FumeFX Practical Projects | 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

8 Lessons (4h 42m)
    • 1. FumeFX - Practical Projects

      0:53
    • 2. Explosion Project

      42:23
    • 3. Fire Burning with Smoke

      33:16
    • 4. Sand Storm / Dust Storm

      24:28
    • 5. Shockwaves (Motion Graphics)

      43:36
    • 6. Factory Smoke Emissions

      17:45
    • 7. Final Project - Factory Smoke Emissions

      79:52
    • 8. Final Project - Car Dust Storm Composite

      39:56
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About This Class

Hello Everyone, This class is made for Beginners to Intermediate Users who want to take their knowledge of FumeFX to next level and work on some practical projects. I will be using 3DS Max as my base Program but you can use Maya too.

I am assuming you have watched my FumeFX for Beginners Class. - https://skl.sh/2YC3ieZ

No prior 3DS Max/Maya experience is required.

  • ¬†What you will learn?

In this course I will show you how to work on different projects, my techniques and workflows for working on different shots in FumeFX. By the end of this class students will have a deeper learning of FumeFX and working on their Visual shots. I will be covering topics like creating an explosion, factory/chimney smoke, Dust Storm and Shockwaves (Motion Graphic Element).

My Goal is to show students different techniques that I have picked up working with fume and my workflows when I am working with different shots and projects.  

  • Course Structure.
  1.  From 1st to 5th Video I will talk about the different projects that you can create using FumeFX and 3DS Max, this is to cover the basics of different projects like how to use Noise Float, Gravity vector, Basic compositing in After Effects, Etc.
  2. In 6th and 7th Video we will start working on our final shots, In this we will use the information covered in previous videos to study our matte, create fumefx renders for them in 3ds max, render them and take things into after effects to create our final output.
  3. First 5 videos are project breakdowns in fumefx and the final 2 videos are covering complete workflow from studying our shots, planning our renders, and compositing them in After Effects. 

Happy Learning! Cheers! :)

