File: GMT20230509-155625_Recording.cc --- 00:00:39,000 --> 00:00:43,000 Hi, hi, so. 00:00:43,000 --> 00:00:44,000 Hi! Lou! 00:00:44,000 --> 00:00:46,000 Hi! How are you? 00:00:46,000 --> 00:00:51,000 Good, good, good! Thank you. 00:00:51,000 --> 00:01:04,000 Hmm back my mount on my mounted. 00:01:04,000 --> 00:01:07,000 No, it's okay like that. 00:01:07,000 --> 00:01:12,000 Hello! 00:01:12,000 --> 00:01:14,000 Are you back in France? 00:01:14,000 --> 00:01:26,000 Yes, and then Thursday we'd leave again, and we go to. 00:01:26,000 --> 00:01:31,000 Oh, wow! Nice! 00:01:31,000 --> 00:01:41,000 Getting around. 00:01:41,000 --> 00:01:48,000 That's something I was in Florida once, as Marcus Henry was working now. 00:01:48,000 --> 00:01:49,000 It's pretty sick. 00:01:49,000 --> 00:01:53,000 Yeah. Hmm. I already bought tickets for Disneyland he went to Disney World. 00:01:53,000 --> 00:01:56,000 I guess. 00:01:56,000 --> 00:02:01,000 Yeah, yeah, I guess. And the first thing is that they take your fingerprints. 00:02:01,000 --> 00:02:05,000 The fuck. What's going on so you can't go in twice. 00:02:05,000 --> 00:02:11,000 You're like. I don't know. 00:02:11,000 --> 00:02:12,000 Wow! 00:02:12,000 --> 00:02:17,000 Like it's like a country. 00:02:17,000 --> 00:02:24,000 Hello! Andrew! 00:02:24,000 --> 00:02:26,000 So today, we're doing particle swap and introducing sound reactive. 00:02:26,000 --> 00:02:35,000 As we said. 00:02:35,000 --> 00:02:40,000 And do sound reactive particles. 00:02:40,000 --> 00:02:47,000 A very simple version. 00:02:47,000 --> 00:02:52,000 I'll leave you to it. I have like a deadline in my next. 00:02:52,000 --> 00:02:55,000 Have fun. You soon! 00:02:55,000 --> 00:02:57,000 Okay, just a fine. 00:02:57,000 --> 00:03:00,000 If there's anything right me. 00:03:00,000 --> 00:03:10,000 Yes, no. Problem. I'm gonna showcaption and speaking language, English. 00:03:10,000 --> 00:03:17,000 Okay, so. 00:03:17,000 --> 00:03:28,000 Yami is connecting. Hello, Yummy! 00:03:28,000 --> 00:03:43,000 So I'm waiting some minutes. Hmm! Because we had the meeting on Zoom opening up just a 10 min ago. 00:03:43,000 --> 00:03:46,000 So! 00:03:46,000 --> 00:03:52,000 Let's wait a few minutes for other people to join the live session. 00:03:52,000 --> 00:03:58,000 Any. If we start, let's say 5 min later we will. 00:03:58,000 --> 00:04:14,000 We will finish. 5 min later. 00:04:14,000 --> 00:04:25,000 Any question from those one who are online right now. 00:04:25,000 --> 00:04:26,000 But. 00:04:26,000 --> 00:04:28,000 I think. Hi! 00:04:28,000 --> 00:04:29,000 Great. 00:04:29,000 --> 00:04:33,000 Hi, Nima! Actually, it's not related to the program itself. 00:04:33,000 --> 00:04:36,000 Like to touch designer. The thing is that I like. 00:04:36,000 --> 00:04:41,000 I'm new in this, and I have this like, I'm always like. 00:04:41,000 --> 00:04:47,000 Studying the previous videos. So I can like familiarize myself with the software and yeah, like, it's just like my learning process. 00:04:47,000 --> 00:05:03,000 I was wondering once the the course is over. Are the videos going to remain available in our account? 00:05:03,000 --> 00:05:06,000 They're going to remain available for one year, so you can. 00:05:06,000 --> 00:05:13,000 Oh, okay, that's perfect. Okay? Because I like, I'm always reworking them. Okay? 00:05:13,000 --> 00:05:32,000 Yeah, the only thing I'm asking if because today we're gonna start introducing particles up, and he would be very helpful if you are already have done the previous lecture about the 3D Setup enter. 00:05:32,000 --> 00:05:42,000 Oh, yeah, I I already did but the thing is that I don't know like I'm it's just a thing that I do like. 00:05:42,000 --> 00:05:43,000 Okay. 00:05:43,000 --> 00:05:48,000 I'm always going backwards engagement forget stuff like it's it's it's a I don't know it's just a way of being. 00:05:48,000 --> 00:05:54,000 It's not like I'm left behind. It like sometimes, if I forget something I would just like to check. 00:05:54,000 --> 00:05:58,000 Maybe, but a year is perfect. 00:05:58,000 --> 00:05:59,000 Thank you. 00:05:59,000 --> 00:06:07,000 Cool good. Today we will start by introducing from. 00:06:07,000 --> 00:06:12,000 On one side particle, so. 00:06:12,000 --> 00:06:33,000 Which is a very powerful node. So here you have the lesson overview with all the screenshots, and we will start by building this block here of to create a partle system. 00:06:33,000 --> 00:06:50,000 And then we will add some circular joameterries in the center, just to take back those things that we introduced last time about so, and how to play with. 00:06:50,000 --> 00:07:05,000 And then what we will do is that we will create a some sound reactive effect, using one of the most used tool from the pilot, which is called audio analysis. 00:07:05,000 --> 00:07:12,000 So the the final goal we be to have. Hmm! 00:07:12,000 --> 00:07:23,000 A sound reactive, visual, made of 2 layers, mainly this. 00:07:23,000 --> 00:07:31,000 This one on the exterior part, the particle which are moving like that randomly, a bit. 00:07:31,000 --> 00:07:49,000 This wait time I'm gonna have to turn on the audio, and then I will mute it because or else. 00:07:49,000 --> 00:07:53,000 Yeah, I need to mute it, or else you can't hear my voice over. 00:07:53,000 --> 00:08:10,000 So what we're gonna do, we're gonna create first, the particle system that it's starting to from a simple, a meter like a circle so that we can focus on the point. 00:08:10,000 --> 00:08:32,000 Id attributes and on the point enormous, which are the direction of the points, and we will see how the make some changes to these direction of these normals, and also how to change the point that with the with the notes. 00:08:32,000 --> 00:08:38,000 And also we will look at what happens if we don't use the sorts up. 00:08:38,000 --> 00:08:47,000 So later we will see what happens if we, if we don't use sorts up and and in the bottom part here, why have created a very I think it's nice. 00:08:47,000 --> 00:08:59,000 It's like a very simple. 00:08:59,000 --> 00:09:06,000 Around an axe, and then there are several copies of the same circle, with different velocity. 00:09:06,000 --> 00:09:09,000 So what we're gonna do, we're gonna create that. 00:09:09,000 --> 00:09:21,000 An arc with the circle, stop and open arc, and then we will copy it many times to create this kind of circular effect. 00:09:21,000 --> 00:09:31,000 Just an example on how to use rapidly, so that we can then create a 2 different renders. 00:09:31,000 --> 00:09:43,000 Hmm! The first render we'll have a feedback loop, and we want to apply this feedback loop only to the particle system. 00:09:43,000 --> 00:10:12,000 We are the ones created with from here, and then the second vendor will want it won't have the feedback loop, so we will see how to assign individual geometries to each different render, and then we will combine together the 2 layers in one composite or 00:10:12,000 --> 00:10:22,000 with an over, and then we will just use this bloom effect, which is always really cool to use. 00:10:22,000 --> 00:10:28,000 And then we will add the level. 00:10:28,000 --> 00:10:37,000 To let pass the bloom only when there are sound, reactive, like the kick of the drum. 00:10:37,000 --> 00:10:45,000 So here we have the the sound reactive logic part which starts from an audio file. 00:10:45,000 --> 00:10:53,000 And it's pretty interesting to see like how the visual change is based on a different audio. 00:10:53,000 --> 00:11:07,000 So this audio is the one that you also have inside your sample folder is the one named. 00:11:07,000 --> 00:11:21,000 Jeremy Corfield. And and clearly, if I change this audio with a completely different audio, one of my favorite. 00:11:21,000 --> 00:11:27,000 Jay, how are you? I actually don't know if it's gonna very silent at the beginning. 00:11:27,000 --> 00:11:36,000 So might have to go. 00:11:36,000 --> 00:11:49,000 Yeah, I might need to change some settings, because when the audio change changes, it's always good to to go and refine some. 00:11:49,000 --> 00:11:59,000 Some logics. 00:11:59,000 --> 00:12:00,000 Woof, woof! 00:12:00,000 --> 00:12:09,000 So we will also dedicate some time to see how we can modify some some parameter, so. 00:12:09,000 --> 00:12:18,000 To see, like the same visual working also with other type of. 00:12:18,000 --> 00:12:19,000 So are you ready to start today's? And the the second part of today, we will try to bank and interactive particle system. 00:12:19,000 --> 00:12:31,000 Yup! 00:12:31,000 --> 00:12:42,000 So this first one. It's purely sound reactive to focus a bit on this. 00:12:42,000 --> 00:12:50,000 I'm gonna put pause, because there's a music behind and see, maybe I can just mute this. 00:12:50,000 --> 00:12:55,000 So this first example, as you can see, it's only using one input of particle, as you can see, particle has many inputs. 00:12:55,000 --> 00:13:05,000 So I would consider it a simple particle system, so we can see particle has many inputs. 00:13:05,000 --> 00:13:13,000 So I would consider it a simple particle system. So we can focus more on the on the building blocks that defines the meter source on the building blocks that defines the meter source. 00:13:13,000 --> 00:13:27,000 The normals and the point id, and in the second part of the lecture I also prepared this interactive particle, interactive particle. 00:13:27,000 --> 00:13:38,000 Which is made of a bit more complex particles up that that, as you can see from this, inputs. 00:13:38,000 --> 00:13:57,000 Now we also are using collision and the force. And so the scope of this exercise is not to do something cooler, because at the end this is pretty. 00:13:57,000 --> 00:14:27,000 Standard, now as a visual aesthetic, but is more about learning the mechanics and combining together the the panel chopper inputs with the possibility of controlling the position of the a metabol which in this case is attracting the particles towards the center of the metabol so this 00:14:27,000 --> 00:14:42,000 is like a radial force that attracts them, and then when you click anywhere so obviously this, if you move it, it's gonna also like release the particles based on the movement of them of the mouse. 00:14:42,000 --> 00:14:57,000 When you click the metable expands, so the scales up, and it also changes the direction of the of the force field of the radial force field, pushing the particles and the exterior. 00:14:57,000 --> 00:15:07,000 No! So again, here we will mainly focus on particles and on how to create. 00:15:07,000 --> 00:15:24,000 For example, a collision with another surface. Here we, the I, simply created a cage rapidly with one grid so, and then I created a that moves inside this. 00:15:24,000 --> 00:15:33,000 The scene, the particle scene, and that is able, with the. 00:15:33,000 --> 00:15:45,000 To apply some forces that can be radial or directional to the particle that are, and countering the metable. 00:15:45,000 --> 00:15:58,000 So the metabol is just this little bowl here on the side which becomes interactive with the mouse. 00:15:58,000 --> 00:16:04,000 Once we once we interact with the with this panel. 00:16:04,000 --> 00:16:11,000 Okay, so these are the 2 exercise for today. And I'm gonna start with the first one. 00:16:11,000 --> 00:16:30,000 And before starting, if anyone has some question from the previous lesson, or for this one, you can obviously. 00:16:30,000 --> 00:16:37,000 If the recording is still on, let's check if the recording is still on. 00:16:37,000 --> 00:16:38,000 Just before starting, I'm gonna check. If. 00:16:38,000 --> 00:16:43,000 Oh, he! 00:16:43,000 --> 00:16:50,000 Share. Just a second, yeah, recording is on, okay, that's great. 00:16:50,000 --> 00:17:01,000 Should be okay. 00:17:01,000 --> 00:17:04,000 Okay, so. 00:17:04,000 --> 00:17:08,000 This is our. 00:17:08,000 --> 00:17:12,000 Goal for today's visual. 00:17:12,000 --> 00:17:19,000 It's it looks a little bit more complex than the other times. 00:17:19,000 --> 00:17:26,000 But keep in mind that we have blocks we're gonna start from this block here. 00:17:26,000 --> 00:17:27,000 How to create the particle system from a source emitter. 00:17:27,000 --> 00:17:38,000 And here you have a 3D setup. So is the one we did last time with camera and geometry, and render top. 00:17:38,000 --> 00:17:42,000 Then we have the material. We're gonna explain a bit about the material. 00:17:42,000 --> 00:17:43,000 And here as you can see, there is a feedback loop which you should know. 00:17:43,000 --> 00:18:06,000 Now? What is it now? It just creates the trains of these particles, and I'll be able to modify something within the feedback loop like you are the blurred and the visual aspect, the visual output will change completely and then in the bottom part here we have 00:18:06,000 --> 00:18:16,000 a little hmm! A little Trigon, I mean. I I don't. 00:18:16,000 --> 00:18:25,000 I don't want to call it trick. It's just a way to build this type of concentric circle. 00:18:25,000 --> 00:18:34,000 And just because I wanted to have yes, particle. But I also wanted to have something from the previous lesson like, because I see you especially, yeah, I see I see you applying yourself on the exercise. 00:18:34,000 --> 00:19:04,000 But it will be also cool if at a certain point you can fantasize a bit with the simple geometries like like a circle repeated many times, and not only stick to my lessons or my examples also try to invent something from scratch, so we start. 00:19:13,000 --> 00:19:22,000 Let's say 10 min later. So we're gonna finish at 9, 10. 00:19:22,000 --> 00:19:29,000 I hope that it won't be to difficult today. 00:19:29,000 --> 00:19:43,000 So, as usual, we start from an empty file, not from this version, but from this version. 00:19:43,000 --> 00:20:02,000 And, as usual, when you have an empty file, you delayed the notes and the operators which are there to make an example, and also you clear this today, we're gonna use some palate components. 00:20:02,000 --> 00:20:08,000 But later. So where do we start? We start from a circle, stop! 00:20:08,000 --> 00:20:12,000 So we start from the sub family, and we take a circle. 00:20:12,000 --> 00:20:26,000 So that from this circle we can use the points and then use the points to create a particle system. 00:20:26,000 --> 00:20:32,000 So first of all, we don't need a closed circle, but we can use an open arc. 00:20:32,000 --> 00:20:37,000 Or open arc or close, darker. Open arc is better like this. 00:20:37,000 --> 00:20:54,000 We see the inside, and, as as you know, you can, orbit around the circle, you can pen zoom by activating the viewer, active. 00:20:54,000 --> 00:21:12,000 And once you are inside the there you can press P from your keyboard, and P stands for parameter, and in this way you can visualize the display options of this particular operator reach. 00:21:12,000 --> 00:21:16,000 We can use to see the normals of the points. 00:21:16,000 --> 00:21:23,000 So if you click on the point normals, it will highlight you the direction of these point. 00:21:23,000 --> 00:21:33,000 Enormous, which are towards instead and also we can see the point numbers by clicking on this button. 00:21:33,000 --> 00:21:37,000 Here, whole, point numbers like this. We can see all the point numbers starting from the Xy Quadrant. 00:21:37,000 --> 00:21:57,000 So from let's see, from x equal to one and y equal to 0, and then it goes anti-clockwise, and so. 00:21:57,000 --> 00:22:27,000 This is important to keep in an eye on it, because if you want to create, for example, and if which is similar to the raise of of the sun or of a star like like in no, in this direction, we might have to change, the direction, of these normals so before doing 00:22:32,000 --> 00:22:50,000 that. Obviously, we can see what happens if we just create a particle from this circle up so that we can then make some changes before we enter in the particle system. 00:22:50,000 --> 00:23:05,000 And just to be sure that we can see better the particle points we can enable again the your active orbit inside our, and then press P. 00:23:05,000 --> 00:23:12,000 To visualize the display options, and then maybe highlight the points so that we can see better. 00:23:12,000 --> 00:23:20,000 These points, which are usually very difficult to visualize inside the sub operator, so. 00:23:20,000 --> 00:23:25,000 I have a small question. I don't know why I like. 00:23:25,000 --> 00:23:31,000 My points are not moving. Did you? Or something? 00:23:31,000 --> 00:23:38,000 So you have a circle, and you connected the particle. 00:23:38,000 --> 00:23:42,000 With input 0 like that. 00:23:42,000 --> 00:23:46,000 Input to. 00:23:46,000 --> 00:23:49,000 Yes, but it doesn't look the same. 00:23:49,000 --> 00:24:02,000 And did you visualize the normals of the circle going through Zed? 00:24:02,000 --> 00:24:04,000 Where is that? Again? 00:24:04,000 --> 00:24:14,000 So I'll start again from here. So if you have the circle you can visualize with the P. 00:24:14,000 --> 00:24:28,000 Be from from the keyboard. If, when you are inside, the active viewer, you can visualize the display options of this particular operator, and, like this, you can highlight the normal direction and the point. 00:24:28,000 --> 00:24:33,000 Id by clicking on this. Then you can close this. 00:24:33,000 --> 00:24:37,000 Cause. Now they are visualized. Right? Erica. Yes. 00:24:37,000 --> 00:24:38,000 Yes. Okay. Yeah. Yeah. No. It was. My computer was frozen. 00:24:38,000 --> 00:24:43,000 I'm sorry. Sorry. Sorry. Okay. 00:24:43,000 --> 00:24:45,000 That's that's a good. 00:24:45,000 --> 00:24:57,000 That's a good highlight. Sometimes your computer might be in pause. 