Blender Creating Fire Animation Geometry Nodes

1. Blender Geometry Node Fire Animation: Welcome to the Blender Jomety Node fire animation course. I'm Luke and I'm part of the three D team over a three D tutor, where our focus is on enriching your environments through expertise and tools. Additionally, we develop blender Jomety nodes to streamline your workflows. In this comprehensive tutorial, we'll delve into fascinating world of creating animated fire using omety nodes in Blender. Let's ignite our creativity and die right in. We'll begin with an introduction to blend of viewport and a basics of omegen nodes to ensure that everyone is on the same page. Our first step involves creating the shape of fire, using curvature and applying mathematical formulas to dynamically adjust its radius based on vertex position. This method grants us precise control over the fi width. Next, we'll set up dynamic resolution, ensuring consistent density for fire regardless of its height and radius. This optimization ensures a smooer animation experience. Leveraging the density values will displace our mass using height noise and randomization. Then we'll animate the displacement to achieve the mesmerizing motion of buyer. Transitioning into advanced techniques, we convert our geometry node setup into geometry group to create flame iterations. This allows us to construct flame volume using layer repetition. Crafting a fire shader that follows the displacement motion, ensures a consistent animation speed, will delve into storing values as attributes within the material setup or seamless integration. Expanding or setup for flame iterations will utilize the repeat zone to make sure that we're able to add the parameters, such as beating out for the top or changing color hue and adjusting it based on its core to enhance the visual debt. Advancing the fires visuals, we'll employ the fresnel masking, and fine tune 40 noise for a more realistic dynamic effect. Transitioning into smoke effects. We'll repurpose our code to create a smoke layer effect with a unique opening at the top, crafting a smoke shader, complementive flames, so we'll enhance their appearance with opacity and brightness controls. Afterwards, we'll introduce particles into the mix. We'll utilize the simulation fields to animate particles with randomized motion. Setting a parameters, grants us organic control over the behavior. We're also going to optimize their lifespan for efficiency. Or creation at hand, we'll explore the practical applications. From crafting a stylized fireplace for a low poly art style, to optimizing fire for a candle setup, will even transform our flame into a blue glow to enhance our magical free D environments. Finally, in attorial, will guide you through the process of crafting a lifelike fire setup, utilizing our carefully curated parameters. By leveraging these specific settings, you'll learn how to intricately shape flames, adjust their dynamics, and infuse them with realistic motion. Pin tuning the fire's intensity to controlling its flickering behavior, our tailored approach ensures a captivating visual experience. This comprehensive course is 25 lessons, totaling 4 hours and 50 minutes of invaluable knowledge. By the end, you'll master the art of creating mesmerizing fire animation using blender geometry nodes. Let's set our creativity ablaze. Join out and embark on this fire journey with us. 2. Blender Viewport Essentials: Mastering the Basics: Hello. Welcome everyone to Blender Geometry Node Fire Animation. We're going to start off by introducing ourselves to the Blender program. So to start off, I got myself open up Blender software version 4.1. You can use anything above 4.0, and it will give you the same results in regards to this project. So without further do, let's get right onto it. I'm going to now play an introduory video in regards to the interface to actually get ourselves familiarized with the overall setup of the Blender viewpod. So thank you so much watching, and I will be seeing you in the next lesson. Welcome everyone to the basics of blender navigation. Now, before we begin, it's important to understand how the axises work within blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the y axis, and this one is called the x axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with Blender viewport as default. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are, and just click the Z axis, and now we can actually see that. So how do we actually move around the blended viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if over here, it's the zoom in and zoom out. I can actually left click and move these up and down then to zoom in and zoom out, or I can use the actual mouse to actually zoom in and zoom out use in the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now, the next thing I want to discuss is actually rotating around an object. So how to do that. First of all, we'll bring in a cube, we shift A, bring in a cube. Now if I press the middle mouse button and move my mouse left to right, you can see we can actually rotate around. Unfortunately though we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. To do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. If I scroll my mouse wheel, you will see now if I hold the middle mouse boron and turn left and right, we're actually rotating then around the cube. And this is important because if you actually bring in another cube, so I duplicate this cube with shift D, move it over, so bring in my move gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So that's fixed side, just press the Dub button. Again, zoom out, and now I can actually rotate around this cube as well. Now let's look at something called panning, which means that we're actually going to move left and right, and we do this by holding the shift button, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do that. How to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. So again, remember, we're looking at the y axis, the x axis, and the Z axis. If we come to our y axis and click that on, you will see now that you've got a front view of the y axis. If you click the x axis, then we can change it to that red x axis, and finally, the Z axis as well. Now, there are other ways as well that we can actually look around the viewport, and these involve using the actual number pad. If I press one on the number pad, it's going to tap me into that y axis or front view. If I press two, it's going to actually rotate that slightly, and if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way as well. Now, to go into the side view or the x axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird side view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the x axis and y axis. So, for instance, if I press one, I'm going to be going into y axis, if I press Control one, I'm going to be going into the opposite side on the actual y axis. Can also find these options just in case you forget at the top left hand side of it under view. So if I go down to view and go across to viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five. And number five button in blender toggles between perspective and orthographic views. Perspective view offers a more natural realistic viewpoint with objects appearing smaller as they get further away, mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size, regardless of distance. Useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube no matter how far I zoom in. I'll still be able to move around it by pressing a little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. If you're working on a laptop or something like that or a tablet, and it doesn't actually have a number pad, you can also use if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before, so we can click the right view. We can actually click the back view. And we can click the left, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now, we're nearly at the end of this short introduction. There are a couple more things that you can actually do. If you come over to the right hand side, and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press a little dot on to zoom in. So I can grab this one, press a little dot dot on, and that then will Zoom as in. The other great thing about this is, we can also come in. Shift select them both. Pressed the little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone, so I hope you enjoyed the short introduction to the navigation within Blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks a lot, everyone. Cheers. 3. Geometry Node Fundamentals: Efficient Setup Techniques: Alone, welcome back and run to Blender Geometry Node by your animation. In the last lesson, we went over the basics of the interface for Blender itself. Now we're going to start off by getting ourselves the project cleaned up. By default, you're going to get yourselves camera, cube, and light source. We don't really need any of those. We can just go ahead and select them all by dragging it across, clicking delete to get ourselves a completely empty scene. And another thing I would recommend you before starting off is to actually increase the amount of undue steps you can do. You can do so by going on to edit on a upper left hand corner, you can click preferences and with fit it, you'll see that in the system stab over here, you'll have undo steps. Currently, mine is set at 32, but you can increase it to 50 or keep it at 32. But just make sure it's at least above 50, otherwise, if you make a mistake and you want to undo it, it's really sometimes quite boersome. Within jumping to note, if you make a mistake. You don't necessarily need to go back. You can easily fix it through the notes itself, but sometimes it's nice to know that you can actually undo some mistakes. So there is that. Another thing before closing it down that I would like to mention is at the bottom, right hand corner, I have a bunch of stats. We can see that at the very corner, we see that the blender is set as 4.1 0.0. That is the version that I'm using. In order to see which version you're using it yourself, you can go onto the interface on the upper left hand corner. Then within the interface, we're going to go on to status bar, and we have a bunch of options to tick on. And the main one that we want is going to be blender version. This is what's going to give you the information at the bottom right hand corner for which blender version you're using. Make sure that the blender version that you're using is set as 4.1. If you're using anything older than that, it will still work quite nicely, but certain features, certain nodes might be named differently, and that's why I do recommend you to just use blender 4.1 or anything above that. So that's pretty much it in regards to it. Let's go ahead now and create ourselves a basic object. Although we're going to start off with creating the geometry node, we do need to apply the Geometry node onto something. So we're going to click Shift and A within the viewport mode, and we're going to go on to the mesh and just create ourselves a brand new shape. We can just create anything. It doesn't really matter because we're going to set ourselves up with unique shape from the geometry node. So once we create something like so, doesn't really matter what it is because we're now going to apply the jom node. So if we were to go onto the Modifier stab on the right hand corner, we can click At Modifier and select the Jome Node. So the geometry node is a type of a modifier. Once we apply it, we actually need to make sure that we tell what modifier we're using, because we don't have anything created yet, it's going to have no options over here. But once we create something afterwards, we can apply it onto different objects, and it's just going to give us the right setup. So for now though, let's go ahead and create a brand new geometry node like so. We can even change the name for here, call it fire node or anything of the sort. It really is up to you in regards to the naming convention. Afterwards, once we create ourselves a new geometry node, we're going to go ahead and click on the upper section, there is a tab called Geometry node. If you're using anything older than 4.1, I believe that this tab is not going to be here. But let's go ahead and click on it for now and you can see that this is the type of a setup that we're going to get. If you're not seeing this tab, you can also click plus symbol over here. Within a general tab, you should be able to see Geometry node. And again, if you're not seeing this type of a tab at all, Then you can also create it from scratch by going to something like modeling mode. Then you can quickly split off the panel. For example, this panel over here. We can just right click at the very bottom once we see this arrow go both ways, and we can do a horizontal split. Then we can just drag it upwards like so and get ourselves two windows. Those two windows, we can just simply create A from the left hand side. We can create if I were to find it, there we go, geometry node editor. So that's what we're going to get. That's what we're going to be using basically. L though, I prefer to already set up a geometry no tab over here. The only difference is that it's also going to have this tab at the top left hand corner, which I do prefer to keep, and I just make it much smaller. This is going to give us all the necessary information for vertices, how many sides, how many phases it's going to have during the generation process. So for example, right now, because we are just having a plane, it's going to give us just four vertices, as you can see over here. And it gives you the cordans of every single one of them. It's sometimes nice to know if, for example, a lot of points are being spawned in one area. If the densities are actually too big, for example, you can optimize certain code basically. Now, at the bottom, we have the fire node. So we already created the fire node over here. It's been selected, and we have ourselves a group input and group output. These two nodes are basically the starting point, what information the object already has, in which case it has a plane, and we are outputting it to the very end, which it's going to, of course, output exactly the same information, which is going to be the plane over here. If we want to, for example, take this off and start from scratch, we can hold control, and we can simply click left mouse button and drag it out from the group input. And from the group output, and it's just going to separate these two, and you can see that because we have no information now, it's not going to give us anything at all. But now though we can go ahead and quickly reattach this just to see that it works back nicely. So from this circle over here, I'm clicking and holding a left mouth button and just reapplying it like so. And the key information when it comes to nodes is that everything on the right hand side, so all of these bubbles over here, they're going to represent the information outcome. And everything on the left hand side of the nodes, it's going to allow you to give inputs into those nodes. That's a useful information to know for whenever we're creating, we're making use out of multiple nodes. The final thing that we need to know is going to be the interface. So by default, we're not going to see anything in regards to that. We need to click n over the fire node Geomete tab. If you're not clicking it with the mouse hovering over this area, you're not going to see this. For example, if I were to hover my mouse over here and click n, it's going to give you the completely different type of menu based on where you have your mouse. Just make sure you hover over your mouse over here. As Blender is quite mouse location sensitive based on the shortcuts you're using. And whatnot, for example, now if I were to click Shift and A in this area over the fire node, you can see that we're getting completely different type of a menu to add for the Geometry node in comparison to what we can add over here in the Free D view poard. So that's something that's key to note whilst working with the Geometry node. All right. So I'm going to make this window quite a bit larger by just simply clicking and holding and dragging it upwards like. So to have a little bit more space to work with. I'm going to now click, and I'm going to talk a little bit in regards to the interface. So the interface will allow us to basically create the parameters that will appear within the fire node itself, within the Geometry node panel. So right now we can click on the plus symbol over here. And actually, before doing that, I'm going to click on this bottom geometry because we want to click on the new item, click input, and that's going to click create ourselves new socket. The socket is then being created at the bottom underneath this geometry note. The reason being is that if we created above them, they're not going to behave normally, it's going to glitch out basically the geometry note itself. At the right hand side, we can see that we have a parameter called socket. So by default is going to create a name called socket, but if you double click on this, we can change the name. So at this point, we can just call this radius, like so. And you can see that also that socket, that parameter is being created within a group input as well. This is what we're going to be able to use to plug in different values into the settings that we have within the nodes. So we're going to use a radius. This is going to be by default, a float type, as you can see over here. We're going to be changing and adding additional parameters for the geometry node setup. But for now, we're going to start off with the basics and get ourselves the radius set up. We're also going to need something else cold if we create a new one. We're going to call it height. So we're going to basically create ourselves radius and a height to control the shape. The shape I'm talking about is going to be for the fire itself. But since we are running out of time, we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 4. Crafting a Cylinder with Line Curves: Step-by-Step Guide: Hello and welcome back everyone to Blender Geometry node by our animation. In the last lesson, we left ourselves off by getting ourselves a radius and height parameters, and we still not touched the geometry node graph itself. We still have only those group input and group output nodes. So to start off, let's go ahead and actually start by getting ourselves the shape of the fire. The way I'd like to get it done is, if I were to just show you as a sample, we're going to get ourselves a nice fire shape just by making ourselves this type of a silhouette to make it look more like a shape instead of just having a simple plane. We're going to generate the shape using curvature. And then we're going to apply some animation using noise and height. Displacements. And yeah, for us to start off to get that actual shape, we're going to make use out of the curvature. So let's go ahead and click Shift and A within a graph node. We're going to search for curve line. L so. Then we're just going to go ahead and I'm going to actually just strike it down a little bit next to the group output. We're going to basically attach this directly onto the geometry group output like so, and you can see that the shape, the mesh that we had previously for the plane actually disappeared, and we are only getting ourselves this line. This line by itself is not going to give us the right set up because we actually need to get ourselves a free dimensional type of a shape. So we're going to make sure we turn this into something that will allow us to get ourselves an actual free dimensional shape. So for us to do that, we're going to get ourselves simple node called curb to mesh. So we're going to attach this directly after the curve to line, which is going to actually turn this from a simple curvature to an actual geometry. If we were to click on the wi frame mode, which is this button over here. We're going to make it look like it's actually the same, but it's actually showing us the exact wire frame. So before we can see that it's actually a much thicker line, which represents the curvature itself, but now once we pug this iner we actually see it. I'm not sure if it's actually quite as visible within the video. But it basically turns this into an actual edge into a pline. From the curve just plying into an edge. Which I, I believe it is actually shown within the upper left hand corner, so you can see before, we had no vertices, no edge, but now once we turn this into an actual mesh, we can see that it turns to vertices and an edge. So we're actually getting ours topology. Curve line is great for when we want to get ourselves a shape that averages out the line between two points, and we have a lot of control with it. We're not going to see much of detail in regards to this. We're going to talk in regards to that a little bit later. But Although, let's go ahead and actually turn this into a cylinder. So at the curves to mesh. If we have both of them selected, by the way, we can click G and move this off to the site, get ourselves a little bit more space. At the curves to mesh, we have something called profile curve. This will allow us to turn this type of a line into a three dimensional shape to basically get ourselves a radial shape or a shape that follows the path to recreate this line. And now we just want to get ourselves a circle type to get a cylinder. We're going to make use out of something called curve circle. Really great and basic setup to get again, the circle of shape. Once we attach it, we can see we have this type of a setup now. We can actually go out of the wireframe mode. We can see that this is just a simple phase, and we can see that amato vertices and edges and even fases have been created for us. We can control resolution with this, and that's going to lower the amount of vertices and pass and give us that. We don't need to touch it at the moment. We also are going to have radius, which we're going to be attaching it to the radius node over here, but we'll need to get ourselves a shape first. And before all of that, we need to talk in regards to the curve live. We have ourselves the starting point and the end point. The end point is going to be the one at the top. If I click one, I can actually go to the side of. And see how it looks like. This is going to be the top view. Currently, it's only going in the Z axis, which is actually exactly what we want. If we were to control this, we can actually control the high. We're going to want to start the original point at the start, which is going to be zero. That's exactly where it's going to start. That's great for the starting point, but end point is going to give us the control for the high. To actually be able to control this. You can see that this only has one output. We want to make sure that we have parameter out of it, and for That, we need to get ourselves another node called combine x y z. We're not actually combining anything now, but we are creating a link from one point to another. And just a quick note, if we were to drag it from this point from endpoint, drag it outwards to the graph, we're going to allow ourselves to create the node that will connect from the vector to the end point over here, giving us a link. And now we're going to get ourselves these same controls that we had previously. The only difference now is that we actually have three points over here. That we can now connect. And if we have a look at it, they are gray, the vector, as you can see over here, they were purple dots, meaning that they are actually vectors, which has three parameters, x y and z. But in this case, we're breaking them up, so each of them are treated as separate individual parameters, and the height is what we want, so we're going to actually connect the height to the Z value, and it's going to give us this. By default, it's not going to give us anything because the height that we have over here, is set as zero. We need to make sure that we increase this and we can see that by increasing it at the right hand side for the parameter, we can actually control it through here for the actual geometry node u modifier. So that's great. We have some control in regards inside. What I would like to mention is that even though we are changing the parameter over here, if we were to make a duplicate out of this geometry node, let's say, if we were to try to reuse this in another section, and I'm just going to show you as an example, going to create another object over here. Add a modifier geometry node. We can now click on this button over here to create ourselves the geometry node. So again, we're going to go into this a little bit later, but for now, as an example, I just want to show you when we do add this geometry node onto another object, it's actually going to give us the default height value of zero. We don't want this to happen. We want to make sure that this height that we have over here is set to a default value of, let's say 0.5 by default, or actually, let's go ahead and keep this as one. And, we want to make sure that this is a default value. If we were to go onto the interface, select the height, there is an option called default, and this default value, if we were to set this to one, it's always going to be set as one whenever we create a new option. Let's say we try to add a geometry node over here. We can see that now the height is set as one. So that's exactly what we want. And that's how ideally, we want to set it up throughout the parameters at a later date at a later parts. And one more thing that I'd like to mention is, let's say if we have another height and if we want to reset this to a default value, we can hover over the value, we can click back space, and that's going to actually bring it back to default value. So that's a quick bit of useful information to know. We want to reset some values for example radius over here. If we want to increase it, we can click back space, and that's going to get back to zero since. We've not set up the radius value yet. Yeah, that's pretty much it for now. We set ourselves up with a basic light curve, turn this into a cylinder. Now we're going to be working on in regards to shape to make sure that actually looks closer to this rather than what we have ho p here. That's going to be in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 5. Dynamic Resolution for Cylinders: Height and Width Adjustment: Hello, and welcome back. I on to Blender Geometry Node fire Animation. In the last lesson, we left ourselves off by creating a simple cylinder, which we're now going to make sure we get ourselves to shape. And actually, let's go ahead and straight up attach the radius onto the radius over here. So we'd be able to control it through this parameter. Bieusly, I said that we're going to create a shape first, but we might as well just connect the radius. I'm going to go ahead and just simply drag this across, connect the radius, and we're going to make sure that we get ourselves a nice value, something like 0.5, I think we'll do. And we're going to make sure that the default value is also 0.5. And yeah, I think that's all right. So the next thing that we need to do is actually set ourselves up with the resolution. But it's not the resolution that you might think, it's not going to be this resolution over here. We don't want to control this radius at the moment. Instead, we need to make sure we have control in regards to height. And for that, we're going to make use out of a node called e sample resample curve. So we're going to put it right after the curve has been created to get this set up, and this will give us the control for the resolution in regards to the vertical slices. So with this, it's already looking pretty good. But let's go ahead and actually create ourselves to resolution parameter. We're going to click on a plus symbol over here, click on the input, and we're going to get ourselves a socket. The socket itself, we're going to change the type. By default, it set us afloat, meaning that it actually has decimal values, and we can change these. You can see that it says 2.6, and so on. We can have it like so, but we need to have this resolution to be set as an integer. Once we change this as an integer, you can see that the value, the color coding actually changes from gray that we had before to green. The green will allow us to change the value in regards to just normal. We're going to now change the name for this socket to be called resolution. And we're going to change the order that we have. Resolution right now is in the middle. I don't want this. I don't want to be in between the radius and height. We want it to be ideally at the very top. So to change that, we can click and hold our left mouse button, then release it, and that's going to give us the value at the top above radius. We want to get the value for the resolution. Default can be set as ten. The minimum can be set as one, so it wouldn't go into the negative value. Minimum