Create a Photorealistic Fruit Splash in Blender

g'day this is Andrew price here from blender cool calm and in this video tutorial I'm going to be showing you how to create this image right here so of course we're going to be using blenders built in fluid simulator and we're going to be dropping in some virtual fruit into a virtual tank of water so this is sort of a take on a popular photography method a lot of photographers like to do it they drop fruit into stuff and then they take photos of it like they drop all sorts of stuff into everything and they create what's called I think it's splash photography I think it's even got a name and it looks cool because I guess you know although the naked eye sees a lot of splashes you rarely ever get to see the detail so when you use a camera and you can fit time when you can photograph that exact moment when a splash happens it looks very interesting and it's very appealing to the viewer so this is essentially using 3d software to mimic that effect and give you a lot more control over it and yeah it's it's a lot of fun although the fluid simulator can be a little bit frustrating at times it is overall a lot of fun so there's not really any rocket science to the fluid simulator I've essentially just been working on this over the last week and a half I'll pretty about a week these are some of the original images that I started with I originally was going to make this a typography tutorial using logos and stuff so I experimented with that I was going to make it an animation but as you can see it didn't really turn out all that great you can see that the bubbles start to peel away very easily and I thought I don't know if that's really going to work I tried it with a a light-up logo this one you can see right here and that you can see the varying different levels of effects and stuff you can get but essentially this this whole process was just trying out different fluid settings and just seeing how it works so if you've never used the fluid simulator before it takes a while to bake things so it it's really good learning technique you just setup something try some different settings and then you bake it and you see how it goes so these are some of the images that I went with I was experimenting here we go getting into some fruit some lemons and some limes until I finally landed upon this final image that you can see right there so I'll show you the finished what the finished scene looks like it's this one you can see right here it's just a big tank of water it goes really slow moving around here because there is a lot of Poly's right there underneath all that we've got three pieces of fruit with some particles that are peeling off it so I'll show you how to model an orange just to give you sort of a you know fruit introduction I guess it's not really part of the tutorial so I'll sort of speed over that but then we'll get into some particles as well to create these little fake air bubbles there just to give it a little bit more appeal and then of course the the big old fluid simulator as well so um go ahead and download the starter file for this project now the starter file it's essentially it's got these three pieces of fruit in it however I'm going to show you very quickly now how to model in orange because I know some people like to learn these things and other people just want to get to the meat of it so I'll show you very quickly now modeling an orange as quickly as we can so it's really simple we're just going to add in a UV sphere like this and we want to UV unwrap it because we're going to be adding in some bump mapping to get the kind of the nice effects the little dimples and stuff over the orange so I'm just going to select those two seams like that and then I'm going to hit what am I going to select not extrude oh dear forgot what I'm doing Oh ctrl e there we go mark seam okay so selecting mark seam you can see it's got a red red line around it then I'm just going to split this view right here I'm going to hit you unwrap and I'm just going to just scale that up to be about there we don't need to put an image there because we're actually going to be using procedural textures ok so then going over to the material panel right here I'm going to add a new material to it and I'm just going to leave that set as diffuse now I'm going to split this view go into the node editor and this is wearing a matte have a lot more control over the material so the first thing I want to do is to get that that nice sort of dimply ripple sorry bump effect was essentially trying to mimic the look of an orange skin okay I guess we should turn on smooth shading for this I'm also going to add in a subsurf modifier as well and while I'm at it I'm also going to add in some lighting just so that we can see how this looks as we're creating it it's always good to see what's happening okay like that and I'll just give this Matar oh I made the orange in the meter okay that wasn't right make that diffuse and make the light emitter set that to five all right okay cool so what I want to do now is to add in that bump map so we're going to be using a verano texture so go ahead and add that in and I want to set the scaling for this to be about 400 and then we also want to set the vector so it needs to be using the UV texture vector thing now I think previously in earlier versions of blender it by default it set it as UV but anyway now I actually have to set it so I'm going to go texture coordinates and I'm going to set that to UV just like that plug that in there so that was input texture coordinate by the way if you missed that and now I'm going to add in a mix note drop this into the bottom input set this to be multiply I'm going to leave the top blank but I'm going to set it as pure white just like that this is how you do bump mapping by the way if you if you weren't aware and then I just take that output of that multiply node and I put that into the displacement right there and voila you can see you've now got some bump mapping and if I wanted to get even more fancy which which we should I suppose I'm going to invert it like that and now you can see you've got the bumps that are sort of going in the right direction and you can change how much bump mapping you want by turning