00:24:57,000 --> 00:25:05,000 So let's imagine that if this is in pause, and I just placed the particle, then nothing will move. 00:25:05,000 --> 00:25:15,000 So always check double check on the bottom part, the play bar, and now we can. 00:25:15,000 --> 00:25:37,000 As we said, we highlighted these points to see a little bit what's happening in a simple particle system, so that we can modify some parameters of the particle and see the behavior. 00:25:37,000 --> 00:25:54,000 For example, this circular birth. If you change the pages of a particle, so you have state you have the force you have particles, and you have limits. 00:25:54,000 --> 00:26:00,000 So let's say them most important pages, and we have parameters a bit everywhere. 00:26:00,000 --> 00:26:06,000 But the most important pages is probably the particle page. 00:26:06,000 --> 00:26:12,000 Where you have, how many birth per second. So you have this. 00:26:12,000 --> 00:26:25,000 I'm gonna start with birth. Then if if you really want to, I'm gonna also show you something about like the mass is the is the mass of the particles, and the drug is how the how much they get tracked. 00:26:25,000 --> 00:26:38,000 But these are like I would keep it the one and one for the moment, and I would start from the birth. Now. 00:26:38,000 --> 00:26:45,000 So this number here it states 100, and it means 100 particle per second. 00:26:45,000 --> 00:26:56,000 So if I say only 10 particle per second, then I have a much slower birth. 00:26:56,000 --> 00:27:10,000 If you have these operator jumping like adapting every time the viewport, you can always remove this annoying moving viewport by doing right. 00:27:10,000 --> 00:27:30,000 Click, and as you can see, there is this adaptive homeing which is flag, the enable you can click it, and then the adaptive homing stops, stops adapting to the amount of points. 00:27:30,000 --> 00:27:44,000 So it stays a bit more clear. So what happens here is that the birth of the particle is sequential, as you can see, and it follows the point. Id. 00:27:44,000 --> 00:27:51,000 The. So let's let's imagine let's do like I don't know one birth per second. 00:27:51,000 --> 00:27:55,000 Sorry I need to. So one bird per second means that wait. 00:27:55,000 --> 00:27:58,000 I also want to reset, to reset the particle is system. 00:27:58,000 --> 00:28:04,000 You go in State page and you click on reset pulse like this. 00:28:04,000 --> 00:28:22,000 It starts from 0. So I'm going back to the particle page to just check what happens here and it's very, almost unvisible, so that we have one platform generated per second, and the life expect of 3 s. 00:28:22,000 --> 00:28:42,000 So these are the first 2 parameters that are interesting to observe, because if, for example, I have 1010 birth per second with the life expect of 3 s, I will always have 30 points in the scene. 00:28:42,000 --> 00:28:45,000 Okay, so. 00:28:45,000 --> 00:28:51,000 The birth multiplied by the life expect, gives you the total amount of points. 00:28:51,000 --> 00:29:12,000 For the moment you can keep at 0, live variance and alpha speed life variance is like when you want some particles to die before or after and it's always expressed in seconds. 00:29:12,000 --> 00:29:24,000 So if you say like variance one, and then some of the particles will die at 2 s, and some of them will die at 4 s randomly. 00:29:24,000 --> 00:29:32,000 But I would consider to just keep this for the moment at 0. 00:29:32,000 --> 00:29:45,000 The live audience, and play mostly with the the sort. So the idea that you can create a a different effect from this just by changing the sort. 00:29:45,000 --> 00:30:13,000 Id. So just by sorting the idea of these points with a different sequence, and also the direction of this points can be modified simply, okay, then, later, what we will see are like some turbulence which can be applied easily from this platform to branch which is always inside the particles up in the 00:30:13,000 --> 00:30:16,000 page of forces. Okay, well, we start a little by little. First of all. 00:30:16,000 --> 00:30:21,000 Now that we understood that the birth of the particle follows the point. 00:30:21,000 --> 00:30:33,000 Id. So that's why we have circular. We can bring this number back up to. 00:30:33,000 --> 00:30:42,000 I don't know. 100090 is, we have a lot of particles. 00:30:42,000 --> 00:30:45,000 And then, as you can see, they stop. No, so this is the drag. Okay. 00:30:45,000 --> 00:30:58,000 So the fact that they are one day when they born, they get dragged by one, and then they stop. They don't move anymore. 00:30:58,000 --> 00:31:04,000 So the length of the normals also defines how much they get tracked. 00:31:04,000 --> 00:31:09,000 So now the normals are these little lines for each point. 00:31:09,000 --> 00:31:24,000 Let's first try to change the direction of these normals and to change these normal direction, we're gonna use a trick which is like called the magnets up. 00:31:24,000 --> 00:31:26,000 And and magnets. Up is is a node that can modify, and the form, point, position. 00:31:26,000 --> 00:31:48,000 But also point to normal. So magnet is one of the so that I usually use to change Normal's direction, or also like to make some modification. 00:31:48,000 --> 00:31:55,000 It works only with the second input, which has to be aable. 00:31:55,000 --> 00:32:00,000 So after magnet I'm gonna introduce the metabol. 00:32:00,000 --> 00:32:13,000 So a is a sphere kind of. So let's place both the magnet and theable like that. 00:32:13,000 --> 00:32:20,000 And then how can we see our metabol inside the magnets up? 00:32:20,000 --> 00:32:28,000 Because this metabol, as you can see, is a sphere, is a bit strange, because it's a flat sphere. 00:32:28,000 --> 00:32:37,000 Not actually a real geometry is, is a kind of a force field, and obviously, if you want to know more about metabol, there is always the question. 00:32:37,000 --> 00:32:51,000 Mark on the parameter that links you to the documentation of the metabol. 00:32:51,000 --> 00:32:57,000 So it's a meta-super-quadric surface, and is not used to render is used to apply forces. 00:32:57,000 --> 00:33:06,000 So in this case, I want first of all to see where is my metabol? 00:33:06,000 --> 00:33:19,000 And so I use this little flag called Compare Pay attention to this, because it's not very common to to see it. 00:33:19,000 --> 00:33:26,000 It's used only to see metables inside operators like magnet or particle. 00:33:26,000 --> 00:33:41,000 So this compare Flag on you, turn it on. It shows you the comparison between the source geometry and the method which is in the second input like this, you can see that the metable is actually smaller. 00:33:41,000 --> 00:33:48,000 Then the circle which is not good, because if the metabol doesn't touch the points of the circle, it won't affect them. 00:33:48,000 --> 00:34:01,000 It won't affect them so. What you do. Usually you try to scale up the radius until you get the points, so we scale it up ready. 00:34:01,000 --> 00:34:15,000 You set the 2. I guess 2 is enough, maybe something smart to do. 00:34:15,000 --> 00:34:28,000 Made reset the parameter to one. Maybe something smart to do would be to highlight the points again, even in the magnets up by pressing P. 00:34:28,000 --> 00:34:33,000 Inside the display options and obviously outside a display option. 00:34:33,000 --> 00:34:34,000 It will show you the parameters of the operator. 00:34:34,000 --> 00:34:56,000 Okay, so while instead, if you click it inside the display option, it will show you the the selected viewport display option, and then you can visualize the normals like this, we can focus on yeah, we want to change the normal direction. 00:34:56,000 --> 00:35:02,000 And also you can maybe visualize the point, because, like that. 00:35:02,000 --> 00:35:07,000 And then you can close the display options so as you can see, each operator has its own individual display. Optional. 00:35:07,000 --> 00:35:23,000 So you can have different way of visualizing the operators, and then you can take your metabol and make it larger, so that we can select those points. 00:35:23,000 --> 00:35:30,000 So let's go radius over, then 2. So 2 point. 00:35:30,000 --> 00:35:40,000 2.1. 00:35:40,000 --> 00:35:45,000 Okay? And then what we want to do with with the magnet. 00:35:45,000 --> 00:36:13,000 We want to deform. But first of all, we want to select the attributes instead of point position, so, as you can see, you can affect the point, color, or the normals, or the velocity, we want to affect the point normal like this, we can use this magnet, this metable magnet to the 00:36:13,000 --> 00:36:26,000 form those normal direction. First, we select the effect point normal, then we go back to our the form page and we scale up. 00:36:26,000 --> 00:36:40,000 And, as you can see, as soon as you scale up, then maybe you can hide the theare button so that you can focus only on the normal, as you can see the normals are like oh, changing. 00:36:40,000 --> 00:36:47,000 Now they go from from being in the direction of Zed. 00:36:47,000 --> 00:36:55,000 No, if you scale them up, then they go. If you scale them down, they go to towards towards 0. 00:36:55,000 --> 00:37:06,000 Right towards the center, and then, if you scale them up instead, you can go over like you can go at 3. 00:37:06,000 --> 00:37:09,000 Let's say. 00:37:09,000 --> 00:37:16,000 Yeah. And they will go like, so the razor no. 00:37:16,000 --> 00:37:25,000 So if you look at the and the particle has completely changed now, because now the particles are going. 00:37:25,000 --> 00:37:38,000 Hey? In that direction? Alright! So already, by playing with normals, you can already obtain a different effect, and try by yourself to. 00:37:38,000 --> 00:37:51,000 Maybe you can have a sphere. No, and the sphere, if you create particle from a sphere, they all go in the direction of of the normals of of the Sphere. 00:37:51,000 --> 00:38:03,000 Okay. So if you change these not normal direction, then the particle will follow a completely different, a completely different path. 00:38:03,000 --> 00:38:09,000 Let's just make the example of this fear also then we're going to delay it. 00:38:09,000 --> 00:38:16,000 So, yeah, let's imagine we have. 00:38:16,000 --> 00:38:20,000 The. 00:38:20,000 --> 00:38:25,000 Yeah. The the metabol bigger than the sphere affecting. 00:38:25,000 --> 00:38:30,000 I guess the point, the normal, and then the forming them. 00:38:30,000 --> 00:38:41,000 Maybe I should see where they where they go. Okay, they go all like from the center to the external of the sphere. 00:38:41,000 --> 00:38:44,000 So if we move them. 00:38:44,000 --> 00:39:01,000 Now we move the translate in in y. Then we might have, and as you can see, the points are going up. 00:39:01,000 --> 00:39:07,000 Oh, sorry! I wanted to remove the. 00:39:07,000 --> 00:39:10,000 The points are going up. No! 00:39:10,000 --> 00:39:17,000 In this direction, so this can already give you different result. 00:39:17,000 --> 00:39:34,000 Then, any this case also we should refine the the particle life expect, and this the sources is coming from. 00:39:34,000 --> 00:39:39,000 Yeah, from the sphere, and always going up. 00:39:39,000 --> 00:39:48,000 So this is already like something that can help you to create your own. 00:39:48,000 --> 00:39:57,000 Particle system. The second thing is that the point Id, which is very important. 00:39:57,000 --> 00:40:14,000 Because if you want to create a different birth from this one, this one fors the id of the of the points, and they are sequential. 00:40:14,000 --> 00:40:29,000 If we use a sort which is a node that acts on the point or on the primitive Id, and you can sort the point. 00:40:29,000 --> 00:40:40,000 Id, for example, randomly, by choosing random from the from the menu, from the little drop-down menu. 00:40:40,000 --> 00:40:44,000 And then what you can notice is that the birth of the Particle? 00:40:44,000 --> 00:40:53,000 Now it's it's random, I mean. Looks right, but it's still following a a point. 00:40:53,000 --> 00:40:57,000 Id the point id here has been changed into a random pattern. 00:40:57,000 --> 00:41:03,000 Okay, so. 00:41:03,000 --> 00:41:09,000 If before, we're like 012-34-5678 in a sequence. 00:41:09,000 --> 00:41:17,000 Now the 0 heads somewhere here. The one is here. The 2 is here. 00:41:17,000 --> 00:41:24,000 The 3 is there, the 4 and 5 are here, so they are like randomly positioned. 00:41:24,000 --> 00:41:34,000 What happens at the particle level is that the particle's up will keep following the sequence of the point. 00:41:34,000 --> 00:41:42,000 Id, but as the position has changed, then the result looks a random. 00:41:42,000 --> 00:42:04,000 Still in this random, missing this random pattern, you you can see apart from this, for example, if if you observe a line that drops particle down in a random pattern after a while you can see the pattern. 00:42:04,000 --> 00:42:12,000 If you want to make an advanced run random, Random, let's say you can change this seed. 00:42:12,000 --> 00:42:19,000 Let's say every second, or every 3, 4, 5 s, because by changing this seat, as you can see, the random sequence changes completely. 00:42:19,000 --> 00:42:29,000 So you don't have any more the same pattern, repeating. 00:42:29,000 --> 00:42:39,000 So here you can use a noise job that creates a random number between 0 and 200. 00:42:39,000 --> 00:42:46,000 If you want to make it advanced, org for for the moment we can keep it like this like this. 00:42:46,000 --> 00:42:54,000 We can go on with our exercise. So. 00:42:54,000 --> 00:43:03,000 There are a lot of concepts to remember about particle, and we started by the most basic ones. 00:43:03,000 --> 00:43:16,000 So how many birth? Per second? How long is the life, expectancy, and the fact that this multiplied by this gives you the total number of points. 00:43:16,000 --> 00:43:27,000 And then we went on looking to the point Normals, which gives the direction of the particle, and then the point Id, which gives the sequence of the birth. 00:43:27,000 --> 00:43:39,000 So now what we can do, we can easily set up the render with a 3D. 00:43:39,000 --> 00:43:44,000 So that's like this idea. 00:43:44,000 --> 00:43:56,000 About the the material points brighter, and the option renderers points right. 00:43:56,000 --> 00:44:03,000 So this will be our model that we can then use inside the geometry. 00:44:03,000 --> 00:44:12,000 So if you remember to to put this up inside the geometry, you can right click on the. 00:44:12,000 --> 00:44:24,000 Go in there category and choose J. Geometry, and like this, your geometry will go inside the geocom, and it's ready to be rendered. 00:44:24,000 --> 00:44:39,000 Okay. This was from the last lesson. The other 2 elements you need are a camera, and which comes from the top family top category. 00:44:39,000 --> 00:44:50,000 And if you place the 3 of them, and you zoom on the end there, you won't see anything, or maybe you see some little black points. 00:44:50,000 --> 00:44:54,000 Why? Because we haven't assigned any material yet. 00:44:54,000 --> 00:45:04,000 Because hmm! I wanted to take a moment to talk about. 00:45:04,000 --> 00:45:13,000 So point Sprite, is the material that you usually use for particle when you want to render each individual point. 00:45:13,000 --> 00:45:24,000 Let's say, then we will see in the future that when we use instant when we will use instancing, probably we won't be using point sprite anymore. 00:45:24,000 --> 00:45:28,000 But this is another thing for the moment. Let's focus our attention on the fact that points sprite. 00:45:28,000 --> 00:45:46,000 Is, was made and created for particle system, and in order to assign it to the geometry, you just need to drag it on top of the Geo and then choose material from the shortcuts. 00:45:46,000 --> 00:45:53,000 Menu, and now you can zoom on the render, and something will appear okay. 00:45:53,000 --> 00:46:09,000 But still is not the as we would like to be. So when you choose point, Sprite, you have to be sure that your particle system are rendered as points bright. 00:46:09,000 --> 00:46:22,000 And not as lines. So now we are jumping back to particle operator, and in the first page in state you have a particle type. 00:46:22,000 --> 00:46:27,000 You can say, render as points bright. 00:46:27,000 --> 00:46:31,000 Once you have this, set it and the points bright material applied to the geometry. 00:46:31,000 --> 00:46:49,000 Then you can make the point material larger by going into into points bright material, and amply, and scaling up this constant point. 00:46:49,000 --> 00:46:56,000 Scale, to to 3 to 6 until you don't start to see them. 00:46:56,000 --> 00:47:09,000 So it can also go over. So that's exactly what's what is happening when you use point sprite and. 00:47:09,000 --> 00:47:18,000 And the constant points. Okay, now, you can take the point and visualize it, basically as a rectangle. 00:47:18,000 --> 00:47:26,000 I put in pause. Just a bit, so each point can be no a rectangle. 00:47:26,000 --> 00:47:29,000 Basically it's rendered as a rectangle. 00:47:29,000 --> 00:47:35,000 So this rectangle can can have a call or map. 00:47:35,000 --> 00:47:42,000 So this will see it later. We can assign a color map to to to the rectangle. 00:47:42,000 --> 00:47:45,000 To this? 00:47:45,000 --> 00:47:46,000 To this square. Yes, we have sorry name. I'm not seeing anything on the render. 00:47:46,000 --> 00:47:58,000 No, okay. So let's see if. 00:47:58,000 --> 00:48:01,000 Have you assigned a point, sprite, to geometry? 00:48:01,000 --> 00:48:05,000 So the passage are these the? 00:48:05,000 --> 00:48:16,000 We have, particle, set it as particles as points sprite render as points sprite, and not those lines. 00:48:16,000 --> 00:48:22,000 Then we assign the points right material to the geometry. 