Complete Guide to Dynamic Paint in Blender 3D

1. Introduction: Hello everyone and welcome to the complete guide to dynamic paint in blunder she 0.9. In this course you will learn everything there is to know about dynamic paint and how it works. Discourse that was created for all levels. So if you are a complete beginner or intermediate user in blender, you will definitely learn a thing or two. In the first couple of sections, we will discuss the different values and settings and how they change how the simulation works. You will see side-by-side comparison, so it's easy to understand exactly what is happening. We will cover a variety of topics including dynamic paint to materials, creating footprints in snow, and learning how to create dry and effects, just to name a few. One of the best ways to learn is to create something cool yourself. That is why I have included a three tutorials in which we use dynamic paint to create some really nice animations. The first one is an abstract displacement effect. We will learn how to export an image sequence from dynamic paint and you use it for the displacement. And to top it off, we'll be creating a nice, a glowing material. The second tutorial is about creating this disintegrating fire effect. This tutorial will cover many different topics including fire simulations, dynamic weight painting, proximity brushes, and fire materials. Finally, the last tutorial we'll be creating a seamless raindrop animation. For this one, we will use particles, dynamic waves, and we will learn how to make the animation seamless. So it can loop over and over again. If you are wanting to learn more about dynamic and how it works in blender, this is the course for you. So hit that enrolment button and let's get started. I look forward to seeing what you create. 2. Blender Basics Overview: Hello everyone. In this video we're gonna go over the basics of Blender. And so if you are completely new, this is the video for you. I'll be going through step-by-step on the different render engines, the shortcuts that we're gonna be using, all of that in this video, right? When you open up lender, this is the default scene. You have a camera, you have a cube in the middle, and then you have a lamp on the right side. If you ever get stuck on what button I press throughout this course, just look on the bottom right corner and you'll see what I press. For example, if I left-click, you can see here it says left mouse and it will also highlight the mouse button on this sign right here. Same for the right-click, Same for the middle mouse button. All of that will be displayed at this point. So if you ever get stuck, just look down on the bottom right. Let's first talk about the render engines that blender has to offer. Over on the right side, there is a lot of different panels. And if we select this one right here, this is called the scene panel. We'll see that our render engine is currently on evi. There are three different render engines that we can pick in Blender, EV, workbench, and cycles. Ev is a real-time render engine, and this allows you to actually view a scene in real time. It will calculate the lighting almost instantly and display it for you in your rendered view. Work bench, on the other hand, is basically just for modelling and sculpting your object. You don't really use this render engine for rendering because it doesn't really display materials that well. And the last one is cycles. Cycles is blenders, physically-based rendering engine. And this will provide very realistic results. It will calculate the lighting all that pretty accurately before we get into anything else in Blender. And let's go up to our user preferences and change a couple of settings there. To do this, we can go over to the edit menu. Down at the bottom, we can go into our preferences. Underneath the key map tab right here. Here is a couple of things that we're going to want to check. First off, we have the selective mouse button right here. You can either select with your left-click or your right-click. In Blender version 2.79 and below, the default was set to right-click. Now at 2.8 and above it is set to left-click as the default. I recommend staying with left-click because that will help you with a lot of other applications outside of Blender. The spacebar button down here allows you to pick what the spacebar will do. Currently it is on play and that is what I'm going to leave it on. So what happens is if I hit the Spacebar over here, it's going to play the timeline down at the bottom. Underneath that we have a couple of view options which I'm just going to leave at the defaults. The other thing that we're going to want to change is extra shading pie menu items. Make sure that is enabled. This will allow you to actually see the different views. So if I exit out of this window and press Z, we can see here we have a couple of different views. Material view is one of the ones that's added when you select the extra shading pie menu items. This will allow you to see what the material looks like without having to render it. We'll go over that in just a little bit. Next up on our list is selecting an objects. To select an object, you can left-click on the object that you want to select. In this case, I selected the camera and you can see it's highlighted in that yellow outline. If I select the cube, it's the same thing. And then the lamp up top, it also highlights it. You can select multiple objects by holding the shift key on your keyboard and selecting it. You'll notice that once we do this, the other selections have an orange outline and not a yellow one. This means that it's not the active object. The active object will be highlighted in the yellow outline, as you can see here with the camera. And if you want to de-select everything, you can hold Alt and then press a2, de-select everything. You can also select everything back by hitting a and double tapping a. We'll do the exact same thing. So a to select, alt, a to D select, or you can press a and then double-tap a2 de-select. Now let's learn about moving around the 3D view. If I hit the middle mouse button on my mouse, I can move around and rotate the view around the object that I have selected. As you can see here, our view is orientated around this cube. But let's say for example, I wanted to orientate my view to the camera. I can select it and hit the period key on my NUM pad, not the period key on the keyboard, the period key on the NUM pad. And it will zoom in on the object that we have selected. And now we are rotating our view around the camera instead of the cube. If we select the Cube, hit the period key on my number pen, I can zoom in on the cube, and now our view is back to the original. You can also zoom in by using the scroll wheel. Zoom in and zoom out with the scroll wheel. You can also do like a pan or zoom. So if you hold control middle mouse button to Penn backwards, as you can see here, holding the shift key and middle mouse button, we'll pan the view to the side. If you don't have a middle mouse button, what you can do is go over to the preferences and emulate it by going over to the preferences. Underneath the Input tab, you can turn on emulate three button mouse. What this will allow you to do is hold the ALT key and then left-click to Panda view. You can see here it's displaying I'm using my middle mouse, but I'm not. I'm using the Alt key and the left mouse button to actually rotate the view around. So just in case you don't have a middle mouse button, you can turn that on. Since I do have one though, I'm going to leave that off because I find it's much easier with the middle mouse button. Now let's learn about scaling, rotating and moving objects around. To scale an object up, you can press the S key on your keyboard to scale it up. As you can see here, it's scaling up my cube. And if you want to see how much you've scaled it up, look on the top left over here on the top left corner, you can see I've scaled it up five times. You can also set a manual number n. So let's say I wanted to scale the cube up three times. I can hit three on my keyboard, and that will scale it up by three times. And now I can't scale it up anymore even though I'm moving my mouse because we set in a manual number, it's locked to that scale. I can hit the backspace twice and that will get rid of that selection. And now I can scale it up or down, as you can see here, to rotate an object, you can hit the R key on your keyboard and that will rotate it around as you can see here. And it's going to rotate it depending on the view that you are looking at it. So let's say I move my view over to this angle and I hit are in a rotate. You can see it's rotating at that angle. If we go into the front view by pressing one on my number pad, it will put us into this view. And now if we rotate, it's going to be rotating it along this view. So if we rotate it like this, I can go look at the side. You can see it's perfectly rotated along the y-axis. I'm going to press Control Z to undo that. And now let's learn about moving an object. If I press it g, you can move your object around and you can place it anywhere that you want. You can also lock the movement to a certain axis. So let's say I had g and then y. And you can see here it's locked to the y-axis and I can't move it outside of that if I wanted to move it up and down along the x, which is the red line. I can't do that because it's a locked to the y-axis. I can also backspace that and then hit the x key and you can see it's going to move it along the x now instead of the y. Just like that. And I can also right-click to cancel the movement. What I just did there is I canceled the movement. So if I press R to rotate, I can right-click to cancel that action and it will snap back to its original position. This works with everything. So if I press S2 scale, I can right-click and it will snap it back to that original position. This is very useful in case you want to look at a certain part of your scene. I can just move my object out of the way, view what I want to see, and then right-click and it will snap it back to its original position. Now let's learn about the different views we already discussed front view by pressing one on the number pad, it will bring us into the front view. And if we wanted to view the R object on the right side, which is this side over here, I can press a three on my number pad in. It will move me into the side view. Now we're looking at our cube from the side. Let's say I wanted to look at the top view. I can press seven on my number pad and it will view from the top. And we can see our camera is right there. And now we're looking at our object from the top of it. Control one on the number pad will bring us to the back view. Now we're looking at the back. Control three will look on the left side. So you can see here, this is the right side. Now this is the left side and we were looking at it from this angle. If you don't have a number pad of what you can do is also emulate it by going over to your user preferences. Underneath the Input tab, you can enable emulate NUM pad. And this will allow you to use the top row of numbers on your keyboard. So let's say I press one on the top of my keyboard. I'm now looking in the front view. Same thing for the side view, the top view and all of that. Since I have a number pad though, I'm going to disable this just like that and then exit out to save it. Now let's talk about Edit Mode. Edit mode is the mode that you're gonna be using to model anything in blunder. To access edit mode. You can press tab on your keyboard, or you can come up to this menu and select edit mode. Once we do this, you can see our object has turned into a orange color, and now we can select the different points on our cube. This point that I have selected right here is called a vertex. Every single mesh is consisted of many vertices. As you can see here, with r cube, we have eight different points, four on top and four on the bottom. You can select multiple vertices by holding the shift key and then selecting them as you can see here. Once I've selected four of them, you can see the inside of that has turned into an orange color. And this means we have a face selected. Let's talk about the different selection types. Over in the top left corner you can see where we are on vertex select mode, which means that I can select the different points. If I switch it over to the edge select mode, I can select the edges instead of the vertices. And then finally, the face select mode will allow you to select an entire phase, as you can see here. You can also extrude bases outward. If I select this top face and press E to extrude, I can extrude it upwards. Now we have basically two cubes on top of each other. Down on the bottom, you will see all of your scene details. And if you don't see this, you can right-click and then enable the scene statistics right there. We can see here we have four vertices out of 12 selected. And then if I press a to select everything, we can see here we had 12 out of 12 selected. You can also see the edges, the faces, and the objects in your scene. This is a pretty useful setting in case you want to check how many objects that you have in your seat. There are many different ways to add objects or delete objects in blender. To add an object, you can press the shortcut shift and a, and you can add an, a mesh and you can see all of the default meshes right here. Or you can come over to the add menu, then click on Mesh, and then add in a mesh over here. So let's say I press shift a and I add in an icon sphere. From here I can move it over to the left side by pressing G and X and dragging it over. If I want to delete this object, I can press the X key and select delete. Or you can hit the Delete key on your keyboard or go up to object and then down to delete right here. If I want to undo that and bring that object back, I can press Control Z to bring it back. And this will undo the last action. If I want to redo the action, I can press control shift and z and that will redo the action. You can also do this by coming over to the Edit menu and selecting undo or redo right here. So once again it to add an object, you can press shift a and to delete an object, makes sure you have it selected the X key or the delete key or any of the other ways to delete objects. And then you can select it and there it's gone. Now let's talk about the different views. If we come up to the top right, you will see there is four different views, solid view, and that's the one that we have selected wireframe. And this will allow you to see inside of your mesh, as you can see here, it's a now a wireframe. Next to that we have in the material view. So let's say we've added in a new material, it will display exactly what it looks like. And then we also have a rendered view. This will be what it looks like in the final render. When we render out an animation or an image, it calculates the lighting and does everything else. As you can see. You can also press the Z key on your keyboard and switch to the different views. Most of the time, this is how I use it because it's very fast. I can just press it z, go into wireframe, Zhi, You go into rendered view and then material view like that. There's also toggle overlays and toggle x-ray toggle or released, we'll get rid of the grid and the outline around the object. So if I select toggle overlays, it will just display what the model looks like without any of the extra details. If we go back into solid view, we can press Z and then toggle x-ray. And this will allow us to see inside of our mesh. You can see by looking at this view, we can see the ear right there. And then on the other side we can see the eyes. And you can also select it. Vertices on the opposite side. If, if toggle overlays is turned off, we can't do that. We can only select the bases that are visible. Finally, let's press the Enter key on our keyboard and look at the properties. Here we can see a couple other details, the location of our object. And you can also change this and you will move the object as you can see, the rotation value, the scale value, and the dimensions. The dimensions currently say two by two by two. And we can change it depending on what we type here. We can make it completely flat, stretch it out a little bit, and you can do all of that. Finally, the last thing that we will talk about in this video is the timeline. Down here we have a timeline and this is the amount of frames in our animation. Currently we have 250 frames. Now the default frame rate in Blender is 24. So that means if we play our animation, it's going to travel 24 frames every single seconds. On the bottom right here we have a skip, a forward, and a play option. If we click this button to play it, you can see our timeline is now moving. So if we had any animation data, it would play once we play the timeline. You can also press the spacebar to play it automatically as you can see there. And that is very useful. You can also press shift and then left arrow or right arrow to skip to the end or the beginning of the timeline ants you can see on the bottom. And then the spacebar to play it once again. You can also add in keyframes. So let's say I added in a keyframe by hitting the I key on my keyboard. And we can add an a keyframe to any of these different properties. Let's say I added it to the location value. What we can do then is driving this upward and then skip to a different part of the animation and move the Q. If I skip to frame 80. And then I can press G And then x2 move it along. I can move it to this location. Then I can hit the icky one more time and add an another location keyframe. So over 80 frames, it's going to travel from this position to this position that we just added. So what we have to do now is hold shift left arrow to skip to the beginning. Or you can click the backspace button. And then we can hit the spacebar to play. And you can see it moves over to that location over 80 frames. So that is basically how animation works. You can also add keyframes, do almost anything and blender. If you hover over a certain value and had the icky, it will add an, a keyframe to that value. So there you go. That is a full basic overview of blunder. I hope this is useful if you're completely new and now that you have a basic understanding of how blender works, let's jump straight into the course. 