Houdini FX for 3d Artist

1. Introduction: Hello, and welcome to this Next ood Education Houdini wave of destruction effects course. My name is Shahar Aman, and I will be your instructor throughout this course. We will start this project off by first creating the procedural rock for our effects, and then we will create the procedural rock growth animation for our effects. And after that, we will create the lightning effects, and we are going to use the procedural noises for creating the lightning. And in here, we're going to use the procedural noise to create the ground lightning. As well as the sword lightning as well as creating the lightning branches. And after that, we will create the procedures sort slash glow effect. And after that, we will use the particle simulation for emitting the sand particles from where our rocks are going. We want to emit the sand particles. And after that, we will use the pyroslver for creating the ground touch simulation. After that, we will use the RBD bullet solver for emitting the debris from our animation and after that, we will import all of our assets and geometry into Solaris for rendering and we are going to use the Kerma xBU for rendering. And finally, we will finish this project off by composting into after effects, and this project is going to be a lot of fun. Join me and let's dive right in. I will see you in the very first lesson. 2. Download Project Files: Okay, so here are the project files for the course, make sure to download these project files that came with the course, and here I have stored all of my HIP file of the project, and also I have stored the assets that you will going to be need for creating the effect and make sure to download these project files. And don't forget to rate the course and write the reviews, and I will see you in the next lesson. 3. Creating a New Project: Let's get started with our project. So let's first create new project, and that way we can stay organized. So for that, let's go into the file. Let's click on this new project. And here we have this new project window. And here, let's name our project. I'm going to name this one destruction, wave wave of destruction, wave underscore, of destruction. In here, we can select the location where you want to store your project files. And right now, I'm going to store this into my C and my user folder. And if you want to change your location, you can just click on this icon to change your project location. I'm not going to change, so let's hit Accept, and now we have created a new project and we need to save this. Let's click on this file. Let's click on this save option, and now we are in our newly created project folder, and in here, I'm going to name this one our project, maybe just name this 201, or maybe we can call this one wave destruction underscored 01, and let's hit Accept. And now, if we take a look at the folder structure, that Houdini has created. So let me open the project location, and here we are in the project location. Here as you can see, we have created a new folder name wave of restruction let's open this, and here we have all of these different folders that Hulini has created for us, and that way we can stay organized, and here we have the hip file that we have created. Okay. Now, let's take a look at what we are going to create, and here is the project that we are going to create. Here we have the wave of destruction effect, and that effect is inspired by my favorite game Alding and in Aldon ring, we have an sword named Ruin grade sword, and it has this ability to create this wave of destruction, and that is called the ash of water, I guess, and that is the cool effect. And that's the idea that came from the Aldon ring, and we are going to create this effect inside of Houdini. And now let's take a look at the asset that we are going to need. And for that and we need to go into the mix Samo and in here, I'm using this character, Maria. And we have these characters, one we do not have SOD and the other one we do have SOD. So I'm going to use this one. And now let's go into the animation tab and search the animation that we need. So let's click on this animation. And here we have all of these animation. We can click on this and this animation will going to be applied onto our character. I'm going to search this for our SOD animation. So let's type this one SOD casting let's search, and that is the animation that we are going to use. This one, the great so casting, spell casting. Okay. So that is the animation, and that is pretty cool for our effect. And let's click on the Download button to download this animation, as well as our FBX character. And you do need to login in order to download. If you do not have an account, you can click on this sign up button to sign up and create an account, and that way you will be able to download this. And we also need some materials. And for that, we're going to use a site called Polly Heaven. And in here, let's browse some materials. And for this one, I'm going to use this Seasideock. So let's click on this. And here we have the Seasiderock material and that is the material we will be going to use for our project. So in here, let's select our resolution, four k resolution, and in here, let's select the file. Let's click on this. Zip file. We want to download as an A Zip, and we do not need the blend file. We also do not need this GLTF file, and we have this ambient occlusion. Let's download all of these. Or we can skip this one because here we have embed occlusion roughness and all of these maps combined in here, so let's select only this one. Okay. And let's download this to download all of these materials, and these are all the assets that we are going to need. And in the next lesson, let's create a rock for our project, okay? 4. Procedural Modeling Rock: Now let's start create procedural rock for our project. So let's in here, add an A jump try node in here. So let's add jump try node, and let's rename this node to an A wave destruction. So I'm going to rename this wave destruction press enter to dive inside the node. So now we are in the geometry context, and we are in the wave restruction jometry node, okay? In here, let's add an A base shape for our rock and I'm going to add an A polygonal tube geometry. Let's type in here. Let's add this onto this one, let me add the end caps to first add the end caps in here and I'm going to adjust its top and bottom radius. Onto the top radius, let's lower down the radius to 0.1. In here, let's lower this down to 0.36. Now let's low down the rows and columns to four by four to create a more square looking shape. Okay. And let me change my camera angle. And in here, now let's adjust its height and to the height, I'm going to set its height to one point value of 78. Okay, I think that height is looking good. And now our geometry is now sitting onto the floor, and to make it sit onto the floor, let's add a match size node in here. Sad match size. And to the match size, let's change the justify Y to mein let's view the result. And here as you can see now our geometry is sitting onto the floor. Good. After that, let me activate my point selection tool by right clicking on this selection and change these two point and let's activate the selection tool. And first, I'm going to select this point and let's activate the move tool and let's move this point down. And if your handles are not aligned, you can align the handle if I right click on one of these handle, right click on it and change the alignment. As you can see, by default, I think the aligned handle should be on components mode. And here as you can see the alignment is not correct. And to change the alignment, right click align handle, let's align the handle to world coordinates. Okay. So now we can move these points down into the world coordinates. Let's move this down. And later on when we add noise, this will create a more interesting sharp edge looking shape. Okay. And now let me select all of these points and let's scale them down. First, let me activate my selection tool, and let's select all of these bottom points. And let's activate the scale tool and let's scale them down. And I'm going to scale them down to an a value of 0.5, and here as you can see onto the addit node, I can see what values I'm using. Right now, I am onto the 0.57 on all xs. Maybe let's lower them down even more 0.54, that value is fine. And let me align my camera again. And now let's start adding noise onto our geometry to create a more rock looking shape. And to add the noise, we are going to use the volume bottling and so first, we need to convert our polygonal geometry into volume, and for that, we can use an N node called VDB from polygon. So let's add an VDB from polygons node in here, let's connect this. That will convert our polygonal geometry into volume. Let's view the result here you can see. Now we have this one surface VDB, okay? That is an A VDB volume. And later on, we are going to use an A volume warp to add noise, maybe let's add an A volume wb in here by typing an volume wp. Let's at this and connect this. Now let's view the volume wb and dive inside here as you can see the volume wb by default is set to use with the value of tensity volume of tensity. But up here, if we middle mouse button onto our VDB from polygon nodes, Hers can see, we have an A one VDB volume and its name is surface. If we go into the VDB from polygon node, heres can see, we are naming our VDB volume to surface, so we can change its name to Trent. Let's rename this to tent. And now if we middle mouse button, here is can see, now we have renamed our VDB volume. And that way, if we go into the volume warp, now we are working with the TnT, and that way, we can easily work inside the volume b and add noise onto our VDB volume. We could have used the bind node to import any name attribute, any name volume. If we are using the surface, we can use the point node and bind export node to work with that volume name, but it's easier to just rename this to density and by default, volume v will work for us because it has an A import as well as export node already for us. Okay? So now in here, let's start at some noise onto our volume. And for that, I'm going to use an unified noise in here. And if you type noise in here, we have all of these different types of noise. I'm going to use an A noise called unified noise. So let's add this and for this node to work, it requires the position. So let's connect this P onto our position to sampling the noise, and that will output the noise. Now, let's add this onto our current density value. So let's add an add node in here and I'm going to add our original volume as well as these noise values. And let's output that. And heres can see all of our Geometry is gone, and that is because this noise has some negative values, and these negative values are eating all of our geometry. Okay. And to fix this, let's clamp these values by adding an A fit range node in here. So let's add a fit range and connect this onto the output of the unified noise. Let's bring up its parameter, and onto the source minimum, let's adjust its source minimum values. And maybe let's go back and here, let's increase the auxel size by lowering down the axel size, we can add more resolution onto our geometry. So for starting point, let's add value of 0.01. And let's fill the interior because VDBs are sparse, so the interiors are empty. So let's fill this with some values. And in here, we can add some exterior band axels. And what are these? This will add the padding onto our volume. If we view our geometry, here as you can see that is our bounding box. And by adding these band axel, we are increasing our bounding box. We can use the Wordspace units. So maybe let's use the Wordspace units in here. And now we can use the word space unit to increase the bounding box region. So onto the exterior band, maybe let's increase its exterior band to 0.15. Okay. That will add an headroom onto our volume because for sampling the noise, and now maybe let's increase the size of our overall geometry and to increase the size, let's add an A transform node in here, and that will create a bigger scale for sampling the noise, onto the transform. After that, added node, let's increase the overall uniform scale to value of two, and let's zoom out in here. Let's add and view the result of the VDB from polygon. Now because we are using the figure scale, now we have a much more high resolution volume. Now let's view the volume warp and in here. He as you can see now we are starting to see some of our geometry. And onto the unified noise, maybe let's add some fractal in here. Right now, the fractal type is set to none. Let's add an standard FPM fractal. And here as you can see, we are now getting some of these values of our geometry back. We can play around with the fit range node in here if we play around with the noises value, and here as you can see by clamping the source min I can define how much my original geometry is going to be eaten away by this noise, okay? And that way, we can add very cool noise deformation onto our geometry, which are very hard to get by using the polygonal noises node. In here, let's go into the unified noise. And first, I'm going to add an A base structural noise that I like and onto the unified noise, let's change the noise from simplex to hibhev cellular F one. That will create a more interesting rock looking shapes, and onto the fractal type, let's not add any fractal in here. And onto the frequency, let's adjust its frequency to add a more higher or low frequency noise. Onto the frequency, if we increase the frequency, let me press the middle mouse button and increase some values. And here we are creating some high frequency noise. Right now, I'm not seeing any noise applied onto our geometry, so maybe let's go into the fit range and let's onto the source mean. Let's lower down this value, and that way we are allowing more of these noise values onto our geometry and the source mean, let's change the value to 0.2 to Okay, these are the values I decided to go with. And after that, after the fit range, let me rearrange my node graph in here. After the fit range, we can add an A multiply constant node in here to adjust the amplitude of our noise. So let's add multiply constant node in here and let's connect after the fit range. And by adjusting this multiplier, if we lower down this multiplier value, we can adjust the amplitude of our noise, and here as you can see, we are starting to create a more less amplitude noise. Okay. And for this one, I'm going to use a value of 0.1 48. Okay? So that is the value I decided to go with, and onto the unified noise, let me adjust some parameter of this noise, and onto the noise, let's enable the lattice warp to create an warping effect in here. We can increase the warp to add the warping onto this noise shapes. Okay? Maybe let's add just a slight verb by adding value of 0.1, just a slight verb. Okay. That way, this shape won't be as straight, but a little verb. And in here, we can also add some is in here. That is the output correction. So maybe let's just slightly add an vis adding a value of 0.6 on all x's. And in here, we can adjust the offset of the noise. These are basic noise parameter adjusting the frequency and offset. Nothing special is going on in here. And for the base noise, I'm going to put some values that came with a lot of trial and error when I was originally modeling this rock. So I'm going to put some values, so follow me. And onto the offset, let's lower down the value of -1.8 and that is the magical offset value that I like onto the frequency, onto the X. Let's lod this to 0.71 and onto the Y, let's increase the frequency to 1.21. And onto the Z, let's load increase this to 4.41, and that is the noise shape that I like. That is our base layer of our noise. After that, let's add another layer of noise onto our rock. For that, I'm going to add another unified unified noise in here. Let me type noise. Let's add unified noise in here and same thing, we need to connect the position. In here onto the P, and after that, let me duplicate all of these fit range as well as multiply node because we will going to be needing these two node to clamping the noise values. Okay? And let's layer this noise onto our base noise. Let's connect this onto the add. So now we are adding another noise onto the unified noise, and this one, I'm going to eat away some of the parts of my geometry to create more interesting shapes. And onto the noise type, I'm going to use an A alligator noise. And the frequency and offset of default is fine. Maybe we need to add some fractal, let's add an extended FPM fractal to add fractal interesting looking noise. And onto the fit range, let's adjust the source minimum to 0.4. Okay, so we are clamping these values to 0.4, and onto the amplitude, let's increase the amplitude value of 0.178, and that is the values I'm using for my project. Okay. And onto the unified noise, I think these values are fine. This default noise is looking good. And here as you can see, we have some of the parts has been eaten away, and we will have some noise on up here as well. Okay. And we can right now we are using regular position for sampling the unified noise. What we can do, we can add noise in here to add a pre deformation in here and that way, we are not using this regular arrangement of the axel position for sampling the noise, but we are applying some noise in here. And let me show you what I mean. Et's add in here turbulent noise in here. Let's add this. And in here, let's use the position for the sampling of this noise onto this noise type because we are using the position and position is an A vector. So let's change the signature from one D to three D noise, and onto the noise type, let's use an A sparse convolution noise that will create an interesting noise for us. And now let's add this onto our original position. Adding an add node in here. Let me rearrange all of my nodes. Let's select all of these and move them in here. Maybe let's move this back, and let's add this our original position as well as our noise position. And now let's use this noise position for sampling this unified noise. So let's add this. And that way, we can create more interesting noise because we are using the deformed position for sampling this noise, okay? And onto this one, let's bring up its parameter. And let me adjust the amplitude of this noise. Let's lower down the amplitude to 0.2 78. I'm lowering down the overall amplitude of the noise, and onto the frequency, let's lower down the frequency value to an a value. Of 0.7 maybe 0.7 in all axes. Okay. And now here we have a more interesting noise shape going on in our rock geometry. And we can view this layer of noise. If we remove the wire. If you press and hold the king on your keyboard, here we have this scissor. We can remove this wire. So now we are only visualizing this our noise, and heros can see that is the parts that I am eating away from my overall geometry. So that is the noise layer of this unified noise. Okay. Let's add this back again in here. So modeling the rock is just adding more and more layers of noise, okay? And now maybe let's add another layer of noise that we can create more high frequency noise in here. And right now hers can see our overall surface has been smooth. So let's add a high frequency noise to break up this smoothness. And for that, I'm going to use simple anti Aalas noise. So let's type in here talas noise. Let's add this. And for this one, I'm going to use the original position. Let me pick this position and connect this in here onto our TLS noise. And before I add this, let me adjust some values that I like. And that way we will work faster because whenever this is connected, it will Houdini will try to update and these parameters become unresponsive for a second. So for the frequency, let's add frequency of ten by ten in all axes. Okay, so we are creating a more high frequency noise. And now let's add this into our add node, and let's see the result. And here we should see some high frequency noise, and here is you can see, all of our geometry has been exploded with the noise. So maybe let's lower down the amplitude of the A noise and TLS noise. So let's come over here onto the amplitude. Let's lower this value down to 0.03. So we are adding an a slight noise onto our overall volume geometry and here is can see. Now we have some slight noise introduced, and to capture more of this noise, we need to increase the resolution of our volume. So let's go back and in here onto the VDB from polygons, we can lower this value down to add more resolution onto our overall geometry. And after that, to convert this into polygonal geometry, we can add an ode called convert VDB. So let's add an convert. VDB node in here, let's connect this onto the convert VDB right now we are converting this to volume, the regular Houdini volume, but we want to convert this into polygonal geometry. So let's change these to polygons. And now we have our polygonal geometry. Okay. And we can change this to smooth shaded to height the wire frame. Okay. So that is our polygonal geometry. Maybe let's increase the axel resolution from the VDB from polygon nad to add more resolution. And for the final axel size, I'm using the value of an a zero point double 05, and that will add enough resolution to capture most of the detail onto our geometry. And now hers can see we are adding a lot more detail because we are working with a higher volume size. And if we visualize our mesh, if we change this to smooth, wire shaded, hers can see right now we have lots of polygons. And to maybe optimize this, we can go into the Convert VDB, and let's onto the adaptivity. If we increase the value, let's say value of 0.1 and that way we are adding more polygons where we have lots of small detail and we are adaptively re mashing our geometry. And right now it is way more aggressive, maybe let's low this value down to an a value of 0.01 maybe, and let's view the result. And that way, we will not lose more detail. Okay. I think that mesh is looking fine. And now let's change this to smooth shaded, and that is our rock shape. And now let's write this geometry onto our disk so that we do not have to every time calculate all of these noise operations. So after that, let's add an a file cache node in here. Let's add an file cache and connect this. And onto the file cache, I'm going to name this one rock. Because that is our rock geometry and onto the name, I'm going to use an A Dlo sign OS. So let's remove this Dlo sign hip name expression, and Dlo sign OS mean the name that is written onto this node itself. If we middle mouse button onto the base name, here as can see the name has been evaluated as rock. Okay. And we are storing this onto our current project location onto our geometry folder, and that is correct. And in here, we can define the frame range because we are only using an geometry, so we do not care about this frame range. So let's uncheck this time option and that way we can only store this as a geometry on a single frame and now press Save option to save out our geometry, okay? 5. Procedural Rock Animation: Now that our rock model has been finished, now let's create a procedural growing rock animation. And for that, let me go up. And in here, let's add an line node in here. We are going to use these lines to duplicate these rocks geometry, and we will use the P scale attribute to make them grow. So let's see how we can do that. Onto the line node, first, let me change its alignment. Right now, it's align onto the Y. Let's change its alignment onto our X direction, and in here, let's increase its length. And by adjusting the number of points, we can create more or less number of our rock copies and because we are going to use the copy two points node to copy our rock geometry. So in here, maybe let's add that. Let's add copy to points node. Let's add this, and that is our rock geometry. And these are these will be our points. Let's result. Okay. So our copies has been generated, and by adjusting the line length, we can adjust how long our growing rock effect should be. Okay. And onto the number of points, we can adjust the number of our raw copies. Okay? And now let's add a random introduce some random rotation onto our rock geometry because right now they are aligned perfectly. And for the alignment, we are going to use a node called scatter and align. So let's add in here an a scatter and align node. And because we have these points, we will not going to be generating any more points. So we will only adding the rotation attribute. So we are not going to connect this scattered surface option, but we are going to connect this second input. Okay, so let's connect this and onto the scatter and align, the mode is set to scatter points, but we want to add the attribute to the existing point cloud. So let's choose this option. And