Godot - VFX for Games - Beginner to Intermediate

1. 1.1 Introduction: Welcome, everyone. Are you ready to learn how to create visual effects for games? Because that's what this course is all about. On this beginner friendly approach, you will gain the ability to create magic effects or even explosions for your games. You will learn the ins and outs of creating spells or even cast curses on your enemies. We are going to use Goto particle system. And visual shader node based tool. So you can begin exploring shaders as well. In a friendly way, we will specifically begin by making some sparks so you can easily get familiar with Go Dos particle system. Then we will quickly progress to something a bit more advanced like this awesome blue mage AOE, and even this fiery version. Then we will move on to this pretty cool spell projectile, where we will see how to create the muzzle, projectile with the trail and the impact as well. And after that, we will create a lightning alternate version. So come on and join me. I'm Gabriel Le gar, your host, founder of the game company Golden Bug Studios, and of the YouTube channel, Gabriel gar proud, which is close to 13 million views related to game death, but more specifically visual effects for games. And if you also want to learn visual effects for games in Unity or in and Well, we also have courses on those engines. Check out my profile here, learn more about that. This GOTO course, you are also going to experience material maker a substance design alternative that will help you a lot create procedural node based texters because texters are one of the most crucial parts when building visual fats for games. Plus, it's a tool made with good. Will not only create effects, but you will also see the core concepts that make up a good visual effect. We will see good and bad practices in the theory section at the beginning and have to develop visually interesting effects. And it doesn't matter if you come up from a programmer background, illustrated, animated, pretty generous because this course will take you from a beginner standpoint to an intermediate visual effects artist for games. And we will calmly walk you through the softwares and the techniques needed. So I hope you can join me, and I will be super glad to teach you how to create this kind of magic. 2. 1.2 Types of Effects: On this short theory chapter, we are going to quickly glance over some aspects related to visual effects theory. More specifically, what type of effects there are and what are the principles of visual effects, good and bad practice, and a bit of preproduction as well. Let's get started with what type of effects there are. More specifically speaking, what are the elements used in different type of effects? There's particle effects, mesh effects, flipbook effects, shader effects, and hybrid effects where all of the above is combined and are mostly common. Particle effects are based only on particle systems and textures. Texts play an important role here, as it's the only visual aspect. To be fair, particle effects are also treat effects, but they use the default quad only, which is essentially a plane. Then we have effects based on treat meshes. We can use anything from a cube to even any kind of creature or monster like a dragon. Or a snake, anything we want. Then we see a lot of effects based solely on flip book animations, which are essentially frame by frame animations. They have usually a very smooth and fluid filling. Once again, these are mostly applied to quad measures as well in terms of treat space, but can also be applied to other treaty objects. What's important is that they are made frame by frame, which in turn makes them harder to create and to master. Finally, we have the shader effects, and shaders are a vast world that enables tech artists and V effects artists to create very advanced tricks and a variety of effects from simple texture panning or scrolling to terrain scanners, or even full screen shaders, water or even for vegetation growth. And all of these techniques are put together in the hybrid effects, which are the most common one where we can use the particle system, textures, meshes, even flip hooks, and shaders. What's important to remember is that texters or flip hooks play an important role in most effects and shaders, too, but those are a bit more technical. Texts and flip hooks are the core of many visual effects. So that's it for this quick overview of the type of effects that are most common. In our next lesson, we are going to also have an overview of the principles of visual effects. H. 3. 1.3 Principles of VFX for Games: When it comes to principles of Vfxs for games, it's important to remember that this works as a general guide. It's not meant to be a strict guideline. It's more of a couple of rules that can help us when we feel a bit more lost towards the specific effect we are working on, and sometimes those rules can be broken. Have five principles gameplay, timing, shape, contrast, and color. Some of those cannot be broken like the gameplay, because this one focus on knowing what's the purpose of the effect. If the game designer or the programmer or anyone else needs a certain ability for a specific character, then it's important to respect that and understand what is the objective, what it does, and even its backstory. So yes, the gameplay principle means know what's the purpose of the effect. The next one is timing. Time plays an important role so you can communicate imminent danger or that something is about to happen. There's three key elements in timing drawn from animation, which are the anticipation, the climax, and the dissipation. The anticipation prepares the player for something. The climax damages or heals or stuns the player or something totally different. But it's the explosion of the elements that we have build up and then it dissipates, it dissolves, it goes away on the aftermath of the effect. Timing is essentially rhythm, and it works very much like music. The other one is shape. Shape delineates the area of the effect. Is it circular or square or is it the pointy projectile? Maybe a round one. Perhaps they have different meanings. They probably do have different meanings. And that's also how the player can distinguish both effects by its shape. Another important principle is contrast. The entire effect cannot be bright. It should be readable and easily understandable. As the observer, we need to distinguish what are the important parts. Even when put on a scenario, it should be distinguishable like this projectile. The tip is very bright and then the trail fades out. That's contrast. Contrast helps the player immediately identify the most dangerous parts or the most benign parts. As for the colors, skins or teams, this is where you give it even more personality. A fire tack will naturally have red, orange, and some dark tones. An earthly slash maybe a brown and green tones, and a companion with some leaves, it even communicates better its skin, or maybe a galaxy slash, or even a hell AOE. They have their own skins and colors and themes. Some colors go better with others, and this is where color theory comes in, and it's worth investigating and searching. Another cool tip that I can give you is that sometimes searching for color palettes can definitely help you find group of colors that goes well with each other. But that's in a very brief way the principles of visual effects for games. 4. 2.1 Project Download: So attached to this lesson, we have this VFX SundscOE course empty Zip file. You can go ahead and zip it. Now we can open up the Godo and Jin project manager. We are using version four dot for, and we can click Import button and impart this entire file, select current folder, press Import, GoTo will open up, and that's it. Here we go. This is the project we need to follow along with this course. 5. 2.2 Sparks Scene and Overview: So let's have a quick overview of the project and more specifically of the spark scene. We can go ahead and open it up. Once you have the VFX and the score Sparks scenario open, this is what we have. If we turn on view Gizmos, you'll notice that we have a collider on the ground and a couple more things. For example, very importantly, we have the world environment, which is post processing effects in Guru, and we have glow enabled and volumetric fog as well. It's basically to create these ambience that we have here. And then we have a camera which is not really necessary for this scenario. We have a directional light that helps with ambience. We have some mountains on the back, a ground And then a c, which is more or less the size of a character. We can use it as a reference, so our particles are too big or too small. Let me just disable view Gizmos. Here we go. And on this project, we have the GPU trail, which is a plug in that we are going to talk more about it on the projectile shap. And then we have the models folder. A three D object we will create goes in here, and then we have the prefabs folder for each effect we are going to create along the way. And then we also have the scenes folder, three different scenarios for the three different effects we are going to develop. We will see each one as we go through, and then we have a bunch of scripts, so everything works well and all of these demos play properly. We will see each script as we go through as well. And then we have a folder for a shader and another one for texters. Very important, those are core parts of building effects, and we will use them as we go through. And that's it, we are ready to begin. 6. 2.3 Beginning of Sparks: Let's get our hands dirty, and as a good rule of thumb, we can click on this plus sign to begin with the node three D. It's used as a parent and we can attach any particle system we need to create a certain effect. Let's just rename this to Vx underscore sparks 01, and to add a particle system, we can do it with right click, add the Shild node and then search for GPU part three. It's exactly the same as the CPU particle three D, but they run on your graphic card, which means they have hardware acceleration are lightweight and it can do parallel computing, which is a bunch of calculations at the same time, but they may not run on the devices. For this course, it's totally fine to use GPU Pico three D. But if you aim to develop visual effects for mobiles or low end platforms, then consider switching to the CPU Pico three D. And now let's rename these two sparks. And we get this yellow warning because we don't have a draw pass and the material to process the particles is not signed. Ingoda particle systems need three important parts, the process material, the draw passes, and geometry. Let's begin with the draw passes, which essentially is which treaty object are we going to use? Is it a quad, the most commonly used one or a cube or any other treaty object? Then we need the process material. New particle process material. This essentially is 90% of the particle system in Goto. It immediately starts emitting particles. They are already falling because gravity is on. The cool thing is on the drop passes if you switch these to a cylinder, it's bound cylinders, for example, these capsules or a sphere or a Taurus, a doughnut, call it wherever you want, and so on. Usually, we go with a quad on the particle process material, like I said, it's already falling because we have gravity. Since it is a force, it will give the impulse to the particles based on this vector. Usually, we don't use it to go sideways, only to control if it falls down with gravity or if it stays static. We can leave it static for now. And the third and last component we need is on the geometry section, a material override. In this case, a new standard material T D. It's a premade material that comes with Goto with lots of options. We can control if it's transparent, two sided, and which texter to use besides a couple more things. So let's see how to create your first texter, the simplest one on the next lesson. 7. 2.4 Your 1st Texture with Material Maker: So creating texts is one of the most important parts when it comes to visual effects. You can use Photoshop or Krita, which is free. It's an alternative to Photoshop to paint those textures manually with a graphic table, to create flipbooks or use tools inside Photoshop or Krita to assist you creating those texters. If you search it on the web material maker, and then navigate to third page. There's a few assets already done. If you want to learn more about it, if you want to learn which nodes to use, it's great, actually. If you click on this Download button, you navigate to the HIO page of Rod Zilla, where you can decide to make a small contribution or not. But after you have downloaded, and once you open it up, this is what you get. And we are going to use this tool to create texters. It's based of nodes, and in the end, it outputs a certain type of texture, depending on the nodes you use, obviously. So we have this PBI material which you can use to help put bed or metallic roughness emission and so on. But in our case, we actually don't need it. So a little bit to the side with Spacebar or white click, let's search for a shape. And each node that you select, you can preview it on this preview to the window, which is extremely useful because you can see the progress and the changes that each node does. In this case, we're going to use this circle to create a beam texture. We have this option to control the size. Let's zero at 85, and then we have this fade option or feather option to control how smooth it is. Something like zero at 65 will do just fine. You can try different values and see how it looks. From there, we can actually use a blur to smooth out. This case, a Goshen blur, and you can adjust the grid size to see how that affects the original shape. In our case, we can leave it at 10:24 by 1024. And as you can see on the Privi to the window, we have this black background, which is not quite useful when creating visual effects because we don't want to see this square on the effect itself, right? There's a very simple way to get rid of this, which is with a colorized note. It's awesome because this gradient, if you double click the first key, you can say the Alpha, which represents transparency is zero. And it's basically saying that any black value is going to be seen as transparent. Awesome, right? And that's it. We have our first text ora. It's well done. But how do we export this? You might ask. It's very simple. Will right click on the preview to the window, you can select Export and then choose the resolution. In this case, 1024 by 1024 is all right. Make sure you save it as a PNG because it's a file type that stars Alpha values. In this case, transparent background, which is useful and redeem it to Beam 01, and then you can save it to the texts folder in your project. You can navigate there and save it. 8. 2.5 Sparks on Loop: Now we have everything in place, everything we need to create the sparks. Once you have the texter in your project, and while selecting the sparks, the GPO particles three D on the Geometry section in Albedo, you can drag and drop it to the texter input. Here we go. As you can see, we have this black background, which we made sure to remove it in material maker, which can only mean that this shaded this material as the transparency disabled. Can go up here. And say it's Alpha, and here we go. Then you have different type of blend modes. Most common ones are mix and add. The other ones are not that much used, by the way. Let's leave this one as add which is additive and make sure that the shading mode is unshaded, which essentially means it won't be affected by the lights of the scene. And then on vertex color, we can use as albedo and is RBG. Vertex color essentially allows us to control the color of this material via the particle system. Choosing Albedo means vertex color is used as albedo color. And turning on is S RBG, we'll make sure that the colors look correct. Now, let's go up there. In spun and make sure that we add movement to this. So on velocity, we can say the initial velocity, minimum is going to be five and maximum ten. But we could make sure that they go in a straight line if we said the spread is zero. Spread essentially works as a cone. 180 will go everywhere. You can also control their direction in case you need for some reason to go backwards on the X axis. Are up on the y axis, as well as the Z. Let's leave it as one in the X and zero in the Y and Z. Spread could be something like 15. Let's take care of the aspect. They are huge and they aren't stretched. So let's take care of that and we can control that on the display on the scale section. As you can see, there's a minimum and a maximum that you can adjust however you want. In our case, I think good values for sparks are zero at 05 and zero at 15. But as you can see, they are round, and we are trying to do sparks. The way we can stretch this to look a little bit more sparky is on the scale curve. If we create a curve X Y and Z, we get the X and the Y, and Z x is exposed. And this allows us, for example, to say that on the X, it's going to be thinner, the curve can start at zero at five and then go all the way to zero. But on the Y axis, we can actually increase the max value of this curve to around three to five, then push the first key all the way up, and the last key is zero. So they shrink towards the end of their lifetime. And that's it. They are stretched, but they are vertical. We will take care of that in just a moment because since we are so close to the color, we can already pick one. And the cool thing is this Ru section where we can multiply these values. We can go beyond one value to make them brighter. And for example, four dot five for R, three for the G, and two for the B are good values, and they are glowing because of the glow that I've shown you on the first lesson that we have in our scene, right? And if you go up here to particle flags, we can align them with our Y axis, which essentially we are aligning them with our velocity vector, right? That's why they are aligned with where they are going. Cool. Now that looks much better. Now, what if we wanted to increase its rate? We can do exactly that up here in the amount value, something like 40, for example, and it looks already more meaningful. Can also control their lifetime, so they don't go that far, as you can see, like off a second, looks already much more interesting. Oh, yeah, there's this fixed FBS that you can increase to 60, make them smoother, as you can see. There's a few more options that we will see in a moment as well. For now, let's turn back on gravity by pressing this backwards arrow icon and the Y axis get a minus 984. And the cool thing is, if you wanted, you could make the spread bigger. You could increase it and you immediately get a different feeling. We are still going to live it at 15, and for this lesson, that's essentially it. On the next one, we are going to see create a burst of sparks, which will also allow you to see other parts of the particle system in GoTo. 9. 2.6 Burst of Sparks: Now let's see how to transform these looping sparks into a burst. Basically, what if you wanted this to spa only one time? Let's begin by duplicating Vets and score spark 01, the control D or Control C control V. Let's just add the first sparks. And on the second one, if we want this to be a burst, we can go to the time section explosiveness, say it's one. It keeps on being a loop because it is emitting up there, but if you turn on one shot, it will spa only one time. But let's leave it as it is, so it's easier to make changes at the same time. And since we duplicate it from the Spark 01, it's very important in GoTo before we make any change on the process material, click here and select Make Unique recursive. Basically, each curve and each color, everything will be unique to these Sparks 02. Otherwise, if we make a change, we will influence the spark 01. For example, on these sparks, we can decrease the minimum initial velocity to three. These sparks maybe they could be blue, for example, in this play in color, let's change it to a blue one, where we can say the R is two and the B is four dot five. And here we go blue sparks. Let's just make sure we didn't change the spark 01. Let's push this to the side. As you can see, we have the looping orange sparks, and then we have this one, which is a burst. If we stop emitting, we can use the one shot to play it one time, as you can see. Let me just switch back to orange because I think it looks a little bit better, just because no special reason at all, but we are not done with our overview of the particle system in God. In our next lesson, let's have a quick overview of how collisions work for particles. 10. 2.7 Sparks Collisions: So for these parks to collide, let's say, with the ground, we need to make a few adjustments. For example, you can select the ground itself, and in here with Rlq we want to add a child node for GPU particles collision box three D. Let's make sure we can see this collision box by going to this icon right here on perspective and turning on view Gizmus. Now we can adjust the box directly in this spector or directly with the Gizmus on the scene, which is 74 X and Z and zero at one for the Y. What really matters that it matches the ground. Let me just disable view Gizmo here we go. All right, for the first sparks, we need to on the process material, go to the collision section. And instead of being disabled, let's say it's rigid. With a bounce of Zodote for example, they will bounce a little. Let's turn our new scale so they match the scale of the particle. Let's say they are barely touching the ground. We could increase the lifetime or we can push these on the y axis like this, and here we go. They are already colliding with the ground. Fantastic. We can do the same for this burst. Say the mode is rigid in collision, a bounce of zero to three, and to our new scale. Here we go. We have collisions if we push it a little bit down. Those are the perfect settings, but you can try different friction and different bounds to see what it does. But this was just for you to get an idea on how you can create collisions with particles, and there you have it. Now, you know, it's very basic collisions, by the way. And that's it for this second chapter. On the third chapter, we are going to dive deeper into creating visual effects in Goto. We will now make an area of effectibility. 11. 3.1 AoE Pre-Production: Sketching and Research: So normally, when you are producing a visual effect, usually want to gather some reference and then maybe do some sketches. Sometimes there's also technical research to better understand techniques with shaders and other tricks and software and whatnot. Our case, we already know what we are producing, but it gives you a general idea of our process. We usually gather reference and we create a mood board of visual effects that are an approximation of what we are aiming for. In this case, it's going to be an area of effect, a vertical one. Once the reference gathering is done, we might do a few sketches to see if the idea is doable and which elements we need. It's very common to divide sketch in three phases. For example, the first one is the anticipation, the second one, the climax where everything explodes. The third one is dissipation where all the elements fade out and not anticipation. Sorry about that. I'm going to fix that in a moment. So for example, if we didn't know what we were aiming for, probably we want something vertical, maybe a sander. And then there's energy gathering at the center. Maybe some particles are flowing in. It gets brighter at the center. And still in the anticipation, the sander shrinks, it gets even brighter, even more particles. And then there's the climax, where we see the explosion of the elements that we have been building up, right? Maybe in this case, we can use an hemisphere with a cool pattern with a cool texture that will grow and then it will fade out. Maybe a shock wave around it, something bright at the center as well, like mark, maybe it would be cool to have some rings around it, rings of energy busting around, you know, and a few particles that come out really fast. Yeah, something around this. So yeah. The third part, the dissipation. We see all of the fading out. The hemisphere is fading out, and we are left with a burn mark on the ground. Maybe that will be cool since it's so strong, maybe the ground is affected by it. And we see some floating particles, maybe and whatnot. And these type of sketches is useful to better understand which elements we need. For example, on the anticipation, asander it's probably going to be useful. With a shader. So we can scroll a text or maybe distort the text. We will see. Then there's a few particles flying in. That's the kind of motion we want, particles going from the outside to the center of the effect. At the very center, probably, we need a very bright text or something cool. We will see. On the climax, it's clear we need a treated object for a sphere. I mean, animi sphere, which is Alpha sphere. And if we want this burst of energy, these rings, they are also treaty. Yeah, the hemisphere probably is going to use the same shader as the sender. We are re using those techniques. Why not? What changes is the texture that we are going to use. And then there's also some very fast particles going outwards and the shock wave on the ground. That's also another texter. Probably, like I was saying, the pattern itself for the hemisphere, the texture itself, that's going to be something that we need. And lastly, on the dissipation, definitely a burnt mark on the ground or a ground crack texture is going to be useful. And then we have also the floating particles. And probably maybe this could be on fire, you know, we will see or maybe it's magic. Yeah. But that's the general idea, the general process when we are developing professional visual effects, either for a AA company or for an indie game studio, there's a similar process to this short lesson that we have seen. So in our next one, we are going to see an overview of the project and we are going to begin building up all of this that we have seen in Gul 12. 