down that multiply factor amount just like that and so although that's not perfect it's pretty good for procedural textures now if you wanted to you can actually duplicate this vertex Chur set this to be a scale of 140 and then add in a mix node like so whoops take the output of that put that in there set that multiply oh yeah change this mixed type to be multiplied then take the output of that UV note and then put it in there like that and now that's going to give you some more sort of bigger chunkier know how to say it bigger bumps and stuff like that so let's try screen I'm not sure which one it is supposed to be I think screen might be right yeah that makes sense and if you want you can turn that down if it's too much as well I'm I said 2.3 or something like that but that's essentially it that is the that's the sort of the bump mapping of the orange and then if you want to give it some color which I'm assuming you too can it give that a nice orange color like that turn the brightness all the way up to one or that slider all the way up to the top and then you've got the basic skin of it now this should be there should be some shine to this so if you wanted to make it shiny then all you do is add in a glossy node drop this in right here then go to shader then mix shader' make sure it's not a mix no but it's a mix shader' node drop that in right there then take the output of the glossy node put it in there and now we've got some shininess to it you don't want it to be too shiny of course and then we turn that down to about there and you can turn down the sort of how much reflectivity you want that on to have some how clear you want that and you can sort of experiment with those results I think the bump mapping is a little bit too much as well but you get the gist of it so that is the basic material of that now there's a little bit of modeling to do as well if you want to create that top part of the orange so I'm just going to go hit oh and this is going to go into proportional editing and now I'm just going to move this down slightly just like that and I'm going to grab this ring of vertices right there and I'm going to scale that in and I'm going to pull that one in there as well you could create another edge loop here which I think I might do actually make it a little bit better look another one there as well you could fix up the UV mapping if you wanted to but I'm really going to worry about it's not that big of a deal and now I'm just going to select about five sort of seams along here just like this two three okay so that's four and I'll create another one right there and then I'm just going to move that down just like that so you can see what we're doing now we're just creating that top part of the orange and then I'm just going to go into top view mode I'm just going to unselect those ones right there and then I'm going to move those up slightly just sort of sort of fading off a little bit and you can see the sort of effect it has and then to create that stem it's pretty easy I'm just going to duplicate that ring right there I'm going to make it a separate object by hitting P I'm going to select that let's go ctrl alt shift see the most Awkward key combination ever then select origin to geometry and then if I just extrude that inwards like that then up and up and then create a face just like so and you might have to of course recalculate those normals because it's all been screwed up nope so this is a obviously a very basic introduction to creating an orange I really only wanted to show it to you because I know some of you might want to be creating some different types of fruit or I don't know you want to sort of feel as though you know you're not starting with a starter file under some people myself included when I'm doing a tutorial I don't like to start with somebody else's work I like to do everything from scratch so for those people I'm just giving you a very basic look at creating an orange so this is the stem right here I'm just going to give this a very dark green color like that something around about that that's diffuse as well if you want to change the viewport color just select that little eyedropper tool there and then select that might do the same for the orange as well that way it's sort of easier to tell in 3d viewport what you're looking at you can add some more detail to that stem if you like but that's basically it there is actually one more thing if you wanted to to give the the orange a little bit more realism you don't want it to all be exactly the same one color so what I'm going to do is just add in a noise texture right here and I'm add a mix node in change this type to be overlay and I'm going to drag the output of that noise texture into the bottom input there and then put this into the diffuse right there the color has now completely changed but I'm just going to make this now the color of my orange so just changing that like that and you can see you've now got some slight pinkish and different colors happening in that orange so it's not all the you know the same color and the lower you set this to then the less of that variation color is going to be showing through but it does help to have you know little things like that can just make it go from looking average to looking more realistic so you can see the difference it's made and looks quite cool and also one other thing as well if you wanted to add a displacement modifier whoops what happened there all right there we go just like that and this is just going to get our just going to give it a little bit more variation since the texture panel if you want to change the displacement just go change that type to displacement right there and then you can change sort of the rippling of that orange because you don't want it all to look exactly the same you know oranges aren't completely symmetrical they've got little bumps and nooks and crannies and stuff happening so this is just essentially just replicating that type of effect very quickly with very very minimal modeling anyway you can experiment with that but that's the gist of it guys I'm sure you get the hang of it so if you want to go ahead now and create those three other fruit so on this last layer here if you've downloaded the file I've got a lime