Now, a FLIP solver (FLuid Implicit Particle, a method originally invented in 1986) is the base for the liquid calculations – basically the same technology that is used in other packages such as Naiad or Houdini. In RealFlow 2013, the Hybrido 2 system for simulating large bodies of water like rivers or oceans has been completely revamped. Realflow High End Fluid Simulations in Cinema 4D.part2.The ability to preview simulations using Maxwell offers new workflows to the artists
Realflow High End Fluid Simulations in Cinema 4D.part1.rar PLEASE SUPPORT ME BY CLICK ONE OF MY LINKS IF YOU WANT BUYING OR EXTENDING YOUR ACCOUNT Greg's first love remains character creation, but he also enjoys working with motion graphics, texturing, and modeling. Since that time, he has worked on such projects as the Team America and WWE video games, Ironman, various short films and a number of product modeling contracts for corporate clients including Sony, Panasonic and Frito-Lay. Always interested in experimenting with new techniques and methods, Greg turned to 3D motion graphics as his new medium in 2001. Setting up a refractive material with causticsĪfter studying film and sculpture at the San Francisco Art Institute, Greg Kulz began working full-time as an artist in the SF Bay Area. Setting up a subsuface scattering materialī. Adding one of the vertex maps to a colorizer we can create the impression of two colors paints blending togetherĪ. The mesher object creates vertex maps that can be used for building materialsī. Using the D-spline daemon to make our fluid travel along a splineĪ. Adding a Drag daemon and Sheeter daemon to modify the fluids behaviorĬ. Using a custom spline as an emitter and a K-age daemon to limit the drip lengthī. Using the image emitter to create text, then melting it and setting up a test renderĪ. Setting up the image emitter using some procedural shaders such as checker board, and noiseī. Adding a few kill daemons to steamline our sceneĪ.
Placeing and editing the crown daemon, including splash shape, number of spikes and timingĭ. Create and use "initial state" to start at a more natural/presimulated stateĬ. Using a circle and fill emitter and container to make a scene appropriate for a crown splashī. Kill-age, kill-isolated and kill-volume daemons to delete superfluous particles to maximize calculation powerĪ. Creating a collider object with the collider tagĭ. Creating an emitter, mesher and gravity daemonĬ.
Most of the other tricks in Realflow are for figuring out how to get the particles and mesh to simulate the way you want, and I'll show you some of my personal tricks for creating subsurface materials, some caustics, some ray-tracing, and to get motion blur to make the most of your simulation.ī. Lastly, we'll go over how to set up your materials. This can be combined with a colorizer and Vertex Map Shaders to create elaborate and unique material effects. It can also be set up to create a gray-value depending on the speed of your mesh. The Mesher has a channel manager that creates different vertex maps based on X, Y, and Z position. In chapter five, we'll go into Vertex Map. Both as a drip - such as off of a rope or clothing line - and as well as a water path in the air, such as you see in soda commercials and gravy commercials. In chapter four, we'll look at Splines and how to use those to generate fluids. We’ll also learn a neat trick with lettering using the spline shader. We'll start off by using some procedural shaders, such as a checkerboard or a sunburst, or different types of noise to generate an alpha to show where our fluid will take place. In the third chapter, we'll go into the Image Emitter. We'll start off using a circle just to set up the scene that's appropriate for a Crown Splash and tweak the Crown Splash daemon, editing its shape and timing to make it look really nice. We'll make a drop that will hit some water. In chapter two, we'll get into a more specific workflow and how to create a Crown Splash. This includes how to get a Mesher, different types of Emitters, different types of daemons: a Circle Emitter, a Mesher, and a Gravity Daemon. In the first chapter, we'll go over the Scene Tree and how to set up a Realflow scene. Realflow High End Fluid Simulations in Cinema 4D 2017 TUTORiAL | 1.25 GB