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+  "text": " So starting at the top here, we have save, browse, nor define this in the content, simple things like that. These two buttons will come in handy, restart sim and restart level. Restart sim, if you ever have a particle effect that's working on a burst or something that bursts a amount of particles every certain set of seconds. So rather what we have right now is we have a spawn rate of 20 particles per second. And just for demonstrating, I'm going to set this to zero. I'm going to go down here to burst mode. I'm going to click this plus button here. So we're going to create a burst, which is a selection of particles that will every second and we can modify every certain amount of seconds too. So the count right now is at zero. So if I do something like eight. You can see now every second it's going to burst eight particles. And in order to modify this, what I can do is if I go to this required tab and do admitted duration, admitted duration is the amount between these bursts. So if I do this something like three seconds, you can see it's waiting three seconds and then doing another burst. I'm going to set that back to a regular spawn right now. What you can see here is if there's a particularly long admitted duration, so something like eight seconds, and you wanna restart your SIM, you could just go here and do restart SIM. Every time you hit this button, it'll restart the SIM from the beginning. Restart level is kind of like restart SIM except it sort of re-loops or restarts kind of everything in the level that this particle system is in. So it's kind of a more powerful version of restart sim. So I'm gonna set this emitter duration back to one. I'm going to do the trash can to get rid of this burst and I'm gonna put the burst or the, sorry, the spawn rate back at 20. So every second it's spawning 20 particles and that's how we get this really nice stream here. So we have undo and redo, which is just your control C, control Z, control Y. You have thumbnail, which is going to, if you hit that, It'll take whatever is in this space right here and create a thumbnail in the content browser. So you can see right here now a thumbnail has been generated. And then these icons going down here, we're not going to worry too much about these. These get into LODs of particles. And these are very important when you start to get into action oriented particles and particles that are really in the pipeline for video game creation or game that's getting created kind of in its final stages where you really want to optimize and save. space and everything, but everything in this tab right here, we don't need to really worry about it. I hardly ever go up here with LOD creation. That's a little bit more advanced than we're going to be working with. You have origin axis, which will show where the particles or the particle effect is spawning from. And we can kind of see where it is already because we have these particles streaming at 00 and zero in the circle space here. And we have this one here, if you have a lot of dark particles, you can just click background color, and you can change the background color to pretty much whatever you'd like to have the particles stand out more. And this really comes in handy if you have something like dark clouds or dark particles emitting from that black on black, obviously it's very hard to see. So this can really help. So now if I just click in this sort of void space, you can see the particle system options come up. I don't go into this tab too terribly much. So there is one thing that we will have to worry about once we start going into GPU particles. But for now, we don't have to worry about that. I'll go back to that when we start going through that. But this bounds tab is really all you need to worry about with the options that exist within the particle system out here. So these two right here are emitters. This is the emitter that we just created in our last section when we created those flames. I have this new emitter here. This is the name that you can do for the emitter, so I'm going to call this embers. I'm going to call this emitter. It just by default says particle emitter, and there's no particle emitter 010203, so it can get very confusing if you duplicate a lot of emitters. So you want to make sure that you keep these named so you don't lose track of what's what. There's this, I believe this is the count of particles on screen at any given time. I might be wrong about that, this little number right here. This is the material that is showing up. There is this icon, this checkbox, which will turn it on and off. And then there's this S button that you can hit, which will solo it or essentially isolate just this Admitter, which is a nice feature to have. I'm gonna go into the require tab here, and this is going to cover the material that is applied at the top here, the material that's applied. Right now, this is the default particle. This, whenever you create an empty admitter, this will be applied. It's just this cool little cross-error thing, and you can see it being applied here. Really quick, I'm going to select the embers material that I have here, and I'm gonna implement that. It's going to buffer for a couple of seconds. You can see it's rendering. And then now you can see that that soft white falloff is showing up now. So these particles have this nice, um, sort of stream or a representation of the soft falloff that we have right here. And