Mantaflow Fire & Smoke Simulation Guide in Blender

1. Introduction: Hello everyone and welcome to the Mensa flow fire and smoke simulation guide in Blender. This course is for anyone wanting to learn how to create realistic smoke or fire using Blender to 0.8 and above. With the introduction of Mexico, it completely changed how the fire and smoke simulation operates. That is why in the first section I'll be showing you the basics of how the simulation works. After that, we will take a deep dive into the domain and learn about every single setting n value and how it affects the simulation. After that, we move on to the different types of objects that you can add to the simulation, such as fire, smoke, collision and a lot more. We will also jump into the material and learn how to create realistic fire and smoke it using the Node Editor. There are five complete tutorials in which we use the fire and smoke simulation to create some really interesting animations and renders. The first one is creating realistic fire for still renders. In this tutorial, we'll create a simulation and then jump into the material and learn how to add a lot of detailed very easily with this simple trick in the shader editor. The second tutorial is about how to create fire. In this one, we will learn how to create a very realistic simulation. Use high dynamic range lighting to light up the scene. Then we'll jump into the particle system and learn how to emit sparks into our fire. There's also a swirling smoke animation. This scene, we will learn how to use the sphere to follow a curve and how to properly render smoke using the real-time render engine EV. Do you like explosions While you are in luck? Because the next tutorial is on that exact topic. For this one, we will animate a sphere crashing onto the ground and exploding into multiple pieces. Finally, as a fun bonus section, we will create a low poly fire using a particle system. For this section, we create a fancy material that changes color as the particle rises into the air. If you are interested in learning all about the fire and smoke simulation and how it works in Blender, hit that and Roman button. And let's get started. I look forward to seeing what you create. 2. Downloading Blender: in this video, I'll be showing you how to download Blender 2.8. Now what you need to do is go over to blender dot org's and you should see a big down the button right in the middle of your page. Go ahead and click on that button, and it will take you to a download page. You can come over here and change which version that you need. If you need a Lennix Mac windows, all the different versions go ahead and do that. You can also link your steam account if you want it to go to your steam. Once you figure that out, go ahead and click. Download a blender 2.8 and then we'll take you to this page and there should be a download that happens right here, and we can see it download. Once that is done, just go ahead and install it and you'll be ready to go 3. Saving Your Blender File: to save your blender file, you can go up to file and click on Save As or save. If you've already saved your blender file, you can go ahead and click save. But if you are saving a new blender file, go save and it's If you do this, you can save it to wherever you like. You can click on this option here and name your blender file, so I'm just gonna call it saving. And then I can go over here and click on Save as Blender File. Let's say, for example, you want multiple blender files saved to show the progression of your scene. You can do that by hitting control shift s and then hitting the plus sign, and that will add a one next to saving. So if I do that, it'll saving new blender file. If I do it again, I can hit the blessed sign again and we can see it's now at saving to dot blend. So now let's say you did a couple things. You deleted that cube you press shipped, AU added in a sphere, and now you just want to save that blender file all you have to do is hit control s or command s and you can see down here it's saved That blender file lender will also warn you about closing the program if you've done some changes without saving. So let's say at it in a new object and I hit the exit button, we can see that blender says save or discard changes or cancel. If I had saved, it'll save our project, then we can go ahead and close the program. 4. Blender Basics Overview: Hello everyone. In this video we are going to go over the basics of Blender. And so if you are completely new, this is the video for you. I'll be going through step-by-step on the different render engines, the shortcuts that we're going to be using, all of that in this video, right? When you open up lender, this is the default scene. You have a camera, you have a cube in the middle, and then you have a lamp on the right side. If you ever get stuck on what button I press throughout this course, just look on the bottom right corner and you will see what I press. For example, if I left-click, you can see here it says left mouse and it will also highlight the mouse button on this sign right here. Same for the right-click, same for the middle mouse button. All of that will be displayed at this point. So if you ever get stuck, just look down on the bottom right. Let's first talk about the render engines that Blender has to offer. Over on the right side, there is a lot of different panels. And if we select this one right here, this is called the scene panel. We'll see that our render engine is currently on EV. There are three different render engines that we can pick in Blender, EV, workbench, and cycles. Ev is a real time render engine, and this allows you to actually view a scene in real time. It will calculate the lighting almost instantly and display it for you in your rendered view. Workbench, on the other hand, is basically just for modelling and sculpting your object. You don't really use this render engine for rendering because it doesn't really display materials that well. And the last one is Cycles. Cycles is blenders, physically-based rendering engine. And this will provide very realistic results. It will calculate the lighting all that pretty accurately before we get into anything else in Blender. And let's go up to our user preferences and change a couple of settings there. To do this, we can go over to the Edit menu. Down at the bottom, we can go into our preferences. Underneath the key map tab right here. Here is a couple of things that we're going to want to check. First off, we have the selective mouse button right here. You can either select with your left-click or your right-click. In Blender version 2.79 and below, the default was set to right-click. Now at 2.8 and above it is set to left-click as the default. I recommend staying with left-click because that will help you with a lot of other applications outside of blunder. The Spacebar button down here allows you to pick what the spacebar will do. Currently it is on play and that is what I'm going to leave it on. So what happens is if I hit the space bar over here, it's going to play the timeline down at the bottom. Underneath that we have a couple of view options which I'm just going to leave at the defaults. The other thing that we're going to want to change is extra shading pie menu items. Make sure that is enabled. This will allow you to actually see the different views. So if I exit out of this window and press Z, we can see here we have a couple of different views. Material view is one of the ones that's added when you select the extra shading pie menu items. This will allow you to see what the material looks like without having to render it. We'll go over that in just a little bit. Next up on our list is selecting objects. To select an object that you can left-click on the object that you want to select. In this case, I selected the camera and you can see it's highlighted in that yellow outline. If I select the cube, It's the same thing. And then the lamp up top, it also highlights it. You can select multiple objects by holding the Shift key on your keyboard and selecting it. You'll notice that once we do this, the other selections have an orange outline and not a yellow one. This means that it's not the active object. The active object will be highlighted in the yellow outline, as you can see here with the camera. And if you want to deselect everything, you can hold Alt and then press a to deselect everything. You can also select everything back by hitting a and double tapping. A will do the exact same thing. So a to select, Alt, a to D select, or you can press a and then double-tap a2 de-select. Now let's learn about moving around the 3D view. If I hit the middle mouse button on my mouse, I can move around and rotate the view around the object that I have selected. As you can see here, our view is orientated around this cube. Let's say for example, I wanted to orientate my view to the camera. I can select it and hit the period key on my numpad, not the period key on the keyboard, the period key on the numpad. And it will zoom in on the object that we have selected. And now we are rotating our view around the camera instead of the cube. If we select the cube, hit the period key on my pen, I can zoom in on the cube, and now our view is back to the original. You can also zoom in by using the scroll wheel. Zoom in and zoom out with the scroll wheel. You can also do like a pan or zoom. So if you hold Control middle mouse button to pen backwards, as you can see here, holding the Shift key and middle mouse button will pan the view to the side. If you don't have a middle mouse button, what you can do is go over to the preferences and emulate it by going over to the preferences. Underneath the input tab, you can turn on emulate three button mouse. What this will allow you to do is hold the Alt key and then left-click to Panda view. You can see here it's displaying I'm using my middle mouse, but I'm not. I'm using the Alt key and the left mouse button to actually rotate the view around. So just in case you don't have a middle mouse button, you can turn that on. Since I do have one though, I'm going to leave that off because I find it's much easier with the middle mouse button. Now let's learn about scaling, rotating and moving objects around. To scale an object up, you can press the Esc key on your keyboard to scale it up. As you can see here, it's scaling up my cube. And if you want to see how much you've scaled it up, look on the top left over here on the top-left corner, you can see I've scaled it up five times. You can also set a manual number n. So let's say I wanted to scale the cube up three times. I can hit three on my keyboard, and that will scale it up by three times. And now I can't scale it up anymore even though I'm moving my mouse because we set in a manual number, it's locked to that scale. I can hit the Backspace twice and that will get rid of that selection. And now I can scale it up or down, as you can see here, to rotate an object, you can hit the R key on your keyboard and that will rotate it around as you can see here. And it's going to rotate it depending on the view that you are looking at it. So let's say I move my view over to this angle and I hit R and rotate. You can see it's rotating at that angle. If we go into the front view by pressing one on my number pad, it will put us into this view. And now if we rotate, It's going to be rotating it along this view. So if we rotate it like this, I can go look at the side. You can see it's perfectly rotated along the y-axis. I'm going to press Control Z to undo that. And now let's learn about moving an object. If I press it G, you can move your object around and you can place it anywhere that you want. You can also lock the movement to a certain axis. So let's say I hit G and then y. And you can see here it's locked to the y-axis and I can't move it outside of that if I wanted to move it up and down along the x, which is the red line. I can't do that because it's a locked to the y-axis. I can also backspace that and then hit the X key and you can see it's going to move it along the x now instead of the y. Just like that. And I can also right-click to cancel the movement. What I just did there is I cancel the movement. So if I press R to rotate, I can right-click to cancel that action and it will snap back to its original position. This works with everything. So if I press S to scale, I can right-click and it will snap it back to that original position. This is very useful in case you want to look at a certain part of your scene. I can just move my object out of the way, view what I want to see, and then right-click and it will snap it back to its original position. Now let's learn about the different views we already discussed front view by pressing one on the number pad, it will bring us into the front view. And if we wanted to view the R object on the right side, which is this side over here, I can press a three on my number pad in. It will move me into the side view. Now we're looking at our cube from the side. Let's say I wanted to look at the top view. I can press seven on my number pad and it will view from the top. And we can see our camera is right there. And now we're looking at our object from the top of it. Control 1 on the number pad will bring us to the back view. Now we're looking at the back. Control three will look on the left side. So you can see here, this is the right side. Now this is the left side and we were looking at it from this angle. If you don't have a number pad of what you can do is also emulated by going over to your user preferences. Underneath the input tab, you can enable emulate a numpad. And this will allow you to use the top row of numbers on your keyboard. So let's say I press 1 on the top of my keyboard. I'm now looking in the front view. Same thing for the side view, the top view and all of that. Since I have a number pad though, I'm going to disable this just like that and then exit out to save it. Now let's talk about edit mode. Edit mode is the mode that you're going to be using to model anything in Blender. To access edit mode. You can press Tab on your keyboard, or you can come up to this menu and select Edit Mode. Once we do this, you can see our object has turned into a orange color, and now we can select the different points on our cube. This point that I have selected right here is called a vertex. Every single mesh is consisted of many vertices. As you can see here, with our cube, we have eight different points, four on top and four on the bottom. You can select multiple vertices by holding the Shift key and then selecting them as you can see here. Once I've selected four of them, you can see the inside of that has turned into an orange color. And this means we have a face selected. Let's talk about the different selection types. Over in the top left corner you can see we are on vertex select mode, which means that I can select the different points. If I switch it over to the edge select mode, I can select the edges instead of the vertices. And then finally, the face select mode will allow you to select an entire phase, as you can see here. You can also extrude faces outward. If I select this top face and press E to extrude, I can extrude it upwards. Now we have basically two cubes on top of each other. Down on the bottom, you will see all of your scene details. And if you don't see this, you can right-click and then enable the scene statistics right there. We can see here we have four vertices out of 12 selected. And then if I press a to select everything, we can see here we had 12 out of 12 selected. You can also see the edges, the faces, and the objects in your scene. This is a pretty useful setting in case you want to check how many objects that you have in your seat. There are many different ways to add objects or delete objects in Blender. To add an object, you can press the shortcut Shift and a, and you can add an, a mesh and you can see all of the default meshes right here. Or you can come over to the Edit menu, then click on Mesh, and then add in a mesh over here. So let's say I press Shift a and I add in an icon sphere. From here I can move it over to the left side by pressing G and X and dragging it over. If I want to delete this object, I can press the X key and select Delete. Or you can hit the Delete key on your keyboard or go up to object and then down to delete right here. If I want to undo that and bring that object back, I can press Control Z to bring it back. And this will undo the last action. If I want to redo the action, I can press Control Shift and z and that will redo the action. You can also do this by coming over to the Edit menu and selecting undo or redo right here. So once again it to add an object, you can press Shift a and to delete an object, make sure you have it selected the X key or the delete key or any of the other ways to delete objects. And then you can select it and there it's gone. Now let's talk about the different views. If we come up to the top right, you will see there is four different views, solid view, and that's the one that we have selected wireframe. And this will allow you to see inside of your mesh, as you can see here, it's a now a wireframe. Next to that we have in the material view. So let's say we've added in a new material, it will display exactly what it looks like. And then we also have a rendered view. This will be what it looks like in the final render. When we render out an animation or an image, it calculates the lighting and does everything else. As you can see. You can also press the Z key on your keyboard and switch to the different views. Most of the time, this is how I use it because it's very fast. I can just press Z, go into wire-frame, z go into rendered view, and then material view like that. There's also toggle overlays and toggle x-ray toggle overlays to get rid of the grid and the outline around the object. So if I select Toggle overlays, it will just display what the model looks like without any of the extra details. If we go back into solid view, we can press Z and then toggle x-ray. And this will allow us to see inside of our mesh. You can see by looking at this view, we can see the ear right there. And then on the other side we can see the eyes. And you can also select it. Vertices on the opposite side. If, if toggle overlays is turned off, we can't do that. We can only select the faces that are visible. Finally, let's press the Enter key on our keyboard and look at the properties. Here we can see a couple other details, the location of our object. And you can also change this and you will move the object as you can see, the rotation value, the scale value, and the dimensions. The dimensions currently say two by two by two. And we can change it depending on what we type here. We can make it completely flat, stretch it out a little bit, and you can do all of that. Finally, the last thing that we will talk about in this video is the timeline. Down here we have a timeline and this is the amount of frames in our animation. Currently we have 250 frames. Now the default frame rate in Blender is 24. So that means if we play your animation, it's going to travel 24 frames every single seconds. On the bottom right here we have a skip, a forward, and a play option. If we click this button to play it, you can see our timeline is now moving. So if we had any animation data, it would play once we play the timeline. You can also press the spacebar to play it automatically as you can see there. And that is very useful. You can also press Shift and then left arrow or right arrow to skip to the end or the beginning of the timeline, as you can see on the bottom. And then the spacebar to play it once again. You can also add an keyframes. So let's say I added in a keyframe by hitting the I key on my keyboard. And we can add in a keyframe to any of these different properties. Let's say I added it to the location value. What we can do then is drive this upward and then skip to a different part of the animation and move the queue. If I skip to frame 80, and then I can press G and then x2 move it along. I can move it to this location. Then I can hit the I key one more time and add an another location keyframe. So over 80 frames, it's going to travel from this position to this position that we just added. So what we have to do now is hold Shift Left Arrow to skip to the beginning. Or you can click the backspace button. And then we can hit the space bar to play. And you can see it moves over to that location over 80 frames. So that is basically how animation works. You can also add keyframes, do almost anything in Blender. If you hover over a certain value and had the icky, it will add in a keyframe to that value. So there you go. That is a full basic overview of Blender. I hope this is useful if you're completely new and now that you have a basic understanding of how blender works, let's jump straight into the course. 5. Mantaflow Simulation Basics: however, one. And in this video I'll be showing you the very basics of the fire and smoke simulation and how to enable it in blender 2.82 and beyond. To get started, you need two different objects. You need a domain object, which is the bounding box of the fire and smoke simulation. And then you need a flow object. The full object will enable you to emit smoke or fire into your scene to get started. Let's go ahead and scale up this Q by pressing s, this is going to be our domain. So all of the fire is going to be inside this cube and it's not going to be able to leave. Well, Dr this up. So sitting on the grid floor and to see what we're doing, I'm going crazy and going to wire frame. Next, we need a follow objects, so I'm gonna press shift a and add in a mesh and a cube. This cube is going to be our fellow, so I'm gonna press S and Z to scale it down, and I'm going to drag it up so it's inside. You want to make sure your flow object is inside the domain. If it's underneath or on the outside, it will not work. So make sure it is inside your domain next to it. Actually enable this will go ahead and so, like the larger cube and go over to the physics tab. You will see there is no fire or smoke. The reason for this is because in blender, 2.8 to it recently changed so that the fluid and the smoke simulation are built in one. We need to select the fluid. Once we do that, we can set the type over to domain, and then we can see the domain type is set to gas. There is gas and liquid liquid is for the fluid simulation and, of course, gases for the fire and smoke. We're gonna leave it on gas, and then I'm going to select our flow object so like fluid and set the type or were to flow . We also have defectors, and if I still like that, you will see the effect of type is set to collisions. We have collisions and guide, and we'll talk about that any later. Video. For now, I'm just going to select flow now in previous versions of Blender. What you could do now is press the space bar to play in the timeline, but nothing is happening. The reason for that is because we need to bake in our simulation before we can see anything in the view port. Before we do that, though, let's go ahead and take a look at the flow type. Currently it's set to smoke. We also have fire and smoke fire and then liquid liquid again is for the fluid simulation were good just going to be focused on these three. Up here, the differences between fire and smoke and fire is fire, and smoke will emit both a fire simulation and a smoke simulation at the same time. Just the fire simulation here will emit a little bit of smoke, but it's not going to be as much as the fire plus smoke. We're going to select fire plus smoke. We also have low behavior. This we have three different settings. Inflow will constantly add fire and smoke to your scene. We also have geometry, which in this case, is the default setting. This will mean that the Onley fire and smoke will just be this Cube itself. So basically, what's gonna happen if this is set to geometry is there's going to be a small cube of flame , and it's just gonna burn out instantly. I'm going to set this over to inflow, so now this will constantly emit fluid into our scene. Now let's select our domain, and we first need to bake in the data for this to work. If we scroll down, you can set an end frame of how long you want your simulation to go. It's currently set to 50 so this simulation will only last for 50 frames. I'm going to select baked data. Once you do this, you can see down here it's starting to bake. Instance, we're doing a lower solution of 64. This is going pretty fast, and the bake is done. And now we can hit the space bar to play it. And this is what it looks like. So there you go. You can see it lasted for 50 frames and it turned off right at the frame 50. So there you go. That is the very basics of the fire and smoke simulation and how you end neighborhood and blender in the next couple sections and videos. We will jump into the settings and learn exactly what all of these do 6. Quick Smoke Effect: in this video, I wanted to show you a very quick and easy way to add in a smoke or fire simulation. What you need to do is have your object selected and this is going to be the flow object. So I'm gonna press S and Z to scale it down now to easily add in a domain automatically with the material already in place. What we can do is go over to object down too quick effects and then quick smoke. What this will do is it will automatically add a domain for us. And there's already has a material in place. As you can see here and over in the physics tab, we can see it's currently set to gas, and then this flow object has the smoke inflow. So this automatically and all the basic settings for us really fast and now we can start messing with all of the different settings over here. We can change this over to fire and smoke. Do whatever we want, come back over to the domain and bake this end. So if you want to save a little bit of time, just go back up to object down too quick effects and quick smoke. This saves you from adding in all of the objects manually and doing all of the settings. 