Cinema 4D Octane Shader and After Effects RGB Split

hello my loony wizards today we're gonna take a look at this in detail this means we're gonna take a look at the octane tune shader and then add some techniques to make RGB splits and after-effects so if you find this tutorial helpful please like and subscribe and now let's dive in we're here in cinema 4d and I already imported my model which is the ps4 controller I did get this by the way from the grep CAD community which is crap Capcom which is an awesome community actually I will provide the link in the description below so you don't have to search for it we got this as a step file I just drag and drop it in here and import it so this is how it is and now let's - first things first and let's animate it so let's make it 10 seconds which is 250 frames here and Europe by 25 frames per second standard and let's rotate this around here let's make a keyframe first frame let's go to the last frame make a key frame right there after 360 degrees let's see if we are moving yes we do then we go to window timeline top sheet so we see our key frames and let's just hit this button right here to linearize our key frames so we don't have high speed ramp and we have a perfect loop well quite perfect because right now it's the first and the last frame are the same so we have to go one less right there 249 and now we have a perfect loop need well then next step would be for me to go and create an camera and let's change the focal lengths a little bit because 36 is always boring to a 50 millimeter that's a quite small object let's back up a little bit now let's make sure that we are in the frame let's go to right here which is probably taking up the most space it's kind of Center this and now the control is always within the frame which is awesome and that means you're gonna lock our camera put a protection tag on it so we don't move it by accident now in order to see any effects on your toon shader you might want to get in a light so let's go objects lights tune lights and I prefer a directional light here so let's get the direction kind of going it's hop out of the camera for a second something like this okay let's go back into our camera and since this is a directional light I'm gonna move it out of the way so it's not distracting me and now let's create the two material so you go materials octane tune material let's drop this on and start to obtain renderer and there we go now let's open the material opacity displacement and normal are like in every other shader so it is super straightforward I'm not gonna go into those but we're gonna start at the top anyway so diffuse is your base color as you can see let's take something like that and then you have specular and roughness those two or kind of go together because even though we have specular at a hundred percent we're not gonna see anything unless we have any roughness into it so let's get up the roughness and there we go we're gonna see some Tunney highlights and now the specular just says how intense those are let's think what the roughness a little bit so if you go overboard you see you only have highlights if you do it too low you only get those small things well that's not really too low it's depending on what you want to achieve but I'm gonna go with a point two point three maybe right here okay and let's go to our line again just so you see whenever you rotate is that now the highlights aren't changing so those always go together even in the toon shader materials and lights now let's get into the tool options this is the unique part of this material at the bottom you got outline thickness which is doing what it says it's determining the thickness even though the outlines in the octane shader are kind of different than you would expect it or you know it from sketching tune or the Arnold toon shader it's kind of doing its own thing so this is not always the one outline shader you're looking for but in my case this was totally fine and I actually kind of liked it so I'm gonna go with a point two on the outline and just in case you want to change the outline color you go in here obtain shader and put in an RGB spectrum and let's change this to white since we're gonna make our background black at the end well actually let's do this now so we go over to objects and texture environment and just drop it down to zero and we have a black background awesome back to the toon shader we have two special things here the one is at diffuse tomb ramp and AD specular - right so those are very similar so let's start with the a diffuse tuned rep just add one and you go in here it looks like a ramp but it actually is posterized even though the representation does not show this at first so if you put this down to black the gradient is getting multiplied on to your diffuse color so you can't put colors in here but don't expect them to come out the way you actually put them in but for visualization purposes I tend to take my notes and just put them to step so I actually know what I'm doing and how it's gonna look like that's why what you see is what you get situation then before and I'm gonna do those for all and now since this is getting multiplied on we're not gonna take a hundred percent black so let's take a dark gray and then we have those whites on top and in the middle we're gonna mix in some bluish colors like that and we're getting a really nice posterized tune shading right there now the at specular term ramp is totally the same it's another ramp that's posterized in notes I'm showing it and it's doing the same multiplying of colors on top of it just for the specular so you have two options to get polarized colors in here as you can see and let's take a different color for here so this is getting obvious there we go now we're having a specular with pink and white in it so let's take this out since I'm gonna make a black-and-white image we're gonna come back to this take up the roughness again okay the most questions were how do we get something else than only this more of a hatched look and this is we're we gonna go to the pump Channel that's where the magic happens for there now let's get in here octane let's put in a noise and you already can see that something is happening and with the right amount of transformation and tinkering around with all those others sliders you actually can achieve a pretty nice look so let's go circular get some more octaves in here and let's unlock the aspect ratio we're gonna squeeze it together on the X maybe not that much and we're gonna stretch it on the why when missing some details here so let's see let's get the gamma down and yarmulke up come on so we're already getting a kind of a hitch look but we're still having a problem and we're gonna fix this right now so the problem on catfights often whenever you import them order you weeks and as we can see those are pretty messed up right here perfect let's get closer we already can see our hatch look but actually we have them hatch right here and different here and then they go over here so they're all over the place and it's a pretty big mess and yeah you can go into rizzo UV or something like that and it's just through a proper and clean UV unwrap which is probably the best idea but also takes the most time but for our purposes here in the toon shader it's actually just sorting them out so they're not overlaying all of them well let's hop over to our UV edit here and let's find our shell