Meet Your Teacher

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Taha Dalal

Creative Head at MotionTheory

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Transcripts

1. FumeFX - Practical Projects: Hello everyone, and thank you so much for joining me on my training goals. My name is Dan and welcome to fume effects practical projects. In this training course, I'm going to cover different projects that you can create with fume effects. And these are some of the most requested visuals. So if you're working with few effects, FX or particles, you will come across this in your work. I believe that examples are the best way to beach. So in this training course, I'm going to cover two visuals from start to finish. We will get our map. People plan for our final look. Create human flexor windows for them, and dig everything into After Effects to create our final shot over there. For this training goes, I'm assuming that you have watched my film effects for beginners and know the basics of the program. So with that being said, my name is and I will see you in the next video. 2. Explosion Project: Hello everyone and thank you so much for joining me on my training goals. My name is the huddle and welcome the fume effects practical projects, episode one. In this video, I'm gonna talk about how to create this explosion in 3DS Max and human effects. And I'm also going to cover how to composite this in After Effects to get this nice blow and the colors rate. So with that being said, let's get into it. Now, since this is the first video, I would like to keep it a little revisionary for those who have watched my big nose CDs and do those who are directly coming onto practical projects. I have explained things in detail in my beginner series. So if you feel that I am going a little fast or I'm not explaining certain settings. That is because I would have covered them in my big nose cities for us. So I highly recommend that you first see my beginner series and then come on to this one. So with that being said, let's get started. Now, before we get into 3DS Max, I think my beginner's series of viewers will remember this, that before is create a good project structure which are now we'll start our walk without having this and I do it all the time. So here is a simple project structure. For this specific recording. We have our 3DS falls for low, where all the Maxwell's we'll go our previous folder. This is basically the C, different previews on how the animation speeders, how the elements are interacting with each other. And without having to render it out, we can see how things work. So previews are very important for that. And electrically it at least two or three different cache follows this week. If I do something, I like it, I can always see what file, but I can also see the next version or the next changes into a separate cache for ludus way, if I go back to the original file, the first one that I liked, it can automatically link it to the first cache folder. And I, I don't have to submit again. So this way elect to have multiple cash folders for this. I'm just going to keep it too, but usually create three of o. So this is a simple project structure, CFD at the proper place. And, uh, once you have this, only then start the program. So I have my 3DS Max over here. The first thing I'm gonna do is I'm going to press Control S. This way. We are going to say, Well file. And the reason why I like to do this is this is basically a habit development thing that before we start any work, we save the file. So this way, if we start the work and even if it's just a little bit, but then it crashes, we'd have to do it again. And the idea is not to save a little bit of work. The idea is to get into the habit of saving. So before you start any work, you're always saving a file and you'll always be cached. Sorry, crash proof. So called us explosion. 0-1. And what I like to do is I like to have my my, my layout a little different. So I'd like to have a little bit of a bigger perspective screen. I'm going to press Alt B on my keyboard. This way I can go to the layout DIBL here, this is going to bring up viewport configuration. Go to layout. And you can choose from different layout CIO, I like to work with this one. This is going to give me three different angles and our bigger perspective screen. So apply, ok, and as you can see, my top front left on the side here, if I want to see things in a different way, though, see the rotation, the position of different things. And I have my main prospective screen so I can preview things a lot quicker and in a bigger space, right? So this is good. Now, when we are talking about creating an explosion, what we first want to do is we want to have this starting energy boost, right? And the best way to do this, to, to create this is to have a particle Amador. So I'm going to press the six key on my keyboard, and this is going to open up the particle view. And in case I've, I've seen that in laptops that this doesn't work. Or if you're walking with a different keyboard, this may not work. If this doesn't work for you, what you can do is you can go to the Create panel over here. The first option in the dropdown, choose particle systems and choose BF source. Once this is done, you can click on particle view and boom, you'll be in that menu again. So this is the six button doesn't work. This is another way to get to it. Okay, so I'm going to press 60 is going to open up particle view. We are going to create a new particle system, standard flow. And if I click on my senior here, you will see that yes, we have a new parameter in the scene. And if we are the scrub the timeline a little bit, you can see that yes, it is emitting the particles. The only problem is that the particles are going down. What V1 is a particles to go up. Now, there are different ways to do this, but the one that I like to do it is to rotate the particle, the emitter, so that it's facing upward. And the particles will therefore also co-op the selected hit the E key on the keyboard and rotate this guy, like this, right? The ego. And I know it's not perfect. I didn't add the values properly, but this is okay. It's going up, the particles are going up mainly, and this should work fine. Right? Now. The problem is that yes, we got the particles going up, but they still don't look like an explosion. It looks more like a founding, right? And to do that, what we will do is we will start to edit our particle system under different settings for it to look like a proper emerita on an explosion. So the way the particle system works, and I've covered all this in my beginner's series. But again, just in case if somebody with your hasn't watched it. And the way it works is that you click on this different setting. And when you do that, the different settings of this setting, the different sub-setting of the setting, they're going to appear on the right side. Right? So as you can see as I clicked on the boat setting the image start the m install. These are the subsetting. The boat setting and they're going to appear on the right. Right. I hope that is clear. So different settings that over here, and each of these settings, they will have more subsetting, which you can see on the right-hand side. So if we click on both legally, get image start, I'm gonna change that to one. And, and I'm going to change the image top to this. We, what's going to happen is that all the different particles to a 100 particles are going to emit On the first in basically one frame, right? And this is good. This is exactly what we want, but the problem is that they are not disappearing. We wonder particles to lashed for a certain amount of time and then delete themselves. So what we will do is he will go down here in the list of different operators need these, by the way, are called operators, right? So we'll go and look for our delete operator. So select this and add it to this list. So I'll add it right here. And as you can see, it sees a delete all over here, right? And this is a big problem because by default it deletes basically all the different particles. We don't want that we, what we want is we will select the delete to access to the subsetting that it has. And we will change this from all particles do by particle age. And in here we will change the lifespan to save five, the variation that tree. And if I screw up the timeline now you can see, let me change this. And I can see that the particles come and then they delete themselves. If they're delete, operator wasn't, right, if it wasn't in the list, what would happen is that the particle would just keep going right there. We'll just keep going. They would not delete themselves. And this is a big problem. What we want is that the particles are calm and then to cooperate to. So this is good. We don't need the rotation operator so well selected and hit the Delete key. Same thing for the ship select and delete. And this way we haven't as nice crisp particle system, but this is not looking like explosion state. So now what we'll do is we'll come up with the speed operator. And in the sub settings we will change the diversions to 90. Right? So this way, this is going to look like an explosion. And one more thing you could do to add a little more organic next to the explosion is we could add a little variation of what's happening right now is that all the different particles are moving at the same speed, right? When we add a little radiation was going to happen is that they are going to move at different speeds. And not all particle, like some particles are going to be a little behind than the other and this way they get to interact with each other, right, so this is a good setup for an explosion. Let's add the few effects box and add the inside human effects and get started with our work. So this is good. This is our initial boast that we have created. This looks good. Let's add few effects. Now to add few effects to our scene, I like to use this option, that toolbar, but in case you have deleted it or if you're walking with an older version of human effects, it's very simple. You again come to the create optional yo, you come to the first option. And in their dropdown before you had chosen particle systems or you had the standard primitives on. You come down to a few more facts and you can click on fume effects and you can draw your box like this. Right? This is, this is a way to do it. But if you choose the toolbar, you can have a nice simple setup like this also. So both methods work fine. That's, you know, it's unimportant to which method you, you go about doing things. It's important that you do the things right? So we wanted a fume effects box in the scene and now we have it, right? So this is good. Let's change a few simple settings. And okay, very, very important. My, my bad, I made this mistake myself right now, what is the first thing that we do? We first always assigned cache files. So before doing anything, even increasing the block sizes, I would like to first save my cashflows properly. So I'll go to my desktop and I project folder recordings cache one, say video. Right now I can go ahead and add the particle system and change the boxes and all that because you don't want to receive your cash flows in a place where they aren't meant to be saved. You could, you could be walking on a network and in a different folder or on a previous project folder. So always make sure you get the cash C2C property first and then go on and do different things, right? So the first thing I would like to do is increase our boxes a little bit. So I'll come here the general but I'm a dose changes to one hundred fifty, one hundred, one hundred fifty. And this is good. And I'm going to now add the particles source and fume effects. So I'll go to object source. Come here to create from list particles source, add the fume particle emitter and fume effects like this. And this is code now again, if you think that I'm going a little fast and not explaining all these different things. This is because I've covered them in my beginner series. Now the problem I'm having with this explosion setup is that the particles, their radius is a little small. So what will do is we have a setting here called radius will increase that to five. And now it does look good. And this is what I would want to have. The problem is that the radius stays five throughout their life, right? We had the particles have a lifespan. But what I want is that the particles should be five over here, and as they moved throughout their life, they should get smaller. So what we'll do is we will click on this graph like button right here. And this way what's going to happen is, is that we can assign the size on the life, basically spectrum. So if I create a symbol S, right? Something like this, What's going to happen is that the, that the size is going to be really big at the beginning. But as they move through their life, it's going to get a reasonable right. And this is what I would like to have. And yes, this works. This looks this looks good. And for now, I don't think I would like to change any of these settings. So for now I'm going to keep the settings are same. And let's go to general. And I think everything is fine for now. Let's simulate and see what we have and what we don't have. And we'll walk from this. So I'm going to as a play button. And having this. Now, if you want to see the preview that you can go the GPU viewport enable GPU viewport and you'll get to see what our explosion looks like. And okay, interesting. Okay, so the first problem that I'm seeing, that the fire goes away very quickly, write the file goes away very quickly. We haven't added any lights in the scene so he won't get proper shadows. And the shape is interesting to be honest. It, it looks a little weird from this angle, but if you change the view, I think we have some good things to walk with. Their is no. What density? Yeah, that isn't what density? No. Turbulence. And I think that the smoke is a little too late. The density is not there. So what I'm having I'm saying is yeah. Okay. So if you can see you can like in this smoke, you can still see that it's transparent enough for us to see odd amateur. There should not be happening. We should be getting nice thick smoke. And so I've, I've pointed out a few of the problems. Let's get to solving them and walking on creating I coach them. So the first thing I would like to get that is the light problem. So let's add some enlightened, but the scene, we'll add them into our box. And one more important thing, this is an important thing I think I haven't covered in the previous series is the auto switch viewport. This is a very important thing. What's going to happen is if I, okay, so I have my similar way here, right? I'm walking on the perspective view. If I go to the top view, what's going to happen. And you can see that the display viewport changes in my main viewport. And the problem is this setting right here, the auto switch viewport in the viewport category, right? So what we'll do is we will remove that tick mark from here. And this way what's going to happen is we have this bar. If I click outside, the mean viewport doesn't change, right? So we can walk with different viewports. And our GPU system over here still stays the same right jaw and important setting in my eyes, I use that all the time and might help you by x2. So let's add some latent was seen. We will again go to the Create panel in 3DS Max. Instead of choosing the first option, the stain normally will choose lights. In there drop-down. They will choose standard. You can have different options here if you have plug-ins like v re-install. But I don't, so I'm going to choose standard plugin sport and I'm going to create a light like this. All right. I think it's a little pig. Yeah, something like this. And what we did is we basically added a light in the scene. I don't want it to be flat like this. I wanted to have a little bit of an angle, so I'll pull it up. And in the light settings, what we need to do is we need to come here to the modify option and we need to have our tech mark on shadows. And in this there is an other important setting in Shiloh parameters. So we'll open that shadow parameters. We need to have a tick mark on shadows and atmosphere shadows. These two tick marks, I think people forget, and that's why they don't see the shadows in the smoke. So put a tick mark on shadows at Moscow. Shadow should also be on. And I would like to have 2 light setup in the scene, so I'll I'll duplicate this late, like this and adjusted properly. As per the, you know, there are different settings and OK, this looks good. Let's add these into our scene and hide them because they are causing a little bit of a problem to manage the scene. So we will go to illumination, click on this plus and add the lights. Select these lights Hide Selection. This way they get out of the scene and we can walk a little bit faster. So this is good. But again, the problem, so we have added our lights. We will go into the rendering tab and we will change the color of the smoke so we can see the shadows a little bit, but are not able to see the shadows properly. I'll give it a little dark color. And okay. But I think that the shadows will also be a problem because we don't have a lot of dense smoke, right? So I think the settings we did over here with cold. Let's go into the simulation tab and let's tackle the other problem that I'm having now is that the smoke is not dense enough. You'll slowly see through smoke, Right? And maybe this is the look you're going for, so you don't have to do this, but a simple way to add our dense smoke, the explosion or the project is to use this option right here called file creates smoke. So I put a tick mark on that temperature based and I'll increase the smoke density up to five, right? And I think this is going to do some good to us. So let's preview this and see what we have. And if you, if you don't have, so if your GPU view boats are causing the system to crash or they are very slow or something. It could be because you don't have a powerful graphic card. And I don't have a very powerful graphic card in this machine. So what I could do is you can go to GPU, viewport, display options, quality. By default it's going to be at three, but you can change it down to one. And it may cause, like, you know, a lot of pixelated previews and the DOE viewing is going to be a problem. But when I'm walking, I never really use this as a way to see what I'm creating, what I am trying to see. You know, like I'm not going to see a final picture. What I'm trying to see with this is the shape of the simulation. If it's interacting properly, if it's moving the way I like it or not, the look of the final simulation will only be decided by the rendering settings over here, right? That, that is really going to show me what I am going to get at the final end. So if this is at a low quality is going to be fine. So if you see this, the ego that C2 problem is now been taken care of. So if you want to add some density into your small, we can compress simulation. And use fire creates smoke option. So we'll add a few more settings over here. And what I'll do is I'll add some turbulence. I think I'm going to animate this turbulence to have a better effect, but for now I'm going to keep at 0.2. And let's add some water city so I'll increase the strength is going to be 0.9, that is chord, but the scale, I'll increase that to P2O5. And I'll think I'm going to animate the timescale as well. This project, but we'll get to that later. Scale is going to be one and d deal is going to be all the way up to five. So this looks good to me. And I don't think I'll do is I'll add increase the size of the height because I think it started clipping about the right and increase that to say 300, I'll double the size. And the other problem that I was having was that the smoke fire was disappearing very quickly. It didn't even launched at 15, I think not even till 20 frames by 18, it is gone. So I want the file to be seen for some time. What I'll do is I'll increased, sorry, I'll decrease the boundary download ten and increase expansion after too. I think that should help with our setup and that blocking sides. I'll change the zed from non-terminal Z, right? So I'll save this, and as you can see, I'm saving every single time I'm doing any changes. And I think this looks cold. So let's play this and see what we have. So like the problem I was having that the fire was going away by 18 frames. Now it is staying in the scene for a lot longer. And this again is completely upon you. Alter scene requires that a fire should go away, then increase the burn rate. But if you want the fire to stay on for even longer than decrease upon rate. And that's exactly what I have done. So this is the explosion that we have. I'm not a big fan of it. I think what I'm going to do is I'm going to increase the velocity. What's happening right now is that the explosion is not rising up the VA Lakers. I'm going to come back to the object so settings. And in here there's going to be temperature. I'm going to increase that to 500. And that looks cold. And for N, if for some reason you're not liking the shape that the explosion is taking. What you can do is you can come here and the speed. And you can change the, the uniqueness of the scene settings. You click on, clicking on New For a few times, you will get a different shape. And that's going to help you get a different look for on your explosion. So this is what we have going on right now, but as you can see, it's clipping the sides of my few moocs. So what I'll do is I'll increase the sides again and I'll increases to 200 or 200. I'll keep the height the same because they'll know it's art clipping. The top part of the box. So I'll increase the sage to this way it can work a little bit better. And what I'll do is I'll try to animate the timescale. So what I want is that the explosion should be very quick to start. But after that, the explosion should really slow down. As you can see in the preview that I have over here. There's an explosion, but at the end of it, it really slows down. So that is the effect I am trying to get. And what I've done to create this exact explosion voice to animate the timescale. So what I'll do is I'll animate the timescale now to animate or Ganymede different properties and 3DS Max, you can press the Enter key. That's going to start the Auto key function. And the VA order key works is that if you started and you can change different settings in here. So for example, I'll go to timescale and increase that to two. I'll go up to target the flames. And from two, I'll change that to 0.5. So what's going to happen now? And as you can see, there's a little red highlight on these values. This basically indicates that there is some animation on them. So it's gonna go from two. And you're going to start going down. And it's going to end on the Tarde frame mark, and it's gonna become 0.5. I would like to animate the turbulence as well. So at the start, I wonder dog elements to be really high. I would say one. And I think 0.2 is a little too much. So by 25 frames and going to reduce it down to about 0.1, cannot point to battle. And I think this is something that I could work with. Reduced the maximum iterations. And you can, I think we can color the fire a little later. Once we get the shape that we Lake, I think then we can start working on something. So what I'll do is I think I want to smoke to be there a little longer. So I'll come here. I think that does smoke dissipation settings is not something I would like to change. I would like to however, have more smoke in the scene, so I'll increase the strict n and increase that temperature threshold or two, right? And let's see what we have now. I think there's smoke is becoming allergic to tech and students. So I'll decreases smoke density down to 7.5 and reduces down to 1.5. So now one more thing that I am seeing is that I'm really liking this ship. But the problem is that this appears to be very dark and this is a simple fix. What's happening is that the lights that we have added into a scene, they are towards basically this side of, of humans, Xbox, right? And the angle that V1 is over here. So nobody's, what we'll have to do is we will have to do heights, sorry, unhide. All. And as you can see that the lights are facing the sale. So nobody is. What we'll do is we'll select them and we'll move them in the scene. And as you can see that my perspective is also getting affected. So if I move it over here, right. You go, we are adding more light and more details on Dorsey. And as you can see, we are getting more shadow is not so radical about like that, right? So you can change the look of your simulation and add some details and different, sorry. And I add shadows and all that using the lights that we have. Right? So I'll hide the lights again because they'll get in the way. And this I think is the angle that I'm performing. So we will do a sim one more time and see how things go. And the one thing I would like to say is that I'm, that I'm also not a big fan of this grounding direction. So if you want to have this codon introduction, you can keep the minus Z deblocking sides minus z. But for now what I would like to have is that there should be no ground introduction here, so I'll remove that though, none. And now if I think we do a simulation, things should look good. I think this is an explosion shape that is much better. And this is something that I can support and in our proof. So I'm going to stop the simulation here to take a look at what is missing from the scene and should we continue with our highest simulation are better sim setting or not. So I'll increase the display quality after five now because you are not sending anything, we're just seeing what is already dead. I think my view should be able to handle it. I'm using a very entry-level graphical. I'm using a GDX 1650. And with what I'm seeing, I think I'm really liking the shape and the smoke plume. So if I was to play this ARAF files, just scrub it. We have a powerful explosion here. We're going to walk to create a better shader for the fire starts, okay? And after that, the blue rises up nicely. What I did for my aftereffects for this final shot was I was able to add a wind in the scene. And this way it's going to give it a little more movement are simple. Smoke going up is not. I think it's going to look a little incomplete and little awkward. So to add this, to add a wind in the scene, you can call that the Create option. Over here, the forces and the sorption. And choose a wind farm here. And this way, if you drag one out like this, you can hit the ET. If you look at the front option and the front view, you can see you can rotate it like this. And you want a winter B on this site right? Now, not now again, it depends on which side you want they're going to be, but I would like from the wind to be on the left side moving towards right. So I'll bring this over here. Rotated. Like this. And that's about it, right? We don't need to either gravity vector in the scene because that would become, I think, too powerful. And I think wind would do a much better job. So I, I wouldn't I think I'll increases ten to about two. That's about it. I think even du would be very powerful, so I'll change it to 1.5. And I'll just add the wind in the scene in our film of xbox, and that should do the trick. So selected. What I'll also do is I'll increase or voxel data dusting. I'll increase. Does that reduce or setting up to a higher number this way? When Lake, as you can see in the different viewport, they getting our viewport display. If the reduce setting is down to a very low number, like say for example one, it's going to give you a better resolution. So, and sometimes it may crash the system as well. So I think it's so see for choice to keep the reduced setting upto five or at least more than five. So if I think five should walk for now, I'll open my few mbox or the object source and add this went into the scene. All right, and let's do a low-quality cm one last time. And I think I'll increase the box size to two hundred fifty two hundred fifty. And the height of the 350. And I'll adjust a box size as per as per the new data that we have. So the main reason why I am adding more space is because I know that the wind is going to push the smoke towards the right. And I want a little room to be there for the smoke, don't interact with it. And what I think is that the explosion is becoming a little too big. So let's reduce the expansion down to 1.5. And I think with that, I think we have created a good explosion. Let's take a look at what we have made. Okay, so we have completed our 100 frames simulation. Let's take a look at what we have MATLAB. So this is what we have. So what we'll do is before we start to see the final output in the rendering options, I think it's a good idea to add a show frames option in our perspective view. So you will click on the perspective option over here and choose Show safe dreams. What this will do is that it will give us a proper idea of what exactly will be rendered. Now, I think we will need to go to the rendering options. We will go to the render setup and get r o r output rate. Now, for this example, I have done Award buckle rendering. What I mean by that is I have gone to costume and set the width to 10 h 0 and our height to 19 to 0. And this, as you can see, it gives me a vertical setup. And I can able to adjust my camera like this and see where things are, right. So I'll see if my explosion at the start. It fits the scene or no. And as you can see, there is plenty of room over here on, on both the side. So I'm going to do a zoom in. So this way, my explosion is going to fit the scene. And as the smoke move towards the right, it still is not clipping and not going. Okay. Okay, maybe I should pull back a little bit about that. And this works, alright, little pollack. So our explosion at the beginning walks like this. And the middle part is looking good. And towards the end also, it fits and it doesn't clip and it doesn't go outside of our rendering space. So this is what our setup I had used for creating this example. And if