Computer Graphics World

Mark Stasiuk, co-owner and CG super- visor at Fusion CI Studios, knows the substance well, especially in its digital form. For the past several years, Stasiuk has created scripts for generating realistic CG water in a number of fi lms, includ- ing e Guardian and e Curious Case of Benjamin Button. From turbulent oceans, to churning seas, to authentic-look- ing splashes and waves interacting with real-world or digi- tal objects, Stasiuk and his crew seemingly have done it all. Recently, they even turned computer-generated water into various forms. On the surface, this shape-shifting of water from a believ- able-looking fl uid into unbelievable objects may seem out of sync with what Fusion CI is usually tasked to do. However, when examined at a deeper level, the connection becomes clear. Again, the group had to develop unique fl uid-morph- ing technology that would enable them to manipulate water to achieve very specifi c action. e simulation was for the New Zealand creative agency Sugar and its client, Fonterra, which was introducing a new brand of "smart" water called Whole. e concept called for the Whole brand of water to rise into the air and transform it- self into the various shapes. " ey wanted the water to be the star and tell the story—that the water was special and imbued with intelligence and a life of its own," explains Stasiuk. e agency, along with New Zealand VFX house Depart- ment of Motion Graphics (DMG), formulated storyboards for the 30-second, all-CG commercial showing the various shapes, "but they didn't have a clear idea of how the water would behave and move from shape to shape," says Stasiuk. August 2009 30 ■ ■ ■ ■ Fluid Simulation ■ ■ ■ ■ Fluid Simulation

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