Advanced 3D Logo Animation in Autodesk Maya | Lucas Ridley | Skillshare

Advanced 3D Logo Animation in Autodesk Maya

Lucas Ridley, Instructor and Animator

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19 Lessons (3h 15m)
    • 1. Advanced 3D Logo Animation

      1:17
    • 2. Maya Interface Refresh

      5:31
    • 3. Importing SVG

      6:07
    • 4. Voxelize The Logo

      8:57
    • 5. Random Scale

      6:43
    • 6. Animate Scale

      20:04
    • 7. Add Spring

      5:33
    • 8. Add Complexity And Control

      19:30
    • 9. Motion Paths

      16:32
    • 10. Trails

      14:47
    • 11. Animate Color

      17:32
    • 12. Dynamics Motion Path

      10:52
    • 13. Dynamics Simulation

      14:55
    • 14. Add New Shader

      6:32
    • 15. Trail Shaders

      5:37
    • 16. Camera Animation

      6:02
    • 17. Rendering - Part 1

      9:42
    • 18. Rendering - Part 2

      15:01
    • 19. After Effects Export

      4:01

About This Class

Welcome to this course where we will learn advanced ways to use Maya's motion graphics toolset called MASH to create an elaborate logo animation.

We will start with a flat 2D logo and make it into an appealing 3D logo animation

This course is intended for intermediate to advanced users. Hopefully, you're somewhat familiar with Maya before taking this course, maybe you've taken one of my other beginner Maya courses, or if you're a quick learner you can try and jump right in but you may have to watch the course on 1x speed and rewatch certain sections to be able to follow along.

All the project files are included for you to download and follow along.

We will learn:

  • Transform a 2D vector image into a 3D shape
  • Voxelize the logo
  • Animate these voxels with precise control
  • Learn how procedural animation will allow us to make quick changes on complicated animations
  • Animate objects along a path
  • Add trails to objects
  • Create a dynamic simulation
  • Control the simulation
  • Add and control color change
  • Light and render the scene

    I look forward to seeing you in class!

