Ink in Liquid Simulation Using Cinema 4D Pyro

what's up everybody EJ here and in this video I'm going to show you how you can create this really cool silky smooth ink in water effect using Cinema 4D pyro now we're going to start off by showing you how to set up your scene and we're going to dive into all of the important pyro settings that allow you to achieve this look and then I'm going to finally show you how to render using redshift and if you want to follow along I'm going to leave a link in the description to a bunch of project files that I created for this tutorial showing you a bunch of different setups so if you want to support me and grab those project files you can find the link to that in the description below alright so let's first start out by creating the object that's going to emit our pyro and what I'm going to do is I'm going to grab a sphere and basically you want to try to think of real world scale here if I want to generate a drop of ink that would probably be about one centimeter so probably even less than one centimeter so what I'm going to do is have this sphere that's going to be our emitter be about one centimeter I'm just going to zoom in here whoa and then what I'm going to do is right click on the sphere go to simulation tags and let's grab our pyro here so we got our pyro tag we got our pyro object that is controlling our scene wide pyro settings but in the Pyro tag itself what we're going to do is we're going to bring the object voxel size down to about one centimeters and you can think of voxels as 3D pixels the smaller the pixels the higher the resolution so we're just going to lower this here we're going to uncheck surface emitter we don't need this to emit from the surface just from the actual object itself and then for the density this is controlling the smoke temperature controls the fire for our ink Sim we actually don't even need temperature so we're going to uncheck that and then for the density what I'm going to do is just set this to a fixed amount of 50. so if you put in any number in the set that's going to be the set density the add density is going to add this amount of density per 30 frames so we actually are just gonna 0 throw that out and just be left with our set density of 50 throughout the entire Sim and that's all we need to do in this pyro tag if we go to our pyro object here and go to the Pyro Tab and let's just go ahead and hit play here you can see that this isn't generating anything at all and that's because we are basically generating one centimeter voxels in our pyro voxel size is so large it doesn't even have the resolution to calculate that so what we're going to do is we're just going to lower this voxel size to 0.25 now this is pretty tiny but it's going to allow us to have really nice detail on our volume simulation here so with that lower voxel size if I hit play now we got some smoke which looks uh pretty nice so far but you can see it's going up if we had a drop of ink it would go down so to control that we're going to adjust this density buoyancy and right now it's a negative five but if we bring this to a positive number like say two you can see now it's going downwards which is exactly what we want now you can see that we have a lot of wispiness all over the place and to kind of make our smoke stick together more we're going to bring down this vorticity strength so if I up the vorticity strength you can see how much everything just kind of scatters if I go back to frame zero hit play Let's really crank this up you can just see how swirly everything gets how everything scatters really quickly so to make our Smokehouse stick together longer we're going to bring the vorticity strength to one so we're going to lower that down and then to remove even more turbulence we're going to twirl down the turbulence options here and we're just going to bring down the actual turbulent strength to one and then let's rewind and see what this looks like so you can see everything looks a little bit more controlled it's not getting blown all over the place with the turbulence now there's a couple settings here that are pretty important with how this Sim looks you can see it's looking pretty nice but it's actually you know the detail is a little too fine it looks too much like smoke and what is controlling all these little details of wisps and stuff are the octaves which if you are familiar with octaves in say a noise Shader the higher the octaves the more detailed the noise so we're going to leave it at that but we can actually adjust the octave scale or the actual scale of that octave noise and so the bigger this number it's almost like the bigger the initial size of that turbulence and then this incremental octave scale is kind of like an incremental scale of that so let me just bring up a doodle tool here like so so let's go back to these two settings so we have our initial octave scale which you can think of if I have the little sphere here the bigger the scale here's our initial Sim here is a big branch of our Sim now the smaller this number we would have something like this where we'd have little noises being generated from our initial pyro setting and then this incremental octave scale the lower this number the smaller the noise that we're going to get incrementally branching off of those initial Smoke Tree stems here okay so we want to make