FumeFX For Beginners! | Taha Dalal | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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

Lessons in This Class

15 Lessons (4h 17m)
    • 1. FumeFX For Beginners - 01 - Introduction

    • 2. FumeFX For Beginners - 02 - What is FumeFX?

    • 3. FumeFX For Beginners - 03 - Project Structure

    • 4. FumeFX For Beginners - 04 - FumeFX Basics Part 1

    • 5. FumeFX For Beginners - 05 - FumeFX Basics Part 2

    • 6. FumeFX For Beginners - 06 - FumeFX Sim Tab

    • 7. FumeFX For Beginners - 07 - FumeFX Helpers

    • 8. FumeFX For Beginners - 08 - FumeFX Render Tab

    • 9. FumeFX For Beginners - 09 - FumeFX Wavelet

    • 10. FumeFX For Beginners - 10 - Rendering From 3DS Max

    • 11. FumeFX For Beginners - 11 - Explosion Project

    • 12. FumeFX For Beginners - 12 - Smoke Plume/Background Project

    • 13. FumeFX For Beginners - 13 - FumeFX Post and Retime

    • 14. FumeFX For Beginners - 14 - Tornado Project

    • 15. FumeFX For Beginners - 15 - Next Steps

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About This Class

Hello Everyone, This class is made for Beginners who want to learn how to get started with FumeFX. I will be using 3DS Max as my base Program but you can use Maya too.

No prior 3DS Max/Maya experience is required.

  •  What you will learn?

First we'll cover the fundamental stuff in 3DS MAX such as the Project Structure, Cache Setup, Preview Window, Importing, etc. Then we move on to basics of FumeFX covering topics like making a preview, changing the duration, particle setup, fire and smoke, etc. Once that is done we will take a look at some beyond the basics topics like wavelet, rendering, adding lights. At the end we will discuss some projects that will show you how to use Fume in different situations

  • Course Structure.
  1.  From 1st to 5th Video I will talk about the Basics of FumeFX and 3DS Max and show some things that will be useful to beginners in the upcoming videos and projects.
  2. From 6th to 10th Videos I will start teaching about FumeFX and we will learn how to create an explosion in 3DS Max with FumeFX.
  3. From 11th to 14th Video we will start breaking down projects and recreating the projects from scratch.

The Stock Footage used in the Tornado Shot can be found here -


Happy Learning! Cheers! :)

