Bryan Coleman @ The 3D and Motion Design Show

hi there my name is brian coleman and i am a freelance design director motion designer and style frame artist based out of denver colorado i work with after effects redshift arnold octane and x particles most importantly i work with cinema 4d which is the foundation of all of my work generally i focus on broadcast and commercial design work but today i'll be discussing a new short film i made called emergence i work with a wide range of clients including apple mpc future deluxe the mill frame store and man verse machine i'd like to thank maxon and mathias for bringing me out today to discuss my workflow using cinema 4d redshift and red giant for after effects a lot of my work leans towards data visualization but i also do a lot of photorealistic lighting rendering and animation today i'm going to be discussing how to create a bump and displacement shader graph network with multiple textures in redshift i'll set up projection cameras to art direct a location of our materials i'll also create multiple cameras and lighting setups in one scene then i'll touch on the take system to speed up and simplify your workflow i'll use after effects to color grade and composite the c4d renders and finally i will show you how to use magic bullet looks to get quick color ideas for your style frames you can check out my work on my website briancoleman.com on instagram at brian underscore the underscore coleman on twitter at brian the coleman and on foundation at brian coleman to begin let's take a look at my demo [Music] reel [Music] i'm going to start with my short film emergence which was a collaboration between myself and my buddy nicholas arnold otherwise known as frame and color you can check out his website here so take a look and we'll get going [Music] all right let's jump into cinema 4d here i've got this bass human male figure the only thing i want to work with here is sort of this neck and head area so i'll go into point mode make sure my base is selected go into the front view viewport choose the lasso selection tool and then just do sort of a rough selection around the rest of the body that we are not going to be working with zoom back in on the head here and let's go to our deformers and choose the melt deformer let's apply that to the base and right off the bat we see we we get sort of this puddle of geometry which is very interesting let's make a couple of adjustments so let's rotate this forward and i want to add a linear falloff to it now let's rotate that linear fall off around by about 90 degrees so that the front of our face here is still intact and we're sort of getting this falloff for this this melting sort of in the back of the head here let's just extend this fall off out a bit and then move it back in z space so i want to make sure that that it's just affecting kind of right here behind the eyes i want to make sure that i retain the integrity of sort of the forehead the eyes the nose and the mouth and probably even a little bit of the chin so we could see that we're getting this really interesting effect where it's sort of melting or deforming everything on the back of that fall off here so let's just make a couple of adjustments to to get the look that we're going for let's increase the strength to 100 decrease the vertical randomness to zero the radial randomness to zero and increase the melted size so you start to sort of get this really funny sort of caricature piece of geo here which i guess if you wanted to you could keep working with like that but for our purposes i'm going to just zoom in here so that we only see the face so you can see that now we have this flat plane and then this face is sort of emerging from that so let's create a new camera from where we are currently at with our default camera and i'm going to change this field of view to be about 30 degrees probably have to zoom out just a little bit let's make sure that our rotation is all zeroed out in our x and maybe yeah something like that let's just uh keep it like that we can make some adjustments so i'm going to call this projection cam one let's create a new redshift material drag and drop that material onto our base and drag it on to the eyes as well let's go into a redshift renderview viewer i actually have a preset set up so that i can toggle between some of my my presets here pretty quickly let's click play so that we start to get an idea of our material getting built and how all this is going to start to come together one of the first things i like to do is create a redshift sun and skyrig the default light in cinema and for redshift doesn't really give us a very good idea of shadows and give us a bit of information here that will really help us build the material so this is just sort of a rough quick dirty light setup that i create and then eventually i'm going to use a different light setup so we'll just work through this together let's double click and make sure that we get our material set up here i actually do have this other set up i'm probably going to pop into so i have my my render view set up here i've got my shader graph here so let's start to set some things up so the first thing that i want to do is use a texture node and let's apply our so let's apply our texture i have this texture here that i got from a friend of mine nicholas arnold you can find him online at frame and color so let's choose that and apply that to the diffuse color so we now have this sort of paint texture being applied to the entire surface here let's make sure that we select both of our material tags and where it says projection let's change that to camera mapping and i want to drag the projection cam1 into the