We’re honored to have participated in the VFX production of Shui Huo Shan, directed by An CHU.

As the second installment of the “Afterlife Series” ,
the film continues its contemplation of traditional rituals—
starting from paper effigy houses, and building a narrative layer that bridges reality and the liminal afterlife,
allowing the concept of “existence” to be truly felt.
 

The core VFX challenge lies in constructing the “Paper Effigy World.”
We developed a hybrid visual style that sits between 3D modeling and traditional paper craftsmanship.

Characters were captured using the #4DViews volumetric capture stage,
preserving real human motion and performance,
then transformed into a 3D visual language with an inverted negative aesthetic.
 

Colors settle in layers like paper materials,
while characters and objects naturally merge and resonate within the frame.

This visual language preserves the tactile warmth of handmade paper effigies,
while allowing spirituality and imagination to emerge organically through the imagery.
 

The stillness before the burning furnace contrasts with the flow of an otherworldly realm,
creating a gentle emotional tension.

Magic is not used for spectacle,but to express emotions that words cannot fully capture.

To give weight to rituals, to give form to longing,
to make departure something more than just leaving.

VFX is not just imagery—
it is an extension of emotion.

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《 水火山 》 Paper Houses and Horses 𝗕𝗿𝗲𝗮𝗸𝗱𝗼𝘄𝗻

這次榮幸參與 #朱建安 導演《#水火山》視效製作，

作為「#來世系列」二部曲，延續對傳統習俗的凝視，

從紙紮屋出發，建構出一個跨越現實與中陰世界的敘事層次，

讓「存在」這件事，變得可以被感受。
 

本片視效的核心挑戰，在於「#紙紮世界」的建立。

我們發展出一套介於 3D 模型與紙紮質地之間的混合風格：
角色透過 #4DViews動態立體虛擬攝影棚 拍攝，捕捉真實人像動態，

再轉化為反轉底片風格的 3D 影像；色彩如紙料般層層沉澱，角色與物件在畫面中自然融合、相互呼應。
 

這樣的視覺語言，既保留紙紮手工的溫度，也讓靈性與想像，在影像中自然生成。

金爐前的靜謐，對照異境的流動，形成一種溫柔的落差，

魔幻不為炫技，而是替角色說出那些難以言明的情感。

讓儀式有重量，讓想念有形狀，

讓離開，不只是離開。

視效，不只是畫面，是情感的延伸。