Andy Needham @ IBC 2019 | Maxon Cinema 4D

hey everybody it's good to get to be here welcome to the max on booth my name is Andy Needham I am a freelance motion designer senior motion designer I guess based in London UK and I online you can find me pretty much everywhere with this handle I am called Andy and I've worked for on various projects for brands like Apple Google the band Coldplay and The X Factor USA titles and I have a mix of both technical and design skills I guess some fairly all-round I take projects from concept to completion and what I like to do now is just share my motion reality [Music] [Music] [Music] [Music] all right let's take a look at what I'm going to talk about today there's I'm talking about not only visualizing a brand with cinema 4d but also it's in my forty's place in the production pipeline and specifically there's a product this fairly recent fairly new called meta and so meta is this content metadata platform that's allow us imagine imagine you have you're a broadcaster and you have say all the data that goes into Game of Thrones for example all the all the imagery or the data about the actors and all that kind of stuff questions are like how do you store that and also how do you distribute that and meta is a platform that allows you to do that it has a really lovely UI makes it all very clear and easy for people to do so there's a few products here and you can see a little bit about it right there now my my role and tasks are to create an animated logo do a UI reveal and also illustrate the product features now I'm going to focus on the first two today let's take a look at the UI reveal [Music] [Music] [Music] so earlier I mentioned production pipelines and so we've got a couple of examples of here initially getting those ideas you know out of my head onto a storyboards cutting out those frames into and putting them into Photoshop and then assembling that as an edit in Final Cut and then just quickly sharing it with the client via slack another example being the local animation they were provided with a spline TD a 2d vector file and I can bring that in cinema 4d you know taking it from the 2d world do something in 3d with it and then bringing it back out into 2d to composite in After Effects and finally deliver via Dropbox so there's some very crude sketches but you know that's you've got to get them out quickly and I find that making really rough thumbnail sketches is is useful you don't have to spend too much time on these at all and then I can put those into the Edit as I said and this gives me something to share with the client so that we were kind of thinking like we can get initial sign off on some ideas and this is a flexible piece really where I can add in more fully formed ideas of how maybe the user interface would reveal and not only that it's it's something that I can do to even take away ideas from you know because you're putting in things that just may or may not work in the final edit so this this stage is a very loose and flexible document and so what I'd like to do is talk to you about the this logo revealed to begin with so we've got a couple of things going on you can see how the lines are being drawn out and then the the logo is just sort of gradually being revealed and this was all created in cinema 4d I've gone ahead and actually brought this in to see 4d and all I've done so far is animate a camera and what we're doing is just just just sort of framing up on this on this logo so to do the the logo reveal I'm going to use mograph for that and I'm gonna bring the extrude object here which is what I used to create geometry with the the spline that was bought in formulas later I'm gonna bring that into essentially the mograph world so this is the fracture object is part of the mograph system here and by doing so what I can do is use effectors to actually turn this on and off and more crucially a material and using another part of my graph which is the color shader in the Alpha Channel so if I just apply this material now to the fracture object you can see it disappears now this is because the plane effector is a linear field and if I just show you the linear field here just unhide the visibility it's currently over on the left so it's going to pass through this and reveal the logo now the key setup to that is to make sure that your fracture objects in the transform tab has the color set to black and like I said we've got this material in the color shader know the next thing if we just come out of the camera and have a look at this you can see as it fades in we're getting something that potentially undesirable looking result here now to clean that up it's very simple we can come in and add a one of the render tags now in our 21 this is where you they've all been nicely organized now so if you can't find it but we're looking for a compositing tag and what we need to do is just turn off the scene by refraction I think also seen by transparency you may work as well but for me that's a much cleaner look and more something that I expect from maybe just doing this effect in After Effects or something like that so from there I can add a to get the lines animating we're going to add another mograph tool most spline now what this will do is allow me to change the mode to spline mode and I can just take that same at the same spine that I have come over to the spline tab and just drop it in and you see that we have now the outlines there on the logo so it's just a case of coming in and animating the either the start or the end so I can create a right on effect and also if I wanted to I could also just maybe set this down quite low and just create just adjust the opposite now you can see when I go beyond a certain threshold that it's gonna