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Blender Essential Training
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Simulating cloth


From:

Blender Essential Training

with Roger Wickes

Video: Simulating cloth

An awesome feature of Blender that's been three years in the making is Cloth, and the ability to simulate various kinds of Cloth. When we're running a Cloth simulation, we're going to turn this cape into a leather cape. The standard rules of simulations apply. Mainly the cape has to be on a shared layer with the other objects that it's colliding with. So if we press M, we see that the cape is on layers 3, 12, and 13. If we select the mesh, and press M, we see that the mesh of Capitan Knowledge is on layers 2 and 13.
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  1. 12m 5s
    1. Welcome
      1m 16s
    2. Using the exercise files
      58s
    3. Using Blender's full capabilities
      4m 16s
    4. Getting and installing Blender
      3m 8s
    5. Mouse and keyboard differences on the Mac
      2m 27s
  2. 1h 6m
    1. Blender oddities
      7m 38s
    2. Introducing the User Interface, Console, and Render windows
      3m 8s
    3. Configuring the desktop for an efficient workflow
      6m 27s
    4. Using the mouse and tablet on a PC or a Mac
      5m 7s
    5. Acquiring keyboard skills
      7m 38s
    6. Window panes and types
      7m 53s
    7. Exploring the default scene
      5m 53s
    8. Setting themes, UI colors, and user preferences
      4m 0s
    9. Understanding how to safeguard your data with autosave and backups
      6m 52s
    10. Appending and linking assets
      7m 27s
    11. Using the open-source movies and assets
      4m 18s
  3. 2h 7m
    1. Working with objects in 3D space
      6m 24s
    2. Navigating 3D views
      4m 23s
    3. Understanding Blender modes
      1m 51s
    4. Understanding meshes
      2m 8s
    5. Editing a mesh
      3m 28s
    6. Using the Mirror modifier
      2m 55s
    7. Working with Vertex groups
      2m 35s
    8. Using Bézier curves
      3m 52s
    9. Working with text objects
      5m 23s
    10. Using reference images
      3m 38s
    11. Modeling boots by extruding circles and joining meshes
      8m 59s
    12. Applying the Mirror modifier to duplicate the boot and rotate
      1m 58s
    13. Modeling a helmet with NURBS and the Boolean modifier
      7m 14s
    14. Modeling a belt and pants by making a compound object from multiple primitive objects
      3m 51s
    15. Modeling legs by using edge loops and the Knife tool
      6m 9s
    16. Modeling a chest and arms using edge loops
      5m 30s
    17. Stitching the shoulders and neck
      5m 13s
    18. Modeling hands with the Proportional Editing tool
      9m 4s
    19. Linking vertices to create knuckle joints
      4m 7s
    20. Reinforcing modeling basics to create the face, eyes, nose, and ears
      13m 6s
    21. Appending and linking assets
      3m 54s
    22. Sculpting basics
      3m 3s
    23. Using the Subsurf modifier to smooth
      2m 34s
    24. Parenting
      2m 7s
    25. Working with groups
      2m 1s
    26. Understanding the endless possibilities for editing mesh with modifiers
      2m 37s
    27. Duplicating objects using the Array modifier
      1m 54s
    28. Modeling a set
      7m 52s
  4. 39m 41s
    1. Lighting overview
      4m 25s
    2. Using the Omni lamp
      4m 50s
    3. Working with the Area lamp
      2m 57s
    4. Using the Spot lamp
      4m 9s
    5. Using the Sun, Sky, and Atmosphere lamps
      4m 51s
    6. Using the Hemisphere lamp
      2m 3s
    7. Working with Ambient and Radiosity lighting
      7m 34s
    8. Lighting with three-point and other multipoint lighting rigs
      5m 30s
    9. Understanding shadows
      3m 22s
  5. 1h 21m
    1. Realism overview
      2m 56s
    2. Creating a world in less than seven days
      6m 36s
    3. Applying ambient occlusion
      3m 47s
    4. Working with basic materials
      3m 24s
    5. Working with node materials
      4m 27s
    6. Applying Pipeline options
      2m 51s
    7. Painting vertices
      3m 13s
    8. Using shaders
      7m 59s
    9. Using mirrors
      4m 41s
    10. Working with transparency
      4m 28s
    11. Using halos
      2m 40s
    12. Simulating with Subsurface Scattering (SSS)
      4m 26s
    13. Applying textures
      9m 34s
    14. Mapping image textures to an object to create a decal
      4m 19s
    15. UV unwrapping
      4m 54s
    16. Applying multiple materials to a single object
      3m 31s
    17. Painting in 3D
      4m 14s
    18. Using bump maps
      3m 14s
  6. 1h 25m
    1. Understanding animation
      4m 14s
    2. Keyframing objects
      6m 15s
    3. Keyframing materials
      3m 14s
    4. Creating Shape keys
      2m 28s
    5. Creating Facial Shape key animation using reference video
      2m 12s
    6. Animating by combining Shape keys
      2m 53s
    7. Working with lattices
      3m 37s
    8. Using hooks
      1m 30s
    9. Working with Vertex groups
      2m 33s
    10. Creating armature objects
      3m 44s
    11. Mirroring armatures for bilateral creatures
      3m 43s
    12. Attaching mesh to the armature by way of skinning
      5m 7s
    13. Posing a character
      4m 43s
    14. Using inverse kinematics
      4m 29s
    15. Creating a walk cycle with inverse kinematics
      6m 34s
    16. Completing the walk cycle
      3m 49s
    17. Limiting range of motion and degrees of freedom
      3m 47s
    18. Managing actions using the Action Editor
      3m 52s
    19. Blending actions together using the Non-Linear Animation Editor
      4m 34s
    20. Tracking
      3m 2s
    21. Following a path
      2m 21s
    22. Mimicking an existing animation
      3m 47s
    23. Using the grease pencil
      2m 56s
  7. 50m 43s
    1. Understanding particle systems
      2m 20s
    2. Working with game engine physics
      3m 52s
    3. Spewing particles
      7m 25s
    4. Guiding particles
      3m 43s
    5. Creating reactions and collisions with particle systems
      3m 15s
    6. Creating hair and fur
      4m 25s
    7. Grooming hair and fur
      3m 26s
    8. Jiggling and squishing soft bodies
      3m 43s
    9. Simulating cloth
      6m 10s
    10. Simulating fluids
      5m 47s
    11. Using boids to simulate swarms, schools, and flocks
      6m 37s
  8. 21m 29s
    1. Using Render controls
      6m 18s
    2. Radiosity
      3m 31s
    3. Stamping text on video
      2m 32s
    4. Setting up test renders
      4m 43s
    5. Rendering image sequences
      4m 25s
  9. 1h 5m
    1. Viewing node thumbnail images on certain Macs
      1m 31s
    2. Overview and integration
      2m 12s
    3. Render passes and layers
      4m 27s
    4. Using Input nodes
      6m 22s
    5. Using Output nodes
      3m 54s
    6. Working with Color nodes
      4m 29s
    7. Color mixing and layering
      3m 27s
    8. Using Distort nodes individually and in combination
      7m 15s
    9. Using Vector nodes
      6m 46s
    10. Creating effects with Filter nodes
      8m 49s
    11. Using Converter nodes
      6m 7s
    12. Chroma keying with Matte nodes
      6m 15s
    13. Understanding node groups and reuse
      4m 17s
  10. 38m 43s
    1. The Video Sequence Editor (VSE)
      11m 47s
    2. Integrating audio
      3m 31s
    3. Using VSE Greenscreen and other plug-ins
      5m 40s
    4. Integrating the Compositor with the VSE
      7m 50s
    5. Layering and splicing video
      6m 18s
    6. Speeding up and slowing down sequences
      3m 37s
  11. 5m 26s
    1. Putting it all together: Captain Knowledge visits lynda.com
      5m 12s
    2. Goodbye
      14s

