I Learned How To Fake Water Exactly Like Hollywood

Summary

This script delves into the complexities of computer-generated imagery (CGI), particularly in simulating realistic water in films. It explores the evolution of CGI water from simple sine wave animations to sophisticated fluid dynamics simulations. Highlighting the challenges faced by VFX artists, the script interviews Chris White, a VFX supervisor involved in 'Avatar' sequels, to understand the principles behind creating photorealistic water. The journey illustrates the balance between technological tools and the artist's intuition in crafting visually compelling and story-driven effects.

Takeaways

• 🌐 The advancement in computer graphics has made it possible to create highly realistic visuals, including complex elements like water in films.
• 🎨 Water is considered a challenging element to simulate in CGI due to its intricate and complex nature.
• 🎬 The film 'Nad' exemplifies the effort required to create computer-generated water that moves and behaves convincingly.
• 💧 Hollywood movies often feature fake water that is virtually indistinguishable from real water, showcasing the high skill of VFX artists.
• 👨‍💻 Chris White, a VFX supervisor, played a key role in developing a new water pipeline for 'Avatar' sequels and worked on 'Nad', emphasizing the importance of water's role in storytelling.
• 🔍 Understanding the principles of water is crucial for creating realistic simulations, more so than the specific tools used.
• 🛠️ The in-house system 'Loki' was developed for the 'Avatar' sequels but is not available to the public, indicating that advanced tools are often proprietary.
• 📚 The history of fluid dynamics and its application in computer graphics has evolved significantly, with early methods being simple but not physically accurate.
• 🌊 Films like 'Water World' and 'Titanic' used a combination of linear displacement and particle simulations to create the appearance of water.
• 💡 The breakthrough in combining volume-based and particle-based simulations for fluid dynamics was seen in the film 'Antz', allowing for more realistic water movement.
• 🎭 The artist's role in CGI is to use their intuition and creativity to refine simulations, ensuring they serve the story and achieve photorealism.

Q & A

What is the main challenge in creating photorealistic CGI water?

The main challenge in creating photorealistic CGI water is understanding and replicating the complex physical properties and behaviors of water, such as its reflective and refractive qualities, as well as its interactions with other elements like air and surfaces.

Why was the water in the film 'Nad' created using CGI?

The water in 'Nad' was created using CGI because the filmmakers wanted to control the direction and movement of the water to help tell the story, which could not be achieved with practical effects within the limitations of a water tank.

What role did Chris White play in the development of CGI water?

Chris White played a pivotal role in the development of Weta Digital's new water pipeline for the 'Avatar' sequels and also worked on 'Nad', contributing to the advancement of CGI water simulation techniques.

What is an 'in-house system' in the context of CGI water simulation?

An 'in-house system' refers to a proprietary software or set of tools developed specifically by a company for their own use, in this case, for creating and managing CGI water simulations.

What does the term 'Loki' refer to in the script?

In the script, 'Loki' refers to the in-house system developed by Weta Digital for simulating water in their CGI projects, which was used in the making of the 'Avatar' sequels.

How did the understanding of fluid dynamics contribute to the early stages of CGI water simulation?

The understanding of fluid dynamics provided the foundational principles that were translated into mathematical models and algorithms, which were then implemented in early computer graphics to simulate the behavior of water.

What was the significance of the film 'Water World' in the history of CGI water simulation?

The film 'Water World' was significant because it was one of the first to use actual oceanographic and atmospheric data to emulate the waves of the open ocean, marking a step forward in the realism of CGI water.

What is the difference between particle simulations and volume simulations in CGI water?

Particle simulations are good at retaining volume but struggle with solving for velocity and pressure, while volume simulations excel at calculating pressure and velocity but have difficulty with retaining volume and capturing splashes or other small-scale water behaviors.

How did the film 'Ants' (1998) contribute to the advancement of CGI water simulation?

The film 'Ants' contributed by combining the benefits of both particle and volume simulations to create a more realistic and dynamic representation of water, marking a landmark achievement in CGI fluid simulation.

What is the role of the artist in the process of creating photorealistic CGI water?

The role of the artist is crucial in the process of creating photorealistic CGI water as they use their intuition and artistic vision to make manual tweaks and decisions that enhance the realism and storytelling aspects of the water simulation.

What software was used in the script to attempt creating a photorealistic river?