7. Domain Smoke Settings: Hello, everyone. And welcome to the next section in this section, we're going to jump into the domain settings, learn about all the different settings and values and how it changes the simulation to get started, we need to actually create a simulation. To do this, we need a domain and a flow object. So what we're gonna do is with this cube selected, I'm gonna press s NZ and scale it down a long busy access. What this will do is it will make it thin just like that. And now we need to add a domain. Now, you could pressure day in ad in a cube manually, or you can go over to object down to quick effects and then quick smoke. As you can see here, it automatically added a domain for us. And if I go over to the physics tab right here, we can see all of the different settings and values that we can change to change the simulation. The first thing I'll do is I'll skill up the domain just slightly and move it up a long busy access. So we get something like this. Now we get into the domain settings over on the right. We can see all of the different values and weaken scroll down here and there's a lot of different panels. This might look pretty intimidating at first, but don't worry. We'll go through every one of them and you will learn exactly what it does. The first thing that we need to do is talk about the fluid right here. We can see there's no longer a smoke. There's only a fluid object. The fluid option controls both the fluid simulation and the gas simulation, which is, of course, the smoke and fire. So for demonstration, I'm going to hit the X right there. You can see it disappears, and then I can able fluid and set the type over to whatever I want. In later videos, we will cover flows, defectors and all these other ones. For now, I'm going to select domain underneath the settings. Here we have the domain type. There is two different options. Gas and then liquid. You probably already know what these do gases for the smoke and liquid is for the fluid. Now that we have the basics out of the way, let's get into the settings. The first setting that we have here is the resolution divisions. This value controls how good the smoke will look. The higher you set this do the better it will look. But the longer it will take to bake, you can see on screen the different values and how it changes the simulation. Underneath that we have the time scale. This is the speed of the simulation. The higher you set this to the faster the simulation will go through and the lower you set this to it will almost look like slow motion. The CFL number is a little bit more complicated. Basically, what this does is it calculates the maximum velocity of us are in frame time. Step the time steps maximum and minimum values are down here and we'll talk about those in just a second. So basically you can think of the CFL number like this. The greater you said this to the last time, steps will be applied to the simulation. This, in turn, will give you less physically accurate results. But then it will take a lot less longer to bake the lower. You said this to the more time steps will be per frame and it will be more accurate, but it will take a lot longer to bake the default value of four works for most simulations . And I don't think I've ever changed this value. Now we get onto the time steps maximum and minimum values. This controls how many steps it will calculate per frame. The higher you set this to, the better it will be. But the longer it will take to render you can really see this effect using the fluid simulation. In this example, you can see one of these has a time step of one, and one of them has in time steps of seven and four. The one was seven and four does not let any particles and go through the collisions. And then, as you can see, the one with just one time step, a lot of the particles are going through the collisions severe having issues with the smoke going through collisions. This is very useful, and you should try turning this up. And now we get onto the gravity. You can see it's currently great out. The reason for this is because we need to go over to this panel right here, which is called the scene panel and turn off gravity under this panel. As you can see, this is now great out. And now we can go back over to the simulation and change the gravity. Here. You might be asking yourself what is the point of having two different gravity sections? And the reason for that is because sometimes you might have multiple domains. For example, I can shift d both of these and move them over to the side. And now we can change this simulation gravity over here, and it won't affect this. Grab the over here. Let's go ahead and test that out. For this example, I'm going to set the Y direction to a positive value. So what this will do is it will move the smoke in this direction rather than straight up. And I'm also going to set the Z 20 and then over in the other domain, I'm going to set the Z 20 and then I'll go in the X direction. I will set this to a value of eight so the smoke will actually go in this direction rather than straight up. Let's go ahead and bake of this end by hitting that bake button down there, and this will bacon the simulation. And now, once we play my simulation, you will notice that both of these are actually using the same simulation. The reason for that is because over in the settings on here, over in the cash settings, it's in the exact same spot as this one. So if we wanted to different domains, we would need to set a new folder of Where the cash Well it is because currently it's sharing the data, so it's just copying it. So what I'm going to do is click on this button on the side and navigate to a new folder. Once you have found it, you can click, accept. And as you can see here, the simulation is now gone. Now we can bake this simulation in, and now it will use that setting that we set for the gravity. And now the baking is done. We can restart our timeline down here, hit the space bar. And as you can see, this simulation over here is using the gravity that we set. And this one right here is using the X direction. So that is the reason why there is a gravity section so you can have multiple domains with different gravity's. Now, before this video ends, I want to talk about the bake button down here and the border collisions. The bake button allows you to bacon the data of your simulation to you can actually view the smoke. You won't be able to view the smoke in the view port or in the render until you bake it in in previous origin of them. Blunder. You can set up the settings and just hit the space bar, and it would play it. But now, with the introduction of Manson flow, it's changed it to you. Now you have to bake it in before you can view the simulation now onto the border collisions. You probably already guessed what these do. This will enable the domain to have a collision, so if I select the top, it will have a collision at the top. But not on the science. If I wanted to have a collision on the top and the right side, I conclude the right now it will act like a collision on that side. But then all the other sides of the bottom, the left the front and back will not act as a collision. Let's go ahead and test that out. So to view our simulation, we need to click on bacon data and we can see here. This is starting to bake, and you also have a progress bar of how long this simulation is going to take with the default settings that Onley bakes to frame 50. If you want it to be longer, what you need to do is scroll down to the cash settings and set the end frame right here. So let's say I wanted to bake in ah 100 frames. I would need to set the in frame right here to 100. Once we do this, you will also notice the bake button has changed to resume and free. If I click free, it will free the data and so we'll have to breathe. Bake. It's and this will also enable us to change some of the settings. If I select resume, it will resume baking from the point that we left off, which is very, very useful. So if you're simulation is not as long as you want it to be, you can change the and frame and resume that bake. This saves tons of time, especially if you are doing a very high resolution Bake. The resume option is so nice and we can see this is now fully baked and we have 100 frames . And if we wanted to, we can be the data. I'm gonna leave it as it is and hit the space bar to play it and we can see it is colliding with the top and the right side. But it's not colliding with the front, the back or the left. So that is what the border collisions does. It changes the way the smoke collides with the domain and you can create some really cool results. 8. 2 Smoke & Fire Options v2: In this video, we will take a look at the smoke settings, the density, the heat, the vorticity, the dissolve, and the fire settings down here. Let's first start out with the buoyancy density and heat. The buoyancy density controls how fast the smoke will rise or sink. Positive values will make the smoke rise up, and negative values will make the smoke go down. And heat right here controls the temperature of the smoke. This also correlates of how fast the smoker rise or sink. And another factor with the setting is it also takes into account the initial temperature in the flow object. As you can see here, I have the flow objects selected and it has a positive value. If both of these numbers are a positive value, the smoke will rise up. You can think of it as multiplication. If the heat is set to a negative number and the flow object is set to a positive number. A negative times a positive equals a negative. So the smoke will sink. If they're both set to a negative value, the smoke will rise because negative times negative equals a positive value. So messing around with the heat and setting it to a positive or a negative value. You can have multiple flow objects going up or going down. And you can create some really cool results underneath the density and the heat we have, the vorticity and this is the amount of swirls in the smoke. You want to be careful with this value because if you go too high, it will just fill the entire domain up with smoke. And it will look a little bit weird. With a value of about 0.1, you can create some really nice looking smoke. Underneath the heats, we have the dissolve, and here is where we can dissolve the smoke before it reaches the top of the domain. If I turn this on, we can see here there is a time value. This is the amount of frames that it will go until it dissolves. And then we also have a slow option. If I was to set this to a value of about 15 and turn off slow, the smoke will only last for 15 frames before it's dissolved. If I turn slow on it, we'll take that number of 15 and just make it last a lot longer and it will slow down at the dissolve. And now we get into the fun stuff of the fire. To actually see the fire and arsine though, we need to select the flow object and go over to the flow type and change it over to fire right here. We also have fire and smoke, and this will create a fire simulation and a smoke simulation. For this example though, I'm just going to stick to just the fire. The fire will have a little bit of smoke, but it won't be as much as the fireplace smoke. Jumping back over to the domain settings. Let's take a look at these settings. The reaction speed, this is how fast the fuel will burn. Higher values will result in smaller flames because the fuel is burning much quicker. And lower values will result in larger flames because the fuel can rise up further before it gets burnt up. So if you want bigger flames, turn it down. If you want a smaller flames, turn it up, the flames smoke. This is the amount of smoke that the fire will emit. And the higher you set this to, the more smoke will be in our scene. For this example, I'm going to go up to a value of two. The vorticity is very similar to the vorticity up here. It just creates some swirls in your fire. The higher you set this to, the more random your firewall look, I'm going to go up to a value of about 0.75. The temperature maximum and minimum values also controls the height and the speed of the fire. If both of these values are set to something really high, the smoke will be a lot higher and it will emit and move around a lot quicker. The lower you set this to, the fire will be kind of slow moving around and it won't be as tall. This also changes the color of it. So if I was to open up a new panel and go over to the shader editor right here, and then press Enter to close off that panel. We'll give this a new material. I'm going to go ahead and delete the principal shader by hitting the X key. And then I'm going to press Shift a to add a shader and then principled volume shader right here. This controls everything in the smoke and fire simulation. If I take the volume and plug it into the volume of the material output, now we'll be able to see the smoke. Once we do a render, we will get into this shader and you'll learn exactly what each of these settings do and how they affect it. For now though, we're just can take a look at the temperature value. So let's say for example, if this was at a low number of one and then a value of about 0.5. The smoke would be the firewood be kind of a oranges red color because it's taking the temperature attribute. This temperature right here is taking that attribute and plugging that into the color. To actually see the fire though, what we need to do is turn up the blackbody intensity. So I'm going to bring this all the way up to a value of eight. And now before we bake this, we have one more setting here and this is the flame color. Don't get confused though. This is the smoke flames. It's not the actual flame color. So let's say I wanted the smoke from the flames to be a light blue color. I would bring this up to there. And now once we do a bake, the smoke from the flames will be this color that we set up here. Now that we've set up our settings, I'm going to scroll up to the big button right here and click on it. Bake a data. Alright, the bake is done. Now we can hit the spacebar to play or simulation, and this is what it looks like. And as you can see, since we set the temperature maximum and minimum values to a really low number, the fire is a lot shorter. And if I zoom in, the smoke from the fire, is that same color that we set up right here. It's having that light blue. Now if we press Z and go into rendered view, we can see since we set up the temperature, the fire is like a reddish color because the temperature is a lot lower. If you set this to a really high number, you will get some really bright, almost white looking flames. If you don't want to use this temperature attribute where you can do is change the temperature right here. So let's say I go up to a value of 2000, and as you can see, the flame is now an orange color, rather than just the default value that we set up here. You can go even higher. Let's try 5000. And as you can see, it's almost a bright white color instead of that red color. 9. Adaptive Domain: The next thing we'll talk about in the domain setting is the adaptive domain. This is very useful for bacon and large scale domains. What this does, if I turn it on, is it will only bake where the smoke is in your domain. You can see this is a very large domain. And if I wanted to bake this in, it would take a long time. Because the domain is so large with the adaptive domain turned on, it will create a small box around of the smoke and Onley bacon and that small section the other values that we have here add resolution. If I turn this up to a value of 50 what this will do is it will create a even larger domain . So let's say the smoke from our flow object rises past. This domain right here rises past it. The domain will actually extend upwards. If we set that resolution to about 50 the higher you set this to the MAWR, the domain will expand outwards. The margin controls how closed the adoptive domain will be to the smoke. So if this is set to a larger number like a value of 10 Theodore active demand will be a lot further away from the smoke. If this is set to two, it will be a lot closer. And finally the last value here. The threshold. This is the amount of density the smoke will have to be before it gets deleted. If I was to set this value all the way up to one, that's the highest you can go. You can go past one. It would almost delete every single thing I'm smoke because of the density is so high, with a value of 0.2, it will most of the time keep all of the smoke in the scene until it reaches a very thin density of 0.2. With that done low, let's go ahead and test this out by coming up to the base data about in clicking baked data . The bacon is done, and as you can see here, there is a box around our flow object. Once we player simulation by hitting the space bar or clicking the play option down here, you will notice that the cube is now expanding as the smoke it goes up. And if you could remember where are cursor was that is about the height of our domain. Now, if we play this, you can see once it reaches that, once it reaches, the cursor is going past the cursor because we set the resolution up to a value of 50. So it's expanding the domain past the original size, and it goes about their. If I was to set the resolution to a higher number, it would even go further up. So for most simulations, I would turn this on, and it will save in baking time quite a bit. 10. Adding Noise: next up is the noise panel. If I scroll down here, we can see there is a check box next to the noise. If I turn this on, you will notice. Are smoke simulation is now gone. If I turn it off, it brings it back and we can play a simulation. That and this is what it looks like. If I turn it on, it will disappear. We need to open up this panel and bacon the Nords before we can view our simulation again. Let's go through these settings real quick. The upper X factor this is the amount of uprise is that the noise will produce this value here, takes into account the base resolution of 64 then adds, say, then adds a subdivision. On top of that, the higher you set this to the more subdivisions that will add and the more detail you will get. The noise method right here. There is currently only one noise method, and this is just the way the noise is generated or showing on the smoke, and we can see here it's just wave lit. The strength value controls how strong the noise will be. The higher you set this to it will create like this really weird, Very noisy effect. So you want to be careful with this value? The scale value controls How big those noise bumps, quote unquote bumps are going to be the lower you set this to the noise will be a lot smaller and the higher of then and the higher east at the stewed, the noise will be a lot bigger. And finally, this time value is basically a seed. So I can set this to a new number like one, and it will just change and give some variation to the noise. This has a very minimal effect on the simulation and you can see on screen. It's just barely noticeable on the different simulations to actually see this working, what we need to do is click on a bake and noise down here and we can see it's starting to bake. Once this has finished, we will be able to see our smoke and there we go. The bake has finished and here is our simulation. As you can see, there is a lot more detail in the fire and the smoke this time. And to see this better. I can praise E and go into rendered view and look at that. We have a lot more detail in our fire and our smoke. So that is what the noise panel does. It just adds a little bit of noise all around the fire and the smoke and gives you some more detail. 11. Guiding Domains: The next thing that we need to take a look at is the guides panel. This panel is very cool, and it allows you to do some really interesting things. Basically, how this works is it takes an effect, Er or it takes another domain and changes the velocity of your current domain that you have selected over on the right side. We could see there's a couple different settings and there's a velocity source. We can see we have a domain and effect er so once again, we can use a domain as the velocity, or we can use an effect. Er, in this example, we're gonna be using a domain. What I want for this simulation is for the smoke to act like fluid, come down here, kind of splash around, come up this way and act like fluid going back and forth. To achieve this, we need to create two different simulations. One, of course, is going to be the fluid, and the other one is going to be a smoke. Let's first create the fluid simulation to see how that looks, and then we can mess around with the guides over here in the smoker domain to do this. I'm gonna hold, shift and select both of these objects and hit shifty to duplicate them. Next, I'll press em and move them to a new collection. So we have a little bit more space and then hit. Okay, To go to that collection, we can hit two on our keyboard, and we can see now we're in collection too, And I'm gonna go ahead and name these objects that we don't get confused. This one is going to be the fluid domain, and this one right here is going to be the fluid and then float. Now, let's go ahead and change these. So for the fluid type, I'm going to select a liquid, and then I'm gonna turn on initial velocity. I want the fluid to shoot down and spread across the domain. So for the Z initial velocity, I'm going to set this to negative point to There we go. And now I'm going to select my domain. Of course, we need to change the type over to Liquid as well. And for the resolution, I'm going to leave at 64 the time scale. I'm gonna bring this down to a value a 640.45 So it slows down the simulation, and that's basically all we really need to do. From there. We can scroll down over to the guides panel and turn this off. Since we don't want to use the guides on the fluid, we want to use it on the smoke. So I'm going to turn that off and then in the cash settings, we do need to set a new folder. If we were to leave it as the folder as it is right now, basically both of these domains would start overriding each other. So we need to set to custom folders of where the data will go to. I'm going to click this button on the side and navigate to a folder. As you can see here, I already have a folder for the smoke, but we need one for the fluid. So I'm gonna hit that plus sign right there to add in a new folder and I'll call this fluid and then also like that folder and click Accept for the and frame. I'm gonna leave it at 50 and now we can go ahead and bake this in to see what it looks like . So with that in mind, we're going to click on baked data. The bake is finished. Now we can hit the space bar and view our animation, so that is what it looks like. We can see the fluid crashes down and goes up the side of the wall. Pretty cool. And now let's go ahead and work on it. The smoker domain. To do this, we can go back to collection one by hitting one on our keyboard and then select the domain we can see here. We have it at gas, and that's what we want. This is find the time scales. Good. Now we can scroll down to the Guyton, open up this panel. We have three different settings here. The weight is basically how strict the smoke will be to following the fluid. If this is set to a lower number, it will be a lot more strict. If it's set to a higher number, it will almost lag behind the fluid. I'm going to leave it at two. For now. We might change that after we bake it in the size is basically how