Introduction: Hello! It’s MrSorbis here. One of the core modeling features of Blender
are called with name Modifiers. Modifiers are the feature which will allow us to edit
our objects without destroying them. For example extruding a mesh is a destructive
workflow, because we cannot later edit the settings which we used to extrude it after
we activated the extrusion. To navigate in this video, there is in description
a list with time stamp links. Modifiers in Blender are located in properties
panel under modifiers tab where you have a drop down list of all the mesh modifiers available.
In Blender there is also animation modifiers, but those are not in focus of this video. Every modifier is a part of one of the 4 categories
in modifiers list Which are Modify, Generate, Deform and Simulate. There are some features that are part of every
single modifier, so because I don’t wanna repeat myself too much, I will cover those
features here. The camera icon disables the modifier from
being visible in your rendered image. If this is disabled the modifier is visible only in
viewport. . The screen icon disables the modifier from
being visible in object mode. This is very handy if you have very heavy object with lots
of modifiers and it makes your viewport laggy. This rectangle icon disables the modifier
from being visible in edit mode. Sometimes it's good to see how the object looks like
after modifiers, but sometimes you wanna disable it. The triangle icon shows transfers the topology
of the object to the edit mode. Sometimes with for example subdivision surface modifier,
this allows you to see the edges better. The arrow icons allows you to move the modifier
up or down in the list. It can change the end result a lot if you change the order of
the modifiers. With the X icon you of course can remove the
modifier completely. One additional thing that I don’t wanna
repeat with every modifier. Vertex groups. With a vertex group you can select an area
from your object that is being edited with the modifier. I’ll show it with the shrink
wrap modifier. So now I will add here the vertex group. Let’s add it here. It’s
now assigned. And now let’s select the group with the modifier. Like that and now you see
how the modifier is editing only the vertex group area. Data transfer modifier is used to project
any sort of data from one object to another one. There is many different types of data
you can transfer. One of the most commonly used is normals data, so that’s why my first
example is being focused on that. To transfer the data in a meaningful way,
you need to have your objects in the same location. On this example I am going to use
normals from sphere to a monkey head. So I will move the sphere to a different collection
so that it allows me to hide it if needed. Of course I hide it, because I wanna see how
the monkey head is doing. Now I need to select the sphere to be a source
object for this data transfer modifier. The modifier is asking me to activate auto
smooth which is a feature the modifier needs to execute this normals transfer. Luckily it's easy to add from the object data
tab. And this is how it looks like when you have
sphere normals on monkey head. A little bit more practical use case for this
modifier is when you for example have a character that is already rigged. Then you modeled some
clothes for your character, but the clothes are not rigged. So with data transfer modifier
you can transfer all the data you need from the rigged character to the clothes to activate
the same rigging to it also. I modeled this lizard character just for only
to show this process for you. So, we need to parent the shirt to the bones
with the empty groups. It will generate for the shirt all the vertex groups the character
has, but the groups has no data. And that data we are going to transfer with the data
transfer modifier. Now let’s not touch that armature modifier
and let’s add there the data transfer and move it over the armature modifier.
I will use here the vertex data feature and select vertex groups. Then I select the character
to be the target object and as you can now see, the shirt is following the movement of
the bones. But it looks little bad. That's why I need to go back to the modifier settings
and click “generate data layers”. It will transfer the data to my vertex groups and
the posing works now perfectly. That was how you use the data transfer modifier
in nutshell. It is a huge modifier with lots of features, but luckily the transfer process
of all of those different data types is also following the same principles I was using
here. Let’s say that you did with some application
or in Blender animation. In my example this kind of water kind of simulation and then
you wanna use it in Blender, but you don’t wanna have all the modifiers and all the bones
and other complex stuff to Blender. You wanna have only the object and the animation to
make it as lightweight as possible. So you need to export your animation to a
file format that allows you to use it in the mesh cache modifier.
The file formats this modifier supports are PC2 or MDD. I am going to use MDD and to use
that I need to activate the MDD Import export addon from user preferences. They are located
here. So this is the MDD and this is the pc2. Now let’s activate the MDD. I will remove the Cache modifier from this
now, because we in fact don’t need it here. We only need the modifier which is animating
this scene. Then I will export the animation to be MDD. Now when I have the animation exported, I
can delete from this object the wave modifier and instead do the whole animation thing with
the mesh cache modifier instead. So let’s add the mesh cache here and with
it load the MDD file I just created. Now as you can see, I can play the animation
in a completely similar way as before. But now I also have some settings in the mesh
cache modifier that I can use to change the way the animation is played on this object. I think these settings are quite much explaining
itself when I just click them around. We can visually see what is happening from those.
So I don’t waste time for story telling. Instead I just change the settings to show
what’s happening. I downloaded from cgtrader.com this animated
model to be able to test this modifier. The file format this modifier supports is
called Alembic. Currently it seems, that Alembic is the best framework available to work with
multiple programs to work with one project. So if you do something with for example Houdini
and you wanna work edit it also in Blender, then in my opinion, using Alembic would be
the perfect solution for that kind of project. So, what you need to do, is that you use the
normal import menu to import an alembic files to Blender. After imported, blender adds the
Mesh Sequence Cache modifier automatically for us to wonder. If you wanna import the same object again
to your scene, you can change the starting frame of the animation and create some sort
of a group of objects you added. So that basically is the reason why we have
the mesh sequence cache modifier in Blender. Normal edit modifier allows us to mix the
object normals with the normals coming from some else object to create custom normals. I tried to figure out some good example where
this could be useful and I came up to this tree example. So you have a tree model and
you figure out that the leaves could look much better. So what you can do, is to edit
the normals. So we need an object which we are going to
use to edit the normals of the leaves. I am going to use a sphere. The idea is to soften
the highlights from the leaves, so sphere is kind of a perfect source for that. The
object size don’t have an effect to this, but the object location has. That’s why
it’s very much natural idea to have the sphere in the center of the tree. Now when I have the modifier attached to the
leaves, it’s very easy to start editing the leave normals with the mix factor and
mix angle settings. So that’s what the normal edit modifier
is all about. Weighted normals modifier is a handy little
tweak modifier that can be used to fix some shading related issues in your object. For
example the bevel modifier or subdivision surface are sometimes doing very bad looking
areas in the flat areas of your object. So with weighted normals you can fix those very
fast. This modifier also wants you to activate the
auto smooth before it can work properly. For me the best weighing mode is the Face
and angle weights from this list, but if you know some use cases for those other methods,
please let me know. Now everything you need to do is to find the
correct the values for your weights until you have as good looking object as possible. The UV-project modifier allows us to project
textures to selected object. I am going to use the monkey head for this demonstration.
