Athanasios "Noseman" Pozantzis @ The 3D and Motion Design Show

welcome back to the show ladies and gentlemen i am here with the one the only nose man brother welcome to the show nice to see you literally i can't see anyone else but i can see you so we're here and they're watching they're here and they're watching so uh what do you have in store for us today what do the people get to see well um thanks to dell they actually uh sent me a loaner a precision workstation i can actually now i've entered the the world of pcs of windows all right so welcome welcome brother welcome welcome right in quotes um but the thing is that as far as uh you know the experience is concerned you know um it's amazing uh the stability quiet uh small uh very high quality so uh i want to thank dell for that because i i wasn't you know mentally prepared to go out there and and buy a pc and uh yeah i mean that's what was necessary if so we sponsored our last show they've been a sponsor of the tour and it's what i've been using on the road and uh all around the world and i have to say i've been very impressed yeah yeah mobile workstation for sure yep i was using uh that to do the presentations uh last year before the world fell apart yeah yeah so how do we put it back together what do you what do you got the show well um i'm gonna show some redshift stuff and because now i think it was announced that the mac version is ready for public beta yes yeah so more people will have access so i i'm starting to tread a bit more into the realm of redshift now there are some amazing tutorials out there that cover pretty much everything but i developed an interest to see how it works with the volumes and stuff like that so um yeah a lot of the stuff i'm going to say has been covered one way or another but i'm going to do my best to sort of simplify so simplify some um ideas behind it show a couple of workarounds for a couple of things that are getting fixed right now um so we want to hear it in your voice so we might have might have heard it before but we want to hear it from you though yeah today i'm going to use a new phrase my name is scale p scale so number one interfaces um what i've done i've made this layout that contains the the redshift render view and a couple of things that people may not know is that if you press command or control on this little thing you can hide a panel you can collapse it and then just click here and it will open up again so this gives you access when you don't have much real estate very quickly commander control close it then just hover over here it tells you which one it is and just click and open it the other thing which i'm going to use later on is if i have another panel which i don't want to go and look for it when i'm in i realize when you do this in windows something else disappears excellent so i'm finding out all these new things about windows so if i want to have this panel i don't want to go and find it every time in the menu you can just drag it on top of the this line and it becomes a tab so now i have this i can collapse the panel so i have a very quick way of adjusting my my real estate my monitor real estate now the other thing is render settings and this is something that comes up sometimes i've created my own little preset here uh but i'm going to tell you what you need to do it's good to make a preset um so usually you have your standard layout here uh standard renderer um so i have an rtx 5000 it has 16 gigs of ram that's a difference between the 2080 and i think it's the equivalent speed of the 2080. and number one because i have enough ram i can actually set the bucket size to the maximum and this gives me a small speed boost because the card is able to work with a larger chunk of data in each bucket so it doesn't go back and forth in memory and send stuff if you have less ram you make this smaller and this will [Music] not overload it will allow your memory if you have a card that has less memory you can use a smaller bucket size the other thing which only applies to rtx cards is the enable optics rt and this just gives you another speed boost and the last thing which is uh an experimental feature now in the branch uh version three branch of redshift which is the one i'm using i'm using the automatic sampling now there are there's a fantastic video it's about an hour that shows without automatic sampling sampling how you can maximize your your speed and and all that so i'm not going to say many things about it but if you have an rtx just uh do this and if you have version three just enable this and it will speed up and you have control over your uh quality just by using this number here so the other thing is i set this to 2048 which is my maximum samples and i set this to 256 which is my minimum samples and this number now biases the smaller the number the more biases towards the maximum value the larger the number it biases towards the minimum value this is a threshold right now if you don't have version three and you have version two um there's a quick little rule that says that you set your min and maximum samples are going to take care of your motion blur and your anti-aliasing and this needs to be divisible by this exactly and the other thing is you turn on all all the overrides and you set them to 2048 and uh you set this to 1024 that's it 256 1024 and all the sampling overrides to uh 2048 and then you use this number again so it's very similar to the automatic sampling anyway i'm going to go with automatic sampling and leave everything else the same and i always turn on their brute force because why not right gpu is fast my previous render was physical render so i've got a speed uh boost anyway so these other settings i've got in this little preset once you set it up you right click and you say say preset you give it a name and then you have it here available every single time you can get rid of everything else so let's talk about volumes how to set up a simple volume using a volume builder and a cube to begin the cube is my favorite object so number one and this is a rule don't use sdfs use fogs and sdf doesn't describe the uh interior of an object the volume of the object it describes a volume around the surface so watch my tutorials on this university if you want to find out more details so fog and the fog volume by default generates values from zero to one where zero is the surface of the object so commander control this so zero is a right here at the edges where the surfaces and everything else is a one so this is full of ones now let's go and light this up and see how we can render it you click on this and it won't do anything because there are a couple of things we need to do number one we need to add a light so let's go and add an area light for now and let's move it back and you can see still nothing happens the next thing you need to do is tell the light or any light you want to participate in any volumetric effect fog environment volume or any anything else a bdb you found on the internet and so forth you need to go to the volume tab and you need to increase the contribution scale to a value depending on what you're doing you may need an extremely low value but we're going to use a default of one now we still need one more thing and that is to go and create a redshift volume material and we need to drag it on the volume and then we need to link it up so go to the rs volume node and go over here and you need to go to the channels and define where the values of the volumetric data is coming from so you can drag this here or you can go here and find all your volume builders and now here you go we have something which looks terribly ugly and the reason for that is as i told you before this is a block of ones right it's a full cube full of ones and there's some artifact in here but that's easy to fix you need in order to have a nice soft smooth volume to tell whatever you have in here to have a maximum voxel fall off this means that although it's going to have a zero voxel value at the edges or where your surface is it's going to gradiate towards the middle where it's going to become one uh at the further the point which is furthest away from the surface so the minute i do this we get this now this looks like a nice white sponge and that's basically the idea you know a fog is um sorry a sponge is nothing more than dense fog so we've managed to light this up how do we control how it is so let's bring up the material again let's very quickly because you can find all these details on the internet scattering is the diffusion the equivalent of diffusion it how it reacts to lights and absorption is how it the alpha channel the transparency and the general rule which i discovered from merck is that it's better to to change the values and keep them the same in tandem so 0.1 this will react less less light and 0.1 it will make it more transparent so you can see now light has the ability to penetrate more inside your little sponge and you can go and make this very very small and you can create um all sorts of interesting effects with this now um for example now if i grow this i'm controlling the transparency of my sponge now we're gonna do a few more things here just to make it a bit more fun now we have the ability to colorize this as well but i'm going to show you in a second i have my notes next to me over here just want to make sure i'm following the script so let's do the following thing let's talk about the values for now so we understand a bit better uh what's going on and for that i'm going to turn this off and i'm going to add a dome light so we have light coming out from everywhere i'm going to tell this dome light not to be visible in the background and now i need to control its contribution skill with volumes you may need to balance out the contribution scale the light intensity the absorption the scattering it is a more complex