00:48:22,000 --> 00:48:26,000 By dragging it and choosing material. 00:48:26,000 --> 00:48:36,000 We have a camera looking to our geometry. We have. 00:48:36,000 --> 00:48:39,000 And I think in theory, this is the only parameter we have changed. 00:48:39,000 --> 00:48:45,000 Yes, we changed the constant point scale to one larger. 00:48:45,000 --> 00:48:51,000 The points bright material. Diana, do you still have? 00:48:51,000 --> 00:48:59,000 Yes, sorry I'm I'm still not seeing it. 00:48:59,000 --> 00:49:00,000 Yes. 00:49:00,000 --> 00:49:11,000 Are you implied? Hmm, yes. 00:49:11,000 --> 00:49:12,000 Yup! 00:49:12,000 --> 00:49:17,000 Can you show me rapidly share your screen? Is it possible? 00:49:17,000 --> 00:49:22,000 Because sometimes it's faster than. 00:49:22,000 --> 00:49:29,000 You, you will find the share button under. Yes, amazing. 00:49:29,000 --> 00:49:38,000 Yes, you don't see points. Price 4.15 particle soap. Click on it. 00:49:38,000 --> 00:49:45,000 Render as points bright. 00:49:45,000 --> 00:49:49,000 Okay, I'm gonna take. 00:49:49,000 --> 00:49:53,000 Remote control request. If it's possible. Oh, no, you are. 00:49:53,000 --> 00:49:59,000 You have to open the system, set and change it for the first time in for zoom. We are. 00:49:59,000 --> 00:50:07,000 That doesn't show up anything. The camera is. 00:50:07,000 --> 00:50:08,000 Okay. 00:50:08,000 --> 00:50:11,000 Hello, Kate! 00:50:11,000 --> 00:50:12,000 And try again. 00:50:12,000 --> 00:50:14,000 Yup! 00:50:14,000 --> 00:50:26,000 The camera is looking to the render, add 5, and the render does not visualize. 00:50:26,000 --> 00:50:33,000 Anything, camera, camera, geometry, are those ones? 00:50:33,000 --> 00:50:40,000 Even if we bring the camera up far away, like it's 15. 00:50:40,000 --> 00:50:41,000 Okay. Okay. 00:50:41,000 --> 00:50:47,000 Oh, yeah, that's something. It was too close. So that's sometimes it happens. 00:50:47,000 --> 00:50:53,000 That may be the length of the camera is not wide enough, so always. 00:50:53,000 --> 00:51:00,000 This is a good way to always have. I didn't do it now, because I was thinking it was not needed. 00:51:00,000 --> 00:51:06,000 But this job was thinking it was not needed. But this geometry viewer always helps to understand. 00:51:06,000 --> 00:51:11,000 If there are, hey, camera and the geometry. And now you can go and change them. 00:51:11,000 --> 00:51:16,000 Constant point scale up to 10 or to something else. Okay? 00:51:16,000 --> 00:51:18,000 Okay. Thank you very much. 00:51:18,000 --> 00:51:30,000 No, no, it's my pleasure, and it's also like useful for other people to see these little huh! 00:51:30,000 --> 00:51:31,000 Okay, so, hmm, and in fact, I have the same need. 00:51:31,000 --> 00:51:47,000 Now I need to bring my camera back, because I'm too close to the particle system so I can go back a 20. 00:51:47,000 --> 00:51:55,000 And then you will see if it's okay, or if I may 15 also was good. 00:51:55,000 --> 00:52:01,000 And also it's always about finding a good balance between the the points. 00:52:01,000 --> 00:52:07,000 Scale, and the result you want to obtain. 00:52:07,000 --> 00:52:21,000 At at the render level. So this one, we can come back later and create. 00:52:21,000 --> 00:52:38,000 Some little changes, and talk about the another way to create trails. 00:52:38,000 --> 00:52:39,000 Good. 00:52:39,000 --> 00:52:42,000 What I'm gonna do now is like the other geometry, which is like that circular geometry made of concentric circles. 00:52:42,000 --> 00:52:43,000 So this we done. 00:52:43,000 --> 00:52:48,000 Alright, I'm so sorry for it. I feel like I'm interrupting, but it will just take like 5 s. 00:52:48,000 --> 00:52:56,000 No, don't worry. 00:52:56,000 --> 00:52:59,000 Sure! 00:52:59,000 --> 00:53:00,000 So! 00:53:00,000 --> 00:53:05,000 Can you show me how you linked the particles to the geometry? Because I I'm pretty sure it's a quick thing that I'm not handling. 00:53:05,000 --> 00:53:06,000 Oh, okay. 00:53:06,000 --> 00:53:09,000 No, no! No! Follow me! Look! Ideal it now. Right click on the particle. 00:53:09,000 --> 00:53:16,000 Go inside the look for geometry, choose geometry, and place it. 00:53:16,000 --> 00:53:18,000 Okay, that's it. 00:53:18,000 --> 00:53:22,000 So what happens is that the particle goes inside the Gio one. 00:53:22,000 --> 00:53:31,000 This is a shortcut it creates a in stop and an outsop, and it also enabled outside to render and display. 00:53:31,000 --> 00:53:53,000 If you don't do this, Erica, you might have to do a geometry, and then you have to go inside the geometry and delay to the total and create a like, let's say a and then the inside creates this little inlet on the geometry. 00:53:53,000 --> 00:54:04,000 Like this. You can connect your particle in, and then you have to remember that you need to render and display flag. 00:54:04,000 --> 00:54:13,000 This little operator so that can be visualized, and then later you can assign them material, and by dragging it. 00:54:13,000 --> 00:54:15,000 Okay. Okay. Thank you. 00:54:15,000 --> 00:54:34,000 So this part here of building geometries in multiple ways. 00:54:34,000 --> 00:54:35,000 Hmm! 00:54:35,000 --> 00:54:43,000 It's very important that you all get it, because you can also create a geometry and then copy, paste your entire particle thing inside the geometry delaying the toros, and just placing the whole thing that you created before inside the geometry and this is also a way 00:54:43,000 --> 00:54:51,000 that you can do it so like this, you hide all the building blocks that you had outside. 00:54:51,000 --> 00:54:52,000 Yeah. 00:54:52,000 --> 00:55:03,000 But still my favorite for beginners is not to hide stuff inside the geometries, because then, if you hide stuff, then it will be rare for you to go to change them. 00:55:03,000 --> 00:55:28,000 Still, my favorite way is to have the entire soap operator available here and then go with the this right click. And then geometry creating a new yeah, creating a new geometry assigning. 00:55:28,000 --> 00:55:29,000 Okay. 00:55:29,000 --> 00:55:34,000 Okay, that was a good from last lesson. 00:55:34,000 --> 00:55:37,000 Okay, I always forget the right click. Thank you. 00:55:37,000 --> 00:55:50,000 Okay. And now we go on by creating the bottom like the center part of this visual, which is made of this concentric circle, you can make it also by yourself, if you prefer you just need to make a circle. 00:55:50,000 --> 00:56:05,000 Stop with an arc angle that later we're gonna control with the sound reactive. 00:56:05,000 --> 00:56:12,000 And then we make them, we transform. So we make the first one. 00:56:12,000 --> 00:56:23,000 Let's say we scale it. The 0 point 9, and we apply a rotation in Z, and then we start to copy paste. 00:56:23,000 --> 00:56:29,000 This one, and change the uniform scale and the speed of rotation. 00:56:29,000 --> 00:56:35,000 It's gonna be pretty simple and faster to create this concentric circles. 00:56:35,000 --> 00:56:41,000 We start from circle soft, and we choose for open arc like this. 00:56:41,000 --> 00:56:48,000 We can define now the the arc let's start with the 180 at least. 00:56:48,000 --> 00:56:57,000 We can see the others circle generated, and what we do, we create the transform alright. 00:56:57,000 --> 00:57:04,000 And let's say the transfer we can already animate it in Z. 00:57:04,000 --> 00:57:12,000 With our python expression, if you remember from the previous time we can use abs time dot seconds to have a variable that changes through time. 00:57:12,000 --> 00:57:27,000 With with the velocity of seconds. So, as you can see, the number is changing. 00:57:27,000 --> 00:57:35,000 Have a second the integer there, and if you think about something rotating in the with this speed, that it's gonna be very slow. 00:57:35,000 --> 00:57:46,000 No like this. Now. It's very slow. So if we multiply this by, let's say 30, then we can see an actual rotation. 00:57:46,000 --> 00:57:55,000 Alright. So if we are satisfied of the first rotation, we can just already, like copy paste. 00:57:55,000 --> 00:58:04,000 This one change, the rotation multiplied by 15 instead of 30, and we can also make the uniform scale at 0 point 9 like this. 00:58:04,000 --> 00:58:28,000 It's a smaller. And if you want to already see the comparison between the 2 circle you I suggest you to already place a merge, a merge sort merges together 2 2 different operators. 00:58:28,000 --> 00:58:36,000 Okay, creating it like creating a unique. 00:58:36,000 --> 00:58:44,000 Okay, combining together the 2 circles, and to one. 00:58:44,000 --> 00:58:47,000 Then. 00:58:47,000 --> 00:58:56,000 If this is okay, and it's clear to you, you can just copy paste as many as you want. 00:58:56,000 --> 00:59:14,000 Changing, the speed, changing, maybe the also the direction you can change, or you can say if if you place a minus before abs time, this goes in the opposite direction. Okay? 00:59:14,000 --> 00:59:16,000 Because it's clear. It's like, yeah, minus 7 years time, then goes to in the opposite direction. 00:59:16,000 --> 00:59:25,000 Look here, I forgot to uniform scale down at 0 point 8 like this. 00:59:25,000 --> 00:59:31,000 Now we have 3 circles. Okay? And the third one is going in the opposite direction. 00:59:31,000 --> 00:59:36,000 So here you really are free to do what ever you prefer. 00:59:36,000 --> 00:59:46,000 Some of them. You can make them go faster, slower. Sorry for my. 00:59:46,000 --> 00:59:56,000 So every time I add the added to the mererger to see if I like the result, I might still have layers and 0 point 6. 00:59:56,000 --> 01:00:06,000 I can add another one. Maybe I'll go at 20. 01:00:06,000 --> 01:00:10,000 And maybe I go in the opposite direction, minus a Bs. 01:00:10,000 --> 01:00:11,000 This is really like up to you. You don't have to put the same numbers. 01:00:11,000 --> 01:00:24,000 I put to just have fun in creating this centric. Sorry concentric circle 0 point 5 0 point 6. 01:00:24,000 --> 01:00:30,000 Now, yeah, this, this and that. I don't know how many. 01:00:30,000 --> 01:00:38,000 I want more. It's hard to just 0 point 4. 01:00:38,000 --> 01:00:45,000 And we can have that. I don't know. At this speed of 15. 01:00:45,000 --> 01:00:49,000 Yeah. 01:00:49,000 --> 01:00:56,000 Really up to you to define how many layers you want is not important. 01:00:56,000 --> 01:01:01,000 Okay. 01:01:01,000 --> 01:01:17,000 So why we did this? Because we want to. We want to create a visual that can be done of 2 different trends. 01:01:17,000 --> 01:01:28,000 One is with the feedback loop, and the other one is not so. 01:01:28,000 --> 01:01:44,000 We have done the first one, which is this particle that later we can modify some properties, some parameters, and see the different result, and this render we want to apply a feedback loop to it. 01:01:44,000 --> 01:01:45,000 So, if you remember how to apply a feedback loop was, like all post, render now. 01:01:45,000 --> 01:01:56,000 So with the top operator with a texture operator. 01:01:56,000 --> 01:02:21,000 So? Can you easily make a feedback loop? I'm gonna just started with the feedback, which is in the top family, and then we have, like the one I thought you was using a level stop how to create the trains. 01:02:21,000 --> 01:02:26,000 And then you remember the trail of a circle top right? 01:02:26,000 --> 01:02:32,000 Gary. We have many different circle, top. 01:02:32,000 --> 01:02:45,000 Hmm! Not only one. And then we create it over so that we can use this second input of the over, and we can bring back the feedback. 01:02:45,000 --> 01:02:57,000 And then we can say, now we have a like the raise of the sun, because they are all going straight. 01:02:57,000 --> 01:03:01,000 And then what we can do, we can say to the level to reduce the opacity. 01:03:01,000 --> 01:03:13,000 Very important, not the brightness to at 0 point nineteenth 7 90, yeah, 96, 97. 01:03:13,000 --> 01:03:23,000 Whatever. So this again is up to you. How much you want to modify them. 01:03:23,000 --> 01:03:53,000 The opacity inside the the feedback loop. So keep in mind that 0 point 9 will and over will leave a long trail longer trail, and then under 0 point 9 will just be a little has moral trail. 01:03:53,000 --> 01:03:58,000 So if you have a this setup, then you might also want to reset the feedback. 01:03:58,000 --> 01:04:27,000 Sometimes, if you remember, we were using the keyboard, the keyboard in chop to reset this feedback also, now that you have a feedback, you might be curious to change some particle trajectories like applying some turbulence for example, so if you go in in again, in particles. 01:04:27,000 --> 01:04:35,000 So you have this turbulence parameter that you can change. 01:04:35,000 --> 01:04:40,000 And so in the 3 axis x y. 01:04:40,000 --> 01:04:44,000 And Z, and you can observe both in the 3D. 01:04:44,000 --> 01:04:47,000 Where are the points going? 01:04:47,000 --> 01:04:54,000 So turbulence is an algorithm which is like a presset inside particles. 01:04:54,000 --> 01:04:59,000 Stop! Penny has these 3 access? Xyz. 01:04:59,000 --> 01:05:07,000 So obviously, if you want to, you can also say like, I don't want turbulence in the Zedx. 01:05:07,000 --> 01:05:19,000 No, and put it to 0 like this, your let's say your particle will always yeah, we'll keep the tour balance in X and y, but not in zed. 01:05:19,000 --> 01:05:37,000 This, sometimes sometimes people. For example, want to apply a wind in Z, and so they apply like no turbulence in that, and only a winged that brings the particle towards the camera. 01:05:37,000 --> 01:05:47,000 So if you look, then your feedback loop like the result after the feedback loop, then you start to see that. 01:05:47,000 --> 01:06:04,000 The particles are leaving a trail right. The trail length is given by the opacity of the of the level top inside the feedback loop. 01:06:04,000 --> 01:06:11,000 Okay, so this you can control it. 01:06:11,000 --> 01:06:12,000 As you want, and also, if you add a blur here, then you have that other effect which is making more. 01:06:12,000 --> 01:06:26,000 This kind of. 01:06:26,000 --> 01:06:43,000 Shorter trails, because they also blur while they are, get transparent for the moment we can keep them straight and, as I was saying, we can use the keyboard in chopper to Rosette, both so keyboarding shop is inside the shop family Keyboard. 01:06:43,000 --> 01:06:57,000 In, we can reset both the particle system, but also the feedback loop, with just a one node. 01:06:57,000 --> 01:07:05,000 So we can use this inside our particle resistance export shop. 01:07:05,000 --> 01:07:11,000 This becomes green, and when I use one, I basically reset the feedback. 01:07:11,000 --> 01:07:34,000 But I can reset at the same time my particle system, because if I go in particle, so I also have this in the pages, state the reset pulse button, so that I can try, and this reset pulse I can use it with my keyboard in just dragging the 01:07:34,000 --> 01:07:47,000 channel K, one on my hi on my parameter, which I already visualized, of the particle sub reset pulse, and I export shop. 01:07:47,000 --> 01:08:04,000 I export as a shop like this he becomes green, and now, if I press one, both the particle sub and feedback top are resetting right. 01:08:04,000 --> 01:08:10,000 So that could be handy. 01:08:10,000 --> 01:08:13,000 Also, you can think that in the future you can use instead of the keyboarding. 01:08:13,000 --> 01:08:34,000 Maybe some sound, reactive signal coming from the audio analysis production, for example, the kick or the snaer could be good to reset the particle system and the feedback together. 01:08:34,000 --> 01:08:41,000 Now what we want to do, we want to use this. 01:08:41,000 --> 01:08:53,000 Render with the feedback loop, but we don't want to apply the feedback loop to our circles. 01:08:53,000 --> 01:09:15,000 Why? Because if I show you that if I create another geometry, no, and from the circles from this concentric circles we created before, the geometry will be then rendered, as you can see, but it's not actually it's not visible, because we have no 01:09:15,000 --> 01:09:21,000 material assigned, you can see some very little black lines there. 01:09:21,000 --> 01:09:27,000 So let's apply a material to this geometry. 01:09:27,000 --> 01:09:37,000 Number 2. Okay, so the material we choose is a very simple one, a wireframe, so that we can look at other things. 01:09:37,000 --> 01:09:42,000 So we apply material wireframe to the G. O. 01:09:42,000 --> 01:09:48,000 2, and we can already visualize that. 01:09:48,000 --> 01:10:00,000 Hey? Everybody in the same render so, which means that let's make this wireframe a bit. 01:10:00,000 --> 01:10:09,000 Take care with line with the up to 2 or 3, even. 01:10:09,000 --> 01:10:13,000 Kisana. What what you can see is that you have both geometry. 01:10:13,000 --> 01:10:28,000 No, in the same render the other thing you can see is that the measures are corresponding exactly. 01:10:28,000 --> 01:10:43,000 I mean that the circle which is the emitter of the particle, has a radius of one, and the third circle that we use in our merge up. 01:10:43,000 --> 01:10:47,000 It has a radius of one. So that's why, both in the render, but also in the 3D. 01:10:47,000 --> 01:10:57,000 They will match size and position. 01:10:57,000 --> 01:11:05,000 Okay. Then the other is, your caller is smaller because we applied the like different transforms. 01:11:05,000 --> 01:11:12,000 Okay, hold on. Remember how to visualize this. 01:11:12,000 --> 01:11:34,000 Geometry viewer, which is very handy when you, when you want to see, like geometries, position, or the camera position in respect to the geometries, tell me if I'm repetitive, or I'm trying to highlight those aspects of the exercise. 