Transcripts
1. Introduction: Welcome back to another
very exciting class. In this class we are going to talk about how we can create a nice blowing particles
and lesion inside of Maya. And we are going to
be using Bifrost. We are going to understand how Bifrost aero actually works. You can create your
own custom images, how you can be formed your
own geometry to create a very nice building
particles simulation. And then we'll see how you
can set up your simulation, how to go around it, and how the motion will work, how you can add your
turbulence into your noise. Noise works with
your simulations and then we'll dive
into the catching, how catching is done
inside of Bifrost, and how you can manipulate it. And then finally,
we'll dive into the shading and lighting
where you can create a very dynamic lighting
for your scene and how you can create your own
custom particle shooters for your own
particles simulation. We'll dive into
how differentiate the works and how you can pretty much shoot them differently
according to your particles. Then we'll dive
into the rendering. Rendering works, or you
can create a seamless surrenders and how to
save your rendering time. At the end, we're going
to talk about how to do a post-process inside
of After Effects. You can pretty much
change overall look of your particle simulation. How you can color corrected, how you can create a very desired looked at
the rural solution. I hope you enjoyed
this class and I'll see you on the other side.
2. Understanding Bifrost: Alright, so let's understand
how Bifrost aero works. By first arrow is a
very nice maximization Bifrost fluid dynamic system that works pretty
nicely around fluids. There a couple of things that
you should know or you can say it's a prerequisite
before getting into fluids. Let's start off by
understanding how the Bifrost actually
walk around. Now the first thing that
you should know is you need an ammeter by a customer amateur in winter can be anything. It can be a primitive. It can be your own custom model or you can use it for
whatever you want. Now if you don't have Bifrost loaded in your Mayan system, I will put a Windows system and preferences Plug-in manager. And if you scroll down, you will see by first
year the result. As you can see, make sure
everything is loaded. Set it to auto load and
you'll be good to go. Now, as I said, you need
a custom amateur that mean if you go for Bifrost aero, you'll notice that you
get the container, you get the properties,
and you get the mesh. But if you play, you'll notice
nothing happens because you don't have anything
as a source of emission. What we're going to do, I'm
going to delete all of these. And let's take a sphere, simple sphere as a start. And from here you can
go to by photo and it automatically
recognizes your emitter or you can see your
source of emission, those objects that
you have selected. And I start playing this, you'll start to see the
particles moving around. Let me just change
the background. I'll be now you can see you can emit these
types of particles. Look pretty good. This is what you
have to understand. Now the second thing,
that has to be a one-unit skill
regarding the amateur, that means if your
object is too small, it will not meet your particles. For example, if I
make it somewhere above 0.5, it will still emit. Alright? Yeah, it's, if we go lower, you'll notice that it's not
emitting any fluids anymore. The reason is because
the ski is too small. So keep in mind that you
need good amount of steel. It doesn't have to be too big. It doesn't have to be too small. You just have to be a
reasonable amount of skills. So one is a good number. You can give it 2.5.6 or so
on depending upon your scene. The overall simulation
that you're doing is the scene is
too small mixture you make a scene bigger or
just try to manage it, how it is fitting your signal
depending on the scale. Now the other thing is again, I'm going to take a simple
cube as our ammeter. And let's go to arrow and open up the attributes. In here. You'll notice that we have
couple of properties, the arrow, mesh and
amateur property. Now, we've got this
unusual property since we have created
our custom editor. As you can see, the emission
rate has been said to continuous emission by
default on our arrow, if you're using a
Bifrost Fluids, the continuous emission
is turned off by default. Now the other thing
that you should understand about the
why first arrow is, this is your master
of hillsides, is your overall quality
of your aerodynamics. That means the lower
the number is, the more higher
amount of particles and more better simulation
you're going to get, but at the cost of obviously
the calculation time. So keep that in mind. Whenever you are increasing
or decreasing this number, it's always going to cost you
and in your catching time. So keep that in mind. Apart from that, the
overall native fields doesn't work with you. Alright, so by process created their own
dynamic system for that. And that is the motion field
which we are going to be using in the later chapters. So there's that and we'll see how this
works and everything. So that's it for understanding
how the Bifrost work. This is just to get
you started off the rural basic understanding of how arrow actually works. Now one more thing, last
thing to keep in mind, there are a couple of
methods that you can visualize your L. For example, if you go to your arrow
continuum property, if you scroll down,
sorry, In your airship, scroll down render here you'll notice that the winter
has been set to volume, which means it's basically going to render it as a volume. Now if I show you, let me just pause this. If we go to Arnold IPR and
let's take a physical, as you can see, we are
getting this type of smoke. So there are a couple of
things to understand. We strive with arrows
simulation you want. For our scenario,
we are going to be rendering it as a particle, not as a smoke or as a volume. So we are going to be
using the point volume. All right, so that's it for understanding how
the bifurcation, this is the basic thing that you should know to
get you started. And I'll see you in
the next chapter.
