603 Walking Man H264

all right so for this project we're gonna try and create sort of a wireframe man walking towards the camera infinitely and in this case we're gonna use two external tools the first one is MBA lab now I'm not gonna use this tool itself but I'll import a mesh later which has been generated with this and I just wanted to mention it it's a free blender add on to create human so and I'm really I'll be using that in conjunction with mix AMA where you can upload something so here's a previous one that I created before um it's still in there but basically these two tools are the ones we're gonna be using outside of blender now that's really very basic so let me bring in and show you exactly what I mean I've just got a we are an obj file really it's just a base mesh of a human if you look at the wireframe here it's nothing special a lot I've included it in the in the course file so if you ever want to try this and you don't know where to start you can grab this guy and just follow along if you really wanted to now he's been optimized ever so slightly or yeah if you generate one with mb lab it might have multiple layers in the eyes and such I've taken away some stuff that I didn't need so we just have a very basic human base mesh and what we're gonna be doing is we're gonna be doing some work on this to get sort of a custom shape especially when it comes to topology and it will be moving it onwards to to make tsommo and really the only reasonable we're gonna make use Maximo for is just to get a walking animation out and then back into blender so let's keep it really simple so we don't take too long but I want to show you like the entire process and again this is a really fun exercise and I'm gonna be using lots of types of caching and things and it's good to think about how is this stuff all seems to work together so that said let's dive right in and first thing I'm going to do is actually optimize this mesh a little bit more so on the inside of the head here let me just grab some of this stuff to about there and delete those faces do the same thing for the nostrils here actually let me just select those go quick there we go the same thing on the other side you go and maybe bring it in a little bit more so we only really have the edges of the nostrils we don't really need to see the inside and I'm gonna do something similar for the eyes here where I'm just gonna select only the polygons that are visible from the eye talk about that a little bit later as we get there why I'm doing this this is just good prep work and if you don't do this now after we've baked everything out with the caching and things you can see I only really want what's visible behind the the wall the eyes here or the face rather so do the same thing over on this side just select these parts go this is deselect what we don't need and I'm gonna invert that selection so you have the inside of the eyes and then hit shift L to unselect the the island that's the rest of the person and I know this is all one mesh outside the eyes and just delete those faces as you can see we still have half of the full eyes showing we just don't need the inside for now so umm alright let's get into this shall we so we're gonna we're gonna try and create an interesting wireframe pattern and again we're gonna start with subdividing this guy couple times and mix Amuro has sort of an upper limit of about one hundred two hundred fifty thousand polygons so we need to be smart about how we approach this and again obviously I've done this before so I kind of know but it's a good good exercise in optimizing and playing around as well so let's displace this guy and let me just turn off the wireframe for a second this is sort of what I talked about and one of the other one of the video is where and we just want to displace them a little bit but we're gonna use an underlying text here to kind of influence the way the wireframes look so we can use this sort of as a random seed almost let's just bring this down and you'll see they look a little bit weird but that's okay and like let's actually go back and turn the geometry or the wireframes back on rather and let's start decimating this guy so we collapse them down a little bit first is to get a bit more randomness in the overall shape of the polygons to begin with well they may be down to about 0.5 copy this decimate over and just set it to plainer and really I'm just looking for an interesting pattern so here we go this is already starting to look kind of cool sure if we throw something like a wireframe on here we might start getting some interesting results so let's try that and let me try it off the wireframe here so we can see the result a little bit better and because this is a lot of weird geometry the wireframe is gonna literally explode so just turning off even thickness helps that and in this case I want to do I want to use the I want to make sure that the boundary edges have have geometry as well and I'm gonna use relative thickness as well and I don't really need the underlying geometry like I said we want to create something kind of creative here so let's see what this does we get some interesting geometry in the arms which is a little bit beefier that's okay you can see it's sort of broken up in really cool and funky ways now unfortunately this is 331 thousand faces so we're not going to be able to use this for Maximo but what we can do is just turn this y wireframe offer even throw it out and we can just use this terrible topology and throw that in a mix amo and with a bit of luck it might actually might actually are we Oh wrap that call this 6:04 there we go and let's export this guy and I lost my hat train of thought there for a second oh let's call this dude this event a decimated rather let me retype that real quick there we go want to export materials or anything like that just the selection and just the obj so that exports fairly quick and then let's actually move on to exam oh here now let's upload a character let's select that character file and let's grab the dude decimated obj and this will take a second the the cloud thing here will we'll analyze it and really all of the reason I'm doing this is because I don't you know I don't really have the time to go through a full on character animation with this mesh and this is just a very quick way to put put some mocap on there and the nice thing about these make some more animations is that they actually loop so again I want to try and create a loop out of this just you know because not really not really for any good reason other than that I'm used to creating loops and this again is gonna take a second so it's a little load and I might I might cut this so letting it load for about a minute or so you can see it's imported our mesh so this looks good yeah sometimes you might need to rotate them rotate him to make him face you but in our case it looks like that got brought in perfectly let's go on to the next and now we gotta set a few points here for this to rig so I set one on the chin that one on the wrists set one on the elbows and then knees that around there kind of hard to see but it gives you a preview in just a second and then let's put one on the groin there as well symmetry is fine we just use it set it up because we know this is characterized in a symmetrical T pose and we want the standard skeleton with fingers and everything so that's it next and this is gonna take another minute or two so I'll come back to this once it's done and once the order rigging process is done you'll be presented with a window where you can kind of look around and it looks like he's a Greek pretty decently the hands are okay ish