Houdini was the software used in the script to attempt creating a photorealistic river, allowing the user to apply their understanding of fluid dynamics and CGI techniques.

Outlines

00:00

🎨 The Art of CGI Water in Film

This paragraph delves into the complexities of creating computer-generated imagery (CGI) for water in films. It discusses the challenges faced by visual effects (VFX) artists in replicating the intricacies of water and highlights the impressive work done in films like 'Nad' and 'Avatar'. The speaker expresses intimidation by the task and seeks advice from Chris White, a VFX supervisor who contributed to 'Avatar' and 'Nad', about the tools and techniques used in the industry. The importance of understanding water's behavior is emphasized, and the limitations of in-house systems like Loki are mentioned, suggesting that such tools are not accessible to everyone.

05:01

🌊 The Evolution of Water Simulation in CGI

This section traces the history and development of water simulation in computer graphics, starting from the basics of fluid dynamics to the application in films. It explains how early computer graphics struggled with water visualization, often resorting to practical effects. The paragraph discusses the transition from simple sine wave simulations to more complex methods like linear displacement and particle simulations, as seen in films like 'Water World' and 'Titanic'. It also touches on the limitations of particle simulations and the need for a more comprehensive approach to fluid dynamics in CGI.

10:02

🚀 Bridging the Gap: Combining Volumes and Particles for Realistic Fluids

The third paragraph focuses on the technical advancements in CGI that allowed for more realistic fluid simulations. It describes the challenges of using volumes and particles separately and how the film 'Ants' (1998) pioneered a method that combined the benefits of both approaches. This breakthrough enabled the creation of CG fluids that could move and interact more naturally. The paragraph also outlines the progress made in fluid simulations over the years, with examples from films like 'The Perfect Storm', 'The Day After Tomorrow', and 'Pirates of the Caribbean: At World's End', showcasing the increasing sophistication and control in CGI water effects.

15:03

🖌️ The Artist's Role in Achieving Photorealistic CGI Water

In this paragraph, the speaker shares their personal journey of attempting to create photorealistic water using Houdini, a 3D animation software. They discuss the process of setting up a simulation with a dry ravine and rocks, and the reliance on pre-existing mathematical models to handle the physics of fluid dynamics. The speaker realizes that despite the advancements in technology, the artist's intuition and manual adjustments are crucial for achieving the desired level of realism. They consult with Chris again to understand the current state of water simulation in films like 'Avatar' and the importance of artist involvement in fine-tuning the simulation results.

20:04

🎬 The Final Touch: Artistic Intuition in CGI Water Rendering

The final paragraph concludes the speaker's quest to create realistic CGI water. They reflect on the importance of artistic intuition in the rendering process, beyond the mathematical and scientific aspects. The speaker manually tweaks the render to address issues like the lack of wetness on the riverbed, light breakup on the water surface, and the absence of foam and cavitation. The result is a photorealistic water render, which underscores the significance of the artist's role in storytelling through visual effects. The paragraph ends with a philosophical note on the harmony between technology and artistry in creating beautiful and believable imagery for the screen.

Keywords

💡Computer Graphics

Computer Graphics refers to the creation of visual content using computers. It is a vast field that encompasses everything from simple images to complex simulations. In the context of the video, Computer Graphics is the main theme, as the script discusses the evolution and current state of CGI in creating realistic visuals, particularly water, in films.

💡CGI

CGI, or Computer-Generated Imagery, is a subset of computer graphics that specifically deals with creating images and animations that are not based on real-world footage. The video emphasizes the advancements in CGI, especially in simulating water for movies, and how it has become increasingly realistic and integral to the storytelling in films.

💡Water Simulation

Water Simulation is the process of using computer graphics to create the appearance and behavior of water. The script highlights the complexity and the evolution of water simulation in movies, noting how it has become a significant challenge due to the intricate physics and visual properties of water.

💡Photorealism

Photorealism in the context of computer graphics means creating digital images that are indistinguishable from photographs of real-world scenes. The video's theme revolves around the pursuit of photorealism in CGI, particularly in simulating water, to enhance the visual storytelling in films.

💡Fluid Dynamics

Fluid Dynamics is the study of how fluids, like water and air, move and interact. The script explains that understanding fluid dynamics is crucial for simulating realistic water in CGI, as it involves the application of mathematical principles to model the behavior of fluids in a digital environment.