construct but anyway this looks interesting looks like some weird foam and what i'm going to do is i'm going to go to the volume builder and add a field so let's go and add a linear field and drag it in here and what i'm going to do you can see immediately this becomes a gradient right and i'm going to set this to apply its little operation on the objects below on that little cube but i'm not going to use normal mode i'm actually going to use multiply so because my gradient on one side is 0 and the other one is 1 you can see that i'm creating a gradation of this and i can control this gradient now with my field now the other good thing i can do with this let me get rid of that is i can go here and add for example a spherical field let's add it here let's do the same thing as before set it to objects below and multiply but what i can do to this and let me make it smaller what i can do to this is change the remapping i can change the minimum value now because it's multiplied that means that where we have the value 100 it's going to give us whatever was underneath it and here we have only 10 of that value but i can increase this value to let's say a thousand percent so i'm creating a more let's say dense or a volume that that has a higher value so essentially what's happening in here is that now um i'm getting a value of 10 instead of a value of 1 because i'm multiplying it 10 times and this way you can go around adding all sorts of different fields to create interesting effects in your in your volumes now um let's see the the last thing i like to do is add a noise field because uh it's fun and again again you can already see some things going on here i'm gonna multiply it i didn't multiply the sphere that's why it was so odd but you get the idea though i trust you understand what i'm talking about um i'm going to set this to a nice bonus nice little circles let's make this 300 and in the remapping you can do all sorts of um interesting things to sort of uh make this look uh have a certain uh certain look you can change the inner offset you can you you can you can do other things you can go here and change the the curve um reset it and sort of contrast this noise to make uh the holes more prominent so you can make a decaying uh something whatever cheese at the the king the sponge and all that so you can see that as far as the shape is concerned that you have a lot of control um using uh fields on how you're gonna make your volume look and behave and of course don't forget the voxel size that makes a difference in terms of resolution so now you can see the circles but now you can't right now you see them now you don't so uh and of course um if it's a very low it takes a couple of seconds to calculate but already you can see that it it creates the opportunity for very interesting effects now let's go and look at the color for for a moment now when you're creating volumes here unfortunately you cannot create color data you can only read color where it says color channel if your vdb has embedded color information and that is for vdbs that come from other third-party software so if we want to colorize we actually need to remap the values we have here using this ramp so so it's going to do that let's go here and open up this and just go quickly and load our little rainbow and there you go you're remapping your zeros over here your ones over here and everything else in between and uh that allows you to do very interesting effects so let's go and cut into this and see what's happening inside so i will get an ice cube i'm going to move it out of the way i'm going to rotate it i'm going to make it taller bring it out and i'm going to say oh i'll put it here and subtract it so get this and subtract it now here's where there's um a minor little issue uh which but i think it's already fixed and it's going to be um available in the next update there there's a little technical issue and all the negative numbers in the volume because subtracting creates negative voxels are calculated as positives all you have to do is go and add a fog curve on top and this will cap uh it will actually um get rid of those negative numbers because it clamps all the negatives but it clamps the positives as well so use it uh with caution so now we can see inside and we can see what's going on now don't forget that i've remapped this to be something extremely ridiculous so i'm going to make it a bit better and there you go so this is now the color inside the volume so that is an idea how you can actually create something that is a visually interesting and uh you can use your standard cinema 4d tools without any external tools so if you add to this um some sort of uh surface an object which you've created and it's got some surface animation and so forth you can make clouds you can make cheese i think cheese is a very good idea if you give it a single color so you can make mental fantastic let me see now on my list so i've done all that and yes okay the last thing is a mission and the mission is quite interesting it's a separate channel let me go and um reset this to default so we have our little cheese now the way currently the volumes work um you can have an emissive channel but it's going to be the whole volume builder if you want to create some sort of emission in here you have to create a separate volume builder and just add some emission but for now you can always go and create some sort of emissive parameters here and you can make this glow i guess there you go so you use the same principles but it's going to be self-illuminating right so i don't think i need to go into the emission too much um i don't know if anyone maybe has a question later on we may be able to address it so yeah create a second volume builder follow the same rules um fog and whatnot apply an emission parameter and they will interact especially if you have global illumination active so let's see yep so um let's go and do some particles because uh what i i like to do is use cinema vanilla as much as i can and in this particular case we're going to start for something very simple and then we're going to recreate this in the remaining time we have i think i'm going to this is going to finish much earlier than i expected so nonetheless let's continue i'm sure they'll have questions for you good like that so number one the simplest way to create particles with several limitations is to use a standard particle emitter and this will create some particles but in order for you to get these uh particles and render them i'm putting ten thousand uh one thing i just need to say because a lot of people forget about it you need to align these uh editor and renderer so you can see the same number some people forget to change this and then they render in the picture viewer and the picture viewer has a hundred instead of ten thousand particles and because you can see a lot of particles in viewport um it's not evident why it's not rendering as much so just remember to sort of synchronize these two and in order for us to to render particles we actually need to go to the redshift tags and add redshift object tag and go to the particles tab and just tell it what we want it to to render the other thing is because usually things out of the box are optimized for speed but nothing really looks good and all you need to do here is add a dome light and then it looks much better so again get rid of the the background so now we have a bunch of particles and the problem with standard part if you're doing something quite simple or if you're going to use it as a an emitter for a cloner to emit clones using multi instances it's all nice and dandy the problem with standard particles is that we don't have control over things like age and color and all that interesting stuff so my favorite way to go and work with thinking particles in general is to use p matter waves so let's begin with a sphere 20 segments make it editable and i like to you know sort of make things nice and neat and and i'm going add an espresso tag right please don't stop watching this uh the stream right this is gonna be very simple and uh just go over here and type they're not intimidated of espresso anymore okay they've grown stronger hopefully so the pmata waves is the easiest and extremely powerful way using a single node to generate particles and all you have to do is take a an object or a selection of an object and just drag it in here and now you have particles that's it you don't have to set up any storms or anything like that now the other thing i like to do is go to my thinking particle settings again it's over here settings and in my settings i changed my ticks to dots it's slightly faster that's all i'm doing i'm going to use this later on to drag some stuff uh here and there and now we can go to this the settings of the pimatawaves and let's give it a shot or i don't know a thousand per frame so here are particles that are generated there you go nice you just close this so we can see the particles um it's not that bad okay i mean you can't generate easily um hundreds of millions of polygons sorry of particles but it's still quite good so um let's see after you create this um you leave this as it is and if you want to pass any parameters as you can i'm going to show you we're going to use things called p pass nodes very simple to to control particles that way so it's going to fix a few things with the speeds and all that they've got a life cycle of 90. i'm going to set this life cycle to 30 frames and i'm going to give it 25 percent uh variation um i'm going to put the speed to something like uh 20 and a slight variation 25 percent let's move down here this is how you control everything i'm going to leave the size at 10 distance direction and all that now just in case you want to get into um thinking particles uh it's an old technology but it's still very powerful the p matter