Realflow Plugin For 3ds Max 2016 259
Mina Delahoussaye
I know that Alejandro Echeverry is working on some similar stuff ( -flip-smorganicsheeter-effect/) , but his tool is to my knowledge not yet finished and available for public use. Is there something similar in H? I did some small-scale stuff a few weeks ago, it turned out ok, but the results couldn't get close to the q-solver stuff - even with a surface tension microsolver attatched to my flip-solver. Some the discussion regarding my project and the topic can be found here: -how-to-emit-additional-small-droplets-from-a-water-drop-crown-splash/.
Sure, but isn't that something that's needed so often, that there should be some implemented high-level solutions, without the need to dive into vops and microsolvers and a lot of highlevel math? Like a "sheeter microsolver" or a more sophisticated "surface tension microsolver"? My only explaination is that a big flood-wave, a vast ocean or a roaring river (where those effects are less influencial/crucial) is needed more often than a tiny little drop of water, so there might be more (dev-)focus in that direction. But for commercials/advertising, small scale liquid sim is something that is asked for quite often, and there is as far as I know no real (commercial-)solution out there - except from custom built inhouse tools and now maybe the Q-solver plugin that looks very promising regarding sheeting and it's (more realistic) surface tension model.
the guys that made this video are using H for their awesome liquid FX and sadly are using their own custom tools. I don't think they'll share but they got the basic of their tools from Siggraph papers
RealFlow is a fluid and dynamics simulation tool for the 3D and visual effects industry, developed by Next Limit Technologies in Madrid, Spain. This stand-alone application can be used in conjunction with other 3D programs to simulate fluids, water surfaces, fluid-solid interactions, rigid bodies, soft bodies and meshes. In 2008, Next Limit Technologies was awarded a Technical Achievement Award by the Academy of Motion Picture Arts and Sciences for their development of the RealFlow software and its contribution to the production of motion pictures.[1] In 2015, Next Limit Technologies announced the release of RealFlow Core for Cinema 4D.[2]
RealFlow technology uses particle based simulations.[3] These particles can be influenced in various ways by point-based nodes (daemons) which can do various tasks such as simulate gravity or recreate the vortex-like motion of a tornado. RealFlow can also simulate soft and rigid body collisions and interactions. The inclusion of Python scripting and C++ plug-ins allows users to program their own tools to improve RealFlow capabilities, adding control to most aspects of the RealFlow workflow including batch runs, events, daemons, waves, and fluids.
The RealFlow Renderkit (RFRK)[4] is a set of tools designed to facilitate the rendering of fluids. The RFRK enables the generation of procedural geometry at render time and the rendering of individual fluid particles. With this interface, fluids can also be rendered as foam and spray.[5]
RFConnect is a connectivity plugin between standalone RealFlow and DCC applications. The plugin is a successor of RF Connectivity and RF RenderKit (RFRK). The plugin supports following DCC applications: 3ds Max, Maya, Cinema 4D, and Houdini. The plugin is also available for Lightwave and Softimage but the development is currently not active.
I want to do a water animation in c4d with realflow plugin and i want to traspost it to unreal engine.
In unreal engine i want add a water material and render it.
Can you tell me how to do this???
From the little bit what i saw about Realflow, the water simmulation might be particle based.
Sure you can somehow turn it into a mesh or rather a series of meshes, but they surely have a very high polycount.
This month, VFXWorld continues a series of six excerpts of the Course Technology PTR book Maya Plugin Power, which will give VFXWorld readers to learn how to take advantage of the myriad of plugins available to Maya users.
Dealing with liquids simulations in Maya is best served through a stand-alone program from Next Limit, called RealFlow. Using RealFlow it is fairly easy to generate complex simulations for export to Maya. This includes water systems such as object wakes. Here is a quick look.
Start RF and create a project called nessie. Import the model super_low_ness.obj (visit Course PTR website for more information). Click on the Add a RealWave to the Scene icon. An RW plane is placed in the scene. Under the Nodes window, the RW plane is listed as Realwave01. Right-click on the node and rename it Loch_Ness. In the Node Params window under the Node tab, change the Z scale of the RW plane to 20. The image should look like Figure 2.
With the Timeslider set to 0, translate Nessie to the far left of the RW plane. Right-click on the model and keyframe its position, as shown in Figure 3. At frame 200 move Nessie to the far right side of the RW plane.
