Unity VFX Graph - Black Hole Effect

1. Introduction: On these lessons, let's see how to build an epic black hole in unity. Hi, I'm Gabriel Leger, founder of the Gabriel LegiaPd YouTube Channel, where we teach Visual Effects for games in Unity in real and GoTo. And we also have one of the biggest libraries of visual effects assets ready to be used in games. I'm also the founder of Golden Bug Studios, where we are developing rabid still. And today we are going to show you how to create a black hole from scratch with UT VFX graph and shader graph. We are also going to use blender and material maker for texters. We will show you how to build everything from scratch and how to create also the heat distortion shader. So without further ado, let's get on with it. 2. Scene Overview, Black Hole Texture and Mesh Creation: Let's begin with a very quick overview of this scene because I know some of you want to know how this was made. Basically, if you go to Window in ranging, you get lighting, and here you have environment. And on this skybox material, we have added this galaxy material, which is basically a cube map. And by that, I mean, on the shade or dropdown you can select Skybox cube Map. And then you can download any Galaxy texter or create one yourself. But what's important is that you set it to cube map. Textor shape, cube. And there you have it, you get this very cool environment. So let's begin by creating a VFX graph, which I have previously installed on the package manager, Visual effect graph. We have all of these templates, but we can start with the minimal system. We name it to VfxGraph score Blackhle and double click to open it up. This VFX graph, in particular, is going to be used to create the illusion of a black hole at the center. We are going to use a sphere. So let's call it exactly that. To make sure this VFX graph is visible, even if the camera is not pointing at the black hole, we want to see the bounds is set to manual and increase the volume to 100 in X, Y, and Z. Begin emitting a particle, we go up here on the spa and use a single burst, in this case of one particle, and it's going to live forever since we don't set the lifetime. We have the update particle, and then the output, which is what's going to be visible, this is where the particles are rendered. And in our case, we need to replace this output because we want to use Shadow graph. Create a specific shader. We can use output particle shader graph mesh. And the mesh we are going to use here is the sphere. If you don't see one, you can unload blender, create a sphere, and export it as an FBX. But usually, Unity comes with a default one, and it should do it. Now, I'm going to dock this window right here so we can see what's happening. And let's drag and drop the VFX graph to the scene, reset transform, and this is what we should have so far. Now, if you really want that black hole with bright edges, we need a shader. So with the right click, I'm going to go ahead and create Shadograph URP lead Shadograp, which means it isn't affected by the lights of the scene. Let's call it frenel shader and then the idea is to create a franel effect. This node right here. We can expose some of these parameters. As a matter of fact, we can create a color parameter. So we can control the color of the prenyl. Let's open the graph inspector. We want to make sure the mode is HDR so we can control the intensity, say the color is white, and then dragon drop it more or less around here because now we want to multiply it with the fnol effect. Here we go and connect to the base color. As you can see, we have this power node which is quite useful to control. So let's create a float for that, call it the fnlPower with a default value of one and connect it right here. Lastly, very important on the graph settings, let's make sure we enable support VFX graph so it works with Vx graph. Don't forget to save the shader and then let's go back to VFX graph. And once we click here, it should show up. Here we go Franl shader. Now it's a little bit up to you, but in our case, we want to increase the size. I'm going to use a set size with a value of one, and in this case, we are going to go with a different aesthetic. This is the call we are going to use. But with a Ipnal power of around ten. We can get that bright ring around the black hole. Fantastic. Now let's move on to the rings around the black hole. With Control C and Control V, copy this sphere Vfx graph and call it the Ring VFX graph. Now, we need a very specific mesh to put around the black hole. And if you don't have blender, go ahead and download it, it's very easy to pick up, and now we'll guide you through. Basically, we are going to create a ring mesh, kind of a doughnut, really, but kind of. And we can start by deleting everything on your scene, make sure it's clean, and then with Shift A, you can add a circle. We can scale it up to seven, press S and then seven and then Enter. Here we go. And let's enter and edit bolt so we can edit this mesh with tab and we can extrude with E and press S to immediately scale it a value of 0.15, and then press enter, and this is what you should get. Now, we need to add a few edge loops. It's going to increase the polycon, so be careful there. You can press Control R and scroll up to add three edge loops, and that's it. We press seven and the numpad to go to the top orthographic view, we can select this ring right here while holding out and shrink them down a little bit towards the center. We are doing this because now if we press one and numpad to go to the side orthographic view, we want to proportionally edit this and by that I mean that if you go up here and click on this icon, we are going to turn on proportional