then we have the emitter origin, which, um, we'll show kind of in space where we want this to be. I almost never touched this, uh, or midder rotation. We have screen alignment, which we're going to work quite a bit with. So right now there's a couple of different alignments that we can have. We can have PSA square. PSA square means that these sprites that the particle is on and the sprites again are the squares that are admitting from the system if I go to wireframe. PSA square means that these will be perfectly perpendicular to the camera no matter where the camera is in local X, Y and Z space. So that's the default that it set out here. We have a couple of other ones here. we have a rectangle, which I don't really use. We have a facing camera position, which I don't really use. There's only two options here that I do use. That's PSA square and that's PSA velocity. And PSA velocity, we're gonna go into a little bit more later on down the line. So PSA square, PSA velocity. I can showcase velocity right now and what they're doing. So you can see that these sprites will essentially face, If I do something like... So you can see something strange is kind of going on there. What's happening is that these sprites, because they're going this way, you can see they're like kind of like a paper airplane sort of flying on the velocity that they're going for. So instead of being perfectly aligned to the camera, they're doing this new thing where they're kind of bending and twisting a little bit so they can align like a glider, essentially with the velocity that they're going on. So if I turn this back to go back up to required and do PSA square, they're now perfectly perpendicular with the camera again. I don't worry about these two right here. There's used local space, which is really important. If I leave this unchecked right now, go back to lit. If I grab this and I move it around, you can see that it's kind of like a smokestack on a train where these particles are kind of being spawned, but they're sort of leaving a trail where I move them around. And if I move this around in sort of a frequent way, you can see that they're kind of just spawning all over the place. So if you want them to follow where the emitter is, if you click use local space, and now if I move this, you can see it's inheriting the space of the emitter. So no matter how much I move this, it's going to still use this trajectory that it originally had, like it's not moving at all. And that really comes in handy with anything you want to place around the scene or any movement just in general. So I'm going to keep local space checked. I like to kind of have that on by default when I work. kill and deactivate kill and comprehend I don't worry about too much sort mode is taking into effect when you have a lot of translucent materials kind of all overlapping each other and we'll work with this a little bit later on down the line but we have view production depth we have distance to view we have age oldest first and age newest first. Um, we can play around with these and see what, uh, essentially what it's doing is that if there's any kind of Z fighting with the sprites and there's a conflict of like which sprite is in front of the other and you get that kind of like strobe Z fighting effect, you can do age oldest first, which will always put the sprites that are oldest in front of the younger sprites. So there's no confusion there. Um, and that way you can get a little bit of where it can clean up that sort of like, uh, artifacting and Z fighting that you see there on which sprite is in front of the other. Going here, we already touched a little bit about if you're using bursts, what the emitter loops, emitter duration. Emitter duration, or sorry, emitter loops, if you set this to one, the particle will live forever, if it's doing, so essentially those particles will not have a lifetime, they'll just kind of hang out. This is really, comes in handy if you have something like a school of fish, a flock of birds, which we'll be getting into a little later down the line, so we'll go back to that. delay, we're not going to worry about too much. I haven't really touched this sub UV. This is if you have a flipbook or a sequence of images, we're not going to touch on that too much. Macro UV, we're not going to worry about rendering, we're not going to worry about particle cutout, normals, all the rest of this, I don't really touch too much. So this is gets into the pretty technical elements of what is going on in cascade. And that is essentially what you need to know for just just getting started here with Cascade with just this tab. So we're gonna go a little bit further down here. To spawn, we already touched on this a little bit. This is amount of particles per second. And again, you can have float uniform, you can have constant curve. You'll always, if you see this dropdown, you'll always have these options of like, do you want a float constant, which is one vector. So I can do five, which is a little bit less. You can have a float constant curve, which I've actually never tried. going to try this right now, see what happens here. So along the particles life, we have something like interesting. So I've actually never tried this, but you can have where at the beginning of the particles life, no particles are being spawned. And then by the end of the particles life, 20 particles are being spawned. So it's kind of like a burst every certain amount of seconds. But we're getting kind