Meet Your Teacher

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Taha Dalal

Creative Head at MotionTheory


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1. FumeFX For Beginners - 01 - Introduction: Hello, everyone. And thank you so much for joining me on my training course. My name is the huddle on. Welcome to fume effects for beginners. Few effects is our dynamics plug in, which means it creates a realistic fire and smoke. In this training goes, I want to give you all a good understanding off you so that when you're walking on your own projects and you want a certain look from the fire and smoke, you know, exactly with settings to change and what the ad in the scene or were removed from the scene to get your perfect shot, I believe in practical training. So they're gonna do three projects to understand how to use few in different situations. Evil force to an explosion project. Well, then create a smoke plume or a smoke background, and then we'll walk on a tornado short for the tornado short. We will have our Matt. We will create our fume of X Riendeau, and then we'll take all of this into after effects for doing some compositing over there. I've got a lot of thought into making this training course on. I'm sure that if you're a big you know, you will find these topics very useful. So with that being said, my name is Todd alone and I will see you in the next radio. 2. FumeFX For Beginners - 02 - What is FumeFX?: Hello, everyone. And thank you so much for joining me on my training course. My name is to how the law and I welcome you to the part two in this video. I want to give you all a proper introduction toe. What exactly is Hume effects? And I want to have a classroom style discussion on some off the doubts that Big Nose may have. So getting started fewer facts is an industry standard program. It is used in movies, commercials, games, shark, flames, feature off limbs, any flames. And basically, if you cannot shoot fire and smoke in a realistic way, you're going to use fume in the post production and the VFX stage off that shot to create that realistic fire and smoke. Now, it's very easy for me to say idealistic fire. You're a sick fire and smoke. But what exactly does it mean? I have prepared some examples you that would hopefully give you a better idea or what exactly do I mean? So here we have a shot and save your making a movie. Do you want me watch your teacher? Uh, we have big budgets. Can we take on missile and launch it on the mountains. No matter how much budget we have, we will never get the permission to do this. We'll never get the weaponry to do this or can be No, no, we definitely cannot. On it would not be practical in any way for us to actually, you know, drop some bombs on some mountains. It would not be good. So what we do is we take this right. We create this in a three D model texture this late this right, and use something like fume effects to create realistic fire and smoke. Now, the question is, if you're doing three d mortal right for the missile three texture, three light. Why not just an immediate and mortal? The smoke and then the fire on DA answer is Can you animate fire? Or can you even mortal fire? Because in because what we're aiming for is realistic, right? We want that realism. So the fire is It's so organic that you really cannot mortal it. You need physics calculations for its movement. You want a physics calculation for the smoke off, how it's gonna behave because of the fire. And all of that makes a good shot right So as you can see in this shot, there's absolutely no way for you to model this right I for you to texture this or for anybody to model a texture. This that's why we need fume effects, because it does. Physics simulations, right, designed for simulations offer realistic fire and smoke. And that's why we include this because this is a rigid body, right? Is a model on this right here is why we need human fix. It's a very practical and use in many different places took to create a better shot. Now I don't want you all to associate human facts with just destructive elements are like example explosion and smoke, even though that's exactly what I'm gonna teach, you know, fume affects. I'm only showing you these examples in the training course because this is a very good way for big nose to grasp few effects, right? Understand what? They're different settings up. But few more facts is actually used in many different ways. So I have many different breakdowns vfx breakdowns here on some of the movies you may not know, so I'm India. I'm from India, right, and we have Bollywood there, so some movies you may not know, but you understand what I'm trying to say. So as you can see, that's not explosion, right? But then again, it's realistic fire and smoke, and as you can see there even adding some fantasy elements into it so you don't necessarily need, you know, an explosion. And then we're gonna use fume anything that is fire and smoke, be it realistic fantasy weaken. So basically what I'm trying to say in fume effects, you get to control the fire and smoke. For example, in this shot, if I wanted more fire in this or if you wanted more fire in this, you can go into a few more facts, do some settings and get more fire if you wanted. You know the fire to be green, showing that develop from some other world of this explosion happened in another world. And the oxygen is something or the fire is different. There you can do that, right? So it creates a realistic fire and smoke. But it also gives you are a lot of flexibility to change anything you want, right? So very useful for these kind of shorts where you want like a funny short or the fire is dancing for the fire is doing something else. You can still do that and get that that realistic look. Here is another example where something like fume would be used and we have the short here . Whether Don so is doing the stunt right now. It would be very difficult to die a prop to the leg and to release the smoke like this because there would be no control over the smoke. The smoke would be going everywhere on the set, going into people's faces. If there's a fan on on the shed, this whole thing was just ruined. So there's no control toe, you know, to get the perfect short that we want. And it's very easy for us to use fume effects to create this kind of thing. And what they were going for was the Indian flag color. So we have suffering green and then quite right so very easily do this inhuman facts almost impossible to actually shoot it. So that's why we use him effects. I hope you guys are you know how having some good basics off, you know, so waving to use and why it's used next What I want to talk about is the practical projects that we're going to do. So this, I believe, is great for beginners because it's going to show you exactly the different settings that fume has to offer on in the final shot. So we're gonna do one toe on the third shot. This is going to be really fun because they're going to take a mat, right, create a fume effects, render for it on, then create a final short, do some basic compositing, so you get to learn a little bit off that as well. And this is my personal belief that if you have been walking or you know, watching YouTube tutorials, my tutorials and you know more more of such content, you will be able to learn human fax in, say, three weeks, right if you keep on practicing and anybody, in my opinion, can create an explosion on a black background. But if you're creating a portfolio or a Demery and you have one of these final shorts in it , it would have a very good impact on your on in your portfolio because you are not only ableto understand the fume effects, but you were able to create this into a short that looks court, and it works. So you able to understand the speed off the element that distance the size off the element , the color off, the element and all of that. So it's very important to include something that at least one shot if you have many shorts , good for you. But at least include one short into your Demery lawyer portfolio, which is a complete short right now. No, no, this is not complete in any which way. There is no Sophia smoke. There is no dust. Elements are anything like that. But this again is a good short for big nose, All right? And I'm gonna show you how to do this in the later videos. Next, I would like to wrap this video. I hope you have a good understanding off what exactly fume effect is and very see who's and that there are many different, you know, users off the plug in now of one important thing that it is up. Luckett Hume effects is a dynamics plugging. What it means is that fume effects is not a standalone software. You need a software installed for you to add fume effects on top of it. So if you in fact, is currently available, I think for these three programmes Cinema 40 Meyer and Max and we are going to use it in three DS max. Now some off you. If you're using Meyer, make it wide hearing those. But in my opinion, fume effects is the same issue in admire. It will be in a different place on the box will be different. But the settings in it the cash settings, the spacing settings, the logic behind these settings on how to use basing or ah, how to use timescale or the turbulence or he's blocking sage or the expansion born rate that dissipation settings. All of this will be in a different place, but they will walk exactly the same. So this again is not a three DS max tutorial. It is, ah, fume of extra total, and you can follow along even if you're watching this. Admire one more thing I would like to clear up if my big noise and my friends have to start that that is a fume affects five and we're here. We have fume effects. Four. So what is happening and nobody's weevil cough human, fax five. The way I have planned this is that Ah, a lot of times when you're working as a freelancer or in a studio Ah, lot of times it's gonna happen that the latest version is not given to you. You will have to work with what they have. Onda. Ah, lot of studios will have older versions off Softwares. As you can see, I'm walking with three DS max 2014. Now, this is 2019 is a five year old aversion. Sure, there is. New plug ins are new versions out there, but this works perfect for the work that I do right on. This is exactly how Studio's work. They don't necessarily update every single time. And if you're given few effects three or 3.5, you should be able tow, you know, walk with that and get the shortened. So I'm going to you know, with that intention, I want to introduce you the fume effects of its fume effects for and once we start, our full speed projects are are actually recreating the projects. We're gonna do this in fume effects five. So I hope you guys have a good time, you know, put a lot of thought into this training course and the one last thing I would like to say is let's do some pros and cons. So this is again just a somebody Fume effects is very flexible, right? It's very realistic, but again, very flexible. So if you want, you know, fantasy colors or dancing file or somebody on fire, you can do that with you, in effect, so realistic. But again very flexible helps you create not possible shorts, Right. So if you are, are you going on the moon? Right. You cannot send somebody on the moon with some explosive and with the camera angle. Now, that's not gonna work. So helps you create. Not possible short. There are many creative uses for this. So you know this song short, right? This again has zero explosions or anything like that. But again, you know, used to make a very good shot, right? So creative juices. Another problem is it takes a lot of time to render ah fume effects on. This is something that I want you all to be prepared for because it shouldn't be coming as a surprise that after wait for two days now at the computer needs to be running for two days. I cannot use it for two days, and after that I get my proper Riendeau. So sometimes you're not talking about always here. If you're doing a test window than always is fine. But a final render will definitely go Indies. So be prepared for that. Few effects is expensive. No questions. But there is offer. You try out there, which which comes with full, um, usability. You cannot. I think that is. Ah, there's a limitation on the frames and it's gonna be watermark. But almost every single feature is usable. So you're so you're gonna walk. If you're a student or if you're just getting started, you can use it in a few trial. Next is hardware now in the promo? You would have seen that I have ah, walk station behind me on that thing is like a super computer. And I understand that people watching this course are going to be students and big nose, and not everybody will have supercomputers. So my recording computer is going to be very, very basic, in my opinion. So it's going to have simple Yugi be damn on old am the rise in processor off. Very entry level gaming graphic are GDX and only one TB drive. So I you know, you know, handing out myself so I can connect with a lot of different students are there. And ah, I understand that you may not have a supercomputer now, because you're learning. And you just starting in this industry so that this, you know, processing power. We're gonna, you know, create all this and you're gonna have a good time. And there is a loaning cough, but I'm there to help you out with that. So I hope I have answered some interesting questions and giving you some interesting perspectives, right? And with that being said, I would like to stop me this video here. And I will see you in the third video where you're gonna talk about the cash project for low and the project structure. So thank you so much for watching this video. And I will see you in the next one 3. FumeFX For Beginners - 03 - Project Structure: Hello, everyone. And thanks so much for joining me on my training course. My name, Mr Hodel, on Welcome to Part Three. In this video, I'm going to show you how to work with caches and few effects. Onda How to set up a court project for Low. Now I understand that this week is going to be quite boarding, and this is not even jumping into fume effects. But I think it's important for us to understand how the cash is work before we get to the early boarding part. It's a getting started. No, every single program out there has some kind of a cache folder and cashing system in place for it to deal with temporary funds. I just opened this image in four shop, and we may not have seen it, but I did some basic calculations for us to view this and four shop, make some changes to it and basically work with it without having any problems. And this is exactly how things happen in fume effects. The difference being told is that we have to force deal with cash is and where those father going compared to four shop where you can directly start walking, you know, with things in our project. So the reason why I'm dedicating this entire video this topic is because I feel if you don't set up a project folder or a cache folder, probably you can still walk with it and you can start creating your things. But it's gonna cause a lot of problems down the line for you and, ah, headache, too. So I think it's best to avoid all that and to start your project with the proper Project folder on a cash for so getting started. Now this is how I do it every single time when I'm walking on every single project, so be it. A test project, something I want to try, something I want to experiment with. Or it's a client project. Or it's a final delivery or final render set up every single time. The forcing that I do is I create a folder. I name it properly. You may think this sounds super basic, and that's not what I was expecting to hear after such a build up. But this is exactly what I do because it's a simple way to keep everything intact and to keep your files organized. So in this folder that are going to be five folders or sometimes the number may go up depending on what I'm working on, maybe a reference folder, a map, although those kind of things. But for starting the project, these 54 laws are much and I always create them three ds files or you're my files for Job is basically read all the three DS. Well, scope. Now, this is super important to create because every time you do some changes in human facts And by the way, if you don't know this humor facts, folks, by trial and error, nobody in this world can tell you this setting. If I change your toe point fire, you're gonna get this exact output. There's a lot of trial and error involved in human facts, and sometimes you may like the settings that you have done, and you may like the output. Save it instantly. Be lightning fortune. Just save it right. You do some changes to that perfect project and it comes out even better. See if the file increments save the file. So it's important to set up a three DS files folder. And even if you end up with 100 different files. That's okay. You can sell at a sock. You can use it in different projects. You can experiment with it. But if you don't have these first, then that's a problem, right? So three DS files for Low is super important. Reviews is again tohave preview animations. Remember that you and walking to create an animation. If it looks good on one single frame, that's a good thing. That's good. But it also has to look good when things are in motion. And the previews folder is very important to play things in real time and see how the speed works, how it's moving, the fluidity and all those things. Ah, lot of times I used reviews to create test render composites, right. So previews a super important for that. Now, this is the main thing, and the star on the highlight of this video, the cash systems. I always create three folders because the whole idea is that since you're doing so many trial and a rose and you like something right, but you want to add ah, second setting to the mix and see how the output is. But you don't want to lose the first setting, save it in a different folder. It's that simple. So I always create 34 lows and save all my different outputs and three folders on. But this may sound super complex and just a lot of headache to deal with. But trust me, the stakes literally two minutes to set up and your projects are going to go a lot smoother if you have these in place. Okay, so now this is what I want you to do. If you're starting out right now, if you don't want to do this, that's completely fine. But again, that take away from this video is to always do it whenever you're starting your projects. OK, so I'm going to delete everything. I'm going to assume that this is the first time you're opening Fuming fax and three DS max . It's a force. Create a folder. Create your $54 start. Three ds max. Save your three ds. Filed first, So I'm going to go explosion. Best through yes, fires. Right. See it properly. Super. Once the treaty is fighting to save, create your fume of Xbox. So you're going to go here? This is going to be opened by default, just in case. If it's not, make sure that this is open. Create the forced Aiken in the drop down. You will kowtow fume effects, click on fume affects and go to the top view over here and start creating your box. You can hold on the control key to create a box properly like this. Super. Drag it up. Now we have a good fume. If Xbox we can switch to the move, I can. Just so things are safe and you're not creating a second box again, so we'll press W. That's a shortcut. Selectors. Select the fume Effects box. Go to the second dub, modify and opened this guy. Open fume effects on over here. Make sure you're setting the cash for losers. As you can see by default it go somewhere and see Dr on. It's not a good idea toe. Have this just go somewhere, but it's you know where it may get lost, and then he will have. Like cedar is not a good place to store anything right, and that would directly on the C drive. So save it into your project. Folder. Explosion past cash one save it like that, right? And then you can start working on your project. Now, I know that this is this was just a super boarding video on how to create $4. And in the next video, we're gonna use the same project and you're gonna start creating something. So I I hope you are, you know, understanding, You know, different things that I'm showing you. And I understand that this may be boarding right now and you're not even creating something . But I'm really saving the boarding for the next video. And from next video, we will start creating some stuff. So thank you so much for joining me on this video. My name is Todd alone, and I will see you next time. 4. FumeFX For Beginners - 04 - FumeFX Basics Part 1: Hello, everyone. And thank you so much for joining me on my training course. My name is Todd. A little and welcome to part for in this video I'm going to talk about some fume effects basics, and we're going to start creating off fuel source to add into a few effect so that we can start walking on the explosion now the force to video. So this one and the one after this is going to be fewer fix basics and three DS max basics just to cover up some basic terminology, you know, some basic set ups and basic practices that I do. And in the one after that. So once the basics are done, we're going to start working on the project. So we still are quite far away from the project. But again, I would like to give you guys a good foundation, right? And then start any work. So getting started, we have cleared off you move x box from the previous video, and we said cashes in it. But now what we're gonna do is we're gonna start creating some fuel type so that we can create the explosion. So few effects by itself. cannot create fire and smoke. It needs something to interact with the use, the starting energy for it to create fire and smoke. And there are two ways of doing this. You can use a simple source or you can use particles. And particles, in my opinion, are a little bit better because they allow you to control the scene a lot better. There are many more settings than the simple source, and you can control the scene better so they can be a little bit daunting at first. But I'm gonna help you out with that and very easy to work with. So we're going to select. And if you don't know how, I'm going from this small Vieux port, The big board basically select your view port. And if you're walking with three DS max, press old w Right That way, the view board is gonna go big and now getting the particles started. Press six on your keyboard and your particle view dialog box should open up just in case. If this is not walking on your keyboard because I have run into issues where this doesn't work, go over your toe. Your create panel create tab open this This drop down goto particle systems and click on the F source. Don't create, create the PF source in the scene. Click on particle view and then this window should open up. So that's Ah, that's an alternative. If that 60 is not working now, what we want to do is you want to create a simple standard flow. If you have worked with offer effects, you will have a decent idea off what we are working with here. And if you haven't know what is, I'm going to explain you this too. So what we have basically right now created. So we're going to create right click new particle system and then standard room on what this is is just a bit. It's a basic particle food. And if you have created this in your scene, in your view port, this guy's gonna come up. Andi, I'm going to press my selected move again just so I don't create BF source, you know, again and again, somebody click here super and ah, if you have created your standard flow in the scene, this guy's going to come in and basically what this is It's an emitter on it's emitting particles right now. What we want to do is we want toe, you know, customizes in a V where we can create our initial boast for the explosion. So the one thing that I can see you know instantly is that the particles are going the wrong way. They should be going up going down. So to fix that, they're going to zoom in, select the source And this I'm doing just so that if anybody is a big you know, here in three DS max, they too can understand and you get a little bit better on a little bit more confidence every time you walk with small things. So it's electors, people as the IKI. And then you can start rotating it like this, or there's a better way you can come here and you can, you know, at the bottom here you can just change these values. I'm going to make this 1 80 and then this way it's gonna look up on DA life is good. Would again change this to select and move on. Okay, this is great. We have fixed that problem now. Now the whole idea is to the particles are that they're emitting a lot, and they're not giving us the proper explosion ship. An explosion, in my opinion, doesn't look, you know, like a pillow. So what do you do? Is will come to the fore setting here, right both, and we will change their different settings. So basically, these are all the different nodes and parameters that that that basically, you know, tell you how the m it'll books on on the right, you can change different settings in that parameter. So right now you're walking with boat. If the boat was not that, if you order the leader, the particles will just not work. Right? So there's a little bit of common sense here too, Right? So we need the boat, take this like that, and then particles should come up. So there are many different settings over here, and this is what I meant by, you know, it can be a little bit, you know, confusing to work with so many settings, but most times your veggies walking with a handful of them and I'm gonna show you which one they are. So we have our particles are going up. The problem is that they are emitting the 30 frames. So we want the army to start at one frame and then I want toe stop the Emmett like an explosion at justice. Right. So it's gonna basically create a fast moving, you know, particle source, right? The problem now is that the particles remain for a very long time. They should just come and then they should go. So basically, we want to add our delete parameter here, and this is exactly how things work with humor. Fact that we're doing a lot of trial and error and seeing what we like and what we don't like. I'm taking my time to explain you these things. But if I was to go and full, you know, speed, this would be again just two minutes a book. So we will look for delete, and there we go. We found the lead. We'll take this and we'll add this directly on ship. So this is going to remove shapes, and it's gonna add the lead because we don't necessarily need shapes. So this is one way off exchanging properties. You take something from here, drag and drop it directly on that name. And that's when I remove or shapes and our delete now delete by default is going toe delete all. We don't want to delete all. He wanted to lead this by particle age project that on this is a little too much. So we will make these years. If you were to do a right click on the sliders, they would, you know, go to zero. We want to add seven and maybe too. So, basically what? What I have done is that particles start the explosion start and then it ends, some better with I think that's too much. So I'm going to bring that down, maybe five. All right, Something like that. Now, again, this is not exactly looking like an explosion. And that is because off the speed settings going to speed on the settings here that we need to change is we need to change some variation. I may be forced. We'll change diversions so you can see how everything is going up. If I was to add this, you can see now this is looking like an explosion. Make this 85 and you can see now if he were to scrub our timeline. This looks like an explosion and this is again super big Swell. So I'll go in my delete category, and I'll delete the light on. I'll reduce their life span. So All right. Yeah, something like that. Right. So not this looks like an explosion. And one time I would like to give you is that whenever you're trying to create something, are dust, storm or tornado an explosion with particles. Try to get the basic structure, and, like, a blueprint, kind of a shape out before jumping into fume effects. Right. So try to do you try to get this basic structure with just your particles and then get them into fume effects. So we have a basic structure done for our explosion. Right? And this looks good. Now, I think we can start walking with fume affects. So I hope you understand how to walk with a particle of, you know, if you want to create it, hit six at a standard flow at your settings and keep changing them. See, you know what works. Maybe you don't want to work with, you know, a circular explosion. So what do you do is you can go to speed. You can reduce the diversions to 50 and then you can increase your speed to save 500. And this way you'll get a different shape in a different result in fewer effects. But I'm going to keep the basics one so and maybe we'll even add a little bit of radiation . It's 100. So, you know, things are a little bit different. Okay, Now, getting into fume effects. We're going to select the fume box on this way that you I should open up if it's not opening up its minimized over here. So we have this now, this is a little bit tricky, but I want you to understand this is that adding things in fume effects right now. Even though this fume effects is here, we have not yet added particles inside off your effects. So this is my you know. So there are 23 ways of doing it. This is how I do it all the time. When I'm working on my projects, I goto object source. There are many different tabs here. I'm going to go to object source, create a new from lists, click over here, and then I'm going to create a particle source. And if you see, we had talked about simple source. So if we were walking with that, we would have chosen that. But we're working with particle source. So we'll do that now. As soon as we do that, they can see this guy also comes in the scene on basically what this is is that fume effects needs a particle source To understand that we are adding particles in it. Right. So it creates a particle source for us on in this particle source, we have to add are particles pf source. So now people can see what you're particles. It says empty. They're going to click over your pick object on. We will click on our particles that we just made click on it. And if you get this, most times it will be selected. Sometimes you get this guy, we'll click on events 01 Great. So now we have added particles inside of fume effects, right? And again, this may not be, you know, super easy at the first time, but after a couple of times is going to be very easy. Okay, so we create a particle source and then we add our event and RPF source in that particle source right now. One way to confirm if you're particles have been added. A few more facts are no is that the particles are going to get this boundary around them, right? If he removed us, you can see particles look like this. If he picked this again, you can see now they have that boundary that so could mount here on them on Duh. That's that's very good. If you are able to do this, this is very nice. And this is the full step for creating anything in fume effects. So create a box woke on your particle system, create basically import things properly and humor fax to create particles, source and fume effects on our GOP F source in that particle system. Right. This is great. If you're able to follow along and you were able to get this done Superb. Moving on. Now, if you want to see your preview, you can click on this guy is gonna open up the preview window. Let's make this a little bit bigger to make this. And if you were to click on the play button this shirt Now start your simulation. Start showing you what you have now, but again, before clicking on this, always remember to double check where your cash is are going. So for us, it's motion Charity deck Stop explosion test cash one. Right. So now we're able to click on play and you can see that is what we have. So not you know, the best. We affects quality, but not that badly. We can improve upon this. And, uh okay, so the first thing I want to do, I want to make things a little bit better. So I'm going to talk about spacing, right? The vase basing walks and this general parameters is it has a lot to do with the output that you're getting. So if I was reduced spacing, see if I make it a 0.5, you can see over here in the same tap, the number goes up. So this was before I think it to two point something. If I reduced the number, the quality would get a lot better. But then I'm using a lot more am whenever I'm walking on something, I like to keep the usage of Ram at around 100 MB. And you don't have to look at the size numbers. Okay, I'm not looking at 1 39 1 13 Anyone? 