Blender Tutorial - Liquid Movement inside a bottle with KennyPhases

Should be live here. I'm just going to go ahead and wait for everything to get updated here. Got about 33 people right now on the live stream. I'm just waiting to make sure it actually goes live and that we have audio working, and then we are good to go.

All right, we're good to go. Awesome. All right guys, uh, welcome back. Um, how's everybody doing today? Hopefully you guys are doing well. Hopefully you guys are still using Blender and hopefully you're having some awesome 3D projects ongoing as we speak. I currently have none except for the course for our core fundamentals course, and I've been working on physics. So I figured I would do another physics live stream for you guys today.

Now, what are we going to be covering today? Well, we're going to be covering this awesome little bottle animation. Now, we won't necessarily use a bottle for this, but I am going to show you guys how to make a reactive liquid. So, as you can see on the example on the right, we have a liquid inside of a bottle that sort of reacts when we turn the bottle. Now, there's a couple of different things going on here. Also, welcome Yasin x63, good to have you here. Um, a lot of people have told me how they think this is done. Now, there's a couple of different ways we can do this. There's actually like three main ways we can do this. We can use a displacement modifier, we can use real fluid physics, or we can do it my way using Dynamic Paint. So I'm going to be showing you guys how to actually create this using Dynamic Paint completely from scratch. We're going to make our own little bottle. We're going to make our own liquid. Um, this should be pretty simple to do. You'll need some basic modeling skills and understanding of physics. To get those understanding of physics, you guys can sign up for the core fundamentals course where I teach about physics.

So let's go ahead and hop right into this. I am going to, um, answer any questions that you guys have as we go, but let's go ahead and get right into it. So again, this is kind of, uh, the final result we're looking for here, something along those lines. We'll go over some shading and lighting techniques as well. I'm going to start off with a completely new file here, and I'm not even going to save this one because I already know how to create this. I'm just going to start off by deleting everything. I'm going to add in a cylinder, and I just want to create something that's going to contain my liquid. So I'll just go to, uh, edit mode here. I will take the top of this, and I think what I'll do is I will delete the face, and then I'll just go to my vertex select mode. I'll go to x-ray mode. I'll extrude this upwards, maybe scale it in just a little bit, and then I'll extrude it upwards again. And we're just, just going to make like the simplest bottle ever, like very, very simple. It's really not going to look. Actually, I'm going to just undo that. We're just, it's literally going to be exactly like this, just for the purposes of this tutorial. Uh, I'm going to press F to kind of fill the top there, and then I'm going to duplicate this, shift D to duplicate, scale it down a little bit, and then I'm just going to adjust these lines so that they kind of line up. And that looks good. And all we're doing is we want to have this outer casing, right, which is going to be our solid, uh, glass bottle, and then the inside, which is going to actually be the liquid. And if you turn on your random colors, you can see the difference between these two. You can use any shape, size, color, whatever you want. Super easy to do.

Now that we have this, we need a way to cut our liquid off. Now, we're going to use a Boolean operator for that. So I'm just going to add in a cube. I'm going to scale it flat, scale it up like this. Now, basically, what we're going to do is we're going to cut this liquid off with our cube. Now, you guys have probably seen this before. It's pretty simple. In order to do this properly, first select your inside liquid, and then shift click your bottle, control P to parent, and just press enter. And now whenever we move our parent object, our, um, our child water object will move with it. Go ahead and click on the water inside of the bottle and just add a Boolean modifier. Select this cube. And now, as you can see, when we move this cube, it cuts off our liquid at that seam right there. So if you hide our cube, what's cool is now when we rotate the bottle, notice how the liquid now stays level, right? But we have a couple of issues with this. One, when we go a little bit past this, look how now we lose the liquid, right? We're actually gaining liquid as we rotate this. We don't want that, right? We want to maintain the same volumetric liquid inside of the container. Does that make sense? So if I move this container up, right, we're losing liquid because our cube is staying exactly where it is. So I found a really nice fix for this.

So the very first thing I'm going to do is just add in an empty. And what we want to do is just parent, parent this empty to our outer, um, object here. And now, as you can see, when I drop down my cylinder, we have our empty inside of that. What we're going to do is we're actually going to add a constraint to our cube so that we can always maintain that Z level along with our empty. So I'm going to go to my constraints tab. I'm going to add a copy location constraint. I'm going to uncheck everything except for the Z axis. And then I'm simply going to target my empty. And then make sure you check offset, which is going to allow that cube to stay kind of where it was relative to where we originally put it. Now, when we, uh, rotate this, we should get something a little bit different, as long as our, oh, is this targeted to our empty? It is. Hold on one second. We are following the Z location. Let me just make sure this is working. It is. I'm going to go ahead and move our empty up a little bit and move our cube down. I just want to make sure this is working properly. All right, there we go. So you're going to have to fine-tune this, as you can see. But now notice what happens. Now when I move my bottle, notice how that level, that water level kind of stays the same. There's a very sweet spot that you're going to need to find to maintain this water level.

Now, you're probably thinking, I know exactly what comes next. All you have to do is subdivide your cube and add a displacement modifier. Well, you could do that, and let me show you what that would look like. But if you do that, keep in mind you're not actually going to get realistic water movements. It's just going to look like a displacement modifier moving. So how do we actually get semi-realistic water movements? Well, we're going to use Dynamic Paint. So I'm going to reset my location and rotation for this bottle. I'm going to go ahead and click on my cube, and this is going to be what acts as our displacement, or sorry, our, um, Dynamic Paint. So I'm going to subdivide this quite a few times. That should be enough right there. Now, I have a computer that can handle this. If you guys don't, just be careful how many times you subdivide. Go to your modifiers tab, and then we're just going to go ahead and generate, or sorry, we're going to go to our, um, physics, and we're going to add a Dynamic Paint canvas. Just click on add canvas. Go ahead and change that type to waves. And then I'm going to click on my external bottle. I'm going to add a Dynamic Paint brush. Click on add brush. And now, here's, here's the cool part, right? Let's go ahead and hide this. Here's where we can start to see our effects of our Dynamic Paint. When we press play, watch what happens now. See how now our liquid reacts? So if I press play and in real time move this box, look at how our liquid is reacting inside the bottle. And that's really it, right? That's the effect.

