Publicis
Amsterdam // www.publicis.nl
RealFlow4 for Mac is an application that allows you to remain
in a creative state of mind while still being able to produce
world-accurate particles. For those who require a higher level
of detail. RealFlow4 offers all the necessary options to make
it possible.
Jeffrey Levenstone
CreativeMac // www.creativemac.com
The speed and ease of use in RealFlow affords motion graphic
designers access to beautiful particle simulation. Now that
RF4 has been released on the Mac OS, realistic dynamic particle
interaction is available for everyone. The new, customizable
interface design and access to Python scripting make the sophisticated
application perfect for both newer users and advanced users
alike. Now that RF4 runs on OSX for PPC and UB, it's a "Must
Have" for all 3D particle pros.
Ko Maruyama
Fusion CI Studios // www.fusioncis.com
Since September 2005, we've been using RF4 at a hyper intense,
advanced level in a series of demanding projects (4 feature
films and 6 commercials). This tool has evolved through a
close collaboration between us, Next Limit and these projects
to become a battle-hardened CG weapon ready to take on particle,
fluid and rigid body simulation vfx in shots that make vfx
supervisors tremble with fear. The port to linux 64bit, the
highly efficient multithreading, the hugely improved GUI and
workflow, and the total flexibility offered by Python scripting,
on top of the already excellent fluid and rigid body solvers,
mean that large scale photoreal results are within the grasp
of small studios. It's a proven fact: this application can
steal shots from the big boys. I'd recommend every studio
interested in achieving high-end vfx get up to speed on this
tool.
Mark Stasiuk, Lead Technical Artist and
Co-Founder, Fusion CI Studios, Vancouver, Canada
Motion Theory // www.motiontheory.com
Motion Theory had to create a whimsical spot for Molinari
liqueur that incorporated live action with photoreal CG elements.
An integral part of the ad was the signature pour of Molinari
at the end, which required photoreal CG Molinari to move with
the live action bottle and glass, and pour in a very particular
z-like shape while still looking both natural, and appetizing.
Layered on these demands is the short timeline of commercial
projects. Going with RF4, we were able to create a few versions
of the element in just a few days. The rapid turnaround time
on tweaks and the ability to use scripting to sculpt the fluid
motion in a natural way gave us a great ability to deliver
just what the client was looking for artistically, but with
a well-integrated photoreal look consistent with the rest
of the piece.
Javier Jimenez, Executive Producer, Motion
Theory, Venice, California, USA
Below The Radar / Red Square Studios
// www.btrstudio.com
For a major commercial, we were faced with the daunting task
of putting soccer players inside pints of beer, and having
them kick the soccer ball from pint to pint. At the end, the
ball has to shoot like a rocket up through a foam head of
beer, and the camera has to go along for the ride. We chose
RealFlow4 to create this scene.
Two CG artists worked for several days, creating the simulation
of the ball shooting through the foam. Also swirls of bubbles
created in RealFlow4 were added behind the ball as it torpedoes
through the beer. RF4's improved workflow made the project
move fast and the scripting allowed us to customize a spherical
emitter to produce bubbles out it's back end like a rocket
exhaust. Our Client was extremely pleased with the final result
and couldn't tell the difference between the actual photography
and the elements we created in RealFlow4. It was a great success!
Dick Voss, Producer, Below The Radar Productions;
and Damon Chernavsky, CG Artist, Red Square Studios, Santa
Monica, California, USA
CIS Hollywood // www.cishollywood.com
CIS Hollywood was presented with the challenge of adding
and enhancing water for numerous shots of the ship's interior
in this summer's "Poseidon" (Warner Bros.) The shots
ranged from adding water dripping from the ceiling of the
overturned luxury liner, to the most complicated shots that
called for a huge surge of water violently coming down a hallway,
lifting objects and splashing over the camera. Running RF4
on a 64bit version of linux we benefited from a big speed
increase in the complex simulations over RF3, and the new
scripting features allowed us to streamline our pipeline giving
us the ability to generate secondary spray simulations as
a post-process. The new data formats gave us access to enough
of the particle attributes to work in conjunction with our
internally developed surfacing tools, allowing us to combine
RF4 with our own proprietary functionality.
Bryan Hirota, VFX Supervisor, CIS Hollywood,
Hollywood, California, USA
Flash Film Works // www.flashfilmworks.com
As the primary VFX studio on Touchstone's "The Guardian"
(release: September 2006), RealFlow4 has taken a central position
in our CG pipeline. The film is all about stormy ocean surfaces
and the director demands frightening, photoreal visual effects.
A team of only 5 are using RF4 to add multiple large-scale
elements such as whitecaps, breaking waves, bow hits and wakes
to each of more than 50 major shots, over just a few months.
In most cases, the compositors can't tell the difference between
the real 2D elements and the added RealFlow elements. The
greater stability and speed, the hugely improved workflow
over RF3, the move to 64bit, the controllability, and especially
the ability to use Python scripting have allowed us to raise
the bar on ocean water effects in feature films.
Dan Novy, CG Supervisor, Flash Film Works,
Hollywood, California, USA
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