Cinema 4D: Magic Door Effect

[Music] hey guys it's Sam for digital meet again and in this cinema4d tutorial we're going to be looking at creating so-called magic portal magic door effect sometimes called impossible space and also known as non Euclidean space so this is a this is a post that I saw in a group that I belong to on Facebook someone posted this up and let's get rid of this and this is the kind of effect that he came up with now someone in the comments actually asked oh how did you achieve this and his answer was basically I did to render passes and then composited them in post and the person that asked the question how did you achieve this then said I wonder if this is possible as a straight 3d shot and that got me thinking could you get something like this out of say cinema 4d without having to do any external compositing and this is what I came up with this is a this is just on my Instagram and this is just a straight render straight out of cinema 4d there was no you external compositing involved and that's what I'm going to be showing you how to do today so let's get rid of this and just get cracking so I'm gonna create a cube and I'm gonna have that sit on the floor as well and we're gonna crunch this down in the Zed so we've got a thin frame here and then I'm gonna select well first of all I'm going to make this editable select the front and back faces of this and then we're going to go to inset so right click and go to if I can find it extrude inner there we go and then pull that in like this I think that should do is fine and then what we can do is delete that and then we can press ul to get our loop selection and press return to get into edge mode select this edge shift select this and then we've got these edges select selected and then I'm going to right click go into stitch and sew and then I'm gonna hold the shift key and track this point to this point and there we go something else I'm gonna do is and this is a this is a little feature well not a feature this is a little quirk of the stitch and sew tool I'm gonna um choose my polygons and select all and as you can see this the where I've stitched and sewed this is reversed normal so control a to select all the poly might click and say align normals and now they should all be facing the right way something else I'm gonna do just to add a little bit of I don't know just so it's not so hard I'm gonna select this ring here that was UL again by the way for loop mode and shift select this so these I selected in fact we could probably do the same for the yeah let's just select everything in fact control I and then we go to our bevel tool and I'm just gonna put a little bit of a bevel on these and the might arena I'm gonna make actually it doesn't matter in this case but I'm going to turn up the subdivision so we've got a three that should do is yeah well the subdivision is actually two but you get three segments okay so that will do that just round off the edges for us and something else I'm going to do is okay material open this up we're going to call this frame and [Music] let's make this white and in the reflectance I'm gonna get rid of this specular and I'm gonna add a Beckman life for now dielectric and that'll do is for now and we can add this to our frame and just in the name of keeping things tidy I'm gonna rename our cube in the object manager to frame okay so now we got our frame sorted out let's go to our content browser actually and I think in presets if we go to example scenes example scenes features there we go and I think is in rendering there's a head that I'd like to use quite often areas so I'm gonna drag this into our scene there he is and I'm gonna get rid of anything that we don't need here so these nulls can say bye-bye we don't need the lashes at all and in fact let's in our scene get our display mode change to grout shading lines so I can see what kind of stuff we got going on we can get rid of this material as well you might need that and the lights and the camera because we're going to be setting our own up so the head here I think I think we can just make this editable so we've got a we've just got a head object that'll do us fine and then we can get rid of this null so now we've got a frame and a head and with the head selected I'm just gonna go to mesh access and then execute and it just makes sure the axis is right in the middle of the head there and then I'm gonna scale this down so it actually fits within our window something like this and I'm just gonna set that on the floor there we go we've got a bit of a better idea about scale as well now okay so that should I think that I do is I think I'll be fine with that and we can get rid of these materials as well that were created when we brought the head in and I'm just going to make another material again let's call this head and again let's give this a color on the make this red and I'm gonna get rid of our specular in the reflectance layer add a new Beckman and dielectric and that will do is it rough and ready I know but it serves the purpose of this scene okay now we're going to need a floor for all of this to sit on so let's create a floor object there we go and again let's create another material and the reflectance I'm actually just gonna clear that in fact we can just turn that off and in the color I'm gonna make this a yellow so something like this now we'll put that on the floor and there we've got our floor okay cool alright let's give this a render yeah not the prettiest in the world we're gonna also need a background as well so let's grab a background bring that down here and we can put this on the in fact I think if you drag the material on it automatically sets the projection type to funnel because it knows he's going on a background object and now when we render we get this so you can see the seam at the horizon and we can fix this by right-clicking on the floor going down to render tags and come was in and we can say that this is a compositing background we can switch that on and now we're at when we render