Creating an ocean – Part 1 of 4: Getting Started with BOSS
Hello and welcome to the Maya Learning Channel. In this line of videos, Ill be indicating to you how to create a beautiful, physically accurate ocean exploiting the Bifrost Ocean Simulation System, or BOSS for short-lived. Before we begin, I’d like to give a quick shout-out to Diego Trazzi, on whose office these seminars are based. To start, I’m just going to make sure that BOSS is loaded up here in the Plugin Manager. There it is. Now, BOSS studies by taking a polygon and deforming it. In this case, I’m going to use a plane since it’s both lightweight and the closest representation of an actual spot of water.That said, you could use another chassis depending on the effect you’re going for. I’ll really make it bigger and supplemented some subdivisions. Now I’ll switch to the Bifrost Fluids workspace Which gives me access to the Boss Editor here. When creating a BOSS ocean, there are two main columns I need to manage. Wave solvers, as you might imagine, deal with generating the curves in our ocean while effects administer chiefly with colliders, like crafts and stones. Well get into that later, but for now, I want to focus on engendering good see tides, which is as easy as clicking the Spectral Waves button here. Spectral Waves are the types of curves made when wind gales over large-scale bodies of water. At first, that doesn’t seem to do much, but if I represent the living you can see the wavings take effect on made 2. Of route, if I turn on Wireframe on Shaded here, you can see that the resolution of our ocean isn’t very high, it is therefore not very detailed.But examining in the Outliner, you can see that BOSS has actually left my original airliner intact. So I can easily increase its subdivisions. This is pretty handy for adjusting item vs achievement on the fly. Two other puts that can help with that are the beckon solvers Resolution and Patch Size. Resolution is separate from the resolution of the plane geometry. It actually represents the resolution of the clump of ocean we’re displaying. Think of the plane as an opening into an entire other ocean nature. The Patch Size represents the size of that world-wide, while the Resolution represents the fidelity of it. So if I move the plane around, I can see other parts of that world.Now you might think to yourself, wouldn’t I always want to match the size of my airplane to the size of my spot? After all, why would I ever want to simulate water outside of what I can see? The rebuttal is because the Patch Size too determines the maximum curve width. If you offset the Patch Size too small, then you’re limiting the opportunities of the tallest possible waving as well. Of route, bigger spots to expend more treating ability, peculiarly because you’ll need higher resolutions to display them smoothly.So like anything it’s a matching routine. Next, I’ll take a moment to briefly talk about scene scale. By default, Mayas working divisions are in cm in other words, one grid-gap is equal to one cm. However, Bifrosts solver is caroled for meters. “It’s important” because it means that things like gravitation, breeze hastened, and so on are only accurate in a scene where everything is built to a 1 cell= 1 rhythm flake. In other oaths, this patch of the ocean here is 20 m x 20 m, NOT 20 cm x 20 cm. For more on flake in Bifrost, check out our reference video or consult the documentation. Now that we understand resolution and proportion, how do I adjust the glance of my ocean? Well, you might see this Wave Height attribute and think, Ill time increase this, but this is an artificial multiplier. In real life, emotions are a result of wind and ocean penetration. Without these, the ocean would look as flat as our plane.So to get the most realistic upshots were going to play with Wind Speed and Fetch Distance. Wind Speed is self-explanatory, but Fetch refers to the length of water over which that puff was blown. In general, faster breaths over longer lengths equal bigger movements. If you’re wondering exactly what wind move to use, refer to something called the Beaufort Scale, which synopsis the wind quickened necessary for everything from an allay day to a hurricane.Additionally, Ocean Depth can also have an impact on wavelength extremely, since shallow waters tend to shorten ripple sections. Lastly, you may have noticed by now that our ripples are very round. Real beckons tend to crest more sharply. This is because our simulation is only calculating the vertical shift of the gesticulates. So let’s add some Horizontal Displacement as well. To dial in the gaze, Ill increase the Wave Size until we start to see observable artifacts. Next, I’ll try 4… and maybe even 5. Right now. See the artifacts? That necessitates I extended a little too high. Still a bit more. That’s better. That’s it for our primary beckons. For even more accuracy, I could compute a few seconds ripple solver. This will act as the smaller secondary gesticulates, though it will impact execution. You can mitigate this action hit by caching the simulation.Once the pretending rolls through, you’ll realize these icons turn green, signifying that the living is running off a cache. Similarly, if I scroll down in the Attribute Editor, you’ll see that Use Cache is enabled as well as the site of the cache. Only remember that any further revisions will require that you incapacitate the cache first. To make this out, all I need to do is apply a standard Arnold surface shader to it and then apply the Deep Water preset. Then I’ll merely supplement a Skydome light and assign it an HDR image.You can find these likenesses on the web, or organize them yourself. Either way, they’ll support the true reflection and refractions that’ll genuinely cure sell the appearance. Now I’m ready for a test render. That’s pretty good! If I had one critique though, it’s that we need a bit of white-hot foam contributed. If I go back to my primary ripple solver, I can turn on Foam generation here. Unlike all the other aims though, this actually doesn’t affect my real-time simulation. Instead, it generates a map of 2D portraits that I can then overlay on top of my shader.You can find these likenesses in the Foam Cache down now. This only comes produced when I cache the wave solver though, so I’ll need to disable the old cache firstly and then generate a new one. If you did this right, you’ll now find sud data in your cache folder. To visualize them in my interpretation, I simply need to assign them to the Arnold shaders Emission Weight. Make sure to check this Use Image Sequence button so that it applies all the portraits we generated. Okay, there’s surely sud now. Probably a little much, to be honest. This is like what you’d get in a cove or something. To get a more open ocean look, I’ll return to the Spectral Wave node and increase the Cusp Min.Of the foam generation. As a surface indicate, BOSS foam isn’t physically accurate. Rather, it uses infused cusp evaluates to define the looking. Nonetheless, it’s fast, and in this case, it’ll get close enough to the real thing. To get physically accurate foam, I would’ve had to use Bifrost particles, which I’ll show in a later tutorial. Now I’ll switch off the cache again.
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This time, rather than regenerate the part cache, I’ll test merely a single enclose by turning on this Export Cache checkbox. This allows me to cache any enclose simply by advancing the Time Slider to it. That’s much more like I wanted. In reality, I like it enough to cache the part animation again.Now I’ll only set up a sequence make. So multiple encloses, and 2 to 120. Then I’ll go to the Rendering Menu Set. And adopt Render> Render Sequence. And after a minute or two, “it’s what” I get. Not bad for only a few minutes of a piece! So that about does it for our basic ocean. I promote you to play around with the attributes to dial in a examine you like. In our next assignment, Ill show you how to render this single tile into a vast, infinite ocean…
