Getting started with TouchDesigner and generative visuals | Benjamin Carrier | Skillshare

Getting started with TouchDesigner and generative visuals

Benjamin Carrier, Interaction designer, generative artist

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10 Lessons (1h 13m)
    • 1. Class Presentation

      0:46
    • 2. Installing the software

      2:02
    • 3. The basics of the interface

      7:55
    • 4. Discovering the operators

      6:24
    • 5. 3D rendering in TouchDesigner

      5:47
    • 6. Class project pt.1 - Noisy Sphere

      14:14
    • 7. Class project pt.2 - Material and Compositing

      15:42
    • 8. Class project pt.3 - Adding interactions

      11:23
    • 9. Class project pt.4 - Playing and exporting the project

      7:47
    • 10. Conclusion

      0:39

About This Class

Welcome to Getting started with TouchDesigner and generative visuals!

This class is to show you the basics of using TouchDesigner. In this short class we will get started with a simple generative art project to get to know the software. You will learn the interface, the basic foundation of creating projects in Touchdesigner and how to go from a simple animation project to an interactive one where users can play with the visuals. At the end of the class, feel free to experiment more with the software and share your work with me @benjarier, I am more than happy to see what you have built with TouchDesigner!

I am Benjamin Carrier, interaction designer at Piko Studio and generative artist, I have been using TouchDesigner for many years now to create generative visuals, interactive installations and more.