3.2 AoE Scene Overview: So before we begin, let's open up the V efects underscore AOE scene and have a quick overview of what we have here. First, on the scene, we still have the world environment, the post processing effects with the glow and the volumetric fog. And the rest is pretty much the same. What really is different here is on the world note. We have the spawn AOE script where it uses a camera. It has a fire rate and the lifetime of the AOE before it is destroyed, and then the AOE prefab, which prefab, we are going to spun with the mouse. That's what this script does. It's bound the AOE on the scene whenever we click. If we dive deeper into the script itself, we can open up the spawn AOE. Up here, we have well properties, right and then we have the famous process function of GTO, where it checks if we have pressed the fire button, which is an input that I have added to this project, and it's mapped to the left mouse button. Whenever we press it, we have a cool down for Cen fire. We call the fire AOE function. The fire OE function first checks if there is a prefab and a camera. If there is, then it proceeds to get the mouse position based on the mouse on the viewport, and it creates a ray from the camera to the mouse position. Very long ray. And then there's a few calculations to better understand if there is a treaty object below the mouse. In this case, the ground, since it's mostly where we are going to spawn the AOE. If that result as a position, if it has collided, if the ray collided with something, essentially, then we spa the AOE, we add it to the scene, and the position of the AOE is going to be the result of the ray collision of the heat position. And then we play particles, which is a script that we are going to see in a moment. And we await, in this case, 4 seconds before we destroy the AOE, and that's pretty much it. Let me close this up. To play particle system script, we made it so we could play a bunch of particle systems at the same time, which is useful because by default, we don't have that feature to play a bunch of particles at the same time. Another thing super useful that we don't have in Goto is delays, which is what this script also takes care of. We might have it, but this script makes it so easy, and you will see as we go through how to use. Yeah, basically, every time we press Play particles, which is a bullion, we find all the particles attached to that parment and we add all those particles to a dictionary. And then there's a bunch of functions to make sure that we don't erase the delays that we already add in case we add a new particle system. We make sure the particle systems are added in the same order as they are in the scene. We make sure they are duplicates. But there's a limitation. If you change the name of a particle system, every time you press Play particles again, it loses track of that particle system, and it will be removed and added as a new particle system, which in turn loses its delay. But yeah, we will see it more in action as we go through. As a matter of fact, we will see how it works in the next lesson. 13. 3.3 PlayParticleSystem Script Overview: Before we dive into the creation of the AOE itself, let's have a quick overview of how this play particle system script works. It's very useful to play all the particles at once, and you can add delays, which is something that the particle system itself is missing or is not quite well made. So I made this script to make our life easier. We can begin by creating a no treaty. And rename it to Vx and score AOE 01. There's going to be a second one, indeed. And now we can go to the scripts folder and drag the play particle system directly to this node three D. And here we go. There we have it. Now with Right Click, we can add a hill node for the GPU particles three. It's going to be a demonstration. We are going to call it A, and then we are going to delete it and start the AOE itself. I'm going to say the amount is one and the lifetime something like zero to two and then assign a quad and draw passes. And the standard material TD, we are just going to demonstrate how the script works, so it's right. I'm going to assign this texture that we used for the sparks. Change the color here even though I don't recommend it. It's just for demonstration purpose, and then say the transparency is Alpha, and here we go. This is a particle system itself, and I'm going to turn on one shot, so it only emits once, if you have a bunch of these particle systems, you need to select each one and turn on meeting, and it doesn't work quite well. So the script, if you go there, you can press Play particles. And as soon as you do it, it plays the particle itself and it adds this particle system to a list of delays. For example, let's say it plays after 02. Here we go. We have a small delay for example, if we duplicate this A particle system, and name it B, then press play particles. Here we go. We have both right here. You can say the B is delayed by a second, for example, and we get this result. But there's a limitation to this script. If you rename the particle system itself, he will lose the reference to the particle system. As you can see, the delay is gone now, and it may not seem like it, but it has removed the B particle system and added the new C particle system. So yeah, if you have a bunch of delays, try not to rename the particle system or at least know which delay it had before renaming. Other than that, it works really well and it's quite useful. And now let's begin the AOE. 14. 3.4 AoE01: Anticipation Particles Part 1: As you may have seen, there's a few elements that we need to create this AOE, and we are going to begin with the particles, the particles of the anticipation. Let me just delete the A and C particle systems, and we're just for demonstration purpose, and now we'll right click GPU particles TD. Here we go. This one, we can call it anticipation particles. They are going to gather energy at the center of our AOE. And on the play particle system script, we can either clean delays and we'll remove everything from the list or simply press play particles, and you will detect the changes. Here we go. We have the anticipation particles already here, which probably doesn't need any delay because they are the first thing that play. We have the anticipation, the climax, and then the dissipation. All right, so let's begin by adding the mesh where it will render, in this case, a quad in the draw passes. Most of the times it's a quad, most of the time. And now a new particle process material. It's already falling because gravity is already on. So let's say it's zero in accelerations, gravity in the Y axis. Here we go. Let's make sure we see something besides this square. So on the geometry, create a new standard material TD, click it to open it up. And on the Albedo, we can already dragon drop our Bam 01 textu that we created on the Sparks lesson. Here we go. We have the black background, even though the texa doesn't have it because transparency is disabled. So let's turn it on. Let's say it's Alpha, and it can be in additive mode. Additive will look a little bit better for bright stuff, and it will blend with the background. Even though now we have a bunch of particles overlapping and it doesn't seem like they are blending. Let's make sure in shading, we say it's unshaded because we don't need the lights of the scene to affect this material, and it becomes a little bit more performance friendly. One thing we can do is say that this is seen from both sides. As it is now, we can only see it from the front. If you move around, you will notice it. So on coal mode, we can disal and lastly, as we have seen on sparks, let's turn on us as albedo and E SRBG. One is for the particle system to influence the color of the material and the other one is so the colors are represented correctly. Okay, so now the idea is that they go from the outside to the inside. They need to be spun in a certain radius. We can first say that their lifetime is going to be shorter like 04, FPS 260, so they are smooth. But now let's make sure that they spun on that sphere. We can do it in spound section in position. Emission shape is going to be a sphere surface, so it spawns on the surface of an imaginary sphere. We can control the radius of that sphere, but as you can see, they are spawning in a sphere like shape. Let's say it is three, the sphere radius, and to add that motion like it's gathering energy at the center of the AOB, we can do it also in the acceleration section down here in radial acceleration. If the minimum is something like -13 and maximum minus eight, we get that motion as if it was gathering energy at the center. Pretty cool, right? One very cool detail that we can add is on the acceleration curve. We can use a curve to add a boost at the beginning, and then they slow down. So the max value is going to be ten and minimum zero. And if you push the first key all the way up, this is what we get. And even though we set the lifetime to 03, they are living for a little bit way too long and they pass through the center, and it creates this cardic feeling. Fortunately, we can use a damping value right below the radial acceleration. You can say the maximum is three, so they slow down towards the center, and we can use a curve to emphasize that. In this case, the last key, we're going to push it up and as you can see, they stop at the center. We can adjust this handle to perfect the motion. Here we go. They are now stopping at the center or pretty much all stopping at the center, and it looks much better. That's the kind of motion we need for these anticipation particles. In our next lesson, let's take care of the aspect and polish these even further. 15. 3.5 AoE01: Anticipation Particles Part 2: Let me just close the dumping. Otherwise, if we leave everything open, this gets really confusing really fast. And to take care of the aspect, let's go to the display section, and we want to make them pointy. First thing we can do is actually decrease their general size. The minimum could be zero at five and maximum. Let's leave it at one. Their size is still uniform, so now we can use the scale curve to make sure they shrink towards the end of lifetime. We can create a new curve texture where the last key is going to be zero, and as you can see, they get really tiny when they are about to die. You can also adjust the handles. I will give a different feeling. You can make sure they start small and then they get big, and then they get small again because of the busy curve they are following. Or let me just reset this curve and add a key at the end another one at the start and another one in the middle to create this kind of curve, just the first handle so they grow a bit faster, and that's essentially it. Now for the color, we can do it down here on the color curves. Let's go to the row section of the color picker and say, it's one dot five, three, and four. I have already these colors noted down, but feel free to try different fillings, of course, or at the end of the AOE, try switching the color and you follow along with the same colors, for example, and settings and so on. There's one thing we can do so they aren't always bright, always intense, which is use a curve on the alpha right here. New curve, yes, and add a key at the beginning, and another one at the end. Basically, we are fading them out towards the end of the lifetime. You can adjust the handle to see what fits best. But we think this curve looks better. They begin very, very bright, and then we fade them out. Now since they are bubs of light still, let's make sure we stretch them. There's two methods, one in scale if we created a curve X Y and Z, or if we go up here and align on particle flags and turn on align with Y axis. It's basically aligning with our velocity vector. And now we can go down here to the drop passes and actually shrink the X of this squad to something like 02. And here we go. We have stretched particles. Now let's bump up the amount to something like 30 rate. Here we go. That's nicer. And we can turn on one shot because this is only going to play one time on the anticipation right. I think this is a little bit above the ground, so I'm going to go down here to the transform and push it into Y axis, a value of minus 08. So it's closer to the ground. Here we go. And that's it. If we select the AOV, the parent and press play particles, we can see everything together. We only have one particle system for now, but this will be super useful. We actually noticed that the motion is not quite there because on the damping, the minimum can be three as well. I will give that nice feeling of acceleration in the beginning and deacceleration at the end. Here we go. Looking nice. In our next lesson, we are going to begin with a three D model for one of the core parts of this effect, which is the cylinder, that vertical beam of light. 16. 3.6 AoE01: Cylinder: Let's start with one of the core parts of this effect, the beam of energy at the center, which means we need a new particle system, right click at a Shile node and search for GPU particles TD and rename this one, for example, to cylinder. Let's say the amount is only one because we only need one cylinder at the time. And it should live around 06, which is more or less the time of our anticipation. Let's make this smooth, 60 frames per second. And as we have seen previously, the draw passes is where we control the mesh type. So it's right here where we are going to assign our cylinder. But for that, we need to create one first. If you have never modeled before, don't worry, we will guide you through. We are going to use blender because it's free and it's very accessible. You can find a lot of information about it. If you navigate to their website, you will easily find a download link in my case, we are using version 36, just so you know, in case you see something different, and once you open it up, this is what you get. We are going to try our best to guide you. In case you have doubts, you can still check the left bottom of the screen. Every key button that we click will appear there. So let's start by selecting everything and then press delete so we can have a clean scene. And then with Shift A, we want to add the sander. As soon as we add the sander, this panel on the left bottom corner will appear where you can adjust the vertice and a couple more things, but we want to make sure that the cap field type is set to nothing because we don't need the top and the bottom faces of the sander. Only need this ring. We can get rid of this appearance where we see all of the faces with right click Shade Smooth or go to Object up there and select Shade Smooth. Here we go. Now let's edit this by pressing tab so we can enter Edit mode. And while holding out, you can click on this edge loop to select only the bottom faces, and then with shifts, we want to say cursor selected. If we press Tab again to get out of Edit mode, we can go to object up there and set the origin to three D cursor. Way, the Pivot will be at the bottom of our sander, which means if we scale this up and down, it will scale from the bottom. With shifts again in object mode, you can press cursor to the origin of the world and with shifts again, selection to cursor. This way, the sander will go where the cursor is. Basically, it will scale from this point, which is very useful so we can animate this properly. Now this part, we could also do it in GoTo, but in object mode with S, let's scale it down a value of zero at 75. You can literally type 0.75 and then press Enter. And then we can scale again with S, but only on the Z axis, you can type Z, a value of 2.5, and then press Enter and here we go. Now before we export this, we need to make sure that we apply the transforms. So in GoTo it appears exactly like this. We can do it with Control A, and then transforms. And that's it, we got our first mesh. All we got to do is go to file and then export and choose wavefront. Since Codo kind of doesn't support FBX, let's go with dot OBJ. Make sure selected only is turned on, and then you can navigate to your model's folder. In our case, it's already there, but make sure you navigate to your model's folder and then press Exports. 17. 3.7 AoE01: Cylinder Visual Shader: Now back in Go, we have our slander on the models folder, and all we need is to drag and drop this to the draw pass. Let me just close this so it doesn't get too messy and let's create a new particle process material. Let's turn off gravity. It's zero. Here we go. Now we have to draw past the process material. We are just missing the third element in geometry. This time, let's see how to create a shader with nodes. We are going to use it to scroll a text. You will see how this tool can be useful to develop captivating visual effects. So on material over t, let's create a new shader material. Click it to open it up and on shader, we can say new shader, but we need to make sure that the type is visual shader and the mode is spatial. Let's select the path, which can go directly to our shaders folder. Click open down here and we can rename this to S, which stands for shader and the scar master shader or scroll or simply shader 01. Once you have created, you can double click to open this window. Let's push it up. Let's make some room, and in here it's where the magic is going to happen. For this to work out, the shader needs to receive a texter with the node texted to the peremter that we are going to call main text. Cool. Now it can receive a texter from outside, but we still need to sample it so it can access its RGB values. You can drag a line and select texter two D. A texter by itself is already powerful. But if you multiply it with a color, and the color is going to come from the particle system itself, by the way, you now get to choose the texture and the color. Let's multiply these two together. Let's search for a multiply node between two floats. Connect these two, and let's connect these to the Albed. And let's see how it looks in our cylinder. As you can see, on the shadow parameters, the main texter is exposed. That's very useful. For example, if we assign the beam, which is the only texture we have right now, it is mapping to the cylinder itself, right? But as you can see, we have that black background, even though the texture itself is transparent. We will fix that in a moment. Now, what if we want to pan this text on the cylinder? Well, we can go back here drag a line from this UV and search for UV funk, which is UV function and not funk from music, even though it could be interesting. But if by chance, we multiply a time input with a vector two parameter, the time is very useful animate parameters and the vector two parameter, it's going to be exposed right below the main texter. We can call it main text speed or simply speed. And then we can search for a vector operation. So we can join these two. But instead of Add, we want to multiply them. And these three nodes combined, if they are connected to the offset of the UV function will allow us to pan our beam texter. Here we go. Automatically pan the beam texter in the X or in the Y axis. That's one of the most common tricks in visual effects. It's super useful and it's super practical. As for the black background, all we're going to do is go to modes and in blend, say it's additive. Here we go. Even though it's small the preview, the black background is gone. Another useful option is the cold mode, which basically controls if we see the front face or the back face or both. We can say it's disabled, so both faces are visible. In other words, it's two sided. We can also say it's unshaded, so it isn't affected by the lights of the scene. Here we go. And this is what we get at this point. In our next lesson, we are going to see out to create a much more interesting texture for this cylinder. 18. 3.8 AoE01: Cylinder Noise Texture: So let's see how to create an interesting texture for our thunder. With material maker, we are going to do a noise texture. And there's a lot of ways of creating cool textures and noise textures here in material Maker. We're going to show you one way, but we highly recommend you to test it out and just have fun play with nodes to see what comes up. I'm going to keep on using the same document here on Material Maker, but I'm going to go down here and now search for dirt. There's plenty of other nodes you could start with like noises, for example. Feel free to give it a try, and this dirt node is also a noise in the end, but it can yield some pretty interesting results. There's different types. We can select the third one and to control the sides. Let's start with 16 by 16 so we cantart this however we want. We can get rid of some of the gray areas with a colorized node by pushing the black key a little bit closer to the center as well as the white key. And it begins clipping those gray areas. As you can see, it's very edgy, and we can blur that out, for example, with the fast blur. Say the sigma value around 60, now let's use a warp node. It's a very interesting note that can repeat the texture and the start itself. Connect this to the eighth map. And for the slope, we can actually use this crystal pattern with this size, And this is the crazy outcome we get if you play with this value here. Feel free to play with these parameters because, yeah, it will be interesting to see what you can come up with by just tweaking some values. In our case, we are going to leave it with 02 and then 0035. But this doesn't need to end here. What if we multiply this with something with a math note? Let's just change this operation to multiply. For example, with the outcome here of the flash blur, and we get a very dull result. But the cool thing is we are a material maker. So why don't we use another colorized node to emphasize those white values. And you could even add another blur on top, maybe not so strong this one. Like four for the sigma. And there's so many things you can do, but you get the idea, and at the end, you get this interesting texter that will be super useful for our Sander. Now to export this, make sure you select the last node and revit click on the preview to the window, select Export. In this case, 2048 by 2048 should do just fine, and then you can navigate your project folder, to the texters folder, and save it as a PNG. In our next lesson, we are going to try this out on the Sander. 19. 3.9 AoE01: Cylinder Adding a Mask: Now we have everything we need to conclude this sander and improve this. If we drag our noise texture to the main texter, this is what we get. It's spinning around really fast, but we actually only need to spin on the Y axis downwards because we are gathering energy at the base of this sander, right? So we want to give that sensation with a value of minus two in the Y axis, for example, on the speed. As you can see, the wall cylinder is visible. We got these hard edges on top, and it would be cool if we could fade them out and make all of the smoother. So let's go back to our shader. You can double click or go down here, and we need a second texter for that. So let's select these two nodes, and we control C control V duplicate them. But instead of main text, this is going to be for a mask. We are going to mask out that part where we have the hard edges at the top. And now we want to multiply these two. We can actually use a float operation. Even though this text to D outputs a vector four, RGB and A, you can convert this directly to a float operation, multiply these two together. And replace the connection to the color. Organize this a little bit. Here we go. Let's just fix something right here. The color outputs four vectors, right? We are using a float down here operation and we connect to the albedo, but we could actually connect directly the Alpha to the plot operation and the float operation to the Alpha, and then up here, connect the color to the albedo. This is more correct. All right, Controls. Don't forget to say from time to time. And the way this works is, we can actually create gradients directly in GoTo. That's the cool thing. And even noise texts, we could create here, but that's another topic. Let's use this gradient texture two D. If you click it, we can control how the gradient works, as you can see, it's already influencing the sander. But instead of horizontal, we want this to be vertical. So it matches the UVs of the sander, right? The dark area of this gradient will be transparent on the sander, which means the top part will be transparent. We have this artifact because this texture, this mask, the repeat option is set to no repeat, but we can switch this and say, indeed, repeat, please. And as soon as we do it, this becomes much smoother and nicer for the eyes. Cool. That's it. We have a mask. We can fade parts of our mesh. On our next us, we are going to polish this even further so we can move on to the next element. 20. 3.10 AoE01: Cylinder Polishing: Normally, you want to do this with a character by a side, so you get the size right, or you can use a cube with more or less the same size of a person of a character. But for now, this is small. So on the scale, let's double the minimum. Here we go. And we want to animate this on the scale curve with the curve X, Y, and Z, so we can affect each axis independently. For example, the X can shrink all the way down to zero at the end of its lifetime, and we can adjust the angle to create this nice curvature. We can actually copy this value to the Z. Here we go. It's becoming thinner, and now we can play with Y axis, which is how tall it is, right? We can say it starts a little bit smaller and then it grows. And in the end, we get this very interesting motion, as you can see. You can try different combinations with this X Y and Z curve. They are very interesting, by the way, and very useful. And we get this cool result. Let's take care of the color. We already have one that we tested and think it looks nice on the au section, something like zero for the R, two for the G, and four for the B can yield a very interesting blue, for example. Pretty cool. Now we can either fade this at the end or fade on the beginning. In our case, we went with fading on the beginning because it's still gathering energy, it starts transparent here on the Alpha curve, first key all the way to zero, and then it becomes visible at the end of its lifetime. Something like this, feel free to try different curve here. Maybe you'll enjoy the opposite. Or like I said, you only do different adjustments at the end of the course at your own pace. Yeah, let me push this a little bit down on the position because the AOE, the parent is a little bit too high. So if we want this to match with the ground, we need to push this on the y axis. Here we go. Cool. And now let's not forget to say this is one shot. So it plays only one time, and then we can preview everything together if we select the parent and press Play part cause up here. All right. It's beginning of something. 21. 