X-Particles - xpBullet Tutorial - Destruction Scene

[Music] [Applause] hi this is bob from incidium and in this video tutorial we'll be creating a destruction scene using xp shutter and xp bullet rigid body dynamics and we'll be recreating a simplified version of this wall shutter so here we are in a blank scene let's set up this destruction shot so first of all we want a dynamic floor so we'll just bring in a cube primitive and we'll set the y to be 10 centimeters and we'll make it pretty big let's make it um let's say 4 000 on the x and 3 000 on the zed and we'll just dolly out a bit so we have this large floor area okay and that's going to be our floor so let's rename it let's get organized basic cube and let's call it floor and we'll just give ourselves a little bit more room here in our attributes manager all right so this is a floor this needs to be dynamic we want bullet objects to bounce off it and interact with it so we need to make it dynamic itself so to do that we'll go to tags incidium tags bullet tags xp bullet collider and we'll just leave all of those settings on the default so now we need our wall this is the thing that we're going to smash through so let's make another let's get another cube primitive and this time we can maybe more eyeball it this time so let's make it a nice wide wall and give it a bit of depth and then let's just have a look at the height of that wall so it's 200 centimeters let's make it let's try it 600 centimeters and then we want this to be touching the floor at the moment it's intersecting our floor because its anchor point is is in the middle its axis center so what we need to do is move it up by 300 centimeters and it'll be exactly touching that floor um so let's go to coordinates and move it up by 300 and now it is almost on the floor but it's slightly intersecting and the reason for that is that our floor has a height of 10 centimeters so we need to just drop this position down by -5 and there we go so now the surface of this floor object is at world zero on the y-axis and our wall is um is uh sitting on top of it excellent so let's call that cube rename it wall all right so now we need to make well we can just make that wall dynamic but actually we're going to be breaking this wall into pieces so let's just bring in the tools that will enable us to do that so we will bring in the next particle system to stay organized so let's go to incidium x particles system let's just delete that default emitter just for now and in this system we need to go to the generators menu let's go to the object tab and we're going to choose a generator and we're going to pick an xp shutter there it is let's get our wall and make it a child of the shutter and you can see that we have these shutter points we can see the new edges that the shatter has used a voronoi shattering algae algorithm to come up with these pieces and we can see those cut edges with these blue lines so let's just what i'd like to do is hit n b so we can see the shading and the lines and now we've done that we don't need to see these blue lines that shatter was giving us these just the default cinema 4d lines so let's go to the shutter object we'll go to the display tab and we will deselect draw cut edges and now we just have those cut edges excellent so let's just have a look at how this shattered effect was done if we go to our xp shutter and go to the object tab you can see that we have a shutter layer and by default we have a voronoi layer and it is using this point generator this is the child this is what it's using to create this shattering pattern and what the point generator is doing it's doing that it's generating points so let's view those so we can see what they look like we'll go to display and we will select draw shutter points so there we are go back to our object tab to our point generator and you can see these white points and these are being generated within the meshes bounding box and we have a number of points 40. so if we put this down to 20 there'll be fewer points therefore larger pieces and if we um cycle through the seeds we'll get different distribution of those 20 points you can see we're getting different looks there and it's all kind of updating in real time as we go excellent so let's leave that now as our base shutter let's go to our display tag and just switch off those shatter points so let's make this shatter dynamic we'll go to our shutter object we'll go to tags incidium tags bullet rigid body click on that now when we hit play gravity is taking hold and all of those individual shards are behaving independently and falling to the ground let's just give ourselves some more frames in our timeline and we can see this develop and there they go they're all falling down some of them are kind of like keeping each other up but we can see that they're all dynamic and if we let's just demonstrate if we get the shutter let's just move it up a bit and in the object tab look we can explode these pieces out a bit so if we start it at this position and hit play then they're all going to fall to the ground and these are all behaving independently with fantastic collisions all right excellent so let's just get rid of that explode and we'll put the coordinates back to where they were excellent so this is triggering straight away these dynamics as soon as we hit play they're triggering and gravity is pulling those down and because we have these kind of diagonal cuts this piece and these pieces are able to slide off which they do straight away and we could make them a bit more grippy we could go to our bullet tag and in the simulation dynamics tablet we could give it more friction and now it's harder for it to slide off this is quite a steep angle so that one obviously fell but look this one's really trying to grip on for dear life and so that's making it increasing the friction between those shards let's just put that back down to the default so at the moment this is the dynamics are being triggered immediately and if we have a look in our simulation dynamics tab you can see that we have an activate option and it's set to immediate but look we could set this to after time let's put 60 frames and now you're going to see that there is no dynamics but then at 60 frames now they become active so that's useful for timing your dynamics we can also trigger these dynamics on collision and now this will wait for another bullet object to collide with this and when it does it'll then become dynamic now if we put