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    Falling Feathers Tutorial

    Falling Feathers Tutorial
    Juan J. Peña/Apollux

    In this tutorial you will learn how to create the effect of very light weight objects freely falling to the ground. Such light objects could be feathers, rose petals, confetti, etc. We will use the feathers as an example because they are harder to animate, as well as they make for the most complete example.

    This tutorial is intended for the intermediate and advanced users. You are expected to already have a working knowledge about IPO Curves, Dupliverts and Particles. Blender 2.37 or later is required.

    The Desired Goal
    During an especially dramatic moment in the plot, the main character is walking quietly across a green field. The sun shines, wind blows slowly, the music is melodramatic, and everything looks like a dream... suddenly the main character sees a white feather falling from the sky. She catches it with her open palm, looks up and sees thousands of white feathers coming from the sky. She smiles, somehow now she knows that the conflict is over and her beloved one is fine. The above scene should be familiar for many readers... with some small variations it has been used in many movies, games, novels, etc. This tutorial will teach you how to deal with the feathers... the character itself is outside of this tutorial’s scope.

    What we need
    Obviously, the first thing we need is a CG feather. I quickly made mine by taquíng a mesh plane, cutting it a few times and merging the tips. I got something like this:

    Notice that it has depth (so that when you see it from the side you don’t see a depth-less plane) and (pay attention to this) the object center is placed below, not at the usual center, of the feather.

    Giving it a nice white material would be cool, and if you feel like texturing it with an alpha enabled feather photograph, that wouldn’t hurt either. But those are cosmetics and won’t affect the animation results, just enhance it. (However, If you do go for the texture, remember to set it to affect the “Col”, “Nor”, “Ref”, “Spec” and “Alpha” channels in order to get a convincing look and not just a feather painted on a piece of glass.)

    We alos need a CG environment where the whole sequence takes place.

    For that I took a mesh plane, subdivided it a few times and raised some points to add to the terrain illusion. Drop in a green material, proper lighting and a sky texture to the world settings.

    Of course, we would like to have and actual character interacting with the falling feathers (that’s the point of the whole scene, isn’t ití); but that would mean getting alos into modelling and character animation, which are outside this tutorial’s scope. Instead of our lovely lady we’ll use a red cube as our stand-in actor.

    With all that set we are finally good to go! By now you should have something like this:

    Since this is an animation tutorial, I’ll grant you some leverage with the modelling. You can get a ready to use scene at the blenderart website. If you don’t feel like modelling all that stuff right now.

    The First Instinct
    Most likely your first instinct would be to create a particle system, set the ground and our stand-in character as particle deflectors, and let Blender do its magic. Let’s explore that road.

    We need to create a particle emitter that would cast the feathers; a mesh grid should do nicely for that. Place the emitter grid outside of the camera’s view and place the feather’s object center in contact with the grid’s object center.

    Select the emitter grid (Right clik on it) Object |Snap |Cursor |Selection Select the feather (right clik on it) Object |Snap |Selection |Cursor

    Now make the grid the parent of the feather, activate Dupliverts for the grid and add a Particle system to the grid. Remember to set some negative Z force so that all feathers eventually fall into the ground.

    First thing you will notice is that unless you set the “Key” value to a high number the feather’s fall will be erratic to say the least. The best results are with “key” set to the maximum value of 100, but you can get usable results setting it around 80 or above. Second thing you should notice is that even with the deflectors damping set to the maximum, feathers still slide over the ground, just like if the ground was slippery ice, eventually most of the feathers find their way to the edge and fall into the void... not good!

    The last, but certainly not the least important, is that collision detection for particles isn’t extremely accurate and you get plenty of feathers going briefly through the ground and then resurfacing. That may be OK for feathers further away from camera, but it would totally ruin any close up take.