3.11 AoE01: Circle Ground Part 1: So now that we have the particles and the sander, it would be cool if the sander had a bright circle at the bottom. So that's what this lesson is for. Let's begin by adding a child node to our AOE for GPU particle three D. We can call it circle ground. With an amount of one, only one particle is enough for this, and it can leave exactly the same as the sender, zero t six. 60 frames per second. And on the drop passes, we can use a quat. Here we go. On the material, we can create a new standard material treaty. And let's make sure we turn on transparency. Let's say it's Alpha and the blend mode can be additive. So it's a bit brighter. We don't need this to be influenced by the lights of the scene, so let's say it's unshaded. And then we can turn on us as albedo and SRBG on the vertex color. And for the texture, well, that's what we need at this point to create a new texter. So let's go back to material maker, and down here, we can start with a circle shape. I forgot to select it, but you can say it's one for the sides and the radius, something like zero at seven should do just fine. But for the edge wide, let's say it's zero. We want this to be a bold circle. Let's Control C, Control V, copy this shape, since we want to follow the edges of the cinder, we need this circle to be. So with this second circle, you can say the radius is smaller. To remove one from the other, we can use a math node Instead of A plus B, you can switch to A minus B. Here we go. Now, since the circle is too bold, it has these arch edges. Let's add a blur, Gaussian blur, exactly. We can control the intensity on the sigma value. Something like ten looks all right. Lastly, all we got to do is remove the black background with a colorized node for example, the first key, which is a black value, we can say that all the black values have an alpha of zero, and that's it. With right click now in our preview to D window, we can choose export with a resolution of 1024. If you want something bigger, go ahead. No problem. This one is right, and then you can save it directly to your texts folder in your project. As a PNG, we can call it the circle 01. Then press Save and that's it. In our next lesson, we are going to see how to adjust this to the sander. 22. 3.12 AoE01: Circle Ground Part 2: Now that we have our circle text, let's go ahead and dragon drop it to our material. Just like this, here we go. Let me just close this and then create a new particle process material. Yeah, it's falling down. As usual, gravity is probably on. For sure, let's say it's zero. And if you want to match this with the edges of the cylinder, we can go down here to the transform in rotation and say it's -90 in X, here we go. Now, all we need is to scale this up and add some color. Well, besides we already know which one it is, it's five. Then let's also create a new scale curve. Here we go. And we can mimic the sender animation by going there and copying the curve on the X that we used for the scale. Exactly, and then paste this value to this curve of the circle ground, and here we go looking good. As for the call, let's use one for the red channel. Then 15 for the green channel and two for the blue channel. Feel free to try different colors, of course. We are missing a little fade at the end. So on the Alpha curve, let's say new curve, open this and new curve again. Last key is going to be totally visible and the first key, you are going to fade. It's going to be invisible at the start. Then we can adjust the handle so it becomes visible a bit faster. Yeah. All right, something like this looks good. All we're going to do is say that this is one shot, and we are ready to test everything together. Here we go. As you can see the circle ground, it's floating because the AOE, the parent is too high. So on the circle ground, on the transform, in a while, axis, minus 099, so it doesn't intersect with the ground. Otherwise, it will look weird. Ah, right. Looking good. It's a little detail, but, you know, it makes things look polished. In our next lesson, we are going to work on the impact on the climax of our AOE. 23. 3.13 AoE01: Impact Flare Part 1: So let's begin working on the climax of the AOE with an impact. Let's add a child note on our AOE. Search for Gpio part cstudi as usual. In this case, the name can be Impact flare. But this time, two for the amount, two particles at the same time, you will see why in a moment. And since it is an impact, short lifetime like zero or two, something quick, 60 frames per second, yes, indeed. And if we want both of the particles to happen at the same time, explosiveness needs to be at one. Let's make sure we see something by adding a quad on the draw passes. Let's also take care of the material in Geometry. Let's create a new standard material TED. As usual, we want to enable transparency. Let's say it's Alpha. The blend mode can be additive and shading shaded. So it is affected by the lights of the scene, and it's lighter as well. Then Turnon uses albedo and it's SRBG on the Albedo section, we need a text right here. So let's go back to material maker. We are going to see how to create another text, a very useful one. Let me just go down here and begin with shape, once again, a circle. Let's say the size is one, but no fade. This texture is basically for an impact with several rays. Our second node is a gradient. We can rotate it 90 degrees. Basically, we want to use it to fade our circle. We can do it with a blend node. Just like this, if we set this layer to multiply. You can control the opacity down here. I'm going to leave it at one. Now that's a very cool node, which is called the circle splatter. As soon as you select it, this is what it does. It basically spreads the circle all around based on these settings. We have two rings, but as soon as you set it to one, you notice a pattern. Basically, our original circle is being placed in a circle shape. If we decrease the scale X a lot like zero at 04, you can see what's happening. Our circle is being placed in another circle path we don't need to stretch that much on the Y axis, like ill at seven, but we don't want this to be placed on a circle path. So let's say the radius is zero. We want the ink rotate to be one. It's incrementing the rotation, basically. But we also want it to be random. So don't hear in random rotate. Let's say it's 30. We also want the scale to be random. This is where we get those rays, random rays. Feel free to play with these vowels. This is the values we think look best, but you get the idea. It's pretty cool what you can do with material make. Now, basically, we need to fade, make these edges look smoother, you know. So let's use another circle. Can copy the other one. The radius can be smaller. But this time, the feather can be one because we want to blend this with a circle splatter. Let's say it's multiply, and as you can see, if we set the opacity one, it fades all around our rays and in the center, it stays bright. We want to emphasize the brightness at the center. So let's use a colorized node where we push the last key, the white values all the way back, and we can already actually take care of the black background and say the black key as an alpha value of zero. And here we go. There's a lot of things you can do with material maker. It's very powerful. Let's export this with the right click. 2048 by 2048 or less, if you don't need that much resolution, it's up to you. Save it as a PNG, by the way. And call this one the flare 01. In our next lesson, we are going to adjust it so it matches our AOE. 24. 3.14 AoE01: Impact Flare Part 2: Let's see how to apply the impact flare in our AOE by first dragging and dropping the flare 01 to the albedo section of our impact flare material, right? Here we go. As you can see, it's not following the camera around and it's something that it's possible. Every time you move the camera around, the particle can follow it can face the camera. The way we do it is down here on billboard, we can say particle billboard. It's very important that we turn on keep scale, so we can adjust the scale however we want in the particle system. And here we go, once we move the camera around, it's always facing it. It's very useful and very common. Now for our new particle process material, let's click it so we can open the particle system. And yeah, it's falling down as usual. Gravity. Let's say it's zero. Here we go. Now, what we want to do with this is since it's going to be super fast, it's going to happen very quickly. Let's make sure that the scale is quite big. Something like 6-10. And we can make sure it scales up and scales down very quickly. On this curve, we can add three keys. We can push the first key down. Last key goes to the middle, and then another key that goes all the way down. Here we go. There's something that keeps bothering me, and if you look closely, you'll notice that the particle keeps on intersecting the ground, right? It's a very abrupt cut, and we can actually fix that on the material. If you go down here, there's something called proximity fade, also known as soft edge or particle soft. If we enable it, it becomes much smoother. Basically, anytime this particle touches anything that is tridy, it will fade that side. And in the end, it will look more polished, right? Great. And at this point, we can take care of the color. In color in the vow section, we're going to use one dot five for the R channel, two for the G channel, and two dot five for the B channel. It's very, very bright, as you can see. This is quite intense, but let's make sure that the rotation is random up here in spa in angle between minus 36360. Here we go. Looking good. Finally, let's make sure in time, it's one shot. Oof, much better. It was quite intense, and now we can preview everything just by pressing play particles up here. And that's when the delays become super useful. Let me just push this down on a Y axis. Transform minus zero at five, so it's closer to the ground. Yeah, right. As for the delay, we want this to happen half a second later. We leave sometime, we leave some room for the particles to gather and for the sander to shrink, so the energy is there and then it explodes. Pretty cool. We got ourselves the first part of the climax looking good. 25. 3.15 AoE01: Impact Particles: So let's add a few more details to our impact. In this case, some particles would be awesome. This time, you can actually begin by duplicating the anticipation particles. Let's drag it down here just so this is organized, and let's call them impact particles. You can remove the two at the end. As you can see, they are going inwards, we are going to fix that. But let's actually duplicate the amount to around 60. For now, let's turn off one shot and enigbly meeting so we can see what's happening, right? We also want to increase a little bit lifetime, zero lot six, zero lot eight. Those are good values. And then we want to say that explosives is one. So all the 60 particles fire at once. K it creates a very interesting effect just like this, but that's not quite what we are aiming for. Also increase the randomness, so we have randomness in the lifetime and other parameters. Now, it's extremely important that before we make any change to the rest, we say make unique here in the particle process. It's like make unique recursive, so all of the curves and colors become unique. Otherwise, we will be affecting the anticipation particles, and that will be very bad. We are ready to make changes after we have made sure that this is unique and we want to remove the sphere. You can click this icon. That's it. In this case. We are not going to use the sphere because they are going to begin on that point and then they are going to move outward, which also means that the spread can be 180, so they go everywhere. And at the initial speed, in this case, that's where we are going to force them. Let's put it that way. 5-25, we'll do just fine. This creating some very cool motions, mostly because we have something in a radial acceleration. Let's reset it. And here we go. They are expanding now. If you don't want them to slow down at the end of the impact, you can reset this acceleration curve because that's slowing them down. That the damping, as well. You could have some damping. They deaccelerate through time, but not that much like 03 and 07, for example. Yeah, pretty cool, right? Let's reset the damping curve. In this specific case, we don't need it. They are already slowing down a little bit at the end, and that's fine. As for the scale, they don't need to be that big. Something between zero at one and 03 will look better, as you can see, they are more elegant. Let's put it that way. Let's just reset the scale curve. And in this case, use a curve X Y and Z because we want them to shrink towards the end of the X. But on the Y I want to say that the max value is five and push the first key up so they are stretched, as you can see. We have these very stretched particles. The first key can be at 0:25, for example. Yeah, that's nice. As for the color and the Alpha curve, yeah, we can leave it as they are. They don't look that bad and they fit with the rest. I believe we'll see in a moment. Let us adjust the quad. But first, let's make sure it's unique, make unique exactly. The scale, the x08, can stretch them in the Y one dot three. That should be all right. Here we go. There's essentially two ways to stretch particles, as you can see, either on the curve of the scale or here, by the way. Those are some nice looking particles. Let's make sure they are one shot. And let's see how it is with everything. As you can see, it happens right at the beginning, so let's delay them by 0.5 as well. Here we go. We have an anticipation and an impact, and there's particles flying everywhere. Looking good. 26. 3.16 AoE01: Hemisphere Part 1: This lesson, let's see how to improve the impact the climax itself by adding a Nimsphere which will work as a shockwave. We are essentially releasing the energy that we have gathered on the anticipation. So as usual, let's add a child note for a new GPU particles TD. Let's call this off sphere. Only one an amount is more than enough. And on time, a lifetime more or less off a second should do just fine. 60 frames per second, and on the draw passes, we need an hemisphere, a mesh. We could use the sphere that already comes with coo, but it has too much geometry. We only need alpha. So let's go back to Blender. It's super simple this mesh. We can hide the sander on this icon, and then with Shift A, let's add a UV sphere. Before moving anything, let's decrease the segments to 16. We not need that much. And from there, we can scale it a value of one dot eight, even though you could scale it directly in GoTo. Let's do a Shade Smooth. I'm using Right click to access it, or you can go to object and it will be there. Now, with tab, let's enter Edit mode and we can press one in a numpad to go to the front orthographic view. And press Z to see through or click on this icon up here. And the idea is to select lf of the bottom sphere and then press delete and select faces. And here we go. We have our Misphere as you can see, looking good. Let's drag a new window by going to this corner right here and pushing to the right. And in here, let's take care of the UVs by selecting UV editor because this is what it looks like. If we enter in edit mode on the right window, we tab, we can see the UVs, and this should be covering this entire area. It's only covering off because we have cut the Hemisphere in half. We can do is go to UVs and turn on constrate to UV bound so it doesn't get out of this square area. From there, with G, we can push this down. And then scale it only in the Y axis, you can literally type Y. So it locks on the y axis, and here we go. And I like in our case, there's a little gap at the bottom, let me switch these to vertex. You can select it, and then we G lock it in the Y axis and push it down so it covers wall area. That's it. That's pretty much it. Oh, let's just apply transforms we Control A before we export. All right. Let's go to File, Export, wavefront. And we can rename this to hemisphere and not sphere like I did. Sorry about that. Just make sure you have selected only third on and that you export to your model's folder in your project, and that's it. In the next following lessons, we are going to see how to apply this to our AOE in GTO. 27. 3.17 AoE01: Hemisphere Part 2: Let's see how to use D Misphere and how to create a proper noise texture for it. Let's navigate to our models further so we can drag and drop DMIsphere through our drop passes of the particle system. Here we go. We need a new particle process material. Let's open this up just to say that the gravity is zero, so this stops falling down, right? And all we need now is in geometry and material over wide. In this case, let's reuse one of the shaders we already have created for the sander. So new shader material. And for the shader itself, we can do a quick load, and Goto will automatically fetch all the shaders in this project. That's like the only one we have. Here we go. Looking good. We need to assign a main texter. For now, let's drag and drop the noise texture we created for the sander. Here we go. This is how it's looking. We can say speed is one, for example, and it creates this very interesting effect because of the UVs of how this is mapped. Pretty cool. This keeps on blinking, but we will take care of that in a moment. For now, let's focus on the text, right? Let's create a new noise text, so let's go back to material maker. Down here, we want to start with a Voronoi. It's very common to use a Voronoi in visual effects. Super useful. In this case, let's increase the scale in the X and decrease it in the Y axis. Full on randomness, and from this varonoi we want to extract the lines. This second output says borders. That's exactly what we need. We want to connect this to a tone step And if we invert this first and then decrease the value, we get only the lines of the vornoi as if it was a broken glass. You can play with the white, but we can leave it more or less at zero or two, so it has a little bit of fade. Another trick is to distort this. We are going to use an FBM noise set to pearling, increase a little bit scale three by three. The iteration can be only one doesn't need that much detail. And, yeah, we off set this however we want. But the trick now is to use a warp, just like this. And basically, the noise is distorting the lines that come out of the vornoi. Pretty cool, right? The first value is the strength of the distortion. W to leave it at 03, more or less, you can try different values, obviously. And the second one is an offset. 015, we'll do just fine. We can actually blur these a little bit. We can use a Gaston blur, this one. With a grid size of 1024 by 1024. And now another trick is to copy everything. Change a few prams, for example, on the Voronoi. You can say it's seven by seven. And on the pearling let's just offset this a little. Here we go. We get MR lines, as you can see, to work kind of looks like a spider web. Maybe it doesn't need to be that strong. The effect, zero to one. You offset also zero to one. And yeah, the blur. So we still see something of the spiderb other cool thing is that if you use a colorized node, we get a totally different feeling. We push the black key to the right and the white key to the left. So we clip some black values and we make other white values stronger. Looking good. Now, the idea is to join these two together, for example, with a math node. First, we can join the result of the warp and then add the blur so it becomes brighter, as you can see. But in this case, I'm going to leave it at multiply. It becomes duller, but we can fix that with a colorized node where we can adjust the keys. First one goes a little bit further, but the white one goes a while back. So as you can see, it's more or less the same. The result is a little bit different. You can try both ways. I'm going to leave the colorized node, and then I'm going to copy this math node because now we want to join everything. Feel free to do some more adjustments, obviously. But once you have this wavy pattern, as you can see, you can then export with the right click on the preview to the Window, 2048 by 2048 and don't forget to save this as a PNG directly to your texts folder on your project. And that's it in our next lesson, we are going to combine all of our elements. 28. 3.18 AoE01: Hemisphere Part 3: Now that we have all the elements we need, we have the mesh and the texture. Let's drag and drop our new texture to the main text of our material. This is the result we get. Pretty cool. All of those wavy patterns, they fit really nice with this hemisphere. If you want on the X, you can add a little bit of speed, a little bit of scroll like Zoot five, for example, you create this very interesting effect. Let's add a mask so it fades at the bottom, new gradient text two D, and the idea is that the black values are at the bottom. We get that art edge because we need to say that it repeats here. Here we go. Looks much better. It's those little details that make all the difference. Now, it may not seem like it, but it's very small. Let's double the size on display scale. Two. Here we go. And we can use the curve now, the scale curve to add a little bit of motion to this because we want this to expand to grow when it explodes, right? So let's push the first kill all the way down and then make sure the handle is like this, so it grows quickly in the beginning and then it slows down. Alright. That's nice. We can take care of the color as well. For example, two for the R, three for the green, and for the blue channel five. Becomes bright, it looks good. I'm sure it will fit well with the rest because, well, I have already tested, but feel free to test different colors, of course. Now a little detail that we are going to need is a color ramp. This works a little bit better than the Alpha curve because the fade becomes more pronounced. I'm going to push the first key to the right so it's brighter for longer, and we can click morelss on the middle and push this gray key to the left, so it holds that gray value for longer. Alright, looking good. This doesn't stop us from using an Alpha curve. Where it does similar thing, it's visible on the beginning, and then it fades at the end. It's very small details that you will notice if you disable and enable them, you can see the difference. But here we go. This is looking really nice. It isn't touching the ground. So down here on not D on transform on the Y X is a value of minus one, seems to be the right value. And now, all we got to do is say it's one shot. And to see everything play at once, let's play particles on the AOE. Yeah, it happens right at the beginning, the hemisphere. Let's delay it by Alpha second as well. And here we go. This is what we have at this point. We are noticing that maybe the hemisphere could happen like 055 after, right? So it doesn't get any overlap with other elements with the impact. Yeah, that fits a little bit better. You see that small delay, so it doesn't happen at the same time as the impact. That's nicer. All right. Looking good. In our next lesson, we are going to add a shock wave on the ground. 29. 3.19 AoE01: Shockwave Ground: Let's add a few more details to our AOE. For example, like a shock wave parallel to the ground, it will look awesome. It will look like the energy that is released is pushing the air around it, basically. In this case, we can reuse the circle ground. Let's duplicate it with Control D, push it all the way down, and it's going to be called shock wave ground. Let's turn on a meting so we can see something while we work on it and disable one shot. Here we go. It's more like that. This one's going to live longer. It's not going to go from outside to the inside. It's not going to shrink, but it will live longer. So on the particle process material, first, let's make sure that we select make unique recursive. That's extremely important when duplicating particle systems. Let's take care of the size. For this one, yeah, we need a bigger 115 that should do it. It's going to cover more ground, and it's going to go in an opposite motion. Essentially, on the scale curve, we can reset this curve, create a new one. Add a key near the end and then another key for the beginning, so it grows. We can move the handle in a way that it expands quickly and then it slows down. We are easing out. As for the color, it doesn't need to be that bright. I'm going to decrease the green to one dot four and the blue to two. That should do it as well. It's still very bright. In this case, I'm going to reset the Alpha curve because I want to use a color ramp, a new gradient texture. And we can click on this button. It will reverse the grade. It's quite useful. Here we go. All right. That's easy on the ice, begins brighter, and then it fades out. Makes more sense since we are releasing energy, it will match with our climax and with our dissipation. You can still add an Alpha curve where it happens the same thing. It's more visible at the beginning and not so visible near the end. You can push this handle down exactly like this. It becomes smoother. It's a little detail that will look much better. As for the material, we can still use this one, but we also need to make it unique, recursive, exactly. So we can essentially use a different texture and see how to create a new one. So let's open up material maker where we can go up here to the section where we have the previous circle. The idea is that this one is larger and a bit more dull. So we can copy these notes, Control C, Control V, and those changes can be done at the beginning on the shapes. Example, on the first shape, we can decrease the radius to around 66 more or less 65, and then for the second circle, we can also decrease the radius. This way, we have a larger circle, basically. To make it duller, we could use a bunch of techniques, but we already have the blur here, the sigma, if we increase Yeah, this is what we get. Alright, pretty cool. Let's export this already. Right click on our PVD window with the colorized notes selected. A resolution of 1024 by 2024 or more, feel free to export with as much resolution as you want. Just don't forget to go to your Texas folder and export as a PNG. Let's go back to our project. Go do imparts the texter. Cool. I have named it circle 02, and we can dragon drop it to the Albedo section. Alright, here we go. Much smoother, as you can see, it's those tiny details that sometimes makes the difference. Let's make sure we turn on one shot and in the AOE. Let's press play part. Let's delay the same time as the Misphere so it falls along with the A Misphere Here we go. Alright. Looking good. Perhaps it's a bit too strong, but we'll see. Maybe we'll make a few adjustments at the end. For now, it's pretty good. In our next lesson, we are going to create a new TD model so we can improve our AOE. 30. 