they can be a little weird sometimes but they seem to work decently enough so let's say I hit next and then if you've uploaded a character this before it'll ask you if you want to proceed though I already had something in here from from some other stuff there we go now we can use this guy and all we need to do now is just search for a walking animation and just a standard walking animation should be fine now what I do want to do is have him walk in place and maybe I want to turn the speed down a little bit so let's see if we can overdrive it down as well this will just slow everything down and this doesn't look like the best walk so let's see if we can find something that looks a little bit more natural let's try this one again set them in place and let's just bring the overdrive all the way down because I want it to be sort of slow-motion there we go and if we bring the character armed space out a little bit then I gonna be a bit more of a badass and he's gonna look like he's like he means business but was that done I think this should be be good enough and we're gonna have a camera view that's about there I would say though we want most of it to be all right and you can see this sometimes there's some weirdness in the fingers but again for this for demonstration purposes let's call this alright so download this as an FBX I'm gonna work at 60 frames a second and let's download it with the skinning and everything we don't need keyframe reduction you could put some in there but for this for this example it's fine we've got 62 frames to work with so about a second win of racewalking so that's good to know let's download that and it's going to present you with a download file so again let's throw that in there once it's done oh ma you can do it we go throw that in there and now we can bring that FBX in now leave all the original all the original stuff in the file as well so you can look at it and try it out for yourself the different steps so go back to a scene collection and let's import that FBX what happens now I think what's happening is he's coming in really small so let's undo that and see if we can't fix it in the FBX import itself so if he set the scale to 100 now this looks a bit more like what we had there we go now we can see this is playing now it's playing back fairly slow because there's a lot of skinning and there's a lot of really weird geometry so this is hard for blender to calculate but that's okay because we can we can work around that first thing I want to do is just set up this wireframe again and let this up as even thickness and it's going to turn it off before before I move on because I want to look at my keyframes first so let's have a quick look here where are we I'm line there we go let's grab the armature let's see okay so we actually have more keyframes 25 frames but we got to make sure if you look at hundred twenty-five and one they're actually the same keyframe so let's select all of these duplicate them over the x-axis and push them 124 frames out that way that last keyframe that duplicate keyframe just gets overwritten and we get a nice smooth animation the only thing we need to get rid of is that very last keyframe here because if we go at the start again you'll see it's the exact same so we just need to delete this really keyframes there we go and now frame 248 will be our end frame I'm just gonna loop this twice you could make this animation as long as you wanted but obviously I want to try and keep things somewhat short for this demonstration so with that done this is turning off the armature real quick so we can't see it and now I've got this dude walking now I want the wireframe but you're gonna see as we turn this on our framerate is just gonna be absolutely terrible so what I've want to do is actually set up the wireframe first and then export this so we can do a little bit more with it let me turn off the wireframes here again so we can see what we're doing so let's again set the relative thickness and make sure boundaries are set and then 0.75 now boundary in this case might not be super necessary but yeah that's looking pretty interesting what of what we had before I don't know if they're too thick but can still see the eyes which is nice and we're gonna do something with those later and yeah it looks kind of cool let's let's stick with that for now so I'm just gonna save the file again and this time what I'm gonna do is actually I'm gonna export a point cache so as we did in the other video so I've got my point cache or mat here enabled and the reason I'm using a point cache instead of a lambic it's just it'll work just as well Alembic is gonna export the entire mesh and all the normals and everything but really all we need to have is the vertex positions and a point cache will work well enough for this so let's export that and let's call this walk-up ec2 why up and I need to double check 248 is the last frame so let's set that up in the in the end frame here and the reason I turn off convert to Y up is because we're not sending it to a different application we're bringing it back into blender so we don't need to do that at all let's now export that point cache and this is gonna take a second again unfortunately there's no progress bar for this but I'll uh I'll edit back to when when we can start doing more stuff again and bring it back in Oh that took a few minutes to export and we're a 750 megabyte cache which is quite a bit but it's also sort of you know because we've got three hundred thousand faces it might so us down a tiny bit for this demo purpose but I'm gonna leave it the way it is I still think it looks cool so I kind of want to continue with this guy so what I'm going to do is first I'm gonna duplicate this dude and then I'm going to convert the modifier stack to a mesh and that way we have we just have him set up and we can use the point cache because remember we point cache stuff we want to make sure we're using exactly the same mesh with exactly the same setup so let's grab this and throw that just in the modeling here and now we just have a single mesh and what we can do is bring in the mesh cache modifier set it to point cache and grab that point cache now you'll see it's still not super fast and again it's down to the fact that we have what is it three hundred thousand faces it is fairly slow so unfortunate but it does look kind of cool but this gives you a more realistic representation of what I would be doing in the first place anyway I'm gonna throw a smooth modifier on here maybe a couple of iterations that way we just smooth out the wireframe a little bit and now we get them to an interesting look and we can always play with that a little bit later there we go now we've cashed them out and we can start building a little bit more around this so first thing I want to start doing is actually let's start building a scene and add a camera to this as well so first we got to make a move though so let's do that I'm gonna owe this control doll move and what we could possibly do is just kind of we're gonna have him parented to the move object that's rotated 90 degrees there and now we gotta figure out how far this guy is gonna move so I'm gonna do an educated guess I've worked with some of these caches before so let's start at zero and then move him maybe or frames forward and again I'm doing this at one frame after the last frame just so I'm able to loop stuff let's see we set this to frame dropping do we get an idea of how he moves that looks fairly normal there might be a little bit of sliding going on but that's not the end of the world what's more important is that we now have four units to work with to loop stuff