3. What is Dynamic Paint: Hello everyone. In this video, I want to tell you about dynamic paint, what it is and some of the things that you can do with it. Dynamic pain is a modifier over in the physics tab. If you have your objects selected and you go over to the Physics tab, you will see dynamic paint right there. This physics systems allows you to turn objects into paint canvases. And with these canvases, it allows you to create a vertex colors, image, sequences, displacement, waves, and much more. Some practical things that you can do with dynamic paint include footsteps in snow, rain drops on the ground, paint that sticks to walls and a ripple effect in the OS in just to name a few. To activate dynamic paint, make sure you have your object selected. Come over to the Physics tab and it's located right here. It looks like a little circle with a dot in the middle. And then you can click on a dynamic paints. Once you select this, you can change the type over here. And currently there are two types. There is a canvas and a brush. You will need both of these types in order to create a dynamic paint, a simulation. Once you have figured out the type that you want, you can click on add canvas, or if you select the brush, you can go at brush. I'm gonna switch it over to Canvas and then add this in. Here, we'll see a lot of different settings and we'll be going through every single one of these and how they work. I'm gonna go ahead and delete the defaults cube and then add in a plane for demonstration purposes. I'm going to skill up this plan a little bit bigger. Next I'm going to press shift a and add in a UV sphere. This is going to be our brush for our simulation. What we need to do now is actually add in some vertices to our Canvas. If I select my plane and go into edit mode, you will see we only have four vertices on each corner. If you create a simulation other than an image sequence with only four vertices, it's not going to work too well. So to add more geometry to our plane, we need to right-click and sub-divide it. If we do this a couple times right-click sub-divide, we can add in more geometry and more geometry just like that. I'm gonna do it about that many times, about five times. So we have a lot of geometry to work with. Now we can go ahead and exit out of this and add the dynamic paint simulation. Over on the right side, I'm going to click dynamic paint. Makes sure that the type is set to Canvas, and I will click Add Canvas. Right now we can see the format is on vertex, which means it's going to paint on the vertices themselves. If we switch it over to image sequence, we're not going to need the extra geometry that we just add it. I'm gonna go ahead and add in the brush type to our UV sphere. So I'll select it, add dynamic paint, switch the type over to brush, and then add in the brush. Over on the right side, we have a couple of different options and we'll be going through all of these in a later video. For now, we'll just leave them at the default settings. I'm also going to animate this UV sphere. So I'm going to move it over to the left side. Add an, a keyframe on frame one, so I'll hit eye location, jumped to frame 50, drag it over to the right side and add in another location keyframe. So now if we play this by hitting the backspace and hitting the spacebar, you'll see it goes across. Now let's talk about the Canvas once again, over in the surface we have the different types of dynamic paint that we can do. Currently it's on paints, but we also have displacement, weight, and waves. With its set to paint, we'll be able to paint on our canvas and the colour is specified with the brush. If I select the brush, paint color is currently set to a blue. We won't be able to see anything at the moment. And that's because we don't have an output. If we scroll down to the bottom of the canvas settings, we will open up this output tab and we need to add in an output by clicking the plus sign right there. Once we do this, we can switch over to the vertex Paint mode by coming up to the top left and switching overshoot vertex paint. If we restart this and hit the spacebar to play, we can see we are now painting on our canvas. I'm gonna go ahead and get rid of this paint map and then add in the wet map. And I'll show you the differences between these. The paint map will automatically paints on your surface and then the web map has a drying effect. If I restart this and I hit the space bar to play it, you'll notice that the wet nap is slowly fading over time. This means it slowly drying the paints. You can control the speed of this web map by opening up this drying tab and setting the time right here. It's at 500 frames. So over 500 frames, it's going to slowly dry the paints. If I set this lower to a value of about 50, restart and play this. This is the effect that we're getting. I'm gonna go ahead and get rid of that and then change the service type from paints over to displacement. If we restart and play this, you'll notice we have displacement in our mesh. Now, the UV sphere is indenting on our Canvas and creating this sort of shape. We also have waves over here on the bottom. And this also gives it a really cool effect. We'll be going through all of these different settings and the options that you can do to change how they look in a later video. This video is just an introduction to dynamic paid and how it works. In the next couple of videos, we'll be going into a lot more depth. So go ahead and check those out. 4. Practical Ways to use Dynamic Paint: There are not a lot of tutorials out there on dynamic paint. It seems like people don't know much about this topic. And that is one of the reasons why I created this course in the first place. So people can learn about dynamic paint and understand how powerful the modifier actually is. By the end of this course, you will have an understanding about dynamic paint and how to use it. In this video, I wanted to cover some practical ways. You can use dynamic paint in some of the things that you can create with it. When you think of dynamic paint, one of the first things that come to mind is actual paints. And yes, you are able to paint on any mesh. You can either decide to paint on the vertex data or export the colors as an image sequence. After that, you can import that data into the material. With the web maps. You are also able to create a drying effect. Paint is not limited to one color either. You can use the simulation data as a mask in the material. This way you can add in a texture, change it however you want, and create some very interesting results. There are three other types of dynamic paint simulations that you can use. Displacement, for example, allows you to create footprints in the snow. You can carve your name in Iraq and create in dense in a mesh just to name a few. The way type is also extremely useful. It allows you to take the weight data from the mesh and apply it to many different things. Blender uses weight paint for almost everything, modifiers, simulations, particle systems, and a much more. So as you can see, dynamic paint has many different uses. The waves type is pretty self-explanatory. You can set an object to act like waves when another object passes through it. This is very useful if you want to create a boat moving through the ocean, creating rain and a bunch of other things that you can do. Don't worry if any of the sounds intimidating. We'll be going through step-by-step on how every single setting works in dynamic paint Annual have a complete understanding by the end of this course, are you starting to realize the power of dynamic paint? I hope you're excited to learn and jump right into the course. This modifier is really good and you can create so many things. And I'm excited to see what you guys create. If you create anything cool out of this course, I would love to see it. So make sure to send it to me, posted in the assignments. Tag me on Instagram at blender made easy or anything like that. I would love to see it. Thank you again for enrolling in this course. 5. Dynamic Paint Settings: Hello everyone. In this video we're gonna take a look at the dynamic paint settings and we're gonna go into detail about how it works. We first need to add dynamic paint to our simulation. So I'm gonna go over to the Physics tab and click on dynamic paint. Makes sure that the type is set to Canvas and go add canvas. Next up, we're going to need a brush as well. So I'm going to select my eye goes here that I've added dynamic paint, set the type over to brush, and then add this in. I'll change the paint color over to register B difference. And now let's alive to our Canvas once again, the settings that we'll be going through in this video is this section here, these settings, whereas the start and end frame and the format. First off, we have a big button right here to remove the canvas. So if you want to get rid of it, just click that little x and that will get rid of it. And then you can add a new one if you want. Underneath this, we have the surface and you can rename this by double-clicking on it. And I can just go with one, for example. So we have our first surface, and we can also have multiple surfaces. If I click the plus side, we can add in a new one. The cool thing about this is that they work together. So if I select this first one and I changed the surface type over to displacement, then I select the second one, switch the type overs you waves. Now, if we play this simulation, you'll see this is the effect that we're getting. We have displacement, but we also have waves at the exact same time. So that's pretty cool that you can have multiple services. I'm gonna go ahead and get rid of that top one. Next to the surface we have a little check box. This will just hide whatever dynamic paint simulation you have. So for example, if I uncheck this, it'll just hide that displacement. If we turn it back on, it'll bring it back. This allows you to have multiple paint surfaces and you can turn them off and on and to see what the differences between them are. Next up, we have format anti-aliasing, the frame start and an end and sub-steps. The format, there are two options. We have vertex and image sequence. The vertex allows you to paint directly on the vertex data. And then the image sequence allows you to export the information as an image sequence. You can then use this in the material textures or whatever you want. If I select image sequence, there is one option that is added and that is the resolution of the image. You can set that right here. Another thing to keep in mind is with an image sequence. You cannot paint on the weight data. If I selected the surface, you'll notice that there's only three options, paint, displacement and waves. Whereas if I select vertex, I can select the weight option here. The reason that's the thing is because the weight option only deals with vertex data. So you have to make sure you have the vertex selected two panes on the weight of the object. Next up we have anti-aliasing. This'll help try to smooth out the edges of the paint. You can see the differences on screen with it on and with it off. The frame start and end values are pretty self-explanatory. You can set the start of when you want the simulation to start in frames. And the n value is right here. The sub-steps is the amount of times it's going to calculate per frame. For example, if this is set to ten, it's going to help really smooth out this animation. If you have a very fast moving objects, sometimes you get this gaping effect. And so in this case you're going to want to turn up the sub-steps in order to get a smooth line. So there you go. That is the settings in the dynamic paint. In the next video, we'll take a look at the surface. 6. Surface Type Paint: Hello everyone. In this video we're gonna take a look at the surface panel and the four different surface types that dynamic paint has to offer. There is paint, displacement, weight, and waves. I'll be going through each of these and I'll be describing exactly all of the settings and how it works. Before we get into the paint options, let's first go through these three values right here. Brush collection in blondes and radius. These three values are consistent with every single one of these surface types. So let's go through them right now. The brush collection allows you to limit the amount of brushes that are going to affect the canvas. For demonstration purposes, I'm going to enable this collection to that I've created. We have a new brush in the middle. Actually, before we do this, let's set up our output so we can see exactly what the dynamic pain is doing. In order to see this, we need to scroll down at two the output in the dynamic paint simulation. Over here on the bottom, I'm going to open up this panel and create a new Paint map layer right here. If I click on the plus sign, it's now created a new map. If you want to see where this is located, it's over in the object data panel. That is this triangle right here. If I select this and open up the vertex colors, you will see the DP underscore paint map. You can also create new paint maps by clicking that plus sign. It'll create a new one called color. Then if we go back over to the Physics tab, we can select that in the paint map layer. You can see our color option is right there. I'm just going to leave it on the default one. Next up to see exactly what our paint map is looking like, we can either go over to the object mode, switching over to vertex paints, or you can come over to this top right menu and then select a vertex underneath the color option. If I select vertex, you'll now be able to see the paint. At the moment though we still can't see our paints. And the reason for that is because we have the wrong paint map selected over n at the object data panel. Once again, you'll see that we have our color paint map. Select it. We need to make sure we have dp underscore paint map selected. There we can see our paint. I'm gonna go ahead and delete this one since we're not going to need it and just have this one selected. Now that we've set up all of our paint options, we are now ready to go through all of these different settings. Let's go through the collection once again. So underneath the brush collection, we can either select collection one or sub collection two. Up here in the timeline, you'll see we have air first collection with this UV sphere, this one right here. And then our second collection has this larger UV sphere. If I play this simulation and then I move this around, you can see they're both effecting the canvas. I'm going to select my canvas. And then underneath the brush collection, I'm going to select collection to. So now the one on the left is not going to affect the Canvas. If we play this in, then I hit g to move. You can see this one is not affecting it. Only the bigger one is. So again, this allows you to limit the amount of collections that can be affected by the canvas. Now let's move on to scale influence. In order to see exactly what this is doing, I'm going to switch over to the displacement because it will be a lot easier to see right now if I play this simulation, you'll see we have displacement in our canvas. The scale influence allows you to control how much displacement there is. If I drive this lower, let's say point, let's say 0.2 will restart and play this. You'll notice our displacement is a lot smaller. Even though the UV sphere is bigger, you can see it going through underneath is going to limit the strength of it. The scale influence also works with weight and waves, but not really with paint. Jumping back over to the pain option, let's take a look at radius. Radius deals with proximity brushes. If I select my brush, we can change it over to a proximity brushed by clicking in the paint option and selecting proximity. Once we do this, there is a distance slider which controls the radius around it. But there is also one in the dynamic paints Canvas settings right here. This radius option. If I drag this lower, you can see it becomes smaller. And if I drag it higher, it becomes bigger. The radius also deals with particles as well. So if you have a particle system as a brush, the radius around each particle is determined here. You can go higher than one. So if I click on this and type in a manual number like three, you can see it's a lot bigger. Now if I play this, the area around the UV sphere is much bigger than the actual mesh itself. Now that we've gone through the three basic settings, let's take a look at the paint settings. There is two different options here, dissolve and dry, and dissolve works a lot better with displacement. So I'm going to demonstrate that later. The one that will be taken look at is the dry option. If we open up this panel, we can see that there is a time, a color, and a slow option. The drying value deals with wet maps. In order to test this out, we need to create a new wet map in the output section. So I'm going to click that plus sign right there to create a new web map. If we go over to the object data panel, once again, you will see our underscore went map is right there. Make sure you have it selected so you can see what this looks like. Now, let's take a look at these settings. I'm going to play my simulation and you'll notice that the paint is slowly drying over time. It's fading away. That is what the dry option does. If this is unchecked, you're not gonna see any difference. It's just going to remain the same. It's just like the regular paint map. But if drying is turned on, it's going to slowly dry. The speed of the drying is determined with this time value. If I set this lower, like let's say 100, it's going to take 100 frames for the web map to dry. Now you can see it's drying a lot faster. Underneath the time value we have a color option. This can be used to define the wetness level when the paint colors start to shift to the surface, normally lower values will help prevent the spreading of the paint from becoming transparent as it dries. And higher values usually give better results in all of my testing. This value right here barely changes anything in the simulation, so you probably don't need to worry about it. Finally, we have a slow toggle with IT turned on, the gradients will be a lot more smooth as you can see here. And with the turned off a, well look a little bit slower, but it's not gonna be as smooth as you can see here. 7. Displacement Type: The next surface type that we're going to talk about is the displacement surface type. This allows you to displace the mesh. And as you can see if I play my simulation, it's indenting the mesh right here with the size of the UV sphere. Let's go through these settings that we have for the displacement. The first option that we have is max displace. And this is the maximum amount of displacement that will be on the mesh with it set to 0, it's disabled. But if we set this to a very low number like 0.02 and then we restart. We can see that it's not going to displace it as much. It's very similar to what the scaled radius does, is just another value right there. The Displays factor controls the strength of this with its set to very high. We can look underneath and it's gonna be a lot stronger. You can see if I drag this even lower, the height of the displacement is a lot bigger. Even though the UV sphere is this size. So again, the displays factor controls the strength. The incremental toggle will allow you to add a more displacement on top of already displaced geometry. With it turned off, we can play my simulation and I'll grab this UV sphere and drag it down. And you can see that as the height of when the displacement stops working with incremental turned on, we can restart and play this. You can see that there is no limit to the amount of displacement that the plane will have. I can go as low as I want. So again, incremental, we'll add more displacement on top of already existing displacement. Finally, let's take a look at dissolve this option here is a lot more easy to see with the displacement type. If we check that box and open up this panel, let's go ahead and play our simulation to see exactly what it's doing. If I play this, you'll notice that the geometry is slowly returning back to its original state. The time option controls how fast that will happen. If I set this lower to 100, it's going to return a lot faster. Again, we have a slow option here, so if this is turned off, it's going to be a lot faster and a lot less smooth as you can see. But with it turned on, it's going to be a lot more slow and it's gonna look a lot better. 8. Weight Type: The next service type that we have is wait, this deals with white paint. What is weight paint? White paint deals with a value of 0 to 11 being the highest end, 0 being the lowest. You can see on screen the graph of the colors. Blue means 0, red means one. You can use white paint for all sorts of things in Blender particles systems, smoke simulations, virus simulations, modifiers even and a lot more. In order to get this to work, we first need to add in a new vertex group. So underneath the output TAM, once again, we're going to click that plus sign. You can, of course go over to the object data panel and you will see the object vertex group right there. Dp underscore weights. You can add in a new one, or you can rename this by double-clicking on it. Next up, if we go over to the object mode and switch this to wait paints, we will see that our object has some weight. If I play this now, you'll see that this is what it looks like. It's painting a read which is a value of one. If we go back over to the Physics tab, we can control the strength of this with the scale influence. If I restart this and drag the scale influence down to 0.5 is going to be a green color. What are some things that you can do with weight paint? Well, we can add an a particle system and it will only display the particle system where our weight is. So if I restart this, I'm also going to turn on at dissolve will play this, we can see it. This is the effect that we're getting. Let's bring this scale influenced backup to one and then go over to the particle system and add in a new one. I'm going to switch the type over to hair. And then underneath the vertex groups we can add in a density option. If I select GP underscore weight as our density, I'm also going to set the length of it to dp underscore weight. So where the red is, that's going to be the tallest and where and where it's green, it's going to be shorter, so it's going to shrink over time. And at the moment you're not going to see it. And that's because we need to switch over to object mode. So over on the left, we're going to switch over to object mode. Now if we restart and play this, you can see it's doing this effect. This also works for a lot of other things in Blender, such as modifiers. Let's go ahead and test one of those out. I'm gonna go over to the Modifier Tab, add modifier, and switch it over to a wireframe modifier. I'm going to uncheck, replace original. And then underneath the vertex group, I'm going to select the group that we've created, DP underscore weights. If we restart this and then we played this, you'll see it's almost looking like it's painting the wireframe on our mesh, which is pretty cool. There are a lot of other modifiers that work with vertex groups as well. And you can just go ahead and play around with them. Later in this course, we're going to be using the weight option to create a really cool stimulation. 