Keep Creating!
Lucas

Transcripts

1. Advanced 3D Logo Animation: welcome to advanced three D logo animation and Autodesk. Maya, Hi, My name is Lucas. Really? And I'm a professional animator with almost 10 years of experience and I'll be your instructor for this course. We're going to start by taking a two D image and creating a three D model out of it. We're going to take that three D model. We're going to turn that into a box ill ized version of itself so that we can animate all of these little boxes together. And we can add a ton of control that we can animate through color through different ramps and use motion trails to trigger a dynamic simulation that we'll have very fine control over. And I will show you how to do all that in this course, and at the end of the course, you are going to be ableto light and render this animation out into a movie file. This course is for any motion graphics artist who wants to start to incorporate three D animation into their work. I also recommend that you have some experience in Maya, will cover a little bit of the basics the beginning, but will jump into pretty advanced topics quickly. So hopefully you have taken some my other my classes. But if not, hopefully you're a quick learner and you'll pick it up with no problem. All of the project files will be available for download with this course seeking. Follow along. Thanks for watching l see you in class. 2. Maya Interface Refresh: in this first lesson, we're just gonna get re familiarized with Maya. So if you're an advanced user, you could just skip ahead to the next lesson. But if you're still getting familiar with Maya, let's just cover this very quickly. Hopefully, you've taken one of my other my classes already. So you're already familiar with Maya, but basically we need a three button mouse navigate around. We're gonna hold down Ault and left click to rotate Middle Mouse to pan around and right click to zoom in and out. And if you don't like the color of your background, hear like minded and it all be and change that, and I like to kind of keep it blew. Just so there's a grading and kind of Seymour contrast there, and this is our grid, and we can turn that on and off here, and we can also turn on anti a leasing. I don't know if you can see that on your screen. Let me try to zoom in a little bit here, and you can hopefully see that the anti alias thing kind of smooths everything out a little bit, so that's kind of nice to feature to turn on. Other than that, we basically have our view port here, which is what this is called. You can ignore pretty much every menu up here. We're gonna be using a few things, um, inside of Maya. But we're gonna go deep into those couple of things we're gonna use for animating text. We're gonna go into key frames, and we're gonna use just maybe two of these menus up here. So don't get too bogged down with how many men use you. You see up here because we're only gonna use a few of them for this course. If you want a deeper understanding of Maya in general and know what more these buttons do. I have another course that covers all that called Maya for beginners. So the other things to consider when we're looking at what we have here and maybe yours doesn't look exactly like mine right now, but basically, we haven't out liner and weaken, Doc, that wherever you want, I like to keep it over here on the left. And if you don't see that, you goto windows out liner, and you can always turn that back on. So if we lose that Somehow we can always open that back up so it will help us keep track of what we're doing and what are objects Air named. And we rename them here and let's just create an object real quick. I'll go to the poly modeling shelf and hit a sphere. So now we have a sphere, a lot f to focus in on it. So we zoom in on it and I can take you to select it, click and drag and also select it with a single click. And then we have W to move things around. We have e to rotate and we have our to scale. And right now I have snapped scaling on, which is kind of annoying. There's a bunch of little options here, so if you run into anything like this, just asked me a question and I will get back to you and help you with it. So for this example, if you if you're scale iss snapping and this is the kind of keep it at whole in teachers, we can change that by holding down our left clicking and then we can see snap scales checked on. And so we just let go of our mouths over. On top of that now we can scale without any problem. Um, so that's just one little thing and kind of dimension. There's a bunch of menus in here. Feel down. W you get the move, uh, options here so we can move based on world space on if you noticed if I rotate this over and now the up access is still up and down even though the spheres rotated over. So if we want to get back to having an object mode here, we can do that by holding down W left clicking and holding down left click. And then when we release it, will choose that other mode. And that's the same is true for rotation as well. And I showed you that as well, for, um, scale. That's how we had that snap option that was turned on so I can turn that back on over here , and it will snap that. But I think that was just on by mistake. So there's those types little hidden menus there. Um, not that big of a deal. You can just sit w again for movie for rotate our for scale and on the right Here we have our actual editor. You see, that's written right here. And then we also have our icon here that selected that lets us know where in the Attribute editor. And then we have our channel box here so you can see channel boxes written here. And these two places are really where we're going to spend the most time between actually editor and this and eventually we're gonna work in the MASH menu here. But we'll get into that later. And so what? This shows this is the name of the object and all of its kind of absolute values based on the scene here. And what that means is, if I move it around, you see these values update and there's one kind of cool thing about Maya is you can actually freeze transform. So for whatever reason, say, I want this position over here now to be considered 00 for this object. I just go to modify freeze transformations. And now everything is nice and clean and all zeroed out. So if I happen to move that over, there's for some reason. I know if I hit, select all of these kind of value in her fields Here, I can hit zero. I know we will go back to this spot because that's where I had freeze the transforms. So we'll get into more details like that later on, but just want to show you kind of a couple of little, you know, interesting things that that Maiken dio. And you know what? This manipulator, You can also select the constrain options here so we can go on two axes we can also go into actually is this way. So you know, I'm not going back and forth and z space here like this, and I can prevent that from happening by selecting this kind of middle handle there. You can kind of see it as I rotate around, but so in this lesson, we covered Ah. Now to getting around the view port, we talked about how to manipulate objects and some of the little quirks that and menus that you confined and adjust how you manipulated, move things around. And the next lesson words going to jump right in and start creating our type, and then we'll move on into animating it. Thanks for watching 3. Importing SVG: welcome to the first main lesson of this course, animating a three D logo, which we're going to start with this one. There's a couple different ways we can bring in a scalable vector graphic. And for those of you not familiar with vector graphics, that just means that if we scale in here, we take a look at this. The image never gets pixelated. That's because it's a vector image. Okay, just like whenever you type something and you increase the font size, the font never gets pixelated. Those air vector graphics, same thing that we use here, an illustrator which isn't necessary for this course because I'm gonna provide this file for you. They get import into Maya. So there's two ways that we can bring this file and a Maya. If you do have illustrator and you've made your own logo, you can use that. We could actually just copy this by hitting Command C after selecting everything and going over to Maya and clicking this s V G logo under the poly modeling shelf. When I click this, we get this little kind of temporary icon here. And if I just click this pace icon, hear it will actually bring in that logo for me, which is very, very helpful. But for those of you who don't have illustrator, we can just do this the normal way and import it in. So it's click import and navigate to R S V. G file and had opened and the same thing happens. We get this file imported, and now we have a three D object based on a two D image. How cool is that? So the first thing we want to do is clean this up just a little bit. So let's click on the geometry and go over to the S V G tab here. So now we're back to where we imported it. And you want to go to the geometry tab here and increase the curve resolution because you can see here that this is very faceted and it doesn't look like the nice smooth curve board that we made in Illustrator. So what you can do is increase this and smooth that out, and you can actually type in a number here as well. Even though this default Max is set to 10 you can increase that. So now we want to dio to just kind of clean this up is bring this over more in the center of our scene and then hold down D and X two grid snap the pivot. Um, and middle mouse, drag your mouse to this center grid 0.0 Good point One really quick thing I wanted to show you is that might be helpful if you have a logo like this. What we can do really quickly is to clean this up just a bit. Let's click the multi cut tool. And basically, what we're gonna do is create an edge loop where these two pieces meet because we want these to be merged. If you take a look at this now, I'm just gonna go to the edge mode and I select this edge and pull us down. You can see that these actually aren't connected here so we can connect that up and it will play nicely with the tools we're gonna use later. So just gonna click the multi cut tool and I'm just gonna be very inaccurate with this. It doesn't have to line up exactly. Well, line this up after the fact that I'm gonna enter after I'm done making that loop. And I'm using this tool instead of them the edge loop tool because we're cutting through an end Gone. This isn't a four sided face. And so the edge we won't go all the way around if we use that tool. That's why we have to use the multi cut tool. So now I'm gonna go to the Vertex mode here, and I'm going to select the Vertex and all Down V and Middle Mouse, drag it to that closest neighbor and do the same thing for all four of these sides. So then once we're done with this, we can just delete those faces and that are inside, that they're sharing one on top of the other and then they just merge. These Vertex is So I'm gonna zoom in here through the model, and you kind of see it's a very zoomed in view. If you hit four, you can get a wire frame and kind of see the face that I'm talking about, someone that you know they both share. But it'll be hard to select a wire frame most. That's why I have to kind of zoom in through here and then go back to five, which is the shaded mode. You can see that the face they share here. So if I'm in a face mode and select the top one in the bottom one and now it goes all the way through to the next thing pan around to make sure you didn't actually select, um, a face that you didn't want to and delete that. So make sure it's all clean. Now we can go back to Vertex mode Select. All four are really eight of these that are stacked on top of each other because if you remember, um, you know, this is still not connected here. So now we want to merge these. Let's select all of them that we kind of made here and snap together and let's go to the edit mesh merge tool. And now they're merged together. So we select one of these. Vergis is moving around. That is actually one solid piece. One last thing on and reiterate before we close. This session down is when I save this file, I want to make sure I'm also setting the project. So it's goto file set project, and I'm going to go into my kind of project directory, and I'm gonna set my folder tomorrow. You can set yours to be whatever you'd like, but I want to make sure I create a default workspace. So the next thing we want to do is create all the folder directory. So I got a project window and is gonna populated with these default values. All had, Except So now when I go to file, save Seanez and I go into the scene's folder here, um, you can see we have all those folders that were populated for us here. If I jump up one director, you can kind of see them all listed here as well. So when we save our scenes of going to save him in the scenes directory, But it's just good to organize from the very beginning because we're gonna have a few caches and you know, some other things that might be useful to have this folder structure set up. And just to really reiterate, you know, the importance of having a clean project directory. So I'm gonna save this as the first scene file here in the class. And you can use this moving forward if you'd like. Thanks for watching by 4. Voxelize The Logo: welcome back. And in this lesson, we're gonna jump right in into using MASH a very, very powerful procedural animation tool kit inside of Maya directed four motion graphics artists. So first thing you want to do is get a fresh piece of geometry here just to make sure that we don't have any existing history on what we're gonna be using. So I'm gonna duplicate this mash writing command D, and I'm gonna use this and say, Ah, original logo. You can call it whatever kind of makes sense to you gonna hide this original S V g mesh because we don't really need that anymore. So now that I have this, I want to go over and make sure I have the mash toolkit first loaded so you can get a window, Settings, preferences, plug and Manager and scrolled down Teoh believing MASH is its own kind of section. Here it says, uh, plug ins, mash plug ins and want to make sure those air loaded that will give you a menu inside the animation tool menu over here. So now we have MASH, Let's click that and we have a few different options now when you think about box allies ing ah, logo. Which is what we're going to start with and box allies this logo with ah bunch of different cubes. There's a couple different ways we can work, But, you know, we're not actually gonna use this in the MASH network, per se. What we're gonna use is a square that we're gonna fill this object with. So what we need is a cube or square. So we have a cube now, and we want to use this in our MASH network. This is what we're actually gonna use on create the mash network from. So let's go to mash, create MASH Network and look at the options that we have. We have, ah, geometry type mesh instance, sir. And when I'm gonna chooses mesh because of some of the other options will use later on with dynamics. So I'm gonna applying close, and now you can see that we've made this MASH network, and these are just the default values. This doesn't really mean anything to us here. These 10 across. That's just, um, the default that they give you. And you can, you know, change that over here on the Ash Butte Editor This is kind of where we're going to get to all of our different menu options here and what we can add to our MASH network later. So let's jump into the distribute area and take a look at, you know, by default. It gives this linear so we can you know, this is where we're adjusting that linear distribution and how many now far. But what we want, if you remember, is we want to box lies this logo. So we need to go to distribution type and choose mesh. And what it's asking down here in this warning is please connect a mesh. So I need to tell it, What what mash do you want to distribute this cube into? And of course, it's this logo, so we don't want to select it, cause then it will de select the MASH network that we're tryingto bring it into. So let's make sure we're still on mash and we can see this input mesh area here on the right, and what we want to do is go over to the outline er which if you don't have open you goto windows out liner and what we want to dio is middle mouse. Drag the original logo into the input mesh and let go. So now you can see it's distributed the squares inside of that mesh, and it's choosing a method of scattered by default. But what we want to dio is Vox's all right, and you can tell it's not really looking the way you want it to, because it's very this. The cube is very big, and there's a couple different ways we could address that. The easiest one would be Teoh Scale, the original cube that we made, and it hit it. Whenever you make a MASH network by default, it's gonna hide the original object So we could just unhygienic We wanted by hitting Shift H after we selected in the outline, er and then hit are to get to the scale tool and just scale this down. So we want to choose kind of aqsa will shape that is gonna match the kind of density that we want and we can play around with this after we go back into box will go to the box will settings here that we can use this little menu to drop down and decrease the box will size . So that's basically saying, um, how big of a boxful size they were trying to fill up here. And we want to try to find something that's fairly representative of our shape, Um, and not so big that you can't tell what it is. So let's choose something like this. So we're going to kind of go back and forth between scaling the actual cube down and choosing the right boxes size so that the distribution between the shapes I'm basically looking at these gaps and you know, you can choose this to be different for yourself, but I'm trying to figure out, you know what kind of gap don't wanna have here. And I don't think I wanna have very much of a gap. So gonna keep dragging this down until just about There's no gap and start typing in numbers. Here is well, so I'm just gonna take away that eight, and that looks pretty darn close. What I want, I think. But I think I can get it even closer And shoes maybe 2 55 No, that's a little too low to 58. Yeah, it's getting really close in here, and these could be different values for you at all. Just kind of depends. So I just want to make sure that they're not overlapping, but they're just really close to each other. And that's just my personal preference. You don't have to choose that for your own logo, but that's just kind of what I'm going with. Um, I'm just gonna back that off one little thousands of a degree. So if we scale, if we kind of zoom back here, it does represent our logo pretty well. And the kind of reveal that we're gonna do when all of these get wiped away, I think will be a really cool visualization of seeing kind of, ah, the digital version of it being box allies down into its more clean vector. You know, smooth edge version. So keep in mind, too, that the reason why I'm going about this animation in this kind of art directed way there this specific creative idea is that this logo is for, uh, my school called Digital Creator school. So when I'm thinking about this logo or the logo this we should think about when the logo that you choose is what type of animation represents this logo well, and the animation will speak to what it embodies. The brand, right? So when I was thinking about this logo digital creator school, you know, I thought about all types of things. You know, What's digital think of, like Raster Ization, Vector graphics, Vox's ALS, all these types of different visual aids that on tools that help display and visualize digital art and digital content. So that's why I chose to go in this art direction of using this voxant Liz ation of basically building up this logo with Fox ALS and then wiping them away. Um, with dynamics that will do later. But that's kind of the idea and the thought process that I decided to go to go with it just to reemphasize that here's the original idea waas right? And so your idea can be very simple to when you first start out, and then you can kind of finesse it more as you learn my better and as you kind of work on the idea, But for this course, we're gonna go. No. You know, no matter what logo you're using, we're all gonna learn the same version right now because this is about learning the tools, but we need a specific example to make this seem practical. Right. Um, I just want to go through and show you what every single button does here because that won't be very helpful. Lets, you know, do a very specific art directed idea. And in that way, you can pick up a lot of the tools along the way and still make something pretty cool, Um, and usable. And hopefully you can find opportunity as I'm teaching you this to branch off and do your own kind of thing as well. But for this first time around, just follow along with what I'm doing. But I was I just wanted to take a second to explain. Why am I, you know, animating this this way? Why am I using boxes ations? Well, it's because it kind of fits with the brand in this logo. So in the next lesson, we're going Teoh work on adding some animation to these vox's old shapes now, and I can't wait to get going in that lesson. Thanks for watching, and I'll see there 5. Random Scale: in this lesson, we're gonna start to animate these boxes that we've made and moving forward. We don't actually need to see this original logo mesh that we made. So it's just hide that and you can see that we still have these Vox's ALS, which is nice. And we can also hide this original cube that we made the MASH network from Sam's Gonna hide That as well. So now we're just left with the of oxen ization of the MASH Network. Let's select the mash waiter from the outline er, and get back to the menu here. And what I would like to add is a little random rotation to each one of the boxes, because it's very, very clean. And even though you know something, digital is pretty precise. When you think about animating something, you also want to think about how this is gonna look rendered right, so the reflections, the shadows, the light and very, very subtle differences is gonna help sell the believability and realism of any animation. And so I want to try to start to incorporate that from the very beginning, which means I want to add some randomness to this right It's going to be very, very subtle. But let's go inter mash waiter and at a random note here you can see it right here. And if I left, click it and then it will bring up on option to say, Add random note. I'll click that. And just off a screen here have the MASH editor. And if you don't have that, you go to MASH MASH editor, and it's basically like an outline er for our mash objects, so we can very quickly select them and get to each one of the tabs. So by default, of course, it throws some random values in Ah, well, not that random. It's one for each one of positions. We don't want to really affect the position. At least I don't. I want to just add some very, very small rotations in all of the axes. So I'm going very small, like so I'm gonna go 0.5 year 0.25 here and 0.5 here. And it's very, very subtle, right? You probably can't really tell, but take a look at the width of this, um, Gap and the width of this one right there really different right. So it's these tiny changes in kind of variations that's gonna add some realism and texture to our animations if things aren't exactly perfect. So this is also