Bryan Coleman @ NAB Show 2019 | Maxon Cinema 4D

ladies and gentlemen welcome to the Maxon booth here at nab 2019 I'm Matthias aka major VFX and I'm accompanied by amazing artists from around the world showcasing how they use cinema 4d in their workflow to create everything from movies VFX medical illustration animation games you name it use across the board one of the big things for everybody who's tuning in and if you haven't haven't been made aware or if there isn't any signage anywhere redshift is now part of the Maxon family so we're so happy to have them on board and it's thanks to the community you guys have been a big supporters for a long time and now we're all one big happy family so that's big news also we're up for a product of the year here by at NAB and we got an Oscar this year for mograph and that's once again thanks to the community and everything that you guys are doing and it warms my heart cuz I've been here for like ten years to see us now getting an actual Oscar and everything else so thank you for all the amazing motion work that you guys are doing everybody here and online at home so do that we have another amazing artist to my left is amazing motion designer as well as art director Brian Coleman let's give up a big round of applause thank you thank you thank you my name is Brian Coleman I'm a freelance motion graphics designer style frame artist art director based out of Los Angeles a lot of my work is broadcasting commercial design work I work with After Effects X particles octane Arnold redshift but the primary foundation of all my work is c4d that's where everything starts so I would like to thank Maxon for bringing me out today to talk to you here in at NAB thank you guys all for coming to I'd like to thank everybody who's watching live I think I might have some friends maybe maybe some family I like to give a special thanks to my wife who has been a good support crew for this presentation and my friends Robin hat out and Toros cosas if you're watching thank you both for all of the help a lot of my work is data visualization but I also do a lot of realistic rendering and lighting all within cinema a lot of the work that I'll be showing today was created using X particles and rendered with Arnold but I'm going to show you how to do everything directly within cinema so I hope when you leave here today you have a better understanding of how I use c4d and also have a better understanding of how to simplify your workflow within cinema for motion design so let's take a look at my demo reel and you guys can see what I do [Music] [Applause] [Music] [Music] [Applause] [Music] [Music] thank you thank you thank you so I have three projects I'm going to talk about today let's jump in first project I worked on was with a buddy of mine creative director Taurus cosa it was for HPE it was for a green lake which was going to be a conference based out of Madrid Spain so what I was creating was this backdrop that would be this slow-moving undulating body of water made out of data and then that would run behind speakers talking about data security so let's take a look at that project and I want to show you how to build some of it [Music] [Music] all right so let's take a look at how to build us I'm going to focus on this shot right here this slow camera move rotated around this object these splines these data lines these data bits let's get into the project we're going to start from scratch I'm going to go to my top down view and I'm going to grab the polygon pen tool I'm just going to draw a straight line it doesn't have to be too perfect with the splines selected I'm gonna go option mograph and cloner so now my spline is a child of the cloner i am a huge fan of staying organized in cinema I name practically everything and I put practically everything into a layer and some people are like why do you have 26 layers because it helps me stay organized so it it's a very simple thing to do but I recommend using it and I'll get into the layer structure and system here once I build everything just so you can get a better understanding of that under the attributes let's change the mode to excuse me let's change the mode here to endpoint and I'm gonna take this down to zero I'm going to increase the count to let's crank it up I don't know let's go 80 I'm gonna make it change on the x-axis about 2000 units so now we're starting to get this very nice broad scope of splines I'm going to grab my scale to make sure I'm in object mode and let's just scale those splines up so I'm gonna create this square as shape sort of like that that seems pretty good it's kind of working on the fly here I'm going to grab this guy and I'm gonna go select children and objects connect objects + delete so now we just have this one object this one spline that is this whole thing so let's grab that you'll notice that when I collapsed it that the axis is now off-center and I always like to work in the center sometimes you might work with other people's projects and you wonder why everything is sort of off in the distance and it doesn't can you send so from the foundation let's just zero everything out the next thing I'm going to do is add ADA former to this so again let's click on the lake and I'm gonna go to displace here and now our display sir is a child of our lake one thing you'll also notice that a lot of my work tends to be splines and data bits like that but if you do not have your spline connected selected it's black so one really quick easy solution just to see it while you're working is to go to basic use color will turn that on and I am going to make that green just because it seems and feels right seems pretty good I'm gonna go to displacer now and