9. Waves Type: The last and final service type in the dynamic paint is the waves option. With its elected. Let's go ahead and play our simulation to see exactly what it does with the default settings. If I restart and play this, we can see that this is the effect that we're getting and it looks really cool. Now let's go through all these different settings, open borders. This will allow you to open up the borders along the plane. With it turned off, you will notice that the waves are basically bouncing off the edges of the plane and coming back. Open borders will allow the waves to continue on as if there is no border. Timescale and speed are very similar. Time-scale will allow you to speed up the simulation without affecting the outcome. Whereas speed will actually increase the speed of the waves and change how it looks. So again, timescale is just the speed of the overall simulation without affecting anything. Speed will actually affect the waves and make the simulation look different. Dampening will slow down the simulation and make the waves a lot shorter. With a value of 0, there is no dampening and the waves will just go all over the place without slowing down with a value of about 0.5. This really slows down the waves and makes it so that there are barely any waves in the simulation with a value of one. The waves option is going to act like a displacement. Spring is the amount of force that the waves will go back to the original position with a higher value, the waves will look a lot more bouncy and springing. On the other hand, a lower value will make it look a lot more smooth. Speaking of smoothness underneath the spring option, we haven't option to smooth out the waves. This option is pretty self-explanatory. It will just help smooth it out. Higher values will make it look a lot more smooth without as many bumps, whereas lower values will make it look a lot more choppy. The wave surface type is really cool and I suggest you go ahead and play around with it and mess around with the settings and tweak it how you want. 10. Baking Cache: Hello everyone. In this video we're gonna take a look at the cash and why baking is important with the dynamic paint simulation. The cache is located underneath the surface type and you can open up this panel and you'll notice that everything is grayed out so you can't make it in. The reason this is not available is because you haven't saved your project. If you press Control S, You can save your project. I'm just going to call it cash adopt blend and saved blender file. Once we do this, you'll notice that the option underneath cash is now available and we can bake in our simulation. Let's go through all of these different settings and I'll be describing exactly what they do. One thing to note is that this cache option is only available in the vertex format. If we switch this over to the image sequence that is now gone and it's replaced with an output section. Here we can begun an image sequence and where the images are located is with the cast path directory. You can change this by clicking on the button on the side and navigating to a folder. You can go back by hitting this button here, or forward or back just like this. Underneath the cache path, we have an option to select the UV map. And normally if you're just using a basic plane or a basic cube, there's going to be a UV map already there for you. If for some reason it's not there, all you have to do is just UV unwrap your object again and then select the UV map right here. The file format, there are two options, PNG and open XR. Png, of course everyone is familiar with that. That's just a very good high quality image. Open ESR is even a better quality image, except the size is a lot bigger than a PNG. So normally a PNG will work. But if you were wanting very high-quality image, open ears, open XR is there for you. Pre-multiply alpha will make the canvas transparent and the brush the only part of the image. This is very useful if you don't want the canvas to be in the image, you only want rather brush is. You can also design if you only want to export the paint maps, or you can do the paint maps and the wet map with these check boxes. If you open up this panel at, you can name the file type right here. I'm gonna go ahead and change the format back over to vertex. And let's go through these buttons down here. The cash, you can name this by double-clicking here and then typing it whatever you want. I'm just going to call it test. You can also have multiple caches. So let's say you change some of the settings, you can bake this in, then you can add a new cash by clicking on that little plus sign, changing some of the settings again and bacon and again, then you can switch between the two very easily. This is useful if you want to test to see exactly what your settings are doing. Now let's get on with the buttons down here. The bake option will of course, allow you to bake in your simulation. In order to see this, we first need to set an output. So I'm going to click the button on the side, and then I'm going to click on bake. Once we do this, you'll notice our timeline has now turned into a purple color. This means that it is baked in. We can then skip to any part of the frame and see exactly what our dynamic paint is doing. So I can jump here and see this without having to replay it from the start. That is why baking is important. This will also save on Render time because Blender doesn't have to recalculate the simulation. It can just use the precast data. Right now with this cached in, you're not going to be able to see the settings that you change. So in order to do that, you need to delete the bake and then change the settings and then re bake it. Let's talk about the pre cash. If I play my simulation and then I'll pause it right about there, you'll notice a purple line down here. This is a precast. Whenever I restart the timeline or change a setting, this cash is going to disappear. If our restart, you can see it's now gone. I can go ahead and skip to a frame and then I can click on Calculate to frame. And this will add in a precast all the way up to the frame that I have selected. I can then click on current cash to bake, and this'll take that current precast and bake it in. There we go. And now we can play through this and this is our current cash. I'm gonna go ahead and delete that bake. On the right side we have bake all dynamics. If you have multiple simulations, particle systems, fire simulations, anything like that, you're gonna want to click on this button and that will bake in all of the simulations at once. Delete all base pretty self-explanatory that will delete everything, update all to frame. That's exactly what calculate the frame is excepted deals with all of the objects in your scene. Calculate diaphragm will only deal with the object that you have selected, whereas update, alter frame. That will, that will calculate all of the simulations and update them all to the frame number that you have. So there you go. That is the caste setting in Blender. 11. Effects: In this video, we're gonna take a look at the effects with the paint surface type. There are three different effects that you can add to your dynamic paint simulation, spread, drip, and shrink. All of these are pretty self-explanatory, but let's go through them one by one and I'll be showing you how they work. The first one is spread. To turn it on, all you have to do is click that checkbox. And now if we play our simulation, you'll notice the paint is now spreading across our canvas as the brush goes across. If we open up this panel, there is a couple of different options here. The speed and the color. The speed is the speed at which it spreads out along the canvas. And let's go with a crazy value like ten. If we restart this and play it, you can see the speed is so much faster now and it just spread out extremely fast. If you want to slow it down, you can go with a lower value, let's say 0.4. Now the spreading is going to be a lot slower. To demonstrate the color option, I'm gonna go to my second collection. If I hit two on my keyboard, I've created a, another simulation. Here we have two paintbrushes at this time. Let's select our canvas, and I'm going to leave the color on 0. Let's play this and this is what it looks like. You'll notice that the colors are blending quite a bit. And then it sort of getting caught up right at the edge. Let's bring the color up to a value of two and that is the highest you can go. Now if we play our simulation, you'll notice that the colors are blending a lot more. They're becoming a lot more blurry because there is two different ones and they're blending together. So if you have two different colors of brushes and you want them to blend a little bit more. Turn up the color option. Next up on our list is the drip option. This allows you to have paint drip down and it deals with gravity as well. If I play my simulation right now, you'll notice nothing is happening. That's because it's completely flat. If we were to rotate this along the y-axis, I'll select both of the objects are y and rotate it. Now if we restart and play it, you'll notice we have some dripping on our Canvas. You can control the dripping with force fields as well. If we scroll down to the drip section and open up the field widths, don't worry, we'll talk about the velocity and acceleration in just a second. We have a lot of different options here, the effector collection, you can limit the amount of force fields in a certain collection, gravity. So if you want it to drip down faster, you can turn the gravity up. Let's go with a value of three. Now if we restart and play this, you'll notice that the gravity is taking it and it's making it a lot faster. This also works with force fields. Let's go ahead and test that out by adding in a force field and a wind force field. I'll rotate it along the x axis by 90 degrees negative. And then we'll give it a strength of about five. If we then restart or simulation and play it, you'll notice the wind is actually pushing it in that direction. So the dripping also affects gravity and you can control the amount with this wind force will here, since this is a wind force field, bring the strength of it lower and it's not going to have as much of an effect. You can see it's slightly moving, but it's not as strong. Now, let's talk about the velocity and acceleration. Velocity deals with the object's velocity. You can see on screen with it higher when the object is moving, it has a velocity with it. The acceleration deals with the acceleration of the object. If it moves very fast, the gravity of the paint is gonna take into account and it's going to spread along the canvas. So again, velocity deals with the object's velocity, and then the acceleration deals with the quick acceleration of the objects that makes the paint spread across. Finally, the last effect is the shrink. If I open up this, we only have one option to change and that is the speed. Right now when we're using a pane canvas, you're not going to see too much of a difference. If I bring the speed up to something crazy like 100. And then we play this, you might see some weird artifacts along the edges of your pink canvas, but it's not really changing how it looks. And that is because this deals with the web map, not the actual paint itself. Let's bring this down to a value of one and then create a new web met bilayer by clicking that plus sign. Now if we restart and play this, you'll notice the wet lab is actually shrinking as it dries. You can control the speed of this shrinking with the speed value once again. So let's go up to a value of three. And this is the effect that we're getting. You can see it's shrinking right at the top. So there you go. Those are the three different types of effects in the paint surface type. In the next video, we'll take a look at the initial color. 12. Initial Color: Hello everyone. In this video we're gonna take a look at the initial color. If we open up this panel, this allows you to change the initial color of the canvas itself. There are three different options. Vertex, color, UV, texture, and color. Let's go through these one by one. Let's start out with a vertex color. This allows you to have a vertex color as the initial color of the canvas. And normally this doesn't really work well with the vertex a format. So we're going to be sticking with image sequence. To test this out, we first need to open up the output tab. And then underneath Paint maps, make sure we have a new paint map right here. Then let's go over to the object data panel over in this property right here, and create a new vertex color by opening up this panel and creating a new one. To actually paint on our canvas, we can go over to the object mode and then select vertex paint. From there, we can open up the color option and change it to whatever we want. Let's go with like a blue and then I'll just start painting some. Maybe we'll switch it over to a red color, something like this. And then finally a green. We'll just do something like that. So now we have an initial color on our canvas. I'm going to switch back over to object mode. And now let's use this brush and move it around our canvas as well. So what I'm gonna do is add an a keyframe. There. I'll switch over to frame 50 and just drag it across. And then I'll add an, another keyframe. So now we have some animation of a brush going across our canvas. So now let's go over to the dynamic paint settings once again. And then we'll make this into an image sequence. We first need to select the color layer. So over in the initial color, let's select the color that we just created. From there, we can click on it, bake image sequence. And there we can see it's finished baking. And now if we open up that folder that we baked in all of our images, you'll notice we have an initial color of the vertex colors that we just created plus the brush. So if I open up this, you'll see the brush. And then we also have that color down there. So that is what the initial color for the vertex color mode. Next up we have a UV Textures. We can actually add our own textures for the initial color of the canvas. If we select this, we first need to create a texture. You'll notice there's nothing here. So let's go over to the texture panel and create one. This is the texture panel right here. It's located on the bottom of the sidebar. And then we can create a new one by clicking on New. And then we can select the different types. There are a bunch of different types that we can select for. Now let's go with clouds. Once we do this, we can go back over to dynamic paints and then select the texture that we just created. We can see is located right here in the drop-down menu. The UV map, of course, we will select the UV map that's already in with a dynamic paint. And then let's click on bake image sequence. If we open up that folder once again, you'll notice all of our images now have that background texture plus the brush is right there as well. So again, you can add in a texture for the canvas itself. And then finally, the last one that we have here is the color mode. If we select color, we can add a single color for the entire canvas. If we'd still like this and go with like a red color, and then we bake out this image sequence. You'll notice that our background is now this red color. We have the brush and then we have this red color. You can also see this effect with the vertex mode. So let's go ahead and come up to the format and switch it over to vertex. Over in the paint layer, I'm gonna create a new one. And then to actually see this, we need to open up this menu and then select a vertex. Once we sell like vertex, you'll notice our color is right there. And then we can click on the drop-down menu and then select any color that we want. So there you go. That is what the initial color does. It allows you to change the color of the canvas. 13. Initial Color Update Fix: Hello everyone. In the last video we talked about the initial color. And I mentioned in that video that the vertex color for the initial color does not work with the vertex format up here on the top. Now, I am thankful to say that this was a bug in that version of Blender and in version 2.9 at three, this actually works correctly. So what we have to do is come over here and go over to the vertex paint mode, and then paint in some colors that we want. Let's go with like a blue for example. We can go with like a red over here and we can paint some colors in. Now, if we come over to the, we'll go back into object mode. We'll come over to see the vertex color over here and select that color that we just created. Now you won't see anything at the moment, but that's because we need to come up here to the top right and enable for the color mode in the viewport, we need to select the vertex color. Once we do this, now we can see the vertex color on our Canvas for the initial color in the dynamic paint settings. So again, this not working in the vertex mode was a bug in that earlier version, and thankfully it's now been fixed. So if you want to use in initial, so if you want to use an initial color for the vertex, you are able to do that. 14. Output: The last panel that we have in the dynamic paint Canvas is the Output tab. We've already discussed the appetite quite a bit in, throughout this course. But let's just do a refresher and I'll show you exactly what each of the settings do. For example, with the format set to vertex, we only had two outputs. We have a DP underscore paint map and ADP underscore wet map. If I click the plus sign right there, this will allow us to paint on our canvas using a vertex color. You can find this vertex color over in the object data panel. If I select this opened up the vertex colors, you will see it right there. We can also have multiple ones. So if I click the plus sign right there, I can create a new one, change it how I want. Go back over to the Canvas settings and then select that one to actually be painted on. The Web Map is the exact same thing. I can click that plus sign right there and it will create a new one. And then you can see it in the vortex colors in the object data panel. And no thing to note is if you want to preview what one of these looks like, you need to actually select them. In order to see this, I'm going to open up this menu and turn on a vertex. So you can see here if I paint a little bit, you'll notice we have our EDP underscore paint Mab. And the reason it's orange is because we still have n initial color of orange. But if we select the web map, we can see a preview of it. So now if I restart and play it, we can see what the web map looks like. If I want to see what the color looks like, I just have to select it. You can also get rid of the paint layer maps by clicking that button right on the side. Now let's move on to image sequence. If I select image sequence, our output is now changed to a bake option. Of course, the big option allows you to bake in the image sequence and the images are located in the cache path. You can change the location by clicking this button on the side and navigating to a folder. And of course, whenever you bake out an image sequence, you're also going to need a UV map. So to select the remap, click on this drop down menu and select the one that you can create. The file format, there are two options, PNG and open E XR. Png of course, is a pretty standard image format which works pretty well for most cases, Open edX are, is a little bit more high-quality images, but the space is going to be a lot more. It's gonna take up a lot more of your hard drive rather than a PNG pre multiply alpha will allow you to have an alpha channel. In order to test this out, I'm going to slug the initial color and change it over to none so there is no initial colour. Then what we can do is let the folder right here and then bake out an image sequence. If we open up this folder now you'll notice our images are now transparent and I can click and drag it into here. And now we have a transparent image underneath a big section. There are two options. We can either export the paint maps or the web maps or both of them at the same time. You can also name the file. So if I select this and I typed in the word test for example, then I can click on it, bake image sequence. If we open up this folder now, you'll notice all of our images are called test and then 00 and then the frame number. If we open up the web maps as well and open up this tab, we can name it if we want to. And then if we click on bake image sequence, it'll bake the paint maps and the web maps, and it will be located in this folder. Now if we open up this panel and scroll down to the bottom, here is our web maps and then here is our paint maps. So there you go. That is the output section in the dynamic paints. In the next section, we will take a look at the brush settings. 