Mastering Particle Systems in Davinci Resolve 17

1. Course Introduction: Hello and welcome to my guide to particles inside DaVinci Resolve 17. Now, particle systems are quite complicated and definitely there's so much more than in this course. But hopefully by the end of this little sort of course, you'll be able to Grosse the general knowledge of how particles like inside of the venture is all we've got to create your own sort of effects. So what you're going to learn is basically going to go through the entire pipeline, 0 count particles look inside fusion. So we're gonna go through all the different nodes and how they interact with each other and what kind of things you can create from them. We're actually going to delve into three different projects. Old, quite similar, that gradually getting sort of more difficult as we go along. So we're gonna go in and create like a text dissolve. From there we're going to go into a logo or an image dissolve. And then from the video footage, each one of these projects is very similar. I extra steps involved for each different level. And I felt that this would be a good way to demonstrate how particles work while making the class is a little bit hotter, but also repeating the knowledge that you learned in the previous lesson. So you'll be repeating the way to build the particles. And so hopefully by the end of it, you'll have that down pat never pulled the course begins, I would say in Hollywood and all that sort of stuff. Political systems are generally done in 3D software applications. They'd just been optimized for. There. There is software out there, just a ram particles, and it is just fed up for creating certain effects. But in a pinch, you can use fusion to create quick effects here and there. So without further ado, let's jump into the course. 2. Part 1 - Basic Understanding of Particles in Fusion: This video is going to be a pretty in-depth sort of overview of how the particle systems work in fusion inside of the venture result. So we're going to cover like all the different emit is what they sort of do, all the different sort of like settings that you can tweak. And so hopefully you can kind of watch this video and then go away and start creating your own effects. If you want to sort of skip to certain sections and you know, watch different pots. And yeah, basically we're just going to jump in and start going through how particles work into Vinci resolve. All right, hey, we are into Vinci resolve. We've got to have fusion Composition open. What we're gonna do is open now Effects library up and I want you to go to Tools, particles and just have this open. Now we won't be covering every single one of them, but the important ones that you're going to want to use. So to create any sort of particle system, we need to nodes, we need the P run the node and we need the p emits a node for, okay, and then the pyramid connects to the retina. So these are the two main nodes that we will use to create a particle system. Something important to keep note is that the only nodes that can go in-between these two start with a P. So anything in this particle tools palette, he'll know sort of 2D nodes, anything like that affects can go in here. They can come off to the renderer. So anything in between here passes out with a p. The first one we want to talk about is the P render node. So this is the one obviously that renders out the particles gives us our final image. And the first thing you wanna do when creating any sort of particular system is jumping into the Inspect of folded Brenda and deciding if you want to output it in 3D or 2D, you will know that based off of the project that you're working on, whether or not it is 2D or 3D. But that's the first thing you're going to want to do. Now. If you connect the p render straight to a media outlet, it will default to today because the media is a 2D scene. If you do have, as a three-day, you will need a 3D Renderer node. So we can have this here. And you can see we have it as a 3D particle, same with press Play when two particles.com. And it is a 3D scene. And now because we've selected 3D, I can't connect it to the media out because it will need a 3D renderer, which under the three-day tool, render a 3D. Add that in and then we can connect that to my media. And then we have our particle system as such. For the sake of this, we're going to switch it to a 2D. And we can just connect that straight to the media out. And then we'll just leave it at one view of fun now. So we now know that we can have a 2D or 3D particles scene. Let's just have a look at some of the settings in the P renderer node. So we have a few different options here. We have the same, which is going to be the overall saying in terms of how big it is, we can let move it left and right in terms of where we want the particles, that kind of thing, we can rotate it and up, but that's going to do too much at the moment, but we can rotate it around. We also have controls, basic sort of rendering control. So we can plug the nodes. You can see as we zoom in, maybe reduce the blur a little bit. You can see the particles kind of blur in and out. We can also give them a globe if we wanted to give them a globe. So that's something we could do as well. And then we have the blue blend so we can have a strong up blood. And then we can just slowly blend it in. As you can see, like if we had this right down here, it would be quite strong if that was at a 100 percent. So we can just sort of control it this way as well. Honestly, I don't really touch here and the renderer maybe a bit of glow here in that a lot of the effects that you're going to use are going to come from the amygdala and all the things you put in between it. But good to know that you have these controls here as well. Another really important one here is the pre-generate frames, but we'll touch on that in a little bit. Sorry, that's the pay rent and arguably one of the least important ones when creating a particle system. But the p emits a node. This is the important one. This is the one that's going to cover everything you want to do with your particular system. So we're going to split the pyramid anode into three sections. We have the control section, the style, and the region. Now for this one, we're going to start with the region. Pretty simple. The region of a pyramid is where the particles come from. The region that they come from. Currently, it's set to a sphere. So it's this little circle here. And you can obviously move this particle system around. All right? You can change it, you can change it to a cube and then you can have a cube. And then you can almost see control the size of the cube depending on how you know where you want your particles to come from, okay? You will know based off of the scene, what you want the particles to be. So if you will create a, create a little sort of, I guess a file, you'd probably want a sphere, okay, Because, because the particles are coming from a smaller area if you wanted to create. So unlike a bokeh effect and you have sort of like bubbles flying rent, then yeah, maybe you want a rectangle and then you would just increase the height and the width. And then you have all these particles floating around on all can be quite hard to see on the screen here. But you'd have all these particles flying around. So you know it when you create it, but this is the region, okay. And you can have it be anything, you can even plug an image in. Sorry, another cool thing is if you go region and you go bitmap, and all of a sudden nothing exists now because we've told it that we're going to use an image to control the particles. But if you do notice we get this little, little triangle heedful the emitted for the region bitmap. And we can pretty much we can literally Chuck bit of text down. And we can write particles. And we can plug this in to the. And now you can see that we have our particles emitting from the text. And you can literally use any sort of image. So any image that you want to download, you