under object object height I'm gonna I'm gonna scrub that up and down you can see nothing is really happening we need to we need to tell it we need something to drive the deformation so let's go to shading I'll make this very simple go to noise and we could see that something is happening but it's not quite doing what we want and the reason that is happening is because we need to select our spline object change the type to bezzie a and intermediate points to natural and overtime I just have always found that the number of 65 has worked very well we could start to see that something else is starting to happen here this is looking pretty good so far under the noise let's change the global scale to 3000 Wow look at that starting to get some cool stuff so we're getting these really nice fluid movements across here things are looking pretty good let's adjust our animation speed because we want this to animate so I just do a quick play we can see that we're starting to get this nice undulating motion it's probably going just a touch too fast our clients wanted to move very very slowly let's just stick with 0.5 that seems to work pretty well one other thing that you're going to notice is that this is only working on one axis right now so I want to make a few adjustments to this because I always like to separate things out I'm gonna do this as an X Y Z displacement that way I can adjust the height of it so maybe it's not too much maybe the X is a little bit louder and the Z I don't really want it to fold over up to itself a Z too much so let's make that X and under object let's change the type excuse me direction to planar and by default the orientation is set to X I'm going to duplicate this by command dragging make sure it's a child and let's type Y here and I will change this orientation to y plus and let's do that one more time I'll call that Z change this to Z plus and let's go back into our Y and let's take this down to about 100 starting to work pretty well maybe let's take this down just a touch further 65 seems to be working pretty well so I do a lot of my work in Arnold in with Arnold you could just grab a Arnold texture tap excuse me an Arnold object tag drag it on top you can render those blinds but cinema makes it very easy as well so let's go to create shader and hair material let's just drag and drop that on to our lake so a lot of my work is rendered white or semi transparent white and then I render that on black no alpha that way when I take it into After Effects or compositing program you can start to layer it up and you can use some of the simple tools with in After Effects to add color to it Andrew Kramer has vibrance I think BC vibrance so I use that a lot so I'm going to render this all white on black no Alpha and I'll show you how to do that with the hair material so the hair material tag let's go to basic we're gonna turn the specular off under color I don't need this ramp so I'm going to remove one of those knots double-click the right knot and we're going to make that white under thickness I'm going to change the route in the tip to be 0.4 I'll do a quick render here and we're starting to get somewhere so we're starting to get those nice white lines some overlapping you can kind of see we're getting some highlights here some of this other stuff is not quite as bright so when you start to layer it up you get these nice little glints that are happening on the surface another thing I like to do is you'll notice that these are all the same size so one thing I like to do in my work is to make it somewhat more organic and I'm going to attach a noise shader to the thickness of that spline and just so you can see what's really happening I'm gonna just the contrast click render one more time you can see it starts to just break that up a little bit so again in compositing you'll start to get some nice highlights here and there it just feels very natural and organic the next thing I want to do here is I want to make these little data bits that are rolling across the surface so let's do that I'm going to create a new sphere make sure it's its own thing let's change the radius to 2 for now just so it's not too small with that selected let's click option on a mac cloner now it's a child I'm going to call this data under mode for that cloner let's go object and I'm going to drag the lake in there so now we're starting to generate those clones on the surface of those splines let's increase the number to 30 you can see that they're all evenly spaced though so let's just make a couple of quick adjustments under offset change that to 50% and offset variation let's make that 50% as well so now you're starting to get some variation and the replacement and I want these guys to animate so let's change the rate to 1% and I'll just change the rate variation to 2% let's go back to the beginning click play and I'm starting to get this nice wavy motion we can see that our data bits are slowly moving across the surface some of them are leaving so that's working exactly how we want if i zoom in here I want to show you something though that I don't want I'm gonna click render by default the shader on this we're getting default light so we're actually getting some shading and some reflection or specular on these clones and we don't want that again flat white or semi-transparent on black so let's create a new material and we're going to drag that onto the data that's double-click the material tag under basic I'm going to turn off color turn off reflectance turn on luminance and turn on transparency and I want to make these semi-transparent so that you can see through them a little bit see how that's working you can start to see through that that's pretty