xpReel Tutorials, Water Helix -X-Particles - Part 1

[Music] hi it's Bob from in Cydia and in this official training video we're going to recreate this water helix scene from the X particles reel so it's just the water we're looking at today we're going to make a custom velocity field using the XP flow field object we're then gonna make a smoke and fire simulation with explosion effects and we'll use this to add vet some particles we're then gonna take those particles and we will cache them and then mesh them using the X P open V DB measure so lots of techniques to fit in let's get started so let's build the scene first of all we'll bring in an expert a calls system which is a really good way of organizing your scene it'll keep it very tidy but it also means you can create all of these different X particles objects by just hitting the parent folder dynamics for example and then we can go to the submenu and pick any of their dynamics that we should choose so we want an explosion effects domain so let's bring that in and here it is in our viewport you can see when we use an X particle system we get this X particles logo coming in as default which is actually a good way of identifying what system you are using if you're using multiple but for us we don't want to see that it's not giving us anything so let's go to the system settings and then the icon in viewport we'll just uncheck that it disappears okay good and we can just get delete that default emitter for the time being that's fine we don't need that okay so we have our explosion effects objects so now we need to create an object that's going to emit the fuel that will then be burnt to become the smoke and the fire so a really good object for that for this scene is a torus let's just bring in a torus so obviously this is way too big so hit the T key for scale and we'll scale this right down and let's just have a look at these settings probably about we want this to be I don't know I reckon approximately 20 sentries ring radius and I just make it slightly less fat so something like that will do doesn't have to be particularly precise and then I'm just going to eyeball this and bring this tourist down to the bottom of our domain there we go so the Taurus is a really good object for emitting fuel because it has this hole in the middle and it has all the polygons have obviously got very different normal directions because of this curvature here and it just means that our fluids gonna get emitted in a really nice way and the hole in the middle means we're gonna get some really good detail and movement in that in that sim so that's our Taurus object let's put an emitter tag on this which is going to tell our explosion effects object that this is actually emitting fuel so we'll go to the Taurus and we'll go to tags X particles tags and explosion FX source and let's hit that so now by default if we just press play we have a smoke and fire simulation and that's because the Taurus is now emitting heat fuel and it is creating curl which is giving us this curly movement this turbulent curl and a little bit of pressure which is forcing that fluid away from the surface of the Taurus okay so we don't actually need this simulation to be as detailed as this because we're not actually going to be rendering this smoke and fire we're just using it to add vector calls around so we can actually have a much lower resolution simulation here and that means it will run more smoothly which is excellent so to reduce the resolution of that let's go to the explosion FEX object we'll go to the solver tab and we'll just increase this voxel size from 3 to let's say 5 so you can see the grid is less dense at the back of the explosion effects object now so if we hit play the smoke is not as detailed but it's swimming much more quickly which is great this is still going to add vector particles fine alright it's very good so if I just keep that playing and I slightly animate my torus object see by offering a little bit of animation we get loads more kind of curl and turbulent movement in that smoke as it develops and that's really good we should utilize that and I'd say in all of your smoke and fire simulations if you can include some animated movement in your source object it's always going to provide a more interesting smoke and fire sim so let's animate that torus just very simply by using a cinema 4d vibrate tag so we'll go to tags cinema 4d tags and then vibrate and we'll just enable the position and we want this to move by not much let's say 80 centimeters on the X and 80 centimeters on the Z we don't want it to go up and down and the frequency is the speed in which it's moving let's just say I don't know 1.5 and let's have a look alright so that's giving some really interesting movement now to this and it's making the smoke much more much more interesting and kind of organic looking so that's going to look nice once we start forcing it around our and our helix good so how do we manipulate this smoke to look like it's following a helix shape because that's eventually what I want our water to look like it's doing well what we need to do is bring in another dynamic object which is going to allow us to do that so we'll go to the dynamics folder here and in the objects will hit the pulldown and we're going to bring in an XP flow field and as