💡Particle Simulation

Particle Simulation is a technique used in computer graphics to simulate various natural phenomena, including the behavior of water. In the script, it is mentioned as an early method for simulating water, where individual points in 3D space move according to predefined rules to create the illusion of fluid motion.

💡Volumes

In computer graphics, volumes refer to a three-dimensional grid of data points used to simulate the behavior of fluids. The script discusses the use of volumes in water simulation, noting their ability to track pressure and velocity within a fluid system, but also their limitations in retaining volume.

💡Houdini

Houdini is a 3D animation and visual effects software that is widely used for creating complex simulations, including water. The script mentions Houdini as the tool the author uses to attempt to create their own water simulation, highlighting its capabilities in simulating fluid dynamics.

💡State Machine

A State Machine in the context of the video refers to a setup used in advanced water simulations that integrates various aspects of fluid behavior, such as air entrainment, bubbles, foam, and mist. It represents a sophisticated approach to simulating water, as discussed by Chris White, a VFX supervisor, in the script.

💡Artistic Vision

Artistic Vision pertains to the creative ideas and intentions that guide the creation of visual content. The script concludes with the importance of the artist's role in using tools like CGI to support their vision, emphasizing that technology serves the artist's goal of telling a story through visuals.

💡Cavitation

Cavitation is the formation of vapor cavities in a liquid due to rapid pressure changes, often seen in the form of bubbles in water. The script mentions cavitation as an important aspect of realistic water simulation that was missing in the author's initial attempts, contributing to the final touch of realism in the water's appearance.

Highlights

The complexity of creating CGI water and its importance in films like 'Nad' where all the water was fake yet realistic.

Chris White's role in developing a new water pipeline for 'Avatar' sequels and his work on 'Nad'.

The significance of water movement in storytelling and its enhancement through CGI in 'Nad'.

The limitations of traditional methods like green screen with water and the evolution to computer-generated water.

The development of the in-house system 'Loki' for simulating water in 'Avatar' sequels.

The importance of understanding the principles of water over the tools used for simulation.

The history of fluid dynamics and its application in computer graphics for water simulation.

The challenges of simulating water's interaction with other visual effects like green screen.

The use of oceanographic data in 'Water World' to emulate realistic ocean waves.

The introduction of particle simulations to create effects like bubbles in 'Titanic'.

The limitations of particle simulations in capturing the physics of water.

The breakthrough in combining volume and particle methods in 'Antz' for more realistic fluid simulation.

Advancements in fluid simulations from 'The Perfect Storm' to 'Pirates of the Caribbean'.

The philosophical question of whether it's possible to perfectly simulate water physics.

The role of the artist in shaping the simulation process and the importance of storytelling.

The realization that artistry is crucial in the final touches of CGI water to achieve photorealism.

The final outcome of creating photorealistic water and the appreciation for the artist's role in CGI.