it should blend the floor in the background together okay there we go I'm gonna now create a path for our camera to move around so gonna create a circle they're gonna change its orientation so it's laying on the floor we're probably going to want to lift this up a little bit as well and we're gonna need a camera so there's the camera and we're gonna need to align this camera to this spline so right click on the camera camera tags I think it's animation tags actually align to spline and then we can drag our circle spline into this spline path for now you'll see that our camera is sitting on our spline and we can animate his position around like this now we want the camera to being looking at a particular place before we do that I'm just gonna actually change the radius of our circle so it's a little bigger now we want the camera to to always be looking at the sort of middle of the frame really so again what I'm gonna do is choose our frame and I think yep everything's in the center so we don't need to center that up I'm gonna do is right-click on the camera and I think it's in animation tags yeah there we go target so this is a target tag on the camera and in the target object I'm gonna pull the frame so this camera is always looking at the center of the frame and if we go into our camera now you'll see that this is what it looks like let's also go to our position tag so yeah that that's the kind of thing we got right now the camera is still a little bit close to our object in fact what might do is go to the object tag of the camera and change this to a more wide angle so it pulls it out a little bit and yeah so good so let's go to the align to spline tag now as a position zero you're kind of looking at this side on so what I'm gonna do is grab the circle and actually rotate it and in fact we can be in the camera when we do this because the things in the middle so we can actually we can actually do it that's something like this so that's his starting point now and now what I'm gonna do is go to the position keyframe at zero bring our time all the way to the end and bring this to a hundred percent and click position against now we've got two keyframes but if you play this you'll notice this speeds up and then slows down and that's because the keyframes by default have like an ease in ease out so we can change that to make sure that it's linear so if we right click on the camera and go down to show tracks it'll bring up the tracks for anything to do with our camera including the align to spline tag and we can select that and just hit this linear curve here and now it should just loop and be a constant speed all the way through so let's come out of this we've kind of got everything set up I think we might still need to adjust our circle slightly and also I think just to add a little point of interest I'm going to raise the circle up as well so it pulls our camera up and changes kind of changes our view yeah I think that could be okay like I said it's a bit rough and ready and you can you can set this up as you wish I think the camera is a little too close to our frame as well so maybe maybe think about pulling that back slightly so let's say grab the circle and increase the radius of this okay there we go that'll do is for now yeah that would be nicely okay get back to the beginning and this is the kind of thing we're looking at now I'm going to create another cube and let's come out the camera and I'm gonna have this sit on the floor as well and now I'm gonna create the inside of this this room so let's pull this back a little bit like so and I'm just going to shrink this down I'm gonna go into the scale tool and we don't want this to be clipping with the frame or anything like that so I'm just gonna I'm just gonna pull this down slightly so you got something like this okay so let's make this cube editable it's going to the selection mode and the polygon mode and delete this front face here so we can see into this and I also want to make sure that our head as well isn't intersecting with the floor of this so I'm just gonna hide our actual floor object so I could look underneath and as you can see it is intersecting so let's pull this up slightly there we go that's better and I think this may be a little bit too big as well now we've got our little box in there so let's shrink this down a little bit more and let's just make sure that's sinned sitting on this or something like that and I forgot to name this yellow material so let's go ahead and do that as well so that's called this floor and we're also going to need to create a new material and I'm gonna call this inside room something like that that'll do and let's make the color for this digital meet colors for argument's sake and again I'm just gonna get rid of the reflectance and we'll put that on there now we have something like this this is what we've got now we've got that I'm gonna need to set up some light in but before I do that I'm gonna do a bit of housekeeping so this cube this is the inside room let's do that and now I'm gonna start organizing things because we're gonna need to know what things are because well you'll see in a minute but before I set up some lighting I want to make sure that this is organized a little bit better so I'm gonna create a null and I'm gonna call this null scene and this is basically just gonna hold general scene objects general arbitrary stuff not arbitrary but you know so the camera can go in here and the camera path in fact I'm going to name this camera path as well so we know what it is so they're finding there and the floor and background could go into these scene objects but I'm not gonna put me in there actually I'm going to create another null and it'll be evident why I'm doing this in a minute so I'm gonna call this inside elements okay so that I'll include the inside room that'll also include the head so yeah okay I think the rest can go in outside elements then so let's make another null and let's call this outside elements [Music] there we go in our background can