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harrymihalis

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  • First Name
    Harry
  • Last Name
    Sanderson
  • C4D Ver
    16 Student Ed.
  1. Oil Slick / Liquid Simulation

    hey just an update after much tearing out of hair over UV mapping in realflow i'm a little closer to a finished shot, here's a low res render from cinema. Slickspillslow-1-1.m4v
  2. Half Underwater shot

    sure yeah I use after effects to composit everything usually, but not aware of a way to automatically mask above a certain demarcation, say above an object buffer of the ocean rendered as white on black so useable as a luma matte in ae, so i was imaging having to tell the software frame by frame which to include, by paintbucket filling the area above or below white, and wanting to stay away from having to animate masks in AE as it never works out well for me :) maybe i can do it with a very low res rotobrush
  3. Half Underwater shot

    Thanks CBR that makes sense. I have a feeling i'll end up with an object buffer of the ocean and be filling the space above it white frame by frame in photoshop... obviously would like to avoid that if there is a smarter way but luckily the shot isn't extremely long, only about 30 seconds.
  4. Hi there, I need to make a shot that replicates this stock footage as closely as possible. https://www.shutterstock.com/video/clip-14617168-stock-footage--k-slow-motion-half-underwater-close-up-lost-at-sea-first-person-view-swimming-in-the-middle-of.html I will be making the water surface using realwave in realflow but my question concerns how to have two different environments for above and under water. Above water I need a sun reflecting specular highlights and some clouds in the sky (can use sprites or or any fast solution) and underwater i need to see the light from above filtered and refracted, and a blue/turquoise to black gradient following the underside of the wave to indicate distance, possibly some volumetric rays if time allows. The surface that realflow outputs is a single deformed plane so i was thinking of handling the point that intersects with the camera by outputting and rpf file to extract depth information and blurring the part closest to the camera. I can only find tutorials on making half underwater shots in photoshop, does anyone have experience with this? is it possible to use the real wave object as a mask and have two different lighting set ups and/or environments? Any thoughts appreciated, H
  5. Oil Slick / Liquid Simulation

    Yeah I don't really understand it either to be honest. I got some tips from a RealFlow veteran who told me I was doing several things wrong, so starting again armed with a better understanding of the parameters. The final render will be a close up of the central portion of the mesh, so those blobby edges won't be on show.
  6. Oil Slick / Liquid Simulation

    Hi natevplas, I'm making good progress with realflow now. I found an old tutorial for realflow and Maya on making lava flows which details a technique for pinning a texture to the mesh which is then deformed along with the particle movement and adapted it to work in c4d. This then bakes out to UVs that can be used to drive the transparency of the thinfilm effect in c4d. In terms of the natural motion I ended up using a grey scale version of the large scale oil spill and mapping the roughness and stickyness parameters of my collision surface to that so the fluid kind of traces the formation of densities and flows in the image, but then moves on and gradually evolves its own shape. That speed information also comes out as a vertex map which I can use to drive the variation of the thin film, along with a little animation of my sky hdr and a bump map from the realflow UVs to add some detail. I'm still figuring out how to handle exporting the number of frames the client needs (2,250), but feel im definitely on the right track at last. Many thanks for your input! H
  7. Oil Slick / Liquid Simulation

    Hi natevplas thanks so much for your many good suggestions I will certainly be trying them out. Cinema's Thin Film shader already has a built in function to map noise or other shaders to the thickness of the oil film, and i'm getting some good results in terms of the material now using a GGX reflection layer with additive transparency and some high IOR numbers. I will certainly be using After Effects to add in extra detail and was testing with turbulent displacement but your suggestion of animating the liquify effect is much better. I'm not having much luck with RealFlow and am finding the simulation times and filesizes pretty unmanageable as unfortunately I don't have access to a super computer, although I was considering looking into houdini as I managed to unearth this code for up-resing fluid simulations. http://www.tkim.graphics/CPT/ Unfortunately I'm on Windows and it seems like this code is only compatible with Mac/Linux, and I have no idea how to use Houdini. Anyway thanks for your input!
  8. Hi there, I've been asked to create a simulation of a large scale oil spill as seen from a high altitude. I'm currently trying to use RealFlow and then bringing in those meshes with a thin film shader, and then applying displacement in After Effects. Is there some way I could apply a highly detailed turbulent displacement that would respect the direction and speed of the realflow meshes? Attached are some examples of the sort of image the client is looking for. Any ideas on how to approach recreating this with convincing dynamic motion, shifting iridescent colors, and a good amount of fine detail, whether in cinema, after effects or any platform would be very much appreciated.

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