so move this camera up now let's start at the first frame here and move the camera backwards I want to find sort of like an interesting interesting point of view here and what we maybe could do is optimize this mesh a little bit further but we'll talk about that in just a second once we've got our camera set up let's actually parent this camera to the movement controller as well now it moves with us let me bring it down just a little bit and in a bit as well and let's turn on the passport to again looks kind of cool if it's clipping a bit much motive in his face a little bit but that's okay and now we know looking at the camera view really only kind of seeing the we're not even seeing the hands anymore we're only seeing the top of the torso so we could go back to our animation here if we turn that on and let's turn off the dude and let's turn on the armature and the mesh again and I'm just gonna hide this guy for a second and what we could do is if we make another copy and we optimize them actually take away the parts of the mesh that we're not seeing so again make sure that we can see through the mesh grab the parts that we're not using so about there about there and let's delete those faces 100,000 faces so that's gonna export quite a quickly and quite quite a bit quicker rather and you can see already in the animation this is a bit faster as well so let's export this as point cache again and again you could use Alembic for this if you wanted to I'm just using a point cache in this case so let's call it walk optimized make sure everything is still set up from correctly from the last export Bullock's export that again and then again I'll edit to when it's exported so so not only did that export a lot faster it also shaved off about two thirds of our file size which is really nice now I'm just going to delete the walk point cache here because we don't need it anymore we still have that original object in here if we really would need it let me turn off the modeling let me delete this guy and actually return on the modeling again real quick duplicate this guy and see what we're going to do we're going to convert him as we did before and then let's leader the parent move them out and then turn off the modeling and again I will just have to move this guy 90 degrees that's because he was stuck to the armature before and that's kind of the same thing that was happening before and now we can add that cash in again Oh mesh cash point cash and I would do this on a production scene as well if we can get away with it and just to keep things faster and you can see already moving quite a bit faster and it's just gonna be a bit more fun to work with so again I'm going to parent that to the Move controller and now we just got the top of the torso we can work with so let's start building something around this and we know we've got about four metres to fill so I'm gonna have maybe a ground plane and a wall that repeats itself let's just start very basic with the ground plane and chances are we won't really see this except for a further down in the render but we want the ground plane on the wall and I'd be in there anyway so or at least the ground plane to be in there anyway just in case and then we're gonna build a wall and actually let's rotate this on the y-axis so move this up and I'm just snapping every time and move this up quite high because we'll be able to see fairly far down with the camera and this is adding a few of divisions and I'm adding four and four because I know this is a four by four mesh now we could add in some subdivisions here as well even simple so we have a little bit more to work with there we go doesn't have to be that crazy but yeah so I want to mirror this over as well whereas my mirror modifier and there we go let's mirror that on the x-axis and we could always grab this and push it out a little bit if we want to which I think I might in this case and let's move this over as well so now we've got a little group that we can duplicate so we're gonna do the same thing we did with the v-j tunnel and call this instance top loop double zero zero zero and throw these two in here and let's give these names as well so this is mesh doll lore and this is mesh thought walls what I want to do for the wall now is add in displace and again you can at this point see how much you say really get out of a displace modifier I use it all the time for everything and let's use a Voronoi again for this and maybe a bit more an interesting structure there we go something like that would work maybe just a regular foreign oil although I kind of like the way this looks as well and to actually get this to loop properly which we'll set up now oh and let's duplicate this a couple times we don't need it that many times for the camera actually so let's move this one up and duplicate it and do that just a few times there we go now the repetition will be fairly visible because we've only got a very short span here again I've opted to do only a few seconds just to keep the video a bit shorter and generally what I would do is loop this entire animation maybe another time so I've got three or four hundred frames and we've actually got something to work with but in this case this should be fine for demo purposes let's grab our original ball and now what I want to do is grab these two outer edges there we go and just extrude these out and scale these up on the y-axis and now when we go back in and we look at these sort of fit together and you won't really notice that there are that they're being repeated quite as much and then the other thing I want to do is I want to optimize these a little bit more so go in here grab a planner decimate maybe even a collapse try that first see what kind of interesting geometry that we get now let's add on some wireframe onto here as well are not replace original and even thickness I know we've got something bit more pattern II we might have to bring this wall up a little bit look at the top row of polygons here duplicate that up and then do that repeat that a couple of times select everything at em and then hit by distance so we can merge those there we go and I was excited start lighting this we'll be able to hide the background a little bit with some fog and that kind of thing so let's get into that okay split my view here I can see what I'm doing let's set this to rendered and let's go back in start lighting this cool guy so this is one of those cases where contact shadows might actually work out quite well with an area light so if we just go into the light here and bring it up a little bit right but you turn on contact shadows you'll immediately see the difference of this gift so this is one of those cases where you definitely want to start using those this not only does it make our scene a lot more Moody and a lot more cool let me turn off the repetitions here as well repetition go throw in all those loops just turn them off for a second again as you can see just by turning on the contact shadows it just makes a major difference in the definition of the scene now let's look at this dude as well let's see what happens if we shared and flat looks a little bit more a little bit more technical and the other thing we might want to do is actually let me keep the camera view here let's play with the position of this light a little bit move it backward a little bit you can a little bit more mysterious than just being flatly lit we go happens if you turn this light a little bit does it help kind of interesting but the other thing we want to do is parent that light again to the move controller there we go and our contact shadows or most of our shadows are only sort of set up