good so again when I start to really composite it together this is all going to come out the other thing I want to do is I want to change the size of these to be a bit more random so with that selected the data that's go to mograph the effector and random by default it adjusts the position parameter but I want to adjust the scale and I always want to make all of these even so let's go scale - point four throw something like that at it so now we're starting to get some variation in the size the scale the movement of these guys is all happening a little bit differently I'll click render here so we could take a look at what's going on so that's starting to work pretty well you could definitely make a few adjustments so I may be adding some more clones that are smaller maybe just a couple that are bigger just to get that nice depth that you have going on you might even add a few more of these splines in here just smaller maybe one or two bigger just to get that variation so now we are going to in our perspective view just zoom in so that that object that we just created our data Lake is filling up the entire screen in my perspective view I'll click on camera and now it generates a camera in the exact position that our perspective view was in I'm going to make sure that I am in and using that camera in this mode and I will create a new null and I'm going to make the camera a child of that null and I will go to frame 90 and I'll set a couple of keyframes here I'm going to set a keyframe on all excuse me all these rotation attributes go back to the very beginning and I will just rotate this around a little bit 28:30 that seems good let's click to set a keyframe there and I will click play and you're gonna see something that I don't really want if you look at that animation that I showed you it's five shots strung together so we want everything to be a very consistent speed from start to finish we don't want any jolts in it we don't want any slow start slow ends in any of the shots so I'm going to hit shift f3 and I will come into my F curve mode right click click linear and now we have a very slow move nice rotation click render alright let's take this into After Effects and I'll show you how to composite this very quickly I'm going to use tint which is a color correction directly within After Effects and you'll see exactly why I like to render white on black and I'm going to change that color just to be a let's go up here that seems pretty good I'm going to duplicate that layer and I'm going to add it on top of itself let's solo it out and I am going to grab my levels and color correction let's make it be on top of the 10th let's crush these levels down now we're just starting to get those bits of data in there and you're starting to get sort of that highlight that I was mentioning when we added the noise to the thickness of things so that's looking pretty cool I'm gonna unsolo this and now you can start to see that we're getting these little data bits on here that are starting to get the highlights you can add glows layer it up even more just really fine-tune it to get that look that we're going for one thing I do want to point out really quickly here I want to show you how to work with this layer system because I use it quite a bit so I'm going to call this Lake double click call this Lake I'm going to command drag that on to my lake and it drags every parent and the child into that structure into that layer I'll call this one data and command drag that onto the data one cool thing that I like to do here is a lot of times I'm just turning the visibility of some of my objects off sometimes I want the objects to be on but I don't want them to render do a quick little preview so now my lake is not rendering my lines are not rendering only the data bits are perhaps your scene has 50 objects in it you don't really want to see them all you could remove some of those objects from the object manager you could lock that layer so that you don't ever accidentally move it around and scratch your head later on trying to figure out what's going on you can turn off the mograph capability so this happened to me yesterday and I'm not sure why oh because I'm using the wrong way or see it that's classic that's a classic move right there so you could turn off the motor affability so a lot of times if you have too many clones in the scene is just really bogging your system down you still want to see some things but you can turn the mograph capabilities of that off and under lake I have all those displaces in there you can turn that on and off so that now we are not seeing any of the displacement happening so let's take a look one more time at that piece [Music] all right we're gonna get into some really detailed stuff now that was the simple stuff now it's gonna get serious everybody hang on next project I'm going to talk about it's a project I worked on with big block out of Los Angeles for their clients the Gulf company TaylorMade they were coming out with the new line clubs so they had some features they were trying to highlight and so they wanted this holographic look that would be overlaid onto the footage so we were given the footage by TaylorMade and we had to take that footage we had to get it tracked we had to get the camera put into his scene we also had the geometry from TaylorMade that then needed to get placed into the scene so our trackers sent that back to us with the camera and the footage and I'm going to show you what that looks like and then we'll dive in and talk about how we actually did it the new m2 Irons feature m's distance and height now with face slots which means you'll not only reach the green you'll stay there okay so I'm going to