Transcripts

1. Class Presentation: Hi, My name is Benjamin Carer. I'm interaction designer and generator artists. This glass is an introduction to Dutch designer. Dutch is anger. Is there a software that's for anyone who's interested in two D or three D media based production projection, mapping V. Jane or generative art? In general, it's another base programming software, so you don't need any prior knowledge of programming language at all. This is an introduction glass, so we will start from insulting US affair up to a point where it can create our own interactive visuals. The idea behind it is to tickle your curiosity and that you will be able to experiment more with the at the end of the class. So let's start right now and insult our software. 2. Installing the software: Okay, so, two star, if this series of tutorial we will start by installing the software, you can go on derivative dot c A. And once you're on this page, click on get it now and download the version appropriate for your operating system. I'll do windows. And this is also a great time to create an account where you will be able to get your free license. So go on my accounts. And I only do you have an account, you can go on and create a new account right here while this is not building. And I'll see you right after the number. Okay, Now, this software is not loaded. You can double click and open it. You will get prompted with this window. You need to agree the terms off the license and then you can click, install, and then you just wait a minute installs itself there. All right, now that we've install it, let's click on finish and also check the lunch to this touches anger. And here you go. So you have launched the judges anger for the first time, you will probably see Ah, window that looks like this. So it's the key manager, where you will need to enter your user name and password that you created with your account to create a key for this version specifically. And as you can see your on the non commercial version so you will be able to create none commercial work and export visuals of to 2080 by 7 20 people. So that's it for the installation. We will look in the next video at the interface and how this stuff works. 3. The basics of the interface: great. Now that we've installed this afterward, open it. Let's take a look at the basics of the interface right of the bat. Duchess Singer will open with this template file. As you can see, it's very easy to understand how this is another based programming software. You have all these operators, which are these rectangles right here. And they Trent form the info they have inside, and it then transferred information to another of these operators. You usually have inputs right here. Then you will have the transpiration on the on the inputs. So this is a displace, and then you will send it to the next one. Some of them won't have inputs like these. This is basically because they did their input from somewhere else. For example, movie filing. And basically, let's you import that file from from outside. So this is basically how the software works. Most of most of the info will travel through these simple links. There's also another type of link. We will see more of that in future tutorials, but this is basically a links that travel through the perimeter window right here. This is a parent. Your window. When you click on any operator. This will change, and there's also multiple tabs. This is basically to change D printers of the transformation that's applied to the input. Sometimes it's not very easy to understand which which parent does exactly what. There's always this hell button right here. If you click on it, you'll open the wiki for Dutch designer and you'll see information on the different barriers that you can see right here. Finally, let's take a look at just how you go around in the canvas. All you can move. Uh, this is basically with your left mouse button. You can just click anywhere to prove it. Also, click on an ability to move it with your right months. Whether you can select multiple Liberators, it's very simple. You just click delete when you do delete an operator and thats it. Basically, this is a simple to the space where you will be traveling. There's also 1/3 dimension because some of of these murders will be will have other overtures inside of them. They are components, so they have multiple but produce inside. For example, this this Juwan is one of them. As you can see, this one doesn't have borders like the other one. This is because of you. Active is enabled. So if I click right here, if you're active, you will see I disabled dio the whole border. The thing is, one of your active is clicked. You can move the element inside so you can just see what what's inside of your This is the same thing here. I can move in, sign my three d object. But what exactly is this? Is this a breaker? If I click directive, you can see that it's a component. The thing with components is that is that they have these great borders and you can travel inside him. To do that, you simply zoom in with your mouse wheel and that's it. You can see there is some other operators which are not component, so you can't zoom in, for example, inside this end. And if I zoom out, I will go back to my project when eyes when I can also simply use I to get in. So that's it. And if you look right now and a top of the canvas, you can see exactly where I am right now. This is exactly like Internet address. If I click you, I can go up and I'm back at Project One. As you can see, also Project One is it's basically another component. If I zoom out a lot right here, the root of the project and it has two components and perform and a project will take a look at perform in future in future tutorials. Right now, we just take a look at Project and this is where we're going to work. So if I win, I'm back at my project. If we keep looking around at the whole interface at the bottom right here, you have your timeline so you can set a duration. Ah has a number of frames per second and you can also use it to play a loop or play once. Basically, it's time. This timeline is the time That's moving. So if I put if I play pause If I press pause, sorry, or if I press on my space bar, you can see this animation stops so time I will be used to move objects over certain for over a certain period of time. So this is going to be very useful either for life. So like like you can see right there you can create an animation and play life, or you can play it wants to, for example, to export a video, you will just play it once and that exported video on the left you have the bullet. The bullet is basically other components like this that are pre made for you. We won't use them in these materials. But I really encourage you to just take a look at the different one. For example, if image filters are really interesting and you can play with them and see which one relax and how they work because you can basically look at inside them right here, just like that. So now I pressed on the lead and it can also close about it. So if I click on the X right here, you can always reopen it by using this. But it finally, on the dep. You have all your menu usual, Uh, also with a little bit of extras like wiki forum tutorials. And also you can see your real time from friends for a second. So this is really important. If you see that your program is getting really slow. I think you look at your FBS, there's probably an element that you created that uses a lot of fit off GPU or CPU, and this might create those frame drops. And there's a real time mode, which is honor off. Right now it's on. We'll see later how we can turn it off and when when is useful to turn it off. The last thing I want to talk about in this little tour of the interface is the help menu, because this is going to be very, very useful. If I think Look here, I can see there's different types of help. One of them is operator snippets. If I click is that, it's ah, basically examples off the