In this lesson I'm going to introduce in here, which, you know, by its name is associated with hair,
but in this case we're going to use it to create a rope for decoration.
I found this image from some Coco artwork, the the Pixar movie.
And I want to recreate this kind of hanging decoration where these squares will be Closs simulation
and the cord or rope that holds them up is going to be an inherent simulation and they're going to use
the same nucleus.
So they'll be affected similarly.
But the first step we need to do is to create the cord and then we'll create these little banners and
the texture.
The cutout aspect will happen through a texture.
We don't actually model that.
So the easiest way to do that would be to apply your own texture and you would know all about that if
you've watched the texturing section of this course.
So let's jump right into it.
Let's create a curve.
We'll go to the curve shelf here and we'll select a curved tool.
And I'm going to go to the perspective view.
And I'm just going to make I'm going to use the grid here or the floor just to kind of draw out our
curve.
So I'm going to hold down V and click on these two points.
And I think I need to show NRPs curves here.
So we actually see what we just made.
And then I'm going to center the pivot and we can start to place this.
This is going to be the rope, basically.
So I'm going to get up a two view panel here, layouts to paint side by side and change this one to
the render view render cam and six here and turn on the little film gate so we can kind of see how we're
framing this up.
And what I have envisioned here is that it's going to kind of be hanging in this general area, maybe
off of this tree that we've kind of blocked in here, kind of roughly.
And so maybe one end can be behind the tree.
So we don't really have to see where it's connecting and we don't have to worry about that too much.
And then the other end can just go right off the frame.
So we just want to scroll through all the camera moves to make sure that we don't, you know, see it
off the edge there.
So it looks like that's all within the range of where we're going to see the rope or the cord.
So now we need to do is to add some more curvy curves.
So if we.
Right.
Click on this and go to curve point our side.
If we can go to control vertex, there's only a like a couple of points here and in here.
Simulation is going to be based off how many control vertices you can see how kind of jagged this curve
is.
And we want that to be very smooth.
So we need to add some more CVS's, which we can do after the fact, after we've already made this.
All we have to do is go up to the modeling menu and go over to curves and go down to rebuild.
And I'll open up the option box and let's say maybe, yeah, 20, 25, something like that, and I'll
just rebuild that.
So now we go to right.
Click and say control vertex and has a ton of points.
So we simulate this.
It's going to be a nice smooth curve.
OK, cool.
So let's right click back onto object mode and with this curve selected, I'm just going to call this,
let's see the banner cord.
This is called a curve because that's really what it is.
And so Baner Curve and we can go back to the effects menu and click on in here and scroll down to make
selected curves dynamic.
Just open up that option box and all these defaults will work exactly how you want them to.
Also, they may curve dynamic and as soon as I do that, we get a bunch of new stuff over here.
We have Alpe curves, you have follicles, you have a nucleus and we have a hair system, OK?
And each one of those is going to do something a little different.
And they're kind of self-explanatory.
But basically we're kind of familiar with the nucleus so far.
And this is going to maybe be the first time they're actually, you know, digging in deep here with
it.
We've learned a little bit from the particles, but it's the same idea, same nucleus, and we just
need to change the subframe.
So we want to include the pre role here, because as soon as we play, this curve is going to sag down
and we don't want it to be, you know, just starting to sag down on this frame and be sagging.
Seeing that animation, we want that to, you know, pre roll and sag before our animation starts with
our character.
So let's go to some, you know, maybe like 700 and let's so turn that star frame to seven hundred.
And the other thing we need to do is change the space scale to be the same as our scene.
So remember, it's, you know, zero point zero one if we are working in centimeters and it's going
to think that's meter.
So we just need to dial that back.
With this little thing here, this is a big key.
So with this, everything should look kind of physically accurate based on the scale of our scene.
So when I hit play, it should simulate this.
And you can see it's getting really stretchy and it's stretching out.
And I'm just can't escape to stop that.
Go back to the first frame and I'm going to select On the Curve, which should be under here, and we
can go to the curved shape.
Over here, let's see under follicle, you can see that the point lock is both ends and that's how we're
getting both ends of this thing to be connected.
If this was actual hair, we would just say, like the base is the only thing we would want to have
connected.
But because this is a rope and it's going to going between two ends, the default works for us with
both hands.
Cool.
So the other thing we can do is go to the hair system here and we just need to scroll down to the dynamic
properties and we can see that right here.
And we can just scroll that down and increase the stretch resistance and the compression resistance.
And you'll see this again when we do the end cloth.
A lot of these in dynamic properties are going to be the same between in here in cloth and particles.
A lot of them share very similar values.
