No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Another way is to create small FX sprites/textures, generally around 16×16 – 512×512 in size, and then have those sprites being emitted by the in-engine particle systems.SPECIAL EVENT PRODUCTION THE RESOURCES Doug Matthewsīutterworth-Heinemann is an imprint of Elsevierīutterworth-Heinemann is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First edition 2008 Copyright © 2008, Elsevier Ltd. This then can be played back in the engine as a flipbook texture. A texture sheet is basically one image, which contains the entire render sequence of your simulation as if you were reading it like a book. One way of moving your simulation to a game engine would be to create a texture sheet. Currently, there is no way to directly move your volumetric simulations to any game engine however one day I do hope something like this is possible. To make use of your simulations in game engines, you must create textures. Also note that all of the sim settings can be keyframed and animated, so don’t be afraid to mess around with that to get some pretty interesting effects. This setting, combined with animating the timescale of the sim gives you very good control over how quickly or how slowly the smoke will disappear. The “dissipation” setting controls how quickly the smoke will disappear over time. Each setting also directly impacts the way the other settings react, so this is why it is important to have an understanding of what each of them does, to make it easier to find a balance between all of them. On top of all this, every single setting that I just mentioned, including the ones I didn’t, also have many sub-settings that can be used to even further control each parameter. With fire you have ignition temperature, burn rate, fuel efficiency, temperature output, amount of gas released to burn, etc, etc. When you are also adding fire to the simulation for explosions and such, that is a whole other layer of settings to deal with. Settings such as disturbance, turbulence, confinement, shredding, viscosity, cooling rate, buoyancy lift, and many, many more. You need to find a balance between the hundreds of simulation settings to try and get the look you are going for. AnimationĪnimating and controlling the 3D smoke can be extremely tricky. These 3D volumes can contain all sorts of information, such as density, color, temperature, heat, fuel, or any other field you save it with. Smoke is made up of voxels, which are essentially 3D pixels. There are many different emitter types you can use, for example: there are static mesh emitters, animated/deforming mesh emitters, and you can even use an underlying POP (particle) simulation to drive your smoke simulations. Not only because it is the source of the smoke, but the type and shape of the emitter you use will greatly affect the way your smoke looks and moves. Once that is all done, you can begin setting up the emitter. ProcessĪt the beginning of each project, before you can begin with the actual smoke, you must prepare your scene by setting up and making sure all the collision objects (if any) are correctly set up to properly interact with the smoke. However being able to control and tame it to get it to look and move in a certain way, that is the hard part. What I mean by this is, simply creating smoke is easy. The main difficulty in creating 3D volumetric smoke would be getting it to look the way you need it to. All of these tools are awesome, and you can achieve great results with them, however, I prefer Houdini for its powerful control and stability, especially when it comes to larger simulations. My main tool is Houdini, however other tools I have used include FumeFX and Phoenix FD. There are many tools available for creating digital smoke.
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