of this interesting effect here. We have a distribution flow particle parameter, which has to do with blueprints, I believe. So I'm not going to worry about that. And then we have distribution flow uniform, which is used quite a bit. So we have a minimum of five, we could do like a maximum of 30. And this will break it up a bit. So it's not like this steady universal stream, but it's like on some seconds, it's only going to spawn, spawn five or 30 or anywhere in between. The rate scale, I don't really touch too much. Um, the apply global spawn rate scale and process spawn rate. I don't worry about that too much. We just covered burst. Um, and the burst scale that we can also apply, uh, values to, um, the lifetime is pretty straightforward. It's how many seconds you want your particle to live. This is measured in seconds. Uh, so it's one second by one second. So if we do something like five and if I, and you can go into decimals too. So if I do something like 0.25, you can see some of these are living very long. some of these are living not so long about a fraction of a second. Um, and it's because they're so condensed together, you can see it's a little bit tougher to see, but there we go. Bring back to the center here. You can see that some of these are living a little bit longer. Some of these are dying out sooner. So, uh, this range is really good to have, um, in certain elements when you're creating particles, um, and it really adds that dynamic factor there. On the initial size, um, so because we're just using PSA square, I'm only going to worry about this one x, the x factor. So a maximum of 100 a minimum of 25, if you use a velocity alignment, you're going to have to take this into effect. And if you use any meshes as particles, you're going to have to take this into effect. But for right now, and I can just do this for good measure, I'll just keep this set. Sense of scale, anything between 25 is the min and 100 is the max. I'm not entirely sure what units this I just kind of do it by size here or I just kind of go by just sort of rule of thumb just looking at this For initial velocity we've covered that so we can set this back to zero here, and it's just sitting in the center if I do something like 50 you can see they're all starting to march in positive x so you can see here here's the x y and z cursor in This space so right now it's at 50 so it's marching this way if I do negative 50. It's going to go the other way. If I do 50 for y, it's going to, every time a particle is spawned, it's going to pick, or it's actually going to pick the average between the x and y space or the negative x space and the y space. And then if I do something like that, so this is actually setting out a stream of velocity. So instead of two random values, it's directing where it's like, okay, the stream is going to be 50 units and negative x, it's going to be 50 units in positive y, and it's going to be 20 in Z. So it's like coordinating like a fire hose where it's like, okay, it's going this much in x, this much in y, this much in Z. And it's cool if you want to get a stream pointing at a very specific target. If we want to do something a little bit more useful, we can do uniform or vector uniform. So we're going to say negative 100 in x, or actually negative 100 for the min of x, positive 100. And you can see they're going both ways kind of randomly now. So some are going this way, some are going this way, and they're all going at different values because we have a minimum of 100 and maximum of 100. If I do this same thing for y, you can see now they're kind of spacing out and looking like something a little bit more dynamic like this sort of cool magical effect that you'd seen. If I do this again for z, you can see it's almost this sort of like bursting in space particle effect here. That looks pretty cool because it's doing uniform random values of x, y, and z. So 100 and negative 100. So it's like this kind of sphere encapsulated sense of velocity where it's all going these random different ways. And the last one here, we can do color over life, which we covered a little bit. So we can do something like at the beginning of the particles life, which is zero, we have white. And then as it gets older, it can go to a different color, which is orange. And you can see it slowly going over time. And we can adjust this to where we want like, Hey, half the particles life we want it to be, and then we want to change to orange at the end of its life there. And the closer these two values are. So obviously going from zero to one, it's going to be a larger, more gradual change. If you want something that is a little bit more, or I could do this another way too. If I do something like point two and then zero, you can see they're changing a lot quicker. So it's going from the beginning of the particle's life, zero. And then at point two or 20% of the particle's life, it's going to a bright orange. So you can see it's only staying white at this very beginning of its life. I can just this a little bit more, go to point three and you get a little bit more of a gradual element there. Another thing that you can do really, that's really interesting here is that if I drag this to yellow, and I do this value at five, you can see we're getting more of a interesting kind of spark or bright fire effect here, because this is going past the value of one, it's up to five, or I could do something crazy like 20, and you can see that's really bright now. And at the value of 