Blender: Particle system masterclass | David Jaasma | Skillshare

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Blender: Particle system masterclass

teacher avatar David Jaasma, 3D enthousiast and ofcourse teacher.

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (2h 38m)
    • 1. Blender: Particle system masterclass promo

    • 2. 1.1 Particle system intro

    • 3. 1.2 Particle system settings

    • 4. 1.3 Particle system settings part 2

    • 5. 1.4 Particle system force fields

    • 6. 2.1 Create your first animation

    • 7. 3.1 Particle shading

    • 8. 4.1 Morphing DNA model

    • 9. 4.2 Morphing DNA particle animation

    • 10. 5.1 Hexagonal looping animation

    • 11. 6.1 Keyboard animation

    • 12. 6.2 Color changing keyboard animation

    • 13. 7.1 Setting up the scene

    • 14. 7.2 Creating the droplets

    • 15. 8.1 Dynamic paint intro

    • 16. 8.2 Creating the rain with wet maps and collisions

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About This Class

In this class, you will learn how to use the particle system in blender.

This class has an introduction where you will understand the settings in the particle system. After you know the basics it is time for some fun exercises.


Morphing DNA
In this exercise, you are going to create an animation where flying bubbles will morph into a DNA strand.

Hexagonal looping animation
In this exercise, I want to show you that particles don't have to look like spheres you can import any object and we can even make an awesome looping animation.

Keyboard animation
After the more simple forms in part 4, we are going more into depth into looping animations

Soda can
Particles give realism to our scenes. coca-cola and bud light have been using these techniques for years and now you can do it yourself.

Umbrella in the rain
The particle system combined with dynamic paint is powerful.
This is why you will learn how dynamic paint works, in combination with our particles.
You will learn how to make an image sequence with wet maps,

Meet Your Teacher

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David Jaasma

3D enthousiast and ofcourse teacher.