27 That is going to keep changing. We I'm looking at same upto. All right, so you don't want to do this. You don't want to work on such high quality. Whenever you're walking, you want to walk on 100 and so let's play that again. And there you go. You're getting some, you know, a better result. The smoke looks okay. This is there something that we can start our walk with, and this looks good. So now what is missing in this shot? And that is how you will work with human facts, that you will have something. Look at it, see what is missing from this, and then just go into different settings and add that. So the thing for me is that the explosion particles and the beginning this it looks very small. And the reason is that these particles are kind of small, so we'll go into objects source again, and they're setting here called Radius. What we want to do is we want to make this enough big enough so that they overlap, right? So we'll change that three And as you can see, the overlap and this is going to create a much better, you know, starting push to know if you were to play this. There you go. Now we're getting a little bit better. Okay? This is good. Another thing that I'm not liking is that the fire goes away very quickly. Like it just days for, I think, 15 frames, and then it just pops up, right? And, um so we can make that a little bit better toe on, duh, for getting started with that that I'm going to do in the next video. But basically, this is you know how you know you walk with the fume basics, right? You could eat your fume box. You are saying gashes to them. You create a particle source, you create your basic structure with the particles, and then you add them in few more facts properly. Ah, Lord of times where people are going to do, especially based in the beginning, is that they will try to add particles directly here on this is not the way to the work you're supposed to force create a particle source on in that particle source as you can see particles. Those parameters you get to add, you know, pf source. So that is a basic saw. Fewer facts. We have our explosion ready now. In the next video, we'll take a look at a few different settings and try to make this a little bit better. So thank you so much for watching. And I will see you next time. 5. FumeFX For Beginners - 05 - FumeFX Basics Part 2: Hello, everyone. And thank you so much for joining me on my training course. My name is the hard LOL, and welcome to Part five. In this video, I'm going to talk some more fume effects basics. And in the next video, we're going to start creating some project. So before getting into that, I want to make sure that you have a good arsenal off tips and tricks and you just know some basics off human fact. So you feel it was stuck somewhere you know what to do and hard to get things going. So getting started in today's video, I want to talk about I want to start with, start and inflame. So there's gonna happen to you that you start working with him effects, but then you realize, Oh, the 100 frames are not gonna cut it, and we need more time on it. So how do you do this? You're gonna go over your to the start of play and next three m options do right click on them, and that's gonna bring up time configuration with your you can change the start and the end time, so I usually just change the end time toe a different number say 1 50 And the problem with this, though, is if you do this in the middle of the project, right, Basically, if you do it after you create your fume if X box the fume affects box is not going to recognize this change. So you need to go into a few more facts and do some changes over here to on. This is a big you know, misstep like a small thing. But it's gonna cost you because this has happened to me many times that it's gonna seem properly. Okay, it's going to seem properly. But just because you forgot to change the end time in few more fax, it would not show up in the final Rendall. And that's a big problem. So you make sure that you are going to the general top of the fourth step on in here. The start time is zero and the end time is also the one you change. Were timeline. Okay, so for me, it's 1 50 Come down here On the cash is that is one more plea from Plato. Change that to 1 50 right? To make sure you do that, that's an important tip next east to walk with different Pruitt height and length. So what's gonna happen is when you start creating something, a lot of times you're gonna like the result, right? But then you gonna realize that Oh, it is the box that we created initially is not cutting it like we need to make this a lot bigger. So what you can do is you can quite easily change the numbers. You're right, and that's going to let me show it to you on a different view. So you can see here that we created this box. It's looking good, but now I need to change it so I can change the width and the height and the length off it . And you can see that Yes, it changes all that. But again, my output is not going to change on it because I need to simmer. Get right by the thing to take and to remember from from from doing this is that the same upto is also going to change, right? Because the one in the smaller settings who was going to take less ram. But now, since you have increased the size of the box. The one spacing is going to give you a lot more detail and therefore the Ram is going to go up. So if you're doing a final renders 8.5 and the box was 1 51 51 50 I'll say you know 0.25 The final output was for 10 GB, right? But But say something happened or you wanted to increase the size of somebody told you or something. You make it to 50 to 50 to 50 now from that 10 GB, it went off 43 GB. So this thing is also something important to keep in mind that if you're changing these box sizes, keep in mind, you know, like take a look at the spacing value also okay with it quickly chances to know what it was before that he was a spacing down to a 11.5 you go comes to 100 MB. You always walk with 100 MB. Next I want to talk about is a fun project. Say you're walking on this training course and you know everything is fine in court. But you get some experimenting mood right and you think work? How to create multiple explosions. And that's a fun project because you want to try such things in order to expand your fume effects knowledge on, and I want to help you out with that. So if you want to try this that you want to have multiple particle sources, you can have them, the them at one place, or you can physically move them in different locations. So this is my first m it up, right? I can hit the six key on my keyboard. To get to my particle view, I can create a new standard flow through all the changes because it's going to come with shape. There's not gonna be, you know, an exit Saudi or delete parameter. That's not gonna be there. So do all those changes or some smart people at work, you may think, is why not just copy basis, right? Were to show you how to copy patient properly. So if you select this, you can hold on the shift key and you can see that my my IRA gets up. Plus, Aiken, they're going to take it and, uh, you know, drag and drop it like this. Okay. And you can see that the problem here is that this thing is not connected with this. So we need to do this. And there you go. You will have another particle source. Andi. Ah, OK, So it is not being visible on a screen right now on our screen right now. And that is because since we have copy basis, the timings are exactly the same, and it is literally on top of one another, right? So if we go into the boat off the second fume of particle source and change it a little bit , you can now see that the particles are, you know, looking different. And with this, So what's gonna happen is there's gonna be a force explosion. Then there's going to be a second explosion, so you can do it like this. And, ah, you know, you can have them at the same place that's gonna create a very interesting smoke plume, an explosion plume. But what you can also do is you can move the second guy out towards the left, and you can also see whether you're moving the 2nd 1 or the forced emitter by looking at the name over you. Right? So as you can see we were moving the force explosion. Not good over to the right. Come here. Select this move. The second explosion, Right? BF So it's zero to move this towards like this. And now what's gonna happen is the force explosion's gonna go up. Let me actually show it to you. If I was to send this right now, let's see what we have. So we're just getting the force explosion. The reason why we're not getting a second explosion. And can you guys think of it why we're not getting a second explosion? It's because the particles are not yet added into fume effects. You can see that there's a difference between the look off, the off those particles. Right? This looks one way. This looks another way. So we go to the object source and you don't have to create another particles to add the second particle system, you can use the first particle source, right? Make sure that this is selected. Come here and you can add the second particles. So it's in it. On the way there, you can see how it says event one event to selective into its name. And there you go now if he were to sim it This explosion one there's explosion toe so you can time it differently. You can go here and change the image. Start off it to say nine. This all a second look. You can see how you have to again and against sim things to get a different output. And there you go. So now you can create fire was six of them and see how things look So you know a different thing. If you want to try to sell, you do it on the next thing is using your GPU. So right now you can see things are moving smoothly. But when I send them not only needs a taking time to see him, but things get a little bit Jaggi for me. And one simple thing to do is to make sure that you're using your GPU on. This option is going to be under the preview tab Over here. Just go here, Take Mom. GPU Onda Things are gonna go faster. The whole jeep The view port itself will be a little bit more smoother, right? Make that next thing is to create output prevue. So if you're walking so let let us send. This was on time. Savy Cemetery 76 right, 75. Right. There you go. Now you want to see it? So what you can do is you can select this. Set up a good camera angle like that. Go to Prevue. Say, make Prevue. And we wanted to go from 0 to 75. Right? That's and frame. We want to play at 60. Girls are 30 FPs on again. This is where the problems coming. You don't want to save it on your Syria. If you want to save it on your project. Fall or so explosion test. Uh, previews. Name it. 01 Endo. Andi, I usually like to Oprah for the Kordech off uncompressed, right. Simple eyes that now you can, you know, take a look at how this looks. In real times, if I was to play this for you, right, there we go. That's what we made, and very easy to create a preview like that. So when you're creating your outputs, you know, it's important to take a look at how it's playing in real time, and that's how you do it. That's how the preview system works. So this video is not again about fume effects, but just to get some basics out of the way so that we don't have to talk about them. And in that when you're working on the project ah, you can increase the quality off your output by changing that on this is only important. You can even do our continue simulation. So you remember how, right now I cut the simulation. I cancel that calculation box at 75 frames. If I go ahead, you will see that the older, you know, simulation. So you can actually continue to send this, because what happens is when you're doing Ahmed. Midsize Sim. So say, you know, we ve made something that we like. Now we want to do a midsize. Um, it may be that's a one GB simulate. If he were to simply so start to seem, the quality is very nice. It would take me 20 minutes. Yeah, somewhere around 15 20 minutes to get a complete, you know, 1 50 frames done. So something happens. I cancel it. Or, you know, light goes off or something, right? And the simulation ends at 20 frames. It just stops, stops my hard drive and fold. Something happened, right? What? What I can do is I can continue the simulation by clicking on this part in right here. Incontinence simulation. And the thing to remember with this is that you want to stop your simulation. Either you know you're going out of office now or you're shutting the project down or anything happens. You want toe cut the simulation at the nearer to the 10th number. Right? So maybe a 21. That would be a good time to contest imitation. If you were 27 you might just read for a few more minutes or, you know, for 5 10 minutes and let it reach the 31 then cut the simulation. Right? Did this way. When you start or continue the simulation again, you don't have to waste off seven flames. Because if you stop 27 it will start again at 20. Right? So it's important for you to remember that so you can start your simulation again, but it will start from the nearest you know, 10 number. I hope I'm saying that right. So those were some more basic fume effect steps. I hope you guys you know our understanding, how to walk with humor, facts. And from the next video, we're going to start walking on our explosion transition project. All the best guys and I will see you there. And until then, take care. 6. FumeFX For Beginners - 06 - FumeFX Sim Tab: Hello, everyone. And thank you so much for joining me on my training course. My name, Mr Hodel. All and welcome to Part six in this video, we're going to get started walking on our explosion transition project. I'm gonna show you our Lord of different fume effects settings. I'm gonna talk about a lot off three DS max settings. Andi, I'm gonna show you how to render this from three DS max into all three effects for completing our project. So without any further delay, let's get into it or or let me just say one thing before we get into it that awesome. Students, please understand that this project took me two days to complete. I had to re something's many times I had to make small setting changes. Ah, lord of different times to get my fine look. And things may not work out for you. If this is the first time you're walking with human facts, are your very new to the program? And if that happens, these don't get discouraged. I wasn't able to create anything good, at least in my 10th 11th try. Right? So if you're not getting the results that you're looking for or you're not ableto get the same output is me. It's OK. Things work like that And that actually means you're under the right part, right? If you were able to get it on four strike than you must be a genius or something and, uh, that it's okay if you're not getting the same output, there's a good chance that I that I won't be able to fit two days of work into one hour of tutorial, and I won't be able to get a good out, but as well. But the important thing is to understand the different fume effects settings and, you know, work with the program and experiment and, you know, work. You can master it. So with that being said, now, let's jump into it. I'm gonna create my project for the first name it properly that's important. I'm gonna create five folders in here. So the 1st 1 is where all my files are gonna go. Next. Follow is very important. If you want to take a look at how the animation looks right, so playing things in real time, that's important. That's where the previews are. Next is gonna be cash folders This is where all my fume effects data goes. And once this is done, you can fire up three DS max and get started. So here I am in three DS max. Forcing to do is to clear the fume box. I'm going to come here to create for a geometry from the list. I'll take fewer fix and click on fume effects over here, and I'm going to start creating the box like this. Now, if you are wondering how'm I doing that? That for, like, a perfect square thing, I'm dragging out the box and that I'm adding a control. You two word, that's where it's gonna go out in all four directions. Dig it up de vehicle, right click, click outside and we have a few books created. I always like to keep my selected move key whenever I know what I'm not creating something in three DS Max, click on that. That way I know I'm in a safety. I'm going to old w to increase the size of this report and now we should add a few sores are particles in our human xbox. So press six Ah, particle view is gonna open up the bar, right click, new standard flow. And I'm going forward because I've covered all those in the previous videos. So just a safe time. I'm not gonna explain. All this indeed is. So select this to rotate breast E on. You know, something like that were to click over your changes to 1 80 So it's properly pointing up. This looks good. Gonna bring back my particle view on the boat settings should be one and two rights. That basically is like an explosion, a quick pop and both of energy going to increase the particles from 200 to 300. And I'm going to replace the shapes with delete. So just like that, I'm going to change this. The particle age from 63 the radiation could be one too. So there you go. That's I think that's a little too much. I'm gonna reduce the radiation down. There you go. That looks good to me. Next would be to increase. This s going to speed and increasing their devotions. So I'm going to make this toe around 75 65. That looks good at a little radiation. Maybe 25 on the other strokes. You look like a court basic explosion I can start my work from. And it will need the random the Sarita rotations and well selected and lit. There you go. This is our basic set up now getting thes particles inside of fume effects. So selecting fume affects going to the mortify panel over here going to open him affects you y and make me sure that the pen dialogue is switched on. Next, I'm going to assign before you and importing the particles. And I'm going to assign this cash for low, so click over here. Got a deck. Stop Our explosion. Folo Go to cash one and open. There you go. That's an important part. Now we need to import these particles inside a few more facts, so I'm going to go to object Source. Particle source. Click on this On ad are particles like that? One way to make sure again is to you know, if you have imported this into fewer fax information that the partners have this boundary right in the SoCal around them. I'm going to increase the radius. The default radius is going to be one. I'm going to increase it to 3 to 3 Yep. That looks good. That's gonna create a better starting explosion for me. And let's just take a look at what we have, and then you can start doing some changes. So I'm going to open the preview window like that. Let's make it a little bit bigger and play and see what we have. Okay, so this is good. This is the defaulting on the force thing that I'm not liking here is This is giving me that. The output in this, uh, box box, like for him, right? I wanted to be in this proper 16 by nine ratio. And to get that, you can go to the Riendeau set up on basically at the end of Europe is going to be right here in three D s. Click on that, and I'm going to change the output size toe HD TV. Andi, that should give us an eye. 16 by nine. Full HD kind of of you. All right, This looks good. Ah, and another important thing that I missed out is to see if the file see the three ds file. So increase as a crash or, you know, the powerful was out of something. You don't have to do this manual work again and again. So save this save as next stop explosion three ds foes on I'll name it. Explosion, Study Seattle. Okay, that is good. Next thing that I think I should do is I should maybe change these numbers into proper number. So I'll make it into 1 51 50 by 1 50 They say we get a proper box and we can start our work . So next thing is that the spacing is said to a very high number I need to reduce this so that I can get a little bit better output. Right now, you're only sending up the seven MB. We should probably work with two around 100 MB output. So 1 50 is a little too much. Something that gets me 100 MB. That s court. Let's do a play. And this way we can see what works in the explosion and what doesn't. And we can get started on making changes. So the first thing that I'm not liking is that the fire goes off a very quickly, right? The fire goes away very quickly and then we are only left with smoke. Andi even the smoke itself is very smooth flavor. He kind of smoke. It doesn't look like an explosion Smoke. This is looking more like a shampoo, in my opinion. So will you change this? So though means settings for the simulation off things and fume effects lie under the simulation tab which is right here. Now I want to give you guys this explanation because, I mean, somebody had told me this when I started that you don't have to learn all their different settings and fume effects. Right? The aim off the training goes and even their aim for artist is not to become a PhD in fume effects that is not often used to anyone, right? I mean, yes, there will be a use off it, but you don't have to learn all the settings from the get go. So this training course is really focused towards big nose to help them get started. So and we'll talk about those settings in this video which are going to help you get started walking on things rather than talk about things which would happen once in a while . On day you will have toe do this, do that so Basically, I'm going to skip a lot of different settings, but I don't want you to get worried. Order the thing that you're not learning from effects properly. So there. So getting started Now the the mean changes that you can do in regards to how the few minutes and how the smoke looks at how the fire looks, at how long the fire is our, how high the fires are, how low this should be or how take ticket should be. Everything happens in the same category in the same tab. This is a simulation, Deb, and it's been divided in different boxes. Let's just start with the system settings. Okay, so for now, the gravity is okay. The vorticity is not vorticity they're setting or the city's friend. This is a really important setting because But right now, in my opinion, if you assume this in this isn't This is looking like that Very flay fee smoke, not explosion. Smoke on. What I want to do is I want to add more calls. And so if I change this to say 0.7 point eight right, quite high, right? And if I send us again, you will see that the explosion is there now. We haven't touched the fire year, but he will see that in smoke. We will start getting a lot more detail. A lot more calls, right? Let us compare this to the other smoked setting that we had to. This is the flavor smoke on this is the water city. A lot more calls in it. And keep in mind that there are those things that go into it like the turbulence, and I just get to it. But when you do all of these good things together, you're gonna get something really good. Turbulence is a setting where everything goes haywire. So if I increases, say, 55 by the way, is a really high number. And if I send this, you will see everything is in chaos. You know, this is good. Like, I have no book in a situation where I have to do five. I've done 30 but then I animated down to appoint 1.2. So generally, something like point toe 0.0.25 is where you know, turbulence is, you know, used So combining the default settings with a high water city. Maybe I'll even changed it to a proper one. On one is the max. If you change this and it's not going up, one is the max and I'll bring down that opulence. 2.2. Let's see what we have. So Okay, the fire again is the big issue for me. That goes away too quickly. But now this is looking like an explosion. Smoke, right. Compare this to the flavor Penis on. This is not for a fee but this thing, right? This this is to be Oh, you know, to smooth Not that cause. And it this looks a lot better to me right now. This is Ah, cool setting That is a blocking sites. So if he if I was working on an explosion shot But I had to do like a perspective Riendeau , right, I would include minus e because in if I was to do this is basically going to react with the ground, right? If I play this now, you will see that. So if I just make it none and then I played, you will see that it's not gonna interact with the ground whatsoever. And the fire and the smoke is just going to go up right. It's on interacting with the ground idle right now. If I make it minus E, what's going to happen is it's going to leave a little bit off, you know, do you and that that that interaction is going to be there and look around and that it would just make things look a little bit more here. Let's take a little bit better, right? And this helps a lot when you're compositing things in, in in after effects or nuke or something like that, right? Much better. So that is worth the minus. Z setting does. Basically blocking sage is when you have the explosion right or or something smoke, explosion, fire, interact with the fume books. Then you can have these set toe some kind of value. So right now he's just walking with minus Z. We're just working with the up and down, so that's the example I could show. But if the explosion was starting this site and I wanted it to interact with it right, interact with the box, then you could, you know, put on the X values, too. So try this out experiment to see what works for you, right, and that's How you gonna learn? Few effects. So this is looking good. Not that bad. We have a nice you know, explosion plume. Okay, but again, the means heading that I wanted to change was that the fire is going away very quickly and I want the fire to stay for some time. And this is where we get introduced to the fuel setting. And, uh okay, So the way fume affects walks is that there are different challenge. If I go to the gender type here and I show you under the general parameters, it's gonna be output. This is like this song that I covered very briefly in the previous video. I believe there's gonna be exporting channels, and if you click on set there going to be different channels over your that you can export . But the problem is, if I include things like velocity temperature, then the fighter size is going to go up. All right, this is going to have an effect on how much cash stays is. You know, we're producing. So if I bring this down, you will see that without these two channels are temperature and velocity. The file size has also warned on. So my point being that if you're walking on, say, a smoke project and you know that you're not going to use fire at all, you can actually come here and remove fuel. Right? And this way, your only exporting smoke on the file size is going to be comparatively smaller on DA you might think right now. Okay. What's the difference between two? Well, MBN seven, MP, welcome. We are living in 2019. We have enough data for, you know, a few embassies, but understand that when you're doing final Riendeau, they're going to reduce the spacing down Quite a low number. And this channels is going to play a very important role on how much cash are out putting. Sometimes I woke on projects, but I had a cache size off three terabytes. Right, So a normal won t beat. I won't even cut it. So it's important to understand what channels you want to walk with. Change this to 1.1 and then make those decisions. So via walking with an explosion, an explosion without fire is not going to look good. Now, the reason why they're getting this is because you're working with particles in the particles is creating the smoke. But without fuel, we cannot get the fire effect, right. I'm going to put a check mark on it here. And this basically also means that without, like basically, if I want to change anything in my file, for example how long it lashed, they're going to have to make some changes in the fuel settings. And that is perfect, you know, perfect timing. So in fuel settings, there is ah, setting call Bond read. And so bond rate is a setting that if you want more fire, you have to reduce this down on again. Bone great walks with expansion. And I talk about that. But basically, for now, just remember, if you want more fire, if you want a fire toe last long. I'm not talking about the size of the file talking about If you want to fight the last longer in your seen reduces down to 10. So we just did that. And let's see so before the bone before the fire was going away at around 15 frames, right, 15 frames and no more file. Now let's see, we have reduced the bond rate down on the fire is going to last a lot longer. All right, it's going to around. I think it's gonna go around her later on. 30 30 35 frames. Right. There you go. 30 frames. Right now, This is looking like a nice, violent explosion where, you know, we're not really, you know, you know, controlling it in a way. Where? Okay, this is going here. This is going here. It's so organic. And that is what gives it that nice Look. Right. So let's take a look. And again, this is a flavor. The one I don't like this. This is a lot better. It's okay. So we have our explosion here looking good looking. I think the toe billions is coming and play over here, and this is getting a little out of hand, so I'm going to actually reduce the so I'm going to increase the boundary. The this much bone rate is not working for me. Maybe 12.5. And what I want to do is I want to have an even bigger explosion. So right now, as you can see it if you if you look at the initial stage, this is looking exactly like our particles and you can even see in the output that it sort of looks like small, small balls being put together. All right. And what I want to do is I want this to interact a little bit more and become bigger. And that is where expansion comes in place. So you remember the point off having all of them, you know, override on overlap each other. That was because, you know, we had expansion to know if I can I can increases to 1.5 or maybe even do and let me just put on GPU so things work a little bit smoother for me. Yeah. There you go. Now, since you have increase expansion, this is going to become a lord bigger, right? There you go. And include and combine that with the bone right now, if the bone rate. So the reason it's not becoming as big as it should have been is because the bone rate was reduced. A lot of thought default was here to say 30. This would blow up. There you go. Great. Much bigger. And, ah, and this whole thing is up to experimentation and, you know, having fun. So If I change this to fight, this is really going to blow up. There you go, right. Expansion? Basically, what it does is that it takes benefit, that we are overlapping those particles And then you know it. It basically makes them expand even more. Right, So five is not good. But again, you can take a look at it and how it would look like, you know, interacting with the with the floor. So if he on minors, you know, and maybe not this high, maybe to say for now, reduce the spacing because I think this is taking too long to the same for the video tutorial and so we can control the expansion like this. Now, if you want to bring down the expansion and keep the fire up, what we can do is we can reduce the born rich and or if I bring it down to 15 you will see it also effects expansion. So the expansion is also controlled now because of the pond rate. But because of this, the fire will last longer. Toe right. This is looking good. This is not that bad. So the BB, of course, want to make some more changes in it. But this is giving you a decent idea that Okay, we want to add more calls. We add vorticity spent Ah, little more chaos. You know, we ve increased. Oh, turbulence have better interaction with the things around it. Your try blocking sides want more fire, reduced the bond rate and things like that. So keep experimenting. Try this with, you know, two different particle systems. See how they work. And for now, I'm just going to bring down the expansion to say to and keep the store around 12.5. Let's see now, this doesn't look as that big, you know, if compared to what we had before. But this is, uh okay, not that bad. I'm going to reduce the spacing a little bit. We get a bit better output. OK, moving on now. So the next topic is about fire creates smoke. This is an interesting topic. Decoys. Um okay. So what? What this does it creates on Ah, whole lot more smoke. And I'm going to share some tutorial links after the training course that it can wash to increase your knowledge even more. And, you know, see how things work in different environments. But basically what this does, it gives you a whole lot more smoke. And if I was to increase this to, say 50 by 25 what you will see is that the fire is now creating the smoke. The fire is also giving out the smoke and then we even have the smoke channel. So is gonna give you a lot more. Take smoke that you want to work with. And right now we're seeing this white smoke. It's not looking good, but if you give with this a proper shape, things might work out for you. But for this project, I would like to keep this off. Okay, this is what we have is not that bad. Let's take a look at what is in simulate. Smoke to similar smoke is basically the setting where if you want to get rid of the smoke, this is what I use going to indo simulate smoke. What I want to talk about is that dissipation settings and I want to actually give you guys a quick demo. See, even after you watch this video, every time you get a project or every time you create something, you're not going to come toe me toe, you know, listen to things, right? So what you can do is you can go here to Google. And this is how I learned fume effects that you can just type out the name off this and just a few more facts, and it will tell you exactly what it does. So is a small buoyancy smoke Buoyancy. This value defines the rate at which the smoke will rise. Often negative value is the smoke heavier in afford to fall and positive value basically would mean it would go up. Right? Refis rest, testes. If we make this five great positive five. Ah, what would happen to smoke would go up right? Let's take a look at that. So the fire, the explosion is done. Now the fire is gone. What would the smoke would go up? Yup. It's going a lot more up. Right. So you can control different settings off how you want your look to be how you want the explosion looked be whether you want smoke to