Disintegration Effect - VFX Blender Tutorial

[Music] so that was pretty cool and maybe you'd want to learn how to disintegrate things yourself well if so you came to the right place because in this blender tutorial we're gonna be learning how to do the 3d disintegration effect using a few clever modifiers and some tips and tricks along the way all within blender first off I'd like to thank blender grid for sponsoring this video blender grid is a render farm designed specifically for blender it's easy to use and has a great interface with great pricing plus you get $20 free credit when you sign up check it out using the link below and I'll stick around for the end of the tutorial when we render out our final animation using blender grid also like always you can download the finished blend file for this tutorial over on my patreon page for just $3 a month you get access to all the finished downloads on my channel if you interested in it check it out with the patreon link below and let's get into the tutorial [Music] all right so go ahead and fire up a new scene in blender I'm using blended 2.79 and we can get started so first off before I get into the visual effects that you saw at the beginning the tutorial I kind of want to explain how this effect works by using a simple object but pretty much you can disintegrate anything you want in blender using this technique it's really awesome and I was amazed when I actually got to work because I was kind of what wasn't sure if it worked but it works really great and here's how you do it so first off I'm going to delete the default cube like always the poor default cube poor default cube never makes it very far and then I'm gonna shift a and I'm adding a monkey head so will disintegrate this monkey head for this tutorial I'm just gonna jump to front of you here and we'll just kind of rotate him a little bit to make it look a little bit cooler something like that scale him up a little bit okay now first off we're gonna give our monkey head a vertex group so I'm gonna open this up a little bit here tab edit mode grab everything jump to our vertex groups here and under vertex group go new vertex group and assign it all to the vertex group with that done we can just deselect it and get out of there all right now we want to add another object that is going to determine what areas of our monkey head gets disintegrated and what areas don't so I'm just gonna go ahead and add in sometimes using kind of a cool object that isn't just a square is kind of nice because it doesn't it isn't like a straight line across but it kind of disintegrates in different parts then so I'm just gonna actually use another monkey head as a disintegration object I think it yeah new monkey head will scale us up a bit bigger and this is gonna be the one that disintegrates so we can kind of to make them look different I'm just gonna go ahead with the object settings here and change this one to Wired so this one's wired and this one's the object that's rendered so just change the texture draw there to wired okay so now what I'm gonna do is I'm gonna go ahead and set a keyframe on this object we want to make sure it's a little bigger than that one I'm gonna go ahead and set a keyframe right around 30 so we'll leave it blank for a while almost keyframe so go I will go location and rotation to lock route and then I'm gonna jump well we'll have the disintegration effect happen over the course of say 60 frames it's probably good well maybe we'll just go 70 and then I'm gonna pull it over the monkey head right about there and we can kind of give it some rotation so it kind of kind of does some cool effects as it comes over it and I'll go ahead and insert like a Galician rotation again so the reason I'm rotating it is just because this way it'll kind of hit it with a chin first and then the rest of the body will come over so it looks like just parts of it being removed and then the rest of it all gets removed so just basically it's gonna be using the collision of the monkey to determine what areas are disintegrating okay so before we can do any more I need to kind of blow up our monkey head but actually blow it up but keep it together that sounds kind of weird but basically I'm going to use the explode modifier to break it into a whole bunch of pieces but it will stay together until this touches it and then those pieces will be simulated so to do this I'm just going to first add a particle system because we need a particle system for the explode modifier so we go particles and I'll go new we're gonna leave it at emitter but I wanted to start and end at one so it starts immediately and puts all the particles out and I don't want it to shoot them out at all I wanted to stay stagnant so I'm going to turn off the emitter geometry turn that down to zero and then at the bottom I'm just gonna take away the gravity so the field waits and we go to zero and that's all we have to do for the particle settings now in our modifier tab I'm gonna add modifier and when you use the explode modifier now this is going to basically blow up our mesh into a whole bunch of individual pieces keeping it under one object the pieces will be visible in edit mode and that's perfect choosing cut edit edges will give you some cooler sharp edges and if you wanted to disintegrate basically a whole bunch of little pieces you could first apply a subdivision surface modifier and this will give you even smaller disintegrating pieces which is cool for different effects but in this case it will play back in real time faster if we leave it as is and we can just apply this explode modifier and once that's done we can delete our particle system and to show you what it did I'm going to tap into edit mode and if I hit L under face select mode you can see that we have all these individual pieces instead of it being one object we have all these individual pieces and that's perfect to a disintegrator now so with that done we're going to add another modifier and this one is going to be a vertex weight proximity so we're gonna use a vertex weight proximity modifier to tell it when it should be disintegrating I'm using this object as the collision basically so the vertex group is going to be that vertex group you created in the beginning and the target object is going to be Susanne one actually wait a minute these names okay yeah Susanne one we could name that something else to be a little more organized but we get that one is the collision one alright now I'm gonna change the distance to geometry as I found it work best and face okay and now I'm gonna switch the fall-off we can just leave it at linear Oh let's go anybody's actually might give a little better effect and offer switch to wait paint mode I can see exactly when the the collision object comes over and I can tweak my settings here to be appropriate so I want it to be completely blue when this object is over it because we're gonna be using the weight paint to set up a pin on our cloth simulation which is going to be giving it the disintegration effect so at frame 100 I want this to be completely blue so I'm going to take the highest and crank it up a bit and then I'm going to take the lowest and crank it up a bit as well so let me take the hide down a little bit now