Unity VFX Graph - Waterfall Effect

1. Introduction: On these lessons, let's see how to create a beautiful waterfall in unity. Hi, I'm Gabriel Le gia, founder of the Gabriel Llega Prod YouTube Channel, where we teach Visual Effects games in Unity in real and in 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 Box Studios, where we are developing Rabbits tale. Today, let's create a beautiful waterfall in unit. With UIT VffetGrap and ShadoGraph, we're also going to use Blender. We will show you how to build everything from scratch. So without further ado, let's get on with it. 2. Scene Overview, Waterfall Meshes, Shaders and Textures Creation: Let's have a quick overview of this scene because I know some of you are interested. We basically have this lake which contains water shader from this through right here, from way back, it's very straightforward. And then we have some trees, the sand itself, and the rocks, right? And this is where we are going to place our waterfall right here in the middle. As for the sky itself, we have the sky material set to a cube map, and the texter itself is also set to cube on the texter shape. That's how we have this beautiful sky around us. So as you can see, we don't have any three D model. We are going to show you how to model it right now in blender. If you don't have blender around, make sure to get it. It's very straightforward, and we are going to guide you through the best we can. Basically, we want an empty scene. So if you have anything, delete it. And then with Shift A, you want to begin with a plane. This is going to be our waterfall. Let's rotate it with R on the X 90 degrees and then press Enter and scale it. Only on the Z axis, you can press Z, a value of more or less six. And then let's enter in edit mode so we can edit this mesh with tab. And with Control R, we are going to add three vertical cuts. You can scroll up and down to add more edge loops or less edge loops, and we can use, again, Control R to add a few edge loops horizontally. Going to shape this grid to look like a waterfall so it fits our scenario. We want now to press one pad so you can go to the front orthographic view, and we want this to be larger at the bottom. So we are going to select this bottom edge loop and scale it up, as you can see, and we are going to go through each edge loop and scale it up a little bit. We want a shape similar to this one, as you can see. Then the idea is to select the edge loops on the extremities and push them with G only on the y axis. If we select and push the edge loop on the center outwards, we get this shape, so it has a little bit more volume. And if we go to the side view now we can make sure it has an inclination. It has a little bit of slope exactly like this. We can do a shade smooth. If you go to object, you can find it here. And in UV editing, we are just going to make sure that this is the order of the UVs. As you can see, from the top to the bottom, we see both things being selected in the same order. For the next step, we can increase the polycunt easily by using a modifier in this case, subdivision modifier. We don't need to increase that much and be careful because this will increase the poly count, something like this, and then press Apply. Here we go. This is a good waterfall that we can use for our scenario. Let's push this up just because we want to make sure that the origin is at the bottom. If you go to object, we can do it right here. Exactly. So it scales from the bottom. I made a few more adjustments, nothing special. I just straighten this. So it looks like it comes from a river. But what's really important is that with Control A, we press Apply scale, and that's it. Let's rename this to Waterfall mesh 01. And if we go to file in Export, we can choose FBX. Use the same name. Make sure selected objects is turned on, so we export only the waterfall and export it to your project, basically. Once we are in unity, this is the mesh we have. We can set the scale factor to 100 and then press Apply, so it matches unity units. So even though we could use the meshes directly with the shaders, it's much easier to create a VFX graph so we can control the parameters in an easy way. So right click VFX graph, let's begin with the minimal system. Call this one Vx graph score Waterfall. Double click to open it up. And here we go. First things first, let's switch the bounds mode to manual so we can say it's 100 on the X, Y, and Z. This is to make sure it's visible, even though the camera is not looking directly at the waterfall. Rename it Waterfall. We need to spawn something, right? So up here, let's use a single burst. Particle. We don't need to use lifetime. It's going to live forever, and the output, in this case, we need to output a mesh. So let's remove and replace by shader graph mesh exactly because we are going to create a shade to mimic a waterfall. And then we can assign the waterfall mesh we just created, here we go, and add set size to control its size. Let's at it one. I'm going to dock the window around here and leave the scene on the left so we can see what's happening and dragon drop the VFX graph to the scene and then position the Vfx graph on the waterfall location. We could directly rotate the Vfx graph or we can use a set angle and rotate it 180 degrees. Here we go. Now that we have our waterfall in place, let's create a shader so we can create the water, right? Right, click Create shader graph URP. It can be unlit so it isn't affected by the lights and rename it to Waterfall Shader. Double click to open it up and here we go. On the graph inspector, enable