Bottomless Destruction with Fields in Cinema 4D

[Music] hello there I'm Kris MIT from a rocket lasso and I've got another doozy of a tutorial for you this is hopefully the first part of a long series of advanced dynamics tutorials the goal here being is that not only we learn any more detailed way the way dynamics behave in cinema 4d but to be able to artistically direct to take control of your simulations and be able to have them do exactly what you want them to do now in this tutorial we're going to be tackling this collapsing ground technique where it's going to be spreading out we're gonna get little chunks moving up into the air they're all gonna be tilting and tapering downward into the ground we're gonna be forming cracks on the edge that's all really fun buts broken up into two main parts the first part is going to be doing the actual simulation the dynamics driving different parts getting fields and growth to be working if you want to learn a whole bunch about the fries growth technique inside of fields and really have an understanding of the way it behaves this is going to be really useful the second part of the tutorial is going to be trying to make it look pretty I'm gonna be spending a little bit time in redshift where I'm using a bunch of plugins to quickly try and make it look a little bit nicer and not spend that much time on that because the point here is the advanced dynamics techniques so with that said if you like what you see how thumbs up is always great give me comments for additional tutorials you might like to see or maybe something you made based off of this or suggestions of something I might have done wrong and how I can improve on it so with a no further ado let's dive right on in to this tutorial okay let's begin with a slightly simplified version of our rig I'm going to assume that you don't have too much familiarity with dynamics so we're gonna go through step by step on this let's go and create a cube and I'm gonna put in some pretty precise numbers here we're going to type in on X 2000 on Y 50 on Z 2000 and my reason for choosing these numbers is we're going to be making several objects of the same scale so being precise is useful and also if you want your dynamics to behave in a similar way to mine the same kind of chunk size then putting the same numbers in is a good idea but keep in mind overall this is an arbitrary number you don't have to use this amount by any means so having said that let's create our next object is going to be a mograph for row noi fracture and we can go ahead and take our cubit drop in the Voronoi fracture and the boom you can see that we have all these nice little chunks now I like seeing the edges in this kind of mode so I like hitting the shortcut and B another shortcut is n a and it's gonna be changing your display mode like this from one mode that we can see the lines and a mode that we don't see the lines very useful shortcut to have so n B we can now see our individual lines looking really good now let's go ahead and throw a dynamics tag on here right away so we can see a simplified version of this I'm gonna go ahead and right click on the row noise fracture we're gonna click on simulation we're going to create a rigid body tag now all we have to do is hit play and boom instantly all of our pieces are going to be falling down gravity's taking over it's calculating really quick now a couple reasons why this is calculating really quick these are convex shapes which means they don't have any kind of interior there's no hole inside of them and the curve there's number like a little divot or a pit where they could interlock with each other so it makes it so the dynamics can calculate really quick so that is useful right there it runs really fast but there is something I want to point out as soon as I hit play and they start falling down you're gonna see they are going to start drifting apart from each other a little bit you see there's a little bit of them floating away and the reason for that is in dynamics there's a margin built in there's a little bit of like almost like a force field around it to detect if its colliding with other objects and we want to turn that off so let's go ahead and rewind to zero it's always good to be making changes for dynamics at the time of zero so let's go ahead to our dynamics settings our project settings so I'm gonna hit ctrl or command D and that's gonna pop open your project settings go ahead and click on the dynamics tab here and under the expert tab you're gonna see we have a collision margin and the current collision margin is set to a default of 1 set that to zero and now if we hit play it should be still running nice and fast we can see they're not drifting apart from each other because it didn't have that collision margin in there and you see bit pretty precisely they're still falling down and that extra level of accuracy is pretty important depending on the way you're running your rig so let's go ahead and give this scene file a quick save I've already got saved as number one for breaking ground and let's move to the next part so we need more chunks here we need a more subdivision so if we click on a Voronoi fracture we can go to our point distribution also keep in mind we should be at the time is zero for dynamics and even though you see it supposed to be up in the air so I hit the letter S which is gonna jump me up to where my object is s4 zoom in on selection and now under sources we can click on point generation and we have our number of points so we can type in any number we want there or I can click and drag and as I drag up you can see it's creating additional points and subdividing more times there's kind of a Voronoi fracture is great in a bunch of ways where it calculates really quick it looks really neat and mathematically what's happening is it's generating these random points and then finding the halfway point between them and generating a line that is perpendicular to it and where all of those different intersections happen is where is how it's being generated so it's pretty cool but the problem is is that Voronoi fractured chunks look very uniform it there's a very specific look to them and I'd like to get away from that a little bit here and so to do that what I'm going to do is grab our point map amount and let's bring it way up I'm gonna go you like 2222 because it's quick to type and we'll look at all these chunks we're already running a little bit slower and just to throw it out there if we hit play that dynamics are gonna be running we're gonna see it's gonna be taking a lot longer we've dropped down to about one frame a second here but you know what that's still pretty good considering we have this many chunks but that's important to point out because it's about to get a lot slower still but before we get there let's go ahead and go to our geometry glue tab and do something really neat inside of our geometry glue we can go ahead and enable it and we have a glue type right now and I want the glue type to not be fall off I wanted to be cluster and this is the most useful version of it to me because what we can do is based on the existing chunks merge them together until we have exactly this cluster amount so we got five clusters I'm going to type in 777 so at that point we have about an average of maybe three chunks per object and now you can see that we have much more interesting shapes now some of them still might just be one chunk but some of them obviously are like one two three even maybe four or chunks merge together and this really gets away from the Voronoi look that generic kind of Hanoi fracturing look and I just really like the way that those all combine now a problem here is if we hit play we're gonna see it's going to well first of all it's going to explode and it's exploding because now these shapes can that be concave so you get these little divots in here where this is interlocking with another piece and cinema4d is calculating the concave version so there's actually almost like an invisible line that's going across here which is saying like okay cool don't it nothings intersecting but then this is intersecting thus they explode away so in order for it to calculate more accurately we have to go back into our dynamics tag and we have to change the shape from automatic to moving mesh and now that we've done that it's actually calculating every single polygon but what that means is gonna take a lot longer to calculate so I'm gonna go ahead and hit play here and let's just see how long this takes to calculate a single frame so let's see it's gonna calculate calculate calculate and we have a watch but right there boom it finally calculated one you see we're getting point two it's going very very slowly to do these calculations but that's the price that we pay for having it do this type of intersecting for a connect so it can actually run on those individual chunks but now that we've done that let's go ahead and stop it from playing rewind something that we can do and I find myself doing this more and more experimentally with dynamics is under our dynamics tag under the collision that tab but we have a checkbox called self collisions if we turn that off then these are no longer worried about colliding with each other and because of runner fractures a single object self refers to the entire object and now if I hit play they're all just going to fall away really quickly so that that is great and we were to create a floor here let's pull that floor way down I'm gonna add a dynamics tag to it let's go ahead and hit play now we can see that they're going to hit the ground and bounced around and be dynamic but they're not worried about colliding with each other so with that in mind we don't need that floor and let's go ahead and take a look at a couple other things so now we've got our dynamics running relatively quickly on some significantly more complex objects and we can go ahead into our Verona fracture and we can do some cool things like click on our cluster seed and we can click on that and every time I click through we're gonna get a different arrangement of them being combined in different ways I kinda like to look at that one and let's see what else well something else is we've got these green dots here and this is us previewing the source and as long as we have this point generator selected we're gonna be seeing these points we could deselect to that we could also select it and then turn out this eyeball so now those are not visually showing up in the viewport so either of those are fine it's just good to get rid of those so we can see everything a little bit more clearly here so now we've got a nice series of chunks on here let's go ahead and give ourselves another quick save I'm gonna save is another version number two and now we can go ahead and begin actually driving the actual kind of procedural growth here so that we can see it to fall away so let's go ahead and begin by in our own oi fracture creating a tamograph selection tag we need to be able to have something that will grow so let's go to Omo Graph tags we're gonna go to mograph selection and now we've got an empty mograph selection tag you see we get all these nice little brown tops here which is one per clone one per chunk here so in order to control this we could draw selections but we don't do that we want to go to our tag you go to the tag tab and then go to use fields turn that on and now we are using the new r20 fields the freeze here is just any already selected points we don't have any selected points so let's go ahead and delete that and let's go ahead and we could either select one point which I don't want to do because we want to drive it entirely with fields I'm gonna go ahead and create a spherical fall-off and the instance I do we're gonna see a couple of points get selected right away so if you were to grab this spherical field here click on the move tool and I move this around any point that falls within the threshold is going to automatically be selected but you know what I only want one point to be selected so let's go ahead and very carefully select the orange dot there and I can drag it to shrink down you can see I have a single point I can probably grab this middle fall-off radius and increase it all the way so it's kind of a full fall-off you're in the circle or you're not and it'll just make sure a single point is selected that is looking good and now we can use that to drive additional things so with a single point selected what we can do is go into our dynamics tag and go back to the dynamics dynamics tab you see that there is a setting here which is dynamics on which just means all of our all of our different chunks here are on but we can do is drag in this selection tag this mograph selection tag into the selection that's corresponding with that and now only things that have been selected are going to be turned on so I can go ahead and hit play and you're gonna see that fall away which is awesome look at that just drop right out of the scene no falls out now an important thing to note as well is if we take a look at the way these chunks are existing here if we didn't have these dynamic pieces falling through if they couldn't fall through the rest of the object because of the collision if we didn't have self collisions on then that chunk couldn't fall through because it would be kind of sitting on that little ledge I'm gonna keep that off but you'd see it actually wouldn't be able to pass through because be sitting on this nice little seat here and it would not fall away so this is sort of another advantage of turning off our self collisions here of course there's some disadvantages but we could also leave it turned on and then as we spread out then it would start activating and eventually chunks could fall away and I think we will do a little bit of that as a test but for now we can continue to ignore it so let's go back to our selection mograph selection tag and we want to begin some nice simple growth here so let's go ahead and add on the new modifier that we're going to need we click on this clamp by default but this is the modifier layers drop-down and we're going to create a freeze so we've got a new freeze turned on here but it's nice and clean something I like doing is hitting the Clear button right away because what tends to happen is it will see whatever the industry state was and store that and we don't want that to happen so what we need this to do is be on blending mode ad because we wanted to see what's below it and then add on its own effect itself completely overriding what was below and we want to do is change the mode food inside of it from none to grow so now it's going to be attempting to grow the current selection fired hit play though we're not really going to see anything happen and that is because we have two different settings here a radius and an effect strength and I'm not sure how far apart these points are so something I like doing is a measuring stick here's your screen each cube and scaling this down and just kind of seeing what the size of the an average chunk is which is maybe about that I can see that's about 83 so all this means is in our fields anything below 83 I think has almost no chance of spreading to the next one because these points just aren't that close so let's go ahead and type in something around that range so I'm just gonna type in 100 this is just a little bit bigger and let's hit play and see what happens oh there we go look at that the instant we put in a pretty big number you can see this spread very quickly and all the dynamics are spreading and falling away and every single chunk falls except for one which is a particularly big chunk which I guess is just a little too far away from this value of 100 and it just can't catch it so now that we see this let's go ahead and take a look at what exactly is happening so on the first frame the first point is selected and then when we go one frame forward everything within the range of 100 of that point is selected if we go forward one more frame again anything within 100 of that of the new selection will grow so you can see we kind of get this exponential growth where every single frame the next range is being selected so that's pretty cool but it's spreading really quickly so if we want to have a little bit more artistic control over this we need to go ahead and start lowering our effect strength right now 100 percent of the power is being applied if it's in range but we go ahead and drop this down to maybe 10% so now only 10% of the power is being applied and you'll see this is important we have a tolerance of 50% so until it's at least 50% power it doesn't get selected so if I hit play right now you're gonna see it's going to take longer for it to spread out it has to essentially spend 5 frames in range before it can be activated now we can do is change our tolerance let's drive that all the way down to zero and hit play and now it's gonna take even longer it's a little counterintuitive I would think that we want to go up to 100% but one hunt means they're all going to be selected right away and if we driver it drive our tolerance down to zero then the selection has to build up to that so now it's going to take 10 frames before it actually gets selected 10 frames are getting 10 then 20 then 30% until it goes all the way up to 100 and then can spread out but now we have this much more artistic way that we can have this begin to spread out and that's pretty cool we can now have them fall in a much more controlled manner now something I like doing in addition to that is making our radius even larger than that making it something like 200 and maybe even 300 and keeping the effect strength pretty low but that means I can spread out to maybe the two chunks Beyond and maybe catch that one that we didn't see but then and actually I'm not sure about I'm not I'm curious I don't know the answer to this but if one point is in the range of two points does it get double applied or is it still just single applied I'm not sure about that but by increasing our radius you're gonna see that they're gonna fall a little bit more uniformly but the spread is a little bit more confident and I think we're gonna be less likely to have chunks get left behind you can see when this was back to 100 we get a couple floaters for a second you can see that like this chunk right there the big one is staying there and it's floating for a little bit before it can fall but by increasing our ringing our radius of 200 it is now catching it more quickly and can fall away that we could counteract this by dropping our effect strength down to 5% and now they should start falling slower again but you can see that we didn't get that little leftover that was left behind so you know just these two controls actually go a really long way to putting some additional control and some sort of artistic control so yeah that's pretty much the basics of getting these chunks to fall away now something I think would probably be pretty useful to talk about let's go ahead and give this a quick save actually let's save it as the next version so I want to show you what those dynamics might look like if we were running them fully here but there's just way too many chunks here for it to calculate quickly for the purpose of tutorial so I going - you don't have to follow along for this part but just as an example I'm gonna deselect my mograph selection tag because that will mess me up that I'm gonna select my bro annoy fracture and let's go ahead and apply a mograph plane effector and I don't want to move up but I do want to affect the visibility so as soon as I turn on that visibility I can go to fall off and create a spherical fall off and now anything that falls in the radius will be generated everything outside of it won't be but that means is I can really easily go to my dynamics tag and I can itself collisions and now we get the collisions going and then we can actually see this go and calculate and you can see it's taking a while for the pieces to fall away because the other