go in there and so can our floor and so can our frame okay so now we've got to well your three nails now and you've organised it a little bit better okay let's make another null and we'll call this lights for the time being okay so let's create some lights I'm gonna create a PBR light and there we go it's created a light there I'm also gonna come out of our camera as well in fact I should lock this camera although we shouldn't move because it's on a path so maybe we don't need to worry about that so this first light then I'm gonna call this top light and I'm gonna rotate this so it's facing down like this and I'm gonna put it a 90 degree angle and we can also go into this lights properties its details here and increase its outer radius so it's a bit bigger so something like this and let's just call this 300 and then I'm gonna move this up and in fact just so this scenes not so messy now we set up our camera path we can hide that and we can actually hide the camera as well we don't need to be seeing them okay so this is gonna be above excellent stuff and this top light I'm gonna give a slightly blue hue say maybe something like this okay now I've got that I'm gonna create a another PBR light and I'm gonna increase its size buying it - make this a hundred oh yeah so we've got something like this I'm just gonna leave it back and we should probably give it a target so I'm gonna make this top lights target sorry not the top like this new light that I've just created let's call this left like this one left light light okay let's right-click on this animation tag target and we're gonna make the target of this light the head so let's drag the head into this and it should always face the head now okay so now what I'm gonna do is drag this up so it's like this and in fact let's turn on world coordinates and then we can go to our top view so it's this far away and we're gonna put that somewhere like this maybe in the corner there and let's copy this and we'll call this light right light and we can just pull this across and put it in the other corner here so now this is our kind of light in setup we've got here now I don't want these lights to appear in the render because obviously when the camera spins round you might see them so I think there's a certain if we choose our top like there should be a set in somewhere here we go showing render so I'm gonna turn that off and the same should be true for these lights as well so now if we were to render while looking direct here these they don't show up which is good okay now you'll notice that these lights are shining on the front so the you know this is obviously gonna get enough light I'll also get shadowing and all the rest of it don't worry about the quality we're going to sort that out shortly but at the back here it's completely black it's not quite getting anything now what I like to do and it's kind of too fake bounce light I like to create a point light and let's bring that down here as well and I'm gonna call this global light cuz that's effectively where it's gonna be now at the moment it's just a point light but if we select this and go into its general settings we've got an option here for ambient illumination and what that means is it disregards surfaces that may block light rays coming from it it just lights the scene uniformly basically so let's turn this on and you can see if I turn this up and down you can see there is just lighting uniformly and even though it's in this position in fact it's inside the geometry there's no bearing so if we go come to the back now and I turn this all the way down to zero you can see that this is you know black I mean is in the render as well but if I start cranking this up it starts to lighten that a little bit and it kind of simulates a bounce light a little bit so yeah I reckon 40% okay I'm actually gonna go into the camera and actually start setting these lights up a little bit there so let's turn these down to zero in fact let's turn off our global light for now so there's cranked up our top light to maybe I don't know 60% give it a render I'm just trying to sort get a general a general feel for the scene it probably got a follow up to the top of this okay so that's a sort of yes crank this up to 80 in fact I think when I did this scene before I just I think everything was fine maybe a hundred percent but okay that's not bad and then this global light turning on my own yeah it kind of just sort of fills out the inside of that box so it's not so black and creates kind of like a bounced light effect now we can always tweak these as we go along so it's not the end of the world if it doesn't look perfect so let's get back in our camera and let's have a look at our render settings because that is pretty Arend us in there when it comes to the shadow quality and everything so I'm using physical render for this and as you can see it's just a sixteen by nine 1920 by 1080 that's fine we can leave it of that 24 frames a second I prefer that I think it looks more cinematic and let's go to the physical setting so we can see the shading our threshold is on 15% let's crank that down to 12 the blurriness subdivision where we haven't actually got any blurriness in the scene at the moment ran out up to three anyway the shadow subdivision however let's put that a four and we can leave everything else as is for the time being and there we go that's actually really smoothed out that shadow there okay so let's put our lights in our lights then close this up now this is the problem when we render this we don't want to see this this room and we certainly don't want to see the head outside of this frame either now this is where I started thinking how could we go about this under I knew it was gonna involve the compositing tank but I didn't know how I was going to go about this first I thought maybe I could do it with a shade us maybe with the normal direction that didn't help so yeah I came to the compositing tag and this is why I created inside elements and outside elements so let's get a compositing tag