go up smoke to remain sort off in that vicinity off that fire what you would want and depending on that they can animate this, you know, change the values, do all that. But for now, I'm going to keep it minus one. And the dealer to most use settings. In my opinion, is that the dissipation? Uh, Ben city and dissipation strength and basically what this does, is it? Ah, dissipation would basically mean the smoke would fear I'll be right. So if I increase us to say 25 50 what would happen is that he would have our explosion, right? Smoke would be created. And then smoke is not even being created because the setting there so high, I bet I really thought that smoke would be there. So if you do this now, five and 15 I don't want to see anything. OK, so the smokers know there, and this is going to show you that I do have who has worked with fume effects on so many projects. I do really cannot remember all these different settings. I have a general idea of what they would do. But I would really want to see you try and see what this would do and what kind of results I would get right. There you go. So this basically, if you want, you know, the explosion to be there, smoke to be there. But now you're looking for a transition, right? We want to smoke to eventually go away so we can see the second clip, right? We we want us there fire than the smoke. Now we want to smoke to go away. So you're gonna increase the dissipation so that we can animate the dissipation settings here and it would go away. So by default, I think this was 0.1 and three. So that is what these settings do and temperature. So temperature also has our dissipation, You know, that temperature and sent. But I usually like to work with dissipation smoke settings. But you can also combine this if you want toe measure that the smoke is going of a quicker right by the one thing that I would like to say is I like to walk with temperature buoyancy . And this is the setting which which which basically is going to decide if the fire is going to go higher on also, if you increase this if I make this 10 right, you will see that the explosion will be a lot more vertically assessing. There you go to sometimes you want there. Sometimes you want to animate this and again it all comes down to what you are trying to create, right? And depending on that, you want to animate this. You want to increase the value of this, or you may want to keep it a zero and, you know, basically just experiment and see what happens. So for now, I think this is ah, decent video on award the major few effects settings up on DA You know, you're gonna continue in the next video. We'll start to shape this better and see what more we can. I thank you so much for joining me on this video. My name is Todd a lot on. I will see you next time. 7. FumeFX For Beginners - 07 - FumeFX Helpers: Hello, everyone. And thank you so much for joining me on my training course. My name, Mr How The law on Welcome to Part 67 Hit Hydro, Remember? But in this video I'm going to talk about camera angles, adding wind to your scene and basically doing more changes to get the explosion transition that we had eso getting started. The forcing that I feel is missing from this is our camera angle, and the importance of camera angle is that it gives you an idea off what kind of output you should be going for, right? Sometimes you want to set up a camera angle where you want toe, see the base off the explosion to stop the bill up. Right? Then you want to cut to a scene where you're seeing the plume on the the smoke properly, and there are many different languages that you can add to your scene and you render that out and to create a good short. But for our case, we want to have a simple to the short where we're seeing the explosion, it fills up the screen and then we have smoke on a good transition between fire and smoke Onda, then the small course of it. That's what we want. So that's the kind of camera angle I'm looking for. And again, the first camera angle is never really the one. You know that I that I finalized but it gives me an idea of what I want. What is missing from the scene, that kind of thing. So getting started now I have set up. You know, this is basically what I have in my output. I'm going to zoom into it on basically, around there is where I think I should create my camera angles to create the camera press control. See? So the copy shortcut, right. Have your view port selected press control, See? And what you will see is we have our we have a perspective open with you. If I press controlled, See, it's only changed it to camera on right on. What this basically did is it created a camera on the view port also changed the camera view. So what I always do is I create a camera. And then I instantly pressed the letter B p is going to change back toe perspective. This way I can keep the camera angle safe. Onda not have it move accidentally on. What I'm going to do is I'm going to move out. I'm going to select the camera. Right click on do hide selection. This way it doesn't get in my way. You know, when I'm moving things around, I'm marrying late and stuff. It doesn't accidentally move again or, you know, just cause trouble for me to this way. It's that, but it doesn't get in the way. And if I want to see what you know, the output is in the camera view. All I have to do is press see again and that will jump toe the camera view again. So most times I'm walking like this where I have a different view and, you know, as my main view port. And then I press, see? And then again, I instantly press be again. So this way I'm still holding to the camera view. But I'm in my perspective. You right now This way. If I move it like this or if I do like this, then it doesn't mess up the camera, right? I hope that makes sense, because I'm gonna be doing that a lot and you'll see that in action. And as you start doing it to, you know, if you get more fluid and things will get better. So getting started, let's see what we have in a camera view and what is missing from our shores. So I'm liking how this starts like this. It gives a nice bloom, but I'm not liking is that it's not covering up the scene, right? All this part is missing. So on, then I have a good transition from fire to smoke that's also good on the smoke is kind of staying on, you know, in the scene. So we need to fix two things. It's not getting big enough and in the small staying, So let's get to it. Let's start fixing stuff and we will see you know how to do things. So the forcing I want to do is that want to walk, But I want to show you how to increase the size off your image. So one easy way to fix this is to basically increase the size of the off the Amador, and that way it will give us a wider explosion, so we don't want to go to the particle view. This is not what we want to work with, right? The particles are perfect. The M it'll itself is a little bit off a problem. So we'll select it really go from create the mortify panel and in here will increase the wit. So say 40 45. Right this way. The emitter itself is a little bit wider, so the particles coming out will be a little bit quieter to Maybe I'll increase it off 50. Right. Let's see what we have in the camera view now. So we have this. This is again. Just because I made some changes doesn't mean it's gonna obviate. You have tow sim it again. So I'm sending it. And, ah, like I said, right, though the explosion should fill up the scene. And there we go. Now it's getting It's not perfect yet, But Okay, you know, getting better. It's looking better on again. This this whole thing as a yellow it doesn't local, but that's OK because we can fix things later when we add the color texture. But okay, for now. So what we have right now because I think it went a little too fast. It went. I think in just 30 frames, right? We want that to be a little bit slower. I think what I have done is I have created the camera. Me let me on height by name. So if you want to bring the camera back, you can do that. So I click on hide my name camera on Hyde. I think what have done is I've created a very close up short, and I think this is going to be problematic because I'll have to do off ready details and that's gonna take forever. So this camera angle is not that good. But, you know, since we have it here with the leader and what we want to work with is, ah, let the smoke go a little bit up, right? So I'm going to increase the temperature when you jump into my SIM settings and increase the temperature toe, maybe three. All right, so it goes a little bit up and let's see what we have. I think I'm going to reduce the same settings a little bit. Maybe so. Maybe no. 1.5. So just so you know, because I'm recording two daughters, I don't want to sim forever Okay, So the first thing that's happening here is that it's getting clipped at a very already stage. Eso What I'm going to do is I'm going to increase the box size so 1 50 is too small somewhere to change it to 202 102 100. I'm going to increase the height as well. So as you can see, the blue line shows where the before the box wars and the yellow is our new box, it's sim it again and again because we increase the box, the spacing, rent down right? So it's going to take a lot more power. Just ascend this. I'm going to reduce us down even more right day vehicle. Sanofi Voto Create this something like this somewhere over there that I think would look next. I think something that we can do is we are not using the radius properly. I think the radius settings can be a little bit bigger, So increase out of five and let's see what we have. So also, yeah, I think the bone greater 10 works good and expansion at they also looks good. So Yep, this is what I'm talking about. Let's take a look at this now, I think I'm going to create my camera angle over there. I'm going to hit the perspective. You again move out, select the camera and hide the selection. Like this way. It doesn't get in the way when I'm walking with it and, ah, let's take a look at what we have now. So it's comes up, fills the screen with the explosion. There we have a good transition, right from explosion to smoke, and then we have the smoke remaining. So the problem is that Okay, so we have the good explosion at powers of the street and Dutch court Me. Okay, so it calls up the screen, then we have a good transition from smoke from 25. So I think 35 or 10 frames of transition that is smoke there. But then the smoke is just sort of staying there. It's not dissipating for us enough or start going up enough. So what I'm going to do is I'm going to add a win for the scene, and then we'll even animate some some dissipation setting properties to make things better . Okay, so this is looking good. My camera view works this is the court. I'm going to hit perspective, move back And I think we'll have to increase the the box size again. But that's okay. Let me introduce you guys to the rain setting. So in order to add over in for the scene will go to the create tab. We'll go to the space warps and by default the forces will be on and over here. We're looking for a wind. So you click on it, create a win like this Right on da. As you can see, it's a little bit on the offside. So hit that w key are again. Come to the move. Select and move Option moved the bend over here with the wind over here. Move it up So it looks proper. And then we'll use the e t to rotate things, eat a road it and like this. Right? So if I was to select the wind right and go to the mortified tub, I have some settings here that I can change. And the fourth setting is a strength on when to change sent up to five justice. So just to show you guys what it does And if I was a sim it Nothing would happen because I haven't included this wind in my fume box. Fume doesn't know that it's supposed to use this wind and interact with it in some rights. Just because you add something to the scene again doesn't necessarily mean he will well understand. So we go to object source, we'll take the pick object, right, And we will add this to the scene as well. So we have a particle source. We have this guy that's a particle source in the scene, and then we have a tendency on a few more now understands that it has to interact with the wings and all. Let's take a look at the simulation and my human factors crash some when I had the water, You start on this and I will see you there. So this is a very the left off and hopefully the scene work. The scene hasn't crashed, but my three ds max it and this I'm gonna I'm gonna speed the spot up, but keep this in the video just to show you guys that you know bad things happen. I'm a professional, but you know I'm not good and I cannot like you know, see things that far ahead. So I'm going to quickly create us Ah, wind again. So I'm gonna increase the strength upto five. I'm going to add this win in in our human facts box, and then I'm going to press save right. Save is the important thing. Let's send this again, Onda. Uh, let's have a preview out. So now you'll see that when the explosion takes place right now is gonna interact with the wind and the cause of windows, moving it from left to right. The explosion itself is going towards right that it's like if you add a win for the scene, increase its strength, it's gonna push the smoke or the fire of you, you know, in which our direction you pointed. So it's a very interesting tool on a highly recommend that you experiment with it and can't come up with their own, you know, unique results. Any of this moving on. What do we want to use it for is we have a very good fire entrance, a good transition from fire, the smoke, but the smoke just kind of stays there. Right? So I want to use the fume Sorry, the wind to be at the bottom off it. So it pushes the wind up eso it pushes the smoker right, And I'm going to use the same vendor and I'm going to align it properly into my scene. And I'm going to do that by using the different view port. So it's gonna be a good three d practice to go to anybody here who is very new. The three DS Max that you go right so you can use a different view. Ports, Same simple. The rotation W for move, right. You can bring this down with that and you don't want to keep the wind, The scent that fight for now. For now, we'll just keep it at the one. So I'm gonna hit the sea. He again to see my camera tool on my camera. View it perspective to get out of it, select the fume books, get it out and let's see what we have. Since we have added this into a scene, we have added that so again the fire comes in and again, This is very low quality, no texture, but you'll have toe vision it right that it would look like this once we are done walking with it. So the smoke takes up the place, and then now you can see that the smoke is interacting with the brain. Then it's going up. So by 90 frames, I think if we have this as a clear screen, yup, you're gonna have that, I think well, before 90. And I think this looks very nice just to add rain, it would create a good difference. And we cleared a preview for this just to see how it looks in real time animation because when you're scrubbing things or things are gonna look great. But but let's just take a look at the animation and you know the preview of what we have, so we'll make a preview. Is it a lot of 100 and we'll save it properly and lessons Aquatic from Microsoft one compressed and let's see what we have so are privy was ready. And if if you're walking with the lt player, you can click on the Seiken. So this way it's gonna keep looping, right, and this is not that bad. I would say that we could do a little bit every time, and we could do that in after effects. So this looks court. The problem again is that the smoke at the end kind of just stays there. Right? I'm liking the explosion. Speed the explosions. Okay, the transition is okay. The smoke is okay. But towards the end, I think everything just kind of slow us down, right? And we want it to go of a, you know, at the end. So what we'll do. And this is an interesting way to introduce you guys to animating things in three DS Max. What we look is we will select a win. All right? Will go toe end. Let me make this big So you guys can see this better, so we'll select the wind. Hit the n key end is going to start and make the timeline read. That way, if this is red, you understand? This is animating right now, So any value change, you're gonna create a key frame. Okay, so say, like this hit the n key. That's going to start the order key. So we'll move those toe around 50 frames, right? 50. Just look at the out. But what? We have a school perspective. You. So we have this. So you want to keep the same wind at around 50 right? And from 50 we want it to start increasing it. Okay, so we can do that. We will select win from where you're and I'm just gonna basically increase it a little bit . Just to create a key frame are maybe once a key frame is done, I'll bring it back down court original value. I'll move the timeline to 90 or maybe 100 then I'll increases Trent upto two right this way wasn't happiness from zero frames, 50 frames. It's going to stay the same. And from 5200 it's gonna gradually start increasing itself and goto on. What's gonna happen is hopefully that the smoke is gonna interact with the wind and the smoke will go up out of the scene and we won't have to worry about it. We can actually even do this because we what we want to have is we want to have a good combination off dissipation, the smoke, you know, feeding away and the smoke going up. We don't want just one of those things because one of those things were Would I, in my opinion, would look a little weird. So I'm going to select the fume box, go to same category and then we'll animate. Ah, the smoke dissipation settings to and we don't want to increase it to a very high number. Like I didn't a previous video, but we want to animate these up so that things can look better so I can hit the n key. And, you know, for for beginners who are in three DS Max, things will be difficult because in after effects, you know, we could see the key frames very easily. If you keep or key frames come in. There's nothing like that in three DS max. But it's okay. We can keep a track off things. And when you start working with it, you know, slowly after, sometimes things will get better. So hit the n key. Start the auto key again. If the stones read, if you change something, you gonna create a key frame. So be careful with that. What I want to do is again, I just want to quickly create one simple change, all right? Just to create the key. And if you cannot see the key for him, select the thing that you want that? You're making the changes in There you go. If I select the fume box, you can see that we have to keep flames from 0 to 50. It's going to slowly change to a very small change. And then from 5200 I wanted to dissipate out. So I'm going to increases to one and increase this to six. All right. And, uh, there you go on. One more tip I would like to give you is that if you are on a key frame right, though the values that are being animated are going to turn into this red selection. Right? That's a good way to understand. If something is being animated on, you can go to the zero frame to see what is being animated, what's not. And that's a good way to understand. And remember that. Okay, the animated. This already. Okay, let's take a look at what we have on. Hopefully this looks good now. Okay, So the simulation was done, but we still have a little bit off leftover smoke towards the last 10 frames, right? I was hoping that by 100 frames that would go out. But I think this is okay, because I can do an opacity fit on this and on in after effects and basically deal with these small things in in the compositing side of things. So this is a good thing. I'm going to see if the file on dime going to do Ah, a little bit better, Sim. And then do a preview and then let's see what we have. All right, so this is done, and this is what we have now, and I think this looks called. We have a good explosion puff. Right? It looks good. It comes to the camera. I think this looks ready. Nice. I think I'm gonna do a few more changes in it. On Duh. Yeah, I think there is this one time very just. Yeah, This right here, I think can be a little bit better, but I think I'm gonna start my video now. I've given enough knowledge in this video, call out the experiment, create some good stuff, and I will see you in the next video. Thank you. 8. FumeFX For Beginners - 08 - FumeFX Render Tab: Hello, everyone. And thank you so much for joining me on my training course. My name is Taha the Lull, and welcome to party it. In this video, we're gonna start where we left off and start adding some more details to our explosion projects, or it looks better. So I did some offline. Oh, are off screen changes to the explosion that we had made. And this is what I have. This I think looks court because it has a nice transition from fire. The smoke and it, you know, basically become zero at the end. It has a nice soft paste, and it looks good. So let me share with you what changes I did. And then we're going to start our tutorial. So though, wouldn't you make the changes that I did was and the whole thing. Okay, so it's easy for me to say, OK, the old nature is that it was but arrive to those only changes. It took me 23 hours, right? So I had to experiment with different things here and there, and then you know, same again and again and see what works perfectly. So it takes a lot of practice right. A lot of time out of practice goes into it and don't expect to recreate what I have. Don't expect it for it to work perfectly the first time. Things will not work out perfectly. And they may not even work are perfectly 2nd 3rd time. But they will eventually work out if you keep practicing. So the changes that I made was in smoke buoyancy. I change it to our temperature buoyancy. I kept that to two on particles. I think I kept the radius to five. Right? And my registrant was at around two. So that is all the changes that I made, Nothing else was different. And ah Simsim again, Sims him and then I had this. So this is good. This looks court, and now we're going to start moving forward on to how to make this look even better. So the first thing that I'm not liking is the smoke color. It's a white color, and we don't want to go for that. So, in order to change color off the fire and smoke, what you have to do is you're supposed to work with the Ranger tab. All right? To be close to flip on it. Come over here. And this time is a little bit different than the others is because you're going to see the changes that we do instantly. So you don't have to release him again for the Rendered I've. And that's exactly why I keep this time on the work that it does towards the end off the biplane, where we can experiment with it and put some time into it. But when we start the project, the the the freshness right. The excitement should fold go towards creating a good looking smoke and an explosion. It should not go towards coloring the explosion. So I like to, you know, don't not get started with the Render Tab. I like to keep this at the last thing and for selected work with the same and, you know, create our proper project. So, you know we have that done. Let's talk about the smoke honor. So I'm going to come into the render tab. Calm down, scroll down to smoke. And over here there's going to be the color option. I'm going to right click on it, and I'm going to choose kilos mode right now. It's going to create a Grady in for me. That's not what I want. I want to have one color on the smoke, so right click kilos more and then I'm going to click and it's going to give me one option . So I'm going to change this to around 20 NYT, 20 works and OK, and as you can see, this looks really bad, but we will make it work If I was to zoom out a little bit. The the main thing that I'm not liking now is that that there are no shadows and we haven't added light into us in. I'm going to show you how to do that. So in order to add light, eso in order died shadows and are seen. We need the first at lights. So I'm going to go to my top. You zoom really out and then I'm going to go to the creator, going to the tort option lights and in your choose standard and from here now you can work with different options, and the main take of it is to understand the different light settings you have to do in and then properly add them into a few more facts. and it doesn't matter which light you choose, but generally make sure that these settings are present in them so you can work with me direct late. But I like to work with Target. Sports will choose that, and I'm going to draw one out like this. I'm going to go to my left jab, going to select my legs. As you can see, it's flat right now. That's not how I wanted. I wanted to be on the top, right? Superb. This is looking good now. And before we start duplicating this now, you can have one light in the sea. You know, you can have many ladies like 34 but you have to force to make changes in this light and then duplicate so that you can save your time and you don't have to make changes in all of them. So you select this, go to the mortified AB and then put a check mark on shadow. Shadows on that should be switched on and in the shadow map we'll change that to Ray Trieste shadows. And once that is done, we're going to open shallow parameters and make sure that the atmosphere shadows are on So you have to make these changes in order for fume effects, to understand how to use these lights and to create those shadow effects. Now, once these settings are done, once these three things are done, now you can start duplicating the light. So we'll select this No, hold the shift key and then drag the light like this. And this is going to create a copy. So click copy and I can select one of these on bring this town. So it's not from the perfect angle. It has a little bit of radiation, something like this, right? It's gonna help us create a little more different. Charles. We don't want it to be perfect symmetry or something. So this is looking good. Now you're going to select few more facts and add these lights in human factors. Select this human fax, open the U. Y. And next, we're gonna goto the illumination tab. Right? So after render illumination on this way, we can add our light. So I'm going to click on pick light, select one, take late, select one. This way, both the sport lights have been added. And now what? I can do it. I can select them and hide selection This way it doesn't get in my way when I'm walking with humor facts, right? So if you affix lights have been added and ah, lot of Bangor people would do is that they would create lights and then add them into human facts. But forget to do the light settings, so make sure you do the light settings and then dinner, then a few more facts and then hide them. Okay, Still, you're not done yet because there are still some settings now need to be done in a few more facts. So if you go to the preview window, you will see I locked the view port perspective. So you'll see that, Yes, Lynn on getting any changes, right? That's because the the few effects settings are not done. So we go. So we go to the Render tab now and we'll go to the smoke dialogue box and we'll switch on car shadows and receive shadows. And still nothing, because now we have to change it in the view panel that show us shadows. And now you can see we get a lot more detail, right? So you got a lot more bloom, the cold air coming out proper. This was before. So this is flat, and this is often getting shadows superb. Let's increase opacity off the smoke to this way, we can get a lot more tickle smoke. So I've already set up my camera. If I had the Seiki, he will see that hit the perspective again. So the smoke comes in and then there is a good transition to smoke. And then the smoke also goes away, right? Superb soup up the slope is good. And this is how you basically work with an explosion. Okay, so now coming to the file. Color and the fire Radiant. So for fire, you actually want to work with the greedy into right now. If I click on it, I just get one color and you can select something like this and work with it. But I really prefer to work with the Grady in, So we'll right click on it, choose key more, and then you can get the radiant. And I think the default is going to be 0.6. So this is what normal output should be. The default output should be on da what you can do is we can actually do are made some. So I just go to a 400 MB. Cem, this is gonna take, like, 5 10 minutes, and then you can start walking on the fire Shader, and I'll see you once the same is over. All right, The simulation is done. It took me around six minutes to get this done. And the reason why I wanted to send this is so that we can see there's a little bit better on the details off the same. So working with a bad simulation are very local dissimulation. And then doing the fire texture is not a good idea. Now I want to share some off my tips with you before we get into changing the fire texture . And that is that I usually go toe venue and watch all kind of fume effect stuff that are just amazing to Doyle's out here, you know, just simple works that give you a lot of good idea on how you can do some different things . And I highly recommend when you're which of free service I mean disappeared. So is but you get the free version. I'm using the free Warren just diving, humor, fax. Soak it and then you can do a lot off reference work. Next thing, Mr Go to Google and type something like fume affects ingredient. And this way you can come to the images and see what other people are trying to create with degradations. Right? So this way you can get a simple idea off how things work and, uh, you know, maybe you take some references from here. Okay? So with that being said, let's take a look at how I do it. So to change the color, Grady in come to the render tab Fire Onda, Click over here. This way. That's gonna bring up the five radiant. Ah, Lord of people don't know this, but you can actually scratch this out. So this is a good way because, uh, they're gonna be a lot off. You know, many places where you'll have to add in your brilliant stops. So the first thing I want to do is I just want to change this toward darker color that, uh, you know, better idea. Thank It was better shading. So do that click. OK, And things can get a little slow, but bear with it on then it is just basically going and seeing what works or doesn't work. So I'm going to come here and I can see that can see some good texture here. And things I think can be a little bit better. So start changing this and many times was gonna happen is I'm going to pick a stop where things are not going to change our tolls. I'm walking at a stop there, you know, things will not change. And that's okay. You can, you know, click. OK, come and create a different stop and see what works there. Right? So do that. And sometimes if I click over here say instance and I change something and it changes now, but sometimes it it wouldn't change. And it's OK, so that's what So basically, you're walking on our frame that were, you know, change on the 45 right? So you know, you can you can try that out and we look like that, okay. And ah, create one hell, make a doc. And this is more often art than a science. So there is no way for me to tell you. OK, you know, click one. Here, click one day. It all depends on what kind of low key you want. So this is looking good to me on again. We are going to take this into the after effects where we can do a lot off color changes over there. So it's not, you know, perfect that you have to get this perfectly right here. But I would recommend that if you can get this as much close to like, this is not looking good. So we can make this better here. And it just what I was talking about. See, I picked it up. I picked the stop. But, you know, nothing really changes, right? And that's OK. You can just click cancel on DA, try a different stop and see what changes there. Okay? And like I said, this is all on on expedience to, so you know, I can do this a little bit faster than a big enough word because I have had that much experience with it. But I'm a little stuck now because I have no idea where this would change. There you go. Right. Get that nice. But it in. And I think this is gonna look good. So this is the color that that I was able to make. So one important thing that I would like to share, though I would like to make that one is you can actually export this this setting and use it in a different project or create your own small library. So what you gonna do is you can do a right click, save it in your you could hear dogs read a folder and then at, you know, the XP 01 All right, try a different shade. Oh, try a different color of combinations. Maybe I'm going a lot towards yellow in this. You can go. You know, try to add a little bit off your read into the mix and see how that works on The one thing that I would like to talk about as something that a lot of people don't get that right is when you're, you know, trying to create an explosion. You need to add a little bit of white. And a lot of people just ignored that white altogether. And they just go for the yellow yet Red, orange, Carlos and the writers, because then off the fire is burning. It's actually so powerful that you cannot or it's morning so hard that you cannot see any details in it. It's supposed to be Wait, So I like to add a little bit of that, you know, in in my in my explosion and therefore I you know, I always sort of had a Liberte off, you know, like that blown out White. So this is the