Krakatoa Production Showcase
The following page showcases Krakatoa as used by our valued customers in real-world production.
Scanline VFX delivered several sequences for the latest Superman movie, including a CG tornado involving Krakatoa for one of the most memorable scenes.
fxguid reports that Pixomondo has once again used Thinkbox Software's Krakatoa in a major motion picture, this time in the long-awaited sequel to J.J.Abrams' Star Trek reboot.
The fluid sims were created in Naiad, with volumetric effects such as swirls from wing tips rendered in FumeFX. Says Grossmann: “To help give a sense of scale to these volumes we ran blowing air debris and bits of ash and detritus as fluid sims rendered out with Thinking Particles. And we used Krakatoa too. The ships and the buildings rendered in V-Ray.”
In the following great AREA interview video from Siggraph 2013 in Anaheim, Adam Watkins of Pixomondo discusses in detail the work on Star Trek:
According to an interview with Bjørn Mayer on the Art Of VFX website, Pixomondo employed Krakatoa among other tools like Naiad, Thinking Particles and FumeFX for the destruction effects during the ice canyon chase sequence in the film.
"Can you tell us more about the many destructions in this sequence?
We used a combination of Naiad, Thinking Particles, Fume and Krakatoa to simulate and render those destructions. everything gets dialed in in comp and beefed up with some of the sfx plates we shot in Baton Rouge."
Oblivion was co-written and directed by Joseph Kosinski (Tron:Legacy) and released by Universal in April 2013.
According to an article in fxGuide, Krakatoa MX was used by Pixomondo to create additional dust and debris in various shots for the fifth installment of the Die Hard series.
According to an article in fxGuide, Krakatoa MX was used by Pixomondo in the visual effects production for the movie "Snow White And The Huntsman".
Quote: “The overall army was made up of 1500 knights and so for the surrounding army we had a series of scripts that would randomly select animation clips from a 1000 frame master source and then it would apply that animation to the knights that weren’t directly affected in the battle, and distribute them over the Lidar’d terrain at a random scale and rotation, so that it all felt unique. Then we could also render out some unique character IDs so we could color-correct them and adjust their luminance and hue just slightly.” Additional pyro elements for torches and fireballs were created in FumeFX and Krakatoa, with Thinking Particles and Krakatoa used to disintegrate the hair of the knights. For one of the castle attack scenes on the beach, horse agents inside Massive were exported as .obj objects for their hoove elements, then brought into 3ds Max to trigger particle splashes.
According to an article in fxGuide, Krakatoa MX was used by Hydraulx in the opening sequence of "The Avengers".
Quote: “We did the opening ten minutes of the movie, other than the opening set-up in space,” says Hydraulx’s Colin Strause... “For the actual destruction shots, they were 100% digital,” he says. “So we had to make every building and light and pieces of glass and cars, and add in the fireballs and explosions. We modeled in Maya, rendered in Mental Ray, and then did all the destruction using Thinking Particles in 3ds Max, Krakatoa and Fume FX for the dust and particles and explosions.”
Note: Thinkbox XMesh was also used to move Thinking Particles simulation from 3ds Max to Maya for rendering.
Please click on the above image to visit the Gradient Effects Home Page and to watch the Visual Effects reel including the Harry Potter sequence.
"Skyline" (2011) - Hydraulx
Hydraulx used Krakatoa for the rendering of the Siren Light effects in the beginning, as well as for the alien spaceship rebuilding later in the movie. The following VIMEO demo reel by Zack Detox / Bionic Primitive shows the Siren Light effect creation:
The Hair rendering feature of Krakatoa 2.0 was developed specifically for the Sucker Punch project. The hair of all digi-doubles in the long "Bullet Train" sequence (consisting of a single shot!) was modeled using HairFarm and rendered as Krakatoa particles, allowing for advanced camera mapping controls and render element output.
Watch the whole Bullet Train Sequence on YouTube.
Krakatoa was used to pulverize people on the streats during the Decepticon attack.
"Green Lantern" (2011) - Pixomondo
Krakatoa was used for the rendering of the Holotable projections.
Krakatoa was used to render the Nanomites in the Tank Destruction sequence in the beginning and the Night Raven jet over the White House in the second half of the movie.
"2012" (2009) - Pixomondo
Krakatoa was used for snow effects in the sequence where the Benrley falls out of the transport plane in the Himalayas.
Krakatoa was used for the energy blast effects and the final Kame-Hame-Ha wave.
Krakatoa was used for underwater bioluminescent trails left by the razor fish, as well as for rain over the underground sea.
Krakatoa was used by MK12 for the opening sequence in the James Bond 007 movie "Quantum Of Solace" directed my Marc Forster.
