All language subtitles for 03-Creating our ivy Part1

Okay.

So now that we have prepared our project, what we're going to do is we

are going to get sad and actually make some foliage and we are going

to get started with some IV.

Now.

The IV will come in two different parts.

One part will be very generic IV, which basically IV that you can use

multiple times on multiple different places.

And then, we will also go over how to create very unique IV.

For example, over here.

Like the IV that would be very specifically placed on top of these.

Rocks or rocks on top of these concrete, the rubber pieces.

So those are the two parts that we are going to work with.

Now, let's go ahead and Dive Right In to Speed 3 over here.

Now, one thing I should tell you is I am using speed 39 speed 39, at

the time of recording.

This has only come out two days ago.

So the UI is a little bit different.

I'm still learning it myself also, but for us it is very

straightforward compared to like the older versions.

So to create an IV, this is a workflow that I developed myself.

So I hope that it is a good work flow.

But it definitely works.

Let's go ahead and go to file and new and we are just going to go

ahead and create a new blank scene over here.

And then over here.

We have a scene now.

You can choose your right Mouse button to of course, rotate around.

I do expect that, you know, the basics of Speed 3, but just in case

middle Mouse button is pending right Mouse button is rotating and you

can use the Z button to zoom in.

Out.

Okay.

So the first thing I need because Ivy is hanging.

I need something to hang the IV form.

Now.

This can be very easy.

Let's go ahead and go to Maya although you can use whatever program

you want for the 3D modeling and I'm just going to go ahead in here

and I'm going to right click and I'm going to create a cube here.

Let's create like a simple Cube and we just want something to hang the

IV form.

And in speedtree, this something is called a force.

So we want to go ahead and create like a while almost to hang the IV

from.

So I'm just going to create like something that's quite High.

It doesn't need to be specific.

As I said before.

This is going to be generic IV.

So being it with it being generic.

I just want to have it, nicely hanging from here and just going down.

So this totally fine.

Once I have my model over here, let's go ahead and exports and let's

just go ahead and create a folder called.

Speedtree underscore forces in our exports.

There we go, and let's just go file and I'm just going to export

selection.

And I want to export it as an fbx and just call this.

Cube on a score Collision over here and just export.

There we go.

Very simple.

Just a simple Cube now.

Inside a speeds.

Ye Speed 3.

Sorry, what you want to do is you want to go ahead and you want to go

to file and then you want to import a mesh acid over here?

Personally.

I don't really like this view.

So what I like to do is I like to open up the native dialogue, and

then I like to Simply paste in my location over here and I can grab my

Cube Collision.

Let's open this one up.

And now we have a cube Collision over here that has been imported.

So what we're going to do now is we are just going to go ahead and we

need to activate it by going into forces art.

Geometry and then grab your Cube Collision over here.

It's a little bit High, that's interesting.

I'm not sure why this high but that it or so high up, but that is no

problem.

I'm going to probably scale it up a little bit.

I think that's the first thing I want to do.

Oh wait, it's because here I said, it's probably like the wrong

direction, but that's no problem.

So what you can do is you can press W, and then you have your normal

movements tools over here now next this so I'm just going to place is

nicely like down here.

That's fine.

Maybe I'm going to go ahead and press my our tool and I'm going to

scale this stuff up.

You can scaled up individually, but if you go to this corner over

here, you can scale It Up All In One go.

So let's do something like this.

We basically just want to set this nicely into place if you want to

make sure that this is not see-through so that you can nicely.

See it, which I like to do then go to materials down here.

Let's go ahead and press the + / - and press art new and just call

this material gray, which I like to do.

Because then if I just click and drag, I can actually apply this game

material on here.

And now you can see that we just have like a simple gray box in here.

So that's perfect.

Let's white away.

Go file.

And let's do a save as and I will save this as IV on the score genetic

underscore 01.

Okay, perfect.

So, the way that we're going to do this is we are basically going to

use a combination of branches, along with some Collision modifiers,

and some forces to give it gravity to basically make it go down.

So as I did something, I came up with myself.

So let's just have a look.

What I like to do is that we have over here our base tree and I like

to go ahead and create a trunk because we need something to start

having branches.

Go out of.

So we go to Art geometry to select.

It and add a simple trunk.

Now, that one is often very large.

But that's no problem.

Inside of speedtree.

You have an overwhelming amount of settings.

You will get used to this.

I'm actually more used to using this window.

However, if you want to minimize things, you can also have all of

these windows separately.

I personally like the skull, but let me just see if I can use this

one, the most because it is easier for tutorials.

Now.