camera so that now we are using this camera to project our texture onto the surface of this face i'd say that we could probably make a few adjustments here maybe we just zoom in a bit you know you could probably place the texture here a little bit maybe so that we get some of that color here off to the side of the cheek a little bit on the eye and then have this nice spiral sort of coming off the right here so that's looking pretty good i might just make a quick adjustment as well to the lighting i feel like it's sort of just directly overhead and maybe just make a couple of quick adjustments um again this is just all temporary you don't have to go too deep too deep into it but um i think it just helps to give it a bit of reality right off the bat the next thing i'd like to do is just go into my render settings make sure that we have redshift selected go into the redshift tab under gi select brute force for the primary gi engine and then brute force again for the secondary gi engine we can leave some of these settings right now it's all sort of a little generic but we can make some changes as we need to the next thing i'd like to set up is a bit more of a bump map in here so let's create a ramp texture and then let's create a bump node and apply our original texture to the ramp and then apply the ramp to the bump and then we can apply that bump map node to our bump input of the material and just for the sake of being able to see it better let's crank that up to eight so we could see right now that our original texture is driving the bump map so anywhere that's a lighter color or white gives us the texture or the the geometry coming forward in anywhere that's a little bit darker nothing's really happening i can show you what that really looks like here by plugging my ramp into the diffuse color for the material so this is all it looks pretty good one of the reasons that i like to attach a ramp to it is that it allows me to desaturate the color very quickly and then i can make some adjustments on the texture on the fly just to maybe crush it down a little bit so that we only get bump map here where the white is or you know i could also make the whole thing be a bit more of a bump map but in general i just like to have a bit more control over my bump map and color by using these ramp nodes and i'll use those quite a bit more too let's apply the color back to the diffuse color of the material and then take a look at the final output image to show you how i set up some of the other textures all right so jumping over here to after effects we can see this is our final rendered image so we have our color texture here we have kind of the bump going on but one thing that you don't see in the other cinema file that i'm working on is that we have all this texture that's up here so let's go back into cinema and start to set some of that up all right jumping back into cinema here the next thing i want to do is create a new texture node and i'm going to choose this metal scratch texture and i want to apply that directly to the diffuse color so you can see what's going on so this metal scratch texture sort of gave me the idea that you know this felt kind of close to skin you know so it's it's somewhat somewhat abstract but some of these long lines up here when you use them on the bump map kind of gave the appearance of skin versus using an actual skin texture i just thought that this was a nice approach and maybe a little bit different than what was expected so let's uh let's scale this so that we have more repetitions here and you can see that i'm not really working with a seamless texture on this which is actually fine because it's not really the main thing that's driving it so one thing that i will do is use the mirror u and the mirror v and you can see that it starts to make it feel seamless it's not really seamless but it just sort of covers up some some of the areas that we really are looking to add some detail to so the next thing i want to do is combine my original color texture that ink and this new metal scratch texture so i'll do that by creating a new color composite node which will then allow me to combine these two colors together i'd like to create a new ramp node as well and then i apply my metals texture to the ramp and then let's drag that ramp into the blend color just for the sake of quick and dirty right now let's plug the ramp into the diffuse color and then again right now we have this very almost grayscale texture of over the entire surface so i might just crush the levels a little bit on this just to break that up so we can see that we're starting to get a bit more on the fly with this ramp node which again i really like to use because you can just crush the levels really quickly and it's probably feeling pretty good the other thing that i i want to point out on this specifically is that i'm not getting a lot of color or my metal texture up here on the forehead and that's sort of the primary area that i want it to be so let's just go into my texture node and under remap where it says offset let's just make a couple of quick adjustments in here and and just sort of apply that texture a bit more to the forehead um so that seems to be working now let's plug in the ramp from our original color into the base color and then let's take this color composite and let's put that into the diffuse color just so we can see what's going on so again this is the black and white version of our original color and we can see that by going over here to the composite mode it says base color if i change that to blend color we now see the metal texture only a lot of times you might just want to average those two together so it combines the original