actually because once the low is up it's pretty good and we can just kind of play through and we can see that we can take this down even more and we need to take the low down a little bit too but we want to make sure that in the beginning it's completely red and so we need to take the low back just a little bit more and the high back just a little bit more and it looks like 1.2 1.4 will work and then at frame 100 is completely blue so that's perfect that'll work good so in object mode now with this setup we can go ahead and add a claw stimulation I'm going to go to our object settings here add in a cloth simulation I'm going to go ahead and give this a mass I'll actually I'm just going to choose the preset of silk and then I'm going to give it a little bit less structure let me take that down to a3 a little bit less mass take that down to it 1 and then give it a little bit of air this kind of slows down the the thickness of the air basically so it kind of floats in the air a bit more instead of just dropping really quickly which I found made it look a little better so I'm gonna give that about a 2 so the structural is basically how strong the the cloth is and I want to be really flappy because it's like a particle like the skin almost falling off this monkey head so something like that is good and that's what I chose silk to kind of give it that that fine not so dense material but um okay so with that set up I'm just going to add in a force field we're gonna choose wind I'm gonna kind of point it upwards and maybe towards the camera a little bit just by hitting R twice and rotating it so it's kind of blowing it towards the camera slash away the camera will be over here I can go ahead and set the camera up here to just alter control zero for this example and then I'm gonna crank the strength all the way up to something like 400 I finally have to go pretty high for this cloth simulation and then I can give it a little bit of noise as well and actually you can also go ahead and add a turbulence modifier just to give some cool sort of noise as well crank the strength of that up pretty high we're gonna go to like a 20 okay just make sure your modifiers are your force fields are on the same layer otherwise it won't affect it so with that done we can go ahead and choose pinning on our cloth simulation and then when you choose that group and that group as we can see here because the cloth modifier is below it we'll be taking this group after its modified by this modifier and using it as the pain value for our cloth simulation so cool and I'm gonna take the quality down just a little bit real quick so we can get some faster wheels time playback and when I play it we should see it disintegrates as soon as it touches it and just blow away and that's it's pretty cool-looking so I'm you can see we get the wind kind of blowing in at you and then it's just slowly falling into the distance and that that is the effect now one of the things that I did that made it look even cooler is I took our object here and I duplicated it and I scaled it down just a little bit so it's basically inside of the other monkey head now you might have to do a little bit of modifications because you can see if we go to edit mode here it's um it's not scaling evenly so it's not inside it all over so you might have to go to proportional editing here real quick and choose connected or no just not connected enabled and kind of pull certain areas and maybe scale it down just a little bit more and then pull certain areas and just to kind of hide any vertices that are poking out so I'm going to quick do that here just move around the vertices that are extruding out of the mesh because we want to be inside the mesh you could probably use sculpt mode to do this as well but just go ahead and do that pull it all then I'm just gonna do a rough job and not worry too much about it because it doesn't really matter for this example something like that and then this year and you just be back in there something like that and we'll have a little bit of Erised because I'm not doing a real clean job on this but um this is just the example okay so with that inside of it enough what I'm gonna do is I'm gonna make this object a collision object so I'm going to take away the cloth on Suzanne - and this is just gonna be a collision and you can mess with these settings but I'm just gonna leave them as they are I'll scale just a tad bit more skill along the X maybe as well so or Y now I'll leave it too much experimenting but with that set up now if I play our simulation again we can see it's gonna be a little slower because we have the collision object now but it's even cooler looking because the the fabric is kind of ripped around the shape of the object instead of just blowing away in the wind which gives it even a cooler looking effect as you can see here as it kind of comes off and is like around it and you can see it kind of like sliding down the side of it and stuff then so it gives it a really cool effect when you add a collision object like that because I didn't do a real clean job you have some particles still kind of stuck there which I mean it could be cool if that's what you're going for but it wasn't it wasn't what I was going for but as you can see that is the effect for disintegrating something all right so with that done I'm gonna quick show you guys now how to do this as a visual effect like that shot you saw at the beginning of the tutorial okay so in a blink scene in blood or now I'm gonna recreate that visual effect shot and to do this I'm going to start by adding it in as a background so go to background images here drop it down we have to add in our bra video shot in the background so these video clips will be included in description if you just check that you'll find the download links but first off I have a video here that I want only viewed from the camera so let me open this up click match movie length for the clips Auto refresh cycle and then I'm gonna choose the view to be only camera so then I'm gonna go to front view and go alt control 0 just snap our camera here and you can see our video in the background now this video is just this it's not refreshing we see match movie lengths there we go this video is just a model kind of posing here and then we're gonna have it disintegrate right around frame 90 or so actually a little bit sooner than that more like frame 60 or so you want quick change your frame rate settings to be the same as the background video here so change that to 23 just 23 fps almost 24 but not quite just to make it confusing once that's set up we can go ahead and close our tab there and go into camera view and what I'm gonna do is I'm gonna pick the frame that I want disintegrated which is right here as soon as she stops moving so right around frame 74 so right it rame 74 I'm going to do a quick model of this model at this pose I want a quick model the the shape of this girl using well we can just use the cube really also you want to set your camera settings to match that of the video and I'm assuming the video is probably about a 55 millimeter I can't tell for sure but I don't have the information unfortunately it doesn't really matter as long as you're close and then I'm gonna grab my camera pull