Then I of course also need the UV project modifier itself. After adding the modifier, nothing happens,
because I don’t have material on this my object. So let’s very fast add a material
and some random texture so that we can see what we are doing. This one will do just fine. To see the material in viewport, I of course
need to be in material mode. So let’s fix that now. Then we need the object that is going to control
the direction where the texture is being projected. I am going to use an empty. . Then from modifier settings I select the empty
and it starts working right away. It’s easy to see where the texture is being
projected if I select this kind of an axis empty.
So, by moving the empty I control the texture location. By scaling it, I control the scale
and by rotating the empty I control the direction where the texture is being projected. I can add as many projecting objects here
as I want to to all the axis I want to. I only need to take care that I rotate it correctly
to have the effect I am interested. The aspect X, Y and Scale X and why works
only if you have camera set up to be a projector. The UV warp modifier allows you to distort
your textures by a visual way in viewport with using a helper object. First I need to
have some material here to see what I am doing. I am going to use the empty to show the effect. So let’s select the empty to be the from
object and suzanne to be the To object. Now I basically did everything I need to,
to start warping the UV:s with this modifier. By rotating this empty or moving or scaling
it. The vertex weight edit modifier allows you
to fine tune your weight paintings. To test this I’ll just do a some completely random
weight painting to this monkey head. Now I can add the Vertex Weight edit modifier
here. First we need to select the vertex group we
wanna edit. At first it looks like that this slider is
doing nothing, but that’s because we first need to select this checkbox. Now when it’s selected we can with the slider
edit the values of the vertices that has no weight paint at all. You can change the minimum vertex weight to
be added by adjusting the group add slider. With Group remove slider you can remove the
painting you have created. It can be handy if you have in your rig some weight paint
leaks that are very hard to remove. You know this if you know. With this you can fix those.
. Then we can change the falloff type and it’s
influence to the original painting work. To be honest, before I started doing this video,
I had no idea that we have this kind of features in Blender, but it’s so cool.. We can even make our own falloff type with
curve. Then last, but not least, you can even use
a texture to edit your weight paint. I just load some random image texture to blender
to show this effect very fast. To demonstrate the vertex weight mix modifier,
I will do 3 different vertex groups that I am going to mix together to be only one vertex
group. So one group with suzannes face selected. One Group where everything is selected And one group where only her eyes are selected. Then I select the group where everything is
selected to be the target group and go to the modifiers. Let’s add the vertex weight mix modifier.
. The group A is the one I am going to edit
and it will be the vertex group where everything is selected. And for the group B I will select
the group where only face is selected. I wanna remove the face area from the Group a. That’s why I use the mix mode difference. With global influence slider I can control
the strength of the effect. To add the eyes to this vertex group, I need
to add another vertex weight mix modifier. Just like before, I also here add the same
whole group to be the group A, but for the group B, I select the eyes group. It already works as I was hoping for with
the default Mix mode. If your project don’t work like that, you can test different mix
modes and mix sets. The last thing I wanna do is to apply these
modifiers to be a new vertex group. But I also wanna keep the original group, so that’s
why I need to duplicate the original group first so that I don’t accidentally creplace
it. So that’s what the vertex weight mix modifier
is all about in nutshell. Vertex weight proximity is a modifier that
allows you to animate object weights to create cool effects. To test this modifier, I am going to add here
a plane and animate some soft of a mountains on that plane. Let’s add the vertex group that we are going
to manipulate with the modifier. I will assign all the vertices to this group. Then let’s add the Vertex weight proximity
modifier itself. Here I select the vertex group I created. Now we need the target object we are using
to edit the vertex group. I am using an empty object for that. The empty size don’t matter at all, but
it’s location is very important. So now, let’s select the empty with the
modifier. To visually see what’s happening, I am going
to change the object to be in weight paint mode. With global influence slider I can change
the strength of this effect. If I change the distance setting to be Geometry
I get the effect I was looking for. Now with lowest and highest sliders I can
change the area of influence or even invert it. Just do demonstrate this effect little better,
I will add here displace modifier that is going to use the vertex group we do with the
modifier. I will also add some random texture for the
displace modifier, to even cooler effect. These clouds will do just fine. Okay, good enough, now let’s have some fun
with the Vertex Weight proximity. For better viewport display, let’s also
add matcap material. Allright. This is the kind of stuff I signed
for when I decided that I will start learning 3d modeling. Make sure you check all the different
falloff types to make sure you have the best one for your project. Also check the global influence and try how
it looks like when you invert the whole thing. I prepared for us these three objects which
I am going to use to demonstrate the array modifier. The very obvious difference between relative
and constant offsets is that the relative offset is related to the object size and constant
offset is the global value that is always the same. With merge checkbox and it’s threshold value
you can merge your array instances together. Then you can select the start and end caps
for your array. It’s good idea to have all your three array
parts to be same length. Otherwise it’s possible that you make your array look bad. You can also have the object offset that allows
you to control the array with some real object. With the object offset you have the additional
controls to create circular arrays or scale down your array objects after every step. The bevel modifier is one of those modifiers
that are very useful for hard surface modeling. It also is one of the modifiers that allows
you to destroy your object completely if you apply the modifier with bad settings, so be
very careful when working with this. Most of the settings are very easy to understand
by just changing the setting itself and seeing what will change in your object. For example
width segments and profile sliders. To add material to your bevels, you need to
have 2 materials attached to your object. This material feature can be used to fix some
errors that are not othervice visible. For example here, I don’t wanna have bevels
in the curve area. So I need to change the Limit method to Angle and change the angle
threshold value to have the bevels only in the edges I am interested of. Typically I
select the angle to be something like 80 degrees to have only very sharp angles to have the
bevel. Another one very self explanatingc setting
is this “only vertices”. Check box. I only really rarely use it. The mark seams marks the seam edge data for
unwrapping and mark sharps marks sharp edges that you can use for example with auto smooth
and those edges will always be sharp no matter what auto smooth angle setting you are using. The harden normals check box seems to be doing
some quick fix for the object normals to make it look better. If you wanna force blender to do overlapping
bevels, it also is possible with the Clamp overlap setting. This also is the easiest way to destroy your
object completely if you apply your modifier in this state. If you wanna control everything by yourself,
you can also use bevel weight to manually change the bevels for individual edges. The bevel weight setting is relative to the
bevel modifier bevel width setting, so you can only reduce the amount of beveling related
the modifier setting, but you cannot increase it. Expect from the modifier settings of course. Then you can do the same with a vertex group. I copied this scene from Blender manual to
show the Width methods. So, offset is the distance from the original
edge. Width is the length of the new bevel. Depth is the distance from original edge to
the bevel face. Percent is otherwise similar to offset, but
it is using as a bevel method the percentage of the neighbour edge lengths. It’s the
only one that allows you to create asymmetrical bevels. The Set Face strength mode setting is not
the clearest one to understand what it for real is doing. To make anything to happen,
you need to have after the bevel modifier that Weighted normals modifier. And there
Face influence checkbox selected. I would use this just by selecting the one that looks
best. Then finally we have the miter pattern setting
that allows us to destroy our object AND change the bevel topology. I will very fast add the different settings
and then apply the bevels to see how it looks like. Left one is the sharp bevel
Middle one is the patch bevel And right one is the arc bevel. The Boolean modifier is a powerful but very
simple modifier that allows you to mix objects together in a special way that could be quite
hard without using this modifier. First you need to select the boolean brush
object. I will hide it so that I can see what’s happening. So, this is the difference operation. This is union. And finally, this is the intersect. Pro tip: Add multiple boolean modifiers together
to make complex hard surface models. The build modifier allows you to do short
animations where your objects will be builded or removed from the scene. You can change
the length of the animation or use completely random build animation. It’s nice effect,
but in my opinion, this modifier could be better with a lot of an additional features. The Decimate modifier is a very handy modifier
that allows you to reduce the polycount of some highly dense meshes. For example those which are done by sculpting. The collapse setting is based on the amount
of the faces that are being saved after decimation. For example the setting 1 keeps the mesh unchanged.