the reason to leave a gap here because we don't really want. At least I don't really want the visual nous of things getting smashed together here. I want to keep a gap. So if you want more randomness, let's say, um, let's increase this. Ah, rotate. Why? So now they're crashing into another. I'm just gonna turn on the shaded wire frame button here so we can kind of see where the edges are. You can see where these air starting to smash into each other. If you want to do something this extreme, you go back and to distribute and you can still change. The box will size, so we just increase that, and now you can see we have a much bigger gap. So this is one of the powerful ways of using MASH is a runt stuck on any, you know, certain path. Yet we can always go back to step one and make adjustments, and we can still keep all the work we've done. After that using the random note, but I kind of like where we're at with these small changes in random rotation. So the next thing we're gonna do is add some offset scale. So let's go back to the mash waiter and go to the offset note and add an offset note here because what I want to do is create a tunnel, right? So I need to scale all these way out so I can make a tunnel with this logo. If you take a look at this little icon down here in the bottom left of the view port, you can see the axes here, and I'm just gonna hit all be to change the background color. She can see this a little bit better because his Blue Z axis is going kind of left to right right here. If I spent around, you can see, you know, the logo is facing Z direction. So that way I know which of these attributes here on the right that I want to effect, because if I want this thing to get scaled long ways like this, like a tunnel that we're going to go through the center of I need to do it on the Z axis, and that's how I know it. Because I can look down here and see. Okay, that's the Z axis going this way. So I want to scale it on the Z axis. So when you go over here, Well, how do you know what the Z axis, You know, because everything is ordered in Maya as X y z x y z. Okay, so any of these position rotation scale, it's all X y z. We know the last column here is for Z so I can scale this up. I'm gonna say, like to 75 something like that. So now we have this big, long tunnel and check this out. Those remember those tiny little rotations? We did the random rotations. When you scale something that far, they get less small the further away they are from their pivot point right, So now there's really smashing into each other. But I don't really care about that because we're actually gonna have the camera inside of here when we animate it, and that's gonna be our kind of tunnel effect. It's going to be really cool. So, um, you know you can feel free to animate this as well. You right? Click said a key, but what we're gonna do is use a different way of animating this in a very, very interesting way. That's very, very powerful. And I'm gonna see that for the next lesson because it's going to take a little attention because a slightly more advanced way of animating this attributes so that it all scales back down to the way it was before. Like that. Um, so I just turn that are enough. This kind of a fun way to preview changes if you know you're doing something and you have a ton of these in your like, Well, I can't really tell why. You know what? If we saw this more like I don't know why these air all jacked up like this. We could just go through here and just turn them off me like, Oh, that's the You know, that's the random rotation. Uh, you know, stuff like that, that's ah kind of quick way to preview these changes that we're making. So, in the next lesson, we're going to create, um, our first kind of animation thing that will control this crazy scaled tunnel that we've just created that our camera is gonna be zooming through. Um uh, at least relatively, it's actually gonna be the objects scaling, but it's gonna look like cameras kind of rushing through this thing. So in the next lesson, we will cover that slightly more advanced topic. Thanks for following along. I know what kind of talk fast sometimes. Hopefully you're not watching this on, like, two times speed. Otherwise, I'm gonna sound like a chipmunk talking crazy fast, but yeah, thanks for watching, and I'll see in the next lesson. 6. Animate Scale: welcome back in this lesson, we're gonna cover a fairly advanced way of affecting the animation of the scale here. So the first thing I wanted to talk about, though, is just adjusting some of the attributes over here dial back random strength just to add some variability to this. So if you can imagine, um, you know the camera inside here, you'll just add a lot more interest visual interest once, if we have these different kind of layered ah cubes here scaled. So it's not super even. Um, and that also help when they animate in that they'll be a little more random as well. So this will give us a lot more randomness, um, and kind of visual interest as we get going here. So to animate the scale, like I said, you could you could animate this by setting a key here, but you would all go together. And what we want to do is, you know, have a little more control over it. We want to be able to find tune exactly how this cascading effect of everything scaling back down occurs. So how we're gonna do that is with a strength mount. So if we scroll down here, we can see under strength what we had open as well. Where we had the random strength, there's a strength map. So if we just dial this back down, we can animate that too. And when you think about a strength map, you know a map if you're in Maya, really means a texture. And that's why this is a color, right? So it's indicative of ah, texture. So what we could dio is we could actually pipe in a texture to this, cause you can see this little black white checkered box. That means we can actually add something here. So let's, uh, first take a look here map projection access, because this is gonna really affect what we're doing next on how we're gonna visualize it. Um, but you know what s Oh, it's settle. Why? Right now and again? Same thing about it being scaled on z. Imagine this texture we're about to project is gonna get projected on the Y axis meaning up and down. But I don't want that. I wanted to be projected through from Z straight on because let's say I want to do a white from left to right. I want all of these to scale, starting on the left and then for to get wiped. And as I am scrubbing my mouse over, these will cascade and get scaled down accordingly, right? So if it's getting projected from the top, we could kind of do that, I guess, as well. But just for the sake of visualization, I want to do it from the front, since everything is kind of happening from the Z axis. So it's just switch that to Z right now, and we can switch back to a lie later and and kind of show you the difference. But so when I clicked on this checker box that opens up a create rendered node window and I want to add a ramp, some a click ramp, and the reason I want to add a ramp is you can already you kind of already tell, um, click and drag any one of these. Check this out. I mean, pretty quickly. We have a ton of control over this thing, right, and it's doing it based on that axes, if you can remember what we just controlled. And again, if we if we change after, why It's probably gonna I guess it does make a difference on I don't really know. Honestly. Wow. It's projecting it down from why doesn't make that ton of sense. Um, but you can kind of see it at effects in a different way. Yeah, on why, I don't know. That doesn't really make sense. On what? Why it's behaving this way. So anyway, I think that's what I originally chose Z anyways, cause this just makes more sense to me anyway, um, that it's affecting the box ill ization or the scale of these based on this z Axis projection. So imagine, like from this view, this this ramp is being projected into this view, right? So there's another way that we could use this and actually visualize it as well. Is using a helper right? Cause it's It might be a little hard to control this And let's say, um, you know, we want to animate this like spinning. We actually want toe. Leave it like this. We wanted to spin around. We could maybe rotate the U. V's. It's a little wonky, Um, and you can see how it's kind of clipping that corners as it rotates. Um, and we can't really visualize the UV place texture thing. It's kind of a hidden thing. So let's get a map helper here and apply that ramp to this and it will help us visualize this type of an effect. So let's go back to the offset node and you can see there's a map helper, um, that it's asking for a transform. So what, that is, is it could just be a plane. So it's created plane, and this is gonna be our little helper to help visualize um, this Ah, this ramp. So just scale it up. And I'm just kind of moving into the center here. Doesn't have to be perfect. We can always change it. Move it around later. So now that selected, um, I am going to go back to the mash offset kind of what we did earlier with when we're doing the box ill ization. I'm gonna middle mouse drag this into the map helper and let go to check that out. So now it has mapped that, um, the ramp onto our map helper. So now what are rotated? You know, we didn't get, though we don't have that weird clipping thing where I was kind of making these on the corners pop out when we rotated it from the place to D texture. So check this out. You know, you you kind of envision this ramp right now, um, on this texture, you know, if we hit six, it should show textures. But, you know, behind the scenes, it's doing all this stuff, right? It's using this plane as a map helper. And it's applying this texture to this, uh, plane, this map helper, right. This is our little map helper here, and so it gives us much finer control. You know, it's just another level of control, right? We have this strength map which we can still control here. Um, but we also have it here on the map helper itself. So let's get this kind of centered up. And if we want to visualize this, we can connect it through the hyper shade. So let's just open up the hyper shade of this little wheel sphere up here and we'll get this Newman. No, it's his hyper shade. And we can just add a new material to this plane. Someone right, click and go to assign new material is going to use a Lambert, which is fine. And then when I have the Lambert to here, which we can call it, you know, map Helper. Just so we can keep track of this stuff so that shader is called map helper. Right? So where's our ramp texture? How we plug our ramp texture into that. Well, we plug it in. We've already made it. We know it must be in here somewhere for guard textures. There it is Ramp so we can bring it in middle mouse, drag it into hyper shade. And now we have the ramp texture. Now we just need to connect it to the color. Let's go out color to the in color here and now we have those two things connected. So now we can actually visualize it. And we don't have to kind of, you know, imagine it and are in her head. We can actually see it in the view port. Okay? And now we can kind of see why the scale of the mash network is behaving the way it is. So it's pretty cool. Now when I want to do is add some noise. Did texture, You know everything that we're doing every step along the way is just adding a very, very slight amount of complexity to our animation. And that's why we're using a more advanced kind of strength map option. Here is I want this thing to animate kind of from left to right on the, uh, a scaling down. And I wanted to do it in a very interesting way. I don't want to do in a linear way, meaning it just gets wiped on or wiped off. I wanted to kind of spin. Want to use this spinning element here that now that we have this map helper So I'm gonna do two things I'm gonna animate the ramp and I'm gonna animate the map Helper spinning. So it's first animate the ramp. Let's go into the Ram and let's bring this white value all the way back. And we can kind of see that other kind of interesting bit of complexity that we can adhere springing this black all the way over cause you can see, you know, I can keep bringing this over and it's not doing anything. So what kind of it's like, you know, starting a race and your foot's on the starting line yet, like you want to be on the starting line. So that's why I'm bringing the black all the way over to kind of the starting line where the edge of this box Litvak Civilization is happening. So now we have that kind of everything's on the starting line, ready to go. And we can set a key on the selected position here someone right click and say set key. So if you look down here in the timeline, we're on frame one. So we need to go forward in time. Let's just go to frame Ah, it's gonna frame like 20 Mood is gonna frame 36 and gonna bring this over eminent, right click and say, Set key again So you can see that we are gonna need to also animate the black side here. So let's go back to frame one. And let's select the black color here and key frame. Its position will set a key there. Now go back to frame 36 and let's just drag this thing over. So now finishes. That wipe should bring this all the way over when I set a key. So now we scrub it should do this. Wipe that we want pretty cool. So it's very linear, and I think we need more time. But how do we adjust those key frames, right? We don't see it in the timeline down here. What we need to do is open up the Windows animation editors graph editor. And when we open that up, you can see we have the, uh, kind of key frames of the selected position so we can just drag these over and give it more time. The other thing we can do is take the selected position of the black color, which is zero. And we can offset that to be later so that there's this great more of a Grady int happening here, right? Because we don't want it just to be like a hard edge of it, wiping on and off. We wanted to be kind of a smooth edge here, so it's, uh, we need to delay the start of the black. We want the white one to start, so it starts this kind of gray or area, and then the black catches up. So it's a much more smooth transition there. All right, so let's keep adding complexity. The other thing that we have at our disposal is the noise of the actual ramp texture. So if we take a look at the ramp texture, I don't know if we will see it that well and on the view port. But we can increase noise, take this ramp and just kind of crank this up. Look how it effects the edge here. Right, So it's no longer, um, just a straight edge. So now we scrub the timeline. It should be a little less, uh, you know, clean should be It should be a little more staggered, and we could increase the frequency if we wanted Teoh. You know, we could also animate these things were gonna animate the frequency we could and make noise on and off if we wanted to. But you can see where you know we're introducing this noise where it's adding some more complexity. And again, this is always I'm always looking for interesting ways to add some complexity the animation without much effort, you already have the ramp hooked up. We might as well kind of see what we can get with all the little tools built in, like this noise So let's scrub here. So you kind of see now it's not all kind of going cleanly together in a straight line. You can see there's different pieces that are getting scaled differently. It's pretty cool. So now as we scrub, we can see that I kind of random this happening and it's all getting scaled back down. So again, what's another thing that we could do? Toe add complexity? We could rotate the actual map helper as the ramp is getting animated. How trippy is that? Okay, so let's let this start. Maybe let's let's start a little bit. I'm gonna hit s well s would key frame everything? We just want a key frame the rotation. Someone had shift e the other way. You could key frame those is go to the after the channel box rather and select these and right click and say Key. Selected shifty is just a quick way to do that. So I want to scrub forward to kind of the end, and I'm gonna rotate it all the way to the other side. Let's see, What is that? We kind of have a bunch of random rotations here. Let's go back to that first key frame and zero this out. So these all kind of makes sense. I can see how these air both 90. This one should be zero just to make it nice and clean. So when we scrub to the end, let's just rotate this kind of 100 80 degrees. So that should be negative to 70 right? If we know our math every 90 degrees. So now take a look at this animation. We have the ramp getting animated as well as the map helper getting animated, so it's just adding some complexity. Let's put the camera kind of where it's gonna be just kind of pre visualize this, and we don't really need the map helper, so there's a couple of ways we can get rid of it. We could hide it, or we could make a display layers. Let's make a display layer and ah, we'll just turn off this p. So what that means is, when we play back, it should disappear. Check that out. So and I don't have I just have loop once on over here, someone turn on looping just by clicking this option a couple times in getting this loop symbol. Um, it should look back. So you're gonna refine this as much as you want? You know, feel free to adjust this animation, But look at all the complexity we added. Imagine having that hand animate each one of those cubes would drive you insane, right? Like that would be impossible to go through each one of these little cubes and animate them this way. This is what the power of procedural animation is is You can get many, many things animating and make adjustments very, very quickly, for example. You know, if I if I think we still need more time, let's go to the offset node. Let's select the strength map, and I'll select it here and go toe windows. Animation enters graph editor. And let's just take the last two key frames and dragged them out a little bit. All right? I just wanted to have a little more time. I'm gonna get over here toe where it should be done. M s like the map helper. I'm just gonna drag the map helper. Um ah, animation over as well. So now when we play, just turn off the graph editor. Meaning all V is, um shortcut and kind of see the animation we're getting and again, You know, depending on how you want this to look, you could, you know, haven't spin twice as much. Right? Let's go, Teoh this key frame and set a to 70. Um, we're actually adding, let's see, Ron. Yeah, Just go all the way around. Do some super crazy. Ah, 6 30 So now it's really going to spin around somebody all V to play. Yeah, that looks pretty cool. So we're just adding more rotation there. I think it needs it. Still needs more time. Um, because it's going to go. Everything's going way too fast. The other way. We can change animation for the whole scene is going into the window animation, Enter the dope sheet. This feature is a lifesaver. Go to view and go to scene summary. Now we have this little layer here. This is the scene summary, and we can just select all these kind of end key frames and shift middle click and drag all these over right? So now we can just really quickly So having to go through each one, these objects, we just use the dope sheet and do that could drag that off screen a little bit so you can see our animation. Now let's play this back, Alex. I think a lot better. I think the one goofy thing is you can kind of see it starting over here on the left and I'd rather be a cleaner start. See how it kind of starts and stops. And I think that's because of the noise we have in the ramp, so we could just start that ramp a little sooner. Let's let's scale out here and see what's going on that this is one nice thing about, like hooking up this texture, so it actually visualize what's happening. Let me just hit P over here on the display. So we're scrubbing. It leaves that up. Yeah, I think I just think the ram, um, this map helper is rotating too soon. So let's let the ramp get animated on, right? So the ramps getting animated on and then this thing starts spending. I think that makes a lot more sense. So let's get back. Let's get our camera back in the center of this thing. Some kind of visualize how this is gonna feel on look and it play. Let's turn off P here. So the map helper doesn't display while we're watching? Yeah, that looks a lot better. I still think I would like that to kind of finish. I think maybe we could even wait a little bit more. Yeah, that way it cut. It does kind of finish a little bit, so it's not kind of like bouncing back. Um, but these air, the little things you can kind of have control over as you get going. But also feel free to open up this scene file with all the downloadable project files to kind of get a sense for what I'm doing as well. So in the next lesson, we are going to continue adding more complexity to this animation. Thanks for watching, and I'll see there. 7. Add Spring: So in this lesson, we're gonna add some spring to our animation. This is one of my most favorite mash nodes because you get so match so much animation for so little effort. So we have our animation kind of done here, Uh, at least, you know, part of the beginning stages of it. And what I want to do is add a little spring so everything kind of softens as it resolves into the final kind of image here. So the way we can do that is add some spring. Let's select the mash waiter here and go over to spring at spring. Now, this, um, node is dependent on simulation, So if you're scrubbed the timeline now, it won't be accurate. It won't actually show you exactly how it's gonna be because the spring node needs you to play it from the beginning. Basically. And it also needs you to play it, um, like, play Every frame is gonna be the most accurate. And what that means is, if we right click on the timeline and go down to play black playback speed is gonna rip off that little menu that you should find on there under playback speed. Um, you want to make sure you're on play every frame and what that means is, is when you play every frame, it's gonna have a chance to calculate the dynamic simulation because the spring is basically a dynamic simulation. So now we play, Um, it'll be more accurate, and so I don't know if you can tell the difference, but there's a lot more going on. It's still kind of subtle, but there's a lot more springing this happening there, right? And let's take a look from this side. When can I see? It's all kind of bouncing. But the problem that we're facing here is you can see the spring is actually scaling things down, not just to zero, but into negative ranges. And that's how we get these black squares because it's scaling them inside out. So we need to control that, um, in the spring note. Otherwise, we're going to get thes reverse normals because we're seeing the inside out of these cubes . So we want to do that by Justin Ashley's of the Spring Let's go to Spring and the spring values here are gonna be based off of the scale of the world So we look at the original Cube. I'm just gonna shift h and we're gonna bring it out and let me just measure the distance here. I'm gonna go to create measure tools, Distance Tool, and I'm gonna hold down V on a click. And when I click over a year and we have 0.25 Okay, so that's 1/4 of one unit. And so that what that tells me is I don't want the spring toe affect the cube mawr than 1/4 of a unit other. If it does, it'll end up scaling in the negative, right? Like if I scale this more than 0.25 it'll go negative, right? And it's not doing it here, but it's not really helping my explanation. But you can see this Black Square here, right? That means it's inside out and we can play this back and you can see where more of them are doing that. If I can stop it on the right point. All of these air getting scaled inside out, right? So that's making it, um, not great. And that will really mess with your render. All those will will render black, no matter what color he put on. They're gonna render black. So to fix that, we need Teoh reduce. That kind of Max was called maximum translational right outside to 20. And we know we wanted to be 0.25 right, Because that's what we measured. The thickness of this cube we don't want it to. The scale is to Spring Mawr than, um, 0.25 Otherwise, it's all gonna go inside out like that. All right, so I'm gonna hide their original because we don't need that. And now when we play this back, we shouldn't get any black squares. Look, no black squares and we got a little bit of spring. It's kinda hard to tell, but you can see Watch this. Settle here on a zoom in on the top. See how it see how it all kind of settles. That's what the spring is doing. It is very, very small. But like, let's turn this off and watch what it does is very stiff, burnt, like it just stops. See how stiff that is. And now let's turn spring back on, not one node. We get all this nice little subtle animation settling down. It's pretty cool. I use it. You know, at the end of most animations, I'll just throw a spring note on there and just see how it looks. And usually nine times out of 10 it makes everything look a little bit better. You might have to adjust the maximum translational value depending on the scale of the object. That's why measured it right is 0.25 thickness. So I don't want it to affect ITM or than the thickness of itself. Right? Hope that makes sense. I will see you in the next lesson where we will continue to add little layers of complexity like this and keep, uh, you know, polishing this animation. Thanks for watching. 