support VFX graph. You can also disable already cast shadows unless you want to cast shadows, of course. And the first node we can use is one of the noisiest texts that comes nutty and Voronoi. It's a little bit heavier, by the way, compare it to use the external texter, but this will allow us to animate it and you will see how. Now connect it to the base color, save it so we can apply this to our Vfx graph. Now we can see in real time what's happening more or less. So as you can see, we have this angle of set. Angle of set is really amazing. Cell density controls the scale, right. These are two values that are extremely useful. Let's create a float. Let's expose these values. First one, we can call it the Voronoi scale with default value of, let's say, 12 and connect it to the cell density. The second perempt is actually a vector two for the ripple speed, so we can ban this Varanoi. Ripple speed with a default value of zero at five on the y axis. The way it works is by dragging this, multiplying with the then you could use Talgan offset node or you can use a UV node and add it to what we already have and connect these to the UVs. And here we go. It's spanning already. Now, the first parameter is the Voronoi speed for our angle of set. The default value of three, you can drag it here and then multiply it with the time as well, so it's animated over time, and connect to the angle of set. Let's save it. And here we go, it's banning and the angle of set it's working. Still not quite water. What we can do is a way to dissolve this Varanoi. Let's create a power node, replace the connection to the base. And now let's create a float and call it the ipulsamount. With the default value of three dot three, for example, connect it right here. If you save it, as you can see, it's beginning to look like ripples or foam. Cool. And if we were to tint this, the dark values would be too intense because this is way too dark. So let's connect this to a map. On the map, we have the in values, the values that enter. We are going to leave them at zero and one, then we are going to remap the zeros to be zero t one to put it simply. Zero represents dark values, so this becomes a little bit more gray. Save it. Here we go. Now, since it's a waterfall, we want the bottom to have more foam. You could use an external texture or you can come up here to the UV, split it. If you use the green channel, connect to one minus to invert that grading. We get this output, which means now if we connect this to a power node, we can control the graded intensity. Let's create a float for that. Call it, for example, bottom strength. We could leave it completely white or we can mix it with the noise. Again, you could use an external texta for the noise, but to make things easier, you can create a simple noise with a scale of 20 and multiply it with the power. Here we go. That's exactly the kind of gradient we want. Once again, we can remap this. By doing so we can control how intense the white values are, which is the Y parameter on the output. In other words, you can connect a vector two here, create another parameter, another float for bottom brightness, how bright we want the bottom to be. We connect to vector two, and now we have that possibility, it may seem very complex, but it is quite straight as you can see. And now all we need is to add this gradient to what we already have and then replace the connection to the base color. And if we save, here we go. It's really bright at the bottom, as you can see. It's beginning to look pretty cool, and I think it will look even better when we add color. So let's create a color property, set the mode to HDR so we can control its intensity and the default color to white, drag and drop the color and simply multiply this and connect to the base. Save it. Let's go back to VFX graph, and in here, we can choose a bluish color, one that looks closer to the lake, color intensity to one dot five, one dot eight. Here we go looking better. And now we can begin working on the ripples of the lake. Let's copy and paste. With Control C and Control V waterfall this system, call it ripples. And in this case, we want a constant spa rate of only one. You can then adjust it if you want more or less ripples, and we want a lifetime because we want this to continuously spa 2-4. And at this point, we need a new mesh. It's a very straightforward one. If you go back to blender, which if A, you want to begin with a circle. If you press tab, you can enter an edit mode and then press E to extrude and Z, so we lock it on the Z axis with a value of one, press Enter, and then scale it down more or less zero or 25. Then we G, lock it in the Z and push it a value of minus one, so it's flat, as you can see. You can make the hole a little bit smaller. Now, let's create the UVs. Like everything, press U, Light map pack and now select one of these faces and select follow active quad. We get this stretched rectangle that we need to fit inside this UV square. So let's scale it down with S and then go to UV up there and turn on constrate to image bounds and scale it as much as you can. Basically, make sure the edges are touching the extremities. Now let's subdivide this mesh with Control R. Be careful because we are going to add a few more faces. The polycot is going to increase, another one more or less around here and another one around here and a smaller one closer to the hole. Here we go. And all of these edge loops are meant to make the mesh smoother, and it will influence how the texture pans through this mesh because of the UVs. And you will see all of it in a