0.3, it's slowly fading over time. And then for the alpha, of course, we have at the beginning here, we have a value of one. And then at the end of its life, we have a value of zero because that alpha is hooked up in the material here. It's multiplying by the alpha. It's slowly fading over time. If I did this to one, you'll get this effect where it'll just kind of snap off, which you can see they're just kind of popping out of existence, which is not very good looking. So I'm going to set that back to zero. And at the beginning of its life, it's at a full value of one. Because it's coming from the center, you don't see it pop in. Um, one thing I'm going to do really quick here is go to a location. I'm going to do one last factor here that will kind of showcase what's going on with everything. So the location of where these particles are spawning right now, it's at a value of zero, zero, zero across the board. Um, so it's coming from this very hot dense like center point. Um, if I do something where I do a hundred to the left here, you can see that's changing a bit. And if I do something a little bit higher, this is going in units, and you might have to put some pretty high values here. So if I do 1000, you can see now there's this strip where the particles are sort of coming into effect. And you can see now they're kind of popping into existence because they're kind of being seen, they're not all stacked on top of each other. So I'm going to go back to alpha really quick. I'm going to add one more points to this curve. Uh, for this, uh, for number two, which is the last, uh, point on the curve, I'm just going to do a value of one and zero. And then for point two, I'm going to do a value of one and then for zero, I'm going to do a value of zero. So at the birth, it has zero opacity at point two, which is pretty, uh, early in the particle's life, it's going to go to one. And then at the end of its life at once, it's going to go back to zero. So you can see here it's spawning from the strip here. I'm going to go back to location. If I want to make this bigger, I can do something really big, which I went from 1000 to negative 1000. So it's kind of on this long X space strip here. If I go for 100 and negative 100 in Y space, it's the same thing. And let me add a zero just so for good measure there. So same thing where these particles are spawning. Now they're spawning kind of all over the floor and they're kind of going every which way. I do for z space to up and down, you can see they're kind of, it's like, uh, this is a very easy way to get like pollen sort of floating in the air where they're all kind of just uh, spawning in this random sort of space and just sort of floating every which way, which is kind of cool. I'm going to go ahead and delete this and show another location, uh, a location feature that I use quite a bit and that's the sphere location. It's this one right here. What this is doing is this is taking a shape of a sphere and spawning the particles off of that radius of the sphere here. So if I do something like 200, you can see it's spawning within the sort of spherical shape that you can see. Now, the particles are moving if I turn this off. Another thing too, all these checklists right here, if I turn this off, you can see that it's, you can just essentially toggle this on and off. So it's really nice to isolate different features of the particle. So you can see they're kind of just all spawning in this sphere shape. If I turn the spawn right way up, you do like 20 and 60. You can see there's this sphere shape that's starting to come into play because they're all spawning in this sphere location. And if I do something bigger, it's going to show a bigger sphere. If I do something smaller, it's going to be a smaller sphere. And you can see here too, there's positive x negative x, you can, these are the hemispheres of the sphere that you can turn off and on. So if I do something like that, you can see now only this like very isolated little slice of the sphere is emitting particles, which is nice. So if you want to do something like negative z and positive z, it will now spawn within this little like circular disk area. And this is nice if you want to kind of isolate different areas of the sphere that spawn the particles. There's also this checklist called surface only, which won't spawn any particles inside the sphere, it'll just spawn it around the surface, which is nice. And then if I check this velocity, you can see it's taking the normal of that sphere facet, and the particles are emitting from that sphere shape. So something like this trajectory is like forcing them out of this sphere shape, which is pretty cool. And you can adjust the velocity right here, I could do something like five, and you can see now they're kind of really moving and doing their thing. And then I can stack on more velocity so they can do more interesting things as well. So if I I go back to something like this where the particles are now just emitting from the sphere and I say, hey, and I want them all to kind of go one particular way once they leave the sphere. You can see now that sort of and if I turn off actually I'll go back to the velocity here. I'm going to do 1000 in positive Z. You can see now they're kind of leaving this influence and sort of flying up here. And if I make the sphere radius a little bit smaller, you can see now you get this sort of more organic like hoe shape that's going on here, which is pretty cool.",