you can see I'm just going to disable the exposure effects grid so the flow field also brings in this domain and you can see that it's got these yellow arrows and what they are saying is it's going to push the particles in that direction so let me just demonstrate I'm going to go to the emitter folder and I'm gonna create a new emitter and I'm going to have it emitting along the plus x-axis I'm gonna pull it out away from the domain so this has particles being spat out and then as soon as they enter the flow field these arrows push the particles in that direction all right so that's how the flow field works and by default it's just sending them in their Z direction which isn't particularly useful I'm just gonna delete that emitter so what we're able to do though is manipulate the direction in which these arrows are pointing and therefore sending our simulation so let's go back to the flow field and instead of the flow set to default we're going to hit a long spline okay so we'll pick a long spline now nothing is happening because we haven't got a spline to tell it where to follow so we need to create that spline and then drag it into this object window so let's make our spline then we'll go to the spline menu in here and we'll create the default helix and it's not on the right axis there it's um it's not on the right plane and it's pointing the wrong way so let's go to the helix and the plane we'll stick it on X Z which means it's now going up and down which is what we want very nice so let's increase the height so it kind of is similar to our domain and then we'll bring it down yep so something like that looks okay and then these radii are far too big so let's bring this down to I don't know let's say 70 start radius and a 70 n radius we could maybe go no that's fine it's gonna say we could go to 80 that that'll probably do for now that's looking okay and yeah I think that's going to work for us okay so now we have our spline what we can do is go to the flow field object we have it set to a long spline and now we can bring in our helix object for the spline that we want it to follow and now if I just zoom in a bit you can see that we've got these arrows pointing along the kind of tangents of that spline creating a helix vortex field which is fantastic so a couple of things this by default has a fall-off can you see that the lines are much stronger near where our spline is and they gradually get less strong as they're moving away from the spline well we don't actually want that fall-off because as we're emitting smoke it's going to kind of feel an awful lot of this container and we don't want the smoke getting towards the edges of the container and not being moved much we want it to be rushing up in quite a uniform motion so to get away from that we'll just switch the fall-off off and now every part of this domain has got these nice circular directional arrows which are following the path of our helix okay so that's looking good so if I reactivate my explosion effects object and hit play nothing happens it's just doing exactly the same thing it's having no impact on the smoke whatsoever and that's because we have to tell explosion effects to include the flow field in its calculations so to do that we go to the explosion effects object and let's go to the modifiers tab and in the include bit we'll drag out a flow field okay and now we'll hit play again and it's kind of grabbing it it's starting to move along that spline but it's not quite following it as closely as we'd like it to and that's because if we go back to the flow field under the strength setting where only it's only affecting the direction these particles by ten percent of their actual directional values so it's not really having that much of an influence so let's put that up to say 75 and see what happens so now we're starting to get some proper movement in and around this spline that's looking better it's starting to look more like a helix now what we want to do is we want to get the beginning of our helix closer to where our Taurus is so let's just have a look at and see how we might be able to do that well we could probably get the helix and rotate it slightly not like one the y-axis rotation that's it let's see if we can get that slightly closer and then on the direction we could maybe pull it towards the Taurus a little bit more now we have to be careful here because we don't get too close to the bounds of our container we might need to extend it a little but let's just have a look alright so now we've got our smoke being created it's following round and now it's working this is following the shape so let's just make our flow field object invisible now and we can see that we're clearly getting this helix from our smoke which is pretty fantastic to have that much control over a smoke and fire simulation very nice I'm going to add a little bit more rotation to our helix and we control that with the end angle let's put that up to maybe 800 and that's just going to give us a few more twists and turns before it Peters out very nice looking good so there's a few things that we want to do let's before we move on and make adjustments to our smoke and fire simulation let's just use it to add vets um particles to get a basic idea of how this simulation is looking so to do that what we need is an emitter