Now, the reason it's moving so slow is because we can change our speed of the simulation. So if we go back to frame zero here, reset our rotation of our bottle, we can go ahead and click on our cube. Okay, and we have a lot of subdivisions. I'm going to subdivide it one more time. I'm also going to take a look at this speed and I'm going to raise that up to two. And I'm just going to quickly go ahead and save this to my desktop. And I'm just going to call this, um, Dynamic bottle. Okay. Now let's hide this and let's see what we get. Now, all right, so now look at that resolution that we have. And then remember, if we rotate our bottle, and then it's going to get a little tricky on the sides here, but look at how this, uh, liquid moves inside the bottle. It's pretty cool. Hopefully you guys are following along still. This is a little more complex because we have hidden objects we can't see, but as soon as we reenable that cube, we can see what's going on. Now, one thing to keep in mind is is when you're moving your bottle, you're going to have certain points where it gets cut off in a weird way. For example, right here, notice how our cube isn't big enough. All I have to do to fix this is simply scale up our cube so that I know it can cover the full width of the bottle. And then again, you're going to have to adjust your height to kind of compensate for that. So, uh, let me go ahead and play this back here. Now we have our bottle, right, with the liquid inside. And if we rotate this, notice how the liquid is now still moving inside. Now we can rotate our bottle, animate it, and we have a moving liquid inside that looks pretty believable, if you ask me.

Now, if you really want to get crazy with this, we start to add materials, shaders, things like that. And you can add a, um, another constraint to your liquid, which allows it to snap to the size of the bottle. I won't do that in this tutorial because I want to keep it as simple as possible for everyone to follow along. But as you can see from this side angle, we have this liquid moving. So let's go ahead and save this. I'm going to go back to to frame one. I always like to start my bottle at zero just to keep things simple. I'm going to press I to insert a key frame for everything. I'm going to go to frame 60. I'm going to rotate this. Press I. And then I'm going to go to frame 120. Rotate it the other way. Press I. And then I'll go to frame 180. And I'll shift D on this first key frame. I'll just drag it to 180. And then I'll set my end frame to 180. Now, when we play this back, we catch bake this, but I'm just going to play this back. I just kind of want to see that liquid moving inside the bottle, make sure everything looks correct. You're going to see it glitches out a little bit. If it does that, you might have to adjust the size of your cube or the resolution of, oh, just happened right there. I want to point this out. Okay, right here, it's happening. So let's go ahead and unhide our cube and let's take a look and see if we can figure out why this might be happening.

All right, let's go ahead and look at our Boolean modifier. It looks like our Boolean modifier is not properly cutting through our mesh. Now, our mesh right now, inside, is quite simple, right? Sometimes when vertices and edges intersect when you use a Boolean modifier, you get these really weird glitches. So right now, we know our cube is big enough. So I'm going to hide the cube. It's definitely not the cube's fault. So let's click on that inner liquid. Let's try the fast modifier for the difference solver. And that's not going to fix it. So I think I know what the problem is. If we tab into edit mode here, let's take a look at where these vertices line up and let's compare it to where the cube is. Notice how we have some intersections here. These intersections can sometimes cause this glitch. So what I think I might do is before I have my Boolean modifier, or after, I might add a remesh. So let's just see if that fixes it. Let's generate a remesh modifier. Let's put it before the boolean. Okay. And for our voxel size, I'll do 0.5. I'll try fast. And I'll also make sure that my scale is applied for my cube object. Apply scale. I'll hide that. Already that helped a little bit, but we still have some weird glitching here. So I think what I might do is try to go back to frame zero, tab into edit mode, and I think I might just add another loop cut here and here and see if that might help a little bit. Let's go ahead and play it back and see if we still get this glitch. Okay, it's looking okay. Okay, we still have a little bit of that glitch, but notice how it kind of fixed the problem here, just a little bit. So what we'll probably do is go back and maybe remesh this again, or what I'll do is I'll add more loop cuts. I do believe the more geometry we have, the better this is going to turn out.

But what's really nice about this is now that we have our liquid all set up, all you have to do is adjust the speed and settings here. I'm going to go ahead and take a quick break to look at some comments here. I'm specifically waiting for the physics simulation. I can't wait for the course to drop. Awesome. Cannot wait to have you, uh, be a part of this course. I, I promise you, you're going to learn so much. I went ahead and I took some time to look at get everybody else's courses as well, cuz we're all kind of developing this together, and it's just incredible what you can learn when you learn from the best. Not only the best, but the people that have been doing this for so long that they explain it so well, so that even someone who has years of experience, I mean, I still need to be taught like I'm three years old, right? I need every step, every single step is outlined in this course. I'm specifically waiting for the physics simulation. Yep. Depending on the liquid gaining, it might be desirable. Yeah, so that's the thing, you can also animate that box as well. So if you want the liquid level to rise, you can animate for that. Will this be similar to the Shader Half-Life? Alex, I'm not sure what that is. If you can, uh, expand on that more, I might be able to help you out.

All right, well, I'm pretty happy with this so far. I want to show you guys how we can actually light this scene. But before we do that, I hate to say it, but I need to add a bottle cap to this thing because it looks really weird without one. So I'm just going to add a cylinder. I'm going to hop out of x-ray mode or mode here. I am going to scale this up and scale down a little bit to match the size here. Just something as simple as that is fine. And I'll just add a little, little bevel modifier to that. I'm going to apply that scale, decrease that bevel, shade smooth, and there's our cap. Pretty simple. And this is just for demonstration purposes anyway. I'm going to parent it to our bottle, and we're good to go.

All right, let's go ahead and hop into rendered view. Let's shade everything auto smooth. Cool. Hop into render view, and we are in Cycles here. I'm just going to go ahead, add an environment texture. Keep things simple here. I'll just add, how about this guy? Let's see how this guy works out. Cool. All right, we got some interesting lighting here. Let's go ahead and click on our bottle. I will add a new material, a glass BSDF with an IOR of 1.5 to keep things simple. Now, for the interior liquid, before we get to that, I actually want to add a solidify modifier to our outer bottle here. So I'm just going to add, I'm going to add this probably after, or sorry, before the Dynamic Paint. So just add a solidify modifier right here, and I'm just going to go ahead and increase the thickness of the bottle a little bit. And that looks really good. That's kind of what I'm going for. And you'll see how this affects our rendered view because it makes it seem like it actually has a thickness, right? All right. Now for our inner cylinder, this is our liquid here. You can really do whatever you want. I tend to go with another glass shader, zero roughness. Make sure you shade that smooth. Doesn't want to shade smooth for me. Let me make sure smooth shading is enabled on our remesh. And we're going to go ahead and click back on our material tab, and I'll just make this kind of a lighter blue color, just so we can see it. 1.33 for the IOR because that is the IOR of water. And now we kind of have this liquid inside of our bottle, and it's looking pretty good. For the cap, I'm just going to give this a metallic shader with a lower roughness. And that's really it for, for the, for the actual shading.