8. Add Complexity And Control: welcome back. And in this lesson, we're gonna add a little offset to the corner here. If you look in the top left corner of this example that I originally made, you can see these cubes air falling in from the top left. And so I want to add that. But before we do need to adjust the helper plane and the ramp so that it actually only goes around one time. If we look at this reference, which I kind of like, we can see that this reference has a much larger, smoother transition. And I think it's due to the It's probably is less noise and it's not going around as many times so we can see it kind of starts here on the left side, and then it goes all the way around to the back, back around counterclockwise, up here, I think ours is going clockwise. So it's just adjusted to be like this reference. This is any time you're, you know, one of minutes. Something that's happening. A commercial always kind of start to analyze what? What is it the like about this? Why am I trying to emulate this and what aspects they need to copy or, you know, tryto recreate. And for me, in this first example, I I created this. Um, just trying to recreate it for you in this class is and it goes around one time, and it's a lot smoother then what we have. So let's just make that adjustment real quick, and then we can do the offset. So let's go into the ramp of this. Let's open up the ash. We'd editor scroll all the way over to the map helper. It's just reduce the noise, gonna click this little button to get over. Oh, and also, I turned off the green click button Anytime I click, it's not gonna do that green thing anymore. Um, I just had someone give me feedback that they didn't like that, and that's the only few back I've ever received about it. So if you like it and want it back and other classes let me know. But someone said they didn't like it, so that's all I've ever heard about it. So that's why I removed it. But I increased the cursor size. Hopefully, you can still see the cursor, Um, so I wanna reduce the amount of noise here because I just think it's too much and I'm gonna turn off spring because when you have spring on, it is a dynamic simulation. And when we're scrubbing the timeline, it's gonna get kind of wonky, Um, as it's trying to calculate, so as the one we have now, we can see it's kind of rotating mawr than the example that I just showed. So let's select the plane and the time line to be the whole timeline. I want to see these in the graph it, er some of the Windows animation graph editor, and we could see that all the animation is happening on rotate Z. So I'm gonna isolate that by selecting it. And I wanted to start over here on the left, and I wanted to go the other direction because I don't want to reveal this top left corner where we're gonna have the offset. I want that to maintain its scale through All the rotations were about to do so. I want to change this up. So we have negative 630. It's gonna move all this Teoh zero to start at zero, and then we select this. We can just remove the negative and it will scale it. Put it going in the opposite direction. The same value, right? So now we're going just going in this other direction. So it's kind of ending in that corner. It's going a little fast. We wanted to start in the left side, so right now we're starting on the right side and it's going about 1.5 to 1 and 1/4 turns. So it's first get the left side working. So let's move this. And I'm just selecting both key frames. Shift in middle mouse, dragging it. And I want this to start over here. And so it started over there, and it's going to still going too far. We wanted to kind of end, um, in that corner. So now it's turning the left, and I think it's also the ramp. Um, see how it's already starting to effect, that the plane might need to be bigger, so let's make sure we don't have keys on the scale cause about the scale it up. So, yeah, we only keep framed the rotations. So now we scale. We don't have to worry about it, um, being animated scale and I think it's also just has to do with the speed of the ramp. So it's just kind of a lot of back and forth here, right? It's just making sure that the ramp animation is working with rotation animation. So let's drag that out. Because, let's see the reanimation ends around frame 1 28 we can see right there. And this will end about there, too. Okay, starting here, I want to make sure these air sync up, so I'm selecting their ramp, and so they're pretty close. So what? We can't do it. I don't want to reveal this corner yet. Some trying to figure out when you stretch this out. I want that left corner to still see Subscribed Helper Move it. So it's I'm gonna delete Thies to cause just distracting and see if we're Yeah, another thing. We need to deal this fact that the end of it isn't ending where we wanted to. So we still need to bring this down. So it's ending in the right place, and we just need to figure out what is going on the ramp that it's revealing this side, and I'm actually just gonna turn off in the display because I want to see what it's doing as it's rotating. So I hit piece in the display member when we did that. So now I can actually see what it's doing as it's rotating and I'm gonna isolate it. So I'm clicking this little button. So now all we're seeing is the ramp, so it looks like the ramp is coming on too soon. I think that's all it is. The ramp is coming on too soon. So it's hitting this top left corner of this thing. So, um, we just need to delay the ramp animation a little bit. And so you know, I want to show every step of the process like this, cause any time you're working in three D, it's not gonna be super cookie cutter like click this button and then it's all done. You know, like there's a lot of back and forth in animating in three D, and if anyone tries to teach you otherwise than they're doing it wrong and they're doing you to service because that you're going to get into it and realize that's not what it's like at all, and you get stuck a lot And now you don't know how to troubleshoot, cause they will never taught you, Um, their process, right? There's all just a process. This isn't like, you know, easy bake oven stuff here. If you're an American. You understand that reference? Maybe an old enough? Um, yes. Oh. So what we decided was the Rams happening too soon. So I'm selecting all the As I was talking, saying that I forgot what we're doing. We're gonna delay the animation of this, right, cause the ramps happening too soon. Cem's gonna drag this over. So now we got it. All right. It's good. It's still happening a little bit. It's now it's pretty good. I might only delay just a little bit more, so it catches you Keep more of that. Yeah. This is what I'm talking about. Yeah, that's what I'm talking about. Now we just need to adjust this just a little bit. Um, I wanted to stay in this corner. See, this is what I mean. This is what it takes. If you wanna get very specific. Like I want this to happen like this, you have to start to get very specific with what you're doing. So I think there's gonna be a really ah ah. Sweet spot here. I'm gonna get it. Curves, waited tangents. So Nelligan police handles out. I think there's gonna be a sweet spot on the time of when the ramp starts and the rotation . So I want this to start slower so that it gets more that corner. But I still wanted to start, so I don't want Oh, totally move the key frames now. Yeah, it's just barely. I was do like couple frames. Yeah, maybe two or three frames. Yeah. See how it's it's keeping that will top left corner. That's what I want. The other thing we could do is we could animate the scale of this thing just to have even greater control if he wanted to end sooner. But we still like the noise and like, you know, if we move one curve, it's changing all the animation, right, because there's just two key frames. Um, we could have more key frames, so it's based, like mile markers like Hey, I'm holding down I and Middle Mouse clicking to set a key frame there on that. When you get here and say, all right, just end go go faster. Right. But then we might have this weird transition. Maybe not. It looks pretty good. All right, so that's what I want. So now let's do the offset. Super quick. We've already done it with scale. Um, and one quick thing I also want to talk about is the spring note for these. So when we made the spring note earlier, we have it affect position, rotation and scale. We only wanted to affect scale because, remember, we have the maximum translational value to be the width of these little cubes when they're small. But if we look at how far we want these objects to come from, maybe you know this far it's probably 45 units away. If this cube is moving five units, who real fast Bill already is terrible sound effects moves real fast, and then springs 0.25 That's like nothing, right? So we wanted to spring a lot more when it's coming from a further distance. So we need to turn off the position. We don't want this spring to effect a bill at another spring to affect the, um, there's gonna name the scale. We're gonna add another spring to affect the position. So this offset. We want to rename a scale as well so we can keep track of which offset. So now when we go to the mash waiter and click add offset, we only want this to I mean, we could we could turn these off. You know, we're only gonna affect these. So we want this to affect the position. So now, in this offset node, let's we can see why is up positive. Wise up positive access to the right, And we want things to go in the top left. So that means we need a positive Why in a negative X So when we look at this, it's X Y z, so we need a negative X. So it's a negative four and negative for So it's even our sorry four positive for because we're going up, you can see any any direction. These are pointing here in the lower left. Um, that is positive, right? So Ford here is positive to the right as positive up this positive. We know why there needs be positive. Negative accidents be knighted, is going to left. Okay, so the whole thing moved, though if we turn this on and off. We can see the whole thing, but do we only want a part of it? So let's scroll down here to fall off object area, right click and say Create. Now we have a fall off object we can animate. How cool is that? But we only wanted to affect this kind of corner here. And let's do something like this, and I can also use Click this and make sure it's It's only moving in that plane and those two axes when you click this little square right now, it's only gonna move forward and up and down, not side to side. So any time you're doing something that's gonna make sure you're not, you know, going in Z spaceman, you don't want to be with it. Then, um, you can use these handles, so let's get it to a good start position, and then we can animate this down. So now let's get the camera in where we want to see it. Ah, how it's affecting it. Let's move it up a little bit. I think it's affecting things too low. I don't really see those until we get up here. So now we could start animating it, probably in here ish. So let's make sure we haven't selected in the outline. Er, because there are two different parts to a fall off note. There's the shape note and the transform. Note. If you select the fall if object from its no, from the whatever note it's attached to. If I double click it here to select it, this is it's shape. Note. You can see it's a shape right here. We can't animate this in the translation. If we go over to the channel box, you see there's no translation tab, right, because it's the shape note. It's not the transform note. We have the transform note, which is what is always in the outline over here. So we click that now we have the translation rotation. It's just a little gotcha moment you might run into If you're selecting things through here and then you try, Teoh animate it. Um, and you try to animate the translation of this. It's not gonna work on. There is no translation on a shape note. It's all on transform, so we have it selected. The outline er, that's hit shift W because we're only going to be animating the translation values and let's just pull it away and we want to pull it on. Leah's far away as the very edge of this thing. So that's a that's Ah, smoothies out kind of affecting it. And I want a greater fall off here. Um, because pretty even so, the way we can do that has changed the inner zone to be, you know, the closer it is up here, the further way it's gonna be so I like that a lot of more, and I want to get rid of these lines. So the way we get rid of those lines, let's go back to offset and just introduce some random strength here. So now that we got rid of those kind of even lines because I wanted to look a little more chaotic there and now we just can shift, click and drag this and then left. Click The Middle handles here to move it down because it's not happening soon enough for me . Okay, that's happening too soon. So we're just gonna have to do this back and forth until, yeah, because I want that to kind of be the last thing that we see maybe even drag it out. So it happens over a longer period of time. Yeah, And then once we had a spring, this look really good. And I want this to I want the inner zone of this thing to be even more, I think click this increase inner zone because I want these to be traveling from a greater distance. Yeah, and I want this to happen a little slower still. Yeah. So because I want that to kind of be like the little flourish at the end Are these kind of final pieces coming into place? And how I'm thinking about this as far as a design perspective is the fact that we have up until now we've had with only animation we've had is in this direction right front to back . That's the only animation we have. What I would introduce to make it more interesting. Just think about how can I make it more interesting and then simplify down, describe what you've done of animated this thing front to back. All right. Well, that means you haven't done things side to side yet, right? Or Dagnall so start to introduce those things. If you want to make it more complex, so and complexity is not always a good thing. That's just whether you want to do that or not. Okay, so now we have that fall off object animation done. Let's add spring back in. So I'm going to go back to the MASH waiter at Spring and I want this the only affect positions. I'm gonna turn off the other ones and I want to go to Let's just leave it in real time. I'm gonna open up the playback speed. I right clicked on the timeline, went to playback speed and then tour off that menu. So let's see where it ends up. Yeah, it's pretty good. It's a little slow for my taste. I'm gonna bring this back. Um, cool. So I like that. The other thing we could dio is add, Let's go back to offset and add a little bit of, uh, negative Z like it's coming from behind a little bit. So will be negative, too. Let's see what that does. So now it's because that what I'm thinking when it springs, I'd like to see it come forward just a little bit. That's two more negative um I got four. I want to see this thing spring for Yeah, there we go. So you are watching this. Yeah. Cool. So in this lesson, we learned how to adjust the ramp settings, the map helper and separate The, uh I'm just gonna name this spring note position. Separate aspects of the spring and offset at multiple offset nodes. Animate a fall off object. We did a lot in this lesson. And the next one, we will continue and make a whole new thing. We'll learn something totally new motion paths. And eventually at a trail to To it. It's a really cool piece that were basically going to be making this part. We're gonna attach color stuff, too. It's going to really cool. All right. Thanks for watching. 9. Motion Paths: welcome back. And in this lesson, we're gonna add a motion path so that we can do something similar to the example I made, like these purple stripes and these spheres that go around the outside, the kind of initiate the dynamic simulation and the color change. So let's create that motion path with those fears. Now, Benjamin Amaya, I'm gonna turn off the MASH network because we don't need it. And I'm going Teoh Unhygienic! The original logo. The shift h on hide it. And what I want to do is make a curve based off of these edges so that we can have a path for the spheres to go along. So I'm gonna do is when a double click? Uh, these, But unfortunately I think because there it's not a continuous edge loop around. Ah, quad, it will not follow. What you can do is Graham the paint selection tool here, and hold down be middle mouse drag that. So try to make this smaller. It was huge, tried to get it way down. So now you should be able to kind of click and drag paint your selection here, which might make this go a little faster. So I just want to make sure I'm getting the front outer edge of the logo because that's where the animation is gonna happen. Get that one later. So when I go back to the selection tool shift, click Fallon and then I want to go to modify, convert and then we want to go to poly edges to curve. Now I just click that aren't tell. It's not really respecting what the edges I selected. It's it's super wonky. So it's undo that and go into the options here, Polly Edge to curve. So click this little box and what we want is actually linear because we want to follow exactly one toe, one the edges that we have selected someone had apply or convert Now, so now you can see it actually follows exactly what we have. So I'm gonna do that for this other edge, and I will see you in one second. You know that we have that We've already set the settings. We can actually just click that, and it should work now. So now we have We're looking out liner. We have two curves. Let's rename this to the C curve and I'm gonna say MP for motion path Just how I like to organize it and I'll say D for curve motion path. And just to be clear, I'm calling it cnd because this is the creative, uh, digital creator school logo. So we have the d for digital and see for creative right here, but it makes it s for school. So anyway, that's the logo I made up. And so that's why I'm naming at these this way so we can see that the curves themselves have their Centrepoint down here at the origin. We can change that by going to modify center pivot and still not great. Oh, sorry that the other was for dese. Actually, that was That's perfect. Um, so when do the same thing here? I'm gonna g because it g is the short cut in Maya to repeat the last command. So with both of those like that, I want to scale these out a little bit and actually turn mash back on because I want these Teoh, I want these gore on the outer edge of the picks. Old area, the box ill ized area and not the actual logo itself. So we might have to adjust some of this. I think the main one is this. Bottom one looks well. Let's just wait until we get the spheres on there. And then we can adjust these curves if we need them to kind of be more centered around Ah, different area. Okay, so let's create a sphere. And I like to do Let's get a platonic one and let's increase the subdivisions. I mean, it depends on what? Because we're If we do a wire frame, you can pick whichever one whichever kind of object that you want. Um, let me get back in the object mood song, actually, select the thing and let me see if there's not a better if you right, click here. Let's get the soccer ball. I like the look of that better. So let's to the rename here. See here. And I'm just going to duplicate that, actually gonna delete that I'm on a scale this down. First, you hear some noises. I live in an apartment complex in Los Angeles, so there's all kinds of sirens and neighbors and road noise going on. So we have that. So now I want to duplicate it cause de and it's like this. It's like that, the sphere and the curve. And then we go to constrain motion paths attached emotion, bath. So now it creates the animation for the motion path based on your timeline. So the key frames air just whatever your timeline is set to and it looks like I mean, it depends on how you want to do this. How big you want the spheres. I think this fears a little too big. Still, it's like both of them and just scale them down a little bit because I like the distance, but I don't want them and whether or not you want them touching or you know how you want that to work. So now we have the motion path. We kind of see we we need to just a few things. I want this to go all the way down to the edge, so I'm just right clicking and going into the Vertex mode. Control Vertex. So now I can pull this around, make sure it's kind of in the right spot and go back to object mode. And with curve selected, we have this output motion path and you can see there's actually key frames on this thing. So if we go into the graph editor, we can see what those look like. And we don't want this happening. If we look the reference, we don't this happening until a little later until it's all kind of done. So we wanted to kind of overlap with this corner happening that we just created. So let's get this started. Maybe right here. And I want to swap the direction I want this right now. It has the curve starting on the animation starting down here. I want to start where it ends currently. So what we can do with the curve selected is go over to the modeling shelf, go to curves and then say, reverse direction. So now it's gonna start up here in the top where I wanted to and again, Let's go over to motion path. Now we can get that in the graph editor and I just want to drag this over. Someone has to start around