15. Brush Settings: Hello everyone. In this video we're gonna take a look at the brush settings in the dynamic paint simulation. Of course, to add in a brush, we need to select an object, click on dynamic paint, and then change the type over to brush, and then I'll click on add brush. Once we do this, we can see our brushed is now working. I've already set up the dynamic paint where we have the vertex color enabled so we can actually see what we're doing. And now let's go ahead and go through the settings over on the right side, and I'll be describing exactly what they do. The first one that we have here is paint color, and of course this is pretty easy. All we do is switch it to the color that we want. We restart the timeline and then play it. And we can see it's painting that exact color. Underneath the paint color we have an alpha, and this allows you to control the alpha or the transparency of the brush itself. If I bring this a lot lower, you're not gonna see too much of a difference in the viewports. But if we were to export this as a image sequence, you would see the alpha. Let's go ahead and test that out. I'm gonna sit the alpha 2100, selected my canvas and then bake it into an image sequence. If we take a look at the images, you'll notice that the color is the full color. It doesn't look transparent at all, which is good. But now if we select our brush, switch, the alpha a little bit lower, let's go with a value of about 0.2. And then we'll bake this again and see what this looks like. Now you'll notice once we select our folder, are brushed is a lot more transparent than it was before. So again, the alpha controls how transparent the brush is. And this alpha option right here only works with the Paint mode and the weight mode in the Canvas settings. So if the surface is set to paint, it'll work and weight it will work as well. If I select weight, create a new group, switch it over to the weight Paint mode will restart and play it. And you can see our weight is a lot lower because the alpha is a lot lower on the brush. Underneath the alpha we have a wetness slider and this does the exact same thing as the alpha, except that deals with the wet map layer instead of the paint map layer. So with it all the way up to one, we can go ahead and create a new one by selecting our canvas, scrolling down to the bottom and creating a new web map layer. Once we do this, let's go ahead and select it over into the object data panel, make sure it selected, and then we can play it. This is exactly what it looks like. But now if we select our brush and bring the witness a little bit lower, let's go with 0.2 and then we play this. You can see the wetness of our canvas is a lot lower. It's much less visible than it was before. The absolute alpha limits the amount of alpha the brush has. For example, with it turned on, there will be one constant alpha all the way throughout the animation. With it turned off though, you'll see that on the right side, it looks very strange and that's because the alpha is being constantly added every single frame. You can really see this effect if you look on the bottom right of this canvas. So again, with it turned on, it will create a constant alpha throughout the entire thing. But with it turned off, the brush will be constantly adding more and more alpha. Every single frame via race paint option allows your brush to actually erase paint rather than adding to it. If I turn it on, we can restart this animation and play it. And you'll notice the paint is not spreading in the spot that has the eraser on it. 16. Brush Source: Hello everyone. In this video we're gonna take a look at the source in the brush panel. The source allows you to determine what part of the mesh is actually going to be painting on the canvas. And there are five different options that will go through in this video. Mesh volume, mesh volume and proximity, proximity object's center and particle system. Let's start out with the basic one, which is the mesh volume. This is pretty self-explanatory. This is just the volume of the mesh and that is what is going to be painting on the canvas. As you can see, I have a cube here and whenever I move it around, it's just painting exactly where the cube is. There are no other options for this. It's just the actual size of the mesh is going to be your brush. Moving on to the next one, I'm gonna go to collection two. And here we have a proximity and a mesh volume. Now we have a couple other options that we can use. The distance slider is with the proximity. If I increase the distance slider and what this will do is it will expand the proximity of the brush. So if I drag this up, it's going to expand it out. And there is also a falloff option here. You can choose it to be either smooth and as you can see, it's a very nice gradient. If you switch it to constant, it'll be a very harsh edge. And then if you want a little bit more control, you can set it to colorRamp. Scrolling down at two, the fall off ramp, you can create some very interesting results. Dragging this closer, it will create a more of a sharp edge. I can also hit that plus sign, Create a new handle, and then do stuff like this. So there are a lot of options to customize the distance and the radius of your proximity, and you can create some very interesting results. The inner proximity applies, the proximity on the inside of the mesh rather than the outside. So if this is turned on, you can see the effect. If this is all the way off, it's going to just be the mesh volume. If it's up though, it's going to have the proximity effect on the inside rather than the outside negate volume. This will get rid of the mesh inside and only use the proximity around the object. To demonstrate the project option. I'm gonna go to a new collection first though. Let's go ahead and take a look at just the proximity. I'm gonna press a three to go to collection three. And as you can see here, if I select my brush, this is just the proximity. Now we have a distance slider right here as well. And instead of using the mesh volume, it's only using the proximity. Of course you have the same options here with the fall-off, you can either do smooth constant or the color ramp. And then there's the project. I'm gonna go to collection of for this time and describe exactly what Project does. Basically it projects the brush onto the canvas using the normals. So if I turn this on, we can see this sort of an effect. And to see this a lot better, I'm going to turn up the distance slider. So as you can see, here is a shape of a cube. And if I rotate my view around, you can see it matches right about there. It's projecting the cube at the direction of the normals. You can either decide to use the brush normals, the canvas normals, or the z axis. If I select the z axis and I look on top, we can see this is the effect. If I use the canvas normal, since this is a plane, you're not gonna see any differences because the normals of the canvas are pointing straight upwards. So again, if I look over top is going to project the brush exactly where the outline is looking onto the canvas normals or the z-axis. The brush normals gives you a little bit more control, but it is a little bit finicky at times. If I rotate this brush, you'll notice it starts to go little bit crazy. But you can end up getting some interesting results. So if I rotate it, something like this are so we can see it's rotated and now this is the angle of the normals. And so basically it's just projecting the brush onto the canvas rather than using the proximity. The distance controls how sharp that is. So if this was a lot lower, you can see it's a lot less sharp, but if I turn it up higher, it becomes a lot more. The object's center sores allows you to paint on the object's center rather than the mesh. So whatever object that you use, it's always going to be the same. The distance slider controls how far it is from the center of the object. So if this is a pyre, it's going to expand outwards. If it's lower, it's going to be a lot smaller. And then of course you have the fall of as well. Finally, the last one is the particles is done. If I select my mesh right here, I can go over to the particle system tab. I'll delete this one and then create a new particle system. I'll leave the default settings and then go back over to the brush settings in the physics tap. If the source is that two particle system, we can select that particle system in the drop-down menu. Once we do this, you'll have a couple other settings. Before we take a look at these, let's go ahead and play or simulation to see what it looks like. So as you can see, instead of using the mesh, it's using the particle system to paint on the mesh. The effect radius controls the size of each particle. If this is a lot lower, the size of the brush is gonna be a lot smaller. Used particle radius will allow you to use the particle as the brush rather than setting a specific size in this slider. If this is turned on and we play it, we can see this is the effect. If we go over to the particle system tab underneath the render panel right here, this scale size now controls how big the object is. If we drag this up, restart and play it, we can see it's a lot bigger. If we go back over to the Physics tan, but there is another option here which is smooth radius. This will help smooth out the radius of the particle system. If I drag this up a lot higher and you can see it's a lot more smooth. If this is a lot lower, like a value of 0.01, it's going to be a lot more sharp on the particle, as you can see here. So there you go. That is the source value in the breast settings. In the next couple of videos, we'll take a look at velocity and the waves option. 17. Brush Velocity: The velocity section in the Brush allows you to control how the brush operates based on the velocity of the object. For example, with this scene right here I have created it is set to multiply alpha. So based on the velocity of my brush right here, it will control how transparent it actually is. Let's go ahead and play my simulation to see exactly what this looks like. As you can see, it starts out very slow and speeds up right at the end. Over on the left side, it's a lot more transparent than over on the right because it's moving a lot faster. The max velocity allows you to control how much does the multiply alpha is used in the simulation. So again, the multiple alpha allows you to control how transparent the object is based on the velocity of it. Next on our list is replaced color. This will allow you to replace the color of the object based on its velocity. You can do this with the colorRamp option. If we open up this panel, you can see I have a blue and a red. The blue represents a very slow velocity and the red represents a very fast velocity. Let's play our simulation to see what this looks like. As you can see, once again, this part is very slow. It speeds up in the middle and gets very fast at the end. And that is why it's the red colour. For each of these values, you have a max velocity setting and this controls how much it influences it. And finally, the last example that we have here is the multiply depth option. This will of course multiply v displacement based on its velocity. I have a value of 0.6. And if I play my simulation, you can see what this looks like. There you go. Let's go ahead and change the max velocity 2.2 so we can see exactly how this slider affects this displacement. So now if we play my simulation, you'll notice it's a lot deeper over on the right side. The max velocity doesn't have much of an effect now, it's treating everything almost the same. Now if this is all the way up to one, for example, it's going to act a little bit differently. As you can see, it's very small here, and then it gets a lot more deep over on the right side. Finally, the last setting that we have here is an option to smudge of the paint. If we turn this on, we can see here there is a Strength slider. This example, we have a strength of 0.2 on this brush and a strength of 0.8 on this one over here. If we play our simulations, you'll notice this is the effect that we're getting. The 0.8 value is a lot stronger when smudging at the other paint. The one with a value of 0.2 though, doesn't have much of an effect. You wanna make sure that if you're going to do this effect, that the alpha of the brush is set to 0 so you won't get any paint color. If you have pink color, it can also give some interesting results. Over on this side I have a brush with an alpha of 0.1. And then we can see here, if I play my simulation that with the color, it is giving some interesting results with the smudging. So there you go. That is the velocity section in the brush settings. 18. Brush Waves: Hello everyone. In this video we're gonna take a look at the waves option in the breast settings. There are four different types that we'll go through in this video is starting out with depth change. Depth change allows the brush to create waves whenever there is intersection on the canvas at that point. If the brush is not moving, this, this will have no effect on the waves. I will demonstrate that in just a little bit. For now though, we're going to take a look at these two different values, factor and clamp ways. The factor option is the multiplier of how strong the brush has an effect on the canvas with it's set to one, will go ahead and play this. And this is the effect. You can't go any higher, pass one unless you type in a number manually and you can go all the way up to a value of two. Now if we play this, you can see the factor is a lot stronger. Now. If we go with a value of 0.02, for example, a very small number, there's going to be very little waves on the surface, if anything at all. So again, the factor option allows you to control how strong the brush has an effect on the canvas. The clamp, a waves option will clamp down on the sides of the waves with its set to 0. It will be unlimited. Size can be anywhere. If you want to clamp down on that though, you can bring this up. Let's go with a value of 0.05. So now if we restart and play this, you can see the waves are a lot smaller. Now. If we go even lower, let's go with a value of 0.01. We'll restart and play it. And you can see now there is like barely any effect on the waves. Moving on from there, let's talk about the obstacle type. This is different from the depth change because this one will constantly affect the canvas. If I play my simulation, you'll notice some weird effects. We get these weird artifacts and I think that might be a bug with the obstacle because they don't go away. Now, the difference between obstacle and depth change is obstacle will constantly change it. In order to demonstrate this, I'm gonna go to collection at five. Right now we have a scene right here with a Ico sphere and the current type is set to obstacle. If we look underneath, you'll notice that the waves is underneath the ecosphere and it's constantly affecting it. Whereas if we change this over to depth, change, restart and play this, you can see it does one little initial effect, but then if we look underneath, it's not affecting it anymore because it's not moving. So that is the difference between obstacle and at depth change. Another thing to note with the depth change, you can also set a negative value for the factor. So if we were to go to a negative two, for example, this can give us some very interesting results. And it almost looks like there is a boat pulling of the waves. The force type directly affects the velocity of the wave motion. We can see here if I play this, that the force is actually changed it in the velocity of the waves. And it's very subtle, but if you pay close attention, you can see it affects it. The last step that we have here is reflect only. And of course this will only reflect the waves. It's not going to add or take away anything. If I play my simulation and you paid close attention, you can see the waves hit it and then they bounce off. It's not creating any waves, it's only reflecting them. But there it is. That is the waves in the brush settings. 19. Vertex Colors to the Material: Hello everyone. In this video I'll be showing you how you can take the vertex data and apply that to the material for the object. To do this, we first need to select our canvas and then add in the dynamic paint will leave the type at Canvas and then add this in. We're going to leave the format at vertex and the surface type as paint. For our brush, we're going to select the ecosphere In the middle, add an, a dynamic paint brush and add this in for the paint color. I'm gonna go with a red color. And now if we go over to this top menu and then select a vertex, we can play our simulation and we still can't see it. And that is because we need to set an output. So over into the Canvas settings, I'm going to go underneath output and select the DP underscore paint map. So now if we restart our simulation and play it, we can see that the vertex data being applied. Now the question is, how do we get this red color into the material for our canvas? So when we render out the animation, it'll actually display it on the canvas itself. To do this, we need to open up the shader editor. So I'm going to come up to this right corner up on the top, click and drag to split the BWT. We can then switch this over to these shader editor or you can press the shortcut shift F3 and then create a new material. I'm going to press Enter, close off that panel. And then here is our material to actually see what we're doing. We compress z and go into rendered view. Now we can see our canvas, but it doesn't have that vertex paint. Even if we restart the animation and play it, we still can't see that vertex data. That's because we need to add it in into the material itself. So in order to do that, you need to press Shift a and go underneath the Input tab and then select the vertex data down at the bottom right here. If we select a vertex data, we can place that in right here. And then in the drop down menu, select that dp underscore paint map or the paint meant that you want to actually apply to the material. Next up, we can take the color and plug that into the base color. Now we can see our colors are now working. If we restart and play this, we can see our red colour is now applied it to the canvas. There's also a lot of cool things that you can do with this vertex color. Let's say you wanted the canvas to have a background. We can take the alpha channel and plug that into a mixed note. So if we press shift a at an a color mix and place that here, we can take the alpha channel, plug that into the factor. We'll set this into the bottom input. And then now this top color represents the background of the canvas. So we can set this to whatever color that we want. We can also take that color and plug it into any of the values in the principled shader. Lets say for example, we wanted the brush to actually emit light on the canvas. We can do that by adding in a colorRamp. So it's a black and white. We can take the color, plug that into the factor, and then the color into the Emission Strength. So now what happens if we were to take the emission and drag this up slightly, we can switch it to whatever color that we want. And to control the strength of this, we can press shift a at an a converter math note and place that here. If we then switch this over to multiply, this bottom value now controls the strength of the emission. So if it's really, really high, you can see it's a very bright NAV though the only things that actually emit light into the scene is lamps. So we won't really be able to see the effect unless we switched the render engine over two cycles. If we switch it over cycles and then bring up the strength value, we can see that it is now actually emitting light into our scene. So there you go. That is how you take the vertex data and plug it into the material. You can also add an attribute node by pressing Shift a and adding an attribute node. And then if you copy this, if we press control C to copy that name, plug that into the attribute node. We can take the color, plug that into the color just like this, and it will do the exact same thing. So now you can see instead of