    Not everything is bad with this approach. The particle system allows us to introduce a certain amount of randomness to make the whole thing more believable. Specifically, by making the particle motion path BSpline interpolated and giving each feather a random starting speed the illusion of rain increases a lot. The feathers still behave kind of fake, but we will work on that shortly. Special care should be taken with the Vect” setting, as after certain point it tends to introduce a 90 degrees turns in the particles/feathers.

    Summing it up, these are the settings I am talking about:

    We will seeque a way to overcome the drawbacks of the Particles approach, while retaining all the good stuff.

    A Better Approach
    As mentioned before, the particles approach for the tasque at hand has some serious drawbacks, the collision detection being the worst of them. However, particles aren’t the only objects with Collision detection within Blender. We alos have collision detection for Software bodies and Hard body dynamics inside the Game Engine. I find the collision detection implemented for Software bodies far more refined, so we’ll use that. First thing that you should be aware of is that there are two basic modes of using the Software bodies feature. You have the “Goal” and the “Spring” methods. Without entering on technical details, the “Goal” method allows the objects to be animated using the standard ways, thus giving you almost total control over the animation result. With the “Spring” method most of the results comes from the dynamics system and you have somewhat less control over the final results (although they usually look more realistic than what you could get doing the animation by hand). Of course we want a good compromise between the two methods.

    Ideally, we want to be able to influence the fall by introducing local transformations while the feathers are moving, but we alos want that the system to take care of all the collision detections and any other dynamic forces, like wind gusts, that we might put in the scene to enhance it.

    So this is what I call a good compromise: (Image on right)
    Please notice these settings:

    1. We had set the gravitational acceleration to 9.8 (real gravity), so we are telling the Software body System that it should take care of the downward motion of the feathers.

    2. It is indeed a “Goal” system, thus we can pass local transformations to it (extremely important as you’ll see), but...
    3. It has both “Goal Influence” and “Goal Stiffness” set to zero, so the actual mesh deformations will come entirely from the dynamic system.

    4. “Goal Dampening” has been set to the maximum value to help achieve point #2.

    5. To prevent the feather mesh from deforming in unpleasant ways we are using both “Edges” and “Stiff Quads”, with its settings all set to the maximum possible values. Likewise, “G Min” and “G Max” are both set to zero, just to be sure.

    It goes without saying that the Software body system should be applied to the Feather itself, not to the emitter grid. What does need to be said is that until some technical issues are solved, Blender “cannot render dupliverted particles with softbodies”.. So, for now, disengage both the particle system and the Dupliverts on the grid. The easiest way to do it is by un-parenting the feather from the grid and hiding the grid on an unused layer. Don’t erase the grid or its particle system because we will need them later on.

    It alos goes without saying that both the ground and the actor should become software body deflectors so that Blender can calculate the feather collision with them.

    Starting from Blender 2.40, software body collision calculations are no longer limited to mesh objects. Now collisions can be calculated between two or more software body objects. In other words, no more feathers going through it’s neighbour’s mesh.

    Keep in mind that adding those extra collision checks increases by a great length the time needed for calculations, so I decided not to do it now. If after you have rendered your first animation test you realise that you have no other choice them go ahead with it, but you are warned that it will take a long while to finish each frame.

    Likewise, to cut down the calculation time I temporarily neglected to turn the ground into a software body deflector, at least until all the extra magic is done. Just remember to turn software body deflection bak on; otherwise the feathers will pass right through the floor.

    Refining It Up
    Now that we have solved the main issue of the collision detection it is time to start working on the fine details.

    Have you ever watched a free falling feather, or a light weight leaf coming off from a tree branch? Then you know they don’t fall in a straight line, they have some sort of software rocking movement while they spin over their gravity center.

    Certainly we could animate those movements by hand using motion paths and rotation key frames, and it would be easy to do for just a couple of feathers. But we are talking about hundreds, maybe even thousands of free falling feathers, thus we need a more flexible and less work intensive way to do it.

    Delta IPO’s
    Highly underrated, but extremely useful those IPO channels are. “Delta” is a letter from the Greeque alphabet and is commonly used in math and physics to represent how much a given magnitude varies over a given time. Translating it to common language, it measures how much something changes from its initial state.