color texture with the new metal texture that we added to it but you'll sort of notice that our original texture gets a little bit grayed out and it all becomes basically it's meeting in the middle of both textures so i found for this specific purpose that i use the exclusion so we are very bright on the white on the face and then we still retain a lot of that brightness on the metal texture as well so now let's take the color composite node plug that into the bump map and then let's reapply our diffuse color node and i'm going to just use my region selector here just so that we can see exactly what's going on but it starts to now that we added all this detail it's really breaking up the light quite a bit so you can see we're starting to get some of this uh these horizontal lines over here which is starting to look like skin i have my settings set pretty low right now so we're not going to get the best render out of it but let's jump back over into after effects and i can show you exactly what it's doing okay back in here and after effects i'll just zoom in here on the forehead since that's the area that i was kind of looking at the most you can see that we have these horizontal lines and some of these scratches in here which are creating sort of that skin texture that i was describing the other thing that we can see on here is i have this other bump texture or noise that's adding another layer to the depth that we're getting here on the surface of the skin so let's jump back into after effects and continue building that material all right back here in cinema let's create a new texture node and then let's create a c4d shader node as well for the c4d shader let's go into the parameters and let's type in 1024 by 1024 and under the depth let's choose 16 bits so we do that because it gives any information that we plug in to here more resolution for redshift to give us a better and higher quality render when we're done with it under shader let's choose noise and i'll just click on the little icon right here which is going to bring up my shader noise and attributes panel you can choose noise the default if you like you could choose any of these i've actually worked with a lot of these noise variations here for this purpose i want to use blistered turbulence under octaves let's crank that up to 10 it's going to give us a bit more detail under the global scale let's make that 50 percent and then let's plug that c4d shader into the texture node in order to use the c4d shader you have to plug it into a texture node in order for it to be seen let's plug that new texture node into the diffuse color so that we have an opportunity to see exactly what's going on so we now have this noise that's projected onto the surface here so that's looking okay one other thing i should probably do is create a new ramp node and then plug in my texture into the ramp and again i do this because it just gives me a really fast way to crush the levels down plug the ramp into the diffuse color and maybe crush this down a little bit so that we have some more contrast in here that's probably good for now one of the reasons that i like to use the ramp on a noise shader here you could just go into the noise and adjust the contrast adjust the brightness any of the settings in here but for me personally again it's just a personal preference i like to use the ramp because it helps me work a little bit faster in my opinion let's plug the diffuse color back in the normal one i guess and then what i want to do now is combine my original color texture my new metal texture and my new noise texture i want to put them all together and then that will be our bump input here let's create another color composite node and let's use our metal texture as the base color and use our new noise node as the blend color that plug that into the diffuse color again just so we can sort of get an opportunity to see what we're creating here there's our metal texture and the blend color is the noise probably just choose average on this maybe even i don't know what let's just play around with this a bit maybe multiply add add makes it very bright so anywhere that's really white right here is going to give us a lot of bump let's just see like that for now see what happens so let's take this ver this brand new color composite node that we created and apply it to the blend color which the metal texture was originally in that blend color but now we have the metal texture and the noise combined together uh in the blend color let's plug our real color back in there and then let's zoom in here just uh so that we have an opportunity to see this forehead a bit more maybe uh let me take this down a little bit maybe it's just roughening things up too much let's also just turn our reflection roughness up a bit just so that we can maybe get rid of some of these really intense reflections and fireflies that we're getting in there so it's starting to create a really cool texture so again you sort of have this metal texture across the surface here you could even potentially just you know maybe tone it down and touch by going into the ramp that is connected to that metal and choose the white color here on the far right and then just drag this over maybe make it a little bit maybe make it a little more gray so you can see again that just very quickly with this ramp i can tone down those lines on that metal texture and now we can see the noise coming through maybe for that noise i can just make an adjustment to the ramp here and maybe instead of it being so dark i can just kind of bump that up a bit but you can really play with these settings endlessly and i have but this should give you a pretty good foundation to make