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Blender Essential Training
9h 54m Beginner Jul 15, 2009

Viewers: in countries Watching now:

Blender is a powerful open-source tool for 2D and 3D graphics, full-on animation, compositing, and post-production. It is used to create movies and special effects, even in HD. In Blender Essential Training, Roger Wickes offers new Blender users a thorough explanation of its interface, tools, and features. He also demonstrates practical techniques and shows how to access the online and openndash;content resources of this amazing tool. Specific 3D techniques covered include navigating in 3D space, using cameras and lights, and rendering. Roger demonstrates how to rig, animate, and composite a character over live action. Exercise files accompany the course.

Topics include:
  • Navigating Blender's user interface and accessing open assets
  • Modeling with vertices, Bézier curves, and NURBS surfaces
  • Lighting and using multi-point light rigs
  • Working with cameras in a 3D environment
  • Painting and shading 3D objects
  • Creating realistic hair, smoke, and swarms
  • Animating objects and characters
  • Compositing rendered layers
  • Sequencing video strips with audio into a final product
Subjects:
3D + Animation Modeling Rendering Character Animation
Software:
Blender
Author:
Roger Wickes

Simulating cloth

An awesome feature of Blender that's been three years in the making is Cloth, and the ability to simulate various kinds of Cloth. When we're running a Cloth simulation, we're going to turn this cape into a leather cape. The standard rules of simulations apply. Mainly the cape has to be on a shared layer with the other objects that it's colliding with. So if we press M, we see that the cape is on layers 3, 12, and 13. If we select the mesh, and press M, we see that the mesh of Capitan Knowledge is on layers 2 and 13.