I've got a lemon which is sliced and that lemon by the way has just got this image if I can find it that one right there so that is off seedy textures so you'll have to download that if you wanted to use that but you can see the fruit are very basic and and that is the gist of it so without further ado let's get into the rest of the tutorial so I'm actually just going to go ahead and delete my orange right here you can keep yours if you want but you know I've already created three over here that are ready to go so it's all good and fine okay so now we can finally get into the fluid simulation so if you've never used the fluid simulator before for any simulated work the first thing you need is a domain box so the domain box is essentially just a cube so if we add a cube in right here and this cube will act as the boundary box for the simulation so all of the water simulation is going to be yeah happening inside this box right here so you want to make it as small as possible because the large you make the box and the more fluid bake time you'll have to wait for but you also want to make it large enough that the sides of the boundary box aren't visible for the shot so I'm just going to scale this up right here so that it fits all of our fruit into it and I'm going to go into edit mode and I'm just going to move that cube upwards like that just so that origin point is in place right there so it's on the grid floor and then I'm going to exit our the edit mode like that now is actually a good time to be positioning the camera because a lot of sort of or yeah a lot of the the sizing of this boundary box right here is going to be defined by what the camera can see so if I just go to the layer one over here and just grab the camera and then if I go into our front view then hit ctrl alt number pad zero and that's going to snap the camera to that location right there now I'm just going to change some of these camera parameters I guess so I'm going to change the camera preset to be a Canon 7d and that just changes this sensor with information so you can see it looks kind of zoomed in a little bit more now I'm not sure if that changes too much on how the actual image looks when it's rendered or if it's just purely for camera tracking but anyway I like to fiddle with these presets because they're kind of fun and the focal length I'm gonna make that 90 which as you can see is really really zoomed in but I found that it looks nicer because instead of having that you know sort of three-dimensional feel with lots of stuff happening and foreground and a background and stuff like that having a high focal length allows it to focus on just sort of one part and you can see that it's very clean very cut and all you're seeing is the fluid and it just I found it looked a little bit that's why I'm using a focal length of 90 and also I found that photographers if they're going to be photographing splash effects and stuff like that often the camera is far away from where it's happening because obviously they don't want to get water on the camera so it's sort of a little bit more realistic that way as well okay so positioning this camera right here I'm just going to move this to beat about there so you can see these that this is the boundary box of our of our domain the fluid domain so provided that the camera is not so far out that you can see the edges of the box like that it should be fine now then you want to scale down the height of the box because if you've got it too high then it's just going to be wasting a lot of space I think you can also scale it actually I'll leave the the width of it like that that should be fine you get some ripples and stuff like that but scaling that down to be about there but you're just leaving a lot of room at the top there just so that the splash can sort of splash upwards without it looking as though it's just hit the ceiling of something so that's why we've got that and so now that we've got the boundary box the next step of course is to add in the fluid object itself so this is just as you can imagine if it's a fish tank this is just the glass shell so now you actually need some water in there so I'm just going to duplicate that cube right there and I'm just going to scale that down just slightly looking like this right here just like that and then I'm going to scale that to be around about actually let's move that up okay so the camera should really be in line with with that level right there so you should be able to look across the water to be about there if that makes sense alright so for scale that down okay cool so provided that that top part there is level that should be fine and then you also you don't want there to be too big of a gap between this edge there and then this or otherwise when the the simulation takes place you'll see that this fluid drops and it kind of splashes around and stuff like that so you might have to bake out more of the fluid simulator but if you make it as close as possible and then use a high enough resolution of the fluid itself then you shouldn't have too many problems of the you know the water sloshing around and stuff like that when the simulation starts but anyway that's the basics of it right there so I think I just might scale that down just a little bit more as well but I think now we are just about ready to to start the fluid get into the fluid settings and whatnot just check everything's looking good okay cool so starting with the boundary box or the domain object which is really where most of the settings take place so selecting that cube right there if we go to the simulation tab up there or the physics tab as they call it then click on fluid then change the type to be domain all right so the biggest one that you want to pay attention to is the resolution so essentially that defines how clear and how realistic or you know the resolution of the fluid is pretty self-explanatory so for my final animation I used an amount of 245 or 246 and like that but for this particular one I'm going to be using something low just so that we can experiment with a little bit I'm just going to use 85 for now just to see how it looks and then down here underneath the fluid world you can see you've got real world size now this actually fits so this is in