15 Apr I think one of the best sources I have found so far is Allan Mckay’s FumeFX tutorial series. I have worked through the FumeFx 2 core. 18 Oct FumeFX, a great plugin produced by Sitni Sati, is a powerful Fluid Dynamics Engine designed for the3d simulation and rendering of realistic fire. FumeFX 5 for 3ds Max; FumeFX 5 for Maya; AfterBurn; DreamScape; Previous Releases; FumeFX 4 for Maya; FumeFX 4 for 3ds Max. FumeFX 5 for 3ds Max.
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These type of scenarios I’m really liking because once you’re familiar with FumeFX you can predict exactly what you are going to get from it, so you can get the results you need almost right away and then tweak and revise shots as necessary. I think working on Priest fujefx a challenge initially, because I was turorials on to come up with a pipeline for doing a massive sequence of explosions back when that wasn’t all too common, and find ways to have those break away from what was at the time fairly obviously simulated.
You can see what you’re doing, and you can even adjust values as you’re dimming. And naturally everything had a lot of additional dust and motion coming from FumeFX.
To be honest, I think that’s what drove me to FX, is a combination of loving the curiosity of problem solving and finding solutions to difficult areas and FX definitely is an area that involves a lot of this! Maya fluids hasn’t really been updated since when it first was released. This is probably my favorite project and at the time I paid for it physically.
We would like to know how you got into the CG and what have pushed you into the visual special effects field? As I mentioned, the tools back in the 90’s were pretty limited. I had a blast no pun intended on that project and I got to work with some really great friends, Mike Janov, Ansi Seherr-Thoss and many others.
FumeFX I feel very comfortable with, there’s situations where if I’m given short amounts of time to do a project it can be a gamble, I feel that way sometimes with large-scale water simulations since there can be quirks you run into and things can be unpredictable.
It’s so open and scriptable and works well with other tools. What you can do with Maxscript and some of the online services these days, you can easily become a one man army on most productions.
There’s so many ways that I use FumeFX on a daily basis these days. I love FumeFX in Maya it’s got a few unique tricks up its sleeve that make it very unique. It’s stable, powerful, fast and I’ve definitely put it through it’s hard yards and it’s always come through unscathed. Real-time visualisation platform gets support for Revit files, new shared design review template.
He has sample videos on his site so have a look and see if they are any good for you. I remember the first videos that ever surfaced of AfterBurn showing thick self shadowing volumetrics, and clouds etc.
Being able to change the shader of your container, or it’s scattering illumination, not only with one container, but shared amongst multiple in real-time, is amazing! This year’s been a challenging year, I did a lot of cool stuff for Metallica’s new movie Into the Never, which I will be releasing a video shortly talking about hardware, studio set up and workflow and other ways to integrate FumeFX.
I was VFX Supervisor and I took on most of the visual effects, everything to do with ash and Kratos world turning to ash around him. I started out in 3D nearly 20 years ago in the mid 90’s, so quite a while ago now!
He pauses the footage and begins to maneuver through the frozen moment in time, as we watch the camera move around past explosions and fire, heavy smoke, embers and burning ash and rubble. As I mentioned, things like Star Trek I couldn’t have done without it.
And even so they weren’t often with decent motion blur, if you knew your stuff you could do some pretty advanced things with sprites based on angular falloffs and additional additive maps and per-particle attribute dependent opacity shaders. Can you please tell us more about tutroials that will be included on that DVD.
I suggest drinking coffee while ttutorials his tutorials, he gives plenty of information in a quick manner. How do you find FumeFX under production conditions, where short turnovers and demand for realism and detail are of the topmost importance? Hopefully this will be of some use to you. He will show you the basic way it looks and then modify almost everything.
Did you end up doing a tutorial for the Energy trails video? In the video, McKay explores the issues fumdfx control and art directability that apply to many real-world fire sims. Meanwhile, I was also working on another project called F-Light. The simplest tutorial around for fumeFX, I will give it to you right now.
Allan McKay releases two new free FumeFX tutorials | CG Channel
If you wish to continue the discussion, please create a new thread in the appropriate forum. Things I never even thought I could do, until I actually did them. I also worked on the teaser at Comicon for the new Warcraft movie!
My studios client was Digital Domain, and their client was Michael Bay. I just suggested that fluids could be developed using RealFlow.
I ended up working on this project almost solely from my laptop. And then B doing it and then C oh crap, how the heck is this fuefx to render?! Highlights include updates to the Niagara FX and animation tools, and a new ‘Pixel Streaming’ system. I saw that effect on the Enter the Stronghold video and loved it. Whereas the same on the movie ‘Flight’ trying to crash a massive airliner into the ground, in tutoorials most pivotal scene in a movie ABOUT this crash, when there’s really not meant to be any visual effects, and the entire thing is pretty much all CG.
I was OBSESSED with trying to make clouds, fire, explosions, moreso because these things you couldn’t model, you couldn’t create in any way, they were the type of thing you would rely on photos or stock footage for whenever they were needed in a shot.
However there wasn’t really that much you could do at the time outside of sprites and rendering tri’s and other geo. Tutirials, November 26th, Posted by Jim Thacker. Maya’s hardware renderer was able to spit out fairly decent sprite counts on particle systems, but that was the only real way to get any decent looking effects back then.
It’s funny but I received a lot of ooh’s and aah’s over the GPU preview window and it’s interactivity. The most powerful feature by far is Effectors.
And I think people are just starting to realize how powerful they really are.
I’m really excited about all of this! It was a promo for a tv series that involved these witches performing magic and slowly walking around with fire trailing after them, the challenge was all of this had to be photo real and close up. I also included a crash course lesson which if you really just want to get your hands dirty right away you can do this mini course which literally goes through all of the features as rapidly as possible so you can watch it, get into FumeFX as fast as possible and then jump back into the training course later once you are curious to learn all of the more advanced material.
I recently talked with a high profile studio under Microsoft’s label who were looking at ways to get their game to do high detailed explosions that were frozen in time, the character could maneuver around the explosion and other effects. But also using FumeFX to drive the initial motion of rigid body simulations collapsing to give them much more unique and natural motions.