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+    {
+      "text": " So starting at the top here, we have save, browse, nor define this in the content, simple things like that. These two buttons will come in handy, restart sim and restart level. Restart sim, if you ever have a particle effect that's working on a burst or something that bursts a amount of particles every certain set of seconds. So rather what we have right now is we have a spawn rate of 20 particles per second. And just for demonstrating, I'm going to set this to zero. I'm going to go down here to burst mode. I'm going to click this plus button here. So we're going to create a burst, which is a selection of particles that will every second and we can modify every certain amount of seconds too. So the count right now is at zero. So if I do something like eight. You can see now every second it's going to burst eight particles. And in order to modify this, what I can do is if I go to this required tab and do admitted duration, admitted duration is the amount between these bursts. So if I do this something like three seconds, you can see it's waiting three seconds and then doing another burst. I'm going to set that back to a regular spawn right now. What you can see here is if there's a particularly long admitted duration, so something like eight seconds, and you wanna restart your SIM, you could just go here and do restart SIM. Every time you hit this button, it'll restart the SIM from the beginning. Restart level is kind of like restart SIM except it sort of re-loops or restarts kind of everything in the level that this particle system is in. So it's kind of a more powerful version of restart sim. So I'm gonna set this emitter duration back to one. I'm going to do the trash can to get rid of this burst and I'm gonna put the burst or the, sorry, the spawn rate back at 20. So every second it's spawning 20 particles and that's how we get this really nice stream here. So we have undo and redo, which is just your control C, control Z, control Y. You have thumbnail, which is going to, if you hit that, It'll take whatever is in this space right here and create a thumbnail in the content browser. So you can see right here now a thumbnail has been generated. And then these icons going down here, we're not going to worry too much about these. These get into LODs of particles. And these are very important when you start to get into action oriented particles and particles that are really in the pipeline for video game creation or game that's getting created kind of in its final stages where you really want to optimize and save. space and everything, but everything in this tab right here, we don't need to really worry about it. I hardly ever go up here with LOD creation. That's a little bit more advanced than we're going to be working with. You have origin axis, which will show where the particles or the particle effect is spawning from. And we can kind of see where it is already because we have these particles streaming at 00 and zero in the circle space here. And we have this one here, if you have a lot of dark particles, you can just click background color, and you can change the background color to pretty much whatever you'd like to have the particles stand out more. And this really comes in handy if you have something like dark clouds or dark particles emitting from that black on black, obviously it's very hard to see. So this can really help. So now if I just click in this sort of void space, you can see the particle system options come up. I don't go into this tab too terribly much. So there is one thing that we will have to worry about once we start going into GPU particles. But for now, we don't have to worry about that. I'll go back to that when we start going through that. But this bounds tab is really all you need to worry about with the options that exist within the particle system out here. So these two right here are emitters. This is the emitter that we just created in our last section when we created those flames. I have this new emitter here. This is the name that you can do for the emitter, so I'm going to call this embers. I'm going to call this emitter. It just by default says particle emitter, and there's no particle emitter 010203, so it can get very confusing if you duplicate a lot of emitters. So you want to make sure that you keep these named so you don't lose track of what's what. There's this, I believe this is the count of particles on screen at any given time. I might be wrong about that, this little number right here. This is the material that is showing up. There is this icon, this checkbox, which will turn it on and off. And then there's this S button that you can hit, which will solo it or essentially isolate just this Admitter, which is a nice feature to have. I'm gonna go into the require tab here, and this is going to cover the material that is applied at the top here, the material that's applied. Right now, this is the default particle. This, whenever you create an empty admitter, this will be applied. It's just this cool little cross-error thing, and you can see it being applied here. Really quick, I'm going to select the embers material that I have here, and I'm gonna implement that. It's going to buffer for a couple of seconds. You can see it's rendering. And then now you can see that that soft white falloff is showing up now. So these particles have this nice, um, sort of stream or a representation of the soft falloff that we have right here. And