Now, you can see that this is like a voxel, kind of like it looks kind of voxy. The reason it looks like that is because of our remesh. Um, another thing we can do is after we, let's just get rid of that remesh. I want to show you guys what we can do to make this a little better. We're going to click on our cube, the one that has the displacement, or the, um, Dynamic Paint on it. Shade auto smooth. Unhide it. Now we'll have slightly a slightly smoother appearance to our water. And if you want it to be even smoother, you can add a subdivision surface to this. Just keep in mind the more you add a subdivision surface, the, um, the crazier it's going to get with rendering things like that. So let me go ahead and unhide this. Now we should have this buttery smooth water in here. But again, our frame rate's going to drop just a little bit here. So this is looking really good. Let's go to rendered view. Let's set up a camera and some lighting and see what we can make this thing look like. Again, this is a very basic level version of what we're creating. I will show you the original file as well. I'm just going to add in a mesh plane, scale it up, R X 90 to rotate it on the, um, x-axis. And I think I'll want this to be our background. I kind of like this light coming in from behind, but we can replicate that with an area light. So I'm just going to make this really dark here. I'm going to add in a light source. I'm thinking an area light, scale that up, 1,000 for the value. Okay. And I just want to look at this from a head-on perspective. What I like to do with my lighting is I like to go to a side view and I like to kind of just experiment with how this is going to look. In fact, I'll just start right here. That looks pretty good so far. And when you have a real model of a bottle, it's going to look a lot better, right? You're going to have something that looks realistic. You're going to have those dings and dents, all the perfect curvature. This is a very basic level bottle that I chose just for this tutorial, so keep that in mind when you're making your renders.

I'm going to add a camera in here. Go back to solid view. I'll just pull this back on the Y axis. Snap to it. Um, perspective is fine. I'll do 100 millimeter lens and I'll just drag us back on the Y axis here. Now, I always like for anyone who knows me, I love using depth of field. So we are going to be using depth of field here. Um, I'm just going to go ahead and enable depth of field. I will select my bottle, which is going to be this cylinder. And then I'll just lower my F-stop to like F1. And you might not be able to tell right away, but you do have like a nice blurred background. It might be harder for you guys to see because you're on the live stream. It's currently 1:16. I'm just checking the time. Okay, I think what did we start at? One. All right, we're chilling in 16 minutes. We made this. What's next? What's the next tutorial? This stuff's easy. There's always a better way to do the liquid. Always. Um, and that's the thing is like, we're kind of cheating a little bit here. We're using modifiers. We're using Dynamic Paint, which I don't necessarily consider to be a real physics, but it looks like real physics when we render it out.

All right, let's go ahead and zoom in some more. Now I want to go ahead and take a note of the lighting setup on my actual project that this is a part of. So I'm going to go back to my actual source file here, which is this one here. Yep. Okay. So this is the actual source file that I rendered the thumbnail from, right? And you can see I'm actually using a geometry node setup for the water droplets on this bottle, right? The liquid looks pretty good. Again, you can raise that, um, subdivision modifier to get an even smoother result. And you can bake out that simulation, so you guys can do that as well. Um, just make sure I'm not missing any comments here. Looks like we're good to go so far. Again, um, lighting-wise, let's go ahead and take a look and break down the lighting. So I have a camera, right? And I have two planes kind of set up here. If we go into rendered view, I just have an HDRI. Here's what I love about lighting this. I, I could talk about lighting all day. I should, I should make a whole course just on lighting. Um, actually, Kaizen's, Kaizen's covering that, and he's going to do a fantastic job. He's the goat, as you guys know. Um, so we have two planes. Now, one of these is kind of to catch these shadows, and the other one is to create a gradient. So notice this one in the background, you see this gradient that we have? This gradient is controlled by the angle of the plane. So right now, we're at 50 degrees. Look at how we can easily modify this gradient, right? We want the gradient to look like that. Well, we're at 10 degrees, right? I pop back to 50 degrees. Uh, where was I at? 50, 50. Now we get this darker gradient. So depending on how the light is going to reflect on that surface and how rough that surface is, we're going to get a completely different result, right? So pretty darn cool. Um, and then in terms of other lighting aspects, we have an area light overhead. So I'm just going to grab all these elements. I'm going to copy them. We're going to go back to our original file. I'm going to actually delete what we have. And let's see how close we can get to this. I just pasted everything in. Notice how much smaller in scale this is. So I'm going to scale everything up. I'm going to rotate it so that we're facing the camera. And let's snap to the camera. Let's drag our light source up and let's scale it up and make it 1,000. Now, notice we're not getting the exact same result. And why do we think that is? Anybody want to take a wild guess? It's pretty simple factor that we haven't thought about yet. Anybody? Anybody? The HDRI is not the same. So let me go ahead and pop back. The one that I think I used, I believe it was this one. I'm going to go ahead and move our background out of the way. I'm going to move this into place. And look at how we can start to create pretty much whatever we want with the elements that we have. This is looking really cool already. Okay. I'm also going to add another light source on the side. I just want this glass to like really pop and shine. And I'm going to switch over to my animation tab so that I have my glass on the left and then I can reposition my objects on the right. So I can easily take this light source, right? I can move it, and in real time, I can see how that's going to adjust our bottle. I just want to have this kind of glowing outline on the outside of the bottle. Next, add some splashes inside the bottle. We actually already have that, believe it or not. Well, not splashes, but we have our fake Dynamic Paint that we've created. I'm also going to make this rectangular, really skinny, and just tall, right? And now we have that kind of rim light on the outside. And this is looking pretty good. I just want to show you what happens if we hide or show the plane on the left. You can kind of see the difference. I actually don't mind without it. It actually looks pretty good.

All right guys, I'm pretty happy with this result. Let's just go ahead and play it and just see what it looks like. There's our liquid. Let's look at it from this angle. There we go. There's our liquid right there. It's a little slow. Our frame rate's slow because our plane or our cube is so subdivided. But if we look, we have that liquid inside moving exactly how we want, right? Let's go to our solid view. You can see that liquid moving inside. And this is where you can decide what you want to do with your lighting, your materials, your, um, HDRI setup. That is pretty much the physics of it though. Um, now the size of the bottle is going to definitely change the way everything looks. The size of the liquid that you're using, the size of the plane to cut everything off, the Boolean modifier, and the intersection type. There's a lot of things going on here. I want to show you guys another example. And I will save this one. Believe it was this one here. Yeah, I think this is it. Let's go ahead and play this back and see what we get. Yep. So this one's pretty cool. Um, and I will try to get you guys these files. So if you guys are following CG Cookie, I'll just make sure those get posted online for free so you guys can access these. But take a look at this. And this is another contained fluid here. Let's go to our rendered view. I'm going to go to my camera view. Now, I'm using an orthographic camera, so it's going to like mess up the background because orthographic cameras can't capture an HDRI, right? Because an HDRI is like a regular perspective. So we're going to get this weird black background. But look at kind of what you can get here. And if you really want to mess around with the lighting and just focus on lighting, go ahead and enable that transparency under the film setting within render. And look, we can get these. I mean, look at the way this glass looks right now. Our glass is set to just a regular glass shader, 1.5 for the IOR. Here's 1.2, right? You can see a little bit more through it. There's two. So if you really want to get those streaky lines, you can go ahead and change the material as well.

