Look at the play of light that the city model does on closeup shots like this. If I just modeled the area in the frame I would not get nearly as interesting reflections.
For those curious I’m documenting the entire animation process ( roughly from the middle of the first scene ). Here is the link: https://odysee.com/@MoriasRace:3
The script used to make camera shake. I posted it in the scripts section separately, since it’s might be useful to people.
The smoke. It got out of control.
This is a frame from a part where the smoke is not baked. It bugged out and filled the whole domain with a think layer of smoke. As soon as it’s baked it’s nice and clear. I think I will re-render the frames with smoke removed completely. And glue them together with the baked smoke frames. Hope it gonna look good.
The renders are getting out of the first location into the most ludicrous second location. It’s 7 million tris. And has about 400 trees in it. All having a small animation of wind. Also it’s a full city.
I have this shot I’m trying to figure out how to do in a reasonable way. The render above was made by using dynamic paint and material nodes woodoo magic ( and Adaptive Subdivision ). I like it enough as is. But it seems to be missing the splashiness that water should do with a scene like this.
Basically they had enough speed to drive off into the water. And it’s a part in the scene where the “drive on the water”.
I tried parenting the fluid domain to the car. So not to calculate humongous volumes of water. It didn’t work. Particles turn out to be even heavier that fluid sim. And thus far this is the best I was able to do.
A small animation test of a first water shot. Looks promising so far.
Got to see your vids… I have to say it’s really good! Camera work to animations, pretty nice. Excited to see where this goes.
I’m so excited. A reply! Wow!
Aesthetically, I think the top one.
Although I’m not so sure how reflective water is from underneath. Might need to check that.
Although judging by the night sky, the second might have more accurate shadows. I’d say in between is the sweetspot if you can do that.