Hello, this is 18GANG.
In the last video, I talked about the second ribbon trail, and I only talked about the basic configuration of the sequence.
I'll open the level and check it out.
I'll make a material now.
I'll open the sequence and flash it with the camera view.
I did this simple.
So today, I'm going to make a ribbon master material in this part called the projectile and see how to use it in a simple ribbon renderer.
Then, I'll stop the sequence for a moment and open the projectile and open the Niagara particle.
I think it's better to make a ribbon first and then go to the material.
I think it would be better to set up the material and change it while working on the material.
In the case of this particle, it's a particle that only goes forward.
I'll try it without looking at the camera view.
The display is always a little narrow, so it's a little uncomfortable to show you this part.
The basic dummy we've made here is going to be used as a source.
The source is a way to create a ribbon in the trajectory of the moving particle.
I'll change the name to source.
After that, add one more red emitter and name it ribbon.
I'll make it simple.
It's set to 1 second.
I'll make this one too.
When we first talked about the spawn module, we talked about Niagara, but it's a little different.
If you search for other, there is a spawn particle from other emitter.
If you make this part, you'll get an error like this.
If you make a fix issue, you'll get a module called sample particle from other emitter.
These two are sets.
But one error hasn't disappeared yet.
In this case, the emitter name that will be used as a source is not recorded here.
So if you write the name of this emitter here, it will be created like this.
The position of the moving particle is not right.
Maybe it's because the local space is different.
This one is made of local space, but this one is not.
If you look here, you can see that the position of the source particle is created in real time.
This is the spawn particle from other emitter.
You can adjust the spawn rate here.
If you set it to 20, it will increase.
Now we're expressing this with sprite renderer, so there are several round things like this.
But I'll change this to a ribbon.
Before that, let's explain this option.
This is the part that uses the name of the emitter, and the spawn rate is the spawn rate.
You can think of it as the same as the rate module we use here.
And this part is the optimization-related option.
I think you can see that the maximum particle is set.
So it's 100, but if we set this to 50 and it's very dense,
I'll set this to 10.
Then you can think of it as a function that limits the maximum particle number.
If you remove this check, it means that you don't use that function.
And the sample particle from other emitter has the properties of the source particle.
For example, color.
Now the position value is changed, so the position value is created in the same position.
Other properties can also be used.
Now I'll make it a ribbon.
The reason I wanted to set this ribbon renderer before making the battery is
I think it would be better to know the connection between UV and the ribbon material.
First of all, it's coming out very thin here.
I'll set the size of this part.
20? 50?
I'll make it visible.
There's no material in the material right now, so it's coming out like this.
And I think I can just set the number to 20.
So here's UV 0 and UV 1 settings.
Now we're in the material.
I think I can start with a new material.
I'll name it ribbon-01.
M ribbon underbar 01.
I'll use this as a one-litre of Translucent.
And when I take out the texture coordinator, there's an index here.
This number is the option value of the corresponding number.
Now we're in number 0, so we're going to use the option value of the setting.
Then,
I think it would be good to see what happens to the mapping with a very simple texture.
This texture won't be included in the resource.
I just brought this for explanation.
I think you can just look at it with your eyes and understand it.
So I'll see what the basic mapping looks like with this texture.
I'll put this material in.
It's mapping.
Ribbon is coming out well, right?
I think the lifetime is too long.
I'll make it disappear like this.
There's a UV mode in the UV settings.
There are about three or four types of this part.
I'll explain this part.
This method, which is now coming out as the total length of the non-uniform scale,
The texture mapping is always matched to the length of the ribbon.
The material size is matched to the length of the ribbon.
And if you type by segment length,
It's tiling based on the segment.
It changes the length every time you create it.
This segment can be adjusted by tiling length.
There's a way like this.
Finally, there's a tile by distance.
The reason why this doesn't come out now is
Here's the ribbon UV distance.
This attribute is not applied, so it doesn't come out.
It's like this.