moment. Let's just rename it to ripples mesh and then export it indeed, export as an FBX directly to your project. Now back to Unity, you can assign the mesh to the ripples output here we go. We probably won't see anything because we need to make a few adjustments. For example, we need to rotate it 90 degrees on the X and only on the X and increase its size to eight. Oh, and probably we don't see it because it's below the lake. So let's use a set position and push the value of one on the Y axis. Here we go. We are beginning to see something. As you can see, we're still using the waterfall shader, which doesn't quite work for these ripples. So let's create a new lead shader graph and call it the scroll shade. First things first, let's enable support VFX graph, and set the surface type to transparent and the blending mode to additive. Just disable cast shadows, by the way. It will look weird if it cast shadows. Let's save the shader, assign it right here so we can see what's going on as we edit the shader. Yeah, it's looking weird because we don't have anything on this shade. First thing is text D. You can call it main text, and for now assign it to ripples texter. We will show you in just a moment how to create one. And then we need to sample this text with the sample textu two D. And since it's a scroll shader, let's create a vector two for the scroll speed. It can have a default value of 03 on the y axis, for example. Let's drag it down here. And if we want this to automatically move, we use the time node that we multiply with a vector two, and we could use a tiling and offset node right here or with a UV up there, add this to the UVs and connect to this UV of the Sepal text to D. And lastly, a color will be super useful. Let's create one. Let's say it's an HDR mode so we can control its intensity. With a default value of white, alpha at 100, drag it around here, multiply it with the main texture. Connect it right here. We need to take care of the Alpha, which is a transparency. It's very simple. We split these vector four. As you can see, there's out and then a four, which means it's a vector four. If we split it, we have access to the Alpha value. We can connect it right here, and that's it. So this is what we get at this point. I know you are missing the text, so let's take care of that. For this texter, we actually find it easier to use Krita or Photoshop. The idea is that we create a new document, 2048 by 2048. It's more than enough. Let's just paint the background to black with the bucket two and then create a new layer. And on that new layer, let's select the brush too. And up here, we want to choose this brush right here. And if you click here, we can edit the brush. It's the brush editor. We want to make sure that it's faded like this, as you can see, you can control how intense you want this brush to be. Make sure you are paging with white and with a brush size of something 100-150 pixels. That should do just fine. Now, the idea is to use ShiftW to enter wrap mode so we can create a seamless texture. It's extremely useful. We want to paint diagonally a wave from the top to the bottom. And we can create another ripple, another wave in the middle. You could decrease the size, for example, but let's go ahead and create a simpler wave like this. Connect down here, and that's disabled rap mode by pressing Shift W. One tiny final trick we can do is duplicate this layer. We are going to add a glow. We can enter in rap mode again. Then go to filter blur, select the Goshen blur and increase the horizontal radius. You can control how much glow you want. Here we go. Looking very good, very soft, very nice. And that's it. We have our repulse texture. Let's hide the black background and export as a PNG. You can export it directly to your project. Now back tinty, make sure you assign it to the main text. Save it. If you don't see it, you can go back to VFX graph and assign it right there, and you should have something similar now, there's another tiny problem. As you can see, we have those art edges when it reaches the end of the mesh. They are extremely visible and extremely annoying. Fortunately, there's a very easy fix for this where we are going to mask it out. How do we do so? Well, we use another text or a text to the called the mask text and we are going to assign it a gradients. We will show in a moment how to do it. For now, drag and drop it, simple this texture. And the way this works is by multiplying these with the main text. And now it will mask the main text, replace the connection, save it. And as for the texture, it's actually very straightforward and an empty new layer. With the same brush we used before, we are going to edit this brush. We are going to change the mask type to Gaussian and the shape to square. You can control how much of that fate we want 0.5 is enough. We get this huge square, and you can click one or two times to make the square more intense. And then with Control T, you want to expand this to fit the ball area. That's it. You have created this gradient, very straightforward. Let's save it again as a PNG. Back in unity, you can assign it right there. And if you save, you will notice now that the ripples are smooth around the edges. The shedder we are showing you is quite powerful and complex. Another thing we can add is distortion to the main texture. Because as you can see, the pattern is quite predictable. We want to break it. We are going to use a AP. A LAP will interpolate between A and B, based on the T value that we go 0-1, connected to the UV and the A option is what we already have. Now, as for