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HomeVisual EffectsIt is Bamfing time! - befores & afters

It is Bamfing time! – befores & afters

Has there ever fairly been something as cool as the unique Bamfing impact in ‘X2’? UPDATED!

In Might 2003, I had what should be one of the vital rousing superhero film moments I’ve skilled: a packed cinemahouse in downtown Sydney cheering on the opening audacious assault on the White Home by the character Nightcrawler in X2.

It’s a shocking scene wherein Nightcrawler (performed by Alan Cumming) swings concerning the hallways of the White Home on his method to the President, dodging and attacking a number of guards by way of a flashy and smokey teleportation impact. Impressively, the pictures appeared to occur in unbelievable oners, even when that’s not fairly how they appeared (it was not less than how I remembered them).

I discovered solely later—probably by way of Cinefex—that this had been dubbed ‘Bamfing’. It was like an ideal description of the second Nightcrawler jumps and reappears into that smokey haze, fully with good sound design.

Later I’d additionally study that a number of the live-action stunts had been captured in a number of passes with a Zebra dolly movement management system from Aerocrane at 72 frames per second.

Cinesite then introduced them collectively utilizing its Cineon compositing system, alongside Houdini sims and an inside particle system, to provide the looks of Nightcrawler being sucked inwards and outwards as he teleports.

I requested then Cinesite visible results supervisor Stephan Rosenbaum, who labored with manufacturing VFX supe Mike Fink on the movie, to interrupt down for befores & afters what he thought labored so effectively concerning the VFX for the Bamfing. Right here’s what he mentioned:

For the Nightcrawler White Home sequence, we spent lots of time – uh – researching his character and mutant energy by studying and re-reading his comedian books. Along with his capacity to teleport, he’s very acrobatic and makes use of his tail as an lively appendage so the motion was designed to make full use of his skills.

We shot the sequence with a stunt physique double on a touring wire rig. Whereas we did shoot clear passes after every plate was shot, we principally relied upon LIDAR scans of the units for his reveals and disappearances. This teleporting (Bamf) impact was a fluid simulation spawned from a physique scan of the actor.

Whereas I feel we nailed the impact, what made the sequence enjoyable to observe was the skillful choreography, pictures and modifying. Utilizing an actual particular person as an alternative of a CG Nightcrawler bodily grounded his efficiency and the reactions to them.

It actually remains to be one of many coolest results on the market. Glad twentieth anniversary, X2.

Picture from Stephen Rosenbaum’s web site.


UPDATE: Jerry Tessendorf (sure, that Jerry Tessendorf) was a software program developer at Cinesite again on X2, and received in contact with me concerning the simulations for the Bamfing. and for the Cerebro impact seen within the movie. Right here’s his notes on that growth.

The combo of know-how and methods for the smokey a part of the bamf was developed by Vijoy Gaddipati and I at Cinesite. It was not a fluid simulation. We developed a customized particle creation, modification, and rendering device known as partman. Partman used “shaders” to emit and transfer round particles, then render them in a extremely compact customized statistical rendering method described right here.

Learn extra on this SIGGRAPH sketch.

The fluid-like movement of the particles was achieved by transferring the particles by a mix of static vector fields that had the properties of a turbulent noisy velocity with a kolmogorov spatial spectrum. The code for the vector fields used Quick Fourier Transforms on a random realization of zero imply noise with an influence regulation (Kolmorgorv) spectrum, and was written by Dan Weston. The fluid-like movement additionally concerned slowly translating the static vector fields with respect to one another.

I used to be answerable for creating partman and the advection shader, and Vijoy developed the Houdini plugin in order that it might be utilized in the usual manufacturing atmosphere. He and I went by numerous R&D iterations on the movement and look till the supervisors had been blissful. Invoice La Barge was the lead artist establishing the particle emission and nursing the smoke by the manufacturing pipeline.

As well as, the shafts of sunshine in cerebro had been achieved by distributing particles on the floor of the globe, and as an alternative of emitting particles, the partman shader emitted elongated tetrahedra that partman quantity rendered. Partman additionally emitted and rendered hair strands very effectively, which was used to render a slow-mo closeup of a bee in Clockstoppers. Sadly, the Hollywood Cinesite workplace closed shortly after, and I assume the software program disappeared with it.

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