0.5 collapses half of the faces. And 0 will remove all the faces from the object. Triangulate checkbox will triangulate your
faces and Symmetry will allow you to symmetrize your topology along one axis. Un-subdivide is the reversed version of subdivide.
If you accidentally applied your subsurface modifier, it can be fixed with this. The even
numbers of this means one level of subdivision to be removed. Odds will make 45 degrees rotated
topology. Planar will remove polygons by based on how
planar they are. For example this area is completely planar and this are is not. So we can use the angle setting to determine
how non planar areas will be removed. I hope this makes sense. The delimit settings down there are to activate
some mesh data for the process. The modifier is trying to protect the areas you’ve selected
with for example seams or materials, like I did here. The edge split modifier will split your object
into areas based on the angles or sharp edges. I will come that to later. It is a very old
modifier and it literally was used to make some edges look sharp. However nobody is recommending
it to be used for that anymore, because we have better methods. The sharp edges are edges that you have yourself
marked to be sharp. You can mark edges to be sharp from Ctrl + E, edges special menu. The mask modifier is one of those mysterious
modifiers that I’ve only very hardly found any use. If you add it to your object it just makes
your object disappear, because you need to have a vertex group selected. So let’s make
some random selection and create the vertex group from that selection. Okay, now we have the group. Let’s go back
to modifier settings. I toggle the visibility back on for the modifier
and then select the vertex group. So this is the effect. Do you like it? I think
it’s beautiful. I think I will very fast add the vertex weight
proximity to animate this effect. Okay, that’s all about the Mask modifier. The Mirror modifier is one of the core features
of blender. It’s also very easy to use. Typically I start working with the mirror
modifier by deleting half of the object. Then I add the mirror modifier and select
the axis which I wanna made to be mirrored. Because I deleted only along X axis, I activate
only this x check box. Now it’s very easy to start modeling whatever
I want to. I think this will be some sort of a spaceship. Because I feel like being very lazy today,
I think I will add the mirror the Y axis also. Because the mirror modifier is using the object's
pivot point to be the middle of the mirroring, I need to move the object in edit mode slightly
to activate the clipping and then delete the middle face. Okay, I think you got the idea. Of course you can also add new objects into
this mirror process. Then we have the feature called bisect. This
allows you to mirror objects without deleting anything from it. The modifier is doing all
that in fly. I think it’s really exciting feature that allows you to model complex things
very fast.. Okay, so this in nutshell is the mirror modifier
and its very useful as you can see and you can activate the merge to remove the bad details
from the center area of this object as you can see. Now it’s reducing those details
so this is very handy if you don’t wanna manually do something. Then you can do it
with that. And then we have here these texture controls.
If you don’t wanna have too mirrored looking textures, then you can offset the uv.maps
with this one. So it’s also sometimes very handy thing to have. And if we apply this in object mode. We can
see this didn’t do perfect job. We have here these problems that has to be fixed.
So what I typically do, I just start merging those badly located vertices. So select the
vertices alt + M merge at last. And then I do that many times until I have fixed my object.
But that that’s what you need to do if you do 3d modeling. It’s never too easy. But
yeah. That was the mirror modifier. The multiresolution modifier is a special
modifier to add more details to your object for sculpting. This is not a sculpting tutorial,
so as an end result this is not going to be a masterpiece, but I will very fast go through
all the features we have in the multiresolution modifier itself. So to add more details to your object you
need to click the “subdivide button” as many times you need the levels of subdivisions.