the B, we want this to be completely distorted by Vernoi texto. Let's just first add a float for distortion amount with a default value of zero dot one and connect to the set T option. So let's already create a Voronoi speed vector two with a default value of zero at four. We can multiply this with the time we already have here and go search for the Voronoi that is already built in onto the graph. I recommend using external Voronoi text. It's much more lightweight, by the way. But for the sake of this tutorial, let's move on. We need to also add the UVs right here. Connect to the Varoni can also adjust these values. For example, a float for a Varoni scale. We a default value of ten, connect to the cell density, and then we can connect this to the B option of the larp. We made things a little bit more complex. You don't actually need it, but feel free to follow along. But once you save it, you will notice two things. The edge is gone. If you have saved before, you already notice it, and this is completely distorted, and we have the distortion amount that controls this type of effect, as well as the Voronoi spit, so it wobbles like crazy and Voronoi scale as well. Feel free to play along with these values or copy our values. What we can do is fade out these ripples at the end and animate only the Alpha. The way we do it is with a simple curve. Where we connect age over lifetime. Basically the lifetime of this particle itself. And on the curve, we can use something like this where it fades in and then it fades out. Fades in quicker, fades out slower. Open the color, connect it to the Alpha, and here we go. I fades at end, very smooth. But it's not quite there yet. We can improve the shader itself. It's a complex shader like I said in the beginning. Connect this to a larp where the A option is the ripples as they are, and we multiply the main text with Varna connect to the B option, and now all we need is a float for the dissolve amount, with a default value of zero dot four more or less. Connect to the T option. Here we go. And connect this to a power node, replace the connection. The power node helps dissolve this even further. We can create a new float, call it the dissolve power. The default value of five Here we go. We get this sharp Voronoi. Let's save it. We get these beautiful ripples, as you can see, but we can do even more. If the set angle is random, let's make sure it's 90 on the X, but it can be random 0-360 on the y axis. And this is the type of effect we get very beautiful ripples, as you can see. Feel free to adjust the dissolve power and the dissolve amount as well. You have a very powerful shader right here, and all we need is to increase, maybe a little bit more the rate, so we can get more ripples, as you can see. And now it looks much better. And that's the wallpoint of this shade. Let's just improve the waterfall so we can get really white foam. Don't mind these three nodes up here. We were just testing vertex of set. Feel free to copy it if you want, but we don't actually need it in the end. On the shader, let's create a float called erosion. It's going to be very useful. We want this to be a slider 0-1. We can dragon drop it and the idea is to connect this to a one minus node. So the ones become zeros and the zeros become one. If you go to the graph inspector on the graph settings, let's enable Alpha clipping. Alpha clipping will allow us to erode the mesh, to clip the mesh based on a text. Now, all we need is that text. We already have it. Before the call, we can use this. We are going to invert it so it becomes exactly like this with a one minus and connect to the Alpha eclipt threshold. This way, if we copy and paste this waterfall, call it foam. Down here, we can actually push it a little bit forward on the Z axis. So it's in front of the original waterfall. Make it white with intensity of 22, two. And if we begin eroding this, what we are left with is with the brightest parts of the waterfall, which become foam. You can also adjust the bottom brightness. That's the beauty of it, the bottom strength and the other parameters we have added. And you can customize your foam just this way. Thanks to erosion, we only get that white part. Now, let's add even more ripples, white ones on the ground. Let's copy the ripples, the effects graph, Controls control V. And for these ones, we can actually use the waterfall shader so you can see how different the result can be by changing the shader. Let's say the constant span rate is only one and it leaves half of the lifetime. It has one and two. It's also going to be smaller. Four, I should do it, give it a try. As for the scale of the var we can leave it as it is, but the speed, let's increase it to three, and let's increase the ripples amount to two dot five to dot seven, as well as the bottom strength and the bottom brightness. Let's begin eroding this and you will notice it. We don't need to fade out this. Matter of fact, we can use this color white eight on the RGB, can increase the speed a little bit. You can play a bit with these values. You can turn off random rotation for the angle, and we can say it's actually 180 on the Y axis. I think it was facing the wrong direction. Now it looks much better. Oh, that's really cool. We get these bright, beautiful ripples on the ground, which are totally different from the others, but they match perfectly with each other in this style. But, you get the general idea. And that's it for this lesson. On our next lesson, we are going to see how to add a few more details like some splashes, some water drops, some ripples on the water drops. Basically, we are going to polish these even further. 