it out a little bit further just select cube kind of fits over her it's kind of a good size maybe even zooming out a little bit more and we'll scale the cube up a little bit but basically I'm gonna take this cube and I'm gonna do a really rough model of this person by me scale it down use this ahead real quick tab into edit mode double W and subdivide a few times and I'm not gonna show you guys the whole process because it's gonna be just quick and dirty but I'm basically going to box model it and then I'm gonna switch to sculpting and do just a really quick sculpt of it so this is gonna look well this is probably look pretty funny actually if I'm being honest but um but it should actually get the effect done so I'm going to grab this grab these verses here choose that so we can see through and this is just a really rough box model I'm gonna extrude the edges out here so we have the shoulders here Street them out so we have the shoulders as well and then when I grab the bottom vertices and basically we just want this model to fit the perimeter of in our video so we want to fit right with the edges of this model when were in camera view and it doesn't really matter if it matches everything else the closer you can get in the the different areas to show some three dimension the cooler will look but it isn't completely necessary I'll just give it a better effect if you can do that so I'm just gonna messing up the edges here and then I'm gonna grab let's just grab these and extrude them down so we kind of have that then grab these two and pull them over so we have this really rough effect here and what I'm going to do is I'm going to go into edit mode and sculpt it so we have that whoops pull it over okay and now I'm gonna go into sculpt mode scroll mode and I'm going to choose Dino topology and I don't want to go crazy detail because this is gonna be again we're gonna be ripping it apart and stimulating it all but I'm gonna choose constant detail and experiment with a little bit to see what a good detail is that's a little too high maybe 12 that's leaving higher so we want to go lower maybe like a three and three looks about good so now I'm just going to round off the edges give this person some definition make it look like you have an actual head and if you hit control you can take away and if you click you'll add with the sculpt brush so I'm just gonna round off the corners real quick and I'm gonna time-lapse do this because I'm just gonna be using sculpt brush and control clicking to take away mesh and clicking to add in mesh and you'll see what I get the results pretty quick [Music] [Music] so here I have just the really rough model I'm not a focusing on the back too much you might just want to smooth this out going to s and using the smooth brush if I scroll pew you can see what brush amusing but I'm just kind of smoothing out the rest of this now and I'm making sure that I add in the mesh to go right to the edge along where the the character is and hidden Z to go in wireframe makes it a little bit easier also I did mention you want to turn off symmetry lock so if you didn't do that go ahead and turn it off otherwise you'll be mirroring what you do symmetry lock that it's what it is I called it something else and the dynamic topology I ended up going to for just for a little bit more detail but um it that can be depending on how much how much particles you want basically but now I'm just kind of smoothing it out and doing the last finishing touches on it as you can see it looks it looks messy but um that that's really fine and it'll actually work pretty well so I'm just kind of smoothing out the last bits of our model here and making sure that I add in a little bit more geometry you can even hit G and just kind of pull the vertices out using the grab brush in these areas where it isn't going all the way to the edge just make it match with the edge and would be smoother just a little bit there in the areas that I can and then grab it right to the edge all right but that looks that looks like it'll do it for me so um that should be all I need to do hit X to a little bit more detail maybe grab and neck either I was pulling it back earlier but pull back just a little bit more smooth it out okay so this should do it right here maybe just a little bit more all right I could tweak this forever but it isn't it isn't gonna really show much difference at this point so that's all we need smooth out a little bit perfect so with that done in object mode I'm going to say for project real quick because I don't want lose all that but I'm gonna do the same thing that I did for the collision object and that is gonna duplicate this so shift E and the scale it down ever so slightly to the inside and now I can go into sculpt mode on this object and it would help if I gave it a different color actually so just as a quick example to show you guys I'm do this I'm going to open up our window here and our main cube I will make a red color and then our second cube here when we give a second material by hitting that button made a blue material so we can see where it's poking through and then in sculpt mode on our second material I'm just going to use my skull brush I hit an X twice to go to it I'm gonna hold ctrl and just erase the matte not a reach but shrink the mesh everywhere it's poking out so this is a quick and dirty way to shrink the mesh in to get a nice result for a collision object that we need to be inside of it so shrink it down everywhere you see it visible and back you a little bit inside there a little bit there a little bit all around I also enabled smooth shading in case you guys didn't realize I did that right here in the smooth shading tab alright and holding ctrl we have done it we shrinked everything enough to the inside and we can go back to object mode and we'll be ready to go so let's uh let's quick set up a few materials now we don't need any material on our inside object that can we can delete the material there but on our main object when we're using cycles because it's what I use regularly now and it's just gonna be a basic node so let me go ahead and split our window here no note editor and for the material before we disintegrate it I'm gonna go ahead and give it this material actually hold on one second we should blow it up first blowed up is in using the exploded modifier so what I'm gonna do is the exact same process before you add the vertex group you grab everything assign it to it and then you go into your modifier tab add in the explode modifier well actually let's add the particle system first show new particle system emits at 1 and at 1 no emit of and no field waits on the gravity alright so with that done we have the particles and I'm gonna add any explode modifier and you can see it kind of takes away the smooth shading once it's all blown up in pieces like that but that that's fine because we using a mask to kind of cut that out and apply it and now I'm going to tab into edit mode and go you and smart or project from view so I unwrapped it I can delete the particle system now and we should have the individual objects of a tab in edit mode and hit L you can see if it is face like mode yep we have all the different pieces working just right so you can choose do I