this project your own let's jump back into after effects and go into a bit more detail here all right back in after effects let's take a look at the final rendering that we created so we have this noise texture we've got the metal texture all combined in here to create this bump map the other thing i want to start to work on now is some of the displacement so we could see that the bump map created some really interesting variation on the texture but to really send this thing home we got to use displacement maps to bring out some of that detail of our original texture which you can see these really pretty lines coming through here up on the forehead across the nose and some of the detail down here so let's continue to set up our material in cinema so i've got my shader network set up here which is definitely starting to get a little bit out of control and i was messing around with this and realized and some of you might already know that you can go into tools in your redshift shader graph and under the layout graph if you click that it organizes all of your nodes for you which i feel like took me a little too long to discover but now everything is nice and organized and laid out and much easier to work with the next thing i'd like to do create a ramp node and let's also add a displacement node as well this is our original texture original color so let's plug that into the ramp and then let's plug that ramp into the displacement in the texture map and then plug that displacement into the displacement of our material output we don't see anything change off the bat and that's because we have to make a few adjustments to our geometry so with the eyes selected let's hit shift c which brings up my command dialog box and i know i want to add a redshift object tag to it and i'll duplicate that by on a pc grabbing control and dragging it down on a mac i believe that it's command let's select both of those texture tags and under geometry let's click override under tessellation let's click enable under displacement let's enable that and turn on the maximum displacement here let's crank that up to about 35 and then the displacement scale will be eight i chose those numbers simply because i had worked with it quite a bit and found that those numbers worked for my specific uh project here if we go back up here to the edge length and then the maximum subdivisions i just like to think of of these as if we added a subdivision surface to any of our geometry it adjust it on the fly and then that's the same thing that the redshift object geometry tag will do here is it will subdivide our geometry in the tag as opposed to doing it directly within the scene so it's very helpful helps helps the scene go by a little bit faster work a little bit faster in that scene so now that we added our displacement to the scene we can see that we have quite a bit more detail here if i just turn off the displacement you can see that everything is a little bit more smooth we still have some bump map stuff going on there but the displacement map is really what makes it look so good let's cinema kind of figure this out and that's looking pretty good one thing that i did discover while working with the scene is that you know typically where we want the areas to come forward is white i have a lot of detail here in this texture so we're getting a lot of information on the white which is cool and you might leave it like this but i actually found that it looked a little bit more interesting when i use these dark areas to come forward and then the white areas to not really be that prevalent so let's go into our ramp node here that we are working with that is applied to the original color and you could do this a couple of ways basically i'm going to invert this ramp by choosing the white color on the right and making it black and then the black color on the left and make it white and i'll just quickly disconnect the displacement again just because it is a bit taxing on the computer and for sake of time i just want to get through a few things with you guys if i plug that ramp into the diffuse color we can see now that any area that was white is now black and any area that was a bit darker is now going to be pretty bright white so let's go back into our ramp and again just make a couple of quick adjustments here if i just drag this black color down we can see that now we're getting a bit more contrast in any area that's black really nothing's going to happen let's just see how that looks plug our color back into the diffuse and then plug our displacement back in as well and let's take a look at some of the results that we're going to get here give cinema an opportunity to start to render this out and we see here that i guess this is just a personal preference but any area that's dark here starts to come forward and i think that looks a little bit better than some of these areas that were white i feel like it just gives it maybe a bit more detail i'm not sure what it is but again it's all it's all personal preference so the next thing i'd like to do is just set up a bit of lighting i'm going to disconnect the displacement again and then let's take a look at after effects and our final render here just to see what i'm about to do i want to take a look at the lighting here so we have this light source that is sort of coming from up above here and then we have another light source that's off to the right so let's jump into cinema and i'll show you how i set that up let's create a new redshift area light and i'm going to turn off my redshift sky and then let's go into my right viewport here and let's choose perspective as opposed to the right view there let's go into hidden lines and