The first thing I need to do is I just need to go ahead and I want to

Basically, let's go down to our size, scale over here and maybe like

move it down a little bit.

Actually.

No, what?

No?

What, let's do this a better way.

Let's go to our laws, its shape.

No skin over here in a skin and let's get started by first of all,

setting the length which you can find.

Well, I hear see, this is why I like to scrolling.

So there is a length, I think this spline over here and then you have

over here absolute length.

So in spline.

We can set this down.

As I said, there are so many settings.

Normally.

If you do this way, the reason why this is why I find this easier is

because everything is always in the same location.

So I know like where the length is over here and I can like move it

down.

But okay.

I will, I will try to use these windows just to make it easier.

So I'm going to set my legs a little bit lower.

Then I'm gonna go to my skin.

And first of all, in my radius, I'm going to click on this little

button here.

The reason for this because the radius is always goes from very tick

to dinner here.

See, you can see that this controls ill.

However, in this specific case, I do not want that.

I want to have it the same thickness and then I want to set the

general radius down like this.

Now comes the workaround, so it's kind of funky.

So what we want to do is you want to press W, and we actually want to

go ahead and multiply

Grab this tank and we want to now press e and we want to rotate it

sideways like this and I want to move this just above over here.

So that's why it is quite a funny way of doing this because we are

going to basically grow the branches out of this area, so you can go

in here.

And let's rotate this a little bit like this and what you can also

decide is the length of your IV.

So let's just keep it probably like this.

So we will have the ivy like going a little bit like this.

That should be fine.

I'm gonna go ahead and right now.

You are a note.

So let's go back to generator over here so that we can like set the

radius a little bit lower.

Okay, perfect.

Now that we've done this, what we need to do is we need to add some

extra branches on top.

We can do this by right, clicking, add jumps key to select it.

And then if you go to Branch over here, you want to go ahead and so we

won't have two types of points.

We want to have big and small.

Let's get started with the big.

And what the big punches will do is they will basically control where

the main shapes over ivr.

You will know it soon enough.

But, so, we have this one.

If we now go to Jenn, which is generator over here.

We can set the frequency, and we just want to go out and play with the

first and the last over here.

Whoo, it's really, maybe it's it can be because it is to check that

me.

Just have a look inside of all.

Let's do, like, maybe like a classic.

If you over here, you have different types of generation.

So if we do a classic, we are often able to more easily out like more

branches.

And now, the first I want to have it like the very bottom so that set

this at zero and the last one I would say is set at 1 so that it is

evenly spread out like this.

Okay, so that's fine.

Now, what I'm going to do is I'm going to go into my lengths.

Yeah, maybe set the length a little bit higher, but I want to mostly

go into my skin and I want to set my radius a little bit thinner like

this that they become quite a bit in our not too thin but we will hide

these punches later on right now.

They are just like a guidance.

Let's go into my tongue.

Move my tongue down a little bit like this.

And now what we need to do is we basically need to have these punches

pushdowns that they are actually attached to this and growing on here.

We are going to do this in two ways.

One of the ways is

Is that if you go, let's go back to generator in our big.

If we go to our forces over here.

You have your Cube Collision Force.

What you can do is as soon as you activate it, it will basically try

to stay attached to your Cube Collision as you can see here.

So you can see the more I increase my Force, the more it will try to

like stick to it.

So that's one way of doing it.

Another way is that we have gravity so our gravity.

Let me just quickly see

Where this one is always located because it's a little bit tricky to

find orientation shape.

It is in here in a spline, I believe.

But it seems to be quite.

So there's two ways that we can do this.

So we can do this via Force, but I was hoping that we can use the

gravity over here, but I don't think I can find it.

It would be nice.

So,

Yeah, here you go.

You can't write it.

Like, type it in.

Gravity here.

See, so you are able to type it in and then you can push the gravity

down basically like this.

Now, as you can see, what is happening over here is with our gravity.

We can basically keep it push down.

So that's good.

So we want to have it at like, maybe like a 0.05 area.

And now, for this bunch is these bunches are basically hanging over

here.

However, we also have some branches on this site in.

Basically, the way that I fix, this is, I simply go in and I then

click on my individual branches, and as soon as you click on your

individual branches and you press W, you are able to

Fear of a few settings.

So you can control the length over here.

See.

But you can also control the start angle and hijo de Chien.

So I want to have.

Where are you rotation?

Drag move, rotate.

There we go.

So what we can do with this one is we can go ahead and we basically

have full control over where we want to have our branches.

It's sometimes a little bit tricky to properly here, move it.