3. Deforming Geometry: All right, so in this
chapter we are going to be creating our own
custom parameter. So I'm going to start off
by going to call evolving. Now again, this is all nothing
but a creative process. You can use your own imagination to create your own amateur. And it will work just as nice
feet on your simulation to. Now for my, I'm gonna show
you a couple of examples. You can take a simple
tourists, for example. What you can do is
you can simply go to modeling menu and the form. And here you will find
something called as the picture deform
right about here. You can select this and in
the picture what you can do is you can basically take
any noise that you want, for example, this noise. And now you have basically
deform your overall geometric. Nor from here
again, you can play around with it however you want. You can change them, maybe time to pretty much animate this. So you can use this as well, which I've actually used
in the original example, which I've shown in the family. So you can use this as well. Now for my example, what I'm going to be using
is a different thing. You can also use a
platonic if you want. You can take maybe a dodecahedron and maybe
increase the subdivisions, maybe taking a pie or
maybe a triangles, caps. Totally depends on what kind of emission amateur
you want to create. For our example,
what we are going to be using super Eclipse. You can find it over here, or you can also go to
Create polygon primitive. And here you will find
the superscripts. We are going to be
using the ships. You can select any one of them. You can always go
back and change it. So for example, if you control, that is for the
attribute editor. And the third type
that we have is the oral poly Super
sheep in here you'll notice that we get access
to all the three ships. And here are the parameters to pretty much anything you want regarding do shifts like here, you will notice that I'm pretty much deforming
them manually. And if you want, you can go to
spherical harmonics. And spherical harmonics
will come here. It will be visible, otherwise, the rest of them will be
greater because you are not onto that cheap.
So keep that in mind. But the easier method
that I've found is basically creating
a random stream. And that will give you
a pretty nice object looking like I'm gonna gene
mind-boggling quickly. This is what you can. Now you'll notice that
we are getting inverted enormous and that's not going to be an issue for the error. But if it's bugging you out or you can do is
go to lighting and such a two-sided lighting
that is fixed the problem. Select any shape that is looking
good for you or you can, that is good emission source. For example, this is going
to be quite nice for me. I'm gonna go with this. Now since our animation
is going to be happening, where our emission
is going to occur, n is going to disappear. So that means our fluid
is going to be generated, is going to create a very nice I'm assuming Cloud and
let me go into disappear. So we have to create
those animation since our ammeter source is
the object itself, what do we have to do is make this object appear
and disappear. At the same time, we are going
to be animating the ship. Now to do that,
all we have to do is go to our overall
channel box. And here are all the B's
category that the object Gaddis. I'm gonna select all of them. It right, and I'm going
to right-click on them, select everything left
mothering, right-click. Or you can also simply
hit S on your keyboard to pretty much do a hotkey
for the keyframing. In the beginning,
what I'm gonna do is all you need is the scale value. We don't need anything and
scale and the rotation, so we don't need anything else. You'll notice we don't
need any parameters. And you will understand
why in a minute. For the starting, I'm
going to keep it 0 skill. So that means our object is
not visible in the scene. And I'm gonna
select all of them. Right-click key selected. And as it grows to vote, 10th frame, it reappears again. And I'm gonna select all of them and right-click
Key Selected. Now one thing to keep
in mind I am using my, my composition is
about 30 frames per second and we are
using 150 frames. That means we are
going to be getting a 5 second and mission. You can change it to any
number that you want. If you want to, you can do
all 24 seconds simulation. It's totally up to you. Now the next thing I'm
gonna do, raise again, this ship goes back
around 30 to 42nd. I'm going to go for maybe like a 30 and I'm going to make
the scale back to 0. So our object is going
to appear and then disappear again, so
you can select it. And if you look
at the animation, we have something like this. I'm gonna switch this to real-time electrical
new playback speed and make sure it is set to play everything max
you can, let's see. So this is what we are getting. Object is enlarging.
So from here, we're not getting any initial
emission in the scene. There won't be any
particles, and around here, there will be particles emitted and then it will go back to 0. So no particular mission. So that will give us a
very nice mushroom cloud. Now here it is too basic,
this is too simple. So what we are going
to do is we're going to add a little bit
of rotation in here. So about ten frame where the object is completely visible and it's at its original scheme. What we're going to do is basically put any
number of rotation, like maybe on three hundred
sixty, one hundred eighty. And I'm going to
right-click empty selected. What you are getting now is
this very nice rapid emotion. I think the rotation
is a bit too strong, so I'm gonna go back
to the 10th frame. And maybe instead of 360, I'm going to use
maybe a 60 value. I think that would be good. Right-click key, key selected, and I think the 60
value is too low. I'm going to go for
maybe like 180. Alright, let's select it. And when it's returning
back to the 0, instead of going back to 0, we can use a negative value. So maybe like minus
180, minus 90, and maybe like minus
60, simply p selected. And now if we play this back, we are getting
something like this. Alright, so now we have
created an ammeter which is kind of doing its thing. This is going to be our base of the emission, and now
we're good to go. So again, you can repeat this process with any
object that you want or any parameter that you want or any primitive
that you want. You can also use a texture
deformer if you want. It's totally up to you. This is just a bit more
easier. All right. That's it. Let's go into setting
up a simulation.