then let's just zoom out a little bit give us an opportunity to see the entire space so with that area light selected i want to go to cameras use camera set active object as camera and then we can use that light now as a camera to then place it a little bit better on the surface here on the fly i guess you could say so again we have this light source that's sort of coming from up here creating some really nice shadows across the surface over here it seems like that placement is probably pretty good the other thing that i want to do is create an actual camera because at this exact moment i am looking through the projection cam at this face but i want to create a new camera so you could do that a couple ways you could probably just duplicate this or create click a new camera here either way is fine and i'll call this one cam one make sure that we are using that in our viewport over here and then let's place a protection tag on that protect projection cam one so that we don't inadvertently move our texture around because the placement on it's pretty good right now i do realize that one thing i'd like to do is make an adjustment to this texture because it is currently getting squished and that is happening because under the default here the film aspect is set to standard four to three but the original image that i used was sixteen 9 so if i just adjust that pretty quickly there we can see that it compresses it down maybe i'll just make a quick adjustment now that i've that now that i know that that's happening make sure that i have my projection cam one here selected and you know zoom out a bit so that it gets a bit more coverage on that face so that seems pretty good and then let's click back on our cam one to make sure that we sort of zoom back in here and that's starting to feel pretty good the other thing i want to do on this shot is take the field of view down to about 20 degrees so it's going to flatten everything out a bit but it seems to me that it it just feels a little bit better i guess for me when things are flattened out a bit if i was using a larger field of view the nose and maybe even the mouth here come forward so much that it just distorted the image more than i really wanted to it's a personal preference um if you wanted to do something a little bit different feel free but again i'm just kind of showing you how i how i work on this stuff so that's feeling pretty good so i might put the protection tag here on cam one two and just make sure that we lock that in place let's make some adjustments now to our light so right now i'm still looking through that light so make sure that you go back to the default camera here and then zoom out i also want to turn off the work plane here so you don't see it so a light is pretty small so one thing that i want to do is maybe let's just make it a little bit longer could also just maybe zoom in a little bit just so that areas a little bit more or the lights a little bit more focused maybe down here let's go into the area light and make a couple of changes under the color i want to make this a little bit of a bluer tone it's very light very subtle and it sort of brings out some of those purples that are in the original texture that we used i also want to turn down the intensity to maybe 20. and then underneath the spread here the spread basically spreads that light out to be soft or quite harsh so if you have it all the way out it's very very soft it creates very soft shadows which pretty good i might just tone it down a touch just so that it doesn't spread so far out and that light is focused in here a little bit it also makes the shadows just a little bit tighter then let's just crank this down so it's not so blown out so that's looking pretty good starting to look very illustrative or mystical even i guess you could say so that looks really good the other thing i want to do then is add that light to the other side here so let's just call this light 1 and then duplicate that by selecting it ctrl dragging down and then i'll call this one lite2 and let's go in back into my perspective viewport under use camera set active object as camera and then let's just move over here to the other side of the face and i'm going to make this one a bit of a warmer tone just to give the light a little bit variation here so let's click ok you can see that now we have a little bit warmer light on this side a little bit cooler light on that side so that's actually looking pretty good let's click back here into our shader graph and under this placement let's connect that again and it'll give us an opportunity to really see what our lighting is done to the scene and also the displacement to see how that's working together i'm going to zoom in here a little bit and that's starting to look really really good we have some highlights here on this brow we have highlights here across the nose we'd say all in this is probably pretty solid so we've got our cam cam1 setup working got the textures all working really well the lighting set up but i have another shot that i used this scene for so let's jump into after effects and take a look at that so if i just scrub here through the the movie or the quick time here in after effects we can see this other shot where we're actually really close to the lips so this uses a different camera and a different light setup and a different texture but i'm going to show you how to set all of that up very quickly in the same scene all right back here in cinema let's do a couple of uh things to manage the scene a bit more so let's select both of our lights and on a pcl select alt g and call this light cam cam1 and i am going to duplicate that and i will call that lights km2 let's go