this speed threshold down to zero and hit play they still activate so why have they activated even though we've put only activate on collision well they have collided with themselves these are all deemed separate objects and because they're touching that means that they've collided which means that they immediately trigger those dynamics and these bits fall down however if we increase the speed threshold this is saying they have to be moving 20 centimeters per second or the that movement will be ignored and they won't that the collisions won't be activated so if we hit play because these are static they're not moving that quickly so now those rigid body collisions haven't been triggered they're not active so that's useful if we want our wall to stand and we want it to shatter at a certain point so let's get that set up we're going to use a shatter object to kind of throw in the direction of our wall to smash it so let's just use another primitive we'll use a let's use a platonic and let's move that platonic up here there it is something like that we need to make this platonic dynamic as well so let's just move that into our utilities folder so we can stay organized and we'll put the floor in there as well so our platonic needs its own tag so let's go to tags incidium tags bullet tags rigid body and now if we hit play you'll see that it is set by default to activate immediately so if we hit play the platonic drops to the floor bounces and settles but we want it to go towards our wall so we can give it some initial velocity let's have a look in our tag so simulation dynamics we can move down to linear velocity and these three boxes are the three axes so we have x y and z so we want it to move in the plus x direction here's the x axis we wanted to go in the plus x direction so let's give it a linear velocity of say a thousand of the plus x which means when we hit play it hits the wall fantastic and it's managed to has it triggered our dynamics we think it may have done but our platonic isn't very big in fact it's smaller than most of these shards and that means it's not going to be as heavy so it's not got the it doesn't have the mass to uh to to knock this around so what we can do is we can we can change that let's go to our platonic let's go to the mass tab and by default it's just set to world density so basically the bigger the object is the greater its uh its mass will be but we could change that look we can give it a custom density and then let's put this on say 10 so now this is going to have a far greater mass it's going to be much heavier so when we hit play bang and it's able to move that wall and the wall as soon as it it is hit by the platonic the dynamics are activated and those pieces fall down now we could you know simulate this and imagine that this is a incredibly heavy high velocity cannonball look let's give it a density of a hundred bang and it really smashes through that wall and we can obviously go to that tag go to dynamics we can make it quicker give it more of that initial linear velocity so this is really going to fly through that's it and because it's got such a high density value and therefore it's got such a high mass it is hardly it's its momentum is hardly touched by our wall so obviously it's a little bit too much let's go back to our mass and we'll set it to say 10. there we go and it's smashing through and looking really cool and what's fantastic about both shatter and and using it in conjunction with the xp bullet system is that we can just this is all procedural so we can make adjustments as we go so in our shatter let's go to our object and to that point generator remember we've only got 20 points here but look we could make 50 points we've got loads more shatter points now let's just cycle through a couple of seeds until we get something we like the look of that one's looking good hit play and now we've got loads more points which are shattering so that's really cool and that's just scratching the surface so what else can we explore well shatter has got the ability to do what's called recursive shattering and that means that we have shattered the wall already but let's say when this piece hits the floor we want it to shatter again how would we do that well let's go to our shutter layer so just so we've got for speed of simulation here and for ease of viewing the effects of this let's put fewer points on our point generator so we're going to go to say 20. all right so now what we want to do is set up a layer that shatters the bigger pieces into smaller pieces so let's do that we're just going to deactivate this voronoi and let's let's double click it and rename it and call it base shatter okay and we're going to add another layer and we're going to we're going to do another voronoi so it's underneath and we're going to call this one recursive so this is exactly the same we have a voronoi layer and we have a point generator making all of the points and this so this point generator this is going to dictate how many pieces will be made from the existing shards that we've created so just to demonstrate let's put this on fewer points there we go so now if we activate our base layer we have our base layer shards and they have been sub shattered into five pieces and if i go and put this on say 10 you can see we've got even more pieces but at the moment if we go up to the voronoi layer that we've called recursive at the moment it is set to trigger always so it's always shattered that amount but what we can do is we can change that we can do it at speed we can do it on collision there's various different options so let's just put it on uh collision so now once these have collided with another we're gonna just set a bullet collision so once they have been hit by a bullet object they will shatter once again and again we can put a speed threshold here so just by them hitting each other isn't going to trigger this so let's put this speed let's just put it on five so let's have a look as we hit play our platonic hits the wall and look those pieces have shattered again and this one is shattered again so let's just make more points so it's more obvious we're only making 10 let's make 20. okay let's hit play then you can see them smashing into pieces once they um collide look at this one smashing into all of these pieces as it hits the floor so that's working really nicely we're getting this realistic recursive shattering as we get more pieces smashing and of course again this is all procedural so if