in here, we have the rotation around normal so we can add the rotation where we can adjust the min and max angle. So maybe let's increase the max angle to 360 degree and maybe minimum angle to zero. And that will add an a random rotation onto our points 0-360 degrees. Okay. So now let's connect this and with the result. And here as you can see, nothing has happened. And that is because for this node to work, it requires the normals to add the rotation. And right now, currently, we do not have any normals. So let's create an normal. We can manly create this normal by using an A attribute wrangle node in here. So let's add an attribute wrangle. And in here, we're going to add a very simple x expression for creating the normal. So in here, let's tie, which means the vector, and now let's add an addsge add sine means we are going to create an attribute. So the attribute for the normal is called N. So let's add N in here. And for this, let's set this onto our Y axis, zero on X and one on Y N zero on axis. And to end this add an a semicolon at the end. Now if we middle mouse button, here we have the N as a three float normal attribute. So now the scattering align should work. Now we can view the result of the copy to points node, and here as you can see the rotation has been added. If we go into the scattern align node and in here, if I play around with the Max angle, hers can see our copies has been rotated, and in here onto the cone angle, maybe let's adjust some of this angle to add this angle into our rotation. So maybe let's change its value to zero. Okay, so that alignment is looking good. And onto the attribute, right now, we are adding the P scale attribute, but we will want to create an random P scale. So let's uncheck this radius attribute. We will going to be creating P scale attribute on our own. So and check this and in here to create an P scale, let's add an A attribute. Randomized node in here to create a random B scale. Let's add at randomize, and right now we are randomizing the CD, but we want to randomize our P scale. So let's add an attribute name, B scale, and that is an a single value, so the dimension should be one, which means it only has one value. It does not have XYZ component, it's just one component. And the minimum value is set to zero, and I don't want the values to be zero. So the minimum value allowed should be the 0.5. And now we are randomizing the values between 0.5 and one, and onto the option here, we can adjust the global seed to create a more random variation. So let's change the global seed to value of six. And after that, now maybe let's import our FPX character that we have downloaded from Mixamo to better align our copies. And to import this, let's add an agent node in here by the easiest way to import the character is you can use the agent node. We could use the FPx character Import node, if I add an FPXacimport node, if I add this and let's result of this node, right now, it's throwing an error. We need to define the FBX file. So let's select our FPX file, and I have stored this in my Geometry folder. Let's go into the geo, and that is my character, create SOT costing, head accept Okay. And here is my character imported. And to animate this, we need to add node called bone deform. So let's add an bone deform node in here, and we need to connect all of these three inputs onto the bone deform node, and let's view the result. And here as can see. Let me enable my play bar and hit play. And let's maybe enable the real time playback and hit play again. And heres can see our animation has been imported. And by using the FPX character input, if I real mouse button here as you can see, we are importing all of our points and primitives, and that way it is more heavy geometry. We can use the agent node, and that way agent will import our character as an APAC geometry, and PAC geometry are very light way to work with. So let's use this node instead. So onto the agent node, let's bring up its parameter. Onto the input type, it's set to character ring, but we want to import an FPx file. Let's change this to FPx and onto the FPx file. Let's select our grade sword costing node, and it accept, and here as you can see our character has been imported. And if I middle mouse button, hers can see now we only have one point, and that is an APAC primitive, and it is very light way to work with. So we are going to use the agent node. So let's remove FPX these nodes. Okay. And now maybe let's add an merge node to view and align our effects, these rock geometry according to our character animation. So maybe let's add an e merge node in here. Add merge. And let's merge our copy to points with our agent. And let's see our agent is way back there. Let's play around with the values of the line. So onto the line, onto the origin, let's adjust its location of the starting point of our line. And maybe let me lower down the number of points, the number of copies for faster working. Okay. And onto the origin, let's add an origin to an value of maybe -1.5. And right now our character is not align. It is facing on to the Z axis, but our animation is onto the X axis. So after the agent node, let's add an transform node in here and onto the transform, let's add an Y rotation of 90 degrees. Okay, so now it is properly align. Let me go back onto my line node and onto the origin, maybe let's change this to 1.5, not -1.5, and I think that is good. And onto the length, I'm going to increase the line length to 20. Okay. That is the overall effect length that I want and the total number of copies, I'm going to use the 38 number of copies, and Hers can see our copies are very slow. So maybe we need to go into the copy two points and let's enable the back and instance option. That way we will be creating geometry, and now Hers can see it is very lightweight to work with because now we are packing our geometry into one single point, and it is very lightweight. I think that number of copies are fine. But now the overall rock scale is too high. So after the rock node, let's add an A transform node, too, let's scale down the overall scale of our rocks. So let me connect this after the rock and onto the uniform scale, let's lower this value through an a zero point. Eight, and I think the height of the rocks is looking fine now. And let me rearrange my node graph. Let me bring all of this geometry down. And after the copy DPoints node, let's add another transform node to add an A angle because right now they are poking out from the land straight. So let's add a transform node in here from let's say transform and connect this after the transform onto the rotation. Let's add an A 45. Degree of angle, and that is the angle from where I want these rocks to grow from the ground. Okay? That angle is looking good. Now let's create a growing p scale attribute to create an growing rock effect. And for that, we're going to animate our p scale attribute. And for that, I'm going to use an A attribute Wop node in here. Let's add an attribute Wop after the line node and inside the attribute op node, we will going to be building our P scale animation. First, we need the curve U attribute onto our line and cure attribute will store an attribute that will start 0-1 and we will be going to use this curvie attribute to animate our p scale. And to create this, we can add an node call. Resample node will output curview attibude for us. So let's connect this onto the resample node. And if we enable the point display, right now we are resampling the points, but we do not want to resample the points. So let's uncheck this maximum segment option, and now we are not resampling the points, but we only want curve view attribute. So come over here and let's enable the curve U attribute. Okay. So now if I middle mouse button, here we have the curve view attribute and the cur view attribute will be from start, it should be zero and at the end, it should be one into the length, we have these values interpolated. Okay, we have this growing attribute that go 0-1, and we can use this for scaling. So let's go into the attribute wop node in here and let's import our curve view attribute. So let's add bind node in here, and onto the bind node, let's type the attribute name that we want to import. The attribute that I want to import is called the curview. Let's add this after the curview attribute, I want to build an a mask attribute and for that, let's add bind export node in here. And for this one, I'm going to call this one attribute mask, and let's connect this curview into our mask. So right now, nothing we are doing, we are just importing the curview and we are creating an mask attribute. So in here, let's add an ARM parameter node, to add adjust these zero and one interpolating values, and onto the RAM parameter, right now, it's set to an RGB color ramp. Let's change this to spline ramp, and we can adjust this spline ramp. If we go onto this level onto our Geometry level, here you can see that is our ramp right now it is set to zero. So let's select this last point increase its value. And the last one, maybe let's bring it a bit closer. Something like that. Okay. And to use this mask attribute to adjust our scaling, we can add an attribute wop node in here. So let's add another attribute wop node, and I'm going to rename this one set scale because in this attribute Wop node, we will be going to use the mask attribute that we have created up here. So let's dive inside the set scale. In here, let's import our current P scale value that we have created this random P scale value. Let's import this. I'm going to import this p scale, and let's create another bind node, and now we are going to import our mask attribute that we have created up. So let's type the name and that is the mask. And now I want to multiply this mask attribute with our current p scale value to generate the animation effect. For that, let's add multiply node in here and let's multiply these two value mask with our P scale. Let's output this into our P scale. Let's add a bond export node, and let's write these values back. Let's add an P scale attribute. Let's output this. Now if we go back and with result, here as you can see, we are adjusting the P scale and we can go into the attribute b and we can play around with this RAM to adjust the P scaling. Now let's animate this mask attribute to create the animation. And right now, the animation is in reverse, here, as you can see. If I view this with my character and let me home this all right now, the animation is in reverse. And to fix this, we can add an fit range node in here. So let's add an fit range. And in here, we can change the invert these destination min and max values to reverse our mask attribute. So onto the min, let's change this to one and max to zero. That is the direction that I want these rocks to grow and to actually animate this, let's add an offset attribute, create an offset attribute that we will going to be animating. In here, let's add an add node. And I want to add this attribute. After the add, let's connect this into our ramp. And for the second input, I'm going to export this parameter onto this soap level for animation. To export this second parameter, I can create an parameter node in here. Let's add an parameter node, and I'm going to rename this parameter to offset. So this and connect this in here. Now we can go back and this parameter node will export a parameter for us here as you can see that is our offset parameter, and by adding the offset, we can animate our growing rock effect. Okay. So maybe now let's add an A keyframe in here and let me find an A frame where I want the growing effect to start. So let's play. And I want to start right about here, maybe on frame number 48. So let's change this to minus one, present hold the old key and left mouse button to add an a key. And now let's go on to the frame number. I think the frame number was 93, and let's change this value all the way up to one and press and hold the old key and left mouse button again to add another key. And now, if we hit play, as you can see, our rocks are growing. Okay. And to adjust this growing effect, we can play around with this ramp to create a more smoother transition of our growing rocks, okay? I think that ramp is looking fine. And now let's create this other side as well because right now, if we take a look, it's on one side. So let's duplicate all of the setup onto our opposite side as well. So after that, let me rearrange these nodes because we are going to duplicate all of these nodes. I'm going to duplicate after the scatter and align, as well as the copy to points. So let's duplicate all of these nodes together, and for this one, I'm going to add an transform node to add an A offset onto this line. So let's add an transform node in here. And I'm going to add an I transform onto my Zaxs on one unit. So let's add an M minus one, and let's add this. And now we can add an merge node to merge both of these our geometries, let's connect this one to the transform and let's view the result. And here as you can see, we have two copies, but right now, the alignment is not correct. This scatter align rotation is not correct. Maybe we actually don't need this transform node in here. So let me remove this merge. Let's add merge node once more. After we have applied the transformation, we can add merge. Okay, because that transform node is applying this rotation onto this side as well. That's why we have the wrong result. I think we need to create another transform node to make them lean on other interaction. So for that, let's add another transform node. For this side. And for this one, I'm going to add an A -45 because that is our positive 45. So let's go into the transform onto the rotation. Let's change the value to -45 and hers can see the rotation is not being applied correctly, and that is because this transform node has its pivate location and its pivt location is at the origin. Hers you can see that is our pivt location, and we want to move the pivt location onto this side as well because we are adding the minus one offset. So let's add the minus one offset onto our PVD translation as well onto our PV transform Z. So maybe we can copy this parameter. So let's copy this parameter and link these two together onto the Pwd translate Z. Let's space these two relative reference. Okay. Now here as you can see our rotation has been applied correctly because now we are translating the pbet accordingly, and maybe let's go into the scatter and align and let's play around with the angle so that they don't have the same angle. Onto the minimum angle, let's introduce some value. Maybe let's add value of 7.5 to add a bit more randomness onto the rotation on both sides. Now let's add another transform node to make these growing effect onto the center of our character because right now, here as you can see, they are not in the center. And for that, let's add another transform after we have merged both of these geometry. So let's add an transform node and connect this at very last to the transform. Let's add a translation onto the Z axis of 0.5 because we are working with the range of one and minus one, 0.5 should be the center. Now we are at the center. Let's hide the parameter of the transform load. Let's zoom out a bit and let me hide my point display option, and let's press the home to view all of our geometry. Let's rewind and let's hit play. Let me see why my charactor is not showing up. My caractor is in here. Let me adjust my camera angle. Let's hit rewind again and let's hit play. So sored. Our character is slashing SOD, and now we have this rock growth effect. And after the merge, let's add an A null in here and we're going to call this one our out rock animation. Okay. And let's go into our after the line and resample where we are creating an A mask. So let's rename this one to maybe an A set mask that is responsible for our masking animation, growth animation. And we can increase the line length if we want to create a more longer trail of these rocks or shorter trail. We can do so by adjusting the length. So if I lower down the length value in here, 13 maybe and here as you can see, or we can adjust the number of points, how many rocks we want. It's all very procedural. Okay? And for our project, I'm going to use the 38 number of copies. So let's change the point count to 38, okay? And I think that animation is looking fine. 6. Ground Lightning: Now let's create ground lightning that will strike onto the ground, and then these rocks will start to grow. Okay. So let's start creating that. First, let me rearrange my node graph. First, let's remove this merge, and let's move this out rock null at the end. In here, these are our rocks, and let's move these two guys up. That is our agent. So let me move this up here. And at the end, let's create another null in here and let's call this one our out agent. So let's rename this null to out agent. And in here, maybe let's create an a fox. And let's type this agent. Okay. That is our agent. Maybe let's move this a bit further up. And now let's start creating our lightning. And for lightning, we're going to use the line node. So in here, let's add line and onto the line, the alignment on Y is okay. Let's increase its length. I'm going to change its length to 7 meters. And after that, let's add an A resample node to add a lot more points. Onto our line because right now we do not have enough divisions, and later on, we're going to use the noise, and we need some points in order to deform these points. So let's add resample node in here, and onto the resample, we can change the length to add more or less of these divisions. So let's lower this down to value of 0.05 maybe for now, we can adjust these values later. And after that, let's add noise onto our point position. So let's add an attribute noise node in here, sorry, not the attribute noise, but the attribute wop because we are going to build noise on our own. So let's add attribute wop node in here and let's dive inside the attribute wp. And in here, we're going to use the anti alias flow noise. So let's type t As flow noise or AA flow noise. Okay. Let's connect the P for sampling the noise position. And right now it is outputting the one D noise. So let's change this to three D noise, three D input, three D noise because position is three D vector. And let's add add node in here and add our noise into our current point position. Let's output this onto our P and let me hide my point display by clicking on this icon. Okay. And here we have this noise. Let's suggest some parameter of the NTLS flow noise First, I want to create these big shapes for our base noise. So in here, let's increase the amplitude. So let's keep increasing the amplitude value. Maybe value of 1.9 is good. Now let's animate this noise. And for animation, let's add an A offset noise offset onto our Y. So we are going to use this offset option, and that is an a vector, and I'm going to drive this offset with our current time for animated offset and time is an float value. So let's add an float to vector node in here. Flow to vector, and it has these three components X, Y, and Z, and I want to animate my Y components. Let's connect this 1 second value, which is our Y. Let's connect this and add this into our offset and let's hit play. Our noise has been animated and right now the direction is reverse. After the after we are adding this into flow to vector, let's add an A negate node in here to reverse the values. So let's add this. Okay. So now it is flowing down, that is good. And maybe let's add an a value onto the flow as well. So that will create an add bit more randomization into our noise, onto the flow value, and let's connect this into our time as well. So let's connect this to the time. Okay. And in here, let's add another anti alas flow noise. This time, the second ants flow noise, we are going to use this for adding an high frequency noise to add more roughness into our line. So let's connect this into the add node in here. That is our second layer. And for the second layer, I'm going to increase its frequency, three D frequency to create a high frequency noise. So let's keep increasing its frequency. Let's keep increasing that because I want to create a really high frequency noise. The value of 11 is good, and now the amplitude is too high, so let's lower down its amplitude value because we want a little bit of amplitude where we value of 0.11. Okay. And we will see this result when we are going to decrease our resolution. So maybe let's decrease this the length by adjusting its length from the resample load. So let's lower this value down. And here, as you can see, we have this high frequency noise introduced. And, okay. So that is my basic lightning. And now let's make this lightning move with the growing rock animation. Okay? These are our growing rock. Let's make this lightning move. And for the movement, I'm going to use this where we are using the mask because we are creating an a growing mask attribute in here. So let's use this to move our lightning. And for the movement, I'm going to use an carve node in here. So if we add a carbon node and let's view the result, here we can adjust the first or we can adjust the second to carve out our line. Or onto the curve, we have the option to extract and a single point. Let's enable the extract option, that will extract only these points. We don't need the first, the second by adjusting the second, we can extract only one single point. When we have this point extracted, we can add an ode copy to points to copy our line. Okay. First, let's maybe connect this in here. That is our geometry that I want to copy, and that is our point. And when we adjust the second, here as you can see our line is moving. And after that, maybe let's introduce this noise, and let's increase maybe rename this attribute warp to set noise. Okay, that is our basic noise. Onto the car. By moving the second, we can move our lightning. So let's animate this second with the attribute that we have created this mask attribute, Okay, because we already have this growing mask attribute. So let's use this attribute to drive our second. So here on to the constant, let's change this to attribute. And if we pick Hers you can see, the mask attribute is not showing up, and that is because the car node expect primitive attribute to utilize this attribute. And right now, if we middle mouse button, here you can see, we have the mask on our point attribute. So let's promote this onto primitive level by adding an attribute. Promote node in here. And let's connect this before we are connecting this to carve onto the attribute promote. Let me select the original attribute that is the mask and I want to promote this onto my primitive level. And now, if we go into the curve, we should see our attribute. So let's speak and here as can see we have the mask attribute. And now, if we move, let me adjust my playbr timeline overall. We are going to use 120, 120 frame. So let's adjust the overall duration of our play bar. That is the duration that we're going to use. And here as you can see, our curve is not animating. Our point is at its original position. It's not moving. And that is because we need to enable the first for this point to move. So whenever we are using the attribute, we do need to enable both of these options. So let's enable the first And now, if we go back here as you can see the point is moving. So maybe let's increase this first U two all the way up to one. And here we have one point that is moving. And if we go and hit play, see the result. And here as you can see, now we have these two points. So we don't care about this second point. We can remove this after the curve. So let me check which point that we don't want. Let's enable the point number, and I want to remove the point number zero. So after the curve, let's add an last node in here and let's connect this. And onto the plus, let's change these two points, and I want to remove the point number zero. Now, let's view the result again. Let me hight my point display. Okay. Now we only have one single point and our lightning is moving, and now it's present in our overall duration. Okay? So let's add an start and ending of these points. And for that, let's add an delete node in here. And after the blast, I'm going to add another delete node, and for this time, I'm going to use an delete by expression. So I want this line to start on my frame number 60 because that is the frame where we are hitting our sword and rocks will start to grow. So that is our starting frame. So onto the expression, let's add an $8 sign F if our current frame number is less than 60. Okay. So now before the 16, we shouldn't see. Let me see of entity, we need to change these two points. Okay? So before the frame number 60, we do not have this point. And after the 60, we start to see our line, okay? And after this sum frame, I want this to get