Transcripts

welcome to the wonderful world of

computer Graphics you know this place is

pretty great these days we can make just

about anything in here robots Aliens big

old worms and of course Henry C's upper

lip but I bet you didn't realize how

much CGI was in this scene there you go

oygen please this is a scene from the

film naad and it required just as much

effort to create in the computer as any

of the other examples because all of the

water you are seeing is fake and I don't

think people understand how crazy that

actually is and it's not just this film

most Hollywood movies these days are

filled with fake water that is basically

invisible to the public because it's

just that good as a VX artist I've

always found water to be very

intimidating we've replicated so much of

the intricacy of nature but water is so

complex it's very difficult to recreate

which is why this water looks like crap

but what if I could make it not look

like crap what if I could create a river

entirely in the computer that is 100%

photo well I'd have to figure out what

tools were used on films like niad and

Avatar way of water to accomplish their

incredible CG fluids and what better way

to do that then talk to somebody who

knows the way of water better than

anyone else we are joined by what FX

supervisor Chris White how you doing

Jordan I'm doing very good Chris played

a pivotal role in the development of

what effect's new water pipeline for the

Avatar sequels but he also worked on

niad my first question when I did see

the VFX breakdown of NAD is why why why

why would you do do this with niad it

was really important to the filmmakers

that the current and the direction and a

movement of the water helped tell the

story that she was being guided with the

current and she was working with it or

she was working against it they weren't

able to capture all of that within the

tank so we came in to help sell that

story point and it was important to not

bring the viewer out of the picture

there's scenes that were extreme

close-ups we know that has to look great

for it to be beli for the audience do

you feel that given where technology is

that I would be capable of creating

something at home that is photorealistic

when it comes to water the key to it is

understanding the principles and the

look of it on way of the water we spent

years like we literally took a

whiteboard erased it started with a

single drop and said okay what's

happening with water and did a deep dive

and studied all of those principles we

created our in-house system that we

built which um is called Loki

our inhouse system that we built like in

houses and we're not allowed our inhouse

system that we built it's not available

for like

me I guess that's it huh the tools I

need are behind closed doors for the

elites I'm not

Elite can't even make water just a

peasant begging for scraps from the

king's table in this case the king's a

really nice guy Chris was lovely thank

you Chris all I wanted to make is a

fully simulated 100% photorealistic

River Dean is that too much to ask but

Chris did say something interesting he

said that the tools don't matter as much

as understanding the principles of water

you know Chris is right if I can just

learn all I can about creating simulated

water then I wouldn't need their fancy

tools even a dirty peasant like me would

be capable of creating CG water that

holds up to the real thing

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sorry let's get back to

that so I dove real deep into computer

generated water and in its history I

believe lie the tools to simulate my

River it all starts obviously with how

real water flows the study of fluid

dynamics has actually been around for a

few hundred years fluid dynamics allows

us not only to understand the flow of

liquids but also the flow of gases like

how air bends around the wing of a plane

the laws that guide fluid dynamics are

surprisingly straightforward you can

actually write the critical equations on

the palm of your hand look at that I

don't know what it means but it fits and

I got tiny hands now it wasn't long

after the invention of the computer that

this math was brought into the digital

realm but while the laws are somewhat

simple to outline their actual

application is incredibly complex to

simulate and then orders of magnitude

harder to actually visualize because it

would take another 30 years for computer

Graphics to bring the first genuine

fluid simulation to film prior to this

the only way to visualize water in

movies was well with

water whether it was massive water tanks

being dumped onto real sets or smaller

tanks of water used in conjunction with

Miniatures there was only so much that

could be achieved visually and it really

didn't help that water didn't exactly

play nice with other methods of visual

effects of the time namely green screen

see water is very difficult to capture

on a green screen due to the fact that

it both refracts and reflects the green

of the screen and it's not like you can

manipulate real water with stop motion

either so if you couldn't get the water

to do what you wanted on camera well

tough luck because you couldn't get it

any other way but by the 9s computer

Graphics began to dip its little toe in

the water simulation World it started

with characters that had the appearance

of water like the pseudopod from the

abyss or the T1000 from Terminator 2

which we've made separate videos about

but this was essentially using sine

waves to change the height of the points

on the surface surface of the characters

giving the illusion of a liquidy

organism but what if you have a film

that is a literal world of

water 1995's atly named water world was

the first film to use actual

oceanographic and Atmospheric data to

emulate the waves of the open ocean this

allowed the production to replace the

Horizon around their massive ship sets

with photoreal CG water I mean look at

this this looks great looks like an

ocean moves like an ocean I might as

well just use this 30-year-old method to

simulate my river right well similar to

previous effects it's simply a linear

displacement of the ocean's surface now

what the heck does that even mean well

if we look at this we have a grid with a

simple texture on top of it a black to

white map basically what I want to tell

the computer is hey any elements that

are pure white be the highest point and

anything that is pure black be the

lowest point so if we have an animated

map and that map moves like ocean waves

technically we should be able to use the

same approach to create what looks like

ocean waves