But as you can imagine, if I now grab for example, these top ones, I

can just go

Go ahead and ago, hotei them carefully like this and I can move them

around and you can also delete them.

If you just press delete, you can also delete by inches.

But what I want to do is I first of all, want to use nicely, rotate

these around.

So it does involve a little bit of custom work.

It's not completely generated.

Here we go.

So I basically just go ahead and let's see.

This is probably enough.

So all of the other ones over here, I can just press delete to get rid

of them like this.

And now it is pretty much just like a matter of like playing around

with things.

Maybe I was playing around with the lengths.

You get like an interesting IV because right now all of them are

pretty much the same length, but what this will do is in your IV, it

will basically give you IV like a very straight cut and we don't want

that.

So you can see over here that I'm

Especially on the outer sides, I'm scaling them in.

And basically the reason I'm doing that is because I like to have the

IV kind like Fade Out.

This one is being bit of a pain to annoy.

Come on.

Over to move.

Don't know why it's being so difficult.

Maybe if I move on with my start angle, well, I'm not able to move

this one at all.

Let's get back to that one.

Let's first or display how to little bit more with my start angles.

And we are also going to add like some noise to this to make it look

more interesting.

But right now, I just want to have them mostly

Focused on having like different lengths.

So, let's have this one.

Like the Classic IV that kind, like, Fades out.

Let's make this one like a little bit less.

Maybe if it's like a little bit more fate or a little bit longer over

here and then it fades out.

Although you know what?

I'm going to delete this.

I don't know what it is.

Sometimes it is a little bit buggy if you are doing manual movements

like this, but there we go.

So that should be fine.

Now, cool thing.

What you can do now is if you just click on the big, again, you go

back into your generator mode and we can go in here and we can go

basically, to, I believe it is in our skin that you can find these

pieces.

Or is it in displacement?

I think it is in displacement.

And now I'm just going to do it this way because else I cannot really

find it.

So in here there are a bunch of segments and here we have a cavity but

here we also have segments to give it noise and I'm not sure.

Where are you noise?

Noise noise.

There's so much stuff in here.

So it's often like

So we have a shape over here, so that's fine.

But

I found it.

I don't know why.

I didn't see it, but it was in the spine.

So I don't know why I didn't see it.

But basically, in here you are able to add noise.

So you have your noise amounts earlier mounts and later mounts.

So the earlier mounts they will abide by the forces.

The late amounts.

They will.

Basically art noise after the forces have already been added.

The late does not seem to work in this case, which can sometimes

happen.

The early amount over here.

That one is a little bit.

He'll serve a player out with, like, our cough.

So what you can do in our car fish, we can move this down but

Or up to basically control the amount of noise in the amount of

turbulence.

However, in this case, it's not doing exactly what I was hoping for.

Hear this quite straight that is no problem that if it is like that,

so I'm not too worried about it.

You can also like, play, how to draw orientation over here, which is

like your start angle, but I'm not going to touch it because I've done

this manually, let's just leave it at this and if needed I can add

some more pieces later on.

So what I want to do now is I want to up my final bit of punches which

are going to be a smaller branches.

And these are going to be the punch that will actually contain all of

our leaves.

So if we right-click add geometry to selected, we want to go in

bunches and little or Twigs.

I think we just want to go for little over here.

And now if we go back to generates, so right now we have them at

interval.

I think proportional is quite nice portion.

Ali does like Steps.

Basically, it just has like a bunch of steps that allows us to add

more branches.

Now for these points.

I think it is easier.

If we first go to forces and the

Wheatley turn on our Cube correlation over here and we want to set

this quite High.

And then there is another force that I sometimes tend to use, and it

is a force.

If we go up here, to force is an art for.

So we have like a few of them.

The planer is pretty cool.

Although I'm not sure if it will do much now because we already have a

cube so we can try.

But you can also get then.

You can also do a directional force.

And with the direction Force, as you can see, it is already activated

automatically over here.

I am able to basically move around the direction.

So I was hoping that I can push it out but

But it seems not to be the case.

So let's have a try.

It's always good to just try like a few different things.

So here we have like the planer noise.

And what you can do with that one, is if you place your player here,

this is also, I want to try them out so that I can showcase all the

forces to you put much.

So the planer is pretty cool.

So you basically have the plane here and then if you click on your

branches, and go to forces, and you turn it on, it will basically do

almost the same as your

Cube, that's it will just try to have your Force here.

If I turn off coupon reaction here.

You can see C.

So you can see that the basically twice to just push out my forces

down, and I feel like that this one is actually working little bit

better.