01:11:34,000 --> 01:11:40,000 I I think they are. 01:11:40,000 --> 01:11:56,000 For today's exercise. That's why we are using materials that are that does not require any light source so that we can focus on our attention on the, on the soft part. 01:11:56,000 --> 01:11:57,000 And then in a few minutes on the sound reactive part. 01:11:57,000 --> 01:12:07,000 Okay. 01:12:07,000 --> 01:12:12,000 You can see from the visual that. 01:12:12,000 --> 01:12:19,000 The circular arches that are moving. They have a trail. 01:12:19,000 --> 01:12:27,000 That's because we are using it with this feedback loop. 01:12:27,000 --> 01:12:35,000 And so the result of of that is that you're gonna have a trail. 01:12:35,000 --> 01:12:53,000 Which is made post render. Okay? And maybe you don't want to have the feedback loop applied to the circle. So I'm gonna show you how to easily create 2 different renders. 01:12:53,000 --> 01:13:01,000 One only for the particle and the other one only for the concentric circle. 01:13:01,000 --> 01:13:02,000 Okay. Then also, you can do the same thing with render pass. 01:13:02,000 --> 01:13:12,000 But that's another story. We start basic. We start by saying, Oh, look! 01:13:12,000 --> 01:13:19,000 I want to apply a feedback loop to the particle, but not to my concentric. 01:13:19,000 --> 01:13:33,000 See your call, so what I do I do a second render always from the, and when I place it I might need to change something for the 2 of them. 01:13:33,000 --> 01:13:38,000 So what I want to change. I want to say this first render. 01:13:38,000 --> 01:13:42,000 I want to render the geometry, not the all of them. 01:13:42,000 --> 01:13:59,000 So no, ask the risk. I want to render. Only Gio one, which is the which is the geometry. 01:13:59,000 --> 01:14:03,000 The Gio one for render one. 01:14:03,000 --> 01:14:04,000 They can have the same cam one so they can share the camera. 01:14:04,000 --> 01:14:20,000 That's no problem like this. So I mean, if I move the camera, the render will both change, and for the render tool, as I did before, I'm gonna select only G. O. 01:14:20,000 --> 01:14:32,000 2. Okay. So like this, I can have my G. O 2 going, and to be rendered only in the rendered number 2. 01:14:32,000 --> 01:14:45,000 So like in this way, even if someone would say, I'm a here you are doubling the memory usage. 01:14:45,000 --> 01:14:48,000 But I actually ran that you can make other renders and keep like a good frame per second. 01:14:48,000 --> 01:15:00,000 We're still going at 60 in editor Mode. 01:15:00,000 --> 01:15:06,000 Another way to do these 3 kids to use renderpass. But I think it's a bit more complex. 01:15:06,000 --> 01:15:09,000 Hmm! Let's let's stick. 01:15:09,000 --> 01:15:21,000 Let's use this for the moment. 2 different renders mainly used to apply a feedback loop to certain geometries and and not to others. 01:15:21,000 --> 01:15:22,000 So this method could be used in many other visuals. You know. 01:15:22,000 --> 01:15:30,000 Sometimes you want to mix. 01:15:30,000 --> 01:15:36,000 Feedback loop results with the. 01:15:36,000 --> 01:15:58,000 Pure, render result, and then here, as you can see, with a simple over, I can have both, so I can have my feedback loop particle and the lines together, and the lines won't have the feedback loop effect. 01:15:58,000 --> 01:16:01,000 Let's create a last null so that I can. 01:16:01,000 --> 01:16:09,000 Visualize it and preview. 01:16:09,000 --> 01:16:14,000 And now! 01:16:14,000 --> 01:16:21,000 If this is Don, and we have no question, we can now start the sound reactive part. 01:16:21,000 --> 01:16:30,000 Okay, you down for it, Valerie. Are you validate from the I never have to. 01:16:30,000 --> 01:16:36,000 Yeah, yeah. 01:16:36,000 --> 01:16:37,000 Yeah. 01:16:37,000 --> 01:16:40,000 Yeah, so everything. Okay, until now, okay. 01:16:40,000 --> 01:16:41,000 Thank you. 01:16:41,000 --> 01:16:53,000 So we we can start with the sorry if I'm asking to you, but you know sometimes I need some feedback from my students and I'm asking to you because I see you. 01:16:53,000 --> 01:16:58,000 You are pretty social. No problem. That's why I'm asking if everything is okay. 01:16:58,000 --> 01:16:59,000 So we can go on. 01:16:59,000 --> 01:17:05,000 There it is! Thanks! 01:17:05,000 --> 01:17:11,000 No, if you want, I can save a working Progress version. 01:17:11,000 --> 01:17:22,000 But I don't think you need it, because we did everything slow and simple. 01:17:22,000 --> 01:17:31,000 Now, what we gonna create, are you gonna create? And now you're filing. 01:17:31,000 --> 01:17:44,000 Use something audio file from our computer and and audio file in is importing an Mp. 01:17:44,000 --> 01:18:11,000 3 a while and I file, okay. But whenever you have an audio, both if it's a stream or a or a file or a microphone, it's inside the shop family, because an audio is a series of numbers, okay, with the certain frequency, very high that then produces sound but you won't 01:18:11,000 --> 01:18:17,000 find it in text tool running surfaces, you will find it into channels. 01:18:17,000 --> 01:18:21,000 So let's look for audio file in, and it's in the first column here when you place it. 01:18:21,000 --> 01:18:32,000 It's gonna open the sample file that you want here in your earphones. 01:18:32,000 --> 01:18:40,000 It will open the sample file from the touch designer, folder blah, blah, blah! 01:18:40,000 --> 01:18:57,000 Called Jeremy Corfield. My suggestion is to always have, like your favorite song downloaded, or your favorite playlist Downloaded. 01:18:57,000 --> 01:19:11,000 No, because after some times this sound here it's a bit repetitive. 01:19:11,000 --> 01:19:12,000 The. 01:19:12,000 --> 01:19:24,000 Now, what did I just do? I created a node, an operator, to listen to the music on the speakers, and this is the perfect example. 01:19:24,000 --> 01:19:41,000 I think that you have to say everything to touch designer is not that when you place a file it's gonna sound directly onto your speaker, because audio file in just loaded the file from your hard drive. 01:19:41,000 --> 01:19:47,000 Exactly like if I place a audio device in, how did device in? 01:19:47,000 --> 01:19:54,000 It's basically head device connected in input to my computer. 01:19:54,000 --> 01:20:01,000 And in this case the default device from my operating system. 01:20:01,000 --> 01:20:06,000 If I go to check, it's not here. 01:20:06,000 --> 01:20:11,000 It's here my default device microphones is the Q. 01:20:11,000 --> 01:20:16,000 9 microphone that I have here in front of me. 01:20:16,000 --> 01:20:23,000 That's and that's the way of the my voice. 01:20:23,000 --> 01:20:33,000 There is a bit of noise, but the noise is very, very subtle, and as soon as I talk, then I have this wave. 01:20:33,000 --> 01:20:40,000 Can you see the difference between this one and this one? This is 2 channels. 01:20:40,000 --> 01:20:54,000 This is one channel. You can see it because the 2 channels first one is right, the second one is green, yellow, and the one here is only have monochannel is only one. 01:20:54,000 --> 01:21:07,000 No, so you can always say to the audio device in to give you a format stereo like this, you have 2 channels, but that would be a symbol like simulating stereo. 01:21:07,000 --> 01:21:19,000 That's actually like, it's a mono, because obviously, the microphone is a monochrome. 01:21:19,000 --> 01:21:27,000 Just to remind you this, he looks like that, and then stereo looks more or less like that. 01:21:27,000 --> 01:21:51,000 Okay, we're gonna use the file. And as I was saying, if you want to go on your speaker with how your device out. So it's the opposite of how the device in so the device out are speakers. 01:21:51,000 --> 01:21:57,000 And now I bypass temporarily this speaker. 01:21:57,000 --> 01:21:58,000 No, because I need to talk in the microphone. 01:21:58,000 --> 01:22:08,000 You need to hear me. So this bypass. 01:22:08,000 --> 01:22:12,000 It's very handy sometimes, especially with audio device out. 01:22:12,000 --> 01:22:21,000 You can also use the volume. Huh? So I can also say. 01:22:21,000 --> 01:22:35,000 Volume down to 0 point 0 0. That's 8 0, okay, and keep in mind, that is not the volume of the audio filing is the volume of the operator device out. 01:22:35,000 --> 01:22:39,000 Okay, so this is like the real volume going to the speaker. 01:22:39,000 --> 01:22:50,000 Okay, why I wanted to tell you this, because now we will use them. 01:22:50,000 --> 01:23:05,000 Analysis from the that we will drag and drop here to see what is the. 01:23:05,000 --> 01:23:11,000 Output that gives us and how to use it. Also. Most importantly. 01:23:11,000 --> 01:23:24,000 So let's imagine first I show you the tool, then I'll explain you a little bit of what these very basic operators. 01:23:24,000 --> 01:23:35,000 So first of all, let's open the with our little button here under file. 01:23:35,000 --> 01:23:40,000 And we go in the category tools. Okay? So it's under techniques. 01:23:40,000 --> 01:23:44,000 You have tools. 01:23:44,000 --> 01:23:51,000 And from the category tools we choose. Audio. This one. 01:23:51,000 --> 01:24:00,000 This is made by Greg Romanovitch, so it's a very good and stable. 01:24:00,000 --> 01:24:03,000 Tool. 01:24:03,000 --> 01:24:08,000 To bring it inside your network, as I just did. You just need to drag and drop it. 01:24:08,000 --> 01:24:14,000 So you take it. The audio analysis. You drag it inside your network when you release the mouse. 01:24:14,000 --> 01:24:23,000 It's gonna take some time, but maybe a second, and it's gonna show you. 01:24:23,000 --> 01:24:31,000 The tool, and, as you can see, the tool has an input, which is a chopper and an output. 01:24:31,000 --> 01:24:42,000 So first of all, let's start from the input we can input our audio file in and as you can see here, I'm not inputting my audio device out. 01:24:42,000 --> 01:24:56,000 Okay? Why? Because, like this, I can keep the volume of the audio file into one and then bring the volume of the device out to 0. 01:24:56,000 --> 01:25:05,000 And my audio analysis will still analyze the audio coming from the filing, and not the one muted from the device out. 01:25:05,000 --> 01:25:11,000 So that's usually how you separate. Now, these threads. 01:25:11,000 --> 01:25:20,000 For this reason, and then let's see just for what comes out. 01:25:20,000 --> 01:25:42,000 This outlet of the audio analysis. We will use panel chopper in order to see what comes out from here and it's a list of Johns, as you can see, and the only channel active looks like is the low. 01:25:42,000 --> 01:25:54,000 That's because you need to the other analysis to see them, to activate them. 01:25:54,000 --> 01:25:57,000 So this is the tool, so it can appear also in your project. 01:25:57,000 --> 01:26:06,000 One above. I'm sure it's not because it's displayed half, probably. 01:26:06,000 --> 01:26:09,000 Yeah, it's displayed off. So this is a tool, and you can display it in your project. 01:26:09,000 --> 01:26:21,000 One, or you can keep it hidden. But it's basically like it has a layout. 01:26:21,000 --> 01:26:29,000 It has buttons, it has controls and custom parameters. 01:26:29,000 --> 01:26:34,000 You can interact with it by opening the viewer active? No. 01:26:34,000 --> 01:26:37,000 And then these are all different buttons that I can click on them. 01:26:37,000 --> 01:26:43,000 So I can activate the mid frequency, the high frequency, the kick. 01:26:43,000 --> 01:26:50,000 This narrator. Let's say, if I want to have all these. 01:26:50,000 --> 01:26:55,000 Clear also, if I don't use the viewer active, I can always say, Hey, show me this component in preview by doing right. 01:26:55,000 --> 01:27:06,000 Click, and then clicking on view, and then you have this little component in a preview mode. 01:27:06,000 --> 01:27:16,000 And it's still interactive. So you can. Still, let's say, enable and disable the channels that you want to use. 01:27:16,000 --> 01:27:31,000 I usually turn them all on. Okay. So so that the null is giving me the low frequency, the medium frequency, the high frequency. 01:27:31,000 --> 01:27:37,000 Each channel. Okay, can be threshold. You can add, Gain. 01:27:37,000 --> 01:27:47,000 You can smooth the you can smooth the the the data. 01:27:47,000 --> 01:27:52,000 So, for example, let's focus on the let's turn it off. 01:27:52,000 --> 01:27:57,000 All of them. Let's focus on the low. Now. 01:27:57,000 --> 01:28:20,000 And this is goes with the song in real time. If I, if if I want to smooth it, I can bring a hop up this smooth slider Router is like, and as you can see, the channel will start be more smooth thing now more smoothly, the add is adding 01:28:20,000 --> 01:28:40,000 a number, so I can add one to the analysis, so this will become 1 point something, and then I can also then remove one, so I can go down to minus one. 01:28:40,000 --> 01:28:45,000 So add is just actually like adding some. 01:28:45,000 --> 01:28:53,000 Awesome value. The gain is a bit different again, is multiplying. 01:28:53,000 --> 01:29:02,000 The detection of low frequency by a higher number. So the gain it's like, yeah. 01:29:02,000 --> 01:29:05,000 While instead the threshold is defining, what's the threshold? 01:29:05,000 --> 01:29:19,000 The for the low frequency in this example, so we can bring up the volume a bit if I believe up the threshold, then. 01:29:19,000 --> 01:29:29,000 This will almost not, Riger does, and if I bring it down, then. 01:29:29,000 --> 01:29:35,000 It triggers the like in starts from. 01:29:35,000 --> 01:29:45,000 From the from a detectable low frequency, from a easily detectable low frequency. 01:29:45,000 --> 01:29:59,000 Okay, so this is what you can get if you use the audio analysis, palette built by derivative team, which works standalone perfectly. 01:29:59,000 --> 01:30:06,000 But what happens behind the scenes? I mean, maybe. 01:30:06,000 --> 01:30:20,000 Maybe we can explain a little bit of how do you analysis just by showing you a couple of operators in the chop, and the first one I would show you is, first of all, how you spectrum. 01:30:20,000 --> 01:30:30,000 So the audio spectrum. It's sorry. 01:30:30,000 --> 01:30:39,000 Obviously here there are 2 channels. So it's creating the audio spectrum for each individual channel, left and right. 01:30:39,000 --> 01:30:49,000 Usually you analyze the entire like, you analyze the the sound. 01:30:49,000 --> 01:30:57,000 You don't want 2 different channels. This is also very helpful to learn. 01:30:57,000 --> 01:31:09,000 How can I get rid of one of the channel? Well, there are several methods you can use a delayed chopper and delayed one of the 2 channel, or you can use a match. 01:31:09,000 --> 01:31:34,000 Chop, probably better in this way. And you can say to the math, chop to combine together the 2 channels embedded in the operators in the operator math, so you can say, combine these 2 channels and make an average of the tool okay, so then you get only one channel which is like the 01:31:34,000 --> 01:31:42,000 average of 2, one and shantoo, so that you only have one audio spectrum. 01:31:42,000 --> 01:31:52,000 And what is the audio spectrum is showing the low medium and high frequency inside this diagram. 01:31:52,000 --> 01:32:22,000 And so usually, what happens within the the audio on it's using some audio filter which are able to isolate only the low frequency, the low frequency channels and then analyze those channels with the node called analyze and this analyze is basically 01:32:25,000 --> 01:32:46,000 a very useful note for sound, reactive, for that is able to detect, for example, not only the average but also the mobile used in in audio analysis, the Rms power. 01:32:46,000 --> 01:32:51,000 If there is a sound designer between you, he can also explain more in detail what is an Rms. 01:32:51,000 --> 01:33:03,000 Power, or you can easily find it online. But it's very interesting. 01:33:03,000 --> 01:33:21,000 Because even if we are analyzing the entire spectrum of of of the track of the song without the dividing low frequency, medium, and high frequency, we already can obtain some channel. 01:33:21,000 --> 01:33:27,000 One channel that gives us an idea of sound. 01:33:27,000 --> 01:33:36,000 Reactive. Maybe I'll just raise the volume a bit. 01:33:36,000 --> 01:33:44,000 I mean, this is a generic no analysis of the entire spectrum of this track. 01:33:44,000 --> 01:34:08,000 So what usually happens is that you can trim part of the audio spectrum and analyze only the low frequency part, or you can use also some other components which are called the audio filter, which are already making past the low frequency. 01:34:08,000 --> 01:34:13,000 So all these, all these operations are made inside the audio. 01:34:13,000 --> 01:34:26,000 Analysis. In fact, if you dive in the audio analysis, you get a bit overwhelmed by all these different node. 01:34:26,000 --> 01:34:37,000 But don't get to scared, because if you go from left to right, then you'll see that you know you have a similar approach. 01:34:37,000 --> 01:34:38,000 Now, like here you have the stereo channel becoming a monochrannel with mat, Chop. 01:34:38,000 --> 01:34:48,000 Then you have an audio dynamic which is actually able to add and reduce the the gain to older. 01:34:48,000 --> 01:35:04,000 So this is not used, and then you have the first 3 audio filter that are using this low pass frequency 180 hertz. 01:35:04,000 --> 01:35:14,000 To pass the low frequency, renew them from Chan one to low, and then analyze Rms. 01:35:14,000 --> 01:35:27,000 Power as you can see here, and all the other things that you see, like the matter, and all the other things are usually like all the logic that you have also in the interface. 