so I want to go to my emitter folder here and I'm going to create an emitter and the emitter will go to the object tab and we want to change it from the default rectangle we want to emit from an object and we want that object to be the Taurus that we're emitting from our fuel from so let's drag the Taurus into the object select and then finally we want to emit from the polygon area which means we'll get a nice kind of random distribution of particles over this whole polygon area of the torus so I'm just going to switch off my explosion FEX so now if I hit play we've got particles which are moving up and they're moving round here and it kind of looks like it's working but it doesn't look very good well let's work out exactly what's happening the explosion effects is actually having absolutely no impact on these particles whatsoever what's causing it to move are two things they have in the particle settings in the emission tab they are born with 150 centimeters per second of speed so that's what's making them move and then it's the flow field which is forcing them around the direction of the spline but it's not taking the count to the explosion effects and as a result it doesn't look very organic and so this isn't what we want so what I'm gonna do is go to the emitter to the modifiers tab and this is set to exclude so anything I drop into this window will be excluded from the emitter so I'm gonna drop in the flow field I don't want the flow field affecting the particles I just want it to affect the fluid and then in the emitter we're going to go to the emission tab and take away all the speed because we don't want those to be emitting speed so now all we've got is particles that are being born and they're staying where they are with no movement so now we want to tell them be moved by the explosion effects sim so that's where this advection comes into play how we set that up is pretty simple we go to the explosion effects object and we go to the advection tab and we select add vet particles and then it's immediately starting to add vectors particles and they're following the fluid sim now they've turned black because all of this data that is being produced by explosion effects at the moment is being passed on to the particles as well so the particles are receiving the smoke data the burn data that temperature data the velocity data the color data and the UV and the reason that gone black is that's what the color dater is doing so if I just say well we don't need the color data they go back to their green but we also don't need any smoke any burn any temperature or any UV data we're not going to be using that here or at render time so there's no point in passing that on to the particles it's a waste of processor power so we just have the velocity which is what's making them move so now we're there if I make my explosion effects visible again we can see that our particles are now following and being pushed around by the shape of this fluid simulation so that's working excellent so let's have a look so what's the problem with our simulation so far well it's moving a little bit too slowly and in fact before even identifying it's moving too slowly look at this section here let's move it up suddenly the particles stop and they appear to have been stuck to an invisible area which obviously doesn't look very good at sticking some of them are escaping and some of them are sticking and so what this is is that the explosion FEX bounds are running out and the particles are getting stuck at that area so what we need to do basically is kill the particles off before they reach the edge bounds of the of the exposure effects and that's really easy we'll do that with a modifier so what we'll do is we're going to go to modifiers and then in the control modifiers menu we're going to select a kill modifier and what we want is we want this to be the same dimensions as the explosion effects grid and that's I know it's 400 by 400 by 400 so now let's just disable the view of the exposure effects so now we have our animation and as the particles get to the bounds of the exposure effects they'll just be killed off and we're not going to get those sticking axe is still slightly sticking so what we could do is just reduce that Y value by maybe one or maybe five 395 let's try that let's see where we get and now we shouldn't get any sticking I was still getting particles sticking so let's try it the bones are obviously a little bit out so one eight five okay so that's gonna that's going to do is so now we shouldn't because the the kill modifier is gonna happen before they reach the edge there we go and that's working as we want it now great so we've sorted that out we can make that kill invisible so they're moving nicely but they're moving a little bit too slowly for my liking so we need to get some speed into this sim so the way we're going to do that is we need to adjust the explosion effects settings because that's what's driving the particles so let's click explosion and to alter those settings we need to go to the simulation tab so under simulation what we're going to do is we are going to manipulate these four settings and these are a little bit counterintuitive at first so we need to pay attention try and get our heads around exactly how they work so this is what is happening I want you