we are to do one small rendering, I think I'm going to reduce the size a little bit. I'll reduce it down to 720 by 1280. So it's all the same how proportions. And if he put a render to wait and see what we have. So this is what we have and I think it looks cool. Now, all we need to do is we need to submit at a higher pace and at higher spacing. And, you know, you should get the same kind of detail. If you want more than smoke, as I've said in the tutorial, that you can go to the same options of file creates smoke is a great way to add more density. They smoke if you want more or turbulence, then you can animate. Then he can animate this Reza Khan x turbulence, the overland settings over here. I have animated the turbulent settings and that timescale to create this effect, right? So let's take a look at how to walk with us in After Effects and before wrapping up the 3DS Max part, let's just take a look at how to create a good fire shadow. So what I did to create my final chateau was I went to a decent trimmed like this, and this is what I did. So I did that. I click, I said key mode, regard the file viridian, stretch it out for us to work on it a little bit better like this. And this is a little bit tricky, but it comes with practice and you want to do this yourself. I could give you the gradient and you can get a few gradient on the Internet as well. But with experience, with the experience, you'll, you'll get on an understanding of how of fire lock should be. And I think that's a much better vehicle Dino of trial and error than to ask for gradient gender download gradients of the Internet. So with that being said, I had the white shadow on the same. I'm going to create one over here. And I'm going to create this a little bit dark. So I created. And this is something that we have, so we have occurred like fire. And when this happens, we get a nice detail and then translates into smoke, right? Luxury literally code. So this is what I was able to do for my project. And the only thing that is missing now is to simulate this at a very high level. So the levels that are used for something like this, this computer has a lot of parameters. So this is not something that you necessarily have to do if you don't have this kind of RAM, that's completely fine. If you're trying to create a demo reel or you're new to the industry, nobody expects you to have a full gear and offer your demo reel, right? If you don't have that, that's completely find what we're looking for when we are hiring people is the DDL and different kinds of work that they have done, right? That's, that's far more important than to have a high-quality session. You should have a decent quality. Some, I'm not saying that won't help, but if you don't have a machine that can render very high settings, that's completely fine. So this is, I think I went a little lower. I think this is somewhere, you know, what I assumed? And for wavelet, I went till about here. So this is around 70 GB of RAM was used for selling this. And simulation of this took me around 2-3 hours by the rendering this front 3DS Max once a simulation we're done, took me around 34 hours, so total about seven hours to create this. And you can see about half an hour of my work went into what, the trial and error and that kind of thing. So about seven to eight hours of work of total time spent to create this explosion. So let's take a look at the after-effects side of things and how I was able to do the compositing in After Effects. So I'm going to save this file. This is the sequence that I have. I have rendered this as a PNG, but you could go for any XOR or DGA, Darja or something like that. But PNG, simple tutorial works fine for that. I'm going to create a new composition with it. And like I said, I had rendered it in a vertical format. So this is what I have right now. And as you can see, the colors are not that great, but no worries, we can do some after-effects magic on it and things will work out. So the forcing that I did was I added a simple call to judgment. So come to effects and presets, type and coasts applied here. And this was to basically add a little contrast, two things, right? This was basically done to add a little more depth to the smoke because the smoke is very light colored in my eyes. And I, so this is the effect that I want you to try. It basically did our double COPD adjustment as simple as Cov walks fine. But for the file, I used hue and saturation is the problem I was having, was this, that there is a lot of just blown out color over here. And I, what I want here to be is a white color. So don't forget that I went to hue and saturation, applied that for now. I'm going to disable that Curves Adjustment. And this is what we have. So the thing I like to do for them and I'm and I'm walking with file and I'm not trying to use any third party plugins is that I go to hue and saturation master whew, I like to change that. So if you want read say you can do that. You get up the saturation lateness, you can bring that down in red. Keep doctor around minus five. Again up the saturation has removed the lateness. And in yellow is now up to saturation again. And they increased the lightness to a very high number. And what I did was I even animated that channel range. So if I look at this and I'm going to assume that you guys know a little bit of after effects. So we have our explosion here. And over here, v1 to bring this down quite a bit like this, right? About here, I'm going to create a new key frame like this. And for my age, I think my reds look good. And I'm going to reduce a lightness because right now you don't need the lateness to be so high. But about there, I'm going to increase the lightness. This is fine. In red. We're going to increase the saturation effect we are having. And you add the code that judgment, do it. This is what we have. Right? So this is what I was able to create in 3DS Max and after effects and the cause adjustments have to be below. When saturation. That you go. Very powerful, looks cool and you know, walks well. So that is how I was able to create this explosion project in 3DS Max and film effects. I hope you liked that. I hope it was, you know, I was able to explain things well. And if you don't understand anything, have any doubts Lieber than the comments. Write me an email and we'll work things out. So thank you so much for joining me on my training goals. Thank you so much for watching this video and I hope to see you in the next one. Thank you. 3. Fire Burning with Smoke: Hello everyone, and thank you so much for joining me on my training goes, My name is Dan and welcome to part two. In today's episode, I'm going to cover how to create this file scene in 3DS, Max and fume effects. Now, the main focus of today's tutorial is going to be how to create this nice, dense, heavy smoke in 3DS Max and fume effects. And I'm going to cover different techniques, different approaches. And I'm going to show you different features of human facts. I'm very excited to get started and without any further delay, lets get into it. So before we jump into 3DS Max, let's create a good, strong project structure and a good setup. So I'm going to speed this part up because I'm sure you guys are bored of watching me create different folders. Ones are setup has been completed. We'll add a few mocks into a scene. So the, so there are different ways of doing it, but I prefer the toolbar method. So you click and we have a simple few mocks. The first thing we'll do is we'll set our caches right before we get into any work. So I'll come here the general parameters, caches. And I'll basically go to the place where I have my cache folder set up. Right now, once this is done in the previous tutorial, I had shown you how to walk with a particle emitter. In today's episode, we learn how to walk with a symbol source. So to create a simple source will come here the object and source creates some list and we'll choose simple source. Now, there are different advantages and disadvantages of walking with simple source was as particle emitter, that kind of thing. And I'm going to always simplify this for you. And I would also say that if you are working for a client and you are in a situation where you have to decide the best thing to do is to run a small test and see which emitter is giving you better results. But in general sense of things, what I have realized is that if you have something that is ongoing in nature, if it is going to be in the background and you want the fire burning or the smoke coming out or a chimney being triggered on a train or something like that. Just a simple example. A simple source is much better to work with if you want a lot of control on the scene. Maybe that simulation is the main focus. So it's some kind of a portal effect or some kind of intro was a motion graphics or something like that where you want a lot of control on the scene and the simulation than particles. So it is a lot better, right? So in today's video, we're going to walk with the simple source. So I've created a simple souls in the scene, or were you, and you're going to get started. So the first thing I would like to do is I would like to see how our simulation is. This is to basically visualize what kind of output w1, right? So what I'm thinking of is we can have IBS really want a lot of smoke coming here, right? But I don't want the smoke to go up like this. We want to smoke DO have a horizontal tilt to it. And we can have the fire burning here. Right now I'm going to oversimplify this and I didn't get any good marks in drawing, so please forget this. But this is to basically give you an idea of what you want. So before you start any SEM or any project, you should have a good, at least as simple visual in your mind of what you're trying to create, right? So this is what I want and I'm going to set up things properly now. So the first thing I will do is I will come to perspective, click on it and I'll activate, show safe rims. This way, I'll have an exact idea of what kind of output I am getting and I can set up my view and my few mocks accordingly. So I'll come to render setup. And from custom, I'll change that to HDTV, and I'll choose 720 b. So now you can see we're getting a much better resolution. And now we can set up things right? So I'll select everything and I'll move it like this. This is what we want. We want our fume Alberto to be over here and then a lot of space away your for the smoke simulation. Now, I can select a fume box and bring it to the right. And the reason why I do this is because I want to change its shape. So I'll complete general parameters and I'll increase the width 200 Lenton height for now, a 100100 as an off if you want more village some data. So this is what we have and this looks good. Let's take a look at what we have and you know, we'll work from there. So I go to enable GPU viewport and actually selected and switch out auto switch viewport. I'm gonna get in the way and let us see what we have and we will work with what we have and where it doesn't work, we'll make it work. So we have a simple source, okay, creating a file, and the file is then going to create our smoke. Okay, so this is good. Now the Mean problem I'm having is that the fire, like I said, is going straight up, right? What I want is that the smoke should go a little like this, maybe create a nice smoke plume over here. So this is not what I like. Stop my simulation. And the first problem I'm having is that the direction is not right. So I'll change the MEOs position a little bit like this. And I'll come to objects, souls. And right over here, if you scroll the stone, there's going to be velocity options over here, right? If he increased the direction or if we increase that amount plus a five or say 50 for now. Just to show you what it really does, you can see that right now the particle emitter has an arrow to it. This is basically going to follow that arrow. So if he selected and hit the E key and then rotate this a little bit. And then there was some, you will see that the file is basically going to shoot out in that direction, in that direction, right? And so what we'll do is we will increase that to 1.5. We don't want something that is strong, but 1.5, I think, is going to look good. And if these same things now, we can see what we have and what you will observe in the toward this course is that when I'm walking on projects, I am just adding simple things into the scene and seeing what works and what doesn't work, and what I want things to do in the scene, right? And I think that is if you guys are students and very new to this, then I think that is a thought process. You should have that. Okay. We have this in the scene. We don't want this, we don't want that. And let's change that, right? So how do we change it? And then you can go and change different settings. So as you can see, we are having a little bit of that direction. It's not going straight up now, but again, mainly the smoke is going up. And what we wanted to smoke should go towards the right. We can add a window into the scene like we did in the previous tutorial. But I think it's better if we use something called a gravity vector. But we'll get to that a little bit later. I think one, what I should also do is that the file is not behaving properly. And what I mean by that is it's not very wildland and very organic. What I can do is I can change, I can increase this radial setting, the five. And if we play this now, it's a lot more powerful. It's a lot more violent and organic like i 1to fuel burning fire to be right. So this looks cool and we'll add a few more things to do to it so it looks a little bit better, but we'll get to that later. So now let's add our gravity vector. So we'll come here to create some list. And we will choose gravity vector. Now when we do this, it automatically adds it into our fume. Ok, so this is called V will bring it up and we will basically rotate it in the direction we want to smoke the goal, right? So this is where I want my smoke level. So this is cool. Next what I'll do is I'll come to the Simulation tab and I'll increase the gravity is power. The gravity vector is power and the influence on the scene by increasing the number the system gravity. So if I increase the Sir2, if I send this now, you will see that there you go. It follows suit. Our direction is adding to the scene, but also the gravity vector is pulling it towards that side. Right now it doesn't look very good right now. It looks very fake and artificial because it's not behaving like, like real fire directly, real life. I wouldn't just bend envy and we're getting this word funnel effect, right? So this is not what we want. And okay, so we will get to fixing that. Let's see what more things can be changed. So the one thing I'm really not liking is I think the smoke is very, very light. So what we'll do is we'll come to a simple source, object source again, and we will increase the amount from two per ten, right? And let's see what that does for us. So we still have a good fire explosion. It's still burning towards the right and not a big fan of that. But now we are having a lot more smoke outputs, so this is good. We have added a light-skinned Guassian, so they're getting some shadows, which is good. So we'll come here to the rendering option and we will let us add some, let, let's add some color into a scene and see what it does. I'll increase or this big, this big quality for now. So we can see what we are working with. I'll try to walk with a gradient disdain. So measured items in my tutorials, I walk with a simple color for the smoke. But this time let's add a little gradient. So this is what I would like to have. And okay, so we are getting the smoke plume that I wanted. But again, the funnel effect is that this funnel, this bending is physics bending thing is not right. So let's try to fix up now will come into the simulation tab. And the one thing I would like to have is higher density, so I'll change that to. 0.5 and reduce a maximum iterations to a 100. So these are some basic settings. And since I've been walking with this program, I know what these are. So without any new simulations, I can get a basic idea of what they would do. Maybe I'll bring down the X turbulence to 0.1 and increase their details level all the way up to five. Alright, and this time I would like to have some ground interaction, so I'll choose minus z in the fuel tab. What I want to have is I don't want a lot of fire. The fire stretching is not good, so I'll increase this to 35. What this will do is because we have increased, the file is going to get reduced, right? And V1 to little more big O file. We don't want the fire to last long, but we do want a bigger explosion of big O file. So the expansion, we will keep that to 1.5, right? And v will enable file creates smoke temperature beast will add smoke density of 51 should work for now and smoke buoyancy. Okay, let's see, this is an interesting option and I want to explain what this does. So let's see what we have and we'll go from there. Alright guys, so this is what we have. And not necessarily a big fan. I think, I think there's a small problem in the light set up again to let me go here and try to fix the lights. I could have sworn that we had added the lights. I'm so sorry. I just completely forgot that we hadn't added any LH into a scene. I'm sorry, guys. I think it must have been from a previous recording that went bust. So we come to the create panel, come to light and in yoga will choose standard. I'm so sorry guys, if you're getting any noise from the background, but because it's raining outside, I can't control that. So will come to light, standard target spot. So we'll create a light like this. Will bring this up, bring this slide up. Enable shadows. And in shadow parameters enable atmosphere shadows. Now this is a very simple late setup. I'm going for a two-point late again. And I'm sure you guys know this by now. So we become the illumination at this into our fume effects Vox. So select this, select this. This is so much better. I actually was thinking that our, that the shadow is causing the problem. I actually didn't realize. Okay. And there you go. I didn't even add the lights properly. And this is okay. This is completely fine if you guys are making mistakes like this, that's happens. Alright? Select them, hide them again. And this is what we have. I actually thought that the shader was causing the problem. I didn't realize that I haven't added any light into the scene. So this is what I'm liking and this looks good now. The funnel effect is still here, so I would like to fix that again. And some reason that is not working, this funnel effect, this this file bending thing. You know, looking very good. So for that, I think I think to fix that, I think I made a mistake rotating this towards this side because what I really want is that the fire should have its own position and its own home finished being created. And after that it can follow the gravity. So I'll select this and I'll rotate this back to its original position which was up. And let's see what happens now. So I'll simulate again. And this time, I do think that the problem, a little bit of problem is being caused because of the spacing. So I'll reduces down to a little bit. So we get a better qualities. So this is a simulation we have nonetheless. And one more problem I think that we are going to have if you continue like this, is that we are not giving the simulation enough time to prepare its proper shape. So what I mean by that is that the 100 frames we are selling actually is going to go into just creating a decent shape for the file, right? So what we do is we will do a right-click on the media buttons. We basically want to add more frames to our timeline. So we'll right-click on these media buttons down here. And this way it's going to bring up time configuration. Go goto n time and will increase this to 50, right? Once this is done, you'll have to go to film effects and increase the time over there as well. So the output from start to end frame entry, Ms. 100, we'll change that to 250. We will change the playback from playback to it's a 100 right now, we'll change that to 250 as well. So make sure you do that in both these two settings. That is important case. And now let's come back to fixing our simulation. So I'm liking the smoke. I think that the turbulence is a little, note that turbulence is fine. But this, you know, a lot of turbulence and a lot of noises that end of the smoke and you're not getting a lot of detail. It could be because of the simulation. The simulation is a little bit low, but I'm, I'm thinking that there could be another reason for it. So we will see which settings walk with settings don't work and will try to change things like that. So I think the radial settings should be pulled down a little bit, maybe 3.5 and accomplish sim settings to see what is happening. What I could do is I could maybe expand on this as well. So before doing that, let me try it a different technique. So I want to introduce you guys to, to this concept. And this is basically called assigning our controller. Right? Now if you guys have walked with After Effects, it's a lot like how expressions walking after effects. So what we will do is we basically want the simple source to keep on rotating like this throughout our keyframes, sorry, throughout our timeline. And what that will do is that it would create a much better file and metal for all smoke and for our simulation. Right, if it keeps on rotating, but if we are to animate this via keyframe, it would be a lot of trouble, very time consuming, and the management of those keyframes is going to be a nightmare. So what we do is we will assign a controller. That is, we'll select those simple source, do right-click and come to code editor, right? It's going to be over here. And it's going to open up their track view co-editor, Eigen panel. And as you can see over here, there are many different settings, are different transform settings. So there is XYZ position x, y is at rotation. And what we are interested in is the y rotation. Now you may ask how did I competence conclusion of choosing the y rotation? Because if I hit the E key and I was rotating it like this, you can see that there are three sets of numbers in the yellow color on top of our simple source. And as you can see, the second set is moving, right? That indicates to me that the Y axis is the one I'm changing right now. And just to confirm this, if I was to move the the zed axis, the third set of numbers will change. So that is how I was able to figure that out. So you can do the same thing with the road, with the opposition, right? And as you can see now, the numbers are not coming on top, but they are appearing down here. If I was to move this, you can see that the first set that x value changes, right? And in here also at the bottom, the y value changes. So I've come to the conclusion that is, y rotation is what I wanted to walk with. I'll select y rotation or you do a right-click and I'll choose assigned controller, right? And this is going to bring up this list. And from this list, I want to work with noise floor. So I'll double-click on that. And as you can see on the graph as well, that these lines are P0 and these are basically movement line. So if I was to scrub the timeline again, you can see that our emitter is now, basically the animation is done on it and it is moving on it's place. But what's happening is that its strength is too much. So we have our dialog box here and we can change different settings in here. So I'll reduce a strand down to a 100. And this way, as you can see that the graph also part a lot smaller. And if I was to scrub, you can see that the amygdala is also not moving as much as it was. So I'll increase the strength of the 150. So change of frequency down to 0.25. And this is a setup I'm liking. So basically you can come here and assign the noise controller to any position values, or maybe even combine it with different rotation values and, you know, create your own interesting effects. So if you are going for a flame thrower or of fire dragon or a camera shake kind of effect. You can use the annoys controller to achieve those effects. So I'm going to close this now because my work is with this is done. And let's take a look at what it has done for our simulation. And before we actually do that, one more thing I could do is what's happening is that I am getting this file bending. Maybe I can increase the smoke buoyancy. What does smoke buoyancy will do is that it's going to increase. So. Smoke buoyancy means is that the weight of the smoke, the lesser the value, okay, so if you make this minus three, what this means is that the smoke is going to become heavier and therefore it will fall down. Right? And if he were to increase this to say five, it's going to get very light and therefore it will rise up. We don't want to smoke the rise up. We wanted to, we wanted to continue in this fashion, right? So we will decreases down to minus three. Minus one was the default setting. We decrease certain minus three and I'll increase the expansion up to two, right? And I think all that is good. Let's take a look at what we have now. So this is what we have simply will not. And I think it's starting to look good. As you can see that we're getting some nice movement in the fire. And the smoke is going to look good. And I think things are looking good over here. Now, the next thing to get, to get to our final look is what I would like to do is I would like to introduce the time of this. What I feel is that each going to move very, very quick. And therefore, I would see the, Ideally, I would use the post-processing to slow down my simulation. But what I feel in this case is that the movement is way too fast to begin with. So if I slow it down, I don't think allocate that proper loop. So I feel I should reduce a timescale to 0.75. I'm liking everything else. Maybe I'll increase the expansion to do okay, it's already been increased it to maybe increase X2 6.51. And I think we are good to go. Maybe I'll reduce scale down to five. Yeah, I think they are good to go. So I'm going to reduce I'm gonna first increased up boxes because it's whenever you do a final simulation, you should at least increase our box size a little bit. So in this case I'm going to increase the width all the way up to 250. I'll increase the height to 150 and the length of the 150 as well. So this is, as you can see, if I move this. And we also haven't worked properly with the walks later, as you can see that the scene just guard so heavy because now some of you may choose not to have Walks later adult because you're working with the preview directly. If you select your food, fuel moocs and you don't have GPU support on viewport on. Then in here, in the viewport settings, you can see that it has walks in late our display inhibin. If you click on it again, if it's blue, it means it's enabled. If you click on it again, it's going to mean that it's gonna go away, right? So this is what we have now, the blue box is, are all fume box, right? So as you can see, hey, we have increased the size of it and you know, from, from all different dimensions, that is good. We'll move it a little towards the right because we want to give a lot of room towards the right for the smoke to walk with. And this is what we have. And I think this is going to create something goes. So I'm going to reduce this down to a little bit. And here it is, a small tip I have to give you if you want to move to move towards a financial emulation, never walk with just two set of spacing. So for example, what I mean is narrow walk with say, a 100 MB simulation when you are creating something and then directly go to ten GB of simulation as final rainbow because your, your output is going to change drastically. I at least like to have three to four different simulations. So I'm, when I'm walking, I like to walk with a hundred, two hundred MB, R33, 100 MB of simulation. Then I change that up too, 56700. I take that up to 1.5 to GV simulation and one time satisfied of how things look into GV simulation than I do my shader walk over the color, the fire and all that. And only after that, I do a final simulation, right? So I'm liking what I see on, on the midsummer. Let's do a heavy seminar. So we will change this to two GB and I'll hit the simulation and I'll see you when this is done. Alright guys, this is what we have created the lawn and I can see I'm happy with the results I've gotten. Let's take a look at it at a little high-quality so we can understand, or this one. And this looks good to me. This looks squared. I'm gonna take a preview out of it. Do take a look at the animation speed and different things of how they are working, how the smoke is dissipating into this. I'm really liking the color of the smoke. And for the final short, I'm not going to take the entire thing. That was not the idea. I was trying to get something like this. Now I already know that since we haven't had any strong dissipation settings, that is going to be a cutoff in the smoke somewhere. I'm going to reduce or displayed on because it's slowing the machine a lot. So I already knew that there was going to be a cut off somewhere and I wanted that effect. So I'm thinking we will take a short film about him. Now for this, we will have to add a variable it, and who are very high-quality seem to get all the details right. But for a quick preview, I think we have something called a whale. Alright guys, so this is the review that we have, and I'm very happy with the result. I'm really liking the animation and the flow in the file and our transition to the smoke is very nice. And the details in the smoke is exactly what I wanted to have, right? So this is how you work with 3DS Max and fume effects. Now to complete our look and do some final touches before we do already heavy sim. Now the very heavy same part I cannot cover because just now you saw that the computer crash when I was creating a simple preview. Of all your 2GB SIM. So a very heavy sim which includes simulations and that kind of thing. I cannot record, but I'll I'll give you all the information that I