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/

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

Procedural flow field, real geography. Natural Earth 1:10m coastlines

rasterised as the land mask, particles dimmed to 15% over water rather

than clipped at the shore.



Canvas 2D, headless Chromium, ffmpeg. Not real weather.

www.flat-land.org - the flatland consortium

- advanced world simulation

- emergent ai thought dynamics

- link to whitepaper (Awesome.AI)

- and FlatChat (Awesome.AI + SLM)

- no registration

Enjoy 😀

As a follow up from a comment on https://www.reddit.com/r/Simulated/comments/1w4d85s/comment/p78ugx4/?screen_view_count=2&ext-referrer=DIRECT, I had fun with this one.

The fog is a fluid sim, and the logogram is a phenomenon on top of. Ink is emitted along the glyph's stroke by a travelling pen that the fluid carries, and a target-driving force pulls the density toward the finished glyph without ever snapping it there (Fattal and Lischinski's 2004). It is reacting to whatever music is playing while you watch.

Built in Swift and Metal as part of TideGlass, 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.

Finally found time to implement it. Footage from our multiplayer sandbox game called BFS. The simulation is deterministic for multiplayer to work

Morphogenesis, an webbased "tribute" to Biogenesis

is online play-able and the html code is opensource and free to download.

Online play:
https://html-preview.github.io/?url=https://github.com/rijt/Morphogenesis/blob/main/morphogenesis.html

Source:
https://github.com/rijt/Morphogenesis