Amazing work. Something I myself would one day love to try. Just out of interest (and in the aim of realism), how would you be able to replicate the shock of those guns on the waters surface? en.wikipedia.org/wiki/16-inch/50-caliber_Mark_7_gun has some great shots that show that surface tension being broken by the stock. Also, around the 8 - 9 second mark there's a flat line under the waves in front of Bismark, is that a boundary box of sorts?
I'll start off by addressing your second question since it's far easier to answer. You are correct, at around the 8-9 second mark that abrupt sharp line is the edge of the flip-fluid simulation. These were some of my earlier test shots I created when I was getting a feel for this new method of animating, and before I had figured out a way to properly blend the flip fluid simulation with the surrounding ocean. That line is the edge of that water simulation, or in technical terms it's the edge of the domain of the simulation. In regards to your first question, it's complicated, and something I'm still working on right now. The reason for this complexity is due to the method of creating the ocean. The ocean in this animation is something called a displacement map texture, which means it's basically an image that the computer can use to extrapolate height data. This allows me to create a seemingly endless ocean without frying my entire PC in the process, the downside of this method is that there isn't a way to make the displacement map interact with the scene in the same way a flip-fluid simulation does. I have been testing ways around this to varying degrees of success, but all of them require an extensive amount of work to set up. This is on top of the fact that I have to create several animations to make a single video. All of this makes going through the process for an animation just not worth it, though for a still render is different. The other thing I have to consider is adding more things to a scene increases the likelihood of something going wrong, and when you're looking at a 45 hour render time for a single 10 second animation, having to re-do a full section of the animation because of some unforeseen glitch in the file is not advisable.
I feel like the gunsmoke disappates too quickly. Like it should linger.
Amazing work. Something I myself would one day love to try.
Just out of interest (and in the aim of realism), how would you be able to replicate the shock of those guns on the waters surface?
en.wikipedia.org/wiki/16-inch/50-caliber_Mark_7_gun has some great shots that show that surface tension being broken by the stock.
Also, around the 8 - 9 second mark there's a flat line under the waves in front of Bismark, is that a boundary box of sorts?
I'll start off by addressing your second question since it's far easier to answer. You are correct, at around the 8-9 second mark that abrupt sharp line is the edge of the flip-fluid simulation. These were some of my earlier test shots I created when I was getting a feel for this new method of animating, and before I had figured out a way to properly blend the flip fluid simulation with the surrounding ocean. That line is the edge of that water simulation, or in technical terms it's the edge of the domain of the simulation.
In regards to your first question, it's complicated, and something I'm still working on right now. The reason for this complexity is due to the method of creating the ocean. The ocean in this animation is something called a displacement map texture, which means it's basically an image that the computer can use to extrapolate height data. This allows me to create a seemingly endless ocean without frying my entire PC in the process, the downside of this method is that there isn't a way to make the displacement map interact with the scene in the same way a flip-fluid simulation does.
I have been testing ways around this to varying degrees of success, but all of them require an extensive amount of work to set up. This is on top of the fact that I have to create several animations to make a single video. All of this makes going through the process for an animation just not worth it, though for a still render is different. The other thing I have to consider is adding more things to a scene increases the likelihood of something going wrong, and when you're looking at a 45 hour render time for a single 10 second animation, having to re-do a full section of the animation because of some unforeseen glitch in the file is not advisable.