01:35:27,000 --> 01:35:50,000 You know you can add the gain. Yeah, you can. These are all like adding gain and stuff like that, mainly the sound analysis is between the audio filter and the analyze, and you have it also for the band pass frequency, which is the medium frequency. 01:35:50,000 --> 01:35:54,000 And the high pass frequency at 3,500 hertz. 01:35:54,000 --> 01:36:00,000 Obviously all these numbers needs to be of theory about audio analysis. 01:36:00,000 --> 01:36:01,000 But what is the best thing is that it's already done. 01:36:01,000 --> 01:36:11,000 And you can use it for free. You can use it anywhere in commercial and non-commercial environments. 01:36:11,000 --> 01:36:19,000 Okay? So it's part of the of instruments. 01:36:19,000 --> 01:36:22,000 Clear. 01:36:22,000 --> 01:36:34,000 This audio analysis tool. Can you also observe the the sound? 01:36:34,000 --> 01:36:41,000 Yeah, the thing about the sound I told you now sometimes also is good to choose. 01:36:41,000 --> 01:36:49,000 Maybe something that you that you that you like. I like personally. 01:36:49,000 --> 01:37:04,000 Fkj. I think he's a very good suggestion, because it's popular and also kind of. 01:37:04,000 --> 01:37:15,000 Then this song. It starts after a while, how you can already see that. 01:37:15,000 --> 01:37:20,000 Sound, analysis, now. 01:37:20,000 --> 01:37:28,000 Not just because the sound is more minimal. Let's say. 01:37:28,000 --> 01:37:40,000 So that's for the sake of today, we're gonna use the the sound from from the sample folder like this. 01:37:40,000 --> 01:37:50,000 We all have the same sound. But then keep in mind, you can change it with another track. Okay? 01:37:50,000 --> 01:37:54,000 Now? What we're gonna use. We're gonna use the select chopper. 01:37:54,000 --> 01:38:03,000 Was interesting. The explanation about what happens behind the scenes of value analysis. 01:38:03,000 --> 01:38:04,000 Yes, thank you. 01:38:04,000 --> 01:38:05,000 Okay, cause, this is like the very basic way of explaining it. 01:38:05,000 --> 01:38:14,000 You have the spectrum possibility. Important. 01:38:14,000 --> 01:38:19,000 This backed room. Which is this graphical representation. 01:38:19,000 --> 01:38:29,000 I put in pause, of all the different low medium, and high frequencies is basically a series of number in total. 01:38:29,000 --> 01:38:34,000 We have 22 and 50 index. 01:38:34,000 --> 01:38:44,000 And they can be trained. So these are like a series of number that I can. 01:38:44,000 --> 01:38:54,000 Resemble means to reduce the or to I can reduce the number of samples to 30. 01:38:54,000 --> 01:39:02,000 For example, this is just to show you that this is a this is a graphical representation of many numbers. 01:39:02,000 --> 01:39:05,000 This is the same graphical representation, only of 30 numbers. 01:39:05,000 --> 01:39:11,000 So it's like reducing them. The information quantity. 01:39:11,000 --> 01:39:25,000 No, and you can see that he's a more. Low polygonal line now, because here we have 22,000 values or points or index. 01:39:25,000 --> 01:39:39,000 And here we have only 30. So, and then I can show you that each each one of this point is an actual channel. 01:39:39,000 --> 01:39:49,000 I can split the all the samples so little samples, and then so if these are 30, 30 in total. 01:39:49,000 --> 01:39:56,000 So then, hey? I have from. I have 30 channels. 01:39:56,000 --> 01:40:01,000 Okay. And they are representing the numbers in this graphical representation. 01:40:01,000 --> 01:40:06,000 So this. 01:40:06,000 --> 01:40:12,000 Way of looking to chops both like that. 01:40:12,000 --> 01:40:17,000 That also like that. It's very useful in the future. 01:40:17,000 --> 01:40:25,000 Whenever you see a graphic like that, you have to think that each point of this graphic is an actual channel. 01:40:25,000 --> 01:40:33,000 Okay, it's just that there are so many that the only way to represent them is like that on the left. 01:40:33,000 --> 01:40:43,000 Imagine you have to represent the 22,000 of these channels no, like a list of 22,000 of that. 01:40:43,000 --> 01:40:50,000 It's first of all, it's useless. You won't be looking to 22,000 channels like individually. 01:40:50,000 --> 01:40:57,000 And that's why they made this way of representing a channel. Sorry. 01:40:57,000 --> 01:41:06,000 A sequence of channels. In this way. 01:41:06,000 --> 01:41:16,000 And it's the same for the noise. Chopper now we have used in the past, and and the time slice of the noise. 01:41:16,000 --> 01:41:20,000 No! So! 01:41:20,000 --> 01:41:37,000 Now we gonna select one of these low frequency high frequency channel with our select chop, how to use select shop, we can just select the one of the channels from this parameter channel name. 01:41:37,000 --> 01:41:50,000 So that we can isolate it like, let's select low, which would be the low frequency. 01:41:50,000 --> 01:41:53,000 And. 01:41:53,000 --> 01:42:16,000 Once we have selected it, then we have to use a series of math chopper and lag, chop to adjust the range of this number in order to control some some parameters of our particles of for example, the parameter. 01:42:16,000 --> 01:42:31,000 We want to control the most easy one, I guess, is birth, so we can start the particle birth only when there is some sound. 01:42:31,000 --> 01:42:39,000 So usually I always review my last node. 01:42:39,000 --> 01:42:47,000 So the project? One, not one. And then I start to play with this birth. 01:42:47,000 --> 01:42:51,000 I bring it back to 0 manually, and I see that. 01:42:51,000 --> 01:43:09,000 Oh, they disappear after a while. Huh? Okay, so I might need to go between 0 and some number to have this kind of particle birth only when there is sound. 01:43:09,000 --> 01:43:13,000 So what I do, I use the. 01:43:13,000 --> 01:43:17,000 The math shop. 01:43:17,000 --> 01:43:27,000 Attached to my select shop, so that I can change the range of the input into a higher number. 01:43:27,000 --> 01:43:33,000 So maybe I'll just start by changing from 0 to one to 0 to 100 like this. 01:43:33,000 --> 01:43:37,000 I can already use this number. 01:43:37,000 --> 01:43:43,000 And I can try to see what happens if I connect this number to my particle. 01:43:43,000 --> 01:43:49,000 Birth. 01:43:49,000 --> 01:43:55,000 And I use chop export so I can already see that something is happening. 01:43:55,000 --> 01:44:10,000 Oh, is going with with the sound. At least I'm pretty sure that if I mute. 01:44:10,000 --> 01:44:17,000 It's difficult with this type of song. So I'm gonna probably like chose another song again. 01:44:17,000 --> 01:44:27,000 And see, let me do like that. I'm gonna use panel here. 01:44:27,000 --> 01:44:39,000 And I can choose a song from my downloads, like, Yeah, I, B. 01:44:39,000 --> 01:44:45,000 Don't even know that's gonna start. 01:44:45,000 --> 01:44:49,000 Go mating. 01:44:49,000 --> 01:44:53,000 So! 01:44:53,000 --> 01:44:56,000 My love! 01:44:56,000 --> 01:45:13,000 Every time teaching online with sound is a bit tricky, because I have to mute it now and then I have to change some parameterers, but my suggestion is use. 01:45:13,000 --> 01:45:21,000 I mean a minimal song. You know something that, for example, Fkj or something else that may be more experimental. 01:45:21,000 --> 01:45:28,000 You can also use your I mean, you can also use your voice. 01:45:28,000 --> 01:45:33,000 The only problem is that if you use a microphone and a voice, it will be very difficult to reproduce some low frequency or some high frequency. 01:45:33,000 --> 01:45:49,000 You with the voice you usually tackle the the medium frequency, so I can also try with the audio devices in to substitute. 01:45:49,000 --> 01:45:55,000 Let's first place it in stereo, and then I put it there. 01:45:55,000 --> 01:46:05,000 I can try to with my voice, but I don't know if I will be able to trigger some low frequency, as you can see. 01:46:05,000 --> 01:46:16,000 The graph are pretty and 0, even if I'm using the microphone boom, he's very. 01:46:16,000 --> 01:46:24,000 It's very difficult to create those type of frequency with the microphone. 01:46:24,000 --> 01:46:51,000 He's not impossible. But let's say we try to to use the same audio device of your file from the sample folder, and then maybe, if you use another sound, you can maybe try to change the math chop. 01:46:51,000 --> 01:47:01,000 So probably with this setup. It's good enough. 01:47:01,000 --> 01:47:12,000 Not even remember if I was using the low frequency here, and I was using the high frequency could be an idea. 01:47:12,000 --> 01:47:16,000 Yeah, because in this. 01:47:16,000 --> 01:47:27,000 The low frequency are very, very present, so we can try to use the high frequency instead of the load. 01:47:27,000 --> 01:47:32,000 How to change. It's the select chop. 01:47:32,000 --> 01:47:37,000 No, so we can delay it year low. And I this all day, all become black. 01:47:37,000 --> 01:47:48,000 No problem we can then select the high, and there, as you can see, has the high are a bit more rare in the track. 01:47:48,000 --> 01:47:55,000 The effect is more visible, I think. 01:47:55,000 --> 01:48:02,000 That clearly this type of thing is also cool to do it with the needy. 01:48:02,000 --> 01:48:11,000 A Midi keyboard, or like, if you are a musician with an instrument. 01:48:11,000 --> 01:48:22,000 No! What what I wanted to also add other too little sound, reactive effect. 01:48:22,000 --> 01:48:34,000 One could have be the length of the arc. Now this this one in the middle, this we have different arch, and we can go from 0 to 360. 01:48:34,000 --> 01:48:44,000 No like they will be like doing like this kind of effect. 01:48:44,000 --> 01:49:01,000 Then you can also choose that instead of using abs time dot seconds, you can use always a logic built with the select and then speed shop. 01:49:01,000 --> 01:49:11,000 So it will be like a incremental value that will speed up when the reach sound heating. 01:49:11,000 --> 01:49:24,000 But the most easy would be like, let's use the low frequency, and with the low frequency we change the arctangle of the circle, for like this, we're gonna obtain a nice effect just with one parameter. 01:49:24,000 --> 01:49:35,000 So what I do, I use the select shop again so, and I'm gonna probably use the math shop again. 01:49:35,000 --> 01:49:43,000 So I'm gonna just copy paste these 2 and change the select chopping tube low like this. 01:49:43,000 --> 01:49:53,000 I use the low frequency for the arc angles for this concentric. 01:49:53,000 --> 01:50:05,000 The math shop will have to change the range to 0 360, because I want to. 01:50:05,000 --> 01:50:10,000 To go from this State 0, and there is no sound. 01:50:10,000 --> 01:50:16,000 A 2, 360 when they reach the maximum peak. Okay? 01:50:16,000 --> 01:50:25,000 And then they keep rotating with different speeds. So they generate this type of. 01:50:25,000 --> 01:50:33,000 Let's place another first, so that this is already 0 360. 01:50:33,000 --> 01:50:57,000 We take the result of the null, we can also just click once like this is copied, and then we can go to our circle in the arctangle. The second one, and we can do right click past export. Okay? 01:50:57,000 --> 01:51:08,000 This is another way of exporting the channel which I think it's pretty school, because it's it's not making you drag and drop. 01:51:08,000 --> 01:51:11,000 It's the old method copy. Once, then find your operator, find a parameter, pass the export. 01:51:11,000 --> 01:51:26,000 Once. You are sure now, what I can notice easily is that this and this happens a lot with the sound analysis, with audio analysis. 01:51:26,000 --> 01:51:33,000 The channel that you receive from the low frequency it's scattering. 01:51:33,000 --> 01:51:34,000 It's like flickering. It's like, very, very reactive. 01:51:34,000 --> 01:51:42,000 Somehow which is good, because it's a reactive. It's a real time. 01:51:42,000 --> 01:52:01,000 But for visual propos is not so good. Now, you see, that is like not very smooth, and then that there is the moment of the lag shop, because the l chop, which is that filter with the 2 direction, the one that some of you were asking me. 01:52:01,000 --> 01:52:07,000 Oh, my! What's the difference between the filter shop and the l chop? 01:52:07,000 --> 01:52:21,000 Well, the L shop is exactly good in this situation, where I have the sound reactive going up instantly, like with the low frequency. 01:52:21,000 --> 01:52:33,000 But then, when I want to go back to 0, maybe I want to filter like it's 0 point 7, and at 0 point 1 E for Increased. 01:52:33,000 --> 01:52:44,000 So what happens is that the the when, when, when the low channel goes up? 01:52:44,000 --> 01:52:50,000 It goes up rapidly with the small filter of 0 point 1 s when it goes down, back to 0 it will do like a sort of a parachute effect. 01:52:50,000 --> 01:53:01,000 Now with the higher filter in seconds of 0 point 7 0 point 8 or now one. 01:53:01,000 --> 01:53:09,000 This always depends from which type of result you want to obtain. 01:53:09,000 --> 01:53:10,000 But I already can see. 01:53:10,000 --> 01:53:19,000 And. 01:53:19,000 --> 01:53:24,000 That it kind of works. 01:53:24,000 --> 01:53:29,000 For my purpose. Okay? 01:53:29,000 --> 01:53:38,000 Everything clear thing. Now I want to dedicate some time also to some. 01:53:38,000 --> 01:53:44,000 Feedback understanding ideas at the end. 01:53:44,000 --> 01:53:52,000 Sharing with you also the next lesson. 01:53:52,000 --> 01:54:16,000 So what we can do, maybe we can add a little effect before create. Before going into our second exercise of the day, we can create a little effect by using another tool from the which is the an image is there. 01:54:16,000 --> 01:54:20,000 And the. 01:54:20,000 --> 01:54:29,000 The tool from the palate is called the bloom and it's an image filter components. 01:54:29,000 --> 01:54:30,000 So it's under the category image filter. 01:54:30,000 --> 01:54:35,000 The first one. 01:54:35,000 --> 01:54:43,000 And again to use component, you just drag and drop it inside your network. 01:54:43,000 --> 01:54:49,000 Okay. And you can connect wait, let's close the ballet now. 01:54:49,000 --> 01:55:07,000 So I dragged my bloom effect here, and I can just connect my visual to the first team put of the bloom so that I can have the bloom effect applied. 01:55:07,000 --> 01:55:25,000 To my real-time visual, which is now moving now with the with the channels coming from from this. 01:55:25,000 --> 01:55:31,000 So the bloom effect is very nice and simple, to use. 01:55:31,000 --> 01:55:43,000 You have a threshold value which is defining where is the threshold to create this bloom effect? 01:55:43,000 --> 01:55:51,000 So usually you bring it down to 0 until you don't get the some. 01:55:51,000 --> 01:56:15,000 Some glowing color. No, like this. So I have it at 0 point 0 4, and then, if you want more intensity, you can bring the up the intensity Slider again with the maybe not with a lot of it will become something like this, I mean it. Can also become something like this it's up. 01:56:15,000 --> 01:56:21,000 To you if you like it, you can also use it big and bolder like that. 01:56:21,000 --> 01:56:29,000 But you can also, like, just correct a little bit and say, Okay, I want to be visible, but not too much. 01:56:29,000 --> 01:56:41,000 You can play with other sliders and other effects here. 01:56:41,000 --> 01:56:58,000 And then usually what I do. This would be an example in order to amplify a bit to the sound, reactive visual effects. 01:56:58,000 --> 01:57:05,000 I usually create a. 01:57:05,000 --> 01:57:11,000 Another version of the render, like in this case, would be the bloom version. 01:57:11,000 --> 01:57:17,000 And then I use a level opacity. 01:57:17,000 --> 01:57:24,000 So a level top with capacity. Okay? And I use the sound reactive coming from the how do you analysis? Then? 01:57:24,000 --> 01:57:31,000 Who will choose, maybe the kick or the snail. 01:57:31,000 --> 01:57:41,000 To bring up this level of capacity of this bloom over my over my original visual. Okay? 01:57:41,000 --> 01:57:48,000 So the type of effect can also be different from bloomer. 01:57:48,000 --> 01:58:01,000 You can also have, maybe, that you transform the visual into some color red or so, only the edges, or you all do a multiple blur to have more glows. 01:58:01,000 --> 01:58:08,000 But the bloom effect is something very, very rapid that I don't know. 01:58:08,000 --> 01:58:13,000 That creates blue, that creates globe, that creates this blur effect. 01:58:13,000 --> 01:58:25,000 So first you set top your favorite bloomer, and then, whenever you want to enable it in sound reactive, you can use a level opacity. 01:58:25,000 --> 01:58:30,000 No, and you can then connect something, some channels, to this capacity. 01:58:30,000 --> 01:58:35,000 Parameter. Got it? 01:58:35,000 --> 01:58:38,000 And clear. 01:58:38,000 --> 01:58:46,000 So doesn't matter if he's not, the bloom can also be another type of post-render effect. 01:58:46,000 --> 01:58:56,000 But the key is also like to use this simple level of capacity connected with them with some logic components. 01:58:56,000 --> 01:59:03,000 To activate and deactivate this layer on top of your original. Render. 01:59:03,000 --> 01:59:08,000 Okay, so let's just take it. And I use this time the kick. 01:59:08,000 --> 01:59:17,000 So I do. Another select shop. So let's copy. 01:59:17,000 --> 01:59:31,000 Pace this one I really like to copy. Paste selects and then change the name of the Channel name in 2, kick kick is the kick off the coming from here. 01:59:31,000 --> 01:59:37,000 So if you want to threshold the the kick, you can use this Slider. 01:59:37,000 --> 01:59:39,000 If you bring it up, you're gonna have less kicks. 