WEBVTT

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In this lesson, we're going to create the ammeter we're going to use in our main animation scene for

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our Bifrost smoke, and I'm doing this in a blank scene because our animation scene has a lot going

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on and everything would work a lot slower if we did it in the animation scene.

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So I'm just going to do it in a blank scene.

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We have a tourist we've created from the Polish modeling shelf.

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I'm going to increase the subdivision's so we have more geometry and then I'm going to go to to form.

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And go to the texture to former and also just real quickly, we're doing this as like a custom INM that

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we're going to cash out, basically is what we're doing here.

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And the reason we're doing that is because with the texture to former, you can't scale it.

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So I'll show you that in a second.

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But basically what the workflow is, is we're going to have an ATM.

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And like the previous lesson, we just had a cube.

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But for smoke, we want the smoke to look more natural and kind of have all this wispy stuff going on.

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And we can get that from the ATM.

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A lot of that from the ATM.

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So we want to create something that's very erratic to kind of emit these kind of very natural organic

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shapes.

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So I'm going to click on this little checkbox over here next to Texture and I'm going to choose a noise.

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And immediately you can see it's kind of wonky.

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And we've covered the texture of former previously in the texturing section of this course.

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Of course.

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But again, you just kind of have to mess with this stuff and go to normal.

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We can adjust the offset and then we want to go into the texture itself and then adjust these objects

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second.

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Right.

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Click here to get a preview of what that is.

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But also we can just see it here being represented inside of the geometry so we can adjust this stuff

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as needed.

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And basically what we're looking for, something very kind of like a freeze frame of an explosion,

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essentially.

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And so we can adjust this as needed.

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And then the next thing we're going to do is to add an expression here at a time.

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So I'm going to say equals time.

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And what that does is when we play this back, it will just change the number here according to the

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frames.

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So it's a really quick way to get animation.

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But if we're going to do smoke, that's kind of exploding.

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This is too slow.

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So I can.

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Right.

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Click here and say added expression, we get this little new window and we have our expression here.

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This attribute is where we entered in the equals time.

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So this is what Maya reads.

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Is this little box over here this time means noise.

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One time you can see this is noise one and then time is this attribute.

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And then we typed in equals time.

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So we're going to add to that and just say times like maybe six and edit and that'll save our edit.

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And then we can play this back and see if that is fast enough.

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So it's pretty erratic and we can kind of frame through each frame and scroll through, and I think

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that'll give us enough change over time.

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And so let me get to the other reason why we're doing this.

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And actually, let me just add a little more geometry here and see if that helps before I explain a

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little more why we're doing this so we can go down to tourists.

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Let's see if we can just add some more geometry.

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Maybe 40, so we just get a little higher resolution here so that the shapes have a little more volume

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to them and can do different things so we can adjust this texture to form or as much as we want by going

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into that and, you know, changing these things.

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But in general, we can actually reuse this thing.

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Once we cash it out, we'll be able to reuse this for any number of simulations.

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Let's just increase the timeline to two hundred so that it will have the full range of our of our animation

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scene and we can use the Olympic node to offset.

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So even though we're on frame one and we're only going to cash frame two hundred, we can offset this

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by a thousand frames once we import the Olympic cache.

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So again, let me just cover why we're doing it this way.

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If I was to scale this, it's going to get kind of wonky with the texture to former.

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So you see how kind of change shape it's not holding its shape on a scale because it's moving through

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this texture.

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So we're cashing this out so it breaks down that texture.

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So when I scale it, it's going to keep this shape when I scale it.

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And scaling is important because that's how we're going to kind of turn on and off the effect when the

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emitter we're going to scale up from zero.

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So it's basically going to be nothing.

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It's going to be down, you know, and we can get down to zero.

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This is the other thing, like check this out.

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I can't get this thing down to zero.

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So we need to cash this out so that we break down the geometry so we can scale to zero, so we can make

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this thing disappear and then we can scale up and, you know, retain that jaggedness that we have down

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here and so that we can basically say, kaboom, here is our emitter and it's going to make a really

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nice emitter for our smoke.

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So let's go to cash Olympic cash export selection to Olympic.

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And I call this, say, 15 Bifrost emitter.

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And instead of using start in, I'm gonna use the time slider and we don't really need IVs or whatever,

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but that's OK.

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We'll just leave it there and revert that back to the original.

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This is from the other section where we had to change that.

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But anyway, this is the default and then.

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Yeah, well, it's.

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Let's export selection, it's going to play through and then in the next lesson, we can import this

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into our main animation scene to create some smoke.

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Thanks for watching.