to think of the buoyancy from the smoke the heat and the fuel as three settings and then the gravity setting is kind of a multiplier for these three so by default smoke is set to minus twenty heat to sixty and fuel to minus twenty and these are kind of default real-world settings so when you set off a fokin a smoke and fire sim it's going to act correctly the fuel is going to be burnt it's gonna create heat which is gonna rise it's gonna create smoke which is going to be taken up by the buoyancy but it's gonna have a little bit of minus buoyancy because gonna be it's gonna sink because of its density so these are kind of real-world values if I open this gravity you might think that it will make the fluid fall to the floor more quickly but it doesn't it just multiplies the effect of these three buoyant seas so if I whack this up and press play again you see it's moving much more quickly if I move it way down those buoyancy settings are moving way more slowly so that's how you want to think about gravity it's a multiplier for these buoyancy values so what we want to do is we want this to be moving more quickly so what we could do for example is put our gravity up to 40 which is really forcing these particles up so that's one way of achieving it but we're losing some of the detail as we do that because moving up so quickly so a different strategy would be to reduce that gravity a little bit but to just increase one of these buoyancy amounts and if we increase the smoke buoyancy to a positive value the heat isn't rising any more quickly so we should maintain some of the nice detail but the smoke is actually forcing it to rise more quickly and it's it's because we're doing it individually we're getting much more variation in this movement rather than just doing the gravity very high in all moving up really quickly so I think we could probably move that smoke up even more let's try it higher okay so that's starting to look pretty nice I think I'm just gonna go all the way to 100% on the smoke buoyancy right so let's get a little bit more of an idea of how this is gonna look in kind of fluid terms because the moment we're just seeing these very small green particles so to do that will change the display settings and will emit slightly more particles so let's go to our emitter settings and we're going to go to the display tab and we're going to will keep it displaying dots but the particle color we're going to change from the color mode from single color to gradient parameter and just pull this over a bit and the gradient parameter will keep this blue white gradient and we're going to map that to the speed of the particles and I'm gonna guess you want to guess the max speed that's probably about 300 so what this is going to do the slowest particle is going to be blue fastest particle is going to be white and it's going to give the other ones a value in between so there we go unless we need to emit way more particles so let's go to the emission tab of the emitter and at the by default it's a thousand particles per second so let's put that up to 50,000 say so this is going to give us a much better idea of how this is gonna look kind of fluid wise and it's looking pretty nice I think we're getting some nice kind of swirly movement we've got some differing speeds here the outside of it is moving quite slowly with an inner bit that's roofing real quickly and this is gonna look quite this is gonna look nice when we come to mesh it and get that realistic liquid texture on so what could we do let's just I think we could perhaps go to the flow field and increase the resolution of the flow field somewhat let's increase this cell size what we're decreasing it will increase resolution so let's bring this down to say 30 and we got a little bit more kind of tight detail so that's that that's obviously going to make it hug the the confines of the spline a little bit more which is looking nice if I if I let you demonstrate if I increase this to make it less high-resolution it doesn't have enough information to follow that spline really exactly but it's but it's a very nice look isn't it's a different look but it looks it looks very different where is you're gonna get a much more accurate following of the spline if you increase the resolution of the flow field this thing is following the line much more accurately and still looks fluid and organic but it's following that line more so if you want more specific control of following your spline you want to increase that resolution that's looking nice like that I like that okay so a couple more things let's add a little bit of turbulence to add a little bit more kind of erratic movement to our fluid so to do that what I'm gonna do is go to my modifiers and I'm going to go to my motion modifiers and add a turbulence object and this I'm gonna reduce that scale down to about I don't know let's try 55 maybe put the strength to 10 and what I want I want this turbulence to only affect the explosion effects sim not the actual particles so to do that I need to go I need to do two things I need to go to the emitter to the modifiers tab and I want to exclude the turbulence and then in the explosion FEX object I want to do the opposite I want to go to the modifier tab to include the turbulence so let's put that in and this just give us a little bit