then we have the emitter origin, which, um, we'll show kind of in space where we want this to be. I almost never touched this, uh, or midder rotation. We have screen alignment, which we're going to work quite a bit with. So right now there's a couple of different alignments that we can have. We can have PSA square. PSA square means that these sprites that the particle is on and the sprites again are the squares that are admitting from the system if I go to wireframe. PSA square means that these will be perfectly perpendicular to the camera no matter where the camera is in local X, Y and Z space. So that's the default that it set out here. We have a couple of other ones here. we have a rectangle, which I don't really use. We have a facing camera position, which I don't really use. There's only two options here that I do use. That's PSA square and that's PSA velocity. And PSA velocity, we're gonna go into a little bit more later on down the line. So PSA square, PSA velocity. I can showcase velocity right now and what they're doing. So you can see that these sprites will essentially face, If I do something like... So you can see something strange is kind of going on there. What's happening is that these sprites, because they're going this way, you can see they're like kind of like a paper airplane sort of flying on the velocity that they're going for. So instead of being perfectly aligned to the camera, they're doing this new thing where they're kind of bending and twisting a little bit so they can align like a glider, essentially with the velocity that they're going on. So if I turn this back to go back up to required and do PSA square, they're now perfectly perpendicular with the camera again. I don't worry about these two right here. There's used local space, which is really important. If I leave this unchecked right now, go back to lit. If I grab this and I move it around, you can see that it's kind of like a smokestack on a train where these particles are kind of being spawned, but they're sort of leaving a trail where I move them around. And if I move this around in sort of a frequent way, you can see that they're kind of just spawning all over the place. So if you want them to follow where the emitter is, if you click use local space, and now if I move this, you can see it's inheriting the space of the emitter. So no matter how much I move this, it's going to still use this trajectory that it originally had, like it's not moving at all. And that really comes in handy with anything you want to place around the scene or any movement just in general. So I'm going to keep local space checked. I like to kind of have that on by default when I work. kill and deactivate kill and comprehend I don't worry about too much sort mode is taking into effect when you have a lot of translucent materials kind of all overlapping each other and we'll work with this a little bit later on down the line but we have view production depth we have distance to view we have age oldest first and age newest first. Um, we can play around with these and see what, uh, essentially what it's doing is that if there's any kind of Z fighting with the sprites and there's a conflict of like which sprite is in front of the other and you get that kind of like strobe Z fighting effect, you can do age oldest first, which will always put the sprites that are oldest in front of the younger sprites. So there's no confusion there. Um, and that way you can get a little bit of where it can clean up that sort of like, uh, artifacting and Z fighting that you see there on which sprite is in front of the other. Going here, we already touched a little bit about if you're using bursts, what the emitter loops, emitter duration. Emitter duration, or sorry, emitter loops, if you set this to one, the particle will live forever, if it's doing, so essentially those particles will not have a lifetime, they'll just kind of hang out. This is really, comes in handy if you have something like a school of fish, a flock of birds, which we'll be getting into a little later down the line, so we'll go back to that. delay, we're not going to worry about too much. I haven't really touched this sub UV. This is if you have a flipbook or a sequence of images, we're not going to touch on that too much. Macro UV, we're not going to worry about rendering, we're not going to worry about particle cutout, normals, all the rest of this, I don't really touch too much. So this is gets into the pretty technical elements of what is going on in cascade. And that is essentially what you need to know for just just getting started here with Cascade with just this tab. So we're gonna go a little bit further down here. To spawn, we already touched on this a little bit. This is amount of particles per second. And again, you can have float uniform, you can have constant curve. You'll always, if you see this dropdown, you'll always have these options of like, do you want a float constant, which is one vector. So I can do five, which is a little bit less. You can have a float constant curve, which I've actually never tried. going to try this right now, see what happens here. So along the particles life, we have something like interesting. So I've actually never tried this, but you can have where at the beginning of the particles life, no particles are being spawned. And then by the end of the particles life, 20 particles are being spawned. So it's kind of like a burst every certain amount of seconds. But we're getting kind of