editing. This way, if we push this up and scroll up or down with mouse wheel, we can control the influence. How much it influenced nearby vertices. We want to push the silla bit up not too much, just so it has some volume like this. Next step is the UV mapping. If we enter the Dt mode, select everything, we can press U to access the UV mapping menu and select Light Map back. And this is the trick we are going to show you. You get a bunch of squares. No worries about that. Just select one of these in face mode, select everything again, as you can see that Quad has become active, and now we can do something called follow active quads. You can press Okay, and you get this stripe, which is very useful because this means it's unwrapped properly now, and we can fit this properly on the square by making sure that we enable constraint to image bounds. Push it to the center and scale this to the sides and up until it fills everything properly. And that's it. We are trying to achieve a very specific effect with this black hole where the motion of the ripples all go through the same side, which is counterclockwise, we are going to go to object mode by pressing tab and then pressing Shift D to duplicate this and then press escape so it stays right there. But with R rotated only on the X axis, 180 degrees. This way, we have this disc, this kind of very extremely flat donut. And now let's enter in the Did mode so we can go to UVs because we need to flip them if we want to make sure the ripples go all in the same direction. So we can mirror these on the X axis. And that's it. And if we show again the other circle, this is what we get. We just need to join them with Control J or search for join. Here we go. It's one mesh now. And I know this is weird, but we need to flip this again and mirror this on the X again so it's properly mapped. Feel free to test it without all of these steps, and you will understand the result easily. Now, we can rename this to Ring 01 and export as an FBX. Make sure you turn on selected objects and export to your project. Back in VFX graph, we can assign the ring mesh right here. We are currently using the same shade, the Franl Shad. But for this specific case, we need a new one. So let's go ahead and create the Shader graph, URP and lead once again and call it the scroll shader. We are going to pan a texter and add a couple of effects. And right from the start, we want to say that the surface type is transparent and the bleeding mode too additive, or you can turn on allow material overweight to edit these values as you go and very importantly, turn on support VFX graph. This shader begins by sampling a text, an external texter, which means we can create a text to the parameter for the noise texter. For now, I'm going to assign one that I have here, but we will show you in a moment how to create one and then drag and drop the noise text parameter right here and connect to the sample text to D. This is what we get. You can assign a default texter for now. In this shader, what's important is the ability to control, it's offset. So let's create a tiling and offset node, and then let's create two parameters, one for the tiling, and then another for the offset, a vector two called noise tiling with a default value of one by one. Connected to the tiling, and then another vector to for the noise speed. We can use a default value of one on the X only. If we want to automatically animate this, we are going to multiply this noise speed with a time node. Otherwise, you can pan this manually without the time node. Connect to the offset, and that's pretty much as you can see, the texture itself is already panning, which was the main objective. Now, as for the text itself, we can show you how to create one. If you go ahead and search for material maker, which is a tool based on nodes to create texters, it's very useful. You can download it for free or contribute to the project. Once you open it up, this is what you get, and we want to begin by searching. Or shape because with the shape, we can say it's a circle. As you can see on the preview to the window, we get a preview of the node you are selecting. First parameter is for the site count, and the second one is to control the size. We want to begin with something small like Zoda two, and last parameters control the fade. Let's set it to one. We get this tiny circle, this tiny bub of light, and there's a cool trick. If we connect this to a tiler node. I will tie this in whatever way we want. I've tested a couple of values, and these are the ones that are best for the text we are going to create. Feel free to test different values, but essentially the tile X and the tile Y, you can set it ten by ten, so we can increase the intensity. Overlap is up match. They can overlap with each other. Let's set it to four, and now let's scale them up with zero to seven on the X and on the Y. Fixed offset to one, so we move horizontally, but most importantly random offset. All crazy and we break that grid pattern. Random rotation, since there are circles, we don't notice it, but random scale of Zot eight, and we get some circles that are bigger, others that are smaller, and that's great, because this will allow us to invert this gray scale, and we get a pretty cool texture. It looks like skinning under microscope or some kind of weird component under a microscope. But we can go even further and use a blur, a Gasian blur, for example. Increase the grid size first so it has a better resolution, and that will fix it, or you can play with the Sigma. And to finish off a color wise node, we'll do the trick just fine if we push the black key to the right. As you can see, we get even more darker values, and that creates