which is the body right here let's double-click on the UV map scared parties and as we can see this is one big giant mess so no wonder this is not gonna work anyway now let's just go optimum mapping cubic preserve orientation all the stuff it's I think it's default just hit apply and boom that's already something we can work with let's go back and why octane let's start it up again and as you can see it looks a lot better now back into a 2d shader and let's try there we go now we're getting some of this back can get to come up back up no it's about here the Omega up a bit get more detail in it that looks fine [Music] very nice look right there so the left thing I just did is we can squeeze them a little bit more all I did was actually rotated a little bit so it had this more of a hatch hatch look to it so you're not really hatching like perfectly horizontal so right there 35:37 yeah and that's pretty much it and adjusted to a specular a little bit more let's see how this looks on the back right there yeah it has this kind of a Sin City feel to it that looks that looks good so but as you can see you really have to go through and now like pre UV those and those and and especially this one here in the middle which probably might take a second because those are those are a lot of polygons once you're there this is how you achieve to look it's just all on the bump map and I mean just try something else let's go for Chaplin it's totally different look and then you can go deep in here if you take the note editor how to arrange those and just I don't know overlay em and filter them and you have a lot of possibilities in here it is a simple shader and by far not perfect but you can achieve some pretty nice stuff with it the last thing that's left here is just going to your render settings I think I rented them out at 128 specular one glossy one diffuse one because we all we don't need any of this just in case let's turn the adaptive on and turn it down to 64 and I render out I'm just gonna make sure that the response is on srgb [Music] let's go over here Safe Mode is a PNG 16 bit neat the Alpha Channel choose your location 249 so it's 250 frames oh and if you use alpha channels and obtain always make sure you have it let's put those side-by-side in the safe check tick alpha channel right here and also take Alpha Channel right here if one of those is missing then you're not gonna get an aperture so that's pretty much it then we just shift our 4 render and we're done for the cinema 4d part and hop over into After Effects now here in After Effects I'm just gonna give you a quick breakdown of some of the stuff I did because there's nothing fancy going on here it's just a couple of position keyframes and rotation and one or two effects it's it's nothing really special first thing I did is pre compose my turn controller we render outs out of octane this is what you see right here one of the things I usually do when I import sequences is I check the interpretation here and so it's actually also rendering at 25 frames per seconds because sometimes this is 30 and this is not what I ran it out and on the other one is just down here since I read about a loop I input some loops so this saves me duplicating the footage or using an expression within the time remapping so I'm just gonna say I need at least 10 loops and then After Effects is gonna loop me my footage over and over and over again I just have one slide which is kinda handy now what we have here is position keyframes I tend to split my dimensions just because of personal preference durable stuff is just time remapping so it's speed up right here then we go normal speed and we speed when of it's going through the sides because there's nothing really good-looking there and we're gonna speed up here again and that's pretty much it so this nested into our main comp we're down here we have a very simple background it's a black and a white solid parented to ink null so I can move it around like this and back into the middle and rotate it and then the rest is just always the same layer duplicated and a couple of effects on it and let's stop right here so the effects I used to create this is called shift channels and all it does is you can rearrange your channels I turned to just blew off which leaves red and green which gives us yellow and adjusted this on the other ones here I turned green off and here I turned red off in setting those two a blend mode of add they just get copied back together and once they overlay perfectly again it's just your original image that's also a nice way to do some custom chromatic aberrations and stuff like that and the layers itself just altered in position as you can see around here and then they come back together and they form the original image and then we switch back over to a single layer just so it's rendering a little bit faster then we are in here this is another effect called invert we're just not inverting the whole image which are inverting a single channel which gives us those nice colored versions and they're altered in position just so this seems a bit hectic game and then we go into this one in this one is special because it uses a bit of overlooked blending mode called difference so what difference is doing is it's looking at the pixels or the color values of your image and comparing it to the layer below and now it's kind of confusing right here because I have an invert on here so it's getting actually inverted twice so let's turn this off and now we see that our image is now inverted we turn this off just because the different works like this in our original image where my mouse cursor is right now we actually have black values and our background is white so the difference between those values and our background is actually 255 if we are in 8-bit concept so what we are getting displayed is the difference between those so the difference from 0 to 225 is 225 this is what we are getting white here now those shades that my mouse cursor right there are usually white so the difference between those whites and the white and background is 0 which results in a black and this is actually all that is different doing which is kind of helpful because now this is actually getting completely automatic inverted depending on wherever our background is cutting from whites to black now I inverted this again just to get my image back the way I wanted it okay but long story short I tend to get a bit technical and drifted away and stuff like that because I actually kind of like this stuff it's difference is overlooked and pretty powerful if you know what you're actually doing with it and then later on we just have the same thing not in CMYK but an RGB so I've turned off the green and the blue Channel to get our a channel out of it and stare at it together again combining them there's some other channels in betweens over five now and they're combined again and getting back to white that's pretty much it and at the end there are just a couple of shape layers ending it off so we can start over again since this is supposed to be a loop hope this was somehow helpful for you and again please like and subscribe and then I will see you next time stay smart

Channel: Daniel Menapace

Views: 2,166

Rating: 5 out of 5

Keywords: tutorial, motion design, vfx, tips, tricks, after effects, cinema 4d, octane, toon, shader, rgb split

Id: -Q3TUAz7PYw

Length: 20min 14sec (1214 seconds)

Published: Mon Jun 01 2020