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1. Blender: Particle system masterclass promo: Back, back, back, back, back, back, back. But it turns out that at that time 2. 1.1 Particle system intro: Okay guys, so let me explain you everything about the particle settings. So I'm gonna delete this Q pair and add a plane. You guys can also do this by the way, it's handy if you disagree with yourself. And then I'm going to scale it up and move it at all. I just do this with a plane because it's easier to show you what the submission does. Okay? Now we go here and these are our particle settings and we need to add a system here. So plus. So now we've added a particle system to this, and it is on the emitter. You can choose between Hare and ohmmeter. But in this part we're going to do a meter. And if you play this, you can see that everything already gets spawned. Awesome, right? So let's start with this hair. So the numbers just the amount of particles that gets emitted from this plane. So you can put this, let's say way down to 200 and you'll see that weigh less will be spawned. A saint is most integrate randomness. So essentially just spawns all of our particles but in a different way and every seat is different from the other one. Frame starts. From this frame, everything starts to emit. So if I put this to frame 20, you will see that in the first 20 frames nothing with get and made it at the simulation starts. And the N just shows the program went to stop emitting particles. So all the thousand will be a made it in to a 100 frames. You can also put this up or down by the way. So if we put this at frame one, f suffering will get emitted in onetime. Boom. And this is handy for a lot of occasions, but we'll get later into that. Next we have timeline. So if I play this, you can see that at 1, it's just stops emitting. And this is when the particles are dead. So at this point they die. And between here and here, that is what we called the lifetime. So we can put this up or down. And that will just change lifetime, which you can also can do is half a lifetime randomness. If you put this all the way up, you will see that they start dying before frame 200th at the random rate. So you can put this up or down. And that will show you how fast or at which point they'll start dying. Here we have a source you can emit from faces. We can also emit from the vertices which we only have four hair from now. So if we play this, you can see that they'll get admitted from there. The volume. Right now we don't have any volume, but if you have like a cube or something that will be a minute from the volume. And the distribution can be random or in a grid. And here you can choose the particles face and, but this is, we do not use this a lot. You might change the emit from the and distribution from a grid or random. Those are quite handy. So what is cache? Well, if cache you can actually bake your physics, okay? And what is means is that every time you start here or you change something, that's say, your program needs to calculate every single frame. If you bake it, it just calculates it all. And because it's calculated, every phase of your frame is saved so you can just switch easily between them without having to render it again. This is very handy and will also help with your rendering later on. Velocity. To explain the philosophy, I turned off my gravity. And this is because our physics also worked with the gravity of the scene. And this is why they all went down and she could see. But let's have the gravity off and the felicity also at 0. So the velocity is essentially just the speed that you get your particles. So if it's at 0, you can see that they just spam and then eventually just die again. And that's because they have a 0 speed given to them. So if we actually give this, let's do two meters per second and then play it. You can see that they go up. Awesome. So they go out with two meters per second. You can do this with the normal audit tangent. But you can see why we mostly use the normal biggest tangent. You gotta be wary with your rotations. So let's keep it at normal for right now too. You can also choose which axis you wanted to go through. So let's say we want them to go around the y-axis, also two. And now you can see that it goes to just around the normal, which is up in this case, then around the y axis also for two meters per second. And that is why we go to the right. And you of course also have the ability to randomize this. Let's go to the rotation. Okay, so let me explain the rotation to you guys. First thing I want to show you is that if we play this right now, you can see that we just have halos coming up. And if I put the rotation on and even put it to randomize, you can see that nothing really changes. And this is because our particles are rendered as halos. So if you go to this section here, render, you can see that we have rendered as Halo and Halo is always pointed towards you so it won't have any rotation. If actually put this to object. And then we, of course, we can select an object that we still need, an actual object in here. So that's got a cube. We move with hair, go back to our plane and select this object. So you can the second like this or it can just go like this cube. And now you can see that the re-render of these cubes, right? So if you go back to rotation and play this, you can see that nothing will happen because we didn't do anything here, but you can actually randomize it. And then you'll see rotations happening. So the orientation xs is the x's where about you rotate. So let's choose, let's do object Z. It rotates around the z axis from this object. So here, if you start over and because of our randomized, it looks a bit weird. So if you put that at 0 and then we just have them going straight again. But if we're a little play a little bit of the face, so we don't have any randomization in it, but we just have our phase in it. And that just means it's a rotation around our x's are chosen x's, which the object z. So if I put this bit up, you can see it we have a rotation around our chosen axis C. So I can put it even higher and we get a greater relation. So that is that rotation. And you can also randomize the phase. So they will all still go around this objects yet rotation. But there will be random. And the difference between this remnant randomize and this randomizes that this randomize, randomize the orientation to access. So it is randomizes all of these. Okay? So if a plate is, you can see that we have randomization, but it is only around the z axis. If we actually want to play around with the angular velocity. I'm going to put this all at 0. If you want to play around with this, you have to put dynamic ONE. Otherwise just nothing will happen. And right now our angular velocity is the axis is the velocity. So you can also change this. Let's keep it out philosophy for right now. But we can change the amount. So what is amount is it shows you the radiance per second. So how much it rotates per second? So if I do it now nothing will happen. But if I put this amount up, you can see that it starts rotating. Awesome, right? So the higher it goes, the faster they rotate. 3. 1.2 Particle system settings: Physics. As you can see, we have multiple physics types. The newtonian. Newtonian is what you learned as first and the particles will just move up, warning to the Newtonian mechanics, particles start their life with their initial philosophies and can move according to external forces, which we are going to talk about later, and they respond to their environment. We have some options here. This is the mass, of course, we have some forces in here, Brownian, Brownian, we'll just add some random motion. So if we put this up, you can see that they randomly move. Now, direct reduces the philosophy in relation to speed and size of the particle. So you can see that now, because we do not have a lot of philosophy or different sizes of our particles. You can not see a lot of difference, but that's what that does. And we have our damping. Damping also reduces the velocity. And this is more like a car just breaking. So if I play this, you can see that it's way more prominence. That goes up and then slowly slows down till it stops. Let's go onto our next Physics type. Let me explain the physics type, Keith. So what this does is actually you have multiple particle systems and your particles will move between them. So now I go from a cube to a sphere. So here are my cube and sphere. And let's just make it for now. Let's just create a new scene. Here. Are going to have, we already have a cube here and we're going to add a sphere. So UV sphere moves the bit that arrives. And what we're gonna do if this cube is we're gonna give this a particle system. And we're gonna give this the same particle system. So the CR. And we're gonna give the sphere to sames particle system. So all here. And what I wanted to do if this is actually we just go here into physics and put it to none. So both of them are none now. And I'm going to explain this with another plane. You can probably also put an extra particle system on this one, but I'm going to explain it here. Okay? So we're going to have this plane here. And I'm going to add a particle system, and this will be our Keith product system. You don't have to give the name, but I'm just doing it now. And the physics type will be the Keith. So now you have your mass, you have your loops. We, let's just make it loop one time we need our relations. So I'm going to click on plus and rigor at this here, this cube. And we're going to click on plus again and add our sphere. And what you can see is that it now goes like this. And if we hide this off, so what happens here? It goes from this product system to this particle system, right? But there's one thing. All of our particles spawn at a different rate. So if you actually select our plane and make the end frame one as well of this frame starts then at frame one, all of our particles are already spawned. So now we have all our particles and I will go from one. To the other. So that is how you create keyed and you can do multiple, you can do with this text, you can do it with everything. Let me explain you. The physics type of boys. Boys are very interesting. Boards is kind of a artificial intelligence. It's very basic, but they are ideal for simulating flux bombs hurts like all kinds of animals, fishes and that stuff. They can react on the presence of other objects. One thing to keep in mind, boys can only handle a certain amount of information. Therefore, it's very important to choose the sequence of the behaviour settings because it will only do the first tree hair in this rule. So, yeah, these are very important. And SS7, it's quite basic, but it's really very, very cool. So let's go over some easy ones. If you play it now you can see that we can't really see anything. Let me do it with a plane. You can see that they just move a bit around. And what they do here, if we go through our boys, you can see that we have a boy brain, we have a separate and flock. Let us just look at this for right now. Let's just go through the movement first. We can allow them to fly, we can allow them to move on land. We can allow climbing. We have our maximum air speed, minimal airspace with a max acceleration, angular velocity, air personal space. So if you, if you don't want them to come together to closely. So now you can see that the person spaces this big that they wanted to get away from each other. C. So as you can see, they have allowed flight. If we do not allow it, what will happen then? You can see that they fall down. If you allow length, then the stay on this plane. You can see. So let's allow flight for right now. And I'm going to put the person space a bit lower to maybe five, so they're a bit close together. So you so they, they don't hate each other that much now. And as you can see, if you do allow land, that all these options also gotten here. So then you have instead of mx air speed, u, f max, land speeds, jump speed and all that stuff. Battle is, yeah, it's quite interesting. I personally have not used it yet, but you have a health strength, aggression. So they kinda, yeah, they're better with each other. And then you can choose the amount of health that have the strength and all that stuff. And with the relations, you can actually choose another Boyd system or not a particle system and make them fight with each other. So what's a bit more interesting to me is the boyd brain. So Boyd brain, embodied brain, you can set certain rules. So you can see here rule we have separate AND flock, which can do, you can do minus for both them and can become plus. So what it does is you have a multiple options. And let's first look at our flight. Flight just moves towards nearby boys. But because we don't have another Boyd system in here, it won't fly towards anything, average speed and average velocity. So if you have an effort speed that will just maintain this velocity, we follow a leader. It just follows a leader object instead of a Boyd. So now if we carried that on an object, so let's say we do an EMT and remake it, follow this leader. So follow leader and then we're going to select our empty, not what will follow the Mt. So you can essentially just animate this as well. And it will keep following. It separates boy's move away from each other so they do not want to stay with each other. Avoid collision will just will not, it will just afford objects with an activated deflection on it. Avoid. It will avoid predators or objects with four force fields and negative strengths and Goal Seek a goal. Objects with a force fuels or a positive, this positive strength. So let's put a few of these together. We're going to follow the leader. So we're going to follow this MT. We want to separate a little bit, and that's flock. So now you can see that all of these work together great. They want to follow this leader. They still want to separate and they flock together. So of course with this, you can also add in another object instead of halos, you can do an Object and all that stuff, but we will get more into that later. And is less. We have the physics types fluid. So I can explain what all of this is, what to be honest, you want to really get anything out of it. The only thing that you really need to know about the fluid is that it's the same as the Newtonian. But now the particles are influenced by internal forces like pressure, surface tension, viscosity springs, just like yeah, fluids have, right? So you can make liquids, slime, maybe even sands or like Gou all of those are yeah. Fluids. So you can change the viscosity if it's like Harney, like a thick liquid. If you wanted a more watery than you will, put it lower for creating cool scenes. I personally do not really use this. And then after this, I think it's time to go through the Render Settings. 4. 1.3 Particle system settings part 2: Okay, so now we should look at our render. So the whole time we ran it s a halo. And if we play it, you can see that these are our halos. Firstly, I don't use this a lot. It's nice to check out how your assimilation is going. But at the end, I always do it as an object. But let's go out to all of them. So we have random, non-random halo ran the line. So for some reason my program won't render line or path, but they are also not really important. I feel like let's go to object. So with object, now we can see that, yeah, nothing is really playing. And this is because we need to add an object. Okay, so let's add a UV sphere. I'm gonna move it here. And unless like this and then select this. So now everything is this UV sphere. And now that we've chosen an object, you can change the scale. You can change the scale randomness. You can show the emitter. So I personally turn this off, and this is only when you render the gay. So if I render it now, it will show my emitter. Okay? But if I render it again, we've show emitter off. You will see that the emitted doesn't render. And we can also render a collection. So let's say we want a cube and the sphere. Now we can group them and you can group them with control G. And now it created a new collection and the name is collection. And now if I select this collection, you can see that we have our cubes and our spheres. So you can do and pick random. You can do object rotation, you can do a count. So the Countess, essentially for every, let's do the sphere onto, for every two spheres there will be one cube and that the sky and that our render option here, the few for display is a little bit more important to make your scene a bit more doable for you, for yourself. So you can do it as rendered, but you can also just do circles. And if you render it, it will still be the cubes and spheres. It just doesn't show it like that in our scene. You can also do the amount a bit lower in your scene or even change the size. And this is all just in the fuel board, so if you're under it, it should not change. Ok. So let me explain. Children. Children works only with objects or collections. And let's just click on the simple first. So you can see that a lot is happening right now, if I put this number a little bit down of just our admission, let's put it in like ten. So now you can see that we have 11 spheres instead of one. So every single one of these is seen as a parent. And we give this parent a child like children. And now for every parent's, there are well Display amount the stem, but if you render it, there are a 100 renders of these children. So the most important is the display amount. And we can of course change the seed. So you can see here, there are still displayed the same amount. It's just a different just in a different way. Size. You can also change them. You can randomize the size. You can change the radius so they're a little bit more spread apart. We also have some clumping. You can clump them together or you can change the shape if you clamp it or twist them. We have some clumped noise. So you have a noise texture in here. You have a roughness. And the roughness is based on the child children location. So this is literally just the Yep. Playing a little bit around of this. You can change the size. It's like the size of the roughness and all that stuff. And we have some kink which you have multiple options, but I can hardly explain how that says. You just got to play around with this, to be honest. So let me explain to you guys the difference between simple and interpolated children. So I'm going to explain it with hairs. I think it's a bit easier to see. Well, what happens is let's say we have two parent objects, Right? And we give these parents a few children per, per piece. So what's going to happen is with a simple, you're gonna get the exact same hairs here and also around this one. So they're going to have the same rotation like the same form. And that is the simple version. What happens with interpolated is that it's going to interpolate between these two. Okay? So what happens is the children from these will go gradually towards this form and its children from these go gradually to a this form. So you get a more yes. Move, Luke, if you look at it from this side, and when you use hair and just fills up way better and it looks less fake. But the reason why we use children is because if you use children, the computer does not need to render the same object again, with children, exists. It Redness it little bit differently. And this is way easier on your computer. 