3D World

MAKE A PROCEDURAL FIRE IN BLENDER

In this tutorial you will learn how to create a procedural volumetric fire shader. This method has multiple benefits compared to the alternative of simulation, as no volumetric data has to be stored directly and the result can consistently be tweaked with the parameters that go into generating it.

In the following steps you will learn how to effectively work with volumetric shaders in Blender and how to set them up for both of Blender’s native render engines, Cycles and Eevee.

For the creation of the volumetric textures used by the fire we will cover various concepts and techniques of the procedural texture generation in Blender’s node-based shading system. Those concepts cover several aspects of procedural texturing in general, like creating and manipulating shapes in 3D space and using noise textures to combine different levels of detail.

A central point of these steps is the manipulation of coordinate space and combining different textures using mathematical operations, but there is no advanced knowledge needed to follow along and pick up useful ideas and tricks.

Beyond that, you will see the flame come alive with some basic techniques of procedural animation applied to a volumetric shading context. Let’s begin!

You’re reading a preview, subscribe to read more.

More from 3D World

3D World1 min read
Zuko
“For this project, my primary goal was to incorporate stylised visuals, all stemming from my 3D base. The idea was to create a dynamic 2D/3D feeling, which required a complex shader to bake the lights and maintain the dynamism and hand-painted appear
3D World1 min read
Recreating Cinematic Moments
Konrad states: “For Godzilla's bridge sequence, a lot of what was essential was limiting the scope of the set so that we could digitally extend as was appropriate. MPC did the work for both the 2014 film and our take, so we had most of the same asset
3D World1 min read
Syncing Up Jimmy
Given that Anthony Hopkins was only doing the voice of Jimmy with Dustin Ceithamer on-set interacting with the actors, it was important the two performances be in sync with each other. “We did a scratch track with Anthony Hopkins that our editor Dody

Related