Add transcription for: Water Homework.wav

transcriptions/Water Homework_transcription.json

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+{
+  "text": " For the second assignment, we're going to be focusing more on one more particle effect, which is going to be the water ripples caused by the raindrops hitting a water surface. So we're going to be looking a little bit into the tech that generates that so we can attach it to a particle effect. And then focusing on creating the meshes that you need to create elements like waterfalls, water vortexes that go out in every direction, and then things like streams, rivers, how water can flow down a certain surface like a rock, something like that. So we'll be going over the different elements of what to set up with your textures, your materials, and your particles to get that result. So looking into the first factor, we want to make sure with creating our texture for the water ripples that we need that you create this effect based off the lesson that we had in ZBrush where I just took a series of six cones and just arranged them on a plane and did a basic render to get this really nice height fall off. You can see the value is concentrated in the center here and then has a very slow, perfect gradient falloff to the edge here, which is definitely what we need for this material setup. So whether you create this in Substance Designer or whether you create this in ZBrush or even create in something like Blender or Maya, you want to make sure that you have a really clean sense of a gradient going from the center to the edge here. That's going to be very important. Likewise, with how you render your normal map, you can see this a lot more clearly where you have this high concentrated edge of a value here and that it slowly radiates out. Going into this, we want to make sure, because this is the most math heavy material that we've made for this lesson here, I'm going to zoom out and just go through and make sure that everything can be looked at here. So we have this first height texture that we have here going into a power base node that's being used by the first dynamic parameter. That is going into, let me isolate these a little bit more here so we can be perfectly clear here. So that's going into a power node, which is being powered by this contrast, which is the first parameter we're using. That is then being channeled into this add node that is being channeled into this subtract. It's being subtracted by one. This time node, which is the dynamic parameter, which is the second one, which is time, is going into this where time is being multiplied by this dynamic parameter. This is going into a frack node, and there's no default values that we need to set here. This is going into the subtract, and this is being added to this power base right here. This is then going into a 1 minus node here that is then being channeled into this multiply node here. This add is going into a multiply that is then being multiplied by this power dynamic parameter, which is the third and final parameter we will be using. That's then going into this clamp node, which is set at a minimum of zero and a maximum of five. That is then going into this Pi node here. If you just right-click and type Pi. This is going into a sine node, which is just set at a period of one. This is just the default setting here. This is then being multiplied by this. This is then being multiplied by the alpha. This is then going into a depthfade node so we don't get any clipping. That's all going into the opacity. This whole entire chain here is being set up just so we can go into the opacity. The normal map that we set here is just going into the normal, just very simple, just a simple connection there. And then the particle color is just being channeled into the base color. This is all going into a translucent volumetric directional material. So with that all set up, it's then being set to be demonstrated here. If I can get this to show really quick here. I might just show this in the scene here. So you can see those water ripples when they're set up with this raindrop set, they're just being spawned on a locked axis of Z, being spawned along a sphere radius with a negative Z checked off and a positive Z checked off. So they're just spanning along this disk radius here of 150 with the axis locked at Z. So they're all facing straight up. doing a bit of initial rotation to just get some variety. And really that said, this is a pretty simple particle setup that was demonstrated in the lesson. But because this is so math heavy, just be patient and go back and recheck how this no chain is set up. I'll just take a pause here and reset where you can just take a look one more time at everything that's being done here. And with that, that's how we can set up the rain ripples that we can start placing in our scene that you're seeing here. So for the next part, we want to take a look at what kind of meshes we can create for the waterfall effect that we're going to need. So going into this scene in my, we just want to check and make sure that we check our UVs with how this is laid out. So in order to get the proper speed that we need, we want to check the UVs, make sure they're set at the top. So the top of this waterfall, we want to make sure is checked in where the top of the mesh here and the top of the UVs here are matching up. We can pretty much place this wherever we want on the UV space because it will be tiling. So we don't need to worry about that. You can see that this is a little bit more scrunched up in comparison to the elongated sense of the faces on this waterfall. And that's because we want this to be going a little bit faster. You can see here, because this is elongated polygon, but these are shorter here, that means the water is going to pan faster. So as more gravity takes hold here, you can see that the water will pick up at a faster rate. So you can see this here on these faces too. When I select this part, you can see these are scrunched up pretty far because the water is starting to pick up. here where it's moving a little bit slower at the top, it's matching a little bit more with its size as you can see here. So this is just a basic waterfall that I have set up here. You can also demonstrate or set up and see what you can do as far as doing some topology over a rock surface or doing some of the techniques that we did in the lesson to see how we can get a panning waterfall to hug the surface of a rock or a building or anything you need to have water flowing over. keep in mind the sense of the mass of the water and how it would flow with its sense of mass and gravity over the object. And make sure that before you start draping this over your object, make sure that the UVs are set up and are perfectly straight up and down so you can get the proper result here. And one last thing you can do too is experiment with a couple other meshes that you can make. With this right here, you can see we created this vortex. So the entire outer ring here, if you go to the UVs, are set at the