can use that for the region. So that's the region. That's literally really all you need to know. It's pretty simple stuff with the region. So now we're gonna move and have a look at the controls for the PMI. And as you might expect, this is the tab way you control how the particles behave, how they react, all that sort of thing. And the best options you get a pretty simple, you have the number of particles. So these are the amount of particles that will get generated. And as a particle does, then a new one will emit. So it's currently generating ten particles for every frame. The more we increase this, the mole particles are generated per frame. Okay, so we can slide up to a 100, but you don't capitalize a 100. You can just double-click on that and you can talk 1000 and et cetera, et cetera. And keep going. Keep in mind that the mole particles you add, the slower you system will slowly get. And you'll notice that whenever you change something, you'll notice with the p.ball render node, it would get like a loading boss if we write down. And yeah, you can increase this by as much as you want. You can have as many particles you want, the more you use, obviously the slow the computer number variants. Now the key with making a particle system look realistic is using the variance because life is random and it's not perfect. And that's why you need to add variance to pretty much everything. So the number variants is just going to basically change a percentage of how many particles are made every frame ever so slightly so rather than a 1000 particles pee every single second, it's going to change it so that, you know, we are thinking it works out at one. If you have this set to one, it works out to you'd have like 10 percent more or 10 percent less every frame. It's weird the way it works, but just play around with it. The more you increase it, the more variants that will be obviously and you can play around, it's kinda hard to see at the moment. Now lifespan. And you'll notice that every sort of perimeter with the emitter is going to have a variance adjust though. You really want to play around with that. Sometimes you can go a bit too far with it, but the more you mess with the variance, the more realistic a little look. Now the lifespan option here is how many frames of particle will stay on the screen. So currently it's set to a 100. So for a 100 frames, That's how long a particle loss before it disappears. Alright? But because we're generating 1000 particles every frame, it's pretty much once we sought to generating him. You know, it gets pretty cool, pretty quick. However, if I drop this locks bend down to 10, 10 frames, and then the particles disappear, you notice quite a drastic change, sudden. Now we don't have that many particles because every 10 frames where having the first 11000 particles die off, but having new ones coming. So what kept and we can literally we can drop that brought down to two frames and then again, it gets busier and busier. So you can see we can create quite an interesting effect by doing that. And again, on top of that we have are lots band variants. So increasing that is going to give some particles along the life and some a shorter life. So play around with, well, now the color, we're going to touch on this one. Hey, when we look at the style, physician variance is going to be basically where the particles are. And by increasing the variance, you can see we sort of scattered them a little bit, but they're also degenerating from the center. Currently, we haven't added any sort of movement or anything like that. And as we move it in and out, you can see kinda as such. And then we have our distribution methods. So currently we have an old at the same time. We can change this to be randomly distributed. You can say it's sold, it changes, it makes, I honestly don't really play with this one too much, but you can say it does add, when you go randomly, does make it look a little bit more jittery. All right, Now we move down to velocity. So velocity is whether actually you can give, it's exactly what you think it is. We're gonna give it some movement. So by increasing the velocity, all of a sudden the particles are going to shoot in a direction. And I think by default it's to the right. Yes. So you can see as we increase that, the particles shift to the right and if I press Play, now the particles are moving to the right. That's because they basically getting generated from this via and then the velocity is pushing him this way. Again, we have a variant slot up that's pretty self-explanatory and say as I increase or decrease that, some particles stay backs on God for the food. Depends how we want to do it. Next we have the angle, so this is going to control the angle of the velocity. So currently it's set to right, but if we change that to a degree, so again, 90 degrees, it's going to go up, okay? And now we can have it's shooting up. And then if we would have a 180 degrees, obviously it's going to go to the other side. And you can have any kind of method In-between. You can just sort of play around with it and shoot it in direction. Again, we have angle variation, so the lodge of the variation, the crazy it kind of gets and then we have angle z. So this is going to be a weird one, especially in a two-day same, but basically it's going to rotate in front of the camera and I'll see if What I'll do is I'll increase the lifespan so we can see more particles. As I move the angle z, you're going to notice it kind of move in front of the camera. All right, It's kinda weird the way it works. Let's actually reset this one. And it kinda now it's light shooting towards the camera. It's sort of like imitating 3D space in a 2D Seine. Which is kinda cool. So yeah, you can have crazy effects by fiddling around with that. And again, we have the angle Z Variance. Now it's starting to look very trippy. And now we have the rotation and the spin. These ones referred to the actual particles, them selves. So we haven't really played around with particles currently. We're just using the default length, the rotation and spin controlling the individual particles themselves. It's not going to really show you anything currently they just dots sci-fi spin that. It's just going to look like a dog. So I guess bring us onto the next one which is going to be asked style tab. This is where we control how the particular itself looks and the particle currently is the point. So these little white dots. And we can change the color. So if we want to change it, we can change it and make it red. All right, and now we have red particles being emitted. And this is where it back on the controls where we were looking at color. We've got US style color. So we can actually have it use the style color here at all. Color from region. Okay? And basically the color from region would be if you're using like an image or you've got text, or when we're talking about the region, how you could plug text in if you plugged yellow texts in the region, and then you'd go use color from region, then you'll particles we yellow. Hopefully that makes sense. But now we're going to use style color. And you can play around with all this sort of stuff. So you can, you know, you can even change the variance of the particles, which is crazy. So then you have different color particles coming out. It's pretty, pretty cool the way it looks. You can also change the way the particles interact with each other. If you were to have, say, another image on top. So we'll just leave it at that for now. Let's change the style. So currently set to 0.1 thing to keep in mind as well when using particles isn't very rarely do you sort of like the set styles and give me like points or blebs or anything like that. Quite often you will bring in images or something like that to use. So we can get blob and give it a sec to load. And now you can see you don't really get a huge change, alright, but a blob is, it's kinda like a little, I guess. We can change that and we've gone and gone. This