Create Water with Trapcode Particular [Tutorial]

hi my name is Dino Moo hitch and welcome to my tutorial about creating water with trapcode particular a while ago I did this video with this watermelon and this fluid looking water effect and actually I got this idea from an advertisement which aired in Germany and which looked like this featured this lime and its really nice reflow animation and I really liked this and thought is it possible to make something like this in particular only so I did this version yeah it's not nearly as good it's but it's getting there it's kind of a trick but it's completely doable with After Effects and art effects plugins and when video compiles element 3d came out they actually had a lime in their food spec so I recreated the fact and tweaked the water a bit and this is the current version and for this tutorial I create create created a preparation file which basically just takes the core of it the water effect and places it in a in a empty room the reason for this is to get through all the settings and all the compositing I did in in the commercial version it would be too time-consuming and to explain the effect on its own is it actually pretty simple so I'll split this tutorial in two parts first of all we'll be building this up from scratch and the second one will be going through the compositing and the layers of the this one yeah and let me say this that this tutorial is for intermediate apt effects users meaning day you should have already some experience some basic understanding of Chuck would particular and already watch some tutorials and play with it and I also have experience of add the we after-effects because it would be just too time-consuming to like I said to get everything from scratch and build the whole setup and everything around it from the beginning yeah with that said let's start so this is my scene of a preparation file as you see let's see this is 100% in full resolution it has its nice wobbly effect and it has the same what we look like I used in a Lam commercial and the fake one so let's build the scene from ground up another composition okay first let's get our particular layer so add trapcode particular so this is our basic particular setup now I'll just add some directional particles make it not a point by the something like bigger one so you can see a bit more okay this is working good let's pump up particles let's make them last longer so you have a nice trail and let's make the size of them bit smaller right 3.5 yeah okay so next step is adding the lights I will choose spotlights and let's get them in position I want them to be a 1 from the top and from from above or from the bottom sorry ok like this let's duplicate this light get it down there and rotate it so it looks up should be OK for the beginning back to our view now let's turn on oh let's get this a bit randomized through randomized let them fade out a bit at the end open this a bit more Z we could see it let's get to the shading turn on shading turn on the nominal distance crank it up so you have everything covered and make it a bit darker ok turn on shadows this is a really important part and get out pass city up to 100 now adjust the size and the distance ok let's see let's get it to 50 and now let's get it darker because you will see why I'm doing this later but it has to be darker since I'm recording this and you will see an Internet and it gets compressed let's crank up the exposures so you can see what I'm doing I choose obvious in front for this so we have just our basic particles emitting from a sphere and going to the right side let's give it a bit turbulence just we have some more randomized effect this is just for the beginning oh let's reduce the director spread we don't need this okay and evolution speed down we don't need it that much perhaps a bit more okay next let's get to adjustment layers you need two adjustment layers on the first one the bottom one we will add noise median basically what this media does is it kind of melts need your nearby pixels together and how far it looks for the neighbor pixel is you can define by the radius so I'll choose 8 for this one and next is let's get our map choker in okay and now make it it looks like black little drops get the choke back in the negatives okay this looks like drops it's not looking like it has to but we're getting there Dori let's call this median choker now on the second adjustment layer let's add stylize CC glass let's open all of the three menus and let's get the softness down to a really roll low number like two or three see too much and remove the displacement completely they hate give it a bit more rate and now the most important part which makes this effect looking so good is you have to choose AE lights from the light from the light a drop-down menu the thing is um it probably if you are using after effects cs5 point 5 or lower you will not have this option ie lights will only have the effect light option the thing is that psycho effects the maker soft and ICC plugins they don't distribute this psychographics HD suit anymore and because this f HT suit is included in After Effects cs6 and above but it's not included in the lower versions you had the option to buy the HD version but only until May 2012 there are so there are actually no options anymore to get this effect the cycle of x HD bundle for after effects cs5 point 5 and lower I already talked to cycler and they literally can't do anything about it so your only options are to either upgrade