Typically you need quite much, if you for example wanna sculpt some fine skin details. You can select either the catmull-clark for
organic sculpting or simple method if you wanna for example sculpt a bullet hole to
your hard surface object. In left you have the controls to go back and
forth the amount of details you have in your object in selected conditions. You can for
example disable the visibility of details from viewport and allow it to be visible only
in for example sculpting mode. Okay, let’s go to sculpting mode to actually
do something with this. So I can just by painting do some additional
details to this. I have now the symmetry lock activated and it can be disabled from workplace
settings. But as said, this is not a sculpting tutorial, so I don’t care. I just keep adding more subdivision levels
to this when I feel like that I am getting too low amount of details. This modifier is not for situations where
you for example have a cube and then you will model it to be whole human body. Instead you
need to have the human body base mesh and then you add fine details to it with multiresolution
sculpting technique. There is one little trick you can use if you distort your object too
much. It’s the button labeled “apply base”. It will distort the base mesh to the shape
you made with sculpting and it can be a very good thing sometimes. So now when I clicked it, we can go back all
to way to zero with the sculpt subdivision selector to see how the base mesh is now transformed
to this. The delete higher button will delete all the
levels from the modifier that are higher than the one that is at the moment selected. It
seems that I cannot undo that if I clicked it. So I deleted those, I need to open the
previous save. The reshape button allows you to copy vertex
coordinates from some other mesh. To be honest, I’ve never been able to do anything meaningful
with that button. But I guess there is some use cases for it. You need to search some
additional info for it. The remesh modifier is about to generate new
topology to your objects. I’ve found this only be useful for artistic reasons so it’s
not currently very good for for example retopology if your target is to have very high quality
object. It can be used if you are planning to make very fast low poly objects tho. But
I’m going to focus on the artistic side of this modifier, because I think for that
it’s best. So, this modifier is giving you 3 different
ways to remesh your object and then we have 2 checkboxes that are very self explanatory,
so I am not going to waste your time with those. I will show you the end results here. This is the topology you get with the sharp
mode. In my opinion it looks quite bad, but maybe there is some use cases for it. This is the topology you get with the smooth
mode. It looks quite ok and there might be some situations where this can be used. At
least stuff is not overlapping here like in the sharp mode they are doing. And finally, this is the blocks mode. With
this you can maybe make your fake minecraft animations, or something. The screw modifier is a very important modifier
that allows you to screw up your objects. There is one catch tho. If your object is a 3d mesh, then the modifier
will make very bad looking shapes. To make it look good, you need to have as a target
object an edge ring, not some 3d geometry. Sorry suzanne. The screw setting will control the height
of the iterations. With the iteration settings
you can control the amount of iterations. The calc order button will fix your object
normals if they are broken. The flip button will flip the normal direction The angle setting controls the angle degrees
from one revolution. With steps settings you can control the amount
of steps it takes to make one revolution in viewport and render. With smooth shading checkbox you of course
control the shading of the object. Smooth or flat. Then we have the merge vertices checkbox,
but it seems that I don’t understand which vertices its supposed to merge, cause whatever
settings I used, no vertices were merged. So if you know how to use that, please let
me know. The skin modifier allows you to very quickly
create complex shapes by only extruding single vertices to the target shape. The modifier
is then skinning the object to make the finished shape. It’s very good for example modeling
a trees. When modeling with this modifier, it’s very
important to activate the x-ray setting for the viewport to see the internal structure. Now it’s very easy to start extruding these
vertices to create more complexity to this object. And I am using proportional edit here
also to edit multiple vertices simultaneously. There is also a setting in the N panel under
vertex data to control the thickness of these branches. You can scale them in asymmetrical
way with these radius settings or you can use shortcut Ctrl + A to scale it in symmetrical
way. If you use proportional edit also, then you can adjust the scale in a very natural
looking way. I am going to just duplicate here some branches
to connect it to some other area of the tree to make this process little faster. The mark loose check box will allow your selected
vertex related geometry to be stretched to all of the vertices that are connected to
it. You can clear that by clicking the clear loose
check box. The mark root button is being used to select
the root vertex for all of the calculations this modifier is doing for the geometry. Also, if you generate armatures with this
modifiers, then the root bone will be the one you selected here as mark root. The equalize radii is doing literally what
the button is saying as you can see. Tho I hope this button would have an additional
settings to control how exactly I wanna make the radii to be calculated, because now I
anyways need to manually fix the radii of the segment with ctrl + A but I guess this
is ok like this also. The branch smoothing is targeting to vertices
that have three or more connecting vertices. Sometimes you have there weird artifacts and
this tool is trying to fix those areas by relaxing the geometry, but as a side result
it will shrink the surface. The symmetry axis check boxes are used to
keep the generated geometry symmetrical along the selected axis. The solidify modifier is there to add thickness
to your 2d surfaces. It can be used for example to architecture
modeling or for example to some hard surface things. It helps you a lot when the modifier
is doing half or your work. For me it’s one of the most useful modifiers
out there The flip normal setting will flip the normals
in a similar way as you flip normals in any object. 2.8 Beta Blender is not very good
in visualizing this setting, but it is very important to have your normals calculated
correctly. The even thickness check box is trying to
solve the thickness issues you have in your object. Based on my experience, this is must
have setting in most of the projects I am doing. Blender manual is saying that it will
increase the computation time to create the object, but It seems not to be a very big
issue. High quality normals are a setting to produce
a more even thickness. IT can sometimes improve the quality but it also increases the processing
time. The fill rim setting fills the area between
the surfaces. Only rim setting allows you to have only the
rim areas of the object. Both of those can be very useful in for example game modeling
when you really wanna make low poly objects with thickness. Material index offset allows you to have different
materials on the rims and main surfaces. You need to have both materials attached to your
object to make this work. With the offset slider you can control of
the generated mesh is outside or inside of the mesh. You can also center the mesh using
0.0 setting. The modifier don’t work very well on the
T shaped surfaces. If you have such surface in your object, you should separate the objects
from each other to have good looking end result. The subsurf is a powerful modifier that allows
you to generate more geometry to your object. Where it typically is used is when you have
a low poly object and you wanna create a more detailed object from that. The modifier comes
with 2 different methods. The catmull Clark and simple. The Catmull Clark will a smooth
your object with the new geometry and the Simple will keep the original shape, but will
add more geometry to it. Both of those methods are sometimes very useful. As a bonus, this modifier will fix all your
triangles to be quads, which is really really useful. The drop menu under the title “options”
is about to control the Uv-coordinates of the object. I have here an unwrapped cube
and you can see how the smooth setting is generating little bit different output result
for the texture end result. The optimal display is affecting your object
only if you have the wireframe setting activated, just like I have here now. But the setting
is only for displaying it on the viewport. The triangulate modifier is there to make
all of your quads and ngons to be triangles. To show the effect I will activate the wireframe
display for this monkey head. So this basically is the effect this modifier
is doing. When using this modifier I myself prefer using
the beauty quad method. But you can test the other methods also if it for some reason makes
better results in some cases. The wireframe modifier converts your objects
to be mesh wireframes. It is using as a source data the edges of the object and makes them
to be four sided tubes. You can control it’s thickness from the
thickness slider and offset from the original geometry from offset slider. The offset makes
more sense if we disable this replace original checkbox to allow the original object stay
here on the viewport. The slider moves with mouse only from 0 to
1, but you can manually add there bigger values to have more offset. With material offset selector you can add
different material for the wireframes. The even thickness will determine the wireframe
thickness by adjusting the corner sharpness. This in my opinion typically is increasing
the quality of your wireframes. The relative thickness is adjusting the thickness
of wireframe based on the edge lengths. Longer edges are thicker. Based on the Blender manual, The boundaries
setting will create wireframes on the mesh island boundaries. The crease edges setting is there to control
the subdivision surface modifier after the wireframe. Only after that you can see how
powerful that setting is. The armature modifier is for attaching the
skeletal systems to your character that allows you to control and animate your characters
movements and poses. I will first do a very simple rig for this
my character to show the armature modifier. So let’s just extrude this single bone until
I have some sort of a skeleton for the dude. When the x-axis mirror setting is activated,
it’s possible with Shift + E to extrude in a mirrored way. When I finally have extruded all the stuff
to be in the correct form I need to parent the character to the armature. I am going
to use the automatic weight feature to create the vertex groups automatically. So, it created all of these vertex group for
me and then it also created this armature modifier. Now if I select the skeleton and go to pose
mode, I can change the pose of my character and animate it if wanted. So it works. It’s
not very good, but it works. The preserve volume setting will make sure
that your characters joints don’t change their size when you are rotating the bones.