different operators available to you. If I take a look, for example, at, uh, for example, the circle operator against an example. I can see different examples right here, So this is going to be very useful. In the next two tour. You'll video you look at what each of these categories or families of operators can do. But just keep in mind that whenever there is one of these a birder you will see you're not exactly sure how to use it. Overdressed snippets is a great place to get some examples that are very simple, that you can use a copy and based your elements. So this is really, really interesting. So that's it for the basics of the interface. In the next video, we will take a look at the different overdose type. 4. Discovering the operators: all right. So now that we've looked at the basics of the interface, we've already talked about operators. Let's take a look at how we can create them. So first, let's select everything we have on our canvas and elite. So right now is better select everything or simply control A to select everything and then breast leet that's it now hope to great new a breeze. You can all. You can do this in two different ways, so either you double click somewhere, so you will see this Pope Ukraine. I look or you can also pressed up to get the same with First, let's look at the camp tap, which is basically the component family off operators. These will be the for example, for a ticket geometry. This will be the components. So, as I explained before, these contain are your operators inside of them and we will use them mostly for three D objects. So basically camera light and geometry and for our panel, So you I components so simple you. I like this one is going to actually contain a lot of other elements. So, as I explained before, the f those great borders they contain other operators inside of them. So this is mostly useful for Ox for those operators that we will use for three D. U I and other miscellaneous that we won't take a look at in this series. But I really encourage you as usual to Beatrice and try it with difference different of the different operators inside dis menu. Now let's take a look at the top, which are texture operators that victory operators are over. It is a are about the three elements, so basically pixels eso. This is well, you will see your example like movie filing that you see in the first template, where you basically choose a file from the computer and import it. And then you can add some other faiths, like a blur level to change the brightness of the image, for example, so this is everything that's about pixels is inside the texture operators. Then you have channel braiders, which are basically did operators on channel of information. So this is really a specific way to treat the info, so you treat in four as if it was a signal. So any information that's coming inside to designer uh in terms of a stream, and that will be data usually associated with the channel. So if General is basically, for example, it's gonna be either audio channel. For example, if I use for your device in As you can see, you consider two channels of my microphone right now. But also, if I take, for example, mouse End, which is data coming coming in from the position of my mouse under screen. This is also two channels txt y. So any in full coming from different sensors or different elements outside touches anger like, for example, you can use it connect are all going to be coming in with these channels. So this is all in the shop, many chopped up. Then you have surface of barriers which are breeders on three D. So, for example, I can tickets fear right here. And if I click on your active, I can look around. This is a three d sphere. I can change parameters. Ah, and I can also add other example butter example of transformation on these elements. For example, if I use noise, you will see that the sphere has a noise associated with it. And this is the newly created shape So basically, this is to change the whole three d and then you have material which are magic. Basically, materials for three D will take a look at these more in details in the next tutorial. So he's example. This is a basic material that you can see on every of the three D objects by default, and then you have that which is data operators. The data operators is not exactly like the channel operators, because it's more about information going in in terms of fair oven area of info. So basically, you would have that if you add that operator. If you had, for example, a huge file with information off little weather for the last two years, then you will laugh an entry with every day and the foreign of temperature. They think this is going to be a really large stable. Then you can use a filing right here to import a text file, for example, if it's in in text format or you can also use CSP. Basically, this is too important information in terms of more of a table of data than channel, so any of these moving data is like in full from a connect where you will have, for example, at the position of the head or that's is going to change. Or, for example, if you have a game controller, there's always going to be there always are going to be in the chop in the job operators and data is really more about tables of data. So that's just the thing to keep in mind. It's not really easy to understand first, but you will. You will get used to it and understand how channel works and everything by the end of this of these editorials and then custom is basically custom operators that you can install F either from someone else or you can create your custom operators to, uh, this is more advanced part of touches Iger. We will take a look at this in our series of video, but just keep in mind. It's always possible. So that's it for our different types of operators. And the next video, we'll take a look at the three elements and how to render in Dutch designer 5. 3D rendering in TouchDesigner: Okay, so now let's take a look at how to do at three D Render inside touches anger. It might look a little bit tricky at first, but we will go through everything every single step off the three D rendering. And you understand very well hot works by the end of this video, and we will use it in our next video to and for the project. So first I cleaned my whole cannabis, removed everything and closed the palate. So I have nothing on my window except for my demining. My menu right here. If I want to at a simple three elements, I will become tab and look at the service operators. Let's take a look at, for example, simple box, which is this government. As you can see, if I could computer active, it's this limit. But how can you render dis limit where we will have animations in the project, for example? So how can I go from Disl? Ament to Orender? Well, it's gonna go with different, uh, different operators. First you need for three D. We'll need geometry, which is going to be rendered. Uh, then rule out a camera and a light and finally we'll use a top which skull, which is called Render. And there you go. So how does this work inside rendering? Here you can see you can have a camera geometry light when you have a single name. It's basically the name of the operator. When you have a star like that, it's every off disciple of operators. So if I have multiple geometries, it's gonna render every single geometry. Right now, it's fairly simple to understand. So you've got basically geometry, which is a three D object. Your camera, which is the camera that's gonna be using render and the light, which is simply lighting your object. But right now, the problem is I have my books right here, and this is not what's rendered weak. So how does this work? Basically, a geometry is an element with a three D object inside, and this is where it gets tricky by default. If you had a geometry, it's gonna be with this stories inside. So if I zoom in as you can see, I have a service element right here. And if I just remove it and you simply my bucks, uh, for example, here, the bus and