when were when we're rendering this out so what I'm gonna do is move this light up a little bit that way the rest of the scene will be lit as well but we'll have to compensate by bringing up the brightness and maybe moving it forward again a little bit more but at least now we won't see that harsh sort of line of where the light ends bring it up just a little bit more and move it over on the y-axis again looking for some really interesting shadows there though nice so let's turn our repetition back on you that's that's starting to look pretty interesting now I definitely want to add in some fog to the scene because we want it to be really moody so let's grab our principal volume turn it down and whatever I'm using this fall you might like to crank up the contrast a little bit here looking at it again just holding down control it's growing up and down and that's looking pretty interesting already so let's work on the wall a little bit as well and I was in the right one I just had to switch the object there we go add a new material in here and I'm gonna use I think a metallic shade if this might work out quite nicely there we go we've got some stuff we can actually actually reflect now every time it jumps is just because the loop is completed and it's jumping back to the beginning the only thing we need to make sure that if we look at the world shader I'm gonna bring up the brightness a little bit already a very high contrast and we bring this down let's see have a look at the camera as well maybe bring out the a little bit and just move it forward so here he's moving a little bit better even bring it down just a little bit because we've got a lens that's a little bit a little bit wider it just feels like he's closer to the camera as well see if we can get away with this we see on a solid view do we see our limitations there and no and still not really see that it actually doesn't have anything going on down here but we got lucky there I don't think we can actually see the edge yep down to his belly button we go let's add some more stuff in here so first of all let's play with the depth of field as well and just hitting Aeon the focus distance slider lick him and now we're already separating him a bit more from the background you try an even more extreme setting again it's sometimes it's hard to judge what its gonna look like in animation as some of the stuff moves around so for example here you can see as I'm moving around a lot of the lot of the reflections and stuff sort of disappear but another thing I want to do is go back to this wall and maybe set up a second shader for the wireframe so let's set the material offset to one we have a new material here and maybe make that also metallic but slightly different in reflection in this case I might just move the wall out to see that helps just giving him an extra little bit of space not necessarily I think it's interesting that he's moving through like a tighter a sort of hallway and we definitely need to do something about our floor as well so let's set that up to grab a material here and maybe you want the floor - like look wet or something like that so let's try and do that really quick with with the noise mixture here so grab that noise texture and set it object factor and maybe bring the scale down a little bit and it's not gonna mix perfectly but I think was the depth of field and everything that's going on it's not gonna not gonna be too bad so bring down to detail and just wrap this down so you just got something that kind of looks like puddles bring the size of a little bit more we can cheat and kind of look at the repetition and make sure it's not clipping anywhere that looks kind of all right we go oh let's look at the shader itself now we can use that for [Music] maybe metallic that way we've got somewhat of a darker [Music] her ground and then by their metallic spots let's bring the roughness down a little bit as well or we could even use this to drive a roughness so I'm gonna want to invert that somehow what I'm just going to use a map range so anywhere the ground itself is going to be a bit more rough and then the it's the puddles if you want to call them that be a bit more but more reflective let's see if we can actually see any of that not really it doesn't make a huge difference but let's just set it up anyway and I'm going to use a East blind for this one have a bit more control of the shape there we go bring this down as well and we can always multiply this base color and really just all we're doing is bringing down the eat the sort of that brighter values we multiply that down you'll see bring it down a little bit make sure we're not using anything negative here there we go elective and doesn't really make a huge difference for a background but it works anyway now again we're gonna work with some some static particles just to add a little bit of more motion in here oh they're creating cube and make sure this is about four units in length at least now let's solo this real quick and let's set up that plane that we did before though in the the Victor manipulation part of the course we created a material that has little dust mode in it Oh let's go down to material preview and actually set this up gonna mix the transparent shader it's just a few shader need anything else in there there we go and then we're going to set up this gradient ramp here so grab our gradient texture mr. quadratics fear I'm gonna pull in some texture coordinates and we're gonna use you v's for this one remove these over because I already know I'm gonna be using that the noise here this one's fine but we need to bring the location to minus 0.5 and minus 0.5 to make sure that it's in the middle and let's mix these together though to math and what we want to do is grab our object info notes we got random values we can multiply that again by our vectors so I'm doing this rather quickly but if you want the full explanation if maybe you skipped over it and you definitely want to check that out in the previous sections I'll multiply multiply that random by a thousand and vector in let's grab this that then we want to use that one to drive our noise oh let's grab our noise texture but in the vector here and again set up our little math no trick that we did before so new math nodes first the subtract and then multiplied to control the amount of distortion let's plug that in here and first of all let's throw in a color ramp so we can kind of wrap this down a little bit and now it's just a case of tweaking these parameters bringing up the scale a little bit so they're a little bit separate and again this is over the top but get the idea I just wanted to show that it is actually something I do quite quickly and that in other scenes wrap these together and the last thing we need to do in the options is just set the blend mode to alpha blend and in this case I'm gonna turn the shadows off because we don't really want to deal with noise or anything like that coming from these from all these tiny dust modes so let me just reset the position here and then we'll set up the particle system and let's grab that here there we go um again static particles so have them have ever lifetime make sure that it's longer than our actual scene at this the volume sure that we turn off the physics let's call this our gold dust let's call this emitter of dust and I always create a collection for these particles even though it's just one I just like to be able to put that in there and then put that up top and just turn it off so I don't have to deal with it and don't have to look at it in the scene and throw the emitter and the repetition here as well and make sure we can't