on inside elements so that'll be render composite in now we've got some options here we can say okay does it cast shadows is it seen by the camera and all that kind of thing and what I ended up doing was utilizing this scene by Transparency I thought okay what if we say it's not seen by Transparency the inside objects will then I'm probably gonna need a transparent object so what I'm going to do is I'm going to create a another box and I'm gonna have this sit on the floor I'm also going to come out of our camera again so we can work and I'm gonna pull this back and I'm gonna make it slightly smaller than the frame again but not as small as the room I'm gonna make it slightly bigger than the room like so but I'm also gonna make it editable and I'm gonna remove the front face of this because obviously we want to say see into this box now let's get back in our camera and obviously that doesn't do anything for is if you rendered it just does this something else so it should be noted I don't really want this touch in there floor even I don't think it is no it's not it clears it slightly okay so now I'm going to need to make a material for this so let's create a material and I'm going to call this trends powering [Music] transparent or just really transparent that's fine and maybe dispel transparent probably as well okay so it doesn't need any reflection so it certainly doesn't need any color but it needs transparency now as you can see this has got an index of reflection and that's no good for us because if we applied this to the box you're still gonna see this box via refraction and you can see that here by this sort of you can see the outer edge of it and so if we go to transparency you can see it's got a refraction preset of glass now we want it to match air so that would be a value of 1 and now you can see in the preview that it's not visible okay so now when we render it appears there it's not there okay so I'm gonna choose this and I'm gonna call this some trends parent blocker or let's just call it transparent blocker for the for the intents and purposes of this tutorial I'm sure there's a better name for it and I'm gonna put this in our scene as well okay so with that said then what we can do now is we can say we can composite based on transparency so these inside elements that this is on I can say this is they're not seen by transparency and because the transparency only exists in this area you will only not see these elements within that area so now that that's turned off we can give this another render and lo and behold it hides our object which is great now you notice the frame is a little bit bright so I think we do need to adjust our lighting sight slightly so let's turn off the global light and see if we get a effect yeah I think maybe the front two lights are a bit too strong and well first of all Daz well I'm gonna tint these so I'm gonna make our left one over slight red tint and I'm gonna make our right one have a slightly orange Tim just for just for that let's give it a render down see if it's still too bright yes in my opinion it's still too bright so I think we're gonna bring these down so they're not in our hundred percent maybe eighty five percent something like that that's bear we can actually start to see a little bit of pick out a little detail and I'm gonna bring this down even more to seventy-five percent yeah that's a lot better it's not so blown out and the top light that's 70 percent and now we can start playing with our global light we don't very go that's not too bad actually I think I can live with that okay so now we can see that this is hidden but even though our transparency box is hiding our inside elements by this transparency it's still casting shadows now we both want it to cast shadows and not one in two car shadows and I'll I'll explain what I mean by that obviously behind the box we don't want these shadows on the floor because effectively Oh cinema 4d had a little moment there there we go effectively these shadows should exist behind the frame because there should be no in a box to cast these shadows from the outside world but we still want these shadows that are inside the box so but kind of in a in a interest in place because if we say car turned cast shadows off great we eliminate these shadows on the floor sorry yeah looks like semi forties have in another moment might be a driver issue yeah we can see we've eliminated these shadows on the floor but now we've got none of those lovely shadows within the box either so what are we gonna do well the the thing that I came up with was actually duplicating our lights and this is why another reason it's important to make our inside elements and outside elements so these lights I'm going to call outer outer lights okay and in fact I'm going to call these out out as well just to keep everything the same and that's cool yeah okay so these are our outer lights I'm gonna make a copy of these and I'm gonna call these our inner lights okay you know lights okay now you're probably thinking why why are you doing this well if we choose our top light and go to project we've got this mode exclude or include I'm actually gonna switch this to include in fact I'm going to do that for all of our lights in inner lights as well and in fact I'm gonna take our global light and put that in our scene because our global light will just apply to everywhere and then I'm gonna delete out of our outer lights as well so let's get back to our inner lights choose the book choose all of these lights really go to project on the choose include remember this is our inner lights so I'm gonna to grab our inside elements and drag these into our inside our inner lights okay let's call this inner elements as well just so they've got parity okay so our inner lights I've now got all of the inner elements as an include there so these lights will only illuminate these inner elements and let's do the same with the out lights let's grab all of these and then grab our outer elements and put them in there so this set of lights