a nice amount. I should see my bucks rendered, right? Well, not exactly, because there's another problem. As you can see, you have all these Ah little circles right here that you can either enable or disable. And basically you have these two, which are we're going to use, which is rendered. This is this means that the bus is going to re render. If I zoom out, you can see I don't see anything right here. But there's Orender and David Box and the display, which is going to be displayed inside the the window off the parent component right here, right now, into displayed and rendered as you get serious here. But it's kind of tricky and not very useful because you have your all your information's on your three. D is inside this geometry. It's gonna be useful when you have a large program because you want in close all of your elements inside components, or you don't have a huge cannabis with all these elements inside. But if for very if we want to do some very simple, a very simple programming like in this tutorial, this is kind of complicated to have multiple levels so one of the things we can do is basically used an input. So if use an input is going to create an input here for it for geometry. Here's an example right here. If I remove this and he was in him there. As you can see, there's there's an input right here that is gonna be on my components so I can basically connect this to the input. And if I go here and select this big runner, there you go. You have your three D bucks nets right there, and it's rendered. So this is a little bit of a treaty process. So here's a little shortcut that's gonna be very useful and that you will use most of the time. I think I just wanted to show you how it worked. And now here's the 40 shortcut. When you add elements after another one like this, you can right click on the upward and then six other elements. So I, as you can see, I could use, for example, that you would create and it's already connected. But you can also use Germany, and when you use the geometry by using the shortcut, it already creates the geometry with the input and also in output. And it's already enable that surrender as this place. So basically, this is what we're going to use most of the time. So that's it for the three D rendering. In the next tutorial, we will start our project. 6. Class project pt.1 - Noisy Sphere: Okay, so now let's start our project. What we're going to achieve in this class project is a visual like this one, which is a sphere that's moving with the noise, with the voice coming inside the microphone and also with the position of the mouse. So let's start right now. First thing we're going to do is actually to create a Project folder here. You can see in the file with you use create Project folder. I use control P and create at Project Older. We'll be creating this Project folder on our desktop, And the thing about creating a Project folder is that it's going to be really useful, because every time you save, as you can see right now in new Project that won the to, um, it's gonna be creating a new version off the file, so it's gonna add increment this number every time. The problem with that is that it's going to create multiple files, and you need to place all of these files inside an under folder. Otherwise, you're just going to create a bunch of files on your desktop, for example, and you need to manage him afterwards. So let's start by creating a new project. So let's go this skill share project, for example, and I selected reading files. So this file is not going to call new project. The folder is gonna be called Scripture Project, and a file inside to you can also add media folders. If you're planning on using some different media or create them afterwards, it just a way to organize your files round, Going to select any of these and use it create right now. As you can see, it opens a file explorer window with the sculpture project and another window where it gets really confirm and safe. And here you go. So this is the main project file. If I click a control s here right now, I'm in version one. Their main project file is going to always be there updated version. And if I click save again, I have skills share project to and D created a backup folder. So the back of folder contains every previous safe. So the great thing about that is you can go back to previous saves and working your projects from a previous point. If you've done something that broke your project, for example, so Let's start. My creating are set up. So first we will be using a sphere right here and then before ending our geometry, we're going to add a No. The reason we do that is that we're pretty sure in this case that we're not. We already know that we're not going to simply connect the sphere to the geometry is gonna be some elements between I do. But if you're not sure a great practice is to use and all and all is basically nothing. It doesn't change anything on the elements. So let's consider is not even a single parent your heart here. But the thing is, uh, it's easier to I have no here and connected geometry because if you wanted, for example, to of multiple through the elements he was emerged to create multiple women's, it's easy to have them say simply connect at the end to the no or wreck like here, and click Insert a barrier to insert operators between before the note. And this is the element that's always going to be connected to the geometry. So this is never going to change, but you can always add some elements right here, so it really gives you the ability to actually add some elements without always disconnecting and reconnecting to the next element. So this is why we're going to use it all. Since we're going to add some other operators. Your, uh it's gonna be useful for our project. You will see. We will also use that in, um in the top Herbert operators in the next video. So let's go back to our no and then right click to create our geometry with the shortcut that we use in the previous video. So here you go. This is our geometry. It's already, uh, with an input and renders old checked, so that's very nice. Now let's at a camera and the light. And finally, let's add deep render and here we go. So this is basically what we are going to use for render, but we're off course going to add some extra elements. Let's add here. Ah, I click. I right clicked on the underline and insert operator, but I can also right click here and insert, for example, my noise and it's gonna do exactly the same thing. You can also use a the mouse wheel click to create for example, nice. And instead of cutting between two elements, it's gonna be created as a another another nut. So, as you can see, this is my noise. Uh, I can change how it looks like by simply playing with these parameters to show you a little bit of what each of these characters do it. Because it's not very easy, huh? To understand? First, because you're the noise is basically, um, um mathematic formula equation that changes the position in this case point position of the elements. And it's not like a simple random because, as you can see, it still has a organic look to it. Instead, if I used simply render this would look like this, uh, sorry here. And this is this is a random noise so you can see the point. Don't need any links to that. They don't. Their position is really not related to the position of their neighbors. Where if you're going, for example, sparse, which is a type of noise there, you can see that if there's ah if there's a point position, it's mostly linked to the neighbors, so they're not very far from each other. So that's how it works to give you, um or, uh, visual idea what changes when you click on different barriers, I just breast space to stop to stop the animation. You're gonna click on Chuck right here and use the noise. This is going to be exactly the same noise that's you ever hear. But instead of seeing each point in the three d space, you can see here that each of the point of the 600 points have their values. And