have some machining all right you can choose smooth shading but you're still going to get those kind of rough rough vertices because it's all broken up into pieces now but that's fine I'm going to choose use nodes because we use it cycles and I'm just going to give it the basic we have to go to material settings here materials click use nodes in the material as well we don't want to diffuse I'm just going to give it a basic principal shader so shooter prints a bold connect it up and we need a simple image texture so we go image or texture image texture and I can just use the background image which is already loaded into the cache so I'm just gonna grab that drop it into the base color will choose cycles or cycle I'll be refresh and then we have to give the number of frames I'm not exactly sure but if you just give enough frames like 250 it will work fine and if I split this one more time so we can go to a UV image editor we can go to that image and right around frame 74 this needs to update it's not oh well it it will be in the right spot at that point trust me it will be so I don't know if I update this and we'll it I'll be at this movie hmm movie clip doesn't update down there but that's fine right at frame I'm not seeing it right up there you can see it it's gonna make it behind it at frame 64 so we can just leave that at that and this will cycle through them but that's fine because it will use it right at the right points so with that all said and done I'm going to move this over I'm going to add in our collision object just as before to make the simulation happen so this is going to be I'm just going to add in a cube for this I'm gonna scale it up let's get along with Zed and if you don't want to be a straight wipe you kind of make it look like it's coming across the bottom or something you can first of all rotate it so it kind of comes across like that and then you can add in a few more edge loops and grab these edge loops and just kind of move them around so you get a little bit more variation as well as it kind of comes across in mesh something like that all you have to do and now I'm going to go ahead and add the keyframe so I want the disintegration effect to start about frame 75 because that's when it freezes so right around there is what I want the first keyframe so I'm gonna go ahead and start a keyframe at frame 72 I'll just go I insert location rotation and then we'll make it happen over the course of about 50 frames or so okay and I never confirm this so just to make sure that your image is loading on here which is image settings here just give it 250 frames starting at frame 1 cycling all the fresh think it already covered that but you want to make sure that when you go to rendered view you're seeing the image projected on to that object and it will look mirrored on the backside but that is fine and yeah that's all you want to make sure and then you want to make sure that your background is transparent and then I need a quick setup to lighting for the scene something to go ahead and just click use nodes in the background and I'm gonna grab an image texture environment texture and I'm just gonna open up an HDR from HDR Haven I'll link to it in the description below but just open that up and we can delete our lamp here so we don't have any lights and if we got a rendered view we should see a boom let it load our image there okay now I want to tell it to not render our object or a collision object so let's just do that while we're thinking of it so I don't want it to render let me drag you down real quick thank you I don't want to render this so uncheck the camera there and I don't want to render the smaller object in the inside here so don't render that either this can just be viewed as the wireframe just like we did in the example so we'll change it to wire just so doesn't get in our faces and if I go back now to rendered you'll see that we have it lit in that it's working just fine I want to quick turn down the amount of strength coming off that background though as we don't want it to be overpowering and then just a few settings real quick on the the principle shader we don't want too much specularity as that's looking really glossy but I did find a little bit of subsurface kind of cool so if you just drop this into the subsurface cool color and then increase the subsurf just a little bit once once it's kind of floating and the particles are out there the subsurf kind of gives it a cool look so go ahead and do that but once that's all said and done our object is is ready to be simulated so we have this rough object with it projected on it let's disintegrate it so the material is working fine we don't have to worry about that anymore so we can go ahead and close off this and close off that to give ourselves a little bit more room now I want to do the exact same thing with the animating now so frame 72 frame about 120 is where I want it to happen so I'm gonna grab this and move it across our object and maybe rotate a little bit just so we get that cool effect coming across it right to about there and then I'll insert location and rotation and just as before we need to make sure we have a vertex group on here and it's all assigned all right I think I did that already but just in case better safe than sorry and then we have to add the proximity vertex weight proximity again grab the group grab a target object which is gonna be cube - yes cube - it says right there and we need to tweak these settings a little bit on our object but it should be going blue as it comes over it and right now it's not because we need to change it to geometry let's make this a little bigger face and we'll give this a smooth fall-off as well and now let's see if we're getting the effect come across nope still not yet oh wait I need to just hold up I'm still looking at it and in solid view here and I need to switch it's may drag you down hello okay I need to change my viewport Kyle this is messing me up we can go back to white here let me change that just to zero whoops excuse all right blend is slowing out a little bit for me here let's just go zero zero actually no no let's go one one one one so we have a white color back thank you and then I'm gonna go into wheat paints okay and we can see it working now so we want to come across we want to be completely blue at that point so I need to tweak our settings let's go highest to be about 0.9 and that right now is working let's just check to see that it comes across it nicely and it seems to work pretty well right there it's completely red and then it comes across and we could actually take the highest down a little bit and a little low down well not quite it has to be right about Oh point nine point nine and if I drop it down a little bit you have a little bit that gradient which might give you some better effects so we're gonna go with that point eight and point nine and you can see that coming across nicely there um if you want to slow it down a little bit you can drop the animation by going into your dope sheet here just grab your second keyframe on this object and move it out eating further something like 150 even if you wanted to slowly happen across the period of time there which is kind of cool so we'll leave it at that I can turn