removed. And the frame number, I think it was the frame number 84. So after the 84, we have all of these grown up. So after let's add another lete node. Let's add another delete node, and let's connect this. And for this one, let's change the entity to points, change this to delete by expression. And for this time, I'm going to use if our current frame number is greater than 84. We want to remove this point. Okay. So now we are isolating this point moving animation between frame number 48. So sorry, frame number 60 and 84. Okay. Now, if we view the result, here, as you can see, we have our lightning and after the frame number 84, we have the lightning gone. Okay, that is good. And we can view the result if we add an merge node in here to see if we have the frame number correct. So let's add merge. That is our lightning. Let's view the merge node. And let's scrub our timeline. So it should start. We can start to see at frame number 60. Okay, we have the lightning hit, and now rocks are growing, and after 84, we have the lightning go. Okay. So that animation is fine. Now, first, let's rearrange the noise. Let's remove the merge that was for the visualization. Let's move all of these down and maybe move this up. And if you want to change the node graph wiring style, you can press the shift Sky on your keyboard. You can change the wiring. Okay. And if you press Shift S again, it will change this to straight. So maybe let's change this to the smooth wiring. Okay. That looks neat. And after the noise, what we are doing, okay, we were cleaning up our node graph. So let's rearrange them. Okay. Here onto the set mask where we were animating our offset. That is our offset. So let's adjust its keyframe animation curve, and we can adjust this if we right click and go into the channels. And let's click on this isolate channelist option that will enable this timeline curve. So let's select both of these keyframe and the function is a to basier. Let's change this to linear because I want these two keyframes to have a linear interpolation. Okay? That is good. And now, after we have this main lightning, let's add the width attribute, because we are going to add an thickness onto these lightning. So let's add polyvi node in here. Let's add polywire and view the result. Okay, we are going to set the thickness attribute because we will not going to be using the polywire to create this geometry because we are going to add the thickness at render time. So we need the width attribute. So width attribute is something that Kerma uses to set the width onto our lines. Okay, so let's create an width attribute, and we are going to set the width attribute inside of this attribute Wop so let's time inside this. And in here, I'm going to add a simple parameter node in here and I'm going to call this one width. Okay. And to create this as an A attribute, we need to create a point, export node in here and connect this. And in here, let's type the attribute name and the attribute that I want to create is called width. Okay. Let's go back. And in here, we should see the parameter. And let me find why I cannot see the parameter. I think we do not need to use this bind export node, so let's remove this. Actually onto the parameter node, we can export the attribute width. So we do not the bind export onto the parameter, we have this export option. So the export is set to never, so let's change these two always. So now we are creating the width attribute. So if we go back, and in here, we can adjust this parameter to create an width. And if we middle mouse button, and here as can see we have an a width float attribute. Okay. And to visualize this our width, we can go into the polywi and onto the fire radius. Let's use our newly created width attribute. So in here, I'm going to type at sign and inhere type the attribute name, and that is the width. And by using this parameter, we can adjust our width, okay? And I think the value of 0.03. Okay, that value, I think will work fine for us for the width. Okay. Now, we do not need this polywire node that was just for the visualization. So let's move this. 7. Lightning Branches: Now let's create branches for our main ground lightning. And for that, let's create an scatter node in here. I want to scatter some points onto the original lightning geometry. So let's add an scatter node after that, and in here, we can define how many branches we want by adjusting the force number of count points. Okay. And for starting point, let me change the number to maybe 28. And after that, let's add an line node in here. And add copied point because we want to copy this line onto these scattered points. So let's connect this geometry into our scattered points, and onto the line, let's adjust their alignment onto the direction, zero out the Y and change the Z to one. Right now, they are all aligned onto the Z axis. And to randomize the alignment, let's create an A attribute, randomize, and let's randomize the normal because the normal will be used for the alignment by the copy points node. Let's connect this and onto the attribute randomize, let's type the name. I want to randomize the N, which means the normals. And right now, and here as you can see, we have this random angle random alignment of these branches. Onto the distribution, let's change its method to inside sphere. I think the inside sphere fine, works good when we are working with directions or orientation. And in here, we can define the cone angle by adjusting the cone angle, we can create a more leaning effect, and onto the direction, let's change its direction to Y one, Okay. And onto the angle, I think value of 80 is good. Okay. And after that, let's randomize their P scale because right now they are all at same length. And for that, let's create another attribute randomized node, and let's connect this in here. Let's type the P scale. And the P scale is a single value, so its dimension is one. So let's and it's two time one. And here as you can see we have randomized B scale, but some of them have an a scale of zero, and I don't want that. So onto the mean value, let's clamp the value to lower to value of 0.3. So I want them to have some scale. I don't want them to be completely zero. And after that, let's start adding some noise detail because right now they are very straight line and they are not very interesting. And first, we need the resample node to add more divisions, add more points. Let's connect this. And onto the resample, I want a lot more points. So let's change the length to 0.01, a little bit higher. And after that, let's add an attribute Wop node, and let's start building our noise. And in here, let's dive inside the attribute Wop node, and we're going to use the t alias flow noise. Let's add this, and that is our position and in here, change this to three D noise, signature, add an add node and add this to our current point position. Connect this into Po and here we have this interesting noise going on. And maybe let's animate this by adding the offset. So let's use the time as an AI offset. So for that, let's add an flow to vector node. And let's connect time into the Y component and connect this into our offset, and we should have animated noise. Okay. And onto the TAs flow noise, let me adjust the amplitude. Or maybe I think the amplitude value of one is fine, but maybe let's adjust the frequency to create a more high frequency noise. So let's keep increasing the frequency. And I think that high frequency noise is looking good. Okay. And now let's go back and let's merge this with our main lightning. And that is our main lightning. Let me rearrange my node graph. Let's merge this with these branches, and let's view the result. And here as you can see, these branches are not sticking onto our original the main lightning. And for that, let's clamp the noise onto the base. We don't want to add the noise at the base because I want the base to attach onto this main lightning. Okay. And for that, let's enable the curve view attribute onto the resample node. So let's enable the curve view. And in here attribute warp where we are building this noise. Let's import the curve U attribute by adding the bind node. And in here, let's type the attribute name, and that is the curve and I want to control this with the AMP to have a bit more control. So let's add an AM parameter node in here, and I want to call this one, I think the fade because that will control the fdness of the noise. And let's multiply this with our this flow noise. So let's add this with this feed ramp. And right now it is an A RGB ramp. Let's change this to spleine ramp. And after the multiplication, let's use this into our add. And now hers can see our lines are attaching, but all of our noise is gone. So let's go into the attribute warp and in here, let's adjust this ramp. At the last point, let's increase its value all the way up to one. And by adjusting this ramp, we can define where we want the noise to start apply. Okay? So I think the value of default is fine for now. We can adjust this later. And now let's create the width attribute for these branches as well. Okay? And to visualize the width, let's add an polyvi node in here. Polyvar and connect this onto the polyvi let's use the width attribute, and right now we do not have a width attribute. So let's create that. And we are going to create the width attribute inside of this attribute wp where we are building our noise. So let's use this attribute wop node. And in here, I want to create a random width for all of these branches. Okay. And for that, let's add a random node in here, random and this node require an A seed value, and we are going to use an a prim number because we have all of these different primitive and they have their separate prim number, unique prim number. So let's connect the prim num as a random seed, and this will output random value 0-1 range. So let's use this as width. So let's add a point export node in here. And I'm going to name this width. And let's connect this into our random, let's visualize our width by going to the polywire onto the i radius. Let's use the width attribute. And here as can see we have very high value of width. So maybe let's scale down this overall value because random is putting values 0-1, and the values of zero and one is too high for the width. So to scale it down, let's add multiplier constant node in here, let's connect this and by adjusting this multiplier, let's scale down the overall width. Lower value, maybe a value of 0.02. And I think that width value is fine. And now I want to create their base. I want their base to be thick, but at the end, I want them to be thin because these are the branches. And for that, let's use the curve view, and let's use another AM parameter to control the width over length. And for that, I'm going to add another ramp node in here, am parameter. And I think I'm going to call this one trip. So let's type in here. Okay, because this ramp will control their last thickness. So onto the AM type, let's change this to spine ramp. Let's connect the curve e in here and let's multiply this with this random width value with this ramp. So let's add multiplier node in between multiply. I want to multiply this with this width, and that will be our new width attribute. Okay. So all of our width has been set to zero because we need to go back onto the soap level, and let's play around with this dip ramp. So at the start, I want to have some thickness, and at the end, I want them to be thin, like so. Okay. Let's maybe play around with this ramp a bit more. Let's play this point this one back or maybe at front, and let's move this a bit closer. Okay. I think the value of something like that is fine. We can adjust these values later. Okay. And now let's merge, and let's view them with this merge, let's connect this polyvar into this merge. Okay. And that will be our base ground lightning. Okay. And now let's add some random color onto the lightning. And for that, I'm going to create another attribute wop after the merge, and I'm going to connect this. Let's connect this after this attribute wop and while it is gone. Let me see. Okay. Hm. Is there a viewpod issues? Let me remove this attribute wop I think the polyvar has something to do with. No, it's working fine. Let me see. When I add attribute wop why it is going. Okay, now it's working fine. I think that was an A bug or something. Okay? Now, let's use this attribute wop to set our color. So I'm going to rename this one to set CD. Now, let's dive inside this attribute wop node. And in here, let's create an anti alias. Flow nodes in here. Because we are going to use the noise to set any color, and I don't want the ts noise, but I want the ants flow noise. So let's add an ants flow noise in here and connect this to our position. And this time, we do need the one D noise. Okay. Let's add an A ramp node in here, ramp parameter, and connect this. And this time, I want this to be an A RGB ramp because I want to set the color. And let's connect this into our CD. Okay. So here we can start to see some black and white noised color. So maybe let's go back onto the CD. And in here, let's create at the start and a lighter blue color. Let's play around with this color value. And at the end, I want to create a dark blue. So maybe let's pick up an a dark blue color, and let's change this into a more darker value. And we can adjust these values later. And for now, I think that color is looking fine. Let's play around with the noise a bit. Let's dive inside the attribute noise where we are setting the ramp. Let's fit the anti alias flow noise values to capture more of these noise values. So let's add a fit range to clamp the noise values. That's a fit range in between, first, let me adjust its three D frequency to create a more high frequency noise. And here, as you can see, as I'm increasing the frequency, we can start to see more and more breakup in our color. And maybe let's introduce some roughness in here. And in the viewport, it's not much visible, but when we are rendering, we should see some color variation. Okay? And let's go into the fit range node in here. Let's clamp the values from -0.2 because this tails flow noise will output minus values. So let's clamp the -0.2 and max to 0.5. Okay. And here, as you can see, we have the noised up color variation. Okay, let's go back. And after that, let's create an null in here and let me connect this. And I'm going to call this one our out ground lightning because that is our ground lightning. Okay. And let me remove this poly war because that was just for the visualization. And with that, I think our ground lightning is complete. Okay. 8. Ground Blast Glow: Now let's create blast glow where lightning is hitting onto the ground. We want to create a glow where lightning is hitting. Okay. And for that, let's create a spare node in here first. Let me organize this node graph. So that is our ground lightning. Select all of these node, maybe let's select all of this null as well. And let's move this inside into the side. Let's select only these nodes, move them, and in here, maybe let's create a box, and let's rename this to our ground lightning. Zoom out a bit. And here we have this single point where we are creating this mask and we are extracting this point, and it has this animation. So let's copy an a sphere and add some noise onto the sphere, and that way we can create an blast glow exactly where lightning is hitting because that is the point responsible for our lightning animation movement. Okay? So right after this delete node, let's create an sphere node. And onto the sphere, let's change its primitive type, as well as let's increase its frequency. Let me view my sphere into the viewport. Let's view the result of the sphere. Okay, that is our lovely sphere. And after that, we can add an a copy to point node. And let's copy our sphere onto this point. And that way we will have the movement. And here, as you can see, we have this movement of the sphere because all of this node graph is animating this. Okay. Now, let's add some noise onto our sphere. First, let me break up this sphere shape, and let's change its radius value onto the X. Let's change its value to create a more lengthier sphere, and onto the X, maybe Y. Let's increase its Y size as well. And onto the Z, let's maybe scale this up to one. Okay. And after that, let's add an A match size to make this square set onto the floor. So let's add an match size node in here and connect this, and let's change the justification Y to minimum. Okay. So now we have our spare seat onto the floor. After that, let's add a mountain node in here to create add the noise, to break up this overall shape. Let me move a bit down this copy to point node because we're going to add a lot more nodes in here. Okay. And here is can see when we are adding this mountain and let's adjust the value of amplitude, when we increase the amplitude value, Hers you can see, our sphere is now going below the ground to fix this, let's add an flattened node in here to flat this out below zero, the Y value zero. So let's add this flattened node and view this. And here as can see now it's not going below Y and before the mountain applied and before the flatten, Okay, that is good. And let me adjust the parameter of the noise onto the mountain node. First, maybe let's lower down the amplitude value because I believe that the amplitude value is high. So let's increase the two maybe a value of 0.3. Okay. And let's play around with the element size to create a more high frequency noise. Let's keep lowering this down. Let's lower this down to maybe value of 0.5. Okay. I think that breakup is fine. Let me enable this fractal option. So hybridrine let's play around with the Max octave. I think the default value of 0.8 is fine. We don't need to adjust that. But now, let's animate this noise. Right now, the noise is not animated. So let's enable the animation option. Let's enable this and play. Okay. And in here, let's lower down this duration to create more high speed noise. Okay? Now let's add a bit more breakups onto this geometry. And for that, let's use the volumes because by using the volumes, we can create a lot more organic shape. And for that, let's add pyrosurce node in here. I'm going to use the pyrosurce node to convert to scatter some points into our geometry. So let's add this because the pyrosurce node will scatter points inside of our geometry onto the mode. Let's change this to volume scatter. Okay, so now we are filling our spare these particles. And in here, let's add our density attribute. And after that, we can convert this point into volume by using the volume rasterized attribute node. So let's add this and connect after the pyro source node. Onto the attribute, let's select our attribute that we want to rasterize. So now we are creating this our fog VDB volume, and after that, we can add the VDB node to convert this into polygonal geometry. So let's add and convert VDB node in here at the end and convert this back to polygons and here is you can see, all of these values are gone. So let's play around with the ISO value. So let's start meshing over this volume with the value of maybe 0.2. We can change these IO values later. Okay? So in between, let's add volume wop node to create our own noises to break up this shape. So let's add volume Wop node. Volume warp, and let's connect this and let's dive inside. And in here, let's add some noises. And in here, I'm going to use the turbulent noise. So let's add this, and we need to connect the position for the sampling of the noise. And let's add an add node in here and let's add the noise. There. Okay. After this noise, maybe let's clamp these noise values in range of zero to one. So let's add an clamp node in here because we do not want any values above one and below zero. So we are clamping these two mean and max to zero and one. Let me rearrange my node graph. And to the noise, let's play around with the different types of noise. Let's create maybe an sparse convolution noise. Okay. First, I believe that the scale is too big. Let me check if we go back and let's connect this into our copy to points. And let's view this with these out rocks. So let's add an emerge node in here because we want to see the scale. Let's add this and connect this at the merge, and let's go on a few frames up where we have the animation. Okay. And here as you can see this globe geometry is too big. And for that, let's add transform node after we have created the sphere. And let's scale the overall geometry down. Let's add in a transform node, and let's keep lowering this uniform scale value down. Okay? Let's lower this down to an a value of 0.36. Okay. I think that blast will look fine for us. So let's use this scale value. And now let's go into the pyrosurce and let's play around with this particle separation to create more particles inside of our geometry. Let's lower this value down to maybe an a value of 0.04. And onto the volume rest rise, let's lower down this voxel size as well to capture more detail. So let's lower down the voxel size 20.04 as well. And let me view the result of convert VDB, okay. Now let's start building our noise inside of the volume wb. So let's dive inside the volume wb node in here and let's play around with its frequency. Let's keep increasing this to create a more high frequency noise. Okay? By increasing the frequency, we can start to see some details. And right now we are using the original straight position for sampling the noise. So maybe in here, let's add noise to disturb the position, and then we will sample the noise to create more interesting shapes. And for that, let's add an anti alias noise in here and let's connect this into our position. And let me connect this and let's change this to three D noise, and let's add this together our original position. Let me connect these two wires as well as the noise position. And now let's use this newly created position for sampling this noise. So let me connect this into the position of the noise. Let me zoom in. Okay. Now let's play around with the talis noise parameters. First, let me lower down the frequency. Let's keep lowering this value down. Maybe let's lower this down to a value of 0.3, and let's increase the amplitude value. Okay, we start to see some interesting shapes. Let's increase this down to an a value of five, and let's lower down the roughness value. Let's keep lowering this down to maybe an value of 0.38 is, I think, looking good. And now let's animate this noise by adding the offset value. I want to add an offset onto the X because that is the direction this sphere will be going to move. So in here, let's create an flow to vector node in here, flow to vector, and for the X component, let's connect our time. And let's connect this onto the X, and let's connect this into the offset, sorry, not to the frequency, but onto the offset and let's hit play. And Heros can see our noise has been animated. Let me go back in her. Let's go into the convert VDB node and let's play around with the ISO value. Okay. Maybe let's increase its value to 0.2 18. Okay. And here as you can see, here we have some of the tree tail applied onto this noise. But right now I'm getting this blob of our geometry that I don't want. So I think we need to correct the noise. So let's dive inside the volume wop node where we are creating the noises. So let me dive inside. And I think this blob is coming from this add node because we are adding these noises as well as we are adding the original tenst values. So maybe let's not add, but we want to use this noise as our new value. So for that, let me remove this add node in here and let's use this noises value as our new tensity value. So let's connect the clamp into our output, and here as you can see, we have these parts eaten away. And that will create some organic organic looking shape, and that will create an fine glow when we are going to render this. Okay? So let's go back and let's view the result after the copy to points. And after I think frame number 60, we have this glow and it is traveling. Okay. And now let's add an A. Color onto this geometry. And for that, I'm going to use this node where we are setting this CD. Okay. So let me copy this node. So if you press and hold the old key on your keyboard and drag that way you can copy the nodes. Okay. So let me remove this wire, and let's connect this after the convert VDB node. Let's add this. And here as you can see we have this blue looking color, and that will create fine glow for us. So after the copy two points node, I think that ground glow will look good when we will going to render this. Let me rearrange this node graph. When all of the nodes are selected, let's go into the layout and let's align these nodes vertically, okay. And after that, maybe let's create an box in here and let's select all of these nodes. Let's create box around it, and we're going to call this one, I think the ground blast, ground. Blast. Okay. And at the end, let's create an a null, and let's call this one our outlast out ground blast. Okay. And let's remove this merge node. We don't need that. Okay, so that layer is complete. 