bottom. And then the center of this is set at the top. So anything that pans out is going to pan out in this perfect radius sense here, which will look really cool once we place this at the base of a waterfall. And so going back into UE4, let's go into the actual system that we have set up or the material we have. This is just the basic panter setup where this is gonna be set at negative 0.5 for the first texture, and then negative 0.75 for the second. You can just grab any kind of normal material you want. I just am reaching for this sort of tried and true water normal map that I got from the internet. And you can also create this too, just playing with some noise textures in Substance Designer or ZBrush with the Noisemaker. Once you set this up and then channel this into the normal map here, you'll get the basis of what you're seeing here, which is this really nice sort of flowing water texture. And the thing, remember, that turns it all on is this refraction node. once we set this to a translucent material with a surface forward shading lighting mode set up. So this is gonna be a 3D mesh that has surface forward shading applied so we can apply specular roughness. We can take this same sort of panning material, we can grab the red channels from the normal maps and add a little bit of diffuse texture to it. Once we have this going with the proper panor textures here, and we can also set this up to a linear interpret with a blank normal or blank normal value. With that we can set up the normal strength. And we now have this material that we can start applying to our different meshes that you see here. And really try to push in different ways. And the last thing we did of course was one last thing I wanna show, is we can take the texture, apply the same sort of panning texture to it and we can multiply this by the vertex normal world space. We can add a height to it and we can control this with the power. And we can turn on tessellation for these meshes. So we can have world displacement and the tessellation multiplier turned on if I go down here. You can go tessellation, turn on PN triangles and just click off crack free displacement and have adaptive tessellation turned on. Set a value of something like eight for the tessellation multiplier. So we have a good large amount of resolution. And then we can just pan these black and white values you can see here to add that bit of extra kind of bump to the mesh. That'll really help with the refraction, the normals and the other textures that are panning over this mesh here. And with that, you can see with these different meshes, we can really get some really nice results of streams, rivers, waterfalls that are going across our scene here. So be patient with that experiment with other material or other textures that we want to plug in the materials here. Let me just grab one of these material instances here and see how we've changed this up based on the master material. And so it looks like, yeah, we're still using the same one texture for everything, but with everything that we set up in the lesson, just take a little time and create a lot of different material instances so you can try different values, just so you can isolate and try different values with certain elements and certain meshes. That way, if you make a certain change or make a certain mistake, it's not going to be too tough to kind of go back and see what we're wrong or what changed. And with that, you can start creating these really cool elements of these water meshes that you can put in almost any scene, be it man-made or nature-based.",
+  "segments": [
+    {
+      "text": " For the second assignment, we're going to be focusing more on one more particle effect, which is going to be the water ripples caused by the raindrops hitting a water surface. So we're going to be looking a little bit into the tech that generates that so we can attach it to a particle effect. And then focusing on creating the meshes that you need to create elements like waterfalls, water vortexes that go out in every direction, and then things like streams, rivers, how water can flow down a certain surface like a rock, something like that. So we'll be going over the different elements of what to set up with your textures, your materials, and your particles to get that result. So looking into the first factor, we want to make sure with creating our texture for the water ripples that we need that you create this effect based off the lesson that we had in ZBrush where I just took a series of six cones and just arranged them on a plane and did a basic render to get this really nice height fall off. You can see the value is concentrated in the center here and then has a very slow, perfect gradient falloff to the edge here, which is definitely what we need for this material setup. So whether you create this in Substance Designer or whether you create this in ZBrush or even create in something like Blender or Maya, you want to make sure that you have a really clean sense of a gradient going from the center to the edge here. That's going to be very important. Likewise, with how you render your normal map, you can see this a lot more clearly where you have this high concentrated edge of a value here and that it slowly radiates out. Going into this, we want to make sure, because this is the most math heavy material that we've made for this lesson here, I'm going to zoom out and just go through and make sure that everything can be looked at here. So we have this first height texture that we have here going into a power base node that's being used by the first dynamic parameter. That is going into, let me isolate these a little bit more here so we can be perfectly clear here. So that's going into a power node, which is being powered by this contrast, which is the first parameter we're using. That is then being channeled into this add node that is being channeled into this subtract. It's being subtracted by one. This time node, which is the dynamic parameter, which is the second one, which is time, is going into this where time is being multiplied by this dynamic parameter. This is going into a frack node, and there's no default values that we need to set here. This is going into the subtract, and this is being added to this power base right here. This is then going into a 1 minus node here that is then being channeled into this multiply node here. This add is going into a multiply that is then being multiplied by this power dynamic parameter, which is the third and final parameter we will be using. That's then going into this clamp node, which is set at a minimum of zero and a maximum of five. That is then going into this Pi node here. If you just right-click and type Pi. This is going into a sine node, which is just set at a period of one. This is just the default setting here. This is then being multiplied by this. This is then being multiplied by the alpha. This is then going into a depthfade node so we don't get any clipping. That's all going into the opacity. This whole entire chain here is being set up just