Running the simulation now should yield a result, although it may be slight. This can be tweaked to give us the look we need. We can add a small amount of fractal disturbance to the water. Right-click on the Loch_Ness listing in the Nodes panel. Select Loch_Ness > Add Wave > Fractal as shown in Figure 5. The fractal wave will displace the wave with a complex fractal pattern. This fractal has several parameters for adjusting its weight, height, speed, slope and octaves. Another type of wave is the spectrum wave that generates sinusoidal waves with varying frequencies, scale, and number of samples. Think of this as ripples in a sine pattern. Another type of wave is a control points wave. This wave allows the users to select vertices in the wave mesh that move up and down. Waves emanate in an ever expanding set of circles from the control point vertices like a stone thrown in a still pond. These waves propagate.
Select the Nessie model and open the RealWave tab in the Node Params window. Tweak the parameters as shown in Figure 7 and run the simulation again. This should give a more sophisticated-looking wake as shown in Figure 8.
At this point, we should be reasonably happy with the results of the simulation. The data we need for use in Maya are minimal, and we really only need the surface deformation of the RW. Pressing F12 brings up the Export Central window, where we will focus on the REALWAVE listing. Clicking the tiny + sign before it opens up a list of formats that RW data may be saved as. Select the .bin format and change the Name/Prefix in the File Name options box to the right in the Export Central window to Loch_Ness. This is the format we will use to import back into Maya. Figure 9 shows the Export Central window with the proper data selected for this exercise.
This is a great example to show off the power and potential of RF. Two bonus RF and Maya scenes are on the companion DVD in the Chapter 5 folder. Both scenes, soccer_roll and Aquafuel, which are shown in Figures 12 and 13, are there to study.
Mark Jennings Smith is a seasoned artist, animator and writer residing in Beverly Hills, CA. Smith has been fascinated by CG since 1972, when at age 10 a chance encounter with the first coin-op Pong changed his life. His interest in the entertainment field led Smith and a partner to establish Digital Drama in 1994, which focused on computer-generated imagery, animation, digital painting and special digital visual effects. Digital Drama designed the digital film effects and animation for companies such as Universal Pictures, Trimark Pictures, Fox Home Ent., HBO and Showtime. Smith has contributed to several books and magazines, including a chapter in Maya: Secrets of the Pros. He also created cover art for the book and a variety of other titles in the 3D arena. He served as the technical editor for Mastering Maya Complete 2 as well as consulted and beta-tested dozens of software packages. Smith has also taught visual effects and computer animation using Maya at New York University.
this actually a feature as the prt source tries to mimic the scale your Realflow Scene was simulated in to work properly in conjunction with Cinem4D.
the scaling parameter in the RealFlow plugin needs to be set to 0.01 to match in this case;)
Fluid Simulators tend to use SI units (Meter/Kilogram/Second). So RF BIN files would usually be in Meters.
Assuming your C4D scene is in CM, you should have to scale up 100 times, which explains the 0.01 factor Daniel proposed.
To test, I created a simple scene in C4D with some geo. using default settings (project scale 1cm)
Exported SD to RF (scene scale 1).
Created a particle sim (all realflow scale prefs at 1.000)
Imported the particles into the original scene using RF Importer (scale set to 1).
The RF particles match the geometry perfectly.
The BIN behavior could be a bug though, because a BIN file containing a cube of particles with side length of 1 meter should load as 100x100x100 centimeters. If it does not, it is a bug - the PRT Loader should assume a RF simulation BIN file is in meters and scale appropriately.
I tested the general PRT Loader behavior using Krakatoa MX v2.3 and KC4D Beta 5 (both Beta 4 and 5 support PRT 1.1 I/O).
*In Max, I set the System Units to 1 Generic Unit = 1 Centimeter.
*I created a Geosphere with Radius of 100 cm and converted it to a PRT Volume with spacing of 4 cm.
*I saved the resulting particles to disk as a PRT file.
*I loaded that file in C4D using a default PRT Loader without any adjustments.
*Then I created a default C4D Sphere that also happens to have a Radius of 100 cm.
RESULT: My PRT Loader particles matched the C4D Sphere.
Also note that in Max, the Z axis is the up axis and the Max PRT Volume fills up the volume from bottom to top along it. When I loaded in C4D and increased the view percentage from 10 to 100%, the Sphere once again filled up bottom to top because the PRT Loader automatically converted the Max Z-up to the C4D Y-up coordinate system.
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