off the background image now because that's just slowing me down and close this up and let's uh let's start simulating it so we have the the weight paint now all we need to do is give it the cloth simulation and our force fields so I'm going to go ahead and go cloth I'll leave that silk give it a make sure it stays it's okay silk is a little different so change it to silk and then we'll give it a little less mass and a little bit of air maybe a little less than two one point it will drop that force field in there right there force field wind gonna rotate it towards the camera slash away give it the strength that deserves something like 450 and I think I squeaked about four maybe well three in the noise not nothing too crazy and let's simulate this bad boy we have to give it the pinning of the group and we should be good to go I'm structural I could take that down just a little bit like I did before everything else we can leave I'll take the steps down just so it goes a little bit faster while we're previewing it and now I let it load into the cache and we'll see what it looks like and there you have it so you can see it's just totally disintegrating into particles and blowing away in the breeze really cool again now the one thing we didn't do is we didn't grab our collision object so I'm gonna go ahead and go collision drop that in there and again it's gonna slow it down now but it's worth it I think at least for your final animation so go ahead and add the collision to it you can see we get a much slower framerate all sudden but it is worth it because you get to see here in a second thump bump will get some kind of cool particles bouncing off of the frame of it and falling away as it comes across here this is just kind of ripping off of the body and kind of pulling or allowing the sides there and stuff and that looks really cool so there we have it now there's one more effect that we can add to this that i d't showing the example and that is smoke so let's add some cool lookin smoke to these particles alright so like every smoke simulation we need a domain and that is done with a cube regularly so I'm just gonna end in a cube scale it up so it's big enough to fit our whole scene I'm gonna scale it along the X as well so it basically fits our whole camera and a whole scene there pull it over there just a little bit so it's in everything and now I'm going to go ahead and give it smoke and we'll give it a domain and then it will disappear and I'll be just what we want I'm also going to give it a smoke adaptive domain so go ahead and do that and now we need another let me think vertex group so for the smoke we need a separate vertex group we can't use this one because it needs to be basically inverted and we can't do it with these settings sometimes you can but we can't in this case so we need to add another one so I'm just going to add another vertex group and this one's going to be group smoke just so we can recognize it easily and I'm gonna leave it at that we don't want this one to be applied because we want this one to be adding the smoke to it actually I can go ahead and apply it and take the back because I can invert it in the modifier so we'll just apply it to keep it all the same and then invert it in the modifier so I'm going to drop this down and drop the cloth down as well I'm going to add in another vertex group proximity I'm going to choose the smoke vertex group this time but the same targeted object we're going to use actually this is cube - I chose cube 3 you want cube to geometry face and now I'm going to go into weight paints and we're gonna modify these settings so I want to start off blue so by doing this I can just give the lowest value a 9 or an 8 and then give the one below it a lower value and it's basically inverted and the reason we want to be inverted is because we want the smoke to be added to the scene using this weight paint so now you can see it's adding the red across as it comes like so and that's exactly what we want and if we check the other vertex group here we can see is basically inverted so that's exactly what we want so that's perfect I can leave it as it is and drop it down and I'm gonna use this one now in our smoke settings so I'm gonna grab our grab our mesh here make sure we have the right one selected this one go to object mode and I'm gonna give it a smoke so it has the cloth already applied to it but I'm gonna add the smoke on top of it and this is going to be smoke flow it's gonna be smoke we're going to change the surface emission to be just a one point one so it's not a meeting smoke too far from the mesh basically that's what this means the distance to emit from the mesh we can give a smoke color a bit of a darker color and then smoke flow advanced we can use right here is where we choose at the vertex group group smoke and then I'm gonna go just do a quick test leaving us at the really low settings of 32 just to see if it's working properly we'll save our project and we'll see if it simulates the smoke now it should be adding the smoke as the vertex group comes across so right now it's perfect there's no smoke at all in the scene but some once this object starts moving across as that vertex group starts to add to the group the mesh it will be emitting smoke and it will be really cool hopefully fingers crossed and you can see there goes is blowing the smoke as it comes across and it's adding it so it's giving it that really cool dissolve effect that is perfect alright so a few things that want to change though is the smoke filled weights I found the wind affected the smoke a lot more than it affected the the particles so I took the wind down here quite a bit I'm just gonna give about a point to so go ahead and let me beat me point one so the wind doesn't affect the smoke as much as it affects the particles it gives it a better look and then we're gonna give it a little bit of a slower rising smoke and to do this we want created density to be a smaller value because higher values make it raise up faster but I don't want to raise up that fast I'm gonna give it a smaller value there and then with the temperature difference the same thing applies so you want a smaller value for slower rising smoke so I'm just going to give that another 0 to the decimal and then we can choose dissolve as well maybe over about 15 frames we want the smoke to dissolve maybe give me 20 it's just so it kind of floats and then dissolves into nothing so with those settings applied let's give it a little higher quality will go 74 and then I'm gonna just jump right in here and we'll play it through alright so the smoke needs to be cashed in from the beginning but we can kind of do this by saying hey when we start the smoke at frame 70 so now it will place fast and then once we hit at 70 we'll start cashing it in so here's what my bake was looking like and it was looking pretty cool actually but I do think I have the wind effect turned up too high that's why I'm getting this kind of poof but I don't necessarily want so to get rid of that I'm going to I have the wind effects still at a point one I'm gonna drop it down way to about a point zero one so just the wind is barely affecting the the smoke so with that setup I'm also going to reduce the quality a little