pieces around it are catching them and with them catching them we get kind of this interesting effect and it could be cool and could be something you want to do and you could go ahead and leave that turned on and bake it down so you actually get it but there's there are a couple of problems that I'd have found happened like you get this really nice kind of cascading falling effect which is something that we want but pieces can get stuck on each other they're going to be intersecting they can freak out and even here it can be hard to tell in real time bTW we get this pretty strong vibration happening like all this vibration and it tends to break the overall effect and it's just the way they're intersecting you get you're gonna get a lot of pieces passing through each other so even with this few chunks we'd have to go and really crank up our steps per frame so let's go ahead and hit ctrl or command D back to dynamics back to expert and we have our steps per frame which is how many calculations happen per frame I'm gonna jump it up so something like 25 but now it's gonna take five times as long do those calculations as it goes they're a lot more precise and you see them falling away and it should look cleaner but you see they're still having trouble going through they start passing through still this ones getting shoved up in the air like it's just there's a little bit of jitter and a lack of kind of artistic control that makes it so that like yeah see that one's flying away now that could be fine it could be artistically do you might love that so you know I just want put out there that yes this is totally something you can do it's not the technique we're aiming for so I'm gonna go ahead and go back to steps per frame drop that back down to five and we can go ahead and delete our plane and let's go ahead and make sure that our self collisions are off again because we don't need to worry about those I'm gonna hit if you are using the dynamics of that way it might be a good idea as well to click on my bags tag a collision tab and then you know lower your balance and your friction and your collision noise that might give you a little bit more control but I have done that and it's I still get the jitter I still don't have that level of control that I want with that in mind we're going to be transferring all of the animation and motion we're not going to be doing that via dynamics on the story fracture we're gonna turn this off soeul down controller command and we're gonna be driving it on a plane object which should go much faster our first step on this new plane object is setting it to be the same scale as the original cube so let's go to 2000 by 2000 nice round number and then we need to subdivide it I'm gonna go to 55 by 55 because visually that's about the size of the chunks so there's pregnant about two polygons per chunk and it should still run really quick so let's go ahead and we're gonna be making a couple objects so let's stay really organized let's rename this ground ref ground reference and now we need to add a vertex map tag onto it so we can control our vertex weights let's go ahead and make it editable and we have to go to selection it looks like we have to click on point mode first and then we can go to selection set vertex weight they'll pop open the dialog box here and let's just go and hit OK so what has happened is we've now got a vertex map tag here and what this enables us to do is assign a value from 0 to 100% on every single point of this object it allows us to in a very visual way assign a value of 100% on yellow and 0% as red so we can control this automatically using fields so let's go ahead and click on our tag and click the use fields checkbox who in addition let's go ahead and name our vertex map I'm gonna go to basic and we have vertex map and I'm gonna call it vertex map growth because we have a couple of these so going back to the field tab we're gonna do very similar set up and you want we're gonna get really specific here because I feel like this technique is one of the most it's very important to understand to make fields controllable and useful otherwise you're just kind of throwing numbers out there so let's go ahead and do it again and then we're gonna go even deeper so I'm gonna delete the freeze let's go ahead and drag that same spherical field in which should be useful here and let's go ahead and move it onto a point so I could just move it carefully and you can see as soon as I touch a point it's gonna automatically light up as yellow but you can also hit shift s which is snapping and I can move this around it's going stamps have to have some stamp at all of our points so we can just go ahead and make sure we're snap to a point and I hit shift to s again and now we're no longer snapping so we can see that this middle point has got a value of 100% because it's full yellow and these have a zero percent and there's a gradient in between excellent now what's great about our xx and fields is now we have vertex maps which have become these Universal translators of one type of data to another and it's really great and they run really fast and it's really visual so let's go ahead and set up our growth again I'm gonna click on our vertex tag and we got our spherical field let's go ahead and create another freeze from the modifier layers drop-down we're gonna set that to add otherwise it just doesn't work and under layer let's make sure that we are set to growth and like I said I'm hit the clear checkbox or the clear box because it might record that original point and then we wouldn't have control over it so I like clearing it otherwise you end up with some weirdness later you don't know why okay so let's go ahead and see what our distance is between any given points so we can know how to a set our radius so let's go ahead and just select two points we can be very precise here two points and now we see that our size is 36 and some change so with that in mind let's go ahead and set our radius to 37 so it's just a little bit bigger and with that all we should be able to all we should have to do is hit play and boom spreading out now you're gonna see a very obviously distinct pattern here it's kind of this diamond pattern and that's because it can only spread to the points that are kind of in these cardinal directions the kitty-corner one is too far away for it to catch so weak it's not rounded at all so we can automatically start making this a little bit more controllable a little bit rounder by doubling that amount we'll say times two as soon as we say times two we can actually spread out to this more square ask patterns we hit play and boom you're gonna see it's gonna be a whole lot more square it's not perfectly square it's a little more square in fact it's a little rounder and I think rounder is good so if we go back to 37 and set times 2 let's say times 3 and go ahead and hit play then now it's even rounder still and so that's that that's actually working great for our purposes let's go ahead and lower our effect strength to slow it down overall so I'm gonna do 10% so now it should be slowly spreading out on a larger radius slowly getting more power and I see we have something that's quite round and it's spreading out relatively slowly it's still pretty quick but I like the way this is looking and look at this instant automatic feedback that we're getting it's working really well now let's go ahead and give this file a quicksave because we're gonna do something interesting save it as number 5 and what I'm going to do is let's turn on our Voronoi fracture and hope this is an interesting bug I've been running into some times with a runner fracture so I'm kind of glad it happened if we go to a Voronoi fracture I think there's a bug in the source you know this point generation so I've tried like doing different things to turn it on and off but the only thing I can do is delete something hit delete on point generation and add the distribution source back in and now it comes back not sure why it does that but let's just type in 2 2 2 2 so our 2222 and it should be exact same pattern so and that's your why that happens but it does ok what we're going to do is let's run our dynamics on it and they're not there currently uh not colliding with them not colliding in fact if they're not colliding I think we could probably put this back to automatic so with them not colliding what we could do is say drive our our selection tag here via not the spherical field and grow let's go and delete those instead let's drive it with this vertex map let's drag in our vertex map growth and now it's automatically trying to find the nearest vertex point so hopefully we hit play here you're gonna see yeah it's working pretty much perfectly uh I did forget to our distribution points and we still have the plane there so it's hide our ground point but you can now see that we're getting the growth from our ground point but is then applying to our objects to make them dynamic so how much more visual is it to see the way that this growth is happening here like you know you know obviously it's kind of circular but we don't get that much resolution from it so by turning that off with rewind zero turn that off let's unhide our ground plane now anything that we do to update this will be updating the way that our Voronoi fracture is activating in the dynamics so but look how visual that this is in order for us to control that so that is really powerful right there so let's go ahead and give this another save and now we can go ahead and push this further and this is where fields gets crazy we're gonna be doing in a very simple precise way but fields is crazy and one of the ways it's crazy is if we go back inside of our vertex map we have a freeze and we're currently controlling the layer and we have our radius which is three times the distance of one point to another point but you're gonna see we have another tab called radius and this radius has its own fuel to has sub fields so this is a single parameter which is kind of automatically controlling the radius parameter and now we can feed more fields into that and so stuff gets pretty crazy so right now the radius has got nothing in there so it's just just getting a hundred percent applied all the time which means it's getting applied a hundred percent of the radius every time that means it's always spreading three points away but what we can do is start feeding in some other things in the air we can feed in a noise for example so let's go ahead instead of using a shader field let's just use a nice straightforward field object of the random field you see we create a new random field something I like doing is making a child of the object just so I know that these are related to each other it doesn't actually change anything now that we get this random field in there it is going to be applying essentially from 0 to 100% onto it and if something is applied 100% then the radius will be full if it's 0% the radius will be zero every number in between will be some in between number so based on that if we click on our random field we can go ahead and say actually let's just leave it this way and hit play do we get no look at that we're getting a pretty interesting pattern right away now if we want to chunks to be falling away this probably wouldn't work so well because we have some polygons that are getting left behind and thus they might not fall they might not get activated and then the dynamics won't take over so that doesn't work right away so instead of a random why don't we change this to noise so our random mode is now noise by default it's really tiny and if we hit play it's not gonna look super different from what we just had but we can grab our scale and make it way bigger let's do a thousand so we got way bigger number we get play and now look at that we're gonna start seeing a interesting pattern emerge and there's definitely some variation in it overall now some points are being left behind a couple things we should keep in mind if the this random noise and you know you can visualize it in fact if we zoom up we can actually see a little preview of it of the kind of the overall scale of the noise but this is super red then this dot the radius being generated is too small for a point to jump to the next one so right here is particularly dark and none of those are getting activated so we want them to get activated we don't want anything left behind but we do want this overall variation so what are some ways we can control that well one way is maybe add in some animation speed it lets go and add at some animation speed of let's say 55% and what's happening now is that noise will be animating so even if one point isn't getting any power eventually it'll animate away and then get some power applied to it now that's not necessarily perfect but is a technique that might allow you to you know to make it so that none are getting left behind having said that you can end up with some problems especially here at the end of the animation you can see we get this little island here so this might be a chunk floating in the middle of nowhere not connected to the rest of it so there's some limitations here we could speed this up but the faster we animate this the more likely we're not really seeing those random patterns around it's gonna be hard for anything to be left behind but now there's less variation there's some variation but there might be less so instead of we're using the animation speed let's get rid of that and let's look at the remap of the noise that's a little trickier to visualize this but keep in mind there's two ways to think of this we have a noise which is outputting somewhere between zero and ten percent we can also just picture kind of the basic cinema4d noise which is black to white so white does hundred percent black is zero so if we say we already know that our distance is three times the amount we are three times the minimum so that means if we take the minimum amount here and say 33 percent in fact let's do thirty three point three just to be sure that is a third and we're saying you have to apply at least a third of the power to it which means every point should be spreading out just some of them will be spreading out less than the others we have the minimum now so if we hit play then now we should see it spread out with no animation but you see no points are being left behind so that's interesting that's pretty cool it's being mapped on and we have a lot of control over that now there's not quite as much variation as I would like to see here but we have so many more controls that we can tinker with and especially this concept of everything is getting something applied to it let's push that a little bit further so like I said we're being really meticulous with this but this idea of controlling this this vertex map could be applied to so many different things on fields I feel like it's worth spending the extra time talking about this if we go back to our vertex map and we go back to our frieze and we go back to our layer we've got our radius now remember this is just the original number times three so I'm gonna say times two so we're double that amount so we're times six of the original number so that means we have even more growth potentially happening which means we can minimize some of the growth if we go back to our random field so here instead of it being thirty three point three we could divide that into or if we want to be super precise we can go back to one or you go to one percent which is the max divided by six so now we have sixteen point six repeating for the minimum so now everything is getting applied a little bit but some of these other ones could be getting way more away bigger radius apply it so the gross should be pretty quick right now overall but now what we can do is start remapping this a little bit so if we twirl down this contour we can change our mode from none to something like curve and now with this curve you can see we get a little bit an arc to it but we can say is most of the time we want a pretty minimal amount to be applied and if we grab our handles here and really stretch them out this is saying you know what don't apply more than the minimum but at the edges you could get a whole bunch of extra growth going we won't be careful about going too far with this but we have plane now hopefully we can see a lot of variation but nothing ever really gets left behind something that's an interesting by-product here is that some of them seem to be able to jump a little island ahead let me see if I can see one right there you see this jumped ahead a little bit because the noise allowed it to go here and then spread there and then that was a very strong patch so it's growing but these are partially applied as well so that I think that's probably okay and now we're getting a really interesting overall growth pattern lots of noise variation and very precise control we're not just clicking numbers we know why it's behaving this way which means we can manipulate it and change it in different ways that could that allow us to artistically control it so by going back to the main field tab of our random field we could do things like try different noises we can try unfortunately there's no preview here we don't get that nice little drop down to see them but Perlin noise is like the old school noise noise we change this to let's do something that stands out let's try debt or a Crenn all I think it's kurniawan might be who knows how these are pronounced but let's go ahead and try that one there should be a completely different pattern in fact the way it's the way this one seems to map out is it's just coming back to the diamond pattern so it's pretty minimal overall so it might not be great we'd do something weird like lucca and some of these might not look great at their current scale although this one yeah this one's really going out they're giving us a lot of randomness increasing the overall scale could be a good idea depending on them but when it comes to artistically controlling these I actually think sticking with the very basic Perlin noise is a good way to go there's already so much variation there that pushing it much beyond that makes it just so you it gets hard to visualize but we still have a lot control over maybe grabbing the overall scale I can double the scale that's being applied here and that might give us some different patterning here definitely we need to see some or time let's go in triple our time line 333 should be about right now let's get the growth it's a little bit diamond in the beginning but then it spreads out and look at these really nice patterns that begin to emerge overall we could give it some overall animation speed would be good we can also go back to our original frieze and increase the effect strength so it's going a little slow we can increase the effect strength it should be the exact same thing just faster so that is now a speed control for us how this pattern is spreading out maybe splitting the difference there let's do 15 let that spread out a little bit I like that and then I'm gonna go back to the random field maybe this noise is a little big now drop it down to split the difference so we got 1500 there let that grow I like that and keep in mind that now we're visually seeing this very nicely but you can always go and click on different random seeds so we've got our default value here bike let's go ahead and go up one random seed and see if we like the look of that one and I actually do like that one quite a bit let's go and just drag it to some random number and you just go through try a couple of them whoo that won't spread out horizontally really nicely before it started spreading out further you know all that you know it's it just works well this is pretty cool I'm quite I'm quite pleased with that overall so it just gives you artistic control of the spreading out in slightly more interesting ways and you even keep in mind like I'm giving it this min this minimal amount so it can't quite spread there but that was just one option