the vertex color we're using the attribute. Note the difference between these is we can just select this button here and then select the different vertex colours easily. With the attribute node, you actually need to type in the name under here. 20. Image Sequence to the Material: In the last video, we learned how to apply the vertex colors to our material. In this video, we'll figure out how to apply the image sequence to the material as well. So in order to do that, let's switch over to the image sequence. And then here is our resolution. We've already talked about all of these other settings here. So let's just do this quickly. I'm going to set the resolution to 500. And for the end frame, I'm going to set that to 100 over n, the surface we're going to leave it at paints. Then over in the Output tab here is where we can bake out our image sequence. I'm going to click on this button here and navigate to a folder of where I want to save my images. Once you have found the folder, you can click Accept and then in the UV map selected will be mapped in the drop-down menu. Pre-multiply alpha will allow the images to have transparency. And most of the time you are going to want to leave this on. This gives you a lot more control in the material and allows you to do a lot more things. So we're going to leave that on. If you want to, you can export the paint maps or the web maps. But in this case, I just want the paint maps. Once you're happy with all the other settings, you can click bake image sequence. So now if we open up that folder, we will see all of our images in this folder. To actually import those into the material, we first need to split the view once again and then go over to these shader editor. We can create a new material. And then to add the in those images, we can press shift a and underneath texture, we can select image texture. We'll place that right there and then open this up. Navigates where your images are and mine are right here. And you can select everything by pressing a and then go open image. It will convert the image texture into an image sequence node. And now if we take the color, we can plug that into the base color. We compress z and go into material view. And if you don't see this material view, that's because you need to enable it in the user preferences. Underneath edit, if we select preferences and underneath the key map tab, we can turn on extra shading pie menu items. This is very useful, so make sure that is enabled. And then you should be able to see the material view. If we press Z and selected material preview now and we press the spacebar to play or animation, you won't see anything working. That's because in the image texture node winning to select auto refresh. So it will actually update on every single frame. So now if we restart and play this, we can see our image is now working. And since this is a transparent image, we can press shift a at an a color, makes RGB and place that here. Then of course we can take the alpha and plug that into the factor and set this to the bottom inputs. Now this top value controls the canvas. And we can set this to whatever color. If we want a blue, a grain, anything like that, we can do that with this top value. And of course you can plug this into any of the other options in the principled shader. And we already discussed a little bit of what you can do in the previous video. So I'll let you guys play around with that. 21. Creating Footprint with Dynamic Paint: Hello everyone. In this video I'll be showing you how you can add footprints do any model. Here we have a basic low poly Fox model with a rig and a little bit of animation. If we play our animation here is what it looks like. You can see it walks a little bit and then just stops. And if you want to, you can actually download this model with the RIG and play around with it yourself. To actually animate this, you can select the rig, go into pose mode up here, and then play around with it by selecting one of the bones right here, pressing and g to move and then playing around with it. Each of these bones do different things and you can play around with it and do whatever that you want. For now though, we're just going to use this basic animation and then add some footprints on the ground. Of course, to add in some footprints, we first need to add an a plane. So you can press shift a and add in a plane. And then I'll scale this along the x-axis and drag it over here. If we go into edit mode, we can see we only have four vertices on each side and that's not going to work too well with the displacement. So let's add in some more. If we right-click and sub-divide it, you'll notice that we have this rectangle faces. This also doesn't look very good for the displacement. So we're gonna control x2 that adding a loop cut in the middle by hitting control are or command are on a Mac, left-click and then right-click. Now if we press a to select everything, right-click and sub-divide, it will actually subdivide it into squares now, and this is what we want. So what we're gonna do is right-click subdivided, right-click subdivided, and do this a couple times until we get a lot more geometry to work with. Probably around that many times. Another thing you're going to want to keep in mind is if your footprint is very detailed, if you have a high poly model, you might want to subdivide the plane even more. Since we have a low Paula Fox model, we don't really need to subdivide it that much. But just in case your model is very high, you might want a little bit more detail in the plane. So in order to get this to work, we first need to add a dynamic paint, leave the type on canvas and then add the scent. Of course, for the surface type, we're going to select displacement. And then for the brush, it's going to be the model itself. Select your model. Dynamic paint, set the type over to brush, and then add in the brush. Another thing you're gonna want to double-check is if you go over to the Modifier tab that the dynamic paint is below the is below the armature. If for some reason it's above everything, it's not going to work and it's actually going to take, it's actually going to think that the model is in this position and it's not animated. So make sure that the dynamic paint is below everything and it will actually take into account the animation. So with that done, let's grab our plane and drag it up it just slightly so it's in the footprint right about there. Looks pretty good. Then what we can do is just restart. I'll press Z to go into solid view so we can see it a little bit better. And then I'll play my animation. And here we go. That is the animation. And we can see it's working and it's leaving some footprints. At the moment though, it doesn't look that great. But to actually make this look better, we can add an another modifier and add an a subdivision surface modifier. If we set both the view and the render to two, we can restart. And then player animation, it will slow down the dynamic paint, but it will look a lot better. And there we go. We can see here that we've added in the subdivision and it looks much better. In this case, I think I could get away with this level of subdivision. But if you want to add more, all you have to do is go into edit mode, right-click and sub-divide. If you don't want to add that much geometry to your plan, you can control Z that I'll just controls you that once again. Add an a modifier subdivision surface and bring this above the dynamic paint. Doing it this way will allow you to not have to subdivide the original plane, but it will still act like it's actually simplified it. So now if we restart and play it, you can see it is slowing down quite a bit. But if we pause it right about there, we can zoom in on the footprint and you can see it's a lot sharper Now, with this turned off here is the result will restart at play it. You can see it's pretty smooth, but then with it turned on, will restart and play it once again. The footprint is a lot sharper. You also might notice that we get these weird jittering effects on the footprint. And to fix that, you can go over to the Canvas settings and bring up the level of sub-steps. If we bring that up to a level of six or so, we can restart and play it. It might not work entirely, but it might help to smooth it out. In this case, you can see it didn't really work too great. It still has that bumpiness. But everywhere else in the scene, if the armature is moving quickly, the sub-steps will work quite a bit. But there you go. That is how you create footprints it using dynamic paints. Just make sure that the dynamic paint is below everything in the modifier stack. And you'll be good to go. 22. Paint Drying Effect: Hello everyone. In this video, I'll be showing you how you can get this paint drying effect using the wet matte layer and the paint map layer. To get started, we're going to be using this scene that I have created. And if you want to learn how to create this paint roller affect yourself. There is a tutorial on my YouTube channel, youtube.com slash blender made easy. Or if you don't want that, you can go ahead and download this blend fall. It is over in the resources. So once you have it open and you're ready to fall along here is what we're gonna do to get that drying effect. We're going to be using the Web Map and plugging that into the roughness of the material. We're first going to export both of these. So we have a paint map and a wet map. And then to actually see exactly what we're doing, Let's open up the vertex colors by coming up here and then selecting a vertex right here. So we can see what we're doing. Over in this object data panel. We're going to open up the vertex colors and make sure the wet map is selected. If you have the paint map, it's going to display the actual colors. But if we have, the Web Map is going to display what the wet map looks like. So back over in the Canvas settings, we're going to open up the drying tab and then figuring out how fast we want the paint to actually dry. Since this is just a drying effect, we can make this not realistic and bring the Time a lot shorter. In real life, of course, the paint will take a lot longer to dry. But since we're doing this in blender, We can do whatever the heck we want. So this time value right here controls the time of how fast it will dry. And if we hit the space bar, we can see it slowly drying. I think I want it to be half that speed. So I'm going to set the time to 250. So it's going to dry a lot faster. Now if we restart and play it, here is the effect that we're getting. And I think that does look pretty good. And I think I'm happy with that result. So let's go ahead and bake this out. So over n a d output, make sure you have both of these exported, and then we can click on bake. This should go pretty fast because it's only baking the vertex colors. And you can see it's already done. And now what we need to do is go over into the material and import that in. I'm going to press Z and go into rendered view with this scene. And here is our result. We have a nice material for all of the objects, but we don't have any of the colors. So let's open up the material and import those in by coming up to the top right, clicking and dragging and then switching this over to these shader editor. At the moment, we just have a little bit of bump plugged into the principled shader. I'm also going to press Enter, close up that panel. And if you remember in the last video, we need to press Shift a, go underneath the Input tab and then select the vertex color. We'll place that right here. And since we have a paint map and a web map, we need two of these vertex colors. I'm going to press shift at D and drag this below it. And then for this top one it's going to be the paint map. And then for the bottom one is going to be the wet map. I'm going to take the color and plug that into the base color of the principal shader. And you might notice that everything is turned to black and that's because it doesn't have any color for the canvas. So to fix that, of course, we need to add an a color mix. Rgb will place that here. And then for the alpha, we're gonna plug that into the factor. And then this input is going to go into the bottom inputs. Now this top value is the color of the canvas so we can change it to whatever that we want. I'm just going to leave it at White. For the wet map, we need to plug that into the roughness. If we do this right away, it's not going to work because it's currently invert it. You'll notice once we plug this in and that everything is super glossy except for the paint itself. So in order to fix that, we need to press Shift a and add an a color and then an invert node will place that here. And once we do this, you can see that the rest of the canvas is rough, but the paint actually has a glossy look. So now if we play it, you can see it slowly dries as you can see there. And it's creating a cool effect. So there you go. That is basically how you create a drying effect. You just import the wet map and plug that into the roughness and make sure it's inverted. Because if we control shift left click on this with the node wrangler ed on. We can see that there is two different colors, the white and the black. With the roughness, black values means glossy and white values mean rough. So once we invert it by using the invert node, we can see that the black value is where it's going to be glossy and run the white values are that is where it's going to be rough and that's what we want. You can also control this a little bit better by adding in a colorRamp. So we can press shift a at an a colorRamp will place that here. And then if we control shift left-click on this, we can drag the black value closer and that will make it a little bit more of an effect as you can see there. So where the byte values are, of course, that's going to be very glossy and the y values will be known as glossy. If we take a look at this by control shift left clicking on the principled shader will restart and then play it. Here is the results. So the colorRamp just gives you a little bit more control over the glossiness and you can play around with it and change it how you want. If you're wondering how I use the Control Shift left-click, That is because I have the node wrangler add-on enabled. And to enable that, you need to go over to edit down to Preferences. Underneath the add-on tab, you can type in the word node and you should see the node wrangler add-on right there. Make sure that's enabled. It is very useful and will, and we will be using that throughout the course. But there you go. That is how you create a drying effect and blender. In the next video, I'll be showing you how you can actually apply a texture to the paint map. 23. Texture Paint Effect: In the last video, we learned about the drying effect. In this video, we're going to figure out how to apply a texture to the paint instead of just using the vertex colors. So at the moment, here is our effect and we have this blue color. And if we select our brush, we can see that exactly blue color for the Brush itself. But how do we actually apply a texture to the brush instead of just using the paint color? Well, that is pretty easy. Let's go ahead and select our canvas and then take out the color for the bottom input of this mixed node. So now what's happening is we have this alpha channel right here. We have a black and white. We can then use this as a mask. So currently the alpha is already plugged into the factor. So the only thing that we have to do is plug something into this bottom input. So let's press shift a and added a texture image texture right here. And then click on Open. The texture that we'll be using is this one right here. And it's also in the resources if you want to follow along, so you can select it and then open up this image. If we take the color value, we can plug that into the bottom input of the mixed node. Then if we control shift left-click on the principal chatter. You can see it's already working. We have that wood texture being applied to the brush. There we go, but we have another problem and that is the paint handle itself right here. It's still using that blue color that is just because of the material. So let's go ahead and select it and then add in that same wood texture to it. So I'm going to press shift a at an image texture. And then for the texture, select the drop-down menu and then select the wood texture. If we take the color, plug that into the base color of the principal shader, we can see it's now working. If we restart and play it now here is the result. And there we go. We've now applying a texture 2D canvas and setup using just the basic color. And that looks actually pretty cool. So using it this way, it allows you to create some very interesting results pretty easily. So just to review one more time with the vertex color, make sure you use the alpha channel. This is the mask and you can plug that into the factor. Then for the bottom input, use the texture that you want to use for the brush. The top color, color, color one is for the canvas itself. So you can plug in another texture right here if you wanted to. 24. Abstract Displacement P1 Animation Data: Hello everyone and welcome to a new section. In this section we're going to be creating this really cool animation using dynamic paint will be going through step-by-step on how do you create the wet maps and the displacement, and then create a very cool material and render it out. To get started, we first need to add an ecosphere for the object to be displaced. So I'm going to go ahead and delete the default cube, are not going to need it. And then I'll press shift a, an add-in, an ecosphere. Over on the left side. I'm going to open up this panel and set the subdivisions up a lot higher. Probably a round, a value of about five, maybe let's go with six actually. So we have a lot of geometry to work with. And if we press a z and go into wireframe, you can see there is a lot of geometry that looks pretty good. So now let's go ahead and minus that. And then I'm going to add in a couple other Ico spheres to actually displace this one. I'll press shift a and added another ecosphere and make sure you open up this panel once again and turn the subdivisions down to like three or so. Let's go with Yeah, let's go with three. You can see here this is the amount of geometry and then I'm going to scale it down roughly around that size and then go into edit mode and drag it over to the front. So you compress g and y and drag it over to the front. So we have the origin point is at the center, and then this object is here. So now what happens if we double tap our, we can see it's moving around the ecosphere just like this because the origin is still at the center. So now what we need to do is duplicate the sphere a couple times and rotate it around. I'm probably gonna go with eight spheres before we duplicate it, let's add a couple of key frames, so we don't have to add it in multiple times. I'm going to press i and go location rotation on a frame one. From there, I'm going to open up the graph editor by splitting this view, switching this over to the graph editor. And now let's figure out how long we want our animation to be. I'm thinking probably around 200 frames is good at. So I'm going to set the end frame to 200. Next up, if we open up this panel right here, the object transformation, we can see we have a couple of values here. We're going to want to change the rotation value. So select that the rotation along the x and then press n. And we can go over to the Modifier tab and then add in a modifier to the location of the x axis. So if we select add modifier and go with noise. Now what's going to happen is if we play this, we can see this sort of an effect. Now currently this, the default settings are not what we want. So let's go ahead and change them. This first one is the scale value in this controls how close the noise is to each other. And this second value is the strength, and this controls how big it is. We're going to set the scale a lot higher. Let's go with a 110. Then for the strength value, we're going to go up to 20. Now if we play this, this is the effect that we're getting. So now what we need to do is duplicate this modifier and place it on the y and the z rotation. To do this, you can click copy right there that button. Then select the y rotation, and then paste it with the right button. One thing you're going to want to do is change the offset because currently it's using the same exact noise pattern. So for this, I'm going to set the offset up to 200. Since this animation is 200 frames long, it's not going to duplicate any of the locations. So set that to 200. Then we can select the z rotation, paste it in, and set the offset to 400 this time. And there we go. So this is what we're getting now. So now what we need to do is just duplicate this a couple of times. I'm going to press shift D and then right-click. And then all we have to do is select the x rotation and then added another offset. So this time it's going to be 600. Then the y location, set that to 800. The z location, we'll set this to 10000, just like that. So now we're getting to different UV sphere is moving around at different speeds and locations. Everything that I'll be doing with different spheres as I'm gonna go into edit mode and just scale them down just slightly. So there are different sizes. This we'll give it some more variation. So now that you have the basic idea on how to create the UV spheres with the onset. I'm just going to fast forward this part. Alright, I have added a different atmospheres and this is how it looks. I'm going to restart the animation and play it. And here it is. We can see there is a lot of different movement all around the atmosphere and it looks pretty good. One thing I did do on some of the atmospheres, they were moving extremely fast. So what I did is I just brought the strength down to a value of about 16 and that seemed to help. So if you have an ecosphere that's moving extremely fast, change the shrank down just slightly and that will help. But there we go. In the next video, we will set up the dynamic paint. 