meters that's 50 centimeters so this fish tank if you can imagine it's 50 centimeters across I'd say that's pretty accurate so that's fine but if this was a bigger scene then you need to increase the meters to match that basically now the fluid boundary this is going to change sort of so when the fluid interacts with that edge of that fish tank it's going to change if it sort of sticks to the sticks to the edge or if it slides completely off so I'm going to make mine free slip so that you don't get any of the you know the water hitting it and then kind of staying there for a little bit now if you've got a newer version of blender I think in two point four three I'm not sure which one this is actually hang on let me just have a look splash screen 2.63 so this is a new build but I think the the early versions they don't have this but there's one that says remove air bubbles so this is a new feature for the fluid simulator so I'm going to uncheck that because you actually want there to be as many air bubbles as possible because that's obviously going to make this scene look very realistic now down here underneath the fluid particles I'm going to change this generate particles to be 0.1 and that's just going to create some really sort of finer and more detailed looking droplets than what is normally possible with just you know the standard resolution fluid so it's kind of like faking extra little water droplets but if you set it too high then it can look a little bit chaotic I found point one worked quite well for this so that's what we're going to use however keep a note that whenever you use the generate particles amount there you have to change the subdivision amount to two as a bare minimum so if you don't set that to two then this generate particles thing won't happen basically in fact if it were up to me if I was a coder I'd make it so that this is greyed out until that is at least two because it's very confusing from UV yeah for new users and myself included I had no idea why this wasn't working but anyway subdivision two and then generate particles yeah point one now the smoothing amount you can leave that if you want I set mine to be one point two that just sort of smooths out the the fluid just a little bit more than usual so it doesn't look too kind of chaotic for this scene I found that one point two worked quite well everything else is pretty good you want to set this the file baking browser this is essentially where it's going to save your baked files so I'm just going to give this a new name here I'm going to call this cache tutorial and I'm going to hit accept now whatever you set that to like if you set a name that previously exists you can see I've got a few here if you set one that previously exist like it was before then it's going to load in that bake data for you which is why that's suddenly changed to look like fluid now that I've set it as a different folder you can see that it's now snapped back to its original main box now the big one that we need to pay attention to is this one right here the time field so for this this animation or this simulation we're just creating a still image so essentially we can get away with using a timeline of a very small amount of frames so I'm just going to use 25 frames now if this was an actual animation and you want it to be in slow motion and show the you know the fruit sort of slowly coming down into the water then you want to set that to be quite high like I think I originally set one of mine to be like 350 frames and I slowly baked it and it was really really long time too and yeah it was a lot of work but anyway because this is just a still image you can get away with as few frames as possible and essentially what that does is it saves you all of that bake time so I'm going to set that to be 25 frames then you want to set this time field to match the length of this timeline right here so I would set this end amount to be 1 now this is in seconds so 25 frames if you're familiar with video footage 25 frames make up one second off footage so that's why this time field singing it at start at zero and then end at 1 means that it's now baking one second of fluid simulation so that would mean that if you played it back in real time it would look and behave exactly the way real fluid should however because this is sort of a more dramatic shot and you want to get more detail and stuff like that I'm actually going to go ahead and I'm going to set this speed to be 0.3 now actually the speed really behaves in a similar fashion to the way the time is so in that if you set this amount here to be I don't know 0.3 then it would essentially be doing the exact same thing and then if you set that to be 1 so if that makes any sense but just for the sake of keeping things sort of accurate and the way things are I always set the time to match exactly what's in my timeline here and then I change this speed so that it's um yeah if I want to make something slow-motion then I just changed that speed right there so I'm saying that to be point 3 so it's going to be essentially like one third of the speed of normal fluid and that'll just give us a lot more detail and allow us to see things whatever et cetera et cetera okay cool so we've got the boundary box now set up so you've got this little cube in the middle there and that is of course acting as our water so again in the physics panel I'm going to select fluid then set the type to be fluid and that's it that's all you need to do for that very easy now these fruit objects right here this is another important one if you want them to be interacting with the fluid which we do then you also need to make them a fluid object so selecting that lime right there I'm going to select fluid and then from the type drop-down field I'm going to select obstacle like so now it's important also like at one point I set this is the slip type sort of like how much friction the water's going to have against this I once I set this to be no slip or like zero like that and it created like this weird vortex effect because the friction was so high on it that it was creating like this bubble around the entire thing it was a very weird result but I guess it's kind of accurate to the way it would happen in the real world if something