9. Sword Lightning: Now let's create lightning for our sword. So let me zoom out and let me find our agent. Okay? So our agent model is up here, and maybe let me move this a bit more up because we are going to create a lot more nodes, and let's maybe make this out null out from this box. Okay? And in here, let me find the frame, okay? So we want to add the lightning effect onto this sord and we need to extract the sord from our model. And right now, if I pick up my selection tool here as you can see, I'm only able to select all of my model. I don't have access to individual polygons, and that is because it is an APAC geometry. And we need to unpack this. So in here, let's add an unpacked node to unpack. Or we can add a convert node and convert node will unpack and convert this into polygons. So let's add an convert node. And because it's from type, it says all type to polygons and if we view the result. And here as you can see, we have these our polygons. Now we have access to all of these individual polygons. So now let's select this our SOD model. And maybe after the convert node, if we middle mouse button, here is cans we have all of these point attributes, and we have some attributes on our vertex as well as some primitive attributes that we actually don't need. So after that, let's add an attribute, delete node in here and let's remove all of these attributes because we don't need them. Onto the attribute delete. Let's click on this delete non selected, and now all of these attributes should be gone if I middle mouse button. Now we only have one attribute that is the position, that is good. Now, let's select the SOD model. Let me activate my selection tool. And in here, let's track Murky selection. And let me see. Okay, I think that is our all SOD model. And in here, let's type a blast node to blast out that piece, and onto the blast node, let's click on this lead non selected to invert our selection. Okay. That is our SOD model. And in here, let's scatter some points because later we're going to use these points to copy the lines, and then we will add noise to create the lightning. And for that, let's add a scatter node in here and let's connect this into the Katana. And in here, you can define how many lines you want. And by adjusting the force count, we can adjust the number of our electricity electric arcs. Okay. I think for now, maybe let's change its value to 10. Okay. And after that, I want these points to move along the surface of our sod. If we take a look at the sod geometry, I want to create the lightning arc and I want the lightning arc to move along the surface of the sod geometry, okay? And for that, let's add the movement on the scatter point. For that, I'm going to use an attribute noise in here to noise up our position. Or maybe we can use the mountain node, which is actually the attribute noise node. So let's connect this in here and let's view result. And here as you can see, if I adjust this amplitude, our noise has not been applied, and that is because it needs the normal attribute in order for this to work in order for this to apply the noise. And right now, we do not have N so after this blast, maybe let's add a normal node to create the normal on our geometry. So let's add normal and connect this. And now we should have the point normal. Okay, and here as can see. And now we will be able to add the mountain and this node will apply the noise. Okay. And heres can see the noise has been applied. And onto the amplitude, maybe let's increase the amplitude value to some very high values. And we do need to animate this noise. So let's enable the animation, and let's scrub our timeline and hers can see how noise has been animated. And let's enable the animation option, and let's lower down this duration to create a more higher speed animation. Okay. And right now, these points are moving all over our three D space, but I want them to stick onto the surface of our sort. And for that, let's add an ray node, and let's ray these point back onto the original sort geometry. And so these are the ray points, and that is the collision geometry. So let's connect this into the normal node, let's view the result and onto the array and the method set to project rays. Let's change this to minimum. And now rows can see our points has been snapped back onto the surface of our geometry. And now, if we scrub rows can see, these points are now moving along the surface of our geometry, and that will create this cool lightning arc movement. Okay. And now maybe let's play around with the parameter of the noise a bit. So first, let's increase the amplitude because right now I think they are not traveling as far. Okay? I think the amplitude value of eight is good, and in here, let's play around with the element size to create a more higher frequency. Noise, okay? And I think this value should work fine for us. And now let's create an A line node and copy this onto this geometry and inher line, and we need to align this onto the Z axis. And after that, let's at a copy to points node. Let's copy this line onto these projected points and let's result. And we do need to randomize the orientation. And for that, let's add an attribute randomized node in here, and I want to randomize the N, the normals, because it is an A orientation, so let's change this to inside sphere. And maybe let's enable the Bie option because I want them to align onto the Y axis. So here onto the direction, let's zero out the X and change this to one. And by enabling this bias, we can adjust the bis here as you can see, now I'm moving these lines along the Y axis, which is good. And now maybe let's add a random scale. So let's add attribute. Randomize, and let's randomize the B scale value. And that is an A one dimension, and let's type the attribute name, B scale. And I believe I'd want the minimum value too. Let's add an a zero point. One for now, I don't want them to be completely zero. And hers can see we have this line in all of our duration. So let's extract the animation range from where we want the lightning to start. Okay. And for that, let's add delete nodes and maybe let me move all of this geometry up. Or maybe let's move them onto the side, and maybe need to move this up a bit as well. Let's move this because we're going to add a lot more nodes. Let's keep moving this onto the up direction. Okay. So let's drag all of these nodes down. And in here, let's add delete node to isolate the frame range. And for that, let's add a delete node, delete and let's at this. In here, let's change the operation to lead by expression and the entity should be the points. And in here, I want this to be I believe that the frame the starting frame was 17 because if we take a look at our agent here as Kens it is starting to cost on the frame number 17. So I want the lightning to start from 17. And I believe the last frame was 47, I guess. Okay, at there, I want the lightning to end. So let's extract the animation range. So in here, let's add an I if our current frame number, adding dollar sign F. If that is less than 17. Okay, so our points should start at frame number 17. We can check, and here as you can see at frame number 17, we have these lines. And after that, let's add another delete. Let's maybe press and hold the old key and drag to just copy this node. Let's connect this at the end. And in here, let's change our last frame duration, and I believe that frame was 47. Inhere, if our current frame number is greater than 47, let's add this. We want these points to be get removed. And now we should have at the 48, all of these lines gone. Okay? And maybe let me play around with this attribute, randomized node a bit and maybe let's lower down this bias value. And let's maybe change this to 1.92. Okay. I think that bias value is looking good. And after that, let's add the noises into these lines. And first, we need to add an sample node in here to add more divisions onto our line. Set this and in here, we do need the cur view attribute. So let's enable this. And in here, let's low down the length to create a lot more points. And for adding the noise, maybe let's copy the noise that we have created before when we are creating the ground lightning. So let me find that was the attribute warp that was setting the noise. So maybe let's duplicate this node, and let's go in here and let's place this node. And let's connect this in here. Okay. So we have all of these parameters working fine. Okay. And let me bring up its parameter, and here we can adjust the width. Let's visualize the width value by adding an polywire node in here, polywire into the polywire add a width attribute. Okay, right now, that is the width. I think that width value is too high. So maybe let's lower this value down to an value of 0.01. Okay. I think that width is fine. Oh, we can slightly more increase this, okay? And that is our main lightning. And after that, let me remove this polywre for now. And after that, let's create the branching structure. And for the branching, let's copy all of these nodes where we were generating the branches. And these are, I think the node structure where we are creating the branches. So let's select all of these node, and I'm going to press and hold the old key and drag. And let's drag them into this side. I think in that side, let's connect this in here and let's view at the end. Okay? So these are our branches. And maybe let's move all of these nodes a bit up even more. Okay. And let's play around with the settings of these branch noises. First, let's take a look at the attribute, randomize where we are creating this one. And for this one, maybe we don't need to adjust the cone angle. So let's disable this option. Okay. And let's come over here onto the scatter and let's lower down the force count to lower value because we don't need that many branches. And let's find some other frame. And maybe let's add emerge at the end to view both of these our lightning. That is our main lightning and these are our branches. Okay. And I think we need to merge with our agent as well to better visualize this. And that is our agent. Let's connect this at the merge as well. Okay. Let's see. I think the length is too big. So let's take a look at this line. Okay. And I think line this one is fine. Let's take a look at this. Okay? This one is fine as well. Maybe let's come over here onto this P scale where we are creating this branch P scale. These are our branches, and that is the P scale value. And in here, we have the option to scale down the overall these branches, so onto the global scale. Maybe let's lower the value down to 0.42. And let's find this. Let me home this and let's view on some other frame. And here as can see the lightning noise is not attaching onto the surface, and that is because I think we are setting the main noise. Let me find, okay? That is the noise. So let's dive inside. And in here, let's adjust these noise settings. Okay? First, let's multiply this by our curve U so that we don't want the noise to be applied onto the base because we want to its base to stick onto the surface our sword. In here, maybe let's import our curve U attribute. So let's add bind node in here and let's import our curve. Or maybe what we can do, we can go back and let's copy this noise where we have all of this fade as well as this curview built in in here. So maybe let's copy this node and let's connect this in here for setting up our main noise, and let's remove this one set noise. Okay. And let's rename this one to our set noise. And that is, I think the base noise. So let's type this accordingly. Base noise. And in here, we have this option for feeding. Okay. And let's dive inside in here. And here we have the random scale value built into it, which is good. Let's go back and let's view the result again and see. And now it is sitting onto our this sordo because we are adding this RAM parameter. Okay. And in here, let's add an polyvi node to check the thickness, the width. Okay. And maybe let me remove this one that was our agent. These are our lines. Let's connect this in here polyvio. And I think the thickness is too much, so maybe we need to go back around to this attribute wp. Here we are setting the thickness. So let's lower this value down to 0.01. Or maybe we can slightly increase this, and we need to adjust the thickness onto these base lines as well. So let's dive inside. And in here, let's lower this value down to 0.01. Okay. I think that value is looking good. And now let's add an A color onto the lightning and I'm going to copy the color where we are setting this. Okay? That is the node. So let's duplicate this one, set CD, and let me move this at the end, connect this in here. Okay. And now we have the color applied. And now we do not need this polywire node in here. So let's get rid of it. And in here, let's create an null and call this one our out SOD lighting. Okay. And now, maybe let's select all of these nodes, and let's create an a box around it, and let me move this. I think that position is fine, and in here, let's call this one our sord lightning Okay. And with that, this sord sord lightning layer is complete. 10. Lightning Arc: Now let's create SOD arc lightning where our agent is slashing the sword. We want to create the arc lightning. Let me zoom out, and let's view our agent. And here as you can see at the frame, I think the 47, where we have this SOD heating effect here as you can see, where we have this sword slashing. We want to create this an arc of lightning that follows the path of this sword blade. Okay. So for that, let me extract the frame. And in here where we are blasting, that is our sword blade. Okay. And I think the slashing is starting from the frame number 47. So maybe first, let's scatter some points in here by adding an Scatter node. So let's connect this in here. Let me move this inside at the side. In here, let's scatter some points and maybe for now, let's change the 21, four. And here as you can see these points are now regularly arranged. So maybe let's uncheck this relax iteration. So we have this randomness in our points. And now let's add delete node in here because I want this to start these points at the frame number 47. So let's add a delete in here and let's change the entity to points, and let's change this to delete by expression. And if our crant frame number is less than 47, Okay. And now we have the starting frame at 47, and the ending frame is frame number 60. Okay. So at the frame number 60, we have the sord at the ground, so we want the arc to stop at the frame 60. So let's drag this delete node once more and connect this at the end. And in here, I'm going to adjust the expression. And now if our current frame number is greater than 60, let's change it. So after the 60, we have all of these points gone. Okay? That is good. And now to create the arc, let's add a trail node in here to capture the trailing of these points. And for that, let's add a trail node at the end and connect this. By adjusting the trail length, we can create more longer or shorter the trail length, and here as can see. And to create these lines, the result type is said to preserve original. Let's change this to connect as polygons option. Okay. So now we have the closed polygonal geometry, but we need these lines, and to extract these lines, let's add an ends node in here after the trail node, and onto the ends, the close you set to no, let's change this to open. Okay. And now here as you can see we have these lines extracted, and that will create the lightning slash effect, arc lightning. Okay. So after that, let's add resample node in here at the end to add more divisions to smooth out these arcs. Onto sample, let's lower down the length value to add a lot more points and let's smooth out this lightning arc by changing on the street polygon as straight edges to subdivisions. Now we have these smooth out lines. Now let me hide the point display. Now let's introduce the noise in here to create an lightning like effect. And for adding the noise, I'm going to duplicate the noise where we were generating. Let me find set noise. So let's copy this one, this attribute warp node, and let's move this up, and let's keep moving this up. Zoom in let's connect this in here with the result and here we have the noise and let's play around with the noise parameter because right now the noise is not looking good, let's adjust this to our liking. In here, let me check onto the resample. We do need to enable the curview we forgot to enable that. Let's enable this curview and onto the set noise, let's dive inside. In here first, I think we don't need to add this negate option, so let's move this. And we are adding this offset based on time. So maybe let's not use the time as an A Y offset, but use the primum because when we are generating these after the ends, if we enable the primitive number, here as you can see, we have all of these unique primitives. So let's add the primum in here to create unique noise for all of these different primitives. So let me connect the primum in here at the offset of Y value, okay? And onto the NTS noise, let me low down this amplitude value. Let's lower this down to value of one, okay? And I think now that starts to look good. And in here, maybe let's remove this width parameter node because we are going to use the curviewO sorry, the random value of these primitive to set the random width because right now we were setting the same width for all of them. So first, let's generate the random number based on the primitive number. So let's connect this, and that will create the random value for different primitives. And in here, let's add an multiply constant node to scale this value overall value down because the value of 01 is too high for thickness. And in here, let's lower down the value to 0.012. And we can export this as an width. So let's add a point export node, and let's type the attribute name and connect this at the end. Okay. And now, I don't want to apply the noise at the very start, as well as at the very end. So let's add an A RAM parameter node in here as well. Let me move this graph down. And in here, let's import the curve attribute and use the curve U attribute to create our RAM parameter. So let me type the attribute name, curvee and let's add this a RAM parameter and change the RAM type to spine RAM. The curve view to this ramp, and let's multiply these noises with this ramp. So first, we need to add an add node, and let's add both of these noises together. So let's add them. So after we have these noises, let me remove these wires because we don't need them. And let's move this node graph in here. So after we have these two noises combined, we can add multiply node in here and let's multiply these two noises with this ramp, and then we can add this one onto our noise. And heros can see nothing is happening because we need to adjust our ramp and the default ramp is zero. So let's go back. And onto the set noise, we have this ramp. So let's play around with the ramp value and heroes can see. Let's move this value up and let's add another point in here. And for the last one, let's move this down. Okay. Let me adjust this. And that way we can create this fading ramp. And by using this ramp, we can define where we want the noise to start applying. Okay. And after that, maybe let's add polywire to visualize our thickness. So let's add polywire at the end. And in her R radius, yes, let's use the width attribute. Okay. And here as you can see we have the random width for all of these different primitives. And now let's copy where we are setting the CD attribute, the attribute wo set CD. So let's duplicate this attribute wop node because that is responsible for creating the color. And we do need the blue color. Let's connect this after that and we have our color in here and maybe let's go into the set CD and let's play around with this ramp and add maybe let's at first add some of these values back. I think the value of 0.2. Let's move this into the side something like that. And we can view this with both of these lightning together with this agent. So let's add merge node in here at the end, and let me merge this as well as this out agent. Let me pick an wire from here. Zoom out, and let's connect this and put two Okay. Let's see. And here, as you can see, at the frame, we have this slashing effect, this arc lightning. Okay, that is looking good. Now, let's remove this merge. We don't need this. And let's remove this polyvar and at the end, let's create an null, and let's call this one our out arc lightning And in here, let's select all of these node, and let's create a box around it. And let's call this box our arc lightning. Okay. And with that, this lightning sd arc lightning layer is complete. 11. Sword Slash Glow: Now let's create the SOD slash glow. If we take a look at the reference, here's can see, right now, we have created lighting, this electric lightning arc. But if you look closely, here can see where SOD is hitting, we have trail, this slash trail. So let's create this trailing slash glow. Okay. That is pretty cool effect. So let's create that inside of Fudini. So let me zoom in. Here. And let me view this. Okay. So that is arc lightning. And I'm going to create let's drag a wire from this where we have the sword. Okay? So in here, first, we need to extract the range. So I want the starting frame to maybe frame number, I think the 47. So yes, that is the frame. Okay. So in here, let's add an let or maybe we can duplicate these two delete nodes because they are set to work with correct range, frame number 47-60, and that is the range that we need. So let's select both of them and let's track them in here. And for the input wire, let me move this onto this side. Let's use that one and let's pick an A wire and connect this. Maybe let's move this up a bit. Okay. So here we have the frame 47-60, and maybe we need to minus an A one frame from here. So let's change this to 59. Okay, at the frame number 60, I want the slash glow to be gone. Okay. And now let's add an tracking point from where we will start to track this slash location. If I enable my point number count, here as you can see, I want the slashing to be start from this four frame number Sorry point number four because that is the edge of the sword. Okay. So in here, let's add an blast node and onto the blast, I'm going to change the group two points and let's remove the four point number four, okay. Let's click on this lead non selected to only isolate this point number. Okay. So now that we have this point, now let's add an a trail node in here to create the trailing of this point. So let's connect this. And for this one, let's change these to connect as polygons. And by adjusting the trail length, we can define the trailing length. I think the value of five is looking good. And in here, we need to add the ends to extract this as an A line. So let's add ends at the end and onto the close, let's change this to open. And let me make this align these node together. Okay. Let me rearrange them. So after the ends, let's add resample node to resample this slash line to a smooth curve. So let's add at the end. And onto the resample, let's change this to treat as an subdivision curve. Okay. So now we have this smooth line. And after that, let's add an extrusion to add this thickness. So for that, let's add an poly extrude node in here. And let's add this at the end. And onto the polytrude we can play around with this distance value to create this trailing glow. Okay. And I want this trailing to go down, so we need to change this value in minus. So the value that I used was 0.659. Okay. I think that length is look good in our render. So let's use that value, and you can adjust this if you don't like this value. Okay. And after that, maybe let's add an merged node in here to view this with our original agent, this SOD. Let me pick the wire and let's add this in here and view the result. Here as you can see at the very start, we have this starting and then we have this weird orientation. Okay? He as you can see, to fix this, let's not use the trailing node to create the trailing. Okay? So let's create this trailing effect. Sorry, this polygon connecting effect with our own, okay? And let's not use this as polygon option to create this line because that is generating some problems. So maybe let's change this to as an A preserved original. So where we have these points, Okay. So what we can do, we can create an A ID attribute, and then we can use an A add node. If we add an add node, we have this option to generate the lines. If we're going to the polygons and here the option is set to B pattern. We can change this to B group, and here we have the add all point option. We can change this to by attribute. And let me create an attribute to better you will understand better how this add node will create these polygons, this polygonal line. So first, we need a single point attribute on all of these points, okay? And if we take a look after the blast, where we have this single point. So maybe let's create an ID attribute, and we can use the enumerated node for that. Let's add this and let's add the attribute name to be ID. And I want to add this on my points. And if we middle mouse button, here as you can see, we have the ID integer attribute, and if we go into the Geometry spreadsheet, and it should be the same as we have the point number, and that is the zero when we are generating the trail, okay? So we have all of these different points. If we scrub the trime here as you can see, we have the point count and they are changing, and we have the ID which always stay zero at all of our points. Okay. What we can do, we can use the Ad node, and in here, we can use the ID attribute. So where we have the same ID attribute, we want all of these points to be get connected. Onto the attribute name, let's type the attribute name ID. So now we should see the line. Okay. Here can see we have this line. So now we don't need the ends node in here. So now by using this add node, we have this very consistent looking line. Okay. So now we shouldn't see any problem with that. So we can use the resample again as before and we can add the poly extrude as before. And now we should have this correct Okay. Now let me view this with our merge. Okay. And here can see the alignment is now reverse. So let's add an reverse node. At the end where we have created an polyextrude node, let's a reverse. So now the normals are correct. And later on when we are going to create an e glow, onto this geometry, we need an A gradient, this black and white gradien that go from top to bottom. And for that, let's create an A group where we have this one when we are using the resample after we have done the extrusion operation. So I think we don't need to merge because we know that this slash is working fine. Okay. So after the sample, let's add an A group node in here to add this line into our group. And I'm going to call this one that should be the edge group, and let's call this one edge. Okay. And when we do the polyetrusion, we should have the edge group reserve. And if we middle mouse button, hers can see, we have the edge group. And after the reverse, let's add an a color node, and let's add color to all of our geometry and a black color. Let me add the color onto the points. Let's set its color to black. Okay. And now let's use another color node. And for this time, I'm going to use an a white color, but only on our edge group. So let me select this. And here as you can see, we have this gradient, and we can use this gradient at render time to create our glow. Okay? So at the end, let's create an a null in here. And I'm going to call this one our out sord slash or maybe just out slash. And now let's let all of these node add on to the layout, let's align these nodes vertically. Let's create a box around them. And I'm going to call this one our sored slash. Okay. And with that, our this sword slash glow layer has been finished. 