waves allows you to use textures lights or textures and lights in order to control all these parameters you can shine light on this and it will only emit from where the light is shining and all that there's a massive amount of control you can have so the second thing is i want to add some sort of turbulence because this is very linear you can see everything just goes that way and i don't like that and we're going to use a wind so the wind node the p wind everything starts with a p i'm going to refrain from saying p in order to pass any data to any node you use a p pass so pass use a p pass and you can do this constantly like p-pass control something p-pass control or something you don't have to do all these but it's easier to read your graph after this so i'm going to tell these to be affected by the wind and the wind needs an object to get some sort of direction so you can call a null when or it can be any object that has a matrix and if i drag this in here you will see we get that little gizmo i'm going to make it spherical and set some parameters here that uh seem to work um for me so the wind now is blowing you can see it's accelerating particles it's blowing in a radial manner and the gizmo changed and i'm gonna get uh some turbulence in here like 600 uh turbulence um let me set the strength to zero for now so you can see the turbulence happening look at that nice little turbulence and the way you you control uh how fine the turbulence is going to be by by changing the structure size the bigger the number the bigger the the sways the smaller the number the smaller the sway so there you go so now we have this interesting little thing and this is out of the box stuff so our windows done let's go and see how we can render this and then we'll continue doing some more stuff um in thinking particles so if i render this you won't see anything because again i need to go and add my tag to the particles but there are no particles here which is the object that holds the particles well that object exists in a separate context so you need to get a tp geometry this is what reads whatever groups uh you have to do whatever you want you can have 10 different groups of thinking particles each one coming driving a cloner so you can do all sorts of stuff and on this we need to drag whatever group and that's the or so all particles are going to be affected by this fantastic and now i can go and add my tag over here so redshift object points and when i press play you're going to see the particles so we have several types of particle visualizations here we have our point instances we have sphere instances and so forth and we can change the scale over here now i am going to change the scale in the thinking particle context but you can see that already we have some particles that are being generated so let's begin by making this point one right so we have these little marbles here and when you're previewing your particles you can pause this because then you have the data coming in and out and just press play we're going to bake the particles later on so my objective for this is i want the particles uh to do the following things number one i want them to get smaller as they get older and the age of the particle is defined by the parameter here the life right the life is when they're gonna die the minute they're born they're created that's the beginning of their life and whenever they die which is 30 frames plus or minus 25 is the minute they pass away blessed baby but within that let's say time frame um the age is that number which we're interested in now the easiest way there many ways to to get the age the easiest way to get it is to use the p scale and this is what i say my name is scale p scale so p scale so p scale this p scale needs a particle input i'm not going to use this i'm just going to copy and paste this just again as i told you before i just want to have separate let's say group so i can see what's going on now the p scale itself has this parameter which is off scale over age so what's going to happen now they're going to it's going to do the opposite as far as i remember so if i let these grow a bit so the particle simulation is moving i'm going to turn this on and you can see they're getting smaller so what i'm going to do is remove this and i'm going to rewind turn this off press play very quickly turn it on and now we have a scale that exists over a lifetime they begin at their maximum size which is defined uh by this scale here that's the original so size and that i've multiplied it by 0.1 so it's 10 times smaller i can play with these numbers any way i want and they're getting smaller as they get older now the good thing with this is that now the scale itself provides me for each particle with a normalized value from 0 to 1 which is their color now so their color is white when they are born and dark when they die now i'm not driving the color per se but i'm driving a parameter that can be expressed in a color as you can see here so it's a value zero and they're born sorry one when they're born and zero when they die and i'm going to actually hijack that to define my color so again another p pass and i need to get that scale value and i need to get it so you need ap get data i'm going to read from this particle the scale and this scale here is now a value for each particle that provides me with a number from 0 to 1 depending on which part of their life they are so i'm around uh 0.54 for example because i'm going to live at least a hundred years so if you get the do the math whatever so now i need to set the color of this so i need to set something so set data what am i setting this particle which part of the particle the color and put the scale in the color so now what we have here you will see that the next time i generate the particles now don't forget the reason this is not updating is that these particles are already alive they don't know what changes i've made particle systems are a linear system they're not deterministic they're they calculate so i need to rewind press play again so the particles are born and generated with these parameters now you're going to see that they're going to get darker as they get older so we have that gradation happening over the particles and there you go you can see that smaller ones are darker and the other ones are lighter oh this is so cool look at that we can do this all day okay sorry this all the time by the way i don't know what it says about me that's all i have to do with the particles so we just use the p pass to inform another node about what we're doing and we're saying after this is generated we set a wind which introduces some turbulence we scale them introducing the scaling over age and we we use that scaling parameter to drive the color so how do i use this data now in the redshift context well it's not very difficult we are going to go and we're going to create a redshift it always freezes for a second when it goes to material presets and i'm going to materials and particle now this is just a quick way of making a normal material and adding user data so i'm just going to show you how to do that without that so you know exactly what it's doing materials standard redshift material go here and type user and we need the color user data and the color used data comes from which attribute a particle color if i put this into my let's say diffuse color and i'm going to leave these nice and shiny so the diffuse color now has that um we get well the same because it read the same data but because now this exists well i have to apply it as well but matthias anyone that said apply the material in the in the chat please send them a t-shirt yeah they didn't do that no one's paying attention right no one's speaking they're having other there's definitely having other issues but they're they're they're hanging on though okay so i'm in my redshift material now okay and i'm getting this data which pretty much is represented by this graph from the p scale right just imagine that and because um we can use a ramp to remap colors i can now intercept this zero to one value and drive it using a ramp and what i'm going to use my favorite ram full colors so now we have colors and these colors are determined by the age of the particle so um up to this point um we've created a sphere we've emitted using p matter waves added a very simple uh setup i mean you can screen grab this and you know screen grab it okay or watch the recorded presentation and add the particle geometry and this is it this is literally a 45 second setup for you to start doing particles but now we have more interesting stuff to do what i want to do here is that just before these particles pass away i want to colorize them and make them emit not colorizing i want them to emit some light so i'm going to use the same data but because i want to be able to scrub along and see what's happening you can't scrub with particles let's go and cache these particles the way to cache thinking particles is using alembic so you select your tp geometry do not write do not use baker's alembic you are going to select this or if you have more of those generators you're going to go to the export you're going to go to alembic and you're going to set your scene duration you're going to go to your alembic over here and let's uh type a unique name literally unique name with a typo just this makes it extremely unique so i know how to spell so it's exporting now and uh one thing i didn't show which i should so export alembic make sure that this particles is activated nothing else we do not want the particles to come in as geometry we just need the the particles right that's it and all the data is going to be saved so now that i've created that don't forget go disable your expresso if you want to keep it in there and the same scene if you want to open it just to make sure that it's correct