one's going to take a while to load. And you can say here that it just creates a bit of a larger particle. Again, I don't really use n guns. The important one here though, is bitmap. As we're talking about with the region, you can use an image as your particle. So if you'll notice here now that we selected, that we get a Nevada an error. So we have our region one selected and we also have style to follow us to import a image. Let's get this fire image, drag it down into the same, alright, and connect that to our bitmap particles style. Give it a sec to render. Now we have our file coming out and it looks kinda weird. And that's currently because we're using the, using the silent, we've colored it red. But if we were to change this color to want, then it's not going to tint it, and it's going to be a more traditional color. And then if we reduce the variance on old days, then we have our fire coming out like so. So you can see you hopefully by looking at that, you can actually create some really powerful effects. So what we're gonna do is actually bring this brain, this in a little bit. All right, and we've played around now you know how you can change the region of where the particles come from. You can change the color of the particles. You can bring images in. This is the general gist of how particles, what, and again, you can go back and add out bla, but now we can start bringing in things called falses. And that's under the Effects Library and nuts, Let's go to particles. And that's going to be a lot of what else is in this area. And we're not going to touch on all of them because there's just a lot in here and I personally haven't used them all. But a good coupled to keep in mind are the turbulent S1 and the directional force. These are really cool ones to play around with. So the frictional force is going to basically imagine it like a gust of wind, okay? It's going to control that. So if I connect the directional force and we just drop it in the middle, hit all of a sudden now the particles are actually shooting down, but that's just because It's set to minus 90, that's the direction the force is going. So if I was to set that to positive 45, now the velocity is shooting up and then the directional forces shooting it 45 degrees. Alright, and we can increase or decrease the strength of it. And you can say as we do that, the particles start to go back in the normal direction. So if we had strengthened 0 or the particles go straight up. But then if we go to 0 or three and then they're going to stop going off in the other direction. We can oversee do as Z depth as well. We're not really going to get much of the effect that, but that's going to be a directional force. Now a cool thing to keep in. With a directional force, you can almost get rid of that velocity. And by making velocity 0, the directional force is still going to push it in the right direction. We're just using a false to generate. However, if we were to tend the velocity up and say we wanted the velocity to be in a different direction. Let's go to a 180 degrees, so the opposite direction. Now it's going to create a weird effect because the direction of force is pushing it this way, the velocity shooting it that way and it's sorted. You can sorta see here that the particles of kinda coming this way, but then the direction of force pushing it that way. So that's the directional force. Gust of wind is the easiest way to think about it. You just control what way it's going to push the particles and then turbulence. If you want to think of this pretty much like if you want a plain turbulence, when you're on a plane, it's bumpy. That's pretty much what this is going to do. So if we drop that in now and you can sort of see a little bit here, what we're gonna do is increase the strength. Now we have the strength on the x, y and z, x being horizontal, y being vertical, and z being in and out. So if we increase the X, you can start to see it sought to split a little bit that increase the Y as well. And then if we would have play this back now you can see there's a little bit more variants with this. You know, it's kinda coming out and going in and going out. And if we increase the strength a lot, you can see now it really sort of starts to shift out of it. I sought to look a little bit. I mean, it's a weird sort of particle to use, but it looks a little bit more natural. I guess. Another good thing to note here as well as if we go to the pay minute as I was talking about before with the rotation, we can now control the rotational about particles. So I can spin them in whatever direction I want, so-called want to spin them in that direction. Now we kinda have like a little flyable going. And then we have some cool ones, like we've got the bounce so we can put the bounce in and if we were to move the bounce or the heel. So basically with the balance, we get this line and this line is going to climb to act like a wool. So if I put the heel, you can see the particles kinda, it's kinda weird but they get shot towards it and then they bounce off it. Alright? And we can see, you can see, you can create a cool, a lot of different types of effects. And the bounce one is good if you've got like a flaw plane. So you could like drag this and just create like a floor. Now, it's not going to affect these particles at all. But if you wanted to, I guess, let's say with the middle, Let's go to a negative velocity number. Now the, they're gonna go in the other direction, but then they're going to bounce off the floor. So you can see now they sort of getting shot in his direction and then bouncing off the floor as well. And we can control that and we can increase the elasticity and it's going to bounce them off that line. So, yeah, that's I guess a lot of the particle tools that you can use and sort of how they work together without going through the tutorials. So hopefully you found this interesting. I guess before we go, let's just play around a little bit and I'll show you. Let's get rid of this. We're going to change the PM it up and we're gonna go style. We're going to go back to point region. I'm actually going to change the region to a line and we can make this line go. Let's do this. Alright. Let's just have a look at how the particle is operating. So the kind of light shooting over like sars, too bad. What we're gonna do is add a directional force, P directional falls. And we're going to actually, Yep, that's exactly what we want. We want the particles to shoot down. Now let's increase the amount of particles. Let's just go to like it fails. And so now I have the particles kinda coming out almost like a waterfall. One would say cool. And that's actually really like, Let's long lifespan so that always on the screen. And let's go 3000 particles. All right, We're going to go a little bit of a lacZ, spend variants, little bit of a number of barriers to sort of mix it up a bit. All right, very good. Let's do the velocity. Conda shooting down a little bit, increase the variance a bit that you hadn't even quite know what we're making it the moment. So let's do that and we'll change the color. Let's change it to like a nice sort of green. All right, And what we're gonna do with the turbulence is increase the strength of bit cool or OT. And then we'll increase the density of it a bit. They go stop and look a bit better now. Cool. And so it just playing around with a lot of these different tools who sort of created this sort of like one defect from Harry Potter when the particles kinda come in and they sort of dripping down like so. And the way we did that is literally just with the ones we talked about why using a pyramid over the line and medulla. So it's just emitting from the line. And we played around with some of the tools increasing the last spent on. So I'm just sort of try to figure out the sweet spot. I'm going to stop the loop. Pretty cool. And then we have a bounce. So we actually have a bounce at the top here. And that's just to stop particles from, I guess, coming over the top of the line. So we're just going to do that, helps that off. And yeah, that's pretty much it. And then with the p.ball renderer, we just created a blur. So obviously, the more you blur, the less sold a noticeable it is. So Conda trying to figure out where the suites is for the blue, which I think is a rant about that. And then we can just like literally increase the glow as much or as little as we want, depending on what sort of effect wears off. But looks pretty cool. And now we have our two particles systems. Kinda like a Harry Potter Effect. So yeah, hopefully that sort of covered off a few things on how to use the particle nodes inside of Da Vinci result saying there guys, that's the sort of like a breakdown on how particles inside the eventual result. 