as you can see, uh, it's gonna be very useful if you just want to visualize what the what? The prettiest, for example, harmonics, roughness, everything changes on atmosphere. It's also going to change right here on this. No oyster. So, for example, if you change the seed cities basically at unique elements off your of your question. But if you use a seat off one, you will always get this results. So if you don't change the sea at all, you basically will always get the same every time. You certainly will get exactly the same way for him, so you can change the to whatever number you want. Basically random number, then the period as you can see it's it's in seconds because each of these of these values right now we have a channel with a certain length. It's a number of points, but it is also a value in terms of seconds because, as you can see, we have 600 values. So this is basically at 10 10 seconds length at a simple rate of 60. And what if you want to change a period? So instead of once again, you go larger? As you can see, the wave is there's the same number of samples or the numbers right here. But the length of the wave really changes. If you go really, so you will see that you have. You see more differences between the different points. So let's go back to one second. Harmonics is going to be at the more kind of microscopic level as you can see the general shape of the way. It doesn't really change, but you can see there's some small changes on here. For example, instead of being a very like I resettled waves, it's gonna create some little changes everywhere. So, huh, it's less a very of a a organic form and more, uh, random shaped like if we use the random right here so you can change harmonics. You can shoot also a roughness. I'm ready to go back. One. You can change roughness. You can see what dis changes and you can also use exponents so amplitude will change. How high or how low we will see the way from go and offset also changes big. So this is all the burners will be using. So if I click play now, let's play a little bit with this, uh, divergence inside this shape if you didn't see when I go exponents with the lower So it's bringing closers Europe and then let's go higher on exponents straight this shape. So that's not bad. That's basically what I want to achieve, so really organic shape. But, uh, with movement, but not too much movement. So that's good. And it's just this one. And now, of course, why does it move and when does it's moving? When I press buzz, Uh, basically you have a translate here, Translates is going to translate inside the noise formulas or equation or function whatever you want to call it. So, for example, right here there is no transform applied here, but I can. If I simply take districts for I can see copy and paste. You will see the transformation being applied on in the shape of the wave changes because you move through the equation. But there three elements. So X, y and Z. So this is what happens right here, and this is going to create our random animation off the shape. As you can see, there's a blue value right here. So this is because it's a formula and the formula is APS timed out seconds. Epstein means absolute time since I opened the software in seconds. This case, I can also use frame, of course, from is really faster because of their 60 frame for a second. So that's what this is going to give you. But you can also use other parts of the formula like you can also use abstained that seconds divided by two. If I want to go slower, so this is cool. I think I'm going to stay with divided by two, but you can basically play with it. Also, there's that's time, but there is also meeting time. Media time is the time on the timeline. Yeah, right there So if I take a look at that time, you can see that the timing right now is invited by to. But it's basically a time in second since since the beginning of the timeline. And I can see you saw this little stutter because when I arrived at the end and I loop, this is basically going to go back to the first shape that it has. And if you can, if you scroll through the timeline, you can see that you can animate this when I use uh, Epstein. The problem with that is that it's great for life performance right now because this is never going to a stutter when when you go back to one train to frame what? Sorry. But the problem is, if I played Empress, pause and then I stopped and then restart afterwards. There's disorder, so as time is always incremental, even on plus, whereas me dire isn't so, this is a thing to take in consideration. If you I wanted life or for an export, usually for an export, you will plate only once. So maybe me time is better, since you can really control how the animation is going to look at any single point. But as time is good, because you can basically create some some effect, like effect like this, with the surgeon randomness to it and basically never have to think about it again because it's always living. So that's it for this tutorial we've We just saw how we can use some noise on this fear and an extralegal Take a look at materials and compositing. 7. Class project pt.2 - Material and Compositing: now that we've created are three shape. Let's take a look at de compositing and material part of our tutorial and our project. So compositing is gonna be happening right here in the tops. So basically, the dumpster section right here is going to be what we will use for compositing. And before I create anything, let me just create a simple no and linked to it. So we're going to create our compositing between the No and Orender and to see a little bit better what we're creating right now. Let's just click on this plate. And as you can see, it's gonna show the whole image. Uh, right here. So this is a really nice way to see what you're doing. And if I'm working, for example, right here and don't really see the whole the whole program. But I can always see the results right there. And you can see there's the oldest, these it kind of chick board behind the shape. This is because it's transparent shape. There's no nothing behind it. So, uh, we will need to add some color behind. There's also some of you might be looking at that this one with the black Bagram. If it's the case is because in tops right here you can change ticket word to black. So if you see something transparent like this, it's can be, always been black behind it. I'm not a big fan of that because I want to know when I do my compositing. What, what's transpiring in What's that? So now let's add some compositing elements. First, let's add a Bagram to our element way. We will be using a overtop. So, uh, be you can either Reddick there and sort of barrier or right click here and use over, so over here you go. And this is the last element. We're going to do it by ground. It's really gonna be added at the end. As you can see, I've a X mark right here. This is because this operator work needs to inputs, and as you can see the X mark to get some info, you can either click with the most middle mouse button. So they're wheel button, and you can see Aaron on enough, source says, but specified, and you can also see different types of info. A GPU CPU could cook time, so basically how how how much time it takes to transform inside this block your size basically everything. Or just click on the big X, But you can always well, button clicked on any of these elements. Let's hide a black background. So to create that, we're gonna add a constant. This is a constant element just basically as simple color and, uh, too much and link to the over What's the over is going to do is gonna take difference source and place over the second source Very basic. So this is the shape you get. Why? So if you take a look at render in the coming tap any commendable If off our a off our tops will we will see the whole resolution have that's created with this this element, you can change it. You could create some larger resolutions, but you cannot go over 12 80 by 7 20 if you're