more erratic movement in those in those particles so it's giving us a little bit more detail and a little bit more movement I like that that's good and one more trick foot for fluids you want it to be relatively smooth when it comes to meshing time because if you have too much individual wiry detail sometimes you lose the illusion that it's a kind of a cohesive body of water and it just looks like lots of splashy dots so one way of just bringing that together a little bit is to blur out the smoke channel of our explosion effects object and we do that by it's called diffusion so if we go to the exposure effects object into the simulation tab we've got diffusion and we can diffuse every channel a smoke heat field and we can add viscosity so let's if we just bring in a bit of smoke diffusion it'll just blur out that smoke which is taking away some of the individual spiky detail but it'll keep the fluid motion and it'll just might help in making it feel a little bit more like a cohesive body of water rather than a bitty splashy mesh will just bring up a bit more and obviously this requires an awful lot of of us pushing and pulling until you're getting the look that you require but as long as you've got your head around those key concepts of what we have used to adjust this sim we have changed the buoyancy settings and the overall kind of buoyancy multiply it with this gravity we can manipulate the resolution of the flow field to make it more precisely follow the path of the spline or not and then we have added turbulence modifier to add a little bit more movement and then we've smoothed off the smoke channel just to kind of make it feel a little bit more cohesive when it comes to two meshing it so that's looking pretty nice I'm I'm pleased with this as a particle simulation I think it's going to work I think the last thing I could perhaps do would be to emit more particles well because we're going to cache this now so the main the basic rule with fluids is the more particles that you have in the scene the more detailed and the the fluid is going to look but obviously the longer it will take to cache and the longer it will take to mesh and it kind of has a an exponential impact on on those production times but the more particles the smaller they are the more they are the more detailed your final simulation will be so let's we're not going to go berserk here in this one and have millions and millions of particles let's get a nice middle ground so what we're going to do is we're gonna go to the emission tab within the emitter and the birthrate let's just go with a hundred thousand per second and that'll give us enough to get a nice detailed mesh but it's just not going to be so detailed that it's going to take forever to to get sim DUP and this is looking nice I've got some really nice movements whooshing around here we've got some particles which become quite slow around the edges but then they get engulfed with the next faster bits that are coming around so that's all going to add to the the the illusion of some nice watery movement when it comes to meshing and rendering that's good so just before we cache this particle data up we are just going to reduce the radius of our particles down to one now visually you're not going to see anything here because we're just viewing these particles as dots so they're gonna look exactly the same but this is going to be an important step for later on by reducing this particle radius to one you can go even smaller if you wanted to but ones are nice a nice even number by doing this it's gonna give you more room when we open the open V DB measure to get more detail so don't cache your particles with a very high radius because when it comes to meshing that meshing them later you're gonna struggle to pull it down to get appropriate detail to make it look realistic so make sure you catch them with a nice low radius and this will become obvious when it comes to our meshing time right so that's looking good I think we're ready to go now so what we will do is we will just let's minimize these folders that are open and we're gonna go to the other objects folder and in the menu we're going to pick the cache objects okay good so what we need to do are a couple of things we're gonna catch these two external files so we're going to be caching an awful lot of data here there's lots of particles and they've all got kind of velocity information color information position information and it's going to create a large cache file it's going to be kicking at gigabyte it's probably 5 gig now if you cache this internally it'll save all that data within the cinema 4d file which can be quite handy cuz it just means everything's self contained in one cinema 4d file the problem is every time you want to incrementally save that file it's got to save that 5 gig of cache data every single time if you want to move the cinema4d file to a different disk drive or on to a network it's got to do it with five gig of data every time so it just becomes not very practical so you're much better off rendering two external files what this will do is it will get a folder and it will save a file for every frame of your scene but the beauty of this is you only need to do it once and then you can incrementally save your cinema 4d file and it'll be a tiny file and it will take