12. 12 Rocks Lightning: Now let's create lightning arcs and bols inside of our rocks. When the rocks are growing, I want to have some lightning bolts in the rocks. So let me find here I have the rock geometry, and let's go in few frames. Okay? So I want some lightning bolds inside of these rocks. Okay, so for that, let's create an proxy geometry for these rocks because right now these rocks have very high point count. And to make it lightweight, let's create an proxy geometry of these rocks. And for that, I'm going to first create the proxy where we have this one single piece of rock geometry that is our high resolution rock. So after that, let's add an convex hull node to create the convex hull. Let's add this, and this node will generate a very lightweight proxy geometry for us by adding the shrink wrap effect, and here as you can see. We have a very lightweight geometry, and if I enable the smooth wire shaded, and here as you can see, we have very few points and polygons. Okay? And after that, let's duplicate all of the setup where we are creating this rock growing effect. Okay? So let's select all of these nodes and press and hold the old key to drag. Okay. And for this one, where we are connecting our high resolution, copy two points, let's connect this onto the convex hull and this one into the convex hull for both of the sides. And now, if I view the result of the transform, and here we have all of these animation back but onto our proxy geometry. Okay. And that is good. And let me select all of these node and bring them onto this side. And after that, maybe let's create an A null at the end, and let's call this one proxies, and we might need the proxy geometry later. So let's rename these two proxies. And to scatter the points onto the surface of our geometry, because we are going to connect these points for creating the lightning arc. We need to unpack this geometry because in here, if you remember, onto the capidu points, we are packing our geometry. So first, we need to unpack this. I I middle mouse button, heros can see that is an ApackGeometry. So let's add pack node in here and let's connect this after that. And if I middle mouse button, Hers can see we currently do not have normals because we are going to use an a scatter node. Let me add an a scatter and connect this after the unpack. And onto the scatter, Hers can see we do not have N, which means we can't apply the noise if I type the mountain node and let me connect this onto the scatter, and here can see if I adjust the amplitude, I cannot apply the noise because we need the normals. So first, let me go back where we are creating the convex hull. So after the convex hull, maybe let's add a normal node to add the normals onto our geometry. So let me connect this in here. And onto the normals, let's add the normals to points. And let's connect both of these copy to points onto this normal node. And let me move this down. Okay. And now, heres can see our noise has been applied because we have the normals, and now I can easily apply the attribute noise to apply the noise. Okay? So in here, maybe let's play around with the noise. Let's increase the element size in here. Let's maybe lower down the element size to an value of 1.31 maybe, okay. And to animate this, we are going to animate this amplitude parameter, okay? And then we can ray these point backs onto our rocks. So let's add ray node in here, and these are the points. And let's ray them back after the unpacked node. Onto the array, let's change the method to minimum. Okay. And now we are snapping all of these points back onto the surface. And by adjusting the amplitude, we can make these points move along the surface of these rocks geometry, which is good. And we might need to adjust some parameters onto the scatter as well because let me show you if I go into the previous frames where we do not have the rock geometry, let me view the result. Hers can see where we do not have rocks, we will start to grow rocks from the frame number 60. Before that, we do not have this rock and onto the scatter node. When we do not have rock geometry, we will get some these linear arrangement of these points. If I bring up the parameter of the scatter node because hers can see where we have set the force count. The force count is making these points, we need to uncheck this option and let's enable the density scale to scatter the points. So by using the tensity, we can scatter points. When we do not have geometry, we do not have density, and hence, no point has been scattered. And when we do have geometry, we should start to see some points, okay. So in here, maybe let's lower down the density scale because we do not want that many points. So maybe let's lower this value down to 0.1. And I think these points are fine because these points will create our lightning poles, okay? And maybe let's uncheck the relax iteration to create the random distribution of these points. And now we can play around with the mountain node to at the movement in our points. So let's start animating this let me bring up the parameter of the mountain. Let's start animating this amplitude parameter to create the movement. And for that, I'm going to use the key frames. So first, let's go into maybe when we are starting to grow our particles. I think they are start to grow after the frame number 61. So in here, let's lower down the amplitude value and in here maybe lower this value down to an a value of 0.92 and present hold the old key to add an a key, and let's go few frame. And I think I want to add another key onto the frame number 96 because in here, we have all of these rocks drawn up. So now let's increase the amplitude value. And here as you can see, we start to see some movement. And onto the 96, let's keep the amplitude to maybe 6.6, and let's press and hold the old key and click to add a key. Okay, let's view the result. And here we have the particles movement. Let's view this with our ray node. Okay. And we have this movement which is good. And to actually connect these points together, we can create an node called connect adjacent pieces. So let's add connect adjacent pieces node, and let's connect this. And let's bring up the parameter. And right now it's a two adjacent pieces from points. Let's train these two adjacent points. Okay. And in here, let's play around with this search radius. And as I increase the radius, here as you can see, we are starting to make the connection between these points, okay? And in here max search point, let's lower down this point value because we do not want to create more of these poly lines on top of each other. So I think the max search point, let me change this value to a value of four. And here we have a one single point here as you can see that is not connected. So let's increase the search radius where we will start to see the connection, and I think the value of 1.81 is good. Okay. And we have all of these connections. And now after that, we can add resample node to add more divisions because right now we do not have enough subdivisions onto our curves. So let's add resample node. And in here, we do need the curve view attribute. So let's enable this and to create the noise and the branches, let me go back where we are creating the ground lightning and here we have the ground lightning. I'm going to copy all of these nodes where we are setting the base noise and we have this second to create the branches, and we are setting the CD attribute as well. So let's select all of these nodes and press and hold the old key and trag to duplicate this node graph, and let's track them at the end. Okay. And maybe let me move the node graph up and connect this in here. And now we should see all of the noise applied, okay? And in here at the merge, we have all of these branching structure, and we have the color applied. Okay. And now let's add an polyvi node in here. To visualize the width attribute. So because I want to adjust the width right now, I think the width value will be high. So let me see. Onto the i radius, let's use our width attribute. Okay. And here as you can see, we have this a very thick width value. So maybe let's play around with the width, and the color is not showing maybe let's connect this in here. And after that, let's use the CD. I still can't see color. Why is that? Let's disable this. I think there is some put problems, but we have an color in here. Let's go into the set noise. These are our base lines. Let's dive inside in here and let's play around with these parameter. First, let's remove this negate because we are using the we have different primitives. Maybe let's connect the primnum in here to create the random offset for all of these different primitives. I'm going to connect the primnum as an AI offset, that is the primum. Connect this in here. Okay. And I think these default noise values are good that we have set them before. And in here, we can play around with the width. So let's go into the parameter, and in here, let's lower down the width value. First, let me view the result of the polyvar. Let's lower this value down to maybe value of 0.06. Okay. I think that width is looking fine. And maybe let's go into this attribute warp and here we can adjust the parameter for the length of the thickness, okay? And we can adjust these values later when we are going to render them. Okay? For now, I think these are fine. And after the 91 hers can see we have lightning always present. Okay? And let's remove these lightning. And let's randomly remove all of these lightning bolds. And for that, let's add an ant lete node. And I want to add the delete when we are raging these points and using the connect adjacent. After that, let's add an A, delete node in here and connect this. And for this one, I'm going to enable the random option to randomly delete the points, and onto the entity, let's change these two points, and let's enable the randomness. And in here, let's animate this percent parameter to randomly remove these points. Okay. And I want to start removing these points from frame number 85. So let's go into the frame number 85. And in here, let's add a key from zero percentages. Let's go all the way onto our last frame. Let's change this to 100 and let's add another key. And now let's go back and at the set CD. Let's view the result. Here we have these lightning bolts and slowly we are removing the lightning. Okay. And here we have all of these lightning bolts gone. Okay. Let me remove this polyvi node, and after the set CD, let me adjust its position and create an null in here. And let's call this one our out crown sorry, out rock lightning. Okay. And now let's select all of these nodes. And after the proxies, let me select all of these nodes, and let's create a box around it. And let's call this one our rocks Lightning. And maybe let's select all of these nodes as well. And let's create another box around it, and I'm going to call this one our proxies. Okay. And with that, this rock lightning layer has been finished. 13. Particles Simulation: Now let's create particles. We are going to emit particles from where our rocks will start to grow. Let me find the geometry, and here we have the proxy geometry. So let's use this geometry to emit the particles and here as you can see. And I want to emit particles where we have these rocks will start to grow. And let's isolate this leading group where we have this growing animation. So let's select few of this section of our geometry for the particle animation. Okay. And for that, let me go onto this side. In here, let's bring this proxies null and for that, let's add an object merge node in here. The reason I'm using the object merge node because if we drag an A wire from here by adding this wire onto this side, here as you can see, we are creating this a messy wire network graph. To avoid the messy wires, I'm using the object merge node for bringing this null in here. And let's bring up the parameter of the object merge onto the object merge. Here we have the option for the object. Let's drag this proxies null in here. Okay. So now if we go in here and let's view the result of this object merge and here's can see we have an exact same proxies geometry, okay? So now let's extract this leading group. And for that, I'm going to create a group based on our bounding geometry. So first, let's add group node in here. Let's group this. And in here, we have the option to add an a bounding object. So if we enable this and heros can see right now the bounding type is at two bounding box, we can change these two bonding objects. Okay. And for this one, we need to be having on our point group. So let's change these two points, okay? And this node is still throwing an error because we need this bonding object onto this second input. And so for that, let's create an bounding geometry. And I'm going to use these points if we come over here where we are creating this ground blast. Here as you can see, we have this point is that is our animation, okay? And to create bonding object, I'm going to add sphere in here. So let's add primitive sphere. Okay. And to make this sphere move with this particle, let's add copy to point node. So let's add this. And that is our geometry. Let me move this down, and let's move this onto this side. And for the point, I'm going to use this second delete. Okay. And now, if we view the result of the copy to point, Hears can see we have this sphere moving, and now we can use this sphere as our bounding object for extracting the leading group. So let's connect this in here and let's view the result. Okay. And here as you can see all of the errors are gone. And now we are selecting some of the particles. So let's go into the sphere, and maybe let's increase the radius. So let's keep increasing this radius. Let's change this 22p2. And inhere to isolate this group. First, maybe let me arrange this node graph. Let's make this in here. And in here, let's add a Blast node, and onto the blast, let's isolate these points onto the blast. Let's select the group, and that is the group two. And in here, let's enable the let non selected to invert our selection, and heres can see, we have this geometry extracted and we can use this geometry to create our particle emission. Okay. And for that, let's add an unpack node to unpack our geometry because right now our geometry is packed. Okay? So now we have the unpack. And while we are here, let's add an CD attribute, and we will use this geometry later to add an emissive material to create an emission glow, and that will create a very interesting layer of effect of this whole effect, okay? And for that, let me duplicate this CD attribute wop so let's select this, press and hold the old key to duplicate this node. And I'm going to add this onto this side, add this in here. Okay, so we are creating this CD, and we will use this CD to create an emission to add a glow. So after that, let's create an null at the end, and maybe let's call this one our out emission glow. And let's select both of these nodes. Let me move them into the side, and let's create a box around it. And onto this box, maybe let's name this our emission glow. Okay. Now let's come over here onto this unpacked node. And in here, let's add an point velocity to add velocity attribute because we are going to use the particle network. So let's add a point velocity node in here. So maybe first, let's add an Pop network for creating the particles. So let's connect this. Okay. Hers can see we have some particles and they will start to emit frame number 60. And Hers can see right now they are not moving currently, we do not have any velocity, so let's add an point velocity node in here and let's add this. And onto the point velocity, the initialization is set to compute from deformation. Let's change this to from attribute, and let's use the normal, and let's go into the point velocity and middle mouse button. And here as you can see, we have the normal, and now we do have the velocity, and we can visualize the velocity. Let's click if you hover over to that node and click on this eye button. And that way we have this inspection window. Let's click on this and here as you can see, we have this velocity vector visualized in yellow. Let's bring up the perimeter of the point velocity, and let's go into this noise and maybe let's add curl noise in here. Okay. And it's also animated, which is good to hide the visualization, hover over to that node, click on this I button, and let's click on this to hide the visualizer. Okay. Now let's go into the pop net and let's view the result again. And while we are here, let's go into the pop net and let's adjust the starting frame because we know that our animation will start from the frame number 60. So let's go into the simulation and onto the start frame. Let's change the start frame to 60. Okay. And here is can see now at the frame number 60, we will start to simulate, and maybe let me adjust this playbar to frame number 60. Okay. So whenever we go back at the start, we will start at the frame number 60, and that way we can visualize these particles, okay? And we will change our overall animation to one again. But because we are now working with the simulation and the animation will start from 60, that is why I have made the focus of our animation to start from frame number 60, okay? And now our particle will start to moving. And right now they are not falling. Let's add an gravity to create an a gravity force. So let's drive inside the pop net. And let me move this pop source up, because we're going to add a lot more nodes in here. So first, let's add an APAP force node, and that PP force is responsible for creating the gravity. So onto the PAP force, let's add an gravity value onto the force stab onto the Y. Let's add an gravity value of -9.81. That is a physically accurate gravity value. So let's rewind and play, and here as can see we have the gravity and our particles are falling down. And let's add a ground plane in here for collision because right now they are falling down indefinitely. So let's add a ground plane in here. And let's add and I merge, and let's merge this with our simulation network. Let's click on this onto the merge. Here we have the left input affect right input, and we have the collide relationship. So maybe let's rearrange this node by clicking on this ground plan up arrow button, and that way we can organize this node. Okay, so that is the left input, and that will affect the right input. And now, if we play and here as you can see, we have the collision. And if you look closely, here as you can see our particles are bouncing and they are bouncing a lot. And I don't want these particles to bounce. So let's go into the pop object node, and onto the physical properties, we have the parameter of the bound. So let's lower this bounce value down to a value of 0.01 maybe, and let's play again. Okay. So now our particles are not bouncing. They are sticking onto the surface on our ground, which is good. And now let's emit more particles. Let's go into the Pop force, and let's go into the Perth tab. And in here, we have the constant activation enable, so let's zero this out. And I want to enable the impulse activation, impulse activation set to one, which means that it is active, but the impulse count is set to zero. So let's let's enable the impulse count, and let's emit 1,000 particles. So the impulse count means that we are going to emit that many particles every frame, Okay, because we want to create a lot more particles. So let's use the impulse method and let's play. Okay. And we should start to see more particles. Maybe let's add another zero in here to create more particles. And here as you can see, we have a lot more particles added. And maybe let's add wind in here. So let's add an A pop, wind node, and let's connect this. And in here, I'm going to play around with this amplitude value to create an wind force. Okay? That will create this noisy wind force in our particle simulation. So let's play. Okay. And Harris can see our particles are moving with the wind. And right now, Harris can see they are always wind is always affecting these particles, and these particles are moving all over our ground. And to fix this, let's go into the pop solver node, and let's go into the collision behavior. And we have the option to set the response. The response is set to unchange. So let's change this to stop. So I want these particles to stop whenever they hit the ground. So let's hit rewind and hit play, and Hearers can see. Now, whenever they hit the collision object, the ground, they will stop, so they will stop moving, and that is good. And that's exactly what we want. We don't want the pop wind to affect when they have settled down onto the ground. So maybe let's go into the pop wind node, and let's play around with the amplitude. Let's lower down the amplitude value to 1.5 because we don't want to break this emission shape too much, okay? I think the value of 1.5 is looking good. And now, these particles are not moving far, so maybe let's go into the pop source node and onto the attribute where we are inheriting the velocity. This inherited velocity is an A multiplier. So if we change this to zero, and by zeroing this out, we will not importing any velocity from our soaps and hers can see. So let's scale the velocity vectors inherited velocity vectors. So maybe let's scale this up to value of five and let's play. Okay. And whenever we are working with more particles, it's best to visualize these particles as pixels, and we can change this if we come over here onto the display material, right click on it, and here we have these options. So