these numbers bigger so we can have something that looks a little bit like this so looks a little bit more like water versus a highly detailed smoke so I'm going to bring the initial octave scale to about seven and then the incremental octave scale to about 3.5 so we'll have detail but not as fine detail as we have now where it looks like wispy smoke now take a snapshot of what this looks like in your mind and let me actually delete this uh little Doodle object here let me go back to my move tool and let's hit play and with our bigger initial octave scale and incremental octave scale we should get a little bit less detail but more kind of this movement like so which looks a little bit more like ink okay so let's move down and you can see that our smoke is dissipating over time we don't actually want the smoke to dissipate because ink and water is not going to dissipate that much so we're going to bring down the relative density dissipation to zero and what you should see is that now we're going to have a very dense Thick Smoke simulation throughout the entire simulation here it's not going to dissipate at all okay you can see how much darker the density is of our smoke here looking good now this is still looking pretty rough uh pretty Smoky still now where the real magic happens and how we can change this from smoke to Ink in water is in this smoothing tab so you can see how this is kind of like pretty rough if we want to actually smooth the density a little bit and kind of it's almost like a gaussian blur on this voxel volume we can just bring this up to about like nine and then the velocity smooth is going to kind of smooth out all the turbulence happening here to make it a little bit more liquidy so let's bring this to about say 60 and again take a snapshot of what this looks like and then with the smooth Factor up velocity smooth Factor up you can see how this looks a little bit more like liquid and how smooth this looks now looks less like smoke and more like ink and water dare I say and just look how cool of a simulation that is just by simply adjusting a handful of values here looking really nice now to add even more detail to this we can go under the advanced settings here in this floating Point Precision is basically the depth in which the voxels are being generated so if we up this from 16 bit to 32-bit we're going to have a lot more depth information a lot more resolution in our simulation so with that we should have even more Fidelity in our simulation have it be a little bit more accurate now something that's really interesting is if we go even further and we go to this pressure solver these are basically different methods to calculate the simulation and by default it's this multi-grid full cycle no idea what any of these things are but depending on which one of these solvers you choose you can get a totally different simulation it's kind of up to you to see which one you like more so again snapshot mental snapshot of what that looks like let's use the Goss Seidel and you can see that already this is looking a lot different from that other model we used you can see that this is uh you know maybe looking a little bit more liquidy or just liquidy in a a different way but you can just see how different this looks okay so there's that one let's try I officially really like this preconditioned conjugate gradient because number one when I say it I sound really smart like I know what's going on here uh and I feel very proud of myself that I even pronounced that correctly but you can see that this looks totally different from the gauze one okay and so play around with all the settings here especially the Polish iteration smoothing iterations you can get even more fine-tuned detail more accurate simulations but I found that you know keeping these values the same actually works pretty well but you can just see how different this simulation looks and it still looks like ink and water it just looks slightly different from you know the initial pressure solver we had here so let's do this multi-grid V like the Mighty Duck is that the Mighty Duck Flying V version of this I don't know but you can already see this looks slightly different still from everything else okay so have fun you know dialing in all these different settings because you can get totally different looks uh but what I'm going to do now at this point is to make this look like we are dropping a couple drops of ink into water instead of having just this constant spewing of of ink in the water so what we can do to do that is it's very simple we're just going to go to our pyro tag and we're just going to keyframe the set amount so let's give ourselves 300 frames to work with here and let's just say at frame 50. we're going to keyframe the set down to zero and this will effectively just turn off the simulation and let's give it about you know 30 frames of rest set another keyframe there for zero and then we'll bring back the set density back to 50. and then let's have that kind of do its thing for maybe 50 frames and then hit set again and then we're just going to turn this off by setting it back to zero so if I go to my keyframes here you can see that we have our pyro at 50 then 0 for 30 frames 50 and then turned off again and depending on how quickly you want the drops to happen you can have one drop happen here turn off and then another