course, that we had to think in terms of reverse slow motion (a brilliant idea by director Andrews Jenkins) throughout the whole process. Try that first thing in the morning.... before coffee. Enjoy! Director: Andrews Jenkins Producer: Lisa Tauscher, Go Film VFX Supervisor: Eric Rosenfeld Sunset Edit: Nazeli Kodjoian, Executive Producer Howard Shur, Editor Ken Mowe, Editor Fusion: Mike Wallner, Lead CG Artist Mark Stasiuk, CG Supervisor Lauren Millar, Executive Producer

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              • Afsluitdijk Lottery

                00:40

                from FusionCIS-dynamic fx specialists / Added

                If you live in The Netherlands, you can’t escape the big orange fish. It’s everywhere - at the bus stop, beside roadways, in the newspaper and on tv - the symbol of the Dutch National Lottery, Staatsloterij. And when animation and vfx house, Baked Beans in Amsterdam was approached by Doom & Dickson to create a commercial spot in which the iconic Staatsloterij fish leapt playfully in and out of the ocean at the famous Afsluitdijk, they turned to Fusion to create the high-volume ocean splashes & spray. Baked Beans put the spot together, modeling & creating all environments, animating the giant fish , plus texturing, compositing and finishing. The fun starts with the Staatsloterij fish breaching spectacularly from the ocean, a full-frame shot involving around 10 layered cg fluid elements. This time it’s accompanied by a smaller fish advertising a lottery bonus and the two leap through the air, white-water streaming off them, followed by a huge splash as they dive back into the sea. “When we first saw the previz and spoke to Baked Beans, we were immediately struck by the enormity of the task ahead,” says Mark Stasiuk, co-founder and vfx sup at Fusion, “ the creative called for the two fish to be larger than life – giants -- and the water fx needed to sell the scale. Large-scale water is challenging in that it requires a lot of detail, so that meant huge splashes with a lot of tendrils & ripples & flow features, to be accomplished on a short commercial time-scale. Fortunately, Baked Beans were a really great group to work with, they were very organized, locked animation well in advance, and worked closely with us to adapt the character animation and shot framing to maximize the look and minimize the complexity of the water fx.” Stasiuk has created a vast library of custom methods & tools as he’s done a lot of large-scale fluids work for films like The Curious Case of Benjamin Button, GI Joe, and The Guardian. For GI Joe Fusion developed a proprietary method of coating a breaching submarine in sheeting water, which in turn was an extension of a method he developed for a submarine in The Curious Case of Benjamin Button. Fusion extended that method yet again and applied it to the Staatsloterij fish, achieving beautiful layers of water actually coating the fish geometry, making them look soaking wet. “We also have a well developed particle rendering pipeline using custom data conversions to allow us to render our results with Krakatoa,” says Stasiuk. “With that, we were able to create sims of tens of millions of particles and render them relatively quickly, which gave us a lot of power to add multiple layers of sims to the close-up shots, and to give Baked Beans a variety of versions to choose from for the comp.” Fusion created about 30 large-scale fluid elements using RealFlow for four hero shots, to integrate the fish with their marine environment. The combination of the perky orange fish characters and the ‘big water’ was so cool, everyone was inspired to put in extra work, including working up a director's cut version of the spot that's an extra 10 seconds long. In fact Baked Beans’ client was so pleased with the results, they asked that the last shot be re-done to show more water and more character animation. In our experience it's a rare thing for a client to say "more cg please!" Fusion's team: Mike Wallner, Lead Effects Artist; Morris May, Lead Lighter; William Salas, Fluid FX artist; Liz Catullo, Production Assistant; Mark Stasiuk, Co-founder and VFX Supervisor and Lauren Millar, Co-Founder and Executive Producer). Baked Beans’s team: We haven’t received information as to who the entire team was but two we know for sure: Maarten Boon, owner and David Zaretti

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                • Tea's Tea

                  00:15

                  from FusionCIS-dynamic fx specialists / Added

                  In this neat and pretty little project, Fusion got a chance to take to a new level one of the most iconic of CG fluid simulations: the ice cube + cocktail sim. Co-founder Mark Stasiuk created a classic tutorial on this topic a loooong time ago for RealFlow v3, altho in this case the sim had a lot more to do than just float an ice cube. Here, 4 glasses of Tea's Tea dance happily in time to a catchy tune, moving around on a turntable while spinning and tilting. The ice cubes jumble actively in the tea, the tea sloshes in the glasses.... but never spills out! Of course! To beat physics at it's own game we created a Python-scripted deamon to make a cylindrically-symmetrical force field with highly controllable falloff, allowing the tea to move naturally in the glasses but whenever it tries to spill over the lip, it gets nudged gently back. The resulting sims are rendered in mental ray using the tremendously flexible mia_x_passes shader. Oishii ! (Japanese for delicious!)

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                  • Underwater Impact Splash R&D

                    00:08

                    from FusionCIS-dynamic fx specialists / Added

                    A simulation of objects plunging into water, as seen from under the surface. The fluid sim is of the air pockets pulled in behind the plunging objects, which is buoyant so immediately pulls up and away from the objects and breaks up into swarms of air bubbles. The sim was done using a combination of Maya and RealFlow. For the initial plunge part, prior to breakup into droplets, the fluid was targeted to Maya cloth simulations. As the objects reach their deepest point, the morphed fluid is released from the cloth sim, surface tension on the fluid is increased significantly, and a bubble behavior sim takes over that creates physically plausible buoyancy which is proportional to the bubble size. The targeting/morphing and the bubble behavior are driven by Python scripts running within RealFlow. The results were meshed in RF and rendered in Maya using mental ray's dielectric shader and image-based lighting.

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                    • Underwater Impact Splashes R&D

                      00:05

                      from FusionCIS-dynamic fx specialists / Added

                      A new fluid process hit by Fusion! Air entrainment trails behind projectiles thru a water surface. In this qt showing RealFlow particles, 4 objects are plunged into water at high speed and pull air behind them that forms a pocket in their wake that then collapses into swarms of buoyant bubbles and rises back to the surface. Fusion created this new and challenging effect thru a true team effort over a 1-week schedule to deliver the sim data for a high-speed commercial project. CG artist Luke Olsen came up with the idea for creating a guide geometry for the downward plunge by using an n-cloth sim in maya. Mark Stasiuk begin_of_the_skype_highlighting end_of_the_skype_highlighting created a script that had fluid particles attracted to the cloth geo and filling in space between the fluid particles as the cloth stretched, then releasing at the bottom of the plunge, and disaggregating into buoyant bubbles. Dan Novy worked the sims and meshes to get a nice (if rushed) final look!

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