is lighting the outside this satellite is lighting the inside okay cool all right let's give it another render appears our frame is not being lit and I want to know why okay guys I'm an idiot and are outta lights if I select these I didn't change the mode to include I put exclude so it's actually excluding the outer elements and if I turn it into include you can see that everything's lit now so the out lights are lighting the outer elements the inner lights are lighting the inner elements and if we render now the lighting looks exactly as it did before but now we're not getting any of that horrible shadowing on the floor now so we could render this out now and we'd have this effect where we have our box spinning around but that's not the end of this story I thought to myself okay well that's a good way to do it and it gives us the effect we want we've got our head within our frame and obviously you can't see the head outside of you know that frame is just inside our little box room so we've got like an impossible space there but I thought okay well we're kind of limited to this box here what if we wanted a larger world inside of this instead of just this box so that's when I started thinking about other ways we could do this so let's actually set that up okay so these inner elements I'm gonna get rid of the room completely and the transparent blocker as well I thought well we don't want to be confined by this transparent blocker so what I ended up coming up with was saying okay well instead of saying that things through transparency aren't visible what if we flip it and say that things through transparency are visible so with that in mind let's come out the camera and let's go to our selection tool and polygon mode and actually just start deleting these Poly's let's get rid of all of these so we're just left with the back face poly here and I'm actually gonna flip the normal so it's facing the correct way as well where is it reverse normal there we go and I'm also going to make sure that the pivot for the mesh is actually in the middle of our new plane as well and then what I'm gonna do is I'm gonna move this forward so it's sitting sort of in between let's have a myself a look at our top view here and then we can make sure it's sat in the middle something like this and I'm also gonna go to the front view as well because I want to make sure that it's in the middle of our there we go there we go so not too interesting and now we've got an effect like this so it's actually doing the opposite of what it was doing before which is hiding everything within the frame and showing it without the frame so we need to we need to actually flip this now so in the compositing tank we've got we need to actually turn on scene by Transparency okay so now it's seen within this transparent stuff this transparent window that we've basically created but we don't want it to be seen outside of it and we can do that by saying scene by camera we can just turn that off so now it's the complete reverse of what we had before which is now this but we're not confined by the box that this head lived in so now what we can do is and remember the inner light so are showing the inner element so anything that we want to be lit by that stuff has to be inside so now why I can do is I can actually create a second floor so this floor object here I can create a floor for inside so let's call this inner floor and just for naming sake out a floor okay and for our inner floor I'm gonna get rid of this material now put put our blue one on and let's see what we get now there we go now we've got a problem we've got a problem the reason we've got a problem is because we've still got the compositing tag on this floor object so if I take that off that should only be it should take on the characteristics of this compositing tag up here which it does now we've got some other issues going on and we can sort these out this inner floor it does need a composite in tag so let's put a composite in tag on there render composite in and we want to say composite of background now something that should be noted here you can only have one background in a cinema 4d scene if you put two in there what it does is it only takes notice of the first background within a hierarchy and in cinema 4d that works from top to bottom so we're gonna have to overcome that in a sec but let's deal with this floor issue first we've got compositing tag light now and we've said you know scene by camera and seam by transparency so this is gonna actually override the tag of this of the object that is in okay so if we render okay the floor looks normal now but I got this so we need to match our original tag sorry so this inner floor one we need to turn off scene by camera make sure seen by transparencies on and we also want the compositing background on so now we should have something like this there we go that's exactly what what you're looking for but another issue we've got is that we can see the background through through our thing here so what I'll be going to do well even though we can't have another background in this we can have a sky object but the problem with that is if we make a sky object it's going to override the reflections for the scene okay but we want this to merge with the blue background so let's some create a sky and I'm gonna put that in in inner elements because it is in it in a element and I'm gonna call this blue sky okay and I'm gonna put the blue material on it we won't worry about the reflections too much for now and on the blue sky we're gonna say again a compositing tag in fact I don't think we're gonna need a composite intact this one should take care of it because it's inside so it's not seen by the camera but it is seen by transparency let's give you a render and test whether that's true or not it is so that's good and our floor now you might be confused because you like oh well that's actually blending and oh you can see that it's actually overriding the sky outside so maybe it does need its own compositing tank so let's