was so grippy on the water it would kind of create this vortex around it anyway so point is just leave it at point two you don't need to change anything there I just thought I'd share that random useless piece of information for you so I'm just going to do the exact same thing for these ones right here so they do obstacle and then this one right here as well now my lemon and my lime you can see they've got a subsurf modifier applied to them now you don't need to worry about that sort of slowing down the fluid sim because there's too many vertices or anything because the fluid sim always comes first so it's actually just going to be operating off this basic mesh right here and then when it renders it it's going to have that nice subsurf look to it so you don't need to worry about you know turning any of this stuff off or whatever because it's just going to it's going to fine as it is so don't worry about it okay so now that we've got that set up before obviously we start baking it we need to animate this fruit falling into this fluid here so essentially we want these fruit to be starting outside of the field and then slamming down there so that on frame 25 you've got them in essentially the position that you want to be photographing them so at frame 1 I'm going to position this orange to be about here and I'm going to select I and then select lock and rot so that stands for location and rotation so it's making a key frame for that position right there I should also point out by the way the way that we're doing this is this orange is flying down from the top left and is going to go there this lemon is coming down straight from the top and is landing there and then this this lime is coming from the right so essentially it creates a more nice-looking composition because you've got splashes going from left to right and the whole thing has got kind of bubbles and stuff happening and it looks a lot nicer than if you had everything just drop from the top at least that was sort of the my method to the madness or whatever so um so I'm just selecting so I've set the keyframe for that frame right there so it's on frame one and also if you want to change the rotation of that Orange you can go ahead and do that right now as well so I might position that say about there so I want this stem that little green point right there to be visible to the camera so setting that right there and then on frame 25 now I didn't create the extra keyframe all right do that again let's move that up location rotation now on frame 25 if you go shift left arrow shift right arrow jumps from the first frame to the last frame by the way that's a little P shortcut for you so on frame 25 from the camera view I'm going to position the orange exactly where I want it to be for the final render so something around about there should look nice by the way if you go down too far underneath the underneath the fluid then what happens is the fluid bubbles actually start to separate so if I just show you again how it was for this one right here you get this effect right here so as you can see as this this text starts to separate from the surface you can see that that fluid starts to peel away and then go towards the top there and it looks quite ugly and you can see that by that point it doesn't look like a fluid simulate it looks quite boring so you want to get a photograph so that it's in that kind of State right there so you want to make sure this orange and the fruit isn't too far away from the surface or else you won't get that that rattling or that to the splash effect going down underneath the surface so somewhere about there I think should be fine so I'm going to select I lock and rot like that okay now for this lemon slice right here I'm going to do the exact same thing I'm going to rotate this so that it's about there like so and I'm going to hit location rotation and then frame 25 I'm going to move that down I'm going to position that about there and I'm going to hit wrote our location rotation so now when we animate it you can see that is what's happening final one is this line right here pretty basic stuff again just going to move this around a little bit location rotation and then down here just move this a little bit further rotate that some more and then location rotation again so now you can see you've got the fruit moving into the fluid simulation like that and it's looking kind of cool now when this fruit you can see that at the start it's actually outside of the boundary box that's actually not a problem I originally thought it would be and so I tried to position mine so that it wasn't you know so they were way out there but I don't think it actually matters if you've got obstacles that are outside of the fluid box and then they enter into it during the animation I think the the blender devs have done a good enough job that it doesn't really matter about that too much now there's one other thing you can see that at the start of the animation that it's slow it's slow to start so kind of like it starts and then it speeds up in the middle and then it slows down towards the end now anybody that's been using blender for more than a couple of months probably already knows the reason for that that's because keyframes automatically have this the smooth off what do you call them anchors whatever I guess so a quick way to fix that if you just select those those those ones right there you can change it in two ways you can go if you hit V and then select vector then you're going to be creating some you know harsher looking points like that so that when this orange here starts you can see that orange starts off really quickly and then it dips into the water there however you'll notice that you might have to also adjust these handles so it kind of creates the right sort of look so oftentimes I find it's uh well this is something I've started doing at least is I just select s then X going on these ones right here let's just change them back to be automatic and s X is this even working s x0 okay there we go so now you've got a lot more accurate looking fall-off so essentially it's starting off really quickly and then it's slowing down as it enters the fluid and I actually want it to slow down as it enters the fluid because I figured