# Next chalange: Fire!

• @seachnasaigh poser 11. actually i just want to learn. how to create fire in poser. i dont have 3d mesh or billboard.

• OK, so just "how-to" in general. After the thunderstorms pass, I'll make a few demos.

• @seachnasaigh awesome! Thanks a lot sir.

• OK, I'll make a few examples, as I get time.

• Starting with the simplest method. Use a "billboard", just a single rectangular polygon, or sometimes something shaped like a curved monitor screen.
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Apply a picture of flame to the image map node. That picture goes into the ambient_color socket of the root node, because the flame should be bright even if the scene is dark. Note that specular_value is zero.
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If you have a corresponding alpha/transmap for the flame, it is used to control the transparency. I didn't have an alpha for this picture, so I used the flame picture and some math nodes to produce a passable transparency.

render:

• You could skip the Math_Functions_2 as you're just doing multiplication, which is a built-in capability on every numerical parameter.

Plug the image directly into Math_Functions_3 Value_1. Set that Value_1 to 3. Thus, you clamp 3 * image

• edit: Oh, I misinterpreted your post BB; got it now.

• For animation, you can use the movie node, and load it with an ~~ uncompressed ~~ AVI. If you are on 32bits, you probably won't have codec issues with a compressed AVI, but in 64bit Poser I've never gotten the movie node to read a compressed AVI.

• In order to have animation without the weight of an uncompressed AVI, I began using the image map node with a matrix image loaded, then used math nodes to get Poser to see just one cell of the matrix at a time. It switches cells with every new frame of the timeline.

This screengrab shows a small view of the matrix JPG in the bottom right corner.
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I'm not suggesting you set this up, but several of my freebies from P8/Pro2010 and P9/Pro2012 use this setup, so just be aware that it exists. And it works - regardless of your machine's bitness.

• Now Poser has a more elegant solution to avoid video codec bitness problems with compressed image resource economy.
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Now we can use the movie node, but instead of an AVI, load it with the first JPEG of a sequentially numbered set.

Down in the bottom right corner, I overlaid a screenshot of the folder which has thirty JPEGs of a candle flame. They are systematically named as CandleFlame_001, CandleFlame_002, etc.

• That's all for right now. I gotta go cut the grass, do some gunsmithing, and run for groceries.
Later, I'll cover using 3D meshes like the match and the gazebo lamps in the earlier posts.
Also, there are different ways to deal with lighting the scene; mostly it will be Poser lights positioned near your billboard/mesh or you'll use the flame mesh as a lightcaster/emitter, or a combination of both.

• Thanks you very much sir. This is very helpful to me. Awesome!!

• @seachnasaigh this is nice.

• Using 3D models as meshlights

If your scene might use various camera angles, then it may be better to use 3D models for your lamps, rather than the flat billboard.

I like to use three meshes, nested like Russian matroishka dolls. The innermost mesh will be the visible lamp; just slightly larger/surrounding will be an unseen IDL emitter; then much larger will be a faintly visible glow aura.

Parent both the emitter and the aura to the visible lamp. It is critical that you set each prop's properties correctly.
The visible lamp and the aura should have "casts shadows" un-ticked.

The emitter must have both "casts shadows" and "visible in camera" un-ticked.

"Light emitter" should be ON for all three pieces.

The reason for the emitter is to compensate for the discrepancy between the visible lamps's apparent brightness and its much-too-weak lightcasting. The emitter casts much more light because it is set to be hyper-ambient.
Be aware that the emitter will unfortunately show in reflection (reflected in metal) or refraction (seen through glass).

The aura will be transparent in its center and around its outer edges, the donut-shaped region in between will have soft transparency edges. So, what you will see of the aura in a render will be considerably smaller than the mesh surface.

To render in Firefly, have indirect light and raytracing engaged. Use at least 3 raytrace bounces. Set both irradiance caching and indirect light quality to 67% or higher.

For rendering in Superfly, use at least 15 meshlight samples. The darker the scene and the more you are relying on the meshlights to light the scene, you need more overall scene pixel samples.
Superfly can correct the intensity of lightcasting on the visible prop itself without need of an emitter prop, but it can use the emitter if you like.

• 3D models of lamps/flames can be textured as with the billboards, plus you might use displacement to shape the flame model.

Those sphere models which I use in many scenes are UV mapped to make good use of asymmetrical seamless tiles.

I have several freebie models which use meshlights:

• Atlantis (gate room and surrounding areas)

• "Blaze" MAT for Pauline (and for the HiveWire horse)

• light sabres

• TinkerBell's Drive-In Cafe' (2014 edition)

• toon firefly

• Tomb Raider catacomb

• elvish observatory flet

• Miri's treehouse

• Eldar house

• medieval wall torch

• Ghostbusters for Rex and Roxie

• faerie door

• Superfly MAT for Level 19

• Superfly MAT for Dystopia

• Superfly pack for Viper MkII

• lamp kit for the HiveWire Fantasy Gazebo

• Elven and unicorn skiffs 2011 version or later

Look for these amongst my Renderosity freestuff or my ShareCG pages.

You can experiment/play with this stuff and it's free.

This little table candle is a simple example, but I don't see it in my freebie galleries. I'll try to remember to get it packed into a zip and post it.

Next posts will cover example flame textures and actual material setups.

• Thanks sir. For this tutorial. Awesome.!!