talk about two things in this project I'm going to talk about how to make this fluted hosel and I'm going to talk about how to make this is this around the outside of the geometry you can see that it's just got some little bits of highlights on it just some lines they're just sort of hitting the edge of this geometry of the club it's just a little bit larger than the outside and did the client this was showing us that it was a lower center of gravity so all these bits and pieces took months to create so I'm showing you the finished project and I'm going to show you how we got there even though my mind was shredded day after day of making this so let's make something cool I'm going to open up that project I've taken the liberty of breaking it down a little bit already so here's our camera and our club it's already in the scene looking pretty good our camera rotates around it's simplified just a little bit so let's go into our perspective mode and we can see that we now have that camera we've got our club so let's break it down a little bit because I don't really need to see everything I'm going to turn off the handle I'm going to turn off the shaft and I'm going to turn off that camera I'm gonna zoom in here so we're talking about these little guys these little houses right here I don't really know what they meet what they do but we just want to make them pretty that's the bottom line so we're gonna click on our club head I'm gonna click on the polygon mode and I'll grab my selection tool and I'll start to drag around in here and we're starting to select these guys that would take forever you may not even get all the selections that you want so one very quick easy solution for this is to go to select and loop selection once I put that on to my geometry we could see that cinema is already trying to create a loop out of all of those edges and I'm going to zoom in here and click once and we can see that it has created a edge around the outside of that house'll and I'll show you what I'm gonna do with that momentarily with shift selected held down I'm just going around and selecting all these guys to select every single one of them and the other thing I'm going to do here is another very Poole technique very simple tool that cinema has given us go to select and I'll use the fill selection you can see by the icon here that it's actually an edge with a little arrow that goes to a polygon so let's grab that tool bring it inside here to our viewport and you can see that it's highlighting these polygons likes to click once and now those polygons are selected with shift excuse me I'm going to hit enter twice and go back into my edge mode with shift I'll select one more time and we'll do that all the way around we're just going to select all these bits of geometry make sure shift is selected held down every time you do this okay got all these guys select it cool so let's pull this out of that geometry we're gonna go to mesh commands and split now we have this piece of geometry which I'm going to call the house'll and if I go to my object mode and just move it around a little bit you can see it's its own piece its own element the original geometry stays in place and now we have that new object the problem though is by doing that our geometry thinks that it's access Center is over here so let's go to mesh access center center axes too and now that axis is directly in the center of that geometry but the other problem that we've run into is that it doesn't recognize that our geometry is twisted it just thinks that it's a normal piece of geometry straight up and down so let's tell it what to do I'm going to go to my front view and I'll enable axis or you could just hit L I'm going to rotate this axis around and I'm going to tell cinema that this is your new axis this is your new home it doesn't have to be too accurate this is a very fast movement but that seems right so now I'm going to click off of that or click L and I'm going to scale this up a bit so let's scale this up and we're going to scale that part back down so now it looks like it's just this highlight of this house'll so that's looking pretty cool the other thing I like to do is is I always like to create a null and then animate that null as opposed to animate the object because if you get down the line clients make changes you end up running into a lot of problems because you an innate animated an object not a null so let's just fix this I'm going to grab a hazel and I'm going to create a new null and my hazel is now a child of that null and it is also retained that information that I just gave it to the regular house'll so my axis is turned and tilted and rotated around and if I just do a little rotation here that's working pretty well I'm going to go to frame 40 and I'm going to set a keyframe on the rotation for that no go to frame zero and let's just rotate this 53 degrees seems good set some keyframes there and I'll just scrub through this we're getting a wobble that's that cool we need to fix that very easy to do let's undo our keyframes with our null selected go to freeze transformations and we're gonna freeze rotation freeze position and it's zeroed all of these things out so once again let's go to frame 40 and we'll set some keyframes at frame 40 go to frame 0 and we'll just rotate this again 57 degrees that seems fine you'll notice that it's only rotating one axis this time and if I just scrub through this we're starting to get that nice rotation around there this all happens really quickly so it doesn't have to be too perfect but this is looking pretty good so let's talk about how to render this out so I'm going to create a new material drag and drop that onto the hosel itself