have before I just hit the final sim button, right? So what we'll do is we'll take a few snapshots of of what we have and will do renderings. And we'll try to figure out if via liking what we are seeing are no. So I'm going to render the loss frame. This is to give me an idea of what is the heaviest frame, like, how much time will it take for my computer to render the heaviest stream. So right here you can see that it took me around 18 seconds to render this frame. This is to give me an idea of how much time it would take for me to do the entire setup rendering, right? So this is, this, this helps me decide whether I want to shift this around onto a different PC and render it or what they're worth more or, you know, shorts I have in the pipeline, that kind of thing. Now one critique that I would have for myself is that this is a lot of smoke. I think I should reduce idle. Does smoke settings in the object source, this thing down to a smaller number, or I should have not increased. This file creates smoke from the original number of 51, right? I doubt that. Or if you're liking the details here, I will see you add some kind of strong dissipation settings as well. So you could come to the small category and drive to increase the dissipations trend from three to five or, and this 2.12.5 to one or something like that and walk it out like that because this is really too much smoke. I actually had this critique when I was reviewing our lake, watching the simulation. But I thought that it wasn't going to be a big deal, but turns out it's not looking very cold. So that is one thing that we can do. Another thing that I'm observing is that we are getting a lot of stretching over here. Like for example, this hearing a lot of stretching before it turns into a proper smoke. And I think the reason for that is that we have a very powerful gravity. So maybe I would decrease the gravity down to 1.5 and arrow going into the scene that can help the smoke go into a certain direction. I'm really liking how we were able to achieve the shape that we wanted to. This is a file and then this is our smoke. I didn't want to have a bloom that was just like this, right? Just like that. I wanted to cover the entire the entire screen and that is what we were able to achieve. But the data out of a few things that can be improved over here. So I'll do one more simulation. It won't be this heavy, but just to get a few things right. And another final thing would be to add a multiple scatter. I think I haven't covered these settings much and I'll do them in later videos. But just to complete the project we have going on right now, I will have to create a good shadow. But for now, if you switch on multiple scatter, a good setting would be to increase the files up to 1000. And the fall of the 30, I think Turkey 25, those two settings will walk. And what this basically does is if you were to look at what we have, so this is what we have right now, create a clone of this. So this is what we had before. And now if we do a render with multiple scatter, Now keep in mind guys, when you are doing on multiple scatter rendering, it will take a little more time because as just one more pass that it needs to calculate, right? So this is what we have. And as you can see, the fire transitions are lot better into the smoke. And this is really, really important to be done when you have when there is not a lot of light around your explosion and your explosion is sort of being done in the dark. So I like to have this effect on my explosions and fire the smoke kind of simulations. So this part, I think it really adds a lot of detail into what we have. And it looks, the glow looks well on the file and that kind of thing. Now as for the final shader, What I would like to do is I would like to have it in a simple because we are going to use multiple scattered on this. So creating and if you want to preview it, you can remove the multiple scatter for now. So we can preview the file a little bit better. Now coming back to the fire shader, I think that bit of detail in the follow shadow will help us create a better look. And then, you know, with this being done, and if I take care of the gravity and the 1.51.75, maybe just a little bit down and maybe it reduce the settings down to 51. And maybe even bring down the original smoke settings from ten to 7.5. With those settings, I would do a final sum of this because I'm liking the speed, I'm liking the animation in the file. I'm not getting the funneling affect and smoke and the detail do local. So this is what I would render and for my final loan port. So that is my tutorial on how to create a scene with fire and dense smoke in 3DS, Max and fume effects. I hope you liked this tutorial. I hope this was helpful and you learned a few things. And if you didn't understand anything, leave a comment or I don't understand how the platform works. But if you didn't, if you're missing out on something, write me an email and I'll try my best to help you out. Thank you so much for joining me on my training course and I hope to see you in the next video. Thank you. 4. Sand Storm / Dust Storm : Hello everyone, and thank you so much for joining me on my training costs. My name is Dan and welcome to part three. In today's episode, I'm going to talk about creating our dust storm in 3DS Max and fume effects. So what you are seeing right now in front of the screen is what we will try to create today. And I'm going to cover the after effects side of it too. So how I like to get the colors right in after effects and not in 3DS Max. So without any further delay, lets get into it. Now, I already have created a good project structure for myself. So over here, as you can see, a simple project setup and I have done my things in 3DS Max is when the only important thing that I think I should remind you of is I've changed the timeline to 300 frames, and I have changed the settings in 3DS Max as well. In fume effects, the end frame to 300 and lay back option from Plato to 300 as well. So make sure you get that right. You said the caches and let's get into it. So the first thing I'll do is I'll create my particle. So, so we don't actually need the fume box rate now, we need the particle. So, so I'll do, I'll hit 60 to get my particle view. Right click new particle system, standard flow. And once we have this in the scene, the particle emitter, we'll hit the Iike to rotate this, this time, we won't rotate it all the way to 100. We get it to about 90 degrees. So it basically is facing this side. And there are a lot of particles should be coming out and things should be coded. So when I was learning film effects and when I was experimenting with my things, I actually thought that this effect would be better achieved with simple source and I was wrong. So what I had done was I had set up multiple sources, coordinate film effects early and the output was interesting, but I feel that this is a much better output. It's if, if I had to critique my work, I would say that the dust is moving very quickly. We'll try to fix that in what we will try to create right now. So without any further ado, let's get into it. I have my particle emitter ready. Now, what we will do is instead of going to the particle view and changing things, you will first select this and we will go to the Modify panel. Usually we are always working with the create button. So this time we select the emitter will come to modify panel. And always there is a setting called emission open that and here are two important settings, length and width. We will change the length to 25 and I'll increase a width to 250. This way we have something like this, and this is good. This is basically important because we want the particles to emit out of a long ship. So we can get, like, I'm actually playing it from here. But if you were to look at this, this is the starting point. So as you can see, the particles are coming out. And from here it starts looking like a dust on, right? So this is what we need to do. Next, will go to the particle view and we will change some simple settings. So you come to the boat MTO and we will increase the image stop from 30 all the way up to 300. So basically, as long as you want the c integral, you should have the particles going as well, right? And I'll increase the amount from 200 to 500, so we have a little more particles in the scene. I don't need the rotation, I don't need shape Ido, so I'll select them and delete. Delete. One thing I do need as a delete operator, so I'll select delete operator from this list and bring it over you. By default, it's going to be switched to all will change are the particle age. And I'll reduces down quite a bit, so I'll keep it to about ten to ten. And in speed will change the speed settings from speed of 300 to 50. So this way, what's going to happen is that the particles are going to come about here. And this is about it, right? And I think the speed is still a little too much. And maybe we will add a little diversions of five. And we will increase the radiation to say ten will increase the party. I think we'll start the image started one and will increase the amount to 600. So this is looking like a good setup to me. I think it should be. I think we will decrease the particle speed down to 40 maybe. Okay, so this is good. Let's get into fema effects and start changing things over here. So we have a few moocs ready. We will change the width of this to 400. We basically wanted to, okay, not, not this big because, you know, since, because you are rendering and simulating so many different frames, we want to keep this as tight as possible. So creating all this extra gap, I think is not going to help us and animal won't work in our favor. So this is not what we want. So I'll reduce this down to 300. And the length, I'll increase this to 600 and a height for now we'll keep it to a 100. So this is what we have and this is what walks for what we are trying to create. So I'll move the particle emitter at the left, like this. So we have a lot more room to work with when the particles are being emitted and things are working out. So this is good. Let's add this into our scene. So we will come to object source, Create Particle source, and add the particle emitter, event one. This is good. Let's increase the radius after ten. Maybe ten is a little too much. Maybe we should increase after five. And I think what's happening is for now let me just go ahead and delete the speed operator. Okay, interesting. Okay, I think we need this. We need a delete operator, but it shouldn't be. And I think the particle D settings, I think I've done a little bit wrong. And reduce the speed down that hearty. Because what I want is I want the particle to just be at the start of the scene and at the end of it to vendor simulation crosses about smudgy area data have my drawing duties. So when the simulation crosses about this much area, all this much, the ground should be covered by the gravity vector, right? So we don't want to have particles in the scene because I think that is going to cause a lot of problems. So I'll put a delete. I think I'll reduce a lifespan down to 50, right? So this way we are getting this effect, right? And let's see what we have and what we don't have and we will take things from them. So this is good. And in here I think everything else is fine, will come to, okay, we will add late into are seen in the previous video. I forgot. My bag got confused. But you come here like standard light. I think I'm going to speed this part up because I've covered this in so many videos. Ok guys. So I've added the light into a sin will come to the rendering option. And what V1 to have if we want the SIMD of fuel. So we want a sim, the fuel settings over here, but we don't want a CDO file, so we will not switch off the fuel, but instead will come to the rendering options and will switch off the file. So we don't have the final anymore, so we don't have to create that shadow. And we only want to walk with a smoke shadow. So this was good. I'm going to for now, I'll create our dark color like this. And costume receive shadows, should be honest, that is cool. And let's see what we have actually will come to the simulation type to see what things work and what things don't work. We definitely want to war density. So we want all these different details. So what density should be high? This is called timescale. So this is the problem that I was having, that this is a little too fast. We want things to be a little bit slower. The approach should be a little store. So we will reduce down the timescale to 0.75. And you can try things a little bit slower as well. And you can try to push processes as well if you want to really slow things down. But for now, I think timescale we'll get my job done BY wondered turbulence a little bit. So I point to, and I think the normal knowledge that things of scale five details to be five as well. And he wanted ground interaction, so minus z. And in here, I think we won't necessarily have to walk with fire creates smoke, but we would, I would like to have expansion. So try it out with one expansion, three expansion with different settings you and see what all different results you get. I will come to the object souls and I will increase the smoke from two to sit and write about that much, that much shirt local. And I think we are good to go. I don't think need anything more. Maybe the smoke buoyancy, but let's see what we have right now and we'll go from there. So I'll SIM this and see you guys when this is done. Okay guys. So this is a clear cut problem that we are having, that the smoke is going up and this is not what we want to have. So we have actually if about to add the gravity vector into the scene and also the spacing was way too high. So okay, let's add the gravity vector. And this is the importance of the gravity vector. So as you can see, by default, the gravity will push things up and even though the particles are trying to get the smoke a head, but eventually the smoke is going up. So this is not what we want and took it. I'll, I'll reduce the spacing, first of all, to do. Maybe that much, and reduce our display options down there too as well. So it doesn't get very heavy for the scene. And object source will come here. He'll create a gravity vector that I did in the scene and inhuman effects that is called like in the previous tutorial. I would like to have it like this, right? Things work well. And we'll come to the simulation settings and we will increase the gravity that too. And I think that should be enough. You can add in the wind in the scene, but I think the gravity vector will take care of things. So let's get into it. Let's him one more time and see what we have. Okay guys, so this is a problem we are having. So like in the previous problem that has been solved, that smoke is going ahead and in the direction that we want, but there's a clipping on top. So why is this happening? And I think there are and there's one more problem that I'm having that the smokers we do take for this because there is no phi o and there is no real fueled. I does that dust storms shouldn't be this dense. So what I'll do is I'll come to object source and I'll reduce this smoke setting from ten down to five because there is no real reason for vector B distance. So I'll do that reducer down to five. And the next thing would be to increase a smoke buoyancy. I think I should have already done that. I should have anticipated this, that the smoke will go up. But it's okay. We'll come to the smoke settings and dissipation settings we still haven't covered and we haven't used them in a project, but that's okay. We'll bring this down from minus one to minus five. So this way the smoke gets heavy. And now looking at the fume box also, I think that the box itself is also a little bit small, so I'll increase the height a little bit. Not a little bit. I'll basically doublet, so I'll, I'll increase at a 100. And I think things look good. I think we should add a little more of it. Do this, so I'll increase out of 400. And yes, this looks good to me. So let's take a look at what we have now and we'll go from there. Okay guys, so this is what we have simple now, I'm going to let the Sim going and I'll do one thing. I'll change the layout that I'm using to the same. This I think works better for what I am working with right now because I essentially want to walk with other layouts as well. And because my few mocks is hiding the other layout, this is one I would like to work with and we haven't removed the other option of auto switch viewport. So I'll select this and stop my simulation. Now I think I was something got to walk with and I can predict that a little bit. So I am going to walk with Walks earlier, display this time, but I'm going to increase that to five as usual. So about five looks good to me. And I don't want to walk with a front option. The front isn't going to be very useful this time. So I'll change that. I'll come here at the front. I'll change that to top, right. This way we can see, and if you cannot see this, I'll change the color of a light color. Not to slay something like this. So you can see this better in the top view. And basically what I want to see is it is if, if it's clipping or if it's getting very close to the sides of the box or no, and the answer is yes. So we do need to give it a little more room on the width. So I'll increase at a 500, right? A little bit bigger. And in the left side we can see if it's clipping on the top or no. Now, eventually it will clip on the top. And that's okay. What I would like to look into perspective is that if it's getting, you know, if it's filling the scene before clipping the top or no. So what I'll do is I'll come here into perspective. Click on Show safe rooms. This way I can get a look at what i'll be rendering. So as you can see, this is the section space is completely gone. This is not what we need. And this time and learn that set up, I'll come here to custom. I keep that a custom because I want the width to be 2560 and I want the height to be 10 h 0. So we are walking with a long resolution. And you can walk with full HD that is also fine and walkable. That's okay. But this is the kind of effect I'm looking for, that it should cover the entire screen before it starts clipping on the top right. So about the, now as you can see, I can see that the grid a little bit. You can see that I'm changing that and getting some effect. If a, if you come to my aftereffects file, you can see over here, if I click on novel transparency credit, I cannot see any white or black pixels. That is because it's covering the scene properly. And OEO discord act like a transition or a SIM card or something. And all you are, this is what your background is. It slowly comes to the comes close to the camera, camera and then a completely covers the screen. So this is the kind of effect I'm looking for. And you can see that there's a little transparency here, but eventually that transparency also cause, now I have a few more frames after this as well. But this is essentially what I'm trying to create a wheel. So will come here and we will zoom out a little bit, or just the camera and zoom in. Again, walk with the camera, walk with, see what you like, what you don't like. And you'll have to do a few rendered shots to see if this is Cardano. So I'll click on this render production and see what we have. So as you can see, we are missing a clip away. Yeoja, completely mastered. So I'll move the camera to the right. And okay, this I think looks good. Now you can pull the camera out if it's getting too close and you cannot do a render of all that detail. But as you can see, we have pretty much close to the scene and we should have something goodbye now, right? So you can be like you can create a longer semi-feudal. You can create something that is scratches to heal, but that's just too much work for the computer. And you like, at least for what I am looking for that is not going to give me the best results. So again, I think I'm gonna zoom in over here completely for lysine and I'm getting this nice smoke plume over here as well. So this looks good. If I increase the display quality to five, let's see what that gives us. So okay, not that much difference. I think we will have to do a little heavier same because this is just a 400 and BCM. I think we'll do a 2GB sim to see how things look. And so I'm going to create my camera here so that I don't lose a short. And as you can see, it's a pretty close camera, but I think we will get something good out of it. So I'm going to send this one more time. We'll preview it. And if things look good, we will move to After Effects. So I'm going to hit the B button on my perspective. So this way I'm going to get out of the camera. And if I want to get back into the camera view, I can hit the CQI and that's going to bring me to my physical camera, as you can see well here. I'll change that to perspective. The shortcut is the alphabet. Click on that and zoom out. And this looks good. What I'll do is I'll reduce the length of the simulation because as you can see, I'll be, I'm not going to seem all that much. We will basically wanted to have something from D frames to about 180 frames. I'm trying to render only about a 100 frames for the for your simulations because that's about a decent amount of render time. I don't want anyone here who doesn't have a very powerful computer to spend most of their time rendering things because that is not important. I want you to understand this, that a lot more important for you to develop your skills right now, right? So about a 100 frames is our decent amount for you to show what you're capable of and the quality of your work, at least in terms of rendering, won't be that important. It you should have a decent render. And that's why we are working with a 100 frames. So I'm going to simple about 1080p and see what we have, right? So I'm going to reduce down the quality. I don't have any complaints with what I'm seeing though. The cloud is not clipping on the top, the sides, we have increased a little bit. Maybe I should bring this down to 450. It's going to take a lot of time, so I'll reduces down to 500. And as you can see, since I reduce it down to 500, it basically the particles went out of the scene, so we'll have to adjust the fume box again. Disabled this, bring this about here, right? Looks cool. And let's try to swim this now and see what we have to bring this back a little bit. Okay. Everything looks good to me guys, and let's see what we have. So I'll reduce the spacing down to about there. And let's see what we have created. Okay guys, so this is what we have rendered alum and as you can see, it's very close to the end of, of you. Most of this is good. We have SIMD about 180 frames and the idea is to take our render from about 80 frames. So from here to about 180, that's about a 100 trims. And this is what we are going to get. So it will start from here. And I think we can position the camera a little bit betters for this to be in the center. We can do that in After Effects as well. We can add a position animation to this. As long as by 1080p, it should cover the entire screen. So it's a little bit shy of that, but I think it looks good. So this is by the way, not done with wavelet. And this final SIM is a 40-some very high dd. And that was done with realism in it. So give it a shot if, you know, if you have the computer or try for a better Sim. But I think this should occur. And as you can see, the details are definitely there. If I'll increases to five, I'm sometimes get that five quality might crash my computer and my expelled the recording. So let's take a look at what we have in the final render. So we do about this much and hit the render button and see what we have. And this is what we have. This is not bad. If you want to reduce the smoke. One other way of doing it without doing a reason is to counter the render setup. And in here you can reduce down the quality or sorry, the opacity. So it can reduce down to 0.5. And this way you'll get a little bit of a see-through smoke, right? So you can work with that. And this is my way of creating a desktop. Now for the tutorial cause, we have another project coming up that will be towards the end of the trading costs where we are going to use a dust storm and composited or some footage that we have. But for now, this is where I would like to stop and I would like to take you guys into After Effects to give it some good color. So the reason why Identity use of gradient to color the smoke is because I wanted to have a flat color. So this way, we can dig things inside of After Effects and walk on magic over there. So let's get started on walking and changing what we have here. So as you can see right now, this footage, if you come to the effects control, it basically has three different effects. It actually looked like this when we had rendered this from 3DS Max and film. And what I did with that was I basically forced added our tent effect. This is to give it to basically remove the dark gray color that we have. So this gets rid of that. The curves adjustment is to lift it a little bit and basically see where we are. And as you can see, it's a very simple just picking up the lights a little bit, something like that. And I actually wasn't able to achieve that right look from the adjustment that I wanted because I really wanted to work with the extremes of the color. And when you want to work with something like that, it's a lot better if you work with levels. And levels is one where I can control different channels properly. So in the RGB, as you can see, this would be the default about here. So I bought in the lighter little bit, got rid of the darkness. Like this, right? And this is what we have in the range. I think, I think I forced intended to either a little bit of red, but as you can see it, I think it looks coded gives a more desert-like look that to do a scene. But then I thought that it might be a little too much reading for, for what I'm going for. So move things around over here and see what you like. And that is how I was able to create my dust storm in 3DS Max and fume effects. And that is how you can create this as well. So thank you so much for joining me on my training course. My name is, and I hope you understood what I was teaching you. And if there is any problem, if you're missing out on something, if you're something you're not understanding, then write me an email, leave it in the comments section or something like that, and I'll try my best to help you all. Thank you so much and I will see you in the next episode. Thank you. 5. Shockwaves (Motion Graphics): Hello everyone, and thanks so much for joining me on my cleaning cause my name is Dan and welcome to part four. In today's episode, I'm going to talk about how to create this beautiful 3DS Max and a few effects, shockwave. And this is going to be a very interesting video because I'm going to talk about smoke dissipation settings in film effects. And before getting into it, what I thought was really cool to Google to give you guys some reference material that you can refer to later when you're working on your own projects. So I went to Google and type in film effects. It dissipations rent. And these are the few results that I came across. I came across a few different YouTube videos which showed the dissipation density settings and the dissipation strength. And you know, I didn't think that these were useful. So I'll try my best to explain you guys word these two different settings are and how you can use them in your projects too. So you can walk in a way where you understand what they do. And if you want some different look from them, you can change the settings and understand what you are doing. But I would like to say that we have this Reddit thread over here. So if you go to a few effects is patient strand and look for forums, see Jesus id.org, this is the red. You can read this. This is a little complicated, but I think they do a fine job of explaining and helping each other out of how dissipation settings work. So without any further delay, lets get into it. So this is what we will be creating today. Now, before we begin with 3DS Max, let me just take the time to critique my own work. And this is something that I wanted to actually create a relic promo and our demo before starting the tutorial. But what I thought was let's do it together in this tutorial. So I'll be doing it without any editing and everything and without hiding any things that we need to slow down this point, this is the good stuff part. And what's happening is right now it's lasting about ten frames to try to make this at least our Wendy. So whatever is, the best way to do that is to use post-processing, right? And at the start you are having this. This is also something that I would like to get rid of. So what I would want is to start with something like this, right? And I feel the best way to do that is to use the timely mapping functions in After Effects. I think I haven't talked about it in the global CV salon. So this episode, pico Dart as well. So VB to or talking about how to get rid of this bubble problem and slowing things on properly. And after who wants the sport has been done, it will gradually increase. And Peter dissipate this out. So this is what we are going to create and without any further delay, lets get into it. So I have my 3DS Max open over here. I'm going to, I have already saved the file, but just for, you know, this is sort of like a ritual that I haven't talked about the project structure. So I have a cache one. This is where the normal casually rule. This is the post-processing will hope you can either be right in the middle if you like. But I'm going to skip the wavelet because you take too long to render. My renders follow up reviews for low and 3DS Maxwell's. So without any further delay, lets get into it. And the first thing I'll do is I'll change the layout to. And this one. And this works meadow. And we're gonna create a simple few marks in the scene. And I'm going to hit the six key on the keyboard to bring up my particle view. Right-click new standard flow. This is our basic sloppy abundance