big the guides are going to be. The heart you said it to. The bigger the guide is and the lower you said it to. Of course, the smaller the guide will be. I'm going to leave it at five. So the guide is pretty big and it will catch the smoke. The velocity factor controls how much velocity the fluid will give to the smoke. If this is set to a really high number, basically, what's gonna happen is the smoke will shoot really far down really fast. Shoot this way and go up really, really fast. I'm going to set this down to a value of one and we'll see how that looks. And then for the guide parent, we need to select the fluid domain right here. Now that we've done that, we can set a custom folder. So I'm going to click that button on the side and navigate to the Smoke folder once you have found it. So, like that folder and click accept. Now we can scroll up and bake this end to see what it looks like. I've also noticed when baking in the guise is it takes a lot longer to bacon. So you want to be careful with going with a very high resolution when using guides, but because it can take a very long time. The bake has finished, and now we can play a simulation and see what it looks like. As you can see, this is working exactly how we want. It's catching the smoke and dragging it down and bring it up the wall Pretty cool. We can go ahead and play that one more time. So there you go. That is basically how the domain guides work. In the next video, we will look at the velocity set to an effect er. 12. Guide Effectors: Another cool thing that you can do with guys is set the velocity source to a defector. So if I switch this over to an effect, er, we can now use an effect er as the guide instead of another domain to actually add. In an effect, er, we need to select an object, go over to the fluid tap and set the type over to effect ER and then underneath the effect or type we need to select guide. Here we can see a couple of different settings. I'll describe exactly what these do in just a 2nd 1st I'm going to tell you about this simulation. What I've created here is a basic animation of this cylinder following a curve going upwards. If I play this, we can see this is what it looks like pretty easy. It's just following a curve, going upwards. So what's gonna happen is this cylinder is going to catch the smoke and drag it along this curve, creating a tornado effect going in a circle. Another thing that we need to keep in mind, though, is if we're using the smoke, the smoke will actually rise up as well. So if we wanted the smoke to actually stay where it's at instead of instead of going upwards, we need to change the gravity. So over in the gravity section, I'm gonna open up this panel and set the sea to a value of zero. So now the smoke will stay in the spot. But once it gets catched by the effect, er it will be dragged along back over on the effect er, we can see there is a couple of different options here is plain R. This means if your object is flat or if your object is an unclos matched, you are gonna want to turn this on. Since I am using a cylinder with a closed mesh on both sides, I'm gonna leave this off. The surface thickness is the amount of area around the effect er that will be considered as a guide. So if I was to drive this up to a value of two, basically what's gonna happen instead of just being the cylinder, the area around it probably around here are so will be considered as a guide as well. The velocity factor right here. This is very similar to the domain of velocity factor It just adds another factor to the velocity. We also have the guide mode. This basically takes the velocity of your guide and the velocity that you set here and does in math equation. It will override it, minimize it or average it out. If this is set to override, it will override the velocity of the object and just use this velocity here. If this is said to average, it will average both of these out. I'm gonna leave it as average back over in the domain settings we can scroll down and here we can see there is a new button called bake Guides. So to get this to work, we actually need to bacon the guides and then scroll up and bacon this data here. So what I'm gonna do is that the weight down to one. So the smoke is actually closer to the cylinder and it actually catches and doesn't lie behind the size. I'm gonna bring up to a value of six and the velocity factor. I'm gonna leave at two. With that in mind, we're going to click on a bacon guides down here. You can see it's starting to work, and once this has finished. Weaken Ghost scroll up and bacon the data up top scrolling up here, we can go ahead and bake this in. Another thing, though you're gonna want to keep in mind is the resolution. Divisions is currently great out. So if you want to change the resolution, you are gonna need to do that before you bake in the guides. If I wanted to, I would have to free this and then change the resolution. But since I'm happy with 64 I'm gonna leave it as it is. Then I'm going to click on Bake Data down here. You can see it's starting to work and once this is finished, we can take a look at it. The bake is done, and now we can a press the space bar to view our animation. And as you can see, this is working. The guide is taking the fluid. The guide is taken the smoke and dragging it along. If you're crazy and going to rendered view, you can see this a little bit better. Pretty cool. Let's go ahead and restart and play that one more time. So there you go. That is how the guides work in a mantle flow and using the guides, you can create some really cool simulations 13. Collections: in this video, we're going to take a look at the collections tab. This type is pretty simple. And what it allows you to do is limit the flows or the defectors that will have an effect on this domain, for example, we have to flow objects right here. Each of these has a inflow setting. So they're going to admit smoke into our domain. If I was to move one of these over to a new collection by hitting em and moving into a new collection and then I'll hit. Okay, we can see here. This cube is in this collection to and this other one is in collection. One. If I select my domain, I can limit the amount of flows that will interact with this domain. So if I come over here, I can select a collection to rather than collection one. And so the only flow objects that will have an effect is this one on the right to demonstrate this? I'm going to click on that bacon data. And once I play this, you'll notice the only smoke is being emitted from this flow object on the right. This one over here, it does not have an effect because it is in collection. One. The same thing goes for collision objects. So you can see here There's an effect. Er if I press shift a at in a cube, I'll move it up. Skill it down a little bit. Something like this. I'll click on fluid and set the type over to affect er so it has a collision. And so now when the smoke hits it, it will collide with it. But if we were to free the data and move this affect er over to collection too, which does not have an effect. Er you can see collection to only has this full object this defector right here. This cube will not have an effect because it is in collection one. Now, if I select my domain, bake the data and then we could play this and you will see this collision object does not have an effect on the simulation. So what this panel allows you to do is just limit the effect er's and flow objects in that domain 14. Baking Cache: the bay cash is where all of the fire and smoke simulation data is stored. That location is listed right here underneath the cash. And if I open this up, we can see exactly where this goes to Cuban mind this path right here is a temporary folder . What that means is that once you bake this in and if you close blender and open the file back up later you will lose that simulation data and you will have to re bake. If you don't want to lose that data, what you can do is click on this button on the side and navigate to a different folder. Once you have found a folder that you want to save your simulation to, all you have to do is click accept and you will notice that file path is now changed to the one that you selected. Now, once we make this in, you will not lose that data. Now let's get into the different settings of what you can change to customize the cash. The first drop down menu that we have here is the type, and here we can see there's three different options. Modular. What that means is, there's going to be different modules of the simulation that you need to bake in. If I turn on that noise, you will notice there is a noise bake button down here. If I switch this over to final, what this does is it will take all of those modules and put it into 11 Baycol button right here so you can see the noise is now gone. The setting up here is now gone. There's only one bake button right here, and that will bacon everything in your scene. There's also a replay option. What this does is it will enable you to view the simulation in real time as it bakes in. So if I played this, you can see it is going extremely slow, but it is baking the simulation. So if I stop it right at their at frame 11 I could restart and play this and you can see it's going fast. But once it reaches that point, it starts to bake it in again. I have found, though, that this type is a little bit buggy and sometimes it doesn't work, so my suggestion is to keep it on modular. This allows you to bacon the different modules and preview before you bacon everything at once, because that will take a lot longer. Underneath the modular. We have the frame start and the frame, and this is where you can customize when these simulations starts. And when it ends the start frame, you can just click here and change it. How you want in the end frame. Also. Currently, it's at 50 and that is the default. So if you were to bake, the Senate would only bake to 50 frames. If I change this over to 100 now ill bacon. Ah, 100 frames long. And now we get onto the file formats. There are a couple different ones here. You need cash is blenders way of compressing the data and making it small open. Vdv was developed by dreamers and it's an advanced way to store the data for the simulation . This file format right here, open V to be actually works with different programs as well, such as Houdini, Ember and all these other ones in a later lecture will be actually importing our own VTV into blender and customizing how we want. And finally, raw cash is just the raw Castile. Without any compression, this file format will be pretty big. And for the noise, we have the exact same file formats. If I turn off the noise panel and you will see that disappears in the advanced have there is an export mantle flow script and this is just for some coating and it's really, really advanced. So I'm not going to get into that. Let's go ahead and bacon this simulation and see what it looks like in the Windows Explorer . So I'm going to scroll up to here and I'm gonna change the end frame, actually to 25 and then I'm going to click on a bacon data. This simulation is done that now we can open up that folder and look at the information we can see here. There is two different folders Con fig and data. The convict just controls all of the configuration. We don't really need to worry about that. The important one is the data. If I open this up, you can see here we have the density data we can scroll down here. We have the admission, which is the flame. And if I go further, we also have the flame here. The fuel, All these control the information from the simulation which we can then important into other scenes or do whatever we want with down at the bottom. Right here there is a section that stores all of the velocity data. We can use this in the material to change how it looks. So there you go. That is the cash. And then in the next video, we will look at the field weights. 15. Field Weights: The next panel that we have here in the domain settings is the field waits. This allows you to control the amount of force a force field has on the simulation to actually add in a force field. What we need to do is press shift, a go underneath force field, and we can see there is a bunch of different ones that we can add. Let's go with wind. Wind is just a constant force going in the direction that we choose. I'm gonna go into front view by pricing one and rotate this 90 degrees, so it's facing the simulation over. On the right side, there is some settings that we can change, such as the strength of forests, the noise amount. I'm going to set the strength up to a value of seven. Now we can select our domain and go over to the field weight section. Let's first go ahead and bake this in to get a baseline of what this force field is doing. So I'm going to click on Bake. The bake has finished, and now we can press the space bar and we can see this Force Field is pushing the flame in this direction. Now, if we go back over to the domain weaken, scroll down and control the amount of force this wind force field hats. So underneath the wind, If I was to turn this all the way down to zero, this force field will no longer have an effect on the simulation. This all right here controls every single force field. So let's say you have a turbulence force field, a magnetic, a vortex one. This will control every single force field all at once. We also have a gravity slider right here. And currently, though this does not really do anything for our simulation. If we wanted to affect the gravity, we would need to go over to this scene panel and change the gravity over here. So let's say, for example, I set the Z down to zero. We can go back over to the simulation and free this and bake this back in. Now, if we player simulation, we can see there is no gravity in the scene. And also this force field is not affecting of the simulation because we set the wind all the way down to zero. And the last thing that we have here is the effect or collection. This is very similar to the effect er's down here. But this deals with force fields. So, for example, let's say we have two different force field right here in this scene. One is in collection to, and the other one is in collection One. Now for this simulation, I only want the collection one force field to effect this simulation. So I'm going to scroll down to the field weights and select collection one. So now this force field in collection to will no longer have an effect on of the fire. It won't move it at all to actually see this, though we need to turn up the wind back up to one so we can actually see an effect of the force field. Now, if we scroll up, weaken, bake this in and see what it looks like and the bake is finished. We can player simulation and you can see this first Will does have an effect and it's pushing the wind. But this one does not because it is in collection too. So there you go Pretty easy to understand. That is, the field waits. In the next video, we will take a look at the view port display 16. Viewport Display: The last panel that we have here in the domain settings is the view port display. The report display allows you to change how the view port looks, but this will not affect the render. The first setting that we have here is the thickness. This is the density of the smoke. So if I was to drag this up, we can see in the density of the smoke is getting a lot thicker. Just like that, I'm gonna bring that back down to one and then excellent that we have here is the slicing. This allows you to slice this simulation and view it on certain axes. For example, if I switch this over two axes and we could see the method is currently set to full, so it will fill out this simulation. If I was to set this over to single. What this does is it will just have a single plane of that simulation. And if I move my view port over to the right side, we can see it changed. The reason it's changing is because the access is set to auto. So if I was to move my view port to the right, you can see it changed automatically because it said to honor, If I look over top, it's changing just like that. If you want to make it just one axes, you can click on this drop down menu and select the X is that you want. So let's say I select X. So now if I look to the side, it's not going to change because we said it. Two x. There is also a position. So if I wanted to bring it more to the right, I can drag this up. And if I want to bring more the left, I could drag it down. I'm gonna bring of the method back down to full, and another option that we have here is the slice per box. All this is basically how good this simulation will look into the view port. Currently, it said to five, and that's the highest you can go. If I was to bring this life spur boxes all the way down 2.1 and then enter, we can see everything disappears. Let's try this up just a little bit, and we can see the effect that this is having, So it's basically changing how this simulation looks and lowering the quality. So the view port is a lot faster. The interpellation is basically how it looks and linear just will smooth out the smoke and the fire and cubic will make it just a little bit sharper underneath the color mapping. Here is something cool that we can do. We can look at the different properties that the fire and smoke has for example, the density. We can look at exactly what the density is doing. We can take a look at just the flames, So if I switch this over to flame, it will only display the flame in our view port. You can also take a look at the velocity and the heat, the fuel. All of these options are here for you, and you can play around with them. If you want to change how the Colorado looks, just select one of the arrows and change the color. I can also change the position. So if I wanted to fill it out more, I can. If I wanted more black, I can bring this closer and do some really crazy stuff. After playing around with the color mapping a little bit. I changed it over to heat and messed around with the color ramp, and we can see exactly what this is doing. So where the hot parts are, that is where the yellow is and where the smoke is, where it's a little bit less heat. That is where the pink is, and you can see exactly how this looks. So there you go. That is the end of this section. In the next section we will take a look at flow objects and all the other settings that we can change in the smoke and fire simulation. 17. Flow Objects Part 1: hell over one, and welcome to a new section in this section. We're going to talk about flow objects and how they change the simulation and what they do . Flow objects allowing to emit smoke or fire into your domain. Here I've set up a quick simulation of three different flow objects. One is fire, one is fireplace smoke, and the other one is just smoke. Let's go ahead and play this simulation to see what it looks like. So if I hit the space bar, this is what it is. Deposit right there and you can see here. This one's just fire fire and smoke and smoke on the right side. If I select one of, um, we could go over to the flow type, and we can see there's four different options you can see here. This one is set to fire fireplace smoke and smoke up top, and there is also liquid, which is for the fluid simulation. The difference between fire and then fire plus smoke is that the fireplace smoke will have a lot more smoke. It's basically combining the fire and the smoke simulation in one flow object. The one on the left here is just fire. But as you can see, there is a little bit of smoke. As you can see here, there is a little bit. So if you want fire But you also want smoke, this is the one for you. If you want a lot more smoke, you're gonna want to use this middle one. The flow behavior. There are three different values that we can change to inflow will constantly add smoke or fire into your simulation. Geometry, which is the one on the left, is just gonna be the geometry and the size of the mesh. That will be the smoke. If I play my simulation, you will see exactly what this does. If you look over on the left, you can see it's just the cube of smoke that gets admitted and then it starts to dissipate as it rises. We'll play that one more time and you can see the one in the middle is constantly adding fluid into our scene. The last one is the outflow. The one on the right is the exact same one as the one in the middle. Except above, it is an outflow flow object. If I select this you can see here it is called an outflow. You gonna probably already guess what this does. It will delete all the smoke that touches it. So now if we restart will play this one more time. You will notice that all of the smoke that hits this outflow object is getting deleted and nothing is passing through. This use inflow check box allows you to turn off and on the inflow object. So, for example, if I wanted this to emit smoke for 30 frames and then turn off for the rest of the animation, how I would do that is I would go over to frame 30 in my timeline and add a key frame by clicking that box on the side or hovering over the inflow and hitting the I key on my keyboard. Then I would go to the next frame frame 31 uncheck this So it's turned off and then hit I one more time. So that adds another key frame. So what's gonna happen is it's going to emit fluid for 30 frames and turn off at frame 31 it will just dissipate as it goes on to test this. We're going to select our domain and baked the data. Now that the bake has finished, we can player simulation. And as you can see, once it reaches frame 30 it stops emitting smoke and then just dissipates as it rises. So that is what you can do with the use inflow. And underneath that we have the sample sub steps. This is for a fast moving smoke or fast moving flow objects, as you can see on screen. If the sample of sub steps is at a low number, it will almost look like puffs of smoke rising. And so, in this case, you're gonna want to turn up sample subsets higher. This will smooth out the stream of smoke and make it look like a constant flow. The smoke color allows you to have different colors of smoke for different flow objects. If I select the one on the left and I change it over to a blue smoke, then on the right I changed this over to a red smoke. We can select our domain and bake this in the Bakers finished. Now, if I play this, we can see here We had two different colors of smoke now if we brozi and go into rendered view, we will just see a solid cute. What we need to do is go over to the material tab. Click new and underneath the principled volume Shader right here. We're going to remove this and add in a volume Principal Chatur. So, underneath the volume tab, I'm going to click on this menu and select the principled volume Shader. Once I do this, though, you will notice our color is now gone. If we were to change the color here, it would change it for both of the smoke floats. And that is not what we want. What we want to change is the color attribute. You will notice there is nothing here. But if I was to type in the word color, it will now take that color from the flow objects and change it to the color that we specified. Now you will notice the one on the right is now black. If we open up this, we're gonna need to turn the saturation all the way down to zero and the value all the way up to one. So it's just white. And now it will take both of those colors in. So if your colors are not looking the way that you want and you already set up the color attributes, make sure your base color is set to white. If I change this over to a green, you will notice it also changes the color. So if you want to use the color of the flows, make sure it's set to white. The absolute density value check box right here allows you to have the more complicated flow objects here. We can see there is to monkey heads, and one of them has absolute density turned on and the other one does not. If I play this, you can see exactly what it looks like. You'll notice the one on the right looks a little bit cleaner. The edges and where the smoke is admitting, is a lot more crisp. The one on the right is a little bit more blurry and loose, as you can see here on the side. So basically it cleans up the mess and makes the flow area a lot more crisp and sharp. For most cases, you're gonna want to leave this on if the flow type is set to fire. There is one value that looks different from the smoke and that is the fuel. If I hover over this, you can see this is the flame rate. And basically, this controls how fast and how big the flames are. This one on the left is set to one and this one on the right is set to three. And now if we play this, you will see this is the difference. The one on the right is a lot higher and a lot more crazy. And the one on the left is a little bit more calm. So if you want very high flames