Using this method, I was able to isolate the largest movements and their intensity. In 2004, for the special venue ride Haunted Lighthouse, for Seaworld parks, I used a frame differencing method to extract all the moving pixels in a given frame to emit particles from the flailing arms of Christopher Lloyd. Nevertheless forging ahead, I animated some tentacles as individual parts, handed them to a compositor, and let them do their magic combining all the pieces for the final motion, while I mused about particles. After all, this worked for me on the television series FRINGE, for a tentacled creature swimming in a tank, so I was reasonably assured that this would work. After the animation I would likely calculate a fluid field to advect the particles through, to give it some sense of fluid motion. ![]() If I did have it, it would take time to rig and animate, and match correctly enough to create particles. I am fairly adept with 3D particles, but a particle system must have an emitter, which in this case was the skin of my character - usually 3D animated to match the footage. ![]() Since I was not planning on flailing around in the pool, and rotoscoping tons of water I needed particle systems to do this. Time was as usual, short, and running out. ![]() The particular scene In front of me required that a character from existing footage be combined with tentacles of my own making, repositioned to come out of water at the edge of screen, combined with a sky matte painting, and fling water off of its body at every flick or tiny movement.
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