Do we have any current questions, comments, or concerns about anything that we're learning about right now? We're going to take a quick questionnaire break now. The reason I wasn't able to, uh, while we wait for questions, the reason I wasn't able to create the lighting excuse me, exactly the same way is just because because a lot of this is experimentation, right? I go into a project, I start creating, and somehow I just find the right lighting over time. Trying to recreate it is actually kind of hard to do sometimes. But for the most part, it's usually an HDRI, some kind of area light, one or two area lights, and then just a really good angle on the product or the thing that I'm trying to capture. So lighting is arguably as important, if not more important, than the material choice. I could talk about lighting all day long because I think a lot of people overlook lighting. They just don't think about it, and they wonder why the renders don't come out as good as they could. Usually, it's because of lighting, materials, camera angle, framing. There's just a lot of different things that go into creating a 3D render that a lot of people, I just think don't really think about. And there's nothing wrong with that. We're always all here to improve. But these are things that you need to consider when you're creating your projects because this is what's going to make or break your project, and it's also what's going to set you apart from your competition. So like right here, I would consider this like not great lighting because the liquid's not getting caught quite right there. But then right here, the liquid looks really good, right? So just the angle of the product changing can drastically impact things. How to make Teddy pattern? What is a Teddy pattern? That's a, that's a tough one. I'm not sure what you mean by that, but that that sounds interesting. Um, does anybody, let's see if we have any, uh, other liquid projects we can go over really quickly? That was magnetic fluid. Dynamic Paint. Oh yeah, this was the one we covered on the last live stream. This is our ferrofluid here. So this one's pretty cool. Um, it's, it's a little slow, but you can see right here, this is kind of what you have. Let's go to our rendered view. So this is our ferrofluid project file from last time. Sorry, I don't know what you mean by Teddy pattern, but I'll, I'll definitely look into that if you can elaborate a little bit more. Um, this one was pretty cool. I am going to pull up the visual example for you guys so you can see what this looks like. Um, we've gone, we've done a lot of live streaming. I think, um, almost all the most recent live streams have been for me, and then there was one about, I want to say there was one about like drawing or something like that, Grease Pencil, I want to say. See if I can actually find this example here. Oh, here we go. All right, this is the example, um, of the project file that you see right now in front of you. So the way this works is we have a cube, right? There's some constraints going on here. There's actually no physics involved at all with this project file. But if you look back to the past live stream, we actually cover this. Um, it is really fun to make this. There's a lot of little tips and tricks and tools we use. Um, how do you deal with water in normal glass? Should you always use a slight color change? That's a really good question. Um, excuse me. There's a couple of things I want to go over about that because you're actually making a really, really good point here. So let's just go ahead and save this real quick. I'm just going to make a completely new file because I want to show you exactly what you're asking because that's a really, really good question. And I've watched a ton of tutorials on this topic. I'm just going to take a cylinder and just make a really, really quick container. I'm going to add a, um, solidify. Go to my side view and I just want to give this a little bit of thickness here. That looks good. And just a little bit, something like that is perfect. Go ahead and shade auto smooth, convert to mesh. So now we apply all our modifiers and we're good to go. Let's go ahead and go into our rendered view. And I want to show you how important certain things are with our liquids. I'm just going to add my favorite, one of my favorite HDRIs. I'm going to add in a glass shader for my cylinder. And what I think I want to do is just lower that roughness. We'll keep it at 1.5. Now, right now, it has nothing in it. So I'm going to add in another cylinder. Okay. Now, this is going to become our liquid. So what I'm going to do is go to solid view. I'm going to scale it in so that it's barely touching the surface. And I'm going to give it the exact same bevel, or at least close to it. Okay. I'm going to scale it up and I'm going to try to have it reach almost touching the edges, but not quite touching the edges because we don't want the edges to clip. That looks perfect. And if we zoom in here, we can see just how close we are to the edge there. I'm happy with that. So I'm going to go ahead and click apply. And then if we go into our rendered view, you'll see that we can tell we have this thing inside of our glass, right? Now we need to add a shader. So I'll add in a glass shader and I'll make this no roughness and I'll shade it smooth. Now, you probably can't tell right away, but here's with nothing in it. Now, here's with something in it. Now, to kind of give you a better visual of that, I'm going to scale this down a little bit. I'm going to bring it down. Now you can kind of see where that water level is. So you can kind of tell that it has something inside of the, um, the original cylinder. But to make it a little bit more apparent, I'm just going to add this plane underneath with a really dark color so we can really see this thing pop. Now, if you can tell here, here we go. All right, you should be able to tell kind of where that waterline is right now, right? You can kind of tell visually. But if we really want to make it pop, yes, what you can do is you can just add ever so slightly the slightest saturation to the color inside. So I'm just going to kind of push this towards the blue. And that's it. Just like barely anything. In fact, if anything, even less. But just that little push of blue kind of adds that extra ump to the glass and it, it makes it look a little bit more like water. But there's one more thing I forgot to do, and that's change the IOR to 1.33. And now we actually have the real IOR of water and we should get a slightly more realistic result. So if we go ahead and switch off to where is it? Transparent. You can kind of see the effect that you can get. This is what your water is going to look like inside, right? So before with nothing, and after. Although I did mess up our outside cylinder. I need to duplicate this material and make sure there is zero saturation. All right, we're good to go. So again, the inside's going to look a little bit blue. I wouldn't exaggerate it too much, cuz to be honest, water is clear and the only reason it ever looks blue is because of what it's reflecting around itself, right? Going to go ahead and take a quick break to look at these questions here. How do you deal with water? Yep, just answered that. I think he meant teddy bear, have the kind of cloth pattern. Oh yeah, that's tough. That's a procedural material that we could get into at another time, but I won't cover that in this specific live. But that's a great question. How did you do the condensation droplets on the bottle? Geo nodes or particle system? I actually use geometry nodes and I downloaded, I actually bought a geometry nodes add-on for that a while ago. I think it was called like droplet generator or something like that. It was on Blender Market. Is that Eevee next? Nope, this is Cycles. Yep. Thank you guys so much for the questions. I appreciate it.