This is a very good setting and I think for character rigging it’s almost must have. If you disable the bind to vertex group setting,
your rig stops working, because it’s based on these vertex groups. If you don’t very much care about the quality
of your rig, you can also activate the bone envelope setting and disable vertex groups.
You can pose some simple models with that method also, but the quality in my opinion
most of the time is horrible. You can in edit mode change the bone envelope
distance setting, but in my opinion this is very bad way of working with the rig, cause
I cannot see what I am doing. I think there will be some upgrades to this in future. The multi modifier setting allows you to have
several armature modifiers stacked and deform the object based on the data that has not
been deformed by the other modifier. So in nutshell this modifier will not deform the
results the first modifier is doing. The cast modifier allows you to morph your
object to be one of preselected primitive, sphere, cylinder or cuboid. I am using the
monkey head here to test it out. The factor setting allows you to control the
blending between the original and the modified shape. 0 is the original shape, 1 is the target
shape and anything under 0 or above 1 will overstate the shape. With the radius setting you can control the
area of influence. The size setting controls the size of the
target shape. If the “from radius” check box is activated,
the modifier will calculate the size from the radius setting to have smoother end results. And finally, you can select a control object
for this modifier to control the effect with its location, rotation and scale. You can also disable and activate axis from
the modifier. The curve modifier allows you to deform your
objects by using curves. I am going to make a text object to follow a curve object. Let’s first very fast write here something
random. Now when I add the curve modifier for the
text object and select the curve to be the target object, the modifier starts working
instantly. Because I have an X axis selected from the
curve settings, it means that if I move the text along X axis, it will follow the curve. The curve also has to be going along X axis
to make it working. Lucily by default, the curve objects always
are starting from -X and going towards X, so the default setting works for default curve
perfectly. But if I rotate the curve object, it means
that I need to fix also the corresponding axis from the modifier settings to match the
direction I am using for the curve. If I first convert my text object to mesh
object, I can then apply the modifier to be a shape key for the object and use it for
example for animating this effect. The displace modifier allows you to displace
your objects by using textures. I can attach the texture to the modifier by clicking this
new button. Let’s then click this strange icon to go
to the texture settings. Here I can open any image texture I want to
to be projected as a displacement to my object or I can use procedural textures. I am going
to use procedural cloud noise for this example. This is not part of the modifier itself so
I will very fast tweak some settings for this noise. Then I go back to the modifier settings. Here I can change the strength of the effect.
With the strenght slider. To make this effect to look better I need
to have more geometry for this object. I will solve the issue by adding subdivision surface
modifier before the displacement modifier. Okay, looks much better. One of the most important features of this
modifier is the texture coordinates feature. My favourite texture coordinate setting is
the object, because it allows me to animate this effect with very easy way by using some
objet to control the texture location, rotation and scale. You can create some variation to your displacement
by changing the direction. The normals direction is the default that works in most cases, but
if you wanna create something special ,then try changing these settings. So, this in nutshell is what the displacement
modifier is about. The hook modifier allows you to pin areas
of your object to another objects, typically empties or bones. I am going to use a plane
to demonstrate this effect. I need to create a vertex group for the hook
modifier to know which area is going to be used for this. I will use the whole object
as a vertex group. Then., just for the show. I will add the wireframe
display. Then lastly, I need the object that is going
to control the hook modifier and I will use an empty object for that. Now I am ready to add the hook modifier. First, let’s select the empty to be the
object. Then, secondly let’s select the vertex group Now if I move the empty object, the mesh object
is following it. By tweaking the settings, I can change the area of influence and the
strength of the effect. The modifier is not very smart, it’s always
using the object's center to be the area of where it’s modifying the mesh. Even if you
add another vertex group to somewhere else of your object and add the empty somewhere
else, it’s still modifying from the center of the object. I will walk very fast through all of these
different falloff types. There is one additional feature in this modifier.
You can hook a single or multiple vertices to the hook object, but for some reason if
you do that, then you cannot change the radius of the hook influence. Not even if you create
a vertex group. But that’s still useful sometimes in some rigs, for example cloth
simulations. . The laplacian deform modifier is the protector
of your surface details. It allows you refine your badly done rigs to make them always look
good. As an example, I have here this ugly cactus.
So let’s add the laplacian deform modifier here to fix this. First we need to create a vertex group to
make this modifier working. So I will create here a new vertex group and
then assign all the vertices to it. Good, now, let’s go back to the modifiers. So I will select the vertex group I created
and press bind. The bind button is kind of the capturing point for the modifier. This
is the shape it is trying to protect. As you can see, with the laplacian deform
this is kind of a new rig. The object is not anymore having those ugly wrinkles If I toggle
the modifier on and off, you clearly can see the difference. Amazing. The lattice modifier allows you to deform
your object by using an additional non rendering object as a guide for that. The additional
object is called with name Lattice. And you can add the lattice object from the shift
+ A menu, just like you add any object. Target is to scale the object to be little
bigger than the target object. Then I need to resize the object to be little
bigger than the object I am planning to deform with this lattice. Okay, good, now let’s select the lattice
object with the lattice modifier. Now if I go to edit mode of the lattice, I
can deform the object by moving the lattice vertices around. From object data of the lattice I can change
the amount of control points I am having in the lattice. The strength setting allows you to reduce
or animate the lattice effect if needed. Then you can also apply the effect as shape
key. Now you can from shape key settings work with the effect The Mesh deform modifier is quite much similar
modifier as the lattice but instead of using the specific lattice object, you are using
a mesh object to deform your model. I think a good way to work with this modifier
is to change the mesh object to be in wireframe mode, so you can easily see what’s happening
under of it. First I need to select my deform object from
the modifier settings. The bind button will connect the deform mesh
to the target object in a way that I can start deforming the object. However, this modifier is very much slower
than lattice, but as an exchange it allows you to have much better controls over the
object when it finally has done the bind process. The precision number slider controls the accuracy
of this effect. If you add smaller value there, you can expect faster binding, but less accuracy
for the final controls. This will also increase the computer memory usage. The dynamic checkbox will also take into account
the other modifiers you might have attached to your object. This will increase the memory
usage. The shrinkwrap modifier allows you to project
geometry to some other geometry. It’s useful for example for cloth modeling for your characters
and if you wanna make some objects to be perfectly following some surface. In my example I am
going to use just some plane to show the effect. Right away when I select the the targed to
be this ground object we will see the effect, there are some things we can to do increase
the quality of this. One of those things is to move the object
closer of the target object. You can also use proportional edit to slightly edit your
object to follow the target surface better. With the distance setting you can control
how much distance there will be between the projected object and the target object. The idea of these different modes is that
you find the one that has as little as possible any wrong kind of distortion in your object. You can also disable or activate the axis
which along your object is being projected. This also is very powerful feature to reduce
problems in some cases. Simple deform is one of my favourite modifiers
of all time. It allows you to very easily distort your objects in a very interesting
ways that will speed up your workflow drastically. I will walk you through of how I created each
of these pieces with this modifier. As you can see, those object in far left are
based on cylinders, so let’s add that here now. I need to extrude it a little to make exactly
similar shape as in my example objects. Then I need to have lots of loop cuts here
to make it look good after the modifier. Okay, then the modifier itself It already started doing something, but I
need to change the axis setting to make it going to the direction I was planning to.
