The CGI tidal wave in Snake Eyes that no one got to see

Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.

This week is the 20th anniversary of Brian De Palma’s Snake Eyes, a film perhaps not thought of for any major VFX moments. But, in fact, the movie nearly did feature a key CG water sequence in what was still the early days of fluid sims.

This was for the original ending, which involved a hurricane and a tidal wave hitting the Atlantic City boardwalk and killing the film’s villain, played Gary Sinise. ILM was behind the wave simulation and several miniature elements, but the scene was cut after test screening audiences reacted adversely.

Brian De Palma spoke briefly about this original Snake Eyes ending in the 2015 Noah Baumbach and Jake Paltrow documentary, De Palma, which also showed a large portion of the deleted scene.

Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.

“My concept was, when you’re dealing with such corruption, you need God to come down and blow it all away,” said De Palma in the documentary, referring to the murder conspiracy in Snake Eyes led by Gary Sinise’s character. “It’s the only way. It’s the only thing that works. That was the whole idea of the wave.”

“And nobody thought it worked,” De Palma added. “So we came up with something else, which I never particularly thought worked as well as the original idea.”

For the tidal wave, ILM – under visual effects supervisor Eric Brevig and associate visual effects supervisor Ed Hirsh – capitalised on earlier work the studio had pioneered in particles for Twister to conceptualise the breaking wave, it smashing into the pier and the immense amount of foam produced.

Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.

Among the Snake Eyes artists at ILM was Habib Zargarpour, who would later go on to be an associate visual effects supervisor for The Perfect Storm where, of course, incredibly elaborate CG fluid sims would be further realised.

Zargarpour told vfxblog that the Snake Eyes tidal wave was modelled and animated to break in a controlling way, and then shaded with a fractal shader. A mix of Softimage and Wavefront’s Dynamation was used to craft the computer graphics. “I’d also learned about fractals from Jimmy Mitchell on The Mask. He had this fractal shader, and he did a little bit of water, and all of a sudden my eyes just popped. I went, ‘Oh, my God, what you can do with this thing?!’ And that became the foundation of a lot of stuff I would do afterwards, in terms of particles work.”

“We messed with the fractals to get a particular look,” added Zargarpour, “just to get the semblance of particles that still look a bit like clouds for the foam. Then we’d try to refine the particles that are left behind, add a little spline to the mid-particles on the bleeding edge. And it would start to get a little more shape out of them.”

Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.

Zargarpour says one thing he particularly remembers discovering on the Snake Eyes tidal wave project was how to make particles not look like dirt and dust, but instead like water. “It was all in how you light it,” he noted. “The key was in pRender, the particle-rendering we had for Twister, where you could cheat the size of the particle from the light POV, from each light. So, the trick for making them look like water was to take the keylight, or backlight, and make the particles look really small from that light’s point of view. That made the light go through and scatter. Otherwise, it’s going to look like chunky ice cream.”

“But if you wanted a rim light from that light’s point of view,” continues Zargarpour, “you could make the particles like giant ice cream cones, and huge tennis balls, and then that would just hit this hard edge and give you a rim.”

Several splash elements were filmed in miniature for the tidal wave sequence, with some ultimately finding their way into parts of the ending that was preserved. However, the pier and theme park were 3D models. “We did this technique, which was basically to turn the model into a soft body,” explained Zargarpour. “When you make a soft body, you also make springs out of the polygon edges, and then how tight those edges are determines how much things stretch or not. So we usually made it pretty tight springs, but then the interconnectivity gets overwhelmed by gravity and turbulence.”

Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.

Although they were not seen, Snake Eyes’ tidal wave shots are part of a long line of ILM’s digital effects sequences involving tsunamis, storms and water sims. Interestingly, a different team worked on the CG water simulations for Deep Impact, released a few months earlier than Snake Eyes (see this vfxblog story with former ILMer Chris Horvath about a particular shot in Deep Impact).