this interesting effect here. We have a distribution flow particle parameter, which has to do with blueprints, I believe. So I'm not going to worry about that. And then we have distribution flow uniform, which is used quite a bit. So we have a minimum of five, we could do like a maximum of 30. And this will break it up a bit. So it's not like this steady universal stream, but it's like on some seconds, it's only going to spawn, spawn five or 30 or anywhere in between. The rate scale, I don't really touch too much. Um, the apply global spawn rate scale and process spawn rate. I don't worry about that too much. We just covered burst. Um, and the burst scale that we can also apply, uh, values to, um, the lifetime is pretty straightforward. It's how many seconds you want your particle to live. This is measured in seconds. Uh, so it's one second by one second. So if we do something like five and if I, and you can go into decimals too. So if I do something like 0.25, you can see some of these are living very long. some of these are living not so long about a fraction of a second. Um, and it's because they're so condensed together, you can see it's a little bit tougher to see, but there we go. Bring back to the center here. You can see that some of these are living a little bit longer. Some of these are dying out sooner. So, uh, this range is really good to have, um, in certain elements when you're creating particles, um, and it really adds that dynamic factor there. On the initial size, um, so because we're just using PSA square, I'm only going to worry about this one x, the x factor. So a maximum of 100 a minimum of 25, if you use a velocity alignment, you're going to have to take this into effect. And if you use any meshes as particles, you're going to have to take this into effect. But for right now, and I can just do this for good measure, I'll just keep this set. Sense of scale, anything between 25 is the min and 100 is the max. I'm not entirely sure what units this I just kind of do it by size here or I just kind of go by just sort of rule of thumb just looking at this For initial velocity we've covered that so we can set this back to zero here, and it's just sitting in the center if I do something like 50 you can see they're all starting to march in positive x so you can see here here's the x y and z cursor in This space so right now it's at 50 so it's marching this way if I do negative 50. It's going to go the other way. If I do 50 for y, it's going to, every time a particle is spawned, it's going to pick, or it's actually going to pick the average between the x and y space or the negative x space and the y space. And then if I do something like that, so this is actually setting out a stream of velocity. So instead of two random values, it's directing where it's like, okay, the stream is going to be 50 units and negative x, it's going to be 50 units in positive y, and it's going to be 20 in Z. So it's like coordinating like a fire hose where it's like, okay, it's going this much in x, this much in y, this much in Z. And it's cool if you want to get a stream pointing at a very specific target. If we want to do something a little bit more useful, we can do uniform or vector uniform. So we're going to say negative 100 in x, or actually negative 100 for the min of x, positive 100. And you can see they're going both ways kind of randomly now. So some are going this way, some are going this way, and they're all going at different values because we have a minimum of 100 and maximum of 100. If I do this same thing for y, you can see now they're kind of spacing out and looking like something a little bit more dynamic like this sort of cool magical effect that you'd seen. If I do this again for z, you can see it's almost this sort of like bursting in space particle effect here. That looks pretty cool because it's doing uniform random values of x, y, and z. So 100 and negative 100. So it's like this kind of sphere encapsulated sense of velocity where it's all going these random different ways. And the last one here, we can do color over life, which we covered a little bit. So we can do something like at the beginning of the particles life, which is zero, we have white. And then as it gets older, it can go to a different color, which is orange. And you can see it slowly going over time. And we can adjust this to where we want like, Hey, half the particles life we want it to be, and then we want to change to orange at the end of its life there. And the closer these two values are. So obviously going from zero to one, it's going to be a larger, more gradual change. If you want something that is a little bit more, or I could do this another way too. If I do something like point two and then zero, you can see they're changing a lot quicker. So it's going from the beginning of the particle's life, zero. And then at point two or 20% of the particle's life, it's going to a bright orange. So you can see it's only staying white at this very beginning of its life. I can just this a little bit more, go to point three and you get a little bit more of a gradual element there. Another thing that you can do really, that's really interesting here is that if I drag this to yellow, and I do this value at five, you can see we're getting more of a interesting kind of spark or bright fire effect here, because this is going past the value of one, it's up to five, or I could do something crazy like 20, and you can see that's really bright now. And at the value of 