We’ll make a drop that will hit some water. We’ll start off using a circle just to set up the scene that’s appropriate for a Crown Splash and tweak the Crown Splash daemon, editing its shape and timing to make it look really nice. In the third chapter, we’ll go into the Image Emitter. We’ll start off by using some procedural shaders, such as a checkerboard or a sunburst, or different types of noise to generate an alpha to show where our fluid will take place. We’ll also learn a neat trick with lettering using the spline shader.

In chapter four, we’ll look at Splines and how to use those to generate fluids. Both as a drip – such as off of a rope or clothing line – and as well as a water path in the air, such as you see in soda commercials and gravy commercials. In chapter five, we’ll go into Vertex Map. The Mesher has a channel manager that creates different vertex maps based on X, Y, and Z position. It can also be set up to create a gray-value depending on the speed of your mesh. This can be combined with a colorizer and Vertex Map Shaders to create elaborate and unique material effects. Lastly, we’ll go over how to set up your materials. Most of the other tricks in Realflow are for figuring out how to get the particles and mesh to simulate the way you want, and I’ll show you some of my personal tricks for creating subsurface materials, some caustics, some ray-tracing, and to get motion blur to make the most of your simulation.

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