01:59:39,000 --> 01:59:46,000 If you bring it down the threshold, you're gonna have, like very continuous kick. 01:59:46,000 --> 01:59:54,000 So it's awesome a matter of finding the good balance, and the this always depends. 01:59:54,000 --> 02:00:03,000 From this track, not from the sound track. Let's use this. 02:00:03,000 --> 02:00:17,000 Kick, and then we're gonna use again. Lag because we want to transform this 0 one into something a bit more fluid and fluent. 02:00:17,000 --> 02:00:29,000 Why? Because if we connect the opacity only like that, the opacity from the from this level here. 02:00:29,000 --> 02:00:38,000 We can click once, and then we go in capacity of the level and paste. 02:00:38,000 --> 02:00:43,000 Export, as you can see, the result is just a flash. 02:00:43,000 --> 02:00:46,000 No which could be good. I mean, it's just doing it. 02:00:46,000 --> 02:00:51,000 Flash, 0, 1 0, 1 0 one is not smooth. 02:00:51,000 --> 02:00:57,000 It's not floating between 0 and one. 02:00:57,000 --> 02:01:01,000 I just selecting them. 02:01:01,000 --> 02:01:12,000 I say, on, on, off, on, off! Which already gives a good result. 02:01:12,000 --> 02:01:23,000 But you can also always add the before the A lecture, so that you can have. 02:01:23,000 --> 02:01:38,000 That the effect, at least it can also be like that goes to one with the filter of 0 1 s, and goes back to 0 with the filter of 0 point 3 s. 02:01:38,000 --> 02:01:44,000 So it's stays more and somehow stays more on. 02:01:44,000 --> 02:01:54,000 Now you can see the difference between before and then after, with the log. 02:01:54,000 --> 02:02:00,000 Okay, are we good? 02:02:00,000 --> 02:02:03,000 With today's. 02:02:03,000 --> 02:02:13,000 Access number one. 02:02:13,000 --> 02:02:16,000 Very, very. 02:02:16,000 --> 02:02:24,000 Transparent with me, because we are at less than Number 5. 02:02:24,000 --> 02:02:39,000 Of course, I'm gonna share the file just now on the chat, and then later, we'll be available also in the website. 02:02:39,000 --> 02:02:45,000 In on the top part here. 02:02:45,000 --> 02:02:57,000 And the file is also commented. So you have the annotate box now, with the sound reactive part. 02:02:57,000 --> 02:02:58,000 With the particle system part. And then this multiple circle, one inside the other. 02:02:58,000 --> 02:03:12,000 Again. These are only exact all examples to show you. 02:03:12,000 --> 02:03:16,000 Operators and techniques, but it's also up to you to create other drawings. 02:03:16,000 --> 02:03:34,000 Other simple examples, keeping in mind that I tried to teach you the most important thing of, for example, the project Id is important. 02:03:34,000 --> 02:03:40,000 Cause. Look at this. This is the visual. 02:03:40,000 --> 02:03:43,000 And we created, now. 02:03:43,000 --> 02:03:46,000 Is it playing? 02:03:46,000 --> 02:03:55,000 But he's not in this peak. 02:03:55,000 --> 02:04:00,000 In this way they are going. The points are going randomly, because there is sort. 02:04:00,000 --> 02:04:08,000 If I remove sort random if they go sequential. 02:04:08,000 --> 02:04:14,000 Always with the, I think, always with the high frequency. 02:04:14,000 --> 02:04:25,000 Yeah, always with the high frequency. And also maybe okay, 70. 02:04:25,000 --> 02:04:30,000 And they go like in a circle. 02:04:30,000 --> 02:04:36,000 The birth is in a circle. 02:04:36,000 --> 02:04:43,000 So I'm gonna share with you the. 02:04:43,000 --> 02:04:47,000 This file here. 02:04:47,000 --> 02:04:59,000 And then we boss so I'm gonna just upload it into the chat to everyone it's called sound reactive particles up. 02:04:59,000 --> 02:05:09,000 That's number 4, 93 kB, and then you'll find it on the website. 02:05:09,000 --> 02:05:19,000 Please keep in mind that the the examples that we do they are too surely at the technique. Now. 02:05:19,000 --> 02:05:29,000 So they approach to create a nice visual is not about making something more complex than what we do in our lesson. 02:05:29,000 --> 02:05:37,000 It's just about dedicating more time to create a composition. 02:05:37,000 --> 02:05:38,000 Okay, with all the simple operators that we are using, or the simple logic we are using. 02:05:38,000 --> 02:06:08,000 For example, if you also, in this visual with one particle system, and this and this circles rotating, if you start to change the turbulence with the sound, the turbo period, which is another parameter related to turbulence, always with the sound then you start to have 02:06:11,000 --> 02:06:20,000 more variance of the same visual. I just thought it to take a minute, because. 02:06:20,000 --> 02:06:27,000 There is something I haven't showed you about. 02:06:27,000 --> 02:06:42,000 The trails. Okay, so this might be curious, for some of you is just that he's consuming a lot of memory. 02:06:42,000 --> 02:06:49,000 And he's about these trails. Okay? So these trays are made with the feedback loop. 02:06:49,000 --> 02:06:56,000 And in this way, you basically, you don't ask anything. 02:06:56,000 --> 02:07:01,000 Nike, you don't add the memory usage to to the CPU. 02:07:01,000 --> 02:07:11,000 Mostly because the feedback loop is a texture process that is really really light for the computer to calculate. 02:07:11,000 --> 02:07:20,000 It's true that has some limitations. For example, Hi cannot rotate orbit. 02:07:20,000 --> 02:07:37,000 These points. Now, for example, if I make, if I make this circle rotate, I transform this circle and I rotate it. 02:07:37,000 --> 02:07:43,000 In, let's see. And why? 02:07:43,000 --> 02:07:52,000 The particles are not really in 3D. Now, the trays are not in 3D. 02:07:52,000 --> 02:08:02,000 But are just. May the post render so there are some limitation to these trails. 02:08:02,000 --> 02:08:07,000 The other thing I haven't specified the but in the file you have the. 02:08:07,000 --> 02:08:12,000 You see this dark green effect caused by the feedback loop. 02:08:12,000 --> 02:08:38,000 This I remember one of the previous lesson. I already told you that if you change the the rate of the render from 8 bit to 16 bit, you will get rid of all those dark grey that are the usual staying in the feedback loop 16 bit float or 32 bit 02:08:38,000 --> 02:08:47,000 float always in Rgba. If you wanna get rid of those dark, great. 02:08:47,000 --> 02:08:51,000 After the feedback loop. Another way to remove them. 02:08:51,000 --> 02:08:57,000 Would that be to add a black level after the feedback loop? 02:08:57,000 --> 02:09:04,000 But we can use this 16 bit float in the render. 02:09:04,000 --> 02:09:10,000 So the other thing I wanted to show you is how to create a trail with a feedback loop. 02:09:10,000 --> 02:09:15,000 So, if I remove the feedback loop, then I have only points. 02:09:15,000 --> 02:09:22,000 Don't worry because this it doesn't. 02:09:22,000 --> 02:09:30,000 Oh, yeah, I also remove the hmm. I also remove this this thing. 02:09:30,000 --> 02:09:33,000 The keyboard in so it's gonna be, what do you want? 02:09:33,000 --> 02:09:38,000 Export. Not found. Yeah. 02:09:38,000 --> 02:09:42,000 Okay, bug. 02:09:42,000 --> 02:09:48,000 He works the same. So how to create the trails with soap. 02:09:48,000 --> 02:09:53,000 It's pretty simple. It's called trailsop. 02:09:53,000 --> 02:09:59,000 The only problem is that you can't use the trace up like that. 02:09:59,000 --> 02:10:04,000 You have to define. First of all, a cache size and then a trail length. 02:10:04,000 --> 02:10:10,000 These are expressed in frame so let's say, 60 frame are 1 s. 02:10:10,000 --> 02:10:11,000 So let's say 60 by 4. It's 204. 02:10:11,000 --> 02:10:19,000 Let's say, 200 200 frames, both in trail length and in cache size, and then you start to see that sub level. 02:10:19,000 --> 02:10:33,000 You have create, you are creating some trails. Then these trays are resetting with the timeline. 02:10:33,000 --> 02:10:40,000 So what we gonna remove from the parameters is evaluate within frame range. 02:10:40,000 --> 02:10:51,000 We turn it off like this, they are continuously present. So these trays are created directly in 3D. 02:10:51,000 --> 02:11:03,000 This is very, very curious. The only thing is that we can't use the pointsprite material, I mean, yes, but it wouldn't be the best way to. 02:11:03,000 --> 02:11:05,000 To render them, they would have probably be better to render them as lines. 02:11:05,000 --> 02:11:18,000 Yeah, and then use maybe like a wireframe material, just to. 02:11:18,000 --> 02:11:33,000 To recreate these trail path in under render, and then you can use the line with to have, like a thicker line or thinner line. 02:11:33,000 --> 02:11:34,000 So what's the commodity of having them in 3D. 02:11:34,000 --> 02:11:44,000 Is that if you rotate the, for example, these yeah is is an actual geometry. 02:11:44,000 --> 02:11:55,000 You can see it so like I can also like rotate the the camera like, change the corner of the camera. 02:11:55,000 --> 02:11:58,000 I'm gonna do it rapidly, just to show you that it's in 3D. 02:11:58,000 --> 02:12:02,000 Now. So you can really like. 02:12:02,000 --> 02:12:15,000 Have 3D lines. It's just a this method of using trace up is quite demanding to the CPU because has, before you had 43 points after the trail stop. 02:12:15,000 --> 02:12:29,000 So for each of the points you calculate the trail, then you have 200 by 43 than you have for type 1,600 points. 02:12:29,000 --> 02:12:32,000 So this sometimes can be demanding for the CPU. 02:12:32,000 --> 02:12:42,000 But I can tell you that our CPU are great, and they still can run at 60 frame by second, even if you have a thousand points in real time. 02:12:42,000 --> 02:13:02,000 So don't rely too much on. I want to. Real-time real-time real-time, because sometimes important, is to not go down at to 20 frame per seconds or to 15 price, because you start to see the visual lagging. 02:13:02,000 --> 02:13:23,000 Yeah. But this thing of trails up. I needed to share with you, because sometimes when you use particles, you want to keep the trail of the particle and then render it without the feedback loop. But just purely in in the render okay, so. 02:13:23,000 --> 02:13:44,000 Particle as lines, surrender as lines, then trail, and then using a wireframe instead of point sprite, we can change the subject now, and we can jump into our second exercise of the day, which is interactive, particle forceop. 02:13:44,000 --> 02:13:58,000 And in this second example, what we wanna create, we wanna use particles similar to before. 02:13:58,000 --> 02:13:59,000 So we're gonna probably create a even a simpler setup. 02:13:59,000 --> 02:14:12,000 Somehow. But we want also to have, like some interactive. 02:14:12,000 --> 02:14:35,000 Dynamics or behavior within the particle sort. The the dynamic here is like, I have a mouse input coming from panel shop that we use in the past and I'm controlling the position of formatable. The metabol we've seen it before with magnetsop and now we will see it 02:14:35,000 --> 02:14:56,000 again with particles up. So this is the particle sub node. As you can see, I can horror. Around. This is the sub node, and, as you can see, I have the some greed that I positioned manually around this. 02:14:56,000 --> 02:15:07,000 So the emitter itself is agreed as you can see, it's the particle are generated by the points of the grid, and they go towards this turbulence. 02:15:07,000 --> 02:15:11,000 That is, static turbulence. 02:15:11,000 --> 02:15:18,000 Then there are some greed's around that are like making the particle collide on the top. 02:15:18,000 --> 02:15:30,000 On the left part on the bottom part, and there is this moving with the mouse, and when I click the mapable, the metable expands, as you can see, it becomes big huh! 02:15:30,000 --> 02:15:35,000 And also the radial force goes from consent not to from inside to outside. 02:15:35,000 --> 02:15:47,000 No, it goes in the opposite direction. 02:15:47,000 --> 02:15:55,000 So I think we can make it instead of making a walkthrough, we can make it from scratch. 02:15:55,000 --> 02:16:04,000 We have 1 h so I'm gonna just keep it as a reference just below here and open a new file to start with. 02:16:04,000 --> 02:16:09,000 You. You must be tired now. 02:16:09,000 --> 02:16:13,000 I think. 02:16:13,000 --> 02:16:16,000 No! 02:16:16,000 --> 02:16:29,000 Okay, that's start. So we start by creating a first of all, we clean up our file from the operators. 02:16:29,000 --> 02:16:39,000 We don't need, and also we close the polete, and then we add the greets up something very useful. 02:16:39,000 --> 02:16:55,000 I learned, if you wanna create a agreed. So with the same proportion of 16 by 9, you can use this number, which is 1.77. 02:16:55,000 --> 02:17:09,000 By one. So this aspect, ratio 1.77 by one by one, is actually a 16 by 9. 02:17:09,000 --> 02:17:20,000 On scale one. So this you discover it. If you simply take any image which is like in full. HD. 02:17:20,000 --> 02:17:21,000 Or and with an aspect ratio of 16 by 9, for example, the banana. 02:17:21,000 --> 02:17:29,000 It's 1280 by 720. It's expect ratio is 16 by 9, and, as you can see, nearby, it's written 1.77 by one. 02:17:29,000 --> 02:17:45,000 So that's the proportion of a 16 by 9, with the vertical hide that one. 02:17:45,000 --> 02:17:52,000 So when I want to hacked in 3D. And usually 3D. 02:17:52,000 --> 02:18:06,000 Is always like start from size of one. Then this proportion, 1 77 by one, is a 16 by 9, so I usually I usually use this number in 3D. 02:18:06,000 --> 02:18:17,000 To recreate like a grid. So let's go in wireframe mode by pressing W inside our active viewer, and we can see that we have a few rectangles. 02:18:17,000 --> 02:18:18,000 We can make even more. We can make like. I don't know. 02:18:18,000 --> 02:18:29,000 60 rows and 90 columns. 02:18:29,000 --> 02:18:47,000 A lot of different points. Then what we want to use is sort, so that sequence of the birth of this point is not linear, but is random. 02:18:47,000 --> 02:18:52,000 And to make it. We have to choose points sort random. 02:18:52,000 --> 02:18:56,000 And then another thing we want to do. But I'm showing it to you later. 02:18:56,000 --> 02:19:02,000 First, I place the particles up, and once they place the particles up. 02:19:02,000 --> 02:19:09,000 I also want to highlight my points so I can see them. 02:19:09,000 --> 02:19:13,000 And you can see that the the grid is invisible. 02:19:13,000 --> 02:19:16,000 You we can see the greed. So the emitter source. 02:19:16,000 --> 02:19:24,000 We can see it, but we can see the particles generated by the grid, and if we bypass the sort, then the particles will generate with the linear sequence. 02:19:24,000 --> 02:19:40,000 Not following the point. Id number of the grid. And the other thing is that the so with the point sort we have this type of shower effect from the grid. 02:19:40,000 --> 02:19:45,000 The other thing is that the particles they are dragged towards that. 02:19:45,000 --> 02:19:58,000 This is because our points they all have these normals, which are pretty use for sometimes, but some other times we want to get rid of them. 02:19:58,000 --> 02:20:04,000 Because maybe we want to have the particles. Yeah, generating but not moving. 02:20:04,000 --> 02:20:22,000 When they born. So what we can use it. He's a new node called pointsop, and the points up, as the word says, is acting on each individual point. 02:20:22,000 --> 02:20:32,000 And so it's changing the point attributes or, yeah, modifying or changing the point attributes the point. 02:20:32,000 --> 02:20:40,000 Attributes are usually the they are the color, the position, the weight, and the normalals. 02:20:40,000 --> 02:20:46,000 The texture, and then custom! Oh, my God! There are so many! 02:20:46,000 --> 02:20:50,000 So let's keep focused on the normals. 02:20:50,000 --> 02:20:55,000 And a very quick way to. 02:20:55,000 --> 02:21:04,000 To delay to the normal's or to cancel the normal is to use points up and say no normal. 02:21:04,000 --> 02:21:07,000 Now, if you look at the particle, the particles they get generated, but they stay in position. 02:21:07,000 --> 02:21:19,000 No, they don't move towards that. So that's just because we remove the normals with this option. Here. 02:21:19,000 --> 02:21:26,000 And if you visualize a point normal in your right, they don't exist, as you can see. 02:21:26,000 --> 02:21:31,000 I try to visualize them, but they don't exist. 02:21:31,000 --> 02:21:49,000 So in this way we can let's say, remove the normals, and then we can already say, Let's apply some force in like, in turbulence in y in excess. Sorry. 02:21:49,000 --> 02:21:53,000 And why? 02:21:53,000 --> 02:22:06,000 Like this, we have, like some particles. 02:22:06,000 --> 02:22:12,000 Generated by this turbulence. Algorithm only in X and Y, so like this did that stays flat, as you can see. 02:22:12,000 --> 02:22:25,000 Now so turbulence 0 in Zed. And then how can I? 02:22:25,000 --> 02:22:36,000 Use this second input collision to create some bouncing, some sort of bouncing box. 02:22:36,000 --> 02:22:45,000 Well, let's do it. Let's make a greed so we can use just yeah. 02:22:45,000 --> 02:22:48,000 One grid. 02:22:48,000 --> 02:23:16,000 And we can use this grid to create sort of a cage for the particle similar to what we did with the arc with the circle arc before we can create multiple transform and use merger to use to create the one cage with the starting from agreed so in T or usually yeah, the 02:23:16,000 --> 02:23:28,000 first one would be the let's say the left wall, and we can rotate it 90 degrees, and then go minus one in Tz. 02:23:28,000 --> 02:23:37,000 And let's start to place a merge, and then we do a copy paste, and we move the second on the right. 02:23:37,000 --> 02:23:44,000 And I guess, yeah, we have 2. So I rotate the 90 degrees. 