onto the particles option, right now, we are visualizing them as points. So let's visualize them as pixels, and hers can see. So whenever I'm working with more particles, I always change the visualization to pixels, and that way we can visualize all of these particles. And I think we have these nice breakups going on. Okay. And now let's go into the Perth tab again, and in here, we have the option to create an A just bond group. Okay? So let's add an A group that we will use this group to later emit the debris that will create an A group where we have the particles just bond. So in here, let's add an a group name. I'm going to name this group to spawn because these are the newly spawned particles. And we can visualize this group if we go into the let's go into the soap level, and in here, as you can see onto the pop net, we are importing our ground plane as well into our soap. So let's go into the object merge of the pop net node, and here as you can see onto the object, we are importing all of our object let's isolate our pop object if we dive inside of the pop net, and here we have the pop object. So that is the container that is holding the particles. So let's import only this pop object node and not the ground plan. So let's go back. And in here, let's type the pop star, which means everything that start with the name of pop, we want these to be imported. Okay? So now we are only importing these particles. And in here if we middle mouse button, hers can see, we have a lot more attributes. So maybe let's get rid of all of these attributes, and we also have some groups. Hers can see, we have a group too, and we have the spawn group. Okay. So first, let's add an attribute let node to remove all of these unwanted attribute to the attribute. Let's click on this let non selected to remove all of the attributes. And if we middle mouse button, now we do not have any attribute, but we only have one point attribute that is the position and onto the point attribute, let's type the V because we want to preserve the velocity, and we will use the velocity to create the motion blur at render time. So if I middle mouse button, and here we have the V attribute, and we have the spawn group, and we have this group two and the stream input. So maybe in here, let's add a group, delete node to move the unwanted groups as well. So let's click on this and onto the group, I'm going to click on this option and let's remove the group two, as well as the stream group. And now we should only see one group, and that is an spawn group. Okay. And after that, let's add an blast node in here to let's isolate the spawn particles. Let's click on this onto the Blast. Let me pick my spawn, click on non selected to invert the selection. And if we go back and here is can see, these are our newly just bond particles that we have called the spawn. Okay. And we will use these particles later to emit the debris. Okay. So we will need this spawn group. Okay. So let's remove this plus, and that was just for the visualization, what is the spawn groups are. Okay? So after that, let's add an file cache node in here and let's click on this and in here, let's rename onto the base folder. You can select the location. And right now I am storing this in my current safe project folder that we have created onto my hip folder and Geometry folder, and onto the base name, we have the dollar sign OS and the hip name. So let me remove this hip name expression. I only want to store the dollar sign OS, the operator stream operator name. So in here, let's call this one particles. Okay. And if we middle mouse button onto the base name and here is can see this name has been evaluated in here. So that is our particle simulation. And this time, we want to create an A. We want to store the simulation, and onto the start frame. Let's right click and delete this channel value. And let's click on the start frame 60 because that is the frame where the simulation will start. Okay, so let's change this to 60. And after we have cashed out our particles, let's create an attribute, Wop node in here at the end to set the scaling, o to create an P scale attribute, and in here, I'm going to rename this to set scale. And let's dive inside. And in here, I want to create an a parameter, and that way, we can adjust the parameter to set the B scale value, and we need the P scale value for rendering. Okay. So let's go inside the set scale, and I'm going to add an a parameter node in here and onto the name, let's name this to an AP scale. And let's export this as an attribute as well. So let's on to the export, the never. Let's change these to always. Let's go back. And in here, we can use this slider to set our P scale, okay? And for the starting point, I'm going to use an AP scale value of 0.01. And if we middle mouse button, here is can see we have an AP scale attribute, at the end, let's create an A null, and we are going to call this one out particles null before writing out our simulation, let's dive inside the pop net in here. Let's increase the particles count. For that, let's go into the pop source and onto the impulse count, let's emit the 100,000 particles, let's add another zero in here, 100,000, and I believe that many particles will create enough particles for rendering. So let's change this value and after that, I can go into the file cache node and let's save out our simulation. And with that, our particle layer has been finished. 14. Ground Dust Simulation: Now let's create the ground dust simulation. And here I have written out my particles. Okay. And here you can see the particle animation is different because when I was writing the particles and I find that the noise value was not correct. So what I did, I go into the point velocity node. In here, I change the sole size to four and the sole size of four created a good looking particle simulation. So make sure to adjust the setting onto our point velacti node. Okay. And with that, this particle layer is finished. Now let me select all of these nodes, and let's create an box around it, and let's rename this box to our particles. And now let's come over here onto this side. Maybe let me move this emission glow network box onto this side as well. And in here, we have when we have written out these particles, let's extract the spawn group. Let's add a blast node in here, and I want to isolate this spawn group. Let me make this onto this side, maybe in here and onto the blast, let's select this spawn particle group, and let's click on this nine selected to isolate this spawn group. Okay? Let's use these particles to emit our ground dust. Okay. So now that we have isolated our particles, let's create an pyro source node in here, pyro source. And let's connect this after the blast. And in here, we have the mode that is said to keep input, which is correct. Onto the attribute, let's add an a density attribute. And now we should see the density attribute, and here we have it. Let's create an A volume attribute to convert these particles into VTB volume. Let's add a volume rasterize node in here, and onto this one, let's select our density attribute, and let's enable the normalized by clamp caverage option enable, and after that, let's add an Pyro sol node at the end for creating the simulation. Let's add this. And let me view the result. And onto the Pyro solver, let's come over here onto the start frame. Let's change this to our start frame to 60. Okay, because that is our starting frame. So let's hit twine and hit play. Okay. That is our starting frame. First, let's come over here onto the auxel size. Let's copy this parameter. And I want to link this with this volume size attribute axel size. So onto this one, let's click on this pase relative reference. Now these two nodes, these two both nodes should be linked with this auxel size, which is good. So let's go into the fields tab where we are importing. We are importing from the sourcing, so let's go into the sourcing tab, and we are importing the trent and we also importing the temperature, right now, currently, we do not have any temperature volume. So let's use our density volume as an A temperature. So onto this horse volume, let's click on this density. Okay. And now we should have an A temperature into our simulation. Let's rewind and play, and here as can see the temperature is causing the smoke to rise up, and right now our temperature value is too high. So the operation is set to pull. Let's change this to add. And in here, let's add very low value of our temperature into our simulation. And for starting point, let's add this value of 0.1. Citr wine and play again. Okay. And here as you can see the value of 0.1 is still too high. Our smoke is rising too fast. And let's go into the shape tab. Here we have the buoyancy. So the buoyancy force is responsible for lifting our smoke up where we have the high temperature. Okay? Onto the Bon C, let's lower down the buon C value to a very low value of maybe 0.1 as well, because we don't want this temperature to rise too much. Okay. And here as can see we are creating a very slow rising of the smoke. So let's enable the Bon C option. And in here, we have the new option that is called the density influence gravity. So let's enable this option. Okay. In here, we can define the density range. Right now we are using the value of zero and one range. Let's hit rewind and hit play, and our smoke look exactly the same. Maybe let's lower down this density range value. Let's lower this down to value of 0.5. Here as you can see now our smoke is rising a bit slowly. First, let's go into the field stab and in here, let's adjust the value of dissipation. Let's increase the dissipation value to maybe a value of 0.2. Let's hit Trewine and hit play. Okay. So right now, that's how simulation looks like. So first, let's go into the shape tab, and maybe let's add some noises. So I want to add the disturbance into my simulation. So let's enable this and let me scroll this down and let's view the result with the default value of tris turbines. So 0.5 value is too low, so maybe let's increase this value to 15 and let's play. Okay. And here as you can see, we start to see some small scale breakups or this high frequency noise, these small breakups in our smoke, and this effect will be going to be exaggerated when we are going to lower down our boxel size. So onto the base block, let's low down this value 20.1 to create a very high frequency noise. Maybe let's go into the turbulence tab and let's enable this. In here, let's view the result with the default value, and let's increase the turbulence value to a value of five, and let's view the result. Okay. And here as can see we have an epic scale noise in our simulation. And let's go into our setup tab and in here, let's lower down the axel size to view the result with our high resolution. So maybe let's lower this value down to 0.05 value of 0.05, and let's see. Okay. And here as can see by lowering the axel size down, we can start to see some detail into our smoke simulation. So right now we are using the uniform density value, and that is why we are emitting a lot more smoke as well as lot more temperature, and that is not creating an interesting dust simulation. So first, let's break this density uniform density value. So after the pyrosurce we are creating the density value, okay, density attribute. So after that, let's add an attribute, noise node in here to break up this density attribute. In here, the attribute name and it is an a vector, but the tensity is an a float attribute, fine middle mouse button, here is can see density is a float attribute. Let's go into the attribute noise and let's change this to an a float in here, let's pick up our density and let me remove this CD. In here, we are using an a range value of costv. Maybe let's change the 20 centered in here, let's play around with the amplitude value. Okay. And let me increase an A amplitude value to four and noise pattern that is simplex which is good. Maybe let's increase the element size, and let's animate our noise as well. Let's enable the animation, okay. Now let's hit twine and let's view the result of our pyro solver, and let's view result again. And we have some breakups and we have some interesting shapes. But my smoke is still rising too high, so let's go into the pyro solver, and let's go into the shape tab where we have the point C. And onto the point C, we have enabled the density influence gravity. Let's increase the gravity scale to push our smoke down. So onto the gravity scale, I'm going to increase the gravity scale to a higher value. I have a value of three, let's with result again. And here as you can see with an A gravity scale value of three, we have still higher rising smoke. And so maybe let's go into the pros pyrosurce where we are creating an A density attribute. Here we have the option for the particle scale. So let's lower down the particle scale value to a lower value because by lowering the particle scale, we are creating the less density value, and we should have an A less smoke in our simulation. So onto the particle scale, let's lower this value down to a value of one. First, I need to come over onto the frame number first frame. So let's go into the particle scale. Let's lower this down, and here as can see we have very low. We have a lower particle scale and that will create a very tight volume rasterization of our particles. Okay. And let's rewind and hit play again. Okay. And here as you can see by lowering the particle scale, we have huge impact on our simulation. We are creating the less smoke. We are emitting less smoke in our simulation. Okay. And I think that particle scale value of one is looking good. And right now our smoke is going below zero below our ground plane. So to fix this, let's go into the pyro solar node, and let's come over here onto the collision tab. And here we have the ground planes. So let's enable this option onto the Y ground plane, let's change this to close below. So below zero, we are creating an a ground plane. So below zero this container will act as an A collider. So we are essentially creating an a ground plane for the collision of our smoke. So let's play again. Okay. And here as you can see, we are not going inside of our ground below zero. Okay. And I think that the smoke value is looking good, okay? So let's come over onto the setup tab, and in here, let's lower down the axel size. And for the final render, I'm going to use an Avaxel value of 0.03, and that will create enough resolution for the smoke. Okay. I think that value is good. And let's go into the output tab and let's uncheck all of these attribute, all of these volumes because we are not going to use them, so let's uncheck all of them. And let's enable this to convert to VDB because right now, if I middle mouse button, there should be we are creating these Houdini volumes, and let's convert them into our VDB fi middle mouse button. Okay. And here as you can see, we have an A native volume, and that is an Houdini volume. So let's convert this to VDB, and let's enable the 16 bit float, and that will create a very lower size of our file cache. So if I middle mouse button again, and now Hers can see we are creating an A one VDB volume, which is very efficient. So if I middle mouse button, Hears can see we have all of these point attribute that we don't need. So after that, let's add an A attribute. Delete node in here and in here, let's click on this delete non selected to remove all of these attribute, fi middle mouse button, and herres can see by deleting all of these attributes, we are also removing the name attribute. But the VDB name attribute, the VDB name attribute is essential for rendering. So onto the primitive attribute, let's type the attribute name because we want to preserve the name attribute. And if I middle mouse button here as you can see, we have an A one VDB volume and its name is tens t, and this name attribute is essential for entering. Okay, so let's preserve this. After that, let's add an file cache node in here, and onto this one, I'm going to call this one our ground dust. Okay. And in here onto the start frame, let's right click and delete this channel, and let's use an a frame number of 60 as our starting frame and onto the base name. I'm going to remove the tool sine hip name expression, but I'm going to only use the tool sine OS. Okay. And after that, let's create an null. And in here, we're going to call this one our out ground Tust. Okay. And let me select all of these nodes, and let's come over here onto the layout, and let's align these nodes vertically, and maybe let's create an epoch around it, and let's rename this. Accordingly, that is our ground trust, okay. And in here, come over onto the file cache, press save option to write out your caches. And with that, this ground dust layer has been finished. 15. Debris Simulation: Okay, so here I have written out my dust simulation. Okay. And I think this dust simulation is looking good. And now let's create debris simulation. We have an rock growing and we have some particles, and we have this ground trust. And we also want to emit the debris and for creating the debris, simulation, I'm going to create an A. I'm going to use these span particles where we are adding the plast and we are isolating these spawn particles. So let's use these particles as an A, our source of our tibris emission. Okay. So first, let's add an A maybe delete node in here because right now, if I middle mouse button here as can see, we have a lot more points, and we do not want that many particles of debris. And for that, let's add delete node in here to reduce the number of points in our simulation, and let's connect this here and let me arrange this node graph in here. Okay. And in here, we can go into the random and let's change the entity to points, and let's enable this random deletion. Okay. And onto the percentage, let's increase the percentages. Okay. Let's maybe delete 99% of our particles, and if I middle mouse button, we have 1,000 particles. And I think they are still large particles. So what we can do, we can create another layer of delete. So I'm going to duplicate this node and let's connect this after that. Okay. So we are adding the 99% of random deletion another one more time. So if I middle mouse button. So now we only have 14 points. And we can increase the number of points by decreasing the percentages, but I think the number of fourteens will work fine for us. Okay. And in here, we also have a node called point cloud reduce. Let's add a point cloud, reduced node in here. So if I connect this in here and let's view the result and here as you can see the point cloud reduce, we can adjust the axel size to reduce the number of points. Okay? And you can use this node to remove out. You can reduce your number of points as well. But I am using the random deletion method to delete the number of particles. Okay. And if I middle mouse button, here we have the group, the spawn group, and we also have the position and velocity attribute, which is fine. After that, let's add an a group delete node in here and let's get rid of this spawn group because we don't need this group. So the group name, let's type the asterik to remove all of the groups. Okay. So now we do not have any groups, which is good. And now let's create a debris geometry that we will going to be coping onto these points, okay? So in here, I'm going to create an A debris geometry, and for that, I'm going to use an sphere node polygonal sphere. Let's add this and let me with the result of this sphere. And let's zoom in in our sphere. And in here, let's change the primitive type to polygons and let's increase the frequency to three to add and allot more divisions, and maybe let's increase the uniform scale of our sphere geometry. Okay. And let's break up this spherical shape by adding a mountain node in here to add the introduce the noise. So let's connect this and let me make this primeter window bigger. Let's view the result of the mountain node, and in here, maybe let's increase an amplitude value just slightly Okay. And in here to avoid this pointer look, let's increase the element size to create a high frequency noise. Okay. Let's continue increasing this. Maybe let's increase this value to an A value of 3.5. So let me increase this 3.53, and onto the noise, we are using the simplex noise. Let's use an A noise of world cellular F two minus F one. So let's at this. Okay. Let's go into the fractal. We are using the hybrid train and 0.4 roughness. I think that value is looking good. Okay. So the range is zero centered, and that value is good as well. So after that, let's convert this geometry into volume for scattering the points inside. So let's add an IO offset node in here and I'm going to connect this in here. And let's bring up the parameter, and let's change the sampling to 50. And after that, let's add an scatter node to scatter the points into our volumes. So in here, I'm going to scatter the let's lower down the scatter force count. And after that, let's add eve fracture node to fracture this spherical geometry. Okay? So that is the geometry, and it needs the one points, and these are the points. Let's be result. And as you can see, our geometry has been fractured. And we can view this if we add an exploded view node in here and let's connect this. And here you can see how geometry has been fractured. And now let's introduce some inside interior detail, because right now at the inside, we do not have any noise. So let's add an RBD interior detail node, and let's connect after the V fracture node. In here, let's suggest some parameter of the RBD interior detail node to add the noise onto the inside of our fractured pieces. So onto the noise amplitude, maybe let's increase the amplitude value. Okay. And here as you can see by increasing the amplitude, we are adding the more amplitude into our noise. Okay. And I think because these are these will be going to be very small debris, we don't want that many resolution on the inside, and I think that value should work fine for us. Okay. So now let's remove this exploded view. And let's use these points where we have them. Let me find. Okay. So there we have these points. So now let's randomly copy these fractured pieces geometry onto these points. Okay. And for that, we need to add an a copy to points node in here. So let's add a copy to points. So that is our geometry. Let me connect this, and these are our target points. Okay. Let's go into the copy to points, and let's enable the pack and instance because we want to pack our geometry. Let's result. And hers can see currently we are copying this whole geometry. So let's not copy the whole geometry, but the individual pieces. And for that, we need to transfer the name attribute. I I middle mouse button here as you can see, we have the name attribute, and it has some unique name attributes. And let's transfer this name attribute onto these points, okay? And for that, I'm going to use an attribute from pieces node. So let's add an attribute from pieces, and this node will transfer the name attribute from the fractured pieces onto these points, okay? So that is our point cloud, and that is our Geometry library. And now let's use this into our copy to points node, okay? So onto the copy to points, we need to enable the piece attribute. So let's enable this. And now, hers can see we are randomly copying these pieces geometry onto these points. Okay. And to fix their position, we might need to zero out these pieces, okay, because right now, their position has been offsetted, okay? Let's make all of these individual pieces to sit on at the origin. And for that, let's loop through all of these pieces. And for that, let's add an for each named primitive node. Okay. And that will run through all of these primitives one by one. So if I go into the furach node, and if enable the single pass, here as can see, we are looping through all of these pieces one by one and we are merging the result back. Let me uncheck the single pass. So inside in here, let's add an A match size node. Match size and the default value is set to the center, justify X, Y, and Z is set to center. Okay. And here as you can see now all of our fractured pieces are now sitting at the origin, okay? So let's use this one to create the copying our geometry. So for the geometry library, let's connect this because that is our geometry library, okay? And we need to connect this. Let me rearrange my node graph. Okay. So that is our geometry library. Let me connect this. And with result again, copy to points. And now we should have an a correct position, the correct copying of these debris particles. Okay. After that, maybe let's add an a random scale in here. So let's add an attribute randomize onto our points. So these are our points. In here, I want to create an a random B scale attribute scale, and that is an A one value. Let's change the dimension