I could drag that down to zero and now we're gonna get very hopeful okay interestingly the first point is not a valid point it can't grow at all so I'd have to do a different random seed in order to kick-start this so that one didn't work this one worked so just the different ramp scene and that can spread out there with no minimum it can't quite get there but we could give it some animation speed let's say 55 and now as an animation is animating slowly different parts are going to get the option to spread out and it'll stop for a little while but then as it's animating other parts should start activating it took a little while but now more parts are going so you know the faster we increase the speed then the more likely we are to see different chunks start reactivating again and you can see we're and now we're getting these very distinct angles spreading out so you can see just by tweaking these numbers we can start getting dramatically different effects as it is moving around I actually I think that's pretty cool and going back to the remapping you know we can give this a minimum and we don't need the minimum to be the actual minimum but it is gonna pull the entire arc up so I didn't quite get to that minimum it's not being forced to go to that minimal amount but I did pull that bottom line up a little bit and keep in mind this min is visually kind of equivalent of pulling that up a little bit not quite but they're almost exactly the same so by putting that minimum we are now adding in all this extra blur and say well spread out some points are getting left behind by it's such a more distinct growth pattern so once again like I said we're gonna spend the lecture we spent a little bit of extra time on that because understanding the way that behaves is going to unlock so many possibilities for you using fields so having done that let's go ahead and maybe chill this out a little bit I'm gonna pull the minimum back here will allow a little bit more overall growth to happen and let's hit play and let's see okay very nice distinct growth there is one chunk there being left behind I would like to avoid that you know the original way of avoiding that of course was doing divided by six on a hundred percent so now it should be pretty difficult for a big thing to be left behind for a long time having done that I guess we could make this a little bit more piqued like that and keep in mind we do have the animation speed going right now as well but you know what that's pretty nice looking growth I am pretty pleased with that so let us move on to the next step from there let's save our scene file and here we go so immediately the simplest way to see this as far as our existing rig would be let's hide our ground reference let's reactivate our Verona fracture hopefully it's still broken luckily it is this is still got that same vertex map in there so it's already driving it so if we have play we should just see the new growth pattern that we just generated coming from that and we see it getting translated instantly to that object so we just have a look that little bit of extra control from there so that is working automatically really nicely for our setup we do not want to be running our dynamics on the Verona fracture we want to be running some dynamics on the plane so let's go ahead and delete the dynamics tag we don't need the mo graph selection tag anymore let's go home go and hold down controller command and turn off the Voronoi fracture and let's go ahead and make a duplicate of our ground reference and unhide it we don't need its vertex tag we don't need its copy of the random field but now we have the same poly count exactly the same way let's go and rename it to ground dynamics so this is supposed to be a dynamic so let's go ahead and right click and add a simulation soft body so we've added a soft body selection there and if we go ahead to object mode here and we hit play then what should we see what we're gonna see gravity take over it's just going to start falling through our viewport because gravity's taking over and it's just falling we don't want that type of gravity we want it only to be applied where a vertex map is and we can't do that through the global gravity so let's turn that off let's go to command or control D go to dynamics let's go to the general tab and under gravity let's knock that down to zero no effect so now if we rewind hit play then nothing should happen it's just sitting there aesthetically so we need this to now move somehow it's going to move via a simulate particle wind we probably could use gravity well but I like using wind because we could potentially change the orientation if we need to so we've got a wind I want that to point downward so I get our for rotate let's spin that holding down shift to a negative 90 so it should be pointing perfectly downward and because everything is applied by default automatically we should be able to just rewind hit play and see the entire thing start slowly moving downward pretty much just like gravity the only difference being is it's not quite as strong so this wind force is being applied because this is a soft body on every single individual point on our dynamics but they're gonna have a really strong relationship with each other and we can see that if we create our wind let's grab our wind and in the wind we have an object tab but we have a fall-off tab which then gives us access access to fields so we have it the fields when you go ahead and drag in our vertex map growth so with that in there if we click on it you see it's automatically constantly trying to find the nearest point so with that in mind if we at play let's see hopefully the wind is only gonna be blowing on the those middle points that the slowly grows and if you play well it's hard to see anything not much seems to be happening and why is that why doesn't it seem to be moving down well there's a relationship between all the different points on this plane there are Springs due to the soft body where they're trying to stay connected to each other and in the springs are telling it don't stretch don't bend too much and that is preventing this from moving we what we want is pretty much no relationship between the individual points so we can do is go into our dynamics tag and first of all we can turn off in the collision tab turn off self collisions we're not worried about it colliding with self that should just speed it up a little bit overall and then we can go into our soft body tab and you can see that we have a bunch of settings here so here's structural springs that's what's telling it to maintain the length we don't want any of that put that to zero no damping either just so it's not calculating it we have shear no shear no damping flexion no flexion no damping that's why it stopped trying to stop it from bending in certain ways so now there's no relationship anymore between any of the points so let's see what happens when we hit play now oh look at that now all of them are starting to move downward immediately we're getting a really interesting weird breakup pattern he as the entire thing falls apart before you rewind and hit play that should be a little bit cleaner I just didn't remind all the way dangerous to make changes not at a time of zero so now that you're rounding hit play now you can see this is perfectly blowing straight downward the parts that we told should be should be affected via directly this vertex map it is now deforming it but in a very cool dynamic automatic way so that's working well why don't we give this a quick save so why don't we move on to the way that the wind is being applied to the dynamics right now the wind is it's constantly trying to find the nearest possible point it's constantly applying that power again and again and again which is cool but I don't want these pieces to very slowly get applied the power because oftentimes we will see here we're gonna have to unhide the ground plane select a vertex map hide the ground planes we actually see it you're gonna see that and I want to hide this random field so let's make that invisible so you can see that as this slowly spreads out that the wind is going to be applying here only a very little probably 16% because that was what the 1/6 of the amount worked out as and I don't want 1/16 percent of the wind if gravity is affecting it gravity should be affecting it so what I want to do is control this in a more clamped way now we could do this directly in the wind but I want to do in a more visual way so what we're gonna do is make a duplicate of our vertex map growth so we got a brand new one I'm gonna delete everything from inside of it and let's rename it immediately to vertex map wind so this is the vertex map for the wind and what I want to do is what what how should this be controlled what fields should drive it well what I want to drive it is the other vertex map let's go ahead and drag that in and in the vertex map it's automatically trying to find the nearest one I'm gonna set it to index so it should just be the nearest would work but index just is like hey whatever the same point is I want to be the same so now you can see that if I hit play this new vertex map is doing whatever the first vertex map is doing but it is independent we can change this and do additional things with it we could add additional noises additional growths all sorts of weird things but we're gonna do something pretty straightforward what I want to do is make sure that this doesn't have this fade off I want it to be either a hundred percent or a zero percent and the best way the quickest way I've found to do that is to go and create a quantize so under this modifier layers we can create a quantize and now it's doing four steps but if we drive that all the way down to one you can now see that this is either 100% or zero and you get that soft fall-off between the two but it's 1% or 0% applied full contrast on there and you'll see if we click back on our original one it's still there it's not affected at all and click on this one and we can see it fully modified so that's cool it's a very non-destructive workflow and along those lines let's say we wanted to like have this push in a little bit or outward a little bit depending on if we wanted to kind of have a preference for the brighter 100% or the darker 0% so what we can do is create something like the curve modifier and we can affect this middle point now we're not gonna see it unless we move it below the quantize and I want to visually see it so let's turn off the quantize for a second right now it's not doing anything because it's a nice flat curve but if I hold down controller command as I click in the middle I'll get a new curve if I pull this up or down you're gonna see we're gonna have kind of a preference for one side or the other so with that in mind if we turn on the quantize again as I raise up the curve up and down we're gonna shrink it or we're going to enlarge it so we could be like okay not until it's a hundred percent and more towards the middle is it applied and I think that's what I want to do so with that done now if I rewind hit play we can see this growth happened and just gonna kind of pop into existence but now the wind it can reference this one and so the wind will blow down as that grows out awesome exactly what I want so let's go ahead and let's hide our ground reference unhide our ground dynamics go back to our wind let's rewind to the time of zero if we're making changes and let's drag our new vertex map well you can see we're on wind or on fall-off and there's our vertex map growth let's replace it with the current one and I can just drag it and drop it exactly on top and it will just replace it so now when we hit play we're gonna see that the wind is she be getting applied fully never partially fully on that and should start falling away a little bit more consistently in a little bit cleaner but I think now we're going to start the start seeing the emergence of something really cool and that is as these pieces fall we're getting some curvature on it so you see there's a little bit of curve on the surface so when we now apply our own oi fracture chunks to it it will follow that direction and that's what we're gonna do now let's go ahead and give ourselves a quicksave and move on to that part so how are you going to actually apply a Voronoi fracture chunks to the geometry here well let's just do this step-by-step let's reactivate our fracture here and go ahead and we're gonna create a new cloner it's like a brand new cloner and what does this cloner going to do well I want to clone a series of planes let's make the planes one by one and we're coming pretty tiny so I'll do ten by ten so nice and small I'm gonna make a child of the cloner and let's go ahead and tell the cloner to clone onto an object and what object is going to be well it's going to be little Varon oi fracture so I've done that it's cloning them randomly out to the surface but I don't want that I want them to clone on to the axis so now she'd clone them one per axis I think in our 19 we started being able to clone onto an axis which is very useful we've also got a line clone I'm gonna turn that off I don't care about line aligning to the clone let's visually hide the fracture object here and you can see that we've now got a whole series of these all over the place being cloned just in space I think she'll be flattened they're all in the ground so it's actually working pretty well now with that happening what I want to do let's go ahead and group this and hit alt G to put that into a null let's move that down below our ground dynamics plane and let's go ahead and put our cloner into a connect object and all down alter option as I am selecting the menu here and let's make a connect and should automatically turn into a parent I can get rid of well because I don't we don't need it doing the calculations try and well the points together but what that's doing is telling cinema to this to kind of think of this cloner as just a a single polygon object now that we've done that we can go ahead and create a cinema 4d mesh deform er this mesh the former we're gonna play the child of the null so a sibling of the connect object and what we can do here is drag our ground dynamics in to the cage setting and then we want to make sure we twirl down our advanced setting here and where it says external it's set to ignore we want that to be surface some of our nice little polygons here are going to be a little bit above or a little bit below the surface here you see some are floating low or somewhere floating higher we want them all to be attached to this and if this was set to ignore then I don't think anything would stick to it now I had no idea that the mesh deform er could actually work on you know without a volume I always thought it had to be a volume that works but this actually opens up a lot of really cool possibilities so with all that in place was surface turned on we should be able to go ahead and click initialize it's going to automatically create a display tag and a compositing tag so that this won't render anymore and we still see in the viewport without it taking up too much space but with any luck if we rewind and hit play and let this wooden go we're gonna now see those individual polygons being deformed perfectly along the surface but not only are they being deformed along the surface but you can see they're actually tilting properly over so they are leaning over now some will stretch and face slightly different angles that's completely fine that's not gonna affect anything but that is working really well so now we have a different polygons per position all over the place relative to this plane so now we need to somehow transfer this back to our fracture object so how do we do that well we're going to go ahead and create a brand-new mograph matrix object let's go ahead and move that below the null and all the new stuff we just made it's going to be below that and we're gonna set that to object mode and the object is going to be the connect object and we're going to change it from surface to polygon center so what should be happening now is it is creating a single matrix object on top of every single clone everywhere and so we have the exact number but it's now transferred into a matrix object and it's being transferred into the matrix object which by the way we should probably name some of these let's go ahead and name this matrix transfer and let's go ahead and just rename this one mesh deform er so we can tell what those are doing so now we've got our matrix transfers so how are we going to transfer this by selecting our row enoy fracture and creating a mograph effector inheritance effector let's go ahead and click on that one it should be automatically applied because we had selected I like doing the order of operations so let's move this below the matrix and what is supposed to follow well it's supposed to follow wherever our matrix object goes so let's go ahead and say yes follow the matrix let's go ahead and unhide that also so go ahead and follow the matrix now that's not gonna do anything by itself until we turn on morph motion object it's a little bool checkbox here let's turn that on and boom instantly we're gonna see a big reaction overall and that's because it is not doing the correct orientation and everything's facing the wrong rotation but we can fix this really easily by going back to our matrix object and here we go to the transform tab and we can change our rotation until it matches now I haven't gotten the perfect consistency here so really it's just going through and finding the correct combination of 90-degree rotations that is going to get it where you need it so for me rotating P to 90 degrees seems like a good idea and then B is not doing anything so let's try rotating now and nope that one's not working either we've actually had this happen so what I'm gonna try and do is negative 90 negative 90 negative 90 okay most seems to be working pretty well yeah okay it's kind of a tricky combination once again I I don't know if there's a good mathematical combination here but the correct collection of 90-degree rotations will give you the correct orientation back again so negative 90 90 negative 90 seems to work here I'm not entirely sure what drives that and I feel like I've gotten different numbers on various different tests but it's always going to be some sort of negative 90 positive 90 combination and eventually you find the right one and now that that has happened I hope we should be able to rewind and hit play and let's see look at that now we have our individual chunks going and rotating and falling down with our overall object and look at them peeling perfectly down and I love this kind of curvature that we get as they peel down and away to follow this mesh so that is working really well and and that it's that orientation I think creates a lot of possibilities here let's go ahead and rewind and do some tweaks before we go any further let's turn off the row no a fracture brownie fracture and let's do a couple extra tweaks on our dynamics I think I want these to fall down faster so right now our wind speed is just at the 5 let's go ahead and I'm not sure what number we want let's jump it to 25 and hit play now let's keep in mind our playback speed here so we can't entirely trust it that's falling away quicker but still not that fasting a double it again let's jump it up to 55 and let that play and now those are falling away quite quickly now keep in mind us about the third of the speed that they eventually will be but I think that should help a decent amount making that a little bit faster and if we were inclined I had done things in the past where I would make another instance of the ground dynamics and make it to conform in the exact same way and run a smooth two former on top of that to smooth out the deformation but I don't think that's necessary depending on what your final effect is going to be so we're able to very quickly make any changes we want to the way that grows or how fast