 What's up everybody, EJ here and in this video I'm going to show you how you can create this really cool silky smooth ink and water effect using Cinema 4D Pyro. Now we're going to start off by showing you how to set up your scene, then we're going to dive into all of the important Pyro settings that allow you to achieve this look, and then I'm going to finally show you how to render using Redshift. And if you want to follow along, I'm going to leave a link in the description to a bunch of project files that I created for this tutorial, showing you a bunch of different setups. So if you want to support me and grab those project files, you can find the link to that in the description below. Alright, so let's first start out by creating the object that's going to emit our Pyro. And what I'm going to do is I'm going to grab a sphere, and basically you want to try to think of real world scale here. If I want to generate a drop of ink, it would probably be about one centimeter. So probably even less than one centimeter. So what I'm going to do is have this sphere that's going to be our emitter be about one centimeter. I'm just going to zoom in here. Whoa. And then what I'm going to do is right click on this sphere, go to simulation tags, and let's grab our Pyro here. So we got our Pyro tag, we got our Pyro object that is controlling our scene wide Pyro settings. But in the Pyro tag itself, what we're going to do is we're going to bring the object voxel size down to about one centimeters. And you can think of voxels as 3d pixels, the smaller the pixels, the higher the resolution. So we're just going to lower this here. We're going to uncheck surface emitter. We don't need this to emit from the surface just from the actual object itself. And then for the density, this is controlling the smoke, temperature controls the fire. For our ink sim, we actually don't even need temperature. So we're going to uncheck that. And then for the density, what I'm going to do is just set this to a fixed amount of 50. So if you put in any number in the set, that's going to be the set density. The add densities going to add this amount of density per 30 frames. So we actually are just going to zero that out and just be left with our set density of 50 throughout the entire same. And that's all we need to do in this Pyro tag. If we go to our Pyro object here and go to the Pyro tab, and let's just go ahead and hit play here. You can see that this isn't generating anything at all. And that's because we are basically generating one centimeter voxels in our Pyro voxel size is so large. It doesn't even have the resolution to calculate that. So what we're going to do is we're just going to lower this voxel size to 0.25. Now this is pretty tiny, but it's going to allow us to have really nice detail on our volume simulation here. So with that lower voxel size, if I hit play now, we got some smoke, which looks pretty nice so far. But you can see it's going up. If we had a drop of ink, it would go down. So to control that, we're going to adjust this density buoyancy. And right now it's a negative five. But if we bring this to a positive number, like say two, you can see now it's going downwards, which is exactly what we want. Now you can see that we have a lot of wispiness all over the place. And to kind of make our smoke stick together more, we're going to bring down this vorticity strength. So if I up the vorticity strength, you can see how much everything just kind of scatters. If I go back to frame zero, hit play. Let's really crank this up and just see how swirly everything gets how everything scatters really quickly. So to make our smoke stick together longer, we're going to bring the vorticity strength to one. So we're going to lower that down. And then to remove even more turbulence, we're going to twirl down the turbulence options here. And we're just going to bring down the actual turbulence strength to one. And then let's rewind and see what this looks like. So you can see everything looks a little bit more controlled. It's not going to blown all over the place with the turbulence. Now there's a couple of settings here that are pretty important with how this sim looks. You can see it's looking pretty nice, but it's actually, you know, the details a little too fine. It looks too much like smoke. And what is controlling all these little details of wisps and stuff are the octaves, which if you are familiar with octaves in say a noise shader, the higher the octaves, the more detailed the noise. So we're going to leave it at that, but we can actually adjust the octave scale or the actual scale of that octave noise. And so the bigger this number, it's almost like the bigger the initial size of that turbulence. And then this incremental octave scale is kind of like an incremental scale of that. So let me just bring up a doodle tool here like so. So let's go back to these two settings. We have our initial octave scale, which you can think of by have the little sphere here. The bigger the scale, here's our initial sim. Here is a big branch of our sim. Now the smaller this number, we would have something like this where we'd have little noises being generated from our initial pyro setting. And then this incremental octave scale, the lower this number, the smaller