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Grid Resolution of around 1.5 billion cells, simulated on a machine with 256GB of RAM |
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Grid Resolution of around 357 million cells, simulated on a machine with 64GB of RAM |
Volcano
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Software used: Phoenix 4.41.02 Nightly from 4 Nov 2021, V-Ray 5 Update 1.1, Maya 2018
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Static Clouds
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Software used: Phoenix 4.41.00, V-Ray 5 Update 1.1, Maya 2018
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Looped bubbles
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Software used: Phoenix 4.41.02 Nightly from 2 Sept 2021, V-Ray 5 Update 1.1, Maya 2018
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Underwater Explosion
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This scene demonstrates how to setup an underwater explosion using Phoenix. The scene uses two animated Liquid Sources in Volume Inject mode to get more interesting shape of the explosion. Each emitter has different geometry and animation for the Inject Power.
The Grid resolution is crucial for this setup. It controls the amount of particles emitted through the source and thus makes the explosion bigger or smaller. The scene scale is lowered to 0.5 to make the simulation a little bit faster in terms of speed for the water and the particles movement. The Foam and Splash particles particles are enabled in the Liquid Simulator.
In the Splash settings some of the particles are converted to Mist and the Foam on hit is set to 1 so that when the splashes collide with the liquid they will create foam.
In the Foam settings the rising and the falling speed of the foam contribute to foam movement and the large scale look of the explosion. To get a more interesting look for the foam the Foam Patterns are set to 0.4.
Additionally Phoenix Plain Force and a Turbulence Force are added to enhance the movement of the mist.
Software used: Phoenix 5.01.00 Nightly from 23.08.2022, V-Ray 5 Update 2.2, Maya 2019
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Sink
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Software used: Phoenix 4.41.00, V-Ray 5 Update 1.1, Maya 2018
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Chocolate
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This example shows how to simulate the process of covering a cookie with chocolate. The parameter that makes the liquid thick is the Viscosity. The bigger the viscosity, the thicker the liquid.
When simulating viscous liquids, enabling the Wetting and the Sticky Liquid is crucial. Otherwise, the liquid will not stick to objects. Another major point in this scene is the Mesh smoothing. It is very important to enable Liquid Particles for smoothing, because otherwise, the mesh may flicker during animation. In order to use particle-based smoothing, the liquid particles must be exported. You can check the Output rollout for more information.
Software used: Phoenix 4.41.00, V-Ray 5 Update 1, Maya 2018
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Boiling Liquid using the Particle Tuner
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A Liquid Source in Volume Inject mode, using nParticles as an emitter is used to stir up the liquid and create the boiling effect.
The Foam particles are enabled in the Simulator. Then in the Output rollout rollout of the Liquid Simulator the particle Velocity, ID, Age, RGB and Size channels for the Foam are enabled.
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Software used: Phoenix 4.40.00, V-Ray 5 hotfix 2, Maya 2018
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Shower
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Software used: Phoenix 3.12.00, V-Ray Next, Maya 2015
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Fountain
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Software used: Phoenix 3.11.00, V-Ray 3.60.04, Maya 2015
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Software used: Phoenix 3.12.00, V-Ray 3.60.04, Maya 2015
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This setup uses the Follow Path force in order to guide two separate simulations of smoke and fire along spline curves. The smoke simulator must exclude the fire simulator and the fire PhoenixPathFollow force. Also, the fire simulator must exclude the smoke simulator and its PhoenixPathFollow force. Thanks to this, the simulators won't interfere with each other and there won't be a specific order to simulate. Note: The Follow Path force can be used for liquids as well.
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The scene uses classic Vorticity for this one. PCG Symmetric conservation is used as it is more detailed than Smooth. The Conservation Quality is set to 20 so the smoke rolls better. Simulation steps are set to 2 - 1 step is not enough and the smoke starts becoming grainy due to the high velocity, but more than 2 starts to smooth out the smoke a bit too much.
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Three forces are used in the scene. Two BodyForce helpers on the top and bottom of the lamp to give the fluid its vertical motion, and a Turbulence field that adds chaotic changes in the velocity field to break the bubbles apart.
The BodyForce helpers are set up such that each one affects only half the lamp. The bottom one pushes the liquid upwards, and the top one pushes it back down. After a while, the fluid loses its momentum and the system reaches equilibrium. To avoid this, a weak turbulence has been added that prevents the system from balancing and introduces additional fluid splitting forces.
A polygon grid has been added at the bottom of the lamp to help the fluid collect there, just like it does in real Lava Lamps.
The Liquid Source is in Volume Brush Emit Mode, connected to a Sphere. The "Non-Solid" option is enabled on the Sphere for the Volume Brush mode to work.
The discharge parameter is animated - if you'd rather have more/less liquid in the lamp, you can simply move the key along the timeline or input a different value for this parameter.
Play Speed is set to 0.4 to slow down the playback of the simulation.
You can play with the Random Seed value on the Turbulence node to get different looking simulations with little effort.
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Morphing Liquid with Body Force
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Both Solid and non-solid modes are supported. When the object is solid, the liquid will be pushed to its surface. When the object is non-solid, the liquid would fill the object. This scene uses non-solid objects which are made non-renderable and their volume is filled. The strength of each force is animated in order to produce the morphing. The forces are activated sequentially and the liquid takes the shape of the currently active force.
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Software used: Phoenix 4.40.00, V-Ray 5 hotfix 2, Maya 2018
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Ink in Water
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UI Button newWindow true icon download title Scene (18 KB) url https://drive.google.com/uc?export=download&id=1HPIh0PLc2GY0X6wItfc_1N1uAn9l-26V
This example demonstrates a technique for rendering thin smoke layers, ink in water, etc. The technique is particle-based and uses the Points Mode of the Particle Shader. The sources are set to Volume Inject emit mode and a noise map is used as a discharge map for creating this two-colored emitter. The particle shaders are being used for setting the geometry mode to points with a very small size to give a smoother look to the fluid and point color. A high value for the Light Cache Speedup option will help create quicker renders.
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This scene demonstrates how to create a highly symmetrical nuclear mushroom cloud. The setup contains a spherical emitter and source in Volume Inject emit mode connected to it which creates the fireball. The ground also has a source connected to it emitting for a couple of frames creating a "dusty" effect. The scene uses PCG Symmetric conservation with high quality in order to produce the rolling of the vortex ring that forms from the fireball, and Massive Vorticity is used in order to give more detail to the smoke.
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Smoke Vortex
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UI Button newWindow true icon download title Scene (18 KB) url https://drive.google.com/uc?export=download&id=1_1DcNNp66lqBGCoEG52SI_PviNoQN0Ca
The content of the simulator is initialized using a box geometry with attached source to it. The source discharge mode is Volume brush which fills the whole volume inside. The geometry is not renderable and it has been made non-solid from Extra Phoenix attributes rollout menu. Then a vortex is created inside the fluid using a Maya Vortex field. Additionally, a sphere geometry object with a negative discharge is used, which pulls the smoke inside creating a hole in the middle of the vortex.
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