and vacuum values are really useful for whenever we want to user to have the control, but at the same time to limit them. So before it was going into a negative value over here, so this allowed us to go into negative, which we don't want with the resolution. We want to make sure that it only goes in regards to the positive, so we're going to set the minimum to be one, and that will not allow us to go below the value of one. That's very useful for making sure that we don't actually break the entire set up. And yeah, we're going to attach this resolution to the sample curve. Right now, it is set, so whenever we are increasing the count, it's going to start increasing it like so. The thing that it has right now is it has it set as a count, meaning that it just represents the count amount. So we could directly add this resolution onto a count, and it would give us a nice set up, but we want to make sure that it gives us the resolution based on length, which is going to be quite useful in the future, or controlling the density. So for that, I'd personally say, let's go ahead and change this count from resample curve. Let's change the account to length instead, and you can see that it actually gives now length value. So by increasing this, we're going to get a less amount of resolution and lowering it. We're going to increase it. So that's exactly what we want. If we want to have it a little bit less in regards to the sensitivity, we can hold shift while click whilst clicking left mouse button, and that will allow us to control it more fine tuning value over here. So we're going to attach this value, the resolution value to the length, but we cannot do it straightaway because if we were to do it, so it's going to give us the resolution in the opposite way. So as we start increasing it, it's actually going to lower it down if we change to something like minus ten, sir 0.1, it's only then going to give us the right value. So we can actually go with the integer parameter lower than a value of one. So instead, what we're going to do is we're going to get ourselves a quick maps node. Let's go ahead and search for map. Like so. We're going to add it in between the values. And actually, we need to change this up to be divide. Let's go ahead and change it up. The mass value includes a bunch of different maps nodes, and one of them is going to be divide. We can click on this button over here. Or alternatively, the shortcut for it would be D by clicking D as a value. We're going to get this. We can also quickly switch up the values because we want this to the resolution to be divided from the one. We're going to switch out values by simply holding control and just dragging it to a lower version to a lower value over here. So now it's going to be dividing from 0.5 Pi resolution, which at this point is one, so it's going to keep it as 0.5. If we were to change this value from one from 0.5 to one, we can now divide this and be saying it basically that it's going to be 1/10, and that's in that way, is going to allow us to nicely control the resolution with the length from the resample curve. We now want to make sure that the resolution or the circle curve is going to be constant in regards to the size. So we're going to go onto the top down view real quick, and we basically have a circle. Each and every point represents combined, represents the circumference of the circle. And if we do want to get ourselves the right parameter of the circumference, we just simply have to use this formula over here. So it's going to be two Pi radius for going around our cylinder basically from the top down. And that's going to control this basically over here. So let's go ahead and do that right away actually. Radius, we already have radius connected over here. That's going to determine the curve circle. So that's all right. We can simply go from here to get ourselves math node. Let's go ahead and get ourselves math node. And Actually, instead of that, we can just simply write and multiply. That's going to make our lives a little bit easier. Let's go ahead and multiply. Like so it's going to give us a math node with the multiply already set up. What's nice about this is we not only can write the values in, we can write in Pi over here, and that's going to give us exact Pi value. We don't need the Pi as is because we actually need two Pi, so we can type in Pi times two, click enter, and that's going to give us exactly two Pi. So again, we already have radius to circumference two Pi r. That's exactly what's going to give us this, the outcome for the setup, and we want to make sure that this is turned into a free D space. So we have it set for the circle for the circumference. Now we want to actually include the length of the sample curve, which is going to be this one over here, the resolution coming from here. So we can get this value. And yeah, we can get this value from the resolution that we divide it from. And we can simply divide it again. We're going to go ahead and actually just move everything a little bit to the side. So from two pi r, we're going to extract it and divide. So so two pi divided by the resolution of the height to get ourselves a constant value for this. Now whenever we attach it, we should get ourselves something like this that's going to have constant resolution throughout this entire setup. So if we were to increase the height, we should still see that these squares are still being kept the same. And when we change in the radius, again, these squares are going to give us constant resolution. So by simply doing This set, we're able to get ourselves constant density throughout the entire circumference of our cylinder surface. So this is a good start for our shape creation because now we're able to create the fire shape. We're going to continue on with this though in the next lesson since we are running out of time. So thank you so much for watching, and I will be seeing you in a bit. 6. Flame Formation with Mathematical Precision: Expert Techniques: Hello, and welcome everyone to Blend the Geometr node fire animation. In a last lesson, we set ourselves up with some nice density for the overall shape of this cylinder. We're now going to go ahead and actually work on the shape itself. So to start off, we need to tell the program, we need to make sure we tell the geometr node itself where the top at the bottom is to actually control the overall radius of each individual let's say, point, or in this case, edge loop to be able to shape something more closely resembling to that of a flame. For us to do that, we're going to go ahead and actually add ourselves a nice node called set curve radius, so we're going to just add it right after we resample the curve, and we turn this into a mesh. This way, we'll be able to control the mesh itself. The difference with this is that instead of just controlling the overall size, overall radius, I believe, Yeah, overall radius, we're going to be able to control the radius based on the selection. So what I mean by that is, if we get information of the spline, which we can do so with spline parameter, We can get ourselves an entire length based on the factor. The factor itself is going to tell that at the very start, the factor is going to be zero, and at the top, it's going to be one. If we directly attach this to the radius, we're going to see this direct radius supply being applied onto the shape, giving us an inverse se. The top is going to be one, size of radius, and at the bottom, is going to be zero. Using this information, we can get ourselves some more interesting and unique shapes. To get an actual shape, we're going to use maps functions, and there is a very nice type of function for the graph. If we use square root of x minus x, we're going to get ourselves this sort of a graph, which is going to give us a well partially a shape of the fire that we're looking for. So we just simply need to convert this type of a function into omg node. So let's go ahead and do that. The x is, in this case, going to be factor, which, again, if we start increasing it, is going to give us different value, and we need to simply grab this and get square root out of it, L so, and then subtract x again, that's the wrong note. Sorry about that. S tract. There you go. Subtract this value. So square root of x minus x, and this will, if we were to move this a little bit more to the side, so we could have more space to work with. This, attaching to the radius will give us a tear shape. It's already looking pretty good, but we just need to have certain bit more control to control the overall with of this setup. So let's go ahead and do that. All we need to do is increase the overall value. And if we were to multiply this, for example, let's say, on the edge, it's going to be a value of something like 0.5. If we multiply this, it's going to increase a wide amount. But as we go back to the value of zero, it's going to give us the normal amount, even if though we are multiplying it. So all we need to do in short is, let me just go back from here. All we need to do is simply get ourselves math multiply. We can then attach this multiply value to the radius and because it's half by default, it's going to give us this. But by using the multiply value, we can just simply increase the overall scale of the radius for this shape. And one thing to mention is that later down the line, we are going to be adding a smoke. The smoke itself is going to look a little bit different in regards to the shape. So right now we have a tear shape or a flame. Then afterwards, we're going to add a smoke that's going to have a similar shape, but the end of it needs to be kept open. Basically, can't just close off in the middle over here. The reason for it is because it's going to be transparent. We want to make sure we have a certain effect that makes the entire flame look a little bit more realistic when it comes to just its effects. The flame itself in the middle is going to be a nice shape, but again, the smoke will need to be opened up. We're going to move on with that later down the line. The thing that we do need to work with now is going to be with the motion itself. Need to make sure that we are offsetting each one of those vertices with a certain amount of noise. We distort the overall geometry just a little bit just to make sure that we have a bobble motion of a flame from this setup. So let's actually, first of all, see if it's going to look quite nice in free DVew. And yeah it does look quite nice. And looking at a time, it's better for us to go ahead and this lesson here. And then in the next lesson, we're going to start off with the distortion of the flame in animation. So thank you so much for watching, and I will be seeing you in a bit. 7. Dynamic Flame Animation: Utilizing Noise Displacement: All and welcome back everyone to blend the geometry node fire animation. In the last dozen, we left ourselves off by creating a nice shape for the fire. We're now going to continue on with the setup and get ourselves some displacement to be set with the animation. So for us to do that, we're going to go all the way to the end. And after we get curve to mesh, we're going to implement some displacement. For that, we're going to use something called set position. Set, sorry, set position. There we go. We're going to attach it after the curve to mesh. And this will basically allow us to offset the entire setup. So with these setups, we can see that it moves it in regards to x y and z. I'm going to go ahead and reset it. And by the way, if you want to reset it, you can just click back space, and whilst hovering over with the mouse over the value, go in to put it back to 000. So the offset, if we were to use it right off the bat, is just going to offset everything. We want to make sure that we're offsetting it only in regards to a certain noise. So for that, we're going to use something called noise texture. Noise texture is really good, especially the three d one free diversion, by default, it should be set up like that. This will give us basically the setup that will allow us to control the position of each individual vertice based on the texture of the noise. The best way to visualize what this is doing is by using control shift and tapping on the noise. This will give us from the factor to value attached. And then we just need to tell what kind of a viewer we want to be setting it up with the geometry because we were using the noise texture, didn't have any geometry to actually preview within the window. So we're going to click and hold control shift and just tap on curve to mesh, and that's going to attach to geometry value over here. So this way, we can actually visualize what the noise texture is doing, and we can see that by changing the scale, we can change the way this noise is behaving. Each individual vertice is going to have its own unique offset. If we were to directly place it into the offset, we can see that what it's doing, we can't actually see it because we need to go ahead and delete the viewer. Once the viewer is deleted, we can see that it's actually affecting the vertices a little bit different. But of course, we need to make sure we are setting it up with proper values. So for that, We're going to get ourselves a bit of a different setup. We're going to get ourselves something called scale. Or sorry, we're going to get ourselves Math vector. This one over here, vector math. This is going to be attached on to offset, and we're going to change from add. We're going to change it to scale. Scale, by scaling it directly, we can affect it basically in regards to how much it's affecting the offset itself. So it's a real nice and easy way to control that. We can see what it's doing. And before doing that, I'd like to also change up how it's behaving in regards to the displacement, because right now this noise texture, if we have a look at it again, sorry, that's the wrong one. If we have a look at it again, it has some darker spots, it has some widest spots, and whenever there are wide spots, it's just going to move into the positive value. We want to make sure that the geometry node actually goes not only outwards, it goes inwards into itself as well. This will allow it to be keeping the position more stable in regards to the overall setup for the geometry node because everything now is just going in the positive direction, as you can see, it's not going actually anything in this to the left basically. So for us to do that, we're going to re map this range. We're going to click Shifted A. We're going to search for Map range over here, and we're going to attach it. And this is float by default. We need to make sure that we are changing this to be a vector. To make sure that we're keeping all three dimensional space. And that's what we're going to get by default. It should be kept as the same type of value. And actually, I just realized that because we just changed this to a vector, it's going to detach everything, let's go ahead and quickly attach everything back, like so, and that's what we're going to get exactly the same, because it's going from a value of zero to one. We want to make sure that we are changing it. Right now, we're getting the value over here from minimum of zero to maximum one, which is exactly what the tu noise provides. But we're remapping basically the overall setup to be only 0-1, but to be from minus one. And that's what we're going to get In regards to the overall range. And as you can see, not only is it going in the positive value, it's also going in the negative value as well now. So this way we can control how we're getting this type of a shape. Now, to get the actual motion for this type of a shape, we're going to make use of the noise texture vector input over here. We're going to create ourselves position position, which is basically what's being used by default if we were to plug this in is going to give us the default value. But we want to add vector vector math. To this position that we had it by de fol. And we're going to combine this or that value. So if we want to move this that value over here, we can see the type of change that we're getting. I just realize that the scale itself is a little bit too high up. I'm going to hold shift and just drag this downwards a little bit, so we get this sort of a shape. That's looking much better. Now when we're moving value, I'm going to hold shift again for this. We can see the type of motion that we're getting. We want this to be moving upwards like this, so we're going to have to invert the value and make sure that it actually is going downwards in regards to the value itself. Before doing that, we actually need to get the type of motion based on the value. So we're going to make use out of something called scene time. Like so. We're going to attach the seconds to the Z value for us to do that. We need to break this vector up, so we're going to use combined X Y Z. So if we were to directly attach this to the seconds, we can see that it's actually when we click space to run this by the way, this playback over here at the very bottom. When we click space, we can see It gives us a motion based on the animation, and that's already looking good, but we need to make sure that it's going upwards in regards to it being going in the negative value. We can just simply invert this. We can use a math node over here and change this to multiply, and the multiply, we can simply make this negative value by turning this into a negative value. It's going to inverse this overall value, and it's going to give us a motion that's moving upwards, which is really nice. So it's already looking quite nice, let's say in regards to the flame shape. So yeah, that's all it takes for the animation. And just a quick thing, if you're not seeing this at the very bottom of your setup, the playlist over here, the timeline. Just make sure to split up the window so you can just right click as we talked previously horizontal split, and then afterwards, just go onto this but over here and select timeline, and that's where you're going to get. Afterwards, you can click space to play or alternatively, this button over here, that's going to do the same thing. So that's pretty much it. I'm just going to make this extremely small, so it wouldn't get in our way. And now we need to control the speed, of course, if we were to hit play, we're going to have the default speed in regards to the same time. So we're going to create a parameter out of the interface. Quick reminder, you can click n to open this up. Let's go ahead and create an input, a float value for speed. L so the default can be set as two, let's say, and I'm going to go ahead and make use of the value of two. If we want to reset it to a default value, we can hover over within the Geomet node itself, it pack space, and that's going to set it to a default value. Now we can go ahead and click Shift and A, search for group input. That's going to create ourselves a new group input. Previously, we were only using. Yeah, I believe we were only using just this one over here. So we just essentially created ourselves a new group input. Again, And we can attach the speed onto the time. We cannot attach it to this multiplier because it's just inverting the value. We need to create ourselves new math node. I'm going to click on this button over here and click for multiply. And then afterwards, we can go ahead and attach this to speed like so. So it's going to multiply the time. We can click space and see that it's actually moving much faster. We can slow this down to a value that's actually going to be much slower as well, like so. And there we go. We got to sells a nice animation for the core flame. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bin. 8. Node Group Creation and Optimization: Best Practices: Alone, welcome back. I on to Blend the Jo Nodfier animation. In last lesson, we left ourselves off with animating this overall shape of aire. And now we have a couple of more options parameters to add. As you remember previously, we had a setup with the noise, and we actually got ourselves the intensity out of this scale over here. So we can control the noise scale itself through this area like, which might be quite good actually. So then also we'll need to change the intensity. And, let's go ahead and just quickly grab our cell sameters for those two. We're going to create an input a socket over like so. I'm going to click and hold and drag it to the very bottom to get it at the bottom. Then let's go ahead and rename this one to noise scale. And the second one needs to be called displacement, scale like so, and we'll need group input. For the group inputs. This is going to be the noise scale, like so, and the second one. Going to go ahead and just select this, click Shift D, duplicate it, put it off to the side. Use the displacement scale for this one, and we need to make sure that we have nice values by default. Right now, it's set as zero, zero. So the noise scale, I believe it can be set as let's go ahead and actually look. I'm going to decrease the value just a little bit, so it would actually be visible for us. So Noisecale can be set as 0.8, and placement I would say keeping it as 0.2 is quite all right. Let's make sure we have those same values placed in or into our default setup. So we get a shape. Yeah. This shape is quite nice for us, especially for a stylized look, it's going to look quite nice. If we want to, we can always just increase the scale, and that's going to give us I'd say more realistic type of a look out of the fire. But for now, let's go ahead and just focus on more of a stylized approach. It's going to definitely look better overall. So noise scale. This one is going to be the old 0.8, displacement scale 0.2, and we're going to get ourselves a nice value by the end of it. Now we will also need to get some UV coordinates. We're going to be working with Shad related down the line, but we need to make sure that the UVs are set up properly. We are actually applying certain UV information onto this shape. So for us to do that, we're going to go ahead and go to the very end. After we create everything and set ourselves up with the position, we're going to make use something called store. Named attribute. This is going to be quite useful for us. I'm not going to place it right away because I want to make sure that we're changing from float to a vector. Then I'm going to go ahead and touch it. So we're storing the information, a certain value information after the geometry. The information we're storing of the vector is going to be position value, just a simple position value like so, and we're going to get ourselves a nice set. The thing that we're left to do is make sure that we have the name. We can go ahead and just call it UV underscore map. Make sure this because this is a key sensitive type of naming, so we're just not going to use any capitals, or if you are using capitals, just make sure you're using it in the shader as well. But yeah, just using UV underscore map is going to be good for us. And that's pretty much it. We got selves a nice setup for this overall type. We now need to make sure we are creating a group out of this. Reason we're creating a group is because we're going to reuse this overall setup that we have over here, and we're going to reuse it multiple times because firstly, we need to let's see. Yeah, firstly, we'll need to make multiple layers of this ti fier core. And secondly, we will need to make a smoke variant, which I just realized in order to make the smoke variant, we talked a little bit in regards to opening up the upside, the upward section. For us to do that, all we need to do is get ourselves annu math node over here. So we're going to use the same overall setup for multiple parts, for the core of the fire as well as the smoke. And for us to do that, we need to add ourselves another setup over here. We're going to make sure we set it up with the multiply. And now, once we have this multiply value, can see that by lowering the value, we're actually opening up this end over here, which is exactly what we want for the fier. So we're simply preparing this overall node setup to be used for multiple sections. And right now we're going to keep this multiply as one to make sure that this is the original shape that we have. But this will allow us to get some lice controls, basically. Alright, so to get the set the overall setup over here, To actually group everything up. We're going to go ahead and select everything except for the initial group input and the final group output. Then afterwards, once we have it all selected, we're going to click Control G, and it's going to slightly adjust everything. You'll notice that everything looks a little bit different. The main thing that you need to know is that at the very top, we have instead of just fire node, we have fire node that goes into the node group. So this note group is inside of the fire node, imagine a folder within a folder, basically. So to go out of this, we can hit tab, and this will give us back the node group that we had previously. This is what it's going to create essentially. It's going to group everything up and place it into one node. In order to access this node back, we can select it, click the tab, and we're going to go back onto the node had. The thing now is that this group input is actually responsible for all of these values over here at the input of the node that we have. So we need to make sure we have them all renamed properly to make sure that everything fits the right values. And let me just have a look. Yeah, that's going to be pretty much it. You'll notice that everything in regards to group inputs We have all of these group inputs coming out of the one value, and the best thing to do for us now in order to optimize a little bit for now to just leave the group itself as is. We're going to go out of this group, and we're going to make sure that we are using only this one group input in order to get all of these information. Reason we're doing this is to make sure that we're simplifying everything. So let's go ahead and do that. We don't have all the naming properly set up just yet, but it's actually quite easy for us to just make use out of one group input. So, for example, over here, we can see that this group input is being placed at the very bottom. We're just going to go ahead and locate the speed. This group input, and we're going to place it over here at the bottom of this value. Can now go ahead and delete this group input. We can grab this up one, which is noise scale. The noise scale is going to be placed over here for this scale. Let's go ahead and just replace it, delete this. And they're pretty much being used the same values, but we're only just cleaning this up a little bit before we're moving on. So displacement scale, let's go ahead and just attach this displacement scale over here. And we should still keep this identical shape. Everything is still the same except everything nice is now nice and clean like this. All right. So inside this group node, we can go ahead and access it. Now we need to make sure we are renaming everything in regards to the node itself. So for us to do that, the easiest way is going to be to just check the group input, see that it starts with resolution speed radius, the first naming. We can go ahead and just sorry, that's not going to be the right set up. The reason being is go ahead and have a look. We're going to, in fact, yeah, we're going to have radius as the first one, which is already renamed for us. Then the height value is going to be said, and resolution is going to be just called value. So radius, height, and resolution. Let's go ahead and access this. We're going to call this radius height. And resolution. You'll notice me that once I enter this fire node group, we can have the same interface, but this time the interface itself is just going to be showing what is being inputted into this group node. So that's why we're just rename this resolution resolution. L, so now we can exit this and see that this is actually having the same name. And to top it off, to make sure that it's even nicer, we can move the values around. For example, resolution is at the top. We can grab this, drag this to the top, and it's going to automatically re route everything, we can hit tab and see that it's now properly set up. The only one that we actually need to change at very least for me is to make sure that the speed is at the very bottom. I'm just going to go ahead and do that. I just realize I'm not sure which one is which, so it's called value. Let me just go ahead and rename this speed. That's so and Yeah, from the top. Yeah. After resolution, this is going to be the speed. I'm going to go ahead and just simply move the speed upwards. And there we go. Nothing is tangled up. Everything is nice. All we need to do is now change the last two, which is going to be noise scale and noise and displacement scale. Let's go ahead and change that up. So noise scale displacement scale. The reason we're doing this, again, is because we want to make sure that everything is nicely is because we want to make sure that everything is nice and clean. So, now that we have it like this, we'll notice that everything is a little bit messy over here. We might need to clean this up. But honestly, as is, It's going to be good for us. There are some overlapping sections, and I reckon we can spend an entire lesson just cleaning everything up once we're getting closer to the finish line. So yeah, let's go ahead and leave this as is. It's not going to impact our setup. And once we start changing up this group, it's going to be applied onto all the groups that we're going to be setting up. So, let's leave it as is. And let's end this lesson. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 9. Blender Material Mastery: Shader Essentials: Hello, and welcome back Ebron to Blender Geometry note, Fire Animation. In a last lesson, we create ourselves this note group, which we can actually rename it. All we need to do is just click on this one over here, and we can call this fire shape to make our lives a little bit easier. The next thing that we're going to do is add a little bit of material set up for the Shader itself to make sure that we're not just looking at a gray object. So let's go ahead and do that. We're going to click Shift and A. We're going to search for set material. Like so. Let's go ahead and click Enter, and I'm going to add it right after the fire shape Geometry group. Then we need to make sure we are able to control what type of material we're attaching it. So we're going to go ahead and create a new input for the interface. And for this type of socket, we're going to just change it to B. So we're to find it material. There we go. We're looking for a material. This can be called I can just call this material like so. And for the material itself, what I'd like to personally do now is just go on to modeling tab. So we'd have more to work with. Actually did this. Yeah, I'm going to go ahead and join this area. So previously, just to showcase it how to add a geometry node tab. I just had this, but you should be able to just see something like this instead for the Mlling mode with a bit more of an open field to look at in regards to the viewport. The material itself, what I'd like to do is, I'd like to go onto object mode, and I'd like to add a new object or UV sphere, like so, put it off to the side, make it maybe a little bit smaller and right click, shade OS Mu. The reason I'm doing this is because it allows me to create a material bubble. It just allows me to just preview the overall shade that I'm working on. And the other thing is that whenever we're working with materials, based on the selection, it's going to be changing what material you're able to work with in a shading panel. So for now, I'm going to click on the material, going to click new, and I'm just going to call this one Yeah, let's go ahead and call this one fire. So now we have a sphere that has a material called fire. If we were to go back onto our geometry node, we're going to see that it doesn't have the fire material, but we can go onto the modifier stab or the geometry node itself, and we can just select this material section over here, select fire, like so, and we'll have this parameter set as a fire. So The reason, again, we don't touch this to have a material over here is simply because we'll personally like to have more control in regards to what I'm working with. Now if we were to go back onto another panel, actually, instead of Jermis, we're going to this time go onto shading tab over here. The top section, we can click shading. We're going to get this tab, which will allow us to work with this graph over here for shading. Now you can see that it allows us to click new, but we already created ourselves this fire material shader over here. Once we click on this sphere, we can preview it like so, and it has a basic principle BSD F. I will play an introdury video to the shader setup that will explain and give you the overall overview of the shading graph. And that will help you to transition into this part over here. You don't need to follow along in regards to the setup. All you need to do is listen, maybe take some notes if you prefer. And then in the next css and we can continue on with the setup for the fire. So thank you so much for watching and I will be seeing you in a bit. Welcome everyone to the blender shading and texturing introduction. And you can see here within my scene, I've actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models within blender. Shaders define the way surface of objects appear under various lighting conditions, simulating a wide range of materials and effects such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shyness, texture, and reflection. So, within Blender, we use actually a no based system for creating and customizing shaders, particularly within its powerful rendering engines like cycles and the newer EV render engine. Now, it's important to note that the actual shaders within Blender react differently to each of those shaders. So at the moment, you can see that I've actually got this on EV. But the moment I put this to cycles, these actual shaders, some of them, at least, will react differently. So now you can see that our emission here that we had that was glowing, doesn't glow anymore, and that's what happens in typically in blender cycles. Also, the glass now, we can actually see through the glass and see this is actually a glass shader. So it's important to know straight off the get go that some shades will work in EV and some in cycles. Now, next of all, we need to look at the different types of shades within blender. So some are created entirely in blender through node systems, which we're going to look at in just 1 minute, and the others are created through textures. Generally, these will be PBR textures. Now, a PBR texture is a physically based rendered texture. And it's a texture map designed to mimic the way light interacts with surfaces in the real world, based on physically accurate models. These textures ensure that materials rec to lighting conditions in a realistic manner, making them essential for creating lifelike three D models and environments within blender. So now, north of all the back story on textures, let's actually go up then. And first of all, we want to bring in an add on. Now, this add on is in bill within blender. In other words, it comes with blender. I wish they would actually turn this on a standard, but So far, you have to actually enable it, but trust me want to say it's one of the best add ons that blender ever produced. So let's go up to edit. What we're going to do is come to preferences. We're going to go over to add ons, and the add on we want is called the node wrangler. Type in node, make sure the node wrangler is turned on, and then all you need to do is just close this down. Next of all, we're going to go over to our shading panel, which is this one over here. And then what we're going to do, we're going to click on this cube, which at the moment, doesn't actually have a shader on it or any material. We know that because if we come over to the right and the side, where our material panel is here, you can see this is completely empty. Also in the shader panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shader in here, and then there's nothing in here, just zoom out as far as you can, and then you'll find all of the nodes. Now, what I'm going to do, first of all, is adding a new shader, and what we'll do is we'll double click it and we'll call it wood, like so. And now you can see it is actually set something up within blender, just a basic principle BSDF. Now, this basically is the super node. It's where all of the texture maps will plug into. This is the main node that you will be using. All right. So now what I want to do is, I just want to click on this node. And what I'm going to do is I'm going to press control, shift, and T. And what then that will enable me to do is open up my actual computer file. And from there, I just want to find my textures. So here are my textures that I'm going to use as an example. And you can see here we've got wood grain, and you can also check out what these actually look like by coming over to the right hand side here and clicking this on, and now you have a good idea of what these are actually going to look like. We can also make them larger as well, if we need to. So you can see here at the moment, the size is 128, and we can just bring that up to actually make them bigger and see exactly what textures they are. Now, to bring them in, all I need to do is select the first one. Shift select the last one, so we've got a more selected and click principal texture. And what Blender is going to do from there is is actually going to bring them all in and set them up for us like so. So you can see now because of the node wrangler, everything is set up for us. Now, within our actual shading panel, you will see over the left hand side, we actually have a UV map here, and it's not actually showing anything at the moment. If we come on over and we select one of these actual textures like so, you will see if I Zoom, we've actually selected this actual metallic shader. I can also come down and select the roughness, for instance, I can select normal, or I can select the actual image texture like so. Just remember, if it's on the wrong one, it's probably because you've got one of the textures or the wrong texture actually selected, and I generally want to have it on the base color. Now with blender four, comes a new principled BSDF, and now a lot of the options are actually hidden behind these little tabs here. Emission, for instance, is now hidden behind here, so I can turn this up, as you can see, bring it down and change the color of it if I sell one. Just remember that some of them might actually be hidden. Because this is a basic video, we're just going to go through a few of the actual options that we normally get within our actual textures. So A PBR setup normally consists of a base color known as the Albedo or cut just a color map, a metallic map, a roughness map, and the normal map. There are no more maps, but they take a little bit of work to actually set them up within blender, and this is a basic video, so we won't be going into those, but we will be going into those later on in the course. The first one, which is the albedo map, it just defines the basic color of the material without any lighting or shading effects. It represents how the material looks under natural lighting. If we go to the next one, we've got metallic, and this map defines which parts of the texture are metallic and which are not influencing how the material reflects light. Metals have a high reflectivity and distinct coloration in their reflections. Now, you will notice if I click on this one, it's completely black because this wood has absolutely no metallic. If this was completely white, all of this wood would be completely metallic. Has kind of graze in there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness, and this isn't to be confused with metallic because roughness is how shiny something is, and metallic is obviously how metallic something is. Generally, as well with metallic, either something's metallic or it isn't. You don't really get in the real world half and half. The roughness map controls how rough or smooth the surface of the material appears, affecting how sharp or blurred the reflections are. A lower value results in a smoother surface with sharp reflections. Why a higher value leads to rough surface with diffused reflections. Now, when I'm talking about values, I'm talking about these values here. So the more sharp this is, or the more blurred this is, or the more darker these little spots are, that will give you the result that you actually looking for. Finally, we're going to go now to the normal map, perhaps, one of the most important maps and the normal map simulates small surface details and textures without actually changing the geometry of the three D model. It affects the way light bounces off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now, let me show you how that works, then. So if I come down to this strength at the moment, you can see that we've got our wood here, and it's kind of defined, so if we look from here, it kind of looks like it's, three D and these little groves are going in. But if we turn this all the way up now, you can see that's the effect we actually get. You can see now it looks as though it's much more ripply along the edges. We can see big groups going down there, and this is what the normal map actually does. Now at the moment, with our actual cure, you can see we've only got one actual material on there. And what about if you want to put multiple materials onto an actual object? I'm going to do is, I'm just going to click the plus button. I'm going to click the down arrow. I'm just going to choose one like glass. I want to click the plus button again. Click the down arrow, and this time, I'll choose one that says stone. Now, if I go into my cube and press the tab button in actual edit mode, come over, select one of these faces. It only works on faces. By the way, you can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass. And finally, then I'll click a sign like soap. Then I'll come round to the other side. I'll click this face and this face. And what I'll do is, I'll come down, click the Stone and click a sign. And there we go. Now we've actually got stone, we've got wood, and we've got glass. And if we put this on our render view now, you can see exactly how that's going to look, and you can see how the lie is interacting with all of these surfaces. I come over just to the right side quickly and turn around my sun rotation, we can get a clearer view of what we're talking about. If I come even further around and bring it to the front light, so you can actually see that glass then is actually starting to be seen through, and you can also see that actual normal map working on the inside of this cube. Now, let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this shade of view here. It says actually stone here. Actually come down and click on my wood, for instance, and then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now, what I do want to do is, I want to come in to my actual wood. So that's the one that we actually brought in this one here, and just show you, for instance, can actually interact with all of these texture maps. Now, there's thousands of nodes available in blender, and the way that you put them all together, it can become extremely complex with huge, 100 node maps and shaders. So I'm just going to show you something of the basics just to get you started, and that will be an RGB curve. So an RGB curve, as those of you may know who use photoshop, changes basically how the actual image is actually lit, darker spots, lighter spots, things like this. So if I come in and press shift Day, search RGB, and you can see, I've got an RGB curve here. Now, just before we do that, if you do press shift day, you can come down, you can just see get a flavor of how many nods there are actually within Blender, and you can see also how many shaders there are within blender. Let's discuss that after, but first of all, we're going to go with RGB curves. Bring that in and drop that down like so. And from here now, you can see that I can actually affect the color of this actual wood on the fly in real time, like so. We can also put this onto the metallic onto the roughness, and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now the next thing is we want to discuss is just shaders. So as I said, this is the main shader within blender. This is like the one ring of shaders, and basically, this will be the main one that you actually use. But of course, there's plenty of shaders. So depending on what you want to do, if you come down, you can see, we've got diffuse, we've got emission shaders, we've got glass glossy and a whole range of other shaders that you can actually try out and use. Now that we've discussed that, let's actually come out over two our actual shaders that have got to set up here. Now you can see with this glass one, it's just a very simple shader of glass and got some roughness on, and of course, an IOR value. Next of all, then, we've got an emission shader, and you can see now this is using texture maps, and it's slightly more complex, and you can see how all of these things plug in. In other words, what I'm showing you is that Shaders can be very, very simple or get to be very complex. So the next one is the metal, and you can see this gets even more complex. The next 1 stone, and you can see again, this is slightly more complex, and the final one is wood. And you can see things like this. So we can see that we've actually got some edgeware on this wood, and all of this is actually done within blender, again, with quite a big setup for the nodes. But it's unbelievable really what you can actually do with these shaders. Once you've actually got your head around how to set up the node systems. Really are just scratching the surface in this blender shaders and texturing introduction. And even on the right hand side here, you can see you've got all of these options, as well to play around with, as well as the fact that you can actually put these into your asset manager as well. But this is just a basic introduction just to get you started. Alright, everyone, so I hope you learned a lot from that, and I'll see you on the next one. Thanks a lot. Cheers. 10. Noise Transparency Dynamics: Motion Speed Parameters: S. Hello, welcome back. I' on to blend the Geometry Node, fire animation. In a last lesson, we create ourselves a shader or the material. We got ourselves this sphere over here, just a quick preview. And we're going to start working with the overall setup. So for us to do that, we're going to go ahead and just select the sphere with the materials placed on it. We're going to go ahead and now add a noise texture to start working with the actual colors for the for the flames. Let's go ahead and click Shift and A. And just like we did in our Geometri, we're going to search for noise texture. There we go, noise texture. This one over here. If we were to add it right away, we have two options, by the way, factor and color. Factor would be just simple black and white. Same we had with the fire. With the displacement, if we were to use color, we're going to get ourselves, wait for it. There we go a full range of colors. So we can make use out of this for the fire. And right away, we can make use out of the parameters for this fire over here. And I believe, yeah, we have the material on this fire, but we're not seeing anything. The reason being is that we need to make use out of this vector over here to tell the color information. So, for us to do that, I'm going to quickly get ourselves attribute in Puth attribute, which will allow us to select the geometry. And based on geometry, we can tell what type of vector we want to use. Right now, if I were to attach it like so, it's not going to give us anything. But if I was to write UV map, which, if we remember going back to geometry node, if we remember correctly, within here, we saved it, stored this data over here, stored name attribute, UV map as just a simple position of each one of the coordinates or the vertices. Doing so. We can just simply also just copy this name over here, so U V and score map, clicking Control seat, copy it, going back to Shader and just selecting this sphere over here. We can just paste in this name, like so, clicking Enter, and now it should give us a setup. So I'm just looking at this. And it doesn't seem to want to give it to me, so I'm trying to figure out by that is the case. So the sphere will disappear because it doesn't actually have attribute with the name UV map. But this on the other hand, should have that. And the reason this is not going to give us fine node, I just realized my mistake. We applied this parameter for fire, but if we were to go back to geometry node, have a quick check. I'm going to go out of this group. We have not actually connected this to the material. So that was a quick mistake on my hand. Let me just go ahead and make a duplicate photo group input and attach this to the material over here, like so, now let's go back on the shading, and this is what we should be seeing. If you're not seeing this, make sure you go from viewport shading onto material view, and you should be able to see it. And from this time, the sphere is not going to have the setup, but that's all right because we can preview it on the fire. It's still a little bit easier to just select it from one to another. Personally, that's what I prefer. The other thing is now if we were to click space, and we are going to have an issue. As you can see, the bier itself is moving, but the texture for it is just being kept the same. So that's going to give us a very trippy effect. It's not actually going to look natural. We need to make sure that the texture itself flows with the overall set up. For that, I would say that we can go back to geometry node. For the fire. And we have this group over here. What's nice about this group is that if even if we were to make a duplicate out of this, we can go onto the fire node over here, for example. And if I was to move one of the nodes, we can then access this over group, and it will have the changes already changed, basically. So this is very nice because even if we have multiple duplicates out of this, we could still go into it and access one, make some changes, make some variants, and whatnot. And then we can have that same change applied onto all of the duplicates. Is going to be quite nice. Right now, we only have one, so we don't really need to worry about it, but it's still a good thing to know. So what is happening right now is that we're storing the vertex data over here, but we want to make sure that we are storing it with the motion that we had in this section. Let me just go ahead and have a look. So right before we add it onto this noise texture, which affects the displacement, we want to also grab this data and place it in to our stored name attribute, instead of just normal position. This will allow us to store the data. For the motion of the timing. Let's go ahead and do that. I'm just going to quickly, let me think the best way of doing it. I think the easiest way without overwhelming the overall setup. I could just drag this down, and grab this ad. And place it in a value instead of a position. This way, whenever we hit play, you can see the motion in our texture, which is exactly what we want. Even if we were to change the speed, for example, to make it much faster, we're going to still see that same texture being applied directly with the combination of the displacement. So that's exactly what we want. All right. Just going to go ahead and just slightly reposition these. Make sure they don't intersect. Again, we're going to make sure we spend some time cleaning up this entire mess. Later downline. For now though, let's go ahead and go out of this back onto our shading. So now we want to make sure we have some opacity, some transparency through this. So we're going to make use out of something called if I was to find it over here, Alpha, Alpha will allow you to change the transparency. We're not seeing it over here. The reason being is that we need to go on to where is it onto the material properties, and we need to go onto settings. There is an option called blend mode. Blend mode will allow us to change it between Alpha the way it behaves. Alpha clip will allow you to make it transparent or non transparent, a sort of a mask, or we can change it to blend, which will allow us to make it partially transparent, if it were to load. There we go. This is only within the viewport itself. If we are rendering it, or if we are within the rendevew, it would give us a proper view regardless of this. I believe if I was even to change this to opaque, No, it's only actually within the renders. So this option is just for the viewp basically. Let's go ahead and click Alpha blend to get this sort of a result. I'm going to go back onto the material mode. And there you go. Zero Alpha is going to be invisible. Setting it to one is going to make it completely visible. Although it's giving me bizarre artifacts. I'm going to go ahead and actually change this from Alpha blend to Alpha, which is going to give us similar effect. The difference is that it's going to make it this noisy grainy type of a look. Again, when rendering, it doesn't really matter, so it's really up to you which one you use. Okay. So what do we want to use this with? Well, we want to make sure we're using it with the noise texture. We're going to go ahead and start off with the black and white because this is what it's going to give us. If we were to directly attach it, we're going to give it a partial transparency might not be quite as visible if I were to make it partially like this. I'm going to hold control and just take it off from base color to make it easier to see. And yeah, we're seeing it already, but we're going to go ahead and add something to make sure we have control over this. We're going to hit shift and A. We're going to search for color. Like, so add it over here. Now once we start dragging it from the black side, they have two arrows, basically, the color ramp will allow you to adjust and in a way remap the overall information. This is where the darkest spots are, and this is where the brightest spots are. And if I was to drag the darkest spot, we're going to get the Alpha to be close to zero. We're going to get this start disappear. Now if I was to start dragging it from the whitest areas, we're going to start increasing the contrast basically between white and dark areas. And this transition, you see the area in the middle is going to get smaller and smaller until we get this sort of a result. So if I was to change the scale, maybe to a little bit higher up, we're going to get this. I'm going to lower actually the darkness quite a bit. Maybe something like this. Now if I was to click play, we're going to get this result. So it's already looking quite nice. Then we will want to make sure that the fire itself has an actual look of a fire. And it's actually quite easy to do with some emission. At the very bottom, we can see we have emission. If I want to open it up, we can change up the color to be orange, and then we start increasing the strength, and we're going to get ourselves an interesting look. So this type of a look is not going to look quite as nice. I am going to change this to Alpha clip just so we could see a little bit better the mask and talk a little bit better in regards to that. So what we want to do is we want to make sure that we don't only change the color. We're also changing the overall variation. We're going to make use of the noise texture over here. Before doing that though, I'd like to go to base color and just make sure that this is set to black. The reason being is that once we start turning down the strength, we can see that we are seeing the actual color behind. So we want to make sure that we have a more stylized look, and only the emissive is affecting this fire essentially. So, over here, what we need to do is going to be mixing up the noise texture with the emission. We're going to go ahead and do that by grabbing something called color mix. We're going to hit shift in A. We're going to serve color mix, mixed color over here. Essentially like a math node except for colors. We still have all the options, for example, over here, for mix, we can change them up and they have a bunch of options and tools to make our lives a little easier. The only thing that we need to worry now is about multiply. Multiply will basically get the color, which is going to be orange in this case, like so, and it's going to darken every parts that needs to be darkening. If I was to drive the noise texture directly and put it to A, then attach it to the noise like so we're going to get this type of result. Essentially, it darkens up our areas where it needs to be. I think I'm just going to lower this ad just a little bit. Let me just go back to. There we go. Go to go ahead and select the sphere. I'm not sure where my spirit has disappeared actually. Let me just go ahead and find it. Oh, it's because it has no it's because it has no Alpha completely. That's all right. So I will go and change the blend mode back to Alpha Alpha blend. Hopefully, this time, it's not going to be glitching out as much. There were going now, it is giving us a better look. And that's what we're going to get. So, already it's looking quite nice. I'm going to go ahead and lower down the speed of this oral setup to 0.5 just so we could actually see what's happening with the way fire is interact. Glitch over there that you saw. The reason being is that it went all the way to the end of the sequence. And when it starts again, it just reset the timer. So that's why it's doing that. If we don't want