file Brilliant I was able to create. And this is looking good. I'm going to save this file. And in the next video, we'll talk about how to send this properly for an export. And we learn a lot of things that so Thank you so much for watching my video. My name is the huddle and I will see you next time. 9. FumeFX For Beginners - 09 - FumeFX Wavelet: Hello, everyone. And thank you so much for joining me on my training course. My name is the huddle and welcome to part nine. In this video, I'm going to show you how to walk with Baylor turbulence or basically set up your files for final simulation so you can send them for finals, um, and then use them for final rendering. So with that being said, let's get started. Now all the seems that you have seen me do till now we're default simulations and there's nothing wrong with default simulation. If he wanted to create a final render off this exact same, we can just reduce the spacing down to a very low number. Something something like that on do a similar understand, You know, be perfectly OK, but there have. But there will be times in your projects where you want to get the best quality possible from fume effects for the hardware you have on at that time, you can use something called Valeant simulation, so we will. Simulation has pros and cons of the pros are that it gives you a better quality output and better animation in terms off the fluids moving and the fire coming out in that kind of thing. So better animation and better quality. The problems, though, are that it uses a lot more time for seeming on. It uses a lot more space. So you're basically exchanging time Onda hard drive space for better quality animation. Right? So let's take a look at what we can sim right now with default settings. So we are working on an a g B Haram computer, and this is the max I think that we can Max setting that we can do on this computer. So 6.7 GB because we have the data in a little bit off ram for windows, right? A little bit of ram for Google chrome YouTube, that kind of thing. So realistically, 6.7 devious possible. But if you were to search on the village Okay, so let me just show you a few numbers, right? Some common sense and a little bit of numbers. Perfect. Let's see what we have here. So, default, we will get an output off 6 25 right, 6 25 505 100 Now, let's compare this to favorite. So in order to switch on wavelet you will need to go into simulation top, come down here and switch on wavelet turbulence. And then if you go to generals, you will see that in the in the output in the exporting channels we have added extra detail and velocity. So since we are exporting more things from fume affects, the file size will be a lot heavier. Right on The reveal it works is that it will take our defaults him process it better. And therefore he was, you know, a better output. So if you're looking at the output over here now, this is the wrong place to look at the output because we've let output is shown under the WT Peter to click on this and you will see this is the output that you're going to get. It will use up the 44 g b off ramp and it will give us an hour put off 12 51,000. So basically double right double off what we had coming from default. But again, we don't have 44 gv time installed. We have aged. So what we'll do is we'll go to general again and we will need to reduce down the ram usage from the general parameters because the way it works is that people not direct, we cannot directly start favorite. We will force need to do default and then we can use the village so it will basically. So we'll basically be doing to simulations for off project on. Like I said, this to simulation is a problem with the village because it takes more time right there, basically doubling the time for simulation on. With that, you will also have toe give more hard drive space, so it's not possible. And it's not realistic to do reveal a simulation all the time. For example, if you're walking on candle flame, right, if some motion graphic works, some local animation work and you're working on a candle flame or something that doesn't require you to do ah, very high quality output. So if your fume affects surrender will be somebody in the background, right? Ah, building boarding that's in the background. Then you don't need to do village. It's not the highlight off the sharp people are not going to focus on it, so little less quality is fine, so you don't have to do with that. But in our example were walking with a close up shot. Right? And that means we need to see very good quality. This is the mean highlight off a short on de. So we need to do with it because it's gonna look better, right? And we will it with a tick smoke looks really good. So this is what we definitely should be doing. So in order to start reveal it, we need to go to a SIM and switch on the light over here and then before need to reduce the the settings in default because it will use their default and then basically double it. So you can see that now we have 6.7 GB ramen babe alert. The quality is will be higher toe. So before the only default quality was 6 25 Now the favorite quality will be Triple six by 5 34 by 5 34 So if you compare the numbers, you will see that of evil. It is a little bit higher now that they're difference over here is not just a quality output, but in terms off the animation itself. Toe. Right now, again, I'm not saying that you have to do a village. And if you just do really that you will fix the animation on not saying that they fixed the animation before you even start to be able it or anything like that. So well, it is not going to fix, you know, any jokes or any splashes or those kind of things in your animation, you'll have to fix them yourself, but it will make it a little bit better. So better quality output on better animation is what we have left is used for. So So let me go over how to switch this on right and how to walk with it. So if you want to work with a village, you will need to go in the simulation and switch it on from here. So from now on, you will have to take on riblet, and then you need to go into the gender tab and then reduce the the same number you have. Or basically check under the brave little and see if you are using enough ram or no. So our times if I had kept it toe 0.4, right, I would use 10 GB over here. Or maybe say 100.5. Okay, I can do this. Him right? I can do the same or 5.2 GB. But since you're using Wavell it, we shouldn't be looking at this number. We should be looking at this number right when you don't have TV and this is not possible. So we will need to reduce the general down even more so somewhere around that on DSO the label, it comes to 6.5, 6.7 g b. And now we can do the favoritism on this would be really noticeable if we were doing if you were using it on my on my workstation, which has won 28 GB down. So now this is not going to happen because the render time would be insane. But just what Yuri just for, you know, just for comparing some numbers. If we were doing this on 1 28 GB. So if you were doing 1 20 GB damn output, what we will need to do is we need to reduce the general parameters 2.5 or 0.35 right? So it gives an output off 15 GB Now we need to go check invalid. Well, it is using 65 GB time. So this would be enough. We were definitely not cross it. But say just for security. Okay, there you go. So for getting an output off off 15 30 it. 1230 And 1230 The defaults him would take on. Get using How much ram you're using. 82 GB Damn right. Their default would take a lot more. So let me just go and compare this. No, again, I'll have to switch off. Label it And how you do that. You go down the simulation, take mark none. Yeah. Somewhere on that, you can see that girl Winnie getting 14 50 by 11. 50 by 11. 50. Right? And we're yoga, getting the wealth happy. So this is definitely a better result. Compared toa default, right? So we have learned gives you better quality and better animation. And how you switch it on is if you that you should go toe simulation, go down to be able to extra detail and I'm showing this to you again and again because I'm hoping that you are saying it with me, right? And so it starts with, says 2.75 Right. So once this is done now coming to the actual technical part you have decided that you want to walk with a bullet. Make sure again that under the exporting channels you have extra detail on and the new first run assim off default. Right. So we have started our simulation. This is going to take a lot of time. So I'm going to let this run and I will see you when this is done. Okay, everyone, I'm going to stop my simulation here. I think this is going to be enough to prove our point that this is so this What we have rendered out is defaults them right now. It looks good in this books because this box itself is quite small. But the box was off foolish di Saiz. It would look that Okay, you know, we can We would be able to see a lot of speculation, but Okay, this is not bad. This is quite good now. So we have done our defaults. Um, now again, we need to start one Muslim, which will be a village. So what we need to do is we need to force. Make sure that the Gillard cash is going at a good place So that before cash was set up here at Cash one, the label Cash. I'm going to select this, going to my project folder explosion Cash to and I'll click it over here. So this way the favorite cash is also going to go into the same project folder, but in a different cache folder. Now we need to go to similar and we need to change that of a village. Now what's going to happen is that the US is seeing the same default cash, because over here, in default, in cash, this is basically like rich cash you are viewing, right? So are you arguing the favorite cash on? The answer will be zero because there is no way of data, right? This thing's directory the cash to $4 empty, so you cannot see any Baylor data. So are you seeing post data? Nothing, because we haven't done any post simulation, but we have done the default simulation so we can see that data. But now what we're going to do is we will start the simulation for waivers from default Goto favorite and it's important that if you have this does something else, the buttons will be great out. So you to Misha, that you're seeing the default of cash and your sim, or is Tobe able it? Okay, and then you will need to do this again. So the searchers, someone more time, it will process all that data or that default. Some data process it, make it better quality. And I'm see you once. This simulation is overdue. Okay, everyone, the wave alert simulation is also done, and it took a lot of time to do this. So, like I said vaguely, it takes a lot off simulation time, but it gives you better results. So use it carefully. You don't always have to add a bullet in your your your work. But if you have toe, you're gonna get good results. So what you're seeing right now is not really it's actually default. And how can I say this? Because in the viewing system, in the view, in cash, etcetera default. So if I'm going to change this from from default to reveal it, everything will freeze up and take a minute. But now what? Haven't see this is real. it's, I hope you could, you know, tell the difference. Uh, this is the fort, and then this is a village. So as you can see it, you know, much better quality at the same kind of ram, right? So that is how you walk with favorite, and that's how you could use it in your project. In the next video, we'll talk about really continue from your and we'll talk about how do walk with post processing and before actually stopping this. Will you let me just give you a quick recap that in some more you can decide which simulation more do you want to start? Right. But over here you get to decide which simulation you want toe view. So if you have so by default it will be a default, Tony. But if you're Ewing, label it, then you cannot really process label it. Okay, these buttons will be create out. So even if you have a favorite, you want to continue simulation or you want to see him again, we've lit. Then you will have to force change to default, right? And then you can start or counted. Knew the simulation on in your If you change your default, then you will only work with the foursomes. So and similarly, if it changes to wavelet, these two will be great. Out, take a minute. But there you go. You will be paid out. So I understand how this works and this is a little bit tricky. But like I said and I have been saying in the throughout the training course that things will get better, you know, with some practice. So practice practice some. Baylor, do you know, smaller service? You don't have to do an A g b seven because it would take quite a lot a long time. Do Ah, you know, 200 MB and you know our one GB vandalism. See how you know different results. Look, look with that. How? With our fluids, you know, plea and, you know, animate like that, and you will see the difference for yourself. So in the next video, we'll talk about post processing and the benefits off it. And how does the post processing So thank you so much for joining me on this video. I would see you in the next one 10. FumeFX For Beginners - 10 - Rendering From 3DS Max: Hello, everyone. And thank you so much for joining me on my training course. My name is Taha the Lull and welcome to part 10 which was supposed to be 11. I don't know what's happening. Basically, guys, in the previous video, I said you can recover post processing in this video. Andi, I have decided toe push the store pick a little bit and to cover this when we start walking on the small background project. So I'm gonna delete this a bit because I'll be able to explain you this feature, which is a really powerful and interesting feature or fume effects in a better way when you are dealing with that project that that that project has a lot of use off this feature. And so I'm not. It will be a good idea to mention this now and not be able to show you this properly. So I decided to let this a bit, And in this video, you're gonna talk about rendering. So we're gonna learn how to render files from three DS max into off we where we can import them into after effects on nuke and create our find a shot. So getting started. Now you have to decide which output you want, whether you want the world beef, old output or a favorite output. And if you have taken the time to send wavelet and you're choosing to render default, I don't know what's what's happening there. So if you came to be able it off course, change this toe, label it, and that way you will be able to give an output off. Really? So let's see if I have something difficult. That's my favorite output. Now. The difference between rendering Riblet on default is that label. It will take a lot of time to render. So if you're trying to give an output as a trial, you know, see the difference between wavelet O. R. On default. You may want to change this to default again. For this example, I want us to be default because they've lived would take 34 more times to surrender. And I don't want that once that is done. Once you have decided which which default or we've let our post he wanted end up, Choose out over here in the perspective, you change your view. Port a camera So oppressors Seiki on as you can see it. Change the camera. If you have multiple shorts, it will ask you which camera you want to decide. Double click on that option and that camera will be loaded into the report. Perfect. Next, we will click on this. Click on that, and that's gonna bring up Riendeau set up. So this is where you decide how you want Arrendel. Whether it's one frame or you want toe render an animation. So if you want to render an animation, you choose range right and you decide. But that you wanted to start from 15. Because if you see this for the 1st 5 frames, we don't force four frames. We don't have anything. So it's, you know, not important for us. Toe render the 1st 5 games so we can start from five and we can end it on, say, 50. Right? So you can, you know, do that. But for the tutorial, I'm going to keep this to single. But if you want an output for frames or for Rangers, you can choose that next would be there, decide the resolution. I'm walking on 16 by nine ratio. This again depends if you're if you're joining a studio. Okay. And if you're walking there as an intern or a junior, I would highly recommend that you speak about this with your senior or your supervisor and get this details out right, Because if they want you toe export this in a certain format with with a color profile bread range. So you want to get all that and it's simple. It every place is different. I'm going to assume that the people watching this training course for beginners and they just start doing this for their demo, right? Or judges to have fun. So I'm going to keep the symbol to issue TV, and I'll just make this half a cities for 9 60 by 5 40 superb. And I'm going to come down. And here is where you decide where you want to save your outputs rent out. But now, if you put a check Mark, this is actually not going to work for you. This is working for me because I had, you know, I did some trials before starting that according so I created a folder. But if you simply go and protect markets aren't going to work. So what do you have to do is you'll have to click on files and then decide where you want to see if your your sequence or your one frame. So we goto deck, stop explosion, create a new folder. Enough project follow and we'll call it Sarandos. Right in this, you can create a cam one folder. Um, test one for low, right? But for this again for the training coast were to keep things simple. I'm not going to create anything and I'm going to call it just just 01 And in here you can decide whether you want to export it out as, ah, as a movie, I would highly recommend that you don't go for any video outputs. So a movie a b i and before all that is not good. Rather, you should a trend of this as a sequence. And if if you were you trying to create a demo reel or you know something for YouTube, I would say PNG, that's the best medical because it's ah, good output file. It can give you Alfa Alfa as in transparency. So this black that you're seeing right now, it will be rendered as transparent, and it won't have the black color. So PNG is good for that. Uh, or you can go for Tasha, This one. This is also good. If you want toe give up, you know better Carlos and stuff, but be PNG scored. So click on save. And it should actually bring up one more. I cannot. One more that I love books where you decide where you want to have the alfa or No. So protect mark over there and click on, OK, and then you should be good. So you see, if I was on and now if you let me see, I think we will do a same off 24. 25 maybe 20 it Because I wanted to prove our show. You guys something? Uh, we go to 29 frames and we'll click on render. And there we go. We have our end already now, And this is what it looks like now, since I have saved this well, let's see if it was our put it on. Oh, so in our explosions project, there is already a new folder being created renders and go over here and I can see yes, very well. I have a short ready. So this is great. Now there is one movie toe. If you're washing other people's tutorials or if you're, you know, relieving some articles on fume effects. Sometimes people may tell you to render them separately Randolph fire separately and render smokes every separately. And by that, what it means is that when you're okay, so let me show it to you. So we're going to remove the safe file option from here, and then we'll go up and again confirm, you know, whether you know what kind of range you warned, what kind of output you want. And once these two things are done, we will goto Orender elements, right? Click on the elements and this type of Bob Upshur comment and we will click on add, would you add this? And then there is an option called fume If x file right, we'll click on add once again and he will say a few affects smoke. And what We're basically telling three DS max now that this is court, But be warned, fume effects file to come on a separate file and human fact smoke to come in a separate file. So this is good, you know, Once you have done this, you can scroll along to the bottom and see where these things are gonna be saved. And, yes, they have taken our directory. So motion, Terry. Backstop Explosion. That's our project folder and renders They will be saved. A 01 human fact smokes. It is good. Let what happened. Yes. There you go. And, Ah, now we can click on Riendeau. So you're not rendering from common. We were in Vietnam rendering from elements. Let me just confirm Yep, Safe is take Markoff. We are rendering from a render Elements in artifically contra endo seem process, same calculations and everything, but the output will be a little bit different. Okay, so the rendering for the short or this frame has done. And as you can see towards the end of the render, it gave me two separate dialog box giving me fire on one side. And then we any smoke on one side. And if he were to look at this, this is a combination off these two things. So basically, what we have done is we have rendered the fire and smoke in different passes. And the reason why people may tell you to do this or ask this from you is because when you're compositing this in after effects are in nuke, we want a have as much control as possible, right? So if I want oh, do some color changes are out. Some glow to the fire, so make it look even better. The smoke shouldn't be affected, right? We don't want that glow to come on smoke the only one that affect a fire. So this is ah, you know a much better way off rendering where you get to affect only one thing from your element compared to if he would have done the this way off rendering rendering directly from comments, we would not have that option. So if I was to create an adjustment layer and aftereffects add the clothes, the glow would also affect the smoke. Right and compare it toe these two passes. May I have the ability to only apply the glow effect? Do this guy and the smoke will not be affected. So that's how you render it with different passes. And that's how you use our render elements. So thank you so much for watching my video. My name is the huddle I hope I have. You know, given you guys some good basics for human fax. From the next video, we will start walking with a few effects. Five. And we will do this whole project again. But we will go full speed. So that's gonna be one full video. But it's gonna be long video. The next three videos will be long videos, and I will cover the post processing when we work with a small background project. Thank you so much for watching. My name is the huddle and I will see you next time. 11. FumeFX For Beginners - 11 - Explosion Project: Hello, everyone. And thank you so much for joining me on my training course. My name is Taha. Tell all and welcome to Part 11 in this video. I'm going to show you how to walk with humor. Fax five on. We're going to recreate our explosion transition project. The main reason why I'm making this video is to give you all a good introduction toe work, the new washiness and what feature is an update It has. And I also want to show you all my full speed walk float on how I did with my projects. If I'm, you know, dealing with the problem or if I don't like a certain look off something, how do I change it on day? I'll also include all the mistakes that I make, so hopefully you guys don't make it. And with that being said, let's get started. So even though we are walking with the new version of three DS max and, uh, and the newer version off fume effects the dog, the core engine and all the things that we have learned from the previous videos, they are still the same. So if you want to create the fume box Go to create geometry in the drop down, choose fewer facts and from your select few effects on, then we can start drawing. So right over here, you can see that you wise a little bit different. But again, the u wise different and it looks better. And it is not going to come in a shiny a box, but humor faxes to the same. So I'm just going to create the box like this and put it up. There you go. And I'm going to have my select and move to lawn. Superb. This looks court. So if I want to see the why now, I'm going to select few more facts and I'm going to click over here and then I can click over here, and this will bring up the new fume affects. Ey. So as you can see, the Barton's are a little bit different. We have a few more settings here, but I talked on about this, but like I said that the core engine off human fax hasn't changed. So the water city turbulence, dissipation strength or all that is still the same. And let's get started. So I have created my fume affects box. Let's add some particles, some fuel source in this somewhere to press six. And like I said before that, if you are walking on a laptop or if you have are different kind of keyboard and this doesn't work, you can go over your to create choose particle systems, Jews be of source and then click over here on this earth. Also, bring up this right. I'm going to select my select and move again. That's a safety will be in and in here I am with a right click. New standard feel right and I'm going to go here. Changes to one. Changes to do and maybe increase the particles a little bit. If I play this soap into the particles are going down. That's something I'm not liking. So I'll select this hit the e key for Road It and then I'll make this 1 80 There you go, looking good. Uhm, I'm going to delete rotation. I don't need that shape the lead and then I need the delete parameters or take it on added into settings that we have here. So particle age. I'll make that three make this one. Let me go on in speed parameter oil change this to 400 by 25. Aviation and the divergence. I'll make 60. So this is what we have. This is okay, Not bad. But since we are walking with our explosion and yeah, let's save the file, that's a good thing. So I already created my explosion Fume five project folder going to go here. I save my file in 01 So this is just a simple name for a simple project. So if you're walking on a short, please name things properly. Now, the thing is that since I want to have a transition, this is not going to look at what I want. Tohave is a wider base for my particle systems to come out off so that they can have, you know, a bigger yield and a bigger both. So what I'm going to do, I'm going to select the emitter itself, going to come here and increase of it to ah, higher numbers 85 85 90. Right to this week, what's gonna happen is that think off every particle like a fire source and our fire plume . So, as you can see, it's gonna come up like this, and this way it's gonna cover up the entire screen. And by looking at this, I can also say that the fume box is going to be a little bit small for this kind of set up . So I'm going to click here, open human Vecsey y Onda by default. If I click outside now, the fume box doesn't go away. So this is a nice new setting that they have made so that the pain dialog box option is no longer needed. Let's add these particles in the fume effects, so we'll goto object source and again, thes Barton's our new now, but they still walk the same to the fourth button will help us create a particle source on in the particle source. We will add our particle system so like this. And as you can see, you know, the confirm that the particles have been added in, they will get this nice circle around them. That is nice. Let's increase the radius to three, four, maybe yes, so that they can overlap and create a better fire plume. Okay, this is good. Let's go to General. And let's force that the cash properly. So here Dr. Cash hasn't been set. Way to go here on deck. Stop fume five. Cash one click open. Right. This is This is good. Save the file and I can tell that the fume box is going to be a little small, so I will increase the weight off this. So increase over 202 100 200. So this will be a basic set up for us. It's gonna get was a good room on top for the smoke to go, and maybe we need to add a little bit toward, but we look at that later, so let's take a look at what we have now. Usually, I used to click here for the preview box. But what few effects for $5 eyes that they have removed that preview window. And instead we can directly Sim or Cedo Prevue in our view port. So if I click this now, which is going to start the default simulation, you can see which more you are using. So if you want to run Villard simulation or post processing, which we will talk about later, you can choose their different motion here for now. Well, just keep this tour de force him. And if I click on play, we got the fume window and this doesn't listen Show of anything, right? Hold. Why didn't it work? This is an interesting thing. I think this is because I haven't switched that on. So there's a feature that you have to switch on so you can get the output. In your preview, we will go the GPU Vieux port. And if this these options are disabled for you for for any reason, If they're not walking, I think it's because your graphic card is either too old and is not supported by the latest version. So this is something that happened to me in my office that we have a 9 80 t i graphic card and for for that fume affects five is just not working. Right. So we have to work with the block view. I talk about this block you do, but for now, and he can go here, and all you have to do is enable the GPU Vieux port, and this is what's gonna happen is is going to be a flash. But there you go. Now we're getting an output here. If you were to scrub through the timeline. You can see this is the output we're getting now and black. Before we had the preview window in the fume effects five version. They have removed the preview window and they have replaced it by giving us out. But directly in our view board s O. This is the, ah bigger change that human fixed five is going to offer you next. What I want to do is I want to show you that you can come here to GP of you. Poor display options in under quality. If the same is getting to detail and a little heavy for your system, you can reduce the quality down the one. And this way, you know, things are going to be easier to work with. But you can see a lot of picks, elation. And if you are walking with a lighter, same one, you have you no extra GPU power to spare. You can choose five and you know things will get a little nice and soft and more detailed s okay. Yeah, Right now I only using 14 embryo from so we can bring those same spacing down a little bit too. Maybe somewhere around that and let's towards him again. So as you can see, this is what we have. Okay, this is not bad. Now again, the force problem that I'm having is that there is just a lot of the fire goes away too quickly. And this white smoke is something that I'm not liking. So let me just go here, okay? Another important thing that I feel I should warn you guys about. You see, in the previous video, you would have seen that if I used to click on the canceled option for the preview window or sorry for the calculation box. The seeming used to stop. Now, that's not the case. So if you don't want that, you can actually you know, you you will have to click on this guy right here to stop the simulation. So if we start this and this calculation box comes up, if you close it, nothing is going to happen. The seeming will not stop, so you'll have to click here. Keep that in mind. That's something that I had to get used to in the new abortion. So before going on and before doing our SIM changes, let me just set up my simple camera. So I have this I'm going to zoom in. This is the kind off output I think I want maybe a little bit more. And now I'm going to press control C to create my physical camera. I'm going to press be again. So as you can see, everything works the same way. We have created a camera. Everything is looking nice. I'm going to right Click do hide selection So it doesn't get in our way like this. Nice. And the problem that I'm having is that the fire goes of a too quickly. So I'll do that. I go into my sim settings. And the word is city is going to walk a little bit differently too. So I need 1 40 city. So, by default, I think you will have water 31 on day. You will. I think, have this numbers. If you were to play this, you will get a rather, you know, nice, smooth flavor kind of smoke. I'm not a big fan of this. What I like to have is a lot of calls and my smoke, especially for an explosion project. So what I'll do is ah al. Four. Switch toward the city to, and then I'll increase the value here 2.7 point 8.75 and I'll keep the water city scales to the default. But you I'm going to add a little bit off turbulence. Maybe point to, and you can animate this, but I want to have a lot more detail in my seat, so I'll change that five. This is looking good, and the bone rate is something that I would like to reduce, so I keep it 15 for now on. Let's try the expansion for three. I think the expansion will be much and we need to increase the boxes. But let's see. So yup, the fire is staying on for a lot longer now, and we have a good transition from fire to smoke. This is nice. Let's take a look at how things look in the camera. I think I've created again the camera at a very low rate or are at a very, you know, lower position. So, you know, do that again. But this is what we're getting. Okay, this is not bad. We're getting some good details. Let's let out some lights into this and see how things look with shadows on. So I had stopped my sim and