And a final observation: fans of The Abyss might also be familiar with an original tidal wave sequence – produced by ILM with real wave and miniature footage that was both digitally and optically manipulated – that was cut from the 1989 film, but brought back for James Cameron’s special edition version.

Looking for VFX inspiration?


I go to a few different VFX and animation industry events each year, but here’s a little secret about Trojan Horse was a Unicorn that I found out on the first day of the first year I went there: It is one of the only events designed to help artists find their place in the world.

What does that mean? Well, I think a lot of artists – young and old – are drawn to the industry (the industry being the areas of design, concept art, CG, visual effects or animation), but it’s one that can be hard to break into, and even stay in. A lot of the artists I met at that first Trojan Horse said they were ready to quit the industry, but after going to THU they found a new wave of inspiration, or a new side of their craft they hadn’t found before.

Perhaps you’re a VFX artist who feels the same way? Well, I would totally recommend considering going to Trojan Horse this year – September 24-29 – as a way of meeting new people, meeting experienced professionals and finding a way to find out more about yourself and your craft. What’s more, this year is – I think – super-heavy on the VFX side in terms of talks, masterclasses and recruiters (yes, a bunch of CG/VFX/animation studios will be there to talk jobs with attendees).

Oh, and this year it’s at a pretty incredible location: Valletta in Malta.

Just a few of the big VFX speakers at Trojan Horse in September are:

  • Dylan Cole, production designer on the Avatar sequels
  • Virginie Bourdin, concept artist
  • Geoffrey Baumann, visual effects supervisor for Black Panther
  • Hal Hickel, animation supervisor at ILM
  • Kelly Port, visual effects supervisor at Digital Domain
  • Matthew E. Butler, visual effects supervisor at Digital Domain

At Trojan Horse you get to hear from these speakers – called Knights – and you get to meet them face to face. Also, they don’t tend to present traditional talks about films and projects they’ve worked, but instead they often discuss their own journey in the industry. You might even find out they’ve also had a challenging time in VFX too, and how they got through it.

That’s what makes Trojan Horse the place for VFX inspiration.

You can find out more at

The made-in-Maya short that’s now more than 20 years old


Do you remember Mel the cowboy? Then you’ll hopefully remember Ruby’s Saloon, a fun Alias|Wavefront demo short produced around the time that Maya was being made and released. I tracked down some of the ‘product specialists’ behind the film for this new oral history. (And if you also remember Chris Landreth’s Bingo, stay tuned for a look back at that short film that was made in Maya, too)

New Infinity War featurette goes behind the scenes of Titan battle


A new featurette released to promote the Blu-ray/DVD release of Avengers: Infinity War goes behind the scenes of the battle against Thanos on Titan. There’s lots of b-roll, stunts and motion capture footage here, plus a rare look at the stunt-vis process. The final visual effects for the scene would ultimately be completed by Weta Digital, which I wrote about for VFX Voice. I also dived into Weta Digital’s CG Thanos (which was also completed for other scenes by Digital Domain) at Cartoon Brew.

The Avengers: Infinity War Blu-ray/DVD releases 14 August.

Going old-school: forced perspective and other effects in Ant-Man and the Wasp


Ant-Man and the Wasp utilises the latest in visual effects tech to bring its story to the big screen. But some of the most fun shots in the film also have some of the most low-tech effects solutions.

These are where Ant-Man (Paul Rudd) visits his daughter’s school with Wasp (Evangeline Lilly) to retrieve a hidden suit. Ant-Man’s new suit is malfunctioning, causing him to grow or shrink unexpectedly. At one point he has to hide in a broom cupboard now too small to hold him, and later he and Wasp appear in the same room passing a bag between them with Ant-Man only half-size. Finally, Ant-Man has to climb down some normal sized steps but at his now half-height.

Several visual effects techniques overseen by VFX supe Stephane Ceretti – who describes the work in the video below – including forced perspective and meticulous compositing, made the sequence possible. Continue reading Going old-school: forced perspective and other effects in Ant-Man and the Wasp