0.3, it's slowly fading over time. And then for the alpha, of course, we have at the beginning here, we have a value of one. And then at the end of its life, we have a value of zero because that alpha is hooked up in the material here. It's multiplying by the alpha. It's slowly fading over time. If I did this to one, you'll get this effect where it'll just kind of snap off, which you can see they're just kind of popping out of existence, which is not very good looking. So I'm going to set that back to zero. And at the beginning of its life, it's at a full value of one. Because it's coming from the center, you don't see it pop in. Um, one thing I'm going to do really quick here is go to a location. I'm going to do one last factor here that will kind of showcase what's going on with everything. So the location of where these particles are spawning right now, it's at a value of zero, zero, zero across the board. Um, so it's coming from this very hot dense like center point. Um, if I do something where I do a hundred to the left here, you can see that's changing a bit. And if I do something a little bit higher, this is going in units, and you might have to put some pretty high values here. So if I do 1000, you can see now there's this strip where the particles are sort of coming into effect. And you can see now they're kind of popping into existence because they're kind of being seen, they're not all stacked on top of each other. So I'm going to go back to alpha really quick. I'm going to add one more points to this curve. Uh, for this, uh, for number two, which is the last, uh, point on the curve, I'm just going to do a value of one and zero. And then for point two, I'm going to do a value of one and then for zero, I'm going to do a value of zero. So at the birth, it has zero opacity at point two, which is pretty, uh, early in the particle's life, it's going to go to one. And then at the end of its life at once, it's going to go back to zero. So you can see here it's spawning from the strip here. I'm going to go back to location. If I want to make this bigger, I can do something really big, which I went from 1000 to negative 1000. So it's kind of on this long X space strip here. If I go for 100 and negative 100 in Y space, it's the same thing. And let me add a zero just so for good measure there. So same thing where these particles are spawning. Now they're spawning kind of all over the floor and they're kind of going every which way. I do for z space to up and down, you can see they're kind of, it's like, uh, this is a very easy way to get like pollen sort of floating in the air where they're all kind of just uh, spawning in this random sort of space and just sort of floating every which way, which is kind of cool. I'm going to go ahead and delete this and show another location, uh, a location feature that I use quite a bit and that's the sphere location. It's this one right here. What this is doing is this is taking a shape of a sphere and spawning the particles off of that radius of the sphere here. So if I do something like 200, you can see it's spawning within the sort of spherical shape that you can see. Now, the particles are moving if I turn this off. Another thing too, all these checklists right here, if I turn this off, you can see that it's, you can just essentially toggle this on and off. So it's really nice to isolate different features of the particle. So you can see they're kind of just all spawning in this sphere shape. If I turn the spawn right way up, you do like 20 and 60. You can see there's this sphere shape that's starting to come into play because they're all spawning in this sphere location. And if I do something bigger, it's going to show a bigger sphere. If I do something smaller, it's going to be a smaller sphere. And you can see here too, there's positive x negative x, you can, these are the hemispheres of the sphere that you can turn off and on. So if I do something like that, you can see now only this like very isolated little slice of the sphere is emitting particles, which is nice. So if you want to do something like negative z and positive z, it will now spawn within this little like circular disk area. And this is nice if you want to kind of isolate different areas of the sphere that spawn the particles. There's also this checklist called surface only, which won't spawn any particles inside the sphere, it'll just spawn it around the surface, which is nice. And then if I check this velocity, you can see it's taking the normal of that sphere facet, and the particles are emitting from that sphere shape. So something like this trajectory is like forcing them out of this sphere shape, which is pretty cool. And you can adjust the velocity right here, I could do something like five, and you can see now they're kind of really moving and doing their thing. And then I can stack on more velocity so they can do more interesting things as well. So if I I go back to something like this where the particles are now just emitting from the sphere and I say, hey, and I want them all to kind of go one particular way once they leave the sphere. You can see now that sort of and if I turn off actually I'll go back to the velocity here. I'm going to do 1000 in positive Z. You can see now they're kind of leaving this influence and sort of flying up here. And if I make the sphere radius a little bit smaller, you can see now you get this sort of more organic like hoe shape that's going on here, which is pretty cool."
+    }
+  ]
+}