before. And we have a particle emitter over here on the right. Now, what we will do is Hal hinder Iike I selected hit the key. And over here on the y-axis, I'll choose one ATP this way. This is facing upwards and this is not something that you actually have to do. This is just something that I like to do because I like to have the particle emitter facing up lamin setting that we will change in the standard flow is will come with a boat option. We'll change the image start 21 and the image stop that one as well. So this, as you can see, the particles are coming out on one prim, and that's about it. Next field, motor speed. And I'll change the direction from along icon arrow. Two of you can choose random horizontal if you like, but I like to work with icon arrow out. And this, we will look at it from the top. It would look like this, right? So this is called. Next, we need to delete the particles. So I'll add the delete parameter from the list to our menu. So I'll add it on the rotation. As you can see, we usually have to delete shape and location. So I'll add it on the ship. And this we all particles will get deleted two selected commutator particle each. And if I right-click on the settings, it will choose a 0, it will change them. Placido, I'll add five particles, five frames. So this is what we have to know. Now, one problem that can happen, and this is something I like to do. This is something that I did when I was creating this, is that I changed the emitter type from the squared by biking. So if you selected on the right-hand side in the Modify panel, you will see a machine settings. And from here you can change the icon type from a rectangle, a sphere, not socle, the sphere. So we need a 3D particle, Amador. And this way, I think we can have something called, right? So this looks good to me. Let's set up a camera known. Now, a simple way to get a proper view like this, or you can hit, you can copy a perspective view, hit the E key on the keyboard or change this to dots like this, zoom-in a little bit and framed rate. It goes, hit the P key on the keyboard or change to perspective again, fell into bt. And this way now we are in prospective See the problem is that when you are in the top view, you can see all you like, but it won't create a camera because you are in an orthographic view, right? So if he heard the peaky, now we're in the perspective view and our view has been properly set up to capture that Bob bought off of all of our particle setup. So now if we hit the Control C, You can see that now it changes the physical camera. So this way we have added of physical camera into a scene. You can see it in the different views over here. And since it has been created, it is also selected. You will select our camera and go to the model pipeline loop. And there's an option here called targeted. We will remove that option. So you vent once you remove this targeted option, and this is what it looks like. So we have a camera in the scene. And what we can do is you can select the camera. And if you want to have our tight shot, if you want to have, if you want to zoom into the shockwave mode and capture the close-up, you can bring down the camera from the front view over here. Bring it down and you can get a closer view. Or if you want to move things up because I'm feeling like this is going to clip the scene, the top and the bottom. So I'm going to push the camera up and you can do it like that. And this way, without spoiling the proper settings of your scene, everything will work. So this is how you set up the camera. And I'm going to select it. Right-click Hide Selection this way it doesn't get into and you can have a prophecy less at the same time, create some late Holocene as well. I'm going to keep things simple. Go for a standard luggage board, maybe I should make a video where I'm using normally so you guys can see how to use that. But for now we'll create our target sport late at night on the top. And go to the mollified option at shadows, racist and MSU Shadows. And you don't have to make it rate-based. I'll change that enormous shadow map. And this V, we have a 2 late added into the scene. What we do is that because we are taking that top view, we don't want the light to come from one direction only up. Otherwise, mainly this much area of the scene would get highlighted. And this much would have a lot of different kinds of shadows, not buffering vita, uneven kind of shadows. So what we will do is we will create two more later in the same setup like this. So, so in total we will have four different latent or seen, or you can keep it at three light setup as well. So if you look at it in the left angle, we have two lights on the right-hand side and blue lights, and one late on the left. So this week it, I generate more balanced you can clear to modulate your if you like, but I think the setup looks good. Our last thing is you would like to add everything into illumination down. Select, Add, select. Great, we have added all relate to select them. Right-click Hide Selection. Now you can select of U-boat hit the Zeki. And this way it's going to bring up what is left of the scene. And because I don't like to stop the camera and we're gonna click over here and challenge and change that perspective as well. So this way, we have a nice scene and we can move things around. And if he ever moved things that aren't too much. But if you do this, you can hit the C key again, that we'll jump back dollar camera and you will hit the ET again, this is something I've discussed and the beginner series and the peaky again, so we are back the perspective and the Gambia is safe, right? So with the basics out of the way, let's get started. Now this is actually a very simple video because there's no locker room, to be honest. It's, it's a very simple effect. So I'm gonna go things. I think the more of a challenge is going to be in the trial and error part of it, that award looks cold. Is it feeding properly or no, if it staying belong on the screen, that kind of thing. So this is not necessarily. Or difficult video or audio challenging video in terms of the technicals, but to really get the perfect look, right. So the first thing I'll do is I ignore for the fact that I don't need a 100 films, I'm going to right click on the media icons. Reduces down to 60 frames. I think 60 frames is a great place to start. I'll come here to output. Changes are 60 as well. Make sure you have saved the caches properly. And I think I'll need to increase the width of this from a 100 to one hundred fifty, one hundred fifty. And you don't need the height a lot, so I'll reduces down to 75 so you can get a better assembling girl. Reducing. Okay, this looks good. And we're going to reduce the iteration zone to a 100. That many iterations. Gravity is called velocity scale up to 0.5. I think I'm weird or animate that timescale. What I wonder is, even though we will be using post-processing on it, I, the the default simulation that we are creating, I think should have a slow motion as well. So we will go for a Greco boast. And then as it's fading out, it should slow down. That's a simple blue keyframe animation. And we want to increase the turbulence 0.2 and increase the scale up too. I leave the scaler pen and increase a DBI is level all the way up to five blocking sites. This is something that beggars would change to minus z. We actually want to keep a ton none because this is going to make the dissipation alot easier, right? We don't want to have patches where the smoke is interacting with the ground. The James R to minus z, minus z. And I think I would like to have the bond rate a little bit, so I'll reduce it down to ten or sorry, the grantee, we basically want the file to be there for a little while. So this is called the main thing that we'll be working with. And a lot of trial and error will happen in the smoke settings. These two settings dissipation, minimum density and dissipation and temperature. This is called, Everything else in my eyes is called maybe just animated timescale. So let's take a look at what we have and we can get started. So we'll go to random, we will remove the foil. We don't need the file. Rendering this, as you can see, this is a simple black and white, simple gray color, random, so we don't need the file. So the move that we do need a summit, we just don't need to see from random. We will remove it. And NGO and the color settings, we will choose a simple flat color. So maybe 50, 50-55 box. So this is great. And yes, we haven't added the particle sodium courtesy involve absolutely fantastic water. Each island had this added like this. And the one thing I will say is that yes, if you are having this problem where all the particles have the same size. So I'll come here to radius r increases to five. I've covered this in the previous tutorials. If anyone here hasn't watched it, please do. I'll create a simple, overly strict S code like this. And I'll reduces down to 0.5. This way, it starts off really big. It ends really small, right? This looks good. And we haven't I think everything looks good. We haven't added any radiation everywhere, right? To believe doesn't have any radiation speed, doesn't have any variation that we know the versions because it's a 3D particle emitter. And bolt has 11. So yeah, I think this is good. Let's take a look at what we have before that I will like to change the auto switch viewport, removed the checkmark on auto switch viewport, that's a big headache. And the voxel data, I don't need that as well. So let's take a look at what we have. I'm going to hit us sim button and enable GPU viewport. Let's see what we have. So this is what we have. We have a nice smoke explosion. And let's take a look at if it dissipates. Well, no. I think we haven't done any dissipation settings. Oh my God. Oh, look at that. No dissipation settings on whatsoever. So this is actually, I think, a good thing because it explains why the settings are important. So if you want, if you have a scene where you're creating either a gateway to something, hero reveal or some motion graphics work. Or these two settings basically mean is that the smoke in your scene, hazard density, hey, dissipation, minimum density. The smoke will start their dissipate if it goes under the settings. So if I was to increase this right, as soon as the smoke goes below one density, it is going to start dissipating and it will dissipate according to the strength of the dissipation setting. So usually see the sound is confusing and this is impossible to remember when you're working on your own projects that what does this definition is and what do these two have in common and that kind of thing, this, remember that if you weren't smoke to dissipate writer mess with both of them together. So I'll increase this 2.5. and I'll increase this to five. Now I know that these two settings are not quite right. But this is to give you an idea of what do we have so far now, let me actually undo both these two settings. So, so this is the default, and we have 0.1 and we have three over here. Let's take a look at what we have. So going to assemblers this really quick. And as you can see, even after RP party, if am 35 frames as smoke is ongoing of it, because the density of the smoke is not going below 0.1. Eventually it will, but it's not going quick enough. So if I increase the minimum wage, it's difficult to say dissipation, minimum density 2.5. And the dissipation strength to five. It's going to dissipate a lot quicker right now, even after 60, if you have touch 60 frames a smoke yesterday in the scene, right? We have increased the defaults from 0.1 to 0.535. And let's take a look at what we have now. So as you can see, it disappear. It's a lot more. But this is still redo slow for what we need. So what I'll do is I'll increase the minimum density who won and the dissipation strand all the way up to 7.5. And keep in mind guys, at these two off. Settings. So a small difference of one pertaining introduced is going to dissolve into a very big difference in your scene. So make sure you work with small increments when you're walking and do a few rounds of trial and error, and keep saving your file and see what you have. So these are the settings that I think will get the job done. Minimum density the one and dissipation strength has 7.5. So let's take a look at what we have and then we will go from there. So as you can see, at about 35 frames, a small carrier leakage Slate, and I think that about 40-45 VMs, the whole smoke record. So this is exactly what we need. And slug score to me that the things that I'm liking in this simulation is the baud rate here, I think is going to look really good in After Effects will have to mask the real part out. Like I have run over here, but we'll Kodak once you get to After Effects. I think one of the newest spacing Donald's debate so we can get a better simulation and a better output of what we have going on. So about of our deaf. And I didn't want to animate that eigenvalue. So anatomy, the timescale from 0 at 0, it should be about, I would say 1.5 at about, at about two AND IT should become not guru AND maybe at about ten, it should compound 0.7. not sure about that. That's ongoing for 0.75. I think it should. I think 0.5, we could walk right over. Let's take a look at what we have. Okay, so since we animated that timescale, I think had about 50 frames also, we still had the smoke in the scene. But I think I'm gonna stick to what I have created. Let's take a look at the reviews of the preview this out and see what we have. So the preview this wish come and load our render setup and record a costume and we'll change this to a box ratio. So 500 by 500. And that's all you need to V, V and I'm going to render this out. But PV without so will come here the plus icon. Click on the Create preview, review animation, choose costume Lynch v will keep this to 50 or 55. And this is called 50. This is okay. Our custom file, Dave, come over here and we will basically browse to the place where we have created our reviews for low to come over here, 01, save, uncompressed, OK. And let's see what the preview looks like. The wanting and liking and despair view is that it, right here? It, it, it has that may slow down that I'm liking right right there. But after that, the smoke also slows down a lot and the dissipation also slows down. So it's not dissipating Faustina. Now what you can do, and this is a simple hack like an After Effects Laos or velocity technique, is that you can go into the render setup and animate the opacity settings. So I am liking the slowdown and it has the flower bloom. That kind of thing is going to look really cool. But right here, I want it to slow down and then disappear, right? So what we'll do is we'll come here in the timeline, evaluate what we want. So at about co-NP frames, I would say from here to about 40 frames. At about 4045 frames, this whole thing should be 0, right? So your computer 20 frames in the N key on the keyboard. And I'm Waterloo is I'll add a little bit of opacity. L increases just a bit. So it creates a chiefly in forming rate. I'll come to your door for flames and make the zeros. In this way. As you can see, we have created an opacity animation that whenever in 3DS Max you see these red borders around some setting values may, that basically means that it has animation on it. Okay? So as you can see, the values are getting lower and lower. And this, we might've had about 40 frames. This whole thing should be out. Alright, I'll hit the Enter key again to stop the autarky animation. So this is good. And let's do a hide as SIM so we can get a better idea of what we are working with. And then we'll keep this for post-processing and move things to After Effects. Now, as you can see that in the perspective view, those smoke is going up a little bit, so we'll have to adjust our camera. So I come here in the front view. Right click unhide by name. And I'll double-click on the camera. This way only the camera comes out if he would have unplugged unhide all all the light would have come out as well. And that is not what I want. So I selected move this guy a little bit up. And right now you can see that my perspective US are changing because it's my perspective view. And in the cameo and hit the C key so I can get a look at what my camera is viewing, right? And this three, and move it down a little bit so I can see what is happening. And just move things to a different frame to see if the camera is capturing everything I know. And I think this is what we will have, right? And about the things we will dissipate out. Right? So this looks good. Next, what I'll do is I'll do a review of it to see how things look in my camera view and see if everything is working well on ALU show see frames as well. Right? So this is what we will have. And let's take a look at how the preview looks. It lowered again and see when this is done. Okay guys, so this is what we have. And I think animating the timescale was a mistake, but I think we'll fix this in After Effects. So what's happening is that this part is also getting very slowed down. But I'm really liking this blue. And here is where things push, speed up again. And that is not happening. So there are many ways to fix this. You can go into 3DS Max and start animating a timescale a little bit better where you want things to speed up when there is a bubble problem, right? We want things to be really sped up over here than he wanted to speed up, slow down over here. So again, create another key frame that slows things down and then pick things up again. But I feel that it's a lot better to do this in After Effects because the uy is set up properly, we can work with the keyframes better. So what I'll do is I'll calm your domain simulation and I'll remove the timescale animation altogether out of the move the timescale animation as select a few moocs. And as you can see, I have multiple black dots on my timeline. So I'll come here, hit the Enter key and al cine start B1 again. I'll move over here and I think at about ten frames that has read. My timescale thing was, I'll change this to one again. This way. We don't have any animation, even though this has the red border around it, that is because of the keyframe. But if he were to scrub in between, you can see that the timescale stays the same. And I think that this is a lot more, I think better to do if we do this in After Effects, which post-processing when we have multiple frames, instead of growing this in 3DS Max. So I'll do a final simulation of this. We'll do a push them on that, render that out, and I'll see you in After Effects. I keep the recording going on so you can see the whole process. And right now as you can see, I'm just increasing the box a little bit more because I'm about to do a final similar. So I think I'm going to render the sad about that, about that that's too much at about three GeV. And I think that should go into ad. I think I've removed the timescale animation. I'll add a little more turbulence to this. And I think I'll add a little more dissipation strength of ten. And I think it should look good. And VB will do a 45 flames simulation. And I'll see you when the system. Okay guys, so we have completed our V fault simulation. Now to change this from before post-processing simulation, the first thing we need to do is you need to assign the post-processing cache. So it will come here. Click over here, go to the place where we have a cashflow look as to settle here. And this is great. Now we will change the input. We will keep the input, the default cache. If you have done a simulation and you want to upload process of invalid cache, is that the wavelet cash back now we are going to switch to default cache. All neat because that's what we want to poach process and it will change. This is a big, big mistake I did. Okay, so if you change this to postprocessing, so the one problem that we will have a fico to wavelet WTP option and choose post-processing process about 40 frames a retain this to about half. And if I was to click on it again, you will see it will give us an error saying that temperature channel was not found inside the input cashflows. So we have input the default cache. But when VI was simulating, the default cache retained ad that temperature channel. And temperature channel and velocity channels are important if you want to eat anything while basically slow it down. So this was a mistake on my part. No worries. I'm gonna keep this part of the technology so you guys can see that it's okay. You know, I make mistakes. So I'm going to come here to exported channels. In the output option. Click on this option, and I'm going to double-click on blue settings velocity. So this red goes to exported channels and temperature. Clinical case inaugural exporting for channels fuel, smoke, which was the default, and then temperature and velocity. So the problem is that because of this mistake, we will have to do a sim again, which is gonna take me a little time, but that's okay. This is an important mistake I made. I shouldn't be doing those, but that's okay. You guys can see it and it's okay to make mistakes, but you should know how to fix them too. So I'm going to symbolise one more time, about 40 frames. And once this is done, we will start the post-processing simulation. Okay guys, we have done our default simulation one more time. Let's go to the WTP options and confirm everything. Yeah, so V1, we don't want the Vivre problems. We want to work at post-processing tick mark on the range. So we don't process the whole 60 flames or a 100 frames. We wouldn't want to go from 040. Baker ended up is not important for us Method. This is where the real thing is. So I'm going to reduce this down to 0.3. This way what's going to happen is it's gonna give us three times the frames that we have. So we will have in all of our Q1 paran DV aims to walk with. Maybe I'll change that to point v5. It will give out about at least 90 to a 100 frames to work with. So once these settings are done, we can now come here with the mode. Change this to Bush processing. And what this is going to do, that the input casual by default, it will be saved and your post-processing cash. So make sure you set this rate and it's going to render, I mean, post-process about 40 flames and were hit this Play button. And I'll see you one-step post processing is done. Ok guys, so our post-processing has also been completed. Let's take a look at it and confirm if our caches are properly even created on our project structure. If you go to the cache one, we should find about 4041 frames. So if you come here that are 60 frames, or is this really if you look at it at about 40 frames, so 40, twenty one, twenty six, thirty two. And about here you can see that there's a big difference in the file says are for P3 is 343 MB and from 41 it's only seven and E. So these are all the different our desk for decider had created before. And this is the mean cashflow. So we have about 47 Tao. This is our default gadgets is called. So V should have about 809000 flames and cash. If, if all the cash do they equal, we are looking at about a 112 items. So we have 111 frames to work with and when to render this out. And we will. Move things in After Effects are ones that enter has been completed. So this is good. Our post-processing simulation has also been completed. Now make sure once you are rendering this, you increase the timeline. So I will increases to 11 to one morpheme. And in general, we will increase this 211 blue is red. Output and playback increases to 11 to Israel, right? This is called ready. Very good. Let's save this file. And in the render setup, in the input cache, we will change this from default cache to post-processing cache. And this way it shows the new cache. And we can see before to enable GPU viewport. I think what's happening here is that odd rendering of that because we have animated the opacity from 20 to 40 frames, we will have to move this to about here, right? So this is our new range in the post-processing data. And this is what we have. Okay, so I'm going to render this out quickly and v will move things to offer effects. So I bought a render setup increases to 100 by 100. So you guys can see this a little bit better. At genes that range from 11 to. And said though, render location. I'll see you once the render has been completed. Ok guys, so we have random at about a 108 dreams for what we are going to work with. And this is what we are trying to create. So let's take a look at how to composite this in After Effects. Let's see how things go. So I'm going to import my rendered foolish shockwaves. Then those import this as a sequence, Create a new composition and let us play and see what we have to work with. And it looks really cold except for the slow motion like this. But I think I'm really happy with what we have and at about the opacity, okay, fine, until we have something good to work with, we have created something called, Let's try to push primary map this into something that we'd be happy with. So the first thing I'll do is I'll move this up and I'll do a right click on this. Time. Enable timely mapping. This be in the timeline of after effects. We're gonna get two times, one over here under start and one over here at the end. The hosting, what I'll do is I'll bring this end keyframe at about 50-55, aims at about 50 films. Over here, I'm going to hit the Enter key so that way it's going to sharpen the work area. And this is what we have. So this is basically. Bed up the speed of our animation, the rate. And the main reason for doing this was to give us a lot of extra frames for osteopenia downward. So if I was to select it and go to the graph editor, you can see that we are playing at almost double the speed, 2.14 seconds, right? So this is doubled the speed, this is great. This is what I don't want. So, so what I'll do to cover this up is that a good about this frame? And create a new keyframe by clicking on this button over here. And this keyframe, I'm going to bring it closer to the first one. This way, what's going to happen is that it's going to shorten the time and directly come over here, right? Big this to the graph editor. Wait, let me do this again so you can understand the subject better. I'll go to add about ten frames, create a new key for him. And as the news it down or speed this part up even more by bringing this keyframe to about five films. So the force fi freedoms have been squeezed and do about five frames, right? Three frames or something. Now, I'm going to select this gift am go to the graph editor and we will have this option over here. And select this. All hold on the Alt key and click on it this way, v, instead of having a very high speed, then, you know, straight half of it is going to create a very abrupt movement. Instead, what we'll do is we will create a global, slow down things properly with the proper 0s. So select the keyframes along the whole key and click on it. This way, this is what we have and I can adjust the code properly. This way we have a really high speed at the, at the beginning. And as you can see, that bubble problem is almost gone. One flame will be there, but I think ok. Next what we will do is we will see that this is the frame that visually like maybe had reduces down to about 20. This is what we can adjust. What we have like that. This is what, this is really good. Next is to take this from fish, from five themes. I've come here about here. And because I want this much ADR colossal distributed longer, I'll move this key theme towards the site. Right? Now, the only rule of the game is that this should not happen. As you can see if I click, if I go to the graph editor and if I click on, not even click if I just hold my mouse on the cobalt with you, you can see it says warning for four seconds. This should not go below 1 second. So as you can see, it says 0.4, that's a problem. So we cannot move this keyframe so far ahead. We'll bring it about here. And as you can see, it says 1.2. So this is fine. 1.2 is fine as long as it doesn't dip on 0.01 seconds, so 0.85, this is also problematic. What will start happening is that we will start getting static key frames in the middle. Say for example, if I wish to move this over here, you will see that eventually, you can see that it doesn't change. And this is happening because we have moved the keep them very, very slow. So for a certain pain, we just stops to animation altogether. So that's why we want to make sure that we are having a speed. It doesn't live under 1 second, right? We will adjust this a little bit better. And again, 0.9, that is not what we want to have vector, right? As you can see. But because we don't have, we cannot just this like this. And we can ease of the code instead of having you just have to make sure that you need to have a good code so that it it eases in to the different motions, right? So we have very start of a very speed of start. It slows down and we get this nice slow motion. And then it picks up speed again and dissipates. The only problem is that it should be relatively smooth. So we can not have any sudden jokes variable. This is a lot better, right? So just to compare what we had before and after, we have this. So this is very, very slow motion and this has been happening. So we are getting a nice slow motion on the side over here. So it starts off release fast. You don't get other bubble problem or we get only a few frames of that. And after that we have this nice slow motion, very red. Everything stays and offer that anticipates. You wonder dissipation to be faster. What you can do is you can add of keyframe animation and opacity animations on top of this and make this perfect. So we will go with your ad out opacity from a 100, about ten frames, 10-15 dreams. And we will make the 0. So this way it becomes absolutely 0, right? This is what we have. Just to complete the look. What I'll do is I'll select it, go to the mosque options. If the ellipsoid and basically create an ellipse in the center of it. I'll come down here in the mosque one. I'll do instead of add, subtract. And this way, the centre portion of it is going to go into Colgate. I think I've drew the mosfet is small, so