and making it look crazy moving very fast, turn the fuel rate up. 18. Flow Objects Part 2: the next two values that we have here is the initial temperature and density. The initial temperature takes into account the temperature that you set in the domain settings down here in the smoke, the density and the heat and then it changes how the flow object works. For example, if this heat is set to a positive value and the flow object is set to a negative value in the temperature difference, I'm going to set this to negative one. Now, this full object will limit the smoke going down this one on the right. Will they met the smoke going up because it is set to a positive number over in the domain . This heat value. If this is said to positive and this one is set to negative a negative times, a positive equals a negative value, so the smoke will sink. If both of the heat and the temperature difference are set to a negative value. That means the smoke will rise because negative times a negative equals a positive value. The density value here allows you to change the density of the smoke. This will not affect the simulation. It will only change the way the smoke looks. So for this demonstration, I'm going to select the one on the right and change the the density all the way down 2.3. Now that we've done that, let's select our domain and bacon the data the bake has finished. Now we can player simulation and you'll notice right away that this smoke and sinking this one is rising. And this one looks a lot less dense. Now we brought Z and go into rendered view. We can see here that the density is a lot less than the one on the left, so that is what the initial temperature and density does. The next thing that we have here is the Vertex Group. This allows you to select parts of your mess that will emit smoke and other parts that won't to demonstrate this. I have a plane and I'm going to go into edit mode and subdivide this a couple more times. So we have a little bit more geometry, and now we can go over through the Object data panel, which is this triangle, and added a Vertex group. Now we can select parts of the mess that we want to emit smoke. I'm gonna press a to de select, then go into face elect and select a couple of random faces. Then, over in the Vertex panel over here, I'm going to click a sign with a weight of one to see what this looks like. We could go over to the object mode menu and click on weight paint. As you can see here where the red is, that is where smoke will be emitted and where the blue is. There will be no smoke. We can also paint in if we wanted to. So if I wanted to draw right here, I could paint in where I want. I'm going to control see that and go back into object mode. Back over in the physics. Have we can select that Vertex group by clicking the drop down menu. Now that we've done that, let's select our domain and bake this in by clicking the bake button down here. I'll stop it right there and I'll restart. And, as you can see already where we selected the parts of the Vertex group, it's now emitting smoke on those parts and not anywhere else. If we open up with the flow source right here. There's also a flow source that we can choose from mesh or particle system if we want to enable particle system. What it's gonna do is it's going to emit smoke from every single particle that we create. Actually, use this in our smoke. What we need to do is go over to the particle system tab and create a new one by hitting that plus sign on the top right corner. If we play this, this is what it looks like now. I don't want there to be any gravity in the scene. I want all the particles to go in either direction. To do this, we need to scroll down to the field weights and turn off gravity all the way down to zero. Now that we've done that, if we play this, this is what it looks like. Now let's go back over to the physics tab and underneath the particle system, we're going to select that particle system that we just created. This side's all you controls, the amount of smoke around the particles. You can set it lower or higher. I'm going to set it higher up to a value of two so they're being mawr. Smoke around each single particle now going back over to the domain. Let's go ahead and free this data and bake it back in. Now, Once we play this, you will notice Every single particle is now emitting smoke into assimilation and it looks pretty cool. Jumping back over to the flow source on mesh. We have two different values here. Servers, emission and volume emission. The surface emission is basically the smoke around the object. These two objects right here. This one is set to one and this one is set to two. And as you can see here, there is a bigger area around the sphere that is emitting smoke. Because this is set to two, you can see if I play this. This is what it looks like. The volume emission is basically the amount that the smoke William it from the inside of the mesh with this fear. Basically, what's happening is the inside of the sphere is also in Venice smoke just as the outside is and you can set that amount using this slider he is plain are is used for meshes that are unclos. Basically, if your object is fun or if you're object, does not have a field and face. You are going to want to turn on his plane Are the initial velocity controls how fast the smoke will be emitted from the volume. And also, if your object is moving, this also affect how it behaves. For example, this is an object that is moving across our domain at a very high speed. Any initial velocity is turned off. This is what it looks like. As you can see, the smoke doesn't really have an effect on the motion. But now, if we were to free the data, select our object in turn on initial velocity will go ahead and bake this in and see the difference. Now, once we play this, you'll notice the smoke is almost traveling with the flow object right at the end. Here, when it hits the side, you can see the smoke kind of shoots out this way to see this effect even greater. I'm going to set this source and this is the amount that will effect the initial velocity. I'm going to set this up to three now if we select our domain, freed the data and bake this back in, you will see a much bigger difference now. Once we play this, you will see the smoke is shooting and moving with the flow object. We'll play that one more time and that is what it looks like. You can also set the certain axes of where you want the smoke to go to and how fast. Right here I have said the initial X velocity. So that is the red axes right here to one. So what's gonna happen is the smoke is going to shoot across to the right really fast. If I play this, this is what it looks like. As you can see, the smoke is moving extremely fast, moving along the right side. And if I was this at this higher, it would move even faster. This also works in all the other axes as well, and they get a values positive. Whatever you want, you can set them up right here. The last thing we'll talk about is the texture panel. This allows you to add in a texture of where you want the flame or the smoke to rise from on the mesh. Here is the drop down menu of where you can select the texture and to actually create a texture. We need to go over to the texture panel right here. I can click new on this and here is our texture. You can add an a existing image or you can do it procedurally by changing the value over here, let's go with clouds. And then for the size, I'm going to set this down to a value of 0.1. This is what it looks like and where the white values are. That is where the smoke will rise and where the black values are. There will be no smoke underneath the colors. You can change how it looks by adjusting the brightness, the contrast, all of these values. I'm gonna bring the contrast all the way up to five, and I might bring the brightness and down just a little bit. So we get a little bit more black in the seen something like that. If you want more control, you can open up the color ramp and mess around with this so you can bring in more black or you can bring in less black. Doesn't really matter. You can do what you want and once you're happy with the texture, even go back over to the physics tab. And so, like the texture in the drop down menu right here. This is the size of it. And this controls how big it is on your mesh. And there is also an offset value here. This will move the texture around. If you were to animate this value, it would look really good with the fire. So that is what we're gonna do on frame one. I'm going to hit that little button on the side to add in a key frame. Then over 60 frames, it's gonna go from zero all the way up 2.6, and then I will add in another key frame. We'll select our domain and click on a big data. The bake has finished. Now we can player simulation, and this is what it looks like. As you can see, the texture is moving around, and it's basically giving the fire some randomness, and it looks really good. So this is a way to create organic looking fire and make it look really realistic. 19. Collisions: Now let's talk about collisions to add in a collision in men's flow. What you need to do is press shift a and add in the object that you want to collide with the mesh. In this case, I'm going to want a cylinder to collide with it. I'm gonna drag this up and then rotate this along the Y axis by hitting our why 90 and enter in middle press s and X and skill adapt from here. I need to go over to the fluid tab and change the type over to an effect. Er what this does is it will enable you to add in a collision or a guide. We already talked about guides in a previous video, so we're going to stick with collisions. The is plain are is very similar to the is plain are in the flow object if you're mesh, doesn't have a face. So, for example, if I select this face and delete it, this is an unclos mess. So I will want to turn on his plane are if this faces filled in. So let me just feel that back in by Alta clicking and pressing f to fill in that face. Now, this is a closed mess, so I don't need to turn that on the surface. Thickness controls the area around the mesh that would be considered as a collision. For example, if I zoom in right here, If this surface thickness is up to a value of like four, the area around will be considered is probably around here right where my cursor is. So about that distance. If this is set to one, it'll be closer right about there. I'm going to set this to one and leave it as it is. So we have a little bit of distance between the collision and the smoke. From there we can select our domain and bake the scent. And once we play this, you will notice the smoke is colliding with the cylinder just like that. One thing to keep in mind with collisions is flat. Objects do not work. In this example. I've added a plane with a collision. If I play this, you will notice the smoke goes right through the plane and it doesn't collide with it. What we need to do to fix this is to turn up the surface thickness. If I bring this up to a value of one. Now this will work and it will collide with it. So make sure if you are using a plane as the collision to turn up the surface thickness or it won't work. Now we select our domain, free the data, bake it back in, and now, once we play this, you'll notice the smoke is colliding with the bottom of the plane. Just like that, and it is working now. Let's say you're object does have some thickness to it, but it's still not working correctly. As you can see here, this is a collision. The service thickness is at zero, but since this has a little bit of thickness, this should work properly. If I play this, you'll notice the smoke is going straight through and not colliding. The reason this is not working is because the normals are messed up. If I go into edit mode with the collision selected and to actually see the normals, we need to go over to this menu, turn on normals and bring up the size. We can actually see them. I'll go into a wire frame. You will notice that the normals those blue lines are pointed on the inside of the mesh, and this does not work. We want them pointing on the outside to fix this. We need to make sure everything is selected and press shift and end, and that will recalculate the normals. And now you can see there pointed in the correct direction. Now, if we select our domain, free the data and bake it back in. Now you will notice that the smoke is colliding with the bottom of the cube, and it's working properly, so make sure if you're object has some thickness, and it's still not working to recalculate the normals in that should picture issue. Now let's say you wanted your flow object to be inside a collision. As you can see here in this simulation, I've created a obstacle with a sphere inside it, and this is the flow object. If I player simulation, you can see nothing is working. The reason why nothing is working is because blender is treating this collision object as a completely solid mesh. If you remember what we just talked about with the normals, what we need to do is actually flip the normals to be on the inside. So blender treats this object as an empty object rather than it being completely filled up . To do this, go into edit mode and you will see the normals are pointed in the outer direction. We need to price shift an end and then have them on the inside. So now blender will treat this as a empty object and it will work correctly. We also need to turn up the surface thickness just a little bit. I'm going to go with a value of points five. From there we can select our domain, free the data and bake it back in. Now that the bake is finished, we can restart and play this and you will see nothing is showing up. And that's because this is actually working. But we need to actually go on the inside and you will see the smoke. If we hide this mesh Now you can see the smoke working If we restart and play it. This is what it looks like. It collides with the top of the sphere and creates a cool looking effect. So there you go. That is how collisions work in mantle flow 20. Importing OpenVDB into Blender: Hello, everybody. And welcome back to another video In this one, we're gonna learn about open VTB files and how to import them into Blender Open. VTB was developed by DreamWorks Animation, and it's a way of compressing Volumetrics so you can easily import them into other programs . There are a lot of programs that open BTV files work with, such as Houdini Riel flow V ray octane, all those they all work with open vdv files. Here we are in Blender 2.83 and we're using the beta. If you want to follow along with this video, you need to go ahead and download the experimental branch of Blender. If you're watching this video and this is already the official release, you don't have to worry about this next step. What you're gonna want to do is head over to blender dot org's and click on the download button right here. You can see the official version at this time of recording is Blender 2.8 A. Once I click on this, I can scroll down to the go experimental, and I can click download blender experimental branches. This will take me to a new page reckoned. Then download the blender 2.83 beta. And here is that folders to go ahead and download them, one that you need for Mac clinics or windows. Extract the folder, and then you can start working in blender. So now that you've downloaded the experimental branch, we can go ahead and get started to actually import an open vdv file. You need to go and download one or create your own. I'll be showing you exactly how to do both of them. So let's first go ahead and download one off of open vtb dot org's Here we are at open vdv dot org's slash download, and there are a bunch of presets so you can go ahead and download. Let's click on this one right here fire dot vtb and then we can see it downloading right there. Now that we have the folder downloaded, what we can do is go back over to Blender. We'll delete the default cube and press shift day, and you will notice there is a new tab called a Volume. Once we click on this, you will see import open VTB. We can select that and navigate to the folder Once you have found it, go ahead and select it and then click import open VTB volume We can see here. Now we have this in our scene. It's currently very big, so go ahead and select it in the outline Er and scale it down now with this selected let's go over to the volume tab. This is a news habit in blender 2.83 and here we can see all of the information for our simulation. The density is for the smoke and the temperature is for the fire. If we select the density, we can control the amount that it will display in the view port with this slider. So if I trim it all the way up, you can see it becomes thicker. Just like this same thing goes with the temperature. So if I wanted to, I could bring it down or I can bring it up depending on what I want. Now if we press Z and go into rendered view, we can see we do have the smoke. But there is no fire to fix this. We need to open up with Note Editor by dragging out a new window switching this over to the Shader editor and then we will create a new material. With this volume selected, we can see here the density attributes is taking visit density name and plugging it into here. Same thing goes with the temperature. We can see that is the exact same name. So if we were to turn up the black body intensity now we can see the fire in our simulation . If we set this up to like a four, we can now see this a lot brighter. Now, if I bring the temperature value down to about 100 we can see the fire a lot better. And this is looking really cool. And as you can see, we did not have to simulate anything. All we had to do is change a little bit in the material and we have a really good looking simulation. Now, let's go ahead and import our own a simulation data into blender. So here we go. I've created a basic simulation we can see here. There is a flow object that is emitting fire and smoke. There is a turbulence force field that's pushing of the fire and smoke around and creating this sort of. Look, I've saved this cash. Let's go over to the domain sentence. I've saved this cash to a custom folder right here. It's on my desktop. And now we're going to go into Blender 2.83 and import that it. Here we are in lender 2.83 We're gonna go ahead and delete the default cube press shift. A an ad in a volume open VTB. Once I have found the folder, I can click on the cache of where I saved it and you will see two different folders here. We don't want convict. We want a data. If we click on this, we can see all of the frames that have our data stored in that I'm going to click on it. Density 00 25 import this in and you can see it imported it into our scene. But currently it's very small. I'm not going to scale this up just yet because we're gonna be adding the flame with this to do that press shift a go underneath volume import open VTB and navigates of the folder once again and scroll down until you get the flame information select frame 25 import open VTB. Now we can select both of these in the outline. Er scale them together and then place them where we want. Right there. Looks pretty good now, toe. Actually, see this? We need to go ahead and open up the note editor once again and then change some of the material. So if I go over to the Shader editor also which, over two cycles so we could see this and then with the density selected, I'm gonna click new now. Currently, I'm not sure if there's a way to actually combined the volume together to have the fire and the density in the same volume right here. So instead, we're just going to do them separately. So with this material, I can turn up the density. So if I drive that up a little bit, I'll go into rendered view and we can't see anything. That is because we need to copy the name over here it is density underscore s 33 We need to put that into the density attribute. So we'll go Density underscore s 33 enter. And now we can see the information for our density. Pretty cool. Now that we've done that, let's select the flame. We'll create a new material and instead of the density attributes we need to put in the temperature down here. So if I type in the word flame underscore s 33 that's because the name is over there. We can turn up the black body intensity. If we go all the way to one, we can't really see it. So let's actually bring this up to a value of about 100. There. We can see our flame data. Now, if we change the temperature, it will also change the color of it. So if I was to go up to a value of about 3000 there, we can see all of our flame information, and that looks pretty cool. And as you can see, there's only took a couple of seconds to import this in. And now we have a very nice looking fire simulation without happy to bacon anything. Now. Currently, though, this isn't working perfectly because, as you can see, there is some weird blocks in the fire right here and the smoke. And if I was to rotate the view, we can see there's a spot right there. So currently, I think this is still in the works because this is a beta, so it's not gonna be perfect. And as you can see, if I separate both of these objects, they do look good by themselves. But But if I was to select the density, move this in front of the fire like it should be right there. You can see the blocks are now starting to show up in the render. So this is still in the works, and hopefully that will get fixed in a future update. But for now, you can just import the ones off of open btv dot org's and they will work perfectly fine. But there you go. That is how you import open btv into blender. 