the noise that we're going to get incrementally branching off of those initial smoke tree stems here. So we want to make these numbers bigger so we can have something that looks a little bit like this. So it looks a little bit more like water versus a highly detailed smoke. So I'm going to bring the initial octave scale to about seven and then the incremental octave scale to about 3.5. So we'll have detail, but not as fine detail as we have now where it looks like wispy smoke. Now take a snapshot of what this looks like in your mind. Let me actually delete this little doodle object here. Let me go back to my move tool and let's hit play. And with our bigger initial octave scale and incremental octave scale, we should get a little bit less detail, but more kind of this movement like so, which looks a little bit more like ink. So let's move down and you can see that our smoke is dissipating over time. We don't actually want the smoke to dissipate because ink and water is not going to dissipate that much. So we're going to bring down the relative density dissipation to zero. And what you should see is that now we're going to have a very dense, thick smoke simulation throughout the entire simulation here. It's not going to dissipate at all. You can see how much darker the density is of our smoke here, looking good. Now it's still looking pretty rough, pretty smoky still. Now where the real magic happens and how we can change this from smoke to ink and water is in this smoothing tab. So you can see how this is kind of like pretty rough. If we want to actually smooth the density a little bit and kind of it's almost like a Gaussian blur on this voxel volume. We can just bring this up to about like nine. And then the velocity smooth is going to kind of smooth out all the turbulence happening here to make it a little bit more liquidy. So let's bring this to about, say, 60. And again, take a snapshot of what this looks like. And then with the smooth factor up, velocity smooth factor up, you can see how this looks a little bit more like liquid and how smooth this looks now. Looks less like smoke and more like ink and water, dare I say. And just look how cool of a simulation that is just by simply adjusting a handful of values here, looking really nice. Now to add even more detail to this, we can go under the advanced settings here. And this floating point precision is basically the depth in which the voxels are being generated. So if we up this from 16 bit to 32 bit, we're going to have a lot more depth information, a lot more resolution in our simulation. So with that, we should have even more fidelity in our simulation, have it be a little bit more accurate. Now something that's really interesting is if we go even further and we go to this pressure solver, these are basically different methods to calculate the simulation. And by default, it's this multi grid full cycle, no idea what any of these things are. But depending on which one of these solvers you choose, you can get a totally different simulation. It's kind of up to you to see which one you like more. So again, snapshot, mental snapshot of what that looks like. Let's use the Gauss Seidel. And you can see that already this is looking a lot different from that other model we used. You can say that this is maybe looking a little bit more liquidy or just liquidy in a different way. But you can just see how different this looks. So there's that one. I actually really like this precondition conjugate gradient because number one, when I say it, I sound really smart. Like I know what's going on here. And I feel very proud of myself that I even pronounced that correctly. You can see that this looks totally different from the Gauss one. And so play around with all of these settings here, especially the polish iteration, smoothing iterations. You can get even more fine tuned detail, more accurate simulations. But I found that keeping these values the same actually works pretty well. But you can just see how different this simulation looks. And it still looks like ink and water. It just looks slightly different from the initial pressure solver we had here. So let's do this multi-grid V, like the mighty duck. Is that the mighty duck flying V version of this? I don't know. But you can already see this looks slightly different still from everything else. So have fun dialing in all these different settings because you can get totally different looks. But what I'm going to do now at this point is to make this look like we are dropping a couple drops of ink into water instead of having just this constant spewing of ink in the water. So what we can do to do that is very simple. We're just going to go to our Pyro tag and we're just going to keyframe the set amount. So let's give ourselves 300 frames to work with here. And let's just say at frame 50, we're going to keyframe the set down to zero. And this will effectively just turn off the simulation. And let's give it about 30 frames of rest. Set another keyframe there for zero. And then we'll bring back this set density back to 50. And then let's have that kind of do its thing for maybe 50 frames. And then hit set again. And then we're just going to turn this off by setting it back to zero. So if I go to my keyframes here, you can see that we