3. Splashes, LiquidSplash texture and Drops: So on this lesson, let's see how to polish this waterfall even further and make it even more beautiful. So let's work on adding splashes and a few more details. So this waterfall becomes even more alive. We can actually begin by creating a template, a simple burst for the splash. Let's select this spun block and say the loop duration is infinite, so it keeps on looping indefinitely. And instead of a burst, we want a constant spun rate of around 200 particles. It's going to be a lot. It's VFc graph and it can handle. It also means we need to increase the capacity and bounce mode, so it's visible, whatever the camera is, let's increase it to 100 in X, Y, and Z. Don't worry we have also disabled the ripples, so we can focus only on the splashes. Now, the set position shape is quite useful here. Let's actually set it to a cone. Hate mode can be base. We are basically going to cut it in half the cone and point it towards the lake only. So there's no particles going behind the wall. What really matters that we manipulate the shape, the scale of the cone. We want it to be tree on the X and on the Z, so it becomes flat on the Y axis. Going to push it up on the Y axis, the position, a value of 05 because it's below the leg. As you can see, we see some particles, which is great. Now we can control the arc. For example, 314, it's half of the cone. And if you push it in front, as you can see, we have only half of the cone spawning particles, which is the point. You can clearly see we need to rotate it 90 degrees on the Y axis, so it faces only the lake. Now let's say the Z position is more or less one not eight. They are going inwards, but we will take care of that in a moment. The top radius of the cone can be one. Let's increase the minimum and the maximum speed on the velocity two and four. In this case, we don't want that much of gravity. We can decrease to minus five. I know it sounds weird, but it will work really well. You will see in a moment. You can remove the linear drag. We are trying to get a really nice splash motion. Now down here, you can see the color is really bright with a set color, four on the X Y and Z, and we can randomize the size between zero at five and one. On the gradient, we want to use this only to fade out the particle. It's bright in the beginning, it's white. Let's actually remove this key. It's visible in the beginning, and then we fade it out at the end, like this. It's great. It's very basic particles going on right now. If you put everything together, as you can see, it actually really improves the waterfall a lot already. We can improve it even further if we copy and paste this system and use it for a liquid splash. Basically, we are going to mimic liquid by using a texter. This text right here. This text took quite some time to get it right. We can show you the process to get a similar one. This way, you also learn how to create texts by hand. Going to try our best to guide you. It's not an easy process, but it can be very rewarding, knowing how to create texts by hand. We are going to do it in Krita. You can also follow along with Photoshop. So basically, you want a black background and an empty layer. And from there, we're going to use this brush right here, which has a solid edge, increase the radius to about 250, 350, make sure you are painting with white, and create a shape similar to this one. This is going to be our base. From here, we want to select this brushwire here, which has a soft edge and use the rates to increase a little bit the size, maybe decrease the opacity so it isn't so strong. And raise the inside like this. Then we want to decrease the opacity and increase the radius a tiny bit and remove a little bit more here and there. So we can create these holes, basically. Basically, the idea is to use the Blender smear brush, this brushwre here. He did this brush so we can say the fade is zero, so it becomes smooth, increase the radius. And remember that the opacity controls the strength of this brush size. And basically, we are going to push from the inside to the outside, and we are going to soften these hard edges all around too. This is basically a liquidify brush, and the idea is to pass this all around. Also push what's inside outwards. The idea is to mimic a splash. You can push these pointy white ends that we have here even more outside like this. Maybe sometimes push them inside. Basically, with this brush, you can make this look a lot better and smoother. And once you have done that, another trick we usually use is to go back to the solid edge brush, this one, decrease the size, and we are going to highlight this white spots even further here and there, like this. Once you have highlighted a few of these white spots, you can go back to smear tool and blend these in, as you can see. It's basically as if you were putting even more white paint in here, and then you smudge it, right. Yeah. So like I said, this is a process and it takes some time, but in the end, it's quite worth it. You can then also add a few splashes all around, a few strokes here and there, with a solid edge brush. And then, again, with the smear tool, well, smear it all around like this and there you go. You should have something similar to this. Once you have it, you can hide the black background and export as a PNG. We forgot to hide the black background and then go back to Unity. Once you have a signed the texture here, you thebnd mode is additive. And we are starting to see something, but let's make sure it's