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This scene demonstrates how to set up an infinite ocean scene using Chaos Phoenix. The Liquid Simulator is set to use Ocean rendering modewhich creates infinite ocean surface. The Pure Ocean option is enabled in order to be able to render the scene even without running a simulation. A Phoenix Ocean Texture is used in the Displacement slot of the Phoenix Simulator to create the waves over the ocean surface. A regular 3ds Max Noise texture is plugged inside of the Displacement Scaling slot of the Ocean texture in order to create additional variation in the ocean surface.

The scene shows how you can blend three materials in one Phoenix Simulator. There are 3 different Phoenix Sources and each one has a different color for the RGB channel. There is 1 pure red, 1 pure green and 1 pure blue.

A Phoenix Grid Texture is used to read the Grid RGB data from the simulator. Then 3 Color Correct nodes are connected to Phoenix Grid Texture (one for each color channel) and used as masks in a V-Ray Blend Material with 3 different materials used as coats.

The scene is using a very thin Phoenix Simulator and a small emitter cylinder inside a curved tube used to simulate a high pressure water system. In order for the fluid to be directed in a specific direction the Source is using Polygon IDs of an object to limit the emission only to those faces which share a certain ID. Everything is set in real scale so it should fit in any project when imported - approximately 10 meters wide and 1,5m. in height.

Additionally the effect is enhanced by V-Ray Environment Fog under the water arc.

The box is used as an emitter and for the Source's Outgoing Velocity there are two noise textures used as a mask to randomize the emission and create small and big droplets.

In the Dynamics rollout the Surface Tension to 1 so that the liquid can be accumulated in a bigger drops while travelling downwards and a Droplet Formation of 0.4 is set so that droplets can be formed. The Wetting is turned on and some Sticky Liquid is added in order for the drops to stick to the surface.

As we want some drops to stay stationary and some to fall dawn there is a Phoenix Mapper node added which sets the Viscosity for the Grid to 0.2 using an Output map. As this works on the whole grid a noise texture is added as a mask so only some parts will be affected by the Mapper and the rest will not.

The scene shows cascading setup between two simulators. The Phoenix Source clamps the texture values between 0-1 so smoke and fuel will naturally transition fine, but temperature which goes above 1 - up to several thousand Kelvin - will need to be remapped before being plugged into the source. This is why an Output map is added after the grid texture reading the Temperature channel. The temperatures for the source for sim 1 and for the brush source are set to 2000K, and the Output Amount of the Output map to 1/2000 = 0.0005.

- You need to enable Motion Velocity on the Brush source so that the velocities will be transferred as well and of course you need to have velocity exported from the first sim.
- The area which overlaps will be rendered twice, unless you put a box as a render cutter for the first sim.
- Grid-based self-shadowing won't work between the cascade grids - you need to switch to the slower but more robust Ray-Traced self-shadowing.

Tweaking of the following options has a significant impact on the final simulation’s result:

- Outgoing Velocity value in the source;
- Grid Resolution - for this kind of a scene it's pretty low;
- Cooling - more cooling leads to shorter flames;
- Steps Per Frame - high values produce smoother flames;
- Volumetric Options - tune the fire color, light emission, shape and a lot more from here.