5. 1.4 Particle system force fields: Okay, so let's look at our fourth fields, right? So first thing I'm gonna do, I just want to make our scene look awesome game. We're making this, so let's make it look cool. Let's create a plane so we delete everything. And I'm also going to put my screencast keys on so we don't have any confusions. So I just created a plane and we're going to give this a particle system. And here you can see that all the particles start spawning from here, right? I want to get rid of my gravity. So gravity will be 0. And now you can see that they go up. That's not the reason why I wanted, I just don't want us to get confused with the gravity and the force fields. So we can really see what the force fields do. And you can see that it doesn't go that high. They stop spawning after a while. So I'm also going to put my lifetime a little bit up to 250. And we might want to change the end later on, but now it's good. So here you can see that we start at this keeps going. Awesome. So let's put our plane somewhere else. I'm gonna rotate it for 90 degrees and then just move with hair. So now when we play, you can see that it goes this way. I kinda wanted to go the other way, so I'm going to rotate it again. So it goes towards the middle. Cool. So first thing I want to do, let's give this some nice materials. So what I'm gonna do is I'm going to add a UV sphere, gonna move with hair. Duplicate this to other times. And let's give these names. So this is going to be our particle. Let's do white, go blue, particle, pink. We can all give them a smooth shading W smooth. So I'm just going to grab a few out of here and add a shade editor. And we want to create some nodes, right? So here, let's start with our wide one. You can see which one we've selected here. So we can go this material also this White. And I'm gonna get rid of our principal shader and just add an, a mission. A mission emission goes into the surface. And if you go here to random because we're an EV and ran this very correctly. And let's put strength up to like four or 511. And so this is a white material here. You can duplicate it. So she white 001. If it got to this material, we can select the same material. Now you can click on a two to duplicate it. And now this is y, then this is Y 001. So I'm going to call this Blue. And let's move this towards a more blue collar. Suddenly this will be cool. This one will do the same. Again, just select the blue click on two, and this will, it's going to be that pink or purple or whatever you want. And here we're gonna create this color. Let's make of all of these, a group control G. Select them all come through G and then this do balls. And here we're gonna select our plane. Let me make it a bit more easy to see our plane and interparticle settings. We need to make the render a collection. And then we're going to select the balls. So now instead of the halos, we will spawn the ball. So you can see that the is have the colors. So I'm going to hide these three here and we don't really need to see them. And a fun thing in EV is that you can actually get this kind of a bloom. If you go here to the render section, you can click on Blum and you can see what cool thing it does. It blooms it. So you can change the threshold if you want to have more blooming or less. And in the background, I still feel like we should make it a bit darker. So here in our world settings, we can change this call out to all the way black. So just so we can focus totally on our particles. Awesome. So our particle spelling here, they have a nice material and we can play around with them. So I'm just going to add our first force field, which is going to be force. Can see it here. So can move a little bit off if you want. And let's play it again and you can see what it does. It wants to go the full velocity that it gets, it pushes to the right. But then the force field push sits away. Deltas Just want to forestall does. If you actually go into the, the force of this force fields and put the strength to minus1 and play it again. You can see that something very different happens. It all goes towards it. Like it it gets sucked in it. And yeah, that's how that works. Let's go onto the next one, the wind. So I'm going to keep the wind here and I'm just gonna put a strength a little bit up. Let's play it. And you can see as absolute strength lower and lower, it'll get pushed. Slower. You can move the direction and the flow just makes it also go with slower. So you can create some noise if you want. And that is the wind modifier. So yeah, you can just directed just like when does right? That we have afford X. I like the four text. I'm going to scale up a little bit and do the strength up. No good at us. Awesome, right? So if you just play with the strength a little bit, you can do the flow as well. You can create some really, really cool results of this awesome that's gone to the next one. This will be our magnetic. I personally think the magnetic works a little bit better if you actually rotate this. And I'm going to move it to the middle. And then I'm actually going to spawn all the, for, all the particles at once. So let's look what it does now. Awesome, right? There's one very cool wonder that also like, and that is our turbulence. Let's put our philosophy at 0. And as Plato for turbulence, you can see that it gives us a very cool effect if we're actually going to get rid of our plane. So remember that we don't have to show the emitter, but because this is the rendered version, we have to disable the emitter from the fue por display here. And there are of course way more things and you can do hair. So you can even put multiple into one. Let's put a fourt X and we are going to accelerate our turbulence. So the fourth wax enter turbulence are now working at the same time. I hope you guys had some fun with playing around with some of these force fields. Yeah. Just keep playing around like it looks awesome, right? So why not play around with it even more? It can always start rendering sulphides e V, So it renders very quickly. 6. 2.1 Create your first animation: Okay guys, let's start our first little scene. So open them there. And I0 will go towards the screencast keys on. And we're actually going to use this default cube. We can get rid of the lamp, but we'll keep the camera as well. I'm going to scale our div with cube up, like this only around the x axis. And I'm going to apply the skill gone for a and apply the skill. Awesome. So we want, of course, to have a political system to be in here. So let's click on plus. And we have a particle system. And well, let's play it and you can see that they all fall out. But I want them on the inside. So we're actually gonna do the source on the volume, volume. So what happens now is if I click on z and then do the wireframe, you can see that everything gets spawned from the inside, right? For a goal. So I want everything to respond at the same time. So I'm going to do the nth frame here to 0 or to one. And now you can see that everything gets spawn at once. So I kinda want to keep them inside the cube, right? So first thing we're gonna do is put the philosophy down, but the velocity is 0 now. So we won't have any starting velocity. But you can see that it's still falling and this is because of the gravity. So if you go here into your scene, you can actually turn a gravity off. What you can also do is if you go into particles, can go here into your field, waits, a can throw the gravity off hair. So if you still want gravity in your scene, but just don't want it on your particles, then you can do it in your field weights here. I don't want them to be still like this. I wanted to move a little bit around and we're gonna do this with our physics. So let's click on physics. And we're going to just give them a little bit of a Brownian, like maybe 1.5 or one. So if you see, now everything moves a little bit awesome. And I want this to be a little bit longer than 50, maybe a 100 frames. So I'm also going to boot our lifetime at a 100 instead of 50. And everything moves accordingly. So they move a little bit too much outside of the box. If you want them a little bit less than just your demo, a little bit up. So maybe boiling 0.1 might be already enough. And as you can see, they barely move outside of the box. Awesome. If we're actually going to run this, you can see that, yeah, the first thing that we can see as the cube and we have the halos. So let's get rid of the skew first. Go to Render and show emitter off. I'm also going to do it in a few per display, show emitter off. So we just can't see are particles. And now instead of these halos, I want some objects. And that is because I can give objects, say material. So let's add a mesh here and a UV sphere is going to move it to the right so we can see it and get a gift is a smooth shading. And Let me drag up something here and add a shader editor. Plus. And now we have given a material to this and vigorous kinda do a very, very simple Dario guy going to delete this principle shader and add a, a mission. And we go in here and just choose the color which you want and do the emission at like five. So I think for some reason blue always looks good. This and this is going to render. You can see that this of course has a nice color, but we want them here. So if you click on your, so if you click on your particle system, you can go here and go to Render. And instead of Halo, we're gonna do the object and we're going to select this object. Awesome. So now we need our camera, right? We want our camera to go all the way through here. And the way I do it is just select your camera, go to Item and just put all the locations and rotations to 0. Now, I'm just going to rotate my camera into position, so 90 degrees, 90 degrees, and then move it here. If you click on 0, you can see where we start. So I can still move my camera. And let's say this is our starting frame. So at one, I'm going to click e. And this is a keyframe so We can insert our location and then select a frame. It's rare we want to stop our animation. That will be around Honda for me. I'm gonna move my camera around the x-axis till hair. And with further, they'll hear a click on a location. So now in between a 0 and we'll move. I can also put this end frame at a 100 Lucas. We're not gonna do anything further anyways. So now you can just keep playing this go animation. Awesome. I think there are a little bit too many of these particles though, so I'm going to put them a little bit lower, maybe a 300th. And now it's time to render stuff. So the background are going to put all the way black. And I'm gonna do that here with wilt. Black, bam, just so we can have some more emphasis on our emission. And if you go here to the run fresh, you can put some blue mon, which I love. And you can play a little bit around with these settings. Awesome. So if you want to render this, I advise you to go into your output. And this here by the way, and go make a single folder for this. So I'm going to go here and make a new folder. I have this folder here, particle boards. And then I will just add a new folder and call it a mission balls. And that should be good. And maybe intimate emission balls animation. And then click on it and accept this map. So whatever we're going to render is going to end up in hair. You don't want them all over the place or in a mad that you don't know. Now everything has got to be here and that's going to be good. And a high net phi should do render at P and G. Because if you have a movie file, you, if it crashes like at frame 81, your whole muthos crashed. So all the 80 frames that you did before and are just gone. If you've B and G, you have a single frame, you save every single frame. So if it's crushed at 81, then you all, then you already have 80 frames and you can just start animation from 81200. And that will save you a lot of render time. And so if we want to run it as animation, go to Render. And this Render Animation. And EV is very nice and quick. So we're gonna expand on this, of course, and I'll see you guys in the next one. 7. 3.1 Particle shading: Hey guys. So in this part we're going to go a little bit more into depth into the materials of the particles. And the, it's quite easy to create. Just choose a mesh which you enjoy. I personally liked our Doris and we're gonna give the stores some noise. So let's say we're going to make us animation and a 150 frames. And what I want to do is I want the particles to emit from here, but I'll also wanted us to rotate and move a little bit around. So I'm going to click on a and do locate. And like rho log rod is for a location and rotation. Then we go to frame a 150 and I got to do again. So click on a and then log rot. So you can see that we now have these keyframes setup, but nothing is happening. And why did I set them up like this? Well, if actually slide out solving here and add a graph editor. Now we can give a noise through this. So I'm going to select our object transform. Click on here. And you can see that we have a limited amount of options, but if you actually click this down here and select a particular parts, so let's do x location. Now we can add a modifier. So we're going to add a noise modifier. And what is does is it knows it around the x location. I don't like the way it does it now, I think it's a bit too steep. And if you look here, you can see that it does this movement. Okay, so that is the noise. So let me slide this a little bit odd, so it's a bit better at C. So with the skill, you can actually scale this up and converted automatically Das and makes it move less because these noises far away. So we get more of this kind of movement, which I like more. And I also want it to move a bit further so that as you do that with the strength, so you just play with the scale and the strength. So I think it looks cool if we do then. And three. So skillful man and the strength of three, it moves a little bit, but not too far. I'm going to do this on every single axis. So here at a modifier noise then free. So what you can see is because they are all line up perfectly, it will just move like this. But we can actually give them all a offset. So we can offset this a little bit. And at this one as well. And I can see that we get them way more random movement, which I think is very cool. So let's also those with rotation. So the thing was the notation though we need to figure out what we want there. So let's do 18103, but you can see that it reacts a lot different. So I'm going to put the scale down. And let's look and see any rotation would have to put it a bit up. So I think a scale of them and a size of 15 might be good. And we're going to do that also with the other rotations. So 10-15 add noise. This is going to be ten and this is going to be 15. And of course at the offset, a little bit different. And we do the same with the z axis noise, then 15. And put the offset off. And let's do it we have now. And if you think it rotates way too quick at the fast, boot the scale up. So skills 40 here, 4040. And I can see that it rotates a bit less. So I think this looks very cool. And we're going to use this. So we're going to get a particle system in here, physics. And now we have our emitter. And I don't want them to fall down too much. So I'm just gonna go in here into our field weights and put the graph D off. And this will give it here. And the velocity, I'm going to put a little bit lower 2.5. because I want our force fields to do more of the work. So I'm going to get a, so I'm going to get a turbulence in here. Turbulence, force field, turbulence. And I'll put this to, let's do for strength of four. And as the what that does, maybe we need to put a little higher. Maybe strength of 50. Yeah, let's keep it for death right now. And I'm going to add another one, and my other one is going to be the