drop happen here and turn off okay so let's rewind hit play Let's see what we have now you can also you know move the actual sphere around if you wanted to to you can get different types of looks but we got one drop okay and it's expanding doing its thing and then we have another drop which is happening right here well actually this is the first drop still okay we turned it off you can see it's stopped and then we're gonna turn this back on again get a second drop you'll see this start to generate again there's our second drop going on and this will continue adding density until frame 130 but the cool thing about these different drops is just like with a real ink and water simulation the spacing between the drops can create really different simulations and different uh results because you have one drop spreading out dissipating and then you have another drop and as it goes down it's going to interact with the other volume here which is really cool and it's going to break up a different way which is really nice so if I go and zoom out here you can see how cool this looks because you got a lighter density higher density everything's interacting with each other looks really really cool now what I'm going to do is let me just hit Escape and let's say we like how this looks let's actually render this now but before we go ahead and render if you're liking this ink drop tutorial why don't you go ahead and drop me a like and a subscribe doing so will alert you anytime I put out any new content and it really helps me grow my channel and while you're at it leave some really nice comments in the comment section it really helps with the algorithm and let's face it I need all the help I can get because AI is going to take my job so to render this we are going to go into our render settings and change this to redshift and let's open up the materials here now to render we need to do two things number one is create a material pyro volume material and we're going to apply this pyro volume material to the actual pyro object not the object with the Pyro tag but the Pyro object here okay and then if we were to go to our redshift render View and hit play you'll see that we don't see anything at all and that's because our smoke our simulations actually being calculated on the GPU it's not actually loaded into the viewport to render so to do that and to load the simulation off of our vram into our viewport we just need to go to object and we're only generating density right now we're not even generating temperature or velocity just generating density and right now it's only going to appear on export so if you cache this that's when it will show up but we can actually turn this on and this will generate in our viewport you can see that changed in our viewport here but you can still see it's dark in our render View and that's because we don't have any lights in our scene so let's go and grab a dome light and voila there is our smoke Sim looking really really nice so now what we can do is adjust the materials to maybe turn this into a more interesting color than white ink or gray ink and how we can do that is by going to our pyro volume material let's twirl down the volume area here let's just give ourselves a little bit more room and you can see we have scatter and absorption scatter is how much light is being scattered through our volume and you can see that the scatter coefficient is currently one if we up this to say three you can see that light is going to scatter more and it should brighten our volume here and you can see how much brighter that got now we can also change the color by changing the tint here so maybe let's get a little blue here like so and you can see now we have this really nice blue ink we can go and you know clamp these values here to get different types of looks here we can also go down to the absorption and this is how much light is just being absorbed into the volume so if we make this value higher what you'll see is that more light will be absorbed and it will actually look like a more dense thicker volume there you can see what that looks like that's actually a little bit too dark so I'm just going to move that back to one and again we can adjust these values here maybe bring in the ramp colors just to make that a more contrasty type of volume maybe make these wisps stand out a little bit more looking nice you can see that a lot of light is scattering through the smaller wisps so what we can do is we can just clamp the scatter ramp to make those little thinner ribbons a little bit darker like so so a lot of control over the look of your ink not only by you know the settings you choose in your pyro object and the different pressure solvers and the spacing between your two drops of ink or if you want even more drops of ink you can totally do that but extremely easy to create these really cool ink drops by the way if you're new to Cinema 4D you want to learn from the bottom up be sure to check out my courses over at schoolofmotion.com you can use problem code I design 100 to save 100 on either of my Cinema 4D courses all right let's dive back into the tutorial now let's say we wanted to have two colors of ink being dropped with this Sim what I'm going to do is let me just close out of this redshift render view here let's go back to frame zero and what I'm going to do is decrease the amount of time