Cinema 4D R21: Breakdown of New Features

[Music] hello it's Chris MIT from rocket lasso and it is Christmas in July because today is the day that Maxon announced our 21 the new version of cinema 4d this is going to be a video breaking down some of the new features on I'm gonna be able to cover everything especially not with a scene file if I'm going to sort of tackle it in the descending order of things I think are really cool and then there's just a bunch of little things in fact this is one of those versions of cinema 4d work there isn't a couple of core features it's a little sprinkling of stuff all the way around although having said that I feel like one of the things that was added is one of the more advanced tools more potentially complex and controllable and just really interesting and intriguing tools that they've ever added but why don't we go ahead and pop open cinema 4d and start going through it now when you open up the new art 21 you're going to be introduced to a new screen first of all the splash screen but I very get that close but you're in major use to the license manager and of course some of the very big news that came out with this version of cinema is that they have changed the way some of the licensing works there of course now is a subscription option you're not forced into a subscription you can still get your perpetual license in fact the perpetual license is a little bit cheaper than it used to be but the idea of the new subscription is that it's costing the same amount in fact I think a little bit less then it used to be to just get the MSA which was essentially you would pay a certain amount of money and every year you get the next version of cinema as soon as came out so that was cool but they've now broken that down into a subscription we can get monthly subscriptions you can get yearly subscriptions and if you get the regular yearly subscription then you just pay $59.99 a month which breaks down to cheaper than the MSA used to be or if you want to get the red shift license as well then you pay 80 $1.99 but you can still have your perpetual standalone license just like you used to have before but I have been using this new workflow for a little bit now jumping between a laptop and this and I gotta say I like it I have no problem with the idea in general subscription models I used the Adobe one I don't have really any specific problems you're always going to be up to date and that's just good for everyone and those lines with everyone being up-to-date they have gotten rid of all of the different flavors of cinema 4d there used to be broadcast and standard and studio now there's just the full version there's just cinema 4d that has body paint that has all the character tools it has all the motion graphics tools so one flavor that makes this a lot better for me making tutorials because I know everybody's going to have everything and everything just is working really well you're going to go ahead and when you download cinema 4d it's always the same version so along those lines if you're running the demo it's still the same full version cinema 4d if you don't have the license it's still the same version if you're running things on a license server if you're running things on your own subscription model or running on the perpetual model it's all the same things you just have to sign in and it's all account based so having done that why don't I go ahead and sign in so I skipped over the typing there because I don't want you to see my password but after that you're gonna get the anonymous application activity window and this is going to be sending information to Macs on they make it really clear that it's strictly absolutely completely and totally anonymous so you can turn that off in your settings if you want to but it's on by default but go ahead and turn it off if you are not comfortable with it but personally I trust Mac's on with that information go ahead and close that and you're gonna see we have a new Quick Start dialog in the Quick Start dialog you make a new file you can open a file you go to recent and you're gonna see whatever feed that Mac sounds been curating up here ready to go and they got a couple of different templates I haven't really tinkered around with but we are ready to go by closing this hitting new either way you can go into the preference menu and stop this from popping up at all otherwise it's going to pop up every time you start up cinema 4d so let's go ahead and give that a close and here we are in the brand-new interface so some very important things to point out is that not only do you see this kind of newer slightly darker layout but a lot of icons have been moved to new places and the reason for that is a couple first of all like I said there is no longer different flavors of cinema 4d so now before certain character tools had to be in a character menu because it came with Studio even though they're better off in a different menu so everything and my opinion has been reorganized in a much more intuitive way I'm getting tripped up a little bit but it's actually been incredibly easy to get used to where they've laid out some of the different settings like all of the mograph tools are inside of a single menu now both of both all of the mograph objects and all of the effectors and now because fields have become even more important they get their own little drop-down everything is just organized in a slightly better way I'm quite pleased with it overall and it's a tiny thing but they have moved they've added in the reset PSR button as a default button which is amazing you just use it so often that now I can move my cube somewhere click that button and it's going to jump I tend to find that if if there's a button in the interface that is directly clickable that's quicker to click the button then to do the shortcut so that being there I think speeds things up a little bit and because I'm always making tutorials I try and leave my layout default so you know I would usually put that button in but I don't fertile purposes continuing here with the interface you'll see that the icons are very crisp and they are a little bit flatter design now that's not quite as much dimension in them the layout of course has been changed the cinema 4d is now