cortex. But by the way, you guys can just choose whatever you want. The light gets frontal, try out different stuff. And let's put this loop with this vortex. Does it keeps them together. I'm going to put the Ford text a little bit lower, 0.5 maybe. And I'm going to play with the strength of our turbulence. So may put the ten and this is just a little bit figuring out what that will look cool. Okay? So as you can see, right now, we can't really see what this all will look like because our, our, our little particles does died too early. So what I'm gonna do is I'm going to select our torus and boot the lifetime a little bit up. So our N frame will be a 150. So let's also put the lifetime as one honor the fifties, or they will always stay alive. And now we can see a little bit more. Already looks way better in my opinion. So kinda mess around with the strength turbulence 20. And this 2.7. Yeah, I think this will look very cool. So this is just display around with your settings. It's just just do your own thing. That doesn't really matter as long as they stay a little bit together because it will look goal. As you saw in my animation that you can see really the core changing. So we actually want outdoors to emit a object. So we're going to add a ecosphere, so Mesh hydrosphere. And I'm going to give it a very low subdivision here all the way to one. We're going to do with very, very low because we need as least as possible vertices in our scene. And the more the higher the cell deficient is, the more it'll take. Okay? And by the way, it will be so small that you can't even see if it is like really round or if it is more squarish. Let's first add this to our scene. So I'm going to select a torus and we're going to render the object, right? And we're going to select, this is an instance. And you can see that all of these particles fly off. Awesome. So I'm gonna put my particles number also little bit ops or let's do then thousands. And let's bake this. So it is baked now. And we can see if alpha particles flying off. Nice, it looks cool. So let's go forwards through our shading and we need to shade the IPO sphere. So let's go to our Render Settings and set the render engine two cycles. Select the icon sphere, and we're gonna give this a new material. So the first thing that I want is I don't want the principles shading here. We're going to add a, a mission. Emission goes into the surface and now there will just emit light. But I actually want them to change color over time. So when they are born, they have a different color than when they are almost dying, let's say the particles. So let's do a particle info, note info. And you can see that we have here the index, random age, lifetime, location, size, and stuff. So let me explain a very clicky. So let me explain very quickly whether do index is the number of particles from 0 to the number that you have. Random is just a random number of particles. So this can be controlled with a color ramp. The h, this is the age of particles. This is the lifetime of the particles. If the location is the location of the particle with the size of the particles and the philosophy and the angular velocity. So it's how fast I go and then you can set a different call to them or whatever. So how do we change scholars with the H? Well, we actually do it with a color ramp here. And let's say we are going from, let's say blue to red, or even the other way around. Whatever you want. If you put this into a mission, you can see that we just get the mixing between them. We can kinda hear. But if we put the agent here, you can still see that it doesn't really take the H. So we need a math node in between here. Okay? And is math dot, we're going to divide the H and the lifetime. So now we can see something happening. And this just all comes down to changing this color ramp to where you want your mission to go. So you can even put more colors in here. Let's say I put this away more bright so to the, and more to the white. And I can see that it goes from white where they start to read and then to blue, right? So if we've got a timeline here and play this a bit out, you can see its frame 0, we only get white particles. And then the longer they are alive, the chain scholars and now a hair, they get blue. Okay? But instead of only changing our callers, I would also like to be more bright at the beginning, then at the end. So it gets spawned from, I want them to be a little bit more bright. I'll also do this with a colorRamp. Colorramp. And I'm just going to use the value of this same note because we already noted that goes from beginning to end. And I want them to be brighter than the beginning. So I need to switch these around. Do a little switcheroo. So I'm actually going to do a honor, I'm not a math node in here. And let's put this value in the strength. And we're gonna put this color and the value here. And we're going to multiply this. So instead of ads, we use a multiply. And here we can choose the amount of strength that you want. So if you want to be really sure of how it gets spawn, then you can also just do the color from black to white. And if you change this black color for a bit, so let's put it to red or something. You can see that this will be bright and the angles alpha will be darker. So you can choose when it starts to get dark, let's say. So let's, I'm going to choose this value is going to put a black back at black and then booted back here. So this is just a little checkup that we did. So now if we put them multiply up, you will see that this will start get brighter in a beginning and an end eventually this will start to get bright as well. I personally supported a select ten or I'm off, maybe 88 might be good. To create some more randomness in this brightness values. I like to use a noise texture. So let's get a no section here. And I'll put this velocity to this velocity to this factor of the noise texture. And we're going to use a color ramp to change these colors here. But it's quite hard to see what we are doing right now. So what I'm gonna do is I'm going to add a new column stopping here. And let's add this. This. And let's put everything two constant. And you can see what the constant does. It just makes us able to see that a little bit better. And what I want is gonna do is I'm going to use this scholar. And let's do the strength though can be the same. So now you can see the difference in the color. So if you want to be able to see it a bit easier, you can put it in red or whatever you want. And this is a random value which will, which will also use, to use to create bright or less bright areas. And you can change this value with the scale, but the scholar doesn't do it. So we need to put the FAQ inside. And now you can see that stuff starting to change. So this is one way to change it. You can also put these a little bit more together and grade some different areas like death. So essentially you need to play around with these two values, if the scale and with this value here. So I think this looks quite cool. So what we'll do is we don't want it to be this constant. So I personally like to have it on 0s. And I'm just gonna put these at dark, the dark value. And I'm going to put this at a very bright value, which is wide. And now you can always still change it. But the nice thing about ease is that instead of it being white or black, so bright or known right? It has also a value in between. So some parts will be very bright and then it goes through less, less, less and you have non bright areas. So I'm just going to add these two notes together, the scholar ramps, because they're all, both of these are gonna do the brightness, right? This one will do the h, and this one will actually do the, just a random value. And we're going to mix it together with a mix RGB node here. And we're going to add them. Okay, so add instead of mixed because we just want element of each other, got Legos to call up polygons with the color. And this multiply goes into this strength and this color goes into color. So now we have a random bright area. We have a brightness that goes from the h. So when the start spawn, they are a little bit brighter than they die off. And we have hair are colorRamp, which also does over h. So we have a brighter value when it starts spawn and the longer they are alive, then you will see that it gets blue. Awesome. So you can also change them if you like. You can change all of this. You can just play around with these colors. I personally when as and I personally put our particles quite high. So if you set your torus here, and let's delete this bake. So I personally put this number in my end result on, I think 1 million are seven on a thousandth right now if also making the scores like my computable does slow down and then we'll get like Lego results. So I'm not gonna do that. So I'm just gonna do 200 thousand for right now. And I also put the scale of my objects a little bit down. So maybe 0.001. That's bake this, this baked takes a little bit longer and the more that you have the take, of course. So here we have one of the frames. And if you go to your camera, you can change the view and just zoom out a little bit. And let's start a render. So there are a few things that I want to change. First of all, I think we're going a bit overboard with our emissions, so I might put data bit lower. Our backgrounds should be all the way black. It just shows it better and Arcturus should not show up in our render. So we go here into render and just show would show a meter off so our torus will not be seen. If you go into your world here, you can change the background color and I'm just gonna put in way darker. And our mission can be easily changed where you just got the ecosphere and put your emission a little bit lower. So put this value at like five. Let's render it again. Awesome. So this is essentially all that I did and the end result has a few different values and I can show them here. So this is literally the end result that I have, the video that you've seen. So you can see that the colors are a little bit different. And maybe these values might be a little bit different, but the most of this is exactly the same. Okay? So I hope you guys learned from this if there are any questions and by the way, please center renders and would really like to see them. See what you change the colors or maybe you didn't do a tours but you did the Susanne head like the monkey. Yet both of them guys, I really want to see them and if something is not working for me. And then we can go onto the next one. 8. 4.1 Morphing DNA model: Okay, so what we're going to make is of course the video that you saw. And it is made like this. We have a key particles which I already explained in an earlier part. And it's essentially you go from one particle system to the other particle system. And what happens here is we go from this cube which is filled with particles through our DNA. Okay? So firstly we want to make, we're just gonna make this DNA strength. And then we're going to go into the particle systems. Let's open a blender file and we're going to get rid of this cube. And let's add a cylinder. I'm also going to start my screencast keys because maybe you guys forget something and it gets you there, are rotated around the y-axis here. And we're going to scale this up and down just so we have a little bit of a longer strength, let's say. Awesome. So let's make it two units big. And I'm going to go into edit mode with top. And I'm going to move the bit to the top. What do I do this in edit mode? Well, then our origin stays here. So if we use our mirror modifier, then you can see that our origin is still there and that's why it mirrors around itself. So that's a very handy. I'm going to add a new cylinder rotated around the x-axis. Scale that up. And this just has to fit this. And I'm going to move it towards the end. And now I'm gonna give this an arrow modifier over the bit further apart. This, let's do a 12th and I'm going to scale the bit down. Yeah, Sutherland, this wouldn't be bad. So for it the move, we're going to use a simple deform, but we need a lot of vertices. Ok? So let's go into here and Let's give this some vertices. So I'm just gonna do a control arm and you can give this a nice amount of edge loops. That seems OK. Now we can apply the mirror and both of them have the same amount of edge loops. And here I'm going to also give this on edge loops a dove to beat the specific disk if at some edge to edge loops. And going to apply the array as well. And I look at joined them together. So select them both contour J and they are joined. And we could give this are simple, the formal fire symbol deform and solving happens. So we want it to twist. So we need to apply our rotation. And let's also applied a skill. And let's look around. The x axis seem to work for us because we are rotating around this or we are twisting around the x-axis, right? The red one. And we can change this angle. 360 is not enough and you can see that it doesn't go more. But if you actually type in here, so if we do this double, let's say, or if you just click on 720, then it still works. Okay? So don't be too upset if it doesn't work with just moving it up like this. To be honest, this is way too thin. So what I want to do is select all of this here. So I've just going into edit mode and you can see that. You can see that if kindness double doubles it. But that's just because our simple, that's just because our assembly form its own. But if you click on alt S, you can make this thicker. And you can see that the ends get a little bit messed up, but that's totally fine. Like we don't have to worry about that. But there are thicker at now and I think that's great now that we've made our DNA, let's just go to the next spot and we're going to make some of our particles, okay. 9. 4.2 Morphing DNA particle animation: Okay, so first thing I'm gonna do is I'm going to add everything around and let me go show you back in our Odyssey in here that we need to create a big cube here. So let's do that. We're going to add a cube, scaled up on here. And I'm going to scale their bid down around the z axis, called click on a country a and up by the scale. So we're gonna give this a particle system. Click on the plus, and we have a particle system. So this decision that we're going to work with, that's what the number a little bit up. And you can see that everything just falls down. And that is because of the gravity that we have. And yeah, we don't really want that right. So we don't want it in anything ever seen. So we can literally just go through our arsine options and just turn graph the off and went. You can see now is that the philosophies actually pushing outwards, but the gravity is not working anymore. So first thing I'm gonna do is I want everything to spawn at the same point, right? So I want everything to just be a at frame one. And that will just make them explode like this. But I also do not really want them to move. So the velocity will be at 0 anyways, they're not going to move. Apart from philosophy. I wanted to be in the volume of this. I don't want them to go outside. I want everything to stay inside here like we did before. So I'm going to put the emit from volume, and now everything will be inside here, which is quite hard to see. But if we go into via frame, you can see what's happening. So they are a little bit still for me. I want them to move a little bit around and help you guys remember. That is the physics. We go to brownian and we put it at 0.2. And I'm also going to damp it a little bit, 0.1. So no movie like just a little bit. And this is actually already good, right? So what do we want it to go from here towards here? So I'm going to do exactly the same product system here as here. So I'm just going to give this product system first a name. And let's give it our bubble's. Gonna select our cylinder. And then just select the bubbles. So Let's duplicate it. So it will be bubbles of 0 or 01 because we might want to change a few little things in the nth. Maybe not, maybe yes, but that's an option. Okay, so now we get this cube are not a part of the system and this is going to be the key box system. Ok, so that's added and we're going to give this also a name just so we know what's, what's what Keith and gives us number the same value as the other ones, which is 5 thousand in this case. And the main important thing is just go to. The physics hair and do keith. Now, we can of course select r cube and then a second cylinder. And here you can see them moving from one to the other. But it doesn't go all at once. And this is because we have this nth still at 200. So if we do it's like this. They can see that everything moves like that. Let's put the lifetime a little bit up to a 150. You can see that we're slowly getting there. So with this relations in physics, you can change some things. So here you can see that we have a time and duration. And if you actually click on Use timing, we can use them. So now we can change whenever we want it to move. Okay? So the first one I want to keep at 0-0 because it's just going to start from 0. And a duration is with two of these relations is going to mostly be set by the last one. The last one output actually at a 100th duration will be 50. So so the animation takes a 100 and NSA's life of 50 more frames. So you can see that there's one little problem and they kinda get duplicated. And that is because we actually need this particle settings like these bubbles to be not rendered at all. So the render is going to be none. Okay? And also from our DNA, which actually is still called the cylinder, but we can give it the name DNA should be