that's what would happen with real fruit if you drop it in a bucket of water it would slow down towards the end so that's the effect that we're going for and I'm going to do the same with these ones right here and you as well and there you go okay so everything else is set up so just going over these settings again just making sure that we've got everything the way it is again I've only got my where is it yeah the final resolution I've set that to be 85 I might actually just increase that to be 115 just so we can see how much resolution you know I clear enough resolution that we can sort of guess if it's going the you know the simulation is working whatever but anyway let's go ahead give this a bake right now depending on how long your machine is it'll take longer my machine should be done within a couple of minutes so I'm just going to pause the recording and then we'll see how it is when we get back okay so that took about 10 minutes I guess a little bit longer than I expected but anyways all right you can see that the fluid simulation has baked and it's looking very very low res now the reason for that is that over here actually I can get rid of this now over here in the physics panel where it's got viewport display it's set to be preview so currently it's actually using this amount of resolution 45 so if you actually change that now to be final then what you'll see is you've got the obviously the more final looking fluid which looks obviously a lot nicer so with that fluid there selected we can actually now just turn on smooth shading that's going to give us obviously some smoother looking fluid okay so the next step now that the fluid stimulator is baked and we can see that at sea if we just cycle through these frames here that that what would you call that splash that bubbling effect is originally want it to be so that it would be on frame 25 or 26 so that it works you can see just here where it's sort of breaking away from that lime there so I'm just going to turn it back to be maybe frame 24 I think that might be okay or frame 23 depending on what sort of thing that we want but that's looking pretty good so that's looking fine so the next step is to set up the lighting the materials and essentially create the final image because the fluid simulation is now completely baked and it's ready to go so yeah so for the setting up the lighting so let me just grab the fruit where the fruit okay so we put the fluid on the same layer as the fruit that was silly okay I'm going to move this fluid here to be on frame number one right there and I'm going to move this fruit to be on frame number two along with these stems as well I've created these little stems up with them on frame two as well there we go okay cool so so for the lighting I think currently we've got this big lamp overhead we actually don't want that lamp to be exactly overhead because it's going to create some sort of unnatural looking lighting sort of very cold very just yeah by the way I'm moving the other camera and the lamp to a different layer now so that I can focus on the fruit yeah so having an overhead light it kind of looks like it's been shot in just an indoor area because lighting is you know especially like white lighting like a fluorescent lamp or whatever if it's coming directly from a head it just reminds people of just just very bland overhead lighting from an interior so if you have the lighting from the side then it looks a lot more dynamic there dynamic and it looks a lot better so that's what I'm doing right now so you can see if they've got the fluid right there so if I just scale that down to be about that size that should be good so that's roughly about the same size as the width of that box there I guess that's good and I'm going to set the emission amount I'm going to set that to be 15 and I'm going to duplicate that plane I'm going to create another one on the other side and I'm just going to set this one to be one so I've said that make it a separate material set that to be one so that one's 15 and that one is one so that lighting on the other side there it's just going to give some very very soft very subtle highlights just on the left side so that it's not completely pitch black because otherwise I can look a little bit bland and yeah okay now for the the world material I'm going to set that to be black just like that so the background is now completely black as well now for the fluid itself this material is actually quite easy just give it a surface type of glass and then set the IOR to be one point three three three or one point three three three three three yeah I think that's right alright one point three three three I I keep forgetting away how many numbers I say I just anyway okay that right there now the color I'm going to set that to be white so that it's not tinted in any way it's a solid completely clear transparent color this index of refraction by the way the way you get that value if you just go to Google and you type in index of refraction then it's going to give you a list of real world values of how light bends in different things so if you have glass I think it's better as 1.1 and then if you have different materials then you change that value according to that so that's like a real world value so you just Google what the real world value is and then you get it so it's kind of cool you can just get a very accurate very easy material just by by googling something so it's really cool okay so just having a look at the fruit itself so I just go to frame two sorry layer two here and then just turn on the layer with the lamps as well now if I give this a render right now we can see just how this looks with just the lights and see if we need to change anything but that looks pretty good to me the materials for these this fruit here is obviously already in place because we've just you know use that from the start of file but I'm sure you know how to set it's pretty easy or you can just download it and have a look at the how the materials are set up as well okay but that's looking pretty good so now let's give it a render armed with the fluid as well and I'll just see how that looks I'll just set the the sampling I'll change that to be 500 just so that we can get rid of a little bit more of that