Save your work and load Maya. We need to import our new data into Maya. Select Next Limit > RealFlow > Mesh Loader and direct the plugin to your project’s meshes folder. This may be something like (user)/scenes/nessie/meshes. You can also load the particles from the companion DVD in the Chapter 5 folder, scenes/nessie/meshes. The files are named and numbered as Loch_Ness#####.bin. As reference, you can also load the nessie proxy into the scene. This can be done by importing the .sd file super_low_ness.sd, which is in your (user)/scenes/nessie/objects directory. Remember that this time you are using File > Import from the Maya menu. After the meshes are loaded, run the simulation. Make sure that the Timeslider is set to the number of meshes generated, which is 200. If all is successful, your scene should look something like Figure 10.

[FIGURE 10] The successful import of RF-generated data into Maya.

The headless proxy Nessie is replaced by a low-poly Nessie model for the final render, which can be seen in Figure 11.

[FIGURE 11] A slightly higher-resolution Nessie model replaces its proxy for the final scene.

This is a great example to show off the power and potential of RF. Two bonus RF and Maya scenes are on the companion DVD in the Chapter 5 folder. Both scenes, soccer_roll and Aquafuel, which are shown in Figures 12 and 13, are there to study.

[FIGURE 12] Bonus scene: a ball rolling through puddle generates foam textures and wakes.

[FIGURE 13] Bonus scene: bitmap texture can be used as emitters for interesting results.

An entire book could be written on RF, but it’s time to move on. The next chapter addresses a plugin for the 3D character.

Mark Jennings Smith is a seasoned artist, animator and writer residing in Beverly Hills, CA. Smith has been fascinated by CG since 1972, when at age 10 a chance encounter with the first coin-op Pong changed his life. His interest in the entertainment field led Smith and a partner to establish Digital Drama in 1994, which focused on computer-generated imagery, animation, digital painting and special digital visual effects. Digital Drama designed the digital film effects and animation for companies such as Universal Pictures, Trimark Pictures, Fox Home Ent., HBO and Showtime. Smith has contributed to several books and magazines, including a chapter in Maya: Secrets of the Pros. He also created cover art for the book and a variety of other titles in the 3D arena. He served as the technical editor for Mastering Maya Complete 2 as well as consulted and beta-tested dozens of software packages. Smith has also taught visual effects and computer animation using Maya at New York University.