we want the base layer to be more detailed let's go back to our point generator of our base shutter put that up to say 40 hit play and now we're getting an even more detailed base layer which gives us more detail again when we come to the recursive shattering layer so that's giving us a lot of nice extra detail for free and we can of course go to our recursive layer let's reduce that speed put that collision on say one and it's going to be much more likely to shatter when it's getting these collisions you can see all those pieces shattering and now we're getting loads more in our scene okay i'll put that back up to say three excellent that's looking really nice so recursive shattering is really nice way of adding a bit of more kind of realism and impact to these types of destruction scenes so what we're going to do now is we're actually going to delete that recursive layer because what we're going to do now is instead of just having these very kind of randomly positioned cuts in our xp shutter we're actually going to create a shutter layer which is much more precise which is allowing us as artists to place exactly where and how our object is going to crack and be shattered so we're going to use splines to do this so let's go and we'll actually deactivate this base shutter layer we'll come back to that a little later so let's go to our orthographic views if we hit f5 we get our options and we're going to want to be in the right hand viewport let's maximize this just dolly out of it so we're in wireframe view here let's go to the display and we'll pick shading with lines and there we go so we're kind of facing front on our wall so let's uh make a spline to dictate where our wall is going to crack so in our um reference video you'll see that we had a spline that was let's just pick this spline tool we had kind of a wavy spline and we can draw this bevy a bezier spline a little bit like that hit escape hit f1 to go back to perspective view and you can see our spline is kind of right in the world origin there intersecting our wall so let's just take that spline you can move it out there it is and so it was cracking the wall in this direction on that reference but actually um we're going to do something slightly different on this one we're going to do a vertical crack so let's just delete that spline uh hit f5 again and it was the right hand view we wanted so let's maximize that we'll get our spline tool and let's just make a nice kind of vertical spline right down the middle hit escape hit f1 back to perspective view if we take that spline move it out now we have this black spline and that's what we're going to use to crack our wall right down the middle okay so let's go back to our shatter and what we need to do is add another layer so we're going to use another voronoi layer so let's just click on voronoi here and it looks very similar to the way in which it did before we have a voronoi layer and it's using a point generator to create the points which um set the shard set the shards so instead of using a point generator to generate the points let's just delete that point generator we want to use this spline so let's just drag in the spline as a child of the voronoi layer and we're getting quite an interesting looking chatter is certainly not what we want but it looks pretty cool um and if we hit play it's going to be dynamic and we get these kind of boards of uh broken so obviously it could be wooden planks but as i say that's not really what we want um we want it to kind of crack down this middle section so how might we do that well let's go to our shutter let's go to our display options and let's draw those shutter points again we click that and you can see that it's using the points on the spline as the shutter points so let's go back to the object tab in the shutter and if we highlight the spline we can see its settings we can see the bottom look here point type use object points but if we want a more regular distribution of points we can click on this menu and pick generate points along spline let's do that and now we have an even uh even distributed points and we've got 10 in total and we can increase this look and make more and more points pretty cool but again it's not what we want we're getting these long thin planks so this is the cool thing about these types of point generators with our spline active we can add modifiers and we can spawn extra points around these points so let's go to our modifiers menu and pick a spawn points modifier and you can see that we've got loads of points clumped up in and around those original ones and in our layers window we now have a spawn points modifier under our spline so let's highlight that and we are spawning 10 extra points within a radius of 10 centimeters so let's increase that let's put that up to say 60. ah there we go now so if we go to the display tab and now make the shutter points invisible now we're starting to get a shutter pattern that we want it's getting to that point isn't it where we're getting this interesting line down the middle of our wall so if we then hit play this is obviously still dynamic and we're getting that nice crack down there so this is looking cool let's go back to our shutter and make some adjustments we'll go to the object tab and we can add more points look we can add say 20 points we've got even more detail now but let's just for now leave it at 10 and let's reactivate our base shutter layer so we'll activate that and now we have that original shattered voronoi um pattern and we then have subdivided it along those spline points and we've got this really detailed chatter in this section and remember this again it remains procedural so if we go to our base chatter point generator we can make fewer points so we've got some bigger chunks before we then start chattering here we can change the um seed to get different uh distribution and we can go to our spline look in the spline we can maybe put fewer points on the spline itself but then put more points on the spawns let's say 20 and that's a radius of say 70. let's try 30 points and we can carry on um doing this until we've got this kind of look that we desire but we're kind of getting there we're kind of getting much more detail here where it is required so let's just hit play there and now it's shattering much more down that middle section okay let's go back to our shutter so now that we have got that this is looking pretty interesting isn't it we have got our extra bit of detail then