see it in our viewport or our render ago so now if we turn it off we've turned off the emitter and now all we got to do is render it as collection and said our dust collection now I've got all our little dust motes going now obviously we're gonna turn on rotation and randomize that and let's just bring down the scale ever so slightly and bring up the scale randomness to our scene now I said it to rendered love a little bit of dust flying through the air as he's walking past and you could potentially simulate it and animate this but I'm not too bothered by it it's gonna bring the scale down ever so slightly a hint of them and that looks quite nice now let's turn that on real quick and for the final thing here I'm just going to bring these down so they're semi-transparent we go and then we can turn them off again now one of the other things I want to do is actually give this guy some glowing eyes so he looks a bit more badass sort of wire cleaned up the eyes originally and took out the back so we only have the front here so let's actually grab the entire guy and then invert the selection and now we can do is not particles I thought it was in the material slot there add in two materials so this is going to be the base material so let's call this dude base and then let's call this and assign it dude haze let's set up something like an emission shader a little bit higher we can set this to rendered and now we just have something especially if we set this up a little bit higher we're gonna start getting some bloom at some point and he's just gonna look extra there we go extra badass and you might have noticed I'm not putting any color into this I want to actually keep this as a monochrome render I like the way it looks though let's see maybe we need to move the area light up a little bit so I'm just moving it up on the z-axis and let's visualize that down here as we what we're doing so this is pointing in sort of a rather odd direction we go let's move this up a little bit so you still get self shadowing but not quite as much there we go and we still we can still mess with the the base material as well so let's see what happens when we set that to metallic it's a little bit over the top we could always try shading spoons as well gives us a different result and maybe now is a time where we could maybe throw in one or two there we go that's of smoothing and he's not quite as jagged but it just helps a little bit with those normals and you might be tempted to throw on a subdivision surface but a mesh like this which has a lot of really crazy shapes and geometry tends to be a little bit slow with subdivision surfaces so what I tend to do is if I smooth this out quite a bit and let me just go back and turn off my overlays here for a second there we go now you can see it's really losing a lot of that original volume now you can always go in here and put a displace either in front or either before or after the smooth so let's put it before and just set it to a very minimal value move up from there and that way you can smooth out the mesh without having to use subdivisions and you can see it's a lot quicker still and we still retain a quite a bit about quite a bit of that control the displace is gonna fatten up those lines a little bit a little bit more definition and as we set this to metallic here the property definitely changes was about right I would say there we go how the eyes reflect a little bit here as well so that's looking pretty cool all got that set up let's have a look at the start and end for him to make sure we haven't missed anything no you might even bring down the walls a little bit and let me turn off the dust so that it's not selectable so they can just click through it we're going to put it in the loop rather than the repetition well it's the repetition up top here and grab these walls and this was the material for them the wires it looks like they're not that different anyway Oh bring down and like this metallic stuff let's bring down the reflectivity a little bit by the size that's interesting I quite like that I like the way it looks it's still a little bit creepy to see him without his hands but we go it always try just bringing the smooth down a little bit and a displace down a little bit think a couple issues in the nose here so again this is something you might want to do very gradually and that's off and on you can see this already does quite a bit by turning it up and maybe bring down a repeat factor a little bit as well as we do have some camera movement but might not do quite a lot in this case it's not that much and let's actually save this in renderer frame as well that looks quite interesting own down the depth of field a little bit I'm just gonna look at my first and last frames here and in particular I'm gonna look at the background to make sure we can see anything jumping in here because we've got sort of the the end of our scene back there but it looks like we've got enough mist enough volume volumetrics in our scene to hide that so let's try an attempt to add one more thing to this and I'm probably going to over complicate it by doing this so I'm just gonna save but let's try and add a little bit more of an animation to this behind him so I'm gonna have a particle system that sort of spawns from his back a little bit and I could paint this in with further groups if I really wanted to but I'm gonna keep it simple and just use an object um but I just wanted to give that along that you could even use this guy now as a particle emitter but in our case we can just parent this to to our move controller so there's no need to do that and I'm going to create a plane actually going to rotate it out negatively on the x-axis so if it's pointing backwards and then just bring the size down II something like this maybe we just kind of wanted to admit from around us back somewhere move that up I'm gonna hit shift C to reset my 3d cursor so I shift right clicked on us back to put that in the middle now let's put that in the middle on the x-axis as well and we can hide the submission plain which is fine but let's let's stick it to the move controller and let's call this omit thought well wings not necessarily that they're wings but then it looks like there's something growing out of his back you can see left it take a look to see if it gets looks like it's a little bit off it looks like we might actually have to use him after all just to get it to emit sort of right okay that's fine I can show you the full workflow which is cool too so he has a whole bunch of yeah vertex groups still in here from from all the rigging so I'm just gonna delete all of them because this is cashed out it doesn't really matter but now we've just got a slightly cleaner set up here and let's call this wings just for fun and let's grab some of these polygons in the back here I'm going to close this up so we've got a bit more space to work with let's grab some of these in the back in this up paint this in there we go so we could have stuff emitting from there it'll look pretty interesting well maybe a bit more on this end mmm wasn't necessary they think we one or two more on the shoulder here so he feels like there's some stuff coming off his shoulders there we go that could look pretty cool let's assign these so now if we go into the wait paint you can actually see we've got something to emit particles from back in the object mode let's set up a new particle system let's call this wings I'm just calling this wings not for any particular reason this so we we have a name we can work with and be a bit more consistent within the viewport let's bring these down maybe to zero point one and for this