This collaborative project is dedicated to exploring environmental protection issues, particularly in relation to marine pollution. We demonstrate the harm caused by marine pollution through the combination of CG and real-life filming.
The part I am responsible for is partial ocean simulation, camera tracking, and particle flow production
Camera Tracking and Ocean Simulation
Our target theme is to showcase the consequences of ocean pollution, therefore our project includes both live action and CG production. Firstly, we went and filmed on-site ocean footage for CG synthesis.
I first used Nuke for camera tracking
Due to its inaccuracy, I subsequently used nodes such as roto to assist in tracking and completed the tracking of three shots, and exported the cameras
Ocean Simulation
After discussing with the group leader, we found that we also needed a pure CG sea for partial effect simulation, and I would be responsible for making this partThis part took me a lot of time, and I completed it using Houdini’s flip process
After adding camera rendering
Pollution source particle flow
After discussing with the group members, it was mentioned that we need to create a particle flow as a pollution source. Our theme revolves around the release of substances from a pollution source that pollute the ocean. So we came up with the idea of creating an effect that is surrounded by air currents and gradually spreads out,The team leader first provided a rough model, and I used it to assist in production
I have tried many methods, firstly the traditional pop node creation
But the noise and motion path of this method are difficult to control, so I tried other methods,I use the principle of finding the centerline of each particle flow model to create particles
Afterwards, I used the Karma renderer to create materials and rendered this effect
Final
conclusion
Through this collaboration, I was able to further deepen my understanding of fluid and particle simulations in Houdini, while also strengthening my practical skills in camera tracking and scene integration. The process not only enhanced my technical knowledge but also improved my ability to approach complex VFX tasks with greater precision and creativity.
Looking ahead, I hope to continue exploring the integration of procedural simulations with real-time rendering engines such as Unreal Engine 5. My goal is to develop workflows that balance visual fidelity with production efficiency, enabling me to create immersive and cinematic visual effects. I believe that these experiences will serve as a solid foundation for my future projects and help me grow into a more versatile and innovative VFX artist.