a pretty interesting contrast, which is super useful for our text. To export this, we can click on this icon right here. You can rename it, choose the resolution, and click Exportasimage, typically as a PNG. Now back to unity, we need to mask that out to soften those edges. It's very simple to create a mask. Basically, we create another sample texter. And another text to D parameter. Call it mask texture, drag and drop it, connect to the sample text two D, and then multiply these two sample texters. Depending on the gradient that we feed to the mask text, we can fade some edges, which is extremely useful. Let's see help to create that gradient. Fortunately, it's a very easy text. Back to material maker, we can begin by searching for gradient literal and we can rotate it -90 degrees, so it fades from the bottom to the top because UVs were made in that way. And the cool thing is that we can edit our gradient. For example, we can add the key more or less around here and make sure it's not that dark and then play with it, as you can see, we can leave it more or less around here because we want a bigger range for the darker values. And that's it, we can go ahead, click that button to export it, choose the resolution and where to export it, rename it as well, and then go back to unity. Now, once you have added the gradingt to the mask texture, all we need now is a way to control the color of this shader, so let's create a color para make sure it's in HDR mode with white color by default and then multiply these two together and connect only to the base color because for the Alpha, for the transparency, we want to split this and connect only the Alpha. Back to VFX graph, we can assign the scroll shader. Here we go. That's much better. As you can see, we already have a mini black hole, awesome, and we can, for example, play with the noise tiiling so we can have more rings around it. Or use a different gradient texture depending on how much you want to dissolve. Basically, if you go back to material maker, you can use the same technique, create a gradient node, rotate it -90 degrees. And in this case, we want to click the dark values even more, which means we can place a key more or less around here, say it's a dark gray. And the last key, it's going to be a very light gray. Then you can go ahead and export it once again, call it gradient zero, two, and then you can adjust the color, obviously, and adjust the intensity so it's less or more bright. The speed, in this case, we're going to use these values, so it rotates on the opposite direction and slower because it's a black hole. We don't want it to be super fast, even though this is a stylized black hole and not a super realistic one, but it looks awesome, and it looks even better if we increase these rings with the set size. Can also set the angle here or on the initialized particle. We can rotate this horizontally. It was vertical, even though we are in space, there's no orientation, but it looks better. In case you wanted to know, that's how you do it. 90 degrees on X, and then you can adjust the size of the sphere, for example, so it's a little bit more proportional with the rings and basically, you can also use a set scale on the rings to control only a certain axis. For example, this ring, it's a little bit thicker, we are going to flat it out on the Z axis a little bit zero at seven, for example. The cool thing with VFX graph is that we can use this system and output different things. So let's copy this output, for example, connect the update right here, and in this case, we are going to use a different noise. This noise text right here that we can see right now how to create because it creates a very different feeling, as you can see. Basically, back to material maker. We want to begin with a noise, sharp noise. Increase its sharpness, its definition to zero at eight more or less and scale it up on the X and on Y to a value of ten. Now how many times we want this to fall, let's increase it to one. As you can see, we get a very distinct noise texture already. We can leave it durations at four, play with persistence maybe zero at seven, and that should get us really close to what we need. With a colorized node now we can control those dark values. We can increase them. And if we want to add even more noise to these, we can use a dirt node. Is literally dirt. We just need to increase its scale to three. And we can put these two together literally with a math note, but we want to divide A with B. And we get this very bright texture. Try to imagine the opposite of this. As a matter of fact, you don't need to imagine because if you use the invert note, you will get exactly that, and it looks like tin foil, basically. That's what we were aiming for, kind of. You can export up there, rename it. Now you can even switch between two gradients if you want this to be less or more visible. We can decrease the intensity of the color as well as the speed. And we didn't even touch the size, only the gradient and the noise taxa, and we get a totally different feeling in terms of the rings, which is pretty cool. And that's it for this lesson. On our next lesson, we are going to add a few more details and see how to create the heat distortion shadow. 