rendered as none. This way, only our Keith physics are rendered. And yeah, this just makes no duplicates. So if we put our nth frame at a 150 and that's put a camera in a little bit of a better spot. So I'm gonna go to few here. So you can see that it goes from all these bubbles to a nice DNA. Awesome. So we of course do not want these balls to be or these bubbles to be just yell a little halos which fly around. We wanted to be actual objects. And I did this objects with a sphere. So you can choose between u, phi or Ico. If you have a little bit of a slow computer, I would recommend using an icon sphere and then pulling it quiet low. So self-sufficient V1. Only do this when you have a really shitty I wouldn't say shitty computer, but if it's really bad, otherwise, go a little bit more high-quality and take it more yet, I'm gonna do a UV sphere, maybe put it a bit lower at 16. And then Rings eighth. But I wanted to shades move. And this is just because I wanted to look quite round if we also look a little bit closer to it. And I'm going to move here and we're going to render it. So go in your key settings, which is in this cube, Keith. And then we're gonna render as. Object. I'm going to select this object of course. And let's look at how they get it ran there. So here, awesome. That's quite good. And you can change the size of the bubbles with the skill here. And you guys obviously are rarely noted. I might do a little bit of skill randomness. I think that looks cool. So skill reminisce a bit up and maybe the skill also little bit up. So here we have our DNA strand, the spherical, right? And we want to give this some materials because if we ran this right now, Well, the first thing you're going to see is we're going to have just this cube. So what do we want to do is this cube, we want to have the emitter shown, not shown. So render is going to be off and I'm also gonna put a few boards off for this. Dna strand is going to be the same. Rendered is gonna be shown emitter off. And if you now render it, you can see that we have an as bubbles here. And we want to give the some materials. Well, so I'm gonna give a very, very simple material is just gonna be a glass color. I did this insides cycles though. So let's go the cycles and slide out a new depth here for the shade editor. And we're going to select a sphere, which is going to be our bubble. I'm going to add a new material, which we are also going to call a bubble. Slides a bit more. Obviously, you guys can see what I'm doing hair. We're going to delete this principle shader. And we're going to add a glass shade in here. So let O, so glass, glass goes into the surface or the b, it is the f. And I might put this IRR to 1.3. And now we're also going to give this song volume absorption. And this just absorbs some of the light, put us in the volume and give this a nice blue color. And I put the density to two. So if we're actually going to read through this, you will see that some different stuff will happen. And we get nice glass or water bubbles. Awesome, right? So we can't really see if this material is nice or not. And that's because we have like z, like No good lighting in the scene at all. So you can, of course, get our HGRI from my website, which is in the download folder. And we are going to get it also here, so downloaded there and go here into the world. We're going to add a environment texture openings. And we're going to open our abundant Hall. So it looks like this. I also dislike this slide in here, which is already in our scene. So I'm gonna delete that light. And let's render this for a second. So this already looks way more interesting to me. I want there to be a little few more highlights though and some darker spots. So what I'm gonna do is I'm going to give this an RGB curves. And now I'm gonna move this a little bit to the bottom and it's hard to see what is happening. But if I put my Render Settings on, you will see what happens. And that is, you can see that we get some more darker and sharper failures in here if we use this. And I actually want to put the strength up because I still wanted there to be some brightness, but I just want them to be a bit more sharper. Awesome. And what I'm now gonna do is I'm actually gonna go into our render. I'm actually going to go into our render options and go to film and do the Breck transparent. So we can just do our bubbles. You don't have to do this. But this gives you the ability to just change the background to whatever you want. I personally do this in Premier Pro. You can do with Photoshop, you can even do the blended, to be honest, I'm not gonna go over this today, but that is a possibility. And if we now run it this, you can see that they have some nice Shang and clear balls. So it also depends a little bit on your scene and how your AGI is set up. So we might want to put this a little bit lower, in this case, am. But that awesome stuff to play around with. And yeah guys, this is how we create this particular scene. 10. 5.1 Hexagonal looping animation: Okay, so we're gonna make this scene. And yeah, this is kind of how it looks like in the end. It's really cool to make its quite easy as well. And it's quite different than the particle system. We're actually going to use hairs later on. So let's just jump into Blender and start creating it. So at first we're gonna do is, let's delete the cube and the lamp. And we're going to add at plane. And let me also put my screencast keys on and we're going to simplify display. And so you go into edit mode, subdivide, subdivide, subdivide, though we have 289 vertices. So we need this because we want to spawn hexagons on a particular vertices. So let's get our hexagon here. We're gonna do that with a circle. And we're gonna give this circle six vertices. Gonna move the circle a little bit up, skill it down, and then just extrude around this f x is extra it again. Then I just right-click it snaps back into place and I click on old m and at center. So now they're merged their goal. So we're gonna give this a particle system which is going to be the hair in this case. And let's do at fenced just because where you have also have rotation in here then as well. And the first thing that we want to do is we want to give the number the same amount as the vertices that we have, which is 289. So 289. And we want the source, we want them to emit from vertices. Okay? And we do not really want in a random order. So now you can see that it's very yet grid a grid like. So let's render here and go into render and do the object that we have, which is this. And let's select the rotation and we're going to do this at none. So we don't really have any rotation. And if you now look at the top, you can see that, well, we do have our hexagons, but they're not really lined up the way that we would like to. First thing would be the rotation. I want to rotate this from 90 degrees around the z-axis. And you can see that nothing of this moves with it. So if you apply a rotation, then you can see we actually have our rotation. If I scale this up, you can make them touch each other like we want to. It looks very cool, but you can see that every row kinda works. But then in-between it mess up. And we need to change this with the vertices of the plane itself. So I'm going to hide off this part of the standard things for night now. And we need to play around with this. So I found a way to do this and that is just, well fairly easily said is just move in this towards the x axis. So if you now play it, you can see that it moved up. I did a bit far, of course. So we have to find a way to put it perfectly in the middle. And that way is very easy to find. And that is literally just nuke for this. Further to see which is next to the middle and go into the item and that is 0.1. to five meters. So we just copy 0.25. and now we're going to select every other edge loop and move this around the x-axis. So I'm just going to are 0.1 to five, But one to have this in half, right? We want not to move with 11 unit up above half of it. So the fight that by two, that is 0.06 to five. And you can check it also if you just select these, filled them up and then subdivide, you can see that the middle of it is exactly where the middle of our little foetus. Yes. So that is good. So now if you play it, you can see that it matches up way, way better. The only thing that is kinda messed up is that because we move this around, it's not really a square anymore. So we just need to scale this around the y axis, though it fits together. So yeah, this would be good. Also. So here are all off our excellence. But if you play it, you can see that nothing really happens. And this is why we are going to use a modifier. We're gonna use the displacement modifier here. And we're going to use a new texture, which will end up in this section tab. And we're going to use to type S clouds. So we can see that the texture is for sure moving around like it's for sure using the displacement. But our hexagon, so not work and we fit. If we go to the modified step, then we have to put this displacement before the particle settings. So put it up. And now you can see that everything moved. Awesome. So now you can play a little bit around if the strength of this, yeah, you can put it lower or you can play around with the cloud texture itself. So if you want to do the size off for the crowd texture, you can see that we have a different kind of displacement in here. But if we play this, you can see that's really nothing happens. And this is because we are not moving this displacement modifier with anything. So I'm gonna go and add a empty in here. So shift a empty plain xs. And if we go into our displacement or the firing, you can actually do the texture coordination from local to object. And we can select our empty. So if I now move this empty around, you can see that our hexagon is also move around. So now you can still change the, the cloud texture and all that stuff and just try around some animations. So this is very cool, but how do we make this loop? But because she can see that, yeah, it might be very hard to loop this. And what we're gonna do is we're going to add a curve in here, which is going to be the circle. So this circular curve. So I'm going to hide our plane for a second just so we can focus on our circle. And what we're gonna do is we're gonna make this empty move around the circle. Because every time it hits this point, it just loops. So it keeps looping around the circle. So, yeah, we have our empty go into here object constraints and we're going to follow path. So now this empty. Now. So now we need to choose a target which is going to be the base just circle. So now we only have to animate our path. And if animated, you can see that it will just follow this curve. And every time it will just follow this curve, you can see that at a 100 frames it already loops. So we can essentially make this a 100. But if you go to your curve, you can also change your path animation and do the frames to 200th. I'm just gonna do a 100 right now. It just so it's a bit more yes symbol for us, mujeres, right? So if we're gonna get our plane in here, you can see that we have a looping animation, very, very, very goal. As I said before. Now we can also change the size and you can play around with this animation. Right now let's animation looks a bit faster than what I've made. And that is just because we have less frames. So the way to do that is just select our bef animation, put the French 200th and also the end at 200th. And now you'll see that it will take longer time, which will make it Luke's slower. Let's get a little bit more into the materials for this particular exosome. First, I'm going to give it the name hexagon. And we're going to make this the black one hexagon of black. And I will get a new screen in here, which will be our shader editor. So I essentially made a very easy material. So let's go in here. Hex black. And I gave this a quite a dark color. So around the hair and not all the way black. A metallic. And the roughness I put all the way up at 0. So this was my black color. And this already looks way, way better. What I also did is actually changed the geometry a little bit. So I gave this some bevels. So if you select everything, so f, I'll select this top part, a for B and just give it three bevels. This Guth shades move. I used tell someone's modifiers. I put a bevel ML, the firing here with a little bit more segments and the angle output at the 30 degrees. And the width can be a bit smaller. Somewhere like this. And also a nice soft deficient in here, just to make it a bit more smooth. I duplicate this and gave this duplicate another name. And that is a hexagon. Gold. Duplicated this color hair and also renamed it to gold. And put this base color to base hex code, or just to watch the yellow orange goal. And if we want to render this, you can see that where we can hardly see anything. This is because first of all, I want to be in cycles. You do not have to be inside goes. I just like science a bit better than FE. So I jumped into cycles. And I go into the world and add an environment map. So an environment texture, color goes into the color. And we're going to choose our HGRI, which is going to be our music hall. And right now if we look, we can see some nice reflections happening. So let's also put our camera in a better position with numbered 0, do lot karma to view. And I'm going to move into arsine versus the output. The strength of this a little bit lower. And let's look at our animation. As you can see, we only have black ones in here right now. So what I have to do is select these both gone through G and made a group out of them, which is a collection. And this is gonna do is VD hexagons. Select our plane again. And inside of our particle settings, we're gonna render S collection instead of objects and choose r go hexagons. And now we can use a count. So I don't want them to be half, half, half gold have black. I actually once for every six black ones, I want them to be one gold one. So let's look. And this looks way more interesting in my opinion. But in my end result, you can see that we know we don't really have a lot of reflections in the top of our hexagons. And this is just because I put a huge plane in here. So plane move it up here, a rotate a little bit and display this gone. Also give us a little bit of lighting. So we're gonna make this a lemme go back onto the object. And we're gonna give this a new material. Well, no need to name it right now. Just going to delete the principal shader and add an emission node in here. And we're gonna put a strength a bit lower, maybe 0.3. And let's look at our render here. And now you can move around or even skill up your plane as needed. This is everything that we have and that is how you make the scene. If you got to render this mixture, you put a new map and output and render it SIP and g, and then just go into render and render animation. So every PNG will be output inside this map that you've chosen i because learned a lot from this. And let's go into the next part. 11. 6.1 Keyboard animation: Okay, so let's make from this scene the darker keyword scenes. I rethought the looked very cool. So yeah, let's just get into it. It's quite easy actually, and this will be fairly short. So first of all, we want this ride to work less, right? So go into the world. And let's put this HGRI to strength to 0.1. You can see that it gets way, way darker. So now the only thing we do is we need to change our materials. I'm gonna go back here into few ports shadings, just so it's a bit easier on us. And I go to object. And we're going to select one of these cubes, which are the, the buttons, of course, right? Let's first exchange this base color. I'm gonna move this up a little bit so it's a bit easier to see. And this base color, let's make it a bit darker, darker blue. I think it looks cool. Something like this. We essentially already have this as a mask, right? Our numbers and our letters, instead of a different color with different values here, I'm just going to pop in a, a mission shader. And now this gives light, very, very cool. This emission at Booth away up because I just wanted to give a lot of light. So three or 2.5 will be good. And, but how do we make this change color over time? Well, we can change the color hair, as you can see, but we can't really change it over time like this. There's a very easy way if you just get a color ramp in here called negotiated or color and change these colors. So I found a very nice way in a decision aids SV. And if you now do the agents fee as far and put some colors here. So let's do this all the way red. And this one is going to be all the way blue. You can see that all our colors here are different. Very, very cool. So if you do like, let's say RGB, you can see it doesn't do the same. It goes between here. So that's the value we use, HSV. And they can change between these doesn't matter too much, but near, you can see that near is totally different than far, for instance. So how do we change between these values? Well, if you look at the fact here, it actually is exactly underneath our green and we are showing green right now. What if we go here? You can see that it just shows up where our color is on top. So we just animate this. If we go back here and around a one frame, we will have a factor of 0. And then at a 101 frames we will have one. So this is obviously not totally looping. If you want to make this a loop, then it should be 0 here again and in the middle. So 55 somewhere issued have one. Ok, so now it loops from red to blue and it goes back to red. Right? So that will make it more. Luke bubble, if you are looking for that item, I personally didn't do that. Very, very cool. So there's one thing. If we run this, you can see that it gives sliding also bit to our other parts, but they do not have any glare on them. And it's quite an easy fix. I'm going to do this a minus right now. And I'm going to grab a new screen aisle here. And we're going to use the compositor. Damn. I'm gonna change this one to r uv editor and move it to our render result. So this is our random result. And let's make this a little bit bigger. So literally the only thing that I put in between these two nodes is a glare. Note. I put it to four glow. And you can play around with this threshold. You can see that more and more glad will come. Very, very cool. You can also make it a little bit up. And you can even change the size. So that's literally the only thing that I've done. And now we have some glare and hair, which I really, really like. So now that you've done this and let's go on to the next part. 12. 