give me something that I don't really want to fix that I can just uncheck the extend end and start and now I can create almost like a highlight effect on top of something that I'd also do so let me just show you the two setups that we have here so simply one one to reveal and one to add a highlight and to actually get this rendered in and something out of cinema 4d all I need is to just use the hair material and so that allows me to just drop this on and as long as I have the hair render effect in the render settings then that will output just fine so we can move on now and I'll just show you the final look of that so this is what we end up with a little bit of comping in After Effects but mostly just straight out of cinema 4d next thing like to talk about is a plug-in that was very useful for this project called top performer and it's by a developer called murk Wilson who produces very useful plugins in my opinion so I can add this as a child of this circus cube and if you're first learning cinema 4d the hierarchical structure is no the key key thing to learning it really so once you get that certain objects need to be a child and other objects need to be need to have children to actually do something that's the key to learning it so you can see this child this this cube now will be affected by effectively this topology deform I can change the mode and it seems to be thinking about it for a while let me just use the arrow keys and I can step through a couple of these my favorite and the one I was using on this project is the people mode so why not which is great and so I can adjust some of the parameters if I increase the iterations I'm gonna add some more complexity another way of adding more complexity is just to increase the segment on my cube so if I have them all selected okay all I have to do is just manipulate one ok command and enter will be or control on a PC is the one that you want to use so that just having one and the more highlighted make your change to a single one and there you go now so they have more complexity here so add the detail just come over to the generator and create and it's as simple as that now what it does is it creates a moe extrude another mograph object actually which you can find in the mocha off menu and a couple of effectors that are doing some things here but all you need to do to control it is to come into the generate tab and then adjust these settings here so from there I can dial in the look and feel as I like it now one thing that was very crucial for this is to produce some previews because when animating in cinema 4d you can't necessarily trust the timeline because geometry can be very heavy so specifically certainly when you add there all these effects on if I were to turn on the top performer on these then we would slow down the viewport and it wouldn't give me a true 25-person this case 25 frames per second playback seems to be very good but if I turn everything else on that's not going to be very useful for me to actually see how you know maybe the timing of this or a certain element so what I can do is just turn these all on and we'll see if I play back now way slower so for me what I need to do is generate a preview that I can then take that storyboard edit and actually show the clients something that's more fully formed but we don't actually have to worry about all the textures and all that kind of stuff so there's a couple of ways of doing this we can switch ourselves to change our mode over to maybe hidden line or something like that if you want to get rid of all the materials that if you've added something like that this will give you pretty much a grayscale wireframe look and there's other things that you can turn off you can see here as I scrub through we've got this little axis here now I can just filter things like that off that's the world axis maybe clean up my looking look of this and there's other things that you can of course filter off as well so to do that really simply come over to your view settings which is shift V on the keyboard and then we can just toggle these on and off as we need so what I'll do is leave it like that because I'm happy with it for now and to make the preview simply do this it'll set me up with the hardware OpenGL which is exactly what I want and these settings for me exactly what I need so I'll just choose OK and very quickly you'll go away and think about it you can see the progress at the bottom it's done already opens it up in the picture viewer and now I have something that I can play back at the full frame rate export out and share in a rough edit so it's very simply to save it you can come over here make sure you're in the animation mode choose a file that will support that you can save it as an image sequence if you like but mp4 is just fine for me and I'll just choose ok then I drop that into Final Cut and start to assemble more of a rough edit as I'm designing shots I can then you know put them in there's nothing really to focus on apart from the motion and it gives me a clear picture of timings and all that kind of stuff so I can adjust this as need to be so we're getting closer through something it's not final it's very good you know got to say that as well just to avoid any confusion and there you go now so we're getting closer to where we need to be and from there of course as you increase the complexity and start to you know render low res versions you can start to bring in more of the final look and feel alright next thing I'd like to talk about is one of those shots that you may have seen there now this is the the little lightning effect that I had and if we just sort of step through this you can see this is the effect here and this was done using X particles and it's a very