we could add some more recursive shattering as an extra layer should we wish which comes after this and so we're getting even more detail um for those um for that those shattered realism in the rubble so that's looking really nice but the one thing to remember is that um as quick as this is the more shutter points you create obviously the more polygons you're creating um and it's going to have a hit on processor power it's becoming much more processor intensive the more shards you have so you could go nuts on shatter and have loads of layers with loads of um shatter points make an incredibly intricate shatter and that would work but it would begin to take longer to simulate so the best strategy when doing destruction scenes is to get that real dynamic simulation realism in in kind of the base shutter and make sure that it's all working properly with proper collisions like we have here with rxp bullet but then adds the very fine detail that you add to that simulation doesn't necessarily require such realism in its in its dynamics very tiny shards um you won't notice if perhaps they slightly intersect with each other or intersect with a bit of scene geometry and for that reason it's wise to use a mixture of different techniques to get all of that detail in there but to keep your processor power down as much as possible which makes your sim times as fast as possible so now that we have this set up let's look at different ways in which we can add further bits of detail to the shattering wall with the x particles toolkit so what we're going to do is we're going to create some dynamic debris here in a very kind of simulation efficient way so to do that let's just go to our xp shutter and for now we'll just switch off our second voronoi and we'll just have this very simple very low shard count object and there we go we've got it chattering away let's go to other sliding quite a lot on the floor on it let's go to our floor to our collision tag this is our xp bullet collider and we'll put that bounce down and we'll put a bit of friction on there because we want these to roll really not slide okay that's looking good and we can maybe go to our platonic let's go to the xp rigid body tag go to dynamics maybe add a little bit more linear velocity we'll put that to 2500 that smashes through cool right so let's uh add some particles now again the way that the technique that you decide to employ to add more detail um depends on a few things it depends on how close the camera is to the action it depends on that camera angle and it depends on the the length of the shot and all of those very different variables dictate whether you can use some of the more quick to simulate tricks or not so for example let's just set up our scene with a camera here so we're kind of looking at this how we may imagine our scene so we'll put in the same camera let's look through it and we're going to position that camera let's go and give it a a wide lens so imagine in the camera is fairly close to this pretty big wall let's give it a 20 mil lens and we can get right up close to it and then we're gonna get some nice effects as the debris comes shooting towards the camera okay maybe move it across a bit there we go and let's just go to our shutter and let's activate that other layer and hit place how it looks took all these shards flying towards us which looks pretty cool that looks good so let's add a couple more bits here let's go to the options and we'll enable depth of field and then we'll go to our camera and we need to pick where we're going to focus let's have the wall as our focused uh object so we'll take this picture on the focus distance in the camera click on the wall and then we'll go to the physical tab of the camera and we need to adjust the aperture so we'll put um a really fast lens on let's put like a one a one point zero aperture and you'll see we're starting to get blur and go even lower than that it's not the real world is it there we go so now we're getting the foreground shards really blurry and then bang those pieces come towards us and that looks really good and we can even go even more on that effect couldn't we make them really blurry there we go they're blurring as they're coming towards the camera all right that looks cool so let's add some more detail to this well one thing we we could do actually is that we could shatter the platonic as well as the wall um depending on what the platonic was what material we were simulating it might smash itself as it hits the wall so let's do that first we'll go to generators let's add another shattering we'll put our platonic as a child of the shutter we'll move the tag onto the shatter itself not the platonic and in the shutter we're not going to need um 40 shutter points if we just come out this camera and have a look at the platonic that's going to shatter into loads of pieces which may be what you want but we can get away with having fewer pieces which will be quicker to simulate all right let's just go into that display tab switch off those cut edges all right back into our camera hit play and now our platonic has shattered as it's hit the wall and we're no longer getting one piece of platonic flying through it's all just crumbling as if it were a rock shattering as it hits the wall okay so let's add some more detail what we can do we can really cheat this and get fast simulating debris if we come out this camera we can just find out at what point our platonic hits the wall so it's at like frame 9 through to frame 14 say so let's go to our emitters folder in the system let's create an emitter and this emitter will go to the object tab and we want to want to emit from the platonic or from the shattered platonic so let's go to object let's drag in the shatter let's put polygon area and um that'll do for now so then let's go to the emission tab and let's do shot and we want to the shot to start at frame say 12 maybe last for four frames and we want to have let's just try it 100 particles for now just so we get an idea of how this is working all right so let's hit play and now we're getting these particles so obviously that doesn't look right they're just kind of floating all over the place aren't they and that's because the particles aren't dynamic so there isn't any gravity affecting them in this instance they're just floating away so what we can do is a couple of things we can make these particles bullet dynamic if we want so let's try that first we'll go to the emitter let's go to the