into the layers panel here and double click to create a new layer i'll double click on the name and let's call that lightscam1 i'm going to have it selected ctrl drag it to the lights cam one group and then let's just duplicate that and call a new layer lights cam two then control drag that on to the lights cam to group let's turn off lights cam one so now we are not seeing it nor is it being rendered and only our lights 2 group here is working so let's create a new camera let's go back into my perspective view which is looking through cam one and i will duplicate that and call that one cam two make sure that we are using that to render through or to look through and take that project protection tag off there and then we can zoom in here to these lips of the face and maybe just set this up something like that i want to come down here to my material and i'm going to duplicate that material but let's call this cam one material and let's call let's duplicate that by control dragging pulling that over and call this cam2 material and go into the eyes and the base select both of these texture tags and then pull our new material in under material let's just drag and drop that on there so now we have our new cam 2 material attached to the eyes into the base here let's make sure that we turn off the displacement here because again it just helps to work a little bit faster in the scene we don't really need it right now anyway because we're going to set up our camera and set up a new light system so back into the camera view here let's uh just make some adjustments here so that we're sort of getting this nice close-up view of these lips one thing i kind of want to do with this is make sure that we sort of see the edge of the lips to help define it a bit otherwise you just sort of see a little bit too much in the background so i'd say that that works pretty well right now our light setup is not really made for this view nor is our texture so let's address that right now let's go back into our perspective view and let's choose the default camera just so that we can kind of see our scene and what's going on here under the light 2 let's just turn that off in our objects view here and now we're only looking at the lights one which that's actually pretty good but let's really define it a little bit more so i'll go to use camera set octa active object as camera and we can see that our light is really focused kind of on this nose area or the cheek and i want to just maybe manipulate that a little bit just so that it's kind of touching the edge of the lips here just to kind of create this really nice highlight along the edges there and getting some really nice soft shadows off to the right it's definitely really bright right now so let's turn the intensity of that light down let's just say maybe to like two and maybe bring that over just to touch it's probably looking pretty good so now we have sort of this highlight here and the next thing we want to do is create a bit more of a flood so let's turn on our light 2 and then let's use that as our camera and zoom in here just so that we can place it in the scene a bit more and i don't really want this light to be too bright i just want it to be a bit of a flood light so let's turn the intensity down quite a bit maybe maybe two something like that right now so that that seems to be pretty good so let's work through the material to make sure that our lighting is good but we want to make sure that that texture is set up mostly in this area so we'll do that by creating a new projection camera and we'll call this projection cam 2. let's remove the protection tag on there and then with that selected let's go into camera set active object as camera and then let's zoom in and i can actually change the display here to be quick shading just to give us an idea of you know where i'm actually placing that texture at uh let's highlight the two the material or the cam 2 material let's highlight both of those tags and we're still using the projection cam 1 so i can use my selector here and just make sure that we use projection cam 2. another thing that i'd like to do is just double click on the material tag in under editor it's using the default texture preview size let's just make that 1024x1024 so in the viewport it becomes a bit more clear so we're still in our projection cam too so i can actually just kind of zoom in and maybe just place this a little bit more carefully though this actually does look really good already um maybe make it back where it was we'll zoom out just a little bit so we get a bit more coverage so again the goal is just to get a bit of that texture kind of across the surface here so we we have some darks and and our texture is now centered around these lips which that's all looking pretty good let's just turn our displacement back on just to see what that actually looks like give my two graphics cards a few minutes to catch up do a little bit more work for us there we go so that that looks okay it maybe is just a little too intense so let's just turn the displacement down to say maybe 0.5 just so it's not quite so intense so i'd say all in that probably looks pretty good right now you can make some more adjustments to it especially if you follow me along on your own the next thing that i want to show you though is how to set up and use the take system to render and use multiple cameras with multiple materials so i use the take system because you run into these situations where maybe you have one scene and you have multiple camera setups maybe you use a couple of different materials but you don't really need to create a variety of projects you can just use one project and then use the take systems