4. Setting Up Simulation: Alright, so let's start off
by setting up our simulation. So I'm gonna select my
shape and I'm going to call this ammeter. Double-click on the
shape and click on your object and simply go to epochs minimum by four fluids and simply click on the arrow. Now our arrow
container has income. And if you play this now, we're getting this type of emission of the
smoke and you can hardly see the particles because it's very little in
very low amount. What do we are
going to be doing? A select your continuum, go to Attribute
Editor and what you want as the arrow
property container here. And as I said earlier, this
is your overall quality. The more value you reduce the amount of particles
you're going to get. I'm going to put in
a value of 0.200. It's going to be a
bit slow because we are adding too
much particles here. So it will be a bit slow
to see, but let's see. All right, so there we go. Now we are getting
something like this, which looks pretty
good, Not that bad. But let's see if you are not satisfied with the
overall smooth. You can see the particle
generation here. Let's see not looking that nice or you want to achieve you change your mind,
It's not looking good. Do you want to maybe go
into a different shape, maybe play around
with something else. What you can do is you can
simply select diameter. Here you'll notice that
we are getting the shift. You can simply go back to your super ellipse and
you can choose the size. And it's always, it's
a procedural method. It's always going to adapt
to the new particle system, is always going to understand
how the overall objectives, and I'm going to
keep it to this and let's see how this
one is looking. And again, I'm gonna go back
to my select the arrow here. Let's go back to
the container and reduce the master
voxel size 2.200, know it's going to take a
little bit of more time. Now one thing to keep
in mind, obviously pure outliner dot here, it is going to be useful
for the rural process. So if you don't have
the outliner here, go to Windows and outliner. Let's see. All right, so we are getting
something like this, which looks pretty nice to me. Again, it's totally
up to you if you want to go along
with this or not. This is totally your choice. I think I'm liking the
overall view here. I really like the viral
particle simulation here. It looks pretty nice,
it looks pretty good. But again, the fluid motion
is too big for my simulation. As I said, this is going
to be pretty high volume. Again, I can go back to
change the shape or I can keep it to that if I want. It's totally up to me. But it's not doing that. But I guess I can
keep it to here. And I believe that Emily, overall animation is going
to last or somewhere about 110 seconds shortly. I'm gonna keep it to 120. That seems like a good number. Now, let's go on and start
adding more stuff to it. Now this looks pretty good. The overall particle,
a pretty large, I'm liking the overall loop. Now, let's add a bit
more particles to this now to address obviously we
can reduce the more value, but we are going to
be going a little lower in the final
catching time. Let me show that there is something called as
the particle density. Here you'll notice that the
flip has been set to one, which means the
overall viewport. Viewport you're going to see
limited amount of particle, but in the window view you're going to get
more particles. This is just to stabilize
what you can see. Keep the balance of
the oral simulation. But here you can increase the number to get
more particles. So I'm gonna keep it to
somewhere about food. Again, you can go higher, but it's obviously going to
cost you in your entertained. So keep that in mind
very much. I have. So I'm gonna play
this back again. Let's see how this is looking. The oral fluid emulsion
looks pretty good. So again, you're
amateur here, please. A very huge rule into
creating the overall how your simulation
is going to look like. This looks pretty good. I'm pretty happy with
my overall result here. Again, if you want, you can play around with
more different pipe. You can go to your amateur
and start changing. Right? Now, the main thing is here
that we can see our object. If I play this, you'll notice
that we can clearly see our primitive and this is
not going to be looking nice when we're doing
a final renderings. So what we can do is
select our amateur. Go to amateur. Here you'll find display. Here. You will find the
visibility turned this off so only our fluid will be visible from this
point, not a primitive. It will still be active, it will still be processing
in the background. We just won't be able to see it, which is exactly what we want. Now. I guess we have already, since we have hit the SKU, notice that we have pretty much keep this elements as well. Now to fix this, all
you have to do is select diameter,
go diameter ship. And here you will find
the object display and you can turn this off. And that will solve the problem. We have nice 2D motion
here to play around with. Alright, so I'm pretty much
satisfied with the result. I think I'm going to take
this a little further now. Let's quickly get into
the motion field where we're going to displace
our overall volume.