I lied some later Indoor scene. So I'm going to go here. Uh, so the create panel choose lights and change this to standard, right? Well, she was target sport, and I'll create one light like this. Come under the left category or the other left you port, select the light, and I'll move it out because we don't want to have a flat light, right. We want the light source to be from the top. It's a move that up. And now, before we start duplicating, it's a good idea to make our changes in this. So we don't have to, you know, do all those changes in other duplicates. So I select this go here to modify, and I would make sure that the shadow is part on, right. I'll choose those two rate raise shadows. Andi, I'll go. The shadow parameters and switch on atmosphere. Shadows. Right. That is called. That's all the settings that the light needs toe have. I'm going to create a duplicate off it. Copy. I'm betting one of them don't and we are going to have one more light in the scene. So for one over there, bring that up. There we go. This is good. Let's add these lights now into fume so and select this and, uh, come here and I'll talk about this block for you. I think I haven't mentioned it. I'll I'll explain how this works. So now let's go into the elimination tab and click over here. And since we have multiple lights, what you can do, you can press the H G on keyboard and that's gonna bring up Big Object. I'll select everything and they pick this way. All of them get imported into our illumination panel. Select old lights to write like hide selection, height selection, day vehicle, much better. And if you're ever in a view port and you want to know if your laces roomed out like that and you want to bring things close, select the View port and press the tzatziki. That or ziti. What is that? And that's going to bring it up. Nice, huh? So let's you know, our shadows settings into the rendering time as well. So cost and receive shadows will be on. And OK, so this is out but I think they're getting enable Shadow should be owners well, and now let's change the the the color off our shadow. So right click on this Jewish Keeler's mood and then click again. So now we can you know, I had one shadow, one color to the smoke chains after 20 click. OK, and this is looking good. I think the box is a little small for for the size of the same that we have. So I'll increase of greater to 50. And you know, there's no way for me to see it. So I'm going to disable the view port first, and you will see what's gonna happen is, and I'm getting this. Blocky knows that's basically like a sellout off water simulation that I have, And the reason why I'm getting this is this setting rate. He always stays walks away, date or display. Basically, it's going to give you, um, like a very low quality, you know, Arrendel off what you have created. That's not the way to explain it, but you'll get the idea with that. And what you can do is you can reduce the quality offered, so right now it stays one If you were to bring this down, my system would crash because the way this works is that if you increase this, it gets lower quality. So if you were to decrease this and if I was to go to zero, I would get a very high quality and my GP would not be able to help me out. So I'll increase this to say 34 right? And this way, you basically get an idea off. Where you clipping in the box so you can see over here like we're supposed to have a little bit off gap Something like this. Right where we should have a little bit off spacing left and not like this. Where the blue box is starting the yellow box. This is bad. Change this or do 50 as well and make this for 2 50 Okay, let's take a look at our SIM which hit the camera for C. And let's do the same again. So okay, enabled the GPO Vieux port. It's okay. So the fire comes in, and, uh, it kind of goes up. So what I want to do is actually wondered usedto reduce the temperature, because was it's going up very quickly. What? I think I'm actually not having the camera. The right place. Let me on. Hide the camera. So right, click unhurried my name and I will choose camera this on height. And as you can see, this is, you know, a little bit too close. You can bring that out and you can see how things are just super slow for me. So if things like that for you, you can act okay? Is actually seeming. I'm sorry. I always forget that the box is not going to stop this. Let me save the file. Okay. So I think that the camera is a little too down. I'm going to bring it up. And so the V the camera works in in three DS Max. Is that me? Underwood is that it is controlled by a target. Right? So, Vicar, what we can do is you can take more. You can select the camera and you can remove the target from it like this targeted. If you remove this, you can move the camera now. And your view is also going to move up. That's what we want. So you go to 15 and I go here. I move this up a bit. So this is going to look better Head to seek you to see. Yup. So the fire is going to come in Can we will have a nice transition from fire to smoke. And then it will be smoke. And then I want to smoke to go up. Now I smoke is staying here are a little too long. So I wanted to smoke to go up and also dissipate. So what I can do is I can animate this, or I can simply have to smoke to go up. So what? I'll go on Goto simulation. I'll increase the smoke buoyancy to To not minus to do. And I'll increase the temperature buoyancy here too, as well, Right? And hopefully that should work. Let's see what we have. Okay, so I'm going to stop my Sim here, and I want to discuss another important topic. So I have my animation where the fire comes into our seen it around five frames. Okay, We have a good you know, transition. All right. And then the smoke goes up at about 60 frames, right? Yeah. At about 60 p, I think would have Ah complete empty C and I still can see a little bit off smoke here. But that's OK now let's see how toe you know how this works with real time, right? Let's get in our But let's get a preview world. Unfortunately, that option has been removed from fume effects, and the way I think the work around that they expect us is toe flick over here on the plus Aiken. And then he can create a preview for our view. Ports we can choose, create Prevue and we can say create preview animation, right? And this Allah boxes a little bit different, but it works exactly the same. You can decide how much off the image output you want, so I'll keep it at 50. For now, we can decide the range. So I want things from to go from 0 to 60 and I think for two seconds. I think this is going to be very quick. But let's see how that looks. I'll choose custom file type on this way. I'll get to choose where the file is going. Click on file I'll goto Explosion Fume affects five reviews that say 01 and then I'll say save and there's gonna bring up the compression. All put I know here I can choose a compressor to say uncompressed right click. Ok, Andi, This way. If I click on create, this is how you can create a preview in three DS max 2017 and fume affects five. So this is the output that we have? No. And we can create a preview like this. I think of what happened here was that we are not getting a proper 16 by nine output. Because in the rendering tab, I think we have kept the resolution at 6 40 by four eighties. That's not proper. 16 by nine. So we'll come the output size, choose a state TV and choose for 80 by 2 70 Now, if you were to get a preview out, we will get proper 16 by nine and we will not get the crop devotion. But anyways, I think the animation looks really nice. I'm liking the speed off it that it just comes a smoke or as an explosion plume. And it has this and then you can, you know, basically have a transition. You will have to create a mosque, animate the mosque but I think we can use this as a transition for so I'm okay. Not bad, not bad. So next step would be. Now, if you are walking on this and you're not happy with output, please go ahead and spend more time into it. If you spend more time into it, you will get a better output. No questions. So I'm going to actually move this a little bit on top. I concede fire transition a little bit better. Something like this. And then this fume. The smoke should go up. Maybe at around 75. I think we will have an empty screen. So that's nice for me. If you're not happy with this experiment, see what's happening. You can also want me to get a different kind of an output, or dakedo is to sell eyes to go back to your particle system. So press six for doing that. And under the speed category, there is something called the uniqueness. If you click on this new I can you will get a different seed number on. That's basically going to change how the particles come out. So it will be a random every time, and you can create different variations from this and see what you like. What you don't like. You also have to keep in mind that the quality off spacing is really love your any walking at 2 50 MB, which is also already high, in my opinion for walking. But that's OK. But once we create our final output from this, the the animation and quality will change. We will also create are different looks. So the speed and the fluid movement, in my opinion, is actually nice. So let me just review it one more time. So I think this looks nice. It comes in slowly. There's a nice boast and then the smoke goes away. Okay, this is not bad. Let's walk on. Let's do a little better. Same. And then we will work on the fire texture. Okay, so I'm going to stop my simulation now. Andi, I think this is looking nice so we can start walking on fire texture so the the fire texture is going to walk is exactly how it did in fume fax for So we go to the rendering dad. And then we'll come here to file right click on this and make it key more because you don't want to walk with a single color so key more on this. We will have a Grady adoption Click on it. And I just want to make sure that I'm walking the highest quality. Okay, this is looking good. Actually, I want to zoom out of camera so I can get a better view at what I'm creating. So click over here, and this is going to bring up our fire. Radiant. They want to scratch it out like this, right? Just I had it in my, uh, previous videos, and this is what I have now. I created this whole thing, you know, right now, But what I could have done is I could have taken a radiant preset, You know, that has saved from my previous tutorials. So if I go here and I can choose Lord, right, And this is going to take me to a place where all the ingredients can be imported from. So in my explosion I had saved this is the file. I can import this. Andi, this will also be fine, right? There you go. This is an interesting color that you're getting. I can change us to want to increase the intensity, and this is what we have. So this is looking not bad. I'm going to, uh okay, so Okay, so this is not looking that bad. Now, let's talk about multiple scatter. So multiple scatter is also an interesting setting that you can switch on when you're walking with explosions. So do that. You can go to the illumination toe and put a tick mark on multiple scattering option over here. What this is going to do is that it's going to create a nice fall off for the fire onto the smoke. So, for example, if I OK, so for example, say we take this frame if I was to create a render off this frame, I just go to the render set up, Choose this, make sure that I'm not saving the file so safe, eyeless turned off. Keep it a single on. I'll just do n f nine. Or you can press on this, but in render production and we get rendered off this output right, you can create a copy off this image. Took a for like, for 40 in comparison, so I'll flick on this. So I click on this clone render frame this way I can do some settings and create another rental, and then I'll be able to compare these two. So what I'll do is I'll go the multiple scatter switch on multiple scattering and then I'll increase the fire strength to 100. And you can, you know, try changing this deed, these numbers and see what works and what doesn't work. And I'll increase the fall off 25. I think this is going to be a good combination, you know, usually for explosions. And then if I click on render again, you will see that there is a nice follow from the light off the fire on the smokes. It creates a very nice, interesting effect, which I think makes explosion looks really good. So you do that now. You can actually let me d please off all around 20. Create one more Endo. I'll be able to compare this a little bit better. So as you can see in this area, things look a little bit better, right? The fall off on the transition from fire to smoke is going. It is a lot better compared to here, where the multiple scatter wasn't on. So this, I think, creates a very nice into interesting look, Let's let's try this one more time. It, uh, with this frame. So we rented this out. So I think this looks a lot better when compared to this that this is no multiple scatter. This is with multiple scotto. So you can you don't try that option. But if you are to choose multiple scattering, then the render time is going to increase. So take that into account as well. If you are walking on a deadline or no or if you're creating our demo reel, you know what's happening with that. And, uh, you can see what works and what doesn't work. So I try to pull the camera out a little bit because we are in. The clothes of that we are creating is a little too much. You're missing out on all the good stuff, so I think that is going to look a lot better. Yep. And then the thing will go away. So we'll create one more preview and let's see how things would look. So to create the preview, we'll click on the plus. I can over here, create Prevue create preview animation costume. I keep the inch of 60 and in here I'll create zero to. And one thing that you can do is you can, you know, for for your work you can if you're not liking this great background, especially when you're walking with smoke. So this can be a bit of a problem. So if you want tohave ah, black color over here, What you can do is you can press old B B as an ball, right or be, and this is going to bring up view board configuration. You can click on use environment, background and apply. And this is going to create that you poto have black color. So you know that is going to be nice. Let's just create a preview. So go create preview animation. 0 to 60 will save this zero to a V, I and ah yeah, that's it. Let's create a preview and see what's up. So as you can see, since we did the change in the window set up, we're now able to get a 16 by nine output. And, uh, okay, I think things can be a little bit better by our since this is a tutorial. I think I would like Toa stop this here and the last no like to talk about would be creating a vehicle. A trend from this. The reason why I want to do that is because these settings the viewing and the input option a little confusing for beginners. So I'll talk about how to create a gravy train for this s o in. So it's it's over doing that. What you can do is you can first do a default. Okay? Force, you need toe, start the village. Right. So we got a simulation, then we will go down here toe Baylor turbulence. Right. We go to general, and it will confirm that we are now exporting more channels, which is velocity, An extra detail. So before these one out there on when I added Wailer, these two came back. So this is good. Now we are doing of evil. It in a simulation. Well, first have to run r d. Ford's him. And even before doing that, we'll have to force confirm that in a village we are out putting something that our computer can handle So for for G b. So we can do a little bit better than that. Let's go 2.75 and see what's up. So now we've lived this going to 10 GB. That's a little too much. You go to it pointed. Yep. There. Because it I think a little bit less than that. So 0.85 and invaluable it up there. Your seven GV. So this is something that my computer would be able to handle. I'll force have to do our defaults and so quickly do that. Okay, so our default simulation was done now to start the favorite simulation. What I need to do is I need to go Toe forced me to change the mold, right? I forced me to change the default Cento wave lets them now the Barton's air not going toe opiate, You will not get the green, but no anything. So you really need to be attention toward This is right. And your input has to be default cash because what we have Leadsom will do is that it will process this Defour cash once again and it will create a better output. Now, if you are going to use the favorite simulation, make sure that you're putting your riblet Similarly cast data at a proper place to so we to come here to explosion fume five. Change this to cash to and keep it here. Right? And then your motives we have let your input is default If I click this this time of year starting Villard simulation right? But I'm going to cancel this because it is getting too heavy for my computer. With that, according on and everything. But as you can see, this would reveal it would have been better and would have given us a better output. I think my camera angle was a little bit wrong. So my input is to that defaults. And so what I'm seeing right now is still the foursome and I'll change my camera. So I think my camera is a little too close. I'm going to bring that out. I'm going to push this towards the left like this. I think this is due out and again, not a perfect science right moving two feet or 10. Few to something. So see what works, what doesn't work. And I think I have created a good explosion transition. There's an explosion covered up so full screen I can create a mosque for this in after effects, make the mosque for the slain, and I will have a decent transition. Now, you know, this is again done in under an hour or so. Things are a bit problematic here. I do recognize that, but this is how you can create a good you know, explosion project and a good or explosion transition project in fume if, Ext. So thank you so much for watching my video. My name? Mr Hodel. I think I was able to explain you all the new important bits off him affects five there differently wide. The preview animation system, the GPO, Vieux Port on the blocking. You know, Vieux Port kind of thing on De. So thank you so much for watching my video. My name is the hard Alone, and I will see you next time. 12. FumeFX For Beginners - 12 - Smoke Plume/Background Project: Hello, everyone. And thank you so much for joining me on my training course. My name is now the lull and welcome to part well in this video, I'm going to show you how to recreate this explosion fire burning project. And I'm also going to talk about my smoke background project that had shown in the starting videos. This video will be very interesting because I'm going to introduce you all to new film effects tools that I haven't covered. Till now. I'm going to show you all different fume effects concepts that I'm sure will be very useful to you when you're walking on your own projects. So with that being said, let's jump into it were to stop this animation press control a select everything, then delete because all of this was practically just for sure. I'm going to go to my view, Port President Zeki to research them, and then I'm going to see if this other separate foot that's important. So I already set up my project folder or Intuit Goto three ds files and set This, as they do next, is to create a few more facts box. So I hope you guys are clear on some basic concepts, like creating the fume box because there's a very simple thing. And if you have just been doing a little bit of practice, this will be good for you. And so that's how you create one, right? You go to the creator. Few effects Hume effects box. Next is to create our fuel source. Now, usually this is a place where I create my particle source. But this time we have real work with simple source. So in order to create simple source, we'll goto object, source this panel and then click away here before we used to choose particle source. This time, simple sores on Once you click on simple source, we have this over here, but in the view port we have this guy, Andi, think off the simple source as a particle system without the boat stop on the delete settings, right? So it can basically create continuous fire and smoke. And the way I use it in my projects is that I user to create the fire and smoke. But then I add different defectors and controllers in the scene to control how that fire and smoke is behaving right. So for example, in this project of what we will try to do is we will have our explosion over here, so we'll move the source. Right? How about you? And then I want the explosion to start over here and then the fire and smoke to move in this direction. Right? So in order to do that, let's get started lessons for see what we have. So then we can start making our changes. So I'm going to go set my cache files properly before hitting the same button. So click over there. Go to deck. Stop. Uh, smoke background cash too. This is great. I'm going to make some simple changes to my fume books. Or 1 51 51 50 And let me reduce the spacing down just a bit so we can have a decent resolution toe work with. OK, this is good. Let's see what we have and want to select this on. Duh. Enable GPO Vieux port So we can see in our Okay, So this is what we have. OK, eso The problem that I'm having is that this looks more like a campfire. It's not Ah, an explosion though, that the smokers too soft and the fire is not looking very aggressive, right? We want, you know, an explosive, you know, not predictable kind of fire. This I know, is going to just only going to court awards atop so not very, you know, exciting, in my opinion. So we'll go to the object source panel on the different settings that the simple source off users will be under here. Right? You can get to them if you select a simple source over here. But I like to walk with my human flexi white box. Select a few marks here to have this. This is great. Uh, and the first thing that I would like to change though it is, I'm not liking the smoke. Right. The smokers bury this. Be not very dense, not very thick. So I come down here under the smoke category. Right on that. Increase a smoke, amount to a higher number safe 10 10 15. And then if he's similar gun, you will basically see that the fire is there. But in years now you're getting a thick, dense smoke. Now, the one thing that I really don't like in this is that way, we haven't added any lights in a scene on, but that's a big problem. So let's just create some late. And I think what's going to happen is if he were toe on hide my name. Yup. From the previous see that I had in the preview for shows in we had some lights important the sea and since I deleted everything by pressing control A these later not selected because they were hidden, right, So then So they didn't get the leader. But I just, you know, because it's a few effects for big nose training, I would like to show you how toe that he create a late know What is that? But I hope since I have covered this in the previous videos that you guys have done some practice or at least four along with that video. So you guys know some basic things, right? I'm not expecting, you know, everything but some basic things you're in there you should pick up. So we'll go to the create panel lights standard and then we'll create target sport you can try are different things I have worked with over new target direct, but the one I like the most of stock it sport. So create one over here like this. And then before we start duplicating, it's a good idea Toe forced to what changes properly in this late, we'll go here and make sure the shadows are on Onda shadow Map is changed to retrace shadows under shallow parameters. Make sure that you're atmosphere. Shadows are on like that. That's good. When you select this now and make sure that it's from the top, you don't want to have a straight front light source. Make it towards the top like this, and then let's create a duplicate. All right. And, uh, bring this down. Yeah, this looks good. Let's just keep it to 22 light sources for now. Really select our fume box on. Get off you, in fact, see, why on import these two lights in our illumination time, Right? So we will have these two selected. These two should be in the scene. He would select them in boat import. So we have sport like three and four added into a scene. Select them. Hide selection. This is good, Onda. If you look at our smoke now, it's not showing any details because the the fume of effects settings are not done properly . So we'll come to the render tab and costs and receive shadows on. There we go. Now you're seeing some some details. That's weekly Change our our smoke color. So we do a right click on this kilos more and make this taco like this Super. So we have some three D smoke now, some files, some good campfire going on. But we want to create an explosion. Okay, Okay. This is good. Let's reduce the spacing down a little, because that's that's good. I think this is gonna get heavy for my scene. And okay, so So we have added the smoke. Now the problem is the campfire, right? That this this why should be more explosives, should be more more energetic. And it should be, you know, not controllable. That's the whole point that he have a huge explosion. The fire is willing everywhere. It's a big chaos seen. So what I'll do is I'll create my simple select my simple source, come down here and under velocity changed the radial settings. This is a good starting to change, to have that turbulence. Now, some of you may be thinking that. Why aren't we going into the same category and changing the turbulence? From here on? I will talk about this because this is more like a global control. This is more towards the local control. Right? And you will understand this a little bit later in this video. So let's just add our velocity will increase the velocity to store higher numbers is something like 10 10 15. Right? And if I was sim this now you will see. Yep, that's exactly what I get. Ah, big explosion. The fire is going everywhere, and it's creating this different flame like thing. Okay, it's looking good. Very uncontrollable. Okay, this is nice. Let me stop it. Right, Eto. And the reason why I stopped it is because I'm not liking that. It's going simply up. So what I'll do is I'll select my fumes, source my simple source, and then I'll rotate it like this. All right, so it has a little bit off directional nasa to it on right beside in velocity, right beside radial. We have our direction. Setting shall increase that the 1.5 right, and let's see what we have. So I've reduced the ideal setting from 50 Inter 10. Let me increase the temperature Big change that 3 50 to see what we have. And ah, and what you're We also have the diameter setting Think off diameter to basically be like the length and the width off the off the particle emitter, right. If I select this and changed the the diameter to 15 right, it's gonna get a little bit bigger. So let's see what we have now. Um, okay. And yep. As you can see, it's getting a bit more explosive, Andi. Ah, but you can see that it has a slight right side bend. You can see that the smoke is moving towards right because we increased our direction on us , right? If increases to two, you will see it start going more towards the site. This is all good and good, but the problem is that the smokers aren't behaving how I wanted to be here. It's not going towards you know this site because it's going more towards the top on. Let me introduce you to this new thing called gravity vector. So some of you may be thinking that OK, we can add a friend over here right over in towards this thing and it's gonna push the smoke here. That's good. But the way gravity behaves is that in simple terms, this is not very scientific and very, very professional, in my opinion. But in simple terms, this is a tone that big nose would get and simple terms. Gravity would force your simulation to move in a direction you wanted to go right on the wind. Would you can increase of instrument, but it would still act like wind, right? Heavier things would be less affected later. Things would move quickly. But gravity would really force your seem to behave in a certain way. So if you want that and that is what I want, I'm going to go here, create from, and I'll choose the gravity director, right? And once you import that are, you know, adductor your scene. It's going to be added over here, and you will have this innocence. Oh, this looks a lot like the simple source, but it has a very unique design because it has this this long, pointy thing at the end. And, uh, what you can do is we can point out in in our direction and then the smoke will go in that direction. So what big nose may do? And this is, I think, Ford for the design because this is what I used to do Is that used to make it like this on do so always. Yet country was because there's a pointy thing. It point in this direction to the smoke will go in that direction and that's the opposite. So this So if you if you want to smoke to go Hill, we need to actually make it like this. So think of it like you know that the the you know, the so called thing has to face in that direction where you want to file and smoked ago, right? And, uh, let's. And in order for the gravity the work properly, you will have to come under the same settings and change the gravity option over here. So if I increase sister to maybe two, even three, you will see that the gravity is a lot more stronger. This gravity vector is really going to take effect on DA just to show you how powerful this is. And what I mean by force does seem to go in a certain way. Let me actually rotate us like this. Right? So we are pushing the explosion to go in that election, which is again not realistic. Right? But just to show you how powerful this is and what it can really do, If he were to send this now, the explosion would go in this direction only. Not even to the point that Okay, once this is done over here, it will go towards it off. It will go towards it all. But if I was to increase the could have a d Vector five right on. This is also because I think I haven't rotated this property. Yep. If I was to rotate this rotate, it's like this. Yes. As you can see, it's going to bend the fire even more to go in that direction. Win would not give you this effect, so let me just do a quick comparison just for security, just for my awesome students to understand us. Um, ledges border of space warps and create over in, and we'll create one over here. All right. Under perspective. You even bring it towards the top and president et rotated in that direction. So as you can see we are very similarly career marking and having you know what the gravity of actors and in few effects, I will remove the gravity backed off for now on, I'll pick up the wind option, right? So we are removing gravity vector so it's no longer affecting. The scene on the wind is not going to affect the scene. And I'll go here under the constraint on Increase it so five as well. And let's see what results we have, right? So as you can see, gravity source was really bending it. Let me actually remove the wind also and let me just do us him so we can have before and after combat is in. So I have my default not before but my changes made to my simple souls. It's going up. What I want is is toward it to go towards the cross direction northwards, that border anything that was just an experiment. But what I want is for it to go cross. Okay, so now let me at the window so we can see the difference. If I was played, Yes, the wind would affect the smoke and the fire, but it would do it realistically. What's happening is that the explosion is so powerful that after it is done, yes, it's gonna go towards the right because of wind is added into the scene. But it's not going to behave how we wanted, you know, on gravity Vector will make sure of that, so that's a big difference. So if you want something to have unrealistic flew the things right, how you want Oh, on an actual win would behave. In real life. You can add over into the scene, but if you want something that is going to be here was certainly you can you can add the gravity director. So we like that like this, and what we'll do is we will position it properly, so we'll rotate it on again. We want the SIM to go in that direction right in the cross direction so well pointed like this Onda. I'm going to come to the same category and some settings and let me reduce us to three. What's going to happen is if you increase us to a very high number, it's going to give you like, you know, not very realistic results, right, because the force of gravity is so strong that it just you know, it's an interesting thing to work for it. But this is not what we have, you know, wanting. So we go to the same and make it to around to such powerful, but not to the point where you know it's looking unrealistic. So this is what we have and ah, not bad, in my opinion, OK, this is good, but what I want is, um and I think the vorticity settings are all the same. So I've said that 2.9 water city, too. And the water see scales is 201 Let's let's add some turbulence. 