3. Heat Distortion Shader, Orbital Particles and Polishments: This lesson, let's see how to polish the black hole even further. Now, we could use the same mesh for this detail, but this one is another ring, and it's a bit more allow. We're going to use the same process, pretty much, a clean sin pressift to create a circle. Make sure you select vertices and extrude with E, and scale it one dot seven. Then add three edge loops with control R, scroll up to increase the edge loop count. Once again, the polycunt is going to be a bit I depending on the platform. Maybe don't subdivide the mesh that much. Then we can go ahead and for the UVs, use again light map pack. We get all of these squares, choose an active quad, select faces, and then press U again for the UV map options and select follow active quad. Press Okay, and this is what we get. Once again, we need to fit this inside the UV space. Make sure the outer ring is at the bottom on the UV side, as you can see, and the inner ring is at the top, because that's motion we are going to follow with the shade as we have seen previously, when scrolling the texter, the UVs influence that. Select everything. We have constrained to bounce enable, by the way, on the UV dropdown Nu up there. And in this case, we need to redistribute a little bit the edge loops. It will influence how the scroll happens, by the way, and we are going to push the edges to their extremity, the bottom one, the left one, and then the right one. By squeezing the inner loop, when binding the texture, it will happen slower at the center of our mesh, basically. That's it. We have created another ring in a little bit more practice with modeling. Make sure to apply scale by pressing Control A, so it goes exactly with this size to Unity. And with this mesh selector, let's go to Export as an FBX, turn selected objects and export. All right, so let's add a couple more details to the sphere itself. For example, we can duplicate the Sphere VFX Graph. We want to add some flavor, some texture, rename it Sphere Texture. Let's just disable the single burst of the other two VFX graphs so we can focus on this one. And now, since we have both of the shaders done, cool thing is, we can go down here and switch the Shader from the frenel to the Scroll Shader and use the ring mesh we created. And if you move around on the scene, it's always facing the same direction, and on this case, it's useful if it's facing the camera continuously. So whenever we want to orient this, we use an orient block and in this case, facing camera. Way, it always faces the viewer. Now, in terms of details, we can play with these settings. For example, the noise bit, it probably looks best if it spins in the opposite direction and slower. Now we can play with color. Our black hole is a little bit stylized, so maybe an orange to match the rest will look really nice. Let's just enable the sphere, the black hole itself. Maybe we can decrease a little bit its size, so it's visible only on the edge of the sphere. Yeah, that's nice. As a matter of fact, we can add even more flavor, for example, by duplicating this output and switching the textures. Here we go. Adjust the tiling in the Y axis. Spin even slower on the eggs, and that's it. We have added even more flavor to this blackle. And yeah, it looks really cool. Now, one of the most intriguing parts is the Heat Distortion itself, right? So let's focus on that. You can once again duplicate the sphere, Control C, Control V, and rename this for the Heat Distortion. It's trickier, but it's doable. One of the things we must change is the output. We don't need an output Shader Graph mesh. We instead want an output Shader Graph quad, which by default, uses a quad as its own mesh. A quad, it's basically a plane with two triangles. So let's focus on creating the heat wave distortion shader that fits really well with this black create a new Shader Graph, URP, unleadRnam it to Heat Distortion Shader. Double click to open it up, and by default, we want this surface type to be transparent and to be visible from both sides of the mesh of the quad in this case. Render face both and make sure you enable support VFX Graph so it works with VFX Graph. Once you do it, you can save it and you can add it directly to VFX Graph so we can see what's happening. Cubicle. We have this little square, which for now, it isn't much. Now, back in our Shader, a Heat Distortion wave works by getting the scene color, which enables us to access the camera color buffer. Basically almost what the camera sees. And if you save it, you will notice that it becomes invisible. But if you enable selection outline in the Gizmus, you can see it's there. Let's maybe increase its size to two with a set size node. So imagine as if on that square, we have the camera buffer, what the camera sees. And now, if we distort it and since it is transparent, it will create that heat wave feeling. So we need a UV node to map correctly the square itself or any other mesh and some kind of noise, in this case, we can use one of the procedural noises that comes with Chelegraph even though it's heavier, watch out. If you want, you can use a simple texture and give it a seamless noise texture, so it's lightweight. And we can add these two together and then connect to the scene color. And if we save this, we immediately see the distortion happening quite a lot because we are essentially using what the camera sees and spitting that to that square and then distorting it. We can use a power node to control the contrast of the simple noise. As you can see, this will influence the aspect of the distortion as well. It will be useful. And if we replace this UV node by screen position, we get a much better result because it's mapping through the view, as you can see if you press S. It's already pretty cool. Now, there's several ways to control the distortion amount. In this case, let's remap the value that goes to the power. Instead of being minus one, the in, it's going to be positive. It's going to be one. And for this input mean and maximum, we want to create a vector two where we control the Y axis with a distortion amount float that we can create up here, it's going to