21. Smoke Materials: Hello, everybody. And welcome to a new section in this section. We're gonna be focusing on the smoke material and the fire material, and we will also be creating sparks. And I'll be showing you how to do that with the particle system and the smoke simulation to get started. Let's first look at the smoke material. So let's go ahead and set up a quick simulation to demonstrate this. Now. If we hit the space bar, we should see smoke rise, which we can now, to make this simulation a little bit more interesting. Let's go ahead and add in a wind force field. To do this, all press shipped a go underneath force field and then add in a wind force field right here . I'll go into front view, but pressing one on the number pad, then our to rotate and then I'll just place the wind somewhere around here. I'm going to go over to the physics tab and add in a little bit of strength to this wind right here. Now I am gonna be using cycles for the scene because that just helps display the smoke a little bit more Realistically, I'm gonna play this simulation and we can see the wind. It has an effect on our smoke, and I'll pause it right about there to go into render view. What we need to do is press Z and go into rendered view, and we should see the smoke right there. Now let's go ahead and add in some lighting. So also like the lamp, I'll go over to the lamp settings and set this value to Let's go with 1000 and then I'll just go into top view by pressing seven and I'll move it over to the left. Now let's get into this month material. So I'm going to select our domain and then split the window. So we have a shader editor over here, and then we have our rendered view on the left. When you add in, the quick smoke affected automatically adds in this material for us with the principled volume Shader, now the principal volume shader, is basically the node that does everything that you're going to need for the smoke simulation. Before this was added in 2.79 what you had to do was go over to Shader volume absorption and then Williams scatter and you used to have to mix these two together with a density attribute note and doing this. You ended up with about 10 different nodes for your smoke, and it was just kind of a mess with this principle. Volume shader. It automatically does everything in this material here, and that's all you really need. Now let's go ahead and restart the animation and play it a little bit, and so we can get some smoke and are seen. And then we'll talk about all of these settings First off of the color. You can change the color right here and set it to whatever color that you want and you can see over on the left. It's changing color. There's also a color attribute. Note. What this does is it takes the color of the flow object. So if I select my flow object, go over to the panel here, weaken, set the smoke color. Then if I go over to like an orange reddish color down here, we can see nothing happens. But if I go into solid view and restart the animation and play it, we can now see the orange smoke in our scene now it's going to render view, you'll notice that it goes back to the blue. That's because we need to take this color attributes and type in the word color right here . Then it will take that orange color that we added and apply it to our smoke. And as you can see here, we now have a orangish color. It's not really working too well, so maybe we have to give it a brighter orange. Something like this all restart and play it. And there you can see we now have an orange color for our smoke. So what the color attribute does is it takes the flow object color and applies it to that smoke. This could be very useful if you want multiple colors of smoke in your simulation, because if you change the domain, it will change it for everything. But if you have the color attributes put into the material, it will take that flow object color and then use that for the smoke moving on. From there, we have the density value right here. This controls the density of the smoke, so if I turn this up, you'll notice that our smoke becomes a lot more dense, and you can go pretty high with this. Be careful, though, because if you go to high, let's go with, like, 1000 density. You'll notice that you can see like the different boxes in your smoke, and it looks a little bit odd. Usually a value of 50 works pretty well for most scenes, as you can see here, and that gives us a nice dense smoke underneath that we have the Anisotropy, and I'm pretty sure that's how you say it. I'm going to butcher that, but basically what this does is it takes the light and gives it a direction to go in. Currently at zero, that means the light will go in all directions evenly. If I said this to a negative value, you'll notice that the light almost goes in the opposite direction. It goes back towards the light, so it's taking the rays of light and just bouncing them straight backwards. And if I come over here, you see there's no light coming in the side. If I go over to a pontiff value, it will do the exact opposite. It will absorb the light and push it in the forward direction so negative values will bounce the light backwards, and then positive values will bounce a light forward. So, as you can see here, it's all dark all around, so it's just pushing the light towards the center of the smoke again. Values of zero will distribute the light evenly and that works for most scenes. You can also change the absorption color, and this is the light that's inside the smoke. So if I drag this up and give it like a reddish color, you'll notice that the light enters it and it gives it a reddish you, as you can see here. So there you go for the principal volume Shader. In the next video, we'll take a look at the fire and that uses thes three values down here. 22. Fire Material: Now let's move on to the fire To demonstrate this. We need to go over to the fire simulation. So I'm going to select my flow object. Change it over to a fire object right here. Now, if we restart the animation and play it, we can see some fire in our scene. Just like that. Now, if I select my domain, we can see the material that we created in the last video here. We have a couple different settings. First, off this black body intensity, this is for the fire. So if I press z and go into rendered view, we only see smoke. Now. The reason for that is because we need to turn up the black body intensity. If I turn this up, we can now see the fire in our scene. The temperature right here. This is where you control the temperature of the fire. Now, Aiken set this to a value of 1300 that's about the temperature of fire. And as you can see here, this is what it looks like. And that looks pretty good doing it this way, though there's not a lot of control. For example, I can't really turn up the strength. What I would need to do is add in an actual you note and plug that into the strength, and I'll show you how to do that in just a second. If we turn up this strength, though, you'll notice it just turns up everything in our scene. So that does not work. What we need to do to turn up the strength of our mission is to add in an attribute note, so press shift, a go to input and then attributes right here. The next thing that we need to do is type in the name of the attributes that we want to change. In this case, it's the flame. So what we need to do is type in the word flame here, no caps, just straight flame. Then we need to take the factor and plug it into the factor of the emission strength. Then to tweak the setting. Let's add in a math note, so press shift a converter math in place that here then I will set this to multiply. Now this bottom value controls the strength of the emission, So if I turn this up, you'll notice it becomes a lot brighter. You can also change the emission color here. So if I wanted to, I could give this a oranges color and you can see that's starting to look like flame. And if I turn this up, it will just make it a lot brighter. Doing it this way, though there's not a lot of control over the color. So what I like to do is add in a color ramp to change the color of the mission. So for a shift, a converter and color rap, and then our place that here the factor of the attributes will go into the factor of the color ramp than the color of the color ramp will go into the emission color. Now we can change the color of our flame here. I'm gonna be adding in another note by hitting that plus sign and dragon it over to the left. I'm going to set this to a orangish color somewhere around here and maybe lighten it up just a tiny bit. Then I'll add in a plus sign. Oh, drag this over to the rights, and I'll set this to a lighter orange shall drag this up in an orange summer around here. So this is what our flame looks like. It starts out black, goes to a dark orange, goes to a lighter orange and then ends in white. Since we're using this Colorado, we don't need to use the black body anymore, so I'll just set that back to zero. Now, here is our node set up for the flames. We have the value which controls the strength of the emission. And then we have the color down here doing it. With this method using the attributes multiply. And the color rap gives us a lot more control over our flame so we can tweak it exactly how we want. All right, so there we go. That is how you create fire in the material. In the next video, we will take a look at creating sparks. 23. 7 Adding 2 Colors of Smoke (2: Hello everybody. And in this video I'll be showing you how you can mix two different smoke colors into one simulation. To do this, we need two different inflow objects. The info objects that we'll be using are going to be circles. So I'm going to delete the cube and then press Shift a and add in a mesh and then circle, go into edit mode by pressing Tab and then press F to fill in a face so they will actually emit from the faces. Now, let's go ahead and go into front view by pressing one on the number pad. And then I'll press R to rotate, and I'll rotate this. Let's go with 30 degrees and then I'll press G x and move it along the x till it's too great units away. Next, I'll press shift D on this x and then I'll move it along to grid units away. Somewhere around there are four grid units away actually. Then I'll rotate it 60 degrees right about here. And you can see the number if you've looked at the top-left corner, 60 degrees right there. Now we have two different flaw objects, and they are actually a little further away than I want. So I'll drag them a little closer. Now that we have our inflow objects, Let's go ahead and add in the smoke domain. So I'll select one of them, go over to object down to quick effects and then quick smoke. Now when I do this, this circle turns into a wireframe and I don't really want that. So I'm going to select it, go over to the panel right here, the object panel and underneath viewport display, I'm going to set the display as wire to solid. So now we have two solid phases. Select your cube, move it into place. So I'll press G acts, and then I'll press S and scale along the x and drag it up till it's the height that I want. Something like that will look pretty good. Now, we also need to apply the smoke simulation to this other object. So I'll select the circle, go over to the Physics tab, click on smoke and set the type or R2 flow. Now if I play our simulation, we should have to smoke trails going up, which we do. That looks pretty good, but now we need to change the color. So for the right circle, I'm going to give it a green color somewhere around here. And then for the left circle, I'll give it a blue color somewhere around here. Now if we play our simulation, this is what it looks like. Now it is working. It does look pretty cool, but they're not mixing up. So to mix them up, we'll be adding in a vortex force-field, press Shift a, go over to force field and then add in a vortex. The strength of this, we will go with a value of five, and we'll see how that looks. Let's restart the animation and play this again. And there we go. We can now see our colors are mixing together. And that looks pretty neat. Maybe it will select the domain and scale it up a little bit bigger so we can see more smoke in our scene. And now we'll restart and play it one more time. And that does look pretty cool. So now that we have our settings, Let's go ahead and bake out a high resolution of our smoke. So for the resolution divisions, Let's go with 64. And then I'm going to turn on adaptive domain and turn on high resolution. When we opened up the high-resolution, I'll set the strength of the subdivisions up to a value of two. Now that we've done that, let's go ahead and bake in our scene. Now currently it's grayed out and that's because we need to save our file. So let's press Control S and save our blender file and I'll just call it colors. Now that we've done that, we can now bake in our scene, but we don't need to bake into 150 frames. What I'll do is I'll set this to 150 and then Enter, and then I'll set the timeline to 150 as well. Now that we've done that, let's go ahead and save our project one more time and then click on bake. Our simulation is done and as you can see, it does look pretty good. If we scroll through here, the smoke is spinning around and it looks like a tornado. Now if we were to press Z and go into rendered view and we are using EV at the moment, you'll notice that the smoke is still gray. The reason for that is because in the material we haven't set up the colors. Let's go ahead and do that real quick. So I'm going to split the window and go over to the shader editor. Then I'll press N to close up that panel. And here we can see what our stimulation material looks like. What we need to do is in the color attribute, we need to type in the word color. So then it will take those colors from the flow objects rather than using the color in the principle of volume shader. And as you can see here it is now working. The density of this owl set up to a value of 20. And now let's restart the animation and play it one more time to see how this looks. Now that we've done that, let's go ahead and create a basic scene and then render out an animation. I'm going to select the lamp that's already in our scene and go over to the lamp settings and change it to a sun lamp. I'm going to set the strength of the Sun at 27 and then inside view I'm going to rotate it so it's at more of a straight angle. And then I'll go over to the ED settings and open up volume metrics, the volumetric tile size, this controls the amount of detail in your smoke. I'm going to set to two pixels. The lower you go with the setting, the better the smoke will look. You can also turn on Volumetric Shadows and this will help improve your scene quite a bit over in the world settings. I'll drag this up so it's a little bit of a lighter color so we can see them smoke more clearly. The density is a little bit low, so I'll change it up to a value of 100 so we can really get some dense smoke and are seen. Now that we've done that, let's go ahead and position the camera and render this out. I'm going to go into front view by pressing 1 and then I'll hit Control Alt 0 to snap the camera to view. Then I'll select the camera, move it up a little bit, drag it back to we get the full thing in the frame. Let's do a test render real quick to see how this looks. Frame 66, I'm going to press F2 to render out any image. That looks pretty good to me. So let's go ahead and render out an entire animation using the setup. To render an animation in EV, what we need to do is go to the output and set a output for where we want our movie file to go to. I'm going to click on this button here and navigate to where I want to save it. You can give it a name and then click Accept. And then when you render that movie file, we'll go into that folder. For the file format. I'll change it over to a MP4 and then I'll set the encoding container to mp4. And then for the output quality, I will set too high. Now that we've done that, let's go ahead and save our project one more time, and then go up to render and click on Render Animation. Now, since we are using EV, this should go extremely fast and we'll take a look at it once it's done, our animation is done and now we can view it by exiting out of this window and going over to render and clicking on view animation. Once we do that, a window will pop up and we'll be able to view our animation. And as you can see, it does look pretty good. The two colors are mixing together and it's creating an interesting effect. So there you go. That is how you simulate two different colors in the smoke simulation. Thanks again for watching and I'll see you in the next section. 24. Realistic Fire For Still Renders P1 Simulation: Hello everyone and welcome to another video. I recently got emailed a question asking about how to create a realistic look on fire in a still image. If you take a look at the fire on screen, you'll notice it looks pretty good in the animation. But if you were to pause the animation and take a look at just a single frame, you'll notice that the fire looks a bit splotchy. It doesn't look very realistic. So how do we create a fire that looks good in a still render? To do this, it's mostly in the material. Let's first go over the settings in the domain because there is a couple options that you're going to want to take a look at. I'm going to delete the default cube and then press Shift a and add in a UV sphere. This is going to be our inflow objects. Next I'm going to go over to object down to quick effects and then quick smoke. This will just add a basic domain and we'll scale it up and place it right about there. So maybe scaled down the inflow just slightly. Now let's jump over to the Physics tab where we can change the settings for the smoke and fire for the flow type. I'm going to switch it over to the fire mode and then I'm going to leave it on inflow. The fuel amount, which we covered in a different video controls how crazy the fire is and how fast it moves. I'm going to be setting this up to a value of two. We also want to open up the texture tab, and this will give us a better realistic results. I'm going to go over to the Texture tab right here and create a new one. We're going to set the type over to the clouds and mode. And you can see a preview of the texture right here, where the white parts are on the texture. That means there's going to be fire there. And were the black parts, are those going to be no fire? I want a little bit more definition between the different values. So I'm going to bring up the contrast all the way up to a value of five. I'm also going to bring the size down a little bit because it's currently too big. So I'm going to go with a value of 0.1. And then over in the Texture tab, I'm going to select it right here. Since we're only rendering a still image, we don't really need to animate the offset here. We can just leave it at 0 for now. Next up over in the domain, we're going to cover a couple of different settings here to create the realistic look. It's mostly based in the material. There are a couple of different attributes that we can select for the fire. The one with the most detail is the heat attribute. That is what we're going to cover in this video. If you take a look at just the blackbody intensity versus the heat value, you'll notice there is a drastic difference. The black body is set to a value of 10, looks like fire. And if we were to animate this, it would look decent. But it doesn't give that detailed look like the heat value does in D5W material. The heat value takes all of the heat data from the fire simulation, and then we can use that for the emission value. This is what gives us all of that detail. Now let's talk about the resolution. The resolution with a value of 32 looks actually pretty good with the heat attribute for the material. You can see on-screen at the different resolutions and how the detail is different between each one. The higher you go with the resolution, the more lines in the more detail you will get in the heat attribute. For this simulation, I'm going to go all the way up to a value of 256. I'm going to scroll down to the cache setting and switch it over to the modular mode. And then I'm just going to set the end frame here to 200. I'm also going to turn on is resumable just in case we want to stop the render. So with a resolution of 256, we are going to get a lot of detail and it will look pretty good. I'm also going to turn on the adaptive domain just so the bake is a little bit more. And it now let's talk about the vorticity in the fire settings. The vorticity is another way to add detail to your fire. And if you were to turn this up to, let's say 1.5, you will get a crazy amount of detail, as you can see on screen. The different values will give you different results. But I found that a value of about 0.6.7, somewhere in there. The most that you want to do any more than this, you might get some weird results and it just won't look that great. So for this simulation, I'm going to go up to a value of 0.65. You can turn on it, the noise value if you want to. But I noticed with the fire, the noise doesn't really look that great. It just adds kind of a grainy look to it and I'm just going to leave it off for now. I think noise does look very good in smoke simulations, but not so much for the fire simulation. Another thing that I want to change over in heavy fire section is the reaction and speed. This is the height of the flames. The lower you set this number, the higher the flames will be. So I'm going to set this down to 0.6. I also don't want there to be any smoke in the scene because this is just for a fire render. So I'm going to turn it the flame smoke all the way down to 0. And finally, before we bake it in, I'm also going to press Shift a and add in a force field and then a turbulence for svelte, this will give the fire a little bit of random movement and I think it will look pretty good. The strength of this force field, I'm going to go down to a value of 0.4. And then for the size, this is how big the noise will be for this turbulence, I'm gonna go with a value of, let's say 0.5. The noise amount, Let's go up to a value of one, and now we're ready to bake. So I'm gonna go back to my domain settings, saved my project one more time, then click on big data. 25. Realistic Fire For Still Renders P2 Material: All right, the simulation has finished baking and here is our results. As you can see if I scroll through here, the fire does look pretty good. So now let's go ahead and set up the material. I'm going to come over to the render tab and then switch the render engine from EV over to these Cycles render engine. Since we're going for a very realistic result, we're going to be using cycles instead of EV, the device I'm going to switch to my GPU. And then over in the color management tab, I'm going to switch the look too high contrast. This is going to make the fire look a lot better and I'll show you the differences once we set up the material. I'm also going to go over to the world settings and for the background color, I'm going to set it all the way down to black so we can really see the fire. Then let's come up to the top right corner and click and drag to split this window and switch it over to the shader editor. I'm going to press N to close up that tab. And here is our basic material. At the moment, if we press Z and go into a rendered view, you'll see that we can't really see our fire at all. I'm also going to select the light in our scene and delete it since we're not going to need it to actually get the fire tube come into our scene and we need to turn up the blackbody intensity. If we drag this all the way up to 10, here is the result. Now it does look okay, it's not the best. If we zoom in though, you'll notice it's very boxy and pixelated and it just doesn't look that good. If you zoom in like this view, it looks decent. But if you zoom in, you'll see a lot of the imperfections. So how we're going to fix this is by not using the blackbody intensity at all. So let's bring that back down to 0. Instead, we're going to be using an attribute called the heat attribute. At the moment, there is no documentation of any of the attributes for the fire simulation or any attributes in general for the blender itself. One way I found out is if we import an open VDB from a fire simulation that we created in Blender. Then we can see a list of a lot of the fire attributes that we can use in the material. One of those attributes is the heat attribute. To add this in, we need to press Shift a and go underneath the Input tab and then added an attribute node right here. The name here is where we want to type in the word heat. So type in heats. And then we're going to take this factor value and plug that into the emission strength. Now we can see here is the result. It looks pretty good so far, but there's no color and it's actually filling up the entire scene. So we're going to clamp down on some of those top values up top. And we can do that with a color ramp. I'm going to press Shift a and add in a color ramp and place it right here. If we then take the black value and drag it closer, here we're starting to get a cool, a fiery effect. And as you can see already, there's a lot more detail in this simulation. One thing that we can do is if we drag the white value closer, then add an another handled by clicking that plus sign and drag that all the way to the right and set this one at down to black. Then we get a lot of detailed in our fire simulation. As you can see, this is looking really cool. Then you can play around with the handles. If you want more control over it, you can drag it this way, drag it more this way, and that will clamp down on a lot of those top values. To control the strength, the emission. We can press Shift a and add an a math known and we'll place it here and switch the mode to the multiply. This bottom value now controls how bright a D emission is. I think a value of about eight or so. We'll look pretty good for this scene. And as you can see it does. We might need to tweak that once we add in the color. Now for the color, There's a couple of ways that we can do this. One of the ways is if we add an a converter and a black body node, we can take the color plug that directly into the emission and we get this effect, which it does look pretty good. If you want more control over this though, we can go ahead and delete that, press Shift a and add in a new color ramp. We'll place it here. We'll take the color from here, plug it into this. Then at the color, into the emission color. Actually I think I want to take the factor instead of the color. The values on the left side will control the edges of the flame. So if this was, let's say, a blue color, we'll drag it closer over to the white. You can see the edges are now coming up becoming that blue color. For this demonstration though, I want it to be a nicer red color somewhere around here. And then we'll add an another handle. This one is going to be a orange color. At this point, you want to take a look at some reference images. Here you can see that a lot of the flame is very red on the outside, but white in the middle. To achieve that, we're going to leave the white handle here, but we're going to drag the orange closer to it. Then if you want more orange in your scene, you can drag the red closer like this, and this will bring more of that red color. But probably around it there will look pretty good. From this point, we can go back over to our Multiply node and turn this up to, let's say 15 or so. And that will look pretty good. One other thing that we can do to add a little bit more detail into our stimulation is to add an a noise texture and delete some parts of the fire. So if we press Shift a and add an a noise texture. We can also add an a colorRamp to determine this, we'll add in a new color ramp. And then finally to combine it with the heat attribute, Let's press shift D on the multiply and place it right