I'm going to use this tile by distance the most.
Because mapping is the most natural when it's created and disappeared.
This is now a texture mapping based on the distance created by the ribbon.
This can also be adjusted by the tiling length.
I'll put it at about 200.
But in this case, the direction is reversed.
The arrow was facing forward earlier, but it's reversed backwards.
I think I'll use it by flipping the UV once in Waterreal.
And tile by distance is reversed.
The basic mapping based on total length or segment
I think you can think of this as the head.
Ribbon
Left
So
Actually, the ones on top are a little unnatural, so I don't use them.
I use tile by distance for things that need to be expressed in detail.
These are not important.
Things that don't matter if you just show them in a line
I don't think it's going to matter if you use them as UV boards on top of this.
Then I'll start making Master Material.
You know the Master Material we made last time?
I opened this part in advance.
I found the Material and opened it.
We have a normal texture that we're going to use as a distortion.
The Depth Texture part that will be the distortion target.
It will be used for opacity.
And it will be used for color blending.
This part will go to the same base.
It's good to use this part quickly.
It's good to shorten the time.
It's important to take the part that you can actively use when you're working.
It's important to shorten the time.
I'll copy this part and bring it in.
I'm going to start with a trance.
I'm going to do it with a unit.
I'll copy this part where there's nothing.
First of all, I'm not going to use the radial UV.
I'm going to erase the radial UV part.
I'll cut off the dynamics.
It's a mess.
Let's start with the normal texture part on the distortion side.
Basically, the texture UV coordinator.
I'm going to use the basic UV.
As I said earlier, I'll use index 0.
And...
I used to tiling this part separately in the radial UV.
It doesn't matter if you just make it a two-channel and tiling it.
First of all, we...
This...
When I use tile distance, I have to solve the UV flip first.
So I made two component masks.
One is bringing the G channel and one is bringing the R channel.
And connect this part.
If you click the English O key and click on it, you'll get a node called 1-X.
This means that it's being inverted.
1-X will be this object.
1-X is the inverted formula.
So I'll copy and use the up-end.
Make it a two-channel again.
And add it here.
Before that...
We're going to use this texture.
I'm going to see if the UV is coming out.
It would be nice to do it like this.
It's been flipped over by saving.
Earlier, the number was in this direction.
I'll flip it over like this.
So I think the function part we used in the radial UV will be this part.
What's important about dynamic parameters is...
First, I use distortion.
And second, I'll write it as randomU.
Third, I'll write it as dissolve.
Fourth, I'm not going to use it.
I'll change it to the default name.
And add randomU to the UV format.
Adding UV means that UV is offset.
And I'll erase this.
I'll multiply this with the normal part.
I'll use the tiling.
I think I need to check it out again.
Random UV is very important in the case of ribbon characteristics.
For example,
It doesn't matter because it's one line.
But if I made three,
I'll change the location.
I'm going to check it with my eyes.
With the tiling location.
It's recognized as one line now.
Even if three particles are created.
So,
It's one line after three.
We don't want to use it like this.
If you check the requirementPersistentId,
These three particles have different numberings.
That's called ID.
Particle ID
1, 2, 3, this is what it looks like.
Then I want to make three lines here.
Ribbon
Particle ID Sampling
Apply Sample ID
Three lines come out like this.
When three lines come out like this,
It's a little hard to check right now.
Is it right?
You know, it looks like extra layers.
I'll set the same value.
So that it's easy to see.
Then the UV mapping is now the same point.
I'll increase this a little.
It's very boring when all the ribbons are mapped in the same texture.
Because the pattern of the eyes is getting used to it.
You have to break it.
So I'm going to make this random U offset to break it.
I want to make sure that each of these lines have a different offset value.
Now, when you do that,
The important thing is to make a dynamic parameter in advance.
Let's do it while looking.
It's very important to understand and move on.
So I'm using the second parameter.
I'm sorry, I have to use the arrow texture again.
I think this is the best way to check it with your eyes.