02:23:44,000 --> 02:23:55,000 This ball and then move it minus one, and then I use the copy paste, and moved it to plus one. 02:23:55,000 --> 02:24:03,000 The other one I can copy paste again and say, Let's go back to 0. 02:24:03,000 --> 02:24:10,000 So in the center and this time I want to rotate the 90 degrees in X. 02:24:10,000 --> 02:24:25,000 So I have like a floor. And yeah, probably I don't need to rotate in Y, and I need to bring this down to minus 0 point 5. 02:24:25,000 --> 02:24:32,000 Something like that. So the greedy is, yeah, one by 1.7 7. 02:24:32,000 --> 02:24:47,000 So I might have to pay attention to these, and also to the fact that I need a bit more so I need the greed, the bit larger like size, 2 by 2. 02:24:47,000 --> 02:25:11,000 And so now I had the left in the right side of the cage and the floor, and then with the copy paste, put it in merge, and I'm gonna move it to plus 0 5 and do let's say the ceiling still not sure it's gonna match. 02:25:11,000 --> 02:25:30,000 So sometimes, if I want to see the position of my of my relate in respect to to the I usually use a marriage, and then I delete it no merge is a very Hi, how are you already have the merge here? 02:25:30,000 --> 02:25:37,000 So I can just add the one. And this one is, yeah, is inside. 02:25:37,000 --> 02:25:45,000 So the emitter is basically, yeah, the the one inside his last one. 02:25:45,000 --> 02:25:54,000 And I can now disconnect so just to see the position of the cage in respect to the emitter, so that I can then use this. 02:25:54,000 --> 02:26:02,000 This result of this cage inside collision. 02:26:02,000 --> 02:26:09,000 And I'm gonna have them collision box or cage appearing. 02:26:09,000 --> 02:26:13,000 Then, obviously, if you have time, you can make it better. 02:26:13,000 --> 02:26:22,000 Now you can. This part here. They are not in use, I say it works. 02:26:22,000 --> 02:26:28,000 What happens when they collide? They die. So where do I find this behavior of dying, or bouncing on collision? 02:26:28,000 --> 02:26:36,000 It's inside the page of particle that we still didn't see called limits. 02:26:36,000 --> 02:26:56,000 So limits has this hit behavior die in contact. And that's why, when the particles are like hitting this greed, these red grids, they die. If I say bouncing contact, they will bounce. 02:26:56,000 --> 02:27:04,000 Okay? And the tangent. And then normally, are usually the parameters at the. 02:27:04,000 --> 02:27:16,000 If you want to touch, you, touch with small, very small values, because as soon as you do something, yeah, then they go like a tangent is the yeah. 02:27:16,000 --> 02:27:23,000 The direction. 02:27:23,000 --> 02:27:28,000 And the normal. 02:27:28,000 --> 02:27:46,000 Alright, this one. Usually I keep it simple, and I do not split, because when you start it can be that if you split on contact, then they become a lot quite fast. 02:27:46,000 --> 02:27:52,000 So in this way they are always 300 points. But if you split on contact they start to increase. 02:27:52,000 --> 02:28:01,000 You see, 600. 700. 888. So sometimes it's better not splitting. 02:28:01,000 --> 02:28:05,000 The splitting is cool when you do like one particle bouncing on a certain grid, and then splitting in 2 particles. 02:28:05,000 --> 02:28:17,000 Now, when you have a lot of controls on how many particles you are generating? 02:28:17,000 --> 02:28:18,000 The third input is the force input is the most interesting one. 02:28:18,000 --> 02:28:32,000 Probably Penny's the one that works only if you have a metabol, and with the forceop applied to it. 02:28:32,000 --> 02:28:38,000 So let's simulate a metable. 02:28:38,000 --> 02:28:42,000 And we apply a force. 02:28:42,000 --> 02:28:47,000 And it can be like, let's say, a radial force for the moment. 02:28:47,000 --> 02:28:52,000 And also, yeah, that's for the moment we are the radial force. 02:28:52,000 --> 02:29:00,000 Then maybe we want to transform it. Now, maybe we want to scale it up or move it around, and we can add the transforms up. 02:29:00,000 --> 02:29:06,000 And now we can add it in our third input. Which is force. 02:29:06,000 --> 02:29:20,000 First of all, I don't see the metabol, but I see the effect of the radial force which is this, for how can I see them? 02:29:20,000 --> 02:29:26,000 I can see it only if I compare flag. Okay, so compare Flag. 02:29:26,000 --> 02:29:37,000 We see it, we saw it before in magnets so it's showing me now that a meter but also the methodable. And what you can see is that the metabolites, huge. 02:29:37,000 --> 02:29:44,000 No it's like taking all the particles that are entering inside this sphere. 02:29:44,000 --> 02:29:45,000 So what I can do I can reduce the metable size to radius. 02:29:45,000 --> 02:29:56,000 So maybe I don't know 0 point 3. No like this. I have a small mapable. 02:29:56,000 --> 02:30:03,000 That whenever it encounters some particles, now attracts them. 02:30:03,000 --> 02:30:14,000 With this radial force, which now is equal to one but it can be also changed in real time. 02:30:14,000 --> 02:30:15,000 So what's the result? The result? Graphically, we can already visualize it like this. 02:30:15,000 --> 02:30:29,000 We can. We can render our particle system and have it there as a preview that's 38. 02:30:29,000 --> 02:30:37,000 Some time to it. We're gonna use this. 02:30:37,000 --> 02:30:42,000 This up inside the geometry. So we're gonna use the right click method. 02:30:42,000 --> 02:30:47,000 Go to comp geometry, and then we place the geometry. 02:30:47,000 --> 02:30:48,000 Then we need a camera camera needed. So we're gonna compute camera. 02:30:48,000 --> 02:30:57,000 And there is a camera. Then we need a render. Okay? 02:30:57,000 --> 02:31:10,000 So this is always the same, and then you need the material cause, or else your particles are only little black points, with no material. 02:31:10,000 --> 02:31:22,000 Let's use the points bright material. So if we wanna use the pointsprite material which is in this list. 02:31:22,000 --> 02:31:30,000 We have to remember that also the particle system has to be rendered has points bright. 02:31:30,000 --> 02:31:35,000 Now we can assign our material to the geometry. 02:31:35,000 --> 02:31:39,000 And we can start seeing some little dots. 02:31:39,000 --> 02:31:45,000 Hmm! Some very little dots. Hmm! Let's make the cost point. 02:31:45,000 --> 02:31:57,000 Scale a bit larger, like a 3, and what I cannot notice is that I maybe I can move with my camera. 02:31:57,000 --> 02:32:04,000 More close to the geometry, the camera. It's a perspective one. 02:32:04,000 --> 02:32:15,000 So it's in 5, so if I move it to 2, I actually am looking to the grid. 02:32:15,000 --> 02:32:20,000 Okay, and to the particles. 02:32:20,000 --> 02:32:26,000 And then let's say I can just visualize this. 02:32:26,000 --> 02:32:29,000 Okay, like that. 02:32:29,000 --> 02:32:38,000 If I want to point to be bigger, I can infascise their constant point. Scale. 02:32:38,000 --> 02:32:48,000 And then, so the behavior we wanted to obtain are, we would like to have the metabol that we can move around. 02:32:48,000 --> 02:32:52,000 Our! 02:32:52,000 --> 02:33:06,000 Screen, right? And we want also to be able to come force, directional. 02:33:06,000 --> 02:33:08,000 What's this axe? The blue one is dead. So direction in. 02:33:08,000 --> 02:33:15,000 That is good, and I can say, let's make a vortex. 02:33:15,000 --> 02:33:19,000 Let's see if we can make a vortex. 02:33:19,000 --> 02:33:29,000 It will be like a balance between radial and vortex. 02:33:29,000 --> 02:33:37,000 It's always very difficult to find a good bound. That's why I'm it needs time to cause. 02:33:37,000 --> 02:33:41,000 If you make too much vortex, then they. 02:33:41,000 --> 02:33:52,000 The the vortex pushed them away, and also, maybe I can remove the. 02:33:52,000 --> 02:33:57,000 I can remove the turbulence for for a moment. 02:33:57,000 --> 02:34:04,000 Like this, we can focus our attention. On, let's say, like life. 02:34:04,000 --> 02:34:12,000 Expect we can bring it up to 6 or 7. Now, like this, we have more life. Expect. 02:34:12,000 --> 02:34:16,000 Like the particle they can move. 02:34:16,000 --> 02:34:25,000 And stay more more time in the scene. Then what we can do. 02:34:25,000 --> 02:34:33,000 To balance the 2 forces. So, first of all, we might need some radial force to attract them. 02:34:33,000 --> 02:34:40,000 You see towards the center, and then the vortex fors has to be balanced. 02:34:40,000 --> 02:34:49,000 We have the radial, because the radial attracts no like with the. 02:34:49,000 --> 02:35:00,000 And the vortex, if it's higher than a certain number, it pushes particle away, and when they go out of the metabol they are no more reachable. 02:35:00,000 --> 02:35:04,000 Okay. So it's always important to find a good balance. 02:35:04,000 --> 02:35:09,000 And this. That's why it requires a bit of time and observation. 02:35:09,000 --> 02:35:23,000 No way you have this vortex force only for the particles that are present inside the and the radial force is like attracting them right to the center. 02:35:23,000 --> 02:35:37,000 So, if we have no vortex force, then the radial force just attracts to the them, to the center, exactly to the sameer, as you can see in a precise point, and then they bounce like a spring back and forth. 02:35:37,000 --> 02:35:44,000 No, and they have this kind of behavior. She's not so nice to see. 02:35:44,000 --> 02:35:50,000 That's why. So it's good to add the little vortex force like this while they get attracted. 02:35:50,000 --> 02:36:00,000 They also go in a vortex. And so the vortex kind of pushed them push them away somehow. 02:36:00,000 --> 02:36:07,000 So that would be a good balance, I would say. 02:36:07,000 --> 02:36:14,000 So obviously, you can also, like emphasize a lot to like 300 birds. 02:36:14,000 --> 02:36:20,000 No like this. We have even more particles. 02:36:20,000 --> 02:36:30,000 And now we are not using terrible answers. So they are just the there's just a birthday, and then they stay on 7 s and they die. 02:36:30,000 --> 02:36:37,000 7 by 300 is 2,100 points. 02:36:37,000 --> 02:36:49,000 So now we can use the inputs from the mouse to move this vortex and this metabol around our agreed right? 02:36:49,000 --> 02:37:00,000 So let's do it before doing it. We need the we need to use the the project one. 02:37:00,000 --> 02:37:05,000 So we need to put our render inside the project. One has a background. 02:37:05,000 --> 02:37:18,000 So let's just use the render as a null, and we can call this no background like we did in the past. 02:37:18,000 --> 02:37:25,000 And then we can. Let's use this name inside our background top. 02:37:25,000 --> 02:37:34,000 This should be now pretty clear. Now, if you put points slash, and then the name of the operator. 02:37:34,000 --> 02:37:37,000 It's gonna be placed as a background. 02:37:37,000 --> 02:37:48,000 So that instead of having this render, I'm gonna use this project one preview. 02:37:48,000 --> 02:37:55,000 Why? Because the project one is interactive. So it's an interactive window. 02:37:55,000 --> 02:38:09,000 It's a component a container. So when I place my mouse inside, I can have the coordinates of the mouse position just by using panel shop. 02:38:09,000 --> 02:38:12,000 So I'm gonna use panel shop here. I already know that I want to. 02:38:12,000 --> 02:38:15,000 The, Rollo Rollover. Let's use the roll over. 02:38:15,000 --> 02:38:29,000 Roll in U and V, and the select, so that when I click, I can like explode these like change. 02:38:29,000 --> 02:38:36,000 The direction of these forces. So what I do I choose from here. Role. 02:38:36,000 --> 02:38:42,000 You role V, and the select amazing. So let's start from role. 02:38:42,000 --> 02:38:54,000 You role you should be at this movement in horizontal, so I'm gonna select only for all you. 02:38:54,000 --> 02:38:56,000 So I hyiselated. It goes from 0 to one. 02:38:56,000 --> 02:39:06,000 Hey? My metabol needs to go, and I can discover it here. 02:39:06,000 --> 02:39:20,000 From minus 0 point. Heyita. I do. And I think that yeah, 0 point 8. 02:39:20,000 --> 02:39:27,000 He's the opposite, so we can already say, math, chop! 02:39:27,000 --> 02:39:33,000 Whatever was in the range between 0 and one will become minus 0 point 8 and plus 0 point 8. 02:39:33,000 --> 02:39:42,000 Okay. So I adjust the range in horizontal. 02:39:42,000 --> 02:39:51,000 And now I guess I'm already good to export the channel into the center. 02:39:51,000 --> 02:40:01,000 Of my you see. And now I have an interactive, metable, moving left and right on this grid. 02:40:01,000 --> 02:40:09,000 So in the 3D. Now I have this in this particle. So Rev. 02:40:09,000 --> 02:40:15,000 Isorization. I have this methodable moving left and right. 02:40:15,000 --> 02:40:19,000 No, and this is the render which is. 02:40:19,000 --> 02:40:25,000 Am I going too fast? 02:40:25,000 --> 02:40:33,000 Maybe. 02:40:33,000 --> 02:40:34,000 No, it's okay. Fun to me. It's okay. 02:40:34,000 --> 02:40:38,000 Probably who knows? It's okay. Great. Then I copy paste. 02:40:38,000 --> 02:40:46,000 The select hope for role V, so I'm gonna change the name into Roby. 02:40:46,000 --> 02:40:53,000 So I have the vertical movement. 02:40:53,000 --> 02:40:58,000 And I just need to check. 02:40:58,000 --> 02:41:09,000 Oh! Whether my! Metable, if I move it into vertical hub 0 point 1 0 point 2 0 point 3. 02:41:09,000 --> 02:41:19,000 Let's say 0 point 4 is the limit. And then symmetrically minus 0 point 4. 02:41:19,000 --> 02:41:29,000 So what I'm gonna do, Matt, math range 0, one becomes minimum minus 0 point 4 maximum 0 point 4. 02:41:29,000 --> 02:41:39,000 And then I have this now, and I can export this channel into the position center in. 02:41:39,000 --> 02:41:42,000 Why? 02:41:42,000 --> 02:41:52,000 So now I already have the interactive not moving around this particle system. 02:41:52,000 --> 02:41:59,000 The particle systems generated from a grid and not from another. Geometry. 02:41:59,000 --> 02:42:06,000 Composition that I can obviously create. 02:42:06,000 --> 02:42:16,000 Then maybe later, after I finish this, we can talk freely about how you can keep going on with other free access. 02:42:16,000 --> 02:42:30,000 You can set for yourself. Now let's just do a small trick for the for the force. 02:42:30,000 --> 02:42:44,000 I want that when I want that, when I click, the force changes from being radial force of one to a radial force of maybe minus one or minus 2. 02:42:44,000 --> 02:42:49,000 Yeah, because minus 2, it's yeah rejecting them. 02:42:49,000 --> 02:42:59,000 While plus, one is attracting them towards the center. So I want to create an interaction with the selector. 02:42:59,000 --> 02:43:07,000 So with the left click, which is this select channel. So I'm gonna choose another. 02:43:07,000 --> 02:43:09,000 I'm gonna use the select chop again. 02:43:09,000 --> 02:43:17,000 And this time I use the channel select, which is the left. 02:43:17,000 --> 02:43:23,000 Click alright when I click, it goes from 0 to one. 02:43:23,000 --> 02:43:28,000 So I want this 0 to be wait. I just need to remember that. 02:43:28,000 --> 02:43:35,000 So when when is 0? The radial force? 02:43:35,000 --> 02:43:39,000 So when is not click, the radial force is one. Okay? 02:43:39,000 --> 02:43:45,000 So I go in my math, and I say one is 0. 02:43:45,000 --> 02:43:50,000 The radial force has to be equal to one, but when it's clicked I want the radial force to go at minus 2. 02:43:50,000 --> 02:43:58,000 Let's say no. 02:43:58,000 --> 02:44:03,000 So now I can simulate this if he's not, click is one. 02:44:03,000 --> 02:44:07,000 If it's click, it's minus 2. That's good. 02:44:07,000 --> 02:44:20,000 So in theory, if I use this as a null, and then I say, use this in my the parameter of for radial. 02:44:20,000 --> 02:44:27,000 So I'm gonna just export it like that. Now, when I click, huh! 02:44:27,000 --> 02:44:37,000 They go away right because they change the force from one to minus 2. 02:44:37,000 --> 02:44:54,000 And that could be enough already. But I could do that also, like I could do that. When I click, the metabol becomes bigger. 02:44:54,000 --> 02:45:09,000 No like this, I can say, oh, when I click not only it rejects the with the radial force, but also dependable, maybe scales up 2 from one to 2. 02:45:09,000 --> 02:45:21,000 It takes even more points. So the same signal that I'm using. 02:45:21,000 --> 02:45:27,000 To change the rail force, the same signal coming from the select. I can. 02:45:27,000 --> 02:45:35,000 They do another math. Hence one is 0 is equal one, and one is equal to. 02:45:35,000 --> 02:45:41,000 So when I click, this becomes 2. 02:45:41,000 --> 02:45:50,000 But I want to a gradual. 02:45:50,000 --> 02:45:51,000 In there! 02:45:51,000 --> 02:45:55,000 Growing. So I'm gonna use a filter I can like go from one to 2. 02:45:55,000 --> 02:46:08,000 Maybe with the filter weed of 0 point 3 s, and I can then apply this logic to my. 02:46:08,000 --> 02:46:17,000 Transform uniform scale like this. I can so like this, this feature expands. 02:46:17,000 --> 02:46:26,000 Sorry. I'm just trying to. Let's bring it more close. 02:46:26,000 --> 02:46:36,000 So there is a matter here of finding a good way to to see your exports going in there in the notes. 02:46:36,000 --> 02:46:43,000 I usually like when they all the lines or the dashed lines are visible, and they are not crossing each other. 02:46:43,000 --> 02:46:59,000 But this is just because I like to keep things over the red, because when the files becomes more complex and more complex, then it's always about zooming out, finding the part and zooming in. 02:46:59,000 --> 02:47:12,000 So here, for example, I want to use this one in my uniform scale here of the transform, so that when I click, it also expands. 