I'll double click that material texture tag and under basic turn off the color turn off the reflectance turn on luminance turn on the transparency and we're going to make the semi transparent we just want to see through it a little bit it's just a quick render I want to see what that looks like see this is when you have to make sure it's on its own layer so let's create a new layer add it to its own layer and click render one more time and it's still not rendering because of course I didn't drag it into the layer so classic moves so now we could see that our Lumina material is making a nice white area here for the hosel we could see through it just a little bit one problem you'll notice though is that we can actually see through to the backside of this so to make it more realistic we need to make the club a matte so there's a few ways you could do this you could use the object buffers you could do a few other things one way that I work just very quickly is I like to create an entire object and attach a new material to it and make it a matte so I'm going to duplicate this entire structure and I am going to go to edit select children objects and connect objects + delete let's call this black out excuse me I need to back up I need to remove a couple of things undo undo undo take this out take the shaft and handle out I only need the club so let's go to the iron again select children objects connect objects + delete and let's rename this I'm gonna rename this black out and I'll tell you why here momentarily let's copy that name double click to create a new layer paste that name in there drag it on top of our object and now it's in its own layer let's turn off the other two things here I don't need the original stuff I'm going to create a new material drag that on to the black out go to my attributes double click that make sure that the color is black and turn off the reflectance and let's click render one more time and now we're starting to get that matte on the back side we don't see it anymore so then when we start to composite this together it's all going to look really pretty the other thing I want to do here is I'm going to turn the transparency of this entire structure down in After Effects but I want to retain a edge highlight so let's go to my hazel I'm going to go to my edge mode and you can see that cinema has retained that information that we had at these edges already so let's go to mesh command and edge to spline so now this has created a spline on those edges that were those edges originally and let's go to create we're going to create a new hair material and let's drag and drop that on to the house'll spline double click and under the color let's turn off the specular under color let's remove one of these knots we're going to make this white drag that over under thickness let's make this point for that just seems like a good number right now and I'll zoom in a little bit click render and we can see that we're starting to get these edge highlights but you can see that it's just a little jagged and there's a quick fix for that so let's go into the house'll spline object type set to bezzie a and intermediate points that's a natural and again I like the number 65 on this for some reason click render and now we have a very smooth edge and the interior the house was looking pretty good cool so the next thing I want to focus on is well one let's select the right thing and we're going to create this shell that goes around the outside so very simple easy solution to this I'm going to duplicate this black out I'm going to call this guy inflate and you'll see why very soon I'm going to add this to a new layer its own layer I'll call that inflate let's turn off that house'll I don't want to see it I want to add the hosel spline to the house'll let's get out of the way it's turn the black out off too and make sure inflate is in its proper layer I'm going to create a new material you know what first let's do something else let's remove this material I want to show you how we're going to make this a little bit bigger but but we need to do a few things first let's go to sculpt with our inflate geometries selected brushes inflate and now we have a new brush and if I just drag that across the surface you can see that it's starting to sculpt or inflate that geometry which is cool not doing the right thing that we wanted to do but if we come down here to our inflate attributes and where it says flood and interactive flood if I just scale this up or down you can see that it starts to scale that geometry evenly across its entire surface so I know that the number three worked very well for me I'm going to show you how much bigger I just made it with just a couple of clicks let's go to layers I'm going to turn the black out back on under inflate let's go to my attributes and x-ray and you can see now that we just have that piece of geometry that is evenly spaced across the entire surface so that's looking pretty cool now we need to render this out I'm going to turn my blackout geometry off and I'm going to go into my camera and let's create a new material we're gonna create a sketch material drag that on to the surface of the inflate and I'm going to go to my render settings and set a couple of things up real quick let's change these to 1920 1080 that just works under sketch in tune shading let's change our background color to black again I always render on black for for this type of work under object shading let's change that to custom color and this is going to affect the geometry inside here so I'm going to make that a grayish color and you'll see why here when I render this out under my sketch material I'm going to change the color to white and