25. Abstract Displacement P2 Dynamic Paint: I'm going to select my UV sphere and go over to the Physics tab and add dynamic paints. Make sure that the type is set to Canvas and go add canvas. Next up we're going to select our ecosphere, select one of them, dynamic paint, set it over to brush, and then add brush. And easy way to apply the brush to all of the objects is to press Z, to go into wireframe box, select everything by pressing be dragging a box. I'm going to deselect the main ecosphere by pressing b once again, middle mouse button to de-select. Make sure your active object is the one that has the dynamic paints. Then click Control L, ng-click on modifiers. So now every single ecosphere will have the brush modifier for that dynamic paints. There we go. So now let's select our ecosphere once again, and we're going to change up a couple of settings. First off, we're going to open up the effects and then we're also going to open up the outputs and set a new web map layer. So click on that plus sign to add an a new web map. I'm going to turn on shrink as well. And then let's go into the vertex mode so we can actually see what we're doing. I'm gonna come over here and select this menu and click on a vertex. Now let's go ahead and play our animation to see exactly what this looks like. So we can see we're getting some weird results and it doesn't look as good. What we're gonna do now is actually change up the strength and the dry effect. So I'm gonna open up the drying section and change the time that it takes to drive the web apps. I'm gonna go with a value of 45. Now, if we restart and play it, this is the effect that we are getting. That is looking pretty good. So var, another thing I'll do is add in some more substitutes because there is a couple Ico spheres that are moving extremely fast. So I'm gonna bring the sub-steps all the way up to a value of four. And now if we restart and play it, this is the result. This is looking pretty good so far I think for the shrink value, I'm gonna bring it a little bit higher. Let's go with a value of two. Now if we restart and play this once again, we can see that the Web Map is shrinking just on the tip of the dryness. All right, there we go. This is looking pretty good so far. So now I think we are ready to export the D web maps as a PNG sequence. So to do this, and we're going to scroll up to the Format section and switch it over to an image sequence. From there, the resolution, we're gonna set this to about 1500. You don't wanna go too high with this because it's going to take a lot longer to bake. So around 1500 is probably good. From there, we can scroll down to the output section and make sure you select a folder of where you want your cache to goto, and also for the web maps, we're going to uncheck paint maps and enabled web maps for the export. Make sure pre-multiply alpha is turned off as well, and then select the UV map in the drop-down menu. Once you've done that, we can click bake image sequence also make sure you save your project before you do this, just in case it crashes. Once you're happy with all of your settings, click on bake. 26. Abstract Displacement P3 Displacement: All of the web maps have been exported and here they are, they're looking pretty good. So now let's import them into blender. To do this, we're going to select our ecosphere, go over to the Modifier tab, click add modifier and added a displacement Modifier. From there, we can create a new texture and then go over to the texture panel, which is this checkered box button right here, makes sure that the type is set to image or movie and then click open. You want to navigate to where all of your images are. Mine are right here, and you can select everything by pressing a and then go open image. Now what happens if we were to play this? We can see this is the effect that we're getting right now. It's pretty crazy. So let's go ahead and fix this. Let's go over to the Modifier Tab. Once again, we're going to set the strength of this down to 0.5. Also make sure you apply the scale to the Andhra. So I'm going to press Control and click on a scale. The mid-level. I'm going to set that to 0. And then for the coordinates right here underneath the coordinates, we need to make sure this is said to UV. And then of course, for the UV map, select this one right here. So now what happens if we play this? This is the effect that we're getting. Here is the effect so far, it's looking pretty good, but it's not as good as it could be. Now let's add an, another displacement to get the overall shape to look a little bit better. To do this, we're going to click add modifier and add a new displacements selected new for the texture, and then go over to the texture panel. Make sure you click on this button here and selected the new texture that we just created, which is displaced 001. I'm going to set the type over two clouds. And then for the size of the clouds, I'm going to leave it at 0.25. Then let's go back over to the Modifier tab and bring the strength down because currently it's way too strong. Let's try a value of 0.15, it just like this. And then let's bring the mid level down to a value of about 0.8. And now if we play this, this is the effect that we're getting. So as you can see, this does look a little bit better, but the texture is not moving. We can easily move it around by using another object. I'm going to press shift a and add in a empty object right here, empty and then plane axes. I'll put it over on the left side, select my Ico sphere. And then for the coordinates, I'm going to switch it from local over two objects. And then of course we're going to select the empty that we just created. So now what happens if we select are empty and move it around? It's going to move the texture around. Let's go ahead and animate the empty moving around. So on frame one, I'm going to hit i and add in a location keyframe. From there I'm gonna go all the way to the end frame 200, and I'm gonna move it over across this way. Then I will add in another location keyframe. From there we can play this and this is the effect that we're getting. And as you can see, this is starting to look really cool. You also might notice that our animation right here, it starts out very slow. And then in the middle right here, it kinda speeds up. And then right at the end it slows down even more. This is because the animation default interpolation is set to a curve. We need to make sure it's a straight line. So we're going to bond, select both of these keyframes, hit t and select linear. So now it's a constant rate and the EMT is going to move at a constant speed all the way across our animation. I'm also going to select my oncosphere, right-click and go shade smooth. And that looks much better. Next up, before we get into the material, let's hide the arrest of the Ico spheres. So over in the outliner I'm going to box select by clicking over on the left side box-like over all of these ones. And then I'm going to press M and move into a new collection. We'll just go with collection to. And then I'm going to uncheck it by clicking that button right there, so that hides it from the view. So now we just have this severe with all of the displacement. In the next video, we will create the material. 27. Abstract Displacement P4 Material: In this final video, we're going to create a new material for our ecosphere. First off, before we do that, I want to change the displacement just a little bit. I'm going to set the strength of that 2.17 and this will just give it a little bit of a sharper edge. And then for the mid-level, I'm gonna go with 0.85, just like this. And if we zoom in here and now we have a sharp edge and this is looking pretty cool. Now that we've done that, let's create the material. So I'm going to split this view by dragging over it in the top left and switching this over to these shader editor. Then we compress N to close up that panel and create a new material. With this material, we're going to leave the principled shader. And now let's add in our web maps, I'm going to press shift a and go over to texture and image sequence. If you don't see image sequence, that's because you don't have the node wrangler add-on enabled. So what you need to do is come over to edit down to Preferences underneath add-ons, type into the search bar node. And you should see the node wrangler add-on right there and make sure you enable it and then save user preferences. Once you've done that, you can press shift a and add an a texture and an image sequence. Navigate to your images, and then press a2, select everything, and then import them in, and we'll place it right about here. We're going to leave our images right here and we're not going to touch on for just a minute. We're first going to add in some bumped to our ecosphere. To do this, we're going to add an a texture and then a noise texture, and we'll place that here. Then we'll press Shift eight and add in a vector and a bump. And then if we take the factor and plug that into the height of the bump, the normal into the normal of the principled shader. Lets press at and go into a rendered view to see what this looks like. Now at the moment, you can't really see too much. But if we were to turn up the scale of the noise texture, let's go all the way up to 400. Now we see a lot more detail in our ecosphere that is looking pretty good so far, but the distance is a little bit too much. So we're going to bring this down to 0.3 and that will just lighten up the distance slightly. And this is the effect. Another thing I want is for the bumps to move around as the displacement moves around as well. So all we have to do is select our noise texture. And with the node wrangler add-on enabled, you can press Control T. This will add in a mapping note and a texture coordinate note. If we take the object and plug that into the vector, and then for the object, select the empty. Now the bumps will move around with the displacement. So if we play this, you can't really see it slightly. But once we do the final render and you will notice that the bumps are moving with a displacement. If we go back over to the principled shader, we're going to bring the base color almost to black. You don't want to go fully black, but just slightly above it. Somewhere around here is probably good. Now that we've set up our base color and the bomb, but let's go ahead and work on the globe. So to do this, we're going to take the color and plug that into the strength of the emission. If we then come over to the mission color and change it over to like a blue color somewhere around here. Once we do this, you won't see anything different. And that's because we need to come over to the texture right here and make sure auto refresh is turned on. So now it will update on the frame that we're at. And as you can see, this is already starting to look pretty cool. But there is a lot of other things that we can do with this texture to make it look even better, to control the strength of our admission. And we're going to add an a converter and a math node, and we'll place that here. If we then set this over to multiply. This bottom value controls the strength of the globe. Once it updates. If we drag this value up, it's going to be a lot brighter. Let's go with a value of about 50. Now before we go anymore with our material, let's go over to the world Settings and set the background all the way down to black. Then over in the API settings, I'm going to turn on ambient inclusion, screen, space reflections and bloom. Now arsine is starting to come together. If we open up the bloom panel, I'm going to turn down the intensity just slightly, somewhere around there looks pretty good. Next up, if we control shift left-click on the bump, but that will bring in a view are known so we can preview what the bump looks like. You'll notice that the bump is everywhere on arsine and I don't want it to be everywhere. I only want it to be on the parts that don't have the glow. So to do this, we're going to add in a couple other notes. I'm going to press shift a and add an a color and then a mix RGB. And we'll place that here. If we then set this down to subtract right here. And we can then take this value right here and plug it into the bottom input. If the factor is all the way up to one, you're going to get these weird results. What we need to do next is take the color value from the subtract and plug that into this strength value. Once we do this, now you can see that the parts were the glowing is there is no bumps, but the part that does have the bumps is just the black. To control this even better, we can add an a colorRamp and place it in between the multiple and the subtract. If we then take this value and drag it closer, it's going to clamp down on that edge right there. So now we have no bumps where all of the glow is on our mesh. Now it's a preview this let's control shift left-click on the principled shader. One more thing that we're going to add is some variation in the color and the texture of our gluey parts. To do this, we're going to add an a texture and a noise texture, and we'll place that here. We're going to combine this with the web map by adding in a converter and then a math node will place that here and setting this down to multiply. If we take the factor and plug that into the value right here, you should see some interesting results. Over n at the noise texture. We're going to bring this scale of it up to 23, the detail up to 16, and the distortion. We're gonna go with a value of about 1.4. Once we do this, here is our results is starting to look pretty cool, but you've been to control this better. We can add in a converter colorRamp and place that here. And we can mess around with this to get exactly what we want. So if you were to drag the black value closer, you'd get this orbit of an effect. And you don't wanna go too much with this because it will look a little bit strange, but probably just slightly up somewhere around there looks pretty cool. And there we go. That is our basic material. If you want to mess with the color, you can come back over to the principled shader and change the emission color. I think I'm one, it's slightly more blue, so I'm going to drag it up just slightly somewhere around here. Just like that. And I think that looks pretty cool. Now that we've created the material, I'm gonna go ahead and close up this panel by dragging this over to the right side to set up our camera, I'm gonna go into front view by pressing one on the number pad. And then if we press Control Alt and 0 on the number pad, it will snap the camera to the view that we are looking. We can then select it G middle mouse button and drag it backwards. I'm gonna place it right about here. And then I'll play this just to see how it looks. That is looking pretty cool so far. I think the lighting is slightly a little bit too dark. So what we can do is select the lamp in our scene right here and go over to the lamps settings, will set the radius up to one. And then the strength of this all the way. Let's go with 2500. If we go back into camera view, this is the view that we see. And we can bring up the radius even more, or Let's go with two. So now if we play this, this is the effect that we're getting. I'm liking how this looks on and think I'm gonna go ahead and render this out. To do this, we can come over to the Output tab and select an output folder of where we want our animation to go to. This is the folder that I want to export it as. So I'm going to click Accept. And then for the file format, I'm gonna switch it over to an mpeg underneath the encoding. I'm going to set the container to mp4. And then for the output quality, I'm gonna go with high. Once you've done that, make sure you save your project once again. And then you can come over to render and then Render Animation. This will then start to render out a de animation and it will be located in the folder that you specified. But there you go. That is how you create a very interesting animation using dynamic pane and a fancy material. Thank you very much for watching this section. I hope you learned a lot. And if you created something cool and makes sure to post it in the assignment after this video. 