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Particle effects can be used to create everything from realistic smoke and light to abstract design elements. In Maya Particle Effects, Audri Phillips demonstrates the particles she has found helpful in her work creating dynamic visuals for video games,film and fine art. This course goes deeper than the basics, tackling topics like saving time by reusing MEL expressions, implementing physics to create realistic effects, and manipulating paint effects to give particles the look and feel of an envisioned design. Exercise files accompany the course.
Okay, so now we're going to have fun playing with particle2. One of the first things we want to do on particle2 is select its emitter and we want to change the rate on that. At frame 100, we want it to equal 0. So let's go to frame 100 because we don't want any particles emitting from emitter 2 to frame 100. Let's find the Rate for particles per second. I'll make that 0, Set Key and then when they do start emitting, we really want them to get going. So we want them to ramp up by frame 300, all the way to emitting 6700 particles. Enter.
And I am going to set a key at frame 300. To add frame 392, they're kind of going to be down a bit again. Enter. Then I'm going to just have them emitting 221 particles per second. That's the Rate. Set Key. Let's play our particles and see what we've got here. Okay, so there they're going. Wow! Look at that. All those particles coming up.
We want to play with the rate that these particles are coming up, put some fields on them, etcetera. So we're going to pick our particles2 shape and we're going to put a field on it. Put a little bit of turbulence on them. So I'm going to pick Fields and I'm going to pick Turbulence and I'll just call it turb2 and I'll hit Apply. Just accept the defaults for now. Let's change around how much Turbulence we have. At frame 380 we don't want any Turbulence on these particles at all, at frame 380. So we are going to have our Magnitude at 0, to that point. Hit Enter, Set key. And at frame 410, we want our Magnitude of our Turbulence to be 30. Once again, let's say Set Key.
So we want to put another field on our particles2 as well. We're going to put a Uniform field on that and Uniform will make them all go up uniformly in the direction you pick. Let's see. Edit > Reset Settings. The direction we want is Y, which is 1, and let's make these 0. I'll accept the defaults that they're in, uniform, Enter. And we'll create that. Then we'll go into our uniformField and let's set keys for that. At frame 380, we want it to be 5. We'll set the key for that. And at frame 400, we also want it to be 5. We basically want our Magnitude to be 5 for this whole thing.
So let's see what happens here with our two fields. Here we have our particles going up a little bit of Turbulence. There they're going up. Okay. Now I'm going to show you something fun with Conserve on your particles. So we are going to pick our particle2 and we are going to go into the Channel box of particle2 and Conserve deals with the momentum on particles. If you have a Conserve at 0, watch what's going to happen.
Our particle2, they stay down there. They have no momentum on them at all. They're not going to move. No matter what forces you have applied to them, if your particles have Conserve on 0 with a momentum of 0, they're not going to move. If I put my Conserve back to 1, which is the full range of the momentum, they will start moving again. All right, there they are moving again, going on up. And Conserve is a little odd. At 0.5 they're also going to have trouble moving.
At 0.5 they should be moving but they really still stay down there. Sometimes I notice you almost have to get higher up to like even 0.8, but you still seem to get some kind of movement on your particles. With Conserve get the momentum going and they start going there. So we're going to set some Conserve settings on these particles. So at frame 100, we want to set 1. So our particles will have momentum on frame 100.
So we're going to set the Conserve to 1. Set a key there, Key Selected. Okay, I want the particles to lose the momentum at frame 200 so I don't want them to go anywhere at frame 200. And also I want them to be held, not moving, all the way to frame 395. So I'll set a key there as well, Key Selected. And I'm going to let them start moving at frame 405. So let's go to frame 405.
They're actually going to start moving before frame 405. Somewhere between 395 and 405 they are going to be ramping up and moving. At frame 405, I am going to put 1 and I'm going to Key Selected. So let's see what we've got. Look at that. There are particles forming and hanging out and then finally when they get a little further we're going to start letting them go away from the image, right. And this essentially is a different angle on the final project, which I'll show you in a minute.
We've actually done everything that is needed to set this up. We're coming to when the Conserve is going to be back to 1. There we go, almost. Now let's let them go and there the particles are going to go. There they go. And that's when the image starts to break up. So this is another view of our final project, right, that we were doing.
Now the last thing that I want to do is I want to make this plane that everything is coming out of. I want to turn that Visibility off so you never see the plane, okay. So now we will see our project from whatever angle we want to. And you can keyframe your camera to whatever angle you want to see it at, right, moving in on the particles as they're forming, etcetera. I think we had kind of an angle like this was what I was showing you, right.
But you can be back in any position you want and notice when the particles are conserved they're not moving. They're just hanging on what was the plane. And then when they get to the point where Conserve goes to 1, the particles start flying up again. And you have your image. There it is. We'll stop it right here and we'll just do a fast render of it at this point. Let's see what that looks like when the image is already being broken up. And there we have it. The flower is partially broke up.
Now you can imagine what this would look like if you had this coming off a 3D object.
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