SL-85 / World Effects

Water Caustics, Located

Ripples on the ceiling ONLY where water and light geometry justify them.

The brief

A caustic net landing on the one patch of ceiling that the window’s light path can actually reach, roughly the shape of the window itself.

Why it's hard

The model sprays ripple patterns over every surface — walls, floor, faces — with no relationship to where that light could physically arrive.

The craft key

Caustics are a projection: source, surface and receiving plane form one geometry. Name the window’s shape as the patch’s shape.

Skill Tests

04 / 28
Animal anatomy Human anatomy Biomechanics Physics & mass Water simulation Crowd dynamics Multi-shot continuity Face consistency Camera movement Unbroken take Motivated lighting Cutting rhythm Hands & fingers Hair & fabric Reflection & refraction Scale & depth Impossible geometry Period accuracy Music sync Aging & time Natural asynchrony Eye-lines & gaze Particle behaviour Motivated light source Consequence & persistence Time manipulation Graphic-layer discipline Colour as storytelling

Every challenge is scored against the same vocabulary, so you can compare them. Lit cells are what this one tests.

Starter prompt

Built with the CEMI MediaMax system for Google Veo 3.1. Prompts stay in English — that is the language these models take instructions in. Treat it as a starting point and start varying it.

water-caustics-located
Handheld tilt-up, 28mm at f/2.8, a small indoor swimming pool with a low concrete ceiling and one high window camera left. A chipped tiled ledge and a coiled blue hose sit soft in the near foreground. A swimmer's arms break the surface; the reflected caustic net appears only on the strip of ceiling directly opposite the window's light path — a bright rippling parallelogram roughly the shape of the window, wandering and re-knitting as the surface moves. The rest of the ceiling, the far wall, and the swimmer's own body carry no ripple pattern at all. Grout stained, paint blistered with damp, a rust weep under the window frame. Greig Fraser's hard-source naturalism with deep unlifted shadows. The operator's breath shows in the slow vertical drift as the tilt lands. Visible focus breathing as the caustics come sharp.

Derived from the CEMI MediaMax production canon — cemi.media

Style reference: Greig Fraser

Why it's built this way

Caustics are a projection: light source, water surface, and receiving plane form one geometry, so the pattern can only land where that line of sight arrives. Naming the window's shape as the patch's shape gives the model the rule instead of the look. Everything else in the room staying clean is what makes the located patch believable.

Watch for

Ripple patterns sprayed across every surface — walls, floor, the swimmer's face — with no relationship to where the window's light could actually reach.

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