bit just because this was taking a little too long for my liking I'm gonna turn the divisions to two on my smoke on the high resolution leaving at 100 still with those two settings done I can just go ahead and save it jump to frame 1 and pay call dynamics one more time all right and turn in that smoke simulation or the wind effect on the smoke down give you a much better result just like I'm looking for there and you can see that looks pretty cool now one thing for a faster view viewport playback you can uncheck show the high resolution smoke it will still render it but it will just make the viewport play little bit faster and ok so let's give a quick material to the smoke and let's render this animation out like I said we're gonna use blender grid at the end to render it out so we can do it easy and not have to have a nice computer or anything to do it using blender grid so I'm gonna go to a node editor and I'm just going to give it a very basic sort of smoke material you guys might know how to do this but in case you don't here we go it's just let me go new material on the de smoke domain we're gonna delete this I'm gonna add in two shaders it's going to be the volume absorption and the volume scatter while I'm scatter on top absorption on bottom we're gonna go add shader connect the volume scatter on top absortion to the bottom connect it to the volume of our material output then we're going to add in attribute node I'm going to type this one as color and we'll shift D it and we'll type this one in as density make sure you spell these right because it is very important otherwise it won't work then I'm going to add in a multiply node so it's a converter math change it to multiply we want two of these and I'm just going to connect the color from the color to the value of the multiply and then this is going to be the color to both of these and then I'm going to choose the factor of the density and plug it into the top and plug it into the density of both of these now I can tweak these values to give ourselves the right color by making this a little bit darker maybe and the right density by making this probably a bit more so now I'm gonna go to rendered view here real quick and we'll see if it's looking the way we want it to so if I switch to rendered view we'll get a look at what our smokes looking like of course we don't want this to be visible so I'm just gonna grab cube 3 or cube 2 actually that's - and if I go into our cycle settings here we can tell it not to be visible to the camera and we're getting some interesting effects we want to turn us to be not visible as a shadow either because it's shadowing okay and then we have the smoke and it's looking it's looking pretty cool maybe a little bit too dense so I might I might turn that down just a little bit I'm gonna use my GPU for running there - so much in the density down just a little bit maybe down to - but it should be pretty good we can do some test renders now and just go ahead and turn your render settings to a hundred percent and I'm gonna use denoising as it speeds up render times a whole bunch I can uncheck that when we use the render farm at the end because it will it won't necessarily need it but you know I might use it anyways because it does save some time so one quick thing before we render that I did not cover is we want to give it motion blur motion blur makes this effect really pop with a lot of motion blur you get that really kind of dissolve a Yui kind of effect so I'm gonna give this about a 1.2 on the motion blur and then we can also give it a little bit of depth of field for some more extra blur so I'm going to choose limits on our camera and then depth of field here I'm going to change it to f-stop and choose the distance to be right around where our model is and give it an f-stop of about 1 so we get some depth of field maybe even a little smaller 0.8 and that will look cool as it's kind of fading away floating away and it will look good now I'm gonna take the samples down real quick because I'm using denoising I can get away with just 30 samples as a test and we should be good to go so we go save and we'll render okay and there's our render and as you can see it was pretty cool with that motion blur and stuff but there is some issues with our mesh that just doesn't really look quite right so what I'm gonna have to do and this is what I did in my final scene as well is I use some masks in the compositor to kind of blend the two frames together the real video and fake video or the CG video you could call it so what to do this I'm gonna go to compositing now I'm going to choose backdrop and check your render layer there it's looking pretty cool I'm just hitting V to zoom out and alt video zoom in and let's gonna pull these out and get a little bit of room for some new nodes so I'm gonna go ahead and add in the video in the background so input movie clip let's just grab whoops not movie clip inputs image and then if we choose the movie it will be in the movie clip okay and then we want it to be we'll just make it 250 frames so it's enough frames cycle Auto refresh and that will do it so this will be on top and if I just went alpha over so color alpha over and dropped this video over the top of this one switch set you can see we have some issues it doesn't necessarily look right because of the edges here kind of off and then you also see in the background so what I'm going to do is I'm going to use a mask to delete it from the background because I have a blank image with no character in the background I'm gonna animate that in the node editor here to follow our stimulation so go ahead and duplicate your image node here so we have one more and open up the background plate here again there's a link in the description for you to download that and I'm going to use a mask to blend these two together so I'm gonna duplicate our alpha over node here I'm going to connect this one to the bottom and this one to the top and we'll see that right now there's no character there actually I can flip that around we have our character but this factor is going to affect that character being there so if you just want to disappear all you have to do is that and she disappears so that's pretty cool but um that's not what we want I'm going to add in a vector mask or matte box mask all right and if I go to this right now you can see it's just a square but I want to I want to view this right now and then this on top of it so you can just click on it and you see your square there and I'm going to change some of these perimeters real quick holding shift I find easier to change these settings otherwise it just changes I'm too fast so I'm gonna make it a big box so make it nice and tall so it's tall enough here if i zoom out just a little bit so you can see it's good and then I'm gonna make it wider by increasing the scale along the width you alright that looks pretty good and I'm gonna move it along the X so it's along the edge here and starting at frame well it's about 70 is when we have it come across and it's going to go from one slide to the next following our dissolve effect now one thing I found to make this even cooler is if I go to my box mast and I add the lens distortion node I can get some distortion going on to our