let's do a quick render and you'll see that we now have a black background and we have these edges that are just gently highlighted you can start to see the club name the name of the company these edges so this is starting to work pretty well now that I have my house'll my house'll edge my inflate let's take all those render passes into After Effects and show you how we put them together drag those in I'm going to make them all screen and once again let's grab tint and put that on the inflation let's change the color to the TaylorMade green it's like a pretty cool and we'll copy and paste that on to the spline and to the hosel and I want to make a few adjustments here so let's turn the transparency of the inflation guy down a little bit let's turn the hosel transparency down a little bit too now we can see that we're starting to get this nice highlight around that edge of the house'll spline I'm going to change this spline to white just to give it a little bit of variation so now we're actually highlighting the house'll and we have this nice graphic overlay let's take a look at that spot one more time and see how it all fits together the new m2 Irons feature m's distance and height now with face slots which means you'll not only reach the green you'll stay there okay one more project let's do this the final project I worked on was for we are oil out of Los Angeles for their client Nasdaq we are Royale brought me on specifically to do some style frames they had done a ton of work up front using c4d rendering some stuff with octane but they needed me to come on to help them visualize the data just to take this world that they had created a little bit further so let's take a look at this spot and then I'll show you what I did the classic number two - most just a simple pencil to us it's blockchain being used to securely extract lumber shipments it's machine intelligence quite an opportunity and unstructured shipping data it's tomorrow's training patterns for today's competitive commodity minute it's what makes markets great simpler and more accessible than ever cut some pencil with innovation technology and expertise no one sees markets better than Nesta Nasdaq rewrite tomorrow ok so let's talk about what I did for this they had done a lot of work again I did not do the animation on this so you could see that we have this really beautiful world rendered out with all of these data bits highlighting the ships paths highlighting the ships themselves all kinds of stuff so all of this work a lot of this work was based on some style frames I did for them very early early on in this project so let me show you what I got and what I did so on the left here is the original image that I got from we are Royale the pencil breaks apart and we have this cargo ship made out of wood we have the ocean made out of graphite the cargo containers are made out of rubber we have this really beautiful backdrop of the cityscape with the sailboat so what I did was on the right so I had to take that frame and I had to implement some ideas so how are the ships guided there's they're guided by these beacons of light so we have these horizontal lines here that have these little pink highlights these horizontal data bits we have some stuff going on on the background so that is what I gave to them amongst maybe like three or four four or five other frames to guide them on each little aspect of the project that they wanted to talk about or excuse me have me show them what to do so let's get into the scene that I got from them so I don't use octane all the time but they used octane on this project and I use Arnold a lot more so I had to figure out how to do all this stuff and Arnold and then Mary it to their octane renders but then I had to redo it to show you guys how to do it directly within cinema so here we go so this is what I got with from we are Royale so they have this really pretty shot we have all these cargo ships we have this skyline in the background the sailboat so let's just turn a few things off because I'm going to focus my attention on this ship and maybe a little bit on this ship so let's turn the camera off let's turn off the ship 3G oh the sailboat city the ocean I want it to all go away so originally when I had made this I made all this in X particles I use it a lot I love it but I wanted to show you how to use some of the new r20 node materials to recreate this I'm going to show you a problem that I got originally and how I how I solve that so a lot of times you can grab the edges of some of this geo and go to edge to spline and then you could render that spline out and then you've got a wireframe very cool but this ship was a mess I mean the Geo is a disaster so how do you fix it I'll show you how to fix it you create a material and you fix it so let's go to new node material and I'm going to keep myself organized and I'm going to duplicate this original ship and I'm going to call this wireframe I'm going to select that name I'm going to copy that name create a new layer and I'm going to paste that name so now my object and my layer are all the same thing make sure that it's all there we're staying organized so let's drag this up under my original geo and I'm gonna do the same thing for the containers I'm going to call this guy wireframe copy the name create a new layer put that in there make sure it's in the layer cool so let's turn off the original ship one geo I don't want to see that anymore and I also want to turn off the original containers GL I don't want to see that so we have our new node material that we created let's drag that onto the wireframe and I'm going to command drag that and put that on the containers wireframe as well under attributes