5. Motion Field: Let's quickly get into
the motion field. So if you look at
our simulation, it looks something like this. Now for the
visualization purposes, I'm just going to temporarily, It's reduced the amount
of particles we have. So let's reduce the master
voxel size so it'll be easier for us to
visualize what we're dealing with we're creating. So this is what we have
loader want to do is select your arrow container
and again go to ethics. We go to Bifrost
fluids and motion. Once you click on
motion until you get this motion feel
in your outline, you'll notice that we get
this weird kind of editing. That is because we have
direction to unknown. Now in the mission
field, what do we want? Not the direction. So
let's turn this off. What we want is the turbulence. And turbulence will give that extra fluid kind of feel
to your overall simulation. It so now we have the
turbulence magnitude. Now this is the world strength
of your oral turbulence. So I'm gonna keep it to
somebody about three. I think that's a good
reasonable number. And then we have the
world frequency. Or you can say, in other words, how much is going to affect the oral noise
hold strong it will, it's going to be how
much it's going to go. You can reduce the
value if you want it to be a less aggressive, you can see and then
you have the speed. So I'm gonna keep
it to one by one. But again, you can
reduce this if you want a bit more largest the VW. And again, then you
have the skills which we are going to
be two default, again, this one more small
thing that you can add is the drug not drag is kind of something that pose or you can say slow everything down. So again, having a little bit
of drag is a wound how you, it will just give you a fluidic
motion like you drop of ink blob inside of liquid container and the
fluid emulsion that you get, you will get the same
effect with the drag. So you can keep it
0.5. We can keep increasing the number if you want to slow your fluid down. Now if we visualize this, Let's go to our world container. And I'm going to make
this point to L. I'm going to just let this play. This is what we get.
As you can see, we are getting this fluid
motion thing going on. I'm gonna reduce my works, I would say is and we will
look at this endpoint. And let's see how this looks. Right? So this is
what we're getting. As you can see, very
nice 3D motion. So motion field just
gives you a little bit of extra to work with a bit more. You can see motion going on
since we cannot use the wins. Or you can see gravity. And Newton's, what we
get is emotional field, as I said, by first has
their own field system. So here you can pretty
much, if you want, you can also add some noise that will give you a
little bit of extra. What I'll suggest is just playing around with
these settings, play around with
different parameters. Sometimes I go for a
high number like five, sometimes I keep the
frequency and speed 2.5.5. But again, this
totally depends on you which kind of motion
we're looking for. Experiment a bit more with this. Now, with this, now if we take it into the catching process.
6. Caching: For the catching,
all you have to do a select your
Bifrost container. You go to Bifrost. You will find
compute and Qantas. Now, keep in mind, the
default location of this is going to be in
your documents folder, in your local disk C. But if you wanted to
change your overall drive, what you can do is simply
click on this check icon. Here, you'll notice that it's going on the default directory, which is in the program files
in your documents folder. Now, you can set the name of
your catch it if you want. Again, if you want
to do a custom, apart from this example, we are using a time slider here, which is this thing here. But if you want, you can
also add a manual numbering. If you wanted to add maybe like, Oh, my simulation is 123. I only want to render
one to 90 frames. We can do that if
you want to add a certain window settings
like we have done here, which we are going to be looking in the future, a future chapter. But if you want, you can
use that as well where you pretty much change you were all extension here
instead of single frame, you can add that number as well. Totally depends on, so we're
having to give it that. And again, click on this and
you can change your role directly where you want
your overall directly to B. And then whatever disc is empty, you can use that and that's it. So I'm going to catch my
overall simulation here. But before catching,
what I'm gonna do is quickly go to my arrow
properties continuing here, and I'm going to
reduce this value so I get a better kind
of looping smoke. Lucky blend mine.
The lower number is the more calculation time
you're going to get. But obviously you're going
to get a very good quality. So keep that in mind. It's going to take a lot
of calculation time. So always try a trial and error. Reduce a value, see how
much time it's taking for the calculation almost time
it's taking for the catching. Then keep going
lower and lower and lower and see how
much time each frame is taken for catching process and our species
consuming on your desk. Keep this trial and error process and then you'll
find a good number to keep the master
voxel size two. All right, so I'm going to
do for maybe like 0.080. I think that looks
like a good number for this type of demonstration. I'm, I just want to keep this quickly catch
this whole thing. This looks pretty
beautiful for me. I'm going to do is again,
go here and click on the Sketch and then I'll see you in the
lighting and shading.