simple setup so we just load this scene into cinema 4d and here we have it now it's not exactly the same one but that's fine for demonstration purposes you can see what we have is a cube kind of being drawn into the surface and I want to create an effective maybe the Lightning pulling it in you know so we're gonna do that with X particles now X particles is supported in r21 which is fantastic and we can just easily make an emitter what we need to do is change the shape to be the object mode and this works by this effect works by taking two emitters kind of matching up the points and then the one of the generators and next particles is going to create those lightning effects so I'm gonna add let's just make this one we'll name it to be a little bit more organized and I'm going to direct drag in the top plane into the object field here so what that is is a simple plane that I have as part of this hierarchy with the cube so it will move exactly with the keep and if I come out of my camera here you can see there it is just on the bottom hidden there so for that I need to just set this up a little bit more I'm gonna make sure that the particles stick onto the source object and I could even just turn off the speed as well it needs to be and what I like to do with this is just animate the the actual emission because at the moment and you won't be able to see it because I've turned off the speed and all that but at the moment we're gonna get thousands of particles being emitted so what I'd like to do is just animate the birthrate you're gonna start with nothing and maybe we just start around here so we can create a keyframe quite easily and then bring this up to now let's see around about here I'm gonna just increase that just a very small amount because I don't really need a crazy amount of lightning to make this effect look the way I want it and then remove the birthrate now from there it's so simple I all I need to do is just duplicate this so I can command or control clicking drag to create a copy I can then just rename this so that I know that I'm working on the bottom plane which is just a little just a little one here that's on the ground and I'll just drag in the object into that field so now we have for the most part the X particles set up complete all we need to do is come in and add the X P electric generator for some reason there we go there we are now we have it now to set this up I just need to change it from particle to park particle because I want those particles to kind of like talk to each other so I will add the bottom emitter at the top so our destination is going to be the actual emitter is going to be the bottom one and the top one is going to be our destination emitter and then it's a case of just dialing in the fork settings to get the look and feel that I'd like now you can see or maybe it might be a little bit difficult to see so to make that a bit easier for you I'm going to just change the display color to on so now we can see this lightning effects happen and I haven't really dialed in those settings but you can get an impression of what's going on here so it's almost like it's pulling it in and if I show you my end file that's that's that's the kind of look and feel that I was going for and again just a little bit of tweaking on those fork settings just to manage the the number of divisions on the forks and things like that to render it again using a hair render effects so we get to a point where we can see the lightening and just adding that hair material onto the EXP electric generator allows me to now render that out from cinema 4d so just to show you once again that was the kind of final look that I went for and because this is all parented so if I actually wanted to I could take the cube and sort of drag it drag it over and I was probably not going to work because of my animation settings but we just set a keyframe let's just see so there you can see now the lightening will pull onto that cube that way so a very flexible set up there we go alright next thing I'd like to talk about is this cube reveal and we've got a couple of things happening here that keeps being revealed by basically what we've got as a few cubes within each other and one's being revealed by using fields and another one is using deformers so we'll start off with the fields and what we can do with this is bring it into mobile the mograph world by using a poly effects now this is a deformer and you can have it as a child object and it will still work but another way of working with this is to have it on the same level of hierarchy and to make sure that it's on the same level we have to group it with an arm so now that's all all readable as the same thing so we'll leave it like we have and to do the effect that I'd like to show you I'm just gonna add a plane effector and now that works because I already have the poly effects object selected so it adds the plane effect into the effectors list here I can just turn off the position turn on scale and I want to make this an absolute zero scale so it's completely hidden now from view to bring that back I'm going to add a linear field and immediately you'll see how it's being revealed so this is looking at what the top performer is doing and then at the other segments of the cube and revealing it in this way now I can come in and animate this I can change the direction like so and bring this in now we could make this a bit more interesting by using other fields so I will drag well I what I'm going to do is to come into the my field fall off this and add maybe a spherical field maybe increase the radius okay but that isn't going to do anything as maybe not the effect that I want because it's not moving with the linear field which is my intention