2.2, right. And uh, okay, this is good, but what we can do is that there is no limit, OK? And yeah, 11111 more important thing. One fume affects box can only have one gravity, but you can have multiple reigns in your scene. So that's an important or distinguish, you know, yeah, like I want a paper written on it properly. But that that's an important thing to remember, because if you try to create more gravity sources, you can basically have just one a gravity in one fume box so you can create a gravity source, but it will not be imported, right? Let me try toe, do it. And if I press the HP that will basically bring up all the different options that I have to important this option and gravity is not going to be there so you can create the gravity source. I have no idea why they made it like that. Fume affects food and have that option. But you cannot have more than one gravity in your box, right? This is basically control how the gravity works in which direction and stuff. But if you want to, you know, create an offset for the gravity you can create one moving which will, you know, sort of push things in a different way. Um, but that being said, what I want is okay. So what I wanted to do is that I want tohave one more simple source so you can only have one gravity in the scene, but you can have multiple simple sources. So let me go here. And what I can do is is I can select this because I will have to do all my changes again. I'll have to create that. Temperature settings are smoke settings, a velocity direction. You can duplicate this, but the reason why I don't want to do that, it's just show you guys something, so I'll create one more simple source. Right? So we have to simple sources in a scene. I think this is going to have all the other settings. Yep. It's going to have a temperature setting smoke radial, This escort. Now, what I can do on the difference between you know, that the temperature that we're getting here on the temperature setting that we will get under the same category is that same category is more towards global. The SIM category will apply those temperature changes, the both of these simple sources. But if I want that one, simple shows should behave in a certain way and the other one to do something else. I can do that now. So if I want a simple source, want to be a little bit bigger, maybe 25 you can see that the other one is not getting affected. But if I was to make it, you know, make things turbulent or chaotic by changing the dollar bill and settings over here, it would apply to both off them. That's the biggest difference between walking under the same category and that category and the options given over here. Right? So if you want less smoke, yes, you can change their dissipation settings over there, but you can also reduce this number. All right, so this may all neither settings off you off. Simple source. One is getting affected. So that's something you want to understand. So we have added this. Let me just aren't do quickly or the things that I have done. Try to make this 15 and let's see what we have now because I have, you know, placed them so close to each other. What's going to happen is that they're going toe, interact this with each other right to the file, coming out off simple source to in the coming out of simple chose one is going to get combined, and you're going to get even better and interesting results. We can come under the same settings and we can change the bond rate, so this will be nice. So what we're getting right now is the fire is still here. We can reduce us down to 10. Increase expansion to 434 something. And now let's see what we have. So we'll have a really big file. It'll born to quite a lot. So we're getting a nice you know, fireball explosion. And, of course, we can change things in the render settings for, you know, Howard up yours and stuff. And I think what the problem is that the gravity source is a little too strong. Yep, it's looking it again. Unrealistic. So on. And I can make turbulence noise, but shot boys. Well, okay, let me increase the fume box so he can see things a bit better to 50 to 50 50 so that you're not clipping things. No reason. I'm going to select everything, Moved them a little towards the right. Yep. And let's see what we have. Make sure that their spacing has also said the proper right. So you have an explosion, right? It goes off in every direction. That's what I'm really liking. That it's not, you know, not like a bubble that just goes evenly in in every direction. And then the file that is being set up here. Yep. This is not that bad. I think that the bone rate can be reduced a bit, then is not looking very nice, but you guys get the idea that they're different settings that we can make. Right? So let me just do one more Sim with 15 Osborn red, and let's see what we have. I think I should reduce the expansion to three out. Right? I think this looks not that bad. Make sure that your display options are also viewing properly, so we can you know, I can't five and see. Oh, yeah. I think that details are looking bored. I think I have, uh I can add a little more turbulence in the smoke. The smoke here is looking race, and, uh okay, not bad. Not bad. Yes. After around from 63 different. Take a shop. We can create our Dietzen decent fire explosion from this. Right? I think this looks really good. So again, you can experiment and see how this looks about this 1000 for that. But this was a different way to create an explosion. Right? Let me decrees that display the quality toe once a place. And I think that looks good. We have an explosion, and then we have continous fire here. And the best thing is that that is it's going in different directions from everywhere and deciding that nice, you know, motion to it that I think really look scored as well. So you can try different things, you know, maybe create ah particle source that that that that asked like a shockwave right that interacts with the ground a little bit better. And you can try different things with it. So please go out the experiment with this right? Try toe enemy the position off this so we can actually, you know, animate this right and ah, see how things are and you can do many things with it. So go out the experiment and let me just quickly talk about the small background project. So what I did is they set up something like this. I think I did that with once a few more facts source. One simple source. So not to let me to move this matches even deleted. I don't really need it in the scene anymore. And, uh, what I did was my fume of x box. Since it was a professional project, it wasn't being walked on by this machine. My human facts box was a lot bigger. Make it 300. 203 100 for now. You. So you guys gonna understand it a little bit better? It was probably a lot bigger than this as well. So even 300 shootings were small, in my opinion and in the smoke background project, I did not switch off the fire. Right? So some people might want to try this approach that Cynthia will need. The smokers and upward begin really get removed The fuel on the reason why they do this is because the fire, the movement of fire, is causing such a turbulent smoke and such interesting, you know, radiation that I don't want to smoke the Gobi. Also, I feel that the turbulence is affecting the scene. A little too much salami reduces to Okay. So once this was done where what I did was I went into the render option and I basically switched off fire from here. So the difference between switching off file from the render option and voices the fuel from the same option is because is the difference is that if you were to remove the fuel source. You would not get this kind of animation right where the fire is increasing and it's giving you a good height, right? And you're Jo. Getting are very good shape in the smoke and voices. The render option is that if you ever decide that, we would be need the file, if you just have to do is use of worshiping the file. Click it on and it will be back. Right? So this is a very non destructively off walking. If you have ever worked with 40 shop, right, we all we all basically it's smart objects and pre comes. This is basically that approach that if I will want that option back, I can always bring it back. And then in here I went here. Now, this is very bad detail. The same options are very pad, and my computer really cannot handle a good amount of close up. And I basically just made a control. C and I made a camera here, right, So I had my right. This is basically what I had creator. Now what I'm going to do is I'm going to stop my video here because I've talked about the gravity source in the simple source. Onder are many things that you can do with it. So please go there. An experiment. I really cannot cover the full scope off off this off. These two options in this just one video. But what I can tell you is I can. Is is there are many things out there that you can do with these two options alone. Right now, what I want to do is I'm going to stop my video here and I'm going to do a SIM office, maybe 2111 50 frames. I'm going to increase this a bit increases to 1 50 on how I bought up bought off. This option was I did a right click on these buttons on these play buttons were right click . And if you want to increase your in time, you can make it 1 50 By the way, I have covered all this very bad if you guys were not paying attention, but anyways and we do a sim of this and I'm going to talk about post processing because I want to talk about how to do Ah, slow motion with this smoke, right? I want to smoke to go like smooth, You know, that kind of thing. So let me do a similar office and the ones I'm going to do. The post processing Sam. I'm going to talk about it in the next video. So thank you so much for joining me on my video. And I will see you next time. 13. FumeFX For Beginners - 13 - FumeFX Post and Retime: Hello, everyone. And thank you so much for joining me on my training course. My name is the huddle and welcome to part 13. In this video, I'm going to talk about post processing and how to add post processing Tia simulations and hard to get off the record slow motion shot. So this is what we had made in the previous video, and this was done to create us tomorrow. Background. Right. So we have a port amount off, you know, smoke plume coming up. This is good. Now what I have done is I have managed to go through the short and basically create a camera. Right? You can do the very same thing by just seeing what our camera angle looks good and then deciding if you won't have a short of what they don't know. So I was able to about here, set up my camera angle like this and on and then I press control. See, that would create my camera. So I already done that, and I hid in my camera so that it doesn't get in my way. I've talked about all this in the previous video, so if you have ministered in please go check that out and, you know, get some refreshers and then come back to this video. So I have created my camera with a past president PT to get out off it does to stay in perspective, so I don't accidentally move it now. I actually was sending this on and I stopped it in the middle of it because I realize I'm is a mistake. And this is something that I wanted to share with you guys, if you are having a short or if you're working on a project where you understand that you're going to need slow motion or you would like to add slow motion into it, what I would recommend is you use post processing now post processing, just like reveal. It is something where you have to make sure that you're exporting the proper channels, invisible it. We had to goto simulation, go down here and enable you know, x ray Dale and by clicking on weather turbulence for every time and for post processing. What you have to make sure is you have to export velocity and temperature these two other channels. So, as you can see, I send my my details. Um, I would only fuel and smoke, so if I was to post process it, the post process would happen. But my every time wouldn't be able to, you know, I wouldn't get a good read time effect because my velocity and temperature is not here. So in order to add those two things in, I'm going to have to click on this button and then double click on temperature so it goes toe the site and then double click on velocity. So it goes to the side as well. This is again going to add, you know, increase the size of the cash that I'm creating. But these two are necessary for us to every time things properly. So click OK, and now you can see temperature and velocity have been added in. This is good. Now I'm going to have to do our default Semicon and just, like reveal it. It's going toe process that defaults him, and then it's going to give us the option. If you want to do a slow like you create a slow motion with that. Ah, lot of times people like to create slow motion using the time scale value by animating it. I start make it very high, then at the end, make it very slow. And it does slow things down, but it's not going to give you slow motion. Slow motion is actually slowing things down. This is going to affect how fire goes from fire to smoke, that kind of thing. So this is not what we are talking about. We want to work with post processing for semi, for creating good slow motion. So let me do a symbol, David, these two things and world and make sure that anyway, you are creating your project. We can create the camera angle and the testing without these two. Right. But when you are starting to create ah final render or the final default simulation, make sure that you add these two channels in tow the output, you know, channels as well, and then do their defaults him. So I'm going to do our very small defaults until around 60 frames and I will see you guys once that is done. All right, so my default sim is done now. Now I'm going toe post, process them on the simulation. So, in order to do that, make sure that these two have been added into your defaults him. Once that is done, we can go to the WT. Peter. This is where the turbulent were turbulences so he can switch that off for you can close that gap since you're not walking with it. And here is post processing so we can change the range. If you click on this, you can decide from where to where you want. The post process to work on this is rather useful, because if you go into a camera right, if you go into the scene, we don't have to process all these starting frames because the start of the camera and the start of the short is at around 14 frames. Right? So what you can do is we can say the cash start can be at 13 frames on the output and beat 50 55 frames, right about 55. I think that would be a good time to stop. So tell till 55 so we can do the range is very important for this to understand where to start and where to stop. And now this is ah, you know, an interesting option because it can help you trim down the render time, but this is the like. This is something that a room one begging us to get involved with. And that is because I don't want you to think that it's OK to just do anything when you're walking with the D four things and then try to fix things with post process. So this is something that you can explore on your own, you know, bite by experimenting and seeing. But this is something that I would like to skip for now. A teach for beginners is because it can help you a lot when you were doing our final Riendeau by excluding channels that you wouldn't need to something like temperature because you're not walking with fire right now. But I would I would not recommend beginners to get involved into this. Rather, you should focus on creating a good box size work with a good camera angle, work with the animation flow, focus on focus, our you know, Diamond projects on that, then walking with post processing. But the thing that I do want to talk about is the three time feature. This is a really cool feature. That is because it's gonna take all the cash. You know this cash from 13 to 45 it's going to slow us down, slower down and create a very good slow motion. So we put a check mark on re time and we will bring the time scale factor down the point toe. So what this is going to do is it's going to create a lot off frames, right? But those will be very slow and we can take all that into after effects and then do up proper composite off what the final shot should be like. So it's going to create a very good slow motion. It's going to be 1/5 off the speed that it's going out right now, and I think it's going to be at around, you know, like really smooth stone motion. So I want to show, show you how to do that and wants these two settings are not. Once you have understood the range and you have understood the timescale fact off, you know what kind of thing you want. We can set this over here and then make sure that your post processing cash is also calling at a proper place, so we'll go to post processing on. Then we'll click over here goto our project for low so small background I'll choose cash three and put it over there. So my post processing cash is also going at a proper place. And make sure that your input on your defaults him. You know, these two are right as well, so the import has to be default cash, right? This is useful when you have done of a village cash and then you want to slow down that wavelet cash, right? I've been in those kind of process as well. So if if you have done a favorite output, you would choose it like this and in the more you would choose post processing, right? But since we don't have any vivid cash and therefore showing has nothing, we will choose the default cash, so process their default cash and then choose the more for post processing. And once we click on this, it's going to start the three time and I will see you. Who once this is over. Okay, so my post processing same has also been over. Let's take a look at what we have. So in order. Look at our post processing Same right and few effects. You will have to change the input for default cash. Because since the importers default, that is what we're seeing. Right? What we're seeing right now is basically the default cash. Andi, In order to change that, the post process, we have to change the input. Both processing gash as well. And what you will see is that this thing it's going to move very, very slowly. This is because off the off that very, very intense retained alleged on it. So let's take a look at the cash wars over now. So I'm in my project folder smoke background in over here in cash three. It's gonna basically create a lot off files, right? So it basically took the 40 frames that we had made and slowed it down on DA. This is what we have. So we have a total off 200 frames, right from the 40 frames that we had originally send and let's do it. Render off. This now leads to a final render of this. Have talked about this as well. So I'm gonna talk about it once more time, so I'm gonna set my proper camera. I'm going to decide from where to where I want the Riendeau. So I think at around 13 frame or on 12 frame, that's what I'm going to start. And then my render output is going to be the amount of cash we have. So you start from Tor Dean, right? And then we will end out to 17 because here it say's frame number 217 Right, So let me increase this right. This is not 1 50 is not going to cut it. So I'm going to right click on the play buttons and I'm going to choose to 17 I'm going to go make sure that fume effects also under stances, I'm going to go to 17 and then over here, 217 So there are two places trying to change that in the playback on in the output. I'm going to save the file and then I'm going to start the rendering toe. Start the final Riendeau, make sure that your input has also been properly assigned. If you want to do Orender off wavelet cash, then said the import of a lit if you want to work render of default and circle default for Post said it The post for me and again, this is irrelevant right now, the kind off more for the simulation because that is done right now, right now, the only dealing with of what is going to be seen on what is a few effects going to shores . So we want to do that the post process So we can do Orender off this. So once that is done, once you have said this properly, go to the render set up and in here we can cheat or chooses to arrange. We will start from 13 and we will Kotal toe 17 right, That would give was around 200 frames 205 frames. And since the quality is so low and since this is just a pictorial and when you going to do our very small 9 60 by five for me, change this to is do TV 1960 by 5 40 or very small sim and let me see if the file and since you're not doing many things so there's no three d object here, there is no fire or no smoke. You're choosing render elements is not going to be all that much help. So I'm only going to save this as one file and I'm going to go to the next stop, go to my project folder, create our renders folder here. Right. Put the name can aceto one and then choose BNG. You can juice Tarja or you know any other thing you like. PNG works for me for this project and I'm going to do an output. So let's render this and I will see you once the render is done once in after effects, we can import other in the properly and take a look at what we have made. So I'm gonna go to Dexter, smoke background renders and then double click on the force frame and that's going to be imported as a sequence to make sure that you have important, important dese fires at the sequence, you can select one and make sure that your PNG sequences on once this is done and will take this and drop it onto the timeline this was going to create the composition and you is what we have. So now we can see that you're getting Tulley a nice slow motion right now. What you can do is you can also every time this toe to fit what you are walking on. And there's something that I like to do a lot so in after effects weaken, select this now for re timing, you will have to reduce the duration off the final render. Right. So as you can see, the final render is around six seconds. 24 frames. If I wanted only four seconds off the shot, I can do what time remap on this so that the animation is a little bit better. So, for example, I can select this press control all d or just do a right click all the time. A neighbor time buddy mapping. I'm going to bring this last key frame over here. And then if I goto the graph editor, I can see that the one second mark is a little bit higher now because the file is going to play a little bit far. So since we made it from six seconds are almost seven seconds to four seconds. But here is the catch. What we're going to do is we're going to skip the starting part. We're going to bring it about here, create a key for him, and then go back into the normal view. And then I'm going to push the key frame a little bit towards the left. This way, if you go back into the graph hereto you will see that we have created this kind of photograph, right? And you're basically splitting this key frame into two. So what I can do is I can hold on the oddity on another to make sure that things work properly. You have to make sure that your second line, or at least this face or are actually anywhere in the scene, nothing is below one second, right? So you can see right now I'm playing this at 1.29 If this goes toe around 1.0 2nd that is also fine. But anything below that you're creating some kind of a joke, and you're going tohave a static frame, somebody you know in the video. So you want to always aware that scene. So since we are at 1.29 I can move this a little bit for the and have you had at 1.26 Aiken go a little bit, you know. Okay. I think this is this much will be enough. I'm going to press the old I'm going to hold down the old key, and then I'm going to click on this key frame this way. It's going toe, join it up like this, and then I'm going to take this tangent, and I'm going to move it to the left. So we have a very speed up shot at the beginning, and then we have a nice, slow motion, right? This is something that I like to do in my projects. And you can move this over here. You can go in here and adjust the tangent of it. Something like this. So we don't have a joke. We have a nice, smooth transition from this. This. And as you can see, since you're playing at a 1.3, we are fine. Anything below one would be problematic. So all right, this is what we have. I think the previous short lived a little bit better. Something like this, something like that. So we have a nice bush at the start, and then it goes into slow motion, right? So that is how I basically created my smoke background. And that is where post processing really comes into play. Because you can do slow motion off NATO on explosion Basically anything as long as you make sure and you import the temperature and velocity. Right? So if you do this correctly, the post processing will work. On day, you will have very good render times as well. So thank you so much for joining me on my training course. This is God closing towards the end. And in the next video, we'll start our tornado project. And I'm going to show you how to composite that into after effects and create a final short . Thank you so much. And I would see you next time. 14. FumeFX For Beginners - 14 - Tornado Project: Hello, everyone. And thank you so much for joining me on my training course. My name is the huddle and welcome to part 14. In this video, I'm going to show you how to create or tornado and fume effects on. Once that is done, I'm going to take this render file that I have made and I'm going to show you how to compose it This into our final short in aftereffects. It is going to be a very fun radio and with that being said, let's get started. So I have my three DS max here on the one thing that I would like to say. The one thing that I would like to say is that once you have done enough practice with fume effects is that few effects is rather easy. The more challenging and difficult part is to understand how the base program works. And what does it does the base program off to get creative with your facts. Right. So we're gonna create that tornado that I just showed you and for doing that, the first thing that we will need is our ring life item that is going to help omit the particles so I'm going to go over here. It was the first option. Go to Standard Primitives, the very first on the list, and choose cylinder. This way I'm can create a cylinder like this and then make sure that I created a little on the top is well right. I can do what I clicked to get out of it. Then choose a select and move and then I'm going to make sure that this is selected and I'm going to go to the mortify panel, make sure you have enough site to have it as a proper SoCal's. I'm going to increase that a bit. And then you also make sure that you are adding cap segments because what we need is this out during toe Emmett the particles. Right? So we're even gonna take a look into learning three d modeling. Andi, you're going to realize how bad I am at it before getting started. Let's just save the file, suppress controllers and you should have a project of folder on a project structure ready. I'm going to save my three ds further with their next I'm going to right click on this convert toe irritable. Polly, this way I can select all the different off polygons that it has andare delete them so that I can only have a SoCal left. I'm going toe choose polygons from here. And then I'm going to make a selection like this and make sure that everything is selected . Now you can see that everything is selected. But if I had the delete key, there is this thin line left over here, which is basically the top, right, so have made it in tow a flat circle kind of thing. Next thing is that I only want the outer covering that we love. So I don't want all these poorly bones as well. And I'm gonna have to delete them to mood to select one. And I'm walking in my top view, and then I'm going to hold down the shift key. On this way, you can see that I get a proper selection on entire ring selection. This is good. Select and delete. I'll do it a couple more times. Select One of them had down the shift key. And if you select anyone beside them, it's going to complete your ring selection to selectively. You can also do a marquee selection like this and delete other parts that are left very good. This is done. Let's hit the safety one more time and click on the polygon once again so we can get out off it. And here we have a good ring that we can use to emit are particles from. So the whole idea is that this is going to omit the particles on. We're going to shape them, innovate by using different defectors and controllers that they looked like a tornado. I have mentioned this many times and in my starting videos that before you get few more facts involved, try to get the base output right so that human facts can come in and help you with it and not, you know, like have to do the work itself. Right? So this is good. Next, left the create our particle emitter someone to hit the 60 to get the particle view. Do are right. Click over here new particle system standard flow. And we're going to use a lot of different options from this which will be a very good learning video as well. And the whole idea is that the particles are being emitted from this particle emitter right on dime were to change the color really quick, you guys, and see this better. And the whole idea is that we don't want the particles coming out of this guy, but rather the ring. Right? So what we'll do is we'll comment a position I can on. We want to change this position. Object, right? So I'm going to take this and replace the ICANN with position, object, And this way, basically, we get to decide which object does the particles come out from. So we'll click on, add, and then I'm going to click on the link. And this way you can see that the particles are now coming out of the ring. Okay, this is good. Let's also increase their duration off our timeline because I know for a fact that this will not be enough. So the force 100 frames say will be the formation off the tornado. And then 1 50 frames will be the actual Arrendel. So to 50 frames and daughter. And let's go toe the boat settings and increase the particle amount. So the image stop that is art RTV increased after 2 50 as well, and the particles are very less as you can see, just one toe. So for now, we'll increases to 2000. I have a feeling that this, too, will be a little less right, so we'll increases later. But for now, food housing escort I don't need shapes of selecting lead rotation. Don't need it removed that as well. Next thing that so, the problem will be that the particles keep going right now. This is usually where we add our delete parameter. But in this case, let's try something else. So ah, you cannot delete and you can work with that. But I want to introduce you all to ah coalition object or or deflector. So what we want to do is we want to create a system where the particles touch that thing, and then it deletes itself, right? So to do that, we can comment of space warps and really come to reflectors. And as you can see, there's just so many different options that three DS max has, right, So you will just have to watch more videos. I cannot. It's not possible for somebody to fix or to show you how to use all of them. in many different ways in one training course, right? So I'm just giving you guys some basics. It's for beginners, you know, to get started. But once you guys are done learning this, experiment this with your own techniques with their own imagination. Watch other people's territorial, and this way you'll get a better idea off using them and and even loan some new techniques and new things from their different options. Okay, my deflector has been created. I created a basic deflector, so I took the reflector, created a basic deflect over here from the top view. Next thing is for me to go to the particles view and then adding a collision object. So basically, what's gonna happen? Is it? I'm going to take this coalition and added into my system over here and on in collusion. I'm going to add the deflector. So what's going to happen is that the particles are going to hit the deflector, and then they're going to bounce up. Now what I want is that the particles, once they hit the deflector, should delete themselves. So I'm going to take the delete option. I'm going to bring it so usually we bring it in the system. What we'll do is we'll drop it in the blank space over here. On this week, we can connect the collision to delete right on this we was going to happen is that once the particles hit the collision object, they're going to relieve themselves. Right now, What you can do is you can try to create a spawn, right? And if you watch other, a few more facts videos. I've seen someone venue that you spawned very well. So you can combine that with Spawn to create even more particles and you lose some fun stuff with that. But for now, for for this video, they want to delete them. So, as you can see, this is what do you have coming on? And this is okay. Not that bad. This is looking good. Next is to have the spin motion, because right now the particles are simply falling down. Right? So for adding that spin motion, we will need a vortex will come over here and we'll choose forces on over here. That will be award exception. So select this and create one like this and we will need to add this and the particles. So what we will need is we will need a force. Right? So take this force and keep it over here somewhere. And in this four. So forces basically like other controllers of space warps as you can see. And basically, it's going toe. Allow particle system toe rotate, right, Just like a vortex. And you can add, Rendon, this you can add different spacewalks in this option to control this better. So, like I said, you know, try toe create of basic wire frame and then add fume effects in it. So the mean challenge for this project is not fume effects. But you know how to create a good via free and with just particles. So that human fix and common, and then we can, you know, just do some settings and have our smoke ready, right s. So let's get into the vortex setting. So if you select war text from here, we can get into the mortify options. And here we have many different settings, and this is going to be the court off this video. And unfortunately, guys, I really don't think you should be copying my Wardak settings right, because this is going to be very different, depending on how long this is or how big your your we've is or if you're trying to go for a shorter a tornado, you know? So I don't just simply copy, copy, toe the numbers that I'm going to use because they will differ from what you have going on . So experiment for different things and don't expect toe Remember and understand everything over here, right? That's not important. The more important thing is that you were able to get it a perfect look that you want eso. So there are many different totals out there on YouTube and many different references. But the one thing that I would like to have in my door NATO is that v shape right that classic reshaped like in the cartoons. You can go for a pillow style donator, but I would like to clear that V shape if possible. So I'm going to select my vortex, get into the different settings on dime going to basically, and I really don't understand the settings. I'll be honest with you guys. I don't understand these settings because, in my opinion, they're not important. It's important toe know them, but not to the point where you have to understand every single thing you can experiment and see what works, what doesn't work. And then, you know, come up with your 50 are designed. So we dispute the spot up, and I will see you once my, my my tornado is ready. So I'm going toe Before I do the skip, Let me just add some more particles in because it's getting a little difficult to walk with . So I'm going to increases to 7500. So we have more particles, maybe 9000. So you have more particles coming in and Ah, okay. Okay. So the one problem that I'm having with this is that it just has this bossed over here right on. And in order to fix that, Bush will select our vortex on the time off will change that to 60 basically above our timeframe. Right. And this basic shape is what we are aiming to change. I think this is looking a lot better. So we're having that nice V ship. And like I said, try to experiment, try to create something off your own. So maybe you want to go for a big box. Kind of a tornado, right? Maybe you want to go for a pillow style donate so depending on what you want to do, experiment on dime trying to recreate the shot that I showed you at the beginning. So you know you can understand how I did it. Onda. I think this is good. Let's I think we will need more particles because over here at the top, I can see that there's a lot of empty space is going to go here. I'm going to add even more particles, and this is OK, 9000 even though it's it's heavy if my computer can handle it. And this is just Egypt Iran with, you know, on boiled rice and processor. So I'm sure that some some some newer computer should be able to handle. So this is looking good to me. Onda. Let's add a few more facts now, so my particle work is done. Let's get into fuel to create fume coming with your shoes, human fax, and, uh, I'm going to choose a few effects option there and then create the fume books like this and then Okay, I don't know why didn't go up, but I can increase the fume box from the from fume your wife. So I'll increase this 2 400 as well, Onda, as you can see for hundreds quite told. So we don't need all that space. Maybe we can bring it down to 300. That is okay, that's better. 