3. Part 2 - Using Text with the Particle Systems: All right guys, so here we are in DaVinci Resolve and that to create this effect that we're looking at the full, see the text kinda just dissolves and looks super cool. We're going to have to do a lot of complicated things that maybe we haven't done before. So let's get into it. First of all, what we'll do is we'll break down the fusion composition that are already have made. All right, so we're gonna go into fusion just so you can see, so this is the node structure that we're going to end up with. Okay? It's not as complicated as it looks this little bit here. That's all the particles, so it's just four nodes. And then I'll be the most complicated part, honestly is this bit here, which is the masking that we're going to use to, I guess make the texts disappear. But let's start off by creating, right-clicking in our media pool and going me fusion Composition. And call it whatever you want. We'll just leave fusion Composition 1, drag it down onto the timeline. Now you can make it as long or short as you want. We're just going to leave it that a standard five seconds with it selected gonna jump to fusion. Now for this particular tutorial, we are going to want to viewers. So you just want to make sure that you have this one here if it's two, that so you've got two different views. And yeah, let's get started by creating a text node. So I'm just going to grab that text form that drag it down and link it with that media out and type whatever you want. We're just going to cool it end game and just change the size a little bit. Now the first part we're gonna do is the lumen asking to have the text disappear. All right, so now we're going to create a polygon mosque and that's going to make this text look like it's disappearing. So let's going to jump to frame 0. Let's drag a polygon at mosque down from the tool here and displayed in the first fueled by clicking and dragging. And what we're gonna do is we're just going to create like a toothy Conda patent and jaggedy pattern. Again, not super exact. This is just to make it look like the Texas being bitten away. And then all we're going to want to do is click out and around, like so we had little shape it. Again, it doesn't have to be super specific. This is just so it looks a little bit more interesting. And while we're on frame 0, we're going to set a keyframe for the center and the size. And we're going to move forward to the very end. Click and drag this front section of the shape. And my literally just going to click and drag it so that it covers the whole text. And if you notice that some of it's not covered, you can just add an extra point and make it so that the whole text is eventually covered by this shape heel. And if we play that back, what we end up with is this weird shape that kind of grows over the text. So if we were to select the polygon, we can see it here. That's pretty good. My add an extra point here just so that it looks like it's coming out a little bit more. This is just a bit of trial and error, but again, this is just to make it look like the text is being bitten away. Now, the thing is, the way we haven't set now is if we were to use this as a mosque and plug that in there. You can see that it sort of does the opposite, right? So the texts kind of gets revealed by the shape, which in itself is kind of like a cool little effect. Were to invert the mask will then we have the opposite happening with texts. So we don't want that because this text is going to act as our particle emitter. So every time the text is on the screen, particles are going to be coming out of it. And although this would work, it means that this would be having particles flying out of it before it's getting chewed away by this mosque. So we don't want that. What we are going to do, let's just change that input is we're going to basically make a shell inside of this so that we have just we had mosque sort of line. And so if we were to have a look at the original one that we did, you can see how this mosque ikea is just this weird line, right? So that's basically so everything white is going to be visible. Everything black is transparent. As that white goes under the texts, you get to see the particles. Looks pretty, pretty cool. So to do that, we're gonna do something kind of interesting. But before we do that, I do ask that if you enjoyed this tutorial guys, make sure you hit that subscribe button down below. I do appreciate it and it allows me to bring more interesting tutorials like this one to you guys. So what we're going to do is we're actually going to create an instance of the polygon. It's similar to duplicating, except that it sheds the exact same properties, animation and everything. So what we're gonna do is Command or Control C to copy that polygon node. And then we're going to go Command Shift V or Control Shift V to paste it. And what we get is this instance polygon heel. All right, And what's weird is if I select ones, we could have one displayed here, and we'll have the polygon displayed here. As I move one, you can see the other one moves as well. And if I was to select the polygon and move it, it moves to that completely connected. All right, so what we're gonna do is create a merge node. So I'm going to drag this edge node down here. And this is gonna be the most important part for you guys to follow along with. So with the image selected, we're going to drag the instance into the background and the polygon, this square here into the foreground. Now we have to change a few things. So with imagined I'd selected we want to change the operation of it. From over two x 00 XOR. What we want to do, Let's display this message note here is we want to basically have the instance. We're going to play around with the Borda, see how we can do that and that's creating a border. We want to play around with that. However, at the moment, if we change the Bordeaux parameter for the instance, as we talked about before, it'll change it for the polygon as well. To fix that, we can right-click on the board width of the instance to one and we can go D instance now that the instancing is on a per parameter basis. So now when we control the border width, you can see we're getting that effect that we're often that will only change on the instance. So everything else in terms of soft edge, will be across both of these different mosques. That's done now. So we're going to increase the border just a little bit and we're gonna give it a slightly soft edge, but nothing too crazy. And honestly, that's pretty much it for this little section. Now we can jazz it up a little bit by adding a noise. So if we go shift space, we're going to type in foster noise. We're going to use this one here, I'm going to add, and we're just going to connect this output to the merge. Alright, I'm placed that merge in here. Now, what we notice is currently it's like on top of the whole thing That's not we want what we want. So we're gonna change the operation from o VO2 in. So it's only going to apply it to inside that mosque that, and we can just play around with the permanent of the fossil noise. So the reason we're doing this is just to make it a little bit more interesting, as I was saying, everything that