the wind blows and as soon as this mesh starts deforming down it's just going to update and our fracture object will automatically be stuck on the surface they're perfectly let's go ahead and turn that back on again and let's just frame forward one so we can actually see it refresh and now we can see our mesh moving downward I'm going to get rid of this this play tag because I want that to be solid and we now see the mesh underneath and in some ways I kind of like seeing that mesh underneath where we can see our objects peel downward and start rolling down with it we have the stretching ground and I and some of my tests it looks pretty cool when you actually see the ground there instead of it just being empty so we're gonna keep that around for sure but let's begin getting into some of the fancier things involving getting some cracks to show up here on them on our fracture object before the pieces actually fall away so let's give this a quick save and think about the next thing that we want to do I think we want to start getting some variation in the way this is breaking apart a little bit of anticipation let's start like making these chunks like move up and down a little bit maybe get some cracks forming ahead of time so let's start out with it cracking ahead of time first I think let's grab our fracture object and let's not colorize our fragments anymore we'll hide that and let's hide our display mode as well hit n/a so we can hide the lines rather and now those go away so it should look nice and flat overall and let's go ahead and try and deform this how are we going to do that well let's hit alt G and group our fracture object here and let's go ahead and even rename that fracture that should be useful and we're going to deform this but we're gonna deform it with a mograph plane effector now make sure you don't have any mograph objects currently selected and now I'm gonna make a plane effector so I'll be using it as an effector let's use it as a deform er there's gonna be very similar to the displace to former but actually calculates a little bit quicker so we'll use it this way so with our plane and deform er it's currently set to Y 100 so let's go to the former and we've got deformation I'm gonna say I wanted to deform the polygon so she grabbed the normal of the polygon and push it but it's pushing it currently on Y now I can never remember which orientation we actually want this to be so I usually just guess and check it seems like Y is really powerful so I'll set that down the 5 it's like okay well that's interesting that's neat but let's go ahead and turn on SSAO so we can actually see any cracks in there but doesn't really seem like that's the orientation so we could try X but I'm pretty sure it's Z so let's try typing in on Z and okay well something definitely happened on Z it seemed to be pushing up and down all over the place so let's go ahead and check out our edges yeah and be n be the shortcut again and it looks like oh look it seems to have inflated on all of them so z seems to be the correct orientation let's put it on negative zyy so negative five there we go look at that now all of them look like they are shrinking inward a little bit and that is pretty nice actually that's pretty far that's a little extreme I'm gonna drop it down to negative two and let's hit n/a and now we can actually see all these cracks emerging ahead well everywhere these are just being applied everywhere it's saying hey just apply all over the place so okay that's a good start there but we don't want it to be applied everywhere we only want this to be in some places so we can do is jump to our fall-off and I'm going to drag in to our fall-off inside the plane effector let's drag in our original growth vertex map and we're gonna see just a little crack right here in the beginning let's go ahead and at play and let this play through it should still be pretty quick one of our points of building this is that we can still kind of work with it in our viewport and now we can see that we are getting some cracks being formed at just a little bit ahead of our overall setup that is pretty cool before they move we can see a crack emerging so let's go to the plane to plane effector I'm gonna rename it plane deform just so we can remember what that one's doing and with it deforming on that direction I think I want to be spread out a little bit more and you know maybe we can even make a little more powerful so I'm going to say negative three four okay negative four sneeze pretty good so slightly bigger cracks now the coolest part of this is that the cracks are thick and then they slowly get thinner as it moves away so I really like the way those are going to get revealed as this grows the cracks will spread so it's not just like we shrunk a chunk down because then it would be uniformly scaled around but instead it's kind of getting bigger as it gets further away let's say we want these cracks to be spreading way further than they currently are how would we do that well I think the best way to do it is for us to visualize it with another vertex map let's go ahead and hide our fracture and let's rewind all the way and let's go to unhide our ground reference and I guess hide our ground dynamic so like I said we're gonna be doing that a couple times we need to see the object that we're working with so now we can click on the original tag and of course this is going to grow just like it always does but we want a version of this where it's bigger so could make a copy of it and like change the way the freezing is working and changed the way the fallouts work that would be that'd be really tricky because then those are independent variables that are that we'd want to be similar but not quite so the better way to do this is let's copy the vertex tag entirely and we'll delete everything that's inside of it and we'll rename it but we'll just rename this one blur so what do we want to actually drive this field what we want the original vertex map again vertex map growth but if we click on the tag currently the mode is set to nearest but there's a really really powerful node mode in there which is average and what average is going to do is check everything within the radius and calculate the number that way what this effectively leads to for our purposes is a blur this is now whatever this one looks like but very blurred so we can put different numbers different radiuses we can do a radius of 200 and now it's way more blurred but as a spreads out it's gonna be a very blurred version so let that play a little bit more it's a very blurred version of whatever this one is doing so once again what's powerful about this is it's a this is dependent on whatever this one is doing so if we update the way this one grows this one will automatically update and blur to catch up with it that is amazing now it is actually pretty difficult to blur vertex map within itself but if you make a copy of it and then you feed it itself it you know you feed it the original one blurring it this way is is it just works perfectly and it's incredibly powerful it's now based off of that let's go ahead and unhide our fracture go back to our plane deform and replace our growth vertex map with our blur vertex map and boom look we get more cracks spreading out even further down along the line so now where this can get even more interesting is we could make it we could manipulate this vertex map further with like different curves but we can actually do that directly inside of the plane to former now we'll have to use our imagination a little bit but we can use those exact same ideas if I inside of the plane deform if we create a curve this curve is going to be changing the way that this is applied and you can imagine it on the vertex map we're gonna use a vertex map in multiple places so let's go ahead and just manipulate it here so if I were to grab this top point and drag it to the left it's going to be making it more powerful and you can see it's making the cracks be a lot more blatant and a lot more spread out if we grab the bottom one it's going to weaken it it's gonna be remapping it and pulling the strength further in so if we just wanted the cracks to be just barely on the outside there we could do that or we can pull it in and then make it more powerful as they come out and along those lines we could push it in like that and you know we can even manipulate it with these curves as we want to I could level this out a little bit and really taper them in or you could have them exist a decent amount right away and you see how much I could spread that out so yeah just by changing this curve we've got complete control over the way these cracks are going to be spreading on the object now personally I think that looks pretty good but there's a good chance we're gonna be coming back and changing that a little bit more later on and that is because our next step is going to be adding in some extra brain in this so let's go ahead and give this a save as number 10 and let's look at adding some additional effectors I'm gonna turn off our plane to former it's doing a good job but let's add else Chris select our actual fracture object here and let's add a mograph random effector so it's gonna be rain will be pushing everything all over the place we don't want that let's go ahead and say I don't want any random X no echo enum Z a little bit random Y it might be nice though but not that much let's try 10 so yeah you can see you can even interactively pull this up and now we can push this up and down and see okay like getting a couple extra fun chunks up and down my thought here is let's go ahead and make it pretty crazy right as they're about to fall like well I didn't they anticipate their fall by like jittering a little bit but it's gonna be a little bit more artistically controlled instead of the randomness the original dynamics were giving us so I can't like the way this looks it's good it's never gonna get that crazy on the outside it's only happen kind of right on the edge so that's looking pretty good let's go ahead and also turn on rotation and we got to be careful here if we go too far we're gonna get some blade early intersections and we are already getting intersections but I just want to push it too far don't I make it obvious and then yes a nice rotation there so there we go look at all this really nice break up now we don't want this applying everywhere obviously so let's go to our fall-off let's drag in that same blur now this is now we're not looking at the deform er at all we're only looking at this random now let's go ahead and pull the random in and even rename this random rocks and pause for random rotation and position I just like designating my effectors for exactly what they're doing and now we can see it's really bending these all apart but in the same way that we manipulated the way our fall-off was working inside of the de former version let's go into here and we've got our blur which is mapping to the nearest which is working well but let's go ahead and add a curve onto this and remap this one I think this I want to be pretty strongly affected so I'm gonna raise up that power but I'm going to weaken the fall-off I only want this to kind of be happening right near the edge so you can see this is the entirety of this effect it's just randomly you're doing some ups and downs and rotation on these chunks before they fall and based on this we go back to our parameter I could say give it some more Y height so it's randomly pushing up and down more so with that happening we can then active well let's just hit play and see if this gives us anything interesting so yeah you can see these little cracks form and pop up and get this random motion traveling a little bit before it then decides to fall I like that but you can take that and now we combine this really blatant movement up and down by turning on our deform ER and now we get the additional cracks forming both on those objects and beyond so now we can go back in toward the former and push that further just like we were talking about I can grab the strength and start pulling it out more and now those cracks get more blatant but they're not too far away and we can curve these up a little bit make that pretty strong there we go so now we get a lot of variation right in the edge and the cracks forming a little bit further away and let's hide our ground mesh and reveal our ground dynamics we can see the plane as it falls and now when I rewind all the way seeing one more thing we should deal with if you see that we actually have some cracks here right in the beginning why do we have cracks at the very start where all the way at the time of zero well the reason we have that is let's unhide our ground reference again two in that a lot turn off our hide our fracture hide our deform or mesh deform er and let's reveal our ground reference and go to the original vertex map and you're gonna see that at frame 0 there's a dot there's some yellow which means it then gets blurred and even though it's gonna be real hard to see there's a slight like it's being applied slightly maybe 10% maybe 5% but it's very faintly there and that's giving us a little bit of a crack in the beginning so go back to our original tag and this is being generated because this spherical field is being fed onto that point so I think if we were to just hit like we could there's a lot of ways we could animate the strength uh where is it the spherical field also let's move this spherical field as a child of the ground reference because it's only affecting that tag so let's move it near its relationship there along those lines if we're just organizing things describe our wind and move it down I'm gonna move it below the ground dynamics I don't want to be a child but anyway back to our spherical field if I grab this and I move it up into the air hopefully it's gonna pull away from the point and turn off but you'll see that it doesn't and this goes back to and I'm kind of glad this happened this goes back to something I said earlier which is our freeze the former can be a little bit weird or temperamental maybe I'm not using it correctly but on the freeze it seems to be remembering that the spherical field we used to be there and I don't want that I do I want it to only add on after the fact so I'm gonna hit clear and when I hit clear you see that now it seems to have disappeared and I'm not sure I'm gonna click freeze maybe that will lock it in that this is what the way it's supposed to start I don't know for a fact that that works that way by no hitting clear fixes it the point here being is our spherical field now isn't being applied and then is being applied isn't is and now along those lines we could also animate it via the strength slider so we could grab the strength the remapping strength up and down so why don't we say at the time of zero it's gonna be strength to zero and then let's frame let's go five frames forward they have five and at the four at frame five we're gonna have it go up to 100 so it's gonna kind of transition in that little bit in the beginning so hopefully we can rewind here and hit play and now you see it slowly fade up and start growing so it starts out with nothing which means now we can hide our ground reference we can reveal our ground dynamic plane and let's reveal our fracture and then we can zoom out and now yet now you can see look the crack does not exist on the ground at the beginning it should render completely flat and we should be able to play and now we can see the cracks begin to form the pieces randomly move up and down to get some little jostling in there and then they begin curving downward and falling into the pit so we've got two different layers of extra fun revealing here that we wouldn't have had otherwise and man that's really cool I love the way that these are falling down now there's a couple X additional things I'd love to add in here let's go ahead and I'm gonna visually hide the wind we don't need to see that in the viewport now as these pieces are falling they're sort of embedded in the ground here they're passing through the ground here so why don't we make it so those get pushed forward a little bit and actually before we do that let's give it another quick save number eleven so with these piercing the ground how would we how would we stop that from happening well they're gonna start out being passing through the ground there that's fine I don't have a problem with that but what I would want to do is have them as they start falling through the ground they can start pushing inward a little bit so let's go ahead to our original fracture and let's put another plane effector in there so I had a plaintiff factor in and you can see the plaintiff Ector is already actually by default doing exactly what we want it's pushing it outward on Y and its relative to the node so this piece falls down is pushing out on Y now it's also pushing up currently on Y so we just need this to not be applied all the time we need this to slowly be applied as it falls into this hole so let's go ahead and add into the fall-off we're just gonna make a simple linear field fall-off and I'm going to set this linear field to be I always mix these up but I'm gonna say Y plus and now I'm gonna pull it down and okay I got backwards not surprising I say Y - okay now you can see especially because they're turning purple that as they go further down they're getting this applied more and more so why don't you zoom out a little bit here and let's make this I don't know three times as tall we're not gonna see too much of the hole and I'm gonna visually just I'm just got eyeball this I'm gonna pull it downward and now yeah right there as it starts passing through and I can even pull this off the sights we can see it better see we get this nice little fall-off here so as it's falling down that little bit it's going to be transitioning into whatever we feed it and currently we're feeding it through to be being affected by the Y position and we're also affecting the color so I can turn the color off now they won't be purple anymore so yeah now we just want them to move on Y so let's go ahead back to I'm clicking my middle mouse button by the way in the viewport if you middle mouse button it'll go to all four views make a middle Mouse button and go to whichever one you were framed over but now as these fall in I can grab my plane and we can go to the parameter and I can increase my Y here and as I increase the Y you can see that they're gonna push away from the surface a little bit just to have them kind of tumble and be independent so let's go ahead and rename this plaintiff actor away from wall just be really literal with it and you know I'm gonna put it above the random position and rotation in fact it should be random position rotation at edge and then so they're falling around that way if we wanted to push this even further just for fun we can do a very similar thing which is going to be let's copy or we've got the fracture selected again let's make another deformers I'm gonna make a reigned in two former and we can just say well do we want random we could do random yeah I guess random is finding I pull it way down here I want this to calculate after the away from wall so I'm gonna put a visually below not as sibling now that's not actually having any effect like where I position it here but I like it being in the same order here that it is if you click on your fracture object so in effector as you can see we've got that same order so I'm going to go ahead to our random and I'm gonna say I guess this one is just gonna be random rotation so this is going to do the same kind of fall off to but to a random rotation so I don't want affect the position but I do want it to affect the rotation and let's just I'm gonna put in 90 90 90 and those by the nature of a random effector they could be positive or negative currently they're applying everywhere of course but I'm going to go into its fall-off and apply that exact same linear field so a linear field is applied to both the random it's