have our Pyro at 50, then zero for 30 frames, 50 and then turned off again. And depending on how quickly you want the drops to happen, you can have one drop happen here, turn off and then another drop happen here and turn off. So let's rewind, hit play and let's see what we have. Now you can also move the actual sphere around if you wanted to too. You can get different types of looks. But we got one drop and it's expanding doing its thing. And then we have another drop which is happening right here. Actually, this is the first drop still. Okay, we turned it off and see it's stopped. And then we're going to turn this back on again, get a second drop. You'll see the start to generate again. There's our second drop going on. And this will continue adding density until frame 130. But the cool thing about these different drops is just like with a real ink and water simulation, the spacing between the drops can create really different simulations and different results because you have one drop spreading out, dissipating. And then you have another drop and as it goes down, it's going to interact with the other volume here, which is really cool. And it's going to break up a different way, which is really nice. So if I go and zoom out here, you can see how cool this looks because you got a lighter density, higher density. Everything's interacting with each other. Looks really, really cool. Now, what I'm going to do is let me just hit escape. And let's say we like how this looks. Let's actually render this now. But before we go ahead and render, if you're liking this ink drop tutorial, why don't you go ahead and drop me a like and a subscribe. Doing so will alert you anytime I put out any new content and it really helps me grow my channel. And while you're at it, leave some really nice comments in the comments section. It really helps with the algorithm. And let's face it, I need all the help I can get because AI is going to take my job. So to render this, we are going to go into our render settings and change this to redshift. And then let's open up the materials here. Now to render, we need to do two things. Number one is create a material, pyro volume material. And we're going to apply this pyro volume material to the actual pyro object, not the object with the pyro tag, but the pyro object here. Okay. And then if we were to go to our redshift render view and hit play, you'll see that we don't see anything at all. And that's because our smoke, our simulation is actually being calculated on the GPU. It's not actually loaded into the viewport to render. So to do that and to load the simulation off of our VRAM into our viewport, we just need to go to object and we're only generating density right now. We're not even generating temperature or velocity, just generating density. And right now it's only going to appear on export. So if you cash this, that's when it will show up. But we can actually turn this on and this will generate in our viewport. You can see that changed in our viewport here, but you can still see it's dark in our render view. And that's because we don't have any lights in our scene. So let's go and grab a dome light. And while there is our smoke sim looking really, really nice. So now what we can do is adjust the materials to maybe turn this into a more interesting color than white ink or gray ink. And how we can do that is by going to our pyro volume material, let's twirl down the volume area here. Let's just give ourselves a little bit more room. And you can see we have scatter and absorption. Scatter is how much light is being scattered through our volume. And you can see that the scatter coefficient is currently one. If we up this to say three, you can see that light is going to scatter more and it should brighten our volume here. And you can see how much brighter that got. Now we can also change the color by changing the tint here. So maybe let's get a little blue here like so. And you can see now we have this really nice blue ink. We can go and, you know, clamp these values here to get different types of looks here. We can also go down to the absorption and this is how much light is just being absorbed into the volume. So if we make this value higher, what you'll see is that more light will be absorbed and it will actually look like a more dense, thicker volume there. You can see what that looks like. That's actually a little bit too dark. So I'm just going to move that back to one. And again, we can adjust these values here. Maybe bring in the ramp colors just to make that a more contrasty type of volume. Maybe make these wisps stand out a little bit more. Looking nice. You can see that a lot of light is scattering through the smaller wisps. So what we can do is we can just clamp the scatter ramp to make those little thinner ribbons a little bit darker, like so. So a lot of control over the look of your ink, not only by the settings you choose in your Pyro object and the different pressure solvers and the spacing between your two drops of ink, or if you want even more drops of ink, you can totally do that. But extremely easy to create these really cool ink drops. By the way, if you're new to Cinema 4D and you want to learn from the bottom up, be sure to check out my courses over at SchoolOfMotion.com. You can