6.2 Color changing keyboard animation: A Thanks for clicking on a tutorial. We're of course going to make this, as you can see, it requires some textures. And also in Asia, I would, she can all get for free. Just click down in the description below. And there will also be an extranet apart in that which recreate this dark scene. So let's start and good luck. So let's jump into blender. We're actually going to use this div with cube. So let's only delete this bottom face. And we're going to select this edge loop here and scaled a bit up and then move it also bit op. So we're around the size of a key. Now, we can add three edge loops here, and I'm just doing this for control are and then scrolling a little bit up and hair SOL. And I would also like to create two edge loops here. So now I would like to select this and use our proportional editing. I'm going to move this a bit down like this, and then select this as well and move this one a little bit less down. Let's add some modifiers in here. So I'm going to do a sufficient surface and you can see that it gives us a more vertices and makes it also smooth, but this is a little bit to smooth. So I'm going to add above one here, and I'll make sure that the bevel is in front of the sufficient surface. So I like the segments to be two. Make it a bit more sharp. And let's put the limit method that angle. It's a bit hard to see right now. But if I actually do at Amnon and look at the wireframe, you can see that it creates some extra edge loops right here. And we only want our baffle to work around these edges. So if you put your angle, it only works at the angle if it's above that 30 degrees. So that's good right now. So only this gets baffled. Let's do a Smith shades move with W, and this is our key. So that's awesome. That's immediately UV, unwrap this and gone into top and select all of these etches, contrary and a Maxime. Then click on a and U on rep. So what this does is if a slide ONE outta here and go through UV editor, you can see that we have a nice UP, awesome. Let's give this some materials. So here, shade editor and image texture. Color goes to the base color and we can open our texture, so it will be this one. And here we have our Texas. If you want to see your texture in your treaty field, you'd have to go two few port shading. And this is our texture. So I now want to move it so I can only see one letter. I'm going to move this a bit out on a scale down and rotate this 90 degrees. And I'm going to put it somewhere around here. Awesome. So we of course can duplicate this. And I'm gonna duplicate it four times. And I'm going to give these other letters. And the way you do that is just go to the top and just move them around and they have their own you fee maps. Going to duplicate this again. And the bottom one I want to do with this, I'm just gonna move. And it's going to move this UP, maps down. And you need to position this again. Awesome. So these are our keys. Let's give these immediately a group and let's call the collection also keys. And if we select everything, we can do control G. And it shows that we have created the new collection, which is just a group. And we're also going to call these keys. Okay? So let's add a new collection. And this is going to be wherever they get spawn the top off. So we can just add a plane. And let me get rid of this for a second. And let's scale the split a little bit up and skilled like here. And I'm going to subdivide it few times. Awesome. So we're going to give this a particle system. If you go into here particles, you can click on the plus and it's going to be the hairs. So we're gonna do hairs, but instead of Harris, We're gonna render, render S path. We're gonna do a collection. So we just called a collection and it was the keys, if you remember. And here we have the keys. Awesome, right? So there are multiple things wrong with this. The first thing that I want to change this to rotation, and let's go to advanced. And we have the rotation here, and I'm gonna do none. Okay, so now you can see that they are rotated the right way up. If they are not by the way, then you can just rotate them individually. Okay? So if they're not at yours, than just go into edit mode and rotate these. So just rotate 90 degrees. You can see that they get also rotated here. Okay? The rotation is good now, but you can see that there are too much scattered and they're just not lined up the way that we want to. Well, if you go to source, you can actually choose where you want them to emit from. And I'm going to choose vertices, okay? You can see that it's already gets way better. I will not do them at a random order. And now you can see that it gets better again. So how do we know how far we want this? Like if we go too far, it we get overlapping ones and we do not want that. Okay? So if you actually, so if you actually go into your plane, you can look down here, this how many vertices we have, we have a 1089. So if we just put this number 2089, then every vertices will be filled with one particular key. And now you can see that everything is filled up nicely. So the next thing we want to do is we can scale our keys down and up to match this hair. So you can do this in multiple ways. You can do this inside the hair length, for instance. And yet that's easy to see that he said, let's just do it there. Now we of course want don't move up and down. So how did we do that? Well, we'll just go stay into our plane here and go into the modifiers. And we want to add a displacement modifier. So let's add a texture for death. And if you go into the texture tab here, you can see that we just have an image or movie which is black, and that's why it's all the way down. But we're gonna do a cloud texture. So now you can see that a lot of displacement is happening. You can scale this obstacle is down and play a little bit around of this. But the first thing that I will do if I was you, I would just go to your modifiers and put a strength way down, so 0.1. And you can see that our keys are not moving with our displacement. And that's just because our displacement goes F that a particle system. So if we put this displacement up, and now you can see that our keys are actually moving. So you can see that if I put strength up or down, you can see that the keys are moving up and down. If I go here and go to the timeline, you can see that we do not have an animation yet. So how do we get an animation going? Well, you can do this with a empty that's at an EMT. And I'm going to add this in a new collection, and I'm going to call this collection our animation doesn't really matter. So just so I can find it a bit easier. So our empty, if you move the empty around right now nothing happens. But if you actually go to our plane and select texture coordinate, local or global, that's the object. And we're going to select our empty. Now you can see that everything moved a little bit, but if I move my empty around, you can see that all the keys are moving as well. So what the EMT is doing, it is essentially a just moving this cloud around this texture. So as you can see, it happens a bit too abruptly. So I want, we can play around with the size, the depth. Or if I'm going through here and maybe put at less than 0.1. Yet, this makes a bit more sense. And well, now we can move it right. We can give this keyframes, but it is very hard to make it loop, because how do we make it loop? It needs to go back at the same point. So there's a very fun technique that I learned from 3D ducky. He's also on YouTube and yeah, I encouraged you to Washington. He has fun stuff. But if we just go to our animation and I'm going to add a curve, circle. Now we have the circle. And if I give this empty a constraints, so object constraints here and make this followed a path of this curve. Now, if I animate this path, we can see that the curve follows the path. Right? And every time it makes a circle, it comes back exactly at, around our starting point. So this will make it loop. And because we started as frame one, frame a 101 will be the exact place that the animation is back at its place again. So if you want to make this loop the whole time over and over, then we can just go to end a 100th because then it will just keep playing them without skipping or doing an extra frame. And let's say you want a longer animation. You can just select here into your object data of the curve and go to Beth animation. And you can change the amount of frames here. Awesome. So now we have a looping animation from frame one, so a 100th, and it will just keep looping. Awesome. So the other thing that I have to do right now is give it some materials. Let's go to 0 and I'm going to move my camera a little bit closer. And what I want to do is go for sure into cycles and like it so much. And let's look at our few shading. So you can see that we have like no light at all. And I just want to add a environment map. So let's go to World and then environment texture here. And let's just pop in a HGRI. So Lubanga. And here we have nice HGRI. This might be a bit too much, 0.5. pulled a bit lower. And here we can look at our HGRI and see what it does. So now we have a nice sliding. We just need better materials, right? Awesome. So let's jump back into to raw materials and change some stuff. So object. And we want the materials of the keys, of course. So I'm going to select one of the keys and then we have all of our materials. And what you can see here is that what we created before, It's just one singular texture on here. And that was kinda to check where the numbers and levers have to go. So what I want to do with this, because it's black and white, I just want to create a mask out of this. So we'll just move it up for right now. And let's focus a little bit on the color, on the white color. So this will be our white color. I did personally did a little bit to the yellow and a little bit darker just so it's a, yeah, those old-school keyboards had a little bit of a dirty, dirty white color. I also did the roughness a little bit like 0.3. And the next thing that I did is copy this and move to the bottom and made this black. And put this roughness up to 0.15. Now let's add a mix shader. Mix this up, and use our mask. So you can see what this mask DaaS, right? And it goes the wrong way around. So I'm just gonna move these two shaders like this. And here we have our white material and here we have our letters are led us already are a little bit more shiny than are white material, which looks realistic to me, but the white is just not rough enough for me. I remember from my old keyboard that it has a lot of bumps on them. So let's create that. I'm going to add a bump here. And a, and a noise texture. And the noise texture. Because the noise texture actually has scholar which no one actually, which not a lot of people know where you're going to use the FAQ into the hive. Okay? And you can see that we have a sort of a bump happening here. It is just way too rough and way too deep. So I'm going to put the skill up like a 150. You can see that we have way more bumps and this strength has to go way down 0.05. now we've finished. Our white material is way less noticeable, but it's still has to bump on them, which I really like. So now let's look where we want our camera. I actually would like at a more if it was here. And I'd like to rotation or reflection that this H RI gets me at this point. So solving that this will already be good if you want to render a animation. But what I would recommend is going to here output and go and make an extra folder just for your animation. And in this folder you're going to do to file format B and G. Why do we do a PNG? Well, because if you do an API or any movie file, you'll have the chance of corrupting it. And if you do a PNG, it might corrupt, but then it only mess up one single picture. And if you have a 100 frames, if 60 of them worked, and then if if the 61st it's crashed, then you can still just render from the 6100th. If you have an ascii file, you just have to render it all again. And that's just a pain in the s. So yeah, that's just a little lesson. And I hope you guys like this and I'll see you guys in the next part. 13. 7.1 Setting up the scene: Okay guys, so yeah, if you downloaded the file, these are the files that are with it and and FDF over this. Let me explain you a little bit about why and what we're gonna do. So first, what? Now we're gonna make this scene, of course. And that's just a soda advertisement. Let's say you can see it a lot. I guess of the fee or on, for instance, also make a rainy scene. So if you have like a glass from a car and you wanted to have some rain on there or maybe just a window. That is possible. But let's say you have a cactus and you have made the main model, but now you need all those spikes. This is also a way to do that. So it's very, very first stele. Let's just jump into this. We've opened this and this is the model that we're going to work with. And the first thing that we're gonna do is let's go to the shader editor and we're going to give it some of our materials. So new material. Let's add an image texture. And I already made the diffuse, right? So the color map is going to be this. And now you can already see that we have all the nutrition affects. And of course, our nice logo. So I just made this very quick in Photoshop actually. And if you guys want to put something else here and simplifying this is UV on rats and that you can just change this to whatever you want. Next thing, I wanted to make it my metallic. So I put this metallic up and it's quite hard to see actually what's happening, right? So what do we do normally? Well, we go make the cycles and we play around with the lighting. So I'm going to open this world setting and I'm going to add an environment texture. So environment. And let's open the one that is here, and that is the cloud. And this already gives us a little bit more lighting in our scene. So let's go back to our object and now we can actually start looking at what our model really looks like. So this is all very, very cool. And I personally didn't go too much into depth into the materials themselves. The only thing that I thought was very, very important here is that we can put droplets on here. But if you look close at my picture, you can see here that I also have some of these drops that are already went down. This is more of a condense and then some drops went down. And yet those just have a bit more of a reflection. And yet that is what happens, right? So how are the dead is actually with a texture map. So I already have a texture map, which is this one. And you can see that this is just a black and white. So I essentially just made a mask. And what happens if this mask is, these have more, these are more glossy than these parts. So here the white one is still a little bit of condensed, it's still a little bit more, I guess. Roughness you can say. And this is very shiny. So image texture. I also put a color ramp between here. And I'll show you later why. But let's just put this infrastructure. I'm gonna put the drops and I put the color into our roughness. And you can see that it makes a huge difference, but this is way too much, this roughness, this just overpowers it and it just does not look realistic at all. And the way to change this is actually a fairly easy, let's just put a color ramp in here. And we're just gonna make this match them. It's a little bit more. We don't need that much difference, but a little bit we'll be okay. So now try to find a failure which you think it's realistic. And I put them both at quite light gray. But it would be cool if you still can see a difference between them. So let's just go with this for our, for now. So in the next few minutes, I'm going to explain how to make this Trump's yourself. If you don't want to learn that, then just use this texture that I gave you and skip it. Otherwise. Yeah, I'm going to explain it now, so let's go. So the first thing we're gonna do is let's just deleted this one. I'm going to add a new image lecture. And that's just pop it in the roughness for now. I'm going to open it or just create a new one. And that's great. Let's do 2048 by 48. And let's call this droplets or whatever you want it go. So the color, let's put it all the way at white. Because remember if it's going to be a mask, we have a black and white. So the wide values are this and a black face are dead, gone. Okay, so now we have created this texture. Let's go through our material setting here. And if we actually are going to put this in the color instead of our roughness for right now, we can play around with this. So the object of the textured pains