applied to both the plane away from wall and the random rotation I'm just gonna name it in pit so which is you know it's just descriptive of what it is even though these should probably correlate with each other a little bit more but now they're falling away now there might start passing through each other down there once I get to a certain point I don't really care I mean I don't think I'm gonna be viewing this from an other than this but keep in mind these are each independent controls you don't need to actually do any of these individual steps if you don't want to but now the hope is let's go ahead and hit rewind you can see perfectly flat hit play and now the cracks start to form the first pieces are going to start falling in you get that nice random this happening which is kind of artistically able to be controlled because we can do it with our plaintiff we can change the way they're being affected and now as they fall into the hole they're gonna get more and more of that randomness applied and they'll randomly rotate to a new position so they don't you see right there that's twisting really nicely and they'll push away from the wall so that's what we just added in via those so I think that's kind of a neat addition to what we were doing there and I still really love the way that these are bending to fall into the pit let's give it a save something I think I'd like to see here is smoothing out our ground dynamics a little bit now I'm a little worried about that because dynamics can definitely behave a little strangely depending on if you put a subdivision surface on a dynamics object like that it can definitely freak out so you might do that as a post effect like with subsurface or sub poly displacement might be the way to go on that one so honestly I think the last thing that I would like to do here is something that's a little destructive to the setup that we have here so this would sort of be a last step when you're very happy with the way the rest of its going there's probably some other ways you could do it with via noises we're gonna have to do this a little bit destructively and that is I want some some very strong cracks that are going to spread out from the center that we can see very clearly and they're gonna be way ahead of the rest of it and I only want a handful of those and I want them to be very very specific so in order to do that we're gonna have to make this editable and then and bring it back in be parametric but the splines that we generate will not be parametric so that's why I'm putting this at the very end here so let's go ahead and actually you know even before we do that I want to talk a little bit about the procedural nature of this if I hit NB you can see we can go back to this original shape and we have all these different chunks in all these different subdivisions on it and they're being merged in some really interesting ways well this is we built this really really clean and really really parametrically so what we should be able to do is make changes all over the place and an increased resolution or make it more detailed or less detailed whatever you want to do so as one example here let's go ahead and add a whole bunch more chunks here not necessarily more pieces not more clusters but more initial sources for our distribution so that more chunks are generated so this ends up being a more detailed and then potentially more realistic so the way we would do that would be go jump into our fracture and in the fracture we're gonna go to our point distribution let's go ahead and add in more points so let's jump really high go like 9999 so this is like four times the amount here and you see it's gonna generate a whole bunch more now you're gonna see a problem right away like this doesn't look right it's completely messed up but that's okay we haven't we haven't broken it yet it just looks broken but what I want to point out before we go any further is that these individual chunks have gotten more detailed there's a lot more breaking apart on the edges and the further we push this the more detailed those will look so let's push it even further I'm gonna add a 1 in front of that which is going to essentially double the number there it's gonna take longer to calculate and it's running through and it's trying to update all of them and then it's trying to rebloom them together to be additional chunks and it went super crazy there and it put them all into the middle I'm going to go and turn off our inheritance right here so let's turn off inheritance and it should jump them all to the original spot but you can now see that each of these individual chunks we got here is so much more detailed all this extra detail and depending on the way you're breaking apart the ground that could be a positive thing this might be a really nice pattern for you to work from so let's just say that you didn't want to work from this more detailed pattern with the way you would do it is you saw I updated our our fracture object by adding more points and I turned off our inheritance the main problem here let's visually hide the fracture the main problem here is that our cloner these it this is now generating a lot more well actually not more points but different points in different spots so they don't know where to go anymore so we would need to do is turn off our mesh deform er for a moment and make sure that yeah this should have automatically updated to whatever the new fracture was so those are the new positions but that means we need to to our mesh to former and just reinitialize it so I just have to go here and say initialize and then it's going to put those in new positions and now that those are in new positions we can the matrix should have automatically updated so now it's automatically on there and now we can turn our inheritance back on again and with any luck as soon as that gets applied and we unhide our fracture you can now see that they are the inheritance is turned on and they are in their correct new position so I have to do is go to your mesh deform er at the time of zero and then reinitialize and there you got brand new chunks if you change the seed if you change the count anything that should update it and that's gonna run out slower because the chunks are a lot more detailed but I should be able just hit play here and everything should update you can see our let me go ahead and hit I think I paused it hits n a so we see this flat part and I can see just this more detailed clustering look at these nice cracks getting spread out all over the place everything updated and now this new system is working where the other one you know in place of what the other one was and of course at the same time we can go ahead and rewind if we want to do fast test here let's turn off our Verona Noi fracture holding down control to turn off both of them and we can always at any point go back to our original ground reference let's unhide that and hide our ground dynamics and we can select our original dynamics tag and we can change the way that this is spreading out so this is our current growth pattern and we're not getting real-time feedback here just from all the different setup so we have especially these dynamics running that's probably the main thing stopping us if we went to our crown dynamics here and I temporarily turn that off so those aren't running anymore then now hopefully we're gonna be getting really good feedback for the way this is spreading so let's go for me for me that's running about 30 frames a second and you see we get this really nice growth going but we were like you know what and this is this is real-time now effectively real-time so this is how fast the pits actually gonna be growing and expanding and actually that looks pretty good to me but let's say you want to be slower you just you just slow down this effect strength if you want it to be faster you could increase your radius you can increase your effects strength there's a lot of different variables but we could just change that and once again once that's done we would just reinitialize everything make sure that our dynamics are turned on and then turn everything back on again and it would just start working really cool the way we can update and combine all these and that is how parametric this overall setup is for now and a return on our fracture object in fact I don't want it to be this big crazy number so I'm gonna go ahead and let it do this initial calculation unfortunately I shouldn't have turned it on until I changed these numbers all right now it's calculating and it'll eventually finish in fact I might be able turn it off here so now there is the fractures there I click on sources go back to reasonable to do two and then turn it on and it should pop it up almost immediately and they're in the wrong position because we need to go back to our mesh deform er which everything should have filtered through and updated and I can say initialize and now that reinitialize is in fact let me turn off inheritance I think we have to turn off inheritance first and then say mesh deform ER initialize and then we can turn our inheritance back on again and now everything is proper again if we hit play then you should be able to deform it downward again and we get everything back just the way we had it so looking good excellent quite pleased with that so now let's move on to getting those final cracks that I was talking about let's save the scene file rewind all the way first save as number 13 and let's get these cracks designed what I'm gonna do is we've got our fracture object here I'm gonna say make it editable I'm just gonna make it editable and I'm going to copy it and I'm gonna hit undo until it reappears cool so now I've got on my clipboard a copy of this made editable let's go to a new file I paste it and now you can see that I've got all these different separate fragments which is fine one of the problems is we have all of these tags and I think that's one of the reasons it runs slow is that so many tags are being generated in cinema 4d every time you make a selection tag depending on how many different things are selected in it it could take as long as an entire object to calculate so all these tags are dramatically slowing us down so let's go ahead and select every single one of those tags hold down shift grab them all delete the need any of them and now everything has been collapsed down to just the polygon objects which means I should be able to let's make a connect object actually you should be pretty simple I'm gonna make a connect let's go ahead make these all a child of the connect and it's gonna be welding so it's gonna take a second for it to do the initializing there but I'm gonna go ahead and select connect and then make it editable and there we go it's been turning to a single object here but it does have all of this volume and there's lots of extra polygons in there so here's what I want to do I only want to select all these topmost polygons what's the best way to do that well this is pretty straightforward actually let's go ahead and select everything and I want to make this way taller I'm gonna make it instead of 50 tall I'm gonna and we're in polygon mode and select it all which would be command or control a let's go ahead and go to our y size I'm gonna say I wants to jump it up to 500 so it's way taller that gives us way more resolution in fact let's jump up to 5000 this way taller against the letter S when i zoom out and you see you I've got all this resolution vertically so if I go to a side view here and also at the letter s what I want to do is do a rectangle selection on the points and right now it's a it's set to not worry about visible and not worry about tolerance which exists exactly what I want I'm gonna do is do a big old selection all the way up to the top but not quite the tippy top so I new and do that hit delete and then let's hit the letter S before zoom up and now you can see that I deleted every single point except for this top layer as far as I can tell it's hard to tell perfectly and I select all and yes by select by hitting command a you see my Y is zero so there's zero height so that means I left only at the topmost polygons if you had more then you could you just zoom up more and select more of the little polygons that we're hiding below it or the points that we're hiding below it but now if I go and look at it up here you can now see that we've got all of our individual polygons and it's just one flat layer I see I end up with one hole here which is interesting I'm gonna go ahead and just hit M D closed polygon hole and close that make sure you close any that you see you might not actually need to do that but you know there we go and then in addition to that why don't we go ahead and select all of our polygons here and I'm going to put them on Y position zero so now they're gonna be zoomed way down to the original position of zero zero zero and now we can start making our selections really easily if it looks like we even had a couple other holes here honestly I don't care those are fine what we're going to do to 2 selections is pretty straightforward at ul which is a loop selection and we've got all these crazy patterns now what I want to do is just do a couple of selections but I want to stop at boundary edges so I do that and now it doesn't make double lines now we don't have too many koala you know qualifications here except that we know that our cracks are gonna spread out from the center so from right around the center is where we want these all to originate so I'm just gonna make a couple of selections here let's see if I can get a couple of nice ones I want a few more oh that one's nice it's gonna be careful to make sure I get a good selection if you don't very carefully click on the line it won't actually add it and then I could even go further here I wanna be really careful yeah I want to I would like to do it a secondary little one here where can kind of branch it off twice but you see here that most of these are really blatant actually that one's not batting a click there and I'm gonna erase out some of them so I'm gonna go to my live selection tool and I can just be like nope don't select any of those so I'm racing out other ones but you gotta be careful good look look at that little one and that's because on my current selection cursor here we are only selecting visible elements and the way this is overlaying on the other ones it doesn't see it so let's go ahead and turn off select visible elements and now I can more carefully be sure I mean racing them out properly and if you click your middle mouse button as a button and I drag left and right I can make this bigger or smaller so by making a little bit bigger I can go any race some of these extra little selections I didn't quite want so and you see I got that extra bit of line there so that's looking pretty good but you can also hit the shortcut um which is path selection so you em and what that allows you to do is click and start drawing out an additional path so if I select here I could start manually tracing out a new path for this to travel so that's just a little extra crack there we could have this one and pull it in a little bit now the one note I want to throw out here is we want everything to kind of continually go outward radially because if I had a crack that goes out and then curves back in again as our overall effect grows outward it's going to catch up to let's say I made this crack or you know if I had a selection like that it's gonna grow from the center and eventually just reach that so we're kind of doing a little bit of an illusion here just making sure it's growing out from the center point before it gets to those cracks but I think it works pretty well so you know I could make a few more of these very carefully if I wanted to but I think that is looking pretty good I am quite pleased with that I mean one more in there this can be a little finicky because of all the extra little subdivisions but that is looking awesome so now we got that all I have to do is type in shift C and then type in the word edge so shift C is gonna pop up the command manager and then I can type in the word edge and now we can find our edge to spline so now I've got that is now created a spline and of everything we just did this is all we care about we've now got this edge spline so with that edge blind we can copy it and let's go back into our and we could save the scene file if we wanted to in case we needed to to come back to it let's go ahead and do that I go to 13 I'm gonna get 13b and we'll just call it spline Jen so we go he's come back here and modify the spline now the important part here now we've copied the spline is that the spline is perfectly going to match the path of our over overall chunks here so let's go ahead and paste it now we're not gonna see it visually in the viewport because it is at zero zero zero and if you remember our chunk here is 50 in height it's 50 units tall so that means half of its above zero which means we now have to take our spline and jump it up above the ground 25 if I actually messy I'm gonna type in 26 which is finding its type in 26 and boom there's our spine if I NBD then well it's me a little hard to tell but there we go you see our spline is perfectly following along the line awesome so now this should be pretty straightforward to add this effect in as well I get n/a again to hide those and now we're doing how do we want this to the form well you know what I probably want it to be inside this plain deform I think that's gonna be the best way for these cracks to get revealed so inside of the plane deform we can add on an additional effect so we go into our fall-off and we're going to add on something on top of this one so what I'm thinking is we need to make a another version of the blur maybe a bigger one or we might be you see existing one because this one we cropped in and this curve made it quite bright so I'm worried that this blur isn't gonna be quite big enough but let's go ahead and do this step by step so those are existing ones I'm gonna turn them off temporarily we're not worried about them and let's go ahead and drag in our edge spline and drag that in by itself and let's see what the edge point is doing for us well it's kind of weird what are we seeing here exactly it's a little it's a little strange that's because by default the splines when they're brought in are set to spline shape curve and the distance mode is a long but we don't want the distance mode to be along we want it to be the radius so this is now looking at the radius it's trying to generate a radius off of the spline and then based on that it's going to be sending it's going to be applying it to other spots so let's go ahead and visually hide that spline and now let's just look at the end result of it so that seems to be working pretty well but let's go ahead into our deform er again and let's increase our radius a bit and as I increase my radius there we go look at that as I increase the radius the radius is now big enough to actually get to those subdivisions and you can now see these cracks very blatantly formed traveling along so that is great that's exactly we want one of these cracks to be formed but we don't want them to be just there in the beginning we want them to grow ahead of the rest of our our animation so what we need to do is also apply our our vertex map blur so let's go ahead and apply that as well so now that is there it's covering it up it's completely overwriting it but if I tell it to multiply on top of it it's only gonna show up where the two are where you can both see the vertex map and to see the spline now nothing's there right now but if I hit play then the there should start being some growth and with any luck we should start seeing the cracks form ahead but the problem right now is is that well we were seeing the cracks form but it's really subtle right now so it's just like we did before we need a curve in fact why don't we copy this curve because it was already kind of doing what we want I'm gonna hold down