to one. Let's low down the minimum value to an a 0.3 because I don't want the values to be completely zero and onto the max value, let's change the max value to value of 0.8. I'm creating the random scale between value of 0.3 and 0.8. I think the scale value is still too large, so what we can do, we can lower down the overall global scale value. So let's load this down to value of 0.2 because we want to create a very small these debris. Let's add the 0.2 value in here and let me see why we are getting this weird black color in here. So let me view the result in here where we have the pieces. So let me come over here onto the forage node and let me frame home this all. Okay. So here we have the geometry, and these are our points, and we are transferring the name attribute onto our points, and we are creating the random P scale, and we are copying this back. Let me find the frame. Maybe let's refresh this viewpoard by going on to the animation editor, and let's come on to our scene view again, okay. And it's still not doing. Okay, let's uncheck back instance and click this again, okay. And here we have an view board refresh, and this debris is looking fine now, okay? So after the copy two points node, let's add an A RBD configured node to configure this into RBD objects because we are going to use the RBD simulation. So let's connect this. So on to the RBD configure, let's view the result. And now we should have our packed geometry, and this RBD configured node will set the attributes necessary for creating the RBD simulation. So after that, let's add an RBD bullet solver, and let's add this and connect this in here. And onto the RBD bullet solver, we need to change the start frame. So the start frame is 60. Okay. So let's come over here onto the RBD bullet, and let's hit rewind and hit play. Okay. So here as can see we are emitting these debris once and we are using these debris into our simulation. So we are not continuously importing all of our debris geometry. First, let me go into the RBD bullet solver, and let's go into the collision. And first, let me add ground plane. So let's go into the ground type, and in here, let's add a ground plane. Let's rewind so that we have something to collide with. Let's play again. Okay. And here as can see we are not importing all of our geometries, and to fix this, let's go into the setup, and let's say rewind and let's enable the emit RBD RBD option to continuously emit the debris. And let's view the result again. Okay. And here as you can see, now we are emitting our debris every frame, and that is exactly what we want. Okay. And now let's adjust some parameter of the bullet solver, and maybe let's add an a random velocity onto these debris pieces. So let's add an point velocity node in here. And after the copy to points node, let's connect this point to the point velocity, and the value set to compute from graformation, let's change this to set to value. And let's add a value of one in all axis because we want to create the random velocity on all axes. And let's introduce some noise in here. So let's add an occurred noise, and maybe let's increase the scale of that, and let's play again. Okay. And here as can see we have an A random velocity onto these debris points. Okay. I think these are sliding too much, so let's go into the RPD configure and onto the physical, let's enable the friction and let's enable the user friction. And I'm going to increase the friction value to a value of five. Let's say twine and play again. Okay. Maybe let's go into the RPD bullet solver again. Let's come over here onto the forces and let's enable the drag to enable the drag force, and let's it play again. Okay. And I think that debris is looking fine. So after that, let's create file cache node in here for writing out our debris simulation. So let me add this. And before I write out my simulation, let me view the result of this bullet solver. Let's add an endl at the end, and let's connect this. Okay. So Hers can see we are not importing the ground plane, but we only have the debris, and that is fine. And if I middle mouse button, Hears can see we have some point attributes that we actually don't need. So after that, let's add an attribute, delete node in here. Let's connect this. And in here, let's click on this delete non selected to remove all of these attribute. Okay. But we do need the name attribute, because we are working with pack primitive. So for rendering, we need the name attribute. Okay. And we also might need the velocity for creating the motion blur. Okay. And let me view the result of the attribute let and middle mouse button. So we are preserving the name attribute, as well as the Vloct. So now we can write out our debris. So I'm going to rename this one our debris, file cache. Let's bring up the parameter of this file cache. And as always, let's remove the dolosge hip name expression, only use the Dlo sine OS. And the start frame, let's delete this channel, and let's start this at the frame number 60. Okay. And after that, let's create an null at the end, and let's connect this. And I'm going to rename this our out debris. Okay. And let me remove this null. We don't need this. And let's select all of these nodes and create an box around them. And let's rename this box to our debris, okay? And you can now go into the debris and save out your cache. And with that, this debris layer has been finished. And before you write out your simulation, let me add an correction. And that was if I go into my sphere time, here as you can see, I am using the uniform scale of 2.38, but onto the radius, we are using the value of 0.5. So let's change this to one on all axes. Because I think the value of 0.5 was creating an A too small scale of particles. So let's hit rewind and hit play again. Okay. I think value of that scale value is looking good. And now you can write out your simulation. 16. Import To Solaris: Now let's bring all of our acid into Solaris for rendering. So let's go back. And in here, let's click on this option, and let's go into the stage context. Let me open that. And in here, let's import all of our asset for rendering. And for that, I'm going to use a node called Sub Import. So let's add sub import node in here. And let me bring up its parameter and let me make this window a little bit bigger. And onto the soft path, let's start adding these assets. I'm going to start this with our agent. So onto the out, and here as you can see, we have all of these out null so in here, first, let's start with agent, head except. Okay. We have our agent. Let me activate my view tool so that I can navigate in my scene. And in here, let's adjust the focus of frame range. Right now it's at 260. Let's change this back to one again so that we have our entire frame range. Okay, that's good. And while we are here, let's rename all of these assets, these geometries accordingly. So that is our agent. So let's rename this so that we know what this sub import is importing. Okay? And let me see the geometry set missing width. Okay? So maybe let's keep all of these values to default. And I'm going to press and hold the old key to track to create another sub Import node for this one, let's bring up the parameter, and let's grab the second, that is the arc lightning accept and let's keep renaming them accordingly. Double click, that is our arc lightning. Let's click and drag, and let's bring up its parameter, and this one the debris. Let's add this, rename these two debris, drag this again, and let me pick up this out emission glow. Duplicate this again. Let's pick up another layer, the ground blast, except. Let's drag this again. And that is our ground dust. Drag this again. And these are our ground lightning. Duplicate this again. Let's rename them accordingly. That is our ground particles, and let's duplicate again and let's pick up the path, and let's import our out rocks. And I'm going to rename them to rocks, and let's duplicate them again. And let's click on this. These are our rocks lightning I accept. So let's rename them to rocks. Duplicate this node again and I'm going to select this our O slash. That is our SOD hitting effect. So I'm going to rename this to SOD slash. Okay. Let's duplicate this again. And let's import the SOD lightning. That is our final layer. So let's rename this accordingly. That is our SOD lightning. Okay. So with that, I have all of our layer imported. So let's select all of them, and let's go into the layout, and maybe let's align these nodes horizontally, okay? And let's add an merged node in here, and you can create the merge node when you have all of these nodes selected, pick the output from any one of the nodes because we have all of these nodes selected. So let's click on this and here can see I have opened up I am tracking wires from all of these nodes. Okay. So when I am dragging, just press and hold the old key and click and that will create an merge node. Okay. And here as you can see, I am creating the merge node. So let's click this again to release the out. Okay. And that way you can very quickly create the merge node and let me view the result of the merge node to view all of our acid. So let's drag this timeline. Okay. And here as you can see we have successfully imported all of our assets into solas. Okay. And right now we are missing the ground plane as well as something in the background. And for that, let's create an ground plane as well as something into the background as well. So for that, let's go into the object level again. I'm going to create my background into the scene level, okay? So in here, let's create another geometry node. And I'm going to rename this our BG for background, and let's dive inside in here. And for creating the background, I'm going to use simple circle geometry. So let's add a circle polygonal circle. Let's bring up its parameter, and let's change the orientation to Zplain, for the radius, let's increase its radius so that this will cover entire scene. And for that, I'm going to use my radius to 50 by 50. Okay. And also heroes can see its edges are rough. So for that, let's increase the devisions. So maybe let's change the devisions to 50 as well. Okay. And after that, let's select all of its boundary edges, and I want to move these boundary edges up to create the background. And for that, I'm going to use an a group node in here and let's connect this in here, and this should be the edges group. So let's add an edges and onto the base group. And let me disable this and let's click on this include by edges and click on these unshared edges. And here as you can see now we are selecting these outside edges. Okay, these are the edges I want to be in my group. So onto the group name, let's maybe rename this to our edge or boundary. I'm just renaming this to edge. Okay. And after that, let's add an poly extrude node in here to extrude these edges up. So let's connect this. Onto the poly extrude, let's click on this group and pick our edge group. And by changing this value, we can create the extrusion and let me increase its value, and Hears can see the extrusion is going on the wrong direction. I want this to move up, so onto the extrusion, let's change this to point normal and Hears can see. By default the point normal is going upward, and that is the exact direction I want this to be extruded, okay? So in here, maybe let's increase the distance to 20. Okay. And after that, let's select this edge again and use this to smooth out this transition. So after that, let's add vel node in here, polypwl. So let's add this and connect this at the end. And for this one onto the group, let's select this previous edge group. And in here, we can play around with this to create our smooth transition, okay? And I think I'm going to use the value of six in here. And by adjusting the divisions, we can add more divisions in here. Okay? And I think the value of eight is looking good, and here we have the smooth transition. And after that, we can safely create an null at the end, and I'm going to rename this our out BG. So let's add another null, out PG and let's go back into our stage context and in here, let's import our background null. So at the very last, I'm going to track this node, and in here, let's pick up the background null, and that is our BG. So let's collapse this. And here we have the out BG hit Accept. Okay. And I'm going to merge this with our rest of our geometries. Let's set this. Okay. And with that, we have all of our assets. So let me pick my frame, okay. And with that frame, let's choose our camera position from where we want this scene. And I'm going to pick up this camera, we can always adjust this later. For now, I'm going to roughly add an A camera in somewhere. So with this merge nodes selected and this angle, let's come over onto the new cam. Let's click on this new camera to create an A camera from the current angle. Okay? And Heros can see we have successfully created our camera. Now, I can click on this view button, and right now the lock is on, and by the log when the lock is on, we can adjust our camera position by moving around into our scene, okay? And if I unlock this, now I'm not able to adjust my camera position, but Hearers can see I'm adjusting my viewport camera, but my render camera is right here. Okay. And we can view this by we click on this new Cam. And here we have the cameras and camera one. Let's click on this. Okay. So here as you can see now we are looking through this camera. Okay? That is good. So after that, let's add material library node in here because we are going to create our materials next. So let's add this after the camera. And after the material library, and we are going to need this to assign to material. And for that, I'm going to use the material linker node for assigning. So let's add material linker node, material linker, let's click and add this after the material Library. Okay. And we do need the dome light. The HDRI light, we are going to use the HDRI for lighting. So after that, let's add an dome light as well, and maybe let's connect this at the end. And finally, let's add our render lob for creating the render setting. So if you type in here Kerma, hers can see, we have our Kerma node. So let's add this, and this will create two nodes for us. This one is for the render setting, and that is the USD render rob for writing out all of these frame onto disk. Okay. And here we have the kerma render settings where we can adjust the kerma render settings, here we can change the engine, right now, it's set to CPU, and we can change the resolution as well as all of these limits and image outputs. Okay. So let's connect this at the end, and I'm going to view this with these Kerma render settings. Okay. Well, let me activate my camera tool again and I'm going to save this scene. Let's save this. Okay. So in the next lesson, let's start creating our materials for our scene. 17. Creating Materials: Now let's start creating materials. Here as you can see, everything is looking gray, and that is because currently we do not have any materials assigned. So let's go into the material library where we have created. Let's dive inside this node, and in here onto the material library, we are going to create the materials network. First, let's add an A. Let's go into the kerma tab, and here we have an kerma material builder. Let's add this and that will create an sub network if we dive inside this here as you can see, we have these nodes. First, we have the material X standard surface material node, and we have the displacement node for adding the displacement. And also, we have the material properties so that we can adjust the lightning as well as some of the limits in here. Okay. So let's go back and in here, let's rename over these materials accordingly. So first one, I'm going to rename this one for BG, that will be for our background material. So let's rename this to BG and that is going to be a very simple material. So let's dive inside and inhere onto the material X standard surface. Let's bring up its parameter. And in here, we can adjust the parameter of our material. So first, we have the base where we can adjust the base color. So I'm going to add a very darkish gray color. So let's add this with the value of 0.1. Okay. I'm going with this gray color. And onto the specular, right now, here we can adjust the roughness as well as specular color. And because that is ground, I want this to be to have an roughness. So onto the roughness, let's adjust the value of roughness to 0.5, okay, because I don't want to create a very shiny ground. Okay, let's go back. So that is our BG material. And after that, let's create another Kerma material builder. So let's go into the kerma. Let's add another kerma material builder. And for this one, I'm going to create an material for our agent. So let's rename this accordingly. Let's add this agent and press Enter to dive inside. Okay. And in here, we have this input sub node. So let's remove this. We don't need that. Okay, so that is our material. And in here, let's plug in our materials that we have downloaded onto the color. And for the importing the texture, you can add an A material X image node, if I type material X image. Okay. So you can use this node to select your texture that you have downloaded. Or we have a node called PBR material set. So if I add an material X PBR, okay. So here we have this PBR Trax set node. So let's add this and by adding this node, if we bring up the parameter here, we can import all of our textures at once easily. Okay. Here we have the base color. So let's pick up our base by clicking on this icon, and let's go into the toll sign hip our current project folder, and onto our texture folder. So let's open this. And in here we have our agent that is the great SOT costing. So let's double click to Time inside, okay? And inside, we have these materials that came when we downloaded the character from Mixamo. So they diffuse. So let's add this, hit Accept. Okay, so the base color has been loaded, and we also have the normals and the normals for importing the normals, we need to go into the pump tab. So let's go in here, and here as you can see onto the pump style, we are using the height. But we want to use this as an a normal. So let's add this a normal and onto the normal map. Let's click on this. And in here, I'm going to import this Maria normal and accept. And onto the pump scale, that will going to be our multiplier. So let's maybe change this to one. Okay. And onto the textures, let's import our specular as well. So onto the specular color, let's click on this. And here we have the specular head except, ok. And now it's just a matter of plugging this into this material X standard surface material. So these are our outputs, onto the base. So let's click on this to collapse this menu onto the base color. I want to connect the base color to base color. And we also have the specular. So let's click on this onto the specular color. Let's connect this to the specular color. And we also have the normals and the normals to add the normals, we need to enable this geometry. So let's collab this geometry option, and in here, we have the option for using the normals. So let's connect this normal to the normal. Okay. And with that, this agent material has been done. And let's add another material. So let's go to become a material builder. And for this one, I'm going to rename this for our lightning, okay, because that material will be used for all of our lightning geometry that we have created. So let's dive inside, and let's remove these inputs. And this is going to be a very simple material as well. And because we have this lightning color set already inside of sobs so we need to import this CD attribute that we have created in sobs from sobs into Solaris. And for that, we have an node called material X Geometry color. And here as you can see, we have the Geometry color node. So if you add this, it will read the color that we have created in the sobs, the CD attribute. Okay, I will import this. So for this one, that is our CD, and I want to create a glow. So let's go into the material like standard surface. To add the glow, we do not need the base color, so let's zero out the base value. Okay. And let's go into the specular. We do not need to add any specular. So let's zero this out as well. We want to plug this into emission because I want to add this lightning to act as the light. So onto the emission, let's bump up the scale to maybe higher value to five to create a more emissive material. Okay, onto the emission color, let's use this CD. So we need to go into our emission tab and onto the emission color. Let's connect this. Okay. And that will create our material for lightning. So let's go back. And I'm going to duplicate this node as well. And that is for creating the geometry light and we might need to play around with the settings. So for this one, maybe we need to adjust different emission value. So that is why I'm duplicating this node. But all of these settings should be the same because we are going to use the CD attribute for setting the emission color. Okay? So onto the lightning, let's rename this to maybe our geo lightning. So first, let's type this one, our geo space lightning and maybe let's remove this one. Okay. And now let's start assign our materials. So let's go back onto the stage context, and we can assign this material by going onto the material linker. So onto the material library. We have created our materials. Let's go into the material linker, select this and press B to bring up its parameter. And let me make this window a bit bigger. Okay. And here as you can see, we have the list of materials that we have created. These are the materials, okay? And in here, we have the geometry tree. In here, we have all of these geometry nodes that we have imported, ok. And we can assign this by clicking the material from this one, this material list. Okay. And I want to assign the agent material to this agent geometry. So just click and drag in where you want this to assign, and here as can see it is also highlighted into our viewport as well. Okay? If I hover over to our ground, let me find that and let's maybe adjust this onto our plug this into our agent, okay? And hers can see we have materials assigned successfully into our agent, okay? And for the BG, let me find. I think I currently cannot see my BG null. Let me go back and check. And we forgot to rename this. It is set to so lightning one. So let's rename this to our BG. Okay. And that is why I have trouble finding this sob import in my material linker. So let's go into the material linker and bring up its parameter again, and we should see our BG. Okay, here we have the BG. So let's select our BG material. And let's click on this onto the BG, and heres can see it is also highlighted in our viewpoard. So let's click on it. Okay. Our BG materials has also been assigned, and we have this geo lightning as well as lightning, these two materials. And I'm going to add the lightning first, let's apply the lightning materials. Rock lightning. So yes, I want this to apply onto my ox lightning. As well as onto my sword lightning. Let's add this. And let me find another ground lightning. Let's add this onto the ground lightning as well. And for the glow, here as you can see, we have the emission glow as well as the ground blast. And this one, I'm going to use the geo lightning. Okay. And for that, let's add the emission glow into the geo lightning material, apply this material onto the emission glow, as well as this material to our ground blast. Okay. And we can view all of these material if you click on this very top tree, if you click on it. And here as can see we have all of these materials, and we can see which materials has been assigned to which geometry. And here we have the agent that is assigned to agent and VG and for the lightning material, we are using this onto the rocks, lightning, as well as sword lightning, ground lightning. And these two materials are using the geo lightning material emission glow and ground blast. And now let's start creating some other materials. For example, we need to create the materials for rocks, and we also need to create the materials for or ground trust as well as the particles. Let's dive inside the material library again and in here, let me arrange these materials, nodes. To better organize our node graph. And in here, let's start creating other materials. First, let's maybe add an ground dust material for our dust. And because that is an A volume, we need the pyro material. So let's go into the Kerma and onto the pyro tab. And right now it is cutting off. Let me bring this in here and let's click this. Again, Kerma pyro, Kerma pyro and let's add an A kerma pyro smoke material. Let's add this. Okay, well, let me place this in here and I'm going to rename this material to our ground dust. Okay. And let's dive inside, and in here, Hearers