and inhere in their tools, we can actually choose the colors that we want to paint with. So I want to paint with black. And I'm going to put the strength all the way up and the radius. Yeah, you can play around with that yourself. So here you can see that we are creating whenever you just ride on it that you can create your yeah, you're drops, right? That are dropped down so your extra glossiness. So I'll personally just put this smooth mask a little bit more hair and it just makes it a bit more sharp. And what I'd like to do is zoom in and start creating a very small line. And then I put it a bit down here and then go over it again because this is the point that the droplet starts dripping. And from then on, it like ends in a kind of a rounder version, but it starts off if, uh, yeah, quite a sharp point. And then I just go here and just add some more volume through here. Okay. And then yeah, just fill this a bit up so it's not this abrupt here. So you can do with, with this attached to the base color, but if you want to check it, just go from base color to roughness. And here you can see that we have this. So we already created the scholar ramp and you can just put an in-between, it doesn't really matter. And here you can see are our model, the roughness, and you can even start keep bailing on here by the way, I just like to put it into the base color because it's a bit easier to see then instead of hair. Okay. So but you can also paint on here and as you can see also. So yeah, that is how we create these droplets. The only thing if you have made them than if you go into the image editor. Select your droplets, and then click. You can see that this image has a little star above it. Just go here. Save as, and then you have saved your lecture. The next step that I like to do is create a little studio around here. And I've very yet it's just a very east technique that made a studio and that's just get a plate in here, scaled a bit up. And you might already want to position your camera, so my cameras here. And if you go into here and click on the View, we can do lot karma the view and just move your camera of it around. So if you want to be like perpendicular on top of it, then it's better to move it around here. So select your camera and go through your item and just put everything at 0. Just put literally everything at 0. And then 9090. So if we look at the camera, it has hair. And now you just move with if these values. So yeah, the zed axis is this. Then we of course need to move it around the x-axis in this case. So we are in front of it m. And then I rotate it, rotate it around the x-axis for 90 degrees. And then around the zed x is also from minus 90. This one has to go instead of 90 and elastic Gestalt away. So if you now click at 0, you can still stop, start moving stuff around. But at least in rotation are good and smooth this with up here. So now we have our canon view. Awesome. It's totally in the middle. And yet that's good. So now we can see how big we want RStudio to be. So I selected this last bar. Since going to edit mode, select this, this last edge loop and extrude it until the top. And now we can see how big we wanted. I wanted a bit bigger because you can see our studio is not the same size, so make it a bit bigger. And what I want to do is give this a sufficient surface. So go here, self-sufficient surface, you can see that it gets nice and smooth, otherwise it's way too sharp. But yeah, the form is kinda weird, right? So first thing I'd like to do is select this edge loop, click on Control B, and create the bevel. So when you screw up or down, you can create extra edge loops in here. And I'd like to add like two or three extra edge loops and make it a bit bigger hair. And what this does is it just makes it smooth over f this, I like to create just some edge loops, hairs and that's kind of, if so, give the smooth shading. And that is our studio. Let's give the studio or color. So the first thing is just create a new color and we get named Studio. And here base color. So I'll just choose a orange color. I did orange at least you can choose whatever color you want. But I liked the orange orange together. I actually normally I put a roughness quite up because I don't want any yes. Shininess or my background's happening but actually kinda looked go on this particular one. So at that 0.3 and that's kinda it. So that's a very, very easy background for this or studio. And the only thing that I want to play around with now is some of the lighting. So the lining in this scene is actually the most important and we are already used a environment map, so a HGRI. And this, for sure it gives us a lot of realistic lighting. But if you render it right now, you will see that it just doesn't hit the mark even hair. And yeah, so I want to put some lights in here and we know that blender has lights, so we have a light hair. This for sure helps, but I like to do it in a different way. So I'm gonna delete this light and we're going to add, actually add a plane. So what we're gonna do if this plane is, this is going to be our key light. So this is going to be the most important light of arsine and or at least our brightest light of the scene. And I put it here to the left, as skilled as a little bit up. And I'm going to give this an emission. So if we go here to new, let's give this the name key lights, just so we know which one we're working with. I'm going to delete the principal shader and add a mission note here. And now this plane will light up our scene. So the bigger you make it, Also, the more lighter will give. And you can of course, also change the strength. She can see here. So now you can see already some more interesting stuff happening, right? So I'm going to put us a bit of the back. And one is not enough in my opinion, I am going to use another one. So just click on shifty, rotate x_hat, and I'm gonna make this one actually a bit bigger. This is going to be our fill light. So just duplicated and then is to fill this just going to fill up our senior flighting. And I put this lower, so let's do that three. And let's look what it does right now. And let's render it. And as you can see, this already looks way, way, way better. What I also like is that we have some backlight, so our REM kind of fills up and this just makes our product pop out more in our scene. So it's kind of watts happens a lot in cartoons, is that sometimes the draw over it with a different color, that is the main color and this just makes the character pop out. Let's say we will take this black line, then 3t would really be just less noticeable. So let's just get in here and create a backlight. And wanted to look at this one. Move it here. Make sure you are duplicated and give this the name back light. And I'm gonna put this emission even lower. So let's do that. Now you can see that we get more of a rim, which I was looking for. So that is very cool. The only thing is, yeah, we of course want also this def material because it looks very, very weird in my opinion right now. So let's give this immaterial hair and we're gonna give this a metal material or aluminum. And let's keep in rendering hair. It's going to be a metal. Aluminum is quite a bride, but not the sprite. So put it a little bit lower. And we have a roughness of 0.2. I'm going to give it the anisotropic and then an historic rotation, 0.2. And I of course, do not want these lights to end up in a render. So what you can do is you can select them, go into your object data visibility, and do the raphe instability of camera off. So this still recreate the scene. It just, the camera does not just rendered them separately. So if we now render it here, you can see that the camera just does not render them. See. In the next part, we're going to actually put our little droplets on hair. So I see you guys there. 14. 7.2 Creating the droplets: Okay, so let's create our droplets. First thing I want to do is I'm gonna create the droplet itself. So I'm just going to grab a UV sphere. Moved a bit here so you can see it in our render anything. And I'm gonna rotate it for 90 degrees. I personally think a droplet loops a little bit more like this. So I'm gonna move it up and use this as a droplet. And are drops of course also need a material. So let's create this material instantly. And this is going to be our droplet material. And it's very, very simple. Just select this principle shader deleted. And now we'll go to the emission and now add a glass shader. So glass and go in here. And that's it. Ok, so let's select our Ken and we're gonna give this a new particle system. And first thing I wanna do is make sure our gravity is off. And also I don't want any philosophy, so I don't want any of these particles to shoot out, right, that we want them to spawn just on top of the can. I also want to swallow them all at the same time instead of just popping up over time. So I'm going to put this at the end at one. And let's also boots are rendered S object and we're going to select our droplet here. Go. So there needs to be a little bit bigger. And I want a lot of randomness in this, in the sizes of them. So I'm gonna put that up for sure. And you can see at a rotation is a bit weird. So you can put the rotation, you can do multiple ways. I'd like to turn on this rotation here and orient access from the normals. So now it will be, so now it will be generated from the normals. And it still is wrong right now, but we can just rotate this itself. So I'm going to rotate it around the z axis for 90 degrees. You can see that effing gets spawned from the normal. So they're all faced the right side. And yeah, those are, those are droplets. So I don't think there's enough randomness in here. If you go to the source and do the distribution from geodata random that the robotic chains a lot. But you will have to keep playing this by the way guys. Otherwise you don't see the difference. Hair, that looks very good. Number might be a bit too much. Owl might put it to 500th. You can always play around with the seed. So let's say this is cool, but like the amount the school and the randomness looks kind of good, but there are too much intersecting Harish V or you don't know, you don't like this bolt. You can change the seed. So it just changed the way that they are spawned with the same amount of phenomena and everything. This already looks very, very good. I personally do like the fact that we have multiple kinds of droplets, so they all don't all look the same. Of course we have size differences, but they still have the same shape. So what I would like to do is I'd like to duplicate this. Just put it here and play around with it a little bit. So I like to select this proportional editing. And yeah, just move this a little bit around. Make sure it's own. Just move the bit around so it's not as it's not the same shape as before. And the thing that we can do now is we can just select them both control G and this created a collection. And we're gonna give this collection the name droplets. And now instead of rendering our object, so render object, we can select render collection and we can do the droplets. So now we have these n, the normal ones spawning. Awesome. So in my scene, I also had a few of these dripping ones that you can see here. I literally just created them in another part of the system. So let's create that as well. I'm just going to duplicate this one, Gy or GX and select it, go to wireframe and just select the top hair. Don't be too afraid to mess stuff up. It's a droplet. An extra did around the z axis. Scale it down and create some extra edge loops in here. Awesome. So I personally like to do this in our scope mouth. So here we can change a lot of stuff, right? First thing I like to do is put the symmetry also in sculpture which were off. That it's just a personal preference because I don't like everything does look at the same. And yeah, just Skulpt is a little bit with shift, I do the smooth tool, so it gets just gets smoothed out a little bit. And we can always add some thickness with our blob or any of the other tools. And you can also use the grab tool to move stuff a little bit around. O grabbed a little to move stuff a little bit around and then it's not so confirm. Okay, so if you're happy with this, you can go back to object modes. And let's give this a name droplets, ripping this like a dripping droplet. And we're going to add a new particle system. And let's give this a name for dripping. Here. I'm going to use a way less numbers, so maybe only like 50. Let's render our object. It's going to be our droplet. And I want the skill to be way bigger here. Okay? And there's one other problem. And you might already see it that they also spawn here. We don't want one at all. So what I want to do is I actually want to go into our food groups and I'm going to select the groups that I want them to spawn. So from here till here. Then I'm going to assign it. And we can give this also a name. So let's do spawn dripping, droplets. And if you actually go into your particle settings, you can go into the vertex groups. A can select the density. It's still a spawning here, which is very unrealistic, which can do is you can create an extra edge loop pair and that's selected. We can deselect this one hair so we can select this and then do remove from the selection. So now if we select our furniture group here, you can see everything that the selected. I do also want this. So just assign everything that you want selected k. Let's look now what happens. This is way better. We don't have any of those weird droplets that stick out. And Let's go back to our droplet animation. If you play it, you can see that this still got, they still move around. We don't want that, of course. So let's get let's hide our other far accessing for right now. We're going to put the philosophy at 0 as the other one hat and frame is 0-1 as well. If you remember the rotation, let's put the rotation on and put it at normal. And let's play it for right now. Again, rotation is for sure not really the way we want it. So I'm going to rotate this 90 degrees. Just a very simple fix. And if we go to our Render Settings, we can skilled chains a scale and put some randomness in it as well. Awesome. So if we unhide this one here and give the same material to this dripping droplet. Then we can render arsine. While editing this. I notice that little thing that I forgot and that is the little water spot I got here in the bottom. And I think you guys can do it yourself, but it's literally just a model that I created. So let's do a UV sphere, scaled up. And then skill around the z axis. W shade smooth. And let's get our canon here is literally something like this. Then we get this Microsoft deficiency. You can also do it with the multi-resolution. That's all up to you. So with multi-resolution, you can sculpt on it. And here with our subdivisions, you can actually do with, with yeah, your proportional editing. So you can move this one a little bit more down. Stuff like this, right? So it's it's quite easy to make. And the only thing that you do, you give this the same material. It's just a water material that we use for the droplet and that's it. And here we can see Oliver droplets. We have made this texture and with these vertices already went down and we have these falling little drip ripping droplets. So yeah, I hope you guys learned a lot. I would really like to see in some ways that you guys implemented this technique. And I see guys in the next part. 15. 