unique name and just press ok here and you'll see that now we have all the particles with all with their color so all the data is here for you to use and it's live so let me close this document let's go back here turn off your particle geometry we don't need it anymore go to the expresso node and turn it off and merge in your unique particles copy and now we have a live view of our particles okay now it's not too shabby i mean the number of particles you can find them here what do we have if around 25 30 000 or something like that you could make a million million and a half particles and let it save it to an alembic let it do that for ten minutes and you can have an enormous amount of particles uh playing in very good speeds in your viewport with this method right to go push your luck before well save before you do that but go try it it's good to stress test your your software anyhow i digress so now let's go and add that uh secondary aspect that little emission i want to do so we're going to use the same data i'm going to use another ramp so copy paste this i'm going to reset this and i'm going to go to my registered material overall which includes the emission and let's go to the emission drag it here and i'm going to drive the emission over here now don't forget to set this to at least one i'm setting it to 10. so at least one let's turn this on you will see now we get this huge again i'm moving everything and all my notes are disappearing windows are funny so let's go and play with the ramp and see what um comes out over here so i'm going to move this over here and start playing with the ramp to find out so this is the beginning of the life this is the end of the life so you can go and very tightly add a few knots to make a specific particle age group uh behave in a very specific way so you can go and do it right before the end and of course you can use your two key to zoom in here and your one key to pan around just like with the viewport so you can go in really really fine and do some some nice little changes there you go and i'm going to set this up some something like a blue-ish glow-ish thingymadoodle okay so now we have the little emissions going on as well fantastic so this is the colorization part and all that so let's see now how we can make this look much better by actually using some of that visible light we created i know this is stuck here but yeah it's going to go away if i select something else so i'm going to light this and [Music] i always like to use um hdr panoramas and the quantum browser has a few um interesting ones so just go to here and type hdr and press enter and all you have to do is just drag it here in the path so let's get this that has a bit of contrast see how this changes our lighting there you go we get a bit of contrast we're going to add some lights so that's going to be fine so go back here and let's add a couple of area lights and i'm gonna do my own uh the the lighting i did earlier for my face i'm gonna represent it so i created and now i'm gonna call now and let's go and add a target tag and target it it just makes it easier for me to control it now if i do this and select this this is going to change because by default it renders whatever view we have set this to perspective so it will keep the perspective view but then select this and move it out of the way always create a camera in your 3d view so you have a reference a visual reference where you're viewing it from because otherwise you won't know where your lights are in relation to what you're doing so i'm going to pull this out of the frame quite a bit and i'm going to set this to be a a nice let's say reddish color here you go just get some warmth in there it's going to come the warmth and i'm going to make a copy of this pull it to the right a bit to the back and let's set this to nice and a bluish tint so it's not bad but i'm still not very happy with what i'm getting here because i need to fill the background and i want to do it with a volumetric in order to make lights uh generate volumetric effects we need to add what's called the redshift environment this immediately you don't need to touch it all you have to do is go to your lights and increase the contribution now if i put one now it's going to be oh that's a lot of volume remember that all you have to do is just go with smidge click there and click your up arrow and a couple of thousands are going to be enough for you to to get some uh atmospheric volumetric effect now a couple of things again you can find them in tutorials a few very quick things how much the light scatters um in in your scene so you can uh grow this and it will scatter a lot as you can see and uh what else let me just set this to default attenuation um is let's see how dense your your when your your medium is and phase basically biases the volume towards the camera on this side or towards sorry the camera on this side or the background on this side so if it's far away this way or close to the camera i think that's a zero the zero is middle and then we have far away and close anyhow i'm going to leave this at a zero and now you can control the contribution even the size of the the light is going to allow you to have a very uh specific um effect and uh of course you can change the color and all that i like to control my volumetric light just from the lights themselves so maybe saturate a bit more there you go when we have the typical let's make it a bit cooler there you go so that's how you would go and do some lighting a backlight wouldn't hurt if you want to do that some sort of a rim light to catch some nice little reflections and of course make sure that you have your intensity or light intensity as low as you need it to to create your your atmosphere whatever you're creating now the last thing i'm going to talk about is rendering because it's nice to be able to render this with motion blur right because now let's go and see how this is going to render i'm going to go here i'm going to go oops see that was something i was saying in the beginning but i was talking to myself before everything went dark uh i always forget because this gives me feedback from redshift i always forget that standard renderer is the default so if i render this this looks really odd right it makes you scratch your head a few times so you need to set this to redshift i've got my own little preset there we go so delete this and now i have my nice little preset let's render this over here excellent now in order to achieve uh the motion blur the motion blur needs to be added in this tag and it's the following it's not this motion blur it's the motion vector when it comes to particle use the motion vector so if i render this now it should render with uh motion blur if i go and enable it over here so let's go basic motion blur and enable it and hopefully i won't look silly now because it's going to render with motion blur there you go i don't look silly i never do so this looks much more interesting now we're going to add a few more things to make this look a beautiful five seconds with motion blur and all that yeah i i don't know this makes me happy and depressed at the same time it's so wonderful in five seconds to get a near high definition beautiful image just give me a second i need to contemplate that okay so let's go and add a few more things which i love i love about redshift um and let's go go to the camera now and what i want to do is focus right here in the middle now the easiest way to focus your camera is to use something that's here the null remember we have that null if i drag it in my cameras so let me first of all activate it get my camera drag this now in the focus object in the object tab of the camera immediately will focus there so if i move the null it will move the light and the camera focus and i'm going to go to my camera don't forget if i try and render this now i'm going to get the um the motion blur and all that but i won't get any effects that i'm going to apply to the camera i'm going to do this because it catches a lot of people and the trick is you shouldn't put this in perspective because perspective is using the default camera of cinema 4d it's using the the default camera whereas you need to set it to the actual camera you have here whatever the name is so i'm going to show you how this catches a lot of people i'm going to go to the redshift tags and get the redshift camera and of course i'm going to add some bloom i'm going to bring this down because i know i have quite intense emission and i'm going to get a lot of a lot of light the bloom is going to come from the areas of high emission so if i double click here i can go to my ramp and sorry to to this and say you know i'm going to make this 30 just to give it a bit more boom so let's go back here and let's go and add bokeh at depth of field which is magnificent and i'm going to get depth of field as well let's see if i go close if i get this i'm getting nice depth of field i'm getting all these nice little effects i think i did it with the with a balloon yeah forgive me can you really overdo it with bloom i don't think so i think they i think they support it i agree there you go just a little bit and because i increased the emission intensity uh now i can go to a higher threshold because if you put the threshold down here it just checks out contrast right if i put it close to zero it's actually going to make everything [Music] bloomy so let's go i think five is a good number there you go so we get this nice little thing we have our depth of field um what else if you want to increase your depth of field uh don't i wouldn't touch these two to begin with and not bloom where are we here we are okay don't touch these yet um if you're going for a more let's say real feel just go to the camera and lower your uh widen your aperture lower the f-stop and you can go really crazy with