It's got a random U.
I'll save this part by connecting it to the mcg color.
When it's done,
This part of the random U.
When we put it in the random range plot we always use,
This is how we get the random value.
This is because each of the lines doesn't have the same random value.
Each of these particles has a different random value.
If you look at it like this,
Each of the mcg particles is one particle.
Each of these lines has the same random value.
But now it's really messed up.
It's being texture mapped like it's torn.
So the way to use it is to turn on the data manager.
I'm using a random seed, but I'll use a new expression here.
This is a form that can record the HLS code right here.
It's also a code.
The random seed value is not just a number.
Each of these lines should have a fixed number value.
It's a number that will be used as a source to create a random value.
So, with the expression here,
If you bring the particle.ribonId property and use it,
You'll get the numbering of the particle ID that we made earlier.
Now I'll put in the fixed random seed.
You can see it changing right now, right?
But one mistake I made in the material here is that
I have to apply only the U channel, but now I have to apply the V channel.
So I'm going to use the U channel as an append.
The V channel is to make sure there are no changes.
Save it.
The offset value is different from the beginning.
If you look at these two,
They're completely different.
I'm going to change the offset value.
They're completely different.
It's the same, right?
If you make more particles like this,
This is because the UV is 0 to 1.
It might feel like a little overlap.
But it's working properly.
If you use it like this,
I think this is the most important part.
When you use the ribbon buttery,
It doesn't matter when you make a tray with one line.
When you make several lines,
I think you should think about it.
Anyway, now, the U-direction offset is random.
The pattern may look simple,
But when we actually make it later,
I'm going to randomly flip the V value.
So it's okay to have a similar pattern.
Let's continue.
I'm going to use the same UV method on the opacity part.
I'll use it on this color part.
I'll continue the motor.
I'll change the default value.
And now,
I'll use the opacity part.
I used two sheets in a row in Radial UV,
I'm only going to use one in the ribbon.
I'll just change the name to Opacity Texture.
And I'm going to use the opacity power,
Stereo X as it is.
I'll put it in the L value.
I'll remove the Multiplane here, too.
I don't think the V part needs to be tiled in the ribbon.
I think it's necessary,
But we don't need it in the example we're going to make.
If you want to control this part,
It doesn't matter if you make it and use it.
So, here's the tiling.
I'll bring it to the UV form we made earlier.
I'll use this tiling.
And the head part.
The head that will receive the foreign value.
I'll erase this part.
This is the part where the intensity of the foreign is excluded.
In the Radial UV, I only brought the G channel and used it for the foreign value.
I'll only use the R channel in the ribbon.
The direction of the UV is important.
So I'll connect this Distortion here.
I think I can use it.
Connect to Opacity Texture.
I'll put this texture in default.
And the edge power part and
The edge part that emphasizes the edge.
I'm going to take the cotton part the same.
This part used to be managed by the Dynamic Parameter.
I'll make a separate parameter.
I think I'll manage the intensity.
And I'll use this part the same.
I'll erase this part.
It could be crazy.
And then let's see.
How to express it with the Emissive Color.
The foreign value is now connected to the Dynamic Parameter by default.
It's too strong.
I'll feel it like this.
And connect Opacity Texture.
It's created like this.
The brightness of this texture is very low.
I'll put this up.
The Opacity Texture area is brighter.
It creates a dark tone.
And here, it's drawn like this.
I'll make it thick.
This is not something to use as an example.
The ribbon material is a little bit of a check with the eyes.
I think it's better to add while looking at the process.
And we're going to use the parameter we were going to use with Dissolve.
I'll connect it to this part.
And then copy this R channel.
Let's see if this parameter works.
Let's see if this one works.
This was very dark because it was in the value of zero.
If you give it a value of 5, it will fall out like this.
Only the color edge comes out.
To give the feeling that the edge disappears at the end.
I'll add one more parameter like this.
I'm not expecting it to be completely dissolved.