in here, and then we can see how fast we wanted Teoh actually play through. That's not bad for now. Let's just do that. So now we know the key frame we wanted on. So let's just do the constrain motion path touched emotion, path and see. It's going in the right direction and let's adjust this. I don't want to start like inside the thing. I want to be kind of outside it. Let's get this right and I don't scrub through and see if it's kind of the right distance away throughout the whole thing. Or we could just suggest it like this. I think this makes the most sense for me. Looks pretty good there. Here, all this needs get drug out. So disliked all of those and then pull it as far as it needs to go. So it's along the outside. I mean, you know what? If we look at the reference, it depends on whatever you want to dio. This is actually right on the edge of this stuff. I kind of like that More lets the suit Let's do that. So not a big deal. Just get this all lined up with the edges. It's like these, so you basically just go based off of what? That headlock, the farthest edges and you slept all the curves. They just pull everything down so that it's right on it. Now it should follow lips. Get out. Should follow. Why, that is it working now? Oh, um, look at the wrong one. So So, yeah. Let's just change this one. Let's get it all lined up. Actually. Looks kind of right on that edge. Cool. So now the spheres are following along on the edge, and I think the difference currently is that these are if you ever get Vertex face, You know, you're in on the curve when you're right clicking. Um cool. Okay. Yeah. If you notice there's a little glitch there. Whenever I adjust the curve, that looks like it kind of breaks the connection on motion path. Um, but what I was saying was it these air kind of I don't want them right on the edge. Let's pull them forward a little bit. So what we can do if you want to move all this stuff is just grabbed the curves and move the curves themselves so that it's, um not so deep set in it. And the vox's aled cubes. So that is how you create a motion path, adjust the motion path of just the animation. Looks like we need to just drag this curve down. We wanted to go all the way to edge, and they're they're kind of doing. Like when I was doing thinking about this design wise, I want them to, um, do the opposite, right? Kind of like a yin yang, um, symbol. I want them to go along. The outside edge is just as, ah, cool, swirly motion, which is again when you think about the motion that we've done so far. It's a different type of motion, this path, and that it's this smooth curve stuff. It's another type of motion that's happening that we haven't seen yet. So I like that The only thing that I want to do that's remain to do is let's get both of these and then select both of their you values Here in the graph editor. Select them, go to curves, waited tangents, and I just want to select the same tangent, handle so the right side of both of them and then hit W to move and shift middle mouse track those so there's a greater ease in and he's out, so it starts really slow. I might even want to start slower, and then we might need more times. We gonna go to 50. Drag this out because this curve is getting too steep, which tells me it's gonna go really fast, so it might not want to go that fast. And we can always, of course, change this later. It looks fine. Make that use a little bit and drag time out even more so it starts slow. And let's also figure out based on the time of this finishing, I think already want the's going by now some. It's like both of them. Just move them sooner in time because I want some of this motion overlap. So it's not just like one thing happens and then another thing happens. I wanted toe what kind of flow together. And then the last thing that I want to dio is I want to scale these on. So let's go to shift age, too. A key frame the scale because everything else you see, it's all yellow. That means it's connected to the motion path. So the only thing we actually, um t frame is scale right now. So shift age is that and then I'm gonna go to a few frames before and president. Click all the scale new zero now and kind of see where the sand mission isn't gonna move it around. So there was scale on now boots, and let's just have it overshoot a little bit. Some hit shift h again. Just a little to keep him a little further. I'm gonna drag this one above. So overshoots it. Right This animation concept. So it kind of blips kind of flashes on because all the way around And then I wanted to flash off there so we can just, uh, shift our go, uh, three frames forward fault, uh, Greer than less than bracket for that key frame shortcut when she should be seeing displayed on the screen anyways. But I'm gonna go to zero, so they have a little overshoot before you scale down. So you have it be much more carefully See that right now, but yeah, Yeah, it's a little slow, so I'm just gonna drag that last three men. Two frames. There we go. Okay. So in this lesson, we figured out the motion path, how to move it, how to manipulate it, how to affect the things on it. Every time I say that There's one more thing I want to talk about. Watch this. When we go around a corner, it's hard to see. Right now. Let me select a Vertex. I can kind of see what I'm talking about. Where did those verdict Vergis is? Go look there. Selected another. Gone there over here somewhere. Like the whole thing rotated, which is weird. And and we'll probably just actually see it better in this curve. That's a rotating you can see. The Virgin sees that I have are moving all over the place. Now they're now they're at the front now. They're so those things, like spinning around in weird ways, Um, as it's being animated, sort of change that. Let's go over here to the motion path tab and turn off follow and do that for both of them . So now selected, Whatever an edge, whatever. Just kind of keep track of the rotation. It stays. Total stays at the front the whole time, right? It's not rotating around in weird ways, so that's how you fix that cool. And the next lesson we will make the trails for these spheres using MASH again. Thanks for watching 10. Trails: in this lesson, We're gonna make the trails that followed behind these fears that we just made on motion path for take a look at the reference we're going from We can see that the trails kind of follow along with the spheres So these purple trails air what we're gonna make now So we can do that using MASH but we have to do it and kind of Ah, a roundabout way So we already have the spheres, but they're attached the motion path so we can't actually, you know, make a mash network of those because they're already doing their own thing. So we need to make a mash network of a separate peace, and then we'll use these spheres as an input mesh. So let's go to poly modeling and you can create a cube or sphere. Doesn't really matter. This is just gonna be a placeholder. So the trails know what follow. Let's make a mash network. How that go to create mash network. And now we can go to distribute tab and go down Teoh the mesh and we want to input the input mesh is one of these fears. We're going to start with the sea. And of course, if you click this, um, the option goes away. So you need to make sure you keep distribute selected and middle mouse drag from the outline er into the inflammation like go so you can see it's a ton right there on the top. And we want to change the method from scattered of ox ill. So now we have a box ill And let's just scaled down the cube that we used. I'm gonna rename this as trail driver Geo. It just means driving the trail. You can name it whatever you want. So with that selected, I want to scale it down so that it's smaller than the sphere. Because if you think about the voxant, we're gonna box allies this this square, this cube needs to fit inside the sphere. So we need to scale down. So when we've ox allies that it will fit inside of it because that's where the trail will be falling from. So with the distribute knowed selected, we can open up the distribute note here and go down to boxful sizes under boxful settings and just reduce this down. You're gonna watch the cube get closer and closer to the sphere. And so now if we hit four will be easier to see, and we can just isolate, select those and click distribute to go back to this. We kind of see it go right before we get another box. Old maid, we can do that. We can also just say maximum count is one right here, so it doesn't really matter how much we pull it. We basically just want this thing to sit in the middle, the center of the sphere. So now we have that we could go back to our mash waiter for that node and added trails. It's under the ad utility, So add trails note. And don't worry too much about this warning. It says Evaluation skipped, frame changed too large. That's because we're on frame 1 68 And this is also a simulated thing like the spring note is. So when you're on a frame and you're scrubbing, it's gonna kind of freak out. So just don't worry about that. While we're working with it, we will ah deal with that once we kind of play it back in real time. So we made the trails, but you don't see them in the In the MASH editor window here, it's a little tricky. What did happen is add this little icon here. If we click that we can see now we get to that note. I think that's just where they store the utility notes to a little confusing. I don't know why they just don't put it in here with everything else, but they separated out here in this icon, you can tell the first system we had doesn't have that icon. So you click that to get to the trails. Let's just rewind this back to where our motion path starts. I'm gonna isolate, Select. You can see that we made mesh now for the trail so we can select that. And I mean, really, that's really all we need just to see. I guess we could see when the sphere starting to move. So it's isolates like those, and that pops on. You see, there's this weird kind of Ah, it's already starting to trail outside, so we need to fix that. Other than that, the trail is actually working over you play it back. We can see we get this thin line, which, if we look at another perspective, we can see it is like a plane of a geo. But it's not a circular, three dimensional object, so we can adjust that as well, basically the trails working. So let's get to some where we can see some effect that will have now while we're editing the trail. So we're just gonna escape. So we have some trail that we can see when I selected again through the MASH editor, and I need to create a profile curve. That's why this thing is in three dimensions yet doesn't have a profile curve. So I'm gonna make a curve just by using the circle here, and I'm gonna say trail profile curve and go back to the trail node and just middle mouse. Drag that into the profile curve. That's saying, what is the profile of this trail gonna look like? So now we have some dimension and weaken. Scale it down again. We want the head of this thing to be able to fit. Either you can kind of make it look like it's the whole sphere, but I think it makes that it makes the sphere look not a spherical. If it's even with the edge like that. So I wanted to go a little smaller than that, but still big enough so that we can see it. The trail is super long to, so we can actually reduce the trail length here so that while it's playing back, it won't be as crazy long. And we can also animate this to resolve the issue we saw earlier where the trail was already starting before we're ready for it now. The other thing you notice is it's flat and then it gets big. It's all twisted and messed up. So what we need to work with now if we scroll down on the trails note is the up vector, and so I can just turn that off 2000 and see if that works. Whenever I run into this, it's gonna be different for every trail. So, depending on the direction is traveling and what not, It might be a different dimension, but now that I have it at a spot where it's kinked and kind of play with this, so what I'm gonna do is command or control Middle mouse drag. This is X, Y and Z, and what we're saying is, what vector should this consider up as? And so that will affect the twist. So if we just kind of yank this out a little bit in the Z for this logo and this orientation that everything's in that should work to fix some of those kinks. We can also do a little rendering trick to fix that as well. And we can maybe add some more curve samples to this and the other thing we can do super quick just so we don't have to wait too long, Teoh, wait for other things to see a change well around the subject. We can select the geometry, go to the Arnold Tab, scroll down and get two Subdivision. So what we can say is when this renders increases subdivisions because trails doesn't give us a great amount of control to control of subdivisions in that kind of this direction, the back and forth the Kurds were changing war around it. But we want toe add more subdivisions here, so when it gets those kinks, it's a little more smooth so we can go to subdivisions here in the Arnold tab and go type cat Clark. It's just the type of math it's gonna use and then just say it orations two or three should be enough, and so that will add two or three subdivisions at render time, so we can't see any changes now. But once we render, we'll see it make the trail look a little bit smoother. So we've got that sorted out. We got the trail working. All we have to do now is to animate the trail link so we don't have this kind of thing happen once the sphere goes away or before it appears. So let's figure out where this fear starts its over here. So I want to go. Let's just say I didn't really want it to the trail to start until you know 1 17 or so. So let's go back into the trails Node scroll, back up the trail length, had a key frame, and then we can kind of go forward in time a little bit and had another key frame. I must select this note and we can't see the key frames in time editor, but we can see them here and the graph editor. So you see, it's the trail link. Those were the key frames we just made. We want the 1st 1 to be zero. We don't want any trail length, right, Because we don't want to mess up at the beginning. So now we play back. We shouldn't have that little piece that was having coming out before. We're ready for it. So I do just want to take another look at this affect, er thing, cause that, um, is a little wonky still. Let's go back. Let's see, we can't adjust this anymore. I want to go down to remember, Objector. We just gonna pull this out. Let's try to pull it up in. Why not just twisting it? So do that. Now it's just twisting that bottom. I think that might be as good as we could get it automatic. Affect her. Yeah. So this is the one wonky thing about it, And this wouldn't be as big of a deal if we had more knots and our curve. Someone isolate the curve because it's going around this really sharp bend. I'm pretty sure that's why we're having issues. So what we could dio as we could add some more dimension here. So what I'm gonna do is go to curves, go down to insert not And I'm gonna say between selection because I have these two not selected. So what we need to keep in mind here is the difference between CVS and knots. So what we need to do is make the knots visible. Right now, we're dealing with CVS control over Texas, but knots are different, and that's what we're trying to insert here. They're kind of connected, but I won't go into too much detail right now. But now you can see return. This is how to turn on knots and how to turn off. Uh, the CVS. So now we see this little tiny X here. It doesn't matter how much I zoom and you will be able to see it. No, change the background. All be. Maybe you kind of see that purple X more so this is the difference. That's the only thing. Instead of selecting the Seabees, we need to select the nots themselves. So with those selected, see if I can't sit there we go. That one and this one had apply. Now we get one of the middle, it's switch back, and we can pull this up and Let's do the same thing here and apply. Yeah, it's, uh, you still have that on. So let's get back to the the knots and it apply. And now let's see if this doesn't help pull this close and let's on isolate this. Too bad we don't know. I was going to say if we had the the mash still there, we could see it change in real time. You click this part of the manipulator because I know I don't want to adjust it forward or back around that out just a little bit and see if that's not gonna help the trail. I wanna isolate selecting those two things together and play so it does appear to have helped a little bit, which is kind of cool that, you know, some of these lessons go a little long. But I want to give you a smudge information because, yeah, it's gonna mess up because it's a simulation. It's not. Can't figure it out on the fly, but essentially, that's that's the issue. Here is that was too hard of a turn, so it's gonna kind of freak out a little bit. But if you add and not like that it should smooth it out a little bit. See how it's much more smooth than those were right on top of each other before so and then once we render it. And that cat Clarke thing we did earlier in the Arnold render tab for subdivisions, it'll add subdivisions here Subtle, kind of smooth this out a little bit, which will be nice. So we could also hit three on this just to do the mesh preview so we can kind of see what it will be like in the render. We could also render it like this, but yeah, you can also continue to add more knots if you want to that. But I'm gonna leave that for you to dio because I've already shown you how to do it. And so let's go back into object mode appear and un isolate all this. And so now you know how to make a trail onto a curve. We've done it for this seaside, and the last thing we need to do for it is to just animate the trail length again towards the end. So let's just turn off the trail length here, so let's go back up where we have the keys said a key. And we can also pull this out when I hit select, it should pop up. It does. Let's just go forward a few frames and we just pull us all the way down to zero and you can notice it doesn't actually, even though that we have Auto Cheon right here, which is in the bottom, right? Some of these attributes will not be picked up by that auto key option. So you still need to set a key here. Even though we changed it, it's not gonna remember that. So make sure you're right clicking and setting a key as well. Okay, great. Now we have learned how to make the trails using MASH Vox's allies ing a cube inside of the sphere we have animated, then adjusting all the trail attributes of the profile curve of animating the trail length and changing the CVS on a curve so that we have it, you know, follow exactly how we want to do with the up vectors. We've covered all you need to know to make your own trails and I'm gonna leave this one. Do go ahead and do the same thing for this side. So if you know, this is a lot to take in for one lesson. So I just highly recommend replaying this back and doing the exact same steps. But for this fear as an input mesh instead. That's the only difference. I know some students I get every once in a complaint from students saying I skipped a section and I wholeheartedly stand by the fact that I already taught you this and that Now it's your job to do this other side, because I think most students would. I think it's a waste of time to repeat information. And so I stand by that teaching practice that now you have all the information you need to make your own trail, so you should do it for this. Decide as well. Thanks for watching, and I will see you in the next lesson. 11. Animate Color: in this lesson. We are going Teoh add color to this logo and so that we can change the color and add a little variation here as well. You can see that all this isn't just purple in all. This isn't just teal. There's very subtle changes from each square. There's kind of random colors shift happening there, and then we have this trigger of the teal pop on with these that follows the spheres around also, then triggers the dynamics, which will get into a little bit later. So for this lesson, we're gonna cover the color. So it's Jeff back into Maya, and let's have our main mash waiter selected. Remember these two or the trails and just is a little quick aside, My A and the name space for MASH can sometimes get a little messed up. So before I started this whole project, I had made a MASH network, and then I had undone it or deleted. I can't remember which, but somewhere inside of my it still kept that name space, and then I optimize the scene at some point. So then it deleted it. So when I added that Second Trails network actually named at the for, you know, mash with no number. So I wouldn't encourage you to rename MASH because it can break connections between the networks. Even though this isn't ideal, you just have to keep track of, you know, obviously this and you could turn these on and off the whole mash networks. You can kind of identify really quickly which one it is. But just be aware it doesn't handle name changes that well and or deleting networks that you don't use this button. Um, if you try to undo creating a MASH network or delete it manually, my is not happy. So just be aware that Soto add color. We need to go to the mash waiter and go to the add color tab here. And if you don't see this sorts great out. That's because you're in the wrong version of geometry colors only available to the mesh type of MASH network. So to switch it, you would have to go to switch mash geometry type. But if you've made it this far in the lesson, you definitely have it as geometry. So when you should be able to see this, But just in case you try to recreate this with instances it's not gonna work. So we got color was pretty easy. Just add color and we got it. So we're gonna make it a little more complicated because we want to reveal a color with the spheres. So we have purple is the base color, and then we have the teal get revealed by the spears. So let's add that. So first, let's get the purple color here, somebody jump over to photo shop just so I can color pick this and I'm gonna Actually, this isn't the same purple I choosed in the in this example I chose, I think, a darker purple. Maybe Anyway, like the color pick this and photo shop. If you don't have photo shopping, use critica, which is a free software. And what I'm looking for are these RGB values right here. And that's what we're gonna put inside of Maya. So whenever I'm doing this, um, you have to switch the color space over and Maya So let me show you what? Real quick. So change color. Just click on the actual color box here and we get HSV. That's not what we want. We want rgb so we discarded strapped him in you. We get RGB and we want the 0 to 2 55 because that's what at least my Photoshopped is giving me the values. As so we have 1 46 and as I start entering this in, it won't be right now I'm gonna show you the not right way. And then how to fix it real quick. 