so we can go into the opacity. The normal map that we set here is just going into the normal, just very simple, just a simple connection there. And then the particle color is just being channeled into the base color. This is all going into a translucent volumetric directional material. So with that all set up, it's then being set to be demonstrated here. If I can get this to show really quick here. I might just show this in the scene here. So you can see those water ripples when they're set up with this raindrop set, they're just being spawned on a locked axis of Z, being spawned along a sphere radius with a negative Z checked off and a positive Z checked off. So they're just spanning along this disk radius here of 150 with the axis locked at Z. So they're all facing straight up. doing a bit of initial rotation to just get some variety. And really that said, this is a pretty simple particle setup that was demonstrated in the lesson. But because this is so math heavy, just be patient and go back and recheck how this no chain is set up. I'll just take a pause here and reset where you can just take a look one more time at everything that's being done here. And with that, that's how we can set up the rain ripples that we can start placing in our scene that you're seeing here. So for the next part, we want to take a look at what kind of meshes we can create for the waterfall effect that we're going to need. So going into this scene in my, we just want to check and make sure that we check our UVs with how this is laid out. So in order to get the proper speed that we need, we want to check the UVs, make sure they're set at the top. So the top of this waterfall, we want to make sure is checked in where the top of the mesh here and the top of the UVs here are matching up. We can pretty much place this wherever we want on the UV space because it will be tiling. So we don't need to worry about that. You can see that this is a little bit more scrunched up in comparison to the elongated sense of the faces on this waterfall. And that's because we want this to be going a little bit faster. You can see here, because this is elongated polygon, but these are shorter here, that means the water is going to pan faster. So as more gravity takes hold here, you can see that the water will pick up at a faster rate. So you can see this here on these faces too. When I select this part, you can see these are scrunched up pretty far because the water is starting to pick up. here where it's moving a little bit slower at the top, it's matching a little bit more with its size as you can see here. So this is just a basic waterfall that I have set up here. You can also demonstrate or set up and see what you can do as far as doing some topology over a rock surface or doing some of the techniques that we did in the lesson to see how we can get a panning waterfall to hug the surface of a rock or a building or anything you need to have water flowing over. keep in mind the sense of the mass of the water and how it would flow with its sense of mass and gravity over the object. And make sure that before you start draping this over your object, make sure that the UVs are set up and are perfectly straight up and down so you can get the proper result here. And one last thing you can do too is experiment with a couple other meshes that you can make. With this right here, you can see we created this vortex. So the entire outer ring here, if you go to the UVs, are set at the bottom. And then the center of this is set at the top. So anything that pans out is going to pan out in this perfect radius sense here, which will look really cool once we place this at the base of a waterfall. And so going back into UE4, let's go into the actual system that we have set up or the material we have. This is just the basic panter setup where this is gonna be set at negative 0.5 for the first texture, and then negative 0.75 for the second. You can just grab any kind of normal material you want. I just am reaching for this sort of tried and true water normal map that I got from the internet. And you can also create this too, just playing with some noise textures in Substance Designer or ZBrush with the Noisemaker. Once you set this up and then channel this into the normal map here, you'll get the basis of what you're seeing here, which is this really nice sort of flowing water texture. And the thing, remember, that turns it all on is this refraction node. once we set this to a translucent material with a surface forward shading lighting mode set up. So this is gonna be a 3D mesh that has surface forward shading applied so we can apply specular roughness. We can take this same sort of panning material, we can grab the red channels from the normal maps and add a little bit of diffuse texture to it. Once we have this going with the proper panor textures here, and we can also set this up to a linear interpret with a blank normal or blank normal value. With that we can set up the normal strength. And we now have this material that we can start applying to our different meshes that you see here. And really try to push in different ways. And the last thing we did of course was one last thing I wanna show, is we can take the texture, apply the same sort of panning texture to it and we can multiply this by the vertex normal world space. We can add a height to it and we can control this with the power. And we can turn on tessellation for these meshes. So we can have world displacement and the tessellation multiplier turned on if I go down here. You can go tessellation, turn on PN triangles and just click off crack free displacement and have adaptive tessellation turned on. Set a value of something like eight for the tessellation multiplier. So we have a good large amount of resolution. And then we can just pan these black and white values you can see here to add that bit of extra kind of bump to the mesh. That'll really help with the refraction, the normals and the other textures that are panning over this mesh here. And with that, you can see with these different meshes, we can really get some really nice results of streams, rivers, waterfalls that are going across our scene here. So be patient with that experiment with other material or other textures that we want to plug in the materials here. Let me just grab one of these material instances here and see how we've changed this up based on the master material. And so it looks like, yeah, we're still using the same one texture for everything, but with everything that we set up in the lesson, just take a little time and create a lot of different material instances so you can try different values, just so you can isolate and try different values with certain elements and certain meshes. That way, if you make a certain change or make a certain mistake, it's not going to be too tough to kind of go back and see what we're wrong or what changed. And with that, you can start creating these really cool elements of these water meshes that you can put in almost any scene, be it man-made or nature-based."
+    }
+  ]
+}