3.20 AoE01: Shockwave Rings Part 1: So let's add, like, a flare of energy that comes out of the AOE every time it explodes. For that, we need a new GPU particles tridi and a mesh that we are going to see in a moment. We can rename it to Shockwave rings. In this case, around five should do the trick. At least that's what we thought that look best can try different values. And a lifetime of more or less Alpha second will look nice. And let's make sure this happens almost in a burst. They don't need to spa at the same time. So on explosiveness, a value of zero at five will do the trick. 60 frames per second, as well. So it's smoother. Let's close the time tab and go to the drop passes. And in here, we want to add a new tret model that we are going to see in Blender how to create. So let's go back to blender. We can hide our Imisphere on this high icon. And we can begin by pressing Shift A so we can start with UV sphere. Let's scale this up by a value of one dot eight and let's enter an edit mode with tab. I'm going to enable the C true up here, and the ID is select these top faces. I'm going to select faces, this one exactly like this, and the ones at the bottom, as well, delete and select faces. And we end up with this ring. I'm going to disable Stru and select edges only. We actually don't need these edges, so I'm going to X and say, Dissolve edges. Here we go. This is what we need. If you want more faces or less faces, you can control that in the beginning when creating the sphere. Let's go back to object mode with tab and select Shade Smooth by pressing right click or going up there on the object dropdown Menu. Here we go. That's nice. It's a little bit too thick, so I'm going to use to scale it down only on the Z axis, a value of zero at seven. Then press Enter, and that's better. As for the UVs, let's drag a new window on this left top corner for the UV editor. Here we go. And you can scale this up, so it fits more or less the square and then rotate it with R 90 degrees. And yeah, I'm going to turn on constraints to bound, select the right side, and push it all the way to the right, as well as left all the way to the left. Here we go. With the UVs done, all we need is to apply Al transforms with Control A, and we can rename this to ring. One ring to roll them all. And now in file export Wavefront as an object directly to our models folder, we can rename this ring. Make sure selected only is on and export, and that's it. In our next lesson, we are going to apply this to our AOE. 31. 3.21 AoE01: Shockwave Rings Part 2: Now back in our project, let's dragon drop the ring to the drop passes. Here we go. That's something. We only see one side because col mod is enabled, but we'll fix that later. Now let's create the particle process material. Disabled gravity, say it's zero exactly the usual stuff. And don't here for the geometry. We actually want to use a new shaded material. Because on the shader, we can do a quick load. Actually, as a matter of fact, let's duplicate the existing shader. Call it alternative out because we need this to the object to face the camera. So if you open this shader and up there, go to the vertex function instead of the fragment, vertex aids before the fragment, and if we want this to face the camera, we can use a get billboard matrix. Where the billboard type is set to particles, and we turn on keep scale. So we can change the scale however we want directly on the particle system. And we connect this to the model view matrix. And now, if we go to Shockwave rings on the shader itself, this time we can use the alternative version, the billboard version, and as you can see, it immediately works and the ring is facing the camera. And we are doing this because we want the rings to have random rotation. Let's improve this. It's super bright. For now, let's add our second noise texture. For the main text, and we can scroll it on the X, for example, we get this cool effect, right? In this case, speed on the Y because the UVs are rotated. D UVs play an important part on how the textures are mapped to the mesh. So let's create a new texture in material maker. We can go all the way down here and begin with a shape set to polygon, but we don't need that many faces. We want a square that we can stretch. So let's say it's two sides. You can make it thinner like this, zero dot 25, more or less and disable fade by setting this to zero. And if you connect to a warp, nothing will happen because we need something here on this input. But if we add noise, we get all of that cold distortion. Let's say it's a simplex noise, what we are trying to create is kind of like a horizontal flame, like a splash of a flame. So we stretch this on the Y axis. We don't need it to be complex, so iterations, let's set it to one can disable persistence. Since we are starting the square, we begin with the noise, if we stretch it on the y axis, this is what we get. You can then adjust here how much splatter you want. Let's put it that way and offset as well. Pretty cool. But it's still very blend, very abrupt, right? We need to add more detail to this. We can use a Gaussian blur with a little bit more definition. So 1024 by 1024. And the strength of the blur something like 20. Yeah, that seems right. Now with the colorized node, we want to clip some of those crays and make some bright values stronger. But yeah, this seems right. If you want, you can remove the black background, by the way, which we forgot, but feel free to do it on the colorized note. And now export this as a PNG to your Texas folder. 32. 3.22 AoE01: Shockwave Rings Part 3: And now that we have the tree D rings, the shader, and the text, let's put everything together and make this fit with our AOE. You can dragon drop the new texter. Here we go. Much better. We can actually use the mask with the grading textu two D. So it fades a tiny bit at the beginning of the text. It's a very small detail. Now, remember, we have five of these at the same time. What's really important is that they have different rotation. So the stop being overlapped. It will create a very interesting effect as if the energy was being released on spawn angle. Let's say it's between minus 36360. Here we go. We got a bunch of rings with random rotation, although they still have all the scale, the same size. So on display scale, between two dot five and three should look right. It's not going to stay that big because we are going to expand it on the scale curve. We can create a new curve texture where the first key is going to be zero if we want this to expand, right, and the last key is going to be 100% or one. Here we go. As for the color, we have these two dot five on the red channel, four on the green channel, and seven on the blue channel, and they have this really nice bright blue color. I highly recommend to use a gradient on the color rep, which goes from bright to black. Basically, it fades these out. And we can also use an alpha curve. Why not? Let's say that it's visible at the beginning, and then it becomes transparent at the end. Here we go. It's not that bright anymore, only on the beginning, which is when the energy is released, right? And that's pretty much it, I believe. So let's say it's one shot so we can test with our AOE, splay particles. Yeah, they are all happening at the same time. Let's delay zero dot 55. And yeah, right. Here we go. The elements are beginning to fit together, as you can see. So basically, what we did is the hemisphere, the shockwave on theground and the shockwave rings, they all have the same delay, and they expand in the same way. Basically, we are releasing that energy that we have been gathering on the anticipation, right? Here we go. That's impactful. Looking good. So what are we missing? On our next lesson, we are going to work on our dissipation on a mark on the ground. 33. 3.23 AoE01: Ground Mark Part 1: Alright, so our AOE is getting there. It's getting a very interesting form. We have the anticipation, the climax, and Alts work on the dissipation. Let's make sure we leave a mark on the ground after Dernag is released. We can begin by duplicating the shock wave ground. And call it the ground mark bright. We are going to have a bright part and then a darker one that stays there for a while longer. Let's first disable one shot and then turn on emitting so we can continuously see this happening. Not sure why it stopped. But let's say lifetime is one dot nine. It's going to live for a while longer. Yeah, not sure why it isn't pounding, but for now, let's make sure that in material over wide, that we make this unique recursive. Okay? And in this case, we need a new text. So let's open up material maker, and then we'll see why it isn't spawning in a moment. And down here, we can start with an anisotropic noise, which has this bunch of lines, horizontal lines. It doesn't need to be that scaled on the Y. 60 will do just fine, and we actually don't want smoothest, so it will become these rectangles, as you can see, these gray scale rectangles. Let's just rotate these vertically. All right, 90 and the rotate value, because we want to connect these with a circle map, and the cool thing is that a circle map will basically turn this into a circle shape. That's super useful because now if we blur this Let's increase the grid size to 1024 by 1024 and decrease the blur to around 15, ten. Those values will do just fine. And then let's create two nodes, the slope blur, and the circle up here, shape. The way this works is the circle, let's increase the radius. Let's make sure it's super faded. We connect this to the slope blur and the Gaussian blur to the sigma of the slope blur and it kind of masks everything. Now we can control how much of this we want to influence. A four we do all right. Feel free to try different values, of course. We are getting very close to our impact on the ground to our ground mark. Basically, we want to make this brighter. So let's use a colorized node. Push the right key to the center. And the black key a little bit to the right. All right. Let's clip some of those blacks, and that's essentially it. You will see how cool this is. If we say the black key as an Alpha value of zero, we get rid of the black background, and then we can export this directly to our Texas folder as a PNG and we can call it the impact Mark 01. In our next lesson, we are going to see how this looks with our AOE. 34. 3.24 AoE01: Ground Mark Part 2: Back in Godo now that we have the texture, we can already drag and drop it to the ground marked bright to the albedo. Here we go. Alright. It is emitting now. Cool. It's just taking a lot of time to loop every time it's one dot nine, as you can see. Yeah, let's set it to one dot 89, just because it looks right. It's kind of weird the way these loops, but okay, let's keep it going because at the end, we don't need this to loop, right. We just want this for the preview so we can see how it goes. Let's make the process material unique recursive that's extremely important. Otherwise, we will change the shockwave ground, and let's take care of the size. It doesn't need to be that big, e. Like six will do just fine. We also don't want this to expand its size. It's a mark on the ground. It's an impact, it stays there. So let's remove the scale curve. Much better. As you can see, it stays there, like a stamp. Now yeah fourth color. I'm going to increase its brightness a lot, but it's going to be used only for a little while. So yeah, one dot seven for the R, 23 for the G, and 34 for the B. Like I said, it's super bright because now on the gradient on the color let's push the first keel a bit to the right and add another key at the beginning because it's going to be totally black. It's going to fade in very quickly. And then more or less around here, let's click it so we can add this gray key and push it to the left. Let's do it again so it isn't as bright for that long. This weight fades quicker, and the bright values only happen right at the beginning. Okay, for now, let's go ahead and enable one shot. So this happens only one time and see how it goes with the rest. On the AOE, we need to play particles first, so it adds to the list. And for some reason, the ground mark Bright is at the center of our list. Actually, I believe this is hard dred alphabetically, but it's not 1 second for the delay. Let me try just zero to see if this is the right one. Play particles. Yeah, yeah. Okay, that's the particle system we are working on. And the delay can be pretty much the same as the rest, like zero lot 50 or zero lot 55. Let's try zero lot 50. Here we go. Yep, that fits really well. Maybe it can happen at the same time as dmsphere Yeah, the difference is very subtle, but I'm going to leave it at zero to five still. Looking good. We have the bright part of this. Let's take care of the dark part. So let's duplicate the ground marked bright, exactly, and call it ground marked dark. This one is going to live way longer like four dot 5 seconds. We'll see if it is too much, but let's disable one shot and turn on a meaning. Here we go. It's looping nice. Let's first say the material is unique, recursive. Yes, indeed. The transparency itself, the blend mode is going to be mixed, so we can have dark colors because with additive, we can't have dark colors. Additive on itself, the blend mode, if it is black, cannot blend with anything behind it. I will add nothing. So let's switch it to mix, and then in particle process material, let's make it unique, recursive as well. And on display, let's take care of the color. Let's say it's completely black. Here we go. That's the one we want. Color Ramp can go away. We have the fade on the Alpha curve, which is enough. And let's already see how it is with the rest. If you press Play particles, it adds the round mark dark at the end of the list for some reason. Oh, yeah. By the way, let's go here and make it one shot. So, yeah, it's pen right at the beginning. For some reason, it's at the end of the list. It's not alphabetically ordered, but alright, I got to check that script. It's working well. If we say it's zero at five for the delay, we get what we need. Here we go. It happens off a second later. But I would suggest that we make this a little bit bigger in case you want. Another thing it's very important is to make sure it renders behind the ground mark bright. So on the material override, the render priority is going to be minus one. This way, we guarantee that it renders behind everything. Here we go. It's really nice. It's those little details that makes the difference in visual effects. Another detail is actually on the Alpha curve, Make sure it doesn't fade right at the beginning. It stays there a little while, and then it starts fading. If you push this kid to the right, this is what we get. Looking good, we got ourselves a nice AOE going on. 35. 3.25 AoE01: Ground Mark Part 3: Let's add another small detail still on the ground, where we duplicate the ground marked dark and call it the ground beam dark. Et's just disable one shot and turn on meetings. We can see what's going on. Lifetime in this case, it's going to be even longer like 6 seconds. We have the bright that has a short time, then the dark, and then this beam that lives a little longer. On the material, let's make sure we say it's make unique, recursive, and then press Okay. This way, the material is unique to this particle system, and let's drag and drop the beam 01 that we created in our first lesson of the sparks. Here we go. It's very simple. In this case, let's make sure it's even lower the render priority with a value of minus two. And then on the particle process material, let's also make sure it's make unique recursive. End on this play, we want to increase its scale. It's going to be the bigger element on the ground with a value of eight. All right. Looking good. I think that's it. So let's turn on one shot. Hang on the AOV, let's press play particles. Yeah, let's delay the ground beam dark by off a second. And now with everything in place, right, here we go. As you can see, we have the bright fading out quickly, then the dark mark, and then eventually the beam itself. Looking good. Essentially, our AOE at this stage is very well done, and that's pretty much it. We noticed that maybe the impact flare could have the render priority higher. So it's above everything. Let's say it's one, here we go. It's a small detail. If you go back and forth, you will notice it. Looking very good. I hope you guys have enjoyed this one. In our next lesson, we are going to create a variation of this, a fire version. It's also interesting to see how that comes up. 36. 3.26 AoE02: Fire Version Part 1: So now let's see how to create a variation from the AOE, for example, a fire version. We can begin by duplicating with Control D. Let's just add the AOE 01, and it's extremely important that we always make unique recursive for all the process particle materials, otherwise, we affect the AOE 01. So let's make sure that anticipation particles have make unique recursive. Now, as for the color, which is the most important part, this is not too complicated, but we will adjust a few texts, as you will see. The color that we think looks right is five dot five for the shan, three for the green, and two for the blue shannw. This will basically make them orange, bright orange. Looking good. Let's do the same on the cylinder. First, make sure it's make unique, recursive. And then on display on the color curves, We have five for the R channel, one dot five for the green, and 035 for the blue shadow. Feel free to try different colors. Obviously, we are going to create a fire version, but if you want to try a nature version or something else, that's right. Or follow along with this one, and after that, you can try one at your own pace. This is how the slender looks, and in this case, we believe this one could benefit from a different text. Here on the main texture of this shader. So let's go back to material maker. We are going to see a new example for a different texture. Let's begin with a triangle Varigi. This is how it looks. It looks very broken, and that's on purpose. You will see why in a moment. Let's just zoom in by saying the scale is three in the X and in the Y. What we want to use here is the border, and you will see how it looks. If you connect it directly to a tiler, it will basically repeat whatever it comes in on the X and on the Y based on that amount, and overlap can be one. We make sure it doesn't overlap, essentially. It's a very tiny detail if you look closely. But we want to make sure that the scale is not random, zero, so it's uniform. We want to begin clipping some values with colorized node. And this may seem a little bit strange, but you will see how interesting it looks in our sender. So let's export it to our Texas folder. As a PNG, it's the fourth texter or noise 04, since it is a noise map, and let's drag and drop to the main text. And let's see how it looks. Pretty cool, right? You can basically sometimes see a text that doesn't look that good in material maker, but once you apply it, it actually makes more sense. That's one of those cases. Let's move on to the circle ground. We want to make sure it's make unique recursive, as well. First change is the color. Instead of a blue, we are going to go to an orange, something like two for r1h3 for the green shadow, and one for the blue shadow. This is how it looks, as you can see, it's orange, looking good. Let's move on to the next one, the impact flare. As usual, make unique recursive. And on display for the color 23, one dot two, and one. Let's see how it looks. Very orange, indeed. And now, let's actually create a different text for this one. But first, let's make sure the material is unique, recursive. This one deserves a different text. In our next lesson, we are going to see how to do that. 37. 3.27 AoE02: Fire Version Part 2: Go back to material maker down here. This time, since it's for an impact, let's begin with a circle. The good old circle is super useful. It doesn't need to be that big zero at eight, but we need it to be faded. We are essentially going to see how to create a flare, and for that, we can use a transform Where we squeeze on the X scale, we can duplicate this transform. And then rotate 90 degrees, creating a cross. Now, let's put these two together by using the good old math note. A plus B, and here we go looking good. On its own, it's missing something. Let's blur this out with a Gaussian blur, 1024 by 1034 for the grid, but with a lower blur strength, lower sigma. Here we go. That's a nice flare we got there. It's still missing something. For example, let's create a new circle here. It can be the maximum size, and it has a fade of around Zealot six. If we join this together with a math note y. We get this result. It's very, very intense, the circle itself because we're joining the two together. In this case, you could say the circle could be less intense if you connect to a power node, for example. But in my case, let's go ahead and multiply these two together. The change will be very subtle, by the way, but around the center, it has become a tiny bit more predominant. Let's get rid of the black background with a colorized node. Let's actually push the white key to the left a little bit, so it's brighter, you know. And on the black key, we can say the off is zero. And the next part is as a PNG to our Texas folder. We can call it the flare 02. And that's it. Back in GoTo, all we got to do is drag and drop the flare 02 to our impact flare material. Make sure you made it unique before that, by the way, and this is the result we get, as you can see. It's similar, but it doesn't have that many rays. And since we are using two for the comp, we have two particles at the same time. We can actually increase their size 10-15. It's very, very bright, actually, but that's right for now. Moving on to the impact particles. First thing, make unique the particle process material. And for the color. Five dot five, three and two for the blue channel. Here we go. These sparks are looking beautiful, very cool impact particles. As for the hemisphere, once again, make unique recursive on the particle process material. And let's go ahead and say that the color is also orange by using values like eight on the R channel, four on the green channel, and one dot two on the blue channel. I should do it. Yeah, those are very interesting oranges for fire effect. This time, let's also change a little bit to text on the material. So let's make sure it's make unique recursive. And then we want to switch it with our first noise, Texas 01. Here we go. It's also interesting to experiment with different texts. As you go, you'll notice that texas play an important role in visual effects. Shockwave ground. Let's make sure it's unique the particle process material. And for the color orange as well. We got to go through each one to change the color, one dot eight for the R, one dot 25 for the green, and one for the blue hanno. This is what we get looking good. Now moving on to the shockwave rings, let's also make sure it's unique. That's the workflow in good for some reason, but that's right. We work with what we have and strong R with a seven, four for the green, and two for the blue. Looking good, these rings, that's very nice, very fiery, for the ground, mark bright, make unique, recursive. Alright, display color, and let's say it's something like four for the R channel, two dot five for the green, and one dot five for the blue. And we get this bright mark on the ground. The rest is black. We don't need to change it. Let's see how everything is. Here we go. We have ourselves a fiery effect, but we can do a bit more. It's very bright in the center, by the way. It's the huge amount of energy that it has gaered on the anticipation. But for now, that's how it's going to be. In our next lesson, we are going to see something different. We are going to create fire. We're going to make sure that it still burns for a little wild ground. So yeah, see you on the next lecture. 38. 