1 46 1 13 2 46 So that purple does not look like this purple. Look how much darker that one is compared to this when you kind of compare them now one, the one. The reason for that is we did not switch over to display space because we're looking at this on a monitor. Were pulling these from, uh uh s RGB a pit and rendering is gonna be in 16 32 bets. So is just a color thing. Ah, where if you're bringing in colors from my and trying to copy, you need to change this over to display space. So now you can see it actually changed the numbers Even though you know, we had them incorrectly, we had them in we had type them in the proper way. When I say incorrectly, it sounds like I'm saying that is one word. I'm saying it as two words. We typed it in correctly anyway. Oh, my gosh. Okay, so 1 46 1 14 So I just changed that over and then to 46. I'm just talking it back and forth so I can see the actual number. So now we have it in correctly. We did it again. We have it. I don't know. We have it. We did it correctly. Sorry, I'm starting to lose my mind Here. Um, so and I just always wanna be careful. How was speaking? Cause some people aren't native English speakers who are watching this. And they might misunderstand what I'm saying. There's so much consider, when you're teaching stuff, it's gets exhausting, but okay, let's keep moving forward. Um, so we have our purple color, which is kind of going to be the base color. Now it's grabbed the teal color, and we can add another color layer on top of that. So let's add the top color. Let's just go back to the mash waiter at another color node and let's do the same thing. We're just doing in photo shop. So we've color pick this 95 to 26. And now we know the trick. We can just go ahead and change this over to display space in 95 to 26. And what was the other one? 1 94 Cool. So now we have that, and we just need to reveal it based on the position of this fear. Just turn that trail back on. That was kind of annoying. Um, so we want the color to change based on the position. These fears. So what? That tells us already, if we kind of start to connect the dots of how mash works need to fall off note, right? Remember all the fall off nodes we've been using? Um, the MASH helper. There's all kinds of ways to manipulate that. So we know there's a way to do it. Let's figure this out. So let's jump into color. And we want the the one that's gonna come on second to be on top, right? We want that one to be on top. So let's scroll down here to fall off object and just right click and say create. And now I have a follow up object that is this, you know, by develops and by default. It gives us this sphere as a fall off object, which we could attach somehow to the geometry and use it that way. But what I want to do is use the sphere itself because we already have it. You know it's already there. It's already animated correctly. I want to go through all these other steps to, like, attach this fall of things somehow. So what we can do is go to shape and choose mesh and go down to connections. Middle mouse drag the see sphere to shape in, and it works. How cool is that? So now you can see we have this piece of geometry driving the color change, which is really cool. So how do we get the bottom one down here as well? Let's go back to the color node that another fall off object and let's do the same thing for that one. Just jump into it chews up. We're on the wrong one. Let's go back to that. Choose the right one. No. So now we're in mashed to color, too, so we know it's the right one because it's named Color to is how we know which fall off object we're looking at. You can see color one color, too, and we want color, too. And we can tell this is the one to use because it's still on sphere. Just choose mesh and she's the D sphere this time. Middle mouse dragging it, dropping it right there and boom. Now we have this color shift, which is really cool. So you're probably asking yourself, How do we control this distance? Though it's just kind of at this set, distance away from the sphere could do that in the additional settings by choosing a custom shape radius. Check this out, which is pretty cool so we can adjust this to kind of be the width of the letters themselves because we wanted to cover the whole thing. So let's just choose something like 1.5 and I'll go back to the other fall off object and do what do we just say? Five 0.51 point five um, so now that color kind of what I'm looking at is I wanted to cover the whole distance of the width of that or that gets the height of these letters as it goes around, and if we look at our reference here, we can see that it's its remaining. That color changes remaining on. So how do we get that to remain on? Well, there's another setting in here that we can go to mode and say Add to the fall off object. So let's go back to the other one and make it as, ah, mode ad. And as we play this again, this is gonna be as it's added. It's kind of a simulated thing. So you wanted to play it from the beginning. If you try to scrub it, it might not work as well as you as you scrub it. It doesn't work cause again. Keep in mind anything that's kind of simulated or time based. You can't scrub the timeline. It's not. You won't be able to see the changes, so just be aware that you have to actually play it back and let it run through to see these changes happen. So that's pretty cool. We have a color change. We chose to different colors. We have control over what they are. We can control how they reveal each other and we can also adjust. If you notice on this example, all of these colors fade on. And if you watch where they just started look like look at the top part here, you can see where this one starts. Watch it at the end. It actually starts to turn back to purple here. And whether, you know, you might want to have that happen. I don't know, but I can show you how to do it. So what you actually do is use this ad mode fade value, so it's actually gonna fade out the adding that it was doing over a certain amount of time based on that number. So let's play it back and you can see it, the purple coming back. So that's up to you creatively if you want to do that or not, Um, I might just turn that off. And for this version, I'm I just leave it all as teal color. The other thing that weaken Dio to break up the kind of solid color nous of this and how it looks all perfect is to go in. It's actually do this one. First, we're gonna add a random Hugh, we're gonna add it random saturation. We get all this kind of random it randomness to this color. So as I introduce that, you can see it gets pretty crazy and you're gonna animate this as well. If you wanted, you could, you know, right, clicks a set key and then move forward in time and animate it as it's changing color. Maybe as it's going from purple to teal, you could also start to animate this. There's just so many options, so many things you could do with this. It's kind of, you know, endless. What options you have available to you when I want to do is just introduce a little bit of randomness because I don't want toe. I don't want it to look super perfect any time you're doing CG work. One thing that kind of makes it look a little more believable is any time. There's a little bit of variation, so I like to try to introduce that, even in very subtle ways. Let's go back to when it's purple and do that and say, like 0.5 that's way too much scale backed point, Yeah, something in there. I just want a little variation so it's not super normal. So the other thing that we need to do is animate the custom shape that we have for the fall off objects. So let's go back to the top one that has both of our fall off objects. Just start with the 1st 1 And so what we have is this custom shape radius, and that's what we know. We eventually want it to be as. But we don't want to start that way. So let's animate that attributes over time. So with this size of that sphere So I'm gonna hit a key here and I'm gonna move forward. It's going to select this. Yeah, Unfortunately again, this is another node. You can't see these keys in the timelines laughed. Open up the graph Editor. If you want to visualize this, have the graph editor open and we have the custom shape radius here. Might be calling something different. Shuras Yes, search radius. Of course, I might just want to make it that easy for you. Is that its name? The same thing that says custom shape, radius And this is search radius. Even though they're the same thing, you can see a change here if I move in a graph editor. So anyway, it's another little fun, quirky thing about my So what I'm looking at right now is where the sphere scales on. I want the this color change to match that. So I'm gonna set another key year, and then I'm going to select the 1st 1 and turn that to zero. I don't scrub back, and we may need Teoh. No, it looks good. I was gonna say was we may need to say exclude interior. Um, just in case as a whole, if you have, like, a little one cube, even though it's set to zero, it might be because it's thinking that's inside the object. So it's gonna include it. So you can just click this to exclude the interior just for to be safe. Um, cool. So we have that one. So now we seem to go back to this one. Que left click on the graph in order to get back to the right time and then see if we could go back Now I got to go through the mash waiter. It's the quickest. So click on the 2nd 1 and then we can set a key here and just go back in time until the sphere is zeroed out there and just dragged at 20 Said a key. For some reason, I don't know why that's not going all the way to zero type in there. But if I grab in the graph editor, it will let me go to zero. I'm just gonna force that to happen, man. I say exclude interior as well, just to be safe. And, yeah, now its animating on and that's it. Play. So now we have this color change. We've chosen to colors. We got variation in them. We've added the ad mood and if you want to, you can, you know, animate the fade and that so it fades off. There's so much control in this one lesson over color. It's, you know, super super helpful to have this amount of control and have it be able to changed on the fly so quickly. So the other thing we could do, you know, if this is kind of annoying you, this little piece here you could animate the custom shape radius even more so It's smaller at the beginning. It so doesn't overlap so much with this letter. If you really, really, really wanted to have it, not overlap it all, you would have to separate these cute these letters out and do them separately. Um, which I do not recommend. So I would just much rather go, uh, over animating this. I would do that over, you know, starting over and separating letters out. Another trick. You could do it. If you know compositing well is you could just do a separate render pass of purple by itself without this top Colorado. You just turn that off to a render passive. Just this and then you could do a rodeo shape around that and mask it out. Um, on top of this render. So, yeah, there's all kinds of options to do. I just kind of want to discuss because a lot of times and tutorials people just, you know, paint by numbers, click this button, click that button. But they don't really give you much more information to go on if you want to dio kind of different variation of what they're teaching anyway. So that is how you add color to your MASH network in your logo. And I look forward to seeing in the next lesson where we will add dynamics. Thanks for watching 12. Dynamics Motion Path: in this lesson we're gonna prepare, are seen to get ready for the dynamics that we're gonna create. And the first consideration we need to make is the fact that any time that the dynamic node starts on a MASH network, it's going to stop any animation. That's, Ah, simulation. That's happening. Meaning if you noticed the reference we're looking at, we have. If you remember, this has spring on it. Remember when we did this on this offset note? So this is all springing back in the place, and that has to finish before we begin the dynamic simulation. So you can see here that the bricks don't start falling until after that's completed, So we want to make sure the timing works with that and what we currently have. We may need to adjust the timing of the animation so that the bricks fall down when we want them to start. The other thing we needed take into account is how we're gonna trigger the dynamic simulation to begin. So we need to create another motion path animation that will drive the dynamic simulation because we can't use these fears to do it because that timing is different right. You can see that these air doing their own thing and the bricks start falling over here. So we can't really use this thing to drive a simulation to start over here because it's over there just physically cannot, because it's too far away. So we need to create another, um, motion path with an object that can initiate and trigger the dynamic simulation to start. So let's get started with that. So in Maya, let's take a look and just play back. What? We have to see if the timing of everything, yeah, pretty much works with what the reference we have. So the spring of this top left is kind of done. So now we can get ready for the dynamic simulation to start around frame 1 50 see if I can stop right on 1 50 It looks like this spring is pretty much done. So let's say we're gonna start the animation, the dynamic simulation on 1 50 That means we need the trigger thing. Toe hit the first piece of geometry here. Ah, And so how we're gonna do that is to create a motion path and at a new object to it and drive the simulation with that collision with that object. So what we need to do is duplicate. We already have these curves created so we can just use those. So let's duplicate these two curves and we call them dynamics so we can differentiate between the other ones. And we want to create a cone and I'm choosing a cone because I want a wedge shaped to drive this so that we kind of we're gonna use this as another fall off object. What I want to have happen is this kind of wedge action, cause I don't want it to happen in a straight line. So I wanted to kind of go out from the center here, so it'll be a little more controlled in that sense. So let's adjust the aspects of this cone toe work with how we want to effect this. So let's start up here just to kind of get an idea of where it's going to get positioned. Eventually, go to Poly Cone and choose Cohen Radius. Uh, maybe something a little wider, and we need to stretch it out. So let's do a height of six and then for this to go and follow the motion path. We need to add geometry here, so I need to add more subdivisions to the height. So it's to something like 20. So now when we do the motion path flow motion elects, reeled to distort and deform. Rather this cone. So let's grab these two curves first and isolate select them. Some kind of see them by themselves. And what we want to dio is we can just delete these 1st 2 ones. Actually, these first few and we need to drag this start where the cone is going to start from. We need to drag it way out here because if we look at the size of the cone and it's set, you know, centered up on this, we don't want it to speak in a starting position that would already be intersecting that right? We want to start further away from it so it doesn't intersect it all with the piece of geometry. And again, Sorry it was a live in Santa Monica, California and there's it's like four blocks away from the Santa Monica Pier and there. I don't know if you hear that helicopter and sirens and anyway, there's always stuff happening around here. So now that we have this curve, let's let's go back to the curves and adjust them properly. Normally, when I'm recording these classes, I try to do it it like one in the morning when things aren't super active. But, um, that's not super healthy for me to stay up that late and, uh, already have other things I'm doing anyway, I don't want to get a lot, but, um, it's a lot. So apologize for the background noise, If you can hear that, honestly, can't tell until after I'm done recording. So I appreciate your understanding for all of that. So what I want to do is drag these all out so that there's no situation here where it's gonna try toe. Um, you know, get distorted basically. And I want the radius of this thing if you think about what we're doing and what the radius of this thing so big that the very last end piece definitely, you know, comes in contact with what we're seeing with the silhouette here. So that makes sense as faras the size is concerned, So let's ah, move forward and attach this to this path so I'll select the cone and select this. Actually, I'm gonna duplicate this. Come out because we're gonna need another one down here before I attach it. So let's select the cones, select the motion path and go to constrain motion paths attached to Motion Path. Now you can see this isn't doing what we wanted to do. Necessarily. Let's go into the motion path and let's open up. The graph enters. We can see what it's doing. We're going to do a similar thing that we did before, right? We've already kind of done this, but we're gonna add one new thing to it that I want to make sure you see. Let's just make sure this is going the right direction. And so it is. Starting at the curve. Doesn't need toe get reverse because it is going in the right direction. We need to change the timing of it, so we want it. Teoh. We also need to change how it's oriented. So let's go back into the ash read editor here and go into motion path and shoes. The motion path to be the y axis. Let's see why Access Front Z so yeah, it depends on the the shape of your object. But this is the front access, and this is the up access. So now it's pointed in the way we want it to go. And now we seem to fare. The timing said that on frame 1 50 it is intersecting with the um it's intersecting with the front of the logo. So basically, I have my key frame. What I'm doing is I'm on from 1 50 then even though I'm not, I'm, you know, adjusting a key friends. Not on 31 50. That doesn't matter, because it's wherever this lines curve intersects with where I am in time. That's what we're watching, and that's all we really care about. So we just need to move this around in time and value until it kind of hits that on frame 1 50 So we have the timing set up properly, but now when we kind of play this through, we can see this doesn't really do the wedge shape thing. We wanted to dio because it's doing this kind of rotation here. We want this point that gets stuck on the curve and the way around that is to add something from the constrained menu here. Same area we attached to the motion path. But let's choose flow path object. It's open up the options here and that is fine lets it flow. And so now we see we have this lattice shape around the object, and when we play it forward, it should follow much closer to the curve that we had created. So it does do that, in fact, and it is twisting a little bit. That kind of spouse is out right here. So how we can fix this is actually by going to the motion path and say, uh, the world up type should be normal. So now when we scrub through, we see it's nice and smooth and we weren't getting that twisting that was happening here. I believe it was under Vector. Yes. See, now it's twisting. So under the motion path attribute, we can just change that to be normal, and it should fix that little twist. And now we have this really nice trigger to go around the object, so that is gonna be very, very helpful for triggering the animation, and I will leave you to do the next one. Basically attach this to the motion path. I mean, I guess we could just do it super quick. Ah, constrained motion path touched motion path. And then we need to fix the vectors stuff here, go normal and then do why? And see And then dio change the animation. So on frame 1 50 it is right at the tip there, right at the to the Irish. And then we need to add the flow motion. So let's go, Teoh. Constrain motion paths slow motion. And we can also increase the Ah, a lot of shape divisions here. You know e g s. It's this one, so we can increase that. It'll get a little smoother so we can just bump those up. So it'll followed around those curves a little better. So now we have this awesome trigger for our dynamic simulation. So I'm going Teoh, See you in the next lesson where we will continue on with the dynamics and actually add it and then finesse how these interact with the dynamic simulation to trigger it to start. Thanks for watching. I'll see in the next lesson 13. Dynamics Simulation: in this lesson. We're gonna continue creating that the dynamics part of this animation. Now that we have the kind of triggers we're going to use for it, we need to just make one final adjustment. You can see that. It kind of the tips of these catch up with the spheres too quickly as they go around, because the curve is much longer. Here. We extended those outs, we could have that straight line here. And so we just need to change the timing. Let's select both of these pieces of geometry here, and then we can just take these last two key frames of both of them and just slide them back. So they're not catching up too quickly with the, um with this fears. Looks like Benito skilled now on back even more so. I'm just trying to make sure they're the same distance away from the spheres. So now we play them back. They should finish because we got the start working pretty good, But we didn't do the finish yet, So now they look like, yeah, the ends, the back end of the both of those air hitting this fears about the same time. So that works pretty well. But keep in mind, you know, we have this 1 50 idea that these were gonna start in 1 50 So when we move the end, it adjusted the beginning as well. So because we're not, we don't have a key frame on this beginning. One is gonna hit, I hear and Middle Mouse, click in the graph editor just to make sure on frame 1 50 that that key frame no longer moves. It's gonna start right there, no matter what we do to the in frame. So I want to do that to this one as well. I'll select the curve, hold down I and Middle Mouse, click on the curve, and then pull that up. So it's just about touching. And let's make sure that doesn't affect the end too much, Which it did again for the same reason, like the we need key frames where we wanted Teoh definitely end, which is around about where this fears end. So it's said a key frame here because all this is being timed based off of kind of where the spheres are. So I said, I mean, that was pretty close this one's way off. So let's get that. It's like the curveball down I little mouse click and then bring it back. Cool. So now it should start 1 50 and it should end when the spheres air done the tail into this thing should hit go through when the spheres air done. So let's go to the MASH Editor, the main mash waiter that we're working on and let's choose dynamics at Dynamics Node. And now the fun begins in the more complicated sexual No, LA this is complicated, but dynamics can be a little bit so we'll try to simplify. Basically, we need to select the bullets solver, which is, you know, solving for the simulation. And we need to make sure the start frames where we want it. Remember we said 1 50 Seoul in early 50. I'm gonna increase the collision iterations just so it has more to work with. And I'm gonna increase the internal frame rate just so it has more frames toe work with to calculate simulation. So this is the two things were really three things. I'm gonna just start Freeman and those two which will affect the quality. Now, the next thing we need to do is to go to the per point adjustment on the dynamics note here , some selected from the MASH editor. I'm gonna scroll down until I see the per points adjustment and I'm gonna right click and click create. And then I double click on that. And the channel name that we want to effect is active because we want these things to trigger when each of these cubes become active for the dynamics to begin, right, So