to set up cameras lights layers it's so powerful and i'm just going to touch the surface of it just to show you how i work so let's go into the take system and right now we can see that we have one take which is the main take right here so the main take basically takes the scene as it is and that is the main take so you can make adjustments to the main take that can then be used in other takes and you can record it so let's dig into that a little bit just so i can show you so right now we are currently using my cam 2 with the cam 2 lights and then the cam 2 material so let's double click to create a new take and i am going to call that cam 2 take so again by default because i've already got everything set up in my main take as long as i don't make any changes cam 2 is currently going to replicate what i already have set up underneath this camera right here let's choose cam 2 and then we have this other icon here which is for the render settings and i want to set up some render settings so you have an opportunity to see the power so let's set up a new render setting call this uh cam 2 render and then i'll duplicate this and let's just call this cam 1 render with cam 2 render selected we'll go to save and i'm just going to type in cam 2 image and then with the cam1 render setting chosen under save let's say cam 1 image so back to the take window here i have cam 2 take so i'm using my cam 2 and then under render settings let's choose cam 2 render let's create a new take by double clicking in that panel and choose cam one take so for the cam one take let's choose the camera that we want to use so we want to use the camera one and then we're also going to select our cam1 render so if you notice here in my render view that when i chose the cam1 take and i chose cam 1 that it now is using the camera one as my render camera so with this cam one selected let's record a couple of changes that we want to make so this icon right here auto take is going to record any changes that we make to the scene and then those will get baked into this take so let's click that so now it's recording any changes that i make so if we go back into my object panel here and i currently have my cam 2 material on here but let's drag and drop my cam1 material on there and then let's make sure that we use the projection cam one on that cam1 material and then let's make sure that i don't have my displacement turned on because again it does become very intense for the scene to render that out so i currently have the cam1 material on the object i'm using my cam one camera and then if we go into the layers let's turn on the visibility and the rendering of my cam one lights and then turn off the cam two lights so now we are using everything that i had set up for that camera one let's go back into the take panel here and let's toggle off the auto take so if you look under here under the category off to the right we can see all the changes that got recorded i'll expand this out just so we can see it a little bit better so under the materials here you can see that i changed the tag material from cam2 now it's showing that we're going to be using the cam1 here on that material and then on the layers where it says false that basically shows that i turned off the visibility and the render view for the cam 2 lights and then it turned on the cam one editor and render view so that's true so that's all turned on now so i'm not recording anything anymore i've got my cam one take selected and if i just choose cam two instantly it goes back to that cam 2 setup that we had done with our lights our camera our texture so now everything is in place the next thing that i want to make sure i do is make sure that's selected okay with cam 2 cam 2 take selected let's go into the render settings and add to render queue so it's going to ask me if i want to save it and i will say yes and i'll delete the two things that are in there so it brought in my my project that we've been working on here um so it's called working three if we come down here to take it's showing that we are using the cam to take and then for the render settings it's using the cam 2 render settings and then under camera it's also using our camera too for the output file it is using our cam 2 image so all of this was set up as you saw and as long and that is all baked into this one take so now let's make sure that i choose my cam one take here make sure that it's highlighted and let's add this one to the render queue and it will ask if you want to save it again say yes and now you can see that for the take it's using the cam one take for the render settings it's using the cam1 render all of these things are automatically set up so you could set up three four five six cameras with different materials different lights all using the exact same geo sometimes i use the setup for style frames because it gets gets things done really quickly you don't have to save a bunch of frames i worked on another project recently where i used the same scene the same animation and all i had to do was change the color the camera the lighting so i used the take system and i did that seven times and then was able to send that to deadline which if you work with deadlines super powerful and also allows you to use the take system so that's definitely another plus so now that we have our images and the render queue we can click render and then take those into after effects and start to color grade them and composite everything together so if i just sort of gently scrub through here a little bit you can see that i've really color graded a lot of what's in the middle here and then i have some of this falloff here just sort of a design idea or you know just