noncommercial. License and read outs that were important for the project were training. We will be staying with this size, but what he doesn't know. Why does it changed to a square? Because here you can see there is in the common section you have used input for up with resolution. And this is basically what you see on every off these elements so using, but will also look at the input coming from our second input, which is a constant. And by default it's 2 56 by 2 56 So if I choose 12 80 by 7 20 back, you can see right there. If this is gonna beat, the whole image is the same size right there. The thing is, right now, as you can see, you're not really seeing very well the whole shape. It's kind of large for the image. So what we're going to do is a mover coming back a little bit. Two did it to do that, we're gonna go in camera X form. So the first tab and translate if I click on translate, I get either enter a number right here. Or are you just the real button on my mouse to click and then select how much I want to increase or decrease this number. So let's use for example, 0.1 is good and then move from left, right, and I can change his number. So let's do something like this. Okay, that's good. Eso. Since I'm not sure exactly what number I'm going to use instead of simply typing a number every time. Using the button of your mouse wheel is really, really cool. Now let's answer material as I showed you in the opener to drill. This is going to be in the bat. So let's use a fund, which is a basic material. You can also use other types of material where frame is like this is going to be only the lines of the geometry. PBR is is a physically based rendering. So basically, you need to have it Environment lights. It's a little bit more complicated. We'll stay at fun right now. If you want to explore as a usual feel free to do it and to change of material, What we're going to do is here. You can see in the render tab you can place a material you can either drag and drop it here , or you can just drop it on the whole. On the whole, uh, Bredar, you will see a different parameters that I might need a material. So let's use in this case, my dear old. So this is gonna help you appear right here And now let's change our material. Spare mentors. We'll start with the diffuse light. If you take a look here, you can see I'm changing the diffuse light to discover Speaker light is the light. That's really that's basically where you have you considered what point right here. This is the white of the of my light. So if I take a look, it ah, this particular and I change it, for example, for something really pink. As you can see, it's changed the culture of the speaker. Then you can also use intimate, which is the color where that's emitted from the object, even when there is no light. For example, if I use blue, really, you need to watch out for the, uh, what value will set your blue, because kind of at you can really go to something that's kind of looking like it burnt whites really, really fast. So if I go like there and so well, yeah, you can look at the values choose value, you think it's most appropriate for you. I just go back to, uh, something a little bit darker. That's it. This is good for me. And so I have my really pink point in the mill. And then there's the diffuse color. Let's change a shiny nous so shiny. This is basically how do you material be? Eva is more shiny Are a matte finish. So it's goo former matte finish like this. This is cool. Um, so the matte finish going to mean that the speaker color is not going to be a sickle. Single point. If I go really high on China, this is gonna look more like a plastic. He, uh this is maybe more easily seen right here. So more of a plastic he look to it can plastic metal. Right now, I'm gonna be using a lot of less of a shiny nous and more V going for larger Spitler point . So this is good and no, let's take a look. Maybe at the position of her light, we can change it to. So if I go ex wife So basically at X and Y inside our three d space and Z is gonna be if we're closer or further away from ours from our object, as you can see now, Airbus camera, if you want to take a look at the whole three d space. You can click on the hour right there. Look it geometry viewer. And there you're in the three space with a geometry and you can see I have my camera and my life behind it. Let's just go back right now to network editor. So this is not so bad. Maybe you can move it a little bit to the right to create Really this A. Just make sure that the point isn't completely centered and create this kind of more organic effect of adding the element that is directly centered inside our limits. So that's kind of a cool look. I think I like this one so you can see I'm not really at in putting some somewhere some specific values right now. I'm just playing with it. You can also do that honestly. It's a really great way to explore if you for two great serving effects, of course, you will need to put some really specific values, but I'm just creating change your achievement, inorganic look that I want and not really caring about the The number is the number enter. So that's why I used the mouse wheel button. So you, for example, you could go like higher. Something like that. This is gonna be This is going to be the Do you look at what, Chief? So this this is gonna be OK for me. So now let's look at some compositing. So for our project, we will be using a feedback loop which is very useful in touch is higher. How to create a feedback feedback loop. We're gonna insert a number two right here, and we're going to be using and over again. Here you go. And also creating a feedback. So to create their feedback limit, I'm gonna click with the mouse wheel button and feedback right here. I will have a level which can adjust the image, brightness and capacity in other elements right here. And I'm gonna add it to D over. So as you can see, there is already an image stuck right behind it, and it seems like the feedback is created, but not really that really moving right now. This is because the feedback requires a target up to get its new image from, So I'm gonna use over right there, so I'm drag and drop. And as you can see, their shape is moving and there's always the previous shape behind it. If I press reset here toe on my feedback, you can see that it changes. So this is OK, but it's not really the feedback we were we were hoping for. We wanted to create more motion blur. Now we're just created a an image that's always painting on itself. So that's exactly the kind of thing we wanted to do. So religious press pause and reset this one. And if we take a look at the post tab, so this is, uh, we're gonna change capacity. Let's change it to something really low, like zero point for. And if I press plate you consider the best you change. It doesn't seem to have done a lot of motion during. But if you go higher, there's motion. Blur added to it. If you go to one, it's really basically going to do the previous effect. So just at issue go a little bit under one. As you can see, there's motion blur next to the movement because basically the previous shape so that's a great way to to use a feedback loop is to create this motion were around your elements, and I don't know if the screen really renders this part really well and this screen sharing method I use. But there's kind of a of a moment in the back here with words Gray or it's not. Basically it's not completely black. One of the way we can address this problem is by going to our ah range a priest and raising a little bit of our black levels. This is going to be better. Just adding a little bit of black level will actually make sure that we don't have this kind of gray shadow are on it. And now that's it We were. We have our basically noisy sphere that's moving around. The last thing I want to do is just before going to the next video is, as you can see right here, if I please step, considers it. This is it's not really organic because and there's not a lot of points in this. Fear is I clicked with the most Well, you get Cedar 722 points that maybe not enough. So let's just change that right now and let's go for let's say, 40 by 80 and grisly and that's it. This is more, uh, or get this is a more organic look I want to do achieve. So that's good. Just make sure you don't inputs. Um, two large numbers because your friends are going to drop right here, and that's it for compositing. Well, we will then take a look at the interaction in the next video. 