This R&D uses a hero car asset as the main interaction object, with additional pyro elements around it, while the primary FX focus is on simulating different types of liquids—from water and mud to heavier, more viscous materials.

At this stage, the goal was not final rendering or presentation. I focused on the raw simulation behavior, without spending time on final meshing or rendering, because the main question was whether each liquid already felt correct at the simulation level.

For example, mud should feel heavy and viscous, while water should feel lighter and more fluid. The visual identity should already be present in the motion before final shading is added.

Shader work, displacement, surface detail, and final meshing can improve the result later—especially for materials such as mud—but they should enhance the simulation rather than compensate for incorrect motion.

One of the main goals was to test how far a single procedural liquid setup could be pushed through parameter changes. The core network remains largely the same, while different settings control properties such as viscosity, drag, velocity, surface behavior, and overall motion.

The key question was: can one reusable setup be art-directable enough to completely change the character of the liquid without rebuilding the simulation network?

This type of workflow becomes especially valuable in larger teams, where a well-designed procedural template can be passed between artists and reused across multiple shots. Instead of rebuilding each effect from scratch, artists can start from a stable system and focus on shot-specific adjustments.