here. Then in the noise texture, we're going to take the factor, plug that into the factor, and then the color into the bottom input of the Multiply node. Now what happens is if we take the black handle of this colorRamp and drag it this way, you can see it's getting rid of some random parts on our fire. You can see the sizes of the random parts right here. And the size is determined by the noise texture scale. So if I drag this up, you can see the black spots become a lot smaller. If I drag it lower or they become a lot bigger, probably a value of about six or seven will probably be good, maybe a little bit higher. Let's go seven. The detail Amount controls how much detail is in those black spots and the roughness. This will also give a cool effect. I might drag this a little bit lower, somewhere around there. And then the distortion, if you drag this up, it will give those black spots a little bit more random distortion. So I think that will look good if we drag it up to a value of about 0.2. Then over in the colorRamp, we can determine how strong this effect is. And I think probably around here, maybe drag the white closer. Something like that might look pretty good. To see the effect, we can select it the Multiply node and press N while hovering over it. So this is the before and then this is the after initially a very subtle effect. Then since we did that, we also need to turn the value back up. So let's go up to 25. I'm not really liking this top part on our fire simulation. So to get rid of that, we can drag the black body closer to the white and that will clamp down on that value. And as you can see, we just have this part of the fire. And now there's not that much orange in the scene. And so I'm going to come down to the color and drag this over to the right until we get some more orange coming in the fire simulation, right about there looks good. And then finally, over in the Multiply node, I'm just going to drag the value here up to 50. And I think that will look pretty good. So jumping back over to the Render Settings, I'm going to set the look-back to none. And you can see the difference here. This is with no contrast. And then if we go to the very high contrast, this with the very high, and as you can see, this looks a lot better. So make sure if you ever render fire that you had, that you have a lot of contrast and that will give a really nice effect. Now to actually render this out, I'm going to press Control Alt and numpad 0 to snap my camera to this position, I will select it g middle mouse button and drag it backwards over n to the output tab. I don't want to use all of this extra space on the sides. So I'm going to change the dimensions. I'm gonna go a 1080 by 1080. And then I'll zoom in just like this. Once I've found a cool spot, I can press F2 to render this out. The render has finished and here is our result. As you can see, there is a lot of detail in the fire since we use that heat attribute with the colorRamp. At this point, you can go over to the compositing tab, select, Use nodes, and then add in some glare and in some de-noising whatever you want you can add here. In this example, I'm just going to add a cool layer note by going to Filter and then glare will place it here and switch it over to the fog globe. To see what we're doing, we can control Shift, left-click on the glare node, and this will bring in a viewer node. I'm going to give ourselves a little bit more space by dragging these lower. And with this glare node, if we bring the threshold down more and let's go with a value of about 0.4. We get some nice glow in the fire. Then we can drag the sides up. And there we go. I'm also going to press Shift a and add an AND noise node will place it here just to get rid of that noise on the UV sphere. And finally, here is the result that we have. As you can see, this looks much better than just using the blackbody intensity. Just for a quick reference here is the difference between these two values. This one is the blackbody intensity up to 10. As you can see, there is not that much detail in the fire. And then this one is with the heat value and the noise texture. And as you can see, it looks much, much better. So there you go. That is how you render out a still image of a realistic looking fire. 26. Realistic Fire in Eevee P1 Material: Hello everyone. And in this video, I'm gonna be showing you how to properly render fire using the EV render engine. A lot of the times when you render out fire and EB, it doesn't really look that great. And the reason for this is because of these settings in the EB render engine and probably the material. So in this video, I'm going to be showing you how you can turn your render from looking like this over, there's something that looks really good like this. So to get started, I've already created a basic simulation that we can take a look at. Here I've set the resolution divisions to 256 because we're going for a very realistic result. We need a high resolution. Underneath that, I've turned on adaptive domain and the reaction speed is at point 4, I baked into a 100 frames. Now if we select our info object, I've set the type to fire, reusing the inflow behavior. And for the surface emission, I set that down to one so the fire is closer to the surface. And I've also enabled a texture. If we take a look at this texture is just using a clouds with a high contrast and a low size. I've also animated this texture so it moves around the sphere as the animation is plane. So it starts out at 0 for the offset. And then F frame 200, I've set it up to a value of 0.8. So now if we take a look at what our fire looks like right now with the basic API settings, I'm going to press Z and go into rendered view. We won't be able to see the fire. I've also turn the background all the way down to black so we can really see what's happening at the moment. You're not gonna see any fire and that's because there is no emission in it, V volume shader over here. So of course, if you wanted the fire to a peer, you can turn up the blackbody intensity. I don't recommend doing this though because the fire is not going to really look that great. Let's set that up to 10. As you can see, it looks okay, but it's a very pixelated and the edges are very sharp. So instead, we're not going to be using the blackbody intensity and we're going to be using the flame attribute. So we're going to set that back down to 0. Let's come up here and split this view and switch this over to the shader editor. Then I'm going to press N to close off that panel. And we're going to add in that flame attribute. To do this, it's very simple. In blunder we have a volume info node, which is very convenient because it already has the flame attribute that we can take right here. So add that in and then we can press Shift a to add an a converter colorRamp in place it here. What we're gonna do is take the flame, plug that into the factor of the colorRamp, and then the colorRamp is going to go into the emission color of the principled volume shader. Now what happens is if we turn the strength of the emission all the way up to, let's go at 10, for example, we're going to get some fire in arsine. And as you can see, the edges don't look as sharp as they did before with the blackbody intensity. And that is what we want. We want the edges to be nice and smooth over in the colorRamp, you can change the color of the flames by adding in some new handles. Make sure you don't change this handle though, because if you were to change the black handle, if we go higher, it's going to fill out the entire domain. So make sure that this one stays a black. But you can add in some more handles by clicking the plus sign. I can drag this over to the left, switch it over to a darker color. The handles on the left correspond to the edges of the flame, as you can see. And the handle on the right is for the middle of the flame. So for the edges, I want it to be a nice red color somewhere around here, maybe a little bit more orange. And then for the middle part, I'm going to set this over to a nicely yellow, something like that. And as you can see, our fire is already starting to look really good. We can press Z and toggle overlays just so we can see the fire by itself without any of the grid. If you want to, you can change the emission at strength of the principled volume shader up higher so you get a brighter fire. If we go with a value of 15, it's going to look a little bit brighter. And that's it. That's the basic material for the EV fire. You can also play around with these handles. If you want the orange to come in a little bit more, you can drag this over to the middle of the colorRamp and you're going to get an effect like that, which I think looks pretty good. If you want more dense MOOC in your simulation, you can also turn up the density, or you can change the color of the smoke by changing this over here. In the next video, we're gonna take a look at the EV render settings and really make our fire look really good. 27. Realistic Fire in Eevee P2 Render Settings: In the last video, we created the material for our fire in EV, at the moment is looking pretty good, but we can make this look 10 times better by just changing a couple of settings in the EV render engine. So to start out with, I'm going to come up to this window and close this off. We're not going to need this anymore. And then let's place the camera right in the front of our view. So I'm going to place my viewport look right here and then press Control Alt numpad 0 to snap the camera's view. You can then select it by clicking in the outliner up here, g middle mouse button and drag it back and place it right in the middle. Next up, let's change the EV settings, jumping over to the render properties, the first thing that we're gonna do is open up the volume metrics. Tap. There are a lot of settings down here that can change how the fire will look. And let's go through them one by one. The start and the end frame, basically, that's how far or close the fire will appear in your scene. How EB renders fire is with layers. It basically adds layers on top of each other. And the amount of layers is determined by the samples in the volume metrics. The more samples that you have, the better the firewall look. The distribution underneath that is how many samples are going to be closer to the camera. We'll cover that in just a second. Basically, what's happening is it's going to stretch those samples or rather the amount that you set here for the end frame. So it's taking 64 samples and stretching them out over 100 meters. We don't really need that to happen. So we can set this a lot lower. Let's take a look at our scene are quick and we can see the camera is right about here. And this is if we go into the Properties, you can see it's negative 9.5 meters away. So what we can do is set the end frame down here to a value of 15 or so. Now the samples are going to be much closer together and the firewall look a lot better. Now if we press Z and go into rendered view will go into the camera view as well. You might not see too much of a difference. But if I change this up to, let's say 1, 0, 0, 0, 0, 0. You're going to see there's not that many samples. But if I set this lower, Let's go with 15. It's going to clamp those samples much closer together. The tile size and the volume metrics also correlates with how much detail the fire is going to have. If I set this lower to a value of two pixels, we're going to get a lot more detail in our fire. As you can see, it's looking much better. And of course, these samples, like I said earlier, has how many layers is going to have? We're going to set this to double this. Let's go with 128. If for some reason the fire has disappeared from your view, what you can do is drag the distribution all the way up to a value of one, and that should bring the fire back into your scene. We can also turn on a volumetric shadows in this, we'll add some shadows to the volume metrics up top here. And I've also added bloom to our scene. So you can see here, if I turn this off, there's not that glow around the fire, but if I turn it back on, we're getting a nice glow. The intensity is controlled by this slider here. If you want a bigger glow, turn that up. If you want a smaller glow, just turn that down. Over in the sampling. This also determines how good the fire will look with a lower sample, you're gonna get some weird splotchy fire in some parts of the image. But if you have a higher sample, then you're going to get much more detail. So for this scene, I'm going to go up to 128 as well. And finally, if we scroll down all the way to the color management, set the look of the scene over to high contrast, then the fire is going to look even better, brighter, and more saturated, as you can see. Then all you have to do is render this out and you're gonna get some really nice-looking fire. And as you can see compared to cycles, the EPA render engine looks just as good, but it will render even faster. So there you go. That is how you create a realistic fire in the EV render engine. Make sure you turn at the end frame down the tile size to two pixels, the samples up and the render samples as well. And don't use the blackbody intensity for comparison. Here is the render with the flame attribute. If I go over to slot 2, here is the render with the blackbody intensity. As you can see if I zoom in at the edges of our firewall log very sharp and not smooth and it just doesn't look as good. So make sure if you ever render fire using the EV render engine, you use the flame attribute to get those nice soft edges. But that's gonna do it. Thank you very much for watching these two videos, and I will see you in the next one. 28. Realistic Fire P1 Setting up the Simulation: Hello, everybody. And welcome to a new section in the section we're going to create This animation on screen will be creating some very realistic flames, adding some sparks with a fancy material that changes the particle as it rises and will be going through this step by step. So you learn exactly how it works to get started in this video, we're gonna be creating the fire simulation. So first off, we're going to go ahead and delete the defaults cube and then press shift a an ad in a cylinder. This is going to be our flow object. Now, I don't want this to be this big, so I'm gonna press S and Z and scaled down till about that size. Then we'll go ahead and add in the domain. So I'm gonna press shift a at an A mesh and a cube scale the cuba probably around there and then press s and Z and skeletal on the Z told about that size and then we'll drag it upwards to actually see what we're doing. We comprises E and go into wire frame view, and that looks pretty good. I might skillet along all the other access by pressing s shift and Z and you can see here it skills it along the y and the X, but not the easy access. So probably skillet out right about there. That looks pretty good. And now we're ready to set up our simulation. So with this domain selected, I'm going to go over to the physics tab and click on fluid and set the type over to domain . Next, I'm going to select my flow object, click on fluid and set the type over to flow the flow behavior we're gonna set over to inflow. Now, before we get into the domain settings, let's go ahead and work on the inflow settings. So first off, I'm going to set the flow type from smoke over to fire, and here we can see the fuel. If you remember what we talked about in the previous section, this is the height and how crazy the flames were gonna be. I'm gonna bring this up to a value of one point to another thing we're gonna change is the texture panel here. We're going to animate a texture moving across our flow object, so it gives some randomness to the flames to do this. Click on that check box and open up this panel over in the texture panel. This panel right here has the checker box. Click on new and set the type over two clouds the size right here. I'm gonna bring down to a value of 0.1. And here we can see this is what it looks like. And I'm also going to open up the colors and bring the contrast up. You can see the texture of what it looks like and where the white is. That is where the fire will be and where the black is. There will be no fire. We can also open up the color ramp and play around with the contrast between the white and the black. You can see here if I move the black over, it enables more black to come into the texture. Same for the white. If I drive this over and I'm probably gonna go something like this, so just bring them in just slightly, and this is what your texture will look like. From there we can jump back over to the physics tab. And so, like that texture that we just created in the drop down menu. The size value controls how big it is on our mesh. And currently, it's a little too big. So I'm gonna bring this down to a value of 0.5. Another thing we're gonna do is animate this offset value. So for this, animation is going to be 100 frames long. So I'm going to set the end frame right here to 100 and I'm going to click that button on the side to add in a key frame to the offset. Next jump all the way to the end by hitting that skip button and set the offset up to a value of about 0.7 and then hit that check box one more time. And that will add in another key frame. Now, when working with animation and blender, it uses a curve to smooth out the animation. To see this, we need to split the view. So I'm gonna come up here to the top, right corner, click and drag. And this will create a new window over on this one. No, I'm going to switch it over to the graph editor and this is what our animation looks like. You can see it starts out very slow, speeds up in the middle and slows down at the end. That's not very realistic. So to fix this, we're gonna want a linear line between these two points To do this, make sure everything is selected by pressing a and then press T and click on Linear. What this does is it will straighten out the line, as you can see here. So it's gonna have the same speed all throughout the animation. Now, we're gonna go ahead and close this off. We're not gonna need anymore. And now let's select our domain. I'm going to select the domain right here and go over to the settings. The first setting that we have is the resolution divisions. I'm going to go up to a value of 1 28 underneath the smoke. I'm going to set the vorticity of the smoke to a value of 0.1. There is not gonna be that much smoke in the scene because we're only using the fire. But just to give it some randomness, I'm gonna set it 2.1. If we open up the fire, we can see here there are a couple different settings. The reaction speed controls the height of the flames. And I'm going to set this to a value of 0.5. The flames smoke. I'm also gonna bring down to a value of 0.8. Just we get a little less smoke than what we would usually get in this simulation. Turn on adaptive domain and turn on a noise in the noise panel. We're gonna set the uprise factor all the way to three and then the strength of the noise and this controls the amount of, like, noise and bumps and stuff on the flames. I'm going to set this down to a value of 30.5, and that's basically all we really need to do from there in the end frame. I'm going to set this up to 100 and I think that is it. You can set a custom folder if you want Teoh. I'm just gonna leave it at the default because I don't really want to save this cash with that said we're gonna save our project just in case this crashes. So come over to file and click, Save as and navigate to a folder of where you want to save your file. Now that we've done that, let's go ahead and click on a bacon data. Once this is finished baking, we're going to scroll down underneath the noise and bake that in as well. And now that the first bake is done, we're going to scroll down over to the noise and bake this in as well. 29. Realistic Fire P2 Creating the Sparks: the bake has finished. Now, if we want to view our animation, we can go ahead and play this. As you can see, though, it is going pretty slow. But the fire does look pretty good. I'll go ahead and skip to a couple frames. There we go. Not too bad. I think this will look very good in the render. Now let's create the particle system. What we're going to be doing is adding in an Aiko sphere to follow the flames, looking like a spark selective flow object. I'm also going to restart the timeline and go over to the particle system tab. Click on this plus sign to add an a new particle system. Make sure the type is set to emitter, and now if we play our simulation, this is what it looks like. We can see all of the particles are falling down. That is not what we want. And there's also way too many for the number of particles. I'm going to set this to 200. The frame start and the frame and controls how long the particle system will last. And the number that you specify here is how many particles will be emitted during this time . Since we have an animation of 100 frames long, I'm going to set the frame to 100. The lifetime of the particles controls when that the particles die out. Once they get admit it, I'm going to set this to a value of 30. So once one particle gets admitted, it will have 30 frames before it disappears. Another thing we're gonna want to change is the gravity. As you can see, they're falling straight down. If we open up the field weights and turn the gravity all the way down to zero, we can restart this and play this. You will notice the particles are now going in every which direction, and they're not falling down. But they're also not following the smoke. To fix this, we need to add in a force field to guide the particles to follow the fire. Now, in previous version, the blunder How I would do this is, I would add in a smoke flow. Normally, this force field will enable the particles to follow the simulation. But currently in men's flu, it is bugged and it's not working. If I press shift A and add in a force field smoke flow and I'll show you exactly what this does. Don't do this. I'm just showing it for demonstration. How this works? Do you need to select the domain object on the right side? I'm going to select the Cube, the strength Al bring up to eight. And now, in theory, this should work. It should grab the particles and move them upwards. But right now, if I hit the space bar, you will notice the particles are just staying right there. They're not moving at all. It's just not working. So this is currently bugged and it's not working, so we're not going to use this way. What we are going to do is add in two different force fields. One is going to be a wind. So I'm gonna press shift a go underneath force, field and wind. I'm gonna drag this underneath the domain. So this is going to push the particles going upwards. For the strength of this, I'm going to set it to a value of four, and we will actually five and we'll see how that works. You might change that. And next I'm gonna press shift A and added a turbulence force field. What this does is it will make the particles move randomly and give it some more variation . And for the strength of this, I'm going to set it up to three. Now, let's select our inflow object and go over to the particle system. Tap. Let's see what this looks like. If I hit the space bar, we can see that the particles are moving. Now they're going upwards and following the fire, and I think that is actually a little too many particles. So I'm going to set the number down to 100. And as you can see, this does look a little bit better. The particles are actually following at the fire. It's not perfect, but it will have to do because the smoke flow is not working. Another thing that will change is underneath the source. Make sure the emit from is set to volume and use modifier. Stack is turned on. Sometimes if these values are not set up, it will make the particles emit from one side of the circle and not the other. It'll just be on the right side. So if that is happening, make sure both of these air turned on. Now that we have our particle system set up, we need to actually add in an object to be the particle. I'm gonna press shift a and underneath mesh. I'm going to select Aiko Sphere. I'm gonna move the atmosphere to the right and then scale it down with pressing s and Skela down pretty small from there, select your flow, object once again and scroll down it to the render tap underneath the render weaken, Select render as halo to render as object and then for the instant object. So, like the ICUs fear. Now, if we player simulation, we can see the particle but they're currently it's really small. So to fix that, let's select our ICUs fear right here and skill it up a little bit. Something like that, I think will be good. And we can also give this some random size. So underneath the render tab, we can set the scale randomness up a little bit and that will give some variation between the different sizes of the particles if it is still too small and you can turn up the scale right here and that will bring it up a swell and I might go up to a value of 0.6, maybe 0.7. I think that would be good. And there were ghosts. And now that we have sparks, we're ready to work on the material. 