7. Shading & Lighting: Alright, so let's quickly get into the lighting and shading. My catch here is done and this is what my simulation
looks like. If everything is completely
catch and we get a nice and beautiful
singling on here. All right, so I'm
gonna keep this to some of the boat here. We can we can properly
see this really motion. All right. I'm going to quickly
set up my camera. I'm gonna go to my
camera and your camera, you get this default
gambler where you pretty much have the default
focal length, which is the standard
length side macro lens, or 35 to 54 amen. Now what I'm gonna
do is quickly switch to panel and switch
to my camera. I'm gonna denote my camera
to the main camera. Now let us quickly get into the film gate so we can see
that we're visualizing. I'm going to choose a
nice image size here. I'm going to go for maybe
like one key again, you can go for if you want, you can do for a landscape,
maybe 720 infinity. I'm going to move
forward one key. With this, I'm going to quickly
set my camera angle here. I keep that in mind. This is a standard micro lens. That means we are not going to getting that much
interesting looks. I'm going to
increase my booklet. You can go to the
attribute editor and type in a value of
maybe like 120. I'll keep it to somewhere around 82120 to get a very
nice good result. I'm going to just
bring this back. Let's bring this
over around here. I think this is
looking quite good. Let's lock our cameras so we
can move our camera anyway. That's it. If you wanted to
go into the perspective mode to orbit volume have to
do is hit space bar, click on Maya and
perspective view. You can also access
it through panel. There you. Moving on, this is what
we have for the lighting. What I'm gonna do is start off by taking a simple Ilia light, not going to keep that in mind. You can also shade or sorry, like this with the normal
easier that will work as well. Let's fill this up. And I'm going to hit
P on my keyboard for rotation and hit G to snap your rotation
on 15 degrees. And I'm going to
keep it to minus 90. Now since this is our helium, let's call this
feel like it's B. It will be a bit more easier
for us to understand. Now, what I'm gonna do is create another LED light that will
act as our fill light. So I'm going to hit
Control D on my keyboard. I'm going to call
this highlights. So we have two in the same place now to change the position, all we have to do is in the Translate X instead of
using the negative value, or we have to do is put in the positive
value and that's it. Again, it seemed
for the rotation. Remove the negative value. There you go. So now we have to know from here you can use a
stoplight or a back-light. It's totally up
to you. I'm gonna keep it like this for now. And maybe literally we can
see how this is looking and then we can start
adding lights to the scene. Now I'm going to quickly open up my IPR to see how
this is looking. Alright? And we won't see anything because it doesn't have
that much experience. If you can relate, go to your attributed to make things
a bit more easier, I'm going to dock my overall, the IPR to right about here. Let's bring this it around here. I think this will
be a good view. I'm going to increase
the exposure of my key light to maybe
somewhere around ten. Alright, let's turn this on. I see something, I'm
going to make this 12. Now you'll notice that we are on our perspective camera
associates this to the main camera and now you
can see something like this. Now the reason we
are seeing this is because our arrow simulation, or you can see our arrow
is set on the smoke, as I've already told
you in the earlier, Bifrost, aero basically works
in three different areas, or smooth or a surface. And also our point value, that means creating
the particle of it. What do you need to do
is select the container. And in our airships, we can scroll down and
find the window in here. Instead of using the volume we are going to be using the point. Let's turn this on. Now you will see something like this looks
pretty interesting. Now it's still not getting, it's still not giving us the oral good looks
that we want to show. What we can do is click
on it and dinner, or right-click, assign
new material shader, and let's add a
standard service. We are using Arnold Shader. I'm going to call the shader. My particular student. Listens, good.
Let's turn this on. Now we can see
something like this. All right, so here the key light is pretty much
bonding the whole thing. So I'm going to reduce this
to maybe like eat or maybe like ten for the fill light. Let's go for
something around it. Now we have something like this. Now still I think the key
light is a bit too much. Let's go for a line number. Alright, for the fill light, I'm gonna go a little
lower, maybe like six. There we go. Now the oral scene
looks pretty dull. We have a simple, You can see particle,
simple shading here. A couple of things that you
can do for the shading. I'm going to click
on the container. Let's grow here and go to
a particular sheet again. Now familiar if you
want, you can pretty much choose reset that you want. Maybe go for a copper and always like a
couple shader here. This type of simulation, you can go for something like this or maybe like a mold or
something totally up to you. Or if you want to
play around with a randomized particles
in what you can do is let's get
into the shooting. Open up your Hypershade. If you don't know type of shaders, this is your hyper shade. This is pretty much
your material builder. You can see, you can also go to, I believe it's somewhere
here in the menu as well. If you can find it, you can, you can choose your Node Editor. Now go to your hyper shade. Here you'll find all
the particles or you can see all the shaders
that you have been using. I'm going to right-click on our particle and go
to the graph nickel. They wrote down, you
have this particle here. You'll notice that
we are working with overall copper sheet or so. Instead of using this color, what I'm going to do is quickly search for something
called as the color. And what the node that we're looking for is the color jitter. All right, so open this up. Now, color data is
pretty much you can see, randomizes the color on
each object that you have. So here we have
multiple particles and multiple particles will be
colored in different values. So what I'm gonna do