let's select both of those material tags go to projection and we're going to turn this to cubic and we'll double click the node material it brings up our node editor and let's just move these over a little bit where it says assets let's click we're going to type in grid bring that grid node into the node editor under color I'm going to drag that on to under emission and remove the diffuse to make a few adjustments here to this let's turn the softness of this grid we want the lines to be very very harsh frequency let's turn this up to 30 30 and 30 and under thickness let's make this point zero five seems like a good number and let's click render see what we got so that's starting to look pretty cool now I'm not saying it's the exact answer but in this situation it's an answer it's a solution these are style frames I'm just giving them the idea and then they can figure it out later on I just want to make the cool stuff and then move on so we've got that working pretty well I think that looks nice you could make some adjustments to it make the lines thinner but I think this is working well let's let's duplicate this wireframe cargo-ship I'm going to call this one data I'm going to duplicate the wireframe containers and call this data don't forget to select the name create a new layer drag that on there make sure these are all the same it's all about organization and drag these under their parent something like that that works so let's turn the wireframe ship off we don't want that and turn the containers wireframe off too so now we just have our data for the ship and the containers let's go to create and we're going to make a new node material let's just drag that onto the data geo for the ship and the data for the excuse me the data containers we'll double click so again this would be an instance where I use two X particles but there's this very cool tool in here called scatter and we were going to take that scatter node and we were going to take its mask and attach it to a mission and we're gonna delete the diffuse we don't need it you can start to see our material it has lots of random squares in here but I want these to be circles so let's type circle bring that guy in under result let's put that under shape and now we have these circles that are being generated by the scatter which is then on the surface of our object let's make some a few few adjustments to the scatter under the splat let's make them 200 mm splats under scale let's make this point zero zero eight it can really small and under random scale let's make this point zero zero one super fine superfine and let's click render and we're starting to get somewhere so again you take this into After Effects and you start to ask for colors to it start to layer it up on top of itself you start to get those little bits of data add some glows it's looking pretty good so the next thing I want to do is create these horizontal lines with these little data bits and this is super fast as well I am going to duplicate this ship one geodata and I am going to call this black out and again add it to its own layer this might be overkill but it helps me stay very organized especially when you're trying to work really quickly for your client and we will do that to the containers call that black out as well copy the name add it to its own layer make sure they're all the same a lot easier okay so we will turn off the data and leave on the blackout for the Geo and the containers let's create a new material and we're going to drag that on to the ship one geo blackout and the ship one I didn't name this properly let's do that okay so let's call this let's make this black turn off the reflectance let's go to black if I click render nothing's going to render which is just what we want I'm going to go to the top-down view and I'm going to grab my polygon pin tool I'm going to click once make sure that nothing is selected that's a key polygon pin tool click once click twice and I will duplicate that guy and I'm going to move it to the other side of the ship I'll select both of them and drag them up I just want them to be somewhat under the edge of the deck of the ship I might move them forward in space just so you don't see the back end you don't see the front end so now we just have this nice even space I'm going to go to objects to connect to object + delete and I'm going to call this horizontal I'm going to create a new spline that is a vertical I'm going to click once and I just wanted to sort of meet the bottom of that original horizontal clicked Y so now we have this one guy I'll call this verticals with that selected option mograph cloner it is now being cloned and we want to clone it onto these horizontals so we'll change the mode to object and put our object horizontal in there and now we're starting to get these guys generating vertically from our horizontal so let's increase the number to maybe 30 let's increase the offset and the offset variation a little bit and let's adjust our transform - let's just take this down on the y-axis so that it just looks like it's coming off the surface of the water and this horizontal is hitting its edge let's make some data bits that exist on those splines kritis fear let's make that radius let's just say - it's a little bigger than I would probably work with but that's okay right now with that selected let's go option mograph cloner and I'm going to call this data or is on toll again I like to name everything and we're going to go to object for the cloner change that to object and let's drag that on to the horizontals let's increase the number to 40 that seems pretty good that suggests the offset the offset variation and then I'm going to actually collapse