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Extremis explained Framestore had a number of Extremis shots for characters including Savin, Brandt and Pepper, that featured the effect around the skull, a look that was then used as the basis for other vendors on the show.

To create the skull look, Framestore, under visual effects supervisor Mark Bakowski, conceptualized a volume-driven approach, something that came from deep within the body and not just on the surface. For this they modelled the skeleton and muscles including blood vessels and capillaries. Close matchmoving was also essential. “The main challenge was to find together the look of the Extremis,” says CG Supervisor Alexis Wajsbrot, “mixing the anatomically correct component, with the more magical lava one. How much do we see the bones / veins / muscles / teeth?”

The flow of Extremis was split in two – a deep flow that was more blurry and a surface flow that was brighter and sharper and flowing onto the veins very close to the surface. “We had a few iterations going back to modelling adding arteries, capillaries,” adds Wajsbrot, “finding the right distance between the arteries and the skin and between the skin and the bones for everything to be lit correctly. We also went back a few times to the rigging department in order to have the right deformation of the anatomy for the 3 characters we were in charge of. The model was very heavy we had to save every files as Maya Ascii as our model was over the Maya binary 2g limitation file size.”

Lighting delivered four key passes to comp, using Houdini for the flow of particles going through the arteries, veins and capillaries. “We were exporting these as texture / point clouds (one point cloud per anatomy member, so we were able to render them separately) and a baked mesh of the arteries with per vertex attributes baked in,” says Wajsbrot.

“The Extremis is as well as being a flow of hot energy going through the arteries beneath the skin revealing the anatomy of the character and so is also generating some steam,” adds Wajsbrot. “We were doing some Maya fluid simulation out of the texture map created by our Houdini FX TD to generate the steam. The big challenge was also to create a setup to be able to deliver 150 shots in a very tight schedule. Everything we were showing to the client, we needed to make sure that we could automatise it and do mass production.”

For some regeneration shots, where the character Brandt is walking through the fire, Maya FX TDs were also using the Houdini flow texture to create some RGB 2D fluid simulation on the skin. This was then used to reveal different status of the skin, such as wounded or burnt or blistering and charred skin (the charred sin was done as an nCloth setup).

“The dependency was the key here,” notes Wajsbrot. “We started with an animation bake – Houdini FX TDs were creating a flow of particles for this bake – Maya FX TDs were generating steam out of the flow, and also generating 2D fluid sims out of this same texture (that was treated in Nuke to make it wider with a bit of noise to make the emission more interesting). Other FX TDs were using this 2D fluid map to launch a nCloth simulation to make the skin fall – and obviously lighters and comp were using this 2D fluid map to reveal the different stages of the regeneration.”

Failes, Ian (6 tháng 5 năm 2013). “'Iron Man 3': more suits to play with”. FX Guide. Bản gốc lưu trữ ngày 7 tháng 5 năm 2013. Truy cập ngày 7 tháng 5 năm 2013. Đã bỏ qua tham số không rõ |deadurl= (gợi ý |url-status=) (trợ giúp)

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