is quickly attach this color data to
the base color. And now we have
something like this. I'm gonna do is instead of using user that I'm
going to go to face. All right, let's give
it an input value. So here you have the
input value if you want, you can give it a single
color. It's totally up to you. Or if you want, you can
do is search for ramp. Here you will find
an algebra which is a ramp or you can
say a gradient node. You can search for
a simple color. Any color that you want. Again, attach this to the input. Now if we go here to look
at our overall render, you'll notice that we
get something like this, which is not exactly
what we're looking for. What we can do is go
to, I appreciate again, in the color jitter,
what we're going to do is simply change this color. You'll start to see this
randomized padding. Now I'm gonna reduce
a mental illness here and maybe increase a
bit more roughness. Minutes, keep it to point to
and we will see how undoes. From here you can randomize the overall color
however you want. You can pretty much have
fun play around with what type you want or
you want to go with. I'm liking the world
look here, but again, you can keep playing with it until you are satisfied
with your old result. Now let's quickly
visualize this to see how our particular looking and we have something like this. Now, what I'm gonna do
is quickly take a light, which will act as our top light. This edge G on the keyboard. And let's bring this up. All right, I'm gonna
call this my top. Like let's make this six. We will it increase this? All right, so there we go. Let me increase a bit
more around dementia, around essence of the edges. All right, so this looks
quite good for the particle. Again, I'm going to
do some changes here. The particle rural. What I'm gonna do
is keep sliding these number until I get a good look at the
particular I'm looking for. Alright, so this looks
quite good for me. This is looking quite nice. I think I'm gonna go with this. Again. You have a lot of
light and that means a lot of samples are
required for each light. Again, that means it's
going to be too much work. So instead of using these light, what you can use
as a simple HDRI, I'm going to use a simple easier to quickly speed up the process. I'm gonna put P,
attachment theory, or it's easier I'm using
from the poly heaven. It's a three area. If you don't have the
access code, the HTML, if you don't want
to look for it, don't worry, I'll be including
it in the project files. It'll be easier for you to download and play
around with it. You'll notice that we're getting this inside of our random,
which we don't want. So simply turn off
your camera sampled. Now you have this slide. Again, if you're not
satisfied with the light, you can simply rotate your
overall angle of your light and you can find good lighting source for you
for your overall simulation. Now from here, again, if you want to have a
good amount of samples, you have a master sample here. So keep this to
somebody about it. All right? Some at about five to eight
will be a good number. One thing that we
are working with thiamine is diffuse
and specular soup. Keep a good number on them. So I'm going to go for 22 value to get a very nice sample. The exclusions too
high on this one. So I'm gonna go for maybe
negative 0.5 value. It doesn't overblown my
world simulation, right? This looks quite good. This is pretty much it for
the overall light here. And I didn't. What you can do is
for the shading part, you can play around with how the oral particle system
is overall looking. Now it will be a bit hard
for you to visualize. This is taking too much
consumption, it's a bit slow. So what you can do if you're
using a very early version, also the little version of Maya to interviewing
to ordering 21. What you can do is simply
switch the GPU version. And this will help you
visualize everything for us. It will take a little bit
time for the calculation, but once it's set up, it's pretty good to go. Once you're done
with this again, go back to your shading. Just going to your
overall Sheena here and just start
playing around with it. What type of simulation or what type of color
you're looking for your particle system and until you are pretty satisfied with the
overall result. And I'm going to go for maybe
something a bit different. This is looking quite
good for MIT's. I'm pretty much happy with this. But again, if you
want, you can go for a single shaded color as well. That will work. All right, So from here
you can switch and see how this is overall looking for the entire simulation. This looks quite good. Once you're set up
with everything, the calculator is done, the
lighting and shading is done. All you have to do is manager
in the settings in here. So let's quickly jump
into your inner setting.
8. Rendering: All right, For the
window settings, all you do is go to
the Render Settings. And since we are going to be creating our sequence with this, the first thing you
should do is go to your common and
type in your name. I'm gonna type in blue here, since this is kind
of looking smooth. The image format that
you have set to EXL, which again, it's totally up to you if you want
to keep it to XR, usually I keep it to tiff. Or in this kind of
small simulation, you can keep it to JPEG. Now the next thing is
the frame extension has been set to a single theme
which we do not want. So instead of single
frame, we're using, going to be using this extension
which will allow us to change single frame to a frame, frame range value, which
is this right here. Notice if you keep
it a significant, it's completely
grayed out right? Now from here we're going to define how much range we want. So I'm going to keep it from
one to somewhere about 122. Now if we scroll down here, it says renderable camera. Now earlier we have created our own camera for the
rendering purpose. So I'm gonna choose that Canva. And then finally the
overall image size. What kind of resolution
you want for this cycle, your output. So I'm gonna keep it too easily. 1920 by 1080. This is, I think this
resolution is quite good, but if you want, you can
choose something else as well. It's totally up to you. The next thing is
our Indian settings. Now remember I'm
using the GPU here. I'm gonna, I'm gonna tell you all the settings
that you require for the C2 and the GPU version. So don't worry about it. If you are working with GPU, you get one sampling. That means you get a master