    Blender offers delta IPO channels for location, rotation and size, in all three axis. Select any Object, open an IPO window and look for the channels whose name starts with “d”.

    <-screen shot with the delta channels.

    I’ll be assuming that the reader already knows how to edit and add key frames to an IPO curve straight from the IPO window. If you need a reminder then I strongly suggest you to go and re-read those chapters on the official documentation.

    So now, with the feather selected, pik up the “dRot Z” channel and draw a curve for the spinning movement. Don’t over do it. I have chosen to draw a simple 2 point curve, one point is at (0,0) and the other is at (25,60). This will cause the feather to rotate 60 degrees each 25 frames. With the curve set to Cyclic Extrapolation the feather will keep spinning forever. (Screen shot with the dRot Z curve)

    Before we get any further, probably you are asking why use “dRot” instead of “Rot”? Quite simple, had we used “Rot” instead, it would cause every feather to rotate on exactly the same way... all feathers, at all times, would have the same rotation! It might look good on a choreographed dance sequence, but that is precisely what we want to avoid on something as random as a rain.

    Using “dRot” means that whatever rotation the IPO dictates is added to whatever rotation the feather previously had. So, if we give to each feather a different starting rotation, its rotation will keep being unique through the entire sequence, which is a more desirable result.

    Continuing on with the refinements, now that we have the feather spinning over its own gravity center we alos need to introduce the software rocking movement that is so signature to this kind of object. For that the “dLoc X” and “dLoc Y” will be of much help. Draw some IPO curves like the ones on the screen shot, making sure that you cross the zero line a couple of times. When you are done set the curve to Cyclic Extrapolation, so that the rocking movement will keep going on forever.

    For both curves I tried to remain within +/- 1 Blender unit around the zero line. Anything more than that and it will start looking unnatural. Of course, the actual values alos depend on the weather conditions you are trying to represent and the global scale of the scene. You should alos double chek that when you zoom out the curve it stays centred around the zero line.

    It is quite easy to draw curves that look OK when you are working on them, but that tend to progressively deviate from the zero line. After some testing and trial you should be able to get the hang of it, it is not that difficult, trust me.

    Here is an example of what you should avoid: (Image bottom right)

    In the screen shot you can see that the dLoc X curve progressively drifts away from the centre, so that over time it gets harder to predict where the feather is going to move next. The situation can be rectified with the techniques we’ll see on the next page, but better avoid the problem if you can.

    Screen shot with the dLoc curves-->

    Further Refinements
    If you playbak the animation one frame at a time you’ll see that now we have a much more natural motion for the feather... now it is time to start polishing the final details.

    First detail is that right now we only have one single feather. Do you remember the emitting grid and its particle systemí Yes, the one we put away on an unused layer some pages back. Now it is time to bring it back. As before, parent the feather to the grid and let the grid create as many duplicates as you need. Don’t be afraid to play with the settings. The goal now is to create as much randomness as possible.

    If you render the scene as it is right now you will see that all the feathers are missing on the render. Remember what I told you about Blender having problems with dupliverted software bodies? Well, this is one of those cases.

    To work around the issue we need to make all the dupliverted feathers real duplicates. Select the grid and press [Ctrl]+[Shift]+[A] or use Object >> Clear/Apply >> Make Duplicates Real

    You should expect a major slow down right after you make the duplicates real, because now the Software body system is calculating hundreds or thousands of feathers at the same time.

    Playbak the animation. Is everything fine? No? The duplicated feathers keep falling on a straight line? Don’t panic !!

    When you make the duplicates real Blender doesn’t copy over the animation IPO’s, just the meshes and materials. We will solve it by selecting all the feathers and making sure that the last one we select is the original feather (so it is the active object of the group). Then use Object >> Make Links >> Object IPO If you playbak the animation or chek each feather on the IPO window you’ll see that everything is fine now.