30. Realistic Fire P3 Spark Material: Now let's move on to the material for the particle. To do this, we're going to select the particle right here and go over to the shading tab, which is this tab up top here. It brings us to a new window where we can see the note editor down here and our view up top . I'm going to place my view right about here and then click new on this material to actually see what we're doing. We're gonna hit the space bar to player simulation just a little bit until we get some particles in our scene. A pause it right about there. And if we were to go into rendered view, we would just see this. Cube said What we're going to do is select the domain and press H to hide. Then select the particle one more time. Now we can see the particles in rendered view. The next step is to add in the emission shader so so the particles will actually glow. I'm going to delete the principal shader press shift day and go underneath Shader and in mission in place that here take the emission output and plug it into the surface of the material output. Now we need to add in the other notes to actually change the color as the particle rises. To do this, we need to add in a particle info note, press shift, a go underneath input and then particle in vote right here. Now I am using cycles for this render because I want the fire to look very realistic in a V . It doesn't look as riel. So that is why we're using cycles. Also, this particle info note does not currently work in TV. So if you want to actually use this, you are gonna have to use cycles toe actually change the color we need to divide at the age and the lifetime to do this press shift a go underneath converter and then math. Change it from ad over to divide, and then take the age and plug it into the top value and the lifetime and plug it into the bottom value. And then, for this value, we can plug that into a color ramp to change the color precious day, go underneath converter and color ram, take the value and plug it into the factor and then the color into the emission color. Now these are use control what this will look like. So if I was to change the black value, If I drive it up, if I go over to a blue and then over on the white and change this over to a red color, you can see this is working. If I dragged the blew up a little bit, you will notice more of the blue is coming into our scene. If I drag the red over, you can see more Red is coming into our scene. So play around with these values until you're happy with it. And for the main colors, though, I'm gonna bring this over to a dark orange somewhere around here. And then for this red color, I'm gonna go with a bright yellow somewhere around here will look pretty good. And I think I want a little bit more orange so I might drag this up just a little bit and you can see this is working and it's looking pretty cool. The strength of the emission I'm going to set up to a value of five. And that is basically all we really need to do for this material now for the smoke material . I'm gonna go ahead and unhygienic the object that we hid. You can do this by clicking that little I on the top or hitting old and h So let your domain right here and then give it a new material. Currently it's using the basic principle Shader and that is not what we want. So we're going to delete that press shift a at in a shader and then principled volume shader right here taking the volume, plugging that into the volume of the material output. And as you can see, we see our smoke but we don't see any fire to actually see the fire. We need to turn up the black body intensity. If we drag that all the way up, we will see the fire in our scene now currently, with a black body intensity value of one, it's not very bright. I'm going to set the black body intensity all the way up to five. Once we do that, you will see the fire is a lot more visible and it looks pretty good. The density of the smoke is controlled by this slider. If I bring this up to five we will be able to see the smoke just a little bit more, and I think that will look pretty cool. I'm also going to select the lamp in our scene and press X to delete that, because I don't want that to show up. And that's basically all of the materials that we want. If you want to, you can set up a material for the inflow object, but I'm not going to do that. I just want to leave it as just the basic color of white. 31. Realistic Fire P4 Lighting & Rendering: The last step in this tutorial is to add in the ground and in HDR to light up the scene. To do this, I'm gonna press shift a and add in a plane. And I'm just going to scale this up pretty big and then going to front view and make sure it is below the fire. So if I zoom in right here, you will see its in the middle. I'm gonna press G and Z and dry this below the flame right about there. Next for the material for this plane, I'm going to click new interest. Leave the basic principle Shader. Actually, I might bring the roughness down to a value of about 0.3. So we get a little bit of reflection. I think that would look pretty good. And now it's work on the lighting over in the over in the world settings. I'm going to select the color button and click on environment texture. We're going to be used in an HDR till like the scene. And I think this will look a lot better than just the plain black background click open and the navigate to an HDR. If you are wanting to use the exact same one as me. It is in the article. Previous to this video or in the resource is the one that I'll be using is called dry Field four K. Once you have it downloaded, selected and then click open image over in at the note Editor, we can change it from object over to world, and then we can play around with the rotation and of the strength of this, the strength of the world. I'm gonna bring it very low, so it almost looks like a nighttime scene. I'm gonna go 0.3 and then enter in. This will really darken up the background. If you want to rotate the HDR, you can do this easily by adding an a texture cornett and a mapping note Underneath input. You can go texture coordinates, then shift a underneath vector at an a mapping node. Take the generated plug in the into the vector and then the vector into the vector of the environment texture. And now this rotation along the Z will rotate the background. So now if I just look up a little bit, you can see it. If I select the Z rotation and move it. You will see it moves the background just like that. Pretty cool. So if you want to that is there for you. I think I'm just gonna leave it at zero. I think that's perfectly fine. And now it's set up of the camera and render this out. I'm gonna jump back over to the layout and then go into front view by pressing one and to snap the camera to where I'm looking. I can hit control Ault and zero on the number Bad to snap the camera to view if you don't have a numb pat, what you can do is go over to view down to a line view and then click on a line active camera to view, and you can see it's the exact same shortcut. And now let's position the camera by selecting it. If you select the border, you compress G and just move it around however you want, and I'll probably go somewhere around here. When rendering in cycles and using fire and volumetrics, it creates a lot of noise in the scene. To counter at this, we can enable a D noise note in the composite er to smooth it out. If we go over to the compositing tab right here, we can select the render layer in moving over the left and then press shift A and adding a filter. And then D noise right here will place that in between of the render layer in the composite . This will smooth out the image. You will also notice that there is a normal and albedo input that we can plug into. But there's nothing on the left. What we need to do is go over to the scene panel right here and then turn on D noisy and data. Once we do this, we can plug in at the D noisy, normal into the normal in the albedo into the albedo of the denies note. Now, this will look very good going back over to the layout. We're going to select the render tab and set the render samples down to a value of 40 so renders pretty fast from there. We're going to go over to the output section and set an output of where we want our images to go to. We're going to render this out into frames and then sequence it out later. The reason we're doing this is because we can stop the render any time and resume it at that point. If you were to render this as a movie file and you cancel the render about halfway through , you are gonna have to restart using a PNG or JPEG or any other image format. It will enable you to stop the render. So underneath the output, select the folder of where you want your friends to go to. Once you have found a folder, just click accept underneath that the output there is a check box next to overwrite. If this is turned on and you cancel the render and restart, it will restart at frame one. If overwrite is unchecked, it will not overwrite any of the images and start out at the point where you left off. So let's say I rendered 40 frames. If overwrite is unchecked, it'll start at Frame 41 resume. If overwrite is checked, it will start back at one. So make sure if you do cancel the render that overwrite is unchecked. Now, with that in mind, we're going to save our project crazy and go into rendered view. One more time just to make sure everything looks good and we can see the particle is right there. That is not what we want to make sure you select it and move it off the screen. Now we can go ahead and render this out, then go over to render and click on render animation. Once this is done rendering, we will sequence it out. The render has now finished. And if we want to view our animation, what we can do is exit out of this window, go over to render and click on view animation. This will sequence all of those frames into a video, which you can see. And as you can see, our fire looks very good. And now I will be showing you how to sequence it out into a movie file. To do this, we need to go over to the video sequence editor, click on this plus sign and go down to video editing and then video editing right here. Skip to Frame wants to make sure your cursor his own frame one. Then we're going to add in our images, then go over to ad and click on image sequence navigates where your images are. And once you have found them, you compress a to select everything and also keep in mind if you don't see frame one right here. If you see frame 100 you add the men, it's going to play backwards. Make sure if you click on this menu here that the name, the sort by name is checked on. If it's on modified date, you will see the 100 is the 1st 1 So make sure the name is what you start by. Then press a and go add image strip. Now, once we played this, you will see our animation playing. Then over in the output. We can change this over to a movie file of our choice for the file format. I'm gonna go with MPEG underneath the encoding. I'm going to set the container to MP four and then for the output quality I'm going to select high. Now all we have to do is go over to render and click on render animation once again, and it will sequence out all those frames and put them in the folder that you specified in the output section. So there you go. That is how you create very realistic flames and sparks in man's of low. I think what could really help sell the scene is if we added some motion blur for the sparks. But I'm gonna leave that up to you. Thank you for watching. And I'll see you in the next section. 32. Swirly Smoke Animation P1 Animating: Hello, everyone. And welcome to a new section in this section. We're going be creating this spiral smoke animation using TV. The first thing that we need to do in this tutorial is to create the spiral effect. I'm gonna be using this cube. So what I'm gonna do is go into edit mode and we're going to collapse every single of urgency into one. To do this, you can hit all 10 m in this will bring up this menu, and then you couldn't click on at center. Once you do that, we can see here. There is one vertex right in the middle. You're gonna want to move this over to the left side by hitting G and X about one grid unit away from there. You can go over to the modifier tab and we can add in a screw modifier to make it go in a spiral click, add modifier and then select screw over on the left side. Once we do that, we can go out of that mode. And now we can play around with the settings and create a spiral. This screw amount determines how tall it will be. I'm gonna probably go with a value of four and then the it orations is how many times it will repeat itself. Let's go up to a value of three. So it's three times going all the way around the steps right here. Control how smooth at the curve will be. We're gonna want to turn this up a swell to a value of about 32 for both the steps and the render steps. Now, we have a very nice looking curb, and we can go ahead and apply this modifier. Now I'm going to add in an object to actually follow this. I'm gonna press shit day in Adan and Aiko Sphere and that will scale. The ICUs were down probably around that size. And another thing we're gonna want to do is apply both scale and the rotation of both of these objects. So I'm going to select the ICUs fear and hit control A and apply the scale same thing for the curb. Select it. Hit control A and apply the scale. If we go into edit mode with this curve, you can see these are vergis is they're not. It's not an actual curve, so we need to actually convert this to do that, go over to object down, to convert to and then click on curve from mesh slash text. Once we do this, if we go into edit mode, you can see this is now a curb we have. Another problem, though, is that the curve is going in the wrong direction. It's going down rather than up. To fix this, we need to press a and then right click, and you will see an option to switch the direction of the curve. Once we still like that, you will notice the arrows are going up now instead of down. Now we can apply the curve modifier, select the ICUs fear, go over to the ad modifier and then cook on curved and then for the object. Select the cube and you can see in moved. And also another thing to note is, Do make sure the origin points of both of these objects are in the exact same spot. If, for example, this is over here and the origin point is at the middle, you can see it's doing some kind of weird stuff, so make sure the origin point is in the center of everything Now we can animate this fear going up this curve Before we do that, though, let's go ahead and duplicate this and rotate it. I'm going to select both of these objects and go into front of you, and then press are to rotate and I'll rotate it 90 degrees. And since we've rotated, we also need to apply the rotation. So I'm gonna hit control a and click on rotation. Now, if I select my ICUs here hit G and X, you will notice it follows the curve. Let's go ahead and duplicate this. I'm going to select both of these objects, hit Shift D and then right click hit R and then rotated along the X by 1 80 degrees. There we go. And, of course, we're also going to need to apply the rotation. So hit control A and click on rotation. Now we can select both of these objects and hit G and X, and you'll notice they're going along the curve. Teoh animate thes. We need to have them both selected and hit I and go location right here. Then go all the way to the frame that you want. I'm probably going to go with 140 frames right here. Then I'll hit G and X and move them along the curb until it reaches the end. Right about there. Then hit I and go location one more time. Now, once we play our animation, you will see them following the curve. Just like that. Pretty cool. And now we're ready to set up the simulation. 33. Swirly Smoke Animation P2 Simulating: Now let's set up the smoke simulation to do this. I'm gonna add in a cube to br domain, suppress shift A and select cube, and then I'll go into front view. I'll go into wire frame by pressing Z and wire frame and, well, scale this up to how big we want. So skillet along the X access. Something like this will be perfectly fine, and I think that will look good from there. Select one of the flow objects, go over to the physics tab and click on fluid and set the type over to flow. And for the flow behavior we're going to select inflow. Same thing for the other one. Select it, go fluid and set the type over to flow in for the flow behavior inflow. And finally, the domain will select it fluid and said the type over to domain now, before we get into the domain set in. So let's go ahead and work on the flow objects, so the first thing they'll do is they'll change this sub frames because this is moving pretty fast along Makar. We're going to go up to a value of five. The initial temperature controls how fast, the smoke will rise. We're gonna set this down to a value of point to we'll do that exact same thing for the other flow object. I'll go with a value of five and then for the initial temperature, I'll drag that down 2.2. And just for fun. Let's go ahead and give both of these full objects a different color. So for this one, I'm gonna go with an orange color. I'll drag this up, give it an arm somewhere around here, and then for the other flow object. I'll give it a blue color. So right about here, I'll drive this up, and I think that would look pretty cool. Now let's go on to the domain, so select it. And for the resolution, I'm going to go with a value of 1 28 From there, we're going to change the buoyancy density and heat down to a value of 0.1 for both of these and for the vorticity. I'm also gonna bring this down to a value of 0.1. With these settings, it will make the smoke not rise as quickly, and so it will almost hang in the air for a little bit. Next turn on adaptive domain and noise, and then in the end frame, we're going to set this all the way to 1 50 the end frame In the timeline, I will also set to 1 50 and I think that is all the settings that we need to dio. We'll just leave the defaults sentence for the noise and let's go ahead and bake the simulation. And now that the first bake is done, will scroll down over to the noise and bake of this in as well. 34. Swirly Smoke Animation P3 Rendering in Eevee: the bake has finished. Now we can play our animation to see what it looks like. And as you can see, the colors are working and it's going in a spiral, and I think it looks pretty cool. Not too bad. So now let's go ahead and work on of the materials for the smoke and the lighting. The material for the domain will go ahead and have it selected and click new on this material. Get rid of the surface Principal Shader by clicking, remove up top and then underneath the volume tab, we're gonna open the principle that volume Shader. Once we do this, we comprises E and go into rendered view to see our smoke. Currently, it's not using the color. So what we need to do is underneath the color attribute. We need to type in the word color. We can now see it in our scene, but currently it's pretty dark. So underneath the main color, we're gonna drag this all the way up to white and now we can see our color, the density of the smoke. I'm going to drag up to a value of 15 and for the lighting, all select the lamb and change it over to a sun lamp with a strength of about three. We'll go into top you and rotate this so it's facing the smoke Somewhere around here will look pretty good and then, for the world settings will go over to the world and change the color up to a brighter color somewhere around there. Another thing that you might notice is our smoke kind of looks blocky. The reason for this is because in a V, we need to go over to the E V settings and open up Volumetrics. The tile size controls how good the smoke will look. If I switch this over to two pixels, we can see a lot more detail, but it still looks really choppy. What we need to do from here is to turn up the samples for the Volumetrics. If we go up to a value of 1 28 we will see a much better looking smoke. If we also turn on a volumetric shadows, it will look even better. The volumetric shadow samples I'm going to drag up to a value of 32 and this will help make it look a lot better. The sample controls how good the smoke will look. And you can see on screen that the different values and how it changes how the simulation is viewed. The higher you go, the better edible look. But the longer it will take to render. At 2 56 it took about 15 seconds at 1 28 It took about five seconds, and at 64 it took one second. I think the lighting is still a little bit dark, so I'll go over to the lighting with the lamp selected and bring the strength of the sun lamp up to a value of six. And underneath the shadow settings, I'm also gonna turn contact shadows on, so gives up some nice shadows in the smoke streams for the camera. I'm probably going to go with an angle right about here, and then all had control all to zero. To snap the camera to place selected by clicking on the border press G middle mouse button and drag it back and place it. How you want somewhere around here will look pretty good. Now we're ready to render. So what I'm gonna do is go over to the output tab and select the folder of Where and Want My File to go to click on that button on the side and navigate to a folder. I'm also going to run do this as a movie file because TV does render the images pretty fast . So I'm going to start to the file format over to a movie file in Underneath the encoding. I'm going to select MP four and then for the output quality I'm going to select high. Now that we've done that, we can save our projects, go over to render and click on render animation, and here is our final result. As you can see, the smoke does look pretty good with the different colors, and that's gonna be it for this section. If you want to learn how to create an explosion and go ahead and view the next one 35. Explosion Effect P1 Modifiers: do you like blowing things up while this section is for you? Because today we'll be learning how to blow up a U V sphere using a man's of low to get started. We need to actually add in the UV sphere. So what we're gonna do is delete the default cube and press ship day. We'll add in a ubi sphere right here. Now you can add in whatever object that you want. If you want to explode a monkey head like a sphere, whatever you want to go ahead and add it in. I'm gonna be using a UV sphere next to actually enable us to explode. This what we need to do is add in a modifier to do this quickly, go up to object down too quick effects and then quick explode. Now, before you do anything else, make sure you open up this panel and here all the settings that you're gonna want to change . The only one that will be changing, though, is the outward velocity. What this does is it will change how far this particles spread from the explosion. If I set this over to four, it will be a pretty big explosion, and that is what we want. Now, once we play this, you will see that explodes outwards. Now, this is your last chance to change any of these settings. Because once you restart the timeline or do anything else, this menu will disappear. So you can see once I hit that backspace, it got rid of the menu. And now we just have the UV sphere. Now, Currently, it's exploding on frame one, and that is not what we want. To change this, we can go over to the particle system town, which is this one right here. And change the start and the end frame. I'm going to set the end frame to 20 and the start frame to 20 as well. The number of particles is set right here. So if you want more particles, turn this up. If you want less, turn it down. What we're gonna do is actually animate this. You be severe crashing into a plane and then exploding something in the press, shift a and add in a plane and scale this up pretty big. Then select the ubi sphere on frame one. I wanted to be in the top left corner so go into front view by pressing one. And then we'll also go into wire frames. We can actually see the plane. I'll move the sphere up to the top, left right about here. And then I will hit I and add in a location and rotation key frame weaken. See down here in timeline, it added a key frame. Then on frame 20 move your cursor over to friend 20. We're gonna press G and move this all the way down to the plane. So right about here. And then we can also give this and random rotation by double tapping our and will probably move it something like that. Then it I and go location rotation one more time. Now to see this in action, we can restart and play this, and that is what it looks like. You might notice something a little bit weird, though You will see that the path of the ubi sphere looks a little bit weird. If I play this, you can see right at the end. It almost looks like it slows down. The reason for this is because blender uses a curve to smooth out the animation. This does not look very realistic. So what we're gonna do is open up a new window and change it. Come over to the top, right and drying this out. Switch this menu over to the graph editor and here we can see all of our animation data to make this a straight line weaken, select everything and press t and click on Linear. Now you will notice there is no curve in our animation. It's just a straight line Now, once we play this, you can see it looks a lot better. Not too bad. Now let's go ahead and close this off by clicking in the top right corner and dragging over . Now it's add a collision to our plane so the particles will actually collide with it. To do this, select the plane and go over through the physics have an enable collision, the dampening and the friction values control, how bouncy and how slippery the plane will be. I'm gonna drag the dampening up to a value of about 0.6 and the friction as well to a value of about 0.6. The randomized we can also bring up. So probably go with a value of about 0.3 or so And now, once we play this, this is what it looks like. The particles are colliding with the plane and it looks pretty good. You'll notice, though, that at frame 70 or so the particles disappear, and that is not what we want. So we're going to select are you be sphere and go over to the particle system settings. The number of particles is determined right here. So I'm gonna set this to a value of 75. The lifetime controls when the particles will disappear. Since this is going to be, ah, 100 frame long animation, I'm going to set the lifetime to 100. Now, once we play this, you will see the particles do not disappear. We have one particle, though that is going really far out. And that doesn't look very good. So we can change the seed value. If I go up to one, it'll change up the location of the particles, and I think that one actually looks a little bit better. And if you still have some bouncing, is that you don't really like. You can also turn down the randomize in the dampening and the friction which I might do so probably a value of about 0.1. We'll play that one more time, and that looks pretty good. I'm happy with that. And now we can work on the fire and smoke simulation. 