node here and giving it kind of a warped edge which looks looks pretty cool so I want to choose fit then I can choose how much I want to be distorted here so I'm going to add some blur to this I'm gonna add a filter blur change it to this fast guys in relative and we'll just blur it along the x-axis a bit so it's a little bit nicer of a transition there let's give it about a two and you'll see how that works and now I'm going to use this as the factor for the background being erased and so if I go to that now I need to flip this around so we have our character there but if I move this x value over a little bit more she gets erased and you can see it as it comes across she comes back so that's perfect that's exactly what I want and I'm just gonna leave that about point two two if I make this node a little bit bigger we can see those values it's a little easier there and I'm gonna animate this now to follow the simulation here so I'm gonna jump to frame 1 or frame we see what famous is if I scroll here it's frame 95 right before it really starts falling apart and add a keyframe on the X there and now I'm gonna jump through to the end frame right there when we want to be completely visible and I'm just going to move this box over to be right about there and hit I to add in a second keyframe and now if I play this through you can see it moves across nicely following the animation of the the collision object there so now if I check this now we render this frame out and let me see what frame was it rendered results it says right here frame 115 so if we jump to frame 150 it should be the collision lining up pretty closely with our smoke scent and to see this I'm gonna make this the factor to add in our new object I'm going to add it in to this one so after the backgrounds are moved we're adding in our dissolve now you can see that it's a little bit behind it's not that we have too much of her visible here so to fix that I'm gonna go into the dope sheet here and I just want to grab my compositing notes so these two here and I want to move them to match that little bit better so if I move that ways a little bit I'm not seeing updates I might have to there we go update it that's too much but if I go through here we can find right where it will be right on at frame 115 so move it just a little bit more and it's looking almost perfect you're right about there and it's pretty good so you can see that as it's coming across it's giving into the dissolve effect and it kind of feeds from one to the next which is exactly what I'm looking for that's too much just pull it back and we're gonna have this takes a little bit of trial and error but it gives it a cleaner sort of transition effect once you have it set up just right okay so I spent a little bit of time tweaking the mask settings here now here's what I found works for me adding a little bit of rotation because I have kind of come across the bottom worked well and it just takes a little bit of trial and error but what works nice is if you look at the Alpha over and then just kind of line it up with your rendered viewport you can kind of scrub through it in real time and see if it's going to line up well as you can see right here it's disappearing as its appearing down here and that's exactly what I want so I'll know it will line up pretty well all the way across to when it's perfectly black and you just have a little bit of the corner of the the shoulder left there as you can see here and then it's gone completely when it's all black so that's exactly what you wanted to do and it just takes a little bit of trial and error when you're using a box mask here and your two keyframes but I want to get it lined up you can see now that I've rendered a frame here if I go to uv/image editor at 1:10 and if I jump to frame 110 right here alright so there's what frame 10 looks like you see that it looks really actually pretty cool the last thing I had to do is just adjust the colors a little bit because the colors are a little bit dull in here now I could do that by increasing the environment lighting and whatnot but instead I'm just gonna drop in a RGB curves real quick color RGB curves drop it right on there so I can tweak our rendered layer to make it a bit brighter and kind of matching that of the original now if we go to here you can see that this kind of line that is there if we just brighten it up a bit we can get it to match almost perfectly so you don't see that line coming across anymore and it looks pretty good so I think we're ready to render this bad boy out if you just want to check a few frames real quick that's probably smart so you're just gonna scrub through check a few frames to make sure it's lined up all across then we can kind of crank your settings up a little bit and then we'll render it out with blender grid and get a finished animation yes you can see is looking pretty cool maybe it's a little bit too bright take that down just a tad and I think we're ready to render so you want to connect your last node to the composite node and then we have to set up a few render settings real quick um I'm gonna add a little bit more motion blur because I think it's really cool and so the more of it the better in my opinion and um and then you just want to set up a few of your render settings how many samples you want so let me go down to performance sampling right here and let's render it out at about what would denoising if we leave denoising on we can probably get away with about 200 samples and that'll be a nice clean image so we went ahead and baked the cloth simulation one more time so I had all the frames in the cache just so I could do a finished animation of 200 frames and I also did it because I moved my blend file so I want to make sure that the cache is still with it so before you send your project over to a render farm it is recommended that it is compressed first into a zip file so it it keeps all the data together and you get 1/2 of all your textures and stuff then connected right so like I said before you want to first make sure that all your textures are connected to the textures on your desktop in the folder you're going to be using so I'm in a quick check that the texture for my material here is using the texture what it wasn't so I good I'm changing that to be the one in my folder here that I'm going to be compressing so do that and then I want to make sure that the files in my compositor and in my world settings here that all of these are using the texture if I jump back in my disintegrate folder right here use that one good and the last one over in my compositing you want to make sure that both your videos are grabbing the one in your folder so I'm just going to go with that one good alright we have to change our frames back to 200 so it lasts the whole time and same with this one make sure the background plate is taking it straight out of your folder that you're gonna be uploading because you need all of those things to be connected for it to work so now what that is all done I can go ahead and save and I can go external data pack all in to blend it packed for files and then I'm going to go into drill data and I'm going to unpack all into files and we use the current directory and it will create the files where necessary