I'm going to set the color to be velocity that way when we're emitting particles we can sort of see how fast they're going by their color so now and their velocity is at maximum the whole time let's turn that down a little bit and where are we hmm so we want to use the modifier stack for sure so it's using all the modifiers that came before it is to be on the safe side and what we want to do is we want to set our density to wings that way now when we start emitting and let's give me a second here so let's go into velocity and set this to zero because we don't want the particles have any velocity now you can see they're just emitting from his back now I want these to last a little bit longer maybe 150 frames maybe 180 frames so three seconds because we're working at 60 frames per second and we want to make sure that in this case when we start simulating again we go into our playback options and set this to no sync once again that way we'll simulate every frame of the particle system we won't run into any issues oh let's see here and let's have the frame start at one and end at 2:48 I'll have to do a slightly longer simulation because we need 148 plus 180 frames because the last one is emitting at 248 and we've got a lifetime of 180 so we have this little toggle over here that we can use to set an alternative frame range and this is great for when you're simulating stuff so let's set this to 148 plus 180 and that gives us 428 frames and that's going to be the final length of our simulation ah now as we play this it'll start simulating no it's not gonna be super fast because we've got all the modifiers and stuff on there but it's it's decent let's go for 10,000 articles here now I've got something that's a little bit more dense all right so let's grab a circle I don't want to keep these particles fairly simple I'm just gonna put in three vertices and just fill them and I mean fills it as an end gone but it's only three sides so it's gonna be a triangle anyway that's gonna scale this down too actually skill is down to half so I know it's about one unit ish in size and now rather than putting the particles or this object in the particle system we're gonna use a modifier to actually create these particles and again this is down to what I was talking about in one of the previous video is where we use the particle instance modifier we'll be able to cash this out and it'll be it'll be pretty cool so it gets meshed dude you there we go let's call this mesh dude up walk now a nuts that guy and then what we need to do in this object is make sure that the unborn and the dead aren't showing and we want to make sure that the size is respected and also and now it should be okay but we want them to have some rotation as well so let's have a look at the simulation here first then there's no rotation or anything like that going on yet so we want to start tweaking our simulation now and for now I'm just gonna turn off the circle let's call this particle up right so we know what this is we start using it let's go into this guy and make sure we can set up our simulation here so imma throw in a force field because I want turbulence because turbulence always makes everything look cooler we go and now we've got some stuff coming off him and it look quite interesting now this tends to get out of hand very quickly again in the particle system let's set up some dragon damp it'll just slow those particles down a little bit make sure they don't go flying off too far we can always go into our camera view to kind of get an idea of what's going on here we don't have to worry about looping it because we're gonna cash it out so we can you can play with this simulation anyway we want this is looking all right but I definitely want this field and let's call this Boras thought [Music] let's play with the size a little bit and with the speed or the strength rather let's set this to 0.25 and see if that gives us a better pattern that looks kind of funky and now because we have a size setup here because our character is moving in 3d space it will actually be relative to where that where that force is in the scene so because that force stays that sort of frame zero and this is always gonna look kind of interesting and it might even be a bit much so let's bring down the strength a little bit and see what happens you let's just let this play ii to cash out i think i want the shape to be slightly bigger again I'm going to do this interactively or as interactively as I can at least yeah again he's giving it a second to cash out you so well it's looking kind of cool definitely want maybe a little bit of randomness as they as they leave him so let's turn up the random velocity that way they're already going to be pushing out to a side as they leave is back here kinda seems to be helping us but not really again it's just a case of tweaking it um randomness a little bit higher and [Music] I'm warning these to move outwards a little bit more so let's and turn up the turbulence and see if that helps let's really push this let's see what happens you now these look like they could pretty interesting maybe they're a little bit too fast again we're doing this at 60 frames so we need to make sure that it looks kind of okay but let me just bake that and see what it looks like when we try to play this so let's go back to our guy and just bake this out and give it a second to bake this doesn't generally take too long and again it's only 10,000 particles the only thing that's slowing it down really is just the mesh of the guy that some by complicated and there's a lot of stuff happening with the modifiers before it let's just let this run through you and now what I'm gonna do to get a good idea of this is actually just run a viewport animation output so in view let's just render this viewport animation and I'll cut to this to when it's done the simulation here but I just want to see up until frame 248 because that's about what we would see and we'll get an idea I'm just opening this with an external application just to look at it there we go they look a little bit wild but nonetheless see what that actually does with those um triangles enabled so let's turn that back on and one thing we forgot to do is actually turn on the rotations will have to rebake it is unfortunate but that's just the way it goes and just by turning on dynamic what's gonna happen now is they're gonna kind of point in the direction that we're that they're flying now what we might need to do is just need to double check that we don't have to kind of rotate our original triangle here so let's see I'm gonna scale these up quite a bit something that's a bit more green filling I guess I feel like they're not really pointing in the correct direction so let's try and fix that but with that try selected what we can do just rotate this see what happens if we wrote it on the x-axis they look like they're kind of pointing the right direction now they'll look like they're kind of flying with their one other points forward yeah that looks a little bit more like what I want to do here we're getting a rather interesting look from this and again what we need to do is simulate this out real quick and in this case epsilen edit mode there we go and in this case what other thing I want to do is just turn off the the render in the viewport basically so if we set this to none then it'll still simulate but it won't actually be visible in the viewport so we just see the the triangles the end result and the other thing I want to do is actually set up a scale on these so I'm putting in a new texture we call it scale and to set this up over time as we did before we need to first of all make sure