tags incidium tags bullet tags and we'll put an xp bullet rigid body directly onto an emitter now if we hit play they're falling to the ground and they're moving about the place so that's pretty cool what else could we do well we could actually use some motion inheritance so our particles are going to follow the motion of the platonic and not just fall directly to the floor here before we do that we just need to address one thing in the emitter let's go to our emitter object we'll go to the object tab and we are emitting from our shutter which is effectively a number of shards and so because of that we need to just go down to the bottom here where it says object chain and instead of the default use first object we need to connect objects and now when we do that we're going to get a much more evenly distributed emission of particles that's working correctly so now what we want to do is inherit some of the motion that the platonic has so to do that let's go to our emission tab let's go to the motion inheritance tab so normally would be on a mission we can go to motion inheritance let's activate it now this may be a little bit too strong let's have a look we don't want the particles to be dragged along too much yeah it's a bit quick but you can see the effect these are dynamic particles interacting with the floor and all of the shards and they're being emitted from the platonic as it shatters so this is giving us that debris and we might get away with that let's just reduce some of that speed blend so they're not quite propelled forward as much so then let's go back into our scene camera and we'll see these shattered particles we can really see the effect uh working now and you can see that having particles in this dynamic way is hardly slowed down this simulation whatsoever but we've introduced loads more dynamic objects to our scene so let's just go to our emitter let's go to the emission tab to the emission tab here and just increase and let's put say 700 and let's see what we get so this is going to be a bit slower obviously because we've got we've got seven times the amount of dynamic objects but we're getting pretty decent playback and look at that debris detail that we are gaining from this now one thing that we need to do when we make particles uh dynamic we need to remember some of those friction and bounce settings so in the tag itself where you've got bounce and friction we don't really want much bounce we don't well we have a bit of scatter actually and a lot of friction we want these to slow down [Music] let's have a look and there we go that's looking good very nice and we could also remember when you're using any uh bullet with any kind of particle driven uh objects like particles or generated objects or sprite objects you need to remember that the emitter has its own friction and bounce settings too so go to the emitter extended data tab physical data and look let's put that bounce down let put the friction up so we get those to get their movement arrested a little bit and let's have a look very nice loads of cool extra debris happening in our scene and again these are dynamic so these are interacting with all of our scene geometry but it's a very fast calculating interaction because they're particles it's just spherical so why have we done this well now that we've got the particles in there we can generate some what look like quite highly detailed shards but we're just going to use the particle position and the particle dynamics which means we're going to get really nice fast simulation times so what we're going to do is we're going to create some geometry shards just a few maybe five or six and then we're going to use those to create instances where our dynamic particles are so let's switch off our platonic and our wall for now because we don't need those and let's just uh protect this camera position let's go to tags uh rigging tags protection now we can't move that camera and we'll come out of it right so what we're going to do is we're going to create some shards and we can just do use bullet to do that so let's go and get a platonic lift it up and that platonic i'm going to put it let's go to x particles generators shutter stick it in there so now we have created a load of shards let's go to the shutter and we'll go tags incidium tags and let's put a bullet rigid body on there and if we hit play it's going to crumble to the floor and now we've made a load of shards excellent so then what we can do is if we go to our shutter and just hit c to make it editable in fact we can take that rigid body tag off before we do that remove that make this editable by hitting c and now we just have a null with all of our different shards and this is what we can use to create our debris so i mean i'm just going to click get some random ones let's go shard one i'm holding shift one two three four five six and let's just pick seven so now we've got seven shards let's hit ctrl c and in fact we'll just drag those up out of that we'll delete that null that has the rest of the shards we're not using and now we have all of our shards and there they are looking pretty good excellent and [Music] that's looking good so let's just select all of those shards and we'll go to coordinates and let's just reset all of those positions so they're all just on top of each other excellent so this is these are going to be our objects which we are going to be instancing so we can just keep them up here for now so now what we're going to do is this let's reactivate our shutter wall and our platonic and hit play and we have our particles let's go to our emitter and just let's omit fewer particles just for now because this is going to be lumps of debris so 700 is probably too much let's put it out to 400 and we're going to get faster viewport playback and it's still going to look really detailed there we go so now what we're going to do is this let's get a go to our generators menu in x particles and we're going to pick an xp generator here it is and the xp generator we're going to put all of our shards as children of the xp generator i've got one that i missed let's drag that in as well and then in our xp generator it's going to say which emitter do you want to reference what object do you want to make these shards from so let's make it from our emitter and let's have a look so we can pick clone type instance and we are using multiple child dog objects sequentially so it's going through these one by one we could just put randomly okay hit