this, all we need to do is just increase the sequence time whenever we're doing rendering and whatnot, but even when we're rendering, we are going to get the exact amount of sequence time. So we don't really need to worry about that glitch that you just saw. And let's go back now to shading. So we have ourselves a basic set up. We're now going to go ahead and work in regards to setting up. The fire to look a bit more stylized. I'm going to increase the strength a bit to something like three or actually make it a little bit more red this time. There we go. Something like this. I'm quite happy with this. H the strength a little bit. There we go. All right. So in the next lesson, we're going to continue on with stylizing it. Thank you so much for watching, and I will be seeing you in a bit. 11. Iterative Geometry Nodes for Layered Fire Effects: Hello and welcome back, everyone to blend the geometry node, fire animation. Now that we have ourselves the basic setup for the shader. Let's go back onto the geometry nodes. We're going to go ahead and open up the tab that we had previously. Let's go ahead and click on the fire so we could get the fire nodes set up. We want to make sure that we're getting multiple layers for this fire over here, so it's not going to be just this shape, it's also going to be surrounding it. The reason why we created the group to begin with is because we want to just repeat it basically. So for us to do that, we're going to hit shift and A, we're going to search for repeat. Zone over here. It's going to give us a combination of two nodes, and there's going to be a zone in the middle. We're going to make use of it in order to repeat this group that we set up over here. So we will want to tell how many layers we're going to be doing. So we're going to make sure that we have set up for the iteration. That's going to be set up with a new parameter. Let's go ahead and create a new input. We can change this to be a string, not a string integer. Here we go. And we're going to change the name for this to be a layer. Layer. Count like this. Then let's go ahead and drag it all the way to the top right under the resolution like so. We have this nice value over here. By default, let's go ahead and change the default value to one and minimum to zero, like this. Sorry, the minimum to one as well as the, the minimum amount of iterations we should have is always going to be one. So in order to expand this zone over here, we're going to select one of the groups. We're going to click G and just move it off to the side, so we have some working space to do working space for the setup. We're then going to go ahead and actually just duplicate the group input. Let's go ahead and click Shift D. So we can get the layer count to be set as iterations. Then before adding the geometry itself, we will want to also be able to tell which exact iteration we're using within the setup. So we'd be able to have some individual controls over it. F to do that, we're going to select the last repeat node over here. Then we're going to go onto the node setup tab over here, which is going to give us a similar tab to what we had in a group interface, except for this, we can make use of it to grab the information that we want to output. So right now we're only outputting the geometry tab, this little dot over here. We will also want to have the node selected and add another one. For this, we're going to make sure that we have it as an integer, just like that. This integer, we can call this one I for iteration. Can see that we're having ourselves this value over here at the very start as well. Basically, in each iteration, we will also want to add a one. It's going to be every new iteration going to have an additional value added on top of it, so it's going to actually give us a count, 123 and so forth, an ID, let's say. For us to get that, we're going to do add like this. Whenever we're repeating this, we're going to add the value for the iteration. We're going to set it to one, and that's going to be added to the iteration like this. And there we go. It's going to start off with zero over here. Then it's going to starts repeating, it's going to add one, and then it goes this to one and so forth. Let's go ahead and make use out of the item over here. I'm just going to simply copy the setup at the very start. Let's copy this group input and fire shape. I'm going to hit shift D. Move it down like so. And we're going to make sure that whenever we repeat it, we add this geometry with joint geometry. This node over here, we're going to add it right underneath the add value over L so. Let's go ahead and make sure that it's part of it. Like this. We're adding a geometry just like that. What it's basically doing is whenever it repeats, it's going to add this geometry over here, and right now it's by default, set to zero, so it's not going to give us anything if we were to connect this to an output, Like so, it's not going to give us anything. Once we start increasing the layer count, they're setting it to one, we're going to see that it's going to give us something. So it's going to give us to the pole shape that we had previously, once we start adding a second one, it's going to look identical. The reason being is that it's not actually offsetting anything, and we're having the same shape. But if we look at the top left hand corner in regards to vertices, for example, we can see that it doubles the moto vertices and the faces and so on. That means that we are adding geometry, we're duplicating this geometry basically. So now we need to make use out of the integer that we have. In order to offset the shape. To get the displacement for each one of the layers. What we need to do is we need to make use out of the i that we set up over here. I'm going to actually just create a little bit more space, and we're going to make use out of this i in order to offset and change the radius over here. I'm going to put at this point the fire shape into the section. So just going to move it a little bit down. I think that's all right actually. After every integer, we need to remap the value. We need to get ourselves the setup for the radius. We're going to go ahead and search for Map range, which will allow us to, I'm just going to undo it because I added it onto the wrong side. Let me just go ahead and undo it, put it off to the side. Let me just grab everything and reposition it ale bit, so we'd have more space to work with. In short, going to do it a bit more. There we go. Oh. D. There we go. In short, what we want to do is we want to grab a value from zero to the integer that we have to the amount of layers, which in this case, is going to be i. Imagine that we're grabbing all the values from where is it maximum, going to be this one over here, the ay account. We're going to grab the maximum amount from the maximum. There we go. Imagine from zero to, let's say three in this point at this point or whichever number you're using for lay account, then we're going to remap it to the value of the integer that we're having, L so, and we're basically changing the integer to be used as a radius. Instead of using the integer over here, which is going to be the current position of which spawn, which duplicate it is being used, from the maximum amount of layers, we're going to change that up to be from zero to the maximum radius value. If we were to add this radius value to the maximum over here, we now have ourselves a remapped radius. That's going to be each change individually based on which version of the duplicate is being used for this shape. Now, if I was to add this result onto the radius over here, just go ahead and do that. We're going to get ourselves this shape, which might not seem to be anything, but if we were to increase the radius, and if I was to go onto the bio frame, we can see that it's actually doing something. So that's quite nice. If we were to increase the layer count, we can see it's actually shaping up like an onion. So that's good for us. The only thing that now needs to be changed is the fact that this onion over here also ends up being the same height for every single point. If I was to change the height, it's just going to squish everything in in regards to the whole set up. So for us to do that to fix that, to make sure that the height is a little bit changed in regards to each layer, we're going to do a similar set up, what we had for the map range. We're going to just simply duplicate this, map range, click Shift D. Make a duplicate out of this. Or better yet. I'll show you a nicer way. We can select this. We can click Control Shift D at this point. And if we were to click Control Shift D instead of Shift D, it's actually going to give us the input sockets already placed in the right position. All we need to do for this is instead of adding the radius, we need to change up to height, and that's going to give us the right setup of what we want. We're not going to go ahead and change this to height to get output to height, and that's what we're going to get. It's basically giving us a different scale for the height at every point. And we can check the height as well to see if it works, and it seems to be working. Alright, so it's looking quite nice. It's shaping up to be nicely. We're not going to be seeing anything es yet because we need to set it up with the material and everything of the sort. But we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 12. Fire Iteration Techniques: Layered Approach: Hello and welcome back around to Blend omit Node of fire animation. In the last lesson, we left ourselves off by getting a nice size variance in regards to each layer and regard ourselves an onion, let's say, but we're still not quite done. We need to make sure we set up with a material for starters for the core. So for us to do that, we're going to quickly start off by getting where would it be setup for the material. And that's going to be it over here. We're just going to go ahead and just make a duplicate out of it here. We're just going to add it onto this section like so right after the repeat. Over lake. And we should see ourselves, the nice material that we had previously. The thing is right now that we have is going to maybe look good, but it's going to be exactly the same. Each lay is going to have identical type of A pi. We don't want this. We want to make sure we have some variance. So for Asia, we're going to store some information, and we're going to sort it over here. All we need to do is just grab this integer value and store it as a named attribute. So let's do that, actually. Yeah. Let's do that. I'm right before we join anything over here, to make a little bit more space. Right before we join anything, I'm going to create a new node called store name attribute, going to add it in over here. And every time we're creating a new one. We are going to be storing the integer value over so, which is going to look a little bit messy at this point. Let's go ahead and actually move everythin down like this. That's all right. Yeah, we're storing the value for every integer. We can call this one layer, since we're just literally storing every layer for iteration. If we now go back on to shading, onto our fire node, we can make use out of this attribute. I'm going to make a duplicate out of the attribute of here. We can change the name to be layer. So in order for us to get a noise variance, we're going to let me just think for a second. We're going to change the noise texture to four d, which will open up with a W value over here. This will allow us to if we were to change it, have some variants basically. And we can use this as a sort of a seed from the attribute. If we were to just connect this to W. We can see that each and every single one of them would have its own different W. I'm not sure if it's actually quite visible, but now we do have some variance with each and every single one of them, maybe if we click one, we can see it a little bit better so before. I was like this, just a small version of each other. But now we're going to have some variance. All right. The thing is though now, although it will works well. Later downline, we'll want each core, each layer to have a variance in opacity. And for us to do that, the best ways if we'd have a value instead of just what we have over here for layer, if we'd have it in of just each layer count, I we'd have it this as a float value instead 0-1, that would help us a great deal in regards to setting it up or capacity. So let's go ahead and do that real quick. Instead of just I just realized that yeah, it was set as a float already. It just go ahead and fix that. So we had a float value. We want to make sure it's set 0-1 instead of just the count number. So we're just going to divide the current layer by the maximum amount, and that's going to give us a value 0-1. So, let's do that real quick, instead of just using an integer. We're going to get sel math value over here, just attach it right before restoring this. And let's go ahead and divide it. We're going to divide it by the layer count over here. You might as well just everything a little bit more to the side just like that. So we can just get ourselves a new group input, going to put it over here and get the lay account. To make the smaller, we can always minimize some values. I'll show you how to clean it up later down the line. But for now, all we need to do is just click this button over here, and that's going to be giving us this big chunky type of a node. There are other ways of doing it. But for now, let's keep it simple, and let's just make sure we focus on creating this fire system. So now for opacity to preview it, we can go on to shading, we can select the shader that we had, and I can simply add this to the Alpha of here just as a preview just to make sure it actually works properly, and it should give us something like this, which I think y, we can see that on the outside, we have it more transparent on the inside, if we look at it from the inside itself, we should have it less transparent, which might be a little bit hard to see. Hopefully. That makes sense. Let's go ahead and make use out of the value. I'm going to plug this set up back in for the Alpha. Lo so. We're going to now combine these two together with what we had. For us to do that, we can Let's just grab the attribute again for the layer. We're going to now get a math node. Over S. We can just change this to multiply, grab the factor and just set up the values L S. Attached to Alpha. What this is going to do is whenever the brightness is lower for the layer is going to give us more of a value. I'm not sure if that's visible. I'm going to actually lower the amount perhaps just to make sure we see it a little bit more of that. We're not seeing it as much and we might need to tweak this attribute value over here itself. Let's go ahead and do that using color m. So, we're just going to attach it. And instead of having this as a linear, we're going to change this to ease interpolation. That's going to give us an ease off, so and I think. We might need to just go ahead and check. Yeah, the inside actually starts disappearing faster. I think those values are opposite of what we want. I'm going to grab those arrows and switch them around by just simply using our mouse to and there we go, now we're getting something. At the outer edge, we're going to get a much nicer fade in comparison to the inner core. That's exactly what we want. I think I'm going to leave it as is by default, and it's already looking pretty nice. I'm going to actually lower the layer count to three or actually four. There we go. For some reason when it's at layer one, it's going to disappear. I'm trying to figure out why that is the case. Go to go back to the geometry node. I'm going to pause the timeline and see why that would be the case. I believe we can just go into the node itself with the repeat and change the intersection to one, which now give us a better outcome, but I'm not sure why. It's still not giving us the right amount. So I'm just going to check real quick if when we have layer count one, if we have no wire frame, and it doesn't seem to be the case. So the eases fix, let me think for a second. The eases fix will be just simply adding plus one over here one to our integer. So let's go ahead and just do that. Over here. I just going to attach everything so layer count to this and value plus one. Now by default, we should always have a default of one, and once we start increasing it, we should have a nice fire. The only thing now is that the upper section doesn't have any shading for opacity. Let's go ahead and pix that within the shader. So this is because I believe of this. We just see before hand, ye, it is. We basically the last point, the outer core, will have a value of zero. So we don't want this happen. We want to make sure that we select this arrow over here at the very top, which has a value of zero. We work to click on this. We can see that the raise it. Then Alpha. The value over here is going to be zero. This is what represents what we're doing for in regards to opacity. So if we were to change this to one it is going to give us the right setup. I'm going to change this to something like 0.99, or sorry, 0.001. Or maybe 0.01 like this to get an outer layer just like that. Maybe even 0.1, there we go. I'm quite happy with this result. We go to sell a nice set up for capacity. Let's go ahead and actually increase the layer counts. Now we have one, two, three, four, yeah, it looks quite nice. The only downside for this is that I would say the layers are even though we're planning to use pacity layers, we set it up in regards to integer being zero to one. It's still not going to look quite as nice or this W coordinate. If I was to take this off, what we're getting over here, is. Let me just go ahead and quickly selected. What we're getting over here is zero to one. So it's barely, if I want to hold shift, is barely moving and adjusting that value, that transition, as you can see over here. I'm barely moving this value 0-1, and it's not giving me the right amount. So what I'm going to do is c control then. I'm just going to multiply this value over here with just by 100 or something of the sort to give more extreme value. Now the variation for this fire is going to look a lot better. All right. I might as well just increase the strength just a little bit more. The value of free for the emission. We can adjust the value slate down line once we're done with the ming chain itself. But for now, it's looking quite nice. Yeah, in the next lesson, we're going to continue on with the setup. Thank you so much for watching, and I will be seeing you in a bit. 13. Advanced Fire Enhancement: Fresnel and Masking: Hello, and welcome back everyone to blend the geometry node fire animation. In the last lesson, we left ourselves of by setting up a bit of a shading setup for the opacity of inner core. Now we're going to continue on working with the shader itself. We're going to go ahead and quickly, set it up with in regards to the edge. As you can see right now over here, each one of those edges are quite sharp. We don't really want this. We want to make sure we blur it out a little bit. So for us to do that, we're going to use something called Fresnel. If I was to show you what Fresnel does, real quick. I can do, let me think. Yeah. Let's go ahead and just add Fresnel real quick, and I will just add it onto We can click Control shift and just tap on the fresnel itself and see what it does. And basically, it highlights the edges. It's going to give you a sort of a mask around each individual geometry to get a nice mask for the sides of the said geometry. So let's go ahead and make use out of that. For starts, we're going to just switch it up a little bit. We're going to use for ramp again. We're going to add it in. And for this color ramp, we want to switch this over. We want to make sure that the darkened edges, Alpha is going to be darkened over on the corners right now with the white mask is going to be where the Alpha is going to be kept, so we want to invert this. Let's go ahead and mix these flips around basically. L so. And we're going to bring this darkness a little bit more to the edge, just like that, to get this type of a look. You can see that it just slightly blurs out this whilst giving you the complete black mask at the very edge. That's exactly what we want. We're now going to go ahead and click Shift and A, search for Maths node, get it over here and use multiply, just like we did previously. To go ahead and now click control shift and tap on principal BDSF to make sure that the material output is being kept as it was previously to give us the original fire. Now we're going to attach this what we got with the color ramp and fresnel and add it onto the color value over here, just like that. And now, we're going to get those edges a little bit more blurred out, as you can see, to make it a little bit more nicer. So now, I would also like to show you how to add a variance. We pin the shader itself hut dynamation, just by making use out of the value as well. So for that, I'll go ahead and show you using the noise texture. We can click Shift and A search for value and get ourselves just a normal value. But if we go into this type pin hashtag frame, so we're going to get ourselves the exact frame of where we're staying in. If I were to show you D D animation. I could probably just go over here in where we have it in a timeline. So right now it's 204, we go to shading and it's a 204, we can click space to play, and that's going to just show you which exact frame it is. This is very useful. We can also turn that down a little bit in regards to the intensity or the variance. So if I was to do hashtag frame divided by 60, that's going to give us seconds, I believe, because if we're using 60 frames per second, that's going to just give us 1 second. So yeah, that's going to look like this. I'm not sure if it's not previewed for some reason. Just wondering why that is the case. It seems to be running. Let's go ahead and attach this directly into W and instead of using this attribute over here because we're going to switch it over with the vector values. Right now, this is what. We're getting those nice chunks and clusters to help us break down the overall flame. But at the same time we want some variation. We're going to make use out of the attribute in of what we had. With the layer count and the UE map. We're going to make sure we combine them two together. We're now going to go ahead and get a vector map over here to make sure that we are adding to the vector the layer count, so each one of them would be different, just like that. And we're going to get ourselves a nice result. Je like this. Just looking for some reason, this. I'm going to real quick, redo this so frame Tbta by 60. For some reason, it's not working. I'm going to take this away for a second. Hashtag frame. And it doesn't seem to want to work, just trying to figure out why. Going to just quickly create a new value tag frame divided by 60. There we go. Now it seems to show the previa. It was working, but it just was broken with the previous, so quick fix to just redo the value. There we go. There we go. That's what we're going to get. It's already looking better. The other way that we can improve this is by making sure that as the fire goes higher up, it's going to lower down the opacity a little bit. Because by default, if we look at it, these top points are two pointy. I think it's best if we were to just lower them down a little bit. And let's go ahead and do that. We're going to go onto the geometry node itself, we're going to access the fire shape. Within the fire shape. All we need to do is make use out of the factor, which gives us zero to one in regards to the curve. So we're going to make use out of that. We're going to grab our cells store named attribute, and we're going to place it right before we turn this into curve mesh, just like that. Then we're going to get spline parameter. I'm going to duplicate this section over here, and take the factor value to put it into the value itself. We can call this factor, just like that. Now if we were to go to shading, we should be able to access this. Let's go ahead and see. We to go ahead and just select the sphere. Grab, let's go ahead and just grab this attribute we here and rename this to factor. So we're going to access the right value. I'm going to click Shift Control shift, tap on this, and we should see something like this. At the bottom, it's going to be darker, the top is going to be wider, so we can have some masking information to make use out. Now we're going to make the actual use out of this. I'm going to go to principal BSF, click Control Shift, stop on this to get back onto our material, going to select this attribute that we had and make use out of it over here, I believe. Just have a quick look. We're going to use it at the very end for the Alpha. I'm going to grab a number of multiply actually just duplicate it, like so. The value for the attribute needs to be controlled with the setup. Let me just go ahead and have a look with the setup for the color. Ramp, and we can connect this color to the value. Let's see what it does. It should remove the stuff at the bottom actually and keep it bright at the top, which is the opposite of what we want. Let's go ahead and flip these arrows around to invert the color range. There we go, something like this. It's looking quite nice. We can even play around with this ale bit so I think that's, yeah, that's looking pretty nice. Now we finally need to work in regards to the hue and the emission strength. So, we're running out of time with this lesson. I think we're going to continue on with it in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 14. Hue Variation for Enhanced Fire Emission: Hello, welcome back. On the Blend the Geometry node, pire animation. And last lesson, we left ourselves off by creating some additional adjustments to the shader to make the pire look nicer. We still have quite a way to go in regards to making it look a bit more vibrant. We're going to continue on with the set up. So what I mean by that is we need to have some color variants for each one of the sessions. We're going to make sure we do that. We're going to low that lay account a little bit to something like four to make it a little bit more manageable. And I think we can work with that. I am also going to increase the opacity by quite a bit because I think now that we have the setup, it's going to look a little bit to underwhelming. Let's go ahead and do that. Going to increase it like so over here, and that's what we're going to get. I think that's a little bit better. Looking from a distance. Yeah, sharpening it up, basically. It's going to look nicer. All right. Now we need to make sure we go back onto the geometric node. Let's go ahead and do that. We're going to go onto the group interface. We're going to create a couple of additional parameters. Let's go ahead and create three of them. Three new sockets. One is going to be for controlling the hue. Another one is going to be for controlling the core hue. What I mean by that is it's going to need to have some variance in regards to the center piece to help us out a little bit. Let's go ahead and do that. Core Q. I'm going to actually rename this with a capital letter just to make it more consistent with naming. The last one is going to be emission strength. So we can just call it emission. Now, to make use out of it in order to get the core and emission values, we're going to go out of the fire note group back onto the repeat section over here. We're going to make some space for additional store name attributes, just like that, and add a couple of them over here. This one is going to be called u, and this one is going to be called core. We have everything that we need over here. I'm just making sure it's properly set up. I think I might have made a mistake. Yeah, I did make a huge mistake, actually, sorry about that. What I did was, I created the parameters over in this section. Let me just take this off real quick and redo that step in regs to We need to create the parameters for the changes, we're going to go onto our fire node by clicking tab. We can go out of the group that we had, and we're going to. Firstly, make sure that we have some new parameters over here. I'm going to add input after displacement, a couple of them actually or three. The first one can be. The second one can be core u because we're going to be changing it, changing the setup based on where it is. The last one is going to be emission just to make sure that we have control over the emission itself, the strength of it. I think that's enough. We're going to now go ahead and just quickly, duplicate this store name attribute, make sure you have enough space, so I just drag off to the side a little bit and make a couple of duplicates for the store name attribute. This one is going to be u. This other one is going to be called core. Let's make sure that we're using