So of course Z axis in this case. With the deform angle slider I can control
the strength of this effect. Then I have these limits sliders which allows
me to limit the effect from both of it’s directions. This is what happens if you disable some axis.
Not very practical in this case. Let’s move on, the next thing I wanna do
is that scifi donut thing or whatever you call it. I’ll do it from a cube from which
I delete 2 sides. Then I need to add loop cuts to this, so that I can deform it properly.
Now I can add the modifier. From modifier settings I select “bend”. This can be sometimes little tricky. I wanna
make the axis to be Z axis, but then I also need to rotate the object and move it properly
so that this will work To make it similar with my references, I also
extrude here something to show how it will be distorted. Just like with twist I can also change the
angle setting here to make different setups. The Limits are also here to play with. Let’s now test the Taper setting and it’s
also going to be based on a subdivided cube. As you can see, this is very simple. I only
need to change the axis and then play little with the limits to achieve the effect I was
looking for. Always remember to test all the settings.
For example lock axis can be very useful when doing something with this. I am going to just duplicate that taper object
and change it to be stretch instead. Just like taper, this also is very easy to use. In Blender there is at least 2 ways to smooth
objects. One is using the W menu smooth vertices feature, which is destructive or then I can
use the smooth modifier, which has all the same properties as the smooth vertices feature,
but it’s nondestructive. Of course it is, cause it’s modifier. So, with the repeat setting I can change the
amount of iterations Blender is doing this smoothing process. The more you add, the more
smooth the result will be. Or less smooth, because soon you will see that you can also
reduce smoothness with this tool. So, I disabled X axis from the smoothing process
and now I can smooth it only along Y and Z axis. That will generate quite interesting
looking surface. And if I smooth it only along Z axis, then
I can create well, very strange looking things. If I add too much for the factor value, then
I stop smoothing and I in fact start increasing the roughness of this surface. So yeah, this basically in nutshell is the
smooth modifier. You can also apply the edits as a shape key for animating purposes. In modifiers list this modifier goes with
name Smooth corrective, because I think the developers wanted to have all smoothing modifiers
to be together, how nice of them. I am using this modifier to have some slight fixes to
this my very old model I created long ago. I know it’s little strange model, but it’s
not the point of this now. I just wanna test the modifier with something and then I found
this model again so. Let’s add the corrective smooth modifier to this. Now as you can see, it gives my an error message
and that’s because of the subdivision surface modifier. This issue can be fixed three different
ways with this modifier. The first way is just to disable the subsurf modifier, second
way is to move the subsurface modifier under of the corrective smooth modifier. I’ll
talk about the third way little later. Now as you can see, the corrective smooth
is increasing the quality of my model, especially if we look the crease areas. The modifier is using the original reset state
of my model as a reference point when it’s fixing issues. With the factor value I can increase or decrease
the amount of smoothing the modifier does. The simple method, which is the default mode
is relaxing vertices based on their connecting edges. The Length weight method is weighting the
smoothing based on the surrounding vertices and based on the blender manual, this is supposed
to preserve the original shape better. With the repeat slider I can repeat the smoothing
process with current settings. Higher values will increase the quality, but makes it slower
the more you have iterations selected. cc
This option is included to preview the smoothing used, before correction is applied. So it
will smooth the object without reconstructing it. By checking and unchecking it makes you
probably to understand little better what it does. Bind boundaries setting will prevent boundary
vertices from being smoothed out. At start I told about three methods to fix
the error message. The last one is to use the bind setting to bind the vertices. It
will allow me to bind all the previous modifiers to the smooth modifier and by that way the
problem goes away. It can also increase quality a lot. It’s very good idea to bind the vertices
when the character is in reset pose. That will make sure that any probably problematic
creases are not present when I bind it. The laplacian smooth modifier is made for
fixing some surface problems that you typically get when 3d-scanning objects. Also for example
high resolution fluid simulations can cause weird not needed surface artifacts you might
want to try removing with this modifier. I am demonstrating this by editing this object
I made by sculpting and I on purpose added some problems there. The settings this modifier are all quite simple. The repeat value will repeat the modifier
process with current settings. The Lambda Factor value will determine the
strength of the effect in surface area. If you add negative value there, you can boost
the imperfections in the object with this. The border value will determine the strength
of this effect in border areas. There also can be added negative or positive values. The preserve volume setting is there to prevent
the modifier altering the volume of your object. And the Normalized setting is there to stabilize
the end result. Without this, there in some cases might have a mesh spikes happening so
this setting is here in trying to prevent it. With axis you can disable or enable the smoothing
effect along some axis. You can also apply this modifier as a shape
key. The surface deform allows you to deform your
objects with other surface objects, I for example have here this tower model and I am
planning to deform it with a plane. So I will add the plane here and scale it
to be little bigger than the object I will defor with it. I also add little resolution to this object
with loop cuts, because I cannot deform it if there is no vertices to move. Now I select the plane to be the target object
in modifier settings. To make the modifier to do something, you
need to press the bind button. Now whatever you do with the target object
will be translated to the other object. I’ll test thins with the proportional edit mode
and then I will add the cloth simulator to this. First I will create a pinning vertex group
for the plane so it won’t just drop down with the cloth simulator. This is not about cloth simulators, so I double
the speed until I have it there. In nutshell I will select the pinning vertex
group from cloth settings. Then I will add some force fields to do something with the
cloth object and then I can just watch how this whole thing works. In fact, most of the
time I was just tweaking the force field settings. You’ll get it. So this is what the surface
deform modifier is about. The warp modifier is a very powerful modifier
that allows you to do some very cool distorting effects to your objects. I am going to use
a plane for demonstrating the effects, but you can use any mesh you like to. I just prepare
this object little So let’s add the warp modifier here we can
right away see that this modifier is asking two objects we should add into the scene.
