Generate realistic fluids, vapor, dust and other particle-based phenomena directly in Cinema 4D
Jawset TurbulenceFD for Cinema 4D has all the features that a visual effects artist needs to create organic-looking particles. Get unparalleled realism and control with voxel-based gaseous fluid dynamics, a physically-based fire shader, Particle Advection, and Multiple Scattering. TurbulenceFD is easy to use, with an intuitive workflow, and is extremely fast, designed to exploit high-end GPUs and CPUS with even vast simulation data.
Voxel-based Gaseous Fluid Dynamics
TurbulenceFD’s simulation pipeline implements a voxel-based solver based on the incompressible Navier Stokes equations. That means it uses a voxel grid to describe the volumetric clouds of smoke and fire and solves the equations that describe the motion of fluid on that grid. For each voxel, TurbulenceFD calculates the velocity of the fluid as well as several channels to describe properties like temperature, smoke density, amount of fuel, etc. This simulation process produces a voxel grid for each frame, which is cached on disk for use by the Volumetric Renderer.
To setup a fluid simulation, the artist uses any type of geometric object or particle system to paint the sources of smoke, heat, fuel, etc. in space. The flow then carries along with these emissions in a physically plausible way that creates the realistic look of fire, explosions, vapor, clouds, dust, and much more.
Pull all the Stops on your CPU
The biggest technological challenge in fluid simulation is the handling of the large amounts of data that a sequence of voxel grids requires. That is why TurbulenceFD’s simulation pipeline has been designed from the ground up to optimize performance. This includes a careful selection of efficient numerical methods that provide high accuracy and stability throughout the simulation pipeline. And implementing this pipeline using the latest high-performance computing technology to optimally exploit Memory Caches, Multi-Core CPUs, and advanced vector instruction sets. To the artist this means that more iterations can be run in less time, making the work with fluids more intuitive and productive.
Up to 12x Speedup on your GPU
Yes, twelve times! 10 minutes instead of 2 hours. And there’s a simple reason for that: today’s high-end GPUs have 8-15 times the memory throughput of high-end CPUs. TurbulenceFD exploits that. It features a hybrid CPU/GPU simulation pipeline that achieves enormous speedups. Unlike some GPU-based tools, this is not just a stripped-down version of the CPU simulation. All features are supported at the same quality. When GPU memory is exceeded, TurbulenceFD switches back to the CPU on the fly. This allows you to achieve close to real-time speeds for low resolutions and scale smoothly to high resolutions in the hundreds of millions of voxels. Instead of carefully changing parameters, sending off the simulation job, and not seeing the results for hours, fluid simulations can be tweaked in quick iterations with the artist observing the effect of the changes while the simulation is processing.
Physically Based-Fire Shader
Getting the colors right is critical when creating believable fire animations. You can design your color gradients manually for full artistic control. If you want realistic fire colors, the process of tweaking the colors directly can be time-consuming and tedious, though. So the fire shader simulates realistic high dynamic range fire colors based on the Black Body Radiation model. Just two temperature values control this model. It generates the colors real fire would have at these temperatures. But TurbulenceFD doesn’t stop you there. You may want realistic colors, but need more flexibility to tweak the enormous dynamic range that fire has. Maybe give the reds a boost, compress the dynamic range a little, or just use the generated colors as a starting point to edit them directly again.
In a nutshell, Multiple Scattering is Global Illumination for smoke. It’s a way to light smoke more realistically and brighter since it’s illuminated from all directions. It also allows the fire to illuminate smoke from the inside, which is essential for the realistic shading of explosions. Unlike many Global Illumination techniques, Multiple Scattering in TurbulenceFD does not add noise and thus works well with animation. And Multiple Scattering render times in TurbulenceFD are actually affordable. But if you’re in a hurry you can still dial in a compromise between speed and illumination detail.
The heart of fluid dynamics is the creation of a sequence of velocity fields. These describe the complex, characteristic motion of the fluid. You can use TurbulenceFD’s velocity caches to control the movement of particle systems. This allows you to complement the voxel renderer with debris or sparks or just render the particles by themselves.
TurbulenceFD saves memory and time by constantly trying to minimize the volume needing processing. For example, the velocity field gets analyzed to make sure only those parts of the volume get clipped, and the flow in the subsequent frames isn’t affected. If necessary you can control the sensitivity of the clipping for each fluid channel.
Emitters are to fluid simulation what brushes are to painting. An object on fire emits heat and a flame. TurbulenceFD lets you use any geometric object or particle system to emit into fluid channels. This gives you the ultimate freedom for shape and animation of your emitters. Working with emitters in TurbulenceFD is like animating the brush strokes that paint the sources of fire, smoke, etc. The fluid simulation then takes your animated emission and creates a physically plausible flow from it.
