Welcome to fracturing with a child object.
So this again is all about manual destruction taking control over our model.
So this is a great way of adding some dynamic fractures to a model fracturing we use the children's
geometry as a reference point and we'll see that in more detail in a few moments.
We're going to experiment with different children to see if they give different results.
And finally a good example of this use is the splintering of wood.
And I'll show you how to do that too.
So let's hop straight on over in a blender.
Okay so we're starting over now with Edie Falco you've been going to make it a lot flatter more like
a plank than anything else.
I'm going to go ahead here and say that on the x axis make it quite thin.
Scale it by point one on the x axis.
They just scale up on everything but the x axis by maybe far no for all not forty four for Alex to me
and materne Snapping onto increments so I can just move it to one side and pull that up.
I'm going to duplicate that.
Moving along the y axis so we got two next to each other that we can look at and we can see the big
or the cube.
So I'm going to add in.
That's to say something right on the edge here because on a see what happens right on the nose I'm going
to add in a UV sphere there and I'm going to add in another yuryi sphere here.
Excellent.
I'm going to go to this one here an ad in a cube mesh cube.
I will do the same stober here mesh cube and about.
A final one in here but I'm also going to scale that down as well.
So you just got a few different options that I'm going to select everything and just apply the scale
to everything because I've been moving things about if I am just going to add a tiny
sphere just here's a scale that down and then just apply the scale there as well.
Okay so we've got some objects there.
Now we really need to make them children of these planks behinds select all of these spheres and have
gun control and P along with a select B.
Yeah.
Object That's fine so they're all now children of that plank and the same here so controlled MP object.
Okay so we've now got two objects with children.
Let's see what happens if we go and use the cell fracture till the start of the spheres themselves going
hit the space bar type in cell phone bigger cell fracture.
And now we get the options along the top and we want to use child vertices.
Now obviously charred particles which is the fourth option along would be if these individual objects
the children had a particle system applied to them we're not going to deal with particle systems at
the moment.
Some of the check select here childbirths vertices and aren't going to up the level here of shards that
are created or the maximum number of shards that can be created from 100 to 300.
So there's plenty going on here.
I'm going to click okay I'm going to change anything else and we can see here as it's as asset as it's
making it how it's shattering a part.
Our particular model here I don't know how long this is going to take.
Hopefully three hundred isn't too many.
No that's done.
Perfect.
And of course this was been put on to Layer two.
Now I'm actually going to move this one here and it's children.
So I'm going to move that to Layer three.
No go to lay a three.
And I'm going to now run the cell fracture tool again with exactly the same settings so we can compare
the two.
And that was a lot quicker.
So let's have a look at what happens with the spheres themselves.
Now the sphere itself has lots of vertices in it compared to those cubes.
So I'm not surprised that we've got more asrs.
Select everything.
Now we've got more detail than we would do otherwise.
And it is concentrated around here.
Now one of the things that would be a good idea check is going and turning gravity off.
Now it's fighting gravity there is turn it off.
And add a rigid body to all of this and just make sure it's not flying apart.
You know before we do anything else is this just going boom all over the place.
Now one way of just checking to make sure that is working how would expect two is to little she grab
one of the pieces press Escape when you finish doing it and we can see that that can shatter into quite
a few pieces.
Brilliant.
I love that.
Let's go have a look at how the other one has behaved so that's on labour force or with over there.
Let's to see what that looks like that selects everything.
Okay so that's been broken into far far fewer peep people pieces.
And well let's just run the physics effect on Matt and just see.
Okay.
So it's all to do with the number of little clues in the name the number vertices.
The children have this and that looks pretty awesome.
Now because of move that they're placed in a different position when it starts they're actually intersecting
one another so they're forcing each other apart.
So I'm just going to spoors that.
Go back we can see I have moved the piece.
I'm just going to undo until it's in the right place.
So that is a warning to you guys.
Although it's fun to grab things and move them about and knock.
I don't think this has got physics applied to it.
You can very easily end up breaking stuff.
Ah this one actually flies apart by itself.
Or is that me Mike removing things.
So I'm just going to undo a couple of times.
There he goes to that point then just press play.
A case of that is flying apart so we would need to work on that.
In fact there's one last thing to just try here.
Right.
That's before reapply and play.
Okay so that's definitely got some problems there so we need to work on the margins in order to sort
that out.
I'm not gonna play too much in terms of detail.
So figuring out how to break this one apart sensibly of course we could just enable animation when it
comes to something hitting that and it breaking up.
Okay so something like wood is a bit well it's a bit more difficult bit more complex than that and I'll
show you the rough idea behind what you can do because we just use primitives at the moment but we need
something a bit more exciting a bit more jagged in order to do that.
So I'm just going to start up a new blender faster have to worry about that I'm going to scale this
on the z axis by five among this scale it not on the z axis by point two so that's very thin.