commander control it's gonna make a duplication of let me actually make sure I'm grabbing it it's gonna make a duplicate oh maybe if it's turned off you can't copy it okay well I think I found a tiny bug right there if it's if it's turned off you can't copy it but anyway now I've got this curve I'm gonna put this above our spline and what this should hopefully do is make it so that the spline or no I'm sorry it not we gotta be careful here let's go step by step I want this to affect our vertex map blur I want to push it further but if I put this above it's gonna be affecting all of them so now we get to do something a little bit more advanced we get to make a folder so just this is just like Photoshop if I put the blur and the curve into a folder and I can put the vertex map blur back to normal then now you can see that we are making so this curve is saying like hey radius become bigger and more powerful as you can see it's being spread out more and now with that being spread out more that is what the vertex map blur is doing and now that gets multiplied on top of the crack so now you can see those cracks start to form ahead but right now we're seeing the limitation of what we're doing here and that is is that this vertex map blur is not blurred enough to get ahead of us it's not quite powerful enough to to show us the effect even further so a couple things we could do if we want to be very very explicit with it we could go up here and make another duplicate of it and make it blurrier from that position but we also have the option if we're feeling confident than what we're seeing we don't need to make it explicit we can do it here we already dragged a vertex map blur in we instead of using range nearest we could say range average again and now we could start blurring it more from here so now you see as I increase my blur it's starting to travel further and further ahead and we didn't need to make another vertex map most of what we've done we've done we could have done from the original one I just want to make it really explicit and you can make it as clean as you want to so now I can just be confident that this is referring to the original blur and now I'm blurring it even more and it's going even further so I could push I could keep on pushing this further and further by adding more and more blur and we could always grab this curve and the sharper we make that the more we push it further the more that's going to grow as well so yeah now we got these cracks are traveling way ahead of everything else so okay that's actually working really well I'm quite pleased with those cracks that are forming further ahead so we could probably name this folder main cracks and then what we want is to see these smaller ones as well so we want to see both so what we could do is probably well let's see what's a good nice cleaning the way of doing it I'd probably make another folder and have this folder contain both the I got be careful cuz I accidentally put it inside this folder so I'm gonna pull it out of the folder and move this above the folder so your final structure here would be this folder containing the curve and the vertex map blur and that's self contained it's multiplying on top of that and now those are both put into a folder and we can have that half I'm gonna hide them for a moment we can have that have some effect on this one so this one is there so I think is we want to see this one but we don't want this one to be quite as strong so what I'm going to do is make a solid and this solid I'm gonna put right above it and this solid is going you know what just for visual sakes I'm gonna change anything but I gonna turn these checkboxes off so now we got a solid and it's always just like a solid color or like a zero to 100% I'm gonna set this to normal it's just completely normal it's fully there so you see it's applying all the cracks everywhere but I can drag this value down to zero and now it's saying hey no cracks anywhere but now I'm gonna drop this to 50% and if we wanted to be precise we can you know just go to blending and type in 50% and now you can see the cracks are there but there are 50% they're a little bit fainter than they used to be and now we can make our secondary level of cracks these ones up on top let's make sure we turn them all on and I came in collapse a folder down and rename this one cracks or you know once again main cracks so now I can say I want that to screen on top of it or add so either those are valid I'm gonna say screen and now you can see that we get our big cracks and then the small ones underneath now I want to make this a little bit more blatant so why don't we make the overall plane to four more stronger and grab the plane to former and let's say that it's pushing really far and I say negative ten which is probably too much then you see these cracks are really big but now with those bigger outer cracks being so strong we can go back into the fall-off and I can start moving this solid further and further up thus telling these inner ones that just have a little bit of the effect but then these further out ones these big cracks though should be really blatant these cracks are gonna really spread out ahead of the rest of it and then we get so there we go actually uh now we get the big cracks are traveling further ahead of our overall effect we get these nice smaller cracks that are a little bit ahead of the overall falling effect and then right before they fall in there's getting a whole bunch of random push up and down a little bit of rotation as well before they actually fall down into the pit and all of that being you know most of these cracks being done just by a single plane de former which is pretty cool I'm quite pleased with that so let's go ahead and rewind and give this another save number fourteen and what I think I'd like to do now is do a quick render even just a hardware render to see exactly we have in real time and then make some adjustments bakes based on that so let's do that let's go ahead to our render settings command or control B will pop open your render settings I'm gonna go ahead and say Hardware OpenGL let's click on that tab turn on enhanced OpenGL and I turn on our SSAO so that we can just see we can see the little bit of shadow there and actually just based on that we can zoom out a little bit and then let's make sure that we are outputting all frames and we'll probably run out of RAM because it doesn't keep too much but you know what that's fine I'm gonna go ahead and once again hit a quick save there and let's send that to the picture viewer don't and I'm not saving you know the picture viewer and now it should go frame by frame and we should see the crack start getting revealed you see those initial cracks are gonna like shoot out really quickly because it's taking the initial tiny blur and doing a big giant blur and that is pretty much exactly what we told that to do also visually in the viewport I can stop this because you can see I didn't turn off the proper plane here so I'm gonna make sure our ground reference is not going to be show up in the viewport or in the render our ground dynamics is going to show up in the viewport and the render and that is fine and now technically we won't see this but our mesh deform er that one it shouldn't render and honestly we don't need that well leaving it in the viewport is fine we have our matrix transfer we don't need to see that in the viewport but once again it's fine we can grab our our inheritance that's actually the first thing calculated so I'm gonna put it on the top of the fracture breakdown here and you know what this edge spline can live anywhere but I'm gonna put down here maybe I'm gonna put it next to the forum we could make it a child but it's fine living right next to it just for a little more organized once again another quick save and let's hit render and let's see what we get immediately from here we get really good feedback I mean this is gonna play through this pretty quickly now it's not real time which would be amazing if we had fewer you know fewer selections fewer chunks then it might work a little bit better this is still showing the display mode so I'm actually going to delete this little eyeball I don't want that to show the mesh the wireframe I want to just be the final mesh and actually now I think about it this uh compositing tag isn't stop it from rendering at all if I actually hit the real render button so I'll delete that but for now this is fine now let's go ahead and kind of take a look at this we can already see that these cracks are indeed staying ahead of it they're going way out in front when you see RPO the over the smaller cracks are going we can see that they're starting up and rotating downward and then we see our pieces begin to fall that's looking really good like I said the RAM preview it quickly runs out of RAM here when you're doing a hardware render expecially but yeah look at these fall through this looking really nice so I just want to see let me see how the pace of this feels had those falling down feel pretty good so yeah that's looking great actually I don't need that to render any further I've got all the information I need or if we want to we can rewind it's a little preview button here it's gonna cache all the first frames to Rams we can play those back at least in real time and the beginning part here I think is the most informative so we can see this actually playing back in real time this is actually what we are generating and we can see our pieces go and flop over there they're rotating down that looks really good I can't even see right now that there's almost a little bit of harshness here as they tip over there's a little bit of uh they start rotating down and they stop and then let me see yeah that's a no that's working well let's just look at each aspect like how do the cracks feel I really like those cracks they appear really quickly in the beginning so potentially we could keyframe the blur in the beginning up a little bit more remember that very last average blur that we put we could keyframe at if we want to I don't think it bothers me that these cracks are revealing themselves very quickly and then they keep on spreading the weights falling down is looking really nice honestly the only thing I feel like I would like to do here's maybe add on a little bit of a delay so I'm gonna turn let's get rid of that and we've got our fracture object and all I'm gonna do is add a mograph delay effector and that's gonna be the last thing to calculate and I grabbed the wrong object very careful let move the delay down and the delay you know we can usually we usually add on like a spring or something but right now we have it set to blend and so with a bit of blending and a decent mounting I've turned out pretty high it's just gonna smooth it out as it bends from one side to another now if I want it to I don't know if I actually want this to affect everything else I can't like the idea of these crack like when these uh when the position on the edge suddenly pops up as a crack I don't want that to be delayed do you have actually gonna do I'm gonna move this up here below the inheritance Oh first the inheritance happens and then the delay now it's actually not doing it it's just representing it so let's click on the actual fracture object go into our effectors and make sure that inheritance happens first and then the delay so this delay has no effect on these ones that come after and that is definitely what I want so that should just smooth that out a little bit let's go ahead and check out those first few frames again because it's so quick to render let's see what that does for us these cracks get revealed very nicely and the hope here is that these are gonna start tipping down a little bit more smoothly and then they're gonna fade in their final position a little bit more those early ones are passing through each other a little bit more than I'd want once again you can just choose different random seeds and get ones that don't intersect with each other potentially you know there is that original dynamic method we were talking about and like I said everything that we've done here forming these cracks you could have done it on the original methodology you could have done it on the original mograph selection and unblurred mograph selections and then all of these exact same things on that rig and thus make it truly dynamic instead of this this ground plane sort of dynamic but I really love the way these fall in now in some of my early tests and others I didn't save any of them but my early tests I what would happen if I if these were true dynamics is they I'm gonna stop this like part would suddenly like leap into the air and go flying into the pit or go shooting up in the air and land on the rest of it it just it just wasn't consistent which is why I started exploring this additional methodology so let's go ahead and cache these first few frames and see what we're getting we definitely it these popping up and let's see if they feel like they're tilting in the position a little bit more yeah they do yeah look how much more smoothly three-layer to tell but if you okay and chunk it's more smoothly doing this tilt in but yet just look at the way that just looks it just looks so cool and then given frame I'm not CIA like my eye is not catching that those are starting to intersect with each other you just get that really nice pop and then they start tilting inward so this is I mean at least for my eye if you're doing something a little stylized like is this super realistic probably not but for my eye this is more artistic and it's got this really nice controlled flow and artistically we had the ability to make these cracks go anywhere they want as fast as we wanted to there's so many additional layers it's just it's just such a just a fun powerful technique at this point like that that's the meat of this I am going to go a little bit further on things and we're going to add on some extra little rocks and I think we'll probably even set up a redshift render in the end but if you're not interesting that part then then we definitely wrapped this up but let's go ahead and give this a save because that is looking pretty great I'm quite pleased with it and let's go ahead and add in just some extra random chunks on here so we're gonna do this in a very very simple way what I think I want to do is let's just hide our entire fracture because we don't need that and my thought is is what if we make just a random shape I'm gonna make a play clinic why not that's a weird shape and we're gonna get pretty big and the bigger it is the more chunks we're gonna end up with and I can move it up into the air a little bit and let's go ahead and make a fracture we got another fracture and let's drop that in let's go ahead and name this one fracture extra chunks and all I want to do on this one to go to the sources and let's go ahead and create a whole bunch of additional pieces so I'm gonna type in one thousands of thousands here so you get all these extra chunks it's pretty big and I don't want to make too many of them so you know what I might actually shrink this object so I'm gonna go ahead and shrink it hold those pieces are a little bit smaller and there we go and now while we can go and clone those like these are individual chunks if we wanted to get this detailed we can just go ahead and clone these on to our original ground dynamics which would be the most simple way the most simple thing what you do is just make like one little random rock and then clone it a million million times onto if I thought this might be neat to reiterate to the inheritance thing so we know that this has exactly 1111 so we could do is create a new mo graft matrix object and let's just call this one extra chunks and I'm gonna tell this to clone onto an object and the object is going to be the ground dynamics and on the ground dynamics I'm gonna say - I want exactly 1111 of them so now let's go and hide the other transfer the matrix transfer and now this is what it's done it's gone and spread out all these little chunks that's exactly how many we have I can go ahead and click on different random seed if I want different distributions there we go that's fine and now all I have to do is grab our extra chunks here make a mograph effector inheritance effector and I'm gonna go ahead and tell it to directly transfer to wherever these matrix objects are and have a morph motion object to turn that on and boom every chunk from that one shape has now jumped on to the surface of the rest of our object matrix objects take a little bit of time to calculate but not too much so we get it almost for free and you see in the viewport that we've just got all these extra chunks all over the place so and making more or less of those is as straightforward as taking this matrix object and saying I want twice as many of those and then I want twice as many chunks and then it's going to be cutting all those pretty much in half and now we've got the exact count again and there we go now there's more chunks laying around on the ground and those are just stuck there so even without a turn off our fracture object I can turn it off hold on control and now if I a play as our dynamics are applied and these start falling in those we'll just follow automatically we get that for free so these are just extra chunks to help fill in that overall void to make it look like there's extra little pieces in there you make as many or as few of those as you want to so that is neat as well we can just go and turn that back on again unhide our fracture and yet if we would hit play here it's gonna be relatively slow in the viewport but you know we're still getting some sort of feedback in here and dare I say it a lot faster than if these were actually running full dynamics and we can see these start tilting over and we see the nice little individual hidden ones underneath and those will just be falling with it very nicely so I am quite pleased with that yeah those will just fall in all way so let's go ahead and save this file one last time as number 16 the next chunk of this tutorial I'm going to be moving into the world of trying to make this look a little bit prettier not my area of expertise we're gonna be using a bunch of plugins to help that along they we did the meet of the tutorial the focus of this was supposed to be the dynamics I'm gonna move forward I used some gorilla cam to get a little camera shake and we're going to be using other plugins like the everyday material collection and probably a little bit of maybe some HDR a link to get some quick lighting in here just some extra details to make it look nice quickly because that's not leave focus of this tutorial so if you don't want to continue into that you don't wanna be doing any red shift because you don't have red shift maybe you're an octane person then this is kind of the meaty part of the tutorial and we can cut it off here so if you're done now if you are not planning and continuing until the last part of this tutorial I would really appreciate a thumbs up and a subscribe if you really like this stuff and if you really really like what I'm doing then you get head over to a patreon and give me some support over there it enables me to make more these tutorials and do more live streams and you can get access to scene files and bonus live streams and you know it's just a lot of fun and we do extra stuff so I appreciate that hey Chris from the future here there is going to be a small section at the end where I spend some time talking about how to limit the simulation to be within kind of more of a circle within this overall square so the dynamics don't go all the way to the edge and it makes it so you can maybe insert this a little bit more easily than something else just want to give you a heads up on that all right let's get into a little bit of rendering here let's go ahead and go to redshift and I can create a redshift dome light and I'm gonna right-click on it I'm going to add a plug-in from greyscale gorilla that