play and now you can see that we have got all of these tiny bits of debris let's just hit n a to get rid of those lines and you can see that they're colored blue because our particles are blue it's inheriting the color but you can see look we've generated all of these tiny shards and they are taking the same movement as our particles but because it's the particles which are driving the dynamics very fast dynamics um we're getting kind of the best of both worlds we're getting the look of the generated shards but we're getting the speed of the particles now this goes back to whether you want to use this method goes back to how accurate you need your sim if you need every single shard to be perfectly interacting with itself and other scene geometry because your camera is very close in for example then you may need to actually make the the generator the dynamic object and have the bullet tag on the generator not the emitter the the disadvantage of that is that it's having to generate lots more collision geometry so it'll be more processor intensive for us we can get away with these um just having the uh the bullet collisions being worked out on a particle spherical basis but that's looking cool and these are going to interact properly with all of these bits of geometry all of the bits of the floor and it's going to look and fit in the scene really well so now let's make some adjustments to these because they're all at the moment all of these shards are getting their shape from their reference objects um from our shard objects that were put in the generator but they're getting their size from the particle radius and that's if we go to the generator go to the scale rotation and offset tab you can see that we're scaling using particle radius so let's go to our emitter and let's give them um kind of random sizes and some variation so let's put them at say five centimeters with four centimeters of variation and let's just have fewer so we can have a faster running sim let's hit play so now we've got different size shards um and that's looking really nice so what you can do if you want to get more variation you could have one emitter and one generator spitting out a number of larger shards with a bit of variation and then another emitter and another generator spitting out more much more tiny shards with a little bit of variation and that's going to give you um a much more realistic spread but for us this this will do for now that's fine we're going to have this with a nice bit of variation let's go into our scene camera and we can hit play and then we're getting those really nice interactive shards flying towards the camera interacting with a bit of the scene we've got good playback bouncing on the floor um and that's looking pretty cool so let's just so we can view this let's switch off this depth of field because obviously depth of field gives that nice sense of depth and a dramatic look but it also hides a lot of sins so let's just switch it off so we can see exactly what this shard interaction is like in our scene because one of the one of the negative aspects of using this system is the obviously the the shards aren't using their own shapes as collision objects they're spherical and so sometimes you can see them kind of sliding and rolling a bit on the floor where they should be a little bit more um jumpy and jerky but actually in this instance these are looking really good and obviously they're so small in the scene that um you wouldn't notice and so the benefit that we're getting from those particles is fine that's looking really good all right so let's just make this look a little bit more dramatic we'll put our depth of field back on in a second but let's just put a bit of very basic scene lighting here and we'll do we'll do a really basic kind of daylight scene lighting and this is kind of an old lighting setup that we used to do before we had a wonderfully fast um realistic renderers like cycles 4d this is all this is an old kind of viewport and standard renderer lighting trick but we'll just do a kind of a daylight rig so what we'll do is we'll bring in a cinema 4d light we will make this light if we change the type from omni to infinite i'm just going to lift this up slightly so this is an infinite light and you can see that it has this illumination which is saying the light is going in that direction so if i hit the r key for rotate and point it down slightly it's starting to light it so this would be simulating a dusk or a dawn scene where there isn't much light it's only just poking over the horizon um we can't really see the effects of it too much yet though let's go to the light let's add a array traced shadow we're not seeing that shadow because we need to enable it in our options so let's go to options shadows and now we're seeing this shadow let's rotate that around a bit hit w for world and there we go so now we've got this kind of shadow effect excellent and let's give that we're doing daylight so let's give that a bit of a orange hue because this is kind of dawn or dust because i say um maybe not quite so orange maybe a little bit later in the day and then the other trick we can do is we can make that shadow slightly less dense so we can see the floor through it a little and then we can get another light now this light is just going to simulate the kind of the ambient light you're getting from the dome from the blue sky so let's go into this light and the way in which we'll simulate that is we'll set ambient illumination which will make everything look really milky and we'll make this blue to simulate the sky dome on a blue sunshiny day and then we'll just reduce this intensity down and what it does it just gives that kind of milky blue glow that you get from on a on a bright sunny day so then if we go back into our camera and we then switch on our depth of field and now if we hit play and now suddenly with the shadows we're getting a bit of lighting that makes this feel a bit more dramatic very nice now we're not texturing this in this tutorial but let's obviously we've got these bright blue um shattered objects here and that's because our generated objects are taken on the colour of our debris emitter so let's just change that we'll go to the emitter let's go to the display tab and let's pick um not single color let's just do a gradient random and the gradient random we will let's just make a couple of adjustments to this default gradient so we'll get rid of this knot and we'll get rid of this knot