T so this is great this gives the

illusion of an ocean surface but in

reality it's just a grid that's being

displaced in the exact same way we saw

previously now what that means for us is

well it's not real physics we can't ever

get any real waves because at the end of

the day these are points that are being

displaced up or down and in that way

we'll never have a wave dynamically

crash over its neighboring points it's

all just trickery at the end of the

day a similar method to this was used to

even greater effect in 1997's Titanic

like water world it's a linear

displacement of the ocean's surface but

there were a few physics-based

simulations used in the CG of Titanic

and to create this River we're going to

need those physics when we see the

propellers of the ship you can see these

tiny bubbles being churned up by this

machine there was actually a version of

this effect achieved in camera with a

miniature but Cameron thought the

bubbles created were too big to achieve

this massive sense of scale of the ship

they needed to be even tinier so the VFX

team used a particle simulation you see

particles had existed since 1983 and

these little guys could actually

simulate gravity as well as collisions

with other objects now in the real world

bubbles are generated through this

entirely complex physical reaction to

the propellers and what the water's

actually made of we don't have to worry

about any of that what if we could just

create particles on the edges of the

blade and shoot them out into 3D space

well we get a really cool looking result

we got lots of little buddies floating

out into the ether these obviously are

not bubbles right these are actually

just tiny little points in 3D space that

we are shooting out not a lot of math

but you do get a very cool result so if

we can simulate particles and we can

affect the forces of how they move then

why not just use particles to simulate

my River but if we just pause this

simulation let's zoom in and take a

little bit of a look around look these

particles are actually phasing through

each other in a particle simulation

particles don't interact with each other

they're like New

Yorkers sorry I didn't mean sorry but

what do I mean by that well I can

actually show you with another

simulation here we have a stream of

particles that are being poured into a

box if you'll notice when the Spheres

make contact with each other well

they're not really making contact at all

they all just fall and collapse through

each other as if their neighbors don't

even exist now these particles can

simulate very quickly when they're only

concerned with themselves like New York

is sorry still funnier in my head I

swear I'll land it but imagine how much

more complex it gets when every single

one of these particles needs to know

where its thousand plus neighbors are

every single frame that's a lot of

additional math and if you add 10 times

the math to a calculation guess what

it's going to take 10 times longer to

calculate and this is not a large number

of particles not even close imagine how

many more you would need to simulate a

body of water let alone a full raging

River and then try doing that on a '90s

PC where the most realistic game you'd

ever played was

doomed and even if you had the patience

to simulate all of those interactions

particles really only work well for

emulating some of the phenomena

generated by water because particle

simulations don't really scale that well

what we need is a better way to track

the Dynamics of a fluid system namely

the pressure which is the areas of least

resistance and the velocity which is the

speed and direction of

motion now there is another framework of

thinking about 3D space which is key to

tracking these Dynamics until now we've

been thinking in terms of individual

points in space you know these little

dudes but what if instead we think about

3D space as a volume of 3D cubes

essentially these cubes are containers

of data that can pass information

between themselves so using those

elegant fluid Dynamic equations we can

Define how pressure and velocity move

data through space so that's it we're

done here let's just use volumes to

simulate this River well not so fast me

you see the issue with volumes is

ironically it's imperfect ability to

track how much volume is in it and what

I mean by that is in a volume simulation

you can't really get a splash of water

separating from the larger body and then

recombining with it because it'll shrink

away into nothingness before it lands

and it's gone so this was the Dilemma in

the late '90s volumes are great at

solving velocity and pressure but bad at

retaining volume and particles are great

at retaining volume but bad at solving

for velocity and pressure but in 1998

one film was bold enough to attempt to

bridge this Gap to use the best of both

methods something not even Titanic the

most expensive film ever made to that

point was bold enough to attempt a

groundbreaking classic that you all

remember dearly I'm talking of course

about 1998's ants you're not serious are

you okay maybe ants isn't the most

memorable movie I have a thing about

drinking from the anus of another

creature but it will forever be

responsible for a truly Landmark

achievement look at that just bask in

the glory Now by today's standards maybe

it doesn't look realistic but heck it's

moving like water the team had to hire a

guy who had just finished his PhD to

even figure out how to do this unlike

Titanic and water world it's not just

the surface there was an undulating mass

that literally flows through space Nick

Foster who developed the simulation

software figured out how to take the

benefits of volumes and the benefits of

particles and combine them to create CG

fluid and over the next decade films

began to radically advance both the

speed and the level of complexity of

these fluid simulations there was 2000s

the perfect storm in which industrial

Light and Magic physically simulated

these enormous waves on top of which

were separate particle simulations to

replicate the foam and spray that would

be generated by the boat slamming into

them 2004 is the day after tomorrow with

an incredible flooding sequence where a

giant swell overtakes New York the film

was able to add precise guidance to the

fluid simulation like suction pumps and

whirl pools to control the flow of the

water and speaking of whirl pools who

could forget 2007's Pirates of the

Caribbean at World's

End look at that whirling dervish of CG

Beauty

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and of course Avatar in 2009 which by