underscore Q instead of space because that's the preference for the store name attributes. For starters, we're going to grab another map range over here. We're going to hit control ship D, make a duplicate, then remove two max. And instead, and yeah, for this map range, in order to make use of the value for u, we're going to mix it up with core u as well just to make sure that they're intertwined with one another. So we have core u parameters over here with, and we're just going to say that we're going to get the value between the minimum and maximum with the u and u values over here. To get the output for U value over here, just like that. Yeah. That seems to be right. Now we can bring it this to the shading. Let's go ahead and do that. Right after Yeah, we can it underneath get our attribute and call this one H or I believe. Let me just check real quick. If we were to go to this, just making sure that it has no capital letters, which doesn't seem to be the case. A H. This will give us a simple parameter for the value we can just directly make use of it within our emission over here. We need to make sure we're using a certain certain value. If we were to just simply plug this in into the color, it's just going to give us black and white like once it loads like so. And for us to make use out of this properly, we're going to make use out of something called hue saturation value. So this has a parameter for changing the hue. If we were to change the hue over here, we should be able to switch this setting around, which is not going to happen because we need a color parameter first. I'm going to go onto here and just turn this completely. Completely blue. Going to change this value to one, the u 2.5, like so just to keep the consistency, and y it's just going to be at a top for green and blue. So once we start adjusting the u over here, it's going to work in a way like a clock wise. So 90 degrees will be more purplesh. If we get this to be zero for causally, if we get this to be a value of 0.5, is going to be a default value. Once we start increasing it, it's going to turn more purplish, like so. And then once we go to value of one, I believe it's going to just turn red. If we wanted to go to green, we can just continue on from the up side, and it's going to turn green just like that. So, we can use the attribute from the hue and attach this to the hue value over here, which is going to be with the core hue and hue parameters, and it should give us nice setup. If we were to start changing it over here, you can see the hue. I'm changing simply the hue value over here and it starts to change the inner core, whilst at the same time, it's changing the value on the sides like this, and we can, for example, turn this more Let's say purplish, there we go. It's going to give us a nice setup, and then afterwards, we can tweak the core hue as well to make sure we have a lot of control over the parameter over the outside color and inside color. And just like that, we're going to get ourselves a very nice and simple setup. All right. To make sure that they are set consistent. All it is is just a value 0-1, and then it's going to be looping back and forth again. I'm going to go back on to the Geomet node itself, going to select a u and core u and change the subtype to be a factor, so minimum of zero, maximum one, going to the same thing for the core u. That's just going to be allowing us to have a simple value 0-1, zero to one factor. And we're going to leave di mission off for now. Now, once we start changing it, you can see that it all goes 0-1, which is pretty nice. Let's find the color that would be more towards the orange side, like so. I'm trying to find the color. That's going to be. The thing, the reason that's happening, I can't go past to get more of an orange color if I set this value to two, or actually five. You see that we are changing this and turning this into more orange there we go, that's a nice orange value. It is because it's giving us the range between a hue value and core hue value of our setup. F u, actually, we're going to change this maximum to be five, and that's going to fix the issue to make sure that we are grabbing the full range just like that. All right. There we go. We're going to get ourselves. A nice variance. There we go. That's a very nice type of a setup. I personally prefer this to be the default. What I'm going to do is, I'm going to grab this value for. Going to paste this in as a default value, I'm going to just use it as one. That's going to give us a nice setup. There we go. All right. Maybe it's a little bit too green. Going to lower this down a little bit. So we can just play around with the colors actually, but I know the colors that I had previously was it nice there we go, something like this. Quite happy with that. Now the only thing that's left is going to be the emission, which we're going to store it over here. Just realize the mistake I've done is we're not actually using this core hue as is. We're only storing the emission. We basically made u to connect with the core hue parameters over here to give us a range for the shift of the color. So this time, we're going to just use this stored name node to get emission. Like so. This emission is going to be a new map range. Control shift control shift D. Let me just drag it even lower. This map range is going to be minimum from zero and maximum is going to be from the emission itself. That's going to give us strength control based on the parameter that we have over here. This is going to be going to shading, select this, and that's going two, give us the strength over here. Let's grab the attribute value. Let's change the name to emission, like so and attach this. Factor to strength, which is not going to give us anything by default, I believe, because it's set to zero. If we start dragging it up, we're going to start seeing this type of a change, which is looking pretty good. I think, the thing is right now is The base is set to a value of zero. We need to go back onto geometry node and change the range to be minimum instead of zero to be 0.3. Actually a value of 0.5, I'd say. So. Now once we start increasing that mission, it's going to give us a nice brightness in the center whilst the outer sections are going to be slightly more dim, which is very nice. A little bit too much brightness. Let's go ahead and lower this down to a value of something like let's say ten. There we go. We're going to increase the height a bit, just to make this flame. Just like that. I think the noise scale is a little bit too, that's noise displacement scale. We need to grab the shader. T real quick to fix the noise texture scale itself. I think it's a little bit too small at this point. Let's go ahead and lower this down to more manageable version, something to a value of two, I believe. There we go to get a much nicer effect overall. Displacement now needs to be just increased for the displacement intensity. There you go 0.5. There we go. We're going to get ourselves a nice motion. Maybe 0.4. Let's keep it sm. There we go. And yeah, there we go. We got ourselves a nice flame setup, and all we need to do is a little bit of clean up in our geometry notes. So we're going to continue on with this in the next lesson. And then afterwards, we're going to add 15. Geometry Node Organization and Cleanup: Expert Tips: Hello, welcome back every room to blend the Geometry node fire animation. In last lesson, we left ourselves off by creating emission strength with u and core values, and we have ourselves a nice fire setup. Now we're going to continue on, and before getting into the effects themselves, we're going to clean up everything in regards to the fire node itself. So before we get right into it, I'd like to firstly minimize all of the group inputs. Instead of just doing it like this by clicking on the arrow, what we can do instead is click Control and H. Control and H will hide everything that's not being used. In this case, everything that's not being used is pretty much everything except for layer count. And the thing is, if we are to use something like this over here, clicking Control and H, it's going to keep most of the stuff except for, again, the things that are being active, if we want to unhide it, in certain cases where we want to unhide things and reuse the same group input, we can click Control H again, and that's going to unhide everything. Bear in mind that whenever we are working with additional parameters, whenever we are adding additional parameters, this list is going to start expanding. So what I mean by that is if I were to click on a plus symbol after I hide everything over here in a group input, notice that it appears over here, so just adds everything even though the list has been hidden. In which case, you need to click Control H again a couple of times in order to unhide and then hide it again, and that's going to fix it. So that's pretty much it in regards to the setup. And let's go ahead and look in regards to these setups over here. So we have a lot of values in regards to the map range. We can actually hide them away a little bit, minimize the map range by clicking on the ros over here. I think that's going to be a lot better for us, just like that. In regards to the e value over here, we can see that there's a bunch of lines going over making a sort of a noodle section over here for us. So what I personally recommend you do is find those free lines over here that go all to those free map ranges over here. These free lines. And what we can do is whilst holding shift, we can drag our right mouse button across those free lines just like that, you'll see there's a jaggered line that's going to be created, and once we release our right mouse button, it's going to create this re route socket node over here. Which we can use to move things around. So it basically combines all of those free lines into one line and then uses this point over here to get them around, basically. So what I'm going to do is, I'm just going to move this off to the bottom like this, and that's going to help us in regards to cleaning a little bit up with these values over here. O thing that we can do is we can rename this little button over here. No button, sorry, this dot over here by selecting it and clicking F two, and that will allow us to node to label this node. In this case, I'm just going to call this I over here, and we can see what kind of value this is giving us. So that's quite useful, and we can pretty much do the same thing for the rest of the items, although for this case. Let me check this real quick. I was just checking if this line is going through that mission, which seems to be the case. We need to slightly clean up in regards to some of those values over here. So everything is going through one another, and it's not really good visually looking when we want to understand what's going on with the setup. So in that case, I recommend you holding shift and just dragging across one of those lines. Oh, sorry, we drag it across two lines. If we only drag it across one line, we're going to get that same dot, which will allow us to move the things around, in this case. We can just move it slightly like this, and I'm going to do one at the top as well. We have both them selected, we can click S X zero, and that's going to horizontally squish everything down, making this perfectly straight line. Then I can select this and click G Y to move it upwards like this. So X in regards to moving it around. If you use GX, that's going to make it move horizontally. If you click G Y, it's going to move it vertically. So that's quite useful no in order to just reorganize things a little bit. All right. So this was a lier count, which I believe we can simply combine them all. If you don't like the buttons over here. To read art nodes. What you can do is you can just simply go and reattach it, holding control, reattach it back to original value, L Stow. And then afterwards, you can just delete them just like that. In this case, I think, I'm going to grab all four of those, just like that because it's one and the same type of a line and just slightly clean this up in regards to making them a little bit more vertical. Just like that. It'll be a little bit more obvious what is going on with these lines. Just like that. All right. Then in regards to all of these lines going over here, what we can do is we can just do that same type of a setup in order to help us out with cleaning up the lines, just like that. And I'm going to select, I'm going to select both of them like so. Click S X zero, just to make sure it's straight. And I'm going to grab a couple of lines over here. Make sure I straighten knees up. There we go S X zero, this process is a bit tedious at times. But when we are working with more complexity, we're adding more items, it's really useful to actually clean it up a little bit. For example, this one over here, this i value is going all the way across. We don't want this. We want to make sure that we re route this line. I think that's all right. And maybe this green line over here should be slightly straightened up like this. It's going to be a little bit better. When zooming out, we then starting to see what exactly is going on. This can be hidden away, put underneath, even though this is crossing the lines. By just having this underneath, we know that it's actually being used up like this, and we can just put this on the top, or actually sorry this one is going to be going on the side since it's an output like so check in final lines. And yeah, this is all right. The thing that we could do is, for example, for this one over here, all these group input lines. We could actually just grab a group input, a separate one and just place it over here, so it wouldn't get in our way. But certain parts, like, for example, it comes out from MP range and whatnot, and I really wouldn't want to mess them up. So I'm going to keep them as is actually going to move this upwards a little bit. So these two because they are being used by the It's going to be more visible on what they're doing. All right. I think that's better. Now we can go into this group node over here, which we had MI set up, and let's see what we're doing with this one. So yeah, that's fine. All right. I'm just going to slightly tweak them up a little bit, just like we did previously, going to click S zero, scale this up, and leave it as this. This part over here, I'm not quite keen about it as it has a lot of parts that are actually overlapping. This seems to be all right. We can then after we're done with the re route nodes and all of their connections, which can be even simplified a little bit more. I would say something like this. There we go. Alright, that much better. Once we have everything like this, we can even move it around a little bit more in regards to what each part of this does. So for example, this part on the top, we know that it goes into radius. So we know that this is going to be the shape of a plane. We can go ahead and select this, and then afterwards, we can click Control and J, which is going to create this sort of a box. This box will allow us to just select the box itself, click G and just move everything within it. If we want to move anything outside of this box, which as you can see, you can, you would need to click Control and P or sorry Alton P. And that's going to split it off from the box. If you want to put it back in a box, all you need to do is just drag it into the box, and then it's going to join it automatically, just like that. And then afterwards, we can even add some comments onto it. You can select the box. We can click F two, and we can rename this as shape. Or yeah, I can call this shape, so. Then afterwards, this is quite a best. I'm going to get this range to be minimized. We don't need it to be this big. Everything else seems to be all right. I'm going to grab these parts over here. This is what's controlling the speed. We can grab these parts just like that, and select all of them. I will go ahead and select them all. Then I'm going to actually move them a little bit to the side to the bottom. I'm going to click Control J to connect them all, and I'm going to call this what's it called noise animation. That's what it is. Then we need to fix it up real quick in regards to the offsets, just like that. So. Yeah, that's going to work much better overall. I think I can actually just leave it like this. Going to select that zero, sorry. Going to select these both thoughts. There we go, S, there we go. Let's see if everything is just in a logical way. Everything is nicely set up. This part over here, I'd like to ideally move it upwards, which I think I'm going to do by opening some of the space, just like that. L I'm going to go ahead and quickly check please do. I'm going to select this, this is going to be curve to mesh, just going to go ahead and select all Control J. All this curve to mesh, es like that. Set position, the position is going to be offset, which we might as well add it onto our box over here actually. And this is going to be a UV, so it's going to be quite obvious. The rest is okay. All right. So I'm quite happy with this result. I took us a little bit, but we got there in the end. And now if we were to use this fire ship geography note, ome note again, this group, it's going to already be nicely cleaned up for us. So yeah, thank you so much for watching, and I will be seeing you in a bit. 16. Transforming Geometry Fire to Smoke: Efficient Workflow: Hello, welcome back everyone to Blender Jump node fire animation, in which we left ourselves off by cleaning up the Jump node a little bit. Now we're going to continue on with the setup, and we're going to make some smoke for this fire. So, for us to do that, we'll firstly just go ahead and delete the thing at the top. We don't really need it. The reason being is that we have this cleaned up, and we can just simply reuse this as part of the smoke. Before doing that, we should create ourselves new parameters for the smoke itself. We're going to start off by creating new item, new input, and we're going to just change this to a string, which will allow us to in a way have this as a label. If we were to delete socket, the name itself, and just keep it empty, can see that this is just going to give us a label at the right hand side. By default, we can just call this smoke. And we can hover over this bar over here. Just click backspace to give us this default value, which is smoke, and that's going to just give us that label over here. And whenever the setup is being copied, it's going to always give you the smoke a label. So what we need in this setup is going to be pretty much identical to what we had before. I'm going to actually make a new label at the top as well right underneath. L et me think for a second. The speed itself is going to be for both the smoke and fire. We might as well just put it at the top. Then right underneath it. We're going to add a socket, which is going to be, again, a string with no name. And that's going to say by the fold bier just like that. So we're going to have two labels a top at the bottom, and you can see the group inputs have these already empty, which is in a way helps us to break down the parameters just a little bit. Okay, so we need for the smoke itself, we need pretty much the same setup as we have over here. So we can go ahead and start copying everything. I'm actually going to move this material for fire to fire section over here, and the rest seems to be all right. Okay, so what we're going to do is because we want to basically have similar settings to fire. We're going to duplicate all of those parts. Let's go ahead and start doing that. And we don't need to change name because we're moving everything underneath this smoke tab. So that's going to be all right. And let's just go ahead and do it for every single one of the parts like so, except for the hue. Going to do it a little bit differently for the hue. And then displacement, also needs to be set like this. The smoke itself, in regards to the color, we are going to have a Que. Let's go ahead and actually do that. Yeah. The way we're going to do it is, we are going to have the color, ability to switch the color. But for in regards to the, we're going to have something else, which is going to be, if I were to now add a new input, it's going to be grayness, so how saturated something is and then I'm going to duplicate it because this one is going to be called core grayness there we go. We have all of these options just like that. All right. So we can now duplicate this entire setup actually. Just like that, I'm going to move everything, sorry, the group output to the right, and everything is now going to be going to be duplicated. For minimizing all of these group inputs, we can simply select one of this group input and then click Control H. Then we can hold shift and use a square bracket or holding shift, it actually gives more of a quickly bracket. It basically is going to allow you to select the next group of that same type. So holding shift, I can either use one type of bracket or another to go between them. And this way, we can just click Control H a couple of times and go for every single one, just making sure that we are hiding them away, just like that. It's nice and simple. All right, so we're going to go ahead and select this all. Click Shift D, move it downwards like this. And for this part, we're going to select it all, click Control J to make a comment box. Click F two called this one fire. Then select the bottom one. Click Control J, F two smoke. Just like that. And then what we can do also in order to connect both of these parts is we can use control shift and right click. And then if we are dragging it from one end to another in regards to set material node, we can then release it. So Control shift and right click, it's automatically going to connect both of them. So this type of a line, if we were to basically drag it from one set material to another, it's going to automatically join these with a joint ome node. So it's quite convenient when we want to just combine the nodes together. So in this case, we're going to unhide everything over here, click in Control and H and just simply recombining everything. So speed is not necessarily resolution, is going to be needed to be over here. The material. I realize that it's going to be over here. We need to make sure weekly control for this one and just reconnect it from this material at the very lowest area. So, we get from the smoke section over here. Basically, I'm going to just move it back. Then we have what is it? Ayer Laycunt, I believe was actually from over here. Let's go ahead and combine it from here instead. So Layer count. Do I have lay count, I might have forgot. I believe I forgot to lay account, we might as well just quickly pick that up. Wait to make a duplicate, track it to the bottom over here. There we go. Lay count, lay count, L A is good so far. Then we have the setup over here. After the layer count, radius is going to be over here. Height is going to be Do I forget the height as well. Let me check real quick. Radius height, it seems like I have actually forgot the height. Let's go ahead and fix that real quick. Height. Go after radius, and now you should be able to just repurpose this noise scale. We're going to move this to the side, displacement scale, move the u. Move the u, like this in regards to mission, we are going to find this map range, then it's not going to be emission, but the greatness. And in regards to the minimum, it's going to be core greatness. What we're essentially doing is we're only changing the maximum map range in regards to the setup. What a layer count. We're also going to be adjusting the minimum count as well, just like that. The other thing that we need to change is going to be the store named attributes. We're going to simply call this one Layer two, two. Doesn't seem to want to be able to change it. Let me just go ahead and click two and click on this plus symbol over here to make sure we change it. But the emission, we're going to be calling it instead grains. Over here. Yeah. We're going to call it grains or saturation even better. It doesn't matter actually grains up to you as it's going to just basically control the saturation of this. We have it all connected. All we need to do is just make sure that the material is set up, and we're going to continue on with this in the next lesson. For now, let's go ahead and actually see if this is behaving properly. I'm going to increase this and it is seems to be working. I'm not sure why there we go. We just need to increase the height. And. All seems to be all right. So yeah, we're going to work with this wide blob to make sure that we are getting a nice type of a smoke shade and a nice lesson. Thank you so much for watching, and I will be seeing you in the bin. 17. Smoke Shader Material Setup: Step-by-Step Guide: Hello. Welcome back, everyone to blend the geometry node, fire animation. And the last lesson, we left ourselves off by getting some starting point for the smoke itself. We reworked some of the nodes, and now we're going to continue on to get this onto the material. So to make make our lives a little bit easier. We're going to grab the material for the fire. And I'm just going to quickly duplicate it, make a new material using this p here, which is going to make a duplicate out of it. Actually, Yeah, I'm sorry, I'm going to go ahead and duplicate this sphere, so shift the G x, put it off to the side. Then I'm going to duplicate it, so one is going to be the original fire and the other one is going to be the duplicate for it. This duplicate, I'm going to call it smoke like so and we're going to attach this directly onto this setting over here. So by default, this is what we're going to get. The reason being is that we have some settings. So this is already giving us a black type of smoke. The reason being is that we've not attach these stored name attributes. Let's go on to shading panel, and let's work with smoke parameters. So for Ss, let's just rename everything that we need. I actually forgot what we called it. So Layer two, two, and grayness. Okay. So let's go ahead and do that. Layer two. Two. There we go. For the grayness, it's going to be over here, grayness. That's going to be the second one, and again, I'm going to go ahead and check this real quick, so it had no capital letter. We need to make sure that it also has no capital letter over here. Just like that. I'm going to go back on to the fire just to see if it is actually affecting this setup, and it doesn't want to work. I'm just trying to figure out why that is the case. The color is over here? That's the base color. If we were to change, it is going to affect it over here. Emission, this is going to be by default ticked off, so that's why it wasn't giving us any color because we're not we shouldn't be only using the emission, which is going to make it brighter, but it's also going to use the base color. So I'm going to take this away. The question is, we actually use the base color? If we are to use the emission as is, It would be pretty good for us in regards to the setup if we want to let's see if we want to have it partially lit up. It's quite nice for certain stylized scenes. Right now, let's go ahead and just fix the color first because that's getting in my way. So for us to do that, we're going to get this attribute for grayness, and we're going to attach this vector two saturation. Yeah. So this saturation, what's going to control our setup. Let's go back on to the smoke, and let's see so greatness. If we increase this, it's going to give us a nice value. We want this to be e zero or one or value in between. We're going to real quick fix that up in the geometry node or the grainess, is going to be a factor zero to one. There we go. Now let's go back to shading and the shading over here. It's going to give us a nice control, but we want to actually invert this. The reason being is that when it's set to zero for grayness, we want to actually have the color. When it's set to one, we want to start removing some of that color. So core grates should be set as one, and there we go, it's going to help us out with in regards to that. What we need to do now is simply make sure that we flip this value around. So we're going to use map. No it over here. We're going to subtract from one, we're going to subtract this. And what this is going to do is basically going to invert this entire value. Oh, I'm going to click zero because I accidentally did it the wrong way in regards to attaching it to hue, not saturation. So now when this is the grains is set to zero, is going to do nothing, but when it starts increasing, it's actually going to pick that up. So that's quite nice for us. I'm going to take off the fire for now layer count just so we're going to have any fire. I'm just going to write in the manually there we go to see what's actually going on with the smoke. So this is what we're getting with in regards to the smoke. We should be able to control