this you can see now get these extreme bokehs and all that and this so this would be something very small if we were peaking with a camera into something very small so you can use the size your f-stop to make something look bigger or smaller so the higher the f-stop this is a big construct like with big little marbles this now is a very small object we're very close to okay so you can use these tricks to portray scale so let's click on this and see the quality i don't believe this like seven seconds anyway i digress again just can't help myself all right just forgive me people of the internets so we've added our little bloomy thingies i've added our bokeh thingies let's go and see how long this takes to ren i mean it's so fast to render that i can i could even let it render while we're talking but i'm not going to do that but you can see now we have an image which is beautiful i'm going to make it even more beautiful by lowering i'm actually going to make this one i don't want this much okay i'm gonna render this and the only control uh you need to make this uh render more clear is to go here and go to the unified sampling and change this number the lower this number the better the quality but i mean it depends on what you're doing you can get away with this and this is the beauty pass this you know no post effects or anything like that it's got everything you need and it renders in approximately six seconds per frame i can't imagine how this is going to render one of the on a couple of 30 90s and all that i'm already being greedy you know it's a couple of weeks since i got an actual uh you know professional gpu that can do the redshift and already on the renderers you want all the cards now you wanna you wanna render farm of cards uh yeah uh if anyone is uh listening from nvidia yeah uh or four three send them a wrap i need the right only two i only need oh so yeah i don't do i have anything oh yeah um very quickly i just want to show that if you want to add there's an amazing tutorial on youtube by merc m-e-r-k and he's showing how to use pre-made vdbs saved from all sorts of different softwares and let me go and show you a couple of the samples i've downloaded here so gasoline mid-air explosion for example these are vdbs that were downloaded from uh the ember gen uh the ambergen website already made so if you want to populate your scenes and it's just one material here right don't it's it's literally it's literally a very simple just a gradient yeah it's uh in the emission that's where the gradient and and i just used cinema 4ds default heat nothing else classic german flag yeah i'm using the temperature channel so these vdbs have more channels that burn density fuel solid and temperature and all that and you use these uh with different parameters so you can uh create you know colorize this any way you want but you can go to the embergen website and download some free vdb samples and just play around to get a feel for volumes and you can even i guess repurpose some of these just by changing a gradient you can make this look like some sort of sci-fi weird sort of explosion just make sure that this one is always black when you're in a mission and let's do this and there you go so this is some sort of weird uh i don't know avengers explosion does that fit in the avengers universe am i owed i'm sure ultron could do something with that you go so am i owed anything now because i showed this fantastic sort of soapy blue explosion no i didn't think so and uh yeah there's a bunch of these um available um dust devils like uh for for uh creating tornadoes and building implosions and gasoline explosions uh every destruction imaginable is available look at these beautiful things those are all with uh anderson just on their website yeah yeah they have uh i think there are six or seven these are the ones and uh if you want to load these there are two ways of loading them by the way one is to go to the redshift objects and use the redshift volume by which you just point to the vdb you want to load and then you apply volume material and you do whatever you want or you can use our own loader so you go to the volumes and you use the volume loader you load that and it will give you all the grids and again you connect it here so um i've done this using both methods and both methods work fine there's a slight uh discrepancy in the way they render and i'm in discussions with the developer to see if it's something on the cinema 4d side or on the redshift side or it's so small that we won't even deal with it but anyhow that is my a little uh presentation on on volumes and redshift and i hope that you learned three things today and uh yeah that's pretty much it i'm open for any possible questions oh my god i made it two minutes before 5 30. i'm sorry you you've done an amazing job brother this was uh man so much stuff but we do have questions i'm going to toss in that ambergen link for you folks who want to download this and try out what noseman just showed so uh vpb down lows so check these out yeah you can even buy they if if you want to go for really professional stuff uh there are companies that sell um amazing um amazing collections of explosions so you can literally kit bash your way into volumetrics and explosions and stuff like that you can even that's why look up a search on youtube merc and he's got one where he's actually using a cloner to clone some of these and you can make motion graphics using explosions now isn't that a nice way to close 2020 huh yeah i mean i guess if you if you change it into alembic as well right could you could you could you convert these to olympic files oh yeah so you can't save volumetric information element files what you can do is uh mesh uh mesh these things so well since we're here i don't know if my screen is still being uh yeah we can we can jump back to your screen if you've got something for us okay so um you can go to your loader so volume loader and let's go and load one of these buggers so let's go to [Music] um boop where am i let me pull this on the side i don't want anyone to see things they shouldn't so let's go here and presentation uh volumes downloaded volumes let me just bring in the gasoline explosion uh now this is how it looks this is the the vdb sequence holds one state per frame so you just open this and you now we have all three grids let's go with a density and if you advance this now this is a typical representation of the volume so if i render this it won't render in cinema 4d but i can put this under a mesher so go volume mesher and i can mesh it now we have i mean this is the magic of this whole thing what you're seeing here is a mesh representation of an explosion so imagine if you have 30 or 40 of these if your friends make them in thinking particles or embergen or any other software you buy some and so forth how much stuff organic stuff you can do this can be actually right here's an idea for you you can use this to create a bubble splash into water if instead of rendering it using volumes or something you render it oh come on type 90 here i'm going to make a big cube i'm going to put it here let's put some glass we've got redshift we can do whatever we want i forgot about that so let's go and do this quickly i don't even know if it's going to work but the idea that's going to be fun okay so we have these two nested uh objects the cube and inside we we have that little bugger so i'm going to go and pull this up i need to make sure where does it begin it begins from the top there you go so i'm going to move it up because i want to make something that looks like something splashing into water something invisible so if you make an invisible man there you go and i'm actually going to create a redshift material and make this material glass and that's good enough i'm going to apply this material to both these people things and i'm going to render this and i'm going to put a let's see an air dome light right and let's put something in the dome light i'm going to browse again my favorite forest and exclude it from background let's see if this is going to work because i need to make sure my normals are correct make this editable because normals um oops redshift is not very forgiving with normals as much as my body is and in order for nested dielectric dielectrics to work properly you need to have the proper normals so how do i i can't reverse this but you can see now that we are creating sort of a a splash into water it's just rendering i've got this there you go so look at that so i'm using a volume but i'm instead of taking advantage of uh this in a volumetric con context i'm actually using it in a mesh context to create an abstract sort of uh thing in this particular case something falling in water and so forth so there so many different ways and so many different things you can do with uh volumes okay enough with the watery stuff but you you get the idea nonetheless um that you can mesh it you can combine uh these different uh these different volumes you can say i want the density from this one i want the flames from this one and uh so we have one has flames but this they're not very different but then you can i don't know subtract one from the other move it a bit to the side and subtract it over here sorry you can drop them into other volume builders right in other volume builders and then you can use this to create a bunch of things i can take these two and subtract them [Music] so i have a volume which is a product like a subtraction of the two i'm doing booleans on these two and right then i can go and mesh this one so let's um mesh this one so now i have a totally different volume so even with this one which you can download for free i don't know if you're allowed to use it or anything like that but that's a different story you can have an infinite number of different uh variations by combining them either