many could be deemed as the start of the

modern era of water simulation CG water

was at the point where it could be

precisely directed to do the things that

we could never capture on camera but

still based in physics so we did it

after Decades of trial and error this

elegant MTH of fluid dynamics can now be

properly visualized by computer Graphics

now it's time to see if I can replicate

this magic on my own computer and what

better tool to use when trying to make

some magic than Houdini so since I've

now learned the ins and outs of fluid

simulations I've built my very own from

the ground up now before I can simulate

anything I have to give my River

something to run through and so I found

a photo scan online of a bone dry Ravine

I added a whole bunch of photo scans of

giant rocks and boulders so that those

liquids had something more Dynamic to

interact with so the reality is once I

have my source of water and my Collision

geometry I don't really need to worry

about too much more because like we've

talked about to this point the math has

been done right people much smarter than

me have crunched the numbers and devised

systems to calculate all of that math on

my behalf so all I need to do now is let

physics do its

thing here it is it's not bad like it

moves like water you get the sense that

it is rushing and gushing you know how

the water is literally getting trapped

and churning and spinning before rolling

back out but a lot of the detail

is missing in those areas for some

reason I mean this is nothing compared

to the insane photo realism you're

seeing in movies nowadays so I'm going

to go check back in with Chris to see

how I can take this render into the

realm of the photo real so Chris you

were a VFX supervisor on the original

Avatar and you were also a VFX

supervisor on way of water what are the

major like significant differences from

13 years ago with Avatar to now in terms

of what we can do with water it's still

the the same mathematical approach but

now we created this setup called the

state machine which does the main

simulation but it entrains the air as

well it creates the underwater bubbles

that will travel up and those become the

foam and then becomes the Mist so it's

all this integrated system so it all

works together it sounds like you've

built this state machine to press

simulate and then you have a result

although the the machine lets you do it

the the artist has control of the input

because after it comes out of the

machine there's there's a lot that goes

into sculpting the surfacing of the

water and making sure the parameters are

appropriate to get the maximum detail

you know do I want to make it choppier

so that I get more white water do I want

to have you know more foam or less foam

so the effects artists is making a lot

of decisions to get the result that they

want is it possible to perfectly

simulate the physics of water I think we

can simulate visually very realistic

water I think that gets into into deeper

philosophical like how like like there's

always some level of of detail that

you're simulating to you're not going

down to the the molecules or anything

like that so you do have to cheat it cuz

as you get into it you're like okay yeah

we've got it down to this little level

and you're like but if you really dig

into it more there may be silk that's

being kicked up there there's all these

complex systems I mean we're still at

the at the end of the day we we're still

making movies and it's about telling the

story that was part of the drive was

like if we can give the artist a good

system that looks good from the

beginning then they can spend more time

being artistic that's actually really

interesting that you say that it's

almost like even if we do reach a point

where on a molecular level we can

perfectly recreate water you would

almost still need the artist in order to

draw it in such a way that it tells the

story that needs to be told exactly it

it always comes down to that and the the

tools are there to help it look

realistic and they help give us control

but all the discussions and decisions

are made to that one point like what is

the story being told in this shot and

how do they affect support and help tell

that story I think I've had it backwards

I've been looking at it is you know more

on the tools than the artist but it

seems like the tools are there to

service the vision of the artist versus

the artist to drive the tool yeah it's

it's a it's that it's that support yeah

well Chris thank you so much for joining

us and lending us a little bit of your

expertise it's great just talking about

all this stuff and and kind of digging

into it you know after talking to Chris

I started to realize that in order to

take this render across the Finish Line

I I need to start using my eye as an

artist more so naturally I looked at

real Rivers right reference and I

started to notice the differences

between my render and the stuff that I

was seeing from actual footage real

Rivers the water actually makes the dirt

that it goes over wet in real Rivers

you're getting a much greater breakup of

the overall light on the surface it's

not so globular and perfect like it is

in this render you're getting

volumetrics from inside the body of the

river itself as it moves over dirt and

churns it up into like a thick Inky

paste and of course we're missing a

crucial aspect of this cavitation right

the foam the bubbles beneath the surface

the spray there's nothing here it's just

perfect glassy texture and for all of

these problems I can't just click a

button and solve them I'm going to have

to use my own intuition as an artist

until I'm happy with the final image

well I made those manual tweaks and this

is the

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result I'm I'm very proud looking at

this final image I achieved what I set

out to do I created photorealistic water

and that's awesome but what I've taken

away is how much the hand of the artist

still drives this process Math and

Science without that spark of humanity

is soulless so knowing just how much of

what we see on the big screen is

thoughtfully crafted just makes it that

much more beautiful