something that's a bit more interesting is that we have this color here in the middle with with sort of this you know desaturated area on the outside so let's just take a look at how i do a bit of my grading so here's the final rendered image it's maybe a bit muted you know it's pretty colorized but i think we can bump a lot of this stuff up so a lot of times i like to just maybe not work on the original image that i created and create a new adjustment layer so on a pc just hit ctrl alt y that creates a new adjustment layer or you can go up to layer new adjustment layer and the first thing i want to do is add a levels to it and let's just kind of bump up the whites here a little bit just to get some some more brightness here in these whites and then maybe overall just brighten the entire image up probably a little too much and then let's just bring the blacks back down so that we're really focused here in this middle area so that starts to feel pretty good another thing i i want to start to play around with is some of the color balance so this is all sort of personal preference but um you know we have we this whole image maybe feels a little bit cold and you could probably address that in some of the lighting um but i'm going to turn up some of the shadow the red shadow balance here just to make this area in here a little bit more red and um you know you could probably turn the the greens down a little bit maybe maybe just a touch and maybe mess with the blues a bit so any uh any of the dark blue areas maybe uh maybe crank that up just a touch um and then on the highlights here let's maybe pump that up a little bit so now we have kind of this nice area which is a bit more red or or warmer in the middle we're still getting the blue light in there which again i like and then the areas on the outside here that are darker maybe just a little bit cooler the next thing i could probably do is just add a bit of curves here to it um you know maybe just get a little bit more brightness here in this middle area and then any area that's dark just kind of bring that down a little bit make sure that you're on your rgb so now we're getting this really nice fall off of of color and darkness and then some of this area in here again is a bit more colorful and then to desaturate some of those red areas let's actually bring that back on top of the curves under the channel control let's go into the blues and then under the hue saturation let's just turn that down so you start to get this really cool fall off of this desaturated color and then in here you see some of the purples magentas and reds are still fully saturated and then i like to use selective color on this as well and we can go into the magentas and maybe i start to you know maybe want to bring some of that blue back you know maybe you don't want the magentas to be quite so purple maybe you maybe you want to just play around and just kind of see where some of this stuff ends up and you know when i'm desaturating some stuff it it maybe makes it a bit more monotone so selective color gives you so much power to bring some of that color back in and again all personal preference it's up to you what you really want to do here maybe let's let's go into the reds and bring maybe punch that up a bit so again it's all really a personal preference um you know you can play around with this stuff endlessly which i have done these are some things that i just knew to use on here but one other option that i will show you that i do like to do for really quick adjustments is to use magic bullet looks because sometimes i feel like i don't really know where i want to go with my color grading and magic bullet looks such a good job of giving you a really quick opportunity to make some adjustments on the fly maybe just do some really quick color grading and maybe give you a really nice foundation to kind of work with so i just go in here and you know maybe look at all these different settings in here and again just give you a really cool opportunity this one's really cool actually i like that black and white quite a bit so this just gives you an opportunity to to play around with color and you know if you're working on some style frames and you got to send those out to a client you know it's a really good opportunity for you to have an image bring it in here and just start to play around with looks and maybe you want it super punchy or maybe you want it backed off a little bit looks does such a good job of giving you many looks really really quickly and hopefully you find that that could be useful for you and your workflow just like it is for me so once again here is the final animation [Music] okay just to finish up here i showed you how to create a bump and displacement shader graph network with multiple textures in redshift i set up projection cameras to art direct the location of our materials i also created multiple camera and lighting setups in one scene then i touched on using the take system to speed up and simplify the workflow use i used after effects to color grade and composite the c4d renders and finally i showed you how to use magic bullet looks to get quick color ideas for your style frames once again my name is brian coleman i am a motion design director you can check me out at briancoleman.com on instagram at brian the coleman and on twitter at brian the coleman i really appreciate your time today i hope that you have walked away with a better understanding of how i use cinema and maybe it'll help you in the future thanks so much you

Channel: Maxon

Views: 26,220

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

Id: 05sxnz_DZjs

Length: 60min 33sec (3633 seconds)

Published: Fri Apr 16 2021