can see right now we are using the Kerma pyro shader. So let's bring up its parameter, and hers can see we have the different parameter for this one because we are using the pyro shader. So in here, we can adjust the density scale as well as we can play around with the smoke color. So maybe let's create a dust looking like color. So let me create this an desaturated brown color. Let's play around with some of its setting. Let's desaturate it a bit, as well as let's add some darkness. And we can always adjust the settings later. And in here, we can adjust the density scale to create a more thick or thin looking trust. Okay. And we can play around with these settings later. So let's go back. And after the ground dust, let's create the materials for our particles as well. So let's add another kerma material builder. So I'm going to click this in here and let's rename this to our particles, and let's maybe duplicate this node again. And for this one, I'm going to rename this to our rocks because we need the material for our rocks as well. So let's add this and lastly, we need the material for our sord slash effect. If we let me find the frame where we have the sword hitting, so it should be in here. And after and here you can see. Let's create another material for this slash glow. Okay. And for this one, I'm going to duplicate this rock material by present, hold the old key and drag, and in here, I'm going to rename this to our sord slash. So maybe now let's dive inside this source slash material and in here, as always, let's remove this input, and we need to import this CD. So let's add an material X geometry color node that will bring up our CD. And for this one, let's add an A ramp in between before plugging into these materials. And for that, let's add an A ramp node in here. So here we have the KermerAM parameter. So let's add this. And let's connect this in here. Okay. And in here, we can adjust the rams. Okay. So maybe at the end, at the very last, let's double click on this and let's create an A of gray color. Value with the value of 0.3. Okay. And we can adjust this later. And after that, we can plug this into our glow. So onto the material X, why don't want the base. So let's zero out the base as well as let's zero out the specular, but we want to apply this onto our emission glow. So let's bring up this emission option and onto the emission color. Let's click the ramp into our emission color. And we also need to adjust the opacity of this geometry, and to adjust the opacity with this ramp, we need to go into the geometry, and here we have the opacity. So let's click this. Let's attach this into our opacity as well. Okay? So in here, let me bring up the emission and emission is right now set to zero. Let's add value of one Okay. So now let's go back. And that is our source slash material. And now let's apply all of these materials. So let's go into the stage context and onto the material linker. And in here, let me make this window a bit bigger. So we have the agent PG ground lightning and to the ground dust. Let's apply this onto our ground dust geometry node. And let me find there we have the ground dust. So let's just click and drag this onto our ground dust. And we have the lightning and the particles. So let's add this into our particles as well. Let me find ground particles. So let's click and add this onto this particles geometry onto the rocks. And let me find my rock geometry. Okay, these are rocks. Let's click and track this. And the SOD slash, let's add this to our SOT slash as well. Okay. And now, let me hide the parameter and onto the kerma, let's bring up the parameter. Okay, and maybe let's adjust this window. And we are going to use the Kerma XPU for rendering. So let's go into the engine setting. Right now, you set to CPU parameter. Let's change this to XPU. And now we can use the XPU for rendering. Okay? And to actually render this, let's click on this perspective where it says perspective. Let's click on this. In here, we can adjust. We can choose our render engine. We can use the Kerma CPU XP, or maybe let's go into the render settings. Okay, we are using the default. Maybe let's use our renderer render settings. I think so first, maybe let's check with our Kerma XPU because these are the default values. Okay. So let's change this to KermiXP and it will take some time to initialize because KermiXP has to load all of this geometry into GPU and Hears can see Optex is compiling, and right now we are only using the CPU. When our GPU will start rendering, it will start its speed will get improve. Okay? And Hers can see it is compile one and we should start to see our GPU. Right now, we are using this CPU. Okay. And Hears can see Optex is working, and now we have a very fast render, okay? And Hears can see we have this lightning slash glow. Okay, then that is working good. And I think why this glow is not working and the lightning glow is not working correctly. So maybe let's adjust the materials properties and values in the next lesson. 18. Rendering In Solaris: Now let's adjust some material setting as well as create the material for our rock geometry. And right now, here as you can see the arc lighting currently are not glowing. Let me see what's the problem. So first, let's deselect the material. So if you click on anywhere in the blank, you can deselect this, let me go through all of these geometries to see which we have the materials and which we are forgetting. So agent we have the agent material assigned. And onto the arc lightning, hers can see. We are currently not using the material for the arc lightning. And let's add the lightning material onto this arc lightning. So let's drag this in here. And now hers can see we immediately start to see some lightning glow. Okay. And let me select these materials, and onto the arc lightning, let's go into the BG. Let's click on this. Okay, we have the material, and onto the debris, currently, we do not have any material. And we are going to use the rock material for our debris as well. So onto the debris, let's use the rock material and assign this onto our debris. Okay. And let's go into the emission glow. Okay. We have the material ground blast. We do have material, and we also have the material for our dust, lightning, particles, rocks, okay, rocks, lightning. Okay, we have the material for our rocks, lightning. We also have the material for our sword lightning and we also do have the material for our SOD slash. Okay? So we have assigned all of the materials. So let me hide the parameter, and let's dive inside the material library, and let's start playing around with these materials properties. So first, let's go into our particles material. I want to adjust the materials for my particles. So let's dive inside. And for this one, the particles material is going to be a very simple material. So let's bring up the parameter for this one, and let me adjust its window. And onto the base color, let's add an rusty color for our particles. So maybe let's select on this brown value in here and let's desaturate this. By coming over here, and maybe let's create a more darkish brown color. Okay. And let's close this window. And also, let's go into the specular, and we want to increase the roughness. Okay? I don't want my dust particles to be shiny. So maybe let's increase the value to an A value of 0.5 for our particles. Okay? And let me hight the perimeter. Let's go back. And now let's let's create material for our rocks. So let's dive inside and let me remove these inputs. And for this one, because we do not have UVs on our rock geometry. So for that, I'm going to use an A material X x node. So that should be an A material X style hexagon. So let's add this and oh, sorry, not that one that will create a procedural tile, so we don't need that. But we need an a triplanar. So let's add an x triplanar Kerma hex tile triplanar. Okay. So that is the material that we are looking for. Okay? So let's bring up its parameter. In here, we can define the image texture that we want to import, and it will use the hegtyling triplanar to apply the material. Okay. So it is useful load if you do not have UVs on your geometry. So onto the file, let's start importing our materials for our rock. Let's click on this two dots button to go back. And in here, let's go into the Csiderock. That is the material that we are going to use for our rocks. So let's open this and in here, first, let's import our diffuse. So let's hit Accept, and that is our diffuse. And let me connect this accordingly. So let's bring up, and that should be our base color. And let me move this a bit up and press and hold the old key and track to duplicate the load. And maybe for now, let me change this to Houten volcan, okay? And we will start render this once we have finished our material. And for this one, let's import this arm that is the ambient occlusion roughness and metallic. So let's add our arm and hit Accept. And here is you can see that is an A vector four, and to separate the RGB components, let's add an A. Separate color four node. So material X, color four, because that is an four value, and let's connect this. And here we have the R, the red color that is storing our ambien occlusion. And here we have the roughness and metallic. So onto the green challenge channel, let's connect this into our specular roughness. So let me bring up the specular, collapse this option. So that should be our ambend occlusion onto the red roughness onto our green. So let's connect this onto our specular roughness. And the last one should be the metalness. So let's connect this into metalness. Okay. And also, let's duplicate this node one more time. And for this one, let's import our normals. So let's bring up its parameter, and let's click on it, and in here, I want to import the normals. So Rock underscore node, these are our normal and hit accept onto the signature because these are the normals. So let's change the signature to normal. Okay. That is the correct way to import the normal and in here. We can play around with this normal map height to adjust the normal map intensity. Okay. And for this one, let's connect this into our geometry and the normal. So let's connect the out into our normal. Okay. So with that, I think this rock material has been finished. So let's go back. And let me find the frame where we have the rocks, as well as some materials, as well as all of these acids. So let me go at the very last frame, and let's focus on these rocks, okay? And first, maybe let's play around with the lightning because if we go back onto the dome light, her as can see we are currently using a simple white color, okay? So onto the texture, we can define our HDRI. And for the DRI, I'm using the Polhaven. So let's go into the poly heaven and let's browse some HDRI. And in here, you can use any HDRI that you like, okay. And for this project, I'm going to add an search query for the abandon. So let's add the abandon, and I'm using this one, the abandoned slipway. Okay. I think that HDRI is creating some nice look. So let's click on this abandoned slipway, and that is the HDRI. Okay. So for the rendering, here, you can see, we have the resolution set to four K. But for the lightning, we don't need the 4k2k will provide the enough resolution for rendering. Let's only download the two K resolution and download that. In here, let's go into this dome light. In here, let's import our HDRI. Let's click on this option and let me go back and Heres can see I already have downloaded abandoned slipway. Let's click on it. In here, we came up with the JPEG and that is our HDRI two k one, so it accept Heres can see the lightning has been changed. Now let's click on this and let's click on the Kerma XPU to start rendering. Okay. And here can see the HDRI has been imported. And right now, our Kerma XPU is initializing the new settings because we have imported our HDRI, so it needs to compile and within a few minutes, we should start to see the rendering. Okay, so here as can see we are start rendering and we have imported successfully imported all of these materials and lightning, okay? And the rock material is working fine. And right now, I think the particle scale is too high for my liking. Okay. So maybe we need to adjust the particle scaling. First, let me view these all of our results with our camera. So let's click on this new CAM and let's look through our camera one. Okay. And maybe let's click on this lock button to adjust the framing of our camera angle so that we are viewing all of our scene. Okay? So all of these are working fine. Let's go back a few frame where we have the dust as well as the lightning. And heroes can see we have the dust and we have the lightning and it's glowing. And I think the dust is right now, the dust is looking too thick. So maybe we need to adjust the density value for our dust. So let's go into the material library again, where we are creating the dust material, the crowd dust. So let's dive inside. And onto the rama pyro shader, we can play around with this density scale. So let's lower down the density scale to value of maybe 0.1, and let's view the result. And here as you can see, we immediately start to see the result. And I think the value of 0.1 is looking good. And right now our dust is not too thick, and that is exactly what I want. And now let's adjust the particles scaling. So first, let me change the two back to Houdini VK, which means the volcan. Okay. And for that, let's go back onto our geometry level where we are creating the effect. So let's go into the wave destruction. In here, let me find the particles. These are our particles and where we are using the scale, that is the set scale. Onto the P scale, we can adjust the values to create an lower P scale value. I think the value of 0.01 is too big for our particles. Maybe let's add a value of zero point double 06, okay? And now let's go back onto our stage context again and let's start rendering again. First, let me uncheck this lock button to zoom in. Okay. And in here, I'm going to click on the kerma XP again. So let's start rendering this, okay? And here as you can see. Think the value of 0.0 206 scale value is looking good for our particles. Okay? So let's keep these settings. So let's go into our camera on again back onto our camera. Okay? And here as can see we have our dome light geometry visualizer, and we can hide this by clicking on the display light guides. So if you click on this, we can hide the guides. If you don't want to see the background as our D GMT light as our background, we can go into the display. I think into the dome light and no not here. Let's bring up the setting on our display option by clicking on this i button. In here, let's go into the background, and here we have the display environment light as background option. So let's uncheck this and that way, we can hide our HDRI as our background. Okay? So maybe let's adjust our camera angle. So let's go into our camera camera has been selected. Let's click on this lock button again. In here, I'm going to adjust my camera position. Okay. Let's change another frame to where there we can see all of our effect. Okay? And you can adjust the camera angle to your own liking. I'm going to use this angle for now, okay? And let's go into our kerma render setting. In here, we can adjust the resolution. So for the final, I'm going to use our tran ATP. So let's adjust the resolution. And onto the output picture, here you can define where you want to store your render sequences. Okay. So right now we are storing our dollar sign hip, which is our current project location. So you can change this by clicking on this option. Let's go into the dollar sign hip, and I want to store this into my render. So let's click on this folder. And in here, we can type the name of these output sequences. I'm going to add this out effects, or maybe let's name this to our destruction wave destruction, wave. And after that, let's add another underscore and doll sine F. So the dole sine F expression means the current frame number. And we do need to add the Dlo sine F because we don't want to overwrite our render sequence frame with the same name. That is why we must need to add the Dlo sine F expression. In here, I want to render my EXR sequences. After that, let's add dot EXR, which means we want to store we want to render the EXR sequences and it accept. And here as you can see onto the output picture, we have the new expression, dollar sign hip and onto the render folder, we are naming our sequences and the dollar sign F. And when you are done, you can go into the USD render op and onto the valid frame range. Right now we are using the current frame. Let's change this to render specific frame range, and I want to render my 120 sequences. That is good. And if you click on this rendered root disk option, Houdini will start to render our sequences, okay? And before we render out our sequences, let's add this glow AOV to our render because later on, we are going to use this glow render pass into after effects in our composting program to further add the glow. So to add the AOVs. We need to go into the Kerma render settings and onto the image output. So let's click on this and here we have the option to write out our AOVs. Okay. So let me scroll this down. And right now we are only rendering the beauty pass. So that is good. We do need the beauty pass. But also, we can add the diffuse, and here we have the combined diffuse and direct diffuse, all of these render passes. But I only want the emission. So let's go into the lights and emission. And in here, let's store our direct emission AO by clicking on this option. Okay? Now ho Dini has been start entering again, and we can visualize our As render us by clicking on this option. Okay? These are our output planes, our s. Let's click on this. And hers can see we are entering our C. That is our beauty pass, and now we are also outputting this direct emission. If you click on this direct emission, hers can see that is our emission pass. That is good. We do need this pass for adding the glow. Let's click on this and click on the C to view this beauty pass. Okay. And I think these are the rendered setting. The default of 128 samples are good. Okay. If you are experiencing noise, you can play around with this and you can increase the samples to get rid of the noise. Okay. So after that, you can go into the USD Render Op and inhere, click on this render to Trisk option to render out your sequences. 19. Compositing In After Effects: Okay, all done. The rendering has been finished, and here is the end result. And if you have done all of these things correctly, your end result should look like this. So now let's add some glow and do some composting inside of after effects. Okay. So let me bring after effects. So here we are in the after effects, and here I have already imported my rendered sequences into after effects. And now when you are importing your sequences, first, you need to check that you are using the correct *** color because when we render these sequences, we are using the ***. So if you right click on your footage, we can go into the Interpret footage and onto the main. So the first thing we need to change is the frame rate because we know that we are using the 24 frame rate inside of Fulini. So let's change this. And also, you need to come over here onto the color tab. In here, make sure that it is using the default ACs as an a color space, and now hit Okay, and now we can safely bring these sequences into composition to create a new composition. Okay? Now if you click on this 32 bit option, here we have the options for the ACs, okay? And in here, make sure that we are using the correct as color flow. For example, here we are using the ACS configuration and AS 1.2, and by default, the nuvarian of after effects come with the ACs, in here, we are using the linear AS CG and the display color is AS SRGB, and we need to change this, and we can also change this display color. Let me press it. In here, we have the ACS SRGB, and here as you can see the colors has been more saturated and it's not looking as we have inside of Houdini. That is because Houdini is using the Rack 2020 color alert to visualize our colors, and right now we are using the SRGB color transform. So we need to change this to Ss Rac 2020, so let's change this. And now Hears can see now the colors should look exactly the same as we have in Houdini, okay? Now let's duplicate this because I want to extract my global lightning pass. These that we have created this emission. For that, let's duplicate this layer by pressing the Control D to duplicate this, let's come over here onto the facts and preset and in here, let's type the extractor. And that is the extractor. Let's add this onto this layer. And now into the properties, we can define the layer onto the layer. Here as you can see, we have the direct emission layer. So let's click this. Okay. So here we have successfully imported this indirect emission glow layer, and that is exactly what we need. And now we can add the glow effect in here. So first in here, I'm going to use the deep glow plug in. That is the plug in that you need to download because the native default glow is not providing good results, so that is why I'm using the deep glow plug in. Okay. So let's add this. And in here, as you can see, we have the glow, and to actually add this glow, we need to come over here onto this mode, and where it says normal, let's add this into our scene. Okay. And now here we can immediately start to see the glow. Okay. Now let's adjust some parameter of the glow. Here we can adjust the radius. So maybe let's keep increasing this radius and we can adjust the exposure. That will also adjust the intensity. Okay. And we need to go into the input, and here we can define the input values where we want the glows to start happen. And if we adjust the threshold, here we are using the threshold. Okay. So maybe let's use the threshold of 90 for now. And here we can also smooth out the threshold. And right now, the effect is not very visible, but let's add some more effect in here. First, let's add vibrance in there to create a bluish vibrant color. So I'm using the plugin called vibrance. That is an a free plugin. So let's add this. And I'm going to add this before we are adding the glow. And here, as you can see, we start to see some green color, and I want the color to be blue. So let's adjust the color range in here and change this to a light blue color, something like that. And here as you can see the threshold is effecting. So now we can click on this threshold smooth to smooth out our threshold because right now it was creating this harsh glow. So let's smooth this out to 100%. Okay. And in here, maybe let's add an a trent effect in here. So after that, I'm going to use an a tint, and I want to add the tint before the vibrance. So let's add this. And in here, I want to tint this between black and red to add an reddish tone. Okay. And here you can see that is the glow that I am after. And now we can play around with the radius and we can adjust the intensity by playing around with the exposure. And also onto the deep glow, we have the blend method. Right now, we are using the screen. Let's change this to add, and that will create some more interesting additive glow. Okay. And in here, let's play around with these settings. So I'm going to increase the exposure to five. Okay, that is the glow that I like. And onto the radius, you can play around with the radius, but I'm using the radius of 500 so let's add this, and that radius is providing good result. Okay. And after that, we can add an A color correction in here. So in here, right click and go into the new and let's add an adjustment layer. And onto this adjustment layer, we can add an A levels or curve adjustment. So let's add an A curves effect. So let's add this in here, I'm going to create a very basic S curve. Let's move this point a bit up and let's adjust this point to create an S curve. I think that is now looking good. And now we can safely render this. Let's go into the composition and let's click on this pre render. And in here, we can define where you want to save. I'm going to save this in here and let's come over here where it says output module. Let's click on it, and I want to save this as an H 264 sequences. And you also need to go into the color tab. And hers can see the output color space, we are rendering this into ACS, but we want to render this as an A Rc 2020 because that is the color space currently we are working. So make sure to change this output color space from working color space to the output c 2020 and Hers can see, click on it and hit Okay, and now you can render out your image sequences into video file, okay? 20. Thank You: Okay, that's it, guys. Thank you so much for joining in. I hope you have enjoyed the course and learned something from it, and I will see you next time.