So 13 is our shared layer in this case. So now that we have checked the mesh, we can select the cape and enable Cloth. Now just like with Soft Bodies, we can also pin the Cloth as well, and we'll get into that in a little bit, but let's go over these first. We have some presets that we can select from. And he wants a leather cape that just fills in these values here, which is the structural stiffness, and the bending stiffness, which is if you took a piece of rayon, or a piece of silk, or a piece of cotton, or piece of leather, between your two hands and you pulled it and stretched it, and tried to bend it and wrinkle it, it would work differently based on the different kinds of cloth.

So that's what the stiffness sets up here. Springiness and dampness says that if we pull it apart, it doesn't want to come back together again. Like rubbery type materials, latex, mylar and that kind of stuff, is very springy. In the air dampness setting, we have a value that determines when the wind blows, how much is it affected. So if you have sheers or let's say a fishnet kind of material, a fishnet material would have a very low air dampening versus a solid cloth would have air dampening of 1.

The Quality of simulation determines how long and how much compute power you want to dedicate to performing the simulation. So since this is a training tutorial, I'm going to set this down to 4, and that's what you standardly want to do when you are first setting it up. Start with a low quality setting, revise, and tweak, and tune your settings, and then eventually start cranking the quality up to get a better quality simulation. Mass is the density of the fabric, how heavy or thick it is, and then Gravity is the direction of gravity, which in this case is downward at 9.8 meters per second.

Now we want to pin the cloth, but in order to pin it, we need define vertex group. Let's tab into Edit Mode, and when we pin the cloth, we have control over whether or not that portion of the cloth participates in the simulation and will move or slide around. Now in this particular case we have the cape for Captain Knowledge, and it's not going to slide around, especially around near his clasp or anywhere near his shoulders. So let's go into Side view, and define a vertex group that consist of those vertices that make up the top of his shoulder, by coming down here to Edit, Vertex Groups, New, and we are going to call it Shoulder.

And to find those vertexes to that Vertex Group. Now when we tab out of Edit Mode, and we come back to the Cloth presets, we can now click pinning of cloth, and since is the shoulder is the only vertex group in the cape that comes up and automatically is selected, we can vary the amount of which this vertices groups are pinned by adjusting the pin stiffness here. We want the Cloth to detect when it collides with other objects. So we want to enable collisions, which is always turned on by default, and then we have a Collision Quality, another quality indicator here that says how often or how well it should check for collisions with other objects.

And obviously you want to crank this up; especially sometimes you will start to see Cloth breakthroughs, where it will breakthrough the mesh, because the quality isn't high enough. So if you just crank up the Quality then, it will be able to detect that a little better. When it does collide with something, what kind of Friction is involved in between the two surfaces? So I would like to set this up to about 80, to say that when it does collide with something, it pretty much sticks to it. It doesn't just bounce right off again. Silk has a very low coefficient of friction.

Leather has a very high coefficient, because it's actually swayed on the other side. Finally we can enable self-collisions, and that's where the Cloth can fold in and on itself, and then when it folds in on itself, it won't just pass through itself. It will detect itself and then not pass through. It will instead bounce off or just stop and then kind of unfold. Under the Cloth Advance panel we could enable some stiffness scaling and do weight paint to define really thicker pieces of the cloth, but that's pretty advance stuff.

So that's really all we need to do. Now what we need to check on is that when we do the Bake, it's going to go from frames 1 to 250. If our simulation is longer, let's say it's like 500 frames, we have to change this to match the length of our animation. So if we press Alt+A or on the Apple keyboard Option+A, we'll run these simulation through our Frame range, and turn this mesh into a piece of a cloth, for our animation range, which is 1 to 50. So you have to keep these two ranges in mind, you have your animation range, and then you have your baking range.

So let's go ahead and press Alt+A, Option+A on the Mac. So once the simulation finishes, it then starts playing over and over in the 3D View, and you can see how the cloth bends into forms. You can stop the simulation at any time and rotate the view and change your perspective, and then just do an Alt+A again, and if the Cloth has already been computed and nothing is changed, it can use that same Cache. If you ever do change something, let's say we started him walking or whatever, we would have to come over here and free the Cache.

When we were finally done and we like the way it is and our character is moving, and everything like that, then we want to do our Final Bake, which is over here, by clicking this Bake, and then that locks in that simulation. So that's how you do Cloth in Blender.

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