basically, before these cones come in and to interact with them, they will not be active. Okay, so we need to attach this fall off. Object to this the same thing that we did before, right? We're gonna have to fall off objects instead of affecting the color. Now we're affecting win. The simulation becomes active on a per, uh, object basis, right? It's not the whole thing. Is each one of these cubes? Are we gonna come affected? If you see, you know, it's in the name per point adjustment, right? If you think about it logically, this is what's happening. We're making per point adjustments, because when you do a rigid body simulation, that's actually it's just figuring out where the center point is of the object in putting a point there. And then it creates its own hole around that and it based on the collision shape you choose . Right now, it's automatic. We could say box because we know for sure its there all boxes. But you might, you know, if it was different shape of an object you might want to use. Mesh. It's more time intensive to calculate, but because it's, you know, there's more going on to a mesh that has all these different shapes. But luckily we've simplified it. We just have boxes. So based on this appoints location with a collusion shape of a box, it is going to simulate it. And so we want to have per point adjustments of each one of those box locations that comprise this box ill ized logo. Okay, so now we have the per point adjustment attributes assigned. We've assigned it the channel name active meaning. When does it activate the simulation? And it's gonna be based off of the fall off object that we're gonna sign as a mesh. And we're going Teoh, put in the cone. The 1st 1 we're gonna go back to that and add another one. Same thing we did before. So on channel shaping them to she's mesh Emma. Choose the second cone for the input. The shape In so same idea we have, ah, custom shape radius, which we can affect. But let's just play this back and see what we have right the second. So it looks like it's working. You can see all of these air starting to fall down. Based on the position of this cone, I'm gonna turn off the former's so I don't have to look at those lattice, Um, the lattice shapes there, so we have the simulation starting, but basically it's working. The only thing that I would say that we need to adjust now is the randomness. If we look at this, I'm going to pause. Here. You can see this is happening in a very straight line kind of effect, so I need to just the random strength in the per point attributes that we adjustment that we created. So let's click into that, and we need to adjust the random strength, so let's do something like 0.4 to start with. Let's just play that back and see what we get, so see how it's start. It's not a straight line now. The only other problem now is that it's it's too random and it's not actually picking up all the cubes that we want it. Teoh. So we need to and that's why I'm saying we need to animate this thing to be a higher value or we could just let's just start with a higher value and see if we can capture some more of those cubes. Yeah, that looks a lot better. Another thing we can do is add these to the playback display layer here. So I just have the those selected, adding the selected objects and turn off p. So now when I play back, we won't see those. So we get a better idea of how this is actually working, so that's working a lot better than the previous Random strength Federation. But you can see that it is now, you know, started not make sense because these were getting stuck behind. So that's why I say we need to animate this random strength value over time so that after it initially starts, it looks random, but then it's just a free for all it's it's all coming down. So I'm gonna select dynamics to get to the point adjustment that we made. And at 1 50 I'm gonna have the random strength be. Let's just have an even number of 0.7 on the set. A key frame. I go, maybe let's see 20. It's maybe 30 frames, and I'm gonna have this to be one, and I'm gonna set a key just to make sure, But we Yeah, we can see the two key frames here so that for sure did it set those key frames gonna play this back Spring ends there like we talked about another lesson random ization of that initiation. Now it all starts to really go as it gets closer, this one value So the only the holy problem here I keep forgetting about this is the ad we need to do the add value here on the ad mode because we wanted to continue to be active, right, If you think about it, we don't want it to just Onley be active when the cone is around it, which I mean, you could do if that's your own creative decision. But for our purposes we want this toe ad as it goes along. Needs to keep adding, um, any time it activates a cube, it needs to stay activated. So we want the fall off mode to be add on the fall off objects. So now we play back, they should continue to fall and as it gets closer to one. So the only thing I'm seeing right now is the fact that it kind of picked up this lower. Let me hide our original one. It's kind of getting in the way now. It grabbed the lower edge of this. Let's play this back and see. I'm gonna try deposit so we can see. I don't want this lower one going yet. This lower row, so that's all fine. Okay. Right here. Okay, stop. So it looks like the problem is it's gonna be the custom shape of this fall off object. So what I can do is go into dynamics, get to this fall off object. I can't remember if this is which one is this the number two. So we can go into the number to fall off and we can see yeah, PICO in shape to so we know it is this cone shape, and we just can reduce the custom shape radius to maybe like 0.7. Play this back and see if it doesn't avoid picking up this bottom row. The sea letter here. That's what I'm trying to avoid. So have a nice random break up here and then it all starts going. Okay. It's still grabbing that lower row. Not as bad, but we need to reduce this number, even Mawr, to like 0.5 and play this back. Okay, so far, so good. Yeah, that's pretty good. It doesn't pick up that bottom row. It's leaving a few behind here about to worry about that, because it starts get super crazy in here and we have all this amazing animation happening . How cool is that? All right, so in this lesson, I mean pretty quickly, Even though it's a little bit complicated, it's It's actually one of the shorter lessons we've done. We have the dynamic simulation happening, and it's all working pretty well. So in the next lessons, we're going to start to finalize this and start looking at rendering it and adjusting a few of those attributes and shade er's and the look that we want to give it. Um but yeah, that is the dynamics. How to do dynamics with MASH and have a lot of control over it, you know, really quickly we kind of built up, you know, using motion paths. Where knew that. Now we're using them in different ways as fall off objects now are using them as per point adjustment. On a dynamic simulation, it's pretty advanced stuff in it. I mean, doesn't really get much more advanced team, To be honest, as Faras Mash choses its, um, there's a lot of different other tools you can jump into. But as far as like taking the, you know, fall off object as far as it goes or dynamics that's pretty far along. There's different constraints, and there's a ton more. You could have about like 20 more massive courses on just mash. But I want to show you on a project basis, like, how does this work and also the creative decisions I'm making? Why am I choosing to box lies us. Why am I choosing to add? You know this secondary offset appear toe add another dimension of motion in it, and so I just want to walk you through. Not just we're to press the buttons, but what am I thinking? Why am I doing? What am I doing? You know, and the questions you need to ask yourself and the decisions that you need to make when you're making your own three D logo animation. And you know, with MASH there's just so many options. Any point along this course, you could have veered off and done your own thing. Or did you know just something different? I encourage you to do that at start experimenting, adding your own flavor into this. That's the whole point. If you just copy exactly what I'm doing, you're not gonna learn. You need to, you know, do what I'm doing. Follow along, then make mistakes, do different things. Figure out Why is it not working this way? You know, dig deep on this stuff. It's an advanced topic. And to really master it, you gotta take it ownership over it and, you know, add your own flair to it and not just follow me paint by numbers, kind of a thing or any tutorial. I don't encourage you to do that. This is purely so to expose you to the tools and the different possibilities to use them creatively. But then it's up to you toe. Take this information and run with it and make it your own. And so, in the next few lessons again, we'll start to cover kind of finishing this up and rendering it, and I will see you there. Thanks for watching. 14. Add New Shader: welcome to this lesson on rendering where we will actually light and render this so we can see it as a movie like this is so let's jump into Maya and so we need to also create a camera for ourselves. But for right now, let's just go ahead and get the render and the Shader started. So then we can see what we're dealing with and get the camera going. So first off, we need to assign a new shader to this. So the first thing we need to do, though, is we need to make sure that's gonna export the Vertex colors. And what that means is, you know, the MASH network is coloring this based on Vertex colors and for an Arnold Shader To pick that up, we need to make sure that it is exporting that. So if I go click on the mesh the re pro mesh here of the actual geometry in question here and I go down to the Arnold tab here you can find export vertex colors. So you turn that on now we can assign a new material. Let me just do that little higher so you can see assign new material and let go. And then you go down to the Arnold Shader if you don't have. If you can't see Arnold, you need Teoh Goto, window settings, preferences, plugging manager and turn on him to a which is down here in the bottom M. Today. It's loaded, so we have it as an option. Make sure that's loaded, then do an AI standard surface. So now it turns white and we need to pipe in the Vertex colors that mashes exporting for us . And they do that by labeling it as, ah, color set What? I don't mean to dock that they do that by leaving that as a color set. So I have the jump pre selected. I want to access the shader that we just assigned to it in the Hypersea aid here. So I click this little button and it maps what we have selected the shader associated with the selection and then I'm going to type in user data. I don't know why this is so scrunched up there and why I can't pull that over. And here we go. User data color is the one we want a I user data color. So if we click that one time, it'll put it in here, and we can just pipe that right into the base color. And then in this node, it pops up in attributes. We can just type in color set, and it's just kind of some tricky behind the scenes stuff that my is doing. So when we render this, we need some lights first before we can see what we're doing. But we've set up the shader initially here, so let's introduce some lights and the 1st 1 I want to introduce is with a dome light or a SkyDome light. So good, Arnold, if you can't see the Arnold tab, you should able to see it and everything again. You wanna make sure plug in manager. It's loaded in. So goto lights, SkyDome light. And now we have the SkyDome light attributes and for color, let's map in a image. So what a SkyDome light is doing is if we scale way back here, you can see there's a new sphere there. What it's gonna do is say light from every direction, basically with the color of white, but we want a pipe in an image or ah, high dynamic range image hdr I into the color attributes. So it mimics real world physics and lighting and reflections. And the best way to find eight years for free is a website called HDR R. I haven and just click on a chair, eyes and click one of these, whichever one you like. They have examples with spheres here with different types of materials assigned to them and just click them and download them. Think I'm choosing approaching storm for mine? Just click one of these, download it. And now, when you click Little Checker Box here and we choose file to pipe into that we have now the file tab open and then Ashley, editor Now we can map with this folder button to the h dare I, which I put in the source Images folder here of the project member way back when when we set the project, we can keep all of the files and here together, and so it makes it really easy to find stuff. So now we have that, and we can see it behind us. So ah, and all around. And so it's the easiest way to be able to, um, kind of rotate this around to be in the right direction, facing the right direction. What I want to make sure is the brightest spot. It's kind of coming off a 3/4 angle. Looks like it's kind of straight on anyway. That's enough to go off of right now. The other thing I want to do in the SkyDome light settings has turned camera toe. One. Our sorry camera, 20 from one ones. The default meaning one. It's it's visible in the render and zero. It's not gonna be visible. So now we go to Arnold Open render view, and we preview this. We should be able to see our render. And, of course, we need Teoh. Turn off. Let's go into There's a lot we need to change because it says Tiny. First off, let's go into the render settings right here, this little clapper board with the gear wheel and let's make sure that we have maybe something hdr hdr the HD 7 20 trying to say each to arrive. I'm just now saying that so three to these air, the settings will kind of go over this a little bit more later, but I wanted to make sure we're rendering at 7 20 and then under the open that render viewed options here. There's a test resolution area and want to go 100%. I want to see this at 7 20 So now when we do it, it should be a lot bigger and we should able to see it much more clearly. So we have our image rendered and we can see the color and everything and so it's kind of off to a good start. The thing that we need to get rid of is seeing this plane and these cones we need to sign. Shader is to this fears and trails, so there's a little more work to do and in the next lesson we will get into more detail on that. But this main when I just want to make sure you know, you understood the little ins and outs of adding the user data color to the standard service Shader. That's the main thing to take away from this lesson and the next one we will continue to add more shade er's and refine this render thanks for watching 15. Trail Shaders: in this lesson, we're gonna continue to refine this render and make it look better. So let's close this down and close Leiber shade and get into Let's get rid of these cones and how we can do that is go up here to Arnold Tab of this objects shape and turn off everything. Basically, we're not using it for any render purposes, so we can just turn off all these thing so they don't render. We could do the same thing for the plane. And now when we render, we should be able to see it without those things in the render. So have play on the Arnold render view and let me just move the camera so we can see this a little bit better and also just want to rotate around the image to see how the reflections air. Looking against either popping off pretty good right here and I'd like to see are a little more reflections on the front, and that will depend on the camera that we create as well. So we'll save that for a little bit later. Let's keep adding some shade urz heer and refining the material that we're using so I want to go back a little bit in time and I'm gonna hit play. I'm gonna turn off the I want that constantly rendering. Why I'm going back in time and getting play is because I want to be able to see the trails that are created. So when we get a little bit of a length toe one here, I will escape. So what? These objects? We don't actually need to do anything special with the data user color stuff that this could just be its own new Shater so must like both of the trail because I want them to have the same shader assigned to them and go over to Arnold and say, ai standard surface and for right now is choose that purple and than for the spheres. I want to choose a wire frame. Let's go to sign the material and go over to Shater, and there is a A I wire frame and we want to use polygons. Let's open up the interview so we can kind of see what's happening. Play here. So now we can see we're actually getting a wire frame of the geometry itself, which is kind of cool and we have these attributes over here on the right to affect it. And what I want to do with the fill color is I wanna have that be the Teal. And I think I want the line color to be a white so that it kind of stands out little bit. I won't increase the line with Mitt with of it. And let's scale back to kind of where the camera's gonna be to see if that's a little too much cause a line with it might be too heavy there when we actually scale back and see it so scaled up back a little bit. I'm just looking at the line with these fears and a little bit more looks pretty good. So you can also see at render time if you remember correctly. I don't think we did it to this trail because that was the one I left up to you to do. But if we get on Arnold's of division, uh, we can turn on cat. Clarke turned out to to help smooth out that transition. And so when we zoom into this thing, we can see it's it's nicely smoothed and it's not faceted like this kind of can appear to be close up. Let's do a super close upset and see what I'm talking about at render time. It is, uh, adding more subdivisions. That's what that cat Clarke thing does. Okay, great. So now we have shade. Er's assigned everything. We can continue to refine them in the coming lessons. And the first thing I think I want to do is Adam Mission T to the trails. I want Thies to not be as reflective and shiny, I think, And let me zoom out a little bit Get a picture of the whole thing here. So I want these to be a little more glowy, kind of in the same vein of the spheres. So with the mash trails Geo selected, I'm going over to its surface. Shader here are sorry. It's ah, standard surface shader. And when I call this trails just so I can see it a little bit better, I want to scroll down to a mission. The mission will add a little color to this. Choose that same color that we've already assigned to it. But in a mission we can see, it kind of brightens it up and it also kind of projects light on two things around it. So it makes it feel like it's kind of glowing a little bit. So you just crank that up and we still have the reflection we can turn off reflections under speculator. So we just pulled the weight of that down the zero. And now we got rid of that reflection that was kind of highlighting here on that edge. Feel free to keep that if you want. I'm just gonna turn it off. For now. We might bring that back. But that works pretty well so far. And we can continue to refine this in the next lessons where we will refine the shade ear's and we'll add a camera and tweak some reflection stuff on the main piece here. So thanks for watching. And I'll see you in the next lesson. 16. Camera Animation: welcome back in this lesson. We're going to create a camera that we can animate now and start to refine. The shader is a little bit more based off of that camera angle. So let's go to create cameras and I'll just type in camera are type and I'll just click camera and I'll choose the camera here. So now we're looking through that. I'm just gonna back it out a little bit, and I want to get it kind of centered up in the center of this object, so of our logo. So I want to zero out the X translation because I want it to be totally centered and I want to back it out a little bit and maybe choose a different focal ing something like 50. And then let's turn on the film gates so we can see what kind of framing we're gonna have. So let's just scrub the time line a little bit to kind of see the framing that we're gonna achieve from the beginning. So now we have the kind of initial framing done here. We can start to animate this camera backwards. So let's set this start initial kind of start position. Let's go a little bit more forward. So we have more room to go backward and set a key frame there. So I'm gonna go to the camera and shift. Ah, w E So now we have that first key frame. I'm gonna scrub until all that kind of scaling is done and get to a position that makes kind of sense for the frame that we want achieve when we turn on the grid as well. So I can kind of see if we're actually centered up. You can see that we're not. So if we look at the number here, it starts at 11. 10 98765 against this five line is on the back edge of the sea. And then you see, the five is here, so it's way more shifted to the right. So we actually to pull this to the left and then we can compare these numbers with the grid to really line it up in the center. We can also do that from top to bottom. We can see 10. 10. That looks kind of good. But now now we can see it's actually centered up, so I'm gonna delete the key frame that was done on the translate X here. And when I delete selected and I'm gonna Reekie it just so that you know, we didn't have that shift because it would have shifted over from here to the new position here. We want to keep it in the center throughout the whole thing. So now we can see it is centered, and we kind of get back to the end, reveal position here, which looks pretty good. We might want to extend that out. Just gonna hit place. We can watch it. You know, the other thing that I'm noticing is the trail here on in the It looks like it starts before we're ready for it. So we need to fix that. The mesh trails mesh and go on. Actually, editor, let's go over to the trails. Select it. Open up the graph editor. And now we can just move this over a frame or two. 123 and play that back. Make sure we don't see that little tail handle. I think we weren't seeing it maybe before, because it was not purple and visible. A zit could be cool. So now we have the trail working. We have the camera working, and I think the camera stops a little too abruptly. And I'm just clicking this button is the quickest way to select the camera view that you're viewing. Or you could select in the outline or here I'm also gonna rename it Render Cam just so we can see it clearly. When Once we start rendering and the render settings, we know exactly which camera we're gonna render in. Turn off the grid so we can kind of see a little bit better. And I'm gonna open up the graph editor back up, and with the camera selected, we can kind of see the motion is doing its on lee on translate Z. Someone isolate that, go to curves, waited tangents. So now I'm gonna have this handle that I can adjust and want to give it more time so that it can end more slowly, right? We need to give it more time, so gonna end more slowly. So with that, I'm gonna play this back that all the way, and I like the timing of how we're revealing it, just as it's kind of completing its own transformation and the sphere start and then this starts. It kind of keeps everything active. What I think I would like. You know, one thing I'm thinking is you could maybe keep the camera moving a little bit, but kind of like it. I love the chaos of all that stuff falling after it's done everything so nicely and put into place. And then it all just goes crumbling down. And the last thing we need to keep in mind is we're actually revealing a logo here, right? So it crumbles to reveal the logo, which is the main thing that maybe haven't emphasized enough. We hit it earlier because of the, um just so we could see the simulation, but we actually want to reveal a nice clean logo. So now let me have the camera animated. We can finish that up, and I kind of like where it's at right now. So now we have the camera animated. We can make sure that it's using it. The render settings under the render settings here, go to common, scroll down and make sure the rentable camera is set to render Cam. So I'll see in the next lesson where we will add a shader and add back in the original logo and finish up this. Ah, add some more details now that we have a camera to base off our renders off of Thanks for watching. 