noise because once you add in the fluid and stuff like that I can get a little bit noisy a little bit quickly so let's just have a look at that now alright that's not too bad it's pretty good you can see that the fruit actually is it's actually hidden underneath the the fluid there so I'll just cancel this now and I'll just show you how to correct that oh by the way you want to make sure that this box by the way this fluid box is not rendered ever so this is the that fluid type object so make sure that's on a separate layer and then it's never rendered otherwise the render is just going to turn up pitch-black so just yeah if your reminder of that all right let's get any arrived what am i doing where's the fruit select a fruit okay cool so the reason that the render looks kind of weird and looks like you've got some kind of glass bubble around it is because the fluid is actually sort of in encasing it I guess so the way around this is just really easy just scale up the fruit like that so that's what I did for mine so I just basically baked the fluid and then I just want to finish baking when it's time for rendering I just scaled up the scaled up the actual fruit objects just like this and then just ensures that it looks a little bit more realistic I guess let's go that down and I'm going to have to move that one over a little bit as well and because we've got keyframes I'm actually gonna have to edit it go into edit mode and do that otherwise it's just going to change whenever I change a frame or whatever all right and I'll scale this lime up as well it should be the last one you want make sure that it's not too big so you want to kind of get like a mix between you know a few bubbles on the outside is okay but you don't want it to be too much so something like that should be fine so I'll just give this another render right now and let's see how that looks okay so there you go so as you can see that's looking a lot nicer the the fluid is where it should be you've got a few little bubbles on the outside there but that's that's fine that sort of adds to the effect there so it looks quite nice and now there's only one more thing to do and then is we're going to be adding in some fake bubbles now the reason that we're going to be adding in some fake bubbles is because currently yeah there aren't that many bubbles so if you have a look at a real fruit splash photo these are some photos that I pulled off Flickr under the Creative Commons license for some copyright there you go if you have a look at some real photos right here you can see that there are a lot of little tiny little bubbles so other than I like tiny little specks but they're still there because obviously when something splashes into the water kicks up a lot of these bubbles and if you wanted to create you know that level of of bubbles in blender you would have to turn up the fluid resolution to a really insanely high amount and even then I'm still not sure that you'd get that amount of bubbles so the easiest and quickest way around that is to use a particle system to create particles coming off it and then create little tiny spheres to those particles and then render that basically and it'll look obviously it looks a lot nicer so I'm just going to go to this layer to here just focusing on the fruit this is really super easy just add a particle system right here you want to set the start and the end frame to be something suitable so the end frame is obviously 25 and the start frame should be the frame in which the fruit enters the enters the the fluid so if I just circle through this it's about frame 10 so I'm just going to set the start frame to be 10 so that's when the particles are going to start generating like that there you go so it's so yeah it's sort of raining down it doesn't look good at all so the next step is to change the field weights I'm going to turn the gravity of that all the way down to zero something I don't usually do and I'm going to set the normal amount of that to be 0.1 and the random amount for that to be 0.5 and be browning an amount point one so that it kind of disperses a little bit as well and now when you render that you should get that effect there I think the random amount is too much actually so that's point three let's try that again I mean it's a still frame anyway so it's not really going to matter all that much if it yeah if the particles are moving too fast because it's not obviously it's not going to be visible in a still frame also you've got some particles that are outside of the water there that's okay it doesn't matter that much because it's not really going to be that that visible because you've got a lot of splashing and stuff going up there anyway so you're not going to be able to see those particles anyway now I'm actually going to set the amount of these particles to be let's go for something a little bit higher I'll go for 3000 I think originally for my final image I used 1000 but then I realized they weren't enough bubbles and didn't look realistic enough so I went into Photoshop when I duplicated groups of bubbles and then I started duplicating them and placing them around to essentially fake the look of more particles so learning from my mistake turn that up to be 3000 and now we'll go with that okay cool so obviously if we would have rendered that you wouldn't see hardly hardly anything oh go ahead I'll just add these particles to these ones right here as well give this particle name let's call it bubbles do this one here as well and there you go one cool thing you might have noticed is that the the particle colors match the fruit because of the materials something I guess a new feature in blender is the particles change color I don't know I thought was kind of cool anyway just noticed it okay so we obviously want these to be rendered as tiny little bubbles so the way we do that is we need to create physical spheres for that to happen so I'm going to go to a new layer completely new layer and I'm going to add in a UV sphere and you want to turn down the number of these these segments and stuff so that it's a lot smaller than it currently is so I think segments of eight and six will make it low-poly enough that it's still a smooth looking bubble whilst still you know being low