28. Fire Disinegration Effect P1 Dynamic Weight: Hello everyone and welcome to a new section. In this section we're going to learn how to create this disintegrating object with fire effect you using dynamic paint and the fire simulation. There are three different simulations that we'll be covering in this video. One is going to be the dynamic paint with the weight paint. And then we'll learn how to create the fire simulation. And finally, we're going to learn how to create that black edge around the fire. To get started, we need to figure out what object that we want to disintegrate. You can use any object that you want. In this case, I'm just going to be using a ecosphere. So I'm going to delete the cube and then press shift a and add in an ecosphere. From there, I'm going to open up this tab right here and set the subdivisions up to a value of three. I'm also going to press shift D on this ICA sphere and scale it up so it's a little bit bigger than the original ecosphere, just like that. From there, let's go into front view and then animate this ionospheric coming down on this other one. I'm going to move it out of the way somewhere around here or so. And then I'm going to press i and add an a location keyframe. So we can see here if we bring up the timeline, there is a keyframe right there on frame one. Next up, I'm going to drag my cursor all the way over to frame 150. And then I'm going to envelop this entire ecosphere right there. Then hit i and add in another location keyframe. Over a 150 frames. This ecosphere is going to envelop the other one. Next up to make the simulation a little bit more interesting, let's go over to the Modifier tab at an, a new modifier and select displacement. I'm going to click New on this to create a new texture. And then let's go over to the texture panel, select the type and change it over to clouds. For the size of the texture. I don't want the bumps to be this small, so I'm going to bring up the size just slightly somewhere around there is probably good. And then let's go back over to the settings. The strength of this is a little bit too strong, so let's bring this down to a value of 0.2. If we also set the coordinates from local to global, While the ecosphere moves down, it's going to change the displacement and make it look a lot more interesting. At the moment, there's not that much geometry on our ecosphere. So let's add in a subdivision surface. I am going to bring it above the displacements. And now if we play this, this is the effect. To get the, I guess, fear to actually take away from our original sphere right here we need to add an a boolean. I'm going to select our original sphere at an a modifier and let's add an a subdivision surface will set the view to two. And then we'll also add an, a Boolean modifier if we select the object to be this bigger Ico sphere. And now if we play our simulation, you can see it is running a lot slower. And now I'm just gonna go ahead and skip a little bit. You can see it's now taking away from our original Ico sphere, and that is exactly what we want. I'm also going to select both of these objects, right-click and go shade, smooth. Another thing that you can do is you can select the bigger ecosphere. Go over to the object tab right here underneath the viewport display. You can set it from display as texture to display as wire. So you can actually see what you're doing with the bigger sphere selected. I'm also going to bring the viewport levels up to two as well, just so we have a little bit more displacement. Now we are ready to set up the dynamic paint. I'm going to select our original object and go over to the Physics tab and add in dynamic paint. This is going to be the canvas. So click on Add Canvas. And for these surface type, we're going to select weight. Since the fire simulation deals with white paint and you wanna make sure it's set to wait. From there, we can open up the output tab and add in a new vertex group right here by clicking that plus sign will open up the cache as well and make sure we save our projects so we can actually bake this in. I'm gonna set the end frame to 170. Then I'll click control S to save my blender file. Once we have saved our blender file, you'll notice that the cash is now available, but let's set up the brush settings as well. I'm going to select my brush and dynamic pate, set the type to brush, and then add this in for the paint color. It doesn't matter at the moment, but since we are going to be using it later, I'm just going to set it to black. The source value. I'm going to switch it over to proximity and set the distance a little bit lower. Let's go with 0.05. so instead of it just being exactly where the boolean is, it's going to spread out a little bit along the edges, which is going to look a little bit better. From there, I think we are ready to bake, so let's select our Canvas once again. Scroll down at 2D bake settings. I'm going to save my project and then click on bake. 29. Fire Disinegration Effect P2 Fire: Our bank has finished and nella setup the fire simulation. I'm going to press shift a and add in a cube. And this is going to be our domain for our fire. I'll go into wireframe and then press one on the number pad and scale this domain up. Probably around there is pretty good, so we want it a little bit bigger just like that. And now for the settings, let's click on fluid, said the type over two domain. And then here we can leave the type on gas. For our flow object. It's going to be our canvas. So select our canvas. We'll take away that dynamic paint by just closing off that Tab, Add in a fluid, set the type over to flow, and then make sure the flow type is set to fire. The flow behavior. I'm going to switch it over to inflow. And then, uh, for the vertex group, this is the vertex group that we just created with the dynamic paint, we need to select DP underscore weight. The fuel option I'm gonna bring up to 1.5. And this will just give us a little bit more randomness in our fire and make it look a little bit more crazy, which is what we want. The flow source, the surface emission value. This controls the area around where the surface emission is. So if this is a lot higher and the fire is going to spread out over here and then it blow up. If this is lower, it's going to be closer to where the weight paint is. So set that value to one. Finally in the texture panel and we're going to add an, a texture to the fire. And this will give it a lot more randomness and make it look a lot more realistic. For the texture. We need to go over to the texture panel and create a new one. I'm going to set the type over to clowns once again. And for the size of the texture, we're going to bring it lower. Let's go with a value of 0.15. The colors. We're gonna open up this panel and bring up the contrast. If we set this all the way up to five, you can see there's a lot of definition between the white and the black values. Where are the white values are? That is where the fire will emit and worthy black values are. There'll be no fire. From there. We can go back over to the Physics tab and select the texture that we just created in the drop down menu. We don't want to select this one. We want to select texture zeros 01. We can also animate the position of the texture and this will give it even a better look. So on frame one, we're going to skip to frame one ad in a keyframe next to the offset. We're going to skip to frame 170, and then we're going to set the offset up to one and then add in another key frame. One thing to note with this animation is that blender uses a default curve to smooth it out. In this case, it's not going to look very good because the texture is going to start out very slow, speed up in the middle and then slow down at the end. To fix that, we need to box select both of these keyframes and have your mouse in the timeline, press T and select linear. So now the texture is going to move at a constant rate all throughout the animation. Now it's time to set up the domain options for the resolution. I'm gonna go up to 128. We're also going to turn on adaptive domain, and this will help speed up the baking time. And for the guessing, I'm going to set the vortices are up to 0.1. This will give it a little bit more swirls and randomness, which will look pretty good. Underneath the fire tab, I'm going to set the border city of the flames to 0.7. This will also give the flames a little bit more randomness and make it look a little bit better. From there, we can scroll down to the cast setting. I'm gonna set the frame to 170 and then set the type over two modular. This will allow us to actually bake into simulation if you want to. You can also check is resumable so you can stop the bake anytime and resume. And at that point, which is very useful. And now that we've done that, let's scroll up to the bake settings here. We'll restart the timeline, save our project, and then click on big data. 30. Fire Disinegration Effect P3 Paint: Our bake has finished. And here as our results, I'm gonna go ahead and skip through a couple of these frames and you can see it's working properly. If I r is in the correct position on our mesh and that is looking very good. Next up on our list is that black outline around where the fire is. This will make it look a lot better, like the mesh is actually getting burned. To do this, we're going to close off this tab right here and open up the dynamic paint settings. Since we baked in the fire simulation, we don't really need to worry about the dynamic pin anymore, so we can go ahead and delete the bake for the surface type. We're going to switch it back over to paint. And then if we scroll down to the Output tab, I'm going to create a new output for the DP underscore paint map and then open up the initial color. I'm going to set the look to just color and leave the default at White. From there, we can select our brush and make sure the color is set to black or whatever color that you want. And then for the proximity here is what we are going to change to actually see what we're doing. I'm going to switch this over to the vertex mode. And then if we play our simulation and we can see there is a black outline around where the fire is and that is looking pretty good, but it's very small. I want the blackness do spread all the way around to like here are. So, so in order to do that, we need to bring up the distance. One thing to note though, if we bring up the distance right now and you're gonna get these weird black spots before the fire even starts. So instead, what we're gonna do is actually animate this value, right? When the fire starts, I want it to start spreading. So at frame, let's go with frame 50. I'm going to set the distance to 0 and then add an a keyframe over 20 frames. I'm gonna go all the way up to frame 70. I want this to spread outwards. So let's go all the way up to 0.4 and then add an, another keyframe. So from here is going to start out at 0 and then the blackness is going to spread outwards as the fire goes down. And as you can see, this is the effect that we're getting. You might notice on frame 58 that we get these weird artifacts all throughout the mesh. And that is just a glitch with the Boolean modifier. In order to fix that, you can bring up the sub-steps. So let's try a value of about five. And once you do that, we can see that it's actually working and those are now gone. So now that we've set up our dynamic paint, let's go ahead and make this out. I'm gonna scroll down at 2D cached settings, saved my project once again and bake this out. 31. Fire Disinegration Effect P4 Materials: All of the simulations are now done and now it's onto the materials itself. To do this, we need to split this view and switch it over to these shader editor. The first material that we will create is the one for the ecosphere. I'm going to press N to close up that panel and create a new material. The first thing that we will add is some bumped to the surface of the canvas. So I'll press shift a and add an a texture and a noise texture. Then we'll press shift a and add an a vector and a bump node. If we take the factor value, plug that into the height and the normal into the normal of the principled shader. Lets press Z and go into material view. And this is what it looks like at the moment of the bumps are way too big. So let's set the scale amount to 300, and that looks much better. The strength of the noise is still a little bit too strong. Sluts bring this down to a value of about 0.5. One thing to note with this noise texture is that when the boolean comes down and disintegrates the mesh, that's actually going to change the position of the noise. This, it gives it a weird look like the texture is animated. So in order to fix that, we need to set an object to be the position of the texture. To do this, we can press shift a and add in an empty. I'm gonna move it over to the left side and scale it down. Select your icon sphere once again and over N at the noise texture, we're going to change the vector location. I'm going to press shift day and add an n inputs and a texture coordinate node. We'll place that right there. Take the object and plug that into the noise vector. And then for the object, of course we're going to select the empty. You might notice though, since we scaled down our empty, it's actually scaling down the texture. So let's select our empty control a and apply these scale. So now the texture size is back to the original size. The last thing that we will do in this material is add-in that blackness around where the fire is. We can do that easily by adding in an input and then a vertex color. And then in the drop-down menu of selected the DP underscore paint map that we created with the dynamic paint. We then combine that with a color and mix. Rgb will place that here. Let's take the color and plug that into the top input. And then if we take the color and plug that into the base color, we'll go ahead and skip to a frame. Let's go with frame like 85 or so. You can see the blindness around it. I'm gonna switch the type over to multiply and then set the factor up to a value of two. And there we go. We can now see the blackness around where the fire is. And that looks pretty cool. If you want to change the color of the other side of the canvas, you can do that easily with this color option. So if you want it to be red or green or blue, you can do that very easily. I'm just going to leave it on white and that might drive the color up just slightly for the rest of our scene. And we're just going to add in a plane and bring it below the canvas. I'll set it a little bit lower right about there and scale it up really big. This is just going to have a basic principle chatter with the roughness set to a value of about 0.2. For the lighting, I'm going to select our default lamp in the scene, go over to the lamp settings. And also we don't need our material anymore. So I'm gonna go ahead and close this off. The power of this. I'm going to set up to 2 thousand. And then for the radius, I'm going to drag it up a lot bigger. So we have a very large lamp right here, and this will give us softer shadows. If we go into top view and place it over on this side. And then if we press Z and go into rendered view, this is the result. One thing to note though, is that we don't have any fire in our scene. If we Prezi and go into solid view, we can see the fire is there, but it's not showing up in the view. So let's go ahead and create a material for the fire. I'm gonna split this view once again and switch it over to these shader editor. I'm going to press N to close off that panel and then we'll create a new material. We don't need the principled shader, so I'm gonna delete that and then add in a principle that volume shader. So underneath shader at an, a principle that volume and place that here. If we take the volume, plug that into the volume of the material output, we can press Z and go into rendered view. If we bring up the blackbody intensity up to two though, there we can see our fire, but it doesn't look that great. We're actually not going to be using the blackbody intensity because I found it doesn't look as good. So set that back to 0. And instead we're going to create a custom of fire look by adding in a couple of color ramps. I'm going to press shift a and add in a converter end colorRamp and place that here. We'll shift it d this colorRamp and place it underneath. This top colorRamp is going to be the density of the fire. And then this bottom one is actually going to be the color of the fire. In order to actually change the color of the fire, we need to add in an input and then a volume info node. We can take the flame data from RFI or simulation, plug that into the factor just like this. And then if we take the color, plug that into the emission color, and then the colorRamp will plug that into the strength option. Now we can see that we have some fire before we change the color, let's work on the strength of it. I'm going to add an a converter end math node and place that here and set this down to multiply. This bottom value now controls the strength of the fire. If this is a pie chart, you can see it's gonna be a lot brighter. Let's go with a value of about ten. Over in the colorRamp, we can change the density of the fire. If this black handle is much closer to the white handle, it's going to get rid of almost everything. If we were to drag it a little bit closer, I think go look good. And then let's actually pinch a black value in-between two white values. I'll add in a couple of new handles. So add in like three more, will drag it over this way, something like this. I'll set this handle to whites, and then we'll set this handle to black, are almost black. And then this handle right here is going to be a white color. So drag that up. So now we have a black color in-between it to white colors or something like that might look pretty cool. Now for the color itself, we're going to scroll down to this colorRamp and change the color. I want the top of the fire to be a orange color. So I'm going to drag this up and switch it over to an orange color somewhere around here are so will look good. And then we'll add in a new handle. This one is going to be a yellow color, so I'll switch it over to a nice yellow somewhere around here will look pretty good. And then finally, this is going to be an even lighter yellow. So something like that will look good. Alright, so there we go. I'm happy with how that fire looks. 32. Fire Disinegration Effect P5 Rendering & Sequencing: We are almost done with this tutorial. There is a couple more render settings that we have to do before we actually render out the animation. First off, we're not going to need the note editor anymore, so I'm going to close that off. Over in the world settings. I'm going to set the color down to black. And then the object that is our boolean. We don't want this to show up in the rendered view. So select it, come over to this menu and then enable the camera icon and turned off in the render n in the viewport. There we go. So now that will not show up in the rendered view. We also want to go over to the EV settings, turn on bloom, and then screen space reflections. And then underneath the volume tab, we're going to want to change a couple of settings here. First off, the tile size is too big and we're gonna set that to two pixels. Now we have a lot more detail in our fire. I'm going to turn on a volumetric shadows. And then for the sample, for the fire, if we bring this up even more, it's gonna look even better. Let's go with a value of 96. The volumetric shadows I'm gonna bring up to 24. And I think this will look much better in the rendered view. I'm going to position my camera right about here or so and hit control alt 0 to snap into place. You can select the camera G middle mouse button and drag it backwards and position it how you want. The end frame in our timeline, we're going to bring down to 170 because that is the time that we baked in our fire simulation. After we have done all that, I think we are ready to set an output. So I'm gonna go over to the Output Settings and set an output of where we want our frames to go to. We're also going to be rendering this out into frames and then sequencing it out later. So to do that, set an output right here and then navigate to a folder. Once you have found the folder that you want to export it as you can click, except I'm going to leave the file format at PNG and then save your project and then we are ready to render. So to render, Go up to render and then click on Render Animation. This will bring up a new window and it will start to render it out. After this is done, I will show you how to sequence it out. If we exit out of this window, go over to render and click on view animation. You can see the animation in real time. You might notice some weird things in that animation. If we open up that folder, you'll notice that some of our frames have these weird green spots on them. And I think this is just a glitch with the fire simulation when rendering with EV. And that is one of the main reasons why we rendered out into an image sequence. What we have to do to fix that is just find that frame number that it happened. We can see here if I go up to the top, the first one is on frame 58. If we switch the frame number over 258, we need to just re-render. This will hit F2 to re-render and wait for it to finish and then save that image. So what I'll do is I'll hit shift S to save my image. Select the folder that I specified where all of the other frames are, and then find a frame at 58. We can see here frame 58, I will select it and then click on Save As image, and that will override it. If we open up the folder again, let's find the next one. We can see here it's 61. So we just have to go through and fix that manually by going to frame 61, rendering this out and saving it again. So what I'll do here is I'll speed up this part and render out the rest of the images that are broken. And there we go. I've now finished fixing all of those broken frames. So now if we go up to render and click view animation, we will not see any of those green spots. And there we go. That looks very cool. So now in order to sequence all of those frames into a movie file where you can upload to Facebook, Instagram, whatever. You can do this very easily by coming over to this menu, selecting video editing and video editing. From here go to frame one. Make sure your cursor is on frame one. Add image, sequence, and then navigate to your frames. You can press a to select everything and go Add Image strip. From there you can come over to the file format and switch it over to an MP4. I'm gonna go with mpeg and set the container to mp4. And then for the output quality, I'm gonna go with high. You can set a new output. So I'm going to click here and go to the previous folder and then click Accept. And then I'll go up to render and then render animation. When you do it, this way is going to prioritize the video sequence editor and then render all those frames into a movie file. And it's going to be located in the folder that you specified. But there you go. That is how you create a disintegration effect using a blunder and dynamic paint. Thank you for watching this section. I hope you enjoyed if you created something cool, make sure to post it in the assignment after this video. 