to animate very simple fix all we need to do is make it a child of the linear field and you can see if we animate the linear field it's going to come along for the ride so from there I can offset this and all I need to do is just focus on the linear field and maybe art direct the look and feel with the spherical field so there's other ways of adding more detail and complexity of course just using another field we could add a random field it's going to randomize everything change the blending mode to maybe overlay and that's going to give us something else this these fields work in a way very similar to if you've made an image composite in Photoshop or after-effects just by blending these effects together and you can you can dial them in with the opacity slider and just get exactly what you'd like so let's let's take a look at how I ended up on that and so for me I think oh but notes you have any animation on this but you can get the idea that once I had it in a way that I wanted I could just pick a point and then this would just be animated through to remove in this case the effect but of course you can see we could bring it back on as well in it just reversing the animation now the other thing if we come back to this is that peeling effect now that was achieved with a bend deformer now for this we need more segments on the geometry at the moment we only have two by two by two and so to actually create a bend effect we need to smooth this out so otherwise it just wouldn't wouldn't work so I can add more segments here maybe 20 that would be good and I could do this procedurally or after the fact just subdividing the cube now the key to this setup is to just separate the surfaces and this is the little checkbox at the bottom there what that's gonna do when I make this edit editable is instead of it being a cube as we see it now it's going to just take each face and separate them out so I press e on the keyboard to make it editable and now you can see I have all these different faces so we'll focus on the first one which is just over here and to make the effect I'm going to come up to the deformers look loads of really useful things here and you can find out there's a whole series on suniverse ax t which goes over every single one of these very useful we're going to focus on the bend deformer right now and I'm gonna add this in now because I press shift on the keyboard when I created my bend deformer it's already set up as a child of the of the face it's also set it up in a way that should work we think but we're gonna have to do a little bit of manipulating now I'm adjusted adjusting the strength just to kind of get a sense of where it's going and I can also constrain it so that the cube face doesn't extend beyond the length by just keeping this y-axis length what I need to do is just rotate it so I'm could everybody take this round and it's bending inwards at the moment but if I hold down shift I can constrain that and get it at around about ninety degrees of course you can come in and dial in the valley by using coordinates manager now this is just simply bending this way now that's fine I can make it a little bit more interesting just by rotating it around or this way and now I can just peel it off from the corner or something like that so we can certainly art direct the look of this just by adjusting the rotation on other of the bend and going beyond a certain threshold we'll make it curl around on itself so you can you know that could be what you want but you can also animate it so that you get the effect of it sort of being completely removed which is what in up doing so the final look at this as we can see here and this is exactly what my point was earlier about creating previews his because we've got so much geometry happening in the viewport it's struggling to kind of keep up in this case but and it looks like yeah I haven't even got the top performer turned on here in terms of the extrusions but creating previews is essential in this case but just by nesting these cubes taking very simple ideas and combining them you can create something a lot more complex so that leads me nicely into the UI reveal which is taking that same idea of a couple of different SEC segments that when combined can create a more you know complex and visually interesting effect so we're going to focus on how the lines were created right here and also how this this other part of the geometry was revealed as well and to do that I'm going to open up this first splines thing now this is as I recall yeah this is actually the output from what I'm going to show you so we have a set up very simple I'm just going to do it on the fly right now we have a let's just imagine that this is the user interface and we can bring in X particles we'll add an emitter and what I want to do is just size this down I can just manipulate the handles in the viewport to do that and to get it where I'd like just use the orthographic views so I can just position this maybe in the top left corner so if I'm accurate enough maybe I've got it there I can just zoom in here and just be sure so it looks like I want to just reduce the size of this a little bit so got this tiny little limit up here and currently if I press play it might be a bit difficult to see we could change the display but what I do is actually turn the cube to x-ray mode and now you can see we've got the stream of particles it's not doing exactly what I want but okay we're getting there I want these to collide with the cube do all kinds of crazy stuff bounce around so to do that I can just add an X particles Collider tag and I want to make sure that we're focusing on the inside so that nothing escapes and then in the modifiers I'm looking for one of the motion modifiers