And what this says is it is going to resist stretching, which is going to help us with what we just
saw, where it was stretching all the way to the ground.
It's going to stop that somewhat.
And then compression resistance is going to keep it from getting smaller and going, you know, the
opposite of stretch, basically.
So we want to prevent both of those just a little bit.
So we're going to increase that and then let's hit play again and we can see that our curve should not
go all the way down.
And let's see, it's kind of springing back up.
And this is why we have the pre roll.
So that all of this springiness in bounciness can happen during the pre roll and it'll settle into its
kind of final pose.
Well, well, well, well, before we get to frame 1001, which is when our animation is actually going
to start.
So the other thing I want to do with this curve is I want to simulate kind of similarly how we did the
fireflies.
I want the impact of this groundbreaking to affect this cord and make it swing a little bit.
So the easiest way to do that so we can really control it is to create a passive collider.
So I'm going to create a sphere and I'm going to increase the scale of that.
And we are going to go over to even though we're working with an in here and we want this sphere to
collide with it.
The the one little goofy thing is that the actual passive collider button is under and cloth.
So we can say create passive collider and that's going to work with and cloth and hair, whatever we
choose.
So I'm going to say create a massive collider.
So now we have attributes for this sphere.
If we click on it, we can see it says in rigid shape one.
And, you know, all of these kind of work, it's for our purposes, we're just kind of getting this
thing in position.
So it kind of bumps up against the cord and makes it move a little bit when the Bones character jumps
out of the ground.
So let's figure out the timing of that.
And it should be around towards the end.
He's going to bust out of here.
So let's do it.
Maybe let's get the sphere kind of away from the cord and maybe even scale it up just a little bit more.
And let's set a key frame here and then let's just kind of step forward.
I can kind of see maybe in here is where it will be at the maximum kind of pushing up against this.
I'm just moving this over into the curve and it's going to push it once we actually simulate it and
we can see if that's far enough.
And then I will just middle mouse drag this keyframe back over here about an even distance.
So it kind of moves forward and back out of that frame.
So so now that we have that done, I'm just going to go and cash this out because I think it's in a
pretty good spot without having to actually see this first before cashing.
So again, cashing is a little different each time you do it for effects.
So for the in dynamic part, you know, we figured out the bullet that's its own system, Olympic.
You know, we can export the selection to Olympic here.
And then when we do geometry, we can cash Olympic here and export selection there.
But when we do in dynamics that has its own cache and has called in cache.
So with this curve selected, I'm going to go to encash and say create new cash and it's going to be
an object because, you know, it's not a fluid.
So, you know, just by common sense, it should be this.
Someone opened up the option box.
And I want one file just to keep it nice and clean.
And I'm going to say it here.
System shape.
Let's just call this banner curve so we keep it the same name Panner Curve, and I'll just say zero
one in case we need to iterate on this time.
Slider.
Yeah, we want that full range and then.
Oh yeah that looks like that works.
So I'm going to create and I'll see you in one second.
Grants are in, cash has completed, and any time you do, an international automatically connected
up.
So now we can see there's a new tab here called Banner Curves zero one cash.
We click on that.
We can see it's enabled and it has hooked up the name, the correct name that we named it and the location
that it's saved in.
And again, this is why you need to set your project so that all this stuff goes into the right folders.
And so now now we're ready to go and see if this actually worked.
So I'm not going to hide this fear right now.
And that should play back.
You know pretty well we can actually scrub the timeline and see it.
It looks like I set a key on this fear visibility.
So I'll just go over to that and say delete selected and then turn that off again.
And it should stay off now.
So now when we look at this curve, we can see that it indeed is kind of drooping down in the way that
I would expect it to at least.
And then we can kind of see how it gets affected by the kind of explosion here and we might be able
to see a little bit better in the perspective camera.
And so now we can see that get pushed back and then I'll swing forward and kind of settle back down.
So that looks pretty cool.
It might be a little bit low for this camera.
I think I might want a little bit higher.
So, yeah, we should be able to just drag this guy up because I don't really want to break the silhouette
of this guy.
I want that to be readable and that these will be kind of above that a little bit.
So that should all be fine.
And yeah.
So you can see it kind of drop down and then.
The fact that he explodes out of the ground like a crazy zombie actually affects that rope, so that'll
look really cool once we get those banners on there, because those are going to have their own motion
as well, and then they'll be kind of settling down back here.
So it'll be a nice little thing that will kind of catch the eye.
I think a little bit in our animation.
So in the next lesson, I'm going to discuss how to attach those banners and introduce in cloth as a
dynamic system as well.
So thanks for watching and I'll see in the next lesson.