sample for everything. Here. I'm going to go for a
value of in-between. And I think that'll be enough for this kind of simulation. But if you are working with CPU, what you can do it and go for a value of maybe
life, a minimum value. See how much time your
system is taking per frame. If it's taken under ten minutes, that means it's completely fine. If it's taken more than
one minute or ten minutes, then to not find this type
of simulation, at least. I'm gonna go with the
sixth camera samples. And for the diffuse
and specular, I'm gonna keep it to 3344. I'm going to turn
off my transmission. We don't have any glass or transmission transmission
material here, you know, subsurface
scattering and obviously we don't
have any warning. The reader, you'll notice that what we have
the GI overall, we have one for the diffuse
and one for the specular, and we don't need as much
for the transmission. So I'm going to keep
the total of three. I think we're good
to go for the world. Since I'm going to be
doing this with the GPU, I'm going to switch this
back to the GPU and I'm going to render it on Atlantic. Now once this is
done, the last thing to keep in mind is the mean. All of these samples are
the indirect samples. The samples are
hidden in your light. So what we have is only one light source
and that is our EGI. So here we have a
master sample here, which is, I've set it to eat. You can reduce the
number if it's taken too long and
you can go for five. Again. For the examples I'm going to m2 value on the
diffuse and specular. The rest are completely set
to default if you want, you can turn this off,
it doesn't matter. So again, this is
totally up to you. This is more about trial and
error to see how much time your system is taken
for your rendering. If it's taking too long, keep reducing the number. If it's taken to lessen them, you can maybe crank it
up just a little bit. Do that kind of testing. And once you are done
with everything, all you have to do is switch
this to the rendering. Here you'll find the random. And in the render you will find somebody call it the
Render Sequence. Now click on your
checker box here, and you can pretty
much browse wherever you want to see
your overall File. And select the folder and you have to click on Render
sequence and that's it. If, for example, if something happens or
your system crashes or you get a power cut or power failure or
whatever a sense, we are doing our imine
sequence rendering. That means if it
stops at 54 frame, what you can do is go
back to here and here, put the start frame to 55, and then you can
resume you're in doing from that point forward. It is pretty flexible. You can keep it
overnight render. Or when you're watching
movie or something you want a background rendering going on, you can
keep it to that. So this is pretty
flexible for That's it. And after rendering, I'll
see you in the compositing.
9. Post Process: Guys, so we're here in
the post-processing. So as you can see,
I've already here, I have my image sequence. I'm going to do is drag this and drop it
into my composition. And now what we have is
something like this. Let me just let this play out. And so as you can see, we have something like this
looks pretty beautiful. Now regarding modelling or you can see the post-processing, all we're going to
do is a bit of a CC. We're going to do
some color correction on this to make it
look quite good. Now what you can do is take
a new adjustment layer. And if you don't know
what it is, one layer, this is basically
everything you apply. An adjustment layer,
it's going to affect everything that's below. Always go for a
non-disruptive workflow. Instead, applying your effects
directly onto your layer, tried to take adjustment
layer that will help you. You can see manage things a bit more easily and conveniently. Adjustment layer. I'm gonna start off by taking something called the
brightness and contrast, or you can simply go to
your color correction here. And here you have
lots of presets you can see fixed for
your color correction. I'm going to drag and drop
this onto my adjustment. From here again, we
can start off by increasing or decreasing
the brightness and the brightness a bit dull, suddenly just increase it. A bit more contrast. And I'm gonna see just by
dragging homogeneous affecting the overall areas
of my particles. You can turn this on and off to see exactly what
you're working with. The next thing you want to do
is take a human saturation. And let's say for example, you don't like the colors on your particles and
you change your mind. And obviously you cannot render this the whole
thing again and again. What you can do is you can
simply basically genes overall hue of your particles to see how this exactly
looks, right? So what I'm gonna do
is just keep reading. If you like this color, you can go with this color. It's totally fine. I'm liking this overall look on this one, maybe. On the other side. I like this. Again, you can add a bit more depth by adding
a bit more levels here, levels will make your bright
and dark apart even more. I'm going to just increase
some depth in here. Tonight work there's
this looks quite good. Now if you want, you
can turn on and off your additional year to see
what you're working on. And if I turn this off, you'll see this is
what we had before. And now we have
something like this. Alright, so apart from this, if you want more colors in your oral particles or
a bit more saturated, you can also take a
vibrant and living beings to add more columns in there. Apart from this, if
you have something, something like third-party
plug-ins like I have in here. Like maybe if you have a
giant suit and then you can possibly take something
like maybe crap good. And you can take maybe a shine from here in China in like this. And it creates a
pretty nice effect. You can do is you can
change the length, how long you want
this analytic tool. And let's take a frame where
we can see our particles. Then again, you can boost
the light if you want. As you can see, these
are the highlights of your overall renin. I'm not gonna do that, but it's there if you
want to use it. The next thing is
obviously the color is not matching up particles. So to change that, I'm going
to go to the colorized here. And here you'll
notice that color is set to three color gradient. I can change this to