It might just be that accurate projection was too strong because we do

not want to have these to be as strong, but you can see that they

always try to kind like, have they try to touch your Cube while the

planer it gets attracted to the cube.

So, it is slightly different.

Now, the reason most intimate to do this stuff here.

Let me just leave it like this over here, is because I still want to

give it like this organic field, because these branches, they would

not be sticking to your to decide.

So what we can do is we can go ahead and we can do planer and give it

like a nice strength to here.

Let's move this down, and let's have a look because I don't want to

have them sticking out, but I want to have them close to the end.

This will make everything easier later on.

And now we can go to generate, and let's see.

So we have the number.

Let's get start by setting the first a little bit higher.

And then we have our last over here.

Now, for our angles.

We want to have our angles.

See ya.

So these are really erratic but because this is not like real life.

We can't like need to have like some downwards Force.

I think it is best if we just move them down with a little bit.

And once again, you can also use your direction over here.

I can go to art for sit, like a direction of force like this, and then

if I just see in my just want to make sure that if I go to force,

okay, it's turned off.

And then, here the stern on here, see, I can give it like a little bit

of direction so I can

Should down like this.

And now it's just a matter of basically giving it like a bunch of

different variation.

So what I often like to do is, I like to just go next to every single

window.

So, over here, what you can do is you can sweep basically just like

some random rotations jumbled does like again, some kind of rotation,

but it just kind of like, I don't know how to explain it.

It's just like some general movement.

So over here, we have this one, the hole.

Now I am aware that it will.

Most likely I know here.

Does not push has too many in there.

You can see that a bush like a little bit in here, but that is not too

big of a deal.

In this case.

What you can also do is if you want, you can go up here to your force,

a height and it will hide the force, but it will not actually remove

remove the effect.

We can also go over here to show and turn off our forces over here.

I thought we would be able to do that.

I guess not.

They say maybe they moved it.

That's first hides on this one.

There we go.

So now you can see that this now, Riv branches.

So that makes it may be a little bit easier for us to go ahead and

have a play around.

So we have a spline.

Now, the cool thing about our length.

Is that over here?

We have our length based upon the parents, which yeah, that's fine.

It basically what it does is based upon the length of the branch.

They are attached to.

They will increase their lengths.

You can also do an absolute length, which will just do an overall

increase.

But the cool thing is with this.

If you

Go your graph over here.

You can make your lengths really regular, which I like to do.

So you can go.

What it does is it basically treats the length from the top to the

bottom.

So what I can do is I can say okay at the top.

I want to go ahead and I want to have maybe like my legs a little bit

smaller because these are new branches.

Then at the bottom.

They become like larger and then over here at the very bottom.

They become smaller again so I can just go in here and I can basically

play around with my length and just make them look a little bit

interesting.

So now you can see that at the top, they are not too large.

Then in the center.

They

Quite large and then they become smaller again.

So it's basically stuff like that.

Now that we've done that orientation.

Yes, you can play how to just start angle.

Which kind of does the same as the direction.

In this case gravity.

We already went over but we already have a start angle so we don't

really need to do that.

Noises, we can you see play around with the amount, but it looks like

that's just giving me like a curly effect, which is not the one I

want.

You are late noise over here is looking pretty good.

In this case.

So in the other ones, the late noise, did not really work.

Well, but in this one, it seems to be working quite well.

So I'm going to give it quite a bit of late noise.

Used to make it, give it like an interesting look over here.

You can also play around with your turbulence.

I would recommend just play around with these settings to turbulence.

Basically like the noise amount.

The reason I'm not going to go over these settings because then it

would become like a 10-hour tutorial because they are simply so much

stuff in here to cover.

Brake is also pretty cool.

Is it basically gives you a chance to break off some branches, but we

don't really need it right now.

Forces.

We already went over our skin, so our radius.

All right.

Yes, maybe let's set it a little bit lower but it does not really

matter because what we're going to do later is we are going to

actually replace these branches with planes because the barge right

now, they are 30,000 triangles.

So that would be too much.

But if we replace them with planes, it will be a lot less geometry

heavy.

But I think at this point, is looking pretty cool.

What we would later do is, we would later basically hide our big

punches and over here are smaller ones.

And then all that, we have left this, we have the ivy

and because we, then also have our

We also have our leaves on top of it.

It will be very difficult to actually see like that.

There aren't any point you supporting it, or if you want, you can

still use your big punches and you can like make them very thin.

But okay, so that's pretty good.

Let's go ahead in the next chapter.

We will just go ahead and continue our first ivy.