I'll select the mosque one untoward, double-click on it and increase its size a little. You can even position it properly if you if you think that's not the Santo. And in GEO, you can come here and you can increase the feather of this. So it has a nice smooth edge instead of having a sharp curve like this. So like 50, about 50. And this is what we have, right? This I think looks really, really nice. So this is what we were able to create in 3DS, Max and few effects. Let's do some nice color collection on this, and we will wrap things up. So the reelected color, this is electrolyte forced adjustment. I take the core of the effect of light and then I'd just like to add, crushed this electrical, maybe add we add an edge to it. So this is what we have. Next electrolyte of full color gradient. Like this. And color scheme I went to is that firstly, I like to bring the color swatches in closer though my design, because my design is not always right. And the color scheme I went with was this one. You can take the time to our justice as per your liking. And the color du would be, I think a nice Yeah, this one. So this is the effect that I rent with, of course, I put in a little more time into creating the final look. So you can do the same thing and do finalize the effect. I added our sharpen effect on it, increases to a 100. That's where you can see that you get a little more detail in your design. And this is what we have. So we have a nice slow motion where you get to see some nice details in the smoke. And they know the fluidity looks cool. I think it looks really cool. So this is what I was able to create, walking on this and recording literally model. But if you want to spend a little time into it, I'm sure you'll be able to get some better results. So this is what I was able to make with about of walking through it. And this is a very high dais example. You know that I was able to bring them out. I didn't do any timescale walk on it, but I will able to render out are very high it as and this is what you can get if you try to render this with wavelet and hide some nice post-processing on it. So thank you so much for joining me on my training course. My name is Todd alone, and I hope you have enjoyed this training course and enjoyed district audio and God alone, something like fume effects and 3DS Max and After Effects. Thank you so much for joining me on this video. I hope to see you in the next one. And thank you. 6. Factory Smoke Emissions: Hello everyone, and thank you so much for joining me on my training course. My name is The Hello and welcome to few effects practical projects, episode five. In today's video, I'm going to talk about creating factory emission, smoke in 3DS, Max and fume effects. And the example you're seeing right now on the screen is what you can create with the use of this technique. So here we have some volcanic smoke emissions, and these will also created using the same technique, right? And on the right hand side that is a smoke background overlay kind of thing, useful for motion background kind of work. And you know, it can be converted very easily to an increment, to walk as a transition or some texture reveal that kind of thing. So all of this is possible using this technique. And the main reason why I'm doing this video is because from the next video we're going to walk on our map in which we will try to create something like this. And this is not that impressive. It doesn't look that dramatic and Awesome, I understand that. But this is going to be put on a mat and we will have to compositor to create and financial. So to avoid making that video very long because there will be a lot of crowd and arrows in the next video. So I thought that we will cover just the core fundamentals of that video introduced. And we can, in the next video, we don't have a coward spot. So with that being said, let's take a look at what v will create today. I have my few effects set up over here, and this is what we are going to walk with. I have saved my file, clear my product structure. I don't want to bore you guys, but all that. I have added some lights into the scene and I'm just gonna delete. So the lights are dead a few boxes code, I'm going to delete the gravity vector and the 3DS Max box and few Murdock. So this way we have some cashflows, but basically we don't have anything in the scene anymore. So getting started, avoid this dot over here. And actually, I think I can just go here and change the cache directory J2. And this way, this thing is also gone. Okay, very, very good. We have created a simple few marks, as you can see in the scene. And I have increased the timeline from a 100 to 200. Right. That's all about it and will explain you what all I have done and the idea of how to create something like this. So getting sorted the forcing v will actually disable this. Okay? So getting started here we have our fume effects box, right? And what we will do is we will first create a simple 3D model. I'm going to hide this case selected right-click, Hide Selection in the G key to get the grid back. This is what we have and we're gonna create a simple vessel forced now to create that. And we're going to come here to the Create option geometry and we're gonna go for cylinder, select and drag it up. Very, very good. And if you're not getting the proper view, which because you're working with a wireframe to go right. Now I'm going to do a right-click on this. Now you can make some changes if you like, if you come to the Modify panel, but you can walk with radius and height and non-power proper setup. But for now I think this is okay. Now right-click convert to editable poly. Now what this does is that it gives us the ability. Walk to basically change and shift the 3D model how we like, right? So we can do all this. You can select the points. We can select the edges, Bodo's faces or polygons. And as you can see, we can change that and adjust that 3D model how we like. So what we will do is once we have converted this whole shape into editable poly, right-click editable Bali V will come here, and it will change this to modify by default. So select modify. In the selection tab, I'm going to choose polygon. This way. What's going to happen is right now you can see the whole object is getting selected together. Once I click on polygon, I get to select certain phases or polygons. One, right? So we will come here to the top panel, to the front panel. And we will select all these top polygons. So select all of them like this. Hit the delete key. This way we can have an open can kind of effect, right? And once this is done, we don't want to select polygons anymore. So you will come and select the polygon option again. This we'll get out of that mood. And now, as you can see, we have the normal selection walking again. We can select and move our model before. We could not do that, right? We, we've already selecting polygons goods. So once this is done, we will come here to the modifier list and we will look for an effect or a modifier correlate shell. You can type in SH and it should come in. So apply that. And as you can see, it is applied over top of the editable poly does really cool. We will select the shell modifier and increase the outer amounted to. Now for you guys, this could be the front desk depends on what shape you have created, whether you have a taller box or more wider box, you know, that kind of thing. So these settings are not necessarily something that you would want to add. Look at what you're getting and adjust the settings accordingly, right? So this is what I have, this looks good to me. Now let's get started without human flexbox. So what we have created is a simple vessel. The idea is to add an amateur in here. And what we will do is that we will make these two diameter and the vessel interact with each other. And this way we are going to create the chimney smoke output, right? If you look at this, if you look at my volcano emissions, you can see that there is a 3D amateur or vessel kind of an object over here as well, right? In this setup, we have cut it out. And in the next video, we will emit this part out as well of evil, of mask that part out. But in this project which quite clearly visible. So if you're working with something like this usually evil mascot out to create a mountaintop, right? Something like that. And it's not very good, but you get the point. So this is what we have right now. Let's go to fume effects and get started with f. So I'm going to unhide all. And actually I shouldn't have done unhide all because the laser also here. Okay. So we have the box back in our scene, the film effects boxes back in our scene. This is cool. I'll hit the GK, go hide the grid. This is not what I need. And as you can see, in comparison to the Xbox, does Russell is a little blue text, so I come here, selected it though, our key on the keyboard. And this way it gives me some scale options. I'm going to scale this down a little bit and move this up a little bit Soviet inside the box, right? Ok, this looks good. Let's add a simple sourcing our scene. So we'll select our human flexbox. Come here, right-click open film effects UI. This is good. I'm going to come here to objects source. Right-click, left-click and create a simple source, right? So as you can see in the front view, we have a few mbox, our vessel. And this is a film effects symbol source. We will select it, bring it like this, and place it inside the vessel. Now, we also have to confirm it in the top view that it is sitting properly inside. And as you can see, I think we haven't skill that properly. You can go right. So now it is properly inside the vessel and the front view and in the top view, right. So conform it into perspective. We are. There you go. The only problem is that right now the, the, the film of exemple source is pointing upwards. What we want to do is you want to select it and make it point downwards this week, it will interact more with the object and of force by which it comes out is really going to give us the chimney emissions kind of effect, right? So you'll increase the diameter of 15, which is up. And this looks good to me. Now the next simplest changes that I have done is I have increased the smoke, the default smoke. I think changes are not taken. Yeah, because I had deleted my previous symbol source, the new changes when our depth, so I've removed, I've increased the smoke from to about ten, right this week we're going to get a lot of smoke. And in here, what I have done is I have animated the expression I've used as the noise fluke animation style. So if you guys don't remember what he can do, and I've covered this in one of my videos, industry and encodes. So make sure you go back and watch that if you have any doubts on it. But simply put, if you want to get to the expansion, select the box. Pick one of these properties. I'll take heat production, do right-click and say show interact. And this is what's going to happen is we have a crack view here, and there you go. We have fuel expansion. You can double-click on it and make our changes, right? So the changes that I did was I have applied as tenth of 2.5. It shouldn't go under 0. I have reduced the frequency to quite a lot and I've increased the roughness, right? So this way what's going to happen is that it's going to keep on animating the expansion. I scrub this. You can see here that the values keep changing. Sometimes the zeros on it, it's a very small number, but then it jumps to one. And I'm sure it even goes to some bench, right. There you go. So this is going to give us a nice pumping smoke. Perfect. And that is really going to add some nice field that really that the smoke is coming out of a chimney height, it's being pumped out opportunity, that effect. And we could have gone for file creates smoke. But the scene that we have, we don't want to create a lot of smoke wave. You have to add some dissipation settings or it shouldn't fill up the fuse box, we're too quickly. So I thought that this is not that important, but if you are switching this on, it wouldn't be a bad choice, right? So you can work with that, see what you get. And I have done some basic settings or your, I've increased the scale of globulin should 25. I have really added a small amount of detail in the IX turbulence, right? So this is maybe 0.075, right? So a little bit. What density scales, and I've reduced the iterations aren't 150. And that's about it, guys. I have not done any changes to the bond rate or to heat production and assign the caches properly in a one year. One important thing that we, I just missed out was I average is I added a gravity vector in the scene. So select your gravity vector. Increase this, rotate this. Now the size of the gravity vector is not going to play an important role. So you can make this big, but this is just to give us a visual idea of how the smoke will go and the size of the gravity vector will not affect the c, right? So this is where I wanted to be. And in the sim settings, if you come the simulation, you will see that I have reduced the timescale down to 0.5 if I, the default setting is 11 was way too fast for me. So in this example, and actually in both of these examples, post-processing husband used to reduce the, the animation speed of the film effects that we are having. But slowing things down using post-processing is good. But it doesn't mean that you create a fast animation and then slow it down. It won't look right, right? You need to slow things down in your foursome and post-processing can only enhance what you have created, right? So make sure you get that part also, so that, you know your post-processing makes it looks better. If you have a very fast animation then, and then slowing it down, it won't give you the right field. So what I did was I reduces down to 0.5. And the gravity, the gravity vector is power, the gravity work you're, the default is one. I have increased a sex, I think five local. And in here in the smoke settings, I have increased the smoke buoyancy, or you could say decrease it to minus three. The default is minus1. What this will do is that it will meet the smoke heavier as it is coming on, right? So it is so that it doesn't go up. It follows the gravity vector and stays in control of the gravity vector and moves towards the right. So let's take a look at what we have. And if there are any more changes, we will do it and try to create automorphic luck. So let's take a look. Okay, so as you can see, I have made a very simple mistake. What this is doing is that though. Okay? So what this is doing right now is that the simple source is emitting the smoke, but it is not respecting and not interacting with vessel that we have created, right? So a simple fix for that is and the reason why this is happening is because we haven't added the vessel boom box. So nobody's you will come here the object source, select, pick object and basically select the vessel. And this way, as you can see, the cylinder 0-1 has been added into our scene as well. And now if he were to simulate, what's going to happen is that the fume effects, though simple source, will create a lot of smoke. It will interact with the box and it will find that there is no place for me to go from here. So it will go here and then it will go up, right? So hopefully that should happen. And if not, then we're gonna make a fool of myself. So let's take a look at what we have. Okay guys. So this is what we have created the law and I'm really liking the local smoke. I didn't expect it to come out on the voice call, but it looks good. And as you can see, this is acting like a chamber for a smoke to come out of it, right? And I think the shape looks very cold. It's following the gravity vector. And everything looks good to me. So I will stop the same over here. And I will say that the force of formation, like this part was in looking at God. But I think that is expected because v, v, we need to give the simulation about a 100 frames to get sort of in that right, look, right. And after that or of assorting from one grain D1005 rims, I think it really starts taking some courtship. So as you can see, we have some nice bump effect going on. And I think this looks really cold. Now let's render this out. Let's render one frame and see what we have. So this will give you a basic idea of what you're working with inhibit simple or single here. And I'll change this to nine sixty, five, forty. And let's see what we have. So this is what we are going to get where we have our simulation, but we have the problem that our 3D object is also getting rendered. So an easy fix for that would be do a right click on the object, object properties and we will remove renderable writer. We will remove the checkmark from that. And now if you were to render this, we will still get the shape of the 3D vessel, but that texture is not going to come anymore. So this much part we will have to Moscow with whatever we are compositing the zone and we will cover all that in the next episode where we will be creating multiple smoke rising from chimney kind of effect. And as you can see what He also, that we still have the object though vessels, ship, right? So we can have a simple mask on it and get rid of that. So this was today's video on how to create a simple smoke emission kind of thing to get different results. Or if you're working on a different subject, you can route it. Though the gravity vector, you get different locks. You can audit it, forget different locks and see what you can create. And this volcano emissions, though, the settings were different, but essentially the technique to create this was the same. So this is something that you can, you know, try to create with your own dime flight experiment, see what you get. I have walked with our source and our Vigo vessel, the camera angle, I think luxury court, the gravity vector has been set operate and the word density, the smoke emissions of phi_n blending with the smoke while that luxury. So I hope that you have understood the technique and starting from the next video, we will uses to get a complete chart ready. So I wish you all the best. I hope you have enjoyed the training costs and in the next video, things are going to get to the next level. So I hope to see you in the next video and thank you so much for watching. 7. Final Project - Factory Smoke Emissions: Hello everyone, and thank you so much for joining me on my training goes, My name is str. Hello, and welcome to fume effects practical projects, episode six in today's video, we're going to talk about our final project and getting started on it. And before getting into it, I thought I'll show you a final look of what v will be trying to do, right? But my pin full story is that I have everything else done. I have my Maxwell is I have my cashflows, I have the test render, renders everything is good. I have corrupted or defiled isn't working basically, and the file is my after-effects file. My final calm is not there to show you now. So they okay. I've just lost my aftereffects file. The caches are there, their rendered out the IV chord. Let me call this whole short again, and I will be able to show that to you. So while I was comping the short, I thought that wait a second. Why not cover the entire process from start to finish instead of just talking about 3DS Max and fume effects. And I was thinking about this. And I was like, if you're ever in a situation where you're walking with a small group of people, they see a start-up or they don't want a lot of shortages one to one or two shots in the scene or in the final movie. So the will, like you will have to give some input of how to free in the short, or do you want from the short? This is what the final short will look like, that kind of thing. And I just want to cover that process with you. You know, how I was able to pick this short and Y will be working on it and how like what all things we want for us to add onto the scene. So this way you get a better understanding of how to deal with such situations. Okay, so let me start off and I promise you this is gonna be a long video, but any fluff that I can remove, I feed this is not important. The rendered items. If I ever go on on our different Rand, I promised to remove that in the editing. So this is going to be a long video, but I promise you it's going to be of good content. So let's get started. I would like to start off the video by talking a little bit about the footage. This footage is from NYU elements. I'm not getting paid to say this. This is a fantastic service. I've been using this for a long time. It is subscription based, so it doesn't let this footage alone would have cost should easily around $80 before $1800. If you go through the subscription plans, it reduces the cost of the clips drastically, making it very cold for the purchase of the final user of the stop content. So you can go here and look at different stock religious and try to brainstorm, especially if you're moving towards a Guan's usage and the starting of Korea with Hume effects, I highly recommend going to the stock footage and just looking at different voltages that you can work with and add some few elements do. So here are some more examples. So this is a clip that I will be using powerplant against cloud blue-sky, right? This is available in for k. So for k Eclipse, yeah, you're getting in subscription at a very good rate. And I will talk a little bit more about it. But for now I would like to show you that I have a few other footages, your as well. So as you can see, there are more factories smokes. This, this almost looks like an image, but if you were to speed it up, this actually is a little long, elaborate starting seconds long. But if you were to speed it up, you will get some good motion and you can add some more fume effects of smoke coming out of the factory emission kind of thing and create a better look. Same thing with this footage as you can see, it has some nice smoke and I'm sure you guys can make it even better. And with that being said, let's get started with artwork. So I got this footage. Now let me show you guys of footage actually. So this is the real footage rate, as you can see, it is focused. The details are amazing. I have a lot of good detail here, and I thought this was a great shot, but the problem is that it has this ground element, right? And though the Vidar creator has shortest club, is that we haven't added any motion in the way. So the camera is locked onto one position. And they are basically capturing this whole wide shot right now this is good, but we have some ground for Digital here, right? Which keeps on moving. As you can see, some, some leaves and that kind of thing. And that is pulling V2. Much attention is getting in the way. It's not looking good. So I decided that okay, we are going to come this a little bit. So I didn't use the word, sorry. I made a 2560 by 10 h 0. This is the resolution that I decided to work with. And as you can see, this looks a whole lot better and we get a lot of room to play with this, all this extra footage that we have, this whole part, the soul part. So we can add a lot of motion movements. We can frame the short better, do all that good stuff. So I decided that we will do that. And the final output is going to be in full HD anyways, right? So we can have a lot of calm comping angles and a lot of different more power post-production. So this is good. I am going to cover all this part in detail once we get to the after-effects side of things. But this, so what I'm trying to actually say that my journey, a lot of things begins outside of 3DS Max and few more facts. It's not like a lot of times I get a short and I have to deliver a certain kind of thing that is going to be part of your life do. But sometimes if you are working with a small group of people and they want your input of how to get the shot or what will walk with you, that kind of thing. Then you need to have some input two, right? So for example, you can remove this part of the sky. You can see that the small boat line here. So this, so this can get in the way, calm this part out and you can focus a lot more on the chimneys. So my journey actually starts in After Effects. And I'd actually even go far ahead to show you that I tried to experiment with different colors to. So this is the two color scheme that I came up with. This is more towards the dolly blue, right? Nothing is walking in my life. I don't know what to do that kind of thing. And this is more towards industrial site of color, right? So I even tried to play the color correction and see what final shot that I would like to have if this is walking on, no. And then I jump into human effects and then I know that, okay, I just have to do this. Is this the companies ready? The color is good. And, you know, just a few effects part is there. So the Joanie actually starts outside of max and fume effects. And once that is done, once I know exactly what I have to create that has no experimentation in 3DS Max of film because that is way too much time consuming, power consuming and that thing. So I like to have all the pre-work done before that, right? And this is something that a lot of times you will not have to do. There are other people in the pipeline will do this work for you. But if you, sometimes, if you have to do this, this is how you do it, okay? So I hope this is clear to you and we will cover that tracking, compositing, matching the color bars, compositing this a little bit better. Adding a little bit of a shake, right? Adding a nice low Shake and coloring the smoke. All that once we get to After Effects side of things. And with that all being said, let's get into fume effects and get started with our work. So this is what we are essentially going to be creating today. And we will have to create multiple versions of this and we will have to compare it onto this shot, right? Okay guys, so here we are in 3DS Max. And before starting the project, let's talk a little bit about our project structure, this thing. So the structure is very similar to the ones I've had before with a few changes that I have a footages folder. Oh, yeah. This is going to have our original file. Okay. File and then of photo file. Now the fortified is very important because he will lead this in 3DS Max to sort of walk as a reference image, right? So we have that and the cache files are a little bit set-up a little differently. Do I have a cache folder in which there will be multiple cash folders? Because according to since we are going to walk with many different versions of the factory smoke, what's going to happen is that we will have the same though, factory smoke multiple times and then Bush processor to get the nice slow motion, we'd have to do that as well. So we'll have to create a lot of cashflows and have all of them over here is a bigger, is a bit of a headache. So what I've done is I've created one folder, added all of them in the right. So I hope that makes sense. Now, let's get into 3DS Max, and let's get started. So I'm going to save my file. I'm going to hit all to be on the keyboard. This way I'm going to go over layout and I'll choose this one over here. This one makes sense. We have three different of use of and we have a nice perspective. Now I'm gonna come over here to the left and I'm going to hit all B again. Now what I'm going to do is I'm going to go to the background, right? And I'm going to use Environment, sorry, use files, right? And we'll come over here, go to files, click on these files button, browse to the place where you have your photo. So basically what I have done is I have created a JPEG from this frame, right? And the main reason why I have done this is because this frame radio is the last frame of the short. And it's going to have all the different setups, right? So, so a few of those smokes are missing right now. But this is basically where all our fume data will be, right? So, so this can be used as a good reference file for us and max that you have taken the stream. A lot of times you will also have a big video in, but we will discuss that when in our next episode, where he will be compositing the dust storm on the car voltage. So I cleared a basically a still frame, get a jpeg of it. And then you will take that into 3DS Max. So I might follow here, final project one, vendor's sorry, footages and max, right? I've created a simple image. Apply that, hit OK. And as you can see, it comes over here. I'm going to hit the GK that get rid of the grid. And I'm going to change this from left to perspective as well. This way we can have a good idea of where we are walking with what we are walking, that kind of thing. And I'm going to come here to the render setup because right now I can see that everything is a little bit stretched out, right? We're not getting a proper image. So we'll come here to the render setup and go forward. Basically, input what kind of output I want. So I want Grundy 650 by 1-0 H2O, that is rendered resolution of our image, right? So as you can see, this is what we have. This looks good now. Now there is a little bit of an extra space or you can see them gray areas. So we can push this this viewport like this. It's going to take the space away from the other. But that's okay. The front and the top by V and I'm going to walk much with them anyways, we will be working a lot with perspective, right? And with this perspective over here. So this is to see how our final short will look if the size of our volume element is right or no. If it works well with others or know that kind of thing. And the others are basically to help us out with our facts walk, right? So let's get started. So I'm going to create my few mocks or you're, I'm gonna save my file forces is important and let's get started. So I've done, I've done a separate primordial already on creating the vessel factory. So getting the vessel ready and we will skip all this part out right now because I've covered that already and this is going to help me save a little time on this video. So please watch the previous tutorial if you haven't watched that before and we'll get started. Bring this up from front, routed the Swedish rage facing down. And as you can see, that the chimneys, you can see