I helped develop called HDR a link and we're going to control the dome map by dropping it onto link and now we can double click it and pop open the browser and I'm gonna go to the 4k skies because I don't need the crazy resolution now let's just pick a nice bright sky but not too bright and I like the more noontime ones a little bit let's grab that one I like it number 72 and now we've got that light you know this nice HDR into that image so with that in mind now that should be getting illuminated and now I'm also going to use the everyday material collection that Chad put together as a way of jumping into describing a couple base materials that we can then build from so I think we want some concrete so I'm gonna go ahead and grab a nice dark concrete and let's grab a nice let's make these thumbnails bigger let's make a link that one let's grab this one it looks pretty rough so any darker one that looks really rough takes a second for our redshift to acknowledge those getting loaded in let's go ahead and see I'm pleased with that actually I'm gonna grab this one instead so I'm gonna put that and replace the dark one with it alright so let's go ahead and apply these so it should be pretty straightforward we can go and apply the surface level kind of concrete to the overall Voronoi fracture and I'm going to apply the secondary one which I want to be the interior and we can apply it more specifically by exposing our selection tags I'm gonna go to our fracture object let's go do the selections tab and I'm gonna say I want to see the inside faces and now I'm gonna limit the second material to be the inside faces so yeah those that becomes the inner part so let's go ahead and I'm actually gonna hit play let's go a few frames in so we actually see a difference between the two so let this calculate shouldn't take too long also something to know to a preview good idea is if we bake our dynamics then we should be able to scrub the timeline I mean it's like i scrub quickly but we would be able to we would be able to jump to any point in the timeline and it would update so anyway I just want to get a little bit further in so we can see these cracks a little bit better and now let's go ahead and pop open this material double clicking I hit edit shader graph and this is the supposed to be the internal material and I just want it I like that texture but I want to be a little bit darker so I'm going to search for a color actually you're gonna search for the word corrrect and there we get color correct and now you can see here's our diffuse color and I'm gonna feed that into this color correct and just to do it quickly all I'm going to do is start lowering our gamma down a little bit you can see right there in our preview that there we go it gets a little bit darker and that's what I'm kind of go I don't go too far just a little bit darker nice so having been Alton okay now we put in our dome light we got two basic materials we can go ahead and apply this material additionally to our extra chunks so we'll put that in there and that should apply overall and yeah I'm happy with that let's go ahead and turn on our redshift well let's go to our render settings actually I could say I want to render out let's make a new render setting and let's call this one redshift by the way I am NOT an expert in redshift so if I do something wrong here it could feel free to leave a comment I'm gonna go ahead and go to red shift and clicking on that we can turn on some GI here I'm gonna say brute force brute force three bounces is probably fine I'm gonna go to two and then we could go to our basic tab and we can jump these up a bit something's up to like 64 maybe 16 don't go too far we're just doing some quick tests here and I think that's all I need to do right away let's go ahead and pop open our redshift render view and just hit play and let's see if it's giving us anything reasonable let's see how that looks oh okay not bad I like this super scratchy concrete that's neat up there and then I think that our darker materials are playing up hearing down there but I want to make sure so let's go ahead and make it cartoonishly dark so I'm gonna go ahead and pop this color correction open again and let's go ahead and lower that way down and let's yeah there okay you see it an indeed that is the interior I just want to make sure that it was maybe I'll split the difference a little bit make it a little bit darker so we can blatantly tell the inside from the outside and yeah that's looking pretty nice now we do have all of these really harsh edges so most of our effort here is going to be doing in this is going to be doing the displacement which takes a couple of steps before I do that though I do want to grab one more material and got so many windows here I want to grab one more material let's go to the browser hop up one and I want to grab another redshift one I just don't know where it is I'm gonna try organics yeah here so he's got Chad made a ground one and a ground too let's just go ahead and grab ground and I'm gonna go ahead and make it so that our ground reference is going to X ground dynamics is going to have a material hopefully here we'll see it appear right away there we go we get this nice dirt so I are overall seen is pretty big so I'm gonna make these a lot smaller I'm gonna grab that and say tile 3 x 3 u + 3 V just a couple or extra tiles there and honestly our overall concrete here let's go ahead and zoom out let's see how that looks you know what action it's not bad it's a little perhaps a little zoomed in it's so specific I feel like it might tile but let's go ahead and tile that 2 + 2 so it's twice as many if it's really yeah I mean it's a little bit obvious that we're seeing a pattern here I can see that junk in that chunk but if we added a little variation or displacement or even rotating it a little bit then it would hide it but to tell truth the way that one looked I kind of liked it 1 1 so it's fine and yeah so you probably do something like 1.5 just to make it a little bit more I don't think we'll see the patterning too much there yeah so that's working well let's go ahead and save this and then move onward to the displacement now this is definitely something I'm still learning about but we're gonna go into this concrete for our displacement and let's just even right now I'm just gonna rename it real simple I'm gonna call it displace air and let's go ahead and edit our shader graph and we're gonna do a couple things this material is spitting out you know this is diffuse color which is fine but what I want to see is the wireframe I'm gonna pull I'm gonna search for the word wire pull out wireframe I'm gonna say output wireframe into the diffuse color excellent so that means in our red shift or render view it should mean I hit run on here we should now see a wireframe in there you can see we are seeing exactly our polygons so we're gonna want to displace this somehow and we're going to displace it by adding on a tag so let's go to our fracture object which is what's actually displacing I'm gonna right click and I'm going to say I want a red shift object tag and inside of there I'm gonna go into geometry add I'm gonna say I want to override the geometry and let's go ahead and enable it and it's instantly going to create a whole bunch of subdivisions and boom you can see right away we'll look at all these extra subdivisions and putting in this wireframe really helps being able to see how it's subdividing but you're also going to see that's gonna be rounding everything out so these look more like smooth stones that were you know coming out of the ocean or something don't want that so the best way to stop that is turn off smooth subdivision so get rid of that and now it's gonna subdivide everything but not trying curve it and smooth it out there's going to be one slight problem though and that's if I move my camera into a spot that has no cracks whatsoever we're going to see that there is still a little bit of implied crack in there and we're gonna have to do a little trick to get rid of it because I was not able to find any easy way of getting rid of it I even went through and did tests where I was trying to limit this material to only be I'm even right now this material is limited to this inside faces selection tag but it's still not preventing it I did a whole bunch of tricks I couldn't fight figure out any specifically better way so hopefully the trick I show you makes you happy but if you know of a better way please leave a comment I would super appreciate it so let's get some displacement going I do tend to have a little bit trouble getting the scale working properly here so I'm gonna do is make a noise so we've got a redshift noise unfortunately they don't have cinema4d noises yet I hope they do in the future I'm gonna put this into the color Channel so we can kind of blatantly see it see that pattern right there and the reason I wanted to do it that way is I want to see if the patterns showing up and how much contrast there is so we can go into the noise and go to our coordinates and do things like shrink our coordinates if we want the pattern yeah if I want it I'm gonna shrink these which hopefully will make the pattern shrink as well so give that a second actually is it the opposite I think it might be the opposite I have to make it it's one of those ones where you have to go bigger inside going smaller so I'm gonna go jump it up like seven and I think we're gonna hear see a more distinct type of noise yeah there we go you can see that the pattern emerging a little bit more so let's try eleven eleven eleven I'll see if the pattern emerges a little bit even more yeah there we go you see the pattern beginning to emerge so okay that's the right scale we're able to see that via our diffuse color now I'm gonna put the wireframe back in again and now inside of our output node I'm gonna click and I'm gonna say I want some displacement so we have put some displacement and in order to get that we need to translate our noise into some sort of height map so let's go ahead and make a I'm gonna search for the word I think when you search for the word bump know do we search for this place yeah this placement so I'm gonna grab a displacement and I'm gonna feed this noise in as the texture that's gonna be the texture map and then we're gonna output that and this has some sort of height associated with it you see we now have a height of one excellent so high to one is great that noise is outputting I like that now we need to go into our redshift object tag and we have a displacement checkbox let's go ahead and turn that on and hopefully we want to see something happen let's see visually a boom something happens pretty subtle it's not too crazy yet something important I definitely found is I want to turn off bump mapping for a moment and I don't want to see a bump mapping I just want to see I just want to see how the displacement is working in fact you know I'm gonna zoom up a little bit more onto the area we're seeing that this placement a little better there we go I don't have very good intuitions here but this is your maximum displacement and displacement scale so I think even if we made this number pretty big let's jump that up to eleven I don't think we're gonna see much of a difference here as far as displacement is concerned because our our displacement is not allowing it to go beyond that we have a maximum displacement so if I jumped that up to 11 let's see if we see something yeah now though I've increased that now you see it's actually pushing further out so that automatically becomes pretty we are now successfully seeing of that displacement which is cool but all of our displacement I think is pushing outward is we have a height field and the space is object but right now it's outputting and this is really great we can twirl down in the displacement we are currently out going from zero to one which is what the noise is it's white and black zero to one but if we go to our displace back and say you know what actually want to go from negative one to positive one so can pull in as well as push out so there we go as soon as I do that and how we see we're getting some pretty nice-looking displacement another thing if you haven't tinkered around with redshift is we have the way of subdividing and the way it subdivides is very different from the way the rest of cinema4d subdivides and that is when you're setting your maximum length I don't know if it's pixels but it's saying how how far can it travel kind of in the viewport before it needs to do another subdivision so we're saying for units and then this is a clamp on the top like don't subdivide more than six times so what would happen is the further back in space that we go the less it's going to subdivide but it what's the best way of explaining it if I had a if we let this break a little bit more let's stop it from rendering for a moment and let's let this continue breaking some more we want a pretty wide divide here don't let this go further still that piece is really popping up through there but once again I could do a random seed on something or have the growth be a little bit different or you know in this case I just not quite have my camera being there but that's a little bit further here let's go ahead and turn this back on again and let's see if we can see the effect the hope is is we're gonna see some in the very foreground you can see right here we got all these little subdivisions and you see in the distance that look how many tiny subdivisions are but in a distance there's a lot less subdivisions but I think the overall height of these is not super dissimilar from those so it's the further away it is the less detail it needs and then it's subdivides it less so making this maximum edge length smaller is how you make more subdivisions and then this maximum subdivisions is how many times it can be subdivided again keep in mind every time it goes up one subdivision it's four times as many polygons and that's about what I know there so now that we've done that I can go ahead and enable our bump mapping again and that means it's gonna add in even more detail but it does such a good job with bump mapping that sometimes I couldn't tell if my displacement was working or not actually the bump mapping is is a little harsh right there it's pretty powerful aspire because we made our scale so big by really like these individual chunks I might pull our overall scale back let's see how that looks yeah you know I kinda didn't like the Auto bump mapping so we're just gonna turn that off we're gonna let the displacement do the talk in here and now it's a little subtle so we're gonna put that back up to 11 excellent and now the hope is everywhere that we have these polygons we can now see that our edges have all these nice imperfections all along especially when we see them up close so that says it looks so it looks so cool when you do that so now that we know that those are working pretty well let's not use a wireframe but go back to using our color and now we can bring that darker color back in again that should pop in and this should refresh in a moment it's pretty dark because we kept making it darker but with all of these little imperfections I'm pretty sure we can go ahead and brighten that back up a little bit I'll see how that looks yep I like that and yeah excellent so now now we need to do one last trick with our vertex map let's go ahead and pause that and I was going well so let's gonna do another quick save so like I said the best method I found to hide these cracks that we don't want to see is kind of faking it but in a pretty neat way but we might need to make another vertex map to be able to help us here so in order to do that why don't we go ahead and hide our vertex map temporarily and our fracture right now actually and I'm going to go ahead and actually leaving a little bit further in this timeline is fine but I want to go ahead and unhide our ground reference and I want to make another new vertex tag and let's hide our ground dynamics temporarily so we got this nice fall-off here but I think we need to recreate a fall-off that is very similar to what our eventual final shape is going to be so we're going to need to make this one a little bit fancier so we might need to steal a couple of things from our our deform our plane to former so if we go into that fall-off you can see we've got this nice folder and this fall-off now this base fall-off I'm fine with but let's go ahead under these main cracks and I think we might need that I'm gonna go ahead and copy that we're gonna go into this new vertex tag that we've created and let's go ahead and name this one I'm just gonna call it redshift and on this one we've already got this base vertex map that we're feeding in which is looking good but let's go ahead and see if we can paste in that additional cracks folder and everything that is contained within and see if we get that visually working which is not necessarily a small feat because I found doing copy and paste here can trip things up a little bit so let's set that to normal and let's see what we're getting so we're feeding in this vertex map blur and we're averaging it to be way bigger so you have those you know you see where those cracks are existing but I'm not traveling too far on the outside and we have our edges so let's let me think a little bit and then we've got this curve which is existing in a really strange spot I think that's supposed to be above which is interesting you know I don't I don't trust the copy and paste it's just that's what it comes down to I think we can rescue this edge spline so yeah I can pull that edge spline in and there we go now we get that we can see the cracks of that way but I don't I don't trust it combined with copy and paste thing it just doesn't consistently give me the results I'm looking for so I'm going to let's go ahead and create a folder and we put the spline mask in there and we're gonna make a copy of our growth and that's fine but we need this growth to be really big so I'm gonna go ahead and average that way more so I'm gonna blur it out more so 98 goes way out and then I gonna make a curve and the curve can go inside there and starting to go into another folder but let's go ahead and brighten this off quite a bit because we want those cracks to be seen and that seems to be work that should work pretty well honestly I feel like I want to blur it even more so let's say 600 cuz we want the we want this to be even bigger than what the fine is going to be so cool we got that that this is our vertex that's a vertex map in order for it to overlay the spline I think we can say move the spline above it and say multiply yeah there we go so that we got a multiplied on top of it so we simplified that folder structure a little bit and now we can just rename this one spline and I'm gonna tell this one to screen on top of the one below it and I can see we get the cracks and this nice fall-off that's working pretty well we might end up feeding this even deeper into another level if this isn't quite giving us a strength that we need I'm also a little bit inclined to make another curve which is above everything and just use that to brighten everything up here so we're just gonna brighten all those up and we might like I said we might do another blur but let's leave it at that right now so now here's my thought let's go ahead and hide our ground reference when you pull back our ground dynamics and we can go ahead and take a look at our fracture again excellent but now what we need to do is create a plane and this plane is going to be you guessed it 2000 by 2000 by one by one and we're gonna move it up into the air 25 units would be exactly on the ground I gotta have it hover a little bit 26 we could probably go a little bit lower but this is just going to be above the ground a little bit so I want this to look exactly like this material so I'm going to copy our outer material on top of it so it's got the 1.5 looping and it's applied the exact same way looking great but