So anyway, just to kind of recap here, when you're creating a liquid inside of a container, you want to have that liquid very, very close to the edge, but not quite touching it, because here's what it'll look like if it's touching the edge. Ready? I scaled up too much. Notice what just happened. So see right now, it's touching the edge and it's extruding. Look at there's a very specific point I want you to look like right, right here. Not touching, overlapping, not touching, overlapping. It might not seem like a big deal, but that can completely change the way your liquid's going to look inside of your container, right? But you also don't want it to be too small because if it's too small, you can tell it's just floating in there. So there's a lot of little tips and tricks. Yeah, droplet generator is a great add-on. Absolutely. Um, I'm not even going to save this, but I do want to go ahead and answer any more questions you guys have, cuz we have plenty of time. We have about a half hour, and we already completed our tutorial, which is fantastic. So, um, let's go ahead and go over some more project files. This is another Dynamic Paint one for rain. What sort of GPU does he have? So smooth. This is an RTX 3070 Ti. Very good GPU. Um, so this is, uh, a little bit of a, this is a raindrop effect. Um, I actually cover this exact effect in a, in the course, in the core fundamentals. So I just want to shout that out again. Um, we should be releasing quite soon here. I'm very excited. Um, I just, I, I couldn't be more thrilled to talk about this because Dynamic Paint is one of the things I cover in the physics course, and there's just so many cool things that you can do with it. It's so much fun. Um, as you can see, this is an example right here, and it just looks so, so good. Um, and this is Dynamic Paint, right? So we're dealing with a plane and some subdivisions and then like some fake physics. There's really not much to it, and you can accomplish this in probably less than five minutes, guys. See my mug? Anybody here watch The Office? If you can read that, World's Best Boss. Great mug. Believe it was a Christmas gift. All right, regardless, uh, let's go ahead and, uh, take a look at the comment section. The 13th can't come soon enough. I don't know where you heard the 13th, but that sounds right. So again, um, when we look at the details here, you can see that it's a little fuzzy here, and that's because the amount we subdivided, right? But we can always add another subdiv surface. Where is it? Subdiv. There we go. And look at how that smooths everything out. Now, keep in mind this is going to be a lot slower. Look how much slower this is, but look at that. Look at that quality. When you go to render this out, it's going to look really good, right? It's going to look super professional, super smooth. And when you have your HDRI enabled, you can get these really, really nice reflections. So right now, I have this plane, which I actually don't want this to be seen right now, so I'm going to go ahead and turn that off. And you'd get these really nice reflections. And then all you have to do is swap out your HDRI, maybe the sunset HDRI, and now you have a completely different result in two seconds. Also, all of these HDRIs are completely for free on polyhaven.com. Very nice. Um, you don't need to apply scale. Oh, to the, to the plane for Dynamic Paint. Um, yes, you can apply scale. I haven't found that that actually causes, um, an issue, but you can, if you're worried about that, that's fine. I, I, I've never seen that cause an issue before. It's a, it's a good point though. Didn't think about that until now. Good, good question. Good comment there. And look at this, um, let's set up a, let's set up a quick camera angle so I can show you guys how powerful Dynamic Paint is. Going to go ahead and snap to camera view. Let's just go ahead and give this a real cinematic aspect ratio. Nice little 1920 x 1080. Let's give this a slight rise here. Let's back this up. Where are we at here? You know what? I think I'm going to rotate it a little bit too, so that we kind of can get that fall off. I'm going to hide this. I'm going to go ahead to my camera settings and I'm going to enable depth of field. I love depth of field. If you guys don't know me by now, I, if I am not using depth of field in a project, something is wrong. Like, something's seriously wrong. All right, we're going to go ahead and give this an 85 millimeter lens, classic cinema lens. And now all we need to do is we need to focus up on whatever we want to focus on. Now, for me, I just like to adjust this distance and look, we can just easily snap to a certain wave or something like that. And already we have something really cool. And then let's just say we have had a subject, maybe a sphere, and we wanted to focus on that sphere. As you guys know, we can do the same thing as we did before. We can take our sphere, we can just give it a metallic shader, and then we can focus on that using, you guessed it, depth of field. Lower that roughness, shade it smooth. And then I'll just take my camera. I will focus on only that. I'll drop our F-stop way, way, way down. And now we have this really interesting composition. And if we want to use the rule of thirds, we can. We can simply align this to one of the thirds. If we want to get really fancy with it, we can align it to this little wave peak right here. Or we can take our camera, kind of pan around here and see where it might fit better. And you know what? I actually think it fits a little bit better above this wave right here. So let's go ahead and put it right above the wave. And let's just have that be our focal point. Pretty cool. And just like that, we have some abstract art with minimal effort using Dynamic Paint and free program I like to call Blender 3D. For a setup like that, is there a way to add some white white water particles to add some realism? Um, you could utilize the add-on that is called Flip Fluids for that. However, that does cost money, and I'm usually here to promote things that are a little bit more affordable for people. You can utilize the vector, I believe it's vector speed attribute to add particles, but I'm not too familiar with the process to do that. Is it possible? Yes, it's possible. Do I know how to do it at this current moment in time? No, but I will look into it for you. I was looking for something similar to this for a while. Thank you for saving it. Absolutely. Uh, the cookie batter do F is essential. Yes, it is. Um, depth of field is like, like I said, if I'm not using depth of field, that's that's not me, right? It's an impostor. It's my clone on Blender. It's not me. Got to use depth of field. Okay. So anyway, this is a great example of how you can combine physics with like real art and real, um, you know, depth of field, cinematography, good camera angles and shots and things like that. So there's a lot of cool things we can do here. Um, and another thing that we could talk about is, um, using Dynamic Paint in a way that's not typically used. And that is to simulate, you know, real-time bullet effects. Like, um, what is it? Mythbusters, they use those gelatin dummies where a bullet passes through or a projectile passes through. You can use Dynamic Paint to simulate things like that as well. Um, I'm actually working on a few top secret projects right now that have to do with Dynamic Paint, and I can't tell you what they are. I really wish I could. I really wish I could, but I can't because it would give away a couple of like key secrets on how I'm doing those things. And I really just think it's too valuable to just give away. But maybe I will cover in a course at some point because there's a, there's some things.

You can do with Dynamic Paint that I bet you've never even thought about before. For, um, I'll give you a hint though. It has to do with the velocity attribute and the actual waves themselves. So there's a lot you can do there because, as we know, on the right-hand side within our canvas properties, we're using the surface type called waves. Well, there's also paint, there's displace, and there's weight. So there's a, oh, and I cover all of this in the Physics course as well. So if you're curious about what those do and why they're important, I would highly suggest you sign up for the Physics course. Shameless plug, but there you go.