even bigger, like three and six. That should do it. It's quite big right now, but we are going to fix it in a moment. There's also a lot of particles spawning. Maybe 15 in the spawn rate is enough, and maximum lifetime can be one dot five, for example. They have a weird behavior. That's mostly because of the size of a lifetime down here. Instead of starting big and then shrinking, let's do the opposite. Let's make sure they start small and they grow. And since we are fading them with the color of life, it creates a really cool effect, as you can see, obviously, you could use a special Shader for this, but this is quite good already. Another thing we can make sure is to add random rotation with set angle and make sure it's random in the Z axis 0-360. There you go. Maybe increase a little bit more the intensity. That should do it. Color of lifetime, you can use a curve. If we switch this mod to uniform, we can say it starts fully white, and then it dissolves away, it fades away. It makes quite a difference. Also adjust the cone, make sure it's larger on the top radius, and increase a little bit velocity, three and five because they need to spread a bit more from the base. And as you can see, this is the result we get. Pretty cool, looking very good these splashes. You could apply one of the shades we created here, but it already looks pretty cool. Now moving on, we are going to work on little water droplets that splash all round. Duplicate this slash system, decrease the spond rate to ten, adjust lifetime, so it's 2 seconds. Increase the minimum and the maximum speed to four and eight. As for the gravity, it's going to be bigger, I understand, and we need to make sure they are aligned with velocity so they rotate along the velocity vector because we are going to stretch them. Let's remove the size of life and the color of life and add a set scale, and in here, we can squeeze them on the X to a value of zero to 25. And now, if we want them to collide with a L because collisions in VFX Graph are very limited, we can make it collide with all the environment. Use a collision shape on the update particle and say it's a plane and control how high that plane is. As you can see, if we set it to one, it looks like it's bouncing off of the lake, and we want to make sure they completely die when they touch the lake, so lifetime loss to one. And they stopped spuning probably because they are a bit below the plane and they die immediately. So let's make sure we increase here the position shape, the cone to 15 on the Y axis. Here we go. And now, whenever they collide, we want to spun something else. Trigger event on collide. But in order for the trigger event on collide to work, as you can see, we have a warning. Need to go back to the collision shape, and on the inspector, we have these collision attributes that it's not writing anything at all. We need to make sure you write, for example, on punctual contact only, only when it collides. Now, if we save it, the warning goes away and we can work with that. And what we want from here is the following. We want to first emit the GPU event, and to that GPU event, we can connect another system. For example, let's copy the ripples. It will emit ripples, Control C, Control V, and connect the GPU event right here to the initialized particle. It would be great if it worked out of the box, but we actually just need to make a few adjustments. We have the set position down here. Let's move it up there to disialized particle. Needs to know where to spawn if we select it, we have the source, and we can set the source to be the source itself, which are the drops. Whenever they collide, they emit the location and we can get that location. You can see, we have the ripple. They are huge, and they may live a little bit way too long. Let's decrease the lifetime to zero at five and one, and let's make sure they are smaller. They can be random, actually, between zero at three and one. Here we go. And the cool thing is that we have this shade and, for example, the scale is way off, should be smaller like five. Maybe we can have a little bit more ripples amount, and we can control the erosion to zero at seven, for example. Let's make sure they all have a random rotation. It's 90 on the X and 0-360 on the y axis, this way, it looks a little bit more random. B squint is pound out of nowhere. We can fix that by using a set size over life so they grow. We just need to make sure it's multiply so it doesn't override the previous values and then select this curve right here, and that should do it. We believe these values work well, but feel free to test them, obviously. Can take advantage of this Shader even further by eroding. If we use age of lifetime, which is the age of the particle and connect this to a sample curve, we can use any curve we want. For example, let's select this one and make sure the first key has a value of 04. And then it erodes away, as you can see. That looks much nicer, much more professional. And to conclude the drops are huge, let's decrease their size, and that's it. Feel free to play with it, to tweak values to see where it can go, but that's essentially it. Now you know how to create a beautiful waterfall in Unity with visual effect Graph and Shader Graph. How to create a few texts with Krita, how to model in Blender. We have seen a lot of things, and I hope you have enjoyed it. And we have plenty more of these lessons and courses where create visual effects for games. So feel free to check my profile to find out more about it. So that's it. Thanks for watching, and I hope to see you on the next one.