poly then I'm also going to move that up to that so that it is that base origin right there and then I'm going to rotate that by 90 degrees the reason for that is we're going to be creating a separate particle system soon it's going to be using the particle type of hair so that's why we're doing that anyway okay so we've got that like that and we want to actually create some variations of this bubble so I'm just going to set that to smooth I'm going to duplicate this and now for this separate this variation bubble because again having a look at those you know these bubbles right here you can see some of them are like different shapes they're kind of like oval-shaped and like jellyfish shaped or whatever I don't know if that helps jellyfish I don't know what image that brings to mind but anyway so I'm just going to go into proportional editing mode here I'm just going to create one of those kind of jellybeans that's a better word for it jelly bean shaped bubble just like that and that's going to make it look a little bit cooler and then i duplicate both of those and create some smaller ones now for these ones here I'm going to call this one here big one and then this one I'm going to call this big too I'm not going to bother renaming those because I'll just show you why I did this by the way if we go to this layer right here I'm going to go down underneath where it says render I'm going to change the type to B group and then I'm going to select o have to set them as a group first okay so select all of those hit ctrl G then in the side bar here I'm going to set that group name to be bubbles okay all right Renda okay now I'm going to set that to be bubbles like so now I'm going to turn down the size amount here to be let's go point zero seven something like that should be fine okay point zero zero seven there we go like that and then I turn the randomize size to be all the way up to one as well and you can see those bubbles are now looking quite cool now I'm going to create a separate particle system and the reason for this is that I want there to be some bubbles that are stuck to the outside so currently they there are a lot of bubbles and they look like they're stuck to it but I want to create a few more so I'm creating a separate particle system right here and it ain't the type to be hair like that set the type of render type to be group again selecting bubbles and then I'm going to turn that size amount down to be point zero seven like so turn that random eye size up as well and I think I'm gonna have to make that even smaller actually no that's right ah so the reason that I renamed those bubbles before gays in different names is I'm going to check use count and the reason for this is so that we can now make it so the smaller bubbles appear a lot more than the bigger ones because you want there to be big ones but you don't want them to bear to be too many of them so I'm going to increase the amount of these smaller bubbles to be fifty like that and then that will ensure that there are a lot more smaller bubbles than there are bigger ones obviously okay cool so I'm just going to turn let's go the render type turn the size of that down because I think that's way too much as well okay a little bit more just like that and if you wanted to you could also paint on if you went into like control tab you can sort of paint on here which parts of it if you want to like just the under part of it to have the bubbles and you can just sort of paint like that and then go down to the vertex groups and then select group also setting the let's click advanced then go random distribution there you go and then you've got you've got the bubbles appearing where they should I guess but you don't have to do that so I'm just going to do the exact same thing I did for that one so I'll just call this bubble bubble static there we go okay so there we go and then this final one here as well bubble static just like so okay cool so now I'm just going to go ahead give this a render with the fluid everything else is in place you've got the lighting you've got everything else the way it should be so now we give this a render it should be ready to go let's see okay so there's one more thing you can see those bubbles are showing up but they're showing up as like hard clay looking objects the reason for that is we forgot to give or I forgot to give them a material so just going to give it a material let's give it glass and then I'll set that to be 1.33 and make sure all of them have the exact same material so I'm going to hit control l then control and select materials okay and I can call that material type barbels okay all right let's give that another render now see how that looks all right and there we go so that just about sums up the tutorial you've now got the completed scene you've got some nice splash effects you've got some bubbles it's a little bit noisy I only let it render for about three minutes but obviously the longer you let it render the better it's going to look also of course the fluid that I used here to save time just for this tutorial I only set the resolution to be 115 for my final image I used 245 which is why the fluid looks a lot more clearer and cleaner here and overall looks a lot better but that's essentially it guys so I'm really looking forward to seeing the results that you guys create so maybe some of you guys can create some different types of fruit splashes maybe some pineapples or some bananas or other cool stuff like that whatever you do if you do something cool make sure to send me a link I put it in the comment section below I love seeing what you guys create with the tutorials but other than that that's pretty much it you can see here I added in some extra just a few little extra lens imperfections so I added some like hair and stuff like that on the lens just in Photoshop I just used the little paint tool and stuff like that just little tiny things like that to try and make it look more photorealistic but that just about sums it up guys so once again thanks very much for watching and I will see you next time

Channel: Blender Guru

Views: 588,667

Keywords: blender, fluid, simulation, tutorial, splash, fruit

Id: d0uS7T0AMVw

Length: 49min 25sec (2965 seconds)

Published: Thu Jun 28 2012