seconds so it's a much better way of working so what we need to do is set external files and then you need to tell it where you want to save that cache so let's go to documents and I'll make a new folder and I'll call it what helix cache I will stick it in there all right good so that's ready to go now we don't need to cache the explosion effects sim because all we need is the position and the velocity and the color of the particles so we can make this cache smaller by going to the inclusion and just wooden checking EFX because we don't need any of this so that's fine and that will do us so go back to the beginning and I'm gonna hit build cache so this is gonna chug through and it'll probably take it won't take too long take about three minutes but what I'll do is I'll pause the tutorial here come back when this is finished and let you know how long it took and then we'll move on with the meshing so that took just under two and a half minutes and it's 4.6 five gigs so let's have a look at what we can do so now this is cached we can switch our flow field and explosion which means that this is gonna run much more smoothly and now we can scrub through okay so looking really nice we've got some fantastic movement in this sim and it's looking really good excellent very pleased so now what we are going to be doing is we're going to be meshing these particles and it's the mesh that we're going to render to make our liquid so what we need to do then is bring in a new object and it's a generator so let's go to the generator folder and we're going to go and bring in an XP open V DB measure so let's bring that in so it doesn't have many settings but it's actually very powerful still let that fool you and what it needs is it needs a source it's asking what do you want me to mesh so let's bring in our particle emitter and we have our mesh straight away so what I'm going to do is I'm gonna make the particles invisible in the viewport so here's our mesh if I hit nd to show the lines we can see what's happened it's created a quad mesh over those particles and this is dynamic so as we play it it moves and it's creating and animating these points and polygons where necessary to give us this mesh so very cool but obviously this doesn't look like nice fluid does it it looks very undetailed and it looks rather blobby so what do we need to do how do we manipulate this well the point radius and the voxel size are two things that are going to be very important to us so the point radius what it will do it will multiply by this number the particle radius which is 1 so 10 is so if there's a 10 centimeter radius around every particle on this mesh which is why it's looking quite blobby if I reduce this and then reduce it and then reduce it you can see that those meshes are getting pulled in and they're no longer as blobby if I bring it down one more to 4 and then 2 3 it suddenly disappeared now why is it disappeared well this is the reason why it's disappeared I'm just going to put it back up to 4 and I'm gonna display the lines again by pressing nd so the voxel size dictates the resolution of the mesh so if I decrease this voxel size you can see that more polygons are being produced on the mesh and as more polygons are produced the particles get rounded more because it's got more geometry to play with to be able to wrap around as we increase the polygons they become more blocky and if the polygons become so big that they can't see the particles because they're too big to wrap around them then it just disappears and we don't have a mesh so you always have to kind of offset this point radius amount by the voxel size amount so if you're bringing the point radius down by a considerable amount you then have to bring down the voxel size that has it down enough so it has enough polygon information to be able to mesh the fluid and as you can see as you come down you get more and more detailed so let's just put this down to we'll put the the voxel size down to 1 and the point radius down to 1 and now we've got this super fine detailed mesh now if your voxel size and your point radius size are exactly the same you will get a mesh but you can see it's very jagged here and that's because it has only enough polygons to be able to wrap round at that size so if I reduce this down to 0.5 you'll see it's creating an awful lot more geometry but now it's rounding it more we're getting more detail so incredibly incredibly detailed it's not right yet because this looks too blobby and too circular and too particle like we wanted to be a smooth kind of homogenized liquid but it's just to demonstrate these two settings so I think we can probably go to to lesson couldn't start at 2 & 3 now this is looking quite nasty at the moment admittedly but let me introduce the filtering to you now and let me show how weak take this and we can adapt it and try and make it look better so in the filters they're not on by default so if we switch it on we have a median in there and the median is just smoothing out this and smoothing those edges and then the width of that is defined by this number so if we bring up this this only goes in in in whole number increments so how smooth it's become with a smooth and median smoothing with a large width of two um it's almost become like like paint hasn't it rather than rather than liquid