the core as well. We're going to make the core grains set zero. So give us trying to see if it's actually giving us a nice setup. I'll change the radius for this just so we can see what is going on with the fire. Going to increase the height a little bit. All right. To get it a little bit nicer, we're going to first of all, find the smoke back. We're going to increase the amount within a multiplier within the Alpha. That's going to be a much better setup. We're going to It is not working in a way that I want. I'm trying to figure out what is the case. I think we might need to go back real quick onto the geometry node. Just to quickly check the group inputs. I'm going to make sure that they're properly attached. For the smoke, and I believe yeah, there we go as what's causing it? We basically need to get a different lay acount. Right now it's still using fire ayercunt, which is why it's not giving us that variation that we're looking for. Let's go ahead and attach this to divide, control and H. Now I'm going to go ahead and test out While we're at it, we're also going to change the core graines to be a factor as well 0-1, since we don't need anything else in regards to the setup. Now we're going to actually, what's going on with the layer count There you go. Let's go ahead and increase it. We're going to quite nice. The core grayness has to be inverted for us actually. The reason we want to invert this is because at the bottom, if we have a look at it, let me just go ahead and change the color a little bit. Once we start increasing this, the outer layer is turning gray. But we want the opposite effect for that. So to invert the core grayness. We're going to go back on to shader. We're going to select the smoke and where is it there we go. The core gree it's going to be Oh, sorry, that's I just realize there is a mistake over here as well. Attribute, we need to make sure that this is also used in layer two. And that's going to give us right set. Now, in regards to what I was talking before, all the core here. Let me just go ahead and check it up real quick. That's going to be core grates, just the grates itself. Yeah, we need to change it within the geometry node. Core gratess is going to be a parameter over here. That's going to be minus a minus. Yeah, we're going to just switch them over, basically. The reason being is that this is going to give us an inverted value. Inverted value will allow us to if we go to shading again to see. It's hard to see now. The reason being is that we need to fix up or is it Alpha over here? Alpha over here can be increased quite a little bit. And I'm just looking where that would be. I'm going to change up to here as well. Just to make sure we're seeing something at least. For this, we need to. There we go. We're changing the Alpha. It's being multiplied over here. Be Fresnel. I'm trying to figure out where exactly we're getting this lowered Alpha. The easiest way for us to go over it is by just going over every single multiply. Clicking control shift and just tapping it on the screen. I think this one is the reason. We need to slightly increase it like so, and that's going to be Fresnel, actually, that's going to be Layer two. Which is going to give us based on layer set up. Now we should have ourselves a much nicer smoke. Going to increase this visibility as well just to see what is going on with this. There we go. If we were to lower it down, we're going to get our cells darker smoke. But honestly, this is set up with a Yeah, with emission. We don't want the smoke itself to be emission. We want it to be base color just to make sure it doesn't glow on its own. Once we set it up with this, we're going to change the emission color to black and strength set it to zero, and that's going to give us a neutral setup. Then afterwards, we can work with the smoke itself. So we need to get, where is it? What do we need to get? We need to get this value over here to allow us to change the brightness of it. I'm going to make sure we have a setup for that, or we could just use the grayness. We could definitely use the grayness if we were to just plug in the greatness for its value, not only will it just simply use the saturation. We're also going to start darkening it down, which is going to be quite nice actually for us. Something like this. It's going to work quite nice. The layer count should be set to something like two, radius, a little bit increased, and we need to unclench the topper section. Actually, layer, we can increase it all the way to four, double it. Like this. We're going to need to tweak the color itself just a little bit more in regards to the setup. We need to make sure that it's not just giving us the base color, which is not actually previewing me setup. There we go. For stars, we're going to change this mixer from multiply to an overlay. This will allow it to be the brighter colors to be brighter and darker colors to be darker, giving us more variation overall like this. Scale needs to be a little bit higher up as well. Lower down and change it to 1.5. There we go. Now if we enable the lay count for the fire, we should get ourselves a nice set up for the smoke. Something like this. The only control that we need to also set up is going to be the pastic control and the brightness for the smoke itself, a couple of additional options, just to make sure that we have that extra control, which we're going to talk a little bit in regards to that in the next lesson. Thank you so much for and I will be seeing you in a bit. 18. Smoke Shape and Shader Fine-Tuning: Optimization Strategies: Hello, welcome back everyone to blend the geometry node pi animation. In the last lesson, we left ourselves off with a nice set up for the smoke, which we have controls for the, and we can switch up the color tint a little bit. We can change up how the inside is going to look like, for example, to get it a nicer shift. So the only thing now that we need to do is we need to make sure that we set it up with the brightness control. As well as the opacity, the Alpha. We could actually control how much of the smoke we wanted to be visible. For that, I'm going to real quick go on to geometry node. Go to make a duplicate, a couple of duplicates actually duplicates out of the store name attribute. This, the first one is going to be called brightness. I'm going to just use non capital. The second one is going to be called opacity, just like that. Then we're going to get ourselves new group input. It going to move it off to the side. L so. Going to click input a couple of times. This one is going to be brightness. And this one is going to be called a pase. Just like that, we're going to comnect these two points, brightness over here. And opacity over here as well, just like that. We might as well make this minimum to be zero for both of them, like that. We can make default value set to one for both, and if we were to go now to shading, select the smoke that we have, we can set them up. Alpha, if we were to make never attribute over here, call opacity, and use this with a multiplier value lake It's going to allow us to once this loads up, give it a second to load it up. There we go. It's going to give us the control to increase capacity, how much we want for the smoke. It's a really nice type of touch for the controls of the smoke itself. The other section if I was to find it was for the control of the brightness, and that's going to be in this section over here for the value itself. We connected it to the greenness, which it works in a way, but at the same time, it's not giving us that nice control. I reckon we should just set it up as its own value. That's why we're doing this. Let's go back on to the smoke, grab the attribute. This one, can we call brightness? And just straightway, attach to the value over here. Once we attach the value, we can go back to the smoke and within here, we should be able to control the brightness, which is not being controlled. So I'm just wondering what's happening over here. Let's go ahead and quickly check. The value for the brightness, by default. If it's set to one. Let's see what happens. I might have just misspelled this. Does seem to work. I'm not sure. Does seem to work, but I'm not sure why it's not working over here with attribute. Let me just go ahead and check the geometry node itself for the fire. If it's properly storing the value. I'm just going to go ahead and just copy this. I misspelled it over here. Brightness. There we go. That seems seems to not want to There we go. Brightness. Let's go ahead and just use it in a shader. Over here, brightness. I'm going to just paste it in. Control C control always helps with the human errors. Let's go ahead and add this onto the value over here. Now finally, we'll be able to control the brightness. There we go. So we can make it whichever way we want it still has some variants with the core and outer core layers, but it gives us a nice control. The other thing that we need to do is going to be, if you remember correctly, back in our previous lessons at the very start, pire shape had an option within it. Once we had a look over here, for multiply. This will allow us to change the shape. We can have a very bizarre looking tornado if we so desire. But honestly, all we need to do is just have a control coming from the group input over here. I'm going to make a duplicate over here. Just going to attach an empty dot onto the value just like that. It's going to give us a new value. This value should be by the fold set to one, and we can just call this shape like this. I think that's all right. We can just leave it as is, we can hit tab. And now we should have, as you can see over here in a group, we can have in a shape parameter. We don't really need to have the shape to control the shape from within the geometry node itself. I personally never do that because we still have the radius. Even if we were to change the shape over here to change the smoke, we're still going to be able to change the radius overall. So we're just changing the base, the way the curve interacts with the original shape. Honestly, we don't really need this to be anything else in regards to that. I'm going to change it to 0.75 to have an open top and it's already looking much, much better. We might even lower the amount of count to three, increase capacity just a little bit. And yeah, it's looking quite good. The only thing I would say that we should change is the fact that we also need to lower the opacity at the very bottom of this smoke over here. We don't need this to be having any smoke impact. So let's go ahead and do that. We're going to go on to the shading. Go back to the smoke, and let's find where we had the factor in the setup. I believe it was over here. Let me just go ahead and check it out real quick. Yes, I believe that was the case. So what I'm going to do is Actually, I'm just check in real quick if that's the section. Now, that's only for the core. I see. The core itself should have a little bit less in regards to the opacity just a little bit like so. Then the presnl is over here and factor over here. We're using the factor to change the opacity for the overall layer. By dragging this, we can see that the upper section starts to disappear from the top. We don't want this. We want to make sure that the bottom starts disappearing. What we can do is we can just select this plus over here and click plus symbol. Sorry, we can select this arrow over here and click the plus symbol. So then drag this to the up side, just like that, and I'm going to change the color for this to be black, completely black. So you can see the very bottom is going to have this part disappeared, just like I think that makes smoke look quite a bit nicer actually. But I'm going to increase it just by a little bit. I'm going to select this again. I'm going to click on the plus symbol, and I'm going to change this to white so to have more control with the way it eases off to this section. Something like this just needs to be a little bit, that's fine. All right. Now I'd like to, I think I'm going to lower the radius by a little bit like so. And the height, just going to lower this a little bit as well. Just like that. I will just brighten this down a little bit, to make it darker. There we go. Actually, quick set up at the very start. We did say that we want this to be, there we go over here. We did say we want to be slightly adjusted, but we might need to do it a bit more. There we go something like this because I didn't like the part in the middle, giving us a very bizarre type of a shape. Something like this might be quite nice actually if we now increase capacity overall just a little bit and low with the radius. There we go. Yeah, I'm quite happy with this result. The only thing that we need to do now is real quick. We need to change the geometry node, bulions. We need to make sure we are able to enable the disabled fire. So for that, we're going to go onto the geometry node. We're going to go onto the inface. Click input, change this to a bleion, which is an off or on switch. Basically, we've not used it yet. We're going to double click on it, call it enable. By default is going to be enabled, like so. Then when the geometry just before it joins in, we're going to make a couple of switches actually, so we're going to make a duplicate out of this enable. I'm going to put one at the very top right where the smoke has the title. Where the fire has the title and where the smoke has the title there we go. No, that's another section make sue to move where the smoke is there we go. One p smoke and one p five. Now we're going to add a switch. This will allow us to grab a setup, and if it's true, it's going to enable be enabled, it's going to be on. If it's false, it's just not going to do anything, and the opposite should be the case for the switch over here for the smoke. Switch over here. If it's True. I'm just trying to figure out what's going on over here. I'm going to click Control and He and see this one over here, enable, if it's true, it's going to be giving us a setup. There we go. Both of them are enabled. It's going to give us a nice setup, and if we want, let me just see. There we go. Both of them enabled, it's going to give us the setup if the smoke or fire is disabled. It's going to disable the both. Okay, so yeah, that's pretty much it. We rushed it at the end with the switches, but hopefully that made sense in regards to the setup. It's actually quite simple. If it's true, it's going to add in this entire setup. If it's false, it's not going to do anything and just add an empty slot onto joint geometry, which is then going to give us the group output. So that's going to be from this lesson. Thank you so much for watching, and I will be seeing you in a bit. A 19. Particle Generation with Simulation Zones: Advanced Techniques: And, welcome back everyone to Blend the German node fire animation, in which we left ourselves off with a nice fire setup, which now has a bit of a smoke. And it's looking pretty nice, but we're still missing that extra bit in regards to the animation, and that is going to be amber. So what I mean by that is we want some of that animation. We're basically of pieces flying out from the fire itself. We're going to make use out of the particle setup. So for us to do that, we need to set ourselves up with certain parameters. So at the very bottom, actually, within the interface itself, at the very bottom, we're going to make sure that we set ourselves up with a string. Let's go ahead and just select the bottom piece. So whenever we click a plus symbol input, it's going to create it at the bottom. So now we can go ahead and select integer. Sorry, not integer string. There we go. We're going to keep this empty, and we're going to call this. Particles within a default. So articles, so. Let's go ahead and hit back space at the very bottom of this to get a new tab over here. Then we'll need a bunch of materials, so no materials, a bunch of parameters. Let's go ahead and create a new one. This one is going to be a material. Over here, we can just change the name to be terial like so. Afterwards, we'll need a new one and we are going to duplicate this. We might as well create all of the parameters right away, so we can just start working with them. Well let's see. Six, seven and total. So let's go ahead and duplicate this six more times. One, two, three, four, five, six. There we go. We got our cells. Seven in total. The first one is going to be control the scale, which is going to be just shaping how big those particles are going to be. The second one is going to be scale randomness, which is going to affect the variance in the particles. And we're going to go work with density. Density, how many are spawning, afterwards, lifetime, how long they're going to be staying for and lifetime randomness. Again, for variation. Then we'll want to make sure we have control for the color. So Hue and how bright they're going to be emission. And that's all the settings that we're going to need. All right. We're now going to start by creating ourselves something called simulation zone. Let's go ahead and do that. By clicking shift in A, we can search for simulation zone. This little guy over here. This is going to be based on the time. We can select them both actually and click S to expand this entire section just so we could have our work space in a middle so. We will want every frame to spawn new geometry, so let's go ahead and add something join geometry. So we're going to be adding onto it. Then we'll want to be displacing the points. Let's go ahead and add points, and we'll be able to displace the positions. That's not where I want to place it. Let me just go ahead and click control Z. I'll want to basically add it onto joint geometry. And now we can just get a random value for the position. And we're going to change this random value to be a vector, which will give us a free x y z values basically. We're going to then right away add this two position. We're then going to Yeah, we're going to basically just add this onto our joint geometry over here. So when the stimulation is running, we're going to just quickly hold control shift. Add this to. I'm able to see it. There we go. And this to join geometry. Or we could just simply drag this out like so, might as well make our lives a little bit easier, not just have too many join geometry setups. I'm just going to make this be over here, just like that. So we're just joining geometry from the simulation. Now when we hit play, we should be able to see some points. Just wondering where they are. Let's go ahead and increase the count real quick just to see where they are. If we want to see those points, all we need to do is just go on there we go. We can just go onto the y frame and it'll be easier to see. We can see a bunch of points pointing over here. If we want to offset them, we can get ourselves set position. So just place it after the geometry is being added. Now if I was to put this like 0.1, we should have them when we click play going upwards so there we go. The first thing that you're going to notice is that every time it's creating those random points, although we are using random value, they're going to be giving us the same exact pattern. So we need to make sure we are adjusting the seed, and we're going to do that using simple scene time as a just seed randomizer. If we were to add the frame as a seed. Now when we hit play, it's going to give us a much more randomized pattern, just like that. We now want to essentially grab a spawn point as a sphere. We're going to make a sphere right in the middle of where the fire is. The radius of that sphere is going to be controlled by the fire itself. So we'll need to make sure we set that up before we're spotting the particles. We're going to do so by grabbing a simple UV sphere. The resolution of the sphere doesn't really matter because we're going to be just using it as a saw point. The radius for this has to be from group input from the radius of or fire. Like so, I'm just going to go ahead and attach this. I'm going to kick control H to hide this away. We're now going to just detach the points for now and attach the sphere, see what it gives us, and it should. Or actually, we can just preview it control shift, just happing on a sphere. There we go. That's what we're getting. We want this sphere instead of it being spawn in the center point over here. We want it to be spawn on the top of where the fire is essentially over here. So we're going to make sure we need to offset this first. The easiest way for us to do that because we're using the radius of the fire. We can just offset it by the radius as well. So if we look at transform geometry, we can make use out of this. Two, if I wish to move these points downwards. Now, we can make use of this in order to offset the translation. We're going to grab ourselves a combined x y z to the translation, and we're going to offset it by the radius. Now, when we click on this, we see that it's going to be nicely positioned at the top, which is very nice for us. Now we're going to turn this entire sphere into a volume which will then allow us to spawn the points within that volume. So let's go ahead and do that. We're going to get ourselves mesh to volume. There we go, mesh to volume. No over here. We can leave this by default. If we were to click control shift and stop on this, we can see that this is what is giving us like so. The thing that we need to do now is going to be distributing this along the volume point. Distribute distribute distribute points in volume. There we go. That's what we're looking for. Once we have it like this, We can actually preview it. So I'm going to click control shift and see that this is what we're getting can increase the density, and you can see that that's how it's going to look if we change the radius of the fire. It's going to be smaller or bigger, and it's going to adjust based on the scale of the fire. So that's pretty nice for us. The density itself can be controlled with the density group input, and it's going to be all the bottom density over here. Let's go ahead and attach it to the density of distribution points like this. We're not going to simply reuse what we had previously with this basic setup and add it over here. In this case, the seat is already set for us in regards to the spam points. If I wish just to look at the setup. Should, or let me just increase the density over here actually because we have it set zero at point. At this point, I'm going to set it to ten for now and see that this is what we're getting. If we were to change the seed, going to have different pond points. So all we need to do is just use that same previous set up for the seed scene time and just use frames as a seed. And that's going to give us this nice type over set. Then afterwards, we pretty much go ourselves a nice point setup. We don't really need this. We already made use out of a randomizer using this sd over here. So we can just go ahead and actually just delete this. And afterwards, we're going to add this as a geometry on to join geometry over here. And because this has that position offset, when we click play, we're going to have this nice type particle cluster going upwards. So it's already looking kind of like amber as is, but we need to work on it a little bit more. We're going to continue on with this in the next lesson, though, thank you so much for watching, and I will be seeing you in a bit. 20. Organic Particle Velocity: Fine-Tuning Dynamics: Hello, welcome back. Everyone to Blend the German node Fire animation. I last lesson, we left ourselves off with some points that we're going to use as particles for the fire. We're now going to make sure that we started off with just making sure that the speed for the animation is right in regards to the particle setup. If we were to click play, we can seem a bunch of them going upwards. I am actually going to lower down in the density. To one just to make sure it doesn't overwhelm our processing power for the computer. And yeah, let's go ahead, straightaway, fix the speed. We're going to simply put it up in regards to the set position. We're going to grab our cells combined X Y Z, as we often do, combine X Y Z, just to make sure that we get the value for the Z. Then we're going to grab our cells Delta time, and we're going to multiply this. So multiply. Here. Multiply this with a group input for this speed. So we don't need to have multiple parameters for that. Speed over here. Now it's going to be directly affected by the speed. We of course need to make sure that we have it added onto a combined x y z. Let's just simply add this entire set up onto the value, and we should have them moving in the same speed as we have the flame going. So that's going to be pretty nice for us, like so. The next step that we need to do is making sure that we have some variation when it moves upward, so it would go in sideways a little bit as well just to make sure it looks a little bit more organic. So for that, we're going to go ahead and move the set position a little bit to the side. We're going to add, use Map vector ad leg Then for this, we're going to use noise texture, noise texture, which we're going to change up the color and remap its range. Otherwise it is going to be zero to one. We want to make sure it goes negative one to one. So it would go into both directions instead of just going into one direction. So map range vector over here, and we're only going to want Basically, yeah, 0-1, we're going to remap it onto minus one. I'm going to go ahead and use my left mouse button to select both of them. Minus one, and to positive one, the maximum for z should be zero because we don't want this to be affecting the Z value, and we're going to just add it in like this. Let's go ahead and see if it gives us the right setup to be going a little bit off to the side. And There we go. It's a little too much, a little bit too much for us, but we can see it ping in the works. So for that, let's go ahead and just scale it down, like so. And we should scale down to value of 0.1. There we go. It looks nicer. The noise itself is a little bit too small, so it just wibbles them in all directions. So we're going to change the scale to one for the noise texture, and there we go. It starts nicely flowing in and out a really nice type ofganic look. All right. Now we're going to go ahead and work with speed randomization itself. Let's go ahead and do that. Which I just realized that we've not added in here in regards to the parameters. So real quick, I'm just going to go ahead and do that within the setup. We'll actually just scale randomness. I will just duplicate that to get speed randomness there we go. Now we're going to go all the way to the back until we get distribute points in volume. We're then going to store the point the data over here, so store name attribute. We can call this one speed, like so. This way, we'll have some information to work with, and we're going to, essentially, just have a look. Then we're going to grab ourselves quick random value random value from minimum minus one, maximum one. We're going to multiply this with speed. So let's go ahead and do that. Just going to grab a group input and grab the random value. We multiply them both. So this multiplied with not the speed randomness. We're going to multiply that with speed randomness, which we just created over here. Let's go ahead and multiply those two. Then we need to make sure that this value is being applied on two. Let me just have a look. Yeah. This value needs to be applied randomly onto each one of those particles that we creating. That's the way we're going to do it is we're going to grab the same time, apply it to the seed, and this is still not going to give us the unique ID for each one of those particles. So we're going to grab an index of each one of those points added to the ID. This way, it's going to truly give us the right set up for randomizing the speed of them. We're then going to store this value over here for the stored name attribute. That way, now that we have the speed randomness set up or speed, we can go ahead and simply multiply it with the Delta T. Instead of just using group input, we can just go ahead and delete this. We're now going to be able to grab ourselves an attribute name attribute. There we go. This is going to be speed, just like that as an attribute. There we go. That's what we're going to get. And Let me just have a look. Right now it's not going upwards. We're not going to see anything. The reason being is that the speed right now, the speed randomness is set to zero. Let's go ahead and set this to something like ten, just to get an extreme value and once this timeline resets, we should be able to see that some particles, they're moving upwards, but they're not moving upwards to. Let me just go ahead and change to one, see if this works. I'm just wondering if the speed itself is set properly. So at the very top speed, let's go ahead and changes to one and see if this behaves properly. Doesn't seem to want