3.28 AoE02: Fire Version Part 3: So let's see how we can make sure that the ground burns for a little while after the AOE happened. For this specific case, let's begin with the new GPU particles three D. Here we go. We can call it fire. And yeah, the lifetime can be 1 second. We'll see how it goes. But for the explosiveness, we want to make sure that it's zero to five, 60 frames per second, and for the drought pass, a quad will do just fine. And let's create a new particles process material. Let me just collapse this. Nothing is happening, but we can make sure that the gravity is zero. We don't need it. Oh, we were seeing from the back. That's why we didn't see anything. Okay? Here we go. Let's close this and go to geometry so we can, in this case, use a new shader material because we want to go ahead and create a new shader for this one. Make sure it's visual shader in spatial mode, and then you can select the folder, the shaders folder, exactly. And for this one, we can call it S under scar fire. Let's double click to open it up on the shaders folder on the S and SCR fire shader. Here we go. It's completely empty. What we are trying to achieve here is basically a fire shader where we have an option to dissolve a certain text. Let's create a text to the parameter for the main texter. Text to the parameter, remember, it's to be visible on the inspector, so we can change the main text without opening the shader. We need to sample this exactly drag a line. Let's duplicate this with Control C, Control V because we also need another texter for Dissolve. Di solve text. Here we go. And for the disftex, we can drag a line from the UV text to the sampler, so we can search for a UV function. We are going to need it so we can tile this off text however we want. And so we can pan it, so we can scroll it as well. So let's search for the time variable. It's very important. And another input that's important is the UV, this specific one. And then we need another vector two parameter. In this case, so we can control this off tiling outside of the sha and we can rename it to dissolve tiling. Here we go. We can multiply the UVs, the input of the UVs with diissolve tiling. This is how we control the tiling of the text. All we got to do is then connect to the UV of the UV function. Oh, and make sure that default value is enabled because on tilling, it must be by default one by one. Otherwise, the text won't be visible if it is zero by zero. Let's control C and control V this vector operation. And let's also copy this vector to parameter for the dissolved speed. Which in this case, the default value can be zero. We don't need speed by default. The way we make it pan, as we have seen is multiplying the time variable with this vector two parameter and then connecting it to the offset of the UV function. So this is all pretty much ready to go. All that is left to do is connect these two together with a multiply node. You can use a vector operation as well. It's the same thing. As long as it is vector two, it's right because now we essentially want to larp, create an interpolation. Basically, we are going to use a mix but a mix of four vectors. Because as you can see, the text two D, it's outputting a yellow color, which means a vector of four. And the way this works is the A option of this mix. It's the texture itself without dissolving and the B option is the texture totally dissolved. We want then to control how much we dissolve with this with option. Basically, we can create a float parameter and call it the dissolve mount. This will control how much we want to dissolve. We can say it's a range 0-1, that's more than enough, and the default value can be zero. Now we are only missing a couple of things. For example, we want color to influence this, right. So we want to make sure that we use an input color, this one specifically. So you can control the color from the particle system itself, and then we want a vector operation for a multiply of two vector fours. This one, want to multiply the color input with this result of the mix of the interpolation. And connect it to the albedo up here. So basically, we have created a dissolved texter which can pan and can be tiled that is going to dissolve the main texter. Let's connect this to the Alpha as well. And that's it. Our shader is essentially ready. Feel free to ask any questions about it on the Q&A section or by mailing me or on discard. But essentially, now with this shader, what we can do, as you can see, on the inspector is control the main texture, the tiling of the dissolve, and the speed of the dissolve, as well as the dissolve amount. A lot of dissolves going on, which is something we are going to dive deeper in a couple of lessons. For now, let's see, for the first time, how to create a texture by hand in Creta, which is similar to Photoshop. 39. 3.29 AoE02: Fire Version Part 4: So as a good view X artists, you also want to know how to create texts by hand just in case. So let's have a little taste of that by creating a flame text. And one of the tools that we like to use is Creta, because it's free and its brush library is huge. It's very, very similar to Photoshop. You can download for free if you search for it. Once you have downloaded and installed, this is what you get. You can go ahead, create a new file right here or Control N. Make sure it's in pixels. We are going to use a resolution of 2048 by 2048. And in content, you want to make sure it's two layers, and the background color is black with an opacity of 100, and then you can press Create. If you want to use a graphic table, feel free to do it. Here we go. We have these two layers. One is transparent. The other is a black background, and it's locked, so we don't paint on that. Select the paint layer one. And on the left, we have all of the tools, basically, all of the tools available in Krita or 90% of the tools. As you can see, I have these floating windows here, which are called dockers. And you can go to settings and basically open more or less dockers however you want and place them wherever you need them. In my case, this is my layout. And yeah, that's a pretty basic overview of rita. We want to go ahead and select the brush tool, B for shortcut, this one, let me just say that this is black and white. Make sure the first color is white. We want to work with white color. Here we go. If we click here on these brush Pists as you can see, we have a huge library of brushes. The one we want to use is the airbrush soft, this one. And we want to start this texture by decreasing the opacity to around 30%. We want to do a blockout first, basically. And it's a flame text, right? And I'm going to start by in one stroke, I'm going to do this shape right here without lifting your hand or your mouse in case you are using the mouse. Want to do something similar to this or to any other thing. What's important is that you have this layer with this gray blockout. Then you want to click this plus sign to create a new layer. And on that new layer, we are going to bump up the opacity to around 60. I'm going to decrease the brush size, by the way. You can do it up there or while holding Shift. With shift and left mouse button, you can control the brush radius. Yeah, 80% will not do it. So let's bump this up to 100 because we want to have these really bright white. And I'm going to do another random shape what seems like a random shape, right? In one stroke, kind of triangular, you know, and it's a little bit offset from the gray blockout. Don't worry that much because the idea now is we use the brush tool. You can press E or click up here. And let's leave the opacity at 100 and now I'm going to click a few times, as you can see, to erode this so I can have this nice corner and this nice cavity, basically. I'm going to do the same right here, but I'm going to decrease the brush size. And then I'm going to do one down here. As you can see, this is what we get. Just by raising, we have created these cavities, and it's beginning to look like kind of a flame. That's the idea. Now, that's very important. Another trick is to use on this brush presets the blender blur or the blender basic, but my favorite one is the blender smear. This one. It will basically smear everything and it will create a blur. You will see how it works. Let's make sure that we click here on dit brush settings because we want to fade this. We don't want this to have these art edges. So on fade, we want to increase this to zero, so it's smooth, as you can see. And now let's increase a little bit the radius, but decrease the opacity to around 30%. The opacity controls the strength of this brush, by the way, that's how it works in Krita. And now I'm going to do a couple of strokes upwards and others downwards. But as you can see, I'm pushing some white values around. I'm creating these edges and increasing the cavities in some areas yeah, it's not easy, but I'm going to try my best to guide your end. So yeah. But the idea is to create these spikes of flame, as you can see that sometimes we see on flames right here and there, feel free to use this tool, however you want, because you can manipulate what you have drawn previously with the blender smear tool, which is awesome. Now I'm going to do the same on the gray blockout that I have below on the paint layer 01. Couple more strokes here and there, just create some cavities and push some gray areas. Here we go. Basically, I'm trying to create a spiky feeling in the gray blockout as well. Alright. This is, I think, looking okay for what we need. Feel free to explore this however you want. If you want to try and new texture. It's up to you guys. No problem at all. This is the tools that I like to use, and this is my method. I begin with a gray blockout and then a very bright layer, and then I erase the parts that I don't want, and then with the blender smear, I push some values around. And for another touch, we can use the hairbrush soft in a raise mode with a very low opacity, just to remove in some areas the excessive white values, right? So we have also some grays and then some very bright white. W some contrast, basically. Here we go. That's it. That's pretty much it. One thing we can do now is center this a little bit. In my case, it needs to be centered. So I'm going to select these two layers and press Control G. Here we go. Then with Control T, I can move this around. We can move it all we want. To center this, it doesn't need to be extremely perfect, but we can turn these icons up here, which is for mirror drawing, but they give us a sense of where the middle is, and I'm going to try to highball it more or less maybe increase a little bit this size, not that much because it will lose quality, by the way. The drawing should have been a bit bigger, but that's all. Matters now is that it's centered. I have disable those axis, and that's it. Another cool trick that I like to use sometimes when drawing texts is on the brightest layer, for example, right click and select layer styles because we can now add an outer glow. If we turn it on, you will see its effects, and if you increase the size to around 100 pixels and spread to around 16%, this is what you get, and then you can decrease the opacity and you have this bright glow in your outside. If you enable and disable, you will notice the difference. This is up to you if you want to use this glow or not. It's all right. I'm going to leave it on. It has to be with a very low opacity, otherwise, it will be too much, in my opinion. But yeah, I'm going to press Okay, and that's essentially it. Now, to export this, we can hide the background, go to file export, and we can navigate to our Texas folder and the GodoPject. And this is going to be for flame 01. What's very important is that we export this as a PNG. And then you can press Save and that's it. In our next lesson, we are going to see how to use everything together with our new shader. 40. 3.30 AoE02: Fire Version Part 5: Now with our shader and our text are done, let's see how to put everything together. First thing we can do is drag and drop the flame 01 to the main text. Here we go. It's kind of weird. I know, don't worry about it much right now. It's mostly because of how the shader is set up, but we want to drag and drop the texter 02 or the noise 02 to dissolve text. It's with this text that we are going to dissolve our main text, our flame. So feel free to try different noises if you think it doesn't look okay with the one you have. Now if you play with the dissolve amount, you can see how the dissolve text influences the main text. It's weird it's yellow, that's mostly because in our shader, instead of connecting this yellow vector four to the albedo, we can connect the red channel only. And here we go. It looks much better now. We're going to leave the dissolve amount at around zero at eight, which is a little bit too much already, but now you can increase the speed vertically, as you can see. You can also play with tiling. Essentially, what I'm going to do is switch the blend mode to additive, and it blends a little bit better with the background, and I'm going to turn on unshaded on the flag so it isn't affected by the lights of the scene. Let me show you how it is. Here we go. Much better. Feel free to try different values for the amount and for the dissolved tiling by the way, and the dissolve speed. As you can see, this doesn't follow the camera around. It's not a billboard, it's static on the scene. That's a very cool trick that if we go to the shader again, let's switch to the vertex function which happens before the fragment. Here, we can say, if we add a node, we can search for G billboard matrix. And the cool thing is that this is ready to work with particles. If we say the billboard type is particles. We must keep scale. Otherwise, we can't change the scale of these flames, you will see in a moment. And then all we got to do is connect this to the model view matrix, and it will work out of the box almost it follows the camera around, which is the usual behavior you want to have for most of the visual effects you do. A billboard is very useful, so you don't have to worry if it is facing the camera or not because the effect itself can be seen from many angles, right? So let's increase the amount to 50 because we are going to need a few, maybe 50 it's too much, but let's go with 50 for now. And on the process material. Let's make sure they bound in a sphere shape. So it covers more area than a point, right? And we want to say that it's around one dot five for the radius. And in this specific case, we want this to be a circle instead of a sphere so we can easily squash the Y axis and say it's zero, for example, and here we go. I spounds in a circle shape, which is a better fit for what we are aiming, right? As you can see, they still have all the same rotation. So let's make sure we add some randomness to this by going to spa angle and say minus 360 and a maximum of 360. Cool little trick we can do is use gravity so they go up. We could also use linear acceleration. But if we say it's three to five, this is what we get. Yeah, it's kind of weird, but if we use damping to slow them down, you will see that it looks better. Between one dot five and two dot five, for example. Yeah, much better. Now, it's all a matter of also adding some randomness to the size between zero dot 75 and yeah, one dot five. Since we are here, let's go to the curve to scale curve, and we want to create a curve where they grow only on the middle. Basically, they start small, then they grow, and then they shrink. As you can see, this curve right here with these handles. So it's smooth at the beginning and at the end as well. All right. Looking good. Let's take care of the color. This is very pale for now. But if we say that the R is something like three dot five, the green is two and the blue is one dot five. Hey, we get this very bright white, and that's only happening because in our shader on the fragment function, we have connected only the R channel to the albedo. But if we connect the first channel which contains the RGB and A, we get color. Here we go. Much better. As you can see, it's an interesting flame effect. It's burning on the ground. They are probably floating. Yeah. So on the transform on the position, let's say it's minus zero at nine. Here we go. And we can say it's one shot. And if we select the AOI and press play particles, yeah, they play at the beginning. But now on the delays, we can say the fire has a delay of half a second, Zealot 55, for example, here we go. Now it burns for a little while after the impact happened. It's a small detail on the dissipation, as you can see. We actually don't need to fade them out. It looks right just by shrinking them. So yeah. Now we can take advantage of this fire and create smoke, right? Because where there's fire, there's smoke. And we can duplicate this fire, call it smoke control D, smoke let's disable one shot ton ony meeting so we can see what's happening. And we can say lifetime is bigger. It's going to live longer. It could be even longer than one dot two, but one dot two will do just fine. And now on the material, it's very important that we say it's make unique recursive. Because we are going to say that blend mode is mixed, so we can render dark colors, right? That's all we need from the material. Let me just close this. And now let's also make unique the process material. And for the color, we can say it's totally black. We can push this way down. And here we go. We are starting to see smoke looking good. And to make it more visible, we can increase its size a little bit, something 1-2 will do just fine. Another small detail we can adjust. Since the material is unique, we can already go to the dissolve amount and say it's lower. Something like zero at 75. Oh, yeah, and the render priority minus one, so it renders below everything else. Let's turn on one shot. And this is how it looks. The fire and the smoke, these two together. If we players play part, yeah, we also need to delay the smoke. Could be t 55. That's right. And, it's a small detail. As you can see, we have smoke at the end after the fire. For a little while, yeah, we could adjust a few more things, but you get the idea, right? It's looking good. We have fire, we have smoke, and the AOE fire version is pretty much done. If we put these two together side by side, this is what we get. I think it's a great result. The AOI chapter is pretty much done. On our next lesson, we are just going to see how to apply this with the script so we can spun these with our mouse. 41. 3.31 Prefab and SpawnAoE Script: This short lesson, let's see how to use this with the script. Basically, what we need to do is create prefabs from these AOIs by dragging and dropping to the prefabs folder. Here we go. Fix the name and call it Vax and scare AOE 01. I forgot about Vx, but you get the idea, right? And once you have dragged to the prefabs folder, all you need to do is go to the world node up here and then open the prefabs folder and drag and drop our AOE to the AOE prefab variable. Then we can press this icon right here, it plays this scene And here we go. If you click around, you can spawn AOIs. The window itself is super small. If you want to go to project in project settings and in display on Windows section, you can say the wife is 1920 and the eighth is 1080, for example, unless you have a screen with a smaller resolution, but this should do. We can press this icon to play this scene. Now, yeah, now it's bigger, and you can click around it. You'll spun the AOIs, right? Pretty cool. We have done this amazing AOE. I hope you have enjoyed, guys, because it certainly came out pretty cool. Let us see your results on the Q&A section or on the project section. Feel free to share with us on social media. I would love to see what you guys have done. And don't forget to try different values, different textures, different meshes, and even play with the shader maybe so you can get different feelings and different results. So that's it for the AOE. On our next chapter, we are going to create a projectile. See you soon. 42. 4.1 Pre-Production: Sketching and Research: Once again, the preproduction is always useful to search for a few reference and see what's there and see if there's anything that gives you an idea on how to better approach the effect you are working. This case, we already know it's projectile, a fire one, and later on, we will create an electric one. In the sketching phase, probably that's something that you would study. For example, if it is round or pointy or any other shape. In this phase, you would also study how long it is and the trail, if it's something that is water based, fire based, poison based, or smoke based, if you want some particles flying around. And then in the case of the electric one, if it's really pointy, as we have here, like a triangle and how is the trail going to look like, probably like electricity maybe on the round projectile, the first one, we are going to highlight the front, give it a really bright front, basically. We would use a capsule for this and another capsule for the brightest part. And then we have the trail part as well, where we need a texter. We have some particles. Both capsules need a shader. The shader should mask and scroll the texter. The trail also needs a shader, and the process is similar for the electric version. But the texture is going to change, and we probably need a new capsule as well, but that's essentially it. Then we have the impact phase, where probably we want a text for this for the impact and then there's a few particles going crazy, really fast. Maybe a shock wave will also look nice, a very quick shock wave, and probably we leave a mark. We have also an aftermath of this impact. But essentially, just to give you a quick overview of this process, the preproduction phase. Sometimes we do some studies to better understand what we need for each effect and how we are going to approach that in terms of technicality. So yeah, that's it. Let's jump to the overview of the projectile scene, and then we will begin creating the projectile. 43. 4.2 Projectile Scene Overview: So let's go ahead and open Vec and the score projectile scene and have a quick overview of what we have here. In this case, we have a sphere and a wall. The sphere itself as the rotate to mouse script, basically rotates the sphere to wherever we are pointing and it also has a fire point. The rest is more or less the same. What's different is on the world node. In this case, we have the spun projectile script, which has a fire rate, project a lifetime, in case it doesn't eat anything, we destroy it. Which prefab are we going to shoot? Where is the rotate 2 moles and which fire point? The rotate 2 moles is the sphere and the fire point is inside the sphere. Let's open it up just to have a quick overview of what it does. Up here, we have the properties, and then we have the process function, which checks for input, in this case, for the fire button to be pressed, which I have mapped to the mouse button one, which is the left one. It checks if you can fire, which is basically a rate of fire. Then it calls fire projectile, which in turn checks if we have the prefab, a fire point, and the rotate to mouse assignment. And then it instantiates the projectile and we immediately place it on the fire point position, and then we add it to the scene. We also get the direction which comes from the rotate to mouse. We pass that direction to the projectile and we make sure to rotate the projectile in the right direction. Then then we have a small delay which is a projectile lifetime before we destroy the projectile. All of the projectles have another script, which is the projectile move script. In here, we have the direction, the fire point variables, and we can set the fire point, which is what we have seen on the spoun projectile script. Under ready function, we spa the muzzle immediately. We make sure this happens only one time with contact monitor and max contacts reported, and then we use the integrate forces function to physically move the projectile and we check for collision. Collisions are bigger than one, the first thing to contact with, we actually get the contact point, and we also get the normals. So we can rotate the impact accordingly. So basically, the impact will always be parallel to the normal. This way, the impact aligns with the face that it has collided. And then, yeah we have the spoun muzzle we check if we have a muzzle, pretty basic, but essentially it spuns on the fire point. We play particles, which is the script that we have created also. And then we have a small delay before destroying the muzzle, and the same thing happens on the spa. But in this case, it can receive the contact point and the normal. That's pretty much it. For the rotate to mouse, well, it basically rotates any given object if it has a camera assigned to the mouse. We get the mouse position. We create a ray that goes from the camera to the mouse, like we did in the AOE, we check if that ray has collided with something. If it intersects with something, then we get that position. We get the direction and a couple more things. But that's essentially it. So yeah, that's it. We are ready to begin. On our next lesson, we are just going to see what the GPU trails plugin is all about and how to install it. 44. 4.3 GPUTrail Plugin: In case you don't have the GPU trails already installed or in case you want to know how to install it. If you go to Google and search for GPU Trails GoTo, you will immediately find it. If you don't find it, please let me know. But once you go to this Github right here of the GPU Trails, you can click the green button and download the ZIP file. It's very simple to install plugins in Godo. All you need is to go to Asset Lib up there, which is Asset Library, Import and select the Zip file, and then press Install and hopefully you get a success screen. Restart. And that's it, you are good to go. We have trails. As you can see, if you press right click, add a Shell node, and search for GPU Trail TD. Here we go. And it will be super useful. You will see. So that's it. In our next lesson, we are truly going to begin the projectile. 45. 4.4 Projectile01: Capsule Bright Part 1: So let's finally begin our projectile lessons and see how we can build the projectile from scratch in Gudo. This is composed of several parts. We have capsules, and then we have trails and then some particles. Let's begin with the capsules, which is the outer part of the projectile. In this specific case, we need to start with a rigid body three D as our base and not a node three D. We want a rigid body three D because the script is expecting that, so it can work properly in our demo scene. We can call it Vx on the scare projectile 01. And we have this warning, yellow warning. Basically, it's saying that we need a collision shaped T D, and it's correct because this collision shape is also going to detect if we collide with wall or with the ground or with anything. And then it's going to make our projectile explode, essentially. For the shape, a simple box shaped TD is enough right here. Here we go. We can view that collision shape if we go to perspective right here and select View Gizmos. Here we go. And we can adjust the box however we want. This case, we already know the value, so let's actually say it's alpha of this size. It's more than fine, and we can disable view gizmus on the perspective dropdown menu. Now here comes the part of the particle system. Right click at child node and let's use GPU particle three. Here we go. This one is going to be for the capsule bright. And in our draw passes, we need a new specific measure for this. It's not that hard, so let's jump to blender. And first thing you want to do is select everything with A and then press delete. We want a clean scene, and then with Shift A, we can add a UV sphere. It's a good object to start with. If you don't move anything on this panel on the left bottom corner, we can say that the segments are 16, it's more than enough. All right, here we go. And now let's go ahead and rotate this with R on the X 90 degrees, here we go. So it's facing the Y axis. That's good. Now, we want to enter kit mold with tab exactly. And up here, we can actually choose faces. And now let's actually unselect everything by pressing A, and we want to select a few edge loops while holding Shift and and then clicking. Oops. Yeah, exactly like this and the front faces as well. It's almost enemy sphere, but a little bit more, and then we can delete that part. We want this tiny section because with that, if we select everything with A and then with S, we can scale it on the y axis, and we get this interesting cone. Let's push it back on the Y axis a little bit, so it's more centred. Here we go. Maybe scale this on the Y a tiny bit more. Okay, looking good. Let me just press Control T on the numb pad. So we go to the left orthographic view, and now the idea is to select the edges up here. So we can select this edge loop and give it a tiny boost with, with a scale, then the following one a little bit more and the next one as well, and this one, too, and the last one a tiny bit more. So it's a little bit more rounder and not so pointy, essentially. Alright, looking good. Another thing we can already take care of is we right click, choose Shade Smooth or go up there on Object drop Aluminu and select Shade Smooth. Now, we can go to the UV editing tab up here, or you can drag a new window on this top left corner like this and then select the UV editor. Basically, we need to fix the UV so it covers the wall area. So the idea first is to go to UV and turn on constraint to image bounds, so the UVs stay on that square. And now with G, we want to push all of these to the center because then we will scale this with S only on the Y axis. Here we go to the maximum as much as we can. Then we can select this edge loop up here and push it bit up. Let's also select this bottom edge loop and push it down because it wasn't touching the bottom part of this square. Basically distributing this a little bit more. There's other ways to do this, but it's a simple capsule mesh. It doesn't need to be that complex. This will work just great. It's a great start. Let me just push this a little bit back. And now in object, let's make sure that we set origin to three D cursor, which is the center in case your cursor is not on the center, you can select origin to geometry. Finally, we can go ahead and press Control A to apply transforms, so it stays exactly with this scale and with this rotation in unity. Now, let's rename this. Double click here, call it the capsule 01. And with our capsule selected, let's go to File in Exp Choose wavefront dot OBJ and export it to the models folder. Turn on selected only and call this one the capsule 01, basically. Export, and that's it. In our next lesson, we are going to see how to use this in Glo. 46. 