to apt effects cs6 or yeah that is actually the only options right now I hope they bring you back somehow or make it somehow possible to get it so this is really a bummer but it's it's the only way to get it by using activate cs6 and above and the next versions which will come okay let's go on this ia options is losing is using the lights which we have in our scene as you can see if I move this a bit the light the lighting of our glass effect will change and this is what the selling the effect most now we can go in and tweak this a bit what you should do is get the roughness up I get like 0.25 or 0.3 somewhere between point 2 and point 3 should be good and remove the metal make it completely plastic now okay I can now now I can remove the exposure I'll not move at all let's see it just make it lower so you can see something get to specular up we don't need any ambient it's video because we don't have any ambient light in here and concerned if use something you can adjust in how you like it yeah so as you can see we were we are getting somewhere it's ready looking nice you can give it a little glow just to there to the upper rods upper parts and there don't have to be a strong one just to give it a bit more kick yeah okay of course it's not looking exactly like this what's looking cool in here is this kind of spiral type of trail and the way it's rotating as you can see it's rotating like this but do this now what you have to change is you have to get a custom ammeter and I already prepared some custom emitters these are also the ones I used in my watermelon fake commercial basically it's a comp it only has 400 pixel width and 4 on the pixel height and um it's actually just remove this luma matte from now it's just a circle which I did with masks and I applied the fractal noise to it make it really dark and I animated the evolution just with a x time time times 16 value so it has some variation in it as you can see I admitted it over here so it gets brighter the reason for it is if I show you the old version it's low at the beginning and then it gets stronger so we have little particles over and then it gets stronger and stronger this is the distillation lid here the more white the more particles are going to be emitted and dispositions and you have to remove the black from this circle that's why I use this again and just I just copied this layer this is the same layer and add a luma matte so now I only have transparent circle a transparent ring with only the white pixels showing let's see like this yeah and as you can see it's rotating just with time x 170 I animate it so usual dates in one direction I'll get to our comp and let's get this in here turn on 3d so it's in the 3d space and adjust the road Y rotation to minus 90 so it's looking they're in this direction because this direction we want them to fly Oh to flow now let's make it smaller something like this and just animate it let's get it first over here and that's six seconds let's get it over here now we have a nice animation and go into particular as a meta type choose layer down here in the layer emitter choose our custom emitter and set the layer sampling to particular that I'm and now for the layer LGB usage set none now it's already doing what we want but we don't see it because we do have far too less particles so let's crank this up more give it more one more now you have someone like sixty thousand particles but it's not really sixty thousand as you can see over here when I scrub up there the particles are total are something like two hundred thousand now but only five thousand are visible that's why it's still relatively fast rendering okay it looks like this I'll just show you how it looks like if I removed it fractal turbulence now it's looking exactly or somewhere like the one I used in my commercial my fake commercial I always have to say fake commercially because I did not do the real real flow stuff I just did a cheapie looking particular stuff okay now we can tweak our settings a bit so it looks a bit better than this what you can do is tweak it you you should just a shadow shadow let settings in particular mostly the size make it have more like a kicker lighting coming from the back or from the top and using the distance you can also tweak it a bit that's not going where I wanted to this looks more like it here it has a nice glossy feeling oh let's say this is glass and you can play with this one's over here with eight and of course softness changing the look drastically if you tweak this once now it's okay where it is now I think now to get this rotation which you can also see in this one but because here the camera is rotating but you can see it in the other one better this one that it's rotating like anti-clockwise you have to set it to go into particular and go down to world transform and change this setting I would animate it so I'll click time too much 25 let's see let's go up there and remove the liver lhasa t yeah that was the reason because it was spinning them and emitting them in all the directions you have to remove the velocity from it and now it looks the way we wanted to out set it to half resolution and try to yeah it's rotating anti-clockwise so what's happening here is our custom ammeter let's show him he is here he is moving and he is emitting particles where the position where he has white pixels so it's only emitting there by animating our fractal noise and moving it we cannot sculpt our particle spiral our particle tube we can sculpt it and that's the