as volumes or as meshes and so forth and that's all i have to say you can put my beautiful face back on on the screen for everyone to see and we are back all right um let's see here so much i think i think it's um i won't say it's overwhelming i think it's very inspiring it's a lot it's a lot to process but it's a lot of good stuff um and yes twitter is the best way to ask me questions because anything that i find interesting uh i'll probably do something like a tutorial or something like that uh so yeah ask people i think it's a a good platform it's got many parts but it's a good platform for spreading this kind of you know a question you ask actually is very enlightening for someone because they may have not thought about applying a method that generated that question so it is your uh sort of your chance to to uh with asking questions to get people to say oh i didn't know i didn't think of this and it's sort of inspiring to other people as well yeah it's awesome and um our friends and the makers of androgen jumped into chat so that's really cool and so i'm going to try and chat him up with because i know a lot of people are interested in the workflow i know it's something i've been looking at personally for a while and a lot of the cinema users have been enjoying this so thanks for that and uh yeah we'll chat some more see see if we can get some more cool stuff going together and so let's see here what else we have on the docket so there's a number of questions brother let me dive in and see what we got so somebody was wondering why you didn't switch to ikasahi are you okay so yeah it was just today i thought i'd do something different and i'm personally really happy you caught that because yeah that means that people really love this whole thing they were concerned they're just wondering if you were okay all right so he's fine you just wanted to make sure you're listening he'll do that sometimes all right so um someone wants to know what's your favorite part of redshift at the renderer speed everything about it i like uh everything about the redshift it's um it's very uh you can parametrize everything that's uh it's um i think it's totally biased that's the the whole thing it reminds me it's the closest thing to standard renderer because uh there are renderers out there which you know it's the minute you press the render button they look beautiful but the control is much less because i'm a geek and i love to sort of solve things and put things together i love the fact that you have so much control over the samples per object per light per material but like it's right there at the limit of the amount of stuff i can play with and control things uh to the point i i want to uh for something for control freaks yeah yeah and solving problems you always when a tool allows you control because at the end of the day if you want it to be beautiful you just save a render setting and add a couple of uh post effects like bloom bokeh and all that you can add them as a a post effect which is it's not a post effect per se it gets applied normally but after you you do the render and you can have that preset and every time you make something you click a button and it's it looks good uh but i like to do things from scratch it's something i enjoy the process and all that and you know i i love that about richard and of course it's blazingly fast the cinema 4d developer is greek he's a plane he's a great dude that lives in one of the most beautiful islands in uh the eastern gnc so yeah that's not about it and the one of the uh founders of uh redshift uh panasonvillas he's a greek as well so you know you're in good company beautiful people you know um you can talk to them you know so here's here's another uh question someone's diving into particles um how would you make the particles collide there is um collision nodes in uh thinking particles it does slow down um things to well a certain degree but you can always depend on what exact effect you want to achieve you may be able to achieve it other ways we have to remember that it's thinking particles is over 20 years old and still you know you you can do relatively good stuff uh i mean i could have pushed this to a million and a half particles and make everything really nice and tight and small and beautiful um and yeah it will take a few minutes for you to save it as an alembic but if you're doing huge stuff we can't compare the speeds with dedicated tools like x particles and and all that all right but this is you have it already it's in your installation and you can use it and uh as i think i've shown today it doesn't take that much if you're creating uh that sort of medium complexity stuff so it looked really good very very quickly yeah um tim clapham i think has some old thinking particle tutorials you once university i'm sure you'll find something i haven't checked it out to be honest with you you can go on my youtube channel and check out i've done some tinkering with thinking particles and if you do have questions uh because with the new technology has now introduced the instant authority and the node system all that all everything we know is going to be redone in the new system at some particular point so maybe it's a a good idea even if you uh i've been afraid of nodes just to get in there to start getting an idea of how you can get more control over something i believe for any professional that wants to branch out to either different software or even different compositors nuke is um node based uh understanding generally how a node based system works unreal of all things i after i dabbled with cinema for these nodes for a few months um working with the developers and max on to you know uh for feedback and my tutorials and all that um i started working in blueprint which i had never touched in unreal engine and it took me five minutes to get on board like the they're so different they're very different but the fundamental concepts can be carried from one system to the other and understanding that the data flow that's the biggest thing a stacked material system like or a stacked object system like we have in cinema would be the object manager and the standard material and all that and uh after effects it's a stacked system understanding how the data flows getting your mind to realize that what com what happens top to bottom in photoshop after effects and the cinema 4d starts flowing from left to right and can branch out the minute you understand this you uh it's it's like translates and and and you have a sort of you understand more about your what you have been doing in the sac systems all these years it's um an enlightening moment so i would say start from the very basics thinking particles or a bit of espresso because you can do some really interesting stuff with it hopefully today was a very small illustration of that yeah someone made a comment here noseman is the type of guy to make a sandwich by creating the bread itself first that's a i make my own bed he does make his own price oh yeah yeah yeah yeah if you need a recipe if you want videos about how to cook because i'm the house cook i cook for the family and i enjoy it very much and i make my own breads and i make my own yeah but i picked it up from my mum she was from uh asia minor uh turkey so they have a very strong tradition with a food my mom makes yogurt she makes her own cheese and all that when you're retired you have enough time and you live in greece that's what you do um yeah they were right speaking of baking why export as olympic instead of bake olympic oh because the baker's alembic will do the same thing but you can't select the particle setting so it's optimized for meshes so the history behind that is that they wanted a faster way for you to be able to break down the meshes you were creating with the volume builder and the fields right those amazing things we've seen in in the show reels and they added a subset of all the parameters you get in the export they added them on a right click so you right click baker's alembic and that allows you to make iterations on your models very fast because it takes clicks go file export as alembic click the buttons click ok they just wanted to speed this up to allow people to just right click select uh baker's alembic and delete and get the mesh in your file and continue working on it when it comes to particles that was never a special requirement because you will only use it once you won't build upon your baked particles so that's why the settings are hard coded in your baker's alembic let's say object manager shortcut and it's not the ideal way it won't save the particles so you get a little bit more customization when you yes um it's not optimized export it's only optimized for meshes it doesn't mean you can't no no i don't think it saves the particles at all but anyway that's how it's optimized though it's optimized for meshes if you're going to export when you get more customization and noseman likes customization noseman approves of more customization i approve that message all right someone's wondering uh can you use this or similar method to generate vdbs can you generate of course you can use any particle input in any volume builder to create stuff if you go back when volumes were originally introduced there were a few presentations including mine i think it was siggraph where we showed how to use you can just drag a standard particle emitter in your uh volume builder and it will create the volume you can drag a group so if you want to drag thinking particles in your volume builder you don't drag the the thinking particles uh generator from the object manager you have to go to your thinking particle settings and drag that little name that said group and that's what you drag in there drag the group into the volume it's the same one you drag into mograph if you have a cloner set to object drag the thinking