Wētā FX, the company behind Avatar: The Way Of Water CGI is a visual effects company based in New Zealand. They used Amazon Web Services to process the computationally-demanding film Avatar: The Way of Water.
The firm, responsible for the visuals in movies such as The Lord of the Rings, Aquaman, and Doctor Strange, has normally employed its own data center to create its movies.
The development of the Avatar sequel presented a difficulty for the firm.
Typically, it relies on its data centers to handle multiple movies concurrently.
However, with Avatar: TWOW, the entire data center was insufficient.
“There’s the complexity of the water and all those simulations, and what you saw in the trailer is really only a small slither of the massive task and challenge,” producer Jon Landau said at Amazon’s re:Invent event.
The film also doubled its frame rate from 24 to 48 frames per second. “Right there [that] doubles the render workload,” he said.
Wētā used capacity across three Australian AWS data centers. The cloud company plans to open its first New Zealand cloud region in 2024.
Here are the tools and technology that Wētā FX uses:
FACETS
Do you recall watching Avatar, and being amazed at how the filmmakers were able to create computer-generated aliens that still looked like Sam Worthington and Zoe Saldana? Or, how the animation for Tintin was so life-like and his facial expressions were so detailed?

The magic you witnessed came from FACETS, a technology created by Weta Digital, the visual effects firm of Miramar, and it was honored at the Academy of Motion Picture Arts and Sciences’ Scientific and Technical Awards in 2017.
In around 2006, Weta Digital was in search of a more effective technique to capture facial expressions on film than the motion-capture method.
This method is renowned for its use in The Lord of the Rings, with Andy Serkis’ portrayal of Gollum being a prime example. This is when FACETS was initially established.
Within a period of approximately eight months, they created FACETS. It was one of the earliest dependable systems to showcase precise facial tracking from an actor-mounted camera, along with rig-based solving, in a large-scaled production.
MANUKA
Manuka, developed by weta digital, is a groundbreaking physical renderer that can meet complex demands in a timely manner. It was the go-to renderer for the film adaptation of the hobbit: the battle of the five armies, allowing for the speedy production of pristine visuals for the intricate sequences of smaug’s fiery destruction of lake-town and the intricate, huge battle scenes.
Manuka is an impressive feat, as it adeptly renders regular scenes with precision and is able to meet the extreme demands of the company’s render complexity needs at lightning speed and with outstanding efficiency.
“The reality is you have to make sure our shots can render and be there for the morning – no matter how complex – otherwise you can’t make a movie.” Luca fascione

The Dawn team experimented with Manuka and saw a huge benefit while rendering the numerous apes with their complicated fur.
The program had no issue creating the entire scene in a single pass, something that would have caused memory issues with other renderers.
Odin
To achieve realistic CG fire, water, explosions, and smoke, running simulations is a must.
Advanced VFX simulations (like Weta Digital’s Synapse) offer remarkable accuracy, but require an immense amount of computing power.
This poses a challenge when it comes to movie production – as the more computing is done, the better the outcome looks on the big screen, but the longer it takes.
Odin eliminates this dilemma by spreading the computation required to produce these detailed simulations across thousands of CPU cores across numerous machines.
Odin takes control of the workload, assessing each core and allocating work to maximize the output. It takes full advantage of every available resource to meet the demands of VFX artists.
The result is high-end VFX simulations with quicker turnaround times.
Tissue




To create realistic skin movements, most animation systems rely on shortcuts such as blendshape deformers or skin clusters.
However, Tissue takes a reverse approach, starting from the inner components.
This technique involves constructing a detailed skeleton, layered with muscles, fascia, and fat.
As the character moves, Tissue calculates the real-world equivalent of this anatomy, thereby driving and automating the skin deformation.
Animators are still responsible for the main movements, yet the subtle skin motions are automatically generated. Since Avatar, Tissue has been used in every movie and was honored with a Scientific/Technical Oscar in 2013.
Wig
Wig provides artists with the capacity to create intricate hair and fur for computer generated characters.
They can work with real-life hairdressing tools such as brushes, combs, scissors, and hairdryers, as well as digital tools like bending, clumping and frizzing.
Each human head has more than 100,000 strands of hair, and Wig allows artists to modify each one individually.

It renders all of the hair with total accuracy because nothing is simulated, all of it is managed by the artist.
With Wig, artists can craft any kind of hair or fur, such as hairstyles, eyebrows, moustaches, chest hair and even the fur on a character’s pet.
It’s also been adapted for other uses, like recreating the “peach fuzz” appearance on a velvet coat. Wig is a major element in Weta’s creature pipeline, and in 2015 it was awarded an Oscar for Scientific and Technical Achievement.
Physically-based shading

The process of shading involves calculating the interplay between light and surfaces in order to realistically depict what an object looks like when light interacts with it.
This intricate task is especially difficult when it comes to materials such as hair or skin, which are partially illuminated.
Weta adopts a scientific approach to shading, creating models for different surfaces that are based on their actual physical attributes. Their state-of-the-art rendering engines, manuka and gazebo, simulate real-world physics to accurately compute the way light interacts with each surface, even venturing so far as to consider individual wavelengths of light.

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2 Responses
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