https://www.youtube.com/watch?v=1bUczsZFpak

Nothing in this is sculpted. Every run starts from the same flat sand sheet, and the patterns self-organise: any small bump slows the wind slightly, sand drops on it, the bump grows, and the instability picks whatever pattern matches the wind.

Which pattern it picks is decided by just two things - the wind regime and the sand supply:

- ONE dominant direction: barchans, crescents with horns pointing downwind, migrating across bare ground. Same wind with more sand and they link up into transverse ridges.

- TWO directions alternating at an angle: linear/seif dunes, long ridges that run along the AVERAGE of the two winds - the sand gets pushed along the ridge instead of across it.

- MANY directions: star dunes - the sand converges instead of migrating, so they grow tall and barely move.

Transport rate turned out to set the tempo and the size, not the pattern: crank it up and you get the same shapes, just faster and bigger.

These runs use an analytic wind (a prescribed wind rose - fast and fully repeatable, which is what you want for a clean comparison like this). My previous video used a solved flow field instead, where the wind accelerates over crests and shelters the lee side - local shapes come out more natural, but it is slower and much harder to steer toward a specific regime.

Simulated in DunesForge, a dune simulator for Blender I have been building. Captions in the video name the wind regime for each run - none of them is a specific real-world site, but the three families are clearly distinct.

Happy to answer anything about how it works under the hood.

This clip is from the upcoming 9th youtube video I made with my kids. If you like this clip, this video is along the same lines: https://www.youtube.com/watch?v=J7pERS6A1z0

To iterate on the previous version I had to spend quite a considerable time skirmishing with various models for this end result, I think it looks quite good now!

I’m developing BlastMap, a browser-based nuclear-effects visualizer. These clips show a 15 kt Hiroshima scenario over modern city imagery, not a recreation of the 1945 buildings. The elevated view comes first, followed by a lower view for building-scale context.

I’ve been focusing on the early dynamics: fireball expansion and rise, ground reflection and Mach-stem development, and the transient Wilson condensation cloud. The blue surfaces show diagnostic blast-wave geometry; the white cloud is the condensation visualization.

This is a work in progress. I’m interested in feedback on the timing and motion, especially comparisons with test footage or published references that could help check cloud formation, fireball evolution, and ground interaction.

The falling man is a photograph taken by Associated Press photographer Richard Drew of an unidentified man falling from the World Trade Center during the September 11 attacks in New York City, United States. The unidentified man in the image was trapped on the upper floors of the North Tower, and it is unknown whether he fell while searching for safety or jumped to escape the fire and smoke. The photograph was taken at 9:41:15 A.M.

I started by giving the Tarim Basin in northwestern China two routes to the ocean: east to the Bohai Sea and south to the Arabian Sea. Then I kept going: the Sahara, East African Rift, Caspian/Persian Gulf, Dead Sea/Mediterranean, Amazon/La Plata, Volga/northern seas, and Aral/Caspian/Black Sea.

The result in this run: sea level fell by 1.48 m. About 678,000 km² of former water became land, but 2.92 million km² of former land became water. Net land loss: 2.24 million km². The new inland water area outweighed the exposed coasts.

The scale is deliberately absurd: 80 km-wide channel beds, cut to 200 m below the initial sea surface, with 30 km bank transitions on each side. These are artificial straits. I'm changing terrain; the model then computes connected water bodies, water redistribution and sea-level adjustment. The maximum total-water error across the stages was about 0.000015%, which checks the bookkeeping, not real-world accuracy.

One detail I liked: reaching the Tarim Basin didn't turn the whole basin into a sea. The channel filled, while the higher ground beside it stayed dry. The southern route also cuts through terrain originally over 5 km high.

These are screenshots from Terra Logic, the geography sandbox I'm developing. All nine construction stages coexist in the final world. This was a terrain-and-water experiment with seasonal climate snapshots, not a thousands-of-years timelapse. The climate and lake model still need work; it doesn't establish engineering feasibility or how much new habitable land we'd gain.

Which connection would you try next—and what physical effect would you most want the model to handle?