The From object and the To object. I am going to use two empties for that. So let’s add the empty and let’s rename
it to be From. Then let’s duplicate it and rename the double one to be To Now we only need to select the empties with
the modifier. And now, If I move these empties, the geometry
starts distorting between them. The effect depends very much on which one you are moving
or both. You can also rotate these and it also has an effect. And you can also scale
these and that also has an effect. With the radius value you change the radius
of the distortion and with strength value you obviously change the strength of this
effect. . Let’s try to rotate these little to make
an interesting effect. Okay, that was fun. Now I will clear the rotations
to test other features of this modifier. So, you can change the falloff type from this
drop menu. You can even design your own falloff with the curve setting. I will just very fast scroll through all of
the different falloff types, you can take your own time to test them little better. What I find really interesting and useful
is the fact that this modifier allows me to have textures also attached to the distortion.
I can already see so many different ways to use this. If I add for the texture an object coordinates,
I can also control the texture distortion separately. I connected it to the TO object
in this example. So, this is the warp modifier and what you
can do with it. The wave modifier is small little deforming
modifier that allows us to create simple wave simulations on our objects. It’s very easy
to use. If you press play button, the simulation starts
playing and then rest of the work is just to tweak the settings. With the motion check boxes I can select the
direction where the waves are going. If I disable both directions, then the whole object
is moving up and down. With the offset setting I can change from
which frame the animation starts playing. Typically it’s good idea to have lots of
minus frames there so that in frame 1 the animation already has filled the whole surface
area and I don’t need to wait or render frames where nothing happens. With the position settings I can change the
center point of the simulation. With the life setting I can choose at which
frame the animation stops. Damping is an additional setting for the life
setting to choose how long it takes to stop the animation after the end of life setting. The falloff setting is kind of an area of
influence and with it I can make the waves disappear based on their distance from center
point. Then we have this speed value that can be
used to change the speed of the waves. The height value will change the height of
the waves. You can also add there bigger values than the settings seems to allow us to do. The width value will change the distance between
wave tops. And narrowness value will change the well
narrowness of the waves. Just play with these settings and you will
create amazing things. The texture setting allows us to load procedural
or image tectures to displace the waves. That will increase the possible use cases for this
modifier a lot. Another trick is to change the texture coordinates
for the texture. For example with object coordinates you can also animate the texture displacement
separately to have another level of animation details to your animation. If you add the wave modifier to a 3d object,
you might wanna check the normals checkbox. That will make the modifier to displace the
object along it’s normals direction and sometimes it looks better. The cloth modifier happens to appear on your
modifiers stack if you add a cloth simulator in your object. Or you can just add the modifier
here and then there is this little message that tells that the settings are in physics
tab. So we are going to physics tab now. And we have a lot of parameters. This is not
a physics tutorial and this in fact could be it’s own one hour tutorial to learn these
settings, so I am not going to include that additional one hour to this video. There are
many great tutorials about this already. The collision modifier is a physics modifier
that tells blender that you wanna make your object to interact with other physics objects.
This is not a physics tutorial, so basically what I am going to just do, is to have here
a cloth simulation for the red object and then I make it to collide with the brown object
object. All the additional settings are in the physics
tab. I am not going to include the explanation
of all of those settings, because it would make this video a lot longer and there already
is good tutorials about those. The dynamic paint modifier is another physics
modifier that has lots of settings that I cannot cover in this video. However, I will
show you how to make a very basic scene with this modifier. First I need a canvas object that is going
to be this big plane. Then I need a brush object and for that I am using this sphere. Because I paint vertex data I will subdivide
this plane few times. I can add the dynamic paint modifier here
in modifiers tab, or I can go to physics tab and add it there. So I added it to this plane and now I will
select from the settings which type of object it will be. And in my case it’s going to
be canvas. Then I will add the same modifier to the sphere
also, but that I will make to be the brush object instead. Now I will change the surface of the canvas
to be waves, which makes the whole canvas to be one kind of wa water simulation. Now
everything I need to do is just to animate the brush to go around and that is one of
the easiest ways in blender to create water simulations. That’s all I am going to talk
about the dynamic paint in this video. The explode modifier is one of those mysterious
modifiers that seems to be doing absolutely nothing when you add it to your object. At
least not exploding. It’s not even giving any error messages. The thing with this modifier is that it wants
me to add a particle system to the object so that it would use the particle data to
explode the object. So now I have the particle system and it still
is not exploding. The reason for that is that the particle system has to be before the explode
modifier. The settings this modifier gives us are all
quite simple and I will go the through very fast. The cut edges settings allows the modifier
to do some nicer shrapnels. You check it if it does better results. If not, then uncheck
it. The unborn setting means basically particles
that didn’t yet appear in the scene. For our exploding simulation it means that the
object actually exists before the particles exist. Alive setting means particles that are moving. Dead particles are particles that are not
anymore in the scene. Because the connection to the particle is lost, you can either leave
the shrapnels in the scene or let them disappear with particles. The size setting allows us to control the
size of the shrapnels from the particle system settings and I will show you now how you can
do it. So you go to the particle system settings
and there to the render category. There you have the scale setting and random scale setting.
By tweaking those you can control the size of the shrapnels. If you change the amount of emission particles
to be some very small number, you can make the object explode into very big pieces. If you change the frame start and end values
you can control how long it takes to explode the whole object. With velocity value you control the speed
of the shrapnels. And lastly, with rotation settings you can
make the shrapnels to rotate during their flight. The fluid simulation is again one of those
very complex physics simulations that I cannot go into full details in this video sadly,
because it would double the length of this video, but there are many good tutorials about
those from which you can learn about each of the setting. So I am going to make a simple
fluid simulation, just to prove that this is what the modifier actually is doing. So what I did for this cube is that I added
the fluid simulation modifier and now I am going to make it to be the fluid object. Next thing I need is the domain object and
it has to be a cube. When something is being a domain it means that it is the boundary
for the fluid and it never can leave the domain area. That is because for the physics calculation
the computer is doing, there has to be some limits. You cannot calculate infinitely big
simulation. So now I have the Fluid object inside of the
domain object and to look the simulation I need to bake it. So let’s scroll down to
Bake settings and click the bake button. Blender allows us to see the frames that already
are being baked and the simulation is growing longer frame by frame. With these default settings it doesn’t take
very long to bake. Now this is the basics of fluid simulation. There are other object
types also you can add to your scene, but I am not going to those now. Also you should
know that if you change any settings, then you need to bake it again to see the results. The ocean modifier has 2 different ways to
create ocean simulations. Either it will replace the selected object with an ocean surface
or you can displace the selected object with the ocean displacement surface. Both of those
methods has their benefits. With displacement method you can control by yourself which areas
of your object has more resolution or what kind of topology you are having but you cannot
repeat the surface. The generate will allow you to control the repetition of the surface,
but you cannot control the topology. After this I am going to focus only on the
generate side of this modifier. The time value allows you to animate your
ocean simulation. The depth value controls the depth of the
ocean. With smaller depth value you can simulate shallower waters. The random seed gives you different simulation
results. With resolution setting you control the resolution
of the ocean surface. It will slower the calculation time significantly so I recommend you to play
with lower resolution values and then when you are about to render it, you add higher
values. The size setting will control the size of
the simulation without touching the height of the waves. The spatial size is the size of the area in
meters. I’d recommend you to have both of those size settings the same numbers so that
the end result is physically the same size it’s visually unless you are planning to
do something special. Without knowing better words, I’d say that
the choppiness setting will determine the wave peak sharpness. If you have there 0 setting,
the surface will be displaced only along Z axis and the more you have choppiness, the
more it will be displaced to other directions also. You might wanna find the setting where
there is no overlapping areas on wave peaks. The scale value will scale all the the values
you have in your simulation, the displacement and even normals and foam. The smallest wave setting is kind of a threshold
value that will remove the wave details smaller than the selected value. Wind velocity is wind speed meters in second.