it looks much more viscous like this and depending on what look you want map that might work and as we animate this this will animate through and that might be the look that you're after so just by adding a little smoothness we can get different looks so let's just take that median off and I'm gonna bring in a different filter and this one is a Gaussian now this Gaussian will give you even more smoothing effects this will look super smooth just give it a couple often it takes a while to calculate the Gaussian but there we go look how smooth that's per Kerman and again that might be an interesting kind of liquid viscous paint look and if we increase the width of Gaussian we can get you can get a really smooth mesh coming up from this sim very very smooth and depending on your look this might be exactly what you need I mean this could be a more of a kind of a mograph look or a cartoony or if you rendered this with kind of cell rendering that looked pretty cool so that's what Gaussian can give you and there's another really interesting filter which has a width slider and this is the offset filter if you bring this one in this one can be very useful to try and get kind of thin sheeting liquid which is often very difficult to achieve so with the default width of one now with the offset field you can go in decimal places so we can it we can we can just hope this by say 0.5 and I'm on the Gaussian excuse me point 5 so the offset can have decimal incrementation and it is it'll change it less severely and so what the offset does is it's kind of pinching the mesh in on itself it's coming inwards and inwards and inwards and it's gradually getting thinner and thinner and that's why it's quite good for these sheeting looks so with that in mind what we could try with the offset wad is to increase the point radius to make it look really blobby let's just switch off filtering let's increase the point radius to give it a very blobby look and then on the offset we'll start bringing this in on itself and you can see we start getting these really pinched flat areas which can look very interesting and combined with the other filters can give you really good looks so the offset one again is a I like the offset news at a lot it so it's excellent for certain things however we want relatively realistic water which requires detail so I'm going to put my point radius back down to three so what I'm going to use is the median and I'm going to change the median down to its default of one okay and I'm also going to put a curvature in our coverage it doesn't have a width setting but what it does it kind of smoothes off pointed edges and then the final one is another average I'm gonna put a mean so let's just get rid of those so now we've got a relatively smooth mesh but it's retained some of that detail and I think it's not detailed enough actually I think we could bring in Moyes perhaps smooth slightly too much so to bring in more detail I'm gonna go back to my general and I'm going to reduce this to two and I'm going to increase the polygon count by reducing the voxel size to one so there we go now that's kind of getting the look I want we have got these nice smooth areas here we've got some flatter areas which is gonna look really nice with our transparent water material and we've still got some splashy bits which are gonna reflect really kind of white in the render and look effective so this is the kind of look that I think we're after and that couldn't have been done without obviously using our filters I switched my filters off we have blobs put them back on and we've managed to get what I think is gonna look like a really nice kind of fluid look I really like these the way it looks almost stretched here that's gonna give a fantastic sense of movement in the final render great so that's going to work so the final thing before we leave our open V DB measure alone there's a really important thing you need to look at so the voxel size is set to one but only in the editor when it comes to render time it's gonna try and render a much bigger voxel size which means that it's not going to be able to mesh around this point radius it's gonna render nothing so just always make sure that these are the same so the render now is going to match exactly what we're getting in the viewport okay so that's it we're finished with our particle sim is done we have then used that to mesh those particles to create this water body using the X P open V DB measure so that's it for part 1 of this tutorial building our water helix inside of X particles if you want more free official training videos from in Cydia then please go to our YouTube channel hit subscribe and then you'll get those videos as soon as a new content is released in part 2 we're gonna take our water helix mesh and we'll bring it into cycles 4d to get some stunning renders so until next time see you later [Music]

Channel: INSYDIUM LTD

Views: 77,898

Keywords: MAXON, Cinema, 4D, C4D, X-Particles, xparticles, particles, simulation, cgi, vfx, mograph, motion graphics, motion design, design, cycles, cycles 4d, computer fx, fx, INSYDIUM, digital art, motion, motiongraphics, 3d, 4d, effex, visual fx, software, tutorials, tutorial, tip, hint, help, quicktip, trick, hints

Id: c_DVzU5h5Kw

Length: 43min 52sec (2632 seconds)

Published: Mon Jun 18 2018