way how I did it in my commercial the layer emitter is one of the most important features of check what particular for me because depending on what you have in your custom emitter in the composition if you would turn the waters velocity down to zero and you move the emitter from one side to the other like I do and you require you're basically building up or sculpting something with the particles which are emitted and this is really cool and you should remove the custom party so because he is still on and he is also affecting the glass so you have to make him unusable invisible what I also did was um I took took the spherical field and I used the coordinates from my custom emitter I'll click over here and we have our position of a customer emitter and by this position of ourselves vertical field to the customer amateur if he is now the Serb field is now at the same position and now you can depending on what radius you have you can make it either collapse like sucking them in this is how I did my the tip of my here of my animation that's right are always looking like it's emitting from the center and the second layer I did that's why I said I did many layers is this one where I had where it's coming from the sides and I did this by just using a positive strength so it looks like this but for now let's get the tip one yeah cool ok what else yeah oh yeah I did a I did a ball this ball I did in the beginning if you're asking how I did this I'll show to you in the in the comp I will not do it head by hand now basically I had assured the I'll show you this comp layer four layer from the beginning so first I'll part my particle layers this is the same particular as I did right now with you so going like this then I had a second one I'd call it a short trail and I let's zoom in here okay the short trail is the same as the long trail the same lat so it means it's the same like the one we did already I just had a really low life it's only going up till I think here and it as darker particles I did it just by lowering the views I used like 50 on a long trail and only 13 at the in the short trail and it's above the long trail i duplicated both again and why did this is I'll show you just this two in my glass effect so this is decided to same adjustment layers ahead as you can see if I remove this one the short trail one which is darker it looks like this on its oh sorry it looks like this but if I add the short trail again which is darker it kind of looks nicer over here because it has a more like a pointy lighting now I had these two effects duplicated just with a little bit variation so I have more of this ply needing water looks and now the two now the top the sorry that the front part the blobs this is my blob in particular it's actually just a spirometer like we did at the beginning but it's emitting really big spheres the size of 42 and it gets smaller really fast it only has life of one second so it looks like this I'll crank up the exposure so you can see it better looks like this and this alone will look like this with my glass effect and then I had as a second layer although particular circle lines it's basically just a parameter again but it has a circle field over here which is directly behind my emitting point and every particle which gets shot over here has to pass this spherical field and I enable the aux particles to emit particles I will show you how it looks like without them there's nothing it's only the Ox particles and I had a kind of high number of particles and to get this kind of effect and this is just used so to get this to get a bit contrast over here for the glass effect so I can have lines like this one because without it looks like this and with it looks like this and I like these little lines and yeah this is the way I did this effect and as you could as you can see we have a camera here which is 3d it's rotating somewhere over here I can show you in real time so it's rotating which means the effect is 3d if you have to keep in mind it is 3d but it's also just a trick you cannot make it look like real water because um you don't have a refraction in here the CC glass effect is just a 2d effect it's a gets applied on top of particular not depending on which angle you have with your camera so what you cannot do is you cannot get a real refraction so it reflects whatever is behind the water like you would have in in a real world you can help somehow fake it and this is what I also did in a newer version of my of my bottle splash as you can see here I'll show you look at this one over here and at this part you can see the green and the background kind of reflected or over here too in the water this is something I did not had in my my first one which is also in the Internet this is the first one as you can see over here you don't have this kind of effect really going on in here but in the newer version I did this and I can show you how I did this in the second part okay we're back in After Effects and I have my first scene open and what we are going to do is I'm going to show you what I did by just going through the layers because building it up from the beginning would take too much time and I think because you already know the basic effect of the water look I can show you this a bit quicker so let's see let's start at the background first we have a white solid with just a photo in it it's a texture of some paint and I color corrected it a bit and made a luma map out of it so it looks like a bit like a foggy window then I added three