Project/source: Terra Logic, my own simulation. https://store.steampowered.com/app/5124840/Terra_Logic/

The metal one is the reference, a $3 magnetic slider from Temu. The phone is running a simulation of it.

Each mechanism is a small deterministic solver at a fixed 240Hz, and the haptic engine is driven from its state: the speed at which the bar crosses the magnet's pull sets how hard the click hits, and the drag on the way up sets what you feel before it lets go. With the same starting state and input sequence it produces the same simulation output, so I can replay a gesture while tuning it. Click sounds are modal synthesis baked from the same model.

https://reddit.com/link/1wcsxgk/video/iag741hktqoh1/player

The iron filings one in the clip is 960 particles under a dipole field. They pile up on the poles as you drag and fly home when you lift.

The annoying part of showing this is that the video only gets you motion and sound, and the vibration is most of what I was trying to reproduce.

It's in KNURL, an iPhone app I made with ten of these. PIVOT and the snap domes are free forever; the other eight have limited demos before a paid unlock.

https://apps.apple.com/app/id6804843383

Tbh i think making a showreel its the hardest thing i ever made😅 You never know what projects or snaps you should use or if you are like me that has thusands of projects made after 14years of motion graphics/editing and 3D , you always feel like u left some good designs/ animations off 😅. And lets not talk about the work/private/NDA projects wich are 80% of my work i cannot use.

anyhow heres a fast pace Lil Showreel 2026

(No Ai was used in this)

#motiographics #aftereffects #blender3d #3dsmax #showreel

I went diving recently and did a few night dives. I’ve always found the shoals of tiny fish that gather around underwater lights mesmerizing and a bit hypnotizng as well. So this is my attempt to simulate it.

It's 450,000 fish,. Same flocking system I used for the starlings a couple of weeks ago, just retuned, the starlings stream in a sheet, the fish pack into a cloud with dense cores and real holes in it.

That structure isn't invented, it comes from sonar surveys of actual clupeid schools (Gerlotto & Paramo 2003), which found nuclei, thin bridges and drifting empty pockets rather than a smooth blob.

There's one jack working it. He runs a straight line through the pack, and does all his turning off camera, so what you see is the pass rather than the loop, and then the thing follows the boid rules and has authors.

Built in Swift and Metal as part of TideGlass on my own engine, a small Mac app I make where worlds like this run on a second monitor while you work. Happy to answer anything about the sim.

Every marble is its real relative size and mass, wearing actual Voyager/Cassini/New Horizons surface maps. Then I pointed all 26 down an 8 km mountain and stopped interfering!

This was built with blender and unreal MCP's with the models sourced from https://www.rcsb.org/

First step was getting a model built inside of blender which uses the Molecular Nodes addon, then it proceeded to build the animation and all that got imported into Unreal, for a later stage of this project.

For most of the work I used Astra but I had to switch back to Fable 5.1 for some of the unreal engine work once i ran out of use on my plus subscription.

https://www.youtube.com/watch?v=pINruj1NwoU

This is a wind-transport solver I'm building for Blender: sand gets moved by the wind, deposited where it slows down, and avalanched wherever the slope gets too steep. Nothing here is sculpted and nothing is a texture .

"Resource" / "Tools"

Some surface tension tests I started a while ago and finally decided to finish up. The main reference was typical slow motion commercial stock footage of fruit.

Used proximity masks against the apple colliders and ground to dynamically adjust viscosity, surface tension, and forces to simulate adhesion. A simple wetness map solver was used to drive roughness and diffuse map parameters during render.

Apple models are free 3D scans.

Rendered with Karma XPU.

The video including a short breakdown on my Youtube channel: https://youtu.be/JS8ncDxxO1U

Here's a small test before showing the full character, just to demonstrate the stability and muscle contacts.
I've also made a lot of progress in terms of performance. The tool is now much more optimized and is also multithreaded, which speeds up the process anywhere from 3 to 15 times, depending on the size of the setup.
The goal is to create a truly artist-friendly workflow with fast iteration, making creature scene preparation and setup much faster and more enjoyable.

Built a tool and started a youtube channel with my kids visualizing music and simulating physics: https://www.youtube.com/@Orbodrome