to work. In this case, let me just go ahead and see, for some reason, it didn't pat in the speed attribute name. Let me just go ahead and click Enter, and there we go. It's now going to give us proper setup, and it's going to be moving up and down. The reason being is that yeah, it's moving up and down because we've not added the speed parameter itself. So that's the issue on my end. Right now, we're just randomizing, it's purely going the speed purely going on the random values. We want to make sure we add the randomized setup onto the speed group input itself. So let's go ahead and do that. I'm going to quickly add use Math ad over here. Just simply find speed that we're going to add. So now the proper speed value is going to be added, and this will give us the right result. There you go. Some of them are moving upwards faster, some of them moving upwards slower based on the speed parameter, which is then going to be added with the speed random value. So that's looking really great. And just a quick test, let's go ahead and just lower down the speed randomness to something like 0.1. So all of them are going to be moving in the same setup. If we set this to ten, We're going to get, way too much an extreme value. Let's go ahead and set this to something like free. Then it's going to give us there we go. Some of them are still going to be moving downwards because of the extreme. If we set this to two, let's just go ahead and see. There we go. Some of them are lingering around. Some of them are going up so fast. So this is clear a little bit too much. We can set this to a value of 0.5, and I think that's going to be more than enough. There we go. Alright, so that's looking pretty good for us. So I think that's going to be it in regards to randomizing some values. We're going to continue on with the lifetime in this case, making sure that they start disappearing exactly when we want. We're going to do that in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 21. Particle Lifetime and Scale Randomization: Pro Tips: Hello and welcome back everyone to Blend the Jome to notifier animation. In last lesson, we left ourselves off by making some of those particles to look more organic. They're still set as point tough, and we're going to continue on working, implementing a little bit more of detail and depth into them, we're going to do so by getting lifetime set up. And what I mean by that is if we were to just move everything a little bit more to a side, we're going to store some information. We're going to grab, store name attribute. A couple of them, actually. One is going to be set for the starting point, and another one is going to be set for the endpoint. So for that, going to call this one start, like so, and the second one. So this is how it's going to be. The start. It's going to just grab the scene time and it's going to indicate when it starts in regards to the seconds. The end point is going to be pretty much the same except. We're going to add Math ad. We're going to add the lifetime. So let's go ahead and just grab a group input, find ourselves the lifetime. There we go, and we're going to grab it and add it directly onto the stuff. So it's going to be the same time plus the group input. All right, let's go ahead and just add this in to the end. Then let's not forget the speed sorry, lifetime randomness as well. We're actually going to do something a bit cheeky, and we're going to grab random value over here that already has index and same time set up. We're just going to instead of speed randomness, we're going to change this to a lifetime randomness. Let's go ahead and grab those nodes just like that. We then going to add the randomness, multiply it with the lifetime over here. And I'm going to just move this a little bit to the side. There we go. And we're going to now add this onto the value. So yeah, we're just adding a random value just like that for the lifetime. Now let's go ahead and make use out of it. If at the end, we don't have anything, it's just going to continue on spawning until we just refresh the frame rate for the playback until it goes back to zero, which it might look like it just deletes itself, but if we start adding more of the frames for, like, rendering and whatnot, I just continues on spawning in those points non stop. We need to make sure we add a node for deleting them, so let's go ahead and delete geometry over here. In regards to the selection, we're going to essentially say, we're going to grab name attribute for the end. The one that we just named it over here for the lifetime, then we're going to say that if this is less than the scene time, then we're going to delete that particle that point. So let's say that we have the lifetime of 9 seconds. If the scene is past nine, if it's like 10 seconds, it's going to select that and delete it as a geometry. Now if we hit play, it's not going to do anything. The reason being is that the lifetime needs to be set to a value at the very least. Let's go ahead and set this to one and see how this works. And there we go. Everything is being spawned. Maybe five is a little bit too much just so we could actually see what's going on and set it to two, and we should. There we go. They're all being spawned and then they start disappearing after 2 seconds and randomness. If we set it to a value of one for now, we're going to start seeing them randomly disappearing, so they're not just going to be disappearing at one area. So, that's quite nice. All right. Now we're going to work on the scaling for them as well. We're actually let's just go ahead and make our lives a little bit easier. We're going to find the lifetime and lifetime randomness or actually speed and speed randomness over here. Let's go ahead and just copy this, set up just like that. Put it over here, and I'm going to move everything off onto the side just like that. Because this time, we need to grab ourselves the scale. Let's see. We have scale and scale randomness. We're going to instead of just having speed and speed randomness, we're going to change those up to scale and scale randomness. So where speed was, we're going to change the scale, and where speed randomness was, We're going to change it to scale randomness and this. Let me just have a look. This will. Yeah, this will give us the right setup. All we need to do now is just store this in. We're now going to store another attribute. This time it's going to be called scale. Let's go ahead and add it in. Just like that. So we're storing the scale value. Where should we use it? Well, we should probably use it after just see real quick. After we join geometry, we should just scale it up over here. We can do set point radius, point radius, right after we join them all together over here. Us itself, we can just do named attribute and call this scale. There we go, attribute to scale, and let's go ahead and change the scale over here, set it 21, and let's see if it actually works for starters. So this should give us some points. Oh, that's way too big. Let's go ahead and change it 2.1, and there we go, starts 0.1, and we're also going to change this scale randomness to be, let's say 0.05. So it should give us a bit more randomness. Or maybe, maybe I'm just going to change the scale randoms to one. That's way too big. Let's go ahead and change this 2.5, and see if this is going to work. So we can see that it is working. Yeah, this is way too big 0.1 as well. Probably we'll do. I'm just wondering just having a look real quick if those points are not too big, and they are too big, honestly, but let's go ahead before actually fixing up the scale. Let's go ahead and turn these points into an actual mesh. If we were to go to material preview, we'll notice that we don't see anything because they're just simple points. We're going to make use out of these points in order to spawn our setup in order to spawn the mesh. Yeah, the way we're going to do it is we're going to spawn instance on points on points. We're going to put it after the simulation, so we're just pawning mesh where the exact location is of these points. And for the instance, we can just use UV sphere. UV sphere. So, this should be really small. Otherwise. They're going to have a lot of resolution because those ambers are going to be tiny and they're going to be many of them. We really don't want to impact performance in regards to our engine in regards to blender. So what we're going to do is we're going to lower this down by quite a lot, we're going to change the segments to eight and rings to four. And that's going to give us a nice spherical setup with a minimal amount of topology. Regards to the scale itself, we're going to now just grab a radius radius, we're just going to grab the information of the point, and we're going to just apply it as a scale. And that's what we're going to get. Now we can go ahead and set it up with a normal size, I suppose. Let's go ahead and just try 0.03. If it's still a little bit too big, I'm going to go onto the material mode now to see how it looks like. And, this is a little bit too big. Let's go ahead and low this to 0.01. Perhaps this is going to be better. Going to change the scale redness to zero, so we could actually see what it looks like. And this is too small, way too small. All right. Let's change this to 0.03. There we go. Nice pieces, nice sits, going to change to 0.01. And this is too much. I reckon. 05, putting it in half. I think. Honestly, I quite like the setup. So yeah, it's quite nice. I would say that the lifetime is a little bit too much. Let me just go ahead and lower this down. So Lifetime, we could set it to one lifetime randomness, 0.5. I think that's going to be quite all right. Let's remember that we also have a random speed applied onto them, so it's not going to just end at the very top, even if we are zero or four lifetime randomness, but it still helps us to make it a little bit more organic looking. Alright, so we're pretty much set with the measures now we need to work on actually turning them into ambers. And we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 22. Organic Particle Scaling: Graph-Based Approach: Hello, welcome back. I wrote to blend the geometry node fire animation. In the last lesson, we left ourselves off by setting up the radius, setting up some mesh for this type of particles. And we're still not quite done in regards to that. We have a couple of things to take care of that's going to be in regards to the scaling. And before doing that, I also forgot one more tiny detail that we need to turn these into an actual mesh. So we need to just simply add realized instances to make sure that each individual one of these parts are set as meshes, which is going to help us with in regards to shading afterwards. But let's not worry about the shading es yet. Because what I want to do is, I want to make sure that these particles that we have over here, they start off a little bit smaller, then they are a bit larger, and they turn small again. So if we think on a scale as a graph, we'd have something like this. We'd start a bit smaller, then go up, and then we get them small again. So this is like, let's say, time, and this would be scale. And The reason we don't want to start this off at the very bottom is because these ambers, when you think about them being created in real life or just even in a style I've seen. They have that popping effect. Each fire would have a sound effect that just how should I put it? We just have cracking sound, crackling sound. That crackling sound would come from ambers just being bursted open basically and carrying on that heat. So they just at the very start, they'd be almost instantaneous. They wouldn't just slowly appear. They would just slightly pop off from the fuel source, let's say. And so for us to imitate that, we're going to start them off not completely at zero, but we're going to start them off in this section over here. Then they're going to turn bigger over here. And as the heat dissipates as they are burning up at the very top, they're going to be, much smaller over here. So they're going to just turn into, like, smaller pieces, if that makes sense. And with all that said and done, we're going to now go ahead and actually set this up within our system. So let's go ahead and do that. We will want to go into where we had the scale set up. So in this area over here, where we had the radius, before adding the radius, we're going to grab a map range. And for the map range, we're going to grab ourselves the time that we have this particle created. So same time, that as a value in seconds. And then if you remember previously, we had ourselves see start and end stored name attributes. So we're going to now make use out of them in order to change the route, change the range or this value to be saying that where the particle starts and where it ends, and then we're going to make use of that to change the scale for that. And let's go ahead and do that. We're going to grab ourselves name attribute. We're going to find start. So then we're going to find end. We're going to connect from minimum to maximum, just like that from minimum from maximum, and this is going to detect again, the value and turn it into zero to one value, essentially giving us a nice used for a float curve. So we're going to attach it to the float curve value. This is going to give us this. If we were to directly use this with our scale, we can actually see what happens. Let me show you. We'll just simply multiply these two values like so, then attach it directly onto the radius, just like that. Now when we hit play, we should see that they start off tiny and they go larger like so. Knowing that this actually works, we can work let me just go ahead and see real quick. Yeah, I start smaller and go off larger. We can change this temporarily. You want to see a little bit more clearly. That's a little bit too much. Maybe 0.5. Just want to make sure it's on the video itself. And this is still too much 0.1, hopefully. There we go. So They start from zero, which is the dot over here, all the way to one. And this is going to be quite nice to use. We can simply click on the part in the middle, which will give us a dot to work with. We can also hold and just drag it outside to remove that dot. A nice and simple to use. And we're just going to recreate the graph we're talking about, so we're going to put it at a value that's almost in the middle. The end point is going to be set as zero, and then the middle part is going to be set as this. But we don't want this to be just weird curve, so we're going to set two points over here to make sure that we have a nice setup just like that. And I'm just wondering Maybe I should also add another point over here just to equalize it a little bit. This should be ideally set to one. If we click on it, we can see that this value over here, set to is 0.85. We need to make sure that this top piece is going to be set to one to make sure that the scale is set to a nice value, and that's that's how we're going to create it just like that. Like this. One, one, one at the top, it's going to start with in regards to it being close to value of 0.5, 0.4 over here, and then going to go onto a value of one and stop at the end at zero. Let's check if it works nicely. Again, we have the scale a little bit set up higher. Just wondering if that's going to be nice. Eight. Maybe I should lower down the density a little bit, just to see what the hell is going on. A little bit too much for my eyes, wye. Let's see if this is a nice value. So I'm just trying to follow individual pieces. I don't like how they appear to be honest. I want them to appear faster, so I'm going to move this bit closer to the starting point, like so now let's go ahead and see. This is purely artistic setup, and for some reason, let me just go ahead and see. They seem to be I think they're okay. I need to increase the lifetime a little bit, maybe just to see what is going on. I'm not sure why but this. I'm going to remove the point in the middle actually. So it's not going to give us any issues there we go. Now it's going to just stick to the top section, and it's going to appear, and as it goes further down, they're going to start disappearing. All right. So there we go. Now we got to cells and nice set up. Let's go ahead and change up the scale back to what we had previously scale for this. Density can be set to one lifetime, we can change to 1.5. I reckon. There we go. Net ambers. All right. I'm really happy with this result. And now we can actually start doing some work in regards to these particles. Thing, though, we can notice that these are quite visible with in regards to the topology. So we're going to smooth them out, and we can just do set shade smooth like this to make sure that they're not giving us each each individual pass topology. We didn't see the edges like this. And yeah. All right. So now in the next lesson, we're going to continue on with this with the shading set up and whatnot. So thank you so much for watching, and I will be seeing you in a bit. 23. Emissive Shader Setup for Particles: Professional Techniques: Hello and welcome back everyone to Blend the Jome note by your animation. In the last lesson, we set ourselves up, some nice particles going within the plane. We're now going to continue on with this in our Shader tab. And to do that, we need to set ourselves up with the actual material. Let's go ahead and do that. I'm going to quickly set material over here. Just like that, we're going to get group input to grab the material from the very bottom over here. The list is getting quite large, but we're almost done with the setup, so there's no need to worry about that. The material itself, let's go ahead and create a new new sphere. We can just do it that. And, let me just go ahead and create a new one. I'm just going to move it off to the side, just like that. This part can be called amber. Ember. So, we're going to start off to change the color to this. Then let's go back on to our flame to get the ember set up there. We have the basics of it done. Let's go onto the shading table now and start working with this ember over here. Time, we don't really need to use principle BSF. All we need to do is just simply use emission. It's a much simpler shade. It will just allow us to get a color without any shadows or any shading, anything of the sort, and that's not going to be impacted by the light because such small particles, we don't really need principle BSF. We're going to directly connect this to the surface instead. And you can see that this is what we're going to get a default lit type of a set up. If we were to change the color, we can see that we're actually just getting a real nice basic emission. So we're going to make use of attribute. Attribute over like this. And the hue that we're going to need is, let me just go ahead and check that real quick because we did ended up creating it. So hue is going to be over here. Then emission. Yeah, let's go ahead and just make use of that. Because it's only being used once in the setup. I was worried that it's going to have the same hue as over here. But we should be right. Let's go ahead and just type in hue or actually just want to check if y, u and emission over here. But we cannot put them in as direct parameters because we need to store them in as values. Let's go ahead and do that actually real quick. Going back to geometry node, before we set the material, we don't really need this part over here. We can just move it a little bit to the side, and we can store a couple of name attributes. One is for. Another one is for emission. So then this is going to be group input, just like that for at the very bottom. And admission over here as well, just like that. Just hide this out of the way, put it off to the side, and we should get ourselves the ability to change this to Q and emission over here. So for the emission, we can simply use the factor over here as strength, and we should if we go back on to the emission strength, we should be able to just there we go, change the color. But if fault, we should change this to three, this should give us a nice type of a love or maybe two really depends up to you. I still think though that the scale is a little bit too big. I'm going to change this to 25 for the scale of the Yeah, that's going to look nicer, actually. What I'm going to do is, I'm going to change it to two, and I'm going to increase the emission to four, and that's going to make it glow really nicely like this. I'm quite happy with the set up. The only thing that I'm worried about is. Yeah, we need to change the hue now. I think that's quite right. Let's go ahead back onto the sphere and change this hue u saturation value. The default color is going to be blue. Blue and green, just change them both to the top, for a sy and color. We're going to put this into the hue, put this into the color, and we should get ourselves by default a nice setup. Although we can just play around with the value to get more nice sep of density is a bit too much going to change this 2.5. Maybe it's a little bit better like. I want to lower down the radius perhaps of the fire, just a little bit. L There we go. All right. I think that's quite all right? Maybe the opacity should be lower down for the smoke, just a little bit like so. Okay, so yeah, I'm quite happy with this result. Now let's go and actually save those all of these parameters that we have for particles onto the setup that we have. I'm going to go back onto the Jome. Going to just basically duplicate what we have over here with the setup. So material, it's going to be Ember scale, is going to be default 0.02. Minimum zero. Maximum, we can just levize is scale randomness, minimum zero, default is this value over here. I'm just going to go ahead and copy it speed randomness. We can just copy this again. Minimum zero, density, 0.5, quite all right, minimum zero, Lifetime, can be this as well. Minimum zero, lifetime randomness, minimum zero, lifetime randomness copied. Yeah, I'm just copying each parameter from one to another, making sure that whenever we duplicate this, it's going to give us the exact set up. Default is this, minimum zero, emission is going to be four. Zero, there we go. As a quick check, we should probably do the same for the rest just in case, making sure that we have the same setup. So opacity, 3.53 0.5, brightness can be this as well. Core grates, would that be there we go core grass. There we go. I'm going to actually just make this quite a bit larger just so we can see the entire set up a little bit. Core gratess, we got it, the grate itself. Let's go ahead and grab this grammar as well. C u. Let's go ahead and do that. The u. Let's paste it in as well. There we go. Displacement itself, I think I'm going to increase the displacement strength just a little bit. If we look at this mesh, it's just too smooth, we might as well play around with it. So displacement strength. There we go. Making it a little bit more wobbly, a little bit more alive. Fun smoke, makes it look so much nicer. So there we go. Displacement is going to look quite nice. There you go. A noise scale. The fall seems to be all right. L count is going to be this one over here, y count three, resolution two, height, 3.5, radius 1.8. And material should be set default to smoke. Then enabled by default, yes. In regards to enableing it, we should do the same thing over here as well, going to create a quick input switch or actually, just going to go ahead and remove this set. We're going to duplicate the enable button over here. Put it right underneath this blue dot, just like that. Graber cells switch. Put it before this part over here, just like that. And now this switch can work with the grouping, but we can just use this part over here, and if it's true, it's going to be enabled. Just going to make sure that by default ticked on, which it is, and just going to check if ticked off, it's going to disable it. Perfect. All right. So that's it in regards to the setup. I'm going to check real quick, the rest real quick. Again, we're just making sure that this setup is pretty much the same. So emission core is set to one, is going to be 1.111, spare enough. Displacement should be already set up, but I'm just making sure that they did not set up, so I'm just making sure that they are noise scale. This is set up. Just checking. Noise scale height. I can just type it in myself, or in this case, 2.5 radius. Small tweaks like that is sometimes a little bit more of a hassle. But once you do it, you're done with it, and you don't really need to worry about it when you're creating a new set up from scratch. Resolution. We can set it to 20. Why not? Or actually, let me check if we can lower this down. Now, going to be the right amount. Yeah, sure. All right. Finally, the material? Let's see. Yes, we don't have the material for fire. There we go. The final thing that we should do is real quick, a small clean up. So yeah, let's do that. I'm going to just move this whole set up if I were to select at all, so just move it downwards a little bit so we can have more space to work with. Then this part at the bottom. Which it controls the particles, how they're being generated over here. That is going to be. Let me just check real quick. Yeah, that's going to be. We can just join them in so and call this particle generation. Then this part itself is a particle simulation over here. Particle simulation, just like that. Going to just clean it up a little bit. In regards to the cleanup, I can see that this arrow over here is a little bit messy when it comes to joining them together, so I'm just going to lick H to get these parts slightly smaller. I think that's much better. I just make this a little bit straighten up. So. Map range. We can just hide it away as well. You don't need this entire setup. O, let's go ahead and hide it out of the way. That file piece over here. We turn this particles to objects, so let's go ahead and all that. Or points to object. I think that would be better. Really, doesn't matter as long as we ourselves understand what it's doing. We're just fine. Now that we have everything cleaned up, we have ourselves a real nice setup, finally. We can make use out of it and set it up for the. We're going to learn how to do that in the next lesson, though. So thank you so much for watching, and I will be seeing you in a bit. Oh. 24. Practical Applications: Stylized Fireplace and Candle Optimization: Hello and welcome back we on to Blender Geometry node, Fire Animation. In the last lesson, we left ourselves off by completing the Geometry node, and now we can actually make use out of it. So, I'm really excited about this because we are going to show some applications in regards to different scenes, different scenarios, and whatnot. And I do have a resource pack provided within the setup, which has three different items, a fireplace, a candle, and a more magical torch, I would say. Let's go ahead and make use out of our geometry node in order to apply it onto all of these settings. So for that, We're going to in order to bring this onto another project, all we need to do is simply select our geometry node, hit Control C, and then we can go on to our project, hit Control V. That's going to bring everything that was used within the setup itself. It's not going to bring the sphere previews that we had for the Chads, but everything that is using this geometry node, including all the shades and whatnot, are still going to be brought up with this setting. And we could create now that we have it within the scene, we could create it from scratch in regards to adding it to any object pretty much. We can click Shift and A. We can go onto adding any object onto the scene. And once we add it onto the scene, we can click A Modifier at ometr node, and then we're going to see that within here, we're going to have Fire node. Once we select the Fire node, we're going to have this type of a setting, and that's pretty cool when it comes to the setting that we don't really need to do anything else in regards to getting it set up. I'm going to just to make it easier for myself. I'm going to just put it off for each and every single one of these settings. I'm just going to just quickly check. These the radius and height. I think they have it slightly messed up. So instead of just adjusting it, we can also just grab the one that we just copied, click shift in D to duplicate it, place it onto these different settings, and let's start off with this fireplace over here. So we just made a copy just to make sure we're using it from scratch. But for now, let's go ahead and make use out of it in order to set it up for the fireplace. So for Sarus, the fire itself over here, I believe it's a little bit too much when it comes to the height. We're going to lower this down, just to make sure that this fire is not just looking like it's flaming hot in regards to just going everywhere. We're going to lower this down by quite a bit. I would say 1.6 in regards to the height, that's going to be quite all right. 