With smaller velocity you will generate smaller waves. The align setting will align the waves to
go into the direction determined with the direction setting. And the damping will change how the waves
are being reflected from each other. This can be used with the alignment feature. With
value 1 all reflected waves are being damped out and with 0 they will not be reflected
at all. The generate normals feature can only be used
if we bake the ocean. It will bake the normals as an .exr image sequence that can then later
used to add more fine details to the ocean surface with material editor or some external
software. It’s going to bake 2 exr files to every
single frame you selected. The displacement and normals. If you don’t know how to use those, please
watch some material editing tutorial, I sadly cannot go to that now in this video. The other thing you can generate with this
is the foam vertex data. So you select the check box and give a name for the data layer.
Then you need to go to vertex colors and create a vertex color layer with the same name. Now I open the Shading work space and create
a new material to show the vertex colors I am generating. I need to add an attribute
node The attribute node I connect to the principled
base color to show what colors it is giving us. Then I need to write the color data layer
name, in my case foam to the attribute node to get the correct data. Now if I play with the coverage setting in
the ocean modifier I can control the amount of foam it will generate. If I replace the principled shader with an
emission shader I have a clear view on the vertex color data without any distracting
reflections. Now with ramp node I can filter the data to select perfectly where I wanna
have foam and where not. That data can then be used as a factor to
select which material is in the foam and which is the clear water. But that’s a different
story. The particle instance modifier doesn’t work
without having another object with a particle system. So I will add here a monkey head and
add the particle modifier to it. Now I can use the particle instance modifier to select
the monkey head and we can right away see the possibilities this modifier is giving
us. Most of the settings we have in particle instance
modifier are about the kind of data we are about to transfer from the particle modifier
to this particle instance modifier. Basically it means that there is a corresponding setting
in particle system for the regular and children particles also we have settings to control
their size. Alive particles are particles that are moving,
unborn particles are those which didn’t appear in the scene yet and dead particles
are those which are already removed from scene. With amount value setting I can control how
many percent of the particles will be selected to spawn a cube. The offset value will allows
me to offset that selection to choose if I wanna have different variation of the selected
particles. The x y and Z values will specify which pole
axis are being used for the rotation. The create along paths setting works only
if you have hair particle system, so I will change my particles to be those instead. Now I need to change the particle instance
modifier settings, because hair particles are always only dead particles and I have
disabled those before. So here it is, cube hair. If I activate the keep shape setting, then
the cubes are not distorted along hair strands anymore. Otherwise I think rest of the settings are
very much self explanating. This modifier can be used to create for example fireworks,
or trees and other similar things where you need particles that are emitting particles. The Particle system is another very complex
physics modifier that I cannot go through in full detail, but I will show you some the
basics. For additional info you need to find other tutorial. It can be used to create realistic hairs to
your characters or you can use it for traditional particle simulations. I am going to focus
now only on the traditional particles and only on some aspects of it. From the render settings you can select how
the particles will be rendered. The default setting is halo, but you can use some custom
objects instead for example. You are allowed to change the particle sizes
and their random sizes and the particles can be manipulated also with physics forces. With
all of these settings available, you can create very realistic looking animations with these. I really recommend you to take some time to
test all of these settings and test how will they change the particle behavior. In this video I will only show you how to
make very basic smoke simulation. Just to show what the modifier is for, but I am not
going to explain every different setting, because it would take way too much time. The smoke modifier tells that the settings
are in the physics tab and we can go to the settings by clicking here or here. I need to select which type of object this
my cube will be and I wanna make it to be flow. So the smoke will be appearing from
this cube. Then I need another cube to be a domain, the
boundary for the smoke to help my computer to calculate this simulation. So let’s add the same modifier to it also
and select the type to be domain. Basically I have now everything to start playing
the simulation. Your mission is now to test all of the settings or watch some other tutorial
for an additional info about smoke simulation. To test the softbody physics I will build
very fast a simple scene with this ramp and a sphere. I am not going into full details
of these settings, just like I didn’t do so with other physics modifiers, because there
is just too much settings for this kind of a video. But I will show the basics and I believe you
can then go and click rest of the settings by yourself or find some other tutorial about
these. Now we have the ico sphere here, so I can
add the softbody modifier to it. When I click play, the sphere seems to be
just floating in air. It’s doing that because the default settings of softbodies I believe
are to make them to be keyframed. For example to your character. But I am not interested
in this case about that feature so I need to disable it. So disable this goal checkbox and the object
will follow normal physics. Then for the surface I add collision modifier
to make it to be floor for the sphere. The next problem I need to solve is that the
sphere just inflates and looks very bad when it collides with the floor. The settings for that problem are in the edges
category, so let’s open it. The bending is the most important setting
for that. When I adjust this setting you see how the sphere stays more and more spherical. With the pull setting you can control how
much the edges of your object are able to stretch more length. And the push setting is there to allow you
to control how much the edges can shrink less length. The plastic setting controls how much the
object can return to its original shape after collisions. That was all I am about to talk about soft
bodies in this video. If you wish to have additional info about those, there are many
great tutorials on youtube about those. I also know this video was pure madness. Who
would be so stupid to create a video about all modifiers if it’s true that you could
use rest of the year by uploading weekly a video of one modifier. It seems that I am…
Anyways, thanks for watching and hope you enjoyed and learned something.