particular layers which are basically just some iris shapes flowing slowly downwards and together with my black solid my ramp it looks like a like a window which is defocused and it's like having rain on the window which is slowly dropping and flowing downwards so this is the background then I have my camera in my lights lights are only there for my element 3d layer which is my lime from the foots back and I color correct a little bit and edit some displacement effects these are displacement effects they are using my precomposed particular layers my extras one and the three XS - sorry and the trail one which show you next and they're using the lightness as a displacement map so I have this kind of refraction going under going there under the water and just show you the particular layers this is the trail the basic trail it's actually the same technique as we already did just a bit different trail camera wise so it fits to that bit further perspective of the second child sorry of the first shot and this layer over here it's using itself as a luma matte as you can see with a classic color burn blend mode that's why you won't see it here you just see that despite the black but if I turn this one up there on it's the same effect but it just set on screen and this is the basic particularly the basic of water come and you always have to composite them with screen or you can choose add two if you like but sometimes it will burn the highlights over here which does not look much sorry realistic what I did I use screen and now you can see why I have these this layer up down there with a classic color burn if you look closely over here at this area let me turn it on and off you see how it gives the water it's more contrast and depth looks a bit more 3-dimensional and really add something to the to the picture and how I did it is I just took to do instances of it and the second one I made nearly completely black by turning down on the curves and added a bit blur and then I used it again as a luma matte and set the blend mode on classic color burn and it just a subtle effect but it adds a bit to it it's it's looking really nice over here especially this part then I have a second trail which is basically the same as the first one just with a different rotation angle so so I get different looking spline water spline over here which also looks nice oh and by the way the classic color burn layers you should turn them both to 40 percent or even less depending on how you how much you want to exaggerate the effect then you have I have some extras it's again just a particularly layer with water turn out the Alpha so looking like this the big splash which comes after a while and it's starting over here I it's running a bit too much I set it to half and fit let's see sorry okay here it is it's the XS two are starting somewhere in the middle and build up this big ones and this bulge over here you see I just did a a spherical field in particular and edit it over here so it bulges this part makes it wider which looks cool gives it more or like it like a mm wind candle feck okay turn them again on it's the same technique as always just three different instances and then I edit both extras again but the second sorry the first one is this one and the second one is this one too to get it even more to get even more water into it and X comes the optical flares lens flare I chose chroma hoop one because I know chromatic aberration chroma shift resembles bit with water looks nice with water effects why I said that these layers over here they are also doing something which goes in this chroma shift direction if i zoom in i know it's lucky let's let's turn it on full again and when it's rendered let's take a screenshot okay let's take a screenshot and now i'll turn all of them on at the same time and as you see if i switch it on and off you have this glow you have this bit of chromatic aberration this chrome achieved at the borders of the water I don't know I like this effect I use it in a different project once and I thought I'll add it or into this one too because if you look for example into a glass of filled with water and you'd rotate it and look around you sometimes experience this subtle effect of chromatic like a prism which disperses the light rays into the RGB values so I added it too and it's if you look at it from 100% it's not that big of effect but it's it's kind of fitting into the scene yeah this is how the first scene was built let's look at the second scene okay we're here in the second scene and it's build up basically like the first one the only difference is that I have to speak splash just two markers are or this is the string of the lime into the bottle this is the exiting of the line and I'll go through the splash layers I have I think five splash layers and just show you how I did those but it's not entirely different let's start with a one splash the first one again it's our same technique but as you can see I have a lot more particular layers and I have different limiters the reason for this is if I turn them on I use them on both sides over here and here yeah and they're a bit different some of them are rotating some are not rotating and I use different values like a hard way how it particularly spreading the particles in the in the Y angle and if I show you just the particular layers out at exposure again these are the particular layers okay now still there also have a bit depth field but it's not necessary for the effect but if I go through all of them I