All right, let's go ahead and continue with some questions here. We have 22 minutes left and we are killing it. We've covered a lot more than most people doing a tutorial for a one-hour slot. So let's go ahead and scroll. Let's scroll through here, um, and let's see what we got. Oh, here's a cool one here. Now, this is using displacement though, so we're not actually using, we're not using Dynamic Paint here, but this is something I was messing around with, um, a little while ago and I actually, I, I never really got to finishing this project, but it's kind of just a fun one. Um, it's just a boat and just a giant plane with like a displacement modifier on it. I really don't know what I was doing with this or what my plan was, um, but it was just like a fun little render I made. And this boat is from Poly Haven. It's just a free model, fully textured, but again, just something fun, um, get your brain thinking, give you guys some ideas. Just looking for some physics stuff right now. All right, let's see. Ah, cell fracture, that's a good one. And I do go over that in our, uh, core fundamentals course. Ooh, wind tunnel. Ooh, wind tunnel is a good one as well. Make sure I'm not missing any comments here. Any questions about anything we've learned today, everyone? Wow, just so many projects. Uh, here's, here's a good one. Now, I actually have a YouTube tutorial on my channel for this, um, but this is a cool one. I can just talk about this. This is another great example of why Dynamic Paint is just so powerful. Like, especially if you just don't have the time to wait for that fluid simulation. Dynamic Paint is like, Dynamic Paint is like Dollar Store fluid simulation, right? It's kind of like the knockoff version. No offense, Dollar Store. It's like the knockoff version of like the brand name thing, right? It's like you can still simulate a little bit of physics, but it's not perfect, but it kind of gets the job done. Um, this is a great example of like how it gets the job done right here. In fact, I used this for a thumbnail and this ended up being one of my top videos. Um, but as we go back, look, look at this, uh, look at this movement we're getting here. Hold on. I mean, look at this movement. Let me just go ahead and play this. This is the kind of, I just, I, I can't talk enough about Dynamic Paint and what it can do for you. Um, and not a lot of people use it, and I don't know why. A lot of people use it for like a boat traveling in water, right? To kind of get those waves, but like this is the kind of stuff where you can get an abstract effect with Dynamic Paint, right? There's really only two things happening here. We have a brush, which is our sphere, and then we have our canvas, which is our cube. And I go over all the details on how to change these different attributes within the course, but again, we're really not doing too much here. Um, it's not too complex, but it looks complex, right? Someone might see this and be like, that is so professional. Imagine adding someone's logo and writing it in water, right? You can use this effect for that exact thing. And when we go ahead and take a look at this in the rendered view, right, depending on the angle that you're at, you can get, you can get some pretty cool effects. Let's see if we can get a cool angle here. This is a cool angle. Imagine getting a really nice, strong depth of field here and getting this angle, right? Maybe it's someone's product traveling through water. There's just so many cool things that you can do with this. Um, this is a fun one. Yeah, hate to, hate to plug my channel because I'm obviously, uh, this is for CG Cookie here, but this full tutorial is available on my channel if you guys are interested in learning a little bit more about like how Dynamic Paint works and things like that. Um, Dynamic Paint, like I could probably create Dynamic Paint tutorials every single tutorial from here on out about Dynamic Paint and I probably wouldn't run out of ideas. I'm dead serious. That's how useful I think it is. But not a lot of people talk about it just because I think it's a little confusing and overwhelming when you first start. So that's why in our core fundamentals, I break all these different steps down and I talk about troubleshooting, what could go wrong, what will go right, and how to bake out these simulations and, and just create incredible effects. Um, again, imagine this on like, you know, a face, like there's a really cool album artwork that you want to make and you want to make the face ripple with Dynamic Paint, you can do that. This will work with textured objects. Um, there's really no limits to what you can do with this Dynamic Paint. I love talking about this stuff. This is so much fun. Um, thank you CG Cookie for shouting out my channel, much appreciated. Thank you, thank you. Let's go ahead and see if we can find some more physics examples to go over, guys. Let's see, let's see. So many. Oh, liquid simulation, you got to love it. Um, I'm thinking about making an updated physics sim tutorial for liquids in 2024. A lot of people request that a lot. Um, to be honest, most of the liquid stuff should still work, but they changed quite a few little settings here and there. So every time Blender comes out with an update, there's, there's a couple little small changes you got to look out for. So a lot of that stuff is covered in the course as well. Oh man, where do we even be? Again, a lot of this stuff is, oh, this is a fun one. This is a fun one right here. I forgot about this project. You guys ever open up an old project and you're like, oh my gosh, what was I thinking? Or what wasn't I think? Like, I always look back and I'm like, how can I, how can I improve this? Or what was right about this? Or what was wrong? Sometimes you got to go back to your, your basics, right? So here's a fun one. Let's go ahead and, let's go ahead and play this. Oh man, look at that. Look at that. That is a fun one. Now, there was a couple people that I used to follow that would make things like this, right? And they had these really nice strong metal appearances. So like copper, aluminum, gold, silver, scratched metal, like brushed aluminum. And I loved the look of metal. So of course, in Blender, all you have to do to create metal is you give a little, you know, metallic shader with a low roughness. But one of the things that no one talks about hardly ever, at least maybe not, maybe the pros do, but I, I don't, I, I don't talk about it enough. Lighting, right? If you don't have the right lighting on these materials, you're just not going to get the result that you're looking for, right? Now, I believe this is just a principled BSDF, yep, with high metallic, low roughness. But not a lot of people talk about this. The lighting that is projected onto these objects is going to directly affect the way that it looks. It might seem simple and obvious, but a lot of people just don't talk about it. And, um, for me, it can be a little frustrating because a lot of the times people will ask me how I achieved a certain material, but it's almost never the material. In fact, the material almost always stays the same. What changes is the lighting. So a lot of people don't give experimentation enough time and effort to get the result they're actually looking for. So I encourage you guys to spend a little bit more time when you're creating your projects on lighting. Now, the lighting in here is probably just an HDRI, if I had to guess. Let me just scroll through my thousand cubes. Um, nope, there's not a single area light. And this is again, why HDRIs are so powerful. Slap an HDRI on your scene and you're good to go. Now, the angle at which I'm looking at these objects is also lighting, right? Because light reflects. So if I'm at the wrong angle and the light's not hitting our objects correctly, I'm not going to get the desired result. So let's go ahead and pop out a camera view so I can show you this. So yeah, this is my favorite HDRI. I've probably used this, this HDRI on more projects than I can count. I, I know it by hand. I can, I can type it by hand. I know I could probably look it up by hand with my eyes blindfolded, right? It's called Peppermint Power Plant, and it has these really nice windows that let in a lot of light, but then it also has these darker corners. Where is the dark corner? There's kind of like a darker corner back here to get that contrast. So the angle that I'm looking at right now, we have our light source from the left, but then if we pop out a camera view, you'll notice we don't get the same effect from this angle. And then if we look