36. Explosion Effect P2 Fire & Smoke: Now that we have our particle system set up, we are now ready to work on the fire and smoke simulation. The first thing that we need to add is a domain. So I'm gonna press shift a and add in a mesh and a cube. Scale this cube up pretty big and then go into top view and go into a wire frame. Make sure the cube is outside every single particle. So I'm gonna skillet up and place it right about there. Or so that looks pretty good. And then we'll go into front. Do you press s and Z and scale it down, drag it up and place it exactly where we need it. So right about there, it's got this up a little bit. Something like that will be pretty good going to talk to you one more time just to make sure. Yep, it looks good. And now we can go over to the physics tab. If it's not already selected, click on fluid and set the type over to domain. Before we change any of the domain settings. Let's elect are you be sphere, click on fluid and set the type or were to flow the flow type. We're going to go with fire and smoke the flow behavior we're gonna set over to inflow. So it constantly adds fire and smoke to our scene. The sample sub frames because the particles are gonna be shooting outwards. We are gonna want to turn this up to a value of about seven and for the fuel. If you remember what this does is it will make the fire a little bit random and more chaotic. Let's go up to a value of 1.2 the flow source. Since we're using a particle system, we're gonna want to change the flow source from a mesh over to a particle system and then select that particle system in the drop down menu. The sides controls how big the fire will be around each particle, and if you want more, you can turn it up. I'm just going to leave the size at one. The initial velocity will make the motion of each particle and the smoke being emitted from it just a little bit better. So make sure that is turned on over in the domain settings were going to set the resolution all the way up to 1 60 and then for the vorticity of the smoke, I'm gonna bring this up to a value of 0.15 This will just give us a more randomness and swirls in the smoke. You can also turn on adaptive domain and noise and then for the end frame, let's go with a value of 100 the n dream in the timeline as well, we will set to 100 and now we're ready to bake. So if you want to, you can set a custom folder. So your catch is saved once you close the program, which I might do so I'm going to save it to a folder right here. Once you have found a folder that you want, you can click, accept, and now we're ready to bake. So I'm going to scroll up here and click on bake data. Once this is done, we will bacon the noise as well. And now that the first bake is done, we can scroll down over to the noise and bake visit as well 37. Explosion Effect P3 Materials & Rendering: the bake has now finished. Now, if we player a simulation, this is what it looks like. I think that looks pretty cool. And now we can work on it. The lighting and materials for the material. It's just gonna be pretty basic. We'll go over to the material tab and click new set this over to remove so it gets rid of the principal shader and underneath volume, we're going to select that principle volume Shader right here. Now, if we brozi and go into rendered view, we can now see what our smoke looks like. And I think I am gonna be using cycles for this Renner because I find it looks a little bit better. Evey will work perfectly fine. It will render a little bit faster, but I found that cycles just looks a little bit better. If you are gonna be using TV, make sure you turn up the samples and set the tile size to two pixels for the density of the smoke, we're gonna go up to a value of about 15. And for the color, we're going to drive this down to a darker gray because fire does emit more of a dark color of smoke when it explodes, so make sure it's a little bit darker. And for the black body intensity, let's go up to a value of 10. And there we can see it. And I think that looks pretty sweet. Select the plane, and for this material, we're just going to leave it at the principal. Shader will leave the roughness at 0.5, so we have a little bit of a reflection, and we'll also scale this up pretty big. The world settings. I might drive us to be a little bit darker and then for the lamp will select it in our scene right here in the outline. Er, go over to this panel and set the strength of this to a value of 2000 and we can also move it out of the way. So go into solid view, go into top view by pressing seven and G to move it, and I'll place it over in this corner, and we'll see how that looks by going back into rendered view. I think that looks pretty good and for the camera will position it right about here. Control all zero to snap the camera to place select it G Middle mouse button to drag backwards, and we'll place it right about here, going to render view to see how that looks not too bad. And then we'll go all the way to the end and just make sure everything is in frame, which it is, and that will look pretty good. And the render I might drag it back just a little bit. Four of the UV sphere material. Let's go ahead and select it right click and go shade smooth and then jumping over to the modifier tab. We're also going to enable a solidify to give the particles a little bit of thickness. So click on add modifier and select Solidify the thickness right here. I'm going to drive up to a value of 0.3 And now for the material. Let's go ahead and split the window right here and switch this over to the note editor to look at the material here we can see the material, and all these knows are for the UV map of the explode modifier. We're not going to need those, so we're gonna go ahead and select the mall and press X to delete them, take the principled and plug it into the surface of the material output and then go over to the material tab and open up the preview. Here, we can see what we're doing. Basically, what we're gonna create is a lava looking texture. To do this, we compress shift a at in a texture and noise. Then we compress shipped a at an a converter and color ramp. Here we can determine the colors of the noise, take the factor and plug it into the factor and then the color into the base color. Here we can see what it's doing and for the scale of this weaken, drive this up to a value of 25 in the detail amount will drive that up as well, and then for the colors. We're going to leave the black. But for the white, we're going to change this over to a oranges color, something like that. And then we might drive the black up a little bit. Drag this this way. Do we get something that looks like that? And I think that will look pretty cool if you want to. You can go ahead and get rid of the principal shader and add in a shader emission. This might look pretty cool as well. So if you plug that in here, we can see what that looks like. And I might give the strength of it to three. And I think that will actually look pretty cool. Something like that. There we go. So now if we go into render view, we can see what that looks like, Not too bad. And now we're ready to render. So I'm going to go over to the Render tab and for the samples. I'm gonna bring these down to a value of 40. And I think that is all we really need to do in the composite her We also are going to enable the d noise note. So it's moves out the render. So I'm gonna press shift a and go underneath filter and D noise in place that here, over in the scene panel, we can turn on a D noise in data and take the D noisy normal plugging that into the D noise and the albedo into the albedo, and that will be good jumping back over to the layout and underneath the output section we do need to set a folder where we want our frames to go to and I will be and rendering this and frames and sequencing it out later. So click on this button on the side and navigate to a folder. Once you have found the folder that you want, you can click, accept, And if you are going to stop the render halfway through, make sure overwrite is unchecked. And now that we've done that, we can go ahead and save her project one more time. Go over to render and click on render animation. The render has now finished, and now we can sequence all of those frames into a movie file. To do this, go ahead and exit out of this window and then navigates of the video sequence editor by clicking on this plus sign, going down to video editing and then video editing right here. Make sure you are on a frame one and then go over to add down to image sequence right here and then navigate to where your rendered frames are. Once you have found them, you can press a to select everything and then go add em in strip and here, we can see it in our timeline. And finally, the last thing that we need to do is just render this as a movie file. So over in the output section, switch this over to a Navy I and MPEG whatever you want, I'm going to go with MPEG. And then underneath the encoding, I will set the container to MP four. And underneath the output quality, I will go with high, go over to render and click on render animation once again, and it will take all of those frames and then sequence them out into a movie. And this file will be located in the output section of where you originally saved your frames. So there you go. That is how you create an explosion using man's of low. Thank you for watching this section. If you created something cool, I would love to see it. So make sure to send it to me. If you want to learn how to create low Polly fire, go ahead and view the next section 38. Low Poly Fire P1 Particle System: Hello, everyone. And welcome to a new section in this section. We are going to be creating Low Polly Fire. To achieve this, we're gonna be using the particle system and a fancy material to get the particles to change color while they rise to get started, we first need to model the logs for the fireplace. So to do this will just be using the Basic Cube. What you can do is scale the cube down, then press s and X in skillet along the X till it's pretty long. Somewhere around there should be perfectly fine. Then all you have to do is just move it up by pressing G Z you compress are to rotate it and just place it at an angle like this. Next, Just duplicate this a couple times and place it around the fire. So, for example, all press shift D and then a right click. Then I'll press are NZ and I'll just rotate it around, drag it up place. It's summer like that. If it's clipping through a little bit, it's not that big of a deal, because you won't be able to see it that well, but just kind of move it around and place it how you want. You can also double tap our and rotate it like this. So if I look at it at this angle, I can double tap are and move it up a little bit. Maybe move this one out and maybe I'll scale this one down and just do this a couple times . All right. Our fireplace is done. Now it's add in the plane to admit the particles all press shift a go over to mesh and then plane in place. That right up here, something like that should be perfectly fine. There we go. So it's right in the middle of our fire. Next, I'll go over to the particle system and then hit the plus sign and make sure it's on emitter. Now, if we play our simulation, we can see that the particles are flowing straight down. We don't want this. We want them to be going up. So to fix that, we need to open up the field weights and turn the gravity all the way to zero. Now, once we play this, we can see the particles are now going up. Not too bad over in the emission settings. I'm going to set the end frame to 1 50 And this tells the particle system that needs to stop emitting particles at frame 150. The lifetime I'm going to set this to 75. This basically means that once the particle is admitted, it has 75 frames until it dies. The number of particles we comply run with this number. But for now, I will set it to 1 50 So there's only 150 of particles in our simulation and it will look something like that. That looks pretty good. I also want the particles to go a little bit faster when they get admitted. So underneath the velocity, I'm going to set the normal. This is the velocity of the of the particles going upwards. I'm going to set this to 1.3 now. If we restart the animation, play it again. You can see the particles are going a little bit faster, and then they reach their and then they die. Now we need to assign an object for the particles. The object that will be using is an ICoast fears all press shift a over to mesh. And then, like a sphere underneath this panel, I'm going to set the subdivisions down to a value of one. I think that will look pretty good. And then I'll just move it over to the right so it's out of the way. Go ahead and select your plane one more time and scroll down over to the render settings and change it from render as Halo to render as object. And then, for the instant object, select the Eiko sphere right here. Now if we player simulation, we can see what this looks like. You can see the particles are now microspheres and they are a little bit too small. So I'm going to bring up the scale right here to a value of 1.5, and then I'll turn up the random and this will give some of them random sizes. I'll turn that up just a little bit. Something like that will look pretty good. Maybe a little bit more for the scale. Let's go 0.18 Not too bad. And also, the last thing that will add for a particle system is a turbulence force field. This will enable the particles to kind of move around, and so they're not as uniform. So press shift a go to force field and then turbulence will drag it up. So it's in the middle of our scene, and then we'll see how this looks. So restart the animation, play it again and you can see they're moving a little bit more random and it looks pretty good. I'm going to set the end frame in the timeline to 1 50 as well. And now we need to assign a texture to determine the size of the particles. Because right about here, I want them to get smaller and just disappear. So to do this, let's go over to the particle tab again and scroll down to the textures right here. Click new on that texture and then go over to the texture panel for the type. We need to set this over to blend, and you can see what that looks like here. Now let's go ahead and play this and see what this looks like. It is a little bit weird, but basically what it's doing is it's taking this side of the plane emitting particles there and then going across as the time goes on. I don't want that to happen. I want it to influence the size. So we need to open up the influence panel, turn off general time and turn on size. Now, if we restart our animation and play it again, this is what it looks like. It's close, but it needs to be going upwards rather than horizontally. You might want to change this over two vertical, but that's not going to do it. What you need to do is set the mapping down here coordinates from generated over two Strand particle and there you can see it's working, but currently its flipped. So we need to open up the colors, make sure color ramp is turned on, and then we need to flip this Colorado. So here click on Flip Colorado and there we go. We can see what this looks like now. Now, if we restart the animation and play it again, you'll notice as the higher they go, the smaller they get. And that is looking pretty cool toe. Have more control over this. We can play around with a color ramp. So, for example, if I drive the white over and then the black closer This way, they will become smaller more quickly. So if I play this now, you can see they're becoming smaller a lot quicker, and I can play around with this more. I might drag this over like this. So right about there, they just disappear. And I think that looks pretty good. Maybe a little bit more. So drive the black over and then the white closer. And that looks pretty cool. So there you go. We have created our particle system. Now let's move on to the materials. 39. Low Poly Fire P2 Materials: four of the materials. We're gonna go ahead and select our Aiko sphere and then open up a new window so we can mess with the material. To do that, come up to this corner and drag this out. Then click on this menu and go Shader editor, then press end, close off that panel. I'm going to give it a new material. And for this material, we don't need the principal Shader. So I'm going to delete that little press shift a and add in a shader and emission Shader take the emission and plug it into the material output now to determine the color as it rises. What we need to add is a object info note to do this press shift, day will go to input and then object info Note Right here. Now there's also a particle info note. And what this does is you can change the A's lifetime location and all of this. Uh, currently though this does not work in TV and I wanted to do this tutorial in TV, so we're gonna be using the object info note. What we need to do is take the location output and turn it into a color and then plug that into the admission color. I'm gonna be adding in a vector and then mapping node will place that right here, take the location and plug into the vector. Then we'll press shift. A will go to converter in color ramp in place that here take the vector into the factor and then the color into the color of the emission Shader. And now if we press Z and go into rendered view, we should be able to see it working as we can see there. Now we do need to play around with these rotations and locations in the mapping note. So I think if we set the Y 2 45 degrees now, I think if we take up this, why location? If we drag it over to a negative value, it should bring up. There we go. We can see the black is now coming into our particles, So probably a value of negative 3.5 will work pretty good. And as you can see, it's black here and then it turns white. Now we have determined the color of our particles. So what I want is for the black to be at the top when it disappears. So I'm going to drive over to the right and drive the white one over to the left. Something like that will look good and then all adding a new era. This arrow here is going to be a red color, so I'll drag this over to the red. Something like this will look pretty good and then for the bottom of the particles where it gets emitted, This is going to be a bright orange color Somewhere around here are so I think that will look decent now. If we turn up the strength of this, let's go with a value of like six or so we can see that is what it looks like. I might drive the black over just a little bit, so we have a little bit more black and are seen. And now let's take a look at it when we play it so it gets admitted when it's yellow and then it turns black at the top and that looks pretty cool. Now that we have our particles done, let's go ahead and select one of the logs and just change the base color over to a dark brown somewhere around here. There we go. And the last thing that will do in this video is I'll select the particle system over to the particle system tab and turn off the show emitter. This will make it so that the plane is not visible in the render, and so it will just be particles being admitted. 40. Low Poly Fire P3 Eevee Settings: All right. Now let's set up some render settings and render out and animation. I'm gonna first ad in a plane for the ground skillet up pretty big. Now it looks like some of these Longs are floating, so all select him double tap are and just make sure that they're on the ground like that I think will be fine. Next, let's go over to the E V settings and set up some stuff. First off, I'm gonna turn ambient inclusion so we can see in the corners and adds a little bit of shadow. There we go. And then I'm gonna turn on screen space reflections and then balloon. Now, if we play our animation, we can see that there's some bloom on the particles and it looks pretty cool underneath the color management will set the look to medium high contrast, and this will just add a little bit more contrast to our scene. And that's basically all we really need to do for the IV E settings for the world. I'm going to go over to the world settings and drive the color all the way up to not completely white. But somewhere around there will look pretty good and then for the lighting. Also, like the lamp that's inner seen. Go over to the lamp settings, open up the shadow and turned contact shadows on. So we have a little bit of shadows in our scene and that will look pretty good. And now let's position the camera and render out in animation. Cel position the camera right about here. I'll hit control Alz and zero on the number pad to snap the camera to view. Then I'll select it G to move it around G Middle Mouse button to Dragon backwards, and then I'll just place it somewhere around here. Go through animation and make sure you can see the entire flame. So I need to move back just a little bit. There we go. Now you can see the whole thing and it looks pretty cool. Go back over to the E V settings, and I'm going to set the render samples down to 50 so it renders just a little bit faster. I'm also going to go to the output and set this over to a movie file. Normally, I would render this in frames and then sequence it out later. But since we're using TV and this will go extremely fast, we don't really need to do that for the container. I'll go with MP four and then the quality I will set to lossless and finally said in output and we can render out our animation. Once you have found your folder, you name it right here and then click Accept. Make sure you save your blender file as well before you render it. Now that you've done that, we can go up to render and click on render animation. Now, since we are using a B, they shouldn't go extremely fast, so we'll take a look at it once it's done already. The render is done. Now we can take a look at it by going over to render and clicking view animation. So there you go, guys. That is how you create Low Polly fire using the particle system. Thanks for watching, and I'll see you guys in the next one