4.5 Projectile01: Capsule Bright Part 2: All right, so let's see how to use the capsule to create the first element of our projectile. Now that we have the capsule here, we can dragon drop it to our drop passes of the capsule bright GPO particles three. Here we go. Let's take care of the rest in geometry and material over wide. In this case, let's use new shader material because for the shader, we can do a quick load and reuse the shader 01 that we have. Here. Essentially, it already has everything we need. It receives a main texter. We can scroll the main texter and mask the main text. We can already use the texter 02 that we have here or noise 02, drag and drop it. And for the mask, all we need is a new gradient text two D. The brightest part is the front. So all we need is to push this gradient down here to the bottom right corner. Here we go. Let's make sure that in repeat, we actually turn on repeat so we can get that nice fade at the end without any artifact. And now on the gradient itself, we can, for example, fade a little bit more by clicking here and dragging a key to the right, as you can see. We can leave it more or less around here, not at the middle, a little bit before, or you can leave it a little bit more to the right. It's also a little bit up to you, of course. Let's use the magic of this shader by saying on the y axis is minus two. And here we go. We get a very cool effect out of the box. Really cool one. Let's make sure that we create a new particle process material so we can control its color. Oh, and say that the gravity is zero, indeed. Otherwise, it keeps on falling on forever. It doesn't need to be that big and on scale, instead of being one, we can say it's zero at five. Maybe it's a bit too small, we will see you can adjust it later on. But for the color, let's already say that the R is one dot five and the G is zero at nine and the blue is zero. And we get this fiery color. Looking good. That's interesting. Maybe the amount doesn't need to be eight, one is more than enough. It becomes a little bit more dull, but that's right. You will see why. Let's say it's 60 fps, so it's smoother. This one is going to keep on emitting and oh, yeah, it's very important that in drawing, we turn on local coordinates. This way, it sticks to the emitter instead of being left behind every time we will shoot it. It's basically local position in other engines like unity or unreal. So that's it for the first part for a projectile, we got the capsule bright. 47. 4.6 Projectile01: Capsule Dark and Capsule Small: On this lesson, let's keep on layering and adding more depth to our capsule to our projecti by adding a few more capsules in this case. So, for example, let's duplicate the capsule bright with Control D for a capsule dark. That's going to be inside and it's going to be bigger. The purpose of this one is to add contrast. First thing we want to do on the material over wide. Let's make sure it's make unique recursive because on the shader, let's click here. We want to say that the blend mode is mixed so we can render dark colors, essentially. Let me add the shader editor. And on the particle process material, let's also make sure it's unique. Here we go. Because we want to say that the color is totally black. Which also means the speed of the main textu, for example, can be slower. Another important detail is the render priority. We want to say the capsule dark is one, but the capsule bright, we want it to render above. So let's say the render priority is two. This way, we guarantee that the bright one is rendered on top of the dark one. It's barely visible the dark capsule. So on the scale you can do a little trick where we use a curve X Y and Z and stretch it on the X axis by saying the max value down here is, for example, one dot three, one dot five, and then we can push these keys all the way to one dot five, one dot three to the maximum value. And the idea now is to push the dark capsule backwards on the Z axis. We want it to be a little bit visible, you know. We can add another capsule, this one, even brighter for the tip. So let's begin by duplicating the capsule bright and call it capsule small, for example. Let's go to geometry, material over wide and make sure it's unique recursive. Okay, because on this case, we want to change the main texture. Actually, we want to remove it on this icon here. We can use only the grading. That's the cool thing of this shader as well. And for example, make sure the left key, the dark one, we can clip it a bit more by pushing it to the right. We can push this gray key to the left. We are essentially creating that very bright tip so the player knows there's something dangerous coming in his way. Here we go. If we see these with the rest, by layering these three capsules, we create an interesting result. We can adjust a little bit more the grading of the capsule small so it fits properly now. Yeah, something like this seems to be alright. I think it looks good. On the process material, let's make sure it's unique because we can change the color, so it's even brighter. We want almost some white values at the very tip of the projectile. So on the Ru section, the R can be one dot six, the G can be one dot two and the B zero dot six. And this is the color we think looks best for this capsule small. It looks really cool. It looks bright. One last detail is to make sure that this is rendered above the other two capsules. So on the render priority, let's say it's here we go. And that's essentially it. Make some small adjustments, and I think that looks pretty good. Feel free to also make a few adjustments as you wish, obviously. But yeah, once you have these three capsules layered, we are good to go to move on to the next part. 48. 4.7 Projectile01: Beam Inside: Let's make sure we add kind of a glow to our projectile by simply adding a beam. So with Click on our projectile, Achille node, GPU part three for a beam inside. For the draw passes, we can select a new quad mesh. Let me just disable capsule bright eyed, in fact. On Geometry, a new standard material treaty, where we say the transparency is Alpha, blend mode is additive, and the shading mode is unshaded. For the Albio, we can use our beam 01 texter. Dragon drop here we go. And yes, indeed, we need billboard, part called billboard. Let's turn on keep scale so we can change the scale of this however we want, and it follows the camera around as well. Great. It doesn't need to be eight for the amount. One of these will do just fine. Let's make sure it's local coordinates, so it follows our projectile whenever we shoot it and it doesn't stay behind. Now let's show the capsule small, dark and bright. In this case, the render priority one will do just fine. So it's above the capsule dark at least. We can actually control the size of this directly on notre D. 08 on axis will do just fine. Now the final trick is to push this a little bit to the front, as you can see, and it gives this kind of glow. We are faking the glow, and that's essentially the purpose of this beam. It's a tiny detail, but it will help the player understand that there's danger coming his way. On our next lesson, we are going to add some particles, floating particles. 49. 4.8 Projectile01: Floating Particles: So let's make sure every time this projectile flies away, leaves a trail of particles behind. So with the right click on our projectile, let's add a GPU particle treat for the floating particles bright. Let's make sure we have a draw pass. In this case, a new quad mesh will do just fine. It's the most common one. And let me just add the rest. Here we go. So we can only see the particles. On this case, a new standard material treaty, yes, indeed, for transparency, we want Alpha and the blend mode can be additive. They don't need to be shaded, so let's make sure they are unshaded. Vertex color can be used as albedo and is a RBG. And for the Albedo, we can indeed use the Bam so one texture. Once again, very useful text. Here we go. Oh, and let's make sure on Billboard, it's particle billboard. Keep scale on as we have seen a couple of times already, right? So let's make sure this is quite a few particles like 30, for example, on the amount, here we go and particle process material, a new one. Yes, indeed. They are falling away because gravity is active. Let's say it's zero. We can already take care of the lifetime. They will live a little bit less than a second, like zero at eight and can be 60 frames per second as usual. And now let's get into the details. So we don't want this to spa on a single point. It would be useful to spa in a sphere shape, since the projectile is kind of sphere shape. Not really, but you get the idea. It's the closest one, this sphere shape emission. With a radius of zero at five that should do it. They are huge. We will take care of that in a moment. But now what we can do is on the accelerations, we have this radial acceleration that we can increase, for example, the minimum is one and the maximum is two, and they go away from the center towards outside, which is interesting. It's a cool motion that's going to be useful because we want them to move a little bit while they are being left behind as the projectile goes. Now, for the scale, something small like zero at 03 and 005 extra small. Maybe the gap between the minimum and the maximum could be bigger, but let's keep on moving on and on the scale curve, a new curve text because we want this to be big on the beginning. Let's have the third key right here. Grows rapidly, and then it shrinks slowly. That's good. We can already take care of the collar. It's right here, below and color curves. For example, a four on the red channel, a three on the green handw and two dot five for the blue shadow, and we get this bright orange looking good particles. Yeah, we can use a color ramp just to make sure they fade away. We can reverse the gradient so they are bright in the beginning and then they fade away. Yeah. Now, let's see something we haven't used yet, which is turbulence. It's kind of like a noise in unity in real engine. If we enable, we can begin to see some changes, but the idea is to say that noise scale is small, like Zoot one and we get this cool motion. Then we have this noise speed rate I think that zero at five will do just fine. And how much this influences the particle. Let's leave it at one. Let's see how it is with the rest by enabling visibility on beaming side capsules. And yeah, they are quite strong, but you will see that they will look very interesting once the projectile is moving, which we can simulate right now, as you can see, it's leaving these bright particles behind. That's pretty cool. That's the idea with these particles. As you noticed, in this case, we don't need them to be local. We want them to stay in world position, so they are left behind. Otherwise, they will snap to the projectile position. While we are here, let's take care of adding dark particles because it also adds a nice contrast and since we have a dark capsule, it only makes sense. It's quite easy now because we can go ahead and duplicate the floating particles bright. Call it the floating particles dark. In geometry, first thing we want to do is say that this is unique, recursive, so we can adjust it however we want without influencing the part calls bright. We want the blend mode to be mixed so we can render dark colors, which means on the particle process material, let's also make it unique. Yes, I did recursive, as always. So we can now use a black color. Here we go. Let's reset color ramp because we want to use the Alpha, so it fades away. On this Alpha curve, starts completely visible and then goes to zero. All right. Now happier for the scale, we can also change it a bit. Maybe it could be bigger between zero at 05 and zero at one. Let me just add the rest. Yeah, the Alpha curve actually, it can start from zero instead of being totally black at the beginning. It's transparent at the beginning, then it becomes visible. Yeah, let's show everything else. And if we move this around just to see how it is or how it's going to be once we make it work with the demo. And yeah, I think it looks pretty good. Great result. As you can see, in just a couple of lessons, we are beginning to have something interesting. On our next one, we are going to add a smoke trail. 50. 4.9 Projectile01: Smoke: So let's make sure that our projectile leaves a trail of smoke behind. And for that, we can actually go to the AOV two and copy with Control C, the smoke particle system. Let's close this window and then select the projectile and we Control V, paste it right here. By doing this, just make sure that you always make everything unique. And in our case, the transform needs to be zero on the y axis and on the X and on Z, so it's centered with the projectile. We can disable one shot and turn any meeting because this needs to loop continuously. Yeah, this is huge, as you can see. The amount doesn't need to be that high, maybe 30 will do just fine. And they don't need to live that long like 08. Otherwise, the trail will be longer. We also don't need explosiveness. They can keep on spawning normally. Now, as for the particle process material, like I said, make unique recursive, and now we are ready to make changes. Let me just add the rest. And in this case, we don't need this to span in a sphere shape. As you can see, it's spanning everywhere. Let's reset this and it doesn't need to go up. So the gravity can be zero. We want it to be centered with the projectile with almost no movement because the movement will happen when the projectile goes, the trail of smoke stays behind. Reset damping And on the scale now, you can actually increase the size to one dot five and two dot five. We can reset this curve and create a new one because we want this to grow throughout its lifetime, just like this. Push the first key down. And there you have it. We don't see much right now happening, but you will notice it once the projectile is moving. On the color section, we can leave it as black. But instead of disappearing out of nowhere, we can use the Alpha curve to make sure it fades out. And we can even say that it starts with zero at five, max value zero at five. So it isn't so predominant. And then it fades out. Alright. Looking good. Let's see how it is with the rest. It's a really cool detail. Looks like everything is burning. And if we try to drag it around, you'll notice that the smoke is left behind as well as the particles. Looks like the projectle is dissolving itself. Yeah, it's a cool mix. So that sits on our next lesson. We are going to see how to add a trail as if it was a trail render in unity or ribbon from unreil. 51. 4.10 Projectile01: Trail Part 1: So let's see how to use the GPU Trail, the plug in that we have seen at the beginning to create some awesome trails for our projectile. It's very straightforward. With Right click in our VFX Underscore projectile, we can search for GPU trail three D and rename it to Trail Bright. Et's just add everything else. If you move it around, this is how it looks. Pretty cool, right? You're going to see that with the cool material, this will look awesome. Now, let's make sure the length is around 12. It doesn't need to be that big. If we can dragon drop the text to 03. And yet, this is what we are dealing with. So let's make sure we remove the black background by saying that use red as Alpha. Here we go. That's a little bit better. At least the black background is gone. And now we can use the material that comes already with these GPU trails to say that the scroll speed is two dot five on X, and as you can see, it's moving backwards. Now, let's focus on the color ramp. We want to add some color to this and make sure it's transparent at the end. New gradient texture, we can delete the last key for now. And on the first key, we can use a color. In this case, we already have it. On the section, we are going to use six for the R channel, three for the green, and one for the blue channel. Once we move it, yeah, we don't see much changing for now, but let's make sure we add another key at the end and that we say that Alpha is zero. So it's transparent towards the end, essentially. And then more or less around here, we want to click and drag a key to the left. Now, one thing that is important to see our orange is to turn on use HDR. Otherwise, we can see the color. Here we go. Now, that's much more interesting, right? In just a couple of clicks, as you can see, we have created a cool trail. Now, for the curve itself, the way the trail looks when we are moving, the shape, actually. Can say that the max value is 08. It doesn't need to be that large. And it can start small, very small. And then we can adjust this handle so it grows rapidly. Here we go. This is the kind of trail we are looking for. It's coming out of our projectile, and then it expands. Alright. Pretty cool. Now, let's see with everything else. And let's move it around. Yeah. This is what we have. The projectile will move faster, so the trail will be longer. You'll see. But yeah, I'm still going to push it a little bit to the right on the Z axis. Yeah, so it really comes from the brightest part of the projectile, basically. Just like this. Cool. Really nice. 52. 4.11 Projectile01: Trail Part 2: Now let's create another trail but a darker one to create contrast. Let's add a child node for GPU trail three D. Call it trail dark. We can add everything else, so we can focus on the trail dark. The length of this one is going to be bigger like 19. The other one was 12. This one is 19. It's almost double, not really, but you get the idea. And we can use the same texter. In this case, text to 03. And as for the scroll, you can scroll a bit slower, like two. Those are changes that guarantees that there's some contrast between the trail dark and the trail bright, basically. Now, on the color ramp, we can rest, create a new gradient, and for the first key, we can add a tiny bit of red, bordeaux, like zero at 07 on the R, zero at 02 on the G, and zero on the B. And for the last key, we can delete it, create a new one, so it has the same color as the first one. And all we need is to decrease the Alpha to zero, so it's transparent, and that's this is the trail we have. Nothing much is happening because use red as Alpha is disabled. Let's turn it on. Let's also turn on billboard. Here we go. This is the result we get much better. Looks like a shadow. Pretty cool effect. Let's make sure the curve is the same. Let's reset it first. And then let's go to Trail Bright. And copy with right click copy value and paste it to the curve with right click base value. So it's exactly the same. It starts small and then it expands. Alright, looking good. Let's see these two together. This is what we get. As you can see, when they are played together, it creates a really nice contrast. Now, let's see with everything else, and let's just push the trail dark a little bit to the right, so it's a little bit more inside the projectile. And if we move this around, yeah, this is the feeling we get. We can have a small perception of how it will look. Right. Cool. But instead of having that small perception, let's test it out on the demo that we have created here exactly for these kind of situations. So all we need first is to add the projectile move script. We can dragon drop it right here on top of the Vx projectile. As you can see, we have the parameters up here now, which essentially lets us control the speed. It's a bit fast like 14, and then we have a prefab for the muzzle and for the impact. But for now, let's make sure that we delay the trails start a very tiny value like 002. Otherwise, we get a small glitch at the beginning, and this small delay prevents that glitch. Now, what's important is that we add the trails right here to this list. All we need is to add two elements. Since we have two trails, we want to drag the trail right to the first element. And the trail dark to the second element, just like this, looking good. Press Control S to save the scene. But what's really important is that we create a prefab out of this projectile and to do it, we simply need to drag it to the prefabs folder. And here we go. We, we can leave the name like this. Let me just say it's projectile with an uppercase, remove the underscore, and that's it. We are good to go. E the projectile itself. And now on the world on the first node, we have this bound projectile script, like we have seen in the overview lesson. And as you can see, we have this projectile prefab being put where essentially we can do a quick load so we can select the prefab we just created the projectile. And if we test this out by clicking up here, let's see how it is by shooting a couple of them. Here we go. That's nice. All right, looking good. Based on what you are seeing, you can do some adjustments, obviously. We could, for example, in our case, maybe make it bigger. It's a tiny bit small, but it doesn't look that bad, so it's pretty cool. And if you want to edit the projectile itself, you need to click right here, so it enters on the projectile prefab. And for example, the capsule bright can be brighter. Let's multiply these by two, all of these values. The blue, it's zero. We don't need to multiply it. Now, it's super yellow, but that's because we are on this scene of the projectile outside on our projectile demo, it will look a little bit better. Now for the capsule small, we are going to do the same and duplicate these values right here for the hannel green handw and blue channel. Et's press Control S, go back to the projectile scene. As you can see, it's very bright at the point. Basically, that's how you can make changes to your projectile right now. So feel free to test a few things, maybe make it bigger. The other one went backwards. Here we go. Now that looks much better and it's something dangerous, that's going to hit the player. So you must be careful. So that's it. For the projectile itself. Now let's focus on creating a muzzle and then an impact. 53. 4.12 Muzzle01: Quick Impact: Let's now build the node effect for the muzzle every time we shoot. There's a little effect that happens, which could be in the ends of mage or on the muzzle of a gun. Onsen with right click, we can add a child node. This time, we can use a node three D as the base. We can call it Vffx and square projectile 01 and square muzzle or Vfxs and square muzzle 01. And we can reuse some of the particle systems we have done in the AOE, so make sure that you have followed the AOE chapter, or you can simply watch the lesson where we created this impact on the AOE chapter, and we control C and then control V. You can paste it under the projectile muzzle. Here we go. We can rename it to Quickimpact instead. And over at geometry, we can make sure this is unique, recursive. Indeed, here we go, because on the LBD, we want to switch the texter with the flare 02. Yeah, I think it's actually the same. We just want to make sure it's the flare 02. Feel free to try different texters. Of course, you will get different feelings, and now that you know a little bit more of material maker, you can take advantage of that and try to create different texters. Let's make sure the lifetime is a little bit longer like 03. On the particle process material, make unique recursive, indeed, because in here, we want to do the following thing. We want to make sure that the scale is smaller, like one dot six and two dot six because it's the muzzle. It doesn't need to attract that much attention. And we can delete last key on the scale curve and make sure we push this key to the end because we want this to grow like this. We can disable one shot and make sure it's emitting, just to see how it is. Yeah, enable one shot again. As for the color, it's not quite correct. It bit too red. So let's make sure the R is two and the green is one dot five and the blue is one. It's bit more orange, as you can see. That's nice. We are spawning two part that's why we have this kind of star shape. Let's create a new granite for the color ramp, and we want to invert this. We want this to be visible at the beginning, and then it fades out exactly like this. And we get this cool star that is growing. And that's the beginning of our muzzle. In our next lesson, we are going to create a shock wave. 54. 