particle group inside there and that will give you access to clone objects on your thinking particles very cool um somebody's wondering if the particle setup can be affected by dynamics and no uh so yeah think about it i guess not modine not not i guess not load dynamics but there are collide and there's some other things within right within um thinking particles having said that um once university i have a tutorial about filling a bottle with pills uh it was a bad time so um and basically what i'm showing is that you can generate your objects using a particle uh standard particle emitter or thinking particles but then if that mograph cloner has a dynamic tag then the mograph dynamics take over the objects so if you're generating something using thinking particles you can transfer you can leave the generation up to the thinking particles but all the other control you can leave it up to mograph so there's a bit of crossover now cinema 4d during its development um has ended up having so thinking particles um more dynamics soft bodies cloth hair dynamics spline dynamics we have six and six dynamic systems in there which don't work with each other but nonetheless the data transfer is such where we can use some of the things one thing does with some of the things the other thing does so if you wanted to create something similar to what i did today but by using mo dynamics you would actually generate the clones using the p-matter waves put the cloner with a little ecosystem or platonic or something like that in multi-instances and use dynamics on the mograph and use your particle fields your standard particle fields to create the turbulence and then these objects are going to collide with each other as well so you can create something very similar to what i did with collisions just using a different system a different system you generate using the same method but then the the control for the turbulence and all that that comes with the other particle system and hopefully we're going to see a lot of improvements uh uh on this uh as we move forward yeah our developers are very very busy and the demands just keep getting more and more so um here's another question as people are more excited and interested in the particle world that you just introduced them to within cinema and that is can you have the particles pull the color from surface color there are ways to do that one way is when you use p matter waves you can generate particles not their color but certain parameters of the particles can be set using a texture and if you apply the same texture on your surface and the same texture on the pimata waves you you will be able to pick up some of that now there are other ways of doing it you can use espresso this is the question is very good because it shows that limit where although you can do it if you really need it that's where you need x particles because x particles can do it so much better that if you're going to make at least 800 or 600 from that project where you need this go buy it and make the investment because yes you can do it but it is going to end up to be quite a significant amount of work and what you get or it's going to take time to calculate because then everything needs to be calculated through espresso which is single threaded and you have to for every particle point uh you need to read its position then find what is the closest vertex to that and you have to transfer the colors on the vertices and all that now there may be an easier way which i'm i can't think of right now but if you're doing that you know that complex particle work i would say that investing in a plug-in is not a bad thing or you know uh the artist's time is the most valuable thing on the market computer time and software and all that that's cheap you can you know just do stuff but uh the your your you know your personal time which most people think is the cheapest thing to to offer no it's the most valuable thing you have right and don't forget every moment that passes you never get it back right never get it back so make sure you save time now to to enjoy your work and allow so spend more time listening to noseman tutorials that's what i say you're never going to get it back you might as well invest it in the right place you know something you might as well invest it it's a good return so um yeah give yourself the ability to just um be creative and do things you that make you happy you know i like putting things together that's what makes me happy and the fact that i can't make nice looking things but that's that's a different story we have a whole another podcast for that all right so um somebody's wondering if you is it possible to change the life or age of a particle coming in from olympic um with particles from another software so i guess if you're importing on limbic yeah so this is any control you're getting a very very good question so this is something i first encountered when years ago we're working on the houdini engine and it used the similar approach loading particles no you can't and the reason is even if you change it for that particular frame on the next frame because the particle is designated is hard-coded the valley is hardcoded in the alembic it's going to actually read the next value so you may change its color on this frame and it will pop to that color the next frame it won't so if you want to override colors what you can do is get whatever data you want from the incoming alembic and uh pass it to a new group so from a group you read the positions but that means you have to double up on your particle number so create a new yeah so basically you align the positions and you apply new colors on those so that's where it becomes a bit more complex but you have to remember when you're making or caching something uh it's supposed to be a final state that is what happens now if you don't have an attribute what i don't know let's assume you have particles that have uh life only because they die at some point and you don't have color you may be able to assign a color based on their life if they don't have a color already so there may be some tricks that there's if you go to the thinking particle settings little panel uh next to the settings it says channels now there are some workflows you can do with those channels where you can introduce custom channels into thinking part but thinking particles is extremely extremely powerful and very very deep the only problem is that now it's just slow that's for me that's the the biggest issue it's that it's slow which it was very fast for its time so there are ways um that is something i need to look into if anyone needs any specific help the best way to do it is create the simplest possible file so make an alembic that resembles or is the olympic you want to use hit me on twitter ask the question i'll ask you for a download link i give it a shot i reply if it's a if it's negative i'll reply in private if it's a positive i'll reply in public i need to look good all right let's see here a couple more um important question the book behind you people are intrigued what is this book it's called um it's called oh i always forget the name i'll bring it over give me a sec he'll actually go get the book see that's that's how much we care on this show we're even showing you things in our house so make sure you're satisfied cosmic motors um and it's by daniel simon and uh it has a forward by sydney the great uh sydney i think i've seen that years ago it's an electrical physical it's all sketches and 3d cards and all that it's uh it's all very i love it let me uh let me find a couple of uh just one page just to show the the quality of design um i love books so let's see if anything's visible here like yeah it's it's absolutely beautiful and i i i would say that if uh syd mead uh wrote a forward for anything i mean it is brilliant and yeah i have a fascination with books in general um i just buy books and read three at a time it takes me a long time though i don't read a lot i read a lot of manuals as i yeah as you should all right so somebody's wondering well will will we be able to share and load scene node groups assets with each other uh if we can share assets for that all right let i think the question is if we make assets and groups if we can share them uh that's the the purpose of assets so the the process is you put together um a setup that does a particular thing whatever you know just creating a primitive and it as complex as you want it you make it into a group and then you make an asset out of that and that gives you the the possibility to save the asset in your scene so it's only local to your scene which means that if you share your scene you will share the asset um or you can save it in your preferences globally so then every time you open up cinema 4d uh you will find that in your assets now funny enough um some of the nodes um i think the mandelbrot and the distributions they're actually assets a lot of the nodes we have are actually assets and if you want to find out if something is an asset you click on it you go up in the menu where it says assets and if it if the edit asset is available to select you can actually see inside how this was made so whether you're saving your group or your asset with your scene or whether you're saving it in a project or a shared repository for your studio the asset system was developed specifically for the creation of tools with an interface so that you don't have to recreate the setup you just take it from your list of assets you can import assets you can save it as a very specific zip file which then you can send to someone and they there's a command somewhere that says um load database and you can go to the preferences in in the nodes and you'll see you can add these and they become part of your cinema for the standard node so yes the asset system was created for this particular