get a compositing tag on that and you'll say it's not seen by camera but it is seen by transparency so that should sort us out there we go so that's the effect that we want and you'll notice that actually that our floor inside is actually blending with the sky and you probably think well why is that and it's because this in a floor we've said composite with background and it's actually compositing with this background and you might be thinking with this backgrounds yellow and this one's and the floor here is blue so why is it why is it still compositing and it's because it's got nothing to do with the color it's got to do with its brightness and it's in its saturation basically it's a it's more to do with the brightness value so it's kind of working on a grayscale value so it really doesn't matter about the color it just needs to you know match its brightness so that's why it's still working so it's still reference in this this thing it's background so let's spin around so we can see a bit more now the reflections we're still getting them from the lights because obviously we've got inner lights and out lights and it's still getting its reflections from there but what about environmental reflections it looks a bit dull now well what we can do we can actually put a second sky in there's nothing to say that we can't do that so if I put this sky in and say I don't know reflection sky and again we can put another composite and tag on this and we can say that it's not seen by the camera and there's no composite in and it's not seen by Transparency either but it's seen by everything else we can now put a material on this so let's say create your material let's turn this off all of this off and turn on the luminance si sky in fact let's call it a reflection sky so we know what we're talking about excellent and let's go to the content browser and I'm going to slap three sets search Oh wrong button search HDR and we've got a later map see what's going on here alright monk this up so we can see what we're doing for some reason cinema4d arranges these like this until you close the browser window and reopen them and then you get this kind of tiled layout so sometimes I need to kick in the ass so you can view things properly I suppose at this stage this really doesn't matter but okay I'm going to choose this that'll do our overcast and we can track that into this luminance channel and now this can go on our sky and you'll notice that the reflections on our head changed okay and there we have it okay so now we've got the same kind of thing was react before but we're not limited by the box that it lived in which is great so now we can do all kinds of stuff so in our inner elements what we could do is create a cone which is why did last time actually have this sit on the floor and I'm you know I'm just gonna shrink this down so it's something like this and I'm gonna put this in a cleaner object so that's create a cloner let's put this in our inner elements and I'm gonna put the cone inside the cloner and let's select this cloner and say this is a I don't know a curried array something like this unless come out our camera as well so we can actually see what's going on and let's crank these up so I 8x8 that'll do so there's lots of these and let's bring them a bit closer together something like that okay let's call this 80 by 80 by 80 so we've got something like this and now we can bring these back like this and let's make another null and I'm gonna call this null defectors and this is again this is just so things are nice and laid out clean so I'm select this cloner and I'm gonna randomize by going to my graph effector random effector I'll make sure I selected that one more cleaner was selected and it automatically gets added to this um well looking yeah the cloner in the effector tab it gets added here okay so this random effect I'm gonna put inside our effectors so just so everything's nice and clean and I'm gonna um say the less randomize it's movement by a hundred but actually I'm not going to randomize it on the wire all because I want them to be sat on the same plane but let's randomize it 200 in the X and z directions in fact that's not enough let's go free fiddy that'll do for the purpose of this tutorial now we can see that some of them are actually intersecting which is no good so I'm actually going to select the cloner go back to our mo graph and choose the push part vector so now this pushes these apart and we can actually choose the radius in which they're pushed apart as well so you can just make sure they're not touching each other also I'm gonna go back to our let's put that in the effectors now I'm also going to go back to our random effector and let's say that this affects sky uniformly as well so we can actually get some different sizes of these things randomized that slightly okay that will do is let's go back to the camera and I'm also going to make sure that these clones are actually sat let's go back to uh yeah this view here we go this make sure these clones are sat on the floor and that they move back as well so let's make sure these claims aren't intersecting with our head at all there we go perfect now because they're inside this inner elements here they should automatically be inside excellent so they're inside our world here and they're not on the outside which is beautiful because they're only being seen through transparency because they're in our inner elements thing here now you'll notice that the light in because we've got this three light setup they don't look lit very well the further back they go now we can actually um we can actually change that and this is something else that's pretty cool about this method we don't have to worry about our box course cast in a nasty shadow and all that kind of thing but we can actually have a different lighting system inside our window then outside it so if we look at our our lights we've got this area you know three three light setup but our inner light so we could actually bend this so let's get rid of our top