be a slide 0-1, and we connect it to Y axis. This way, it's possible to control the distortion amount through here, as you can see. In our case, we don't want a square, right? So we can actually mask out whatever we don't want and show only what we want if we sample a texture and use a proper text. So let's do it. Let's also create a text to the parameter called mask text. For this texture right here, we want something like this, a circle which fades on its edges. It's very easy to create. If we go back to material maker, shape node can be set to circle. Once you select it, it's very close to what we need already. We can, for example, make it a little bit smaller like 07 and increase its fatness to 02. And here's a letric if you don't want this to be a blob of light, you can use a Gaussian blur, set it to 512 or 1024, and that's pretty much it. Select the last node and export this texture. It's going to work as a mask. And basically, we multiply the simple noise and replace the connection to the power node. This way, whatever is black is not distorted. If we save it, that's what we get. The circle distorted at the center. Awesome. That's exactly what we need. This doesn't end here. If we distort the simple noise with one of my favorite nodes, the 12 node, you will get a very satisfying end result. As a matter of fact, let's create a rotation amount with a default value of one and a 12 strength. The default value of 25. The 12 strength goes to the strength, and before seeing the rotation, let's connect these to the UV of the noise. Save it, and here we go. Look how awesome that is. Cool, right? Now, what if we animated this? That's where the rotation amount comes in handy. If we multiply it with the time node and then add a rotate node so we can and you guess rotate it properly. This rotate is special because it rotates the UVs. So it's connect to the UV of the 12. And if we save this, here we go. Look how awesome that is. It's rotating and it's distorting. And we can increase its size. In this case, we already know it's to 12, so it fits with the rest and we are going to rotate it horizontally with a set angle 90 degrees on the X and then enable the other VFX graphs look how awesome that is yeah, smaller volume of the distortion amount will look better. We can turn on the rings and the Sphere Texture. And as you can see, nothing really happens. It's like they are hidden or they went away. Basically, the distortion is rending on top of the rings. And if we select this output particle of distortion on the inspector, we have the sorting priority. You can say it's below by putting it to minus one. And here we go. It's rendered below now, and that looks much better. Now, let's duplicate this one so we can also distort around the black hole, the sphere itself, I mean. I have hidden the other VFX graphs, but in this case, we can remove the set angle. We want it to be vertical, but much smaller, like four, so it fits around the sphere, basically. It's a nice detail, and we can even make sure it faces always the camera like we did previously for the Sphere Texture around the black hole and maybe can spin a little bit slower. Yeah, you can test those values. What's important is that you say the sorting priority is rendered below everything else, something like minus two. If we re enable everything, so we can see how it is with all of its elements, here we go, This is what we get. It looks awesome. Pretty cool, right? You can obviously tweak a lot of these values, a lot of this stuff, but that's looking really nice. Another detail we can work on is some orbiting particles. Let's begin by duplicating the sphere VFX Graph, rename it to orbital particles. And instead of a burst, we want a constant spun rate, so it continuously spas particles. Value of, well, let's say 100, for example, which means if we have increased the rate, we need to increase the capacity of this VFX Graph right here on initialized particles, so it can handle much more particles. It also becomes a tiny bit heavier. Be careful with this number and capacity. And instead of living forever, we want to control their lifetime. Let's use set lifetime. And if we set this module, the spector we can say random is uniform. A value 1-3 will do just fine. And in this case, instead of using Shader Graph on the output, we want to use the basic output particle, quad, and let this one. We don't see anything because set size is not existent, so let's use a set size node, which could be random as well, by the way. And as you can see, the particle is not facing the camera. Once again, let's use an orient module, so it faces the camera. Here we go. And you may not see it, but it's spowning. A lot of particles, they are just overlapped. So let's make sure they orbit around our black hole. On the initialized particle, you can control their initial position. There's a lot of stuff here, but if we begin by searching set position, you will see that there's a set position, shape sphere. That's exactly the one we need. You can select the shape, the position mode, if it's surface or volume, the spun mode, et cetera, et cetera. In our case, we want to control the sphere. It's radius. We can increase to two to five, and as you can see, we have all the particles spounding now we can see all of but they are static. They don't move around. That's something we can do on update particle. The way we do it is by setting the position again, but very importantly, we are going to get the previous position, the one we have set on the position shape on the sphere. First, let's connect here the rotate TD module that will allow us to rotate each particle, and we have an input for the position, as you can that's where we can search