situation and i feel very cool yeah there's a thought to be able to encrypt them so people can sell them i don't know that was something that was generally uh passed as an idea and i hope this happens because this is going to open um the market for people that want to make their assets and make them safer so they can either give them out for free so people can't tinker with them or even sell them hopefully that will be a possibility very cool i think i got some clarification from my tech team wondering um they mean can you export assets with scene nodes like you can with node materials yeah yeah the same that's same same same it's the same principle all right someone someone was wondering if i didn't do if i didn't understand the question again hit me on twitter and uh get some clarification all right uh can you add displacement or hair simulation on these particles what do they mean by no you cannot add hair on particles because a particle system the only reason it's so fast and it can handle so many objects is that it it saves the the minimum amount of information necessary so essentially a particle system is a group of positions if that's what you have uh spins orientations if you have spin colors if you have color but the geometry itself just attaches itself on top of that um in redshift in render time that's why when redshift the reason why redshift can render millions and millions of particles i think anyone that has x particles knows that how fast uh redshift can render particles it's because the geometry itself uh is generated in render time so there is nothing for hair to be attached what you can do though is you can trace particles using the tracer or other methods that exist in in x-particles and so forth and then use the hair renderer in redshift or cinema 4d to render those lines but making hairy particles you can in theory do that but you will need to use a different way of creating your meshes so the meshes are live when you create them so there is somewhere for the hair to be set up on my best i haven't tried hair with alembic i think it's going to work i'm not absolutely sure but i think that if you save your generated clones that were attached to particles and you say them as an alembic you can use that alembic file to attach hair on it don't take my word for it but give it a shot yeah try it why not yeah so here's another question we'll finish it up these are the last two thank you guys these were really great questions um so we definitely have run out of time don't want to use too much because once again this time is the most precious thing quote by noseman uh let's see here which has better thinking particle performance using thinking particle geometry or matrix object and this is kind of a two-parter and in the espresso setup what are the fun nodes to connect to the p-pass node like p-force so the first part is better performance using tp geometry or matrix object and then some of the fun nodes uh like p force yeah so in the the way i've measured it it's uh better to use a cloner with multi instances and the reason is 20 years apart of technology when we were at render instances i think uh the it was on par um even hair sometimes had the ability to to create more clones uh it was quite optimized but now with multi instances i think that generating the particles and using mograph is better the problem is that you lose some of the data you don't you can't transfer the color so in that particular case um and i'm not aware i i'm not 100 sure but you don't get the the p color uh anyway i may be wrong that's something i need to test now you've um triggered my right is that because because you're getting them creative it's a pen it's got ink inside and you write on paper it's actually made of wood sometimes so let me call that analog analog technology yep p color to mode graph i need to you talked about that a little bit before as far as like passing the p group i know that's something uh steve martin has come up but you know using cloner object and uh cloning your p group so that's uh yes a way to be able to get that in demo graph getting the p color uh the the particle color i'm not absolutely sure because if that's a limitation then you don't have another we course other than using the the geometry that the finger particle p geometry node unfortunately because that retains the the color awesome let's dive in so you'll test that out and i'm sure you'll share that so stay tuned follow noseman if you're not already um which is at noseman.org.net where's your no i'm not at noseman gr on the twitter and on the instagram uh at noseman gr i don't tweet um instagram whatever it's called so all the twitters no you can go thank you follow me on instagram i mean everyone's doing it and i have one post that says i'm switching from one account to the other that's my interest but yeah follow me anyway i mean i want to break the record of someone that does not post on instagram with the largest followers oh and if that fine um japanese gentleman that has the twitter at noseman with uh the guy that has the 11 followers since uh 2007 uh if you may release that that will be great now just just hit you up and uh work work out that parade um last but not least and this is this is important we started with this a little bit but why don't we dive into those specs because everybody needs to know that's the most important part this is how it you know we make stuff is what are the specs on the machine you're working with okay so it's a precision 30 what let me see with my notes here so it's a pre dell precision 3640 it has an rtx 5000 that has 16 gigs of ram that's the advantage over the 11 gigs of the 2080 and it's a mini atx that you know small form factor i think 64 gigs of ram and some obscure 8 core 0 inside and honestly that what i come from the world of a 2010 mac pro 12 core which it's still on it hasn't turned off pretty much a lot it only turns off when i go to holidays uh on holidays to greece every year other than that is pretty much always on it's been on for 10 years but as far as quality is concerned and i haven't had it for a long time but believe me i i push i've maxed out the um i i've managed to get a few out of memory because i pushed the ram up to the requirements 120 gigs of something i was i was doing some experimental particle setups using the nodes and i think i created too many particles but anyway no crash or anything i just let it sit for five minutes for me if someone presented this machine to me uh i would consider it the viable alternative to the max stability um and all that now i'm pretty sure that people can put together their own pcs and water cooled and all that that are half the price and double the spec but i'm a professional i you know i know what i'm talking about i i don't it's fine if you're a gamer but having a pc that may crash on you or may have other no i wanna i buy my amazon whatever i buy with uh extra two years of of um insurance i pay i i want peace of mind that's why i'm 120 years old and look at me look at the skin like it's i know so good yeah you know me you know me you know so i want peace of mind and honestly if someone wants a small form factor a machine that just works and i give up i do vr i've got my oculus rift i've got everything cats and dogs connected to it and it just rolls on it works it's very fast for what i wanted to do so you know that's two years out and uh you know my machine is is kicking and we have very similar specs um since the last road show and this has been all over the place in rugged travel and uh the performance i have never i've never complained it's it's always gotten the job done you know from redshift you name it we've had people presenting all types of stuff so yes for me that's the most important thing is for your hardware not to let you down performance can come right but you you i i can't afford it mentally right i can't afford it mentally the fact that oh what happened and that's one of the reasons i was you know such a uh an avid mac uh supporter for all these years because that's something you you really get in the apple ecosystem but unfortunately performance now um you know with the new machines i don't know what's going to happen how things are going to move forward uh but as far as a pc is concerned this is my little i'm going to put an apple logo on it just to just to feel classic so thanks again brother so much for sharing all of your knowledge real quick i'm going to be tossing in some of the stuff that we posted earlier if you guys um haven't seen the noseman's uh you know twitter that was posted by kevin and our social media team so check that out i'm posting our upcoming events in december 5th and if you haven't already and i know most of you have because you are very good members of our community and nerd family here definitely go to 3dmotionshow.com and click on sign up and we will give you all the updates of our upcoming shows and information coming out from the maxon family and we are going to be down to our last show of the year coming up in december so definitely come back check us out december 9th for a whole new lineup but sign up so you can get notified thanks again to our sponsors tool farm unreal everybody that you see on all of our lovely commercials dell for the machine so you'll be able to see all that so thanks again for everybody who's been supporting the show and yeah congratulations and happy birthday once again to both code and maxon 30 years i can't believe it it's man time is flying but the technology is keeps inspiring so thank you noseman for all that you do and we will see you guys all november or december 9th ciao

Channel: Maxon

Views: 14,012

Keywords: c4d, cinema 4d, sculpting, maxon, modeling, modelling, 3d, animation, rendering, motion graphics, mograph

Id: DO7yCpSn-w4

Length: 94min 31sec (5671 seconds)

Published: Thu Dec 03 2020