8.1 Dynamic paint intro: As you can see, we have the umbrella and it's umbrella I already made for you guys, so you don't have to make it yourself. You can just get that into the Donald folder. And what we're going to focus on is this rain. So we have particles raining and we have them signing off of the umbrella itself. So let me turn off the sound first. But as you can see, this slide off the umbrella itself, which yes, actually very cool. And we have, of course, the floor getting wet. So it gets wet everywhere except where the particles are not falling. So I made the umbrella, of course, a coalition which stops them from falling and also makes them slide on top of the umbrella and on the hair, it stays dry. So this just looks very, very real. What I also did is put a little bit of fuel of depth. So the ones that are very close loss we cannot see very good. And this also makes us be able to keep it low poly. So these are essentially yet quite blocky. They are like ICL spheres. And if you would have a very clear then you will obviously see a little different. What's very fun to create this essentially. And I think the most important thing that I got to explain to you guys is paint maps. So let me just jump into here and you guys can play with me because it's really fun to play around with. And let's just delete this cube first and add a plane. So if you go through your physics, we have a dynamic painted here that's added. And this dynamic pains, you have two options. We have to type Canvas or brush. This is going to be our canvas. So at Canvas and we can add a UV sphere, scale it down a little bit, and it's UV sphere is going to be our brush. So dynamic paintbrush and add brush. Right now when we do anything, like nothing happens, okay? First of all, we need to give this canvas, so this plane, some more subdivisions. So subdivide it a few times. And when we play it and move around here, still nothing happens in 2.8 and changed a little bit. Normally, I think before 2.8 when you would play it now you would already give color to it. S is saying here if we go to our brush app because you can see that we paint with color. So let's for right now, go to our canvas and let's not paint with a surf stuff color or pains. But let's do this place. So now you can instantly see something happening, right? So if you keep playing it, by the way is an animation or you gotta keep playing it. You can see that if you move your, your sphere around, that we get our displacement. We have displacement. We have even waves. So cool, this is so this more realistic water. And the more self-sufficiency Putin era, of course, gets slower, but it will be more realistic. And this is a very, very cool. Also I would highly advise you to give this as smooth shading because as you can see, that's makes a huge difference. So this is very, very cool. And what I already said before, there's also an option to paint on here. This changes a little bit. So we need to grab a shader editor in here and add a material to our bottom plane. We're gonna put this back like in our canvas. We're going to put the band. And in the output here, we're going to use eight pins map layer. So click plus. And if we play it now, still nothing happens. And that is because we need to add an attribute nodes. Attributes. Go negotiate with color. And here we type the name that we want to export. So this one here, just so you can copy it, a few ones based here. And now with play it in our view port shading, then you can see that we can paint on here. So that is essentially what we are going to do in this course, but we're not going to use a band map. So here we're going to use a web map. So let's copy this and visit here. So we're going to use a web map. So the web map is black and white. So you can essentially export this as an image sequence, which looks a little bit like, which looks like this. And you can see that it goes from dark, so black, which means no reflections in this case, to a more reflective area which has all these dots on here. So these are the rain drops that fall down. That's essentially it. So to do this, let's delete r cube and we're going to add a plane in here. And this plane is going to have a political system. And we give this particle system a dynamic paint brush. And in the source we have panes which is now bashful. You must We want to paint with a particle system. And we can choose this particular particle system. And I put the effect, the radius a little bit lower. Plus I would really like to have another object instead of this halo. So let's go to, let's put a UV or atmosphere in here. Doesn't really matter. And we're gonna go into our particle system again, render object. And then we're going to select, of course, at this. And to check our animation, we need to go back and change the format to vertex because debt is more live and sequence, you export it as a image sequence, which we are going to do of course, but here you can at least see what we are, what was happening. So yeah, there are multiple things happening. You can see that they spawn and also dry up. So let's look at this one here. You can see that it's a bit hard to see, but you can see that some of them like disappear and that this said the dry up version here. And if you turn this off, then it will stay wet. So you don't have this dry areas. Also in the brush, you can still change the smooth radius. So if you want a more smooth around or less than you have that as you can see. So this is very handy for yeah, especially for rain, right? Because often it has like a little smoother area around it. So we'll be playing around with that a little bit. We can of course also put coalitions in here. So let's say, I don't want it to rain underneath this cone. So we're gonna go to this cone. We're going to put this as a collision. So let me scale is a bit up. And now if you play it, you will see that nothing underneath this cone spawns. So those are essentially a few things that you need to know. We still working with a particle system, which yeah, you know, this is all about. And yeah, you learned something new about the diamond dynamic paint and let's go into the scene to render it. I would recommend a little bit of a better BC, but get, let's hope it works for everyone. And otherwise just play around with this. So see you guys next part. 16. 8.2 Creating the rain with wet maps and collisions: Okay guys, so here we have our umbrella. So you can just open up, it's in the project files. So with this empty, you can actually move the umbrella around if you would ever like that. You can rotate it to whatever position you want. Yen for, like the rest is quite self-explanatory. We're gonna make the scene that I've just made right? But you can see here, but we're going to make it a bit simpler because I also want to make this a little bit more approachable for people who know just don't really have debt good PCs. And it is also a bit easier for me to regard the gus If I go too much up in my particles, then recording and blender baking everything is a bit much on my computer and then it will get laggy. So let's just get a plane in here. And we're gonna make this clip plane a little bit bigger and move it here to the bottom. So our umbrellas essentially laying on top of it, going to move a bit over here. So it's more in the middle. And I'm going to duplicate this plane and put it to the top. So this will be our floor. So let's also named this. And this is going to be a particle citizens. So this is going to be our rain. Just as a last part, we select this and this is going to be our dynamic pain. And there's going to be our canvas. So this is going to be a canvas. And this will be our brush. Awesome. But we don't want just a normal brush, right? That we wanted to make it a particle system. So go into particles settings and add a particle system. And I'm going to put the number to 5 thousand baby. And let's play this. So here they'll fall down. Drape. That seems decent. And I will put my end frame a bit lower just because it goes faster than a 150. So our nth can also got a 150 here. So we of course do not want the spawn halos. We actually want to spawn something else. And I will just do a ecosphere. And let's put it at the lowest amount of self-sufficient gift, a smooth shading. And we can give this a material as well. So literally just go into new, we're gonna give this material water. This is a bit of the top n. You can just delete the principal shader and add a glass shader, put it into the surface and output the IR to on 0.3. So now we can select a particle system and we can actually render our object care by Hume. And of course, these water drops are way too big, so I'm gonna make it smaller. I think this is good. You can maybe put even a little bit lower, but this should be good. So now I want to go into the dynamic band options and put the source two particle system. And we can select this particle set instead of doing our format in our canthus settings to further x, we can put into image sequence. So our frame ends up at 150. And we want to render AR. Wet map, right? So first of all, I do not like it to dry up, so I'll put the dry off, okay, so it will just stay wet. Second, the outputs will do note not paint map, but we'll do the web maps. And I encourage you to make another cache bath. So I'll just open it here and I'll make one rain wet maps already made it as you can see. So we also want a UV map. Apply the this. So I am going into top, select everything. You unwrap, snouts, unwrapped, and we can select our UV map. Cool. So if we now bake the image sequence, you can see that it takes a little bit of time, doesn't take too long. But then if you go into your map, you will see it end up in there. So this is what just export it. And you can see that they are way too big. So let me first show you what we've just done. I'm going to give this a new material and we're gonna put an image texture in here, goes into the color. And we can literally just open the whole map. So I go to rain web map, click on a to select everything, open image. And you can see that we have an image sequence. We do want to put on the auto refresh though, and that will distribute fresh every frame. And then if we look at our materials, you can see that we get these drops. Very, very cool. But as I said, they're too big, so let's do it now. Well, we have, while we've changed our values. So I'm going to select our canvas again and bake image sequence. Very goal. Let's open this. And as you can see, there are way, way, way smaller now, which is a very, very goal and that was very we're looking at. So if you want to make this all wet, it should be wide at the end. Then you can make, of course this animation longer or it can spawn more raindrops. So what I want to do right now is I don't want any rain to fall underneath of our umbrella. But I also would like our particles to go onto the umbrella and they just fall through right now. So that's a nice thing. We can actually do these ones at the same time. So if you select this top part here, we can do shift D to duplicate it. And I can just scale it up a little bit. Okay? So this duplicate, we can make this a coalition. You can see it here in the Physics settings collision. And we don't really have to look at the soft mourning cloth. And actually all these settings are already good. You can change a little bit of the friction. And friction is essentially, Yeah, the friction that you're particle has with your coalition. So if you have non friction is with this slide of instantly, if you have some friction, it will just lay on top a little bit and slide off slowly. I had some, I have some friction. I really liked it and that's why I keep it at one and you can put it maybe at 0.8. So literally the only thing we have to check is that our particles don't go through our umbrella itself. So if I go here, you can see that they fall. And they should be on top of the inner umbrella, but not our coalition umbrella, right? So yeah, it seems to be okay right now. And the only thing we have to do is we just have to give this a new resolution. And I think if you guys have gone all the way through here, you can also do this right now. And we can hide the resolution as well, to be honest. So you can do times two and maybe even put it higher. But remember, these are all singular picture so they take longer. The higher you do them. So let's bake this image sequence. Ok, so as less, let's open this and open image. So now we can see our glorious reign. Awesome. So I think it's time to create some material so that you guys think. And before it makes the materials our fashion to save this right now. And let's jump into the materials. So I personally like to do this in cycles and I am not sure if you guys are ready in science, but I'm gonna cycles and our gamma random asthma GPU. If you do it with GPU, your tiles should be a bit bigger. That seems to be the 256 works very good. And let's focus on these materials a bit better. So I'm gonna move this up or web map, we're going to put that aside for a second and we're going to focus on some other materials or image texture, put it into the color. And we're going to open our textures. We're going under the placer. And we're going to use our plaster diffuse as our polar, which you can see here. It looks very good. Then we're going to copy this. And we're going to use this as our roughness. So open your roughness. And as last, we want the normal map for some reason if I just duplicate this one, we do not. I cannot change the color space. So I'm going to add a new image section here, put this into the normal and open our normal map. And you guys already know the color space has to be non-color. And we're going to do this with a normal map in-between. So this has some depth. Very, very cool. You can change the sizes by the way, also if you want, you can do this with a mapping note. Put the factor into every single piece. Then we need a texture coordination note, and put the UV into hair. And now you can change the scale to whatever you want. So you can put it bigger or smaller, that is up to you. So when something becomes wet, it changes the roughness and also the saturation a little bit. So I want to control this with a color ramp and a hue and saturation value my node. So I'm going to put a color ramp in here. And let's first do the roughness. So they kind of put it down here. And I just want to put a meth node in here. And we're going to put this color ramp and this roughness nodes together because they both are going to control the roughness. So how wet it is. And we're going to multiply this, I think is the best to check it if we're going to put this into the base color for now, you can see that this is the wrong way around. So I just want to move these failures around. I want to switch them like this here. And you can change your, the amount of smoothness that you want also here and how big these holes are and how big these drops are. So I'm going to put it somewhere like this. Let's look at later on. May be a little bit bigger. So if you want the bigger, you can just move this to the left or even move this one a little bit more to left. So let's put this into the roughness. And let's put the scholar back for a second. And you can see that we have a different reflection on here. Very, very cool. So we also wanted to be a little bit darker and a little bit more saturated. And we're gonna do this, and we're gonna do this with another color ramp. So duplicate this one color into the FAQ. And we're going to use this note with a hue and saturation and apply the FAQ hair so the color goes into the FAQ. And here we're going to put the saturation can a bit higher, and of course the value goes down, so 0.7, you can see that it goes the wrong way around. So the way how we change that is we just need to switch these two up. And now are drops are getting and now at drops are getting darker instead of the other. And now the wet drops are getting darker instead of the floor itself. So very, very, very cool. So this is essentially what we just did. It stays dry underneath here and here it gets wet. So you can of course put more particles and here if you wanted more width or you can take, make the animation a bit longer. So we do already have a HGRI in here. And if you want to run this, I just advise you to put your camera in a nice bolt and rendering a scene. And as you guys can see, this is a nice end result, will have all the waters plots. I'm not sure if frequency stuff laying on top of fear, I think yes, there we can see some stuff. And yeah, I hope you guys learned a lot from this. I will go a little bit over of what I've done in my en scene. Because if we look at the video, you can see that our scene starts very bright and it goes darker. You can see, I wanted to recreate the fact that the cloud goes over and it gets darker. And it's very easy to do that. You actually just go into your world. And what I've done, I just animated my, my HGRI. So I went form, I think 0.7. in the beginning. And you can give this a keyframe. And then as a frame like 50 or 60, I put it at 0.3. Then insert keyframe. So in this time you can see that the light goes off, so it gets darker. What I also had problems with is that some of these particles just came way too close to the camera. So there were huge in screen. And I actually put this above my above my camera. And what happens here when you put it above your camera, I gave this a collision. And when a particle goes on here, you can see that it kills the particle. So I can show that in another file that right now everything just keeps falling True. But if I give this a collision here and go particles, then underneath here, there won't be anything spawning because they die on top. So this way, they stayed array a bit from my camera. And what I also did is I still wanted them to be quite close. But if I had them too close by, and then you could see that they are not nicely shaped because we use the quiet low, sufficient level of the icon spheres that we used. So what I used there, I used depth of field. And let me also show you how that works. So that fulfilled as essentially in your camera settings. So clicking on camera, and so clicking on camera and go to depth of field, select on which object you want to focus. So let's say I want to focus on this object. And if the f-stop you can essentially chains How Much like the camera focuses on it or not. And you can see that it now folks on this one. So here, this one here gets blurred out and this one is sharp because there has to focus on if I changed his focus to this parts, you can see that it's now a different way around. Okay, so that is how I did that. And there's one little thing. Also have in the beginning in Cannes, maybe it's hard to see, but in the beginning it rains and little bit less than in the nth. See it starts slowly and now it starts raining all the way. And how I did that is essentially it's the same technique as this here. We've killed particles, but added is huge. So how I do that, I have this whole grid, as you can see. So this is my particle system, and I have this whole grid underneath. And what happens this grid also kills the particles, so only a few particles fall through because the other stuff gets killed. And this is why there is a low amount in the beginning. And then over time you can see that it moves up as well as, as it moves sideways. But it moves up, that's the most important thing. And at the end it's above our particle system, as you can see. So no more particles are getting killed as you can see. So there are no, SO particles are not gonna killed anymore, so we get the full amount of particles. So this is for this part and maybe it will be more parts F for this in the future. And I hope you guys learned from this. So I'll see you guys in the next one.