at it from this angle, it may be entirely too blown out. So these are some of the things to think about when you guys are creating your scenes. Now, in terms of physics, right here, right? We're using some rigid body physics. Again, all covered in the core fundamentals course. This is a fun one because we go ahead and press play here. You can see, look how cool that is. We have these things flying everywhere. There's a little couple different things going on here. You can probably guess a couple of them, but I won't go over all of them. And it's just so satisfying to see the physics react in this way. Um, especially when you don't know what's going to happen before you bake and then you bake your simulation and this is what you get. So this just, I, I love this stuff. I could talk about this stuff all day. Um, and remember, once you're done your physics simulation, let's say you really like, you know, this moment right here, this frame, you just render out that frame and you have it. And that's what I love about Blender is it's so like modular. There's so much you can do with it. And if you really like are looking for an album cover or a logo or a banner for a website or a background for a brochure or something, you have it in a specific frame and you only need to render out that frame. Um, I specifically, I always render out, um, just the image sequence. So I will never render out the full video, right? I think hopefully we're all past that point where we're only rendering out image sequences. And again, when you get that image sequence, then you get all the individual frames that you can use for whatever you like. Especially if the client requests it, then you already have them, right? You can compile them into your video and export it as a video. Everyone does that. But having those individual frames is very powerful as a creator because you can then go back and say, you know what, on frame 140, I really don't like how this cube right here is out in the open. I just don't like the contrast right there. So you click on that cube, delete it, and then the client's happy, right? So these are just some things to think about. Um, another thing is clients can then break down each individual frame and they'll have less questions, hopefully, because, you know, a lot of the time when they're looking through your videos, they're going to start, they're going to stop, and it's just a little bit more difficult for them to point out key things. So if they have an image for each frame, it might be easier for them to make critiques and kind of see how it's broken down as an animation. So, um, UT Legends says, hey, hello, how are you? Any questions so far, guys? We can move on to some more examples here. Again, I, I always find that when we do these live streams, in the first 10, 15 minutes, we're through the actual tutorial, and then next thing you know, we're just going over fun projects. I love it though. I'm here to hang out, here to talk, you know, I mean, you guys learned what you needed to learn, which was the liquid in a bottle simulation, pretty easy stuff. Um, but, but kind of like a nice little technique using Dynamic Paint. So let's go ahead and go back through. Oh, that's a fun one. Again, just looking back, um, I always knew physics was probably my favorite thing about Blender, and here we are. And I, I look back at some of these projects and I realize like, wow, like a lot of these things are all physics related, right? Um, this one's a fun one, and I go over this stuff too. Uh, let's go ahead and play this back. Here's a fun one. See if it'll play. Oh, I'm missing my HDRI. Where's my HDRI? Oh, look, it's the exact HDRI I talked about earlier. And then when we add it back, we have our nice lighting. So we have a bunch of coins here, and I'm going to make sure that my camera doesn't have this part cut out because I want you guys to see this. Very cool. Um, this is a fun one. I want to go ahead and turn on my random colors at this time of making this. I didn't even know how to turn on random colors. That's how old this is. So I didn't even know that I could do that. And then here we are. Let's go ahead and play this back. Now, there's a lot going on here. It might seem quite simple, but there's, there's some key framing going on here. There's some obviously some physics. What I love about this is it's kind of a combination of all my favorite things. Um, it's a showcase of physics, materials, lighting, camera movement, depth of field, and just pretty much everything that you can do in Blender. And this is like all-encompassing right here. So like, any frame is going to be a pretty frame, at least to me, right? Like this frame looks great. We have this awesome, uh, glossy floor, right? This tile floor. We have this awesome HDRI background. We have our depth of field. We have these cool coins with this weird-looking pattern on them. There's a lot going on here. Now, there's physics going on here. There's gravity. There's key framing of the gravity, hint, hint. And I think I might have a tutorial on my YouTube channel for this, but again, this is just rigid body physics, right? Dropping some coins onto a surface, watching them go everywhere in slow motion. So there's a lot you can do with this. Um, and again, all of this stuff, all covered in the Blender Physics course, Fundamentals of Blender Core, fantastic. All right, let me go ahead and make sure I'm keeping up with the chat here. Um, let's see. Depth of the field is essential. And UDA says, hey, am I missing something here? No, I'm not. Okay. I just want to make sure I'm missing any comments from you guys. If you guys do have comments, please let me know. We have about a good nine minutes left to answer any comments, questions, or concerns that you guys might have. We have a pretty good view rate tonight though. This is, or today, this is fantastic. It's insane how much of a difference a good HDRI makes in a scene when you have a lot of reflections. It makes a crazy difference. Yes, it really, really does. Um, and the other, that the reflections again, is a really good point because when you have a glass object, um, if you just have a plain background, about like a hue saturation value or just a color, or even just a sky texture, which is, which is decent, it's a good start. Um, sometimes you get this, you get this weird effect on different objects. Like right now, if I was to add a glass sphere, just go ahead and add a glass sphere. Someone said, hello handsome. Oh, thank you, thank you, Sacred Garlic. That's, that's an awesome name, by the way. Much appreciated. Thank you for the compliment. All right, when we have a glass object here, and I need to turn my light paths up to three, three, three, three, three. There we go. All right, when you have a glass object here, look at how much better it looks in this environment compared to what I know it would look like in a non-traditional environment with just a solid color, right? So getting those reflections is what makes the material look the way it does. I, I really couldn't talk about it enough. I, I'd like to think I'm like good at lighting, but to be honest, I, I could always use improvement. I don't really use like that three-point lighting. A lot of the times, I just add what I think looks good, and if I'm happy with it and I think it looks professional, I, um, put the stamp of approval on it and I render it out. I, I, I always have problems with rigid soft body physics, fiddling with friction, dampening, and other settings are always confusing. I hope this course covers the nuances of these properties. It does indeed. We go over, I go over almost every single thing, almost every single thing that has to do with physics, rigid body physics, soft body physics, cloth physics, fluid, Dynamic Paint, smoke, fire, um, force fields. What am I missing here? I think that's almost everything. I'll just go here. It's everything's right here. Force fields, collisions, cloth, Dynamic Paint, soft body physics, fluid, rigid body, and rigid body constraints is a fun one. No one really talks about rigid body constraints, but they're pretty powerful. So there's a lot you can do with those as well. But yeah, the friction and dampening are actually really good questions. Like those are good things to think about because friction is, you know, how much another object kind of grabs the object as it slides past it, whereas dampening is a little bit different because dampening also has to do with how much force is absorbed, but it also has to do with other things like when, um, something's falling, like how much is that force