over here, the chimneys are very, very narrow and very small and thin and fume box that we are having is very, very tech. So what we'll do is we'll adjust the size of it selected, hit the archi and square root of it, right? Push this up like this. And I think, okay, so we only squeezed from one side. We have to do it properly from the other one as well. So like this, right. And we can squeezes up also if I'm not wrong variable, right? So this is what we have, this looks something like this. And what we will do is we will use this perspective to free my short. So we will zoom this out. Put it over here. You can, you can maximize the viewport by hitting all w. So you can take your time to do this. I'm using control and old and my middle mouse button to zoom out and zoom in and go. I'm scrolling up. Basically I'm moving my mouse up, right? So Control Alt and move the mouse back. And adjusted according to the footage like this, right? This looks good. And once this is done, I'm going to frame it a little bit better like this. And I'm going to hit Control C. This way we can lock in this view. And you know, I mean perspective is studio, so we can walk a lot better. And this view has been locked in because of our camera. You have created a camera, right? I hope that makes sense, but because we don't want to lose this camera, I'm going to select the camera. Do a right-click and do Hide Selection, right? So you can walk closer in this perspective window. And in this perspective window. See how our final camera looks like. I'm going to change this from the camera to perspective again, because just in case if I wish to move the camera like this, it would be would lose our proper frame up, right? So I'll change this back to perspective. That loop doesn't change the, the, the angle doesn't change. We can zoom in again and all we have to do is we have the CT and come back to our proper sharp, right? Hitler perspective again on it so it stays flexible. And we can get started on our work now. So we have created a nice long capsule like effect. And I'm going to, you know, I think we do, I think we wouldn't need this to be so long. I'm liking how tinnitus. So in that area it's called but it could be a little bit shorter. Right? Let's see how this looks in our camera view. Yeah, I think we can move this a little bit up so the smoke doesn't have to use the entire capsule, right? That will be a lot more calculations for our fume effects. So my, my camera work is done again, changes back to perspective, right? So this is called move this down here. Okay, this is called the pseudocode. Let's get started with our smoke emissions. So I'm going to get started on this. The first thing I'll do is I'll have to increase the size, the size of this, because v1 to the smoke emissions to be at least about here, right? And we don't want it to be bigger than this. Because if it's bigger than this and it's a big of a problem that we have to render a lot mode. So I'm going to hit control. I'm going to keep the box relatively small, so I'll adjust the weight of it. May 400 be ok. And as you can see, the box did change, so we I don't have to change the width. I have to walk with a length of 400. Now this looks good. And because we have only locked our scene, I can move different things from here. I hope this is clear to you guys that we can move different things away. But though viewport, the lock of the scene as important, and that is being taken care of by a camera, right? So I'm going to hit a GET to get rid of the grid. This is what we have. We have a few mbox here. And maybe 400 is too much. Maybe I'll change that to three hundred. Three hundred. I think it will be enough. And had a GET on the bottom perspective view also to get rid of the grid. And I'll increase the width up to 150 and the height up to a 100, right? And we can see this is what it looks like. Maybe 200 is not that. We don't need that much. 15v should be good, increases to 400 also. Yeah, this thing is going to walk much better, very valuable. When to move the box, go a little bit towards the right. Because we don't want to waste all the space rate could be useful as m. Okay, this looks good. Let's take a look at what do we have now? So we'll get started working on our box. I'm going to add some leach into the sea and we're going to speed this part up. Okay guys, we have added the LH into R C. Now let's do some basic settings. And we're going to come here to simple source, increase the smoke value. Two, then we can change that to 15 as well if you like, you can increase the directional. What's going to happen is since the source is facing down, it's going to have more of a force to emit the smoke. And this way the smoke will arise a lot file, so it's a lot more force. So I think the directional one setting is fine, but you can change it to a few Lake and see what results you get. I'm going to counter rendering via we don't need the smoke. I think I've offered a simple color like that. And I'm going to come to my Sim settings, reducer iterations down to a 100. What density? Now, one good thing about working on the shot is we won't need a lot of detail. It's a long-short. And like if you remember in the previous example, I had shown you guys a volcano. Now though detail in that Wilkin or with the Lord, because it was a very high close up, right? We had a coward, a volcano that was a minute fraction of the Charlotte. Because in this because of this there are many different elements that are our buildings and our environment, Kahlo sky, multiple elements of volume V won't have to do of very heavy rain. So this is one interesting thing that I thought I'd share, that he could get away with it a little better for faster endo, right? So low-quality, random. But insula permission, that shape and speed of it looks cold. So I come here, I reduced the time scale a little bit since I have already covered this in the previous episode. I'm going to quickly do those settings. I'm going to add a gravity vector in the scene. So I come here and again, I haven't added the vessel, right? So click on Add, select the vessel and import. The cylinder one, right? It will also add a gravity and art scene. So gravity vector at this scale this up like this. Something like this, next chord. And this is something that I like. Let's increase the power of this to maybe say four. And I have increased the smoke buoyancy or reduced down to minus three. And the only thing I think I'm not doing as the expansion value, so I'll select the fume box. Select here, cameo, do right-click, Show in track view. And this is what I have. I'll do a right-click, assign Controller, select noise floor, click OK. And this is what we have. I'm going to make sure our tape mark on this icon or the setting. I'll increase the roughness upper one, but I'll reduce the frequency down to 0.1. I'll actually go even less. Something like this, right? So this looks good to me. And if I wish to scrub the confirm that yes, the expansion value is changing. And I think five strand is too much. I'll change that to 2.5. That is a value I used in the previous tutorial as well. And then yeah, this is going to look or I think I'll change it, but just in case. Ok, this looks good. Let's take a look at what we have and we will also see if it looks good on to our final seal or no. Okay. So let's take a look at what we have. Okay, guys. So this is what we have created the law, not the problem is that we have only seemed 100 frames. So I'm gonna come here, increase the end frame for 200 and increase the play to produce a 100 as well, right? You'd like to add a little more frames on about a 100 more frames into our timeline. So right-click on the media icons. End-time increase at a 100, right? And I'm liking what I have right now on the scene. And you can see over here this also. You can select this and it will give you a final outputs. So you can see things like this also. But I like to see how things are appearing over here. Then I go and confirm it in my camera view. Right? So it's not bad, but I think it's following the gravity vector. I think the gravity vector is not setup. I rotate this out, something like this. And let's save it again and see what we have. Okay guys. So this is what we have created the lawn. And be honest, I'm not a big fan of it. It's okay. But I think it's to vk doesn't have a nice smoked Bloom. And I again think that the gravity vector is to be blamed for it. I actually think that we shouldn't have changed from what we had before. So I'm going to rotate this one more time. And you will also see that mainly like I said before in my previous tutorials, that fume effects isn't necessarily a lot of technical knowledge. It's just doing a lot of trial and error. Silhouette the perfect love that they are looking for. Right? So this is what I have and what I'm also not liking is that the pump is not that powerful, right? Like it should have a nice smoke plume, something like this. But it's looking a little vehicle. It's not looking like a proper smoke emission that we can get something like this. So the fixed this or I could do is I'll reduce the timescale down even more. 0.5. and I'll increase upto smoke settings up to 15, right. And also come here the same settings and I'll, I'll, I'll add some dissipation settings. I'll increase this to one and increase this to five as I've increased the minimum density to one and the dissipation strained up to five, right? These two look good and I think this is going to get me the result I want. So let's take a look at what we have. Okay guys. So this is something that I'm liking and as you have just seen, I had to do a lot of trial and error with changing small settings. And I'm going to give you my final setting. So I am going to increase the gravity of plus six. I have reduced the entire decimation settings under a black 2.253. And I have I think I have increased or decreased the smoker 12. Right. And I've rotated the gravity a little bit as relighting, and this is the luck. Now, here is one problem that I'm having in the scene. And this is something that you will have also that you're getting all this. I don't know the old kind of a smoke go smoke. And I think mainly this was happening because either we haven't set up properly in our box, in our chimney. So it can be a little bit better right in the center. We can increase. I think this is not a perfect square either, so you don't lose these small changes. But I think mainly this is happening because of a low sim setting. We all need entering at about a 150 MB. So I'm going to increase the spacing and see this is going to be our final render by the way, at about one spacing, about 500 MB. I think that is going to be enough to get our final output because the smoke is so far away and I've described it before. So I think this is going to be enough for our final render. Let's take a look at how this looks. At the Settings. Sum will assimilate again and I'll see you when the system. Okay guys, so this is something that looks really correlating. You're getting a nice shape and everything. The only problem is, and the ghost smoke is also gone, so it's summing properly. The only problem is that the box is a little small, so it's okay. I'll reduce the length, the 350, and I'll increase the height to 200. So it should be the same size. And even if it's not, it's it's just a little bit bigger. That's okay. It's completely fine. And we'll move the sim box a little bit to adjust for the new settings that we just did. Right. See it. And also so yeah. Okay. This should law court case and let's take a look at how this looks again. Okay, guys. So this is something that I'm very happy with. It. I'm going to stop my Sim here. And I think I'll leave it to 130 and we'll stop my Sim then, then we'll talk about some other thing that is also very important. Ok guys. So I'm very happy with this result and I think the shape looks really cool. And Mike, and I think this is something that has a lot of good detail, a lot of nice leftover smoke, dissipating smoke. And that's something that I'm really liking. So I'm going to stop my Sim here. And let's take a look at how many. Okay, so let's take a look at how the preview locks. Then we will talk about the other things. So I'm going to come here to about this thing over here to create preview, preview animation. And I'm not sure if the review is going to come out great. So we will go for 50 to 100. Target is we are looking at about 80 frames. Two seconds shouldn't take that long. And I'm going to save this in the previous follow. Save it uncompressed. Let's take a look at how the preview looks. I'm thinking that the preview will not come out great, but let's see. Okay, surprisingly guys, the preview came out really good. And okay, so this is what it looks like. And as you can see, I think it's very, very fast rate, so we'd have to slow this down quite a lot. And I think the best way to do this, I'm really liking the bomb smoke effect, right? But I think we have to slow this down quite a bit. So what I'll do is I'm going to dig the freedoms from about 100. I didn't want to take 30 frames for this. I'm going to slow the stone by quite a lot and slow this down by 1 fifth of its current speed. So this is what it's going to look like. Right? You're gonna take a frame from your, from a 100 to one tacky. And this is what I, I don't know why the operator so slow is because of the quality of about that much. So let's do a bush processing on it or I think we hear occurred. Okay. So I think I haven't added in the post-processing channels. So I'm going to come over here and output the corner, go to temperature and velocity lacto, add these two again, and I'm going to do a sim one more time. And this time what I'll do is I'm going to reduce the turbulence a little bit. I'm going to remove that. And I think I'm going to reduce the minimum density as well because I want a very tech smoke, which I don't want a lot of dissipation happening on it. And I'm going to assume this instead of 30 frames, let's do 50, okay, so we'll stop those same at about 150 and see how things go. Okay, so I'm going to do the same one more time. I have added my channels and properly and after this we will get to the post-processing. Okay guys, so this is what we have, the law. I think it looks really cool. Let's do a post-processing same on it. And we will get started. So I'll assign my post-processing cash on the other Dexter project cash. Cash one post-processing. And in your concrete WTP post-processing picked from 100 to 150. We don't need any of this three times this down to about 0.3, right? So we have 50 frames. You're doing it 0.3. So we should get 150 frames to work. Okay, let's take a look at how that works out. And we will do a small com in After Effects to see if the speed is rate on all that is good or not. And we can move on if everything is going. So I come here, come here, the mode change to post-processing and do start processing and same about 50 frames. So once this is done, I think we can move the rendering. Okay guys, are post-processing. Sam has been completed. Let's go here to conform if everything is NO. So as you can see, the post-processing started about a 100, very, very good. And it costly to 63 and we have total of 164 flames. Ok, so this is good. Let's come here the 3DS Max. And you will have to increase the time because our final render frame is at about 263. Come here, direct click to 63. This is called, We'd have to come here to fume effects and to those same settings. So N3 include 63 and increases due to 63 as well. And this is good. Let's take a look at the input. We will have to change that from default and post-processing cache. And this should update as well. Yeah, there you go, right? So let's go to our render setup now and we will get our ended out. So in After Effects of v are going to accomplish on this footage rate, on this resolution. So going to save this as a separate file. So we have nothing here in the scene. So, and as you can see, there is no movement in our clip as well, right? So it's OK. We will create a new null object. Now in the first course in my big nose, cause I had shown you that I had to track the footage. Right. But in this case, things are a little bit different because we are adding the animation in a post-production, right? So we'll do a right-click. And things become a lot easier like this because we have created the movement in our animations of so I'm going to parent this footage to the null object. And what's going to happen is, as I bring on more cash renders. For example, I think we haven't rendered anything yet, so ok. So let me just show you the movement. But since we have, you know, we are going to add animation in post-production in animation software is going to become very easy for us to track things to our footage. So I'm going to create a new null object. Parent, put another object, and I'm going to use a position for the null object. You create an animation. So create a position gave him here. And I'm going to assume that you guys know after-effects and we're going to change the shrimp 0. Move this a little bit to the right. Like this, right? So this is the animation that we will have and the output will be in full HD, right? So if you have this, let's make it 1920, right? So we are going to go from here and we can add a little bit of a wiggle to our Finally, we have to scale this up a little bit. I'll change that to 1-0 five. And in position, sorry not animation will all click the position to add some expression will either wriggle 15 comma 1.5. This way it's going to add a nice Stato, right? As things go on. And then we can work on our Kahlo collection data. So this is what we are going to have at the end of our walk when our work is completed. Something like this. Yeah, this is what we are going to have and the shirt local. So let's get started on this. I have added my animation using on null object. I basically unlimited analog object. Attach my footage toward, Let's take a look at the render now. So we want, so we are going to work with the composition of 2560 by 1080. That is what we will want to render. Do 2560 by 10 h 0 will use a range of a 100 to do 63. This is good. And we'll hold a file. Dexter. Final project lenders, 0-1, 0-1 underscore. And I'm going to render a simple PNG sequence. Okay? And I think this should not take long. And I'm going to render out the camera view. So I'm going to come here to perspective. I can learn about the perspective, but it's usually a good idea to change it back the camera. So I'm going to change at the camera and I'm going to render that camera, right? Right. Right. Yeah. Okay. So this is good. Conform it over here that you are entering the camera view, arranges, set, the resolution is good, directory is called. Let's render. Ok guys. So our render has been completed. We're going to take this into alternate effects and see how this looks. Some Yamanaka effect sample and import this might double clicking. Next stop. Practical projects is 0101. And then make sure that you're importing this as a PNG sequence input. And this is good. Let's put this into a proper folders so we can understand what is what. And there we go. So I'm going to put this renders over here on the foie stream and we're going to align it properly. I think mosquitos down, which is actually a good thing. So 70 I think, like a seal this down a little bit more. I think 6065 should walk. One simple way that we could have done is that we could have just rendered one frame and see if it sits well with better footage or not. So but that's okay. Okay. What we will do is we will try that in the next smoke plume that we will create some going to mask this part out. And I guess I'm going to hit the cue key or come here to the rectangle tool will create a mosque and endure in the Moscow options we changed from add to subtract, right? This is what we have. And does it better? And let's see if this looks Corona. So right now as you can see, it has not been dragged them, but all we have to do to complete our track would be to just attach this to the null object also. But we have to do it on the fourth frame. So now FEC, it has been flagged in perfectly. And we just have to see whether the speed and lacking mixes with the element or know and think it looks good. I think we have unquote speed going on, something like this I think we can work with. So we'll have to blend in a little bit better right now. That thickness is not dead. Right now it's looking good because, you know, the smoke looks cold, but in the render setup which come out a little bit darker. So okay, nobody's, we'll just have a compass a little bit better. Okay, so we'll get to that. The forcing I'll do is I'll come here to intersect. So I'd have been tend to effects and presets apply there. Com You are the dark blacker. Black too, and I'll increase it like this, right? Looks good. I'll duplicate this layer so I think it blends in better. You know, we're having a lot of opacity problems. I think the opacity was a little too low or the dissipation settings were too high for the project, we could have done one Freeman and I think that's a mistake I made. I could have done a 150mm render to see if this is sitting well. The whole design, Arnaud, right, the shape and the color and all that stuff. But nobody's will do that for the next smoke plume. And for this to complete the local thing, I'll add our tritone effect so that a tritone. Applied here. And the first column, I think I'll pick from here. So I'll actually better for yellow, right? This is something that I'm looking for. Something like this. So before, after very adds a nice effect to it. It blends better with the closed like that. And this is something that we have right now when we complete the look and once we have all the smoke plumes and we have done our final color correction, I think it should look all right, so this is what we have to know. So let's get started on walking on a second smoke blue. Ok guys. So we're gonna get started walking, creating many more smoke blooms like this. And do you know Buddha's whole process where I'm adding more smoke plumes and creating different versions. But since just creating this one, smoke bloomed of me about one hour. And this video is going to be really long. So what I have decided to do is that in order for me to walk a little bit better, I'm willing to speed a lot of this video up because I have already covered what I'm about to show you in this example and in the previous tutorial as well. But I promise that if I'm doing anything new that I haven't covered the, you know, like for example, I'm I'm sure that there are going to be more phases after this where I'll have to continue my recording. But for now I'm going to keep on microwave and anything new that comes up that I haven't covered. I promise I'm going to start the recording again and I'm going to start voiceovers again. And I'm going to explain what I'm doing. So with that being said, wished me good luck and I'm going to get started on walking and creating the financial. So I'll see you once. There is something new or something important that I want to cover. Okay. So as soon as I just said that that I'm going to keep my microwave, had to bring it back in because this is something that I want to show you. So right now as you can see, we have multiple chimneys in the scene, right? Would it be better I'm going to ask you this question. Would it be better for me to do this whole process again, create a new fume box, Create on vessel creators simple source gravity vector, do all the changes again and again. Or is it better for me to copy basis and direct setup on to a different location? Right. So I'm sure that everyone answered that copy pasting is better. So it's okay. You're going to select this whole thing. Selected. So you're basically having four things in our scene. We have a vessel, simple source, gravity vector and humans Xbox, right? So we're going to hold down the Shift key, create our duplicate like this, create a copy for the whole thing. And this is going to look all right, so we have all destiny selected like this, right? I'm going to bring it out here. And I'm going to align it now again, as you can see right now, I'm walking on my camera. I'm going to change that and perspective. And this is the place where I want to assign, you know, put our proper location on them because it's important for us to have a final view rate. In here. We can go and we can see if this is working or no, this is codon No. And it doesn't matter if these guys are far apart or they are overlapping on all because we won't be rendering them together, will be rendering them one-by-one. So right now as you can see here, I have my fume effects one open. What he could do is you could come here and you couldn't rename this over here on the right-hand side on the Modify panel. You can rename this to 01. And you will see closes. Then this backup. You can see it says fume effects. It doesn't say, you know, all that fume effects stuff such as 01. If I select this now and if I select the other one now, I can rename this to 0. It's come here. Selected, open-ended, considered, say 02. Now you will have to confirm whether all these things have been imported properly or know what I mean by that is sometimes like since we have created or fume box, we have to make sure that we have added in the second film source, right? So it will come here and you will see, yes, everything Second has been added in. So there's a second fume source, cylinder 02 and gravity vector due. Just to confirm, if you want to make sure you can hover your mouse on top of the gravity vector, and you can see that it says gravity vector 02. So this is good. This is very, very cold. We're going to focus on this now and in our scene. So what you could also do is that if if the senior is getting heavy enough, you can actually select all of this, the right-click and do Hide Selection, right? This way. All those things are not going to get underway. And even in perspective, this isn't going to get in the way. You can see that the grid nodes over here, if you want to hide the grid in the G key, that's going to call it. So let's focus on this fume box now. And I think that is all that I would like to report. I'm going to keep the setup like this. And let's see what we have. So I'm going to speed this part up now because I'm just going to make a few changes. Once I once I have something that I'm happy with, I'm going to explain you what all I did and I'll see you once. I have something called. Thank you. As soon as I decided to keep them, Mike, I have to bring it back for some reason. So here we have our first problem that I went to change the cashflows and I thought this is something important that I should cover. You have to make sure that if you're walking in a different fume box, you are saving your cash at a different place. Right now, the cache files have not been assigned. What this will do is that since we have the final render of this Donald ready, it, it won't be that much of a problem, but it would be a headache if I hadn't rendered this out. 8. Final Project - Car Dust Storm Composite: Hello everyone, and thank you so much for joining me on my training cause my name is Dan and welcome to fume effects practical projects, episode seven. In today's video, I am going to talk about recreating the short in 3DS Max, human effects and after effects. So without any further delay, lets get into it. So the first thing I would like to talk about is the footage itself. The footage comes from N12 elements. I wish I was getting paid to say this, but I'm not. They have a lot of different stock footage collection. So you can come here, type something, see if you could add some fume effects, walk to it or know and challenge yourself how good time there are tons and tons of stock footage is that you can download from this. And if you want to follow along, then this is the name of the footage of 4K footage and nine seconds long, so we can have ample space to move things around, crop and get a good shot. And even a long file for us to play with the speed of the animation, right? So that are similar stock footages as well. So you can give this a shot and, you know, take a look at them, see what you like. So this is the footage that we will be working with this radio. And actually let me close this project and import the four days that we will be working with. So you're the 07 religious, right? This is the short that we have. Now as you can see, the problem, the problem with the short is that the camera or the COD is too far away from the camera. And we're getting a lot of these extra things in the way which are not necessarily useful to us. So we'd have to crop the shorter little for us to walk a little bit better. And also this is a 4K resolution short, so we cannot directly walk on it because we'll have to render it in such a big space so nobody's shorten or reduce the size of our composition. Now, if you're trying to create this for your demo reel, I will say one thing that nobody expects you to have a 4K footage, right? Some of you may be having, That's the dilemma, that should we reduce the resolution because it's 4K focus and big demand and ultra HD and everything. Nobody expects you to have a computer that can render for a and for you to walk with 4K footages. So it's okay or demo reel should show. Watch your capability, what kind of projects you have been working on knowledge as rate, that is what their demo reel really functions for. So I'm going to reduce the resolution of this down to 960 by 540. Now the reason I'm keeping such low resolution is mainly because I want to walk a little bit smoothly and I don't want to have a lot of issues with rendering in a more detailed way or having some crashes when I'm walking with After Effects and 3DS Max at the same time. So that is why I'm walking with a low resolution, but a decent and presentable kind of resolution could be 12K 0 by 720. So as you can see, the footage supports both of them. You can easily free-market short yo, for example, and we will reduces down to 75. And this is, I think, the kind of short that I had set up in my example, right? So you can work with this, but I, for the, for the case of recording the tutorial, I'm going to reduce this down to nine sixty, five forty. And I'm going to walk with this, right. So this is what we have, the Cisco, not bad. I think this is the reason I want to reduce this down is because we can have a lot of space to work with that Dostum, right? The more space we have to work with adults don't look in front of the card. And of course the speed of it will also play an effect. But he basically wanted something that would cover up the entire screen, right? So we want to take care of this empty blue sky. And we wanted to have something over here. This is going to be our main focus, that this is going to be a secondary kind of focus. So that can be done a little bit easier, but this is more important, right? So this is, I think I'm liking the framing of this. Let's take a look at the speed of light. So if I was to play this, you could see that please in a very slow movie. And the reason for this is that it's 9K, sorry, nine seconds long, short. And we're not going to render all that much. So what we will do is we will do a right-click. You will select the layer, right-click, time, time stretch, and it will reduce a stretch factor down to 50 via basically speeding up the footage. And now if I were to play this, you can see a lot faster, right? So this is what we will be working with. And this looks good to me. I'm going to go to about two seconds. And this is the photos that I've selected right now. I don't know if you guys can see the Sono, but those stock footage itself now since you are working with stock voltages, this is going to happen. I mean, even save the file. So this is going to happen that, you know, a lot of times you will already get unmodified for Xian on getting a raw file, right? So for example, the problem that I'm having is added, this footage has been stabilized. I'm seeing a lot of distortions in the rock over here, end of the road. You know, particle here. And it's ok. This is going to cause a little bit of a problem when we are tracking things. But I think we should still be able to work with the footage. So if you are keeping if you are working with stock footages and you're getting them. So please take a look at this. Okay? Alright, so moving on now, we are going to do a right click over you dream, come to walk area. And this is essentially what we have. Now a lot of times you will be walking on shorts that are really tightly frame. So for example, you won't be rendering a hundred, two hundred, three hundred creams. Sometimes there may be situations where you have to walk with a long-short, but Mozart I MGR rendering, we'll be in a hundred, one hundred fifty frames. So this is what we have like, for example, right now, for the case of the tutorial, I'm walking with 50 or frames, right? 