Water, water everywhere…

LFexaminer

Shindler's Site: Water, water everywhere

By Marty Shindler

Water, water everywhere……but digital, not drink, to paraphrase Coleridge. These days, thanks to the many computer graphics tools available, it is hard to tell where the real water leaves off and the digital water begins.

Water and other "atmospheric conditions" play important roles in many LF and conventional films. Amazon, Into the Deep, Living Sea, Whales to name only a few of the most recent LF examples. And of course, James Cameron’s blockbuster, Titanic, on the conventional side.

It is probably safe to say that every film includes scenes that the director would like to fix. Perhaps there was too much cloud cover. If only it had been windier, the story point would have been better emphasized. Or maybe it was too windy to get the shot. The water was too choppy. Or not choppy enough. In the end, since the shot is essential to the story and reshooting is not an option, it stays in the film. But it has to be fixed.

Two new digital tools are now available to help create and effectively integrate atmospherics into motion pictures. The products are RenderWorldÔ and Digital Nature ToolsÔ from Arete Image Software.

The programs, which are plug-ins for products from SoftImage and Alias/Wavefront, can be used to create authentic-looking water effects – from pools to vast oceans – as seen from above or below the surface. Additionally, the tool kit includes ripples, sprays, and ship wakes, the latter based on a complex formula incorporating actual hull geometries. Atmospheric effects include sky, fog, and all kinds of clouds.

Digital Domain used the software very effectively in a variety of challenging shots in Titanic. The planning began well over a year ago, as Digital Domain’s technology team worked closely with Arete’s developers and physicists to create custom code for several essential shots.

Rob Legato, the film’s Visual Effects Supervisor stated, "Arete’s RenderWorldÔ software allowed me to create shots for Titanic that could not have been done in any other way. I couldn't have shot a water plate by any conventional means and match frame for frame the type of shots we wanted to create. Arete's software basically became an instant second unit where I was able to specify the exact lens, the camera movement, the time of day, the type of reflection – all instantly – avoiding the need of actually going out and shooting plates."

The goal of the production was to make all of the views of the ship, whether shot from miniatures or the 9/10-scale replica, look like a real ship in a real ocean from every point of view. In case you are the only human who has not yet seen Titanic, the water shots bring new meaning to the word ‘seamless.’

The software has also been used for Devil's Advocate, The Fifth Element, and, not surprisingly, Waterworld.

Considering the importance of atmospherics in LF production, realistic water is a welcome addition to the filmmakers’ tool box, alongside digital compositing, focus enhancements, painting, and animation. Although digital atmospheric enhancements have not yet been used in an LF film, that will change as the directors, producers, and financiers become more accustomed to digital production. The evolving marketplace demands it. When will you use these tools?

Marty Shindler is a freelance industry consultant who provides a business perspective to creative and technology companies. His involvement with digital technologies has included work with such organizations as Industrial Light & Magic, Cinesite/Kodak and The Jazz Media Network. Marty may be reached at shindler@aol.com.