have four on one side four on the other side as you can see by the timing year to what they are doing is just a meeting in a spread like shape from my customer withers the same goes for the next layer it's just that this one is emitting like randomly more into the phase into the camera then I I have the same on the other side and then I have one which just spreads over here like only shooting it out at the upper angle and the same on the other side and too far for the other angle to and keep shooting in the other corner and all this together if I switch the effect back on and turn down exposure again looks like this but this is just one of I think five yes 5 splashes false lashes there's another one which has only like small particles at the ends really small tiny ones but at the beginning it's more like a thick fluid let's see the 31 it's also in both directions and I think yes he I used a meter which is rotating but it's not wasn't that important at this point just different looking new thing and again they are all a blended screen and I'm again using the black ones over here then forth just looking like this it's more straight line and then disappearing and the main one is down here this is the one which is a which is limited by the lime it's like this something really cool actually here and it looks like a monster yeah this one is a driven where it has is driven by the emitter which is moving at the same speed as our lime and then looking like this over here it's also looking pretty nice the line is not lit very well but it this is just for demonstrating purposes what else yeah the refraction I added a bit of reflection over here if I turn this off and on it's a fake refraction but you can see it's making is doing a lot a lot of concerning how believable it is because it's blending all the background and the bottle and the water more together and um this is very simple I I just just need to comes for it you need one comp and in this combat I called it Matt for the bottle refraction I placed all my splashes into it all my particular water splashes and as you can see it's on white it has no alpha and then I made a second comp and in this calm I had my background and I had the bottle and the line and here in the bottle I have five displacement maps for my five particular layers this is splashes and the first one is just driving actually it's one two three four just four okay number one for particular layers and again they're displacing the bottle then as you can see it looks like this it has the background but it does not have the lens level because the lens fur is getting on top of it at the end so this one looks like this and then I took the layer the bottle for the reflection and made it luma invert with the mat which looks again which looks like this so then I got this so it's just yes look like this it has alpha 2 and this one is placed with overlay overlay blend mode on top of everything and this is the way how you get this kind of fake reflection into the water and it's entering and exiting the bottle and yeah that's basically it what else could I show you yeah one thing if you want to have the water more thick and not that transparent what you can do is add an ambient light like for example this one and set it to 100 and go over here this is your glass and check that you have some ambient on otherwise this is the state I usually have but if I had an emu light and go into Cece glass shading and turn this up I wouldn't go too far because otherwise you would see the texture and it wouldn't look that good but if you go somewhere like this and go back into your comm you will see that it gives it a bit more thickness to the water and it could be something you were lure you are looking for however if you want to have really thick fluids and still just use After Effects I would reckon you see my blood spatter example it's actually nearly the same technique as the water just has some different adjustments concerned in particular and the CC glass effect and you can get this on red giant people calm just search for blood spatter splatter and you can download it there and again it will only work with After Effects cs6 and above or if you are owning the psychographics HD bundle for the lower versions of After Effects yeah let's go back and see if you want to have a little tint to the water like a bit different color for example if you want to try beer actual beer what you could do is go into particular and change all the colors over here in particular they don't have to be the exactly the same they can have a little bit variation which is cool because for example the beer it would be more browning over here more orange over here more yellow over here and you can also to tweak it a bit more you can also change the color of the ambient light and yeah you could play with it can give some nice results but if you like I said if you want to have thick fluids better take the blood spatter example and play with that yeah that's it a long one I hope you had fun and I hope you learn something I am very eager to see what you can do with this effect I hope you can improve it even more if you have any questions just write them down in the comments and I'll try to answer them thank you very much for listening and watching and bye

Channel: Dino Muhic

Views: 505,972

Keywords: Adobe, Effect, tutorial, water, trapcode, particular, dino, muhic, motion, graphics, effects, becks, lime, melon

Id: p1q0wtdPwMw

Length: 46min 15sec (2775 seconds)

Published: Sun Apr 21 2013