use program code Idesign100 to save $100 on either of my Cinema 4D courses. All right, let's dive back into the tutorial. Now, let's say we wanted to have two colors of ink being dropped with this sim. What I'm going to do is let me just close out of this Redshift render view here. Let's go back to frame zero. And what I'm going to do is decrease the amount of time between those two drops. And at frame 50, if we go to our Pyro tag on our sphere, you can see we can set the color. So let's actually set the color to like a pink, something like that. We're going to keyframe that. And so from frame zero to frame 50, we're going to have that pink ink. And then at frame, say 50, 57, where the ink turns on again and the density turns back on, we'll change this to blue. Okay, so now we have pink first and then it turns to blue. So let's see what this looks like. We'll rewind and we'll hit play. And let's actually go back to our object here and let's just turn on export for that. And then since we're using color, we'll change that to on export as well. And we'll have this just play in our viewport. So you can see the pink density doing its thing. And then as we go to frame 50, this will turn off very nice and wispy. And then that'll turn off and then change the blue and then turn on again. Of course, you could go in, you know, create a separate sphere that is a different color pyro. But I like doing these different separate drops because then we just have everything in one pyro tag. And now what you'll see is, you know, the interaction of one color of pyro with the other color of pyro and get that little nice mixing of ink. So we'll let this play out a little bit. Right, I'm going to hit escape just to pause that because this is looking pretty good. I think we'll just frame this up. Now remember, we need to then for this to render, go back to our pyro object. And then we're not only dealing with density at this point, we're also dealing with color. So we need to make sure that both density and color is turned on. So both of those object properties are now loaded into our viewport. And then we'll just go to redshift render view. We'll hit play. And so you can see that this is looking really awesome, but it's all blue. And that's because if we go to our pyro material, that's because remember, we're tinting this blue. So what I'll do is right click and go to reset to default. And then what we need to do to actually utilize the color that we generated with the pyro tag is we need to go to the absorption. And in the absorption color channel, we're going to go to presets pyro and load up the color. And now everything's going to turn to very bleach white. And what we need to do is because we have such a thick density in our smoke, we're going to need to adjust this absorption coefficient. So our density was 50. Let's bring this absorption coefficient to 50 as well. And you can see now we get our blue and pink ink. And let's just reset the ramps here and that's a lot of light scattering through our volume. So let's bring this down to like 0.2 and see if less light scattering makes this look a little bit thicker. And there you go. And that legit looks like ink in water. Maybe we can make this a little bit more dense looking by upping the absorption coefficient there. But this is looking really, really nice. And we don't even have like lights in our scene yet. So if we wanted to add a area light here, go to our four up view. Light over the right. And then command click drag duplicate and make this more of like a rim light back here. Raise this up. Like so. You can see how bright that looks now at this point. That's of course where we can adjust all of these different settings. Maybe up that absorption to 100. Let's bring down the dome light and the intensity of some of these area lights as well. To finish this off, let's go and like just grab a nice LUT. Now one last thing, if you actually wanted to render this out as an animation, you would need to go and cash this entire sim and pyro simulations can be very big. So make sure you have a hard drive that has a lot of space on it because these can be, you know, each VB frame can be a few megabytes to maybe 100 megabytes per frame. So that can add up very quickly. But I hope this tutorial has showed you the possibilities you have in your power with pyro. And I hope it gets you to thinking about all the different types of effects you can create using pyro outside of this liquid ink. I can't tell you how much fun I had experimenting with pyro to try to get this look and kind of diving through all the settings. I mean, there are pyro settings for days. I really encourage you to go ahead and experiment yourself. Try and adjust all of those different settings like voxel size, turbulence, the strength, the octave, smoothing, density amount, all that stuff. There are so many settings to adjust that can really help you achieve a really cool and unique ink and water effect. So what do you think about pyro? Let me know by adding a comment in the comment section below. Except for you Noobnoob69, you said a really bad word in a comment section in my other tutorial and it really hurt my feelings. Alright, I'm out of here. As always, thank you so very much for watching. Until next time, go out and make something.