300 is great on and from the sides. I think 400 by 400 should be so. 400 is quite big. But Okay. You know, since we have that perfect looking the tornado, I can go in the reduce the ring size, but I don't want to do without right now. And let's reduce the stone as well. So Okay, this is good. Let's save the cash first before starting any simulation. Okay, so once the cash has saved properly, let's add these particles into our fume of xbox. I'm going to go to object source, create my particle source. Andi, click over here and make sure that you're importing event one not event to we just cross because it went toe is our delete parameter. And they went One is our actual system. So once that is done, as you can see, your particles will be imported on right now. My radius is set off five. That's why it's appearing so big. And I think I'm gonna leave it that at five. And I'm going to see what I have right now, So I'm going to make sure the GPO Vieux port is on. The quality is set the one because you know, that thing can also frees up your computer and let's see what we have. So I'm going to play. This cash is set on. Duh. Okay, so this is another interesting topic. So they're getting fire now. Andi, I think this is going to blow up eso. What do you think we should do? How do you think we should tackle this challenge on gun? Interesting. The oh, for dealing with this is to actually just switching off, right? Because we are trying toe like in the example that I showed you at the beginning of the video, there was no file, so we can remove the fuel, and this way it won't blow up as much. So let's see what we have now, Onda, as you can see the up, you're getting some simple smoke Now the problem again is that since we don't have any late , it's not showing as any shadows. And I hate to see my few more and electors, so let me just quickly add some shadows while it is doing the same. I'm going to come here, change that. The standard they target sport. I've done this many times. Of course, I'm going to go very fast with this. Come here and make sure that your light is on top like this, right? Make sure you do all your settings properly. So shadows is on Andre trays Shadows on. Duh. In shadow parameters. Choose atmosphere. Shadows. Right. And then we can duplicate this toe to create toward three light. Select this duplicated like this, and then bring it down a little bit. Very cool illumination. We can pick up one Spotlight do. This is great. Once this is done, let's hide them so it doesn't get in our way. And ah, over you. Okay, so it's quite quite big. All right. Okay. Let me let me stop my simulation now, Uh, and let's get over here first, okay? And let's just add some some shadows in the in the rendering tub. So will you come Constant receive shadows. And OK, now we can see some details and I can get an idea of what is what Let me do a Akilah s more on this color and make a dark like this so I can see. Okay, I can see things on DA. Things are looking interesting. So let's come to the same options and see what all we can change in order to get a better simulation on. And as you can see, the the particles are this much of it out. But it's quite high. So they're going to come here and they're going to reduce the radios down to two. Right this way. You're not getting a very heavy smoke. And, uh, in Water City, I want to keep these settings of artistry to buy. What city? Strength that 0.9. And I want to add a point toe turbulence that's going toe your some good results. Let's increase a detailed five as well. And since we're not walking with fuel, the same would be a little bit faster, because only need channels are exporting. Will be smoke, right? And even if you want to slow this down in post processing or Advil it Never start walking with a village or post processing directly, right? Always make sure that once your or D Ford Simmons done, then we can add those extra channels and and to, ah, high quality default, surrender or simulation. Right. So this is good. Next, what we can do, Let me just quickly. OK, this is an important thing, and I think that is the problem. This is actually the reason why the smoke remained is that we have toe creates a very high dissipation setting so that the smoke goes our way as well. I think my my, my my radius settings with five over actually. Okay, the problem was that the smoke was just staying there too long. So I'm going to come here and increase the density toe. Do, uh, 7.5 on the dissipation strength of 15. Right? Save this and let's see what we have. So I had the smoke coming in, and uh, okay, this is interesting on the one thing that I would like to share with you, so I actually, you know, if he can walk like this. When I when I was creating the final render file, I actually kept the fuel out of it, so there was no fuel. But what you can do. And this is something that I get like rested quite a lot is creating off fire donator, right? And the cool thing would be to actually have the fuel on. So let's just do the same again. But this time, we'll keep the fuel on and we will remove the file from the render option. Right? So we are actually calculating the future. The only thing is that we're not seeing it because of the file, right? And this is looking good so you can get the same kind of output. It will be a little bit heavier, but not something that would that that you would really should worry about. But this way, what's gonna happen is tomorrow if you decide. Oh, you know, I would like to have a fire tornado. This way. You don't have to suspect something's again with fuel. You just have to go into the render tab and make sure that your fire is on Ondo, you will have a fire Now the problem with creating our fire donate although on I don't want to you know take this topic in that direction. But if you are trying to create a fire tornado, the fire will be very dominant in the scene and you will not get a lot off smoke. Eso You know, if you are going to create a fire door, NATO make sure you are also using the fire creates smoke category. That's well, let me just quickly show it to you 15 by 50. 45. On this way, What's gonna happen is that you're going to get a lot of extra thick smoke, and that's going to compliment a fire. Trying to hide it in some places, you know, create a better result. Right now, my detail is set to a very low number because you are we're working with quite a heavy box . I don't want to tax the system too much, but as you can see, if you were to play around with these settings, you can understand that. So I don't want to go there right now, and I think I'm going to keep the fuel out of this option. But that is something that you can you know again, experiment with, see what works for you and, uh on. Okay, let's do us him one more time on the same lesser serious about the topic. So So I'm seeing this. And while the speed and the look off the overall tornado is good, not bad and some off you guys may be getting confused. Otherwise, they're looking so bad over here. And what will we do about this? And the answer is nothing. We will actually cut this part out or together from our final short, we can improve and we will improve upon the body off the tornado. But the bottom and the top part, it's something that doesn't concern me because in compositing I am going to mosque this out , right? So if you're having a problem where your fume, the body itself looks good. So take in to consideration when you're creating a tornado, that how does the top part look and how will you hide it? And what should the height off the Tonito be watching the red off the Tony Toby and that kind of thing? Right. So the one problem that I'm having on if you guys are having this problem, that whenever we select this and you're getting these particles that are just coming in your way. What you can do is you can go to the object source and click on this button show in view port. If you were to switch that off, you will not get those particles coming in. But then again, it's going to be a little confusing because you know, our begin our meeting that your particles have not been imported correctly, but so just check fume affects right and switch this off. The problem that I was having with the short words that the turbulence is too high. The point was not working, so I changed at 2.1 on the I'm getting a lot of clipping, right. You can see that the smoke is not going away properly, even though they're disa pension setting to quite high. But this is not cutting it. I'll have to increase it. A 12 ongoing changed out of 20 right? So let me sim again and see what we have. The one thing that we can also do is we can increase the opacity off the smoke so we can come under the render our tab on what your there's going to be opacity. If you're ever in a situation where it is looking a little see through, right. You can see the particles over here, and you don't want that. You want off more dense and heavy smoke. So one way off getting that or getting that look at least is to increasing the past later, too, to work. Three are don't over the word by going 200 or 20 or something. Because, in my opinion, it doesn't look good. I mean, it can work in certain ways and in certain projects, but I usually like to just create my my my effect like that. If if I want more or dense and heavy smoke, I'd rather just increase of particles, right. Do all that. And, uh okay, this is looking good. Some have increased my my capacity to 1.5, I think. And this is what you're getting. I think the turbulence is still too high, and the dissipation settings are still not working properly. So I did increased them, decrease the turbulence, too. Zero for let me actually keep it a zero and see what we have on. But they're dissipation settings. So what increased this 15 and 25 they should make something now. Okay, So, like I said, that dissipation settings are quite strong Now, on the the look is definitely there. So this is what I was able to create in my reference, right? I'm liking the speed of the donator. I'm liking the V shape that I was able to create, and I think I made it a little doll on, but this one is a little short, but again, you can come in here and, uh, an experiment and the same settings with this. Now, I I don't remember the fume box settings that what was their dissipation and what kind of turbulence I used in this project. And But I will tell you that my Riendeau for this was at around 45. Achieve it on. Right? But you don't have to go. That how you can work with 16. How do you do If you have that, I just have a You know what? What workstation were. So I decided to use that so that we can skip the same time the heavy, same time that I have usually kept in my previous videos. Uh, and you can skip that and we can jump into after effects. But that is how you can create a tornado and few effects. I'm really liking the energy off it. That how the smoke kind of goes up On what? We can also do this. Okay, We can actually add a friend in the scene so we can add our friend by going to space warps , adding a wind and it is completely forgot about it. And we can add a window here at the bottom of the shot. And this way we can increase the turbulence off it. The the strength will be a little high, in my opinion, but not sure. Let's take a look at what it would do. So if I add that to the particles not to fume affects directly, we can come under the four setting. So, baby, where we have added a vortex, we can add the window where there to and this is what's gonna happen is is going toe sort off getting the V off the particles coming down, right. And if you were to increase the turbulence, as you can see, the particles are going to behave in a different way, and that's going to give you a very different results to try it out. Right now, I think it's sort off distorting my V ship that had worked so hard. Force. I'm going to not include Dutch and remove the wind hand. Get my shape back. But you can try many different things with this and create your own tornadoes. And if you want to slow this down, you can always use the post processing option and fume effects and maritima and slow things down with that. So that is how I was able to create the short and fume effects. And now, since the fume effects part is done, let's take this into after effects and create are short. Once the three DS Max Riendeau has been completed, you can bring those funds into after effects and get started on some basic compositing to complete the final short. Now in this project, I'm using a stock footage, and I'll share more things about it in just a minute. But you can use the footage that you know you have short, or you can use our different stock entirely. The tips that I'm about to share with you guys are basically to blend a fume fix render a little bit better with the background over the mat on, and I hope that they help you out if you are doing the compositing for the short as well, right? Onda, with that being said, let's take a look at what's talk I'm using and then we get started. So the stock footage that I'm using is by Sina geek, and it is available on video hive dot net. I did try to ah, get some free stock footage is on. I tried Adobe stock for that. They have some very good content, but unfortunately I think you do. You know me being in a certain country I wasn't able to download from Adobe Stock. So if you're in a country where you can use Adobe stock, try them out. They have some very good off three stock content collection as well. I actually was about to use one of those charts, but unfortunately couldn't get that. And if you want to, you know, work with this video clip, I'll make sure to include the link to this in their descriptions on that. Okay, so with that being said, let's jump into after effects and get started creating this. All right, so I have my foot issue. I'm going to take this and drop it in tow. My composition. Now, what I run is have created Arrendel for my door. NATO short. You can bring this other sequence if you like. You know, just to keep things simple and have created ah dot a movie fight. I'm going to bring this into my composition as well, just to see that. Okay, we basically have to fit this over here and, ah, you know, do a little bit of color correction. All that and things will look good. The first thing that I want to do is I want to track my footage. This is basically to, uh, you know, get those small position changes, right, Rachel, that there. So that the tonal really feels as if it's there in the short and to do some basic tracking . You can do three D tracking on a short that you have. But for this clip, we're going to select the clip. I'm going to go the windows on Oprah, open my tracker panel over you, and I'm going to track motion so you can do the three d camera track but track motion will work better with this clip, since it's just going from left to right, right on the on. Actually, the position movements are very, very subtle. But even those small changes make a big difference when the camera is moving. But the tornado won't be moving, so it's important to get the track motion on right. So I go here, click on track motion. It's going to open in a different battle for me and basically what you want to do. And you can watch some other videos on YouTube on this topic or, you know, take a scale Chicos. But basically what I'm trying to look for is a simple point that's going to allow me to track the short I'm going toe select this. I'm going to increase that right area like this. Yeah, so that it tracks this small, you know, grass crosses and how they move. There's going to track, and we're going to basically connect this to the Tonito, so it looks as if it's really moving along with the camera. Once you have selected your proper track point, click on the play button over here, or the analyze forward and this way it's going toe process a clip. And like I said that there's not a lot off motion in the clip ankle, so I should be able to get our decent like out of it. Yeah, there you go. Now I'm going to create a new null object, and basically, I'm going to apply this this data on the null object. So I'm going to click on at a target a polite or not if, like OK and then apply X and Y dimensions. All right, eso this way. As you can see, Denali is also moving, and this is just going to add a little bit off realism. So we'll go to the four stream, make sure we are over there at our tornado or switch back the tornado and then we'll parent this duodenal right this way. What's going to happen is and Social diable for the not so it doesn't get in the way. Maybe even lock it on this day was gonna happen is if he were to scrub it. You can see that the tornado also moves a little bit and that that little motion is going to help us a lot one, you know, set Sell the short better. Okay, so the next step would be to go do some masking, right, Because we want to cut the top part on the bottom part. And this is something that I mentioned in the total that you want to take this into account as well that how much extra? You know, part you're rendering. So you that you can blend this better with the final short. And so I'm going to press the cuchi, I think, Yeah, for the rectangle, dual. And I'm just going to create a simple mosque like this s so that we can cut this part out on over here. In the timeline, you can see Mosque one. We will make it into subtract. Great. And I'm going to create another mosque for the bottom over here. And don't do then water because it will cause problems with their different mosques. You're creating, rather choose, subtract. And this way was going to happen is that we have this nice cart over here. Next thing is to add some feathering, so we'll select this had the f key that's goingto bring up mosque feather and then do this right on dso around 1 50 I think maybe 200? Yep. On then. This too well changed after 200 Onda. This year we're getting a little bit off. A better blend now since I walked on the shot before. I know that I need to add opposition to my tornado movement itself because what's happening is that the that this dust that has been gathered, it moves from here. Toe here, right? So what we want? We cannot have the Tony Toby here. It's being tracked to the bushes. It's not being attracted or through the dust that we have. So the dust starts over here where it moves over there. So we need to add that little bit off position so we'll start the position key frame, move over here and then move this over here. Right? So what's going to happen is it is just going to look a little bit better when it's properly moving with the stone. I think what I need to do and this is something that I should have taken into account eyes that I should have done a post process on slowed the tornado down. But, you know, please forgive me for that. So Ah, quick fix would be to do the time stretch. But, you know, if you see this kind off effect is great for you to write you two short films. Short films are documentaries. Budget documentaries to this kind of thing would read on. But if the client is, you know, good and you're working in a studio, you know, you better do the post process. So in time stretch, we're just going toe increase a stretch factor toe 1 25 So basically will slow down the clip on The problem with doing something like this is that if you were to take this to a different Alexei, if you make it 200 what we will see is that the tornado is moving super slow. Okay, great. Is sick. Yeah. My computer froze my bad grace, my computer froze, and I had toe, you know, basically read with some off the part on. Basically, my point was that I wanted to slow down the footage because it's a little fast for the clip that that you're trying to blend this into. So are cheap. Er, doing that would be to simply go transform us a dime. I'm stretch and then increasing the number to a very high number. Alexei doubling it to 200. And what that would do that it would slow it down. But it would also make it very jokey, right? As you can see, the tornado is slower, but it doesn't mean it's better. So post processing would give us a lot better flow right with without. So it would give us a good slow motion without being jokey, right? And so I'm going to slow this down to maybe 1 25 just so that we can get that good motion. And it is a little bit slow to match with the speed off our off our background plate. Okay, next is the color. Now, this is something where I highly recommend that you take the time to match things right, because this is the whole thing, the the mean thing off those short right. If it's not blended and properly, it's not going to look good on the color effect that I like to use is a focal look radiant because it has a blending mode option. So forgive me if you if there is something but out, please use that. But This is the one that I have been using. And what I do is I click on this anchor point kind of thing and I move it closer to the fume affects Riendeau. Right? So you can see right now that the Corine point is over there, I'll move it basically over here. This way, I'll be able to map. The color is a little bit better on my sim and I'll bring that over here right on day. I'll choose the colors a little bit. That is closer to toe. Oh, do the color stamp that we have here, right there, trying to help us blend this a little bit better. And now, since the whole thing is a little bit similar going to take this and this is what we have. I'm going to change the blend mode from here to something like a soft light right on. Right now, it's not looking very nice. What we can do is you can come here here again and you can start changing the color. And as you can see, this is looking much better Now. Let me just take the scholar for now. And please. I spent a lot of time, you know properly. You know, placing things in my final shot. So please take some time And don't try to get this down in five minutes. You know, like the duration off the video. Take sometimes. See what skill fits perfectly. Maybe you want toe scale things in different ratio, right? And their trial That So what I also feel is that the skill can be a little bit bigger. Yes, we can try something like this and we'll have to are just on mosque again for it to fit better. But Okay, this is Yeah. This this, I think looks a little bit better to me. On the position can also be a little bit over here. There you go. And ah, I think the color can be a little bit different. I think that looks OK. Next, I would like to reduce the opacity. The main thing to take from this video is that this whole dust is very seat, right? So our tornado should also be a little similar to that right now, much blocking the view 15. FumeFX For Beginners - 15 - Next Steps: Hello, everyone. And thank you so much for joining me on my training Ghost. My name is the huddle on welcome toe the last radio off the straining cities. And I just want to say thank you for watching all my videos. And I really hope that you have learned about human facts and are, you know, a t least called on the basics of the program and can now create some off your own work. This video I want O dedicate toe next steps and some tips and tricks that I really feel, you know, I should share with my awesome students so that, you know, you guys can do better. So getting started, the best step hands down would be just practice, right? Practice, practice, practice Because every time you practice, you will be pushing your boundaries a little bit. You will be getting faster in creating an explosion. You will think about, you know, changing some settings, creating a bigger explosion, learning about the hardware of the computer natural So something that a lot of people just miss out. Learn about what new hardware is out. Learn about the industry practice and things will be called right eso. One thing that has helped me out a lot in my cardio with humor facts is looking at completed works. And the best place in my opinion for that is when you're calm, it's free, this world of immune or calm and so is for few effects. And you can see a lot of different fume effects walks over here. Some of them are going to be completed like this, this right and a lot of them are going to be in R W. I. P. Meaning work in progress. And even those are just super amazing to watch, right? So I highly recommend that you do this and this is 11 person whom I used to follow a lot when I was learning Onda that was Martin Mila and basically a superb channel. I highly recommend us, and he does a lot off his his computer books, and the one dip that I would like to give to my awesome students and big nose is that I highly recommend in recreating the work. Now, I'm not saying that you copy pieces work and called it your walk into your demo reel or just do a little bit and think that. Okay, I can do this so I'll just use this guy's work. Don't do that. But look at what he has created, right? Go to video hive or different stock footage is, or try to even shoot some of your own footages and then try to recreate what what he has done because the work that he upload on his YouTube channel is amazing. I used to watch him, you know, like I used to go crazy with a walks, use aluminum, and I had started my my few effects learning so many different things toe to recreate here . And when you start recreating and you start looking at stock website, you, you will get into you know more about the industry, that kind of thing. So I highly recommend checking out my Martin Maryland's YouTube channel. Another Boston's YouTube channel that you just have to check out is Alan Mackay. Uh, he is a legend boys and inhuman effect. I have watched his radio so many times when I wanted to refresh his and our and you know what orders and helpful tricks port cost that kind of thing. So a very active YouTube channel and if you go to the website, he has a website. You can join the subscribers on the email list, and he sends you to like free training courses, off project videos, that kind of think on a very active basis. So I highly recommend that you check the website out enjoying the list, and next thing would be please look at a few more facts. Demo readers. If you are trying to build your own demoted, I highly recommend that you first just look at some. Demoted is right, Rocket. How human fax is doing the pro most. How other people are building their demo reel. What kind of work are they, including that kind of thing. And, you know, just to try to do that next would be following us the few effects of official channels, right? This is where they put out a lot of territory. ALS And as you can see or hear, you know, the time of sporting total. That was really nice. So a very interesting way to create something that looks very cool, you know, they share new objects that they have made to fume affects five and ah ah, very cool. You know, channel for tutorials and completed works and that kind of thing next. Okay, so now some YouTube channel, some free resources to continue learning. And like I said, I highly recommend that he just practice right? You don't have toe get different scripts, More programs. If you're just a big, you know, like I am very grateful that you have, you know, going to sculpture andare watching this video cities. But there are many you to producers out there that will help you take your knowledge a little bit photo. Or now these guys have also, you know, are going toe talk about all the things that I have talked about. But if they do it just a little bit differently and you perform that mattered that one hour off training or that 10 are half an hour off. The total is watered, in my opinion. So how do you recommend checking all these guys rash? Macrae? I have watched this video. This is a must watch. Totally ground explosion. Really good video. You know, you can take a look at some off his new work. So this is explaining this. The explain flow in three DS max and fume five San vfx. This was a cool YouTube channel that I used to watch for some new ideas. So a few more facts shockwave the flamethrower tutorial some more topics that you can include into your Demery or practice and see how creative you can be with fume effects. Right? I highly recommend the City Channel. This is Ah, very good YouTube channel for fume effects videos. They have made this expletive tornado toil, which is a different approach from how I took to create a tornado. I highly recommend you watch this video on this video right here. Factory smoke. This is over. So in this video, they talk about simple source and this is very similar to my smoke background, but they do a little this a little bit differently. And if you watch this, you will, you know, again start thinking about things a little differently, and this will help you out so highly recommended he watch all these videos and you know, if you watch them, practice them, you're right to recreate what they're showing you. And every time you practice, you will see that you're getting better, right? And last thing that I would like let me to talk about is if you're that was stocked with, um effects. Or let's say you forget some setting, like, say, buoyancy, turbulence, vorticity Just go get it right. Google it. And I'm sure that you will find some kind of an answer. Either. It will be in some sort of a video format. It will be in the CD society or somewhere where you will have okay, you know, somewhere to go and ask a question or to find some kind of an answer. So if you're stuck somewhere, which will happen, try going on, just go well, and just cooling it out, right? I'm sure that you will come to some conclusion, and it will be helpful. So this was my final video. Guys, I am so happy that he has finished my training course and please comment on what did you think? What did you like? What did you not like? And with that being said, I will see you on another episode.