02:47:12,000 --> 02:47:19,000 Right? So basically, yeah, the if you look the geometry, then, yeah, it expands. 02:47:19,000 --> 02:47:25,000 And it also pushes with the radial force going to minus 2 hit pushes. 02:47:25,000 --> 02:47:32,000 The particles away, and the particles are bumping and bouncing. 02:47:32,000 --> 02:47:35,000 Sorry. Oh, there's a. 02:47:35,000 --> 02:47:41,000 And there's a an issue. It's scaling, not really well. 02:47:41,000 --> 02:47:44,000 Why? 02:47:44,000 --> 02:47:51,000 What did I do? Yeah, because I'm using uniform scale. 02:47:51,000 --> 02:47:54,000 Okay, so. 02:47:54,000 --> 02:48:02,000 Yeah, because I might have to use. Yeah, sorry. So, yeah, if you move before. 02:48:02,000 --> 02:48:10,000 And then you scale. Then there result is that when you scale far from the center, it scales in that direction. 02:48:10,000 --> 02:48:19,000 So this is an error, and you can fix it by changing this exports. 02:48:19,000 --> 02:48:29,000 So we were using the metabolic center. Then maybe it's better to keep this remove export. 02:48:29,000 --> 02:48:36,000 And also, I'm gonna just delete this tool now and create them again. 02:48:36,000 --> 02:48:40,000 And so the coordinates of position X and Y. 02:48:40,000 --> 02:48:47,000 Coming from role you and Role V, I'm gonna use them in the translate of the transform. 02:48:47,000 --> 02:48:52,000 So like this. It's scale before and then after it transates. 02:48:52,000 --> 02:49:00,000 And so it's gonna be better learning from. 02:49:00,000 --> 02:49:07,000 Learning while doing. Yeah. Now, it's precise. So now it's scaling up. 02:49:07,000 --> 02:49:14,000 Also, like from its own center, now. 02:49:14,000 --> 02:49:21,000 Got it nice interactive particle. 02:49:21,000 --> 02:49:28,000 And it's all understandable. I mean, I I just introduced you this today. 02:49:28,000 --> 02:49:38,000 It means. Yet you might need at least one month not to play with all the particle possibilities. 02:49:38,000 --> 02:49:48,000 I mean he, not even one month. You can have a lot of different. 02:49:48,000 --> 02:49:52,000 Let's put back the turbulence now that everything is nice. 02:49:52,000 --> 02:49:57,000 So the turbulence in one. Yeah, here, yeah, in x and y, so they already like, do a tour balance. 02:49:57,000 --> 02:50:05,000 And then we can interact with the tour balance. And then we can do like strange stuff. 02:50:05,000 --> 02:50:16,000 And that would be something that if you put on a led wall, it's already cool to play with. 02:50:16,000 --> 02:50:18,000 So that's the second exercise, and I'm happy. 02:50:18,000 --> 02:50:30,000 We did, both of them. Tour of the period exactly like the noise period, the period of the noise. 02:50:30,000 --> 02:50:54,000 So the turbo lens is an algorithm, and then the period applies the turbulence to a larger group of parts, creating this kind of group path where you have basically this, all these particles aggregating into some sort of turbulence, and then if you bring down 02:50:54,000 --> 02:51:00,000 the tool period to a decimal. Then the turbulence is applied to smaller groups. 02:51:00,000 --> 02:51:08,000 Arrived, arriving to the singular single individual, party corner. So sometimes is also fun to play with this tour of the period, because it changes a lot. 02:51:08,000 --> 02:51:18,000 To type of result, graphic result. You have. 02:51:18,000 --> 02:51:31,000 Okay. So even the one is explained and well, obviously, I can share with you just this file here in the chat. 02:51:31,000 --> 02:51:39,000 So let me save. It has a with them. 02:51:39,000 --> 02:51:45,000 Course, this was. 02:51:45,000 --> 02:51:48,000 0 4. 02:51:48,000 --> 02:51:52,000 Interactive. 02:51:52,000 --> 02:51:59,000 Article. Hmm. See attractive particles. 02:51:59,000 --> 02:52:11,000 And this one the file instead, with all the annotate, are also interactive. 02:52:11,000 --> 02:52:23,000 Particle force up. I'm gonna share with you in the chat to the weep. 02:52:23,000 --> 02:52:27,000 And then this one is the same file here. What? 02:52:27,000 --> 02:52:35,000 I added, Shit, yes, send you this so. 02:52:35,000 --> 02:52:40,000 And even before I haven't really told you about the points right? 02:52:40,000 --> 02:52:58,000 Caller map. Right? So the point, sprite, which in our in our version we were using just as a material without any color map, can be used with the color map. 02:52:58,000 --> 02:53:03,000 So in this case, for example, I've created these cross. 02:53:03,000 --> 02:53:11,000 There ugly, but at least you understand the logic, so you can assign, even just to. 02:53:11,000 --> 02:53:26,000 You can assign even just a circle, and they will become like a lot of circle circular ramp, or you can create a simple star across. 02:53:26,000 --> 02:53:45,000 No, just by scaling down the circle ramp in X and y, and then combining them together with the add, that's how you create a quick cross. 02:53:45,000 --> 02:53:51,000 Hmm! And this I wanted to show you, yeah, that most of the times when you use alpha channels. 02:53:51,000 --> 02:54:02,000 With particles. Alfa channels means that the your color map has some transparency. You know. 02:54:02,000 --> 02:54:17,000 You only want to see the cross. You don't want to see the the background which is in Alpha is not so quick, and I mean it's quick if you know where to go. 02:54:17,000 --> 02:54:30,000 But if you don't know, you gonna probably have this type of result where the particle are covering each other, even if the. 02:54:30,000 --> 02:54:35,000 Even if the text is in Alpha so the text is in Alpha. 02:54:35,000 --> 02:54:41,000 He's gone into our color map. 02:54:41,000 --> 02:54:49,000 But somehow in their end there, it doesn't really show the transparency. 02:54:49,000 --> 02:54:52,000 Oh, here you can see that I'm putting Pause. 02:54:52,000 --> 02:54:59,000 Some of the particles are connected. Other crosses which are behind. 02:54:59,000 --> 02:55:20,000 So this for me is very important to remind you, and I will remind you many times that for any material you can always enable transparency in its common parameter, you're gonna find this blend blending transparency option which is usually off as soon as you enable it 02:55:20,000 --> 02:55:27,000 on! Then the transparency will be calculated in the render, and this parameter transparency is present in all the materials. 02:55:27,000 --> 02:55:31,000 Okay, so constant, common, blending transparency. 02:55:31,000 --> 02:55:58,000 Phone common blending transparency. Okay? So every time you're gonna use alpha channels in the color map, especially mainly remember to enable transparencies to have the transparency visible inside your render then we're not going through all the 02:55:58,000 --> 02:56:00,000 different details of the transparency, but they're like you can use them. 02:56:00,000 --> 02:56:07,000 Try them. 02:56:07,000 --> 02:56:11,000 Then you just need to enable them. That's enough. 02:56:11,000 --> 02:56:18,000 And sometimes. But this is another topic. You might need to enable in the render. 02:56:18,000 --> 02:56:27,000 But this is only for some occasions, instead of sorted row with blending, you can also use Alpha to coverage. 02:56:27,000 --> 02:56:33,000 That's good. He's see the difference. It's gonna create like, see? 02:56:33,000 --> 02:56:41,000 Sort with blending. It's kind of a certain result here and Alpha to coverage adds. 02:56:41,000 --> 02:56:56,000 Even more transparency. Somehow you can see like through the crosses, even more so, maybe in this example, it's okay like that. 02:56:56,000 --> 02:57:02,000 So this one, you can obviously act. 02:57:02,000 --> 02:57:06,000 Maybe. Look at the parameters that we changed here. 02:57:06,000 --> 02:57:10,000 Maybe they have not the same kind of range limits. 02:57:10,000 --> 02:57:17,000 Even this, yeah. And this one goes from 5 to minus 40. 02:57:17,000 --> 02:57:24,000 This would be the radial force. You can also keep it, one to minus 2. 02:57:24,000 --> 02:57:37,000 I guess it's gonna work. The same. Yeah, yeah, more nicely, more or less. 02:57:37,000 --> 02:57:42,000 Okay, so. 02:57:42,000 --> 02:57:50,000 It's 9 and. 02:57:50,000 --> 02:58:01,000 Let's keep it this last 10 min for any type of questions on this particle. 02:58:01,000 --> 02:58:06,000 So the operator. 02:58:06,000 --> 02:58:17,000 If we want to change the background of this, how would you do that if I want to call agreement instead of the black one? 02:58:17,000 --> 02:58:21,000 Yes, I'm gonna open the working progress. One. 02:58:21,000 --> 02:58:30,000 But because we didn't apply any any background. 02:58:30,000 --> 02:58:36,000 So a background. Valerie. 02:58:36,000 --> 02:58:43,000 It has to be a texture, to be precise, of the same resolution. 02:58:43,000 --> 02:58:44,000 So it can be anything. I'm gonna show you some examples. 02:58:44,000 --> 02:59:03,000 It can be a noise. 1280 by 7, 20, maybe also color red, and maybe also like more like with harmonics and bigger. 02:59:03,000 --> 02:59:14,000 And I can use it. This is a texture I can use it with over as a background. 02:59:14,000 --> 02:59:20,000 Okay, because this is transparency. Or you have only the white points. 02:59:20,000 --> 02:59:23,000 You can also use, and that's probably the most used. 02:59:23,000 --> 02:59:30,000 A ramp, because Rampa can give you like the possibility to create a gradient. 02:59:30,000 --> 02:59:35,000 So I always go 1280 by 7, 20, and then I can say I want. I don't know. 02:59:35,000 --> 02:59:38,000 A vertical ramp, or even a circular ramp. 02:59:38,000 --> 02:59:41,000 If I want to create this sort. 02:59:41,000 --> 02:59:49,000 Thank you. Nima. I see I really applied the treatment that we we do on on the top. Huh? 02:59:49,000 --> 02:59:51,000 That's why, yeah, thank you. 02:59:51,000 --> 03:00:02,000 You're welcome. So to do the vignette you usually use a circular ramp, you emphasize the period, and then you say, I want black until here. 03:00:02,000 --> 03:00:09,000 And somehow you want to like to have the. 03:00:09,000 --> 03:00:17,000 So it's just a combination of the. 03:00:17,000 --> 03:00:26,000 You can also place anything below like a webcam, a video. 03:00:26,000 --> 03:00:34,000 An image like a movie filing. 03:00:34,000 --> 03:00:37,000 Hmm! 03:00:37,000 --> 03:00:51,000 From the sample image. Yeah, maybe this one hold on, and then you have an image or a moving. 03:00:51,000 --> 03:00:52,000 Thank you. 03:00:52,000 --> 03:01:02,000 You're welcome. Another thing that is interesting. That might also be. 03:01:02,000 --> 03:01:14,000 It's just again a demonstration, just to show you, you can actually create a 3D. 03:01:14,000 --> 03:01:33,000 From an image. We have seen this probably last in the last lecture, and the trick would be to use a black and white image, so to create a black and white image from a Colorado one usually use a threshold top and threshold. 03:01:33,000 --> 03:01:41,000 Top, it finds that the threshold of the color that you can adjust and change, and you can go down. 03:01:41,000 --> 03:02:01,000 Let's say to 0 point 0 something. And this would be like all the color in the caller at the pixel, transformed into white pixel and why I do this because you can create from an image a 3D. 03:02:01,000 --> 03:02:17,000 So before I reduce the resolution, because this resolution is a too big for my proposed. It's a 1280, so I can use a resolution top and say, make a quarter of a this resolution. 03:02:17,000 --> 03:02:27,000 It becomes a 320 pixel by 180, and this one I can transform it into a 3D. 03:02:27,000 --> 03:02:42,000 By using a this right click. I go to soap, and I have only one option which is called trace creates based on an image creates a 3D. 03:02:42,000 --> 03:02:57,000 And trace up is very, very cool and handy also like to create a games where, like you can, you can use the marker on a white paper. 03:02:57,000 --> 03:03:08,000 Now, you can have a webcam watching the white paper, and then you can transform that that black drawing into a 3D. 03:03:08,000 --> 03:03:15,000 And so, for example, if you also have a projector, you can like project a ball. 03:03:15,000 --> 03:03:28,000 Like a little circle going from from the from the top to the bottom of the paper, and if you draw some some rectangles, they they gonna be. 03:03:28,000 --> 03:03:34,000 Then transformed in 3D. And that end they can be part of the particle collision. 03:03:34,000 --> 03:03:39,000 And so you have the circle bouncing on your drawings. 03:03:39,000 --> 03:03:48,000 That would be again a project. But the technique is to use this trace up which transforms any image. 03:03:48,000 --> 03:03:52,000 Now, it's static, but can be also webcam. 03:03:52,000 --> 03:03:57,000 Stream in 3D. And the 3D. Is made of points. 03:03:57,000 --> 03:04:11,000 Now the points are created scanning the image, and if you want more points, you can say to the traceop filters to reduce the step size here it's expressed in Pixel. 03:04:11,000 --> 03:04:16,000 So it's 10 pixel, so you can reduce it to 5. 03:04:16,000 --> 03:04:19,000 Let's say, to have more points, and then what happens is happens that these points are numbered. 03:04:19,000 --> 03:04:26,000 So they have like they go from 0 somewhere. Are you gonna find it? 03:04:26,000 --> 03:04:35,000 0 huh! 65, 50, 40 here, 0. And then they go. 03:04:35,000 --> 03:04:45,000 1, 2, 3, 4, 5, in a sequence. So basically, I can also like, say, I want to use the banana image. 03:04:45,000 --> 03:04:55,000 And I want to create the particle system. Starting from this banana and that banana. 03:04:55,000 --> 03:05:05,000 No, which is a static image. You can also imagine it to be how you say a dynamic image that's why this software is so cool. 03:05:05,000 --> 03:05:20,000 Once you understand the logic basic behind. Because if you understand this, then I'll show you rapidly, like I'm putting my webcam here. 03:05:20,000 --> 03:05:29,000 Video device in my webcam. I'm using the Nvidia background, which is a very quick way. 03:05:29,000 --> 03:05:35,000 Uses partks, and vidia to remove your your background. 03:05:35,000 --> 03:05:39,000 So it creates a black and white image of you. 03:05:39,000 --> 03:05:51,000 This image is a monochrome, so I might need to do it and and transform in Rgba. 03:05:51,000 --> 03:06:10,000 Whatever, and then I guess I have Nima. Yeah, I mean, I didn't really think about what to do with the my silhouette, but I can already say I'm gonna sort the points with the random. 03:06:10,000 --> 03:06:15,000 And then gonna place myself in front. And that's yeah. 03:06:15,000 --> 03:06:20,000 Probably also without the normals. So I'm gonna use again. 03:06:20,000 --> 03:06:30,000 My points, cancel the normal, and then I have, like a particle system generated from my silhouette that obviously takes time to wait. 03:06:30,000 --> 03:06:43,000 I need to refinance. So like some other stuff. So that would be the the webcam and the particle system. 03:06:43,000 --> 03:06:48,000 Might have might have to generate. Maybe I don't know. 03:06:48,000 --> 03:06:52,000 500 particles, so that it's a bit more reactive. 03:06:52,000 --> 03:06:57,000 Then you have, like obviously refinements to do on the borders. 03:06:57,000 --> 03:07:09,000 And so on also, like on the life expect, and maybe you can add more birth so that they it becomes more reactive. 03:07:09,000 --> 03:07:18,000 So just to show you that you can generate also, like particle systems. 03:07:18,000 --> 03:07:29,000 Starting from this, he which is then converted in 3D. 03:07:29,000 --> 03:07:31,000 And then it's feeding particle. So so this part here, if you are curious in the future, we're gonna redo it again and again. 03:07:31,000 --> 03:07:45,000 I hope today has been interesting. Everything is recorded. 03:07:45,000 --> 03:07:53,000 Online and the file are available on the website. 03:07:53,000 --> 03:08:01,000 Please tell me if it was Ham. Anything difficult? 03:08:01,000 --> 03:08:04,000 Hmm! 03:08:04,000 --> 03:08:10,000 I'm a bit worried because today you are just a 10, not 20, like usual. 03:08:10,000 --> 03:08:19,000 And thank you so much, Valerie, to be here, and Andrew also, like in Diana and Yomi, and everyone keep in mind that more. 03:08:19,000 --> 03:08:23,000 We go on. So now we are less than Number 5, more. 03:08:23,000 --> 03:08:42,000 We go on? And and more question you might have, because next lesson will be a little bit about how to convert from top to top to top to top, and see all the different like. 03:08:42,000 --> 03:08:58,000 Everything is in number now from a text or to a dot, and then in 2 weeks we're gonna start instancing, and it will be wonderful, because then it will open a new chapter for your usual contact. Me. 03:08:58,000 --> 03:09:03,000 Sorry if sometime I take time to reply. 03:09:03,000 --> 03:09:04,000 Use the discount channel, I saw that somebody of you had said this. 03:09:04,000 --> 03:09:18,000 Have used it. I also saw like that there was like a question about doing multiple circle with different colors. 03:09:18,000 --> 03:09:28,000 Maybe this, we can look at it during this week and fun and enjoy. 03:09:28,000 --> 03:09:38,000 Yeah, this this new knowledge about particle sub. 03:09:38,000 --> 03:09:40,000 A lot to work on. Thank you. 03:09:40,000 --> 03:09:41,000 Thank you very much. 03:09:41,000 --> 03:09:46,000 Yes, yes, you're welcome. I'm very, very happy to have you. 03:09:46,000 --> 03:09:48,000 Bye-bye. 03:09:48,000 --> 03:09:49,000 Bye, bye! 03:09:49,000 --> 03:09:51,000 See you next week. Thank you. 03:09:51,000 --> 03:10:01,000 Bye! 03:10:01,000 --> 03:10:02,000 Bye! 03:10:02,000 --> 03:10:06,000 Bye, Hi, Erica, yeah. Stop recording. 03:10:06,000 --> 03:10:16,000 Stop pretty