get position. We are going to get position, the current position before it reaches the update particle. And as you can see now, they go back to the sphere position. They are not yet rotating. That's something we can control on the angle. We can connect a random float here, so they rotate randomly. They are going crazy. They spin a lot because the value is way too high. But if you use something small like 0003 for the maximum, this is what we get. A very soft motion looking good. So as I was saying, the set size can be random. They are way too big, so let's try smaller values, something between zero.01 and zero at one. Yeah. Okay, that should do it. It's looking good. It's already very interesting. But since it is a black hole, it would be very nice to see them go towards the center, right? So that's another motion. We can add something that we can update the particle. And there's a very simple module here, which is the tractor shape sphere. It bounds the particles on the other sphere that we have set on the initialized particle. Attractor will attract them with a certain velocty and with a certain force to another sphere. That sphere currently has a radius is a little bit too high. Let's try something like 03. Very interesting result. We can control the attraction force so they aren't attracted so abruptly to five and we can say the attraction speed is random. This is where you will notice bigger difference. As you can see, 0-1, it creates already a very interesting motion, softer and nicer. If you quickly want to get rid of the sphere shape itself, you could do a set position again. And give it an empty vector tree. But go get the position they previously had. And pass only the X and Z axis. It gets flattened the sphere. That's one way to do it. Or you can go up there to the set position shape sphere, and in there, you can control the scale of the sphere easily and shrink it on the y axis, basically. But with this method right here, you probably get to better understand how set position works and how the stack works and how you can manipulate values. We can still give it a random value on the y axis. So it isn't a flat disc, so it has a little bit of thickness between minus 01 and zero dot one, for example. A small detail we can take care of is the particles disappear out of nowhere. And if you use a size over life, we can set their composition to multiply so it doesn't erase the previous set size values and use a curve similar to this one where they go from big to small. This way, they shrink when they get towards the center of the black hole, right? It's a sliced black hole, and it's very useful to show you all of these tricks we have seen so far, right? Can do the same with color. They can fade out at the end. And even at the beginning, we can use this multiply color over life, and we get this very satisfying feeling where particles are pushed towards the center. They are sucked towards the black hole. Now, if you zoom out, you may notice this artifactor around these circles. No worries about that. It's not the UVs of your mesh or anything else or your shaders. It's just the text or the gradients. If we select them, we need to say that the wrap mode instead of repeat is set to clamp, then press apply and voila. This way, tin knows that those texts aren't supposed to repeat. They are simply clamped. Now, one of the last things we can show, and it's pretty cool because since it's Vfx graph, you can expose all of these values here. So you can later on create variations or you can give this effect to someone and they can create variations only on the inspector without opening VFX Graph. So let me show you a small example that you can do as you wish. On the sphere, let's say you want to control the color without opening VFX Graph. You can basically go to properties and press T plus sign, and you have all of these properties that you can expose. There are a bunch and you can expose pretty much anything you want. And you can have everything organized, for example, by creating a category here and call it Sphere. And inside of this all of the properties of the sphere itself. For example, on the plus sign, let's add a color, and we can call it the Sphere color. You can expand this and, for example, copy the same values we have on our VFX Graph, which is 906-30-1208 lot eight, round it up to 29, close it and drag and drop it right here and connect to the color property. We left Alpha at zero transparency by mistake, but you can set it to one, and if you save it, here we go. If you select VFX Graph, on the inspector now you can control color as you wish and as you go, which is pretty cool and you can create awesome variations with this. Size, you could control it as well. It's a float, by the way. But, for example, you want to change the text of something without opening VFX Graph, you can do that as well. Let's first create a group, for example, for the rings, and inside it, create a textu two D, and we can call it noise texture 01, or you can call it Ring text 01, for example. Basically, we can assign the same noise that we have on our first output of the ring. There is one right here. And then drag and drop it and connect it to the noise texter. Here we go. And you can do this to a bunch of settings and end up with a lot of properties for people to customize or for you to create variations. So that's it. Now you know how to create the black hole with Unity VFX Graph and Shader Graph. We have seen how to use Blender and Material Maker. It came out great. I hope you have enjoyed it. We have plenty more of these lessons and courses where we create visual effects for games. So feel free to check my profile. So that's it, and I hope to see you on the next one.