Note: This is particularly noteworthy because the origins of Krakatoa can be traced back to another Marc Forster movie called "Stay" (see below).
In 2005, the stand-alone additive particle renderer used on "Stay" and "Cursed" was rewritten from scratch to become a true volumetric particle renderer with support for shadow-casting and light attenuation. At this point it was renamed to "Krakatoa" and later that year was integrated as a native 3ds Max renderer which shipped as Krakatoa 1.0 in 2007.
Krakatoa was used on the Warner Bros. movie "Superman Returns" for the opening sequence of the Red Sun explosion, for "spore" effects inside the Kryptonite crystals, as well as for ocean waves foam and underwater silt. The opening sun explosion contained up to 700 million particles per frame, while the wave hitting Metropolis during the earthquake sequence amounted for 1 billion particles per frame.
"Cursed" (2005) - Frantic Films (pre-Krakatoa particle renderer)
The particle renderer was used to render particles driven by the in-house FLOOD fluid simulator to create and enhance practical wispy smoke coming out of the hands of the vampires when touching silverware.
"Stay" (2005) - Frantic Films (pre-Krakatoa particle renderer)
In 2004, a high-volume particle renderer was developed by Frantic Films Software (which later became Thinkbox Software) for the final sequence in the Mark Forster movie Stay starring Ewan McGregor and Ryan Gosling. In collaboration with the late VFX veteran Richard "Doc" Baily, the team at Frantic Films rendered and composited up to 500 million particles per frame to create a plasma-like glow over the Brooklyn Bridge in New York.
Quote from the article on The Art Of VFX:
TAOVFX: How did you create the beautiful particles effects of the two spells?
LUKASZ SOBISZ (FX TD): To achieve enough level of details and handle multi-milion particle sims we used famous Krakatoa renderer. Particles where driven with thinking particles system, which gives some unique workflows with Matterwaves node. It allowed us to control the emission with procedural maps and uv coordinates for maximum freedom.
The motion was enhanced with fumeFX, which integrates very well with TP and gives access to any voxel field stored within fume’s cache. Another feature that saved us a lot of time was MagmaFlow coming with Krakatoa. Editing particle channels after simulation is finished, streamlines render passes generation and gives additional control over the look of particles.
Please go to The Art Of VFX article to read the whole interview with Platige Images and watch the full video as well as a breakdown!
Using Krakatoa SR (Stand-alone Renderer) in conjunction with Autodesk Maya, Digital Domain delivers a cinematic intro to the second part of The Darkness game series!
“We knew that Krakatoa was very good at creating sinewy, tendril-like smoke fluid dynamics, but it was available only for 3ds max. When we heard about SR, which works with Maya, we knew it would be ideal for this project. It can render billions of particles easily – like no other 3D renderer can. Krakatoa SR gave us the power and control of particles with beautiful render quality and great speed.” -Adrian Graham, Digital Domain Pipeline Technical Director, Commercials
Please follow the links to the Digital Domain Feature Work page to watch the full video directed by Neil Huxley and learn more about it.
MAKE used every product in the Thinkbox palette including Krakatoa in conjunction with Frost, Genome, XMesh and Deadline.
Please check out the Thinkblog article about this project, including the interview with Danny Robashkin, Creative Director at MAKE.
Nexus Productions employed Krakatoa in the creation of this Honda Jazz commercial.
Our particles team (best imagined as a squad of ninjas) looked at every option, including Softimage ICE, Houdini, Krakatoa and even Blender’s voxel rendering system. After a little experimentation we settled on a mixture of 3DS Max, FumeFx and Krakatoa as we were blown away by the speed of Krakatoa’s particle rendering system. The fact that Krakatoa offered a voxel rendering mode was also going to be useful for the cloudscapes.
This is the commercial that brought the best out of Krakatoa for "ink in water" - style rendering. Please follow the link above to visit the mini-site for the Making Of and additional information about this highly acclaimed project!
Play Nicely created this title sequence for the Rugby World Cup 2011 coverage on ITV1 using FumeFX and Krakatoa.
Fusion CI used Krakatoa to render FumeFX-driven particles, producing a colorful invition to both children and parents to visit the famous San Diego attraction:
The first commercial to use a Krakatoa particle effect was created by the German company Unexpected.
Please read the entire story in the CG Society article.
Tests, Demos and Personal Projects
Also check out the Frost meshed version.
This video is only truly appreciated in Full Screen and Full HD resolution.
Please use the link above to watch it the way the artist intended it to be seen!
An experimental meditative film exploring particles and geometry in space.
We highly recommend watching everything found on Matthias Müller's Channel!