that the influence is set to size then we're gonna grab a blend texture and we're gonna use the particle coordinates and that just basically means that it's gonna scale these up everything that's black it's gonna kind of map this over time so in this case now the particles just scale up forever but what we want is that they scale up rather quickly at the start and then slowly get smaller so set that that up by using the color ramp and I'm going to set this position maybe 0.25 and then I'm going to put 1 in the end here I set it to 0 so now they ramp up in size quite quickly and we can see that visualized then as they get older they're going to start getting smaller as well and again you could do this with any kind of any kind of object that you wanted just using these triangles in this case because I want to see maybe we could get some interesting shading out of it and as we're playing this you can see it's actually caching as well so kind of the fun thing about these particles is we can let these cache out just fine let them do their thing and then we could even use this cash as our final cash if we wanted to I'm just going to let it run and do it interactively for this one there we go and the way to do that is just to go into cash and to say current cash is baked and now this is cashed out and we could do whatever we want with it but mostly what I want to do is actually export this now I'm gonna do one last few port preview just to make sure that the animation looks somewhat decent but again I don't want to spend too much time tweaking this because obviously I don't want to bore you either but if you're kind of recreating this you might spend a little bit more time and add one or two forces in is to get a slightly more slick result but for our demo purposes we want to keep this a little bit faster so again I'll cut to when I've set up the viewport animation here then we can we can have a look at it and this time around if actually let the entire thing cash so let's open this up with an external run program again that's these frames cash out and now we just want to see the entire animation the guy's gonna stop moving at some point but that's fine that looks kind of cool oh yeah that's exactly what we need and it's like I said it's a little bit short so you might notice the repetition in the final animation that's fine grab this your Tito try and we're gonna cash this out again to an Alembic this time so we have the animation and we can bring it in and offset and repeat it so it's actually playing back in a looping fashion basically so let's save our file first and let's export this as an Olympic file only want the selected object we don't need particles in hair because this is considered a mesh because we're generating this with a modifier we don't necessarily need you've either I'm not going to spend too much time doing them doing anything with them but I want to make sure my final frame is fine frame 428 and let's call this articles - OH [Music] there we go now let's export that out now we do actually have an a progress bar which is nice compared to the Olympic and you can see our the point cash rather you can see those this goes pretty quick so let's just let this run and this will really help one of the things we might have to do is just tweak our walls there a little bit further away but again this is just down to personal preference and also still mess with the camera and kind of see if there's anything else we can do though there we go that's that done I'm gonna set this frame range back to the regular one and return off this particle don't try I'm gonna do the same thing where I'm going to turn off the particle system here because we don't really we don't really need it so we don't want blender to spend any time on it either and let's save again and bring in that Olympic file so import the particles lymbic and it's going to set the frame range to 428 but that's fine does it automatically and we're gonna import it a second time we can't just duplicate it because then the data will be duplicated and if we change anything in one of the modifiers it will propagate over to the other one so if you do the same thing for this one now we've got it twice and we can actually offset it so for this one all this one ABC for Alembic particles and let's call this one ABC articles not offset and if all works well we should be able to move the offset or would be correct or units up but we'll have to figure that out that's actually a something I didn't think about so we might have to fix something here but you can always fix it if we have to so for the offset one let's set this frame offset to minus 48 and now we've got these final particles and it looks like we're gonna have to move this four units back there we go now this makes sense because that's kind of what it would look like and you can see the other ones starting already as he's moving so if we go to frame 48 here now we should be able to see somewhat similar cash and we don't let's try and figure out what's going on oh this offset is not the one we see why is this different - 84 not 248 so it was merely a typo it usually is isn't it alright cool so now we've got all this set up and go back out of local view which we've been working in the whole time so far and now let's have a look at our final result but this looks even crazier and I might even tone down the depth of field a little bit more oh let's see let's play with the focal length a little bit first because I'm still not convinced having him that close to the camera or that wide of a lens actually looks cool let's redo our depth of field here and just bring it down a little bit more and as I thought obviously we didn't set up the wall as a Collider so what we might want to do is bring those walls out ever so slightly though national walls wrap those and maybe move them out half-a-meter just to give it a little bit more breathing space looks like we're still getting coverage with our floor let's just increase that and because we've all set this up with object coordinates and stuff you don't have to worry about the materials there we go this is looking quite interesting so let's set up the articles here and rabbeinu material and let's call this articles as well so we can easily copy it over to the other one and again I think I'm gonna go for something shiny just because the way I like the way it looks let's grab the other the other one here and add the particles object there sorry the particles material in there as well now you can see shiny we can make them somewhat darker we just have some movement in the background happens if we bring down the roughness bring it up maybe there we go bring up a little bit more again and we're seeing very little due to the viewport de noising so what I'm gonna do is this tweak the shader the dude again squeeze a bit more visible and then let's do a quick viewport render and I think I might even take away the smoothing and the displace and set the shading back to flat I do like the way that looked somewhat aggressive but interesting nonetheless all right so let's run a test render let's hit save and just have a look at how long these frames are going to take and then I'll be back after this is done test run of three seconds so I'm gonna take a quick break while this renders and Allah I'll resume the recording after alright so the now that that's rendered out let's actually have a look at it it's already looking pretty good now we could go in and oh it's actually set this animation we're still seeing some of our preview there from earlier let's set this two frames actually it doesn't really matter it's all good then I can set this up easily