![]() Lets you choose how to define the colour of the particle. When you choose to do a Directional Scale, this will automatically maintain the volume of the particle by squashing it proportionally to how much it stretches as a result of the directional scale. Similar to flipping the X axis, you may want to flip the Y axis of a drawing to match the direction of the particle movement. You can see this property being used in the Lemmings example. You may want to have the particle align to the X direction of movement. This axis refers to the axis of the Drawing grid from the Drawing node plugged into the emitter. Sets an exponent here for how much you would like that particle to scale.Īligns the particle in the direction of its movement. Scales the particle in the direction of its movement. Attach a function to this attribute if you would like to, for example, have the particles get smaller as time goes on. Lets you determine the size of the particle as it ages. If you are emitting from a sphere, the particles will all start out moving away from the centre of the sphere. That means the particles will randomly be born at any frame from 1 to 5.ĭefines a mass for the particles which will affect how the particles interact with gravity.Īligns the initial velocity with the region from which the particles are being emitted. If you have a five-frame cycle that starts on frame 1, but you want the particles to be a random type, then you may want to set the Age and Birth to 3 with a standard deviation of 2. This means that a particle can start with a different drawing than the drawing on frame 1.Īllows a random deviation for the birth of the particles. ![]() If you have a 5-frame cycle that starts on frame 1, you would put 5 here.Ī different start frame number can be entered in this field. This is the frame number of the last drawing. If you have a 5-frame cycle that starts on frame 1, you would put a 1 here. This is the frame number of the first drawing. Lets you sequentially or randomly assign a type (moving from one drawing to the next). Each drawing will then be a new type of particle. In this case, you should put each drawing on its own cell in the drawing layer. You may want to design a variety of different drawings that will vary the appearance of the particle system. Here's an example of a node structure with the Image Fracture effect:Īn on/off switch using binary code. NOTE: You can display the grid and use the Light Table feature in the Drawing view while drawing or scaling the image and matte to ensure that they're the correct size relative to one another. ![]() It could be three separate circles, which would then be cut and pulled away from the image. The matte does not have to be a continuous shape. If the matte does not overlap a part of the image, that part of the image will not be cut. This means that you must take the 12 by 12 field into account when judging the scale and proportion of these objects. The two image objects overlap perfectly when combined in the Image Fracture. The matte drawing should be hooked to the Image Fracture's left port. When the matte is made of overlapping pieces, the cut image will be multiplied at those zones to break apart in multiple layers. It can also be a solid shape, many solid filled shapes, and even many solid filled overlapping shapes. The matte should be flattened if you want it to work like a cookie cutter (hollow shape with a frame) and can be composed of brush or pencil lines. The image to be cut should be hooked to the Image Fracture's right port. ![]() The image to be cut can be anything from a vector drawing to a bitmap image to an entire scene's composite-effects and all. This effect requires two image objects: the image to be cut and the shape of the cut pieces (matte). The Image Fracture effect breaks an image into pieces.
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