we will distribute those two and then let's make an adjustment to this blue and we'll just take the saturation of there and we'll give it a bit of gray and then the white knot will give it a bit of gray as well so now we're just getting a bit of a variation now of grays in our rubble let's hit play that's looking a bit better obviously because we don't have bright blue rubble but we're getting loads of detail in there and again it's simulating pretty cheaply because we're using this really nice method of um of using the particles to be the bullet dynamic object not the objects themselves all right that's looking really cool so just finally the next element that we're going to add because this is this is part of the x particles toolkit we can use everything to try and make stuff look as dramatic as possible so what we want to do now is take this and actually create some some dust and we're going to make volumetric dust which will look really cool at render time when you're lighting it with the light shining through that dust and we're going to do that by creating an exposure fx sim so let's get this set up what we'll do whilst we're making this sim is we will do a couple of things for a start we won't run all of the simulation just as we're setting things up because it's just more processor intensive and it's needless so let's go to our first of all we'll go to our shatter platonic and let's just go to the object tab and we'll just disable that voronoi layer which means the platonic isn't going to shatter into pieces when it moves and we'll also go to the shutter the wall shutter and we'll disable the more detailed shatter so if we hit nb now we've just got um a simulation that can run very quickly because the platonic isn't shattering uh more than once nor is the wall we've still got our debris which will switch off whilst we're just setting up this sim so before we switch that off what we're going to do let's just duplicate the emitter which is for our debris so let's say organize we'll name this one emitter debris and then let's duplicate it by holding control or command dragging it down and this second one let's take off the bullet tag and on this one we'll rename it emitter dust and then we'll switch off the emitter debris for now because we don't need it let's just have a look at what we've got so there's our part dust particles let's come out of that camera so this is going to be we're going to use these particles to drive some exposure effects smoke and all we need them to do is be alive for a little amount of time and then maybe die off somewhere like that so let's go to that emitter dust we'll go to the emission and the lifespan will set the lifespan well look they're emitting a frame 12 and we want them to finish at about frame 30 31 so let's just give them a lifespan of say uh 15 frames with 10 variation so kind of five either side of 15. so then they'll be born and then they'll disappear very cool that's all we need so then what we'll do with those particles is we need to give them some fuel some information um so exposure effects can work on that fuel so let's go to the emitter dust we'll go to the extended data tab we'll go to the physical data and what we're going to do is give them all we're going to give them actually is a smoke value of one let's give them one smoke and that's it now we're going to go to our um x particles system dynamics tab and in the objects we're going to look for an exposure effects there it is and that brings in a domain here which we need to resize and you can see this if i just select it and bring it up there's our exposure effects domain so we want this to be well it obviously needs to be wide enough to encapsulate our wall and scene and then it needs to be deep enough to be able to come towards the camera and obviously tall enough to take everything in so something like that there we go we wanted to go hit the floor okay good so what we can do here actually is ensure that if we hit uh hit f5 for the orthographic views and then let's go to this right hand view let's maximize that let's make sure that the floor of our exposure effects kind of matches our floor of our scene and then in the exposure effects we can come down in the solver tab we can come down and we can close off the bottom floor minus y this means that if the dust drops down it'll kind of bounce off the floor as it would um in a in a proper scene so let's hit f1 so that should be encapsulating that entire simulation area now we've scaled this up quite a lot which is going to suggest that the default four centimeters voxel size is probably going to be too detailed for what we need it's going to be quite heavy simulation this and we can visualize that if we go to the display tab go to the bounds and we put back this is representing the voxel grid in a 2d form but this grid fills this entire volume and if we dolly in it's very dense that is a lot of three-dimensional information that's being saved every frame for that simulation if we go back to the solver tab with a voxel size of four and we don't need that especially when we're setting it up so let's put this up at say 16 and now we've got fewer voxels in this volume so let's um now get this simulation set up so in our xp emitter dust we've given it the smoke value but we need to give it a tag so it can talk to the exposure effects object so let's go to tags incidium tags and we want to give it a exposure fx source and we don't actually need any heat or fuel any of that we could pass on some velocity in fact we could give it more velocity which is going to encourage that smoke when it's created to kind of continue that path forward that it's getting from the particle all right and because our voxel size we've made it pretty big let's go to our emitter to the emission tab and let's increase the radius of these particles let's make it say 15. so now let's just play through a few frames and you can see we're getting something solving here but we're not seeing an awful lot so what we need to do we need to go to the exposure effects let's decrease that voxel size a little we don't need to simulate fuel or heat and we need to display what we have simulated so let's go to the display tab and let's pick instead of fuel and smoke let's just pick smoke and there you can see here is our smoke let's hit play so those particles are creating that smoke it's simulating its way through let's go to our scene camera hit play that's looking okay now because our platonic isn't