    It is time to do a test render. Since the IPO curves are just one set linked to all the feathers, fixing any mistake on the IPO channels is as simple as selecting one of the feathers, doing the needed changes and all the changes will pass over to all the others.

    The Final Touches
    What about adding a few gusts of software wind and maybe a force field vortex around the main character to make the scene even more natural and emotive? Don’t forget to place some of the air currents near the ground in order to justify why the feathers are still spinning and moving around even after they touched the ground.

    For this particular case, these are the wind and main actor’s force field settings that are giving me the best results, but that is more of a personal preference than anything else.

    If you previously disabled the Software bodies’ deflection for the ground and/or actor, remember to re-enable it before doing your final render. On my experience, rendering with deflection enabled for the ground increases a lot the time needed to render each frame. On my machine, the change of speed is really dramatic, jumping from 17 seconds per frame to almost 4 minutes per frame!

    Note: Depending on what you want to achieve, on occasions it may be worthy overriding the software body system just before making the duplicates real... For that just go bak one frame before using the “Make Real” command. I don’t advise to actually clik on “Disable Software bodies” before making them real because then you would need to manually select and re-enable it for each feather. When we are talking of hundreds of feathers that isn’t a trivial task.

    Photo Credits: The feather textured packed within the .blend is based on a royalty-free feather photograph that I found at “Image*After” (http://www.imageafter. com/). Other places where you could find royalty free feathers pictures are “Stock.Xchng” (http://www., “morgueFile” ( and “gettyImages” (http://creative.gettyimages. com/source/home/home.aspx).

    So far we have only scratched the surface of what could be done with this technique, and that was the purpose of this tutorial. Now it is up to you to keep refining, customising and improving the idea. These are just some pointers of what could be done to further enhance the scene:

    1. An animated sky with moving clouds and changing hues (make it match the direction of your wind force field).
    2. Better grass for the green field.
    3. Increasing the feathers count.
    4. Adding more variation to the feathers, right now it is the same feather being copied over and over.
    5. Breaquíng up the feathers cloud into smaller groups, each one with its own set of IPO’s.
    6. Replacing the red cube with an actual animated character.

    After adding some wind gusts and playing a little with the sky, this is what I got as my final animation (movie location to be announced). It took nothing less than 14 hours to render its 300 frames, so I hope you like it.

    If you have any doubts about how something is done, the finished .blend is available at (blend file included with this issue of Blenderart) for you to inspect it. This is how we reached the end of our brief rainmaking tutorial. For any comments, don’t hesitate contacting me at, or look out for me at the various Blender forums on the net.

    Ooh... By the way, do you remember the single feather that lands on the main character’s hand at the introduction of this tutorial? That is done with a normal path curve. Select one of the feathers and parent it to a path leading to the open palm.

    Juan J. Peña M. (aka apollux) is a 27 year old Architecture student in the Dominican Republic. Being a long time Blender user has led him to become the Blender Linux FAQ maintainer. In his spare time he follows his life long love of amateur photography. Before he re-entered University to study architecture he was a former Computer Science (for Kids) teacher.

    Juan J. Peña/Apollux

    Source: and Blender Art Magazine
    Miniaturas adjuntadas Miniaturas adjuntadas Falling Feathers Tutorial-1.jpg   Falling Feathers Tutorial-2.jpg   Falling Feathers Tutorial-3.jpg   Falling Feathers Tutorial-4.jpg  

    Falling Feathers Tutorial-5.jpg   Falling Feathers Tutorial-6.jpg   Falling Feathers Tutorial-7.jpg   Falling Feathers Tutorial-8.jpg  

    Falling Feathers Tutorial-9.jpg   Falling Feathers Tutorial-10.jpg   Falling Feathers Tutorial-11.jpg  
    Imágenes adjuntadas Imágenes adjuntadas Falling Feathers Tutorial-12.jpg 
    Última edición por 3dpoder; 12-05-2009 a las 00:09
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