That looks good to me almost like a wooden chair leg or something along those lines.
Okay.
So now we've got that I'm going to add in their plane and this is going to be are child objects so I
might as well parent them together now.
Okay so this charred object here needs to create some jagged edges.
How do we do that.
Well there's a couple of ways of doing that so the easiest that I've found so far and I'm going to scale
this up at this point and scale the plane back down.
Okay.
So now we have the plane there we are actually going to go in to edit mode and subdivide it into lots
and lots of little pieces.
So I'm going to go up to maybe 20 it's going to seem a bit much at first but bear with me.
If we scroll down when we subdivide this is fractal option.
And if you go a bit crazy it does go a bit crazy so don't go too high you don't want them crossing over
one another.
But we want them a bit jagged.
Once you've done that you can then scale that on the z axis to make it even more exaggerated.
And we can just make that really big like splinters and just going to scale that in.
So it's kind of just popping out so I'm not losing any of the detail there.
That is really good.
Okay so we've got this all set up so we can go straight to this object that we want to splinter that
we want to use a child of colour cell fractures we've done before macia Selected on child.
Now because we're actually breaking apart slowly with lots and lots of pieces wood tends to splinter
lots.
And when we go to this area here the source limits and set that so all five hundreds that's got plenty
of opportunities to splinter.
Now as we go down here there's something else that you can work on and that's the scale.
Now this goes from zero to 1.
This is X Y and Z.
Now we're only really dealing in the z direction and we want to emphasize the actual said all that stretchiness
and the zigzag that we've got there we want to make sure there's a splintery and as sharp as possible.
So in this case we want to turn this down in order to exaggerate.
I'm not quite sure how low I need to go.
This is one of these cases where practice and also just trying out settings if you're doing this on
a big project you just go off to one side open up a new file and just play with the model append it
in to your heart's content you have muck around with it and not ruin the main model.
So I'm trying to click okay here and pray it doesn't crash Blender's it might take a while to go through
and use the child vertices.
There we go is starting to go through and sort it out.
Now one of the issues that you may come across excuse me is the shards being too big and clunky.
And again that's something you just have to work on you have to adjust settings and just try out different
ways of basically breaking apart the model.
Now we may have actually ended up with too many shards here nope they've come back in.
Occasionally when you do this type of tourney with a bit more complex a model it can go a bit wonky.
Okay I think that's now done.
So I'm going to.
All right.
We've got lots.
How many did it break into in the end.
Almost all 500.
Wow lots of lots of things to break into.
So let's go to the second layer.
And again I'm just going to turn off gravity we can see this top and bottom bet almost intact compared
to the rest of it.
Now going to turn off gravity once again just to make sure that when we knock it into things and play
with it we're actually seeing it work as is.
So that's Pressplay.
And it doesn't throw itself apart.
Brilliant.
Okay.
Let's just play again and see how many pieces we've splintered that in so all quite a few and if we
just pause that there if that had used the right key that had a wood texture on it.
Of course wood doesn't quite blow apart like that.
So we've got some other things to play with but you get the idea that now it's shattered in the middle
around where we had those splint and that those splinter rings happening.
And the other thing you can do at this point of course is let's just undo all of that no undoing all
the hard work.
And this is before the splinter happened.
Yes.
Now I can take this splintering child and of course duplicate it move it up rotate it round by maybe
on the ball would we want the x axis by 180s that's the other way up.
And it is still be a child and using They'll create a different type of break.
Again we can go in and using the selfridge's I'm not going to set it at 500 this time we're going to
lower it down as an idea of what can happen just clicked okay.
Now this is covered up of course by what's going on here.
In fact the higher level might have been a bit better higher source limit has now got to places that
are being fractured and you can end up obviously to have these a jagged thing like this you could use
a plain slicing through it if you wanted.
So let's just go and have a quick look at how that's going to behave.
Let's add an active to that.
I don't.
Yeah we have Undun gravity so that put gravity off again and let's play it's not coming apart but you
can see there how it's splintered in the middle but further raap on this particular angle of pause it
there further up the splintering is a bit like wood it's split apart pretty awesome.
Hey excellent.
So this is a bit of a zero gravity example but if you're doing slow mo it's almost good to have gravity
off or at least a very low value of gravity so that pieces aren't falling way quite as quickly in your
scene.
So that has come out pretty well.
I love the splintering effect that's come up here.
Now this particular lecture is not having a challenge because I'd like to go straight in and show you
the same tool.
But this time using the grease pencil to control it and then once we've mastered the fracture tool will
be very close to the end of section challenge.
If you played with this a little further and come up with something pretty awesome which I'm sure you
guys can do remember to share with us so we can see your efforts over on the forum and I will see you
guys in the next lecture.