4.13 Muzzle01: Shockwave: For the shock wave, we also have all the necessary elements, and by that I mean, we have a texture. So let's duplicate the quick impact with Control D, call it shock wave. On this case, we only need one in the amount, one particle is enough, and it's going to live longer. We want it to expand for a little while, like off a second. It's a muzzle, so we have a shock wave expanding. For that weapon, we also need to make sure that this material is unique. So under Al Bio, we can switch this with a circle 02, drag and drop it. Here we go. This is how we're looking if we turn on the emiting. As you can see, the color is very intense. So on the process material, let's make sure it's unique first. Always. It's kind of a weird workflow, but it is what it is. So yeah, in here, let's make sure that the color, I mean, the scale, sorry, first, let's take care of that because it could be bigger tree. As for the color, it was very bright indeed. So one or zero dot 95 for the R shadow, and then zero dot 75 for the green shadow and zero for the blue, it's a color that we found to be good for this shockwave. It's smooth, as you can see, real nice. We can watch both playing by selecting them and enabling disable meeting or we can add the play particle system script. So yeah, let's do exactly that. Let's drag and drop the play particle systems to the VFX projectile muzzle. So we can press play particles up here and it's much easier to preview our effect because we are going to add a few more things. For example, on the next one, we are going to add a quick flash and a dark beam, so we can have contrast. 55. 4.14 Muzzle01: Flash and Dark Beam: So now let's add a quick flash and then a dark beam so you can have contrast. We can actually do it by duplicating the shock wave and calling it the flash. It's going to be very fast to a lifetime of 02, we'll do just fine. It's for a quick flash, which means on the GMT on the material over wide, we need to make this unique so we can change the albedo text. To the beam 01. Drag and drop it. Here we go. Exactly like this. As you can see, it expands really fast. Let's make sure that the particle process material is unique. So we can on the scale, say the maximum is zero dot eight. It doesn't need to be that big. We can remove that scale curve as well. And for the color, it's not bad the one we have, but it could be a bit brighter, like one dot five and then one dot four and one dot three for the RGB respectively. And it's almost white. On this case, the redder priority could be bigger like two. So it's above all of the other particle systems. Let's select the parent of this and press play particles. Here we go. It's very, very subtle, but that bright flush at the beginning is there. So let's duplicate this flash for the beam dark. It's very similar to the flash, but it's going to be slower and it's going to be dark and it's going to be behind everything. Oh, and it's going to live longer. So on the lifetime, yeah, let's make sure it's something like Zerot eight. On the material, make unique because we want to change the way it blends. The blend mode instead of add, we want it to mix so we can render darker colors. As we have seen a couple of times throughout the course, if you want dark colors, mix blend mode is the one we need. Oh, and we can already take care of the render priority by saying it's minus one, so it renders behind everything. Now on the process material, we need to make this dark, so make unique first. So it's unique and we don't change the flesh. And then on display, yeah, actually, we can say it's bigger, so it's a little bit more predominant. But in terms of color, it's going to be dark, it's going to be subtle. You can push this all the way down and decrease the Alpha, so it isn't so predominant something like a lot eight, a lot 85, could be even lower. It's just a subtle way of adding contrast to our muzzle. Dark colors play an important role when creating effects, so we can have contrast. We can remove the color rep because in this case, we want to use the Alpha curve and create this graph right here where it becomes visible very quickly in the beginning and then it fades out. Exactly like this, it's smooth, it's nice. If we play everything together, we get this feeling, as you can see, that dark on the back really adds a contrast. Plus, if you have a very bright scenario, your muzzle will still be visible. That's why dark colors are important. 56. 4.15 Muzzle01: Particles Burst: Now let's see how we can add the burst of particles in our muzzle. But first, we actually noticed that if it select off the particle systems on the transform, it's offsetted on the Y axis. We actually don't need that, so let's say it's zero, so it's centered with our parent. Here we go. Much better. Now, as for the particles burst, we can enter on the projectile itself and copy the floating particles bright, Control C, and then control V in our muzzle. We can rename it two particles first, bright because we are going to have darker ones, so it matches our projectile, basically. Let's say it's ten for the amount that should do it. And for the lifetime, a little bit less 07, it's a small detail. Now for the particle process, let's make sure it's unique. Because in here, we want to make sure that we add lifetime randomness. So they don't all have the same lifetime. It's random now. Some live longer, others die sooner. And on spawn on velocity, minimum down here can be two for the initial velocity. So they go crazy, as you can see. Let's reset the radial acceleration. We actually don't need it, and that's almost it. We can actually on the turbulence, say the influence is less, it's moving a little bit way too much. Yeah, something like this. As for the scale, can be a tiny bit bigger like zoot 05 and Zelt one, even though it's a muzzle and the muzzle is small. Now, it's really important that we say explosiveness it's one, so it's a burst, and it all happens at once, the particles. And then we can turn on one shot. Here we go. Yep, exactly like this. If we select our muzzle, the parent, we can press Play particles, and this is what we have. All right, looking good. Particles are a bit too bright, but for now, I think that's right. Let's duplicate this particle burst for darker particles, particle burst dark exactly. And first, let's make unique material. So we can say that the blend mode is mixed. Otherwise, we can't render dark colors. Let's make our particle process material unique because we want to say on display, the scale is bigger 01-02, and now the color is going to be totally dark. Here we go. We can remove the color ramp because Alpha curve is what we need. Screate a new curve, say the first key starts at zero. Then it quickly becomes visible, and then it fades out slowly. Here we go. Let's see everything together on the projectile muzzle, press play particles, and it's looking nice. We got ourselves a muzzle. Now let's see how it is, how it works with our projectile. So all we need is to drag this to the prefabs folder, so we create a new prefab. Let me say this is an uppercase. We don't need this underscar and muzzle is also an uppercase, nicely organized, and let's go inside the projectile and make sure that we dragon drop this muzzle to the muzzle prefab of the projectile move script, and then we can press Control S to save the projectile. Let's hide the projectile and the muzzle and then press play current scene. Oh, nice. This is what we get, as you can see. The muzzle really complements the projectile. It's a small touch, but you get the idea, right? Now, what will really 57. 4.16 Impact01: Flash: So let's begin with the third part of the projectile. In this case, the impact effect for every time the projectile itself hits the ground or the wall. And we can begin by adding a child node to the scene. In this case, a node tweed will do just fine. Can begin with that and rename it to Vx underscore projectile 01, underscore impact or simply VFX underscore Impact 01. Let's use a small shortcut and enter on the muzzle itself because we have this flash particle system that's going to be useful. So let's copy Control C and then select the projectile impact and paste it with Control V. This flash it's going to be even shorter in terms of lifetime. It's going to be even more impactful zero dot 15. From there, we can make the material unique, recursive indeed because on this specific case of the impact, we want to turn off billboard here, press reset, the particle system is parallel to the ground or to the wall or to any surface that it hits. The script will automatically make sure that the impact is aligned with the surface of the impact. All we need now is down here rotate -90 on the y axis. Otherwise, the alignment won't look good. And if we enable and disable meeting, as you can see, it doesn't face the camera anymore, it's static. Let's make sure particle process material is unique. And on the scale, we can actually say, it's going to be bigger like one dot five. On the color, we need to change it so it's brighter. So on the red channel four dot five, on the green Channel four and on the blue Channel four as well. Let's also reset the color ramp. We can use an Alpha curve. It's easier to control, and it will still fade. We want a key at the start, another key more or less around here, so we can push it all the way up and then another key at the end. Basically, it fades in very quickly and then it fades out a bit slower. Something like this, as you can see, it's extremely bright, but for this impact, it will look nice. It's the brightest part of the impact itself. Even though it's only one particle, we can already add the play particle system script. Drag and drop it up here on top of the projectile impact, and then we can use the play particles, and we will add a few more particle systems, for example, a shock wave. 58. 4.17 Impact01: Shockwave and Dark Beam: Now let's add a quick shock wave, similar to what we have done on the muzzle, which means we can go to the muzzle as well, copy this particle system, and paste it right here. This is what we have at this point. Ed. Let's already go to the geometry on the material. Let's make sure it's unique because in here, we also want to disable the billboard mode, so it's parallel to the ground or to the wall every time it impacts. And down here on rotation on the Y axis, we want to say -90 degrees. Let's make a few adjustments. For example, on the particle process material, let's make it unique first. This size can be bigger, like five. It's very small adjustments. And on the color itself, let's make sure it's brighter, one dot five on the red channel, one dot two on the green, and dot six on the blue channel. Here we go. This is what we have a bit more impactful, bit more visible, as you can see. Feel free to try different texters, by the way. We can decrease the alpha, let's say it's zero dot six, so it isn't so predominant. Here we go. Feel free to try a different texture by going to material maker and playing with what we have shown you when we created this shockwave essentially. There's plenty of options and you can do a bunch of cool things. If we play everything together, this is what we get a very bright flash at the beginning, and then a shock wave expanding. Let's add another particle system for a dark beam. And once again, we can take advantage of the muzzle that we have done. Let's go here and with Control C, copy the beam dark. And then we Control V, paste it right here on the impact itself. At this point, this is what we have. On this case, we can use it as a burnt mark of the impact itself. So let's say the lifetime is longer, like three dot five, 3.5 seconds. And on the geometry, we can make sure it's unique first. Because in here, we also want to disable the billboard. So this is parallel to the impact surface, essentially. Which means down here on the rotation, we can rotate it -90 degrees on the Y axis, and that's pretty much it. The render priority is already set to minus one. Oh, on the particle process, let's make it unique. And on the scale, we need this to be a little bit larger. So two dot eight should do the trick. So I think that's essentially it. If we use the play particles system script, this is what we have. It will leave a black mark after the impact. That's it for this lesson on our next one. Let's see how to create a mark of an impact. 59. 4.18 Impact01: Impact Mark Bright: Let's create an impact mark for this. In this case, we can begin with the shock wave Control D to duplicate it and call it the impact mark bright. Since it's on the aftermath of the impact, it's going to live a while longer. Let's increase the lifetime to one dot two. On the material, let's make sure it's unique first because in here we want to change the texter. I actually recommended to create a new texter, but in this case, we can also use the impact mark 01. It will fit nicely for what we need. Here we go. Perhaps a little bit too big. Let's make a few adjustments on the particle process material. Let's make unique first, recursive, indeed. On the scale, let's say the maximum is one dot eight. We don't want this to scale, the curve, right? We don't want this to move. It's static. It's an impact, it stays there, and then it fades away. Exactly. The color is not that bad, but you can actually make the tiny bit more brighter. For example, one dot seven for the R channel, 14 for the G channel, and one dot 15 for the blue channel. Let's say the Alpha is also at its maximum. Here we go. Quite bright. This one is pretty much done, and we can take advantage of that to create a contrast by creating a darker mark. So let's duplicate it and call it impact mark dark. And this one is going to live longer like 3 seconds because we want this dark part to stay there for a little while. On the material of wide, let's make sure it's unique because in this case, we need to change the blend mode to mix. Otherwise, we can't render those black values. Let's also make sure that process particle material is unique. Again, and now for the color, we can say it's totally black. You can remove the color rep because for the mixed blend mode, the Alpha curve will work best. In here, let's create a new curve where we can add a key more or less around here at the beginning, all the way up, and then another key at the end, all the way down, so it fades out. You can actually push the first scale bit to the right so it doesn't fade out immediately. It stays there for a little while, and then it begins fading out. One last thing we need to make sure is the render priority minus one, so it renders below everything. Let's test it out by selecting the projectile impact and press play particles. Here we go. Looking good. We got ourselves an impact that's beginning to shape up nicely. We will see in a moment how it looks with the projectile itself. But for now, let's add some impact particles. 60. 4.19 Impact01: Impact Particles: So let's at some part cause and impact, some sparks, essentially. Go to the muzzle and copy the part called burst bright, Control C, and control V on the projectile impact. This one, we can rename it to Impact part cause bright. This is what we have at this point. They stay floating right there. We want them to stretch and go really fast on all directions. So I'm sure you can already imagine what we need to change after all the particle systems we have created, right? Let's actually begin by increasing the lifetime to 1 second, so they live a little while. And then on the particle process material, make unique first. We can leave the lifetime random at seven, but let's go ahead and velocity. Say the direction is minus one on the X because we want them to go in opposite direction of the impact surface. Still on the velocity inside spun, let's make sure the spread is 90, so it goes almost in all directions and offer the velocity a minimum of five and a maximum of seven, and this is what we get at this point. They are beginning to have a nice motion and impactful motion. Change a little bit color so they are a bit more whitish. Five for the R, four for the G, and three do five for the B. Here we go. Let's say everything is together. Yeah, as you can see, they are floating around. They aren't that bad, but they are only ten. So let's increase to around 60. And, yeah, that's much more impactful. All right, looking good. As you can see, by layering several particle systems, we obtain a certain result. That's one of the essential ideas of a VFX artist. Let's have also some dark particles. Since this is kind of an effect based on fire, some ashes will look good. That's what these dark impact particles represent. So as usual on the geometry, let's make sure this material is unique because transparency blend mode is going to be mixed, so we can render dark colors. I'm sure you will remember that for the rest of your life, which also means on the particle process material, we need to make it unique. So we can change the color to a dark tone. We can remove the color rep because we need Alpha curve to fade it out. A simple curve from totally visible to invisible will do just right. As for the scale, a tiny bit bigger, 01 and 02. Yep, that should do it. Let's see how it is everything together. Here we go. Maybe 60 dark part because it's a bit too much, but I can't complain. It doesn't look that bad. And since we are here learning, I think it's right. Now, wouldn't it be cool if we could add some fire whenever the projectile impacts? So that's what we are going to see in our next lesson. I 61. 4.20 Impact01: Fire: Now, since we already have created fire for the AOE, let's see how we can add it to this impact. It will be a good detail to add to the impact itself. Let's go over to the AOE 02, open it up and with Control C, copy the fire particle system. Let's go back to our scene. Control V here on the projectile impact. As you can see, this is what we have. We need to make a few adjustments so it fits our impact. Let's decrease the amount to 35. And on the material, let's make sure it's unique. Because down here on the shader, we want to make a few adjustments. For example, the dissolve tiling, we can basically zoom in on the text by saying it's zero at five and zero at five on the X and Y. Basically, we won't have as much detail, but we also don't need it. That noise text doesn't need to be that small, so we can zoom in essentially, and the dissolve will look different. Yeah, we can also decrease the dissolve speed on the y axis. It doesn't need to pan that quickly. And then for the dissolve amount, you can test different values. In this case, a very slightly more dissolved fire can be interesting. I'm gonna leave it at zero at nine. Now let's go over here to the particle process material. Make sure it's unique first. Because we want to make a few adjustments. First, on the shape itself on the area that it spans, it can be a sphere, but on the X, it can be zero, and it can be one on the y axis. This way, we have a vertical circle. Let's see it that way. Since we have flattened the X, and the radius could be smaller because the impact is also not that big. Maybe zero at five, zero at seven, those could be good values. Now it's a small detail, but on spoun velocity, the spread could be bigger. It could spread to around 90 degrees. Difference is minimal. We can actually increase the initial velocity, so it spreads even more between zero at nine and one dot two, here we go. At this stage, it actually looks like a campfire, you know, interesting. In our case, yeah, we don't want this to go that much up. So on the gravity, let's say, it's zero on the y axis. But you had a good basis for a campfire back there. Now, we also don't need that much dumping. So 1-2, that is okay. And as for the scale, let's try Zealot five and Zerot eight to see how it fits with the rest of the impact. We can, however, on the scale curve, say that it grows instead of shrinking. So let's remove the last key and drag this to the end. Here we go. The color is that bad, but it could be brighter, let's increase those values on the RGB. Here we go. It's quite bright, indeed. And finally, we need to fade them out. They are disappearing out of nowhere. So on the Alpha curve, first key is one. Last key is zero. We can drag the handle just like this so it fades out quicker. Now let's give it a try. Let's say it's one shot. Just to see how it is. Yeah. All right. Let's actually see with everything else. And yeah, as you can see, it's way below. So what we can do is reset here the transform by saying the Y axis is zero. Let's try it again. And yeah, that's much better. Seems like it goes a little bit on the y axis. It could move in our direction, basically outwards. But once we test it with the projectile, you will see that the script itself will rotate this properly, and the impact will align itself with the collision surface. So now let's see how it works with the projectile. All we need is to drag this to the prefabs folder, create a prefab. You can rename this. I'm just going to make a few adjustments here, like an uppercase, remove the underscar and so on. Now we can navigate to the projectile prefab. We can enter the projectile prefab, this scene right here and dragon drop our impact prefab that we just created to the impact prefab slot on the projectile move script. Let's just hide the impact on this scene. Click this button up here to see how it looks, and here we go. As you noticed the impact, it's actually rotated on the wrong direction. So let's open up this impact. Go in here, rotate everything 180. And the fire can be 90 degrees on the y axis. Let's save the impact. Alright, let's test it out. And here we go. That's the problem. It's fixed. Now it looks nice and it works properly. Every time the projectile hits the ground, the impact adjusts itself properly, as well as when it hits the wall. So yeah, pretty cool looking good. I think it came out great. But most importantly, I hope that you have learned a lot of things, a lot of cool tricks, and you feel more comfortable creating effects for your game or if you are looking to be a VFX artist in Go, now you know a lot more. I hope, at least. So please share with us what you have done, the results of your course on social media, whatever you want. The course isn't over yet, because in our next few lessons, we are going to see another version of this projectile. 62. 4.21 Projectile02: Capsule: For the second projectile, we are going to see how a few adjustments, a new mesh and a new color can look totally different and create a different feeling. Instead of being round, let's create a pointy one. So in blender, on the project where you have this capsule, if somehow you lost this project, well, you need to go back to this lesson where we created capsule because you are going to need it as a base. We want to duplicate it with Shift D and then press escape so it stays right there in the same position on the center. Then we can add the first capsule we created and the second capsule, we can call it capsule, 02, here we go. Now, the changes, let's do them on the left orthographic view by pressing Control N pad three. Here we go. And then we can enter Nets mode with tab. And the idea is to select everything with S, lock it on the Y axis, and then resize it more or less one dot three, one dot four, something like this. And now we are going to pick this edge loop here while lding out, and then we are going to shrink it down with S exactly like this a little bit. We can do the same for the following edge loop and so on. Exactly like this and then a little bit more for this one. And for this last edge loop, we get this. Basically, we are making it pointier. You can also select the pointy part of the projectile and push it a little bit on the y axis with G, and then select again this edge loop to adjust it. Sometimes it can be hard to select the edge loop. You can zoom in and then scale it. Probably we need to adjust the other ones as well a little bit. Here we go. That's looking nice. It's becoming really pointy. That's the idea, the focus. Here we go. Alright, looking good. You can get off, Edit mold with tap and finally, let's use Control A to apply Al transforms, and that's it. We can go to File Export select wave front, navigate to our project folder, and rename this one the capsule 02. Make sure selected only is on and then export wavefront. Now, back in GoTo, let's start from scratch. Let's create a rigid body three D. Here we go. And we can call it VFX Scare projectile 02. Now, let's copy all of the elements from projectile 01. While ding shifts set everything, Control C. Then with Projectile 02 selected, press Control V, and here we go. We created a quick copy of the first projectile. Let's everything and leave only the capsule bright. Let me just frame the capsule correctly. Here we go. Okay, so on the drop passes, we want to replace the capsule, with the new one. So let's drag and drop the capsule 02 right here, and here we go. As you can see now, this one immediately looks much more aggressive than the first one. That's why shapes in Vc are so important. Visual effects is essentially communicated with shape, colors, timing, and understanding that is a crucial part of being a VFX artist. Now, another thing we can already take care is on the material, let's make sure it's unique first. We want to use a different text. For example, the text 04, the noise 04. Dragon drop it. Here we go. It looks very interesting with this projectile. Obviously, you can try and create a new noise. I highly recommend it because you will gain practice. But for the course's sake, let's keep going on and make sure that the particle process material is unique. Because in here, we want to change the color. We want something different. We are going to aim for a more electrical filling slash mage projectile and not so fiery. So on the color, instead of a yellow, orange color, let's go for a bluish one. On the R channel, we are going to use zero at five on the G one, and on the blue channel 25. Here we go. Exactly this color palette looks very interesting, kind of maj filling. Let's repeat this process for the capsule dark. On the drop ***** we can drag and drop the capsule 02. And then we can make unique the material itself, always unique recursive, so it makes sure that everything is unique. And then we can drag and drop the same texture. And for this one, that's it. For the next capsule, the capsule small, let's do the same process where we use the capsule 02 on the drop passes. And now it's bright and it's orange yellow, so let's take care of that by making sure the particle process material is unique because we want to change the color. So it's a bright blue. And we are going to say the R is at five, the GA is one, and the blue is two. Here we go. We have that bright, pointy end. Looks dangerous, and I'm sure the player is going to try his best to avoid it. On our next few lessons, we are going to adjust the other particle system so it fits our new projectile, our new vision. 