here it's the XP Network now I can change the plane so that it doesn't go too crazy I want to control this a little bit to the wise airplane so that means it's not going to escape in the x-direction it's not going to come towards us so now you can start to see yeah we're getting something okay I wanted to now change the angle of this so I can adjust the pitch and this has given me something yeah we get we're getting closer to get the air to a splines I can just use a trade tracer or trails so it's one of the generators that we have and for me to actually apply this easily I always select the emitter and then add the XP trail because that will set it up with the emitter in the in the field I don't have to do that step manually I can then just drag it into my system and keep it nicely organized if I rewind and play you're going to start to see those lines appear now this is way too much and it's going to create something pretty heavy so I can come over and change the emission maybe I want to really reduce their birth rate down so something a bit more manageable but and to actually generate the splines all we need to do once we give ourselves maybe enough frames in the timeline to let this play out let's just double click that so we can see yep we get something pretty interesting I can press C on the trail to make it editable you can also come over to here and make it editable that way now from there I have this spline object and I'll hide the cube which I can manipulate further so this is where we ended up and and for this example it looks like it's a complete mess if it's too heavy no problem you can just come in and select some points and press UW and that will select all the points that are connected to that so we can kind of say alright I don't need those anymore delete UW and delete and so to save you the the process of me just going through and cleaning that up I'm going to just show you what it looks like when it's more reduced it's the same that's all I've done it's just gone through and reduce this down from there we use the old friend most line again just to bring this into that system so like just like before with the logo using a very similar technique we can change the mode to spline that gives you this new tab you bring in the exp trail into the spine tab and from there it's simply about manager animating the start and end or the offset so by doing so we can reveal oh and also the key for this is to make the mode separate segments instead of the complete spline that allows me to just you can see all those different things being revealed in that way so by doing that and then maybe you could maybe even do a different simulation with X particles create a different stream and layer them in a different way we can offset a dip and another version of the most blind with a different material to kind of create maybe that highlighting effect with the hair ender as we have on here we can now output that as something that can be either composited as a separate pass or brought in to another scene file and combined in that way so if we come back here you can see that's the effect that I got from eating X particles to create those splines and the next thing is the reveal of this so this was done with vertex maps now the great thing about and it was introduced in our 20 with the fields is that you can actually use them with a use of field to control vertex maps so we can create these nice growing effects to actually have a vertex map on this geometry it needs to be a polygonal object so it can see those points and polygons which we have here and to easily create a vertex map I can just use my paint tool hold down shift and just click onto the geometry now currently the weight is set to nothing so it's not going to do anything this little checkbox here allows me to use fields to control how this is going to work so I can change currently the state is frozen so it's not going to do a single thing until I give it something to do and I want to change the mode to grow now until I give it something to actually effect the the weight of the vertex map as I'm doing now with the spherical field it's not going to do anything so just by doing this now and it's in grow mode we can start to actually grow that out now you can see that the the values that I have in this freeze layer are too low I need to increase the radius and that will give me hopefully an effect where it will grow over time so I can then position the spherical field right in the corner or wherever and I could I can animate this on and off and have that just grow out now to make the leading edge a bit more interesting we can just randomize how it looks so add a random field setting the mode to overlay and if we just rewind will let it catch up with us now we're getting a bit more of a interesting effect how does this work to reveal the object currently we've got a material on here and the material has an alpha Channel so we can just add a vertex map effect in the Alpha Channel and just drag this in now you've seen the viewport change so the bits where we have color is obviously what we can see if we just render the view now we can easily create this effect and of course with combined with the other one with the splines we're going to get something pretty visually pleasing certainly to my eye now here's the end result of that I can take that same set up I can take what I've done with my vertex maps and if I bring this into the mograph world with a poly FX I can then in the effect of step my my apology so I've got a plane effector and this the parameters that we've got set up on this is to adjust the position scale and rotation so we can do all kinds of things manipulating the geometry in this way and in the fall-off tab of the plane