is what is going to be visible, everything in black is going to be transparent. So by, let's like we bring up this, bring up the scale a little bit, then you can really see what's gonna go on. All right, we've been bringing up the contrast, bring up the brightness. A little bit of this black area here, that's all going to be transparent. So the only reason we're doing this is by, it's just going to create a little bit more interests. I guess when, where I'm having this go over the text, right? It's just add a little pizzazz. Now what we wanna do is turn this whole section into a bitmap image so we can use it to control the visibility of the text. What we're gonna do is we're going to go Shift Space and add a bitmap. Alright? And we're going to just drag that into the input that, that's going to create. This basically into an image that can be read by pretty much everything else. And it's not being traded as a mosque anymore, as being treated as an image, which is what we want. And we're going to probably he disconnect this now, create what's called a Mac control. So Shift Space going to Matt control. We want to directly off to the text and we want to plug the bitmap into the garbage mat input, which is going to be this bottom triangle here, you can see if you hover over, it says garbage mat. So drag the square to the garbage mat. You can always check down this bottom right-hand corner to triple checking out the raw input. Okay, So as you can see, if we play this through currently with con to getting what we want. But it's the opposite, right? Because all this is visible. So basically what it's doing is all the black is now visible and older, white is the transparent. It's the opposite to what we want. So if we select the Mac control, go to the inspect on the garbage mat, we dropped the error. We just invert it basically. Now we're getting exactly what we want. You can see we are getting only the text is visible and that's the text we want. Now we can start playing around with particles, guys, and this is the fun bit. So what we're gonna do now is off to the Mac control. We're going to go Shift Space and we're going to type in P emitter. With the emitter selected, we can go Shift Space type in Pete render. And that's going to basically take the emission, which is this one here you can see it's a three-day sane and turn it into a final render. But with by default that P rammed annoyed if we go to the inspector is set to a three-day seen as output, just drop that, change it to 2D. Now if we go to the middle, It's a two-day sane and we can play through. And you see we have these particles that might be hard to see the particles forming. And now we can connect that to the media out. So far, so good, but as you can see here, we just need to connect these together, which is currently impossible because the p omega has no input and it has an output. So what we wanna do is connect the Mac control to the P emit. And we want to use this as the emitter for the particles that will get rendered by this note. To do that with the pyramid and Node selected, go to the Inspector window, go to region. So this is basically currently it's a sphere or because it's 2D images circles, you can say if I move this big or small, It's increasing the region size of the particles. We don't want it to be a speed, we want it to be a bitmap. So an image-based region. Clicking that, now we have an input where we can connect the bitmap node, which is what we did here. So we create, connect that together and we're going to get, give it a sec. You can see the p random node is doing a little bit of rendering and it might be hard to see, but there are some particles here. So with the P emit a node selected, we go to controls what we're gonna do. Increase the amount of particles from 10, just a thousand, just to stop again, every time you change something, gotta wait for the renderer to render the particles. You can see the particles. They appeal. Actually looks kinda cool like this. Alright, but they're not going anywhere. Okay? The particles basically, they generated from the text. What we're going to want to do now is we're going to use some displacement to have these particles basically fly off into the background. So we're going to go to shift space with the emitter selected. And basically everything that affects the immediate needs to go before the renderer, because that's what creates the final image, right? So we're going to type in P and D. P directional force we're going to add and we're going to just let that render at us for a sec. Now you can see we have something crazy going on. So we play this back. Now the particles emit and then they fold because that's the way the directional forces having them fold looks kinda cool is like falling sand. Obviously we can control that. So if we select the directional false, we can change the strength and how strong lead is. We can also change the direction so we don't want it to go down, we want it to go up. So we want a positive number. So we're going to have 90 degrees. Again, we're going to let the P render node sorted out. So now the, now they go up, which is good. I kinda want a bit more of an angle, so we're going to just control the angle a little bit. Hopefully it comes off this way a bit. We wait for the renderer. This is probably the west part about using particles as the render needs to use everything in this scene. Basically make sure this yet. So now it's going in the right direction. 60 seems to be good, so I'm going to change it to 45 degrees. So it's going to be directly like that. And we want to do one more thing because at the moment it pretty much is this going up in a straight line. Okay, so it's just, it's just going off in one direction. It's the direction we want it to go in, but it's kinda just a little boring. So we're going to do another note off to the directional force and it's a turbulence note. Think of it like turbulence when you're on a plane, it's going to displace these particles up. He'll like that. So with it selected go Shift Space p, t for this one particle, this tabula rasa, and hit Enter. And again, as always, let the Render Node do its thing. And now you can say it's done a little bit, not a lot. If we hit spacing, say it's definitely doing some thing. So what we're going to want to do is we're going to increase the randomness of it a little bit, just a little bit strength over laughs. So we're going to leave that densities fine, but we're going to increase the strength of fair bit on the x and z. Not the why? Because the y is going to say x is going to be horizontal, y-axis is going to be vertical. Z strength is the depth of the particles. We don't want to increase the y strength because then some of the particles is gonna go down. We don't really want that. So we want the particles to go left and right on back, like in and out. So I'm going to increase the strength and then it give it a sec. Let it render itself. Might not see a big change. Alright, now we play it. Now it seems to be doing something cool. So what we wanna do now is go back to the middle. We've got our false. It's kind of going away in the direction we want. It kinda looks like it's blowing away, which is cool. Now we just need to control the amount of particles. So what I like to do is honestly particles we use. In visual effects, you need hundreds of thousands, millions of particles. Obviously, the more particles you use, the more intensive it is. I'm going to just bump this to 3000, let it render, and I'm leaving it on this frame just so I can see how to fix this exact scene in. So you can see, there we go, we get quite a bit. I'm also going to increase the variances. So it's a little bit random chains, the random of the lifespan and the random seed, they're just a little bit. So now it looks all right, okay, but it's going out and chunks, which is a little bit weird, Let's increase the position invariance, all right, by doing that, they hopefully not going to clump together as much because obviously