To give you a feeling of that moment when it disappears.
And I want you to calculate one more thing in this opacity part.
In this part, you know the R channel I brought earlier?
I'll connect this part to the original UV.
But the lines are too uncomfortable to see.
If you double-click this and make one, it will fall out like this.
Handle is also important.
It's hard to see the node at a glance.
So you always have to organize the lines well.
So if you use this part,
I used it to cover the tail part of the back with an opacity.
I'll save it.
Let's make the opacity a little dead here.
You can control it in the color part anyway.
I'll reduce it one more time in the material.
I think you can think of it as a result.
Finally, I'll add a little bit of color.
And finally, for the alpha channel for Niagara and Yondong,
I'll add a little bit of color for the opacity and Yondong.
I think you can put in the input.
I'll erase the part.
I'll organize this a little bit.
And then let's look at the tailing again.
Likewise, erase the multiply and create two channels with the append to manage the tailing.
Make a multiply here, too.
Use it as we use it, adjust the tailing,
and use this part as a multiply.
I used to use fixed values for the outer value.
Only the opacity diffuser part controls the intensity.
This time, I'll take the same intensity value and use it.
I put 0.1 in this part, but I put this in to make it easier to see.
I'll connect the distortion at the end.
Then the outer value is added.
This part should be added, not a multiply.
I'll use this part for the color channel offset that we used in the previous material.
I'll use it as UV.
I think you can go to the same part.
I'll use the value 0.
I don't think you need the power part this time.
I'll use the multiply for the color part.
I'll use the same thing for the color part.
I'll just calculate the color part and the opacity part.
I don't think I need this much control.
The ribbon will be shown in the order of creating colors in Niagara.
I think it's better to get the main feeling from there.
I don't think you need this much detailed control.
I'll make a parameter.
Then, I'll take the R channel and use it.
I'll put a power on this color part and make a parameter.
I'll call it Black Fias.
This is an option to adjust the tone when the tail disappears.
I'll use the R range control.
I'll erase this part.
I think it will be connected to Niagara Particles.
There's a color in this part.
I'll use the color area here.
I think the color part is coming out well.
Then, it's almost over.
I'll change the distortion.
I'll save it.
I'll make an instance to check if the parameters work properly.
I'll put it in the ribbon and check it out.
I'll make an instance.
I'll connect it here first.
I'll make an instance.
You can open the window by double-clicking here.
I'll turn it on.
The distortion has a dynamic value, so it's the maximum value.
I'll check the parameters first.
I'll check the tiling first.
I used the power value earlier.
The stronger the power value, the wider the black tone area behind it.
This is the part that belongs to the head.
I'll do it like this.
I think it's working.
The color tiling works well.
The V angle works well.
The saturation works well.
The diffuse tiling is the most important.
The length is getting narrower.
I'll do it well.
The power works well.
This part works well, too.
The normal tiling feels different.
It feels different, right?
I think it's working well.
Opacity Power
Distortion
The 11 value is very low.
I'll make it easy to see.
It's working because it's RGB-Obsessed.
I think it's working well.
Lastly,
I think it's working.
I checked the part before.
Color area
I'll do it like this.
It's easy to see.
I'll do it with a simple scale color.
I'll put in a couple of opacity.
It's too tight and it's disappearing.
I'll make it a little more natural.
Like this.
It's not connected to the distortion part.
I'll turn off the rain part.
If you change the rain part again,
It's 0, so it's not distorted.
If it's 0.5, it's like this.
If you put a curve in here,
When it first comes into being,
It disappears and disappears.
It's going to disappear and get distorted.
I can give you this feeling.
Then, dynamic parameter control
I'll check that it's all working well.
I checked it.
Then, this time,
It's about the ribbon material.
I'm going to connect it to Niagara.
Basically, Niagara's ribbon particles.
I think I've explained the tiling and mapping.
Next time, I'll use these parts.
Now, I think we can have time to complete the particles.
Thank you for your hard work.