effect I'm now using that vertex map to drive this whole effect and I can dial it in with other modifier layers as needed so from just revealing amity material we can actually reveal geometry as well so there we have it now there's a couple of ways of using this set up so you can see it the geometry is now being built on if I just zoom in a little bit consider now see those lines happening so we've got the same setup on the outer glass and then also on the UI and if we as I said before you can use maybe a curve just to kind of adjust the data and how it actually animates in so we have the effect of this reveal we have also a little rippling effect again a combination of a few elements notice was just by creating a got a simple cube here cloning it and turning in the mode to grid array and if I just adjust this just get this set up maybe just reduce the number of steps and yeah so we have a nice grid of of cubes and to get the ripple all I'm doing is modifying the cloner with a plane effector simply on the Y height and currently that's doing moving every single clone in that position so we want to restrict that and I'm using just a torus field and this is quite nice because it's adding some color data for us so it should be easy to visualize all we need to do is just adjust the radius and animate that so if I just set a keyframe I can maybe I can go beyond the slider just by maybe typing in a value that's good 500 for now and we have this kind of ripple effect now if we combine that with something else in a camera move we end up with something looking way more complex and the other part of this is just taking a spline well a couple of circles let's just bring this into its own its own scene what I love about cinema as well is if I want to work on a pod on an element in isolation I can just simply copy and paste it into a new scene and it just allows me to focus on that single element and then I can bring it back into my main scene as well so what we have in this scene is just a simple a couple of circles and they're just animating in so all I'm doing is just taking the radius value of each one and just animating animating them and in isolation yeah it's that's fine but once you bring it into mograph and start to clone it and make something a bit more interesting you get this kind of sort of ripple and radio wave type thing and that's all being controlled with a step effector and we're just justing the time offset of the animation that was actually on the the curves on the on the circles hook so just offsetting that in that way duplicating them we can add to create complexity from something very very simple now of course you bring that back in to the main scene and combined with that a very simple ripple effect that we had on the cubes and a in a slightly jaunty camera angle then we can create this this final look and feel I'd also like to talk about another setup where I was just using Python to control the what I call it the doors the on the eye as we zoom into it of this of the scene I wanted to have something that just opened up and instead of if you think about it that's some quite a few pieces of geometry I just wanted to have control with just a single slider and so to set that up what I've got here is I've made I've used mograph because this this text was created with mo text another mograph object I used a mograph selection just to single out the eye and I've hidden it from I've hidden it from this other this main text and then just made that object editable so I could just focus on the eye here so the currently we're going to crash into that and it would be nice if we could open it up so to do so all I did was take the cap which is the the top part here and with a couple of segments and i've just adjusted the i've just adjusted it so that my axis on each one is at the very edges and you can do that very simply if we press shift c we can actually bring up the commander type in axis center and this gives us a really handy tool which allows us to manipulate the axis and what I've done what I've done here if I just maybe execute that let's just see maybe it's in the right place let's try this one you can see how I'm switching that over so for me I need to get this back I can just put it over that way that allows me to take the scale on the on the y-axis at least and just shrink it down and that's what I want to do and I can control that with Python instead of having a few more keyframes so I've set this up in a way that I've added some user data which is a way of just adding fields and things like that that we can control rigging so I've set that up on this object so that we have just some linked lists that allow me to drop in an object and then a simple slider to control the animation and another great feature about r21 now is I can actually save and load these as presets so it you know if I wanted to build up a more complex thing or or take small ideas and the things that I'm components that I'm using all the time yeah I can just save out a little thing and then start to build up something more complex just by loading in these presets so it's very handy and a great new feature now for this we've got a Python tag so what we need to do with this is get our user data from from the Python tag into this into the script and it's just a case of just dragging and dropping now of course I need to set up a variable so I can just sort of use it later so if I say this is my first door and instead of it saying Python we just need to change that to opie because this is what it is operating on and or let's make this door too I'm going to drag and drop and of course we need to make this equal to that and then I'll drag in the slider let's create a variable for it okay so we've got that in