17. Rendering - Part 1: Now that we have our camera animation complete, let's go ahead and lock that just so we don't accidentally screw it up in Lockett attributes by selecting the object you want and going and selecting the attributes right clicking on them after selecting them in going lock selected. So now if we if I try to move the view here, I can't and that's what I want. I don't want to accidentally think I'm in perspective camera. And then I start moving around to realize that totally screwed up the camera animation. So let's play this forward a little bit. So we have a frame toe work off of with the camera animation and all the trails and everything worked nicely. So we hit escape here, gonna let the curves and things fall apart a little bit. So what I want to look at is the reflections were getting on the the lighting that we're doing on the main logo. Someone open up the Arnold or interview, and I'm gonna hit play, and it is using the render camera shape, which is good. So we also might need to back the camera a little bit. That framing doesn't seem to match Aereo. It didn't update the camera, even though is set to render kinship. That was kind of weird. I didn't update. I had to actually Tuggle often on it. And I just noticed cause this the distance from here to here wasn't the same just a minute ago. So anyway, now we got the right camera. We're looking through the right one. Now. What I wanna start to effect is the position of the SkyDome. Light said the reflections are kicking off of this thing the way I want them to. So I basically select the rotate. Why? Which is rotating around? And then I can Middle mouse dragging the view port and watch it update in the render. You see, this is the darker side of the image, that of the SkyDome light. And I just want to zoom that around, rotated around until we get it. Some kind of interesting reflection happening off of the front a little bit. The other thing you can dio we could animate the or change the random rotation If you remember way back when in the MASH network. This is one of the nice things of procedural animation is making changes on the fly If we wanted to adjust some of the random rotations that starting with, let's open up the MASH editor and we can go down to random. And even though we, you know, did this way back when we can make these adjustments on the fly now and it's still effects everything and it has all of the, um and you know what? Actually, we'll have to have replay because it's doing a simulation actually have to replay for to see these changes. Let's jump back here and now you can see it's all jacked up because the values were so high . So let's undo those. The one thing I do want to do instead of doing taking that route. What I want to do is change this. The roughness of the shader, someone a scroll over to that dio call this pixel. So we know which one it is. I'm gonna reduce the amount of reflection and see this highlight here should change one. Click this square and draw a square here. So it updates just the region were interested in faster. And let's actually leave that weight all the way up and then introduce some more roughness . I want to make this a little less smooth there and a little more rough of a reflection. And another thing I want to do. The main thing I want to do is add another light. Teoh, give this a little bit more of a directional shadow. So I'm gonna go to Arnold Lights and you can see that there is no directional light. You actually have to get to that from the rendering tab or create lights. Arnold will understand this light, but it's not under the Rendall. Arnold render, uh, venerable lights. You have to do it from the Zimmerman menus. Sorry, I've been recording this class so long, I'm starting to lose the ability to talk. So let's turn off the render region kind of button there. And let's grab the directional light here, and it doesn't matter where it's place. It only matters how it's rotated. Cem's gonna move it there for convenience sake. So now I can rotate it and see the changes update in real time on the logo. I want to give this the direction so that let me just pump up the in the light stop and reset it just so to make sure it's actually rendering correctly. So one give anything you can already tell that's happening. Is this really big shadow that the trail is casting? We can fix that if we like the direction of this light minute player real quick. Now get back to the and I just cranked up the value because I want to see in an extreme circumstance how this reacts to light and shadow. And I think what I want to do is turn down the light of the SkyDome. Light intensity is way too high, so let's take that down to like 0.7. And I wanna be able to see the directional light a little bit better, so don't want it being overpowered by the SkyDome light. So let's select the directional light again and start rotating that around. So you kind of see its effect a little greater now that the SkyDome light has lost some of its influence on Let's see, it's kind of put it in this direction, kind of like that, because I wanted to have, like, some darker edges on the inset of this so we can kind of see that it is definitely three dimensional The other thing I want to do is turn off the shadow casting on these objects. So what we can do is go into there, Arnold Tab under the shape and turn off cow shadows and you can see it updates and we lose that shadow. Now do that for this as well. I don't want to cast any shadows and then let's do the same thing for this trail. Turn off cash shadows turn off cast shadows. So yeah, that's looking pretty good. The last thing I want to do is add a little more complexity to the Shader. So it's open up the hyper shade again and I'm gonna turn on the render region, hear clicking and dragging. I just want to see like a section of this. I don't want to see the whole thing. What I'm going to Dio is pipe in the user color into the mission, but I want to do it with a color correction. So let's let's just pipe it in first under the mission color, and then let's go to the shader itself and go down to a mission and actually turn that on. You can see it brightens up the logo, which is nice. So we need Teoh. Add an adjustment layer here or, uh, color corrections. I'm gonna hit tab and do color. Correct. And then, instead of going straight into a mission color, I'm gonna put it here and then out Put it there. So now we have this one little area that we can start to adjust the color there were piping in so I can adjust the gamma a huge shift. It's kind of cool. So, you know, at the end of the day, if you if you like, you know what? I don't like that This is a quick way to make some changes to the the logo itself for the, um the color, at least on the admission, you could do the same thing for putting this in the, um putting it piping and through the base colors. Well, I want to increase the contrast. Let's see exposure. So I'll leave this up to you to find out. You know, what's how do you want to use these attributes That it all depends on the colors you want to dio and you know? But I just want to show you how you could add a little more control over it as well. And so I'm not gonna fiddle with this too much Now, just for time's sake. But just know that's an option. That you have a little another layer of control there in the hyper shade and how to pipe in the data color and two other attributes of the shader. So that's just use crank up the mission to see on and off Definitely like it on a little bit. I was gonna leave it there. So in this lesson, we have so far learned, turn off the render preview region how to adjust a lot of different attributes. And the last piece of the puzzle that we need to add is the original logo back in. 18. Rendering - Part 2: The last piece of the puzzle that we need to add is the original logo back in someone I selected hit shift Age, and I want to add a new shooter to that. So I'm gonna play forward so we can get to part of the reveal of it so you can see it beneath. And I want to also animate on the transparency of it so that we're not, um so that we're not seeing at the whole time, because there is a little bit of, ah, distance between each of these cubes that I want to be us to be able to see it behind it so well animate the transparency on First we need to add a new shader. So let's go to assign new material and then do surface shader standard surface. And then let's choose that same teal color that we've been using and let's turn up the transmission and I want to turn on that color as well for that and what that does we can see in the render it kind of made. It will kind of give it like a frosted glass look. Um, turn that up and I also want to check the Alfa Channel here. So it's going. We can't see through it, which is a thing to keep in mind right now. Let's go, Teoh, opaque. Let's make this opaque by selecting it and choosing on checking opaque. And I think that might help. Now doesn't help the Alfa Channel. I think that's part of the Trans, the transparency, not the mission. So just keep that in mind, even though it looks kind of transparent. The Alfa doesn't respect that. Meaning, you know, if you bring that into after effects or something, it's not actually gonna look transparent. So let's go to the back over to the shader of this and let's go down to the geometry tab and you could adjust the opacity here. So, like I said, we want to animate this. So now if I go toe toe Alfa Channel, yeah, you can start to see through it here. It's not totally white, and we just crank that even down, down even further turned that back to RGB. Um, and what I want to do is also turn on and mission with that color. Cool and let's turn off the speculator. I don't want to speculate on this. So one of the last things we need to do is enemy the transparency of the Shader so that it will. We don't we don't want to see it here, right? So we need to innovate the transparency of it. So it's animated on so around it should be on by frame 1 70 So let's go down, Teoh the trans capacity under ah, geometry. And let's just set a key here. And then let's go forward, maybe 20 frames and set key for it to be black. And let's preview that because what we don't want to have happen is to see the geometry through these little gaps of the cubes until we're ready for it. So just gonna scrub forward even though it's probably gonna spazz out. See, now you can start to see that teal pop through the edges here. It's very subtle, but by the time all of this starts falling, it will be ready to be revealed, which is kind of cool. And you know what? This one thing I might dio is I do think I want to turn on the, um because what I'm reacting to right now is the fact that it's easier to see the teal through the purple than it is like t long teal, I like that the teal kind of triggers the reveal. Um, but what I what I'm reacting to is I want I don't want the the I don't want this purple. I don't want this Teal Teoh, Take up the whole thing so I just want to turn on add fade mode 25 On that 0.5 It's to that and US 2.5 here. And just for time's sake, I'm going. Teoh, decrease the render resolution here, too, like 10% some tiny. And I want to see a fiddle playback at all. That's a crazy color. That's not what the color is. Let me let me turn the test resolution. Backup? Yeah, I don't I don't like that at all. What's going on there? I think that's from the This is the fun part of rendering. Why three you can get really time consuming. That's the emission rate here is probably too high if we crank the mission down of the pixels. Yeah, now it's just totally black. Well, just barely leave that on. If you cranked all the way up. It's just too. It's just too much. I'm gonna delete this color, correct and just pipe. Pipe it into itself. Yeah, because I just like the accuracy that color a little bit more. And then we can just dial down the amount of a mission that's going on. I want to be able to see a little bit inside of here, but not all the way. So, anyway, I was just, uh yeah, detour there for a second. Let's get the resolution back down a 10%. Let's play this, see if it won't update it easy enough. So again, what? What I just did is reduced to 10% because I want to play this back. Because now that's the only way that we can see these color changes when I, um adjusted it so that instead of being permanently added the teal to as it goes around, it'll fade off. So I need to see it actually render now because we've set up all the shade er's and stuff. I want to see the rate at which it, um, it's probably super tiny on your screen. I'm going to see a man here, then Yeah, it's already fading out at a pretty good rate, because what I want to see is I want to see purple on teal for this reveal of the logo. And I kind of like that. Yeah, because I want to keep some purple here. I don't want to feel like all teal. Then you can't really see what's happening. Cool. And these will just go through the object. We had escaped real quick, and we should be able to see this when we bump up the resolution back to 100 and we should be able to see these pieces inside of the logo a little bit and what I'm gonna do in after effects, just fade this to solid color, um, of a two d image of the logo. But it's kind of cool. You can see these are inside of it. So now that we have our render kind of and a good spot, what's render this thing out? And I will show you how to bring this into after effects as well very quickly. But I think for the most part it's working. The only thing you know, what I'm worried about now is this big of a highlight. It's gonna really ping as it's falling down and rotating. So I don't want that to be that big of a highlight. Gonna reduce the speculator ity of this real quick, yet still it one. Just crank that down. It's just too much going on. Maybe crank up roughness just a little bit more. Yeah, because I just don't want that super bright white area that we see Aziz cubes or falling and tumbling and pinging reflections that get really distracting. I think so. Just reduce that a little bit and now we have our kind animations done. We've set the camera we got. The shader is all set up nicely we need to figure out is when do we want to start rendering this thing? Let's select our Cameron see when our first key frame is for that. We can't see it cause it's locked. But if we look in the graph editor, we can see it is framed 48. So let's just scrub forward. I think that's a fair spot. Maybe let's start on frame 50. It's always easier toe to delete frames, and it is they re render the whole thing. We'll start on frame 50 maybe 48. You know what you know that want to do? Is I want to start this sooner. I want to have it moving through more before all the animation gets started. Yeah, that's what I want. Cool. So let's start from 36 and then let's just render this frame to make sure the transparency is working. I don't remember. We don't want to see the logo before it's gets revealed to us. So just double check that and the render. Indeed, it's It's not there. It's totally transparent. We're looking Alfa Channel. It's totally not there. And so now we have left to do. We can add some A O. V s. If you want to do some advance compositing, you can add a overseas in the render settings. Let's go over to Govs. And first, let's let's merge. Make sure that a Avi's air emerged. So we do that appear the top under file output, merge a Avi's. So when we create them meeting like Z death, we definitely want Well, let's do a mission. My guess everything's admitting. It's that might not help us that much. It's too diffuse. Let's dio um I encourage you to to look a little more into the crypt. Amat. That's ah topic for a whole nother whole course. Um, but basically, you get to pick and choose what a R V is you want to include. And so now that we have those selected, they will be added to our render. So if I do a quick render a preview here now, you can see those different ones added, so we can look at the few speaking Look at a mission. We can look at transmission, which I think the main logo is the only one that has transmission. And then we have Z. But if we adjust the exposure of this, we can see there's actually information there. We have our beauty. So anyway, that's just for those people who know more about compositing. That's not what this course is about, but you had a Levi's there, and then you can have that in your compositing software to mess around with. So I'm gonna make sure we have X ours. And let's call this DCs logo and we want name dot number DOT extension, and we want to start at 36. I believe I said. And then this goes until, um, probably, you know, probably go the whole way, stewed 10 to 50 and then that's pretty much it. You can see where it's going to save it up here. If you set your project under file set project, it will save it in the correct location, which for me is under Project my images, and I'm gonna render out at 7 20 I think that's gonna be enough. The only other thing that we didn't really touch on yet is the Arnold Render settings. So let's open this back up super quick, and we'll be able to see that. Ah, you know. So the shadows and stuff for our noisy and how to get around that is just increasing the settings here under Arnold Render and we can increase defused two, maybe three, and camera that maybe four. And let's increase transmission because we do have that on the main logo, so that should improve the render quality quite a bit and just see if that helps a little bit more. It's just leave that three will put camera five camera multiplies all of the ones beneath it, so that's kind of the main one of these control, each value separate from that. So it's only thing to consider when we're starting a render. Now, let's close this out and start a render from the render settings. Let's make sure that's all well done. D. C s logo. I just always loved a double check this stuff because it could go. This is where it can go wrong. And I'm going to save before I do anything else in case it crashes right as a hit render. I could just open it back up and be ready. So now we go over to the rendering tab and she's render, and we want to choose the render sequence settings. If you choose Batch render, you most likely will have a watermark on your render. But if you choose render sequence, that won't happen. We want to make sure its current camera and it'll take all the settings that we've already said. You can see it has the right frame range here, and it's render sequence and close. Now a little pop open a window and we'll start our render. Thanks for watching 19. After Effects Export: It's not just want to quickly in the lesson, this course showing you how to bring it in after effects to render out a movie file, because what we are rendering out of Maya is an image sequence. And so to play that back, you'll have to have some type of application. And if you want to share it, you really need a dot movie or some kind of movie file. So to do that, we need to open up after effects and we need to import the image files. Let's go over to project and already started one there. Let me just delete those so we can see it actually happen. So I want to go toe right click in here and go toe import file. And then we just need to route to whatever folder that we have. The image is located and and currently it's still rendering. This is gonna take. I think my renders gonna take maybe 30 35 hours to finish. So just be prepared for that. Depending on the machine you have, that could take quite a while, um, on the settings that you have. But so we clicked one image, but it'll bring in the entire sequence so we can see 36 to 66. So, um, you know, I recommend waiting until you have all the images in that you need. But I just want to go ahead and show you this just so I can get this course published. Don't have to wait till the, you know, two days from now. So now that we have a similar, we can kind of scrub the timeline and see it play back as we would expect it. Teoh. And what we really want to do is exported out of here. And the other thing to consider is just that the frame rate we can see it's 24 frames per second. If it doesn't come in is 24 frames a second. You can go to interpret footage main, and then it changed that frame rate to 24. That's how we animated it in Maya. So it should be reading it as 24. Here is well and that's how you should be exporting it. So let's go to composition and add to render queue. And now we can have set the settings as we see fit. And when I recommend on a Mac. I like the progress. 42 lt. As a Kodak, you can should you choose whichever Kodak you like Age 264 is a common one as well and hit OK and then we I like the quick time format, so I choose that. And so this has no audio, but it'll export it any way you could say audio output off click OK, and then name the file and just say wherever you want to save it, it's save. And then click this render button over here. I guess I need to actually have a name for it. I'll just say save now you get the render button and click this and it will start rendering your image sequence as a movie file for you to share. Upload to YouTube use. Ah, it's a lot easier to use in premier editing software. So I just really want to thank you for joining me on this course. I hope you enjoyed it as well. Definitely. Give me some feedback. Let me know if you liked it or not. And what I do to improve do my best to try toe do things that I don't see shown online, and this is a pretty comprehensive topic that I haven't seen. It really shone on a project basis anywhere else online, which is kind of mind boggling. So I want to do it myself with the digital creator school logo and encourage you to make your own and show me what you make. I want to see what you make off this course and, ah, all the different creations you can make. So I just want to say Thanks for joining me in this course. It's been quite a world wind of information. I encourage you to rewatch it. If anything was too confusing, it should all be there. But you just might need to watch it not on two times speed and just watch on one time speed a few times. Teoh catch everything that's happening. It's a fine balance between having course. It's 20 million hours long, which no one is ever gonna watch and having one it's too fast. So hopefully I had the sweet spot there and you were able to follow along and make something really cool. I want to see what you make. Please share it and shared around, especially now you know how Toe export as movie file and uploaded to YouTube video wherever you want to. And I will see you in the next course. Keep creating. Thanks for watching.