dampened? Is there an air resistance? There's a lot of different factors, and I cover all of them. So, um, rest assured, when you take the course, you will learn about all these things. Um, yeah, we do, we do have quite a few people watching today. That's, that's fantastic. It looks like 1 p.m. Eastern is, is a good time to do these things then. So we'll keep that in mind too. Does everyone like this kind of time that we, we set for the live stream? Um, I'm on the East Coast, so for me, it works out quite well. Um, but I do want to really quickly show you guys. I'm just going to copy the sphere and open up a new file because I just want to talk really quickly about that lighting one more time, even though I'm not covering lighting, but again, I just, I love talking about it. All right, so we have our sphere sort of in the center here. I'm going to go to rendered view. Now, here's what's funny. We're in Cycles, right? We're using our GPU. Can't see the sphere at all. Why can't we see the sphere? Because we're just, we have a solid color, right? So I'm just going to add a mesh underneath of this. Now we can see our sphere because although we have a gray color for our background, it is actually emitting light. So now we have something to reflect, right? We have our, our plane. Now, I just want to show you this example. If I duplicate the plane, scale it, you can see that now our sphere is going to reflect this plane wherever it is. Is however, there's just not a lot for that glass to reflect, so we just can't tell that it's glass. I mean, we, I, I know it's glass because I chose glass for the material, but you can't really tell, right? So as soon as I add, I, I'll just add a sky texture first. Look what happens when we add a sky texture. Already we can start to tell it's glass, right? And I'll go ahead and switch this. Right, you can tell this is glass. Now watch what happens when I add my environment texture. Right, now we can really tell it's glass because we know that glass should reflect the surrounding area. And if you know anything about a glass sphere, you know that it completely flips whatever it's reflecting, which is pretty cool because I actually had one of these glass spheres in real life, and it's very cool that it actually flips the image completely. It's just a fun thing. So, um, what are some of your favorite resources, free assets, HDRIs, and textures? Um, some of my favorite resources are, of course, CG Cookie, right below, right here. Um, Core Fundamentals, which I've already been studying up on myself even before the release date. I've been rewatching my own videos and all the other instructors' videos, and they're just incredible. Um, Poly Haven is a good website for just like free HDRIs and textures and, and 3D assets that are photos scanned. Um, CG Trader is pretty good. Um, CG Cookie also has things you can download as well, and I'll make sure that I link all of the, uh, free assets from today's YouTube tutorial and live stream. I'll link that on CG Cookie so they'll make sure that that's up for you guys to download. And yeah, Poly Haven's a good one. I think Poly Haven is just good because you can just quickly download stuff, right? It's pretty easy to do. Um, I also have my own full resources online on my Gumroad page, and I just recently, uh, released a shader today, so that's pretty exciting. But a lot of the times, um, yeah, I try to create my own resources. So I try to develop my own physics, my own models, my own textures if I can, although procedural textures are naturally a little bit more difficult to create. Um, so if I can, I, I'll try to find something for free. Um, again, sometimes you get what you pay for, right? And if you pay for these different assets, you're going to get the results that you're looking for. It's sometimes it is worth it. It is worth the money to just pay for it. Perfect example is our core, uh, core fundamentals of Blender. That's coming out. 1,000%. If I, if I wasn't creating the content myself, like I would be signing up for this course because I know for a fact that all of the creators and instructors on this course have nothing but great things to offer, and the value that you're going to get is like a, it's literally how many instructors are nine? There's nine instructors. So you're getting like nine lifetimes of experience, right? So think about it that way, rather than thinking about it being like nine courses within one, which in itself is a fantastic bundle deal. But when you have nine instructors with nine different perspectives on Blender and 3D art, animation, physics, lighting, materials, uh, node setups, these people have so much to offer, just so much. Some of the procedural texture packs on Blender Market are pretty good value. Yeah, one of the procedural textures that I use a lot, and I have a link for it in some of my videos, is the Ducky 3D Real-time Materials Pack. I find myself coming back to that often for a lot of my client projects because I can just copy and paste the material right in, and I just, you know, I adjust the scale and the and the size, the roughness, um, the bump of the object or the material. It's pretty easy to like, uh, customize all these things. So yeah, um, CG Cookie, would you mind if before the live stream ended, I just quickly showed my new shader, or is that, is that something we would save for another time? I think that's a good idea for some upcoming videos. Would be a shader of liquid inside any vessel like Half-Life booze shader. It's not a simulation, just a manipulation with Geo. Okay, interesting. Roman, that's, that's really interesting. I will definitely look into that. Um, thank you for pointing that out. I, I'll have to Google it after the live stream's over just to make sure I know exactly what you're talking about. But if for some reason I don't and I get confused, feel free to reach out to me on Instagram and just shoot me the link to the effect so I can try to replicate it. So Geo nodes, I have kind of limited experience with, but for the most part, um, I, I'm starting to learn. And then of course, there is the simulation nodes, which is a whole different aspect to this, right? So it's exciting stuff. Any other additional questions? I think it's about that time, guys. We, we're about up on our hour. Ducky pack is awesome. Recommend S. Sanu's library. Okay, yeah, no, I'll have to look into that as well. Any additional questions here? Awesome. Okay, guys, I think that's about it. I'm going to go ahead and, uh, I'll just wait one more minute for any additional questions, but I think we went over some awesome stuff today. Again, just a quick recap. We went over where is it? Of course, now I can't find it. All, uh, this is it. We went over how to do a liquid leveling effect, which is, right, it's really not going to let me open this. That file literally just disappeared right in front of my eyes. Sanctus. Yeah, Sanctus sounds cool. Um, all right, the, the file's literally gone. We'll open up the other one, that's fine. All right, so we went over this liquid leveling effect, which looks a little bit like this. So if you guys have any questions about that, that was kind of the main purpose of this tutorial. And then we covered so much more. How can we do liquid manipulation by particles? Oh, ah, that's a tough one. Actually, using the particle system, which I go over in the course as well, you can actually achieve a liquid type of effect with particles, but it's pretty tricky, but it is possible. Oh, very cool with a lot of reference. Oh boy, oh boy, that's funny. Thank you for that that insight. All right, CG Cookie, I guess it's time for me to wrap this up. Um, this is fun. We'll try to do this again. Um, I'm thinking tomorrow, what's tomorrow? Thursday, probably tomorrow and maybe Friday, depending on what the schedule looks like. We can probably bang out a few more tutorials. Hopefully you guys have been enjoying these. In the meantime, definitely hit that subscribe button on CG Cookie. You guys can check out some of my content as well if you're interested. And if you guys have questions, comments, concerns, you can always reach out. Yep, metaballs. Yep, metaballs are definitely useful. Um, that is something that I'm definitely going to be, um, trying to look into a little bit more as well. All right, any other questions, guys? Awesome. Thank you all so much for joining today. You guys were fantastic. You had some great questions. I hope you learned something. And thank you so much. Thank you guys so much, and I will talk to you guys in the next tutorial or the next live stream. Take care.