Letting the fluid flow interact with solid objects is useful in many scenes. From a simple solid floor to vehicles moving through fire and smoke to animated characters on fire. Integrate the simulation into an environment. In addition, create nice and natural turbulence in the wake of an object. Collision objects can stir up the fluid, wave it to the side or act as an obstacle. TurbulenceFD also supports collision objects with all kinds of complex animation including MDD imports and objects controlled by rigid body dynamics.
The OpenGL-based preview gives you a detailed look at each of the fluid channels in real-time. The preview supports several shading modes. The analytic mode provides a detailed look at the raw output of the simulation. Shaded modes give you real-time feedback while you tweak the settings of each shader. In addition to the fully 3-dimensional preview modes, display a 2D slice of the voxel grid, oriented and positioned anywhere in the volume. This can be thought of as the magnifying glass of the preview modes. In other words, it’s comparable to a wireframe view of geometric objects.
Shading Curve Editor
The heart of voxel shading is the function curves (f-curves) that re-map values like temperature and density to intensity values used for opacity and color. TurbulenceFD features an f-curve editor that has been specifically designed for voxel-based fluid shading. It allows for precise and intuitive control. This makes it very similar to the workflow of color correction, which many artists are already familiar with. In addition, since the f-curves have to be evaluated billions of times during rendering, a special type of spline curve has been designed for TurbulenceFD. In a word, it is particularly efficient for voxel rendering.
Add procedural noise to the fluid velocity field to get curly flows that look more turbulent and more interesting. The controls work like a procedural noise shader, commonly found in texturing tools. However, adding the turbulence uniformly across the whole volume will stir up the core of an explosion just as much as the parts further away from the violent reaction. This doesn’t make much sense. So, TurbulenceFD lets you control where exactly you add curls to your flow. It uses one of the fluid channels and a simple mapping curve. Add turbulence only to certain regions, such as the core of an explosion or the hot part of a flame for example.
Voxel Grid Compression
To help cope with the large simulation data, TurbulenceFD features lossless data compression, specifically designed for fluid data. It typically reduces voxel data down to about 60% in practice.
Control how fire ignites and how fast a flame propagates in TurbulenceFD, as easily and flexibly as painting fluids with emitters. Base it on any fluid channel, not just temperature. This avoids the balancing act you have to perform if temperature also drives the buoyancy force that lets the hot gas rise.
Often you work out the simulation at a low or medium resolution that allows for quick iterations. Then, you would want to simply re-simulate at a higher resolution to get the final result. But that may not only add high-res detail but also slightly change the large-scale motion due to the numerical nature of the simulation. Up-Res’ing is a way to keep the exact shape and motion of a low- or medium-res simulation and only add high-res detail to it. It’s also faster than running a full simulation at the same high resolution.
With Render Time Sub-Grid Detail TurbulenceFD pushes the Up-Res’ing approach even further. Instead of having to run a second pass on your base simulation, you just add the high-res detail to your result at render time. For extreme settings, this is not as flexible as Up-Res’ing, but it doesn’t require the additional simulation pass or additional cache memory either.
NOTE: On CINEMA 4D R21 and later, an internet connection is required in order to use this license.
Fluid Simulation needs quite a bit of processing power. Mostly because there is a huge amount of data to be pushed around. This makes memory bandwidth the most important factor for simulation speed. Today’s fastest memory interfaces are found in GPUs – about 10 times faster than those of CPUs. Coupled with the appropriate amount of parallel compute power, GPUs are the ideal type of processor for fluid simulation.
TurbulenceFD makes use of GPUs for its simulation pipeline. Unlike with some GPU accelerated tools, this is not just a stripped-down version of the CPU pipeline. All features are supported at the same quality. In fact, you can switch between CPU and GPU simulation on the fly (see Simulation Window). This is also what TurbulenceFD will do automatically, should it run out of GPU memory. It will then continue the simulation on the CPU.
fixes the lack of support for the R23 Metal Viewport on macOS 10.13 High Sierra.
Mac v1.0 rev 1466
C4D R23, macOS: Support new Apple Metal viewport
C4D, macOS: Fixed issue that caused keyboard shortcuts to be ignored
TFD’s viewport preview used to be rendered using the OpenGL API, which C4D R23 does not support anymore. Instead, it uses Apple’s Metal API now. This update makes TFD compatible with the new viewport technology in C4D R23.
v1.0 Rev 1456
This build adds support for Cinema 4D S22.
v1.0 Rev 1448
Released 2019-09-11. Adds compatibility for Cinema 4D R21.
v1.0 Rev 1437
Released 2018-09-07. Adds compatibility for Cinema 4D R20.
Ben Watts uses a program from Jawset called Turbulence FD for CINEMA 4D to create a basic, but interesting, particle collision simulation. He also walks viewers through a dynamic lighting setup in CINEMA 4D, goes throgh color grading and talks about some benefits of the 32-bit workflow.
Not only did Mike Batchelor teach me how to create a beautiful particle animation with X-Particles for CINEMA 4D by using fluid created with Jawset Turbulence FD to drive their motion, but I learned what the word ‘advection’ means!
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