How to do flowers blooming?

How do make flowers bloom, like E.T. style? :slight_smile: The parts of the flower must “GROW” - that makes it super hard, I’m guessing some type of “procedural animation” or scripting will be needed for this? I’m talking about a flower like THIS - https://en.wikipedia.org/wiki/Dahlia , which has a lot of “spokes” - how to make each of those Grow?? (it would have been hard enough for a rose or something, with ONE entity with petals… but anyway!

Anyone can help?

You could use animation nodes, for example like this: https://youtu.be/CiQXTE8oNLA

You could try with particles and shape keys on the particle mesh. I am sure that using different particle systems and various different particles (one for petals one for the center etc) you could get something going.
If you do find a good method be sure to post the results It would be great to see.
Edit: I have taken down the test video I made as it was not very good and was showing up in places I do not want it to. :frowning:

A few other ideas that might work as smaller components to the problem:

Adding a few different techniques like this could work as well.

Also – I would try to very-carefully plan “the show” in advance. That is to say, the actual sequence of rapid-cut shots which you use to portray the story. Within a matter of a few seconds you’ll have both establishing shots, close-ups, and possibly-slowmo ECU’s. The animation requirements of the latter will be the most difficult, but they will also spend the least amount of time on-screen.

Although the finished sequence must of course “flow seamlessly together,” each of the shots might in fact require a very different setup and different models.

If you’re like me, “you need to see it as soon as possible.” So, quickly block-together some possible shots using dummy geometry (but: “to scale!”), throw them into a[ny] video editor with appropriate also-dummy music, and start trying to "find the visual flow." This will enable you to develop a “shot breakdown structure” that will inform you as to exactly what animating you need to do, and from exactly what camera angles.

Your “human powers of imagination and visualization” will actually serve you quite well here. As you continue to edit this footage made of cylinders and cones and other to-scale things, you begin to see in your mind’s eye what it will eventually become. Time spent on this is not wasted.

As you (rough-)develop each “finished shot,” drop it into the same sequence, pour yourself a glass of your favorite Chardonnay, and “watch it again.” If you like what you see, do less-rough development, rinse and repeat. This strategy will help you catch the inevitable mis-steps as quickly as possible.