8. Class project pt.3 - Adding interactions: So now that we've animated our sphere in the way wanted with simply in ways and an animation going moving with the time, let's take a look at how we can add immediate with ah, maybe some interactions coming from different sensors. Or in this case, will be using our mouths and our microphone because this is which we owe it, have available. But feel free to use it. Any of the elements you see right there you can use leap motion. You can use it. Connect what? Whatever you have with you can be really cool to test out. So I said, let's use it all your device in that which is going to be the input from my microphone. So right now this is I need select my microphone I'm using, and this is good. Let's you can enter it in stereo on model, uh, one always good. Uh, since we're going to use only one channel in any way, So as you can see, this is a lot of information. So what we need to do is just basically get one of this info. So what we will be using isn't that nice? Analyze can look at all the values and give you one value that you want. For example, this is average. What I will be using his Mexico maximum is going to be between zero and one. And it's gonna be Dave, basically the volume of my voice. So if I speak louder, it's gonna be higher and fespic quite er it's gonna be lower. So this is basically how we will be using it, and we're gonna change the amplitude of the noise. So let's before we connect, we could get let's use. No, because maybe we will be adding some extra elements right here. How do we connect it to the amplitude noise? Very easy. You click on noise right here. And as you can see, this is amplitude value. So this is going to be if it zero, it's simply going to be the sphere. But if I go higher, there's be more and more noise. What we want to do is stay mostly between Syria one. So we're not going to apply anything to change anything right there For the moment, Uh, as you can see, I can think of your active and select my child and then drop it on amplitude. Then it's going to ask me with what I want to do. Export shop, jump reference and order. Simple cure in value. A job. I will be choosing Trump reference right now. So how does it work? Basically, when you use use like directive and drop it, it's going to write this formula, which is operator Norm three. In this case on then Channel One. I can, of course, change the name of the operators. Everything like that. You know it for this. If you knew, I won't be changing the name. But you can always click right here and change the name. So I'm thinking Theo, opportune. All three and one. But if I use an export, it would be basically the same. Thing they're thinking with export is that it was the usually it was the better way to do it because it was more efficient, then simply using an expression. But since, uh, using expression is the thing we did in all of the order elements resembling the transform used an expression right here. I think using expression for exporting for a Mississippi using the info from a channel is very simple and convenient way to do it, but you can use export. It's basically if I do this, you can see if I use export shop. It's another type of way of writing gathers, but you basically get the same result. Before it was more efficient. Right now it's it's basically the same. So I will stay with expression right now. And if, as you can see, there is a small square inside the larger square right there. If I click, it's basically coming back to the value we had, so you don't have to always select it. If I just want to return to a simple amplitude value of one. I can do this just by clicking. As you can see. The problem right now is that when I speak, sphere moves. But when I stop, it's just a basic sphere. So not very convenience. And that very, uh, not exactly the effect I want to achieve. So since we had no, we can basically add some more limits between and analyzed, and it'll first thing we're going to do because it was against. It is also a big stutter when I when I will be speaking, so we will need two different job the 1st 1 is going to be there. Meth. I put it right here and the meth would. We will be using it for It's for the range. Basically, deranged is saying Okay, I'm good entering values of 0 to 1, and I want to go to a new values of, for example in this case you want, so it doesn't change anything, but it is going to keep the proportion of the change in the front reach. Now. I don't want to go to let's see zero to 21 So even when I stop talking, there's still some noise in the shape, so that's a nice way to use it. You can also go over one, so maybe if you want is have bigger value and more nice, but that's not what we're going to do right now. We're gonna keep it going to a maximum of one, and it's not really less thing before I go to the next one. It's not really maximum. If this value would go over one this ed, the value and the two range will also go over one another operator, if you want to. All right, basically, limit values is actually to use limited breeder, which is right at the bottom right here. So then you can limit the value and say, OK, the maximum value you can get this one. So this is a think. So right now I know my microphone is not going to be over one in the analyzer here and under zero, so I don't need a limit. Eso The last thing I wanted to address is the starter right here. So, as you can see when I when I speak, uh, there's this motion verb. It's it's kind of stories because I don't have a constant volume, and it's really very sensitive. So So the thing we can use to a resident is adding a filter. So if I read, click there and I had a filter. As you can see right now, it's filtering a lot, so you don't see a lot of change when I start speaking or when I step this Because filter has a width, the width of the filter is basically taking the values from a certain time, so let's not. It's for one second and filtering it so basically your filter the values for one second length, so this is this is kind of a lot for what we're trying to do. Let's go to 0.2, for example. And now you can see you can see the changes in this fear, but it's really less stuttering than if you don't have filter. You can really see it right here. So right now I'm speaking and you can see the filter filters, the stutter that you can see in the analyzer in there. So that's a good way to start. I think we will stay with 0.2. I think it's a nice thing. And the last example of interaction I wanted to shoe is in direction with the mouse. So, uh, let's use the mouse in here you go and messing basically gives your values for your mouth so minus 1 to 1 in this case point. But my minus 0.52 point five. Basically, as you can see, this not exactly these values. So maybe in this case, I will be using a limit to change developed. So first real uses select because we will be using only devalue in de Why So, yes, I think you select values a select trip will let you change reading the channels if you want, but you can also selling the channels that you want to use. So, for example, if now I'm selecting everything that's said, I just deep why Here you go. So that's a way of keeping only the white for the rest. And then I will be using a limit. So here the limit. I'm going to select clamp and stay between miners 0.5 2.5. So right now, if I go there as you can see this like it's going a little bit over there is your 0.5, but then it blocks it. So no, I'm sure I'm never going to go over the values. And finally, what we would be changing is the defused, and we will be changing this value. So this is the This is the our value. So, as you can see, this is a red if we're going to change it from blue to completely red at so from zero from 0 to 1. So it's going to change blue to kind of pink. Um, And to do that, we will be also adding an old to make sure if we need to do some some other limits, Some of the transformation on the elements. Sorry. And already I know that I will need to have a math, because I'm going from minus 0.52 point five and will need to go to from 0 to 1. So this needs a math operator. So, Matt, and then inside range, I'm going from minus 0.52 point five, and I'm gonna be going to from 0 to 1. That's it. So that's good. And now let's ah, click on fewer active little shortcut and chuck reference. So right now we can see I'm going for my really pink to really blue. Depending on winter, I'm up or down with my mouse. So that's it for the interactions in the last video. Uh, this project, we will see how we can play or export this product. 