Which takes a bit of effort to learn compared to the plethora of turnkey particle generators out there, but I think it’s a good start for a tutorial since it encapsulates so much of digital compositing. This is interesting because BlurryPixel is getting some great effects by using Particle Playground’s ability to use displacement maps… and it’s a nifty low cost solution for this effect if you don’t have Trapcode Particular.Ĭheck out the Creating Particle Effects with Particle Playground in After Effects Tutorial here.īlurryPixel notes on the tutorial: “So here is my first tutorial on Blurrypixel using an often overlooked particle effect in After Effects, Particle Playground. Solution for the question - potential energy and kinetic energy of a two-particle system are shown byke and pe.
STICK PARTICLE PARTICLE PLAYGROUND HOW TO
Because Isadora does not have a 3D environment interface, using layer parameters is the only way to composite 3D content and imply a shared 3D space, the 3D light orientation actor helps when set to 'global' and a shared lighting effect can be incorporated by renderer or stage.BlurryPixel shows how to create fantastic particle effects using Trapcode Particular… Particle Playground… wait…what?! – Yes, old-school particle playground that has shipped with After Effects for a long while now. There are three elements composited using the Layer hierarchy: 0 = background gradient, 1 = twig particles, 2 = sphere particles. The sphere has a 3D Player output as a texture routed to it, when the sphere appears more solid it is actually many instances of the sphere that build up to make a semi-opaque surface with lots of inherent movement. Many of the parameters are the same for both which provides movement continuity between the two elements. You can see there are two 3D Model Particle actors, the system on the left is the sphere and the other (on the right) is the sticks/twigs. That way it is possible to keep the particles within a relationship to the bounding frame of the static stage viewport by adjusting the x and y input settings, while they still have many other degrees of patterned movement through other inputs. A circular movement pattern can be created by linking the x and y inputs with Wave Generators, entering an off-set to the 'phase' inputs ). The x & y parameter settings at the bottom of the 3D Model Particles actor are used to limit the extent of the particles so that they move in circular patterns.
This composition is based on stacking the 'wave generator' (sine wave and phase shift technique) almost exclusively, with limit scale actors and scaling directly within the input parameters of the particle actors. As long as there is an external texture file present and linked to the 3D model on import into Isadora you can then change the 'texture-map' input of the 3D actors to any image or video stream - yeah!
There is an import caveat here, the Isadora 3D Player or 3D Model Particles will not accept an alternative texture-map input unless there is an existing texture map file that has already been incorporated through an external 3D editing process. The PNG files have been incorporated into the 3D models material surface in the 3D modelling software, they remain external image files that Isadora must be able to find in the same folder structure as the 3D asset. The 3D assets were generated externally (using Cheetah3D), and included the addition of texture image files made in Photoshop with a high percentage of transparency and saved as PNG format.
STICK PARTICLE PARTICLE PLAYGROUND SOFTWARE
I switched to another 3D modeling software and this represents testing the assets in an Isadora patch. I have had inconsistent results exporting 3DS files from Blender 2.6/2.7 for use in Isadora. This was done to demonstrate texture and material rendering of 3D asset files in Isadora.
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