63. 4.22 Projectile02: Rest: This lesson, let's adjust the other particle system. For example, on the beam inside, if you want, you can directly control its size right here on the transform. It's an option as well. And then adjust its position. Maybe it could go a little bit further, but I'm going to leave it right here for now. What I notice is the capsule small could be brighter, so we don't see the beam inside too lonely. Some of the capsule small, maybe one for the R channel, two for the green channel, and four for the blue channel. Here we go. It's quite bright now the tip of the projectile, which is essential, so the player knows where the damage comes from. Yeah, maybe this one can go a bit backwards now, yeah, the beam inside. Yeah, that fits nicely. The next particle system is the floating particles bright. Let's make sure we make unique the particle process material. Here we go. At the time of recording this, we left it with an orange flavor, but I highly recommend it to try a bluish color. It will make more sense for this projectile. Since we are going for a blue lightning projectile. Yeah, try a bluish color. Probably it fits better. The floating particles dark, we can leave it as it is. As for the smoke, once again, we can make the particle process material unique, but I also recommended to try a bluish color, a blue tone. I will fit better. Actually, in this case, it could be smaller the smoke Exactly. But yeah, try a dark blue. It will look really nice. Now, as for the trails, we can actually start from scratch and delete them. Yeah, and then right click on the projectile 02 and create a GPU trail three D. We can rename it to Trail Bright and say the length is 30. This one will be a pretty long trail compared to the first projectile we made. So yeah, now we actually need a new texture, so it looks more like lightning, more like electricity. So that's what we are going to do in our next lesson. 64. 4.23 Projectile02: Lightning Trail Texture: So for this texture, let's use once again material maker, and in here, we can begin with a shape node. Essentially, we are going to use a rectangle and distort it in a way that it looks like lightning. So let's say this shape has four sides only, and we want to increase its fate, its feather to around 090 at 85. And we can stretch this square with the transform. On the scale X, you can say it's something like 16. Basically, we want the brightest part of the center to touch on both sides. So yeah, to make sure 16 should do just fine. You can make it thicker or thinner. We can go with something like zero at five, at 45. Then we have options to clamp or to repeat. It's quite a useful node, by the way. So if we want to distort this rectangle in a way that looks like lightning, we are going to use noise. And in this case, a Voronoi one is quite useful. Where we can say it has a scale of two on the X, so we stretch it on the X and we increase its intensity and its randomness. Here we go. A very simple way to make sure the Voronoi influences the rectangle is with a math node. Set to multiply exactly like this. As you can see, it's beginning to distort and in some ways, it already looks like a fragment of lightning. Now we can erode this fragment of lightning again with a math node. And if you set the B option to something like 15 or 17, but instead of being A plus B, we can use the power function. This is the result you get a strip of lightning that's going to be very useful. Now again with the transform, we want to repeat this pattern one more time. First, we are going to have set it in the X value of 055. On the left, it's stretching because it's set to clamp the mode. We are going to set it to repeat in a moment for now we can shrink on the X and stretch in the Y with these values. So, let's change the mode to repeat. Here we go. Beginning to see something. Now we can control how much of this we want with a math node. By multiplying these with a small value like 002, 005, as you can see, that's something that resembles lightning. The cool thing is that we can repeat this process and create another strip of lightning. So let's copy these nodes, Control C, Control V, and let's begin changing a few things on this chain. First, the Voronoi here could be much bigger like eight by eight on the X and Y of the scale. The math nodes, the multiplier, and the power, the power we can decrease it, so we don't dissolve it that much to around 11. And in this case of the X, I'm going to offset it a little bit, not that much, but we can stretch this to around one on the X and make it a little bit larger on the Y axis. Basically, if we put these two together now, we can reuse this math node and say, it's A plus B, where A is going to be the previous strip we created, and B is going to be the new one. And as soon as we put these two together, you can have a sense on how they blend on how they overlap. And this is where you can make a few adjustments like offset one of these strips of lightning or make another one larger. Play with the power node. In our case, we are going to leave it as it is, and with click, we are going to say export 2048 by 2048, and we are going to export this directly to our project to Texas folder as a PNG. We are going to call it textos 05, but feel free to rename it to Lightning 01 or something that better identifies what we are seeing here, right? So in our next lesson, let's see how to apply this to our trail. 65. 4.24 Projectile02: Lightning Trails: Alright, with our new texture, we can already dragon drop it to our trail bright. Here we go. This is what we have. We still have all that black in the background because use red as Alpha is disabled. But first, let's actually make sure it scrolls on the x axis a value of three. Now let's reset this color ramp. We want one from scratch because we want to turn on use HDR. And invert this gradient. We want it to be bright at the beginning, and then it fades out. We are going to use yellowish orange color, but I recommend to use a blue tone, it will look better. But feel free to follow along. In our case, we are going to say this is really bright and white, and then we are going to push the right key to around here, and this is where we are going to add color seven on the R, three dot four on the G, and zeot eight on the blue shallow. This will create an intense yellowish orange color. We can add another key right at the end, so it uses this color, but for this key, the Alpha is zero, so it's transparent at the end of our trail. As for the shape of our trail in the curve, we can reset this one and use a new one to say the max value is one dot five. And then add the key right at the end, but at its maximum value, another key at the beginning, but at zero, and then a third key more less around here close to the beginning, but at the center of the graph, and we can adjust the handle so it grows rapidly, and then it grows smoothly. In this case, it's not growing. It's the shape itself of the trail. As you can see, this is the shape we have right here. Pretty cool, right? Looking very nice. To remove the black background, all we got to do is enable as red as Alpha. We also want to turn on billboard, so it faces always the camera, and this is the beautiful trail we get, as you can see. Combination with material maker, we have created something pretty cool. The combination of yellow and blue is quite interesting, but perhaps the blue trail will feel more appropriate. In the end, it's really up to you. Now, let's add some contrast to this by creating a new GPU trail treaty for the trail dark. It's going to be longer, 40 for the length, since the other one was 30. We can reuse the same texture, and it's going to scroll slower to that five. As for the ramp, we can reset it. We want to say the last key is totally black, but with Alpha at zero. As for the shape for the curve, you can actually go over to the trail bright, copy this curve, copy value, and then paste it right here on the trail dark. You can use red as often so we get rid of the black background and turn on billboards, so it always faces the camera. And this is the result we get. If you combine the two trails, it looks very interesting, and it creates an interesting contrast as well. And if you play everything together, yeah, like I said, perhaps the blue will be better. But that's up to you. Now, let's test this out with the script with the demo itself. All we need is to create a prefab by dragging this to a folder to the prefabs folder. Rename it to projectile 02. And then let's enter the projectile by clicking this icon, and we can drag the projectile move. Where we can increase the speed to 14 and decrease the delay trail start to zero.02, so we don't get a glitch right at the beginning. Speaking of trails, we can add them to this list. Dragon drop the bright and dark one. Here we go. Let's save it, and let's test it out. To test this out, we can first hide the projectile on the scene, then select the world node. And instead of projectile 01, we can drag the projectile 02. Right here. Here we go. Let's try this out. Let's fire a couple of projectils and see how they are looking. Yeah, really nice. We don't have a muzzle nor impact, but we get a perception of how the projectile is going. It's quite distinctive, the trail and the project, the capsules. So yeah, feel free to try different colors, obviously. Maybe we'll make a few adjustments at the end, but this is what we have at this point. Now, let's see another version of the muzzle. 66. 4.25 Muzzle02: Muzzle: So let's see a couple of changes we can do to the muzzle, the second muzzle. Let's begin by creating a new node three D that we are going to call projectle 02 and the scar muzzle. Then let's open up the first muzzle we did and copy all the particle systems. Here we go. Let's everything except the quick impact because we want to make a few adjustments here. So let's make the particle process material unique. A display, the color, let's make sure it's bluish by saying one for the R, one dog, two for the G, and two for the B. This is what we get the blue flare. This one will do just fine. We are making few adjustments, not that much. On the shock wave, let's also make unique the particle process material. Where we can use a very light orange, in your case, probably a blue will fit better if you are going with a blue tone. Just make sure to decrease the alpha. It doesn't need to be a very strong shock wave visually. The third particle system, the flesh, we can also say the particle process material is unique, recursive, because in here the color, we want to adjust it to something bluish. In our case, we just made it brighter in the orange spectrum. The beam dark, we can leave it as it is. As for the particles bright, they can, for example, have a short lifetime. We can say the particle process material is unique because we want to change the color. And in this case, we can actually open up the projectile 02 and go ahead and copy the color from here. Copy values with a right click, go back to the projectile scene and paste it to the projectiles burst bright. Basically, we are making sure the muzzle particles are the same as the projectile. So if you went with blue particles, this one should be blue as well. Another small detail is to disable the turbulas and decrease the sphere radius up here in spa position. Here we go. And we can increase their initial velocity. They leave a little bit less, but we also want to make sure that they go more or less the same distance as the other ones. These particles of the burst can also be a tiny bit bigger. Zoot one and Zoot 25, they will be more visible, and we can actually stretch them. So on the drop passes, we can use this technique right here where we make this unique first. And we squeeze the X value to around 02. You can also make stretched particles like this. But as you can see, they go vertical. If you look closely, they are always vertical. So on the material, let's make sure it's unique first. We want to disable billboard so they don't always face the camera, but instead face their velocity vector. They are still stretched because on the particle process material on the part cause flags, we need to turn on a line with Y axis. Here we go. All right, that's much better. As for the other particles burst, we can delete it. And then we can go ahead and duplicate these particles burst bright, so we can create part called burst dark. And basically the idea is to make unique the material itself. So we can say the blend mode is mix, which allows us to control the color and render dark ones. Let's make unique the particle process material recursive. And then in display, change the color so it's totally black. Instead of a color ramp, let's use Alpha curve. Here we go. So it fades out at the end. We can also tweak a little bit to size, make it bigger, and that's pretty much it. And yeah, and let's add the play particle system script. Just drag and drop it right here. Here we go. Alright, it's a muzzle. It's a tiny muzzle, not that fancy and not that different from the other one. We didn't change any textures. We mainly changed color and sizes. So feel free to try really getting deeper into that and changing texas, making new texts. We'd really love to see you guys experiment with material maker to create electricity. Other than that, we can drag and drop this to the folder through the prefabs folder. Rename it. And then go to the projectile 02, the scene. And drag and drop our new muzzle. Here we go. We can quickly test it out. Let's press this button so it plays the open scene, the current open scene, and here we go. We have that buzzle flash at the beginning for our second projectile. On the next few lessons, let's create the impact. 67. 4.26 Impact02: Changes Part 1: All right, so the muzzle was a very subtle effect. Now on the impact, let's see a couple more tricks. Let's begin by hiding the muzzle and then creating a new node T D which can be renamed to Vx and the scar projectile, 02, and the scar Impact, or simply Vx and the scarimpact 02. And we have a similar process to the muzzle where we open the first impact we created and copy everything except the fire one. Control C and then Control V right here. Here we go. This is what we are dealing with. Let's start from the top. Let's add everything else except the flash. As usual, make unique recursive on the particle process material. This flush is going to be a tiny bit more white and not so strong. Four, four, and then three, here we go. With a yellowish tone. As for the shock wave make unique because we want to say display, the color is a bit more bluish. 08 for the R, one for the G, and one dot five for the blue shannw. We get this light blue color. The rest can be the same. Beam dark, yeah, we can leave it as it is. Now for the impact mark the bright one, first, we can say the material is unique. Here we go. And now let's go to material maker. Let's create a new texture for this impact. 68. 4.27 Impact02: New Impact Texture: Let's open up material maker and see how to create an impact texture, another one, another cool method. For example, we can begin with a wavelet noise. We are going to distort it in a way that it ends up being circular. First, we can adjust scale, for example, six by five on the X and Y. From there, we can actually use the math note But it divides A with B, where B is going to be a crystal node. It's essentially another noise texture. Let me show you the result. Here we go. If we set the scale to seven and then 13 on the Y. Doesn't look like much right now. It has a lot of white values. What if we could invert this? Let's search for invert node. Here we go. That's more interesting. We can work with that. So if we need this to end up like a circle, we can use a circle map. Anything connected here will be in a circle shape, as you can see. That's extremely useful when creating Texas in material make. We end up with all of these rays around, you see? We can get rid of them by using a mask. This mask can be created as a circle shape or we can use a radio gradient, which is another trick. As a matter of fact, it allows us to have even more control on the radio gradient, essentially, instead of using a circle shape. All we did then after adjusting this white and black kiss, is to use a math node where A multiplies with B. And it works as a mask as you can see. Now, we are noticing that the middle is not that bright as much as we want. It's the center of the impact. So let's actually use a shape node. The sides don't really matter here for the circle. The radius can be a tiny bit small like zero at eight. Actually, let's make the radius even smaller zero at six, but it's important that we feather this, that we fade this and set the feather to one. In this case, we can use this in a math node A plus B. Here we go. Much more interesting. The core of the impact is brighter and that's great. Now let's get rid of the Blackbground by using a colorized node, where we say the black key, the first one is zero on Alpha, and that's it. There we go. You have learned how to create another Impact texter. Now we right click, we can go ahead and export this 2048 by 2048 to your texts folder, and we can call it the Impact mark 02. Make sure it's a PNG. Here we go, save it. And in our next lesson, we are going to see how to use this in our impact. 69. 4.28 Impact02: Changes Part 2: Let's see how to use our new text and make a few more adjustments to the new impact. We can go ahead and dragon drop our impact Mark 02 to the albedo section of our material. Let's also make sure particle process material is unique, recursive. We want to make a small adjustment to the color. Two dot five, two, and one dot two, will be brighter and the size a minimum of two. Here we go. We have this bright orange. Feel free to try a different color, obviously. As for the impact mark dark, let's make unique the material itself. We only need to change the texture here. The rest can be pretty much the same. Let's actually say the size is two, so it matches the other one. It's not visible. Here we go. Now we can see emitting. All right. The impact particles bright don't need to be that much. 30 will do just fine. Let's make the particle process material unique. And once again, copy the color from the projectile itself. This way it matches, and then paste it right here to the display color curves, paste value. Here we go. They are kind of yellowish. So yeah, in our case, we are going to duplicate the impact particles bright, so we can have some blue particles as well. I'm going to call it two at the end. Make the particle process material unique. And in color, this one is going to be for blue, one dot five on the R, three for the G, and four dot five for the blue channel. Here we go. We have a mix of both particles. Cato looks interesting. The impact particles dark, we can leave it as it is. Let's go ahead and drag and drop the play particle system script. So we can see everything together. Oh, nice. That's interesting. Let's just add a quick bright beam that stays there for a little while. We can begin by duplicating the impact mark bright. Called the impact beam. You could use a specific texter for this. It will be more interesting. Let me tell you if you want to go ahead and create a new texter. In our case, we are going to use the beam. But first, let's go to the particle process material. Say it's unique. Decrease a little bit the size doesn't need to be that big, one dot five. The color doesn't need to be that strong. One dot five, one dot five, and one respectively. We can use an Alpha curve, so it fades out quickly at the beginning. As you can see, with this curve right here, And now in geom tree material, let's make sure it's unique. And like I said, we are going to use the beam right here so we can have this bright beam, basically. That stays at the center as if the projectile was so hot that well, it leaves this bright mark for a little while, you know. Alright, so let's see everything together by first creating prefab out of this projectile impact. Let's dragon drop it to the prefabs folder. Rename it. Here we go. Let's go into the projectile 02 scene. And dragon drop this impact we just created. Let's save it. And let's click up here to see how everything get together. Here we go. We have a mix of blue and yellow in this electric projectile, something crazy, something a little bit different. Feel free to try a different color. Actually, noticing that the pointy end of our projectile could be brighter. In this case, on the projectile too. The capsule small. The color here can be something like two, four, and eight. We are basically duplicating the values. Same thing for the capsule bright. Duplicate these values here in terms of brightness and now you can save it with control S. Here we go. Let's see how it is. All right. So that's it. It's bright now. And in our next lesson, we are going to make some final adjustments. 70. 4.29 Impact02: Color Change: So this lesson is optional because we are going to make a few adjustments based on the color of the projectile. We are going to turn it into a blue one, so feel free to follow along or directly jump to the conclusion. But basically, we are going to open up projectile 02, and in here, for example, the floating particles bright, you can say they are blue. Two, three, and four, not five. Here we go. We can also say smoke itself instead of being totally dark, it can be a dark blue. Like zero at two for the RNG and 06 for the B shannw that way we have this dark blue smoke. As for the trails, well, in here, the gradient, we can delete last key and say this one instead of an orange, it's going to be blue. So we switch the R and B values, zero to eight on the R and seven on the B shadow. Here we go. We can also click right here to create a new key. This key will have the same color as the blue one and make sure it's transparent by dragging the Alpha to zero, here we go. Blue trail. This way, it's entirely blue and closer to lightning. At least the cool thing is that we don't need to make anything unique because we already did. Now, as for the muzzle, we can say the shock wave is bluish. A so we switch the R and the B values, zero for the R and zero at nine for the B. Here we go. That's bluish. You can do the same here on the flash, switch the R and B. One for the R, one dot eight for the B. That's it. As for the particle burst bright, we can copy from the folding particles bright, copy value, and paste it to the color. Here we go. This way, we make sure it's the same color, and that's it for the muzzle. Control S to save. Let's open up the impact, the second impact, and let's also say the flash is slightly blue. By saying the R channel is three and the blue channel is four. That's it. And for the impact, same thing happens. Why do five for the R channel, and three for the blue channel. As for the impact particles bright, one, they can be white. It will go well with the blue. I mean, the yellow would also go well, but since we are converting this to a blue one, let's make it white. It will fit nicely. On the impact beam, now, we can also say this instead of leaning to the orange. Let's make sure it's one dot, two for the R and two for the B channel. And if we save this, that's pretty much it. We have covered all of the effects of the project, the second projectile. And now if we test this out, Yeah. Here we go. Entirely blue. And if you are willing to go further, you can even make sure the trail is a little bit thicker near the capsule. So they blend a little bit better with each other. But that's essentially for this lesson and for this course, actually. So that's it, guys. I hope you have enjoyed the next video, last one, is the conclusion, where I give you some pointers and direction. 71. 5.1 The Conclusion: After all this work, you finally made it to the end. And if you indeed follow through each lesson and enjoyed it, congratulations. Very well done. Truly, I hope you have enjoyed learning something new that you can use as a game developer or as a VFX artist, even. And if you could leave a review, that would be awesome. Just a few words sometimes goes a long way. Feel free to share your results with me here or on any social media platform. Oh, now, what else can you do? Well, I'm a bit biased when I say this, but I'm going to recommend my channel, Gabriel Ger Prod. It's number one place to learn visual effects. There's plenty of tutorials that revolve around real time effects for games. So deges about rabbits tail, a hand drawn Metroid Vania, mixed with rogue like elements that I'm developing with Golden bug studios. So go wish sit now. That would be so cool. But, yeah, you can learn even more by practicing a lot, by following my tutorials, by doing game jams, for example, by trying to replicate other contents, just for your own educational purpose. And even though my channel has a lot of unity tutorials, I have begun expanding into the GTO realm. So feel free to subscribe so you can stay up to date. And if by chance, you are looking for a huge library of visual effects for GTO and unity and unreal, of course, then I highly recommend to check out my page and page. With a small fee, you can get access to a lot of content. Or my website as well, Gabriel garpd.com, where you can get access to a lot of assets that you can use in your games or even just to study up close. Another thing that I can recommend you is my Discard server. Share your results there or expose your doubts and questions. Besides this, I also recommend real time VFX forum. It's a great place for VFX artists to share their knowledge. I also highly recommend you to check out my other courses. We have a lot of cool effects that you can learn for unity, for real. There's definitely going to be a few more good courses. So make sure to follow on social media so you can stay up to date. And lastly, attach it to this lesson. There's two projects, one project created before recording the course, and the other one created while recording course. They have two different results and they are yours to keep. And to conclude, I hope you have learned something new, truly, but most essentially that you have fun and that you enjoy this adventure. Creating effects in GoTo can be quite interesting and challenging at the same time, but it's also rewarding. We have seen a few techniques that I hope can help you. And, of course, I would really appreciate your feedback. A word of appreciation is always welcome here or on any social media platform. So, yeah, that's it, guys. I hope you have enjoyed. And thanks for watching and keep on learning, guys. See you soon.