we don't actually want to work from that same material so I'm gonna make a duplicate and I'm gonna call this one ground fade so it's exact same material but this one we're going to be driving with some fall-off so let's go ahead and double-click it and go into our material editor and let's go ahead and edit our shader graph and we're going to be dragging well what do we need we need to get some sort of opacity so I'm gonna go to overall let's make an opacity channel here and in that opacity Channel we want to feed it a vertex so I'm gonna type in the word vertex and there we go we have a C for D a vertex map and now we can freely drag in a vertex map and I want this one so yeah we get that vertex map actually I don't think it I don't think it automatically transfers yeah we can't we can't get an automatic transfer so you know what it is a small detail I almost forgot here which is in our plane we need this plane to also have the same subdivision so I'm gonna go 55 by 55 otherwise it wouldn't know what to do with it and I think it needs the vertex map so you know I'm gonna make this editable and we're gonna feed it its own vertex map so I'm just gonna copy that one over and inside of this vertex map I'm going to delete everything and we're gonna feed it this other one so it's gonna be fed in there so now it has its own vertex map it's being fed directly on the actual object and now we can safely on this vertex map but let's go ahead and call this one vertex redshift which I typed and wrong redshift too so let's go ahead and feed a vat long and okay cool vertex map hopefully I haven't lost anyone there so we have a vertex map we can feed that in as the opacity so let's just try doing that directly to start out with and we'll deselect everything and let's go ahead and you know I'm gonna make a wireframe again make a wireframe we'll put that as our color output and let's go ahead to our redshift render view and let that chew on that for a moment and let's see what we get oh do we I don't think we replaced this material with our new one so let's make sure we do that and there we go that has now updated and there we go look at that okay look at this so you can now see that we are seeing our polygons in the center so it's the opposite of what we want so we need to invert our vertex map so we click on our vertex map and just say inverts very straightforward so with that inverted and let's see what we get okay nice look we can see the cracks over there and we can see all of our chunk coming up but we get this nice crossfade into it so we don't see those other cracks we need to push this a little bit further though it's kind of cool that we copied it from one object to another because now this plane object we can go ahead and do things like blur it a little bit so let's go ahead to our vertex map field here and let's go ahead and right now set the nearest but we could say average and yeah you see that's gonna blur it a little bit I don't wanna blur too much let's say 50 and Alice I don't know 50 does anything so the original number was what oh well actually there's between those dots I don't remember I'm gonna keep guessing until I get a nice-looking number let's try it 30 five I can't help this blurted also through 55 okay definitely blurred a little bit which is good and now that that's blurred a little bit I'm going to add another curve and we're gonna once again maximize that a little bit so it's really we're erring on the side of making that brighter and we can see it happening right now in real time the viewport look at that look our cracks are revealed underneath it and everything else was faded out on the edge so we don't even see it we just need to make sure that this ends up being big enough that we're not sneaking through it I don't wanna crossfade through it so we need to err on the side of going a little bit too far so let's go ahead and increase this further and say 75 and that should blur it more which should expand these radiuses out a little bit more let's jump it to 111 I'm doing very small numbers I should be doing bigger numbers yeah and that's either blurring out further and once again we have our curve and I'm gonna emphasize that we need to go error on the outer part and let's see boom there that needs to be expanded more and we're getting extra tiny little cracks on the edge so that's actually that's working pretty well the blurring abaca gotta be careful cuz blurring this it's making so that these cracks might be getting erased out a little bit on the end if we blur too much but I think that's working pretty well I might pull this back a little bit just to get a little bit further in here there we go so that's looking pretty nice I'm actually pretty pleased with that overall so now that becomes transparent everything becomes transparent where there's a crack and now if we allow our original color to go through and be are just our diffuse color then this ground should become indistinguishable from the rest of our surface except that we get a little bit of a shadow here there's a little bit shadow being cast so let's go ahead and add a red shift tag object a red shift object tab and on the visibility tab let's turn that on and override some things I'm gonna say that this new flat plane here which is just I don't know let's just call it the ear eraser that the eraser here it is not casting Hamming and occlusion it itself is not casting any shadow it doesn't self shadow and let's see oh there we go look at that boom disappeared so now that is hiding all those subdivision cracks that are everywhere and it's just going to reveal them based on the exact same chain of vertex maps that are revealing the rest of them everywhere and that is actually working pretty dang well I'll just pass up through it in general as they as they crack up but that is working pretty much perfectly as far as I can tell I'll spin that around make sure that the specular is looking nice yeah look at that I am quite pleased with what we are seeing here overall yep fades out quite nicely there so yeah all those subdivision cracks are being hidden underneath it if you have a different method there I would love to hear it but let's go ahead and give this a save number 19 what a tutorial and let's do a render of this thing and make sure everything is looking good and then we'll do one last pass of any tweaks all right got a couple of little tweaks here I would like to do let's go ahead and take a look at the animation overall this is working quite well but if we look carefully we can see it's fading in a little bit on the edge here that's this animates through and in fact you can see some cry happening further ahead significantly that's not catching up so I think these cracks are way too faded and then even on these newer parts like these should be breaking up earlier than we're seeing him so we just need the overall effect of this vertex matter to be way stronger so I think if we go back and we take a look at our main four final vertex map here I think what I would like to do is click on this vertex map which is where I think we need to make most of the changes so this is the original red shift one that I named incorrectly red shift if we go over there and we click on the fields I'm gonna lock that property so I have those controls and then I'm gonna click on this upper one and we can now see the vertex map and we're gonna have to hit play and let this go forward quite a few frames so that's what that show go long we're gonna see let's see we can even kind of see it happening here so we can see this growth happen that's looking good but you can see some of these cracks here are appearing way ahead of it so we that is not nowhere near far enough but let's let this go even a little bit further and then we can start seeing these little tendrils arrive so we need those tendrils to be way stronger so I think and now I've got I'm actually looking at the properties of this one cuz that's where I locked it so we've got our spline being affected in here but our vertex map growth I think that it's so blurred we've got all this blur on it that this curve by itself is not enough to to pull it back up to a light enough color so I'm actually gonna duplicate that curve and the instant that I do I hope give that a moment to oh there we go up so now you see that it took a second but it refresh and you can see that we can see a lot more I mean a lot more so we can see this moving further down the line these cracks are a lot more distinct and with that in mind potentially even brighten that up a little bit the edge mode is getting a multiplying on top of it I think I might want to increase our radius on that a little bit so those should get a little bit thicker let's see what that does it does it is updating I think various things I didn't see much of a difference on that one if it did at all we've got our overall vertex map up there actually that made a huge difference it's just taking a really long time for it to refresh unfortunately I'm gonna go I'm gonna go back to 50 to fill that one out and we've got our initial vertex map which is a smaller one I'm gonna tell that one to be a little bit more blurred so it's gonna blur and hopefully get a little bit bigger but it might fade out so it might not visually look terribly different but if I click on the curve then I should be able to and you know what this is all taking a lot of calculation time if we turn off our vertex map or our row noise fracture here I think everything will speed up quite a bit I'm gonna grab our top curve here and pull that in quite a bit and that yet now we're getting much better feedback so I think you see everything is scaling up so everything got bigger these lines are going way further out so that these edges are definitely getting more of their due and that should be significantly better so that screens on top of it the curve gets applied that all feeds through so I think that that should wrap up the actual part here I will do one more render first of all I'm gonna turn our fracture back on again but one thing to note is if you hit render with this rig and it's played somewhere in the viewport it might render the first frame with the animation not quite in this position so make sure you always render it back at the time of 0 because it seems to have one frame of lag trying to catch back up to it so and then in the viewport we can also visually hide this erase layer just so we can see our cracks a little bit better it is the next day I continued working on the scene file for a little bit trying to prepare it for the final animation and this is not at the full final rendered quality builds go ahead and take a look at this and I'm quite pleased with the way that's all come together there's definitely some things I would do pushing beyond this but this tutorial is already two and a half hours long if not longer so I don't want to spend much more time on it but what I did want to do is we're not gonna go through it step-by-step I want to talk about a couple of concepts I implemented in here to make this final animation one of the first things you can see is if we let the animation as we had it continue its just gonna dissolve all the way to the edge and the entire big square is gonna fall away and there'll be nothing left so I stopped that from happening I also made it so that the ground level the ground is expanded way beyond just the initial point that I did in the very simple way I just created another plane made it five times bigger punched a hole out from the middle and applied the material in the same way so it just perfectly matches our breaking one exists on one side and then more is created beyond that so that one's really straightforward but I spend a little bit of time breaking down what I did to stop this from animating all the way to the edge and it's actually pretty straightforward let's go ahead and go to the bottom and I'm gonna turn off my fracture object and let's take a look at my ground reference and let's take a look at some of the different vertex maps by that add and added on here I made a couple of extra super crazy ones but I want to take a look at where did I put it this one I made this new limiter vertex map so let's go ahead and hide our ground and we've got a whole bunch extra chunks in here I added and don't need those so here is our brand new vertex map called a vertex map the limiter and what I did with this one is I made sure that I made a spheric a brand new spherical field and the spherical field you can see here is just big enough to get around the edge of our overall object and I made it a little bit beyond and I gave it some fall-off that goes a little bit inside and I created a new random field which is a copy of our original random field and I overlaid it inside of it so there's an overlay so it just gives these imperfections on the edge so there is no growth but all that's happening is I can now use this and add it to my other ones I'm not sure where I might have yeah like here's one where I've got my growth and then I multiply our new limiter on top of it and that just means when it grows it can't grow beyond that point so we never quite get to the edge so when the dynamics are run the dynamics can't get beyond it being locked into this point so that part is very important another thing is we're having all that trouble with the fade-out and I was able to finally figure out why the fade-out wasn't working too well and it's actually pretty obvious once I figured it out in our fade-out material here which I will pop open the vertex map we don't need that the vertex map no matter how we're feeding it in has this little fall off on the the side so all I did was pump our vertex map through a color correct and crank the contrast all the way so it's either on or it's off and we don't get that smooth transition happening let's take a look at the final render and see if there's anything else worth mentioning taking that limiter and putting it in various places to stop the animation from traveling all the way to the edge I just applied it in different places but hopefully using some of the concepts we talked about learning the way fields work that helped a lot and so go ahead and hopefully try and apply that concept by multiplying it in different places to the rest of the workflow and you should be able to limit how far these different things grow the last thing I want to mention is pretty important I added in a shaking camera here I used gorilla camel if you will I helped develop over at grayscale gorilla I just thought be cool with getting some nice shaking animation going but I wanted in red shift to create a some motion with motion blur and gorilla cam had to be baked in order for that motion blur to work correctly otherwise it refreshes quicker an addition to that I found out that fields suffers from the same problem if you turn on motion blur and you use a freeze node and it has growth which is how we're growing our initial you know the initial growth here is all from our tiny spherical field spreading out via this freeze which is growing that refreshes super quick based on however many sub frames I guess that red shift is calculating from so it make more and more and more and everything would collapse on the pit really quickly so I had to figure out a way around that but there's no way of baking a vertex map so I actually had to do a pretty strange workaround and that is I made an entire copy of our ground plane and I put a plane effector in it and I turn that into a de former so it's deforming the points upward and it's going to deform the points upward the exact amount which is the distance of these points I'm moving up exactly thirty six point three four six four upward so if it's moved upward all the way it's having no effect and if it's not moved upward that's having a full effect and what I did is I used our same vertex map which would normally grow it's just doing the normal growth and I sent that over to this plane effector and then I baked it using a right-clicking on the object going to character tags using a point cache mode so making that point cache mode I then ran the entire simulation and I baked out by storing the state and calculating store the entire state of the entire animation all the way through so then essentially what I have is kind of a baked out version of a vertex map that I could then feed this back in again to the field so instead of running that same simulation I just drag that object back in and as long as I use point mode and exactly that same distance it treats it like a baked vertex map in which case it didn't accelerate really quickly because of the growth happening so there's just a cool way of baking it in so we're gonna do motion blur and redshift that's definitely a necessary step otherwise you get completely different speed I think that covers everything else that I did in here keep in mind that I added in some extra chunks in here I just copied our other one and made it so there'd be more little tiny chunks falling through and I'm gonna do another render tonight which i think is gonna take like 3 or 4 hours to get this entire thing animated but the extra camera shake really I really helped sell it I think and you get the cracks moving around and I'm just quite pleased with the way that ends up looking overall so hopefully that wraps of that up another giant epic tutorial from rocket lasso whoo you made it all the way through that is a gigantic tutorial I hope I have a goal of making some of the tutorials in the future not quite so long but when we're tackling advanced dynamics things it just takes some time so remember you'll make more bite-sized things and I've got of course a bunch of ideas for tutorials that have nothing to do with dynamics whatsoever now important things to note here it's very important to make these kind of things your own don't just recreate this tutorial like number by number and then put it on your real that's not what people want to see though people do not want to see exactly what they saw in a tutorial on a bunch of different people's real so go ahead and take this make it your own go and do some camera matching and make it fall on the ground somewhere go and make it that a wall is collapsing go and there's so many different ways of changing this and making it your own so don't follow this you know bit by bit step by step and then put that in your real that's not going to be any good for anyone that's really hopefully useful for learning the techniques in addition to that I want to say that there is an entire community of other artists that around able to help and answer questions in the rocket lasso slack channel there's going to be a link in the description below on how to head on over to there and that's just a great way to continue the conversation and ask questions and see what other people are working on there's some really fun group projects in there and you know I think you'd have some fun being in the slack Channel in addition to that liking the video commenting below if you have any comments or critiques or anything I could improve or things you'd like to see in the future would be amazing it really helps me out and if you really like what's going on then supporting on patreon is the best way to enable me to make more of these tutorials so thank you so much for watching I really appreciate it and I'll see you in the next live stream or in the next tutorial bye bye [Music]

Channel: RocketLasso

Views: 76,582

Rating: 4.9752917 out of 5

Keywords: Rocket Lasso, Cinema 4D tutorial, Chris Schmidt, C4D tutorial, cinema 4d animation, cinema 4d animation tutorial, cinema 4d rigid body dynamics tutorial, cinema 4d mograph tutorial, cinema 4d fields, cinema 4d mograph fields, cinema 4d destruction tutorial, cinema 4d destruction fx tutorial, cinema 4d vertex map, cinema 4d ground break, cinema 4d voronoi fracture tutorial, cinema 4d redshift tutorial, cinema 4d displacement, advanced cinema 4d tutorial, advanced dynamics

Id: bLXq5tnFIWU

Length: 151min 22sec (9082 seconds)

Published: Tue Jul 09 2019