Rat-Sized Water Effects in Ratatouille Gary Bruins Jon Reisch Pixar Technical Memo #07 14 Pixar Animation Studios A particularly heavy effects sequence in the film Ratatouille depicts a colony of rats fleeing their home and crossing a long narrow river in several makeshift boats during a rainy afternoon. Nearly the en- tire sequence was photographed inches above the ground from a rat’s perspective. Although this perspective provided a very inter- esting point of view of the world, it also brought an extra level of difficulty to an already challenging sequence. A raindrop creating a seemingly insignificant two-inch splash in the river could easily span one third the height of our final image. Described below is our approach to achieving believable water related effects from the point of view of a rat. 1 Splashes Figure 1: River Splash in Ratatouille. c Disney / Pixar. All rights reserved. This sequence required several splashes caused by such actions as rats jumping into the river to explosive shotgun blasts that threaten the flotilla. Working in a world of low camera angles and extreme close-ups required a learning period to achieve believable splashes. A delicate balance between details in the splash’s structure and its dynamics had to be carefully maintained to achieve believable re- sults. Physically based simulations provide convincing water dynamics. However, such simulations are difficult to art direct at the level of detail at which we were operating. A simulated splash that went one quarter of an inch higher than the previous iteration could mean the difference between a composition that works and one that fails. With this consideration we chose to create our splashes with particle dynamics that could afford us much more precision based control. To create splashes, one or more NURBS surfaces were modeled to represent the overall shape and structure of the splash at first impact. This modeled shape included a flanged bottom that was tangent with the river surface to help blend the two discrete splash and river models. Particles were emitted from the NURBS surface with upward and outward velocities that were dependent on their birth height from the river surface. To further aid in the construction of a successful splash, particles above a user-defined height from the river surface were culled out based on a threshold test using a three-dimensional noise pattern. The modeled shape in conjunction with the noise based culling created a natural looking initial state for the splash. Beyond the initial state, particles were given varying masses based on an additional three-dimensional noise pattern. The varying masses allowed the splash to rise and fall at different rates, creating a distorting splash shape that resembled the complicated dynamics a splash has while falling. 2 Raindrops on the River As the camera follows the action of the crossing flotilla we find our- selves immersed in a frantic dance of water splashes from falling raindrops. As mentioned earlier, however, what would normally be a small event now has a much more visual impact and importance. Since these small splashes would be seen extremely close and oc- cupy a large portion of screen space, extra care was required for a successful rain splash and interaction with the river. The river was a dynamically generated model displaced by a proce- dural system of flowing waves. This model also allowed for addi- tional displacements via projected texture maps. A splash from a raindrop in this sequence consisted of a rebounding up splash from the river, as well as a small circular wave train cen- tered at the point of the raindrop’s impact. A particle system was used to create both the up splashes and circular wave trains. The up splash particles were rendered directly as blobbies; Whereas the circular wave train particles were first rendered from above looking down onto the river, image processed, and projected as displace- ment onto the river. As it were, the up splash and circular wave trains were not enough to create a convincing splash event. The up splash particles rose from the river surface with no reaction from the river (with the exception of the circular wave train). To alleviate this, we rendered and processed the up splash particles in the same fashion as the wave train particles. This additional set of displace- ment maps pushed the river surface upward in a small bell curve type shape that successfully connected the river to the splash, cre- ating a single cohesive splash event. Figure 2: River Raindrops in Ratatouille. c Disney / Pixar. All rights reserved.
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Rat-Sized Water Effects in Ratatouille
Gary Bruins Jon ReischPixar Technical Memo #0714
Pixar Animation Studios
A particularly heavy effects sequence in the filmRatatouille depictsa colony of rats fleeing their home and crossing a long narrow riverin several makeshift boats during a rainy afternoon. Nearly the en-tire sequence was photographed inches above the ground from arat’s perspective. Although this perspective provided a very inter-esting point of view of the world, it also brought an extra level ofdifficulty to an already challenging sequence. A raindrop creatinga seemingly insignificant two-inch splash in the river could easilyspan one third the height of our final image. Described below isour approach to achieving believable water related effects from thepoint of view of a rat.
1 Splashes
Figure 1: River Splash inRatatouille. c©Disney / Pixar. All rightsreserved.
This sequence required several splashes caused by such actions asrats jumping into the river to explosive shotgun blasts that threatenthe flotilla. Working in a world of low camera angles and extremeclose-ups required a learning period to achieve believable splashes.A delicate balance between details in the splash’s structure and itsdynamics had to be carefully maintained to achieve believable re-sults.
Physically based simulations provide convincing water dynamics.However, such simulations are difficult to art direct at the level ofdetail at which we were operating. A simulated splash that wentone quarter of an inch higher than the previous iteration could meanthe difference between a composition that works and one that fails.With this consideration we chose to create our splashes with particledynamics that could afford us much more precision based control.
To create splashes, one or more NURBS surfaces were modeledto represent the overall shape and structure of the splash at firstimpact. This modeled shape included a flanged bottom that wastangent with the river surface to help blend the two discrete splashand river models. Particles were emitted from the NURBS surfacewith upward and outward velocities that were dependent on theirbirth height from the river surface. To further aid in the constructionof a successful splash, particles above a user-defined height fromthe river surface were culled out based on a threshold test using athree-dimensional noise pattern. The modeled shape in conjunctionwith the noise based culling created a natural looking initial statefor the splash. Beyond the initial state, particles were given varyingmasses based on an additional three-dimensional noise pattern. The
varying masses allowed the splash to rise and fall at different rates,creating a distorting splash shape that resembled the complicateddynamics a splash has while falling.
2 Raindrops on the River
As the camera follows the action of the crossing flotilla we find our-selves immersed in a frantic dance of water splashes from fallingraindrops. As mentioned earlier, however, what would normally bea small event now has a much more visual impact and importance.Since these small splashes would be seen extremely close and oc-cupy a large portion of screen space, extra care was required for asuccessful rain splash and interaction with the river.
The river was a dynamically generated model displaced by a proce-dural system of flowing waves. This model also allowed for addi-tional displacements via projected texture maps.
A splash from a raindrop in this sequence consisted of a reboundingup splash from the river, as well as a small circular wave train cen-tered at the point of the raindrop’s impact. A particle system wasused to create both the up splashes and circular wave trains. Theup splash particles were rendered directly as blobbies; Whereas thecircular wave train particles were first rendered from above lookingdown onto the river, image processed, and projected as displace-ment onto the river. As it were, the up splash and circular wavetrains were not enough to create a convincing splash event. The upsplash particles rose from the river surface with no reaction fromthe river (with the exception of the circular wave train). To alleviatethis, we rendered and processed the up splash particles in the samefashion as the wave train particles. This additional set of displace-ment maps pushed the river surface upward in a small bell curvetype shape that successfully connected the river to the splash, cre-ating a single cohesive splash event.
Figure 2: River Raindrops inRatatouille. c©Disney / Pixar. Allrights reserved.
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