shattering we're just getting those particles from this one position which is why we're getting just kind of like one lump of smoke here but when we now go back and activate our shatter platonic reactivate that voronoi layer so the platonic actually shatters into pieces will get much more of a spread so we're getting this spreading out of smoke from those um platonic pieces i think we let's give it less velocity it's really kind of shooting forward too much that smoke so let's go back to our emitter dust exposure effects tag let's reduce that velocity down to just to say 100 percent there we go very nice and let's go to our exposure effects settings and we'll go to the simulation tab and let's have a look at the settings that we have now what we can do is we can give this smoke less buoyancy so it's going to sink down a little quicker let's go to our display settings and we are in slices 32 slices with a resolution of 64. let's just increase that to 64 slices to thicken up a bit and increase our resolution up to say and obviously we don't want the smoke to be black so we'll take these smoke colors let's just give that a little bit of value to make it more gray and let's just bring that down which gives us more of a white so we're adjusting this smoke color gradient here and that's looking much more like dust very cool all right so let's uh do a couple more things here let's take um let's say we want this maybe to drop down a little bit more heavily so we can go to our exposure effects to our simulation and let's reduce our smoke buoyancy even more and then we can also um dissipate that smoke so it kind of disappears in the air the moment there's no dissipation whatsoever so let's put this on say 0.6 dissipation very nice now let's go to our shutter object which is our wall and let's reactivate our other voronoi layer which is giving it going to give us the detail play it through now obviously it's going to take longer because it's generating an awful lot more geometry now but now we're getting this really nice look with our smoke and dust layer it's perhaps dissipating a little bit too quickly now that isn't it so let's go back to our exposure fx let's reduce that dissipation and we can maybe try and pump a little bit more smoke into this so let's go to our emitter dust to the extended data tab we can add say 10 smoke very cool and finally let's re-select our emitter debris which is going to create our debris particles go back now we're generating an awful lot of dynamic objects now and none of this is cached so this is all playing in real time in the viewport so we're going to get a slow down viewport performance but we're looking pretty good if you imagine the amount of geometry that's being generated and the amount of calculations that are being made per frame this is now looking really detailed and um very good all right and we could possibly just before we do a render of this we'll do a hardware render we could take our exposure effects and let's go to the solver let's just reduce that voxel size down somewhat so we get some more detail in that smoke and before let's just do a quick test of that to see how it looks we'll deactivate that debris emitter again just so we're not processing too much information so here we go yes we've got a much more higher resolution dust coming out there which is looking really nice very cool indeed all right so that's looking very cool let's do a viewport render now so we can view this in um kind of real time and get a really good idea of how this is looking so to do that let's do a couple of things first let's reactivate our emitter debris let's go to our exposure effects object we'll go to the display tab let's just get rid of all of this viewport stuff so we'll go to the grid options and put that to none we'll select the show adaptive bounds and switch that off that's looking pretty good right so then let's go to our render to our edit render settings we'll change this to viewport renderer we'll switch off save we'll just do it to the picture viewer we'll do 720p which is fine we'll do the first 200 frames and then let's go to our viewport renderer settings and we will copy effects from viewport let's just make sure we've got depth of field selected we've got shadow selected let's go to the shadows and just make sure that they're going to be high res enough so we'll just increase that shadow map size and let's add some super sampling two by two we'll go to the filter and um let's just make sure we've got everything we need there let's just turn off these axes we don't need that and um that'll probably do us for now okay good so we'll just get rid of those and we will go to render render to picture viewer yes continue without saving so this is going to chug through and it's going to take slightly longer than it would normally because we've increased those shadow maps we've also done some super sampling but it's still going to be fairly quick so we'll pause this here now when it's finished i will come back to you tell you how long it took and we'll have a play through this viewport preview sim so we've stopped that sim at 106 frames because with the majority of the simulation had finished there and all of the processor intensive stuff had already simulated with that dust dissipating and that was pretty quick a minute and 32 seconds for 160 frames so let's just bring this back to the beginning just make it full screen and we'll play through and you can see that we're getting this really nice destruction scene and these big large shards that we've got our platonic which is splitting up as well we've got all of that debris flying about the place and then we've got our dust particles which are emitting this dust explosion and um all very quick to set up all pretty self-explanatory this remains a procedural rig so adjustments are really easy to make and this is looking like a really nice result at this preview resolution

Channel: INSYDIUM LTD

Views: 11,573

Keywords: X-Particles, INSYDIUM, C4D, Cinema4D, Cinema 4D, MAXON, VFX, MotionGraphics, Update, Sneak Peek, Cinema, 4D, xparticles, particles, simulation, cgi, vfx, mograph, motion graphics, 3d, 4d, effex, visual fx, software, tutorials, tutorial, tip, hint, help, quicktip, trick, hints, fused, INSYDIUM Fused, xpBullet, destruction, crush, wall, debris, smash, vfx crumble, crumbling wall tutorial xparticles, xparticles destruction, xpBullet Destruction

Id: X74ARe24Bes

Length: 64min 5sec (3845 seconds)

Published: Thu Jul 29 2021