50 proper output framed is what we will be aiming for. And this is something, you know, if you guys are following along, may help you out. Okay. So the next step would be the tractors footage. I usually if you're walking with a bigger group of people, then this is something that effects our dishes aren't supposed to do, right? But if you're working with a smaller group of people, this is something that may come to you. So watching a tutorial on YouTube about how the cracking system walks in After Effects will really do help you out. But I'm going to give you some basics right now. So I'm going to select the layer. And the reason I'm doing this at the starting of our journey, and for the short is because I like to have some confidence and I like to have the basics out of the way. And then I like to start my walk and 3DS Max and film. Because I don't want me to walk for today's creates something called looking, you know, cash it out, render it out, and only to realize that okay. It's not looking proper with the footage in my eyes, it's a lot better if you have a track ready, it's going to give you a lot of confidence and your work is going to cause smooth off. So I'm going to come here to effects and presets, type in 3D camera tracker, apply it to the footage that we have and we're going to get a problem. The problem is that the footage needs to be a 100. But like for example, the scale that we did over here is going to get into base and nobody's, okay. We'll come back to our project panel. And what we do is we will render this out. I think it's a lot easier for us to work with a simple rendering of this file instead of walking with the original file that we got from the eduardo elements website. So this is what we have. I think this looks good. I'm going to render this out and we will try to walk with this. So I'm going to select this com, hit Control M comma the Render Settings there ended queue. I'm going to click on lossless. And we're going to go to Format QuickTime. And in the codec options, I'm going to choose animation. Okay? This is a really good lossless codec, is gonna give us very high-quality and we will be able to import this in 3DS Max as well. So make sure if you go to format options, you may have something different selected here, like Apple Flores, sustained data animation and the applicable. So okay. Okay, look over here. You're basically so I have my mattered render out already, but that's what can we do this again? And see if this file hit Render. This is going to render out very quickly. So our rendering is done. I'm going to, this is something that we don't need anymore. It's going to import my map file that I just rendered out, make it into a new composition. And this is the file that we are going to be working with. Ok, this looks cool. Select the foolish applied 3D camera tracker on it. And it's going to take a few seconds to analyze the whole thing and to create abstract points. But the main reason why we are walking with 3D camera Draco is because the camera is moving in a 3D space, as you can see, it's getting closer or is moving along the road, right? In the previous, Of course, I had used a simple tracker. The reason for that is because that short was 2D. The element was moving and the camera was static. In this case, the camera is also moving along with the element. That is why we are working with 3D camera tracker and the rule of the game for tracking now I'm not an expert in this case, so please forgive me if I sit on the ground. But essentially what you want to walk with, these are different drag points and happened creator. You want to walk with black points that are solid or basically are basically dead in the entire part of the road, right? So becomes scrubbing. This could see, I think this is the one that we would locally make equal to. Ok. So I'm going to select this right-click. Create solid and camera. And as you can see, it, it's a perfect track, right? And essentially what you are looking for is really something that is there in the footage for a good long way. So for example, this ratio could also others or your could also be called. But the problem with these is that they're going to get out of the shock, right? And then that is going to be a problem, right? And you can see the sky, the blue one, it cuts off after some time. I think that could have also worked as a good track point, but the ones that go away in a few frames, that's not a good track, right? So we have created our track point over here. I have basically taken this pole, this pole as our cracking unit. And I think we have a good crack in RC, Right? So this is good. I'm very confident in the plaque and let's see if our thing pays out now. So we're going to jump into 3DS Max now, I have my track ready, I have my short ready. Everything is called. Let's take a look at how things work in 3DS Max. So I have my file you now. Firstly, I'm not liking the layout, so I'm going to hit Control B, sorry, all to be the come to view port configuration. And I'm going to choose the topic on this, this layout, right? So we have a big perspective window to work with, and three viewpoints on the top will choose this left viewport all to be again. This time in viewport configuration, we will work with the background setting. We will use use files and animated background field per tick mark on this, right? Commuter files convert x dot. And basically the reason why we are doing this is for us to like when we're creating our fume effects rainbow, we wanted to have a good reference point on how the layout should be in respect to the ground and how we like the direction of the smoke and that kinda stuff, right? So we'll come here to practical projects 02. And you could actually do this with a simple photo as well. But since we have the ability, let's try to work with a video footage sustains. I'm going to click on Matt. And as you can see, this is my foolish going to click on open. And there you go. I'm going to hit on applied to active. And there you go. Our footage has been imported in. It is 60 or 50 frames inland. So if I click on it okay. And if I was to scrub, okay, if I'm scrubbing right now, nothing is happening. But if you see if I change the quarter next, next dreams, it is happening. And this is because yeah, let me save the file over here because I think things could get crashy a little bit. Okay, so the problem with this is that it's not playing. If I hit the play button here, it's not playing is because of another thing. You're to customize preferences. And in your under the viewport category, you can put a tick mark on upbeat background while plain. So now if we click OK and scope this day ICO, which plane now, right? So Michel that your file is simple to work with. And it, you know, I think it's going to work well with 3DS Max. So this is what we have when we scrub this animation recurred and this looks called. I'm going to hit the G key on this button to get rid of the grid. And just to confirm, I'm not sure if you're getting the right settings or no. So I am going to come here to render setup and make sure that my, my, my output sizes proposed. So yes, it is 196960 by 40. And this looks so otherwise you may get a bit of a distortion that, that could be because you are rendered setup is not right, right, by, by default it won't be proper. So this is good. Let me go ahead and save a file. So here we are in 3DS Max. And to get started with the work, let's actually focus to some basic settings for ourselves. So if I were to play this footage right now, as you can see, it plays, but after about 60 frames, it just stops, right? And this is a problem that I would like to fix. So I'm going to hit all the B again. And I'm going to go to the background. And I'll put a hole before stop and hold off the end. I'm going to put these two settings. The reason being in here we have some other settings where we can assign 3DS Max to play the clip after a certain frames are over. And that's why we need hold before stock. And once the 60 frames are done, because 60 frames is what clip is all about. After that, it could hold the end fame, right? This way we don't get this abrupt end. And this is going to work a lot better for us in vivo. So for example, I can tell you right now that the first and since Cv have walked on our desktop Project before in the tutorial series, even you guys would know that we will need to give him effects some time for it to repair the proper Dostum. Right. So what I'll do is I'll come you all to be again with the background and I'll choose star that I'll increase that 60, right? This way, what's going to happen is that it's going to hold for all this much time. But as soon as it crosses 60, playback is going to begin, right? This is called, since we only have a 100 frames in our timeline, we need to add 150 feet. I think I'm going to check to 150 frames because it could happen that maybe we will, we will start our dust storm and emission at about 80 or a 100 frames. So we need 50 frames. All right, so this is good and everything is working well. Now let's start, let's start creating our Does stone. I'm going to speed this part up because I've covered this in previous tutorial. So you can please refer to that. And I'm going to resume once my basic does Tom is ready and I have some more information for you. Okay guys, I'm back again. As soon as I said, I'm going to go, hey, and I kept my Michael via needed to use it again. So here I was creating my particle system for my desktop on idealize, this is something important that I would like to share. So I'm going to hit the six key to get the particle view, create my standard flow and also something that I'm sure that you guys would know. So I come here to my viewport and I rotate this particle up, right? And as you can see though, the view port on the left is not reflecting that if I was to rotate the snow, this is again like in the previous series, this is going to become our camera. And this is exactly why we have the grid over here, right? If I hit the perspective view here, and then if I had the G key, this is going to give us the greatest going to give us a good idea of what kind of glean VR happening, right? And I think this is looking good. So this is a place where I would like to set up my camera. And it could happen that the way your viewport or your particle system has been created in the scene, it could be facing like this, right? So feel free to rotate this like this. What I prefer to do, I think it's a lot better that if you are to keep the viewport the same, right, and routed the emitter lighting, that is a much better thing to do. So selected hit the key. We disable the ego selected and we can go dated back to its proper place. If you're ever confused, what is the proper place? And you can come here, mythological endo, perspective, angle. And you can come here, hit though, Belmont like this. And this is what we have so we can align the viewport rapidly first, write something like this. I hope you guys can see the grid and I'm trying to match it to the plane that we have. Yeah, I could also I don't know how to change the color of the current data. I'm not using the rule, but you can also use the rule to see and mock perspective. They can get a good idea of how their perspectives. So this is what we have right now. And I'm going to come here and we will select this. And I'm going to, I'm going to rotate this, like this, right? Something like that. Right apart there. So this is what we have now. And hopefully this is clear to you. And now I'm going to get back into creating the Dustin. I'm sure you guys can follow along at your own speed. Thank you. Okay, guys. So I'm back and I'm happy with what I have right now. And the only problem is that the speed of this Eigen just tell by the way it moves at the speed of this will not match the speed that we are going for. So what we really wanted to have me open up my other project. It's important for the speed of the dust storm to be released slow as compared to the speed of the car moving. This is the slow speed is what gives it the massive scale effect rate. It's moving so slow because it is so big that it's moving very close towards, or it's moving at a very high rate. Yet it is looking like it's moving so slow because it is so big, it covers such a big area. So it's important for us to have a very slow does Tom. So what I'm going to do is I'm happy with the sheep of it. I'm happy I'm not going to use this color. I'm going to color this in After Effects. I just use it for some reference. But I'm happy with the ship and let me share with you what settings I did for you to recreate this or actually sharing my settings will not do anything. This is just to give you a little reference point. So my grid is six hundred and two hundred fifty, one hundred fifty spacing as one. Basically I'm sending about 1GB. And in here I have a gravity. I have in my particle set up, I have changed the smoke to ten and I've increased its radiation all the way up to a 100. I have my radius at addFive variation at 50. In. The only thing that I think I have done, the front is I've added an omni late. The reason why I have done this is because if you look over here, there is a sport which is kind of like in a shadow. And this is right there in the main sport. Now this, my shadow is fine, but if you remove the old me, you will see that the shadow, very like it becomes academic sport. So that's why I added in the Omni to lighten up the area a little bit and lighten up how things stuck. You can increase or decrease the intensity of your life right now, the default, the Omni was like this and as you can see, it goes up the space properly, but two brightening On the other surrounding smoke. So I'm going to reduce the Omni back down to 0.5. Come here in density, reduces down. I'm gonna change it to 7.5, right? This is what I'm liking. And the only thing missing is the wavelet, sorry, not wave-like post-processing. But, but anyways, maximum iterations were a 100. Gravity will set the three water city scale. Time scale was set to 0.5 for it to develop properly. And I have interaction blocking side Z, right? So I kept that to minus z. And in simulate fuel, I, I, I don't think I've changed anything over here. And the smoke buoyancy was increased to minus four, right? So these were my basic settings. I'm going to push processes to reduce its speed. And I'm going to take this from, I think about, I think it's a query. I get to see it over here. We're going to take this, take this from, I think about 9090 frames. I'm going to take this from here. This is the shape I'm really liking. So I'm going to take this from here. There is one glitch over here, but I think we can get the fixing this. So from 90 to about one, 1-5, right? These are the themes that I will be post-processing. And once this is done, we will move to After Effects or actually we'll move to rendering and then do after effects. So I'll see you once this is done. Thank you. Hello everyone. I am back again, and this is what we have. And I'm very happy with this result. So what I'll do is I'm going to finalize this and we're going to stop my simulation at about 125. And you're going to put this into post-processing. Yeah, I think this is where I think it's best if we make our decision in the perspective and the camera view, right? So this is what we have at about a 100 little behind the DC. So this is at 90 at I think I'll take it from a 100100 to 125 and want to take those 25 themes. I'm going to post process them to a very small number. Let's see how this looks in. Obviously this is my final quality. I think I'll do a little bit awesome. Let me just render this one time and see how this looks. I'm not very happy about our very happy with the stuff like the scale effect. And these, there has to be more detail here like this. I am really happy that doesn't already have either. So what I'll do is I'll do a sim One more time, leaving that part out. I think maybe we can move a little bit ahead and see what happens. Yeah, I think if you just continue the same for some time, I think we could create a better result all week should take the SIM from. I don't know why. I just I think I just missed that. I didn't see that properly. Yeah. I'm going to continue some I think. Now if you ever wanted to continuous, continue your sand from some vagaries. As you see, you can click on this button right here, which is continuous simulation. And IE stopped those simulation at about 125. So yes, please continue from there. And human effects will, will seem the rest of the flame. So as you can see, it says 75 frames left because it is starting from 127. Okay? So I'll, I'll sum it up about 25 morphemes and let's see what kind of result we get, right? Okay, so there's a problem in the simulation, and I thought that it's a good idea to cover the Smart materials. So the reason why I don't want to continue the simulation and your head is because it's taking up the entire sky space, right? Space that we have here. And that is something that I don't want. I want to have a clear distinction between Lake. I wonder to be two major milestones. I think this is very crucial to create a big effect, right? So what I'm going to do is I'm going to pick my simulation from about 90 frames right here. And we will see how that goes. So I'm going to find, is this. This Sim. And I'm going to start my post-processing on it and I will update device once everything is ready. Hello everyone. We are back into our work and my adeno has just been completed. Let's take a look at how to do this in After Effects. So my After Effects is setup here. I'm going to close this project and open wavy had left off. So this is where vivo, I'm going to double click over here to import my sequence. And again, I have rendered this simple PNG file. So I'm going to bring this down here to save the file first. I'll drop this in the project panel lawyer. Now this is actually not a good thing to do. Let me it's not a good thing, it's not a smart thing to do if you have your CTI somewhere in the middle, curiosity I over yo, then dropped into SEO. And now they are going to make this into a 3D layer, right? And next, we're going to pay interest to the crack solar. And now if we are to see things, voila, this is what we have, right? So this has been dragged into a scene. We just have accomplished well, and we can hide the sky and things should walk out, right? So let's take a look at the coloring side of things and we will work things from there. Okay? So the first thing I would like to do is select the layer. Come over here to let's see, workup. Ok. I think we should go for tritone. And again, these are not my gurus all the time, but they really do walk. So I'm going to call your client on and then even take ten. Applied here. Move this. And even rate levels can also help us. So apply that. Now the first thing I would like to do is apply it in and I would like to change the white sheet. I can have an eyedropper and can pick this from Joe and see how things look. Maybe a little lighter shade. And this is something that I'm liking. The scholar is something called We can walk with it, then apply tritone, try doing the same I think is not giving us the effects that we really want. Or no, just kidding. Midtone isn't ready, Paul who is setting off the tritone. So try to work with that. Oh, yeah. Oh, and in levels we can I don't I'm not that good with this, so please forgive me if I'm doing something really wrong. And, you know, if I'm just locking out, there is somebody watching who knows this better than me, then please do not recommend me your CV. So okay, so this is definitely not code and the researchers, and right now this is what we have. Okay, so this is not bad. Let's, let's actually ok. So for now, let's keep the color SAP have something where you basically work with, will visit the colors part again. Let's take a look at what is missing. You know, for us to achieve the final effect. Now, the one thing is the second smoke plume. Now in my demonstration, what I had done is I had duplicated the sequence. I had just scale that up. I still add up to 150. Move it in the position and I had kept it back. If you upkeep the almost on the z axis, you can see you can push this behind, right? So it moves a little bit slower. So this is something that I had created before. And you can actually push this a little bit further behind like this. So you can have a nice parallax effect, naval, Right? And I think that's part of what you are, luxury nice. Now the only problem is that the blue color here looks like a blue screen that we have the key out, but that's not the case. That's a proper sky. So this is okay. This is called, we can scale this up even more for a product to get properly had not write something like this and just push it behind so that it blends with the scene, will write something like this, right? This is something that we have. What we can do, this. We can create a new ship, Leo. So I'm going to come here to Rectangle Tool and basically going to draw one out like this. This is to create the ground contact effect, right, right now you can see that the dust storm is not, it's looking like it has been added in operators on blending and well, so this is something to help with that. I'm going to remove the stroke from this and pick it scholar from your right eye gets column from here. And then I'm just going to apply a Guassian blob, reflect on it. So apply voyaging glow. I'm just going to blow this OK, right, something like this. So this way it's going to add a little bit of a lake right now. And yes, we have to make this 3D as well, because this also needs to be walking along like it. It needs to be in the same 3D space as the touchstone. So it needs to get closer to the car, you know, as as the camera is getting closer to the to the touchstone, right? So we have that. And I'm going to animate the opacity or the hitter. Firstly, I'm going to reduce its opacity down to about 6070, right? This is basically to create a little bit of dust on it, right? And I'm going to regulate a little bit. One comma 20. So as you can see, some vendors, 85 sometimes is a little bit more, a little bit less. This is called Next, what we would like to create would be to create one more layer of dust. And that is basically by doing the exact same thing just on our differences. So I'm going to create. New shape layer. This way is going to create a full-screen ship layer. Sorry, not marked like this. W flick on the box like that on the second, on the top. Rectangle tool, make it 3D and attach it, attracts solid. And I'm going to come here to opacity capacity and reduce its opacity down to lower number 50. And I'm going to add obligate weight again, so vagal comma 20. And this is what we have rate. So it creates a nice HIS effect of wind blowing, right? And this is what I had used to calm my final chart. Now, please understand that this was done for a demonstration and the example that I had shown you was done with my own free time that a lot of back and forth and seeing what is water and water is or what not. The one critique I would have is that we can pick this martyrs. They can take this. And I think I'm getting some, some borders with some black borders. And I think one simple way to get rid of that, to keying options. Thank you could add that. So what Lou monkeys cluttered was that each soften the edges of our render, right? So I increase the threshold from 0 to a small number of 20. And then I increase the edge feather for quite a bit. And this way it's going to help it blend a little bit better over the background smoke and with a contact us that we have, right? So this is what I was able to create. Now complete our look. I would like to create an adjustment layer to get the colors right. And, and I'm going to create one more duplicate, say DS1, create one more duplicate and place it behind, like on top of our map. This is basically being done to hide out this blue layer that we are getting here. Maybe the opacity is a little too much so you can reduce it down to about 1015 and we'll take care of the rest, right? So this is one way to get rid of that. Next would be to complete the look with some letter boxing. So simple way to do that would be going here. Changing the blend mode, tensile alpha. And this is something that we have, right? So this is something that we were able to create in 3DS Max and after effects are simply, does Tom composite. If, if, if you're not able to see things properly, what you could do is you could reduce the dust down a little bit. Like about tardy opacity. And this is something that we have made, right? Ok guys. So here these are compared com, comparing what I had created when I had. Here on the right-hand side is my demo video that had shown at the start of the tutorial. On the left-hand side is something that we were able to create in two hours time. So there are some critiques. The cropping of the video and the framing of the short, I think would have been better. And the perspective of the dust storm is a little bit of in the left side in something that I just made. But this is something that is going to happen to you guys a lot. And I'm very happy that I'm able to end this tutorial on this node that clearly the quality differences that right? But you also have to take into account that when I was creating my demo video, I had a good long while. A lot of experimentation. A lot of bricks in the middle of this was not done in one day. You can take the hours. It took me like a couple of hours, but this wasn't done in a one day. There was a lot of trial and error backend for like just to show you guys one thing I think I have that contour. This was one of my starting, you know, mistakes right when I was walking on the shoreline. So as you can see, there is a lot of room for improvement here, right? And of course this is just two times the speed and trying some, somebody tests out by basic tests out. But this proves the point that you have to give your film effects walk a little bit of time. If you like, if you are stuck on a project, one of the best things that you could do is walk away from it. Take a little break, maybe an hour or, you know, do some YouTube, take a little break and come on the project again. And that fresh eyes is going to really help you create something called rate. So this, you know, I'm, I'm assuming that if you are a beginner, someone who has watched my beginner's series and is now trying to do some more advanced work. I would say this is going to happen to you that your forced cry in few effects is not going to be great. You won't be able to create the best of work. The color differences here. And I don't want you to think that, okay, since I was able to create this one on the right hand side, product output, why am I not able to do the same rate? So please don't do that. That's not going to help anyone, isn't going to help you in your journey and keep learning, keep making mistakes. And I promise you if you continue on the Part One day, you will be creating super book, right? So with that being said, my name is started along. I would like to end this tutorial on this node. Keep practicing, keep learning. And if you are having any problems, if you didn't understand anything, shoot me an e-mail message back. Okay. So thank you so much for watching my tutorial. My name is, and I will see you in the next video. Thank you.