but my settings here and let's at list of frames there we go and now we could set this to 248 frames though this is our last frame over here there we go now we can see the loop itself again this is looking pretty interesting we've got kind of a wild background and he's moving pretty cool and the static particles look a little bit out of place maybe but I'm not gonna worry about them for this example it like I said I think we've mostly achieved what we want so let's move down to the compositing phase and just get a little bit extra out of this now one thing I might do is just tone the area light down ever so slightly cuz we're getting quite a bit of brightness on the arms here and I don't really like the way that looks let's bring down the contrast a little bit just so it's a little bit more sort of hazy and that's starting to look a little bit better let's see maybe bring this up ever so slightly and again it's just a case if we just bring up our timeline here real quick going in and sort of making sure that there's no overly bright areas on the arms here but I quite like what this is doing and I think I rendered this at 60 for our samples we could maybe bring it down a little bit this might be able to be rendered at 32 samples and I don't know if we need any passes or anything so for now let's just make sure get some setup in here the mist isn't really necessary we don't really need to hide anything and the only the other thing I might want to look at is just very quickly at the material of the particles again oh he said the roughness town I'm gonna get more sort of highlights and glinting this way and I think that might help sell the effect just a little bit more yeah let's just render a frame of this out and getting to get into compositing this a little bit more that went pretty quick actually let's have a quick look at that two seconds that's pretty nice that it up here and again is there's a little bit of compositing we could probably make this look even cooler so and looks like it turned or forgot to turn off one of these passes that we don't necessarily need and I am gonna add in just a vignette like I've done a couple of times before now but especially with this it will really help just keeping a little bit of but a little bit of focus on him so we've got our lips mask and we need to add in our mix grab that AB a blur filter again set this to fast Gaussian and with this set to multiply let's bring this up no actually I'm bringing up the blur and that's not what I want I just want to bring up the height and bring up the with a little bit I mainly just wanna and maybe for this one you bring down the height just a little bit and width up we're really just focusing on the corners there we go and you can see in this case this makes a huge difference already because this looks a lot more moody and especially you can really feel like he's popping now we could play with the contrast this a little bit maybe this looks kind of nice and sometimes I'll I kind of overdo the contrast ever so slightly to bring in some grain so let's do that as well and put a texture and unfortunately the UV the or not the UV but the your wife or this isn't great so just kind of hacking my way through this here by using texture on the brush call this pumped up grain delete that and bring in a noise texture and these are the same as the multiply Oh textures other more fire textures unfortunately they're still not linked together I'm kind of looking forward to the day that that is all one big thing but for now we can still use this and it works fine we go so again let's bring in a mix node and we really want this to look like it's been through a camera or something so let's bring up the blur filter here again we want sort of fat looking grain so generally I'll just and I gives us a couple of pixels this leaks looks a little bit more like film grain and then we set this to add we can then set the factor down a little bit and but this one we might want to overdo it just for you know I guess artistic effects are here you can see the grain and this noise texture is again random on every single frame but what we could do and in a color ramp again and remember if I did did this one of the previous videos these haven't been recorded chronologically so I might not have done it yet again just adding in a color ramp here just to bring up the bottom and one of the things you might notice if you bring in this crane your let me do that again if we bring this in our overall image sort of brightens up a little bit so well this might be set to high contrast because we're bringing in this grain and adding a lot in this sort of helps a little bit with that and let's see what we can do with sharpening and softening though / sharpen this you can see for example like around the eyes we might get some issues I'm just gonna turn off this often but if you just do it a little bit to where you know we'll still get issued unfortunately but we soften this backup some of that will disappear and you know at just normal resolution while this is in motion it won't really look won't really look too bad and have a look here at the difference and I doubt this is going to be very visible in the recording but just softening this up after the sharpening just makes such a big difference and in some cases it might be better to add the at the grain after-the-fact so let's do that and let's plug this in here we're adding the grain effort after the softening and stuff again let's see if this makes a huge difference yeah you might not be able to see it on the recording but it just takes the sort of the edge off that and makes it look a little bit less CG I guess is what I'm kind of going for and unfortunately we don't have object motion blur because you know the way Evie is right now but at the same time I think this is already looking pretty cool and just for a dramatic effect we could always add in lens distortion as well and that way we still get some color fringing in our black and white image and did not mean to hide any of that those Oh keep missing my shortcuts here there we go and let's put in our lens Distortion and let's undistorted bit first so it's get pushed in so when we push the dispersion out it sort of flattens out and now we just get a little bit of fringing in the edges here and even for a black-and-white image I don't know there's something about that style that I really like let's click fit just to make sure that there's no fringing on the edges and it fits fits the image nicely and I think for this one that's a that's about it I mean you can see we set this up again in a fairly quick manner unfortunately we can't get a real-time preview but all I might edit the final result up here again if we render this with the compositing and everything we're only up to about three point six nine seconds so less than three seconds for a frame at Full HD is awesome so yeah with that said I'm gonna start rendering this and I hope you enjoyed this this project in particular um again I grabbed it from something I was doing before and and I did it in cycles before but doing it in Evie is an interesting exercise for me as well and this is kind of fun to explore what we could do and yeah and we can get really compelling images with this and you might have noticed that I'm not baking in it I'm still not really baking any indirect lighting or reflections well I could have that help in some cases with a lot of animation going you generally just kinda have to rely on what you're getting in the first place so I think yeah that's it that's it for this one so yeah let's move on to the next video

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