but um it shouldn't have to create any because they should all be there so now if I jump over to my disintegrate folder if I go to it you can see we have our video our background plate and our HDR that's all perfect and our our blend file basically so what I'm gonna do is make sure this is saved with everything connected I'm going to go back to our disintegrate folder I'm gonna jump back take this folder and I'm going to compress it so I'm using I think it's 7-zip but I'm just going to add it to an archive here I'm going to make it a zip file and actually this might not be seven said this is just a typical zip program though there's plenty of them out there there's 7-zip is Wednesday you probably have one on your computer so just go ahead and compress it to a zip file okay and it will quickly compress into a zip file it'll be a little bit smaller too so a little quicker to upload and if you're doing it with the blen cache you're gonna want to make sure that your blend cache is in that folder otherwise you won't have your smoke simulation so I'm not doing the smoke because it's too big of a file for my internet but if you were you'd want to make sure that your blend cache is in the folder that you just compressed okay so here we have our finished compressed zip file ready to be uploaded and so I'm gonna hop over to blender grid now here I'm blender grid it's really simple you just have an upload tab here even browse for your zip file I'm just gonna grab it tutorial right there my zip file open it up and I might still internet is probably going to take about 20 minutes yep to upload but um if you have a faster net obvious this will go faster but it will upload and then you'll have a chance to change a few settings right before and then you'll get a price quote and you can start rendering so are really quick and easy I just have to let this go and I'll be back with you guys when we're ready to advance so here you can see your upload finished and it's successfully finished - that's good and we can change our frame range and our resolution and our blender version and whatnot here real quick we have some nice settings that we can last-minute changes if we want to I want to make sure that this is going 200 frames so I'm just gonna set that to 200 and everything else is already set up good 200 samples it's giving us a warning because of our smokes I'm not being baked but like I said I'm not going to render the smoke so that's all good and now you just type your email in and it will email you a link with a price quote where you can start your project so I'm just gonna type my email and real quick and then we can get a price quote so I'll be right back with you once they get that email and now we can start rendering okay so the project was submitted the render time was calculated and I got a link sent to my email address that all I have to do is click it and it will take me to this page here where I get my project overview and I can set up exactly what I want with how long I wants to to render and how much I want to pay to have it rendered faster so basically you can spend a little bit more and get it rendered even faster if I go all the way up to two hours it will be 10 bucks versus if it was like 10 hours it would take let's see 8 dollars so you pay a little bit more to have the priority of getting it rendered as fast as possible but for me I'm just gonna render it in two hours and I want to save my resolution I like my sample count and so this would cost about 10 bucks and like I said you get 20 dollars free credit with blender grid so that is easily gonna fit into your free credit if you were on just try it out um but with that done we can click render for free and it submits the the render so now that we submitted it to render you can see that the progress is just starting as soon as it updates you'll get some progress coming in here and you'll be able to check out the frames as they're rendered by following this link here and it will show you the individual frames as the render it will be uploaded mediately and you can not check them out so if you see an error or something with your render and you decide you want to cancel you can always cancel your project at any time as well and you'll be refunded the remaining balance so just a quick update you can see it's been going for about seven minutes and we're just about ten percent done and if I click the images here you can see the frames that are already rendered and I'm just going to jump into a frame but I've already loaded here and you can see that it's rendering real nice so it's looking pretty good and all we have to do now is sit back and wait for the render to finish so if you wanted you can fire up a game right now and play it and the rendering is being handled on someone else's computer so you don't have to worry about slowing down your computer with the render and just sit back and enjoy and wait till the render is finished and our rendered animation is now finished blending grid you can see I actually had to do it twice because they somehow selected the wrong file the first time even though it's the same as a different file that I had backed up anyways I did it again and it finished in just about under two hours so not bad and you can see I already downloaded here though but you give the download link then so you just download it and you extract all the frames into a folder like I have here you can see I have the frames folder with all of my images there and now I'm just gonna quick show you guys how to fire it blender here and how to I'm just going to create a new new folder and how to add those frames and do a movie so just a new sequence I'm gonna set the settings here real quick it's 200 frames 100 percent resolution and 23 0.985 PS okay then we go to the video editing you go shift a edit image and just go to that frame folder the frames hit a to select all the frames and add an image strip you can see here now we have our finished animation with a simulation and it's all looking really cool now you can see the beginning here our mask is cutting off the few frames and to fix that all you have to do is jump to frame one shift a add in a movie we can just grab that movie that we used originally and just make a little shorter by I'm gonna right-click the the end there so we can grab it and pull it in and we'll just pull it in for about 60 frames or so maybe even 70 because the animation doesn't start until then so drag it back to about 70 this is the audio I believe you know there isn't really any audio it whatever and you can see here now that we have the original footage until it comes to right about there when our disintegration effect starts so that's gonna do it for this tutorial guys I hope you enjoyed it and learned some things and have some fun disintegrating anything pretty much if you like this video leave a thumbs up if you didn't like it leave a thumbs down and I'll see you guys in my next video tutorial bye

Channel: CG Geek

Views: 59,529

Keywords: disinergration, effect, blender, Dispersion, CG, 3d, photoshop, after effects, realistic, VFX, Tutorial, how to, avengers, disintergrate, infinity war, special effects, CGI, Endgame

Id: YzKR8QtcozM

Length: 58min 4sec (3484 seconds)

Published: Mon Feb 12 2018