at the moment they clumping together, the position variants should help randomize that a little bit. There we go. So that is going to help it. Obviously they going to be emitted from the same text, but then they're going to disperse and it's going to look a little bit more like sand or Dostal, whatever. There you go. It looks awesome. And we're going to add a blur to the render us. So we're just going to do a slight, literally like a really slight 0.1 blow to the 2D and that would be about it. It's not going to be something you're going to notice too much, you'll wait for it to load. You might see a little bit of a change here. And that's just going to kind of fake motion blur a little bit and make it look a little less dirty as it does now. But at the moment, if we were to look at the media 100 and see what we've got, the texts kind of fading away, so looking pretty good. So now we can play around with the colors. So in the original one, I would go to style and you can see color controls. So you've got a few interesting ones actually, which is with the color controls, you can actually have it use style color or use color from region. So if, say the object you wanted was multiple colors, you're using an image. You could do that. We're going to use style color, which is going to use the color from this top. Just because we're just going to use the two, I'm going to go aquifer. And what we can do is to color over life so we can actually have it change color the older the particles get. So it starts off at, well, we can have it end what? At a point stopped at Aqua. So click and drag started aqua and then add another one. He maybe make it a daka. Daka, and then what are the time? And you can see now there's a little bit of a change in how it works. This is all to see. Probably going to be easier if we change the lifespan now. So last fans sets of 276 frames, we might not even see it if I drop that right down, you'll notice after renders the column come in because obviously the particles aren't lasing as long that full, we're going to see that color come through the guard and white. So definitely play around with how all of this wet so you can see what effects you can get. But yeah, that helps. Kinda looks a little different. Oh Ryan. So now what we wanna do is one lost theme. As you can see, the text pretty much is invisible at the stop. And then Hamas comes in, and then the particles start to show up. So how do we have the text stay in, put, pretty simple. I'm going to copy the original text node. So Control, Control or Command C, click over here, paste it. We're going to merge it in off to the renderer. So now we can see it. Perfect. Change the color of it to match the articles. We won't. So it looks better. And we can literally click this polygon in the original instance. Again, copy it, select the text, paste it, and now it's going to use the exact same animation, but we just want to invert the mask. So we're going to click on the polygon and invert it. And then once we've inverted it, we also just wanna make it solid. So as it comes through, it will take the text up. So now if we were to play this for you to see the text comes through, it starts to dissolve and fade off into wherever it's going. Look super cool. This one, I mean, it looks better than the original, the way it's sort of eating away at the texts that are really, really like it. And we can obviously just add a quick background if we want to finalize this one off, drag it in, change the slope, the inputs because we don't want to be in the front. So it inputs and change the color, maybe just a little bit less of a dot to a dark gray and yogas, there you go. That's how to click through and you can see the text. Basically dissolve, lack, sorry. 4. Part 3/4 - Using Images and then Videos to Create a Particle System: So here we are. And this is what the, I guess the node tree would look like if you were to download that settings file. So this is everything that we're going to create. All you would need to do then is delete this media in one node here on the left. The media in one underscore one node here on the right. And then drag whatever logo you want in. Literally click drag and then drag again. And then it give it a sec for the P rented a logo to lettered. And that's literally as simple as it is. Alright, straight away you have your particle dissolve. So this is going to work with any kind of logo as long as PNG file, so you have that nice transparent background. That'll work. So let's actually show you how to create this effect from scratch. All right, so let's stop by. So let's go over to our Effects library. We're going to try to fusion Composition down, just default timing. And then with that selected head on over to fusion. Awesome. So now we have immediate node. What we're gonna do is drag a few things down. So we're going to drag API emitted down. An API renderer, connect them together and then across to maybe out. And now we have our 2D particle system. So what we're gonna do first is we're going to want to change a few of these settings in the middle just to make it easier for us down the track. So we're going to change the number of particles to Cisco, 7 thousand. We're going to go Region change the region from sphere to bitmap because we want an image to control where the particles are coming from. All of a sudden everything disappears. You can see we've got a little yellow arrow here, which literally means if we were to drag a image down, plug it into the PEA middle of the second. Now we can see some things. And if we were to select the PMI and we go to controls, I'm going to change the color to call up from region. Give me a sec to lawyer. Now you can see we have our logo appearing, but it doesn't look quite right. It's a bit too big. We need to organize the size of it, so we're going to disconnect that for now. What we're going to do is if we open up a double view and I'll show you the media in node. So currently it's a square at 217 pixels by 217. And what we're looking at 10 ADP space. So it's not quite right. So the media in one node selected, we're going to go Shift Space, go resize. Okay? And then basically now we have that in a 1080 P space. And then from three sides at a transform. Give that a second. Now we can resize the logo, bring it right down Chinezi aspects, so it's nice and square. And from there follows to plug it into API and medulla. You will see over here. Now we have out political blogger, but we're not ready to do that yet. What we need to do is create the mosque, I guess that causes the particles to dissolve as if it's disappearing. So to do that, with this selected, we're going to put this into view. Nothing selected. We're going to click Polygon. It's going to create a polygon node. And literally all I want you to do is go click, click, click. Just create a random shape. And just make sure that the shape is large enough that it will. It could cover the entire logo because we're going to move it at 1. So it does cover the entire logo. Cool. And now what we can do is with that polygon mode selected, we're going to go Command or Control C to copy it. And we're going to go Command Shift V, Control Shift V to paste it. But what it does is it pastes an instance. Now we do cover this into phenols tutorial, but basically an instance, mosque is the exact same thing, has the exact same parameters, is just doubled. All right? The thing is, is if you resize this one, the original resized, if you move a point in the original one will move. So what we wanna do is with the instance polygons selected, we're going to right-click the border width and we're going to go dy instance. So now we can control the border width on this mosque independently. We also want to uncheck the solid box and we'll get to that in a sec. So with those that Don, let's drag a merge node down. And we're going to drag the top polygon into the background and the instance into the foreground. So the green. And let's display that merge heel. Currently we can't see