1.8 actually closer to that value. Radius, we can increase it, make sure it covers up this entire log stylus log part. That's going to be quite nice. I think that's quite all right. We can lower this down bier now. The rest, by default, we can click play, we can see that it's looking quite nice already is, we can adjust The emission a little bit make it a little bit brighter if we want to. We can do that easily, so that's going to look quite nice. Now, in regards to the smoke. We also need to make some settings. Before doing the smoke, though, I would prefer to change up the particles a little bit. It's a little too much. The particles themselves, you can see they're way too big when it comes to the size. We're going to take them down in a half. The randomness, scale randomness is okay, still, I thing that's quite all right. Then the particles themselves, I think they're spawning a little bit too much. I'm going to set it down to 0.2. And let's see in regards to the lifetime if they're going to be quite right, they're going all the way over here. And personally, when it comes to fireplaces, I think that they often have a lot of more randomization for those particles. So lifetime randomization, I'm going to put them as I would say as one and then lower this down the lifetime itself 2.5 because I don't want the random value to be going all the way just way too high up. But if we are setting it like this, should have those particles. Some of them just quickly appearing, disappearing, and others should be going up. Maybe it's a little bit too much. So let's go ahead and put this two point 0.7, like so, and now, I believe they're going to be quite nice. Although lifetime itself can be increased a little bit, small tweaks like that in regards to just artistic perspective is going to be really good, and there we go. Small flakes. There we go. Small flakes going up, just like that, really nice looking set up. The smoke itself, personally, it could be kept as is just going to lower down the flame just a little bit. So Actually, I'm going to check if it's right in the middle of the setup, which it is now. The smoke itself pretty much is looking quite nice, but we can, for example, lower down the opacity. We don't need to have it quite as visible, setting it to 1.3. Value close to that is going to be quite a right because we need more fire and less of smoke. It's a pretty hot fireplace that we're having. We're also going to lower down the brightness of it. We're going to make it darker by just lowering this down to a value of 0.03. There we go. So it's going to be much darker. Rest. We don't really need to do anything in regards to the setup. I think that's going to be quite all right. And the resolution, let me just go ahead and check. I think, yeah, the rest is quite all right. On On the height. I'm not quite keen about the height. We need to again, I'm lowering this down purely for the sake of making it look like it's more of a fire and less smoke. So it's going to look a little bit more hot. There we go. So all in all, this is quite a nice setup for this fireplace. Let's go ahead and now look into this type of A fire. So we could work on radius, height, and everything in between to make sure we tweak all the values all at once. But whilst we do have this geometry node, we can just click S and scale everything down. So all of the smoke and all of the amber particles are going to look much nicer. Bringing it down like this all at once. I'm going to just reposition everything real quick to make sure that we have it right in the center wave we want it, and you can see the initial issue right away. This fire is way too intense. It's going all over dancing on this tip way too much. Let's go ahead and fix that right away. So for that, we are going to lower the displacement. Yeah, lower the displacement over here, the strength to a value of 0.18. Yeah. There we go. That's going to look quite nice. Then in regards to actually, sorry. That was a mistake on my end. This was smoke. I just realized that this is the displacement we're looking for. So 10.18, close to the value of that. There we go, it's going to keep it more constant. The smoke itself, we don't need it. We can disable it because it's just a small type of a flame coming from the tip of this, candle. The next thing that we need to set up is going to be this overall color. So personally, I prefer to just tweak the core value first, make sure that the base has a nice variation because I wanted to be a little bit more offset if we have it like this. I don't quite like the setup, so I'm just going to load a core value just a little bit. And then while holding shift, while holding shift, I'm going to just slightly tweak this until I get a value that's Almost turning green, as you can see, like it's turning green after a certain amount, but not quite, so we're going to have a really, really nice really nice type of a setup. And in regards to the layers, I think it's too many layers. One reason is because it's going to make it look a little bit too complex for such a small flame. It's just going to make it noisy. O reason is if we have a multiple candles, we really really want to lower down the resolution the amount. By quite a bit in regards to that and layer count is also going to be lower down. So we're going to have a very nice basic type of a flame like this. Actually, I do like the layer count to be set as free. I think it's low enough as is. For something like fire, for example, we could have increased it just by one, and maybe that looks better. It really is up to a personal preference. I think the original one looked quite alright. This, again, we're going to keep it as is resolution, we lowered it down, so it should be enough for in regards to optimization. Then in regards to particles, actually, let me just go ahead and check the noise scale. The noise scale can be slightly increased just a little bit, just to make sure it doesn't ogle too much when it's so small. I think it's quite right. Yeah, that seems to be quite nice. Core hue. I'm not quite keen on the core hue. I'm just going to increase it just by a little bit holding shift. There we go. That's more like it. I'm quite happy with this. Going to make this actually a little bit smaller like this. And radius. I'm going to lower down the radius a bit as well. Just to make it a little bit inner. Maybe the height is a little bit as well. There we go. There we go. I'm quite happy with that. The particles themselves, quite easy to fix. They're going to be, let me just have a look. Yeah, the scale. We need to increase that a little bit. I'm just going to set this to 0.03. Just to make sure we have those larger chunks coming out to make it more visible when they're so far behind when we're looking from a distance basically. Then at the density, we're just going to lower this down to 1.15, I reckon, that's going to be quite all right. Overall, And we don't need to do much else in regards to that. Honestly, it's looking quite nice. Maybe lifetime, we can lower this down, just to make sure or sorry, increase it, just to make sure it goes a little bit higher up than the flame itself at certain points. And there we go. I'm going to just click it off from the side because there was an origin point that was in the way. But other than that, there we go. A simple setup. Finally, we have ourselves the magical torch, but I'd like to move on with this in the next lesson d. And then I will also show you how to randomize the positions in regards to making it the overall setup look unique after every duplication, because when we're duplicating it now, we have the same setup over here. We're going to learn a little bit how to It says. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing it Hello, and welcome back over on to Blender Jome to Node Fire animation. In last lesson, we started off the example set up for the fireplace and for the candle. Now we're going to continue on with the setup to get this magical torch looking a little bit more mystical, let's say. Let's go ahead and start it off with a fire setup. We're going to adjust the hue until we find the right value. And right away, once we go past two, it's going to give us a real nice type of setup. I'm going to go to a value of 3.9. And maybe adjust whilst holding shift, adjust the core itself. There we go. Oh, this is look Oh, there we go. This is looking really nice. We're getting ourselves a real nice greenish core. I would say that's really nice, actually. Let's see if we should fix up the mission amount. Maybe not. Now, let's go ahead and leave it is honestly, I really like this. All we need to do now is simply make this a little bit smaller, seven. Reposition this to be right in the middle, there we go. And that's going to give us a very, very nice type of a look. Now, in regards to the radius and the height, let's see if we need to adjust anything in regards to that. Maybe lower down the radius a little bit, just to make it look not too high up. Resolution, we're going to lower this down to 15. It's not as small as a candle, but it still needs to be a little bit smaller in regards to the optimization, I reckon. Then, let's see. I think for the fire smoke, we can lower this down to two like this in regards to the lay count. And honestly, it's It's looking quite nice. I'm quite happy about it. Maybe the brightness. Yeah. If we're looking at it from a distance, especially in contrast to other objects, I think it's a little bit too dark as smoke. We're going to increase that. There we go, much, much better. 2.5, giving us more of a whitish setup. I'm going to hold shift and just lower opacity, actually without holding shift, the value there we go, something like this. We can also lower down the grayness as well to get that nice int. There we go. We can change the hue a little bit to get that nice blue tint and there we go. Something like this. We now need to adjust the particles, the color itself or the particles. Let's see. They're definitely not the right type of color. Let's go ahead and change the hue until we find the right type. Maybe more There you go, sen type like this. Emission, we could even increase it a little bit, like, so we can even go to the rende real quick just to see how it looks like in complete pitch darkness. We simply change the hue and emission, we might lower it a little bit if we so desire. Yeah, I think lowering it to something to a value. That's free, might be quite a good idea. And yeah, that's going to be it from this lesson. And next one, we're going to learn how to create a more realistic type of a torch. So thank you so much for watching, and I will be seeing you in a bit. 25. Realistic Fire Geometry Node Adjustments: Final Touches: Alone, welcome back Iron to blend the Geometry node, fire animation. In the last lesson, we went over a couple of samples in order to learn how to make use out of the geometry node. Now we're going to learn a little bit in regards to how to make it look a little bit more realistic, a little bit more believable for those granger type of styles, for those realistic types of environments. So if we want to make use of omete node to make it more fitting for those kind of scenes, we're going to learn how to set it up to be a little bit more believable as a fire. So without further deal, let's get started. We're going to start by grabbing ourselves one of the fires. It doesn't really matter which one we can always adjust it, and then we're going to work on in regards to making sure that it's more realistic. I'm going to grab myself the scandal over here, going to hit chip D, G X, move it out to the side, G D and just position it nicely, going to click seven, to go to the top downview, and position it to be right over here. Might as well just make it a little bit larger leg, so Next thing that I want to do is actually make use of of the material shade is set up, but I don't want to tweak any of the values that I have for my previous materials. We're going to make sure that we are grabbing a separate shader for that. And the same goes for the smoke as well. We do want a smoke for this fire. I'm going to disable it for now just to make sure that we're setting it up for a nice fire. And yeah, let's go ahead and create ourselves a new material. For me, personally, we could make use out of what we have over here, but I'd like to have preview spheres on the side so I can easily make different selections between fire and smoke and make some adjustments based on that. What I'm going to do is, I'm going to go to the side view, going to create a couple of UVs spheres and put them off on the side over here, one for smoke and one for fire. If we directly apply the setup on to the spheres, it's not going to be visible, but nonetheless, let's go ahead and do that. The first one is going to be called fire. The second one is going to be called smoke. Let's go ahead and apply those materials within the material tab. Let's go ahead and do that. As you can see over here, right away, we're not going to see anything. Smoke. We can also just use search bar for the search. There we go. We're not going to see anything. If we were to go out of the material pre we will see them. But it doesn't matter. We just need to make sure we can just go between those selections. Now one thing that we want to do is just again, differentiators. We want to make sure that we're not working on the same materials. The easiest way to fix that will be just to click this button over here with an material tab, new material, and that's going to create a duplicate. I'm going to also do the same for the smoke. Like so, and there we go. Smoke 001, fire 001. Now we can go into the shading panel and work on in regards to the fire setup. All right. Let's go on to the shading tab. First thing that I'm going to want to do is we locate the entire setup, which is over here. Now real one, two, have a look from the side view, is going to zoom in a little bit, so we could have a better visibility of the fire itself, like so. And the first thing that we're going to do is lower the shape overall. If we have a look, the top is slightly faded out, but the middle section is very sharp, extremely sharp, and we do have a shape form for the smoke, but not for the fire. We can just make sure that we fade out the top a little bit to soften up this sharp edge. It's going to be more realistic overall. So we're going to locate the factor over here. If we were to click control shift and just tap on attribute, we can see that. Or it should show us that it is set up, and it's not. I just realized going to real quick, go back on the principal BSP. I just realize that we're not set up the materials over here. Let's go ahead and do that real quick. The ones that reduplicated. We're going to go onto the geometry tab. We're going to change from fire to fire 001, and smoke is 001 as well. Let's just go ahead and quickly find it like so. Now, once we go onto our bubble over here, we can see that once we click Control shift, tap on attribute, we're going to preview it just to make sure that it's the right one that we're using. Then afterwards, we'll want the y to go all the way to the edge over here so we can only control the dark side over here. We're going to make use out of this to just drag it down quite drastically actually so. Before doing that, Yeah, before doing that, we need to increase the height for these actually. I want to lower this down in regards to the shape to make sure that we're getting a nice type of a set up. Something like that's a little bit too much, actually, 0.6, 0.6 should do the trick. There we go. Something like this, but the shape itself is very now short. We need to make sure it's quite a bit larger. So I'm going to go on to the Geometry node itself. I am then going to find the height for it, and I'm just going to increase the height over here. And there we go, we're getting that same type of height that we had before. 4.4 seems to do the trick for me. I'm liking this setup. I might even increase it just in regards to read this as well a little bit. Just a little bit, not too much, something like this over here, like this. Now we're getting a nice shape. We're still not getting that realistic type of a fire particle setup. So let's go back onto the fire and see what else we can do about it. So after we set up the factor, the next thing is going to be setting up the fresnel over here. If we zoom in, we can see those sharp edges over here, so we're going to go ahead and fix that up. We're going to go all the way to the white edge over here. We can see that we're getting the most of the values. And I'm actually just going to click Control Shift onto color ramp, like so, so we can see what we're getting, and we can see those darkened edges over here on the side. It Seems like it's glitching out a little bit in regards to the setup over on the corners, but that's quite all right. Because when we're rendering it, it should give us the right setup. I'm going to just drag this quite a bit, quite harshly to value of 0.25. There we go, something to that value. Then I'm going to go back on to the setup. Actually, I will also check the IQR IOR real quick, which affects the Fresnel, and I'm just going to lower it, so the fault was 1.5. By lowering it, we're slightly offsetting it back onto the corners. So not too much though a value of 1.45 will do the trick. Now we can go ahead and check back out looks and there we go, those nice and smooth edges. Right. The next thing that we need to do is make sure that the particle itself, the fire that we're having is going to look a lot more detailed. And if we go on to the noise show over here, all we need to do here is simply increase the scale, and that's going to fix all of our issues. So once we increase it to a value of four, go ahead and see 4.2. 4.2 looks quite nice. We can see that this is what we're getting enough when we hit play. That's what we're getting. It's already looking really, really nice. Now that we have this kind of breakage, the type of color that we're having right now, I think we need to adjust it a little bit. The inside is just looking a little too unnatural for now. Let's go back onto our geometry node and see what we can do with in regards to the hue. I'm going to go ahead and just increase this. Closer to value of one would be, very close to nine to one. 0.9 9993, should be all right. Now we can just slightly tweak the hue itself till we get this reddish type of a setup. 1.1 and even more actually. There we go. I go to increase this a little bit again. So 0.996 for core u and for the u itself, 1.08, seems to be all right. And emission in regards to the brightness, we can leave it as is actually. Let's go ahead and hit play. It's already looking more fiery, more realistic, ready. We now need to just let's see, increase the layer count, actually, because right now we don't have that nice transition in between layers. We're going to increase to quite a high amount to eight and there we go. We are already getting this nice type of a set up and going to real quick, just tweak the huge just a little bit to the right. There we go, looking much better, all in all. And Let's go back onto the Shader and see what else we're missing. Actually, before going back onto Shader, one thing I would like to do when we hit play, even though my FDS right now, you can see it's going to 25. It's still right. But the speed itself is a little too slow. Let's go ahead and increase this bit by amount of two. It's going to speed up the entire fire, going to make it more fierce. Looking, and I think all in all, that's going to look more nicer. The other thing that we should do is going to be change up the displacement. Placement is nice when it comes to fire for especially stylized slow type of fire, but when it's too fast, it's just going to look too chaotic. So let's go ahead and change that up. We're going to start off by increasing the scale. So it would give us more of a noisy type of setup. 2.5 seems to be doing the trick. For the scale itself or the strength of this, it has to be quite small, so value of 0.0, even lower actually. 0.05 will do the trick. So just a little bit of a displacement like this. Just going to make it look quite a bit more unique. And in regards to the fi itself, we are getting a real nice type of setup. I think we're going to leave it as is for now, we're going to continue on with it in the next set up. We still have smoke, and we have some couple of adjustments in regards to the shader. But you can see how easy it is to make personal tweaks and adjustments in regards to the parameters itself. So yeah, we're going to finish this off in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 26. Perfecting Realism: Final Adjustments and Tips: Hello and welcome back around to Blend the Geomet note, Fire animation. In the last lesson, we left ourselves off with a more realistic type of a fire. We're still not quite there in regards to the setup. We still have a way to go. But we're getting there, so let's go ahead and continue on with the setup. The next thing that we should do is go back on to the Shader. So let's go ahead and click on this bubble over here. If you're not seeing it, just, you can go out of the material just select it, and that's going to be fine. And let's see what else we can do. The next thing is this layer over here. The layer of control is going to affect. I don't think, it's not going to be quite as visible. It's basically going to affect or the closer it is to the core, the more of a multiplier we're going to get. And I really do think that we need to adjust that for a more realistic type of a setup. Let's go ahead and do that. Let me just go back on to the fire so. And for this, I'm going to start off by getting the end value all the way to black. And that's going to be quite all right. Let me just go ahead and see. Changes to black. What this will do is, we can see if we set it to white, all of the layers are going to be visible. But if we set this to black, the very end one is not going to be visible. But as you get outside, a bit by bit is just going to fade in that color, which is just going to make it look more like an actual particle, like it has a volume in it. Instead of just having layers and layers on top of one another. I think that's going to make much better in regards to the setup, and it's giving us a nicer type of look for the fire. And in regards to tweaking this setup over here, we can just drag this a little bit more the wide a little bit more outwards in order to get the core stronger, for example, going to drag it a little bit more out like this, and I think that's going to look quite right. In regards to making a core look a little bit more glowy. Then let's not forget the texture itself. We have color ram control over here, or if we were to just load this in, doesn't seem to want to load. I'm not sure why. Let's see why. There we go now want to load. Let's strike this upwards a little bit in regards to the setup for the position. Yeah. If we were to increase, you can see it lowering down and just breaking it up a little bit. Let's go back onto the principal BDSF to see how it actually affects. It helps us to break down the fire completely. We don't want this to be totally too much, but just changing it to a value of 0.44 is going to give us more breaking points in between layers. I think that's going to give us a nice result overall. And let's go ahead and have a look in regards to the final pieces. I think all in all though, let's pretty much it in regards to the fire. Let's go now and move on to the smoke itself. If you remember, underneath this sphere over here, we still have this one that's going to be in charge of the smoke itself. And I'm going to go onto the geometry smoke enable this. And first of all, the first thing that we should do is adjust the parameters that we have over here. So the radius, let's go ahead and see what the radius looks like. The radius self can be a little bit smaller. It would be closer to the fire, so the height, we can keep it as is. I'm quite happy with. We can see where it ends in regs to fire. I'm quite happy with that. Resolution, we can keep it as is as well. It doesn't need to be super complicated. Lay account should be the same noise. Displacement scale. We can keep it as is. For now, we just need to focus on the texture itself. So we can work on that, although pacity, I will definitely increase pacity so we can have more visibility of our smoke. Let's go ahead and change it to a value of six or value close to six, and there we go. That's what we're getting. The first thing that we're going to perhaps change for the specific fire because we're increasing opacity is the inside part. Very, very distracting when the smoke itself is just overlaying the fire itself and just giving us very weird results. Let's go ahead and fix that right away actually. So we have the information for Layer two over here. And what we're going to do is, we're going to, first of all, we're just going to drag this gray all the way to the end. So the end points are going to be more visible, which we're going to break down later down the line. And then the starting point, which is going to be represented with this, it's going to be actually just going to be black. Now there we go. Now, we can see that the inside is being removed. And once we drag it out like this, we can see that the core itself is not visible at all, which is nice for us. I'm going to just move this somewhere over here to more of a middle part, and that just helps us to take off that middle annoying part that was just A little way too much, way too much, honestly. Then afterwards, let's go ahead and just go straight up to the noise, texture, the scale. We need to just make sure it aligns with the fire itself in regards to the noise, although we can just make it just a little bit larger 4.5, something like this will do the trick. There we go, we're getting somewhere in regards to the set up. The fresnel itself, needs to be broken down just like we did previously. And I'm going to just strike this to the very end. Start dragging this to the edge as well. Like this, just to help us break it down nicely so it's already looking quite nice. Factor value. I don't think we need to change that actually. I think that's quite right as is. Yeah, that looks fine to me. I think that's it in regards to the fire. Let's go ahead and just have a look in regards to the parameters itself within the geometry node. The smoke, maybe just a little bit lower in regards to the opacity. Just a little bit. We don't need to overwhelm the flame itself. And noise. I don't like the noise displacement honestly for the where is it? There we go. Over here. I don't like the displacement for this section, I'm going to lower this down by quite a large amount. Well, not quite 0.3. Think we'll do the trick. There we go out follows nicely with in regards to the fire itself. What else should we do? Should we change the Let's go and have a look. Resolution is fine. Honestly, for the smoke itself because it's such a small opacity, it's going to be quite all right for the setup. We might even just lower down opacity overall. Like, there we go. Now we're going getting somewhere. The only thing that we need to do is also increase the particles. Right now, the particles are massive. They need to be much smaller, and I'm going to increase the geometry node over here as well. The thing that we need to do is just change up the scale to be lower value. 0.01, go ahead and change it like this. 0.009. Yeah, that looks good. The scale randomness can be all right. Speed. Let's go ahead and look at the speed. Speed is okay, I reckon, density, now that it's smaller should definitely be larger. Let's go ahead and keep increasing it 1.2. Something like this looks nice. I'm quite likeing that. Lifetime should be lower I reckon because you can see that it ends all the way over here. It doesn't need to for a torch. If it was a bonfire or something of the sort, larger volume would require us to have it at a nice lifetime, but here I think we can just increase the lifetime randomness is 1.6 get something like this, and density, life randomness. We also need to change you, of course. So Actually, I'm going to change real quick the scale. I'm going to copy the scale, the value over here, so 0.009, and I'm going to just increase it, so I could actually see what I'm doing with these setups and I'm going to lower this down to a value of 0.04, there we go nice setup like this. Just going to change back to the scale, just like that. I think I think this is pretty good, actually, so that's all it takes so we can basically get ourselves a nice realistic type of a fire out of this as well. And that's going to be it. Thank you so much for watching. I really hope you enjoyed this setup. If you did make sure to give us a review and give us some feedback, as it really helps us with improving our future learning experience for you guys. So, thank you so much for watching, and I hope to be seeing you in our other videos as well. Happy modeling, everyone.