between those two drops and at frame 50 if we go to our pyro tag on our sphere you can see we can set the color so let's actually set the color to like a pink something like that we're going to keyframe that and so from frame 0 to frame 50 we're going to have that pink ink and then at frame say 50 uh 57 where the ink turns on again and the density turns back on we'll change this to blue okay so now we have pink first and then it turns to Blue so let's see what this looks like we'll rewind and we'll hit play and let's actually go back to our object here and let's just turn on export for that and then since we're using Color we'll change that to on export as well and we'll have this just play in our viewport and so you can see the pink density doing its thing and then as we go to frame 50 this will turn off very nice and wispy and then that will turn off and then change the blue and then turn on again and of course you could go and you know create a separate sphere that is a different color pyro but I like doing these different separate drops because then we just have everything in one pyro tag and now what you'll see is you know the interaction of one color of pyro with the other color of pyro and get that little nice mixing of ink so we'll let this play out a little bit all right I'm gonna hit Escape just to pause that because this is looking pretty good I think we'll just frame this up now remember we need to then for this to render go back to our pyro object and then we're not only dealing with density at this point we're also dealing with color so we need to make sure that both density and color is turned on so both of those object properties are now loaded into our viewport and then we'll just go to redshift render View we'll hit play and so you can see that this is looking really awesome but it's all blue and that's because if we go to our pyro material that's because remember we're tinting this blue so what I'll do is right click and go to reset to default and then what we need to do to actually utilize the color that we generated with the Pyro tag is we need to go to the absorption and in the absorption color Channel we're going to go to presets pyro and load up the color and now everything's going to turn to very bleach white and what we need to do is because we have such a thick density in our smoke we're going to need to adjust this absorption coefficient so our density was 50. let's bring this absorption coefficient to 50 as well and you can see now we get our blue and pink ink and let's just reset the ramps here and that's a lot of light scattering through our volume so let's bring this down to like point two and see if less light scattering makes this look a little bit thicker and there you go and that legit looks like ink in water maybe we can make this a little bit more dense looking by upping the absorption coefficient there but this is looking really really nice and we don't even have like lights in our scene yet so if we wanted to you know add a area light here go to our four up view lay it over to the right and then command click drag duplicate and make this more of like a rim light back here raise this up like so you can see how bright that looks now at this point that's of course where we can adjust all of these different settings maybe up that absorption to 100 bring down the dome light and the intensity of some of these area lights as well the finish this off let's go and like just grab a nice Lut now one last thing if you actually wanted to render this out as an animation you would need to go and cache this entire Sim and Pyro simulations can be very big so make sure you have a hard drive that is uh has a lot of space on it because these can be you know each VDB frame can be a few megabytes to maybe 100 megabytes per frame so that can add up very quickly but I hope this tutorial has showed you the possibilities you have in your power with pyro and I hope it gets you to thinking about all the different types of effects you can create using Pyro outside of this Liquid Ink I can't tell you how much fun I had experimenting with pyro to try to get this look and kind of diving through all the settings I mean there are pyro settings for days I really encourage you to go ahead and experiment yourself try and adjust all of those different settings like voxel size turbulence the strength the octave smoothing density amount all that stuff there are so many settings to adjust that can really help you achieve a really cool and unique ink and water effect so what do you think about pyro let me know by adding a comment in the comment section below except for you Noob Noob 69 you said a really bad word in a comment section in my other tutorial and it really hurt my feelings all right I'm out of here as always thank you so very much for watching until next time go out and make something

Channel: eyedesyn

Views: 39,964

Keywords: c4d pyro, cinema 4d, motion design, motion graphics, mograph tutorials, cinema 4d tutorial, 3d fire sim, fire simulation cinema 4d, cinema 4d tutorials, cinema 4d pyro, fire simulation, fire simulation vfx, 3d fire, fire sim, cinema 4d tutorial beginner, cinema 4d animation, ink in liquid, ink in liquid simulation, liquid simulation c4d, houdini tutorial, c4d 2023, cinema 4d 2023, learn c4d

Id: TIYTQ86kPF4

Length: 23min 50sec (1430 seconds)

Published: Wed Dec 21 2022