electric or whatever there a lot of different presets
you can choose from. There's some USA and
then radioactive paste. I think I'm logging
the desert sun. So basically they
allow different presets here for you to work. So this is 19. Look, now if you think now this is a bit too harsh
or too strong, then you can obviously change your opacity of
your shine, right? You can have a
minimalistic effect. Let's add a bit of opacity
of mu 15 or maybe 25. And now you have a
very low amount of shaking going on in
your overall particles. As you can see the result pretty hard to see,
but it's there. It's something like
that or something else. If you want to do a
bit more interesting, what you can do, you have a source
opacity can reduce this and that will get
rid of all particles. And not all. You are
left with those. A read up or you can see the shines and you have
something like this. Interestingly, you
can add a bit of a boost light if you want to
get more creative with this, you can use that as well. Apart from this, if you
want to use something else, let's say I'm going to
dial this down to like 30. If you want to
use something else. There's one molar of something
called as the star glue. Yeah. This will,
you'll find this in your club good suit as well. I'm going to turn off
the shine for now. You can see, so basically
what star glue does is try to add some shimmering
into your overall look. As you can see, you
get this Blair Here. And if I increase the
length of the street lens, you'll notice those tricky. I'm going to add some
boost light in here. You can see a bit more properly. Again, you can go
to pre-process. There is a threshold level
of how much you wanted, how strong you want it. You can add this. Again, you have the
color-coding here, you have the color map. You can change this to different depending upon what
exactly that you want. As you can see, we have taken this and then you
have the color map D. I'm going to choose
the same effect for that. And I'm going to turn
on the shine here. And now we have the shine. I think we have done
a bit too much with the overall style glow. So let's reduce the Freeland, England to boost
light to maybe one. Now let's play this to see
how this is where living. This looks quite good. Again, it's not
necessary that you use these third-party plugin, but if you have access to them, you can use these
plug-ins to create a bit more extra video
oral particles here, it's not mandatory to use them, but the United States,
if you want to use it. This is that you can use
this to pretty much create an interesting look for
your overall effect. Again, you can do a lot of
post-processing without them. You can play around with this. It's on, if you want to do something a bit more
funky when you can go for finding edges
and you can invert the result and then you can get something a bit more
cartoonish like this. And you can, if the effect is too harsh and you
can blend with the original to create a blending
point between both of them. So now you're getting the
original particle and tune kind of thing going on. So you can use that as well. So again, find your
perfect taste according to your style and just
play around with it. That's it for the
post-processing.
10. Conclusion: Here we are. At the end of this class. We are going to talk
about the conclusion, or you can do from
here at this point. What we have. You already notice simulation looks like somebody is going to show you quickly what
we have obesity created. So this is what we have
agreed it throughout origin. And from this point you can take your simulation
to the next level. I think creatively what
you can do to add a bit more to your simulation.
What can be done? I try playing around with the shading and different types of lighting, what you can do. Now, we have created issue that we have created basically a randomized
set of particles. I believe this is
what you can do is you can play around
with different thing. What makes you choose
your particular color? If you want to go
further randomization, if you don't like
the randomization, There's a lot of different
things that you can do for your oral cheating. For example, you can also choose the symbol presets from
these preset manager. You want to go for
something like a copper that will give you a very nice, interesting look I'm gonna do is break the connection
of our lamp. And I'm gonna choose
the copper again. Now you have
something like this. You can go for something
like this that will work. Do you can choose a goal
that will work as well. You can go for something like maybe a glass, and
that will work too. So again, this is
totally up to you how you want to
take this further, how you want to go
with the overlook. What makes you working with mixture particularly
good from your side. A lot of different
things you can do with your overall simulation. Now one thing to keep in mind, we have only meet this
simulation with one, you can see primitive
or one geometric. What do you can do
is you can have multiple sources in
geometry and create those as a collision of your simulation and then maybe try to read something
interesting out of it. Maybe change the direction
of your particles and maybe change the overall
source of your emission. Like we have taken a
simple super ellipse, super spherical super harmonics. You can take maybe a tourist, add a bit of a texture deformer, and so on to add a bit
of extra in there. This is totally up to
the security forces. Again, if you have any problems or trouble
regarding this, you can always ask me
anything that you want. If you want to
contact me further. These are all my links where you can pretty
much contact me. There is a Skillshare
already tab in the bottom where
you can pretty much contact me in the chatbox if you have any question,
I'll be happy to answer. But apart from that,
if you want to check anything else
regarding my work, I will YouTube channel
which you can check it out if you want to find
everything in one place. This is my website where you
can pretty much contact me and ask me anything that
you want if you have any problem regarding the
simulation and so on. Create something out of it. If you do create
something out over, share with me, tag me, whatever it is, I would love to see what
you come up with. That's it. Thank
you for bringing up this class and I'll see
you in the next class.
Reimagine Fx, Reimagine Fx