and of course to do the little renaming alright and then now we just say oh wait slider do something to these doors so I can drag in the area the thing I'd like to effect which is this and make it the value of the slider [Music] you know and so by doing that I can build it up and once we've once you've done that a more complete look of this if we just enable this tech because I think I have it disabled there we go I can show you I can see though I've got this one slider here that I can control the animation of these doors so if I just adjust that for you now in the viewport for me that was just a makes it quite simple to do now I can I can then take that same idea and split out the geometry at the back and just copy the tag onto it and all it's going to be looking for with the user data with the user data is the it's just some new objects to effect so just simply dragging and dropping we can create a little animation rig for this so there's you know other ways of doing this of course it just keeps the number of keyframes the number of objects they were actually animating in a scene pretty low I'd like to finally show you again the the animation that was created [Music] [Music] [Music] [Applause] [Music] all right thank you and so we have if you'd like to see it in situ there's Metta actually you hear at IBC on the Amazon stand so yep finally I just like to just mention a couple of our 21 features because it's such a fantastic release we we should definitely talk about it so there's a couple of cool objects that we have but I think because I might be running a low on time I'll just show you a little bit about the denoiser and I've been working with greyscale gorillas recently to create some training one of the things that I can I'm teaching there is of course using field forces and this is this whole setup was created using a using field force which is new to r21 and kind of allows you to it kind of takes that you know these these these particles and thinking particles that were you know not part of not really not really part of my workflow because I do tend to use X particles actually but it kind of brings those back into you know your mind and it allows you to take almost make your own custom feel custom forces so you could simply combine a field force with a spherical field to maybe make an attractor something like that and what I'm using in this example is a combination of using a combination of this field force with thinking particles to actually create and obviously the motor a motor system to generate particles on geometry and then have them effect and flow around the geometry and it's you know something that you can do with the built-in tools which is obviously a plus so for this to actually get the preview out and to kind of you know think how is this even going to look I used the denoiser just to get the get the preview and that's a simple effect that we can add on here you'd come over to effects and just add it I've turned the physical render settings down to absolutely nothing so we'll give this a real good test now for that I would expect loads and loads of grain and it would just look absolutely terrible and be completely unusable but for a preview let's just see how we get on so if I push let's just not render to the picture view or render to the viewport and it's going to have a little look at that and if we look in the look at here this is you know all the aliasing it's pretty nasty and from at the moment pretty unusable but it does clean up just like that so there's certain cases where this is absolutely usable and you can get your previews out very quickly and let me just show you the preview render a very tiny resolution as well but let's just play it massively and so we have yeah I mean it's a perfectly I'd say acceptable for preview purposes apart from the last shot where it just can't handle it because it's seeing everything and just trying to just compress everything down so yeah you've got a pump up the settings of course and and that's the thing you can just adjust the settings as needed probably still keep on the denoiser and get something completely usable the final result for this is how and this this whole tutorial goes through walks you through that field force process it was it was fun to do and I and it's been a you know great to be part of GSU plus I also create a lot of training for LinkedIn learning I've got over 20 courses on the library at the moment I've got another one coming out very soon about our 21 and you know I didn't want you to check those out finally I'd like to like to talk about the X particles challenge it's a it's a community competition something that is a quite passionate about the the results that people submit it just amazes me and blows me away what people can do with both X particles and and cinema4d and so looking forward to doing that again this year so I'd like to just end on the show wheel and give a big thanks to Noah's prayer for providing the audio for that and yeah here we have it [Music] [Laughter] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] you [Music] all right thank you very much to the sponsors that provide the amazing prizes for this competition and for you know everyone that continues to enter and like I said blown away by all the results so thank you so much for being with me here and thank you to everyone watching online and it's been an absolute pleasure thank you maximum for having me and yeah enjoy the rest of the show so thank you

Channel: Maxon

Views: 29,807

Keywords: c4d, cinema 4d, sculpting, bodypaint 3d, maxon, modeling, modelling, 3d, animation, rendering, r21, release21, release 21, ibc, ibcshow, ibc2019

Id: WptvBZyBKW8

Length: 56min 35sec (3395 seconds)

Published: Mon Oct 07 2019