light or left light or right light and we could actually just put in a have a look like a Sun or something like an infinite light so now what we can do is put this light in our inner lights and let's just call this a let's call this a direct line and in our includes we can just include everything in inner elements so that's everything in there and let's make sure that it's not just you know it's pointing down maybe give it a little bit of a boot this way as well and now inside our window we've got this kind of oh it looks like there's no shadow so let's turn those on shadows area that I'll do in it okay oh beg your pardon I've changed the time type of light area not the shadows there we go make sure we change the here the shadows Terraria there we go we get in area shadows within this window now but not outside we've got these soft shadows from our PPR lights so you can actually have different lighting setups for in and out as well okay so that's that done but something else we should note as well we get round to this side of the window and render because we can still seat inside elements through transparency when we render this side we are also getting this blue thing because we're still seeing the floor and the blue sky through transparency now that may be something that you don't want and in fact in my scene that we looked at earlier on my Instagram I just had this looking at looking yellow and there's a way we can do that I mean this may be something that you want in fact if I go into our inner elements grab this cloner and grab it and copy it Y could do is again let's come out of our camera I could grab our second set of clones and actually move them this side remember they're still in this era inner element so even though this side of the frame we still won't see them they'll still be hidden but when we get around to this side we can see these claims here so that may be something you want to do so you can see through the backside of the pool now I didn't want to do that and I thought well how come you solve this problem and that is actually we can affect our transparent material and this is why it's important to make sure this transparent object it's got its normals facing the right way so if we going to poly mode for this transparent object and press ctrl-a we can see that the normal direction for this plane is orange this site which is correct that's the orange side and then the back side is blue so that means that's the reverse of the normal direction orange is the normal direction blue the reverse okay so that's how we want it now in this transparent material what we can do is we can add to the Alpha so let's turn the Alpha on go to the texture drop-down and go to effects and go to normal direction now turn turn this on well select it now in this texture field we've got normal direction now if you're going there color one which is the positive normal is white meaning a value of one and the reverse normal is a value value of zero black okay and what this means is that we can actually cut out this alpha can cut out based on normal direction so it's kind of like a mask for normals so now you'll see that looking through this this way nothing's changed great and then when we go around this side we see the yellow and you'll also notice as well this frame is still casting shadows on the outside and it gives a quite strange illusion because there's this whole world within this window frame but as soon as you get to a angle like this you realize that this world is you know through some kind of wormhole or or wherever so yeah that's pretty much it guys all you need to do now is render this with this out your camera animation something that you should know as well actually before I move on to make this loop properly you'll notice there's a slight star when he gets to the end the little jolt and that's because the first frame and the last frame so let's go all the way to the end are exactly the same and that's gonna be no good for us so what you want to do is you don't want the first and the last frame to be the same so what you do is you select your align to spline and you can see that the you know frames 0 you got a keyframe and and the last frame you've got a keyframe as well you actually want to move this keyframe away in up one and oh yeah there we go so it's ER so it's 4 seconds okay so yeah this should take a little longer now there we go but we still getting this joke Boop so what you want to do is take your timeline length and move it up by one frame and then make sure that we can see all of that and then move this keyframe up by one so now this keyframe exists not for seconds but one frame up from four seconds and then you can put this back down to 4 seconds and this shouldn't have any repeat frames so this is the last frame and this is the first frame engine as you can see they're different now so now there should be no jolt and it should loop perfectly when you render out and it does there you go excellent so yeah I thought that'd that's something interesting to look at an arm that's how you can achieve this kind of portal impossible space non you non Euclidean space effect I hope you enjoyed the tutorial guys I'll see you next time if you're watching on YouTube please like and subscribe and don't forget to hit that Bell to be notified of new tutorials you can follow me on social media at Facebook Twitter Linkedin and Instagram and make sure to visit me at digital meatwad UK where you can vote for upcoming tutorials thanks for watching [Music] [Music] you

Channel: DIGITAL MEAT

Views: 6,505

Keywords: Digitalmeat.uk, Cinema 4D, C4D, Cinema4D, Digitalmeat, Greyscale Gorilla, GreyscaleGorilla, 3D, Workflow, Cinema 4D Workflow, C4D Workflow, Tutorial, Tutorials, Cinema 4D Tutorial, Cinema 4d Tutorials, C4D Tutorial, C4D Tutorials, Mograph, Motion Design, 3D Motion Design, 3D Animation, 3D Modelling, Magic Door Effect, Non-Euclidean Space, Impossible Space, Non-Euclidean Geometry

Id: LZRjj89meMs

Length: 55min 59sec (3359 seconds)

Published: Sun May 03 2020