9. Class project pt.4 - Playing and exporting the project: And now, for the last part off our project, we will take a look at how we can present our project and also export it. So the first thing we're gonna be looking at is how to present it. So, for example, if you have, uh, life prediction with this element and you wanted to, you know, at a microphone, our the connecting people will go in front of it and change the shape or the values of this animation. How can you do this? Uh, when you zoom out right here, as you can see every project one like I should before, when you zoom out, you will see that perform window. So this is a perform window. Basically, it's it's the same thing as if you pressed F one or perform mode. If ever I gonna show me my perform window. For the moment, it's empty, but we will add. Some, of course, are visual to it. Also, just before I assure you that let's take a look at the perimeters that we have. Open us perform window open a separate window can also get rid of the borders. Specify a different monitor, So if you have multiple monitors again at performance. Different monitors. Uh, but right now, let's just take a look at how we can send the image to to despair for moat. What we're going to do is use an element to send to the parents. So the project and project is basically right. Now it's looking at some elements inside it to show you right here. So right now it's waiting for background step, which is basically the image that's gonna show right there. That's gold out. One. I don't have any background took. Let's go out one. That's why it's completely black. I could either use it type in the address of the pointed and the dot slash basically means inside this element. I could use the knoll, for example, right here in all to to arrest it. But I will just create it out so we can see it also working so you can create an out in skull out one. So this is basically going to show up right here because I haven't outward. And I can also use this upward to, uh, to do some other changes through my elements. And so right now if I use if I go to perform haute clicking right here like a full screen. As I can see, it still looks at the position of our mouths and changes with the sound of my voice. So this is basically the perform mode of touches. Very, very simple. Now, if I press escape, I'll go back to this view. And now let's think how we can export our video. So if you wanted, for example, to export a video instead of simply performing it way won't be using it out like this. We will be using a movie file out and connected. So this is going to record what it receives from its in books or now in all and create a file call TV movie out 00 that move. Basically, you can craze just a movie image sequence or simply export image. The N value right here changes the numbers. The thing is that if you don't, if you don't change the name of the file and do multiple exports, you will. You will just override your previous exports, so you need to always change the value if you want to create another file. If you just want to overwrite, you don't change it. Also, we'll use different correct. We will use a big for you can use the contact you want. This has always worked great for me, so I'll be using his. For now. You can choose the audio Codec and place and on your shop. So, for example, if I wanted, I could place the rodeo right here, coming from my voice and directly inside, we found out I won't be doing that right now. I'm just spinning to export. Move you without the voice. Then you can choose to France for second, and if you press record, you get regard for the time you want. And then when you Priss frequent us, as you can see, I have right here TV movie out with my movie. So this is working great. But what if I want to do a movie but with a certain amount of time really specific? Corey's apartment. 10 seconds with movie right now. As you can see, I have a time line at the bottom, so this is how it's going to be useful, will pick on only play once, so it's going to bleed the animation only once. And if you press this button and you go back to the first frame. So right now it's 10 seconds and it won't and it just won't loop to the 1st 1 afterwards. So what we're going to do is press regard, press personal space bar it played and there wait for the whole 10 seconds toe Blake. And then it's going to step into the press regarding in it. Well left exactly 600 frames in our video. Nothing we just want to address before doing that is they hear the feedback. As you can see, the first frame is going to have a weird shape because we have feedback behind it. You can use a pulse here to reset the feedback so it won't start with any any element behind it. But as you can see, they will still be an image stutter because our animation is still going on in the noise. Because if you consider transform is based on absinthe. If I press plate, you you saw that did just a little starting the shape and the thing we're going to use is media type that seconds as I showed you in previous videos. If you use me, the tire bookie created still another frames just both. Now I can basically go through all the elements I want, and it's always going to be the same animation except, of course, for the color and the and the volume of my voice. So this is going to change. But that's going to be OK for this one. Feedback at response again just to remove the Blur. And finally, for a video export, I really encourage you to basically that turn off their real time mode because real time mode is all about creating a project that's gonna be presented in real time. And if there is a some little friend drops, it's a big problem if you go like 40 50 frames per second. Not that much of a problem, but for a video. If there some friend drops in the middle of the video, it's gonna be weird for the viewers. So what we want to do is it's like this, so it's going to take the time to really and to really calculate every single frame off the 60 frames per seconds. So right now, if I press here record and plate, as you can see right now, Lincoln Dog over the image and is going to animate. And it was also move my mouse. And at the end of the 600 frames, it's just up. I can hit record off, and now I, of course, over wrote my previous file, but I have simple 10 seconds file with all the animations that agreed. 10. Conclusion: so that's it. Our project is now complete and the glass is over. I hope you enjoyed it. We started from zero up to a point where region now create your own visuals. With that desire, I hope you will experiment more with it and maybe you some utter paraders as always, looking to help menu operators. And if it's for some examples in the next last, we will be talking about instance ing and convince compositing. I really hope to see you then. And in the meantime, feel free to share you work. I'll be more than happy to look at what you've done with touches higher see in the next one .