33. Wave Drop Effect P1 Particles: Hello everyone and welcome to a new section. In this section we're going to learn how to create this seamless raindrop effect using dynamic paints will be going through step-by-step onto the particle system, the dynamic paint settings. And then finally, we'll learn how to make the animation seamless. So we will loop over and over to get started with this tutorial. We're not going to need it at the default cubes, so we can go ahead and delete that. And then you can press shift a and add in a plane. We're going to need to scale up this plane. So I'm gonna go into the Properties panel by pressing N. And underneath the item tab, I'm going to set the dimensions for both the y and the x up to a value of 20. So type in 20 for both of those. Next up, I'm going to press shift D and dragging this plane up along the z-axis. And this is going to be our raindrops. Somewhere around there is probably good. And then I will select my original plane and go into edit mode. Since this is going to be our canvas, we're going to need a lot more geometry than just the four vertices. So I'm going to right-click and subdivide it. If we open up this panel, I'm going to set the number of cuts to 100 and then Enter. And that looks pretty good, but I think we can go a little bit more. So I'm just going to select everything, right-click and sub-divide the whole thing one more time. Now we are ready to set up the particles system. So I'm going to select my plane. I might drag it a little bit lower actually, and then go over to the particle system settings. I'm going to create a new particle system and then leave the type at emitter. Then number of particles you can set here. So if you want a very heavy rainstorm, you can drag this particles setting up. But for now, I think I'm just going to want it to be sprinkling a little bit. So a value of about 1000 is probably good. The end frame, I'm going to set up to 300. And then the lifetime. This is what we're going to want to change. If we restart and play this, you'll notice that the particles go way below the actual plane itself. So that is not what we want. Let's go into front view and then I'll zoom in here. We want the particles do disappear right about this point. Now, you could select your plane right here, your canvas and add in a collision modifier and set it to kill the particles. But that's not going to work very well for the dynamic paint. Some of the particles won't even touch the plane and it won't create a splash. So that is why we're not going to be using the collision, but we are going to be changing the lifetime. So over in the particle settings and one more time, we're going to open up the velocity tab and set the normal amount to 0. Because at the moment, you can see if we play this, they move up slightly and then drop down. That's because the normal is pushing it upwards and then dropping down. So set that to 0 and now it will just drop straight down. The z direction. This is the speed of how fast it'll drop down. I think I want it a little bit higher. So let's go with a negative value of negative 0.5. This will just speed them up just slightly. There we go, that looks pretty good. I might drag it up slightly as well. And now let's figure out the lifetime. If we play our simulation and stop it right about there, we'll drag this backwards. We can see that this particle right here goes through the plane at about frame 30. So let's set that over to frame 30 for the lifetime. Will restart and play this and see what it looks like. And there we go, that looks pretty good. We might be able to go a little bit lower. Let's go 29.5. We'll restart and play that. And here is the effect. So that is perfect. It's just below the plane and then the particles disappear. Next up, we're going to actually need a particle to be our raindrops. In this case, we're going to be using an ecosphere. I'm going to add that in and drag it over to the left side. I'll scale it down just slightly and then go into edit mode. And to create the drop, we're going to select that top vertex and then go over to this menu and enabled proportional editing. Or you can hit the shortcut. Oh, proportional editing allows you to press at G And then move vertices along with a vertex that you have selected. So what I'll do is I'll press Jie Zhi, drag it up slightly. And you can use the scroll wheel to make the circle bigger or smaller. And something around there is probably good for a raindrop. I might press S, shift Z and make the entire thing skinnier. And just like that, then you can right-click and go shade, smooth. Select your particle system, go over to the render time, which is this tab right here. Select render as halo to render as objects. And then of course for the instance object, you can select the ecosphere. And there we go. We can now see all of our particles now have that Ico sphere. And let's just double-check by going into the front view. And we can see they are going through the plane and that's what we want. The size of the particles, I'm going to drag the random size up. And then the actual size, I'm gonna go a little bit lower. Let's go with 0.03. Just so they look like raindrops and I think that is a pretty good size. Another thing you're going to want to do is turn off Show emitter. This will make sure that this plane above the Canvas does not show up in the rendered view. If you want to hide it from the viewport, you can open up the viewport display and then turn it off, show emitter in the viewport as well. And now you can see it's disappeared. Now that we have all of our settings complete, we are ready to bake in our simulation. I'm going to scroll up to the cache setting right here. I'll restart the timeline. And then in the timeline as well, you, we need to set this up to 300 for the end frame. And then we can click on bake. In the next video, we will set up the dynamic paints. 34. Wave Drop Effect P2 Dynamic Waves: Now that we have our particle system complete, we are ready to set up the dynamic paints. I'm gonna go ahead and select my canvas and then go over to the Physics tab and enabled dynamic paint. We're going to leave the type on canvas and then add this in. We can leave the format at vertex. These start and the end frame are perfectly fine. But the sub-steps, This is what we're going to want to change. I'm gonna bring this up to four just in case some of the particles are moving too quickly. And for the surface type, of course we're gonna be using waves over n and the wave settings I'm going to enable open borders. And before we change any of the other settings, let's select our particle system, which is right here. I'll add in dynamic paint, set the type to brush, and then add in the brush for the source value. We're going to change it from mesh volume over two particle system. And then for the particle system, of course, select that. Now if we restart and play this, this is the effect that we're getting. This is looking pretty good, but you might notice everything is moving very, very quickly. So in order to fix that, I'm going to select my canvas and then bring down the scale value. I'm gonna set this to 0.4. Now if we restart and play it, here is the effect that we're getting. And as you can see, that looks much better. I'm also going to right-click and shape the entire thing smooth. Over in at the settings over here, I'm going to set the damping value up just slightly. Let's go with a value of 0.06, just like that. And that will just dampen the effect of the overall splash. And for the rest of the values that we don't really need to change anything else. I'm also going to select my particle system over n at the waves setting, I'm gonna set the factor a little bit lower, so it doesn't have much of an effect. Just a value of 0.8, I think will look good, will restart and play it. And here is the result. That's not too bad. I, I'm happy with that result, but I also want to make the simulation a little bit more interesting. In order to do that, I'm going to add in another ICA sphere over on this side to create a bigger wave. So what you can do is hold Shift and then right-click to place your cursor at that corner. And then we can add an, an ecosphere. I'll scale this up slightly, add in dynamic paint and set the type on a brush and then add this int. I'm going to drag this up above the canvas. And then on the frame, a 120, I want it to come down and then stay there for a little bit. So at frame a 120, I'm going to add an a keyframe. So hit i and add in a location keyframe. Then probably over 15 frames are. So let's go with a 135. I'm going to drag this down inside the canvas i, and then add in another location keyframe. Let's see what this looks like now if we restart and play, we can see here the waves are working and when this drops down, it creates a big wave that spreads along the canvas. There we go. I think that we'll just give it a little bit of a more interest in look. And I'm happy with that result. Let's go ahead and bacon our simulation. I'm going to select my canvas. Come over to the cash sitting right here, and it's currently grayed out and that's because we need to save our project. So I'm going to press Control S and save my project. I'm going to call it tutorial to, since this is my second time recording this video and then saving that. Once we've done that, the Bakke's should appear which it has, and we can click on it, bake data. Also, you might notice once we click bait data, it started what were our cursor is, and that's not what we want. So make sure you restart the timeline. So your cursor is on frame one, delete the bake, and then bake it again, and it'll start back at frame one. In the next video, we will set up the lighting and materials. 35. Wave Drop Effect P3 Materials & Lighting: Now that we have everything in our scene complete, we are ready to set up the materials. The first material that we will do is for the canvas itself. I'm going to go over to them material tab and create a new one. We'll call this material water. And then for the surface type, we're going to switch it over to a glass shader. The roughness we're gonna drag to 0 in the IQR, which stands for index of refraction, is basically how light passes through the object. In this case, we need to go to a value of 1.333. This is the IRR of water and it will create a interesting look with a reflection. The color we can also change to a slight blue color, something like this. And now if we press Z and go into rendered view, we can see what it looks like. I'm also going to be rendering this out into cycles because I think it just looks a little bit better. So over N, the Render Settings, I'm going to set the render engine from EV over two cycles. And then for my device, I'm going to be using my GPU. Underneath the world settings. The lighting that we're going to use is actually the new sky texture and blender to 0.9. So we'll select the sky texture and we can see exactly what that looks like. We're going to turn off sun disc so we don't get this bright white spot on our water. And then for the altitude, this is what we're going to want to change, to change the color of our sky. If we go up to a value of ten or so, we will get this like gloomy blue sky. And that looks pretty good, but I think it's a little bit too much. So let's go with a value of six. And I think that will look very good at, and it'll give us some nice reflections. The elevation you can change where the Sun is located. So if you want it higher, you can drag it up on my drag it up to a value of about 20. And the rotation, that doesn't really matter, it just rotates the sun around. I'm going to select my lamp that's in my scene and delete it since we're not going to need it. And also the material for our raindrop. You can select it and just use that same glass material that we just created. The ecosphere right here. I don't want this to show up in the rendered view. So we're going to come over to this panel, enable the camera icon, and turn it off in at the viewport, its ecosphere zeros 01 and in the render. And there we go, you can see it's now gone. And we can go through our animation and see what our material looks like. There we go. I'm liking how are water looks. So now let's position the camera. I'm going to position the camera right about here are. So looking down at the canvas, I'm going to press Control Alt 0 to snap the camera. It's a place. You can select it G, middle mouse button and drag it backwards. I wanna make sure that the water is covering the outside of the camera so we don't get any of the background. Something like that will look good. And I'm going to say my project again and then go over to the Render Settings. The render samples I'm going to set lower. Let's go with a value of 40, so it will render a little bit faster. I'm also gonna turn on motion blur and then add a little bit of motion blur to the raindrops. So for the number right here, let's go up to a value of about 0.7 and then Enter. I think that will look pretty good. And also underneath the color management, I'm going to set the look to high contrast. So if we press Z and go into rendered view, this is the result. If it's on none, we can see here this is what it looks like. But if it's on high contrast, it gives us a very nice look. Now before we render it into an animation it let's go ahead and press at 12 once so we can see what the motion blur looks like. And then we'll go over to the compositor and change a couple settings there. So as you can see, the motion blur is working on our raindrops and it's looking pretty good. I'm going to exit out of this window and go over to the compositing tab. And then I'm going to press N equals off that panel and I'll drag this down. You can click on Use nodes right here, and that will enable a render layer node. And now we can change the compositor to actually see what we're doing. We can press control shift, left-click on the render layer, and that will bring in a viewer note. If you press the V a couple times, it will zoom out. To add an AD noise node. You can press shift a and go underneath filter and then add in the de-noise node and place that here. Once we add this in, you'll notice that our rendered looks much better. I'm gonna take the image, plug that into the composite, make sure you do that. That's a very important step. And you also might notice we have two other sockets here, normal and albedo. To actually use these, we need to go over to the layers panel, which is this panel right here and turn on at de-noising data. This'll bring in a lot of more options in the render layer. So now we can take the de-noising normal and plugged it into the normal and the albedo, plugging that into the albedo as well now are de-noise node will work a lot better. We can also press shift a and add in a color and a color balance note and place that here. Now we can mess with the colors and make it look a little bit better. There are three different values here. The one on the left is for the shadows, the one in the middle is for the mid tones, and the one on the right is for the highlights. I'm going to drag the shadows just slightly darker. And then I'm going to bring the highlights slightly higher. And this will give us even more contrast. Let's go with a little bit more, something like that. If you want to, you can add in a couple more colors and change the brightness, the hue, correct. And all of that. But I'll leave that up to you guys for now. I think we are ready to set an output and render this out. If we go over to the Output tab, I'm going to click on this button here and navigate to a folder of where I want to save my images at. Once. You have found the folder you can click Accept, and we are going to be rendering this out into an image sequence. The reason we're doing this is because we can stop the render at any point. There is a button underneath the output and it is the Override button. This will allow you to stop the render. Let's say for example, you render it a 150 frames and then you stop the render. If overwrite is unchecked, it will resume the render at frame a 151. If overwrite is checked, it will actually overwrite and start over at frame one. So make sure if you stop the render that you uncheck overwrite. One other thing that we'll do in this video is figure out the start and the end frame. At the moment, if we restart and go into rendered view, you'll notice that we just have this flat plane and the raindrops don't start until around frame 60 or so. Yeah, frame 60. And if we're trying to make this seamless, that's not going to work very well. So we need to figure out when the raindrops actually start and then cut off all of the extra frames. So right about frames 60 or so, it's probably good. So at frame 60, I'm going to set the start to 60. So we don't have to render those extra 60 frames. And it'll start at this room and then go on to 300. There we go. Now that we've done that we are ready to render. I'm gonna save my project once again and then go over to render and then click on Render Animation. Once this has finished rendering, we will go into the video sequence editor and make it seamless. 36. Wave Drop Effect P4 Making it Seamless: The render has now finished. Now it is time to make it seamless. We can do this very easily in the video sequence editor, so we can exit out of this window. And if you want you to view your animation in real-time, you can go over to render and then click on view animation or the shortcut is Control F 11. Once we do this, we can see our animation and play in real-time. You'll notice right at frame 300 that there is a visual cut when the animation ends. So in order to get rid of that cut, let's go over to the video sequence editor by clicking the plus sign, coming down to video editing and then clicking on video editing. Make sure your cursor is at the start of the animation and then go over to add image sequence and then navigate to where your frames are. Mine are right here. And also double-check that the frame number is on 0060. If for some reason it's on 300 like this, it's going to play it backwards. So make sure that the sort by is by name and not modified dates. You can press a to select everything and add image strip before we do anything else, let's fix the colors because at the moment it's applying the high contrast again over top of our images. So over N, The color management, I'm going to set the look to none and make sure that the view transform is set to standard. Now our colors are back to normal. So now over in our timeline, let's make this seamless. To do this, we first need to cut it in half. The start is 60 and at the end is 300. So half of that would be frame a 180. So we'll type in a 180. And to split this, we can press k on our keyboard. What we need to do now is place this strip at the beginning of the timeline, and then place this strip at the end of the timeline. You'll notice that on the beginning of our animation there is a big splash. And then at the end of the animation it's that same splash. So now the ends loop, now we need to make the middle have a seamless transition. To do this, we first need to drag this a little bit closer into the other sequence just like this. And we're going to change the opacity of this top strip. One thing that I'm seeing, well, just looking at this image is that we have a lot of flat spots on our plane right here. I think I'm going to go ahead and skip some of these first frames to get rid of those hotspots. So I'm going to select this right here, this edge, and just press G and drag it closer. Then we can select the entire frame once again and drag it over to the left just slightly. So how this is gonna work is at this point in the timeline, we're gonna set the opacity of this strip all the way down to 0. And then we can hit Iwill hovering over it to add in a keyframe. Then we're gonna slowly blend it back. So we're going to skip a little bit in the timeline right about here. Drag this all the way up to 100% and then add in another keyframe. So it's gonna start out at 0 and then slowly blend in until it fully, until it's fully reappeared right at this point. So now if we restart our timeline and play it, here is the result. And if we did this right, you will not see any visual transition. And there we go. There is no longer a cut and it looks pretty good. Of course, we need to set a new end frame. So I'm going to drag the end frame closer until it matches up right at that end points right there. Frame 270. Over in the Output tab, we need to set a new file format. In this case, we're gonna go with an mpeg underneath the encoding. I'm gonna set the container to mp4. And then the output quality I'm gonna go with high. Once we've done that, we can save our project and then go over to render and Render Animation. This will take that video sequence that we just created and turn it into a movie file. And it will be located in the folder that you specified. But there you go. That is how you create a seamless looping raindrop effect in Blender using dynamic paints. Feel free to add your own sound effects to this now and add some music for a background or anything like that. It is up to you. Thanks again for watching, and I will see you in the next one.