anything. And that's currently because that image on top of each other. So what we're gonna do is change the operator of the merge node from 0 to x. Again, still can't see anything. With the instance polygon. We're going to go back to the border width. And because we change this, we can now independently adjust this. We're just going to make it a bit bigger. Now in this instance, the want pot of this mosque is what's going to be visible, the black pots, what's going to be transparent. So we can make that as large or as small as you want. The larger it is, the more particles you going to say, et cetera. And we can soften that up, sorry from them. What we're going to do is transform these mosques into a bitmap. So black and white image. So we're just going to have nothing selected. Go Shift Space, bitmap, drag the merge one output into the input of the bitmap. And then again, nothing selected. I'm going to add a mat controller. And we're going to drag the bitmap into this bottom gray one here, the garbage mat, you can see it pops up down here in the bottom right. And then the transform one node is going to plug it into the yellow. So the background, that's the hottest spot done. Then the Mac control, we're going to plug into the p.ball middle. Boom. And kinda not quiet. We just need to invert it basically. So with the Mac control node selected, go down to garbage mat, drop it down and literally just go in the prophetic. And from there, all we really need to do is add the forces to make it look like it's floating away. So with the payment is selected, we're going to hit Shift Space. I'm going to do p d, and we're gonna go directional force N2 up and change the direction to positive 45. So we're just going to go five. It's going to make it fly up into this direction. Perfect. And then what we're gonna do again is Shift Space, PT, and we're going to go pee turbulence. And we're just going to change all these, right, so we're gonna go point to 0.2.3 and then increase the density just a little bit, maybe 250. Give it a sec to learning. Oh, suddenly going to see all these particles thought flying everywhere. You can see all the particles going everywhere. Next, what we want to do is animate the polygon, so it's kinda covering it. So what we're gonna do is we're going to move to frame 0. Move this so that it is he or she can't see anything. Set a keyframe, the end, and basically drag it over. Like so. And now as we watch this played back, all the particles come and sort of dissolve away. Super nice. Nearly done. All we need to do now is we're going to copy our media in the sort of selection he paste it. And then we're going to merge them together. So just drag the outputs together so we can merge them. Just make sure that your new media in one is plugged into the foreground. We're next going to grab the original polygon instance, copy that one, paste it over here, drag it to the mosque. And then literally we're just going to invert it and make it solid. And if you want, you can feather that ever so slightly. And now you have your dissolving logo. So you can sort of see how it works. And before we get started on the actual tutorial on how to do it, ONE to Vinci resolve, we need to sort of cover up the filming process because to get this to work, you are going to want to film in a particular way. What you're gonna wanna do is have your camera on a tripod and oxygen left off so the camera's not going to move. Otherwise we're going to have to do tracking. And when I really want to do that, you also gonna want to have the camera in manual focus and have it focused on the self. Now if you need someone to help you or if you just need to sort of figure it out, have it focused on yourself so that the background is blurry. We don't want that background to snap in and out of focus. All right, now It's really simple. Basically you going to film, you're going to hit record, run in front of the camera, gonna do what I've acting you want to do? I did this sort of my head roll thing, whatever, do whatever you want to do, make it fun. And then you're going to run off camera and you're going to let it film for a little bit. And that's important. You want to have a, what we call a clean plate. So just an empty frame with you in it because we're going to utilize that in this effect. Pretty easy to do in terms of filming. You do not need a green screen. A green-screen would make this simpler. But I assume that the majority of us that don't actually have a green screen, so we're going to do it without it. So that's how you do it. Now, we're going to jump into DaVinci Resolve and show you how to create the effect. Now luckily, if you followed this sort of series, I guess a lot of the effects of the same, creating the particle systems the same and having it dissolved in an old that is the exact same for this tutorial. The only difference is you're going to use it with the footage of the self. And so manipulating that had to stop that going to be a little bit different. Let's jump into the finished result and show you how to create this awesome effect. All right guys, so here we are into Vinci resolve. We've just opened a standard project and what we're gonna do is we're going to grab that footage that we were looking at earlier and we're going to drag that down onto the timeline. Now for the sake of this video, I don't actually need the audio, so I'm gonna get rid of that. And we've got the Schottky. And so what we're gonna do is I'm just going to take a little bit for me so we don't need that at this thought. And I'm going to basically move this clip up and 2. So that's the dissolved pop. So we don't need anything else often that what we do want with this clip though, is we're going to command, ah, and we're going to add a freeze-frame on the part of the footage where there's no one that So I'll walk off. Now we want to freeze frame. So Command are dropped down and freeze frame. It's going to give you this little red area. And what we're gonna do is we're just going to extend it quite a bit. The at the back-end he and then Command B here. We're just going to delete that little bit that we don't need it. All right, and then what we're gonna do is drag that video footage onto the second layer of us doing whatever we're doing. And then the what we call the clean plate underneath. And then you can retirement. That. So now we've got two bits of footage. All we want to do now with playhead away, but I'm with them both selected. We're going to right-click and go fusion clip, going to bring them together. And then I'm gonna go to fusion, perfect. And now we have sort of node tree here. Let's get rid of that. So what we wanna do is let's rename the footage. So ideally, if he did it the exact way I said, the ball, the background will be a clean plate and the foreground will be the acting video that we did. So we can rename these. And we can just say acting or whatever you wanna call it, and then rename the clean plate. Clean plate, because that's what we want to call it clean plate. Awesome. Now, what we wanna do is we can get rid of this merge. All right, so with acting plate in heel, what we're gonna do is we're going to mask out out ourselves basically so that we are independent to the background. Now I was playing around with this in a real BY effects workflow. You would want to wrote a scope this so frame-by-frame, animate a mosque right around the outline and make it as perfect as you can. However, with the effect we're going to create, we don't really need to do that. So what we're gonna do is we're gonna move to the very first frame of this. We're going to click the polygon tool without node selected. And now we can't see anything. What I want you to do is just So, it's just click a random shape roughly around where the character would be, right until we get what we want. And then we're going to start adding points to this. All right, now, like I said, it doesn't have to be exact. So what we're gonna do is we're going to leave a little border, not a big bought