these vertical splines here I just want to make this one object it makes it a lot easier to work with connect objects blessed elite let's rename it and let's duplicate our data horizontal we'll call this data vertical and we will drag in our vertical spline or object and we're going to start generating some clones on those vertical lines let's take the count down to 20 that seems a little bit better to me so that's all looking pretty good the other thing I want to do is I want to randomize the scale of each of these particles so that they're not all the same size let's make it a little bit more organic with both of those clones selected go to mograph and adjust the randomness by default the parameter is set to position let's affect the scale will go to uniform scale and we will do minus points for that seems pretty good I'm gonna turn the scale down of these spheres or just a little bit big let's just make them one all right so let's talk about how to render this out real quick we're gonna go to create we're gonna do the hair material trick because that guy works really well we'll put that on the horizontal I'm not going to put it on the vertical I've gone through a lot of back-and-forth with the client they don't want to see you the vertical splines they just want little bits of data so we're not going to do that let's double click the material texture tag and under basic turn off specular under color once again and we don't need that left not double-click the right not make it white and under thickness let's make this 0.4 you could do whatever you wanted to fit need it to be thicker no problem let's create a new material and we're gonna do a luminance on the data bits you could either do it on the spheres or the clones themselves doesn't really matter let's double click basic luminance on color reflectance off and transparency on and let's make it not that transparent just a little bit transparent to a really quick render here and you can see that we're gonna start getting some things happening we have a problem though our spline our horizontal is not rendering properly very easy fix go to our horizontal under object type se a good intermediate points natural and we'll change that to 65 I'll click render one more time starting to look pretty good again you could change the size of these but just maybe for right now I'll even big just so we can see what's going on I want to so I've got my scene belt so that's all looking pretty good the problem that I now have to figure out is depth of field so I've got to figure that out I've been working with Arnold but I don't want to do that now I got a I got to change things up for the client so I'm gonna use the physical renderer super fast so let's add that blackout material so this is my ship to Geo down here in the corner so I'm just going to add my blackout material to that just making a style frame I'm not going to put it in some layer I think real good and I'm going to go to my render settings and I'm going to change the renderer to physical under physical just make sure the depth of field is turned on just for sake of speed right now leave the sampler set it adaptive and low and then we'll make sure that we go into our camera go to physical make sure that movie cameras turned on and we want a serious amount of depth of field so let's make our f-stop our shutter speed one point six do a very quick render here and now we're certain to get that depth of field that's looking pretty good let's talk about how to composite that together real quick this one has the most layers in it so put those all on the same layer go to screen on the transfer mode and now look at what we got that's looking pretty cool I'm going to add tint to all of these guys again let's just make it kind of a blue that seems fine and let's do that to everything except for the foundation so that's looking pretty cool the one thing I might actually do is on this guy data let's make these pink let's make these a different color I don't want them to blend in too much I want them to be a little bit different so that's looking pretty cool the other thing that you could do again this is just a style frame so I don't have to be too perfect here so I'm just going to create a quick garbage matte and block out this area we can go back and fix it once the client approves is like yeah that's cool and you start to refine it so let's just do this real quick just for sake of argument and change its mode to subtract and that's looking pretty cool so again when you hit you have all the layers you start to mash them up it's like layers of a cake you could start to add the gloves all the little bits and pieces it's gonna start to look pretty cool let's take a look at that spot one more time and see how we got there the classic number two to most just a simple pencil to us it's blockchain being used to securely track lumber shipments it's machine intelligence finding opportunity and unstructured shipping data it's tomorrow's trading patterns for today's competitive commodity video it's what makes markets great simpler and more accessible than ever cut some pencils with innovation technology and expertise no one sees markets better than Nesta Nasdaq rewrite tomorrow all right so that does it I am done for the day thank you guys all for your time my name again is Brian Coleman you can check me out on my website at Brian Coleman comm on Instagram Brian the Coleman or on Twitter Brian the Coleman as well thank you guys you

Channel: Maxon

Views: 36,349

Keywords: c4d, cinema 4d, r20, release 20, sculpting, bodypaint 3d, maxon, modeling, modelling, 3d, animation, rendering

Id: wK0uV_SCHmU

Length: 53min 49sec (3229 seconds)

Published: Tue Jun 04 2019