up, but just a little border around our selves. Now, it's important that the border is as minimal as we can make it simply because we're going to be using this to generate the particles. Now because we're going to have the clean plate in the background, It's not gonna make too much difference if there are some particles that are different cola, because we'll have the clean plate, sir. Anyway, let's just quickly create this shape. Now the reason we do this at the start of the animation, so by moving down two frames, or is when you create a polygon and automatically key frames the position of all the points. And so it's just easier to do this right at the stop. Alright, so there's no confusion now you do want to bring it in pretty close, and that should be fine. Now what we're gonna do now is quickly animate this mosque so that it takes the shape. And we get this nice little bored at the entire animation. So we're going to move right to the very end. And we don't really need to do anything which is good. We're going to move to the middle of the animation. And basically we're just going to click through and make sure that we don't need to animate that mosque at all. We might need to know, looks pretty good the hallway through. However, if you didn't need to, you can just move forward and move it. And the mosque will see he'll wave into place as you animate coat. So now that we have that way going to use this to control a particle system. So let's create a particle system like before. So we can drag in our medulla, our renderer, and we're just going to link them together. Now with the p.band renders selected, we go to Inspect though. We want to change the output mode to 2 D, so it's a 2D particle scene. And if we have this open, we can place our acting one hand. Let's put the particle render over here and you can see we've got this nice selection of particles. Now with the p.band emitter selected, we want to go to region. We want to change the region from sphere to bitmap, which gives us this little input and allows us to connect acting thing into the PM minute input. Now you can't really see anything at the moment because there's only, I think, ten particles by default. But if it were to increase this to 1000 particles, now you can kinda see the shape of that person ourselves. And we can also change the color from style, color to color from region, and then you get a much better interpretation. In fact, if we were to go to the, say, 4 thousand, Give it a second. You can see now we have a thing in the particles kinda generate and all that sort of stuff. So, yeah, like it works for what it needs to be fun now, as now we can also, if we want to, let's, let's just go to the emitter and we're going to just change that to 500 while a wicking because we don't want to be too intense, we're going to add our falses. So when the payment is selected, I'm going to Shift Space and type in P directional false. And all we're gonna do is change the direction from minus 90 to 45 degrees. It's going to make all the particles shoot up in this direction. Conquest see it at the moment. And again with that selected shift space when typing p t. And we're going to talk in P turbulence. And the effects I find best is we're going to change all of them to point to. And then we're gonna change the density to 35. Those are the best settings that I've found to get that nice little wispy, particular goodness. So now we've got old that DOM Lynn's going to open this. We now need to create a mosque that is going to control where the particles are coming from, because we don't want all the particles coming out at once. To do that way, just going to open another view up and we're going to just create a normal Polygon. Okay? And this polygon we're just going to create, let's just do it from top-down and we're just gonna do a round. He likes her. And it doesn't have to be perfect, just a shape like that. Okay? And we can see it over here. So nothing spectacular. What we're gonna do then is we're going to Control C or Command C, that polygon. And Command Shift V, We're going to what's called pasting an instance of that. So basically duplicating it. And what this basically means is the instance, she has exact same parameters. So if I adjust the parameters on one, you can see it. Adjust that. So what we want to do is we want to d instance. So would this instance polygon selected, right-click on border width, and I'm going to go dy instance. So that allows us to adjust the border width of one of them without affecting the other. It's complicated. Let's move, I imagine I'd down, okay, I'm going to merge these two together. So we're going to drag one of them to the background and one of them to the foreground. Play them merge that. Now we do need to change some settings in the merged nine, we're going to change the operator from 0 up to x. Or if we uncheck solid and now we can grow at bought up and we're just going to make it a bit softer as well. Something like that. Not too soft, just a little soft. Looking good. Okay, what we wanna do now is we're going to convert this into a bitmap image. So we're going to with nothing selected, Shift Space and type of bitmap, hit Enter and we're going to drag that merge into the input. So the yellow triangle, perfect. And now all we need to do is we're going to create a Mac control Shift Space MAT ie, Mac controller. Perfect. So we're going to drag and drop that in-between acting media node and the pia mater by just with the node selected, holding shift until the lines go colored and drop it. Perfect. And we're going to drag the bitmap into the garbage mat, which is this bottom right triangle here, can't really see anything. What we're gonna do is with the Mac control selected, we're going to go to garbage mat in the invert that and give it a sec to load. Now you can see we're getting some particles effect. We can probably increase this now too, like maybe 1500. Perfect, Perfect, Perfect. All right, what we can do now is with the polygons is we can actually at the stop. So what we're gonna do is we're going to have this and we're going to move it up, so it's out of the way. And then we're gonna go to the very end of the frame and we're going to have this fully engulf the act. Oh, okay. So Mike cert lead up, he rendered do its thing for a little bit. So what he's got to Lloyd every time you adjust a parameter. And now you can sort of see some leftover particles. If we go halfway through this animation that we go, we got some particles. Now they're awesome. Want one said That's okay, we won't notice it too much. It'll look pretty good. So we're gonna go into the p.ball emitted again. And what we're gonna do is go to style. And instead of the Apply mode to add, we're just gonna go to Image. Okay? So the AED, basically every time a particle of collagen over one another, it kinda adds the call it together and makes us, we'd glowing effect merge just allows the particles too, you know, react together, which is good. Alright, so let's start to finish this off. So I'm going to drag him Pirandello to immediate out. We're going to drag out clean plate into the background by putting it in the background. Now we have the particles sort of coming off. And now you can see how because the particles around the edge of myself with the same color as the background, you don't really notice them as much. So that works out well. And then what we're gonna do is just grab the original footage that we created are little bit behind. We're going to Command C, copy that, and paste it over here. Okay, we're going to merge it on top. So let's just chuck the merge, looking good so far. And then all we wanna do is copy the polygon over here, paste it. We're going to drag it to the mosque of the merge. And we're just going to change it to a solid mosque and we're going to invert it. And so now if we play this back, see the particles come through and dissolve OS from this. So mostly we kinda got the timing wrong a bit there, but yeah, looks pretty pretty good.