going to go up to 4k and it's going to adapt to the high resolution monitors that's just a big positive I don't think we're really seeing that displayed here in addition to that they've redone the viewport in a way where it can now accept file exchanges and I don't think it's really going to affect too much directly right now but it's it's called olee based file exchange so now you could exchange files between cinema 4d and Adobe bridge for instance you can drag and drop files from a bridge into this where you couldn't have done that before so that's another useful little detail on the top going along with interface changes and we're not gonna go over all of them but there is no longer a plug in drop down there is an extension drop down and you can see you've got all you put all of your plugins in the regular old plug-in folder create the plugin folder if you need to but otherwise you can remote link into your plugins just like you couldn't r20 but I just want to mention that these are in this drop down the other big important thing to mention is that r21 breaks all the plugins again that breaks all C++ based plugins old Python ones should continue to work I believe now I just want to do a really quick shout out on why this happens because it's important to note that it was amazing for a bunch of years that in cinema 4d I think from our 12 13 14 15 16 17 18 19 plugins didn't break and that is sort of a miracle that's really impressive almost all piece of software will break your plugins every single version now what's happening is Maxon has been working on the new core they've been fundamentally rewriting cinema 4d from the ground up and they got all these really cool features they're having to slowly implement them as we go and by implementing everything into this new core it means it breaks plugins that's a little bit of a pain in the butt right now but ultimately means we're getting it better stronger more stable cinema 4d just right now you have to go and update your plugins by just wanna do a shout out to be like well I just really appreciate the fact that for so long they didn't break now we're gonna be in this rocky period where they're going to be breaking pretty often as the versions come out until it's restabilized with the new fundamental core because the old court was pretty old now before we get into a new features proper last thing I want to mention was because your license sort of follows you around now and you have multiple licenses of apply it to a single email account so you could have multiple versions I think it's it's really straightforward I think it's gonna be working really well but when you go to file and then you can go to quit you can also say quit and free license but I also don't think that that is that big of a deal because if I were to jump over right now in my laptop and try and sign in it's gonna say hey my license is already being used and I can say disable that one enable it here so I have found it to be pretty seamless it could have been a pain in the butt but it seems to be working really well so far in my experience anyway the first new feature we're going to be tackling here is one of the more straightforward ones but I think it's gonna be useful for a lot of people and it's just something that was so open so much of a pain to do in the past so it involves new caps on extrudes but specifically text so let's go ahead and use a moe text the quickest way to see this let's just go ahead and type in our 21 I'll Center it up and let's choose a nice beefy font it'll show this stuff a little bit better let's grab a nice big future of bold there we go maybe extrude that out a little bit further alright so just like in our 20 you can see that all of the new features have been highlighted in yellow as you can see we get new stuff under caps and under selections so let's go through this a one step at a time now you know when we would do the old extrusions with the old Devils that it would explode really quickly but now with this new bevel shape and size as I increase this you're going to see that the bevels don't explode actually will collide with themselves and create these really really nice bevels that go all the way to the edge where actually pinches in pretty much perfectly on the shapes and if you want to see what it used to do we can turn off self intersections and increase size and you're gonna immediately see the two is going to break and they're just gonna pass through each other and start exploding outward it was always a pain to do this because you'd have to extrude it a very specific amount or it start breaking but now just turn back on self intersections and now these bevel out so nicely but it's not limited to that we have other features as well we've got different shapes we can turn on curve and if we introduce this then now we have a very straight edge very chiseled look super easily and look how clean this geometry is like exactly what the subdivisions are and it shoots across and important to note that these subdivisions are still based on the way the the letters are subdivided the edges so if we go to object tab we can change this adaptive setting if I can make more or less of that and if we wanted to I could turn on the subdivided setting and now every five units it's gonna have a subdivision but you see how cleanly it's creating all of that and also it does a really nice job with the you VW's on the caps here but in addition to that let's go ahead and put this back to a regular display mode in addition to that we now can add in additional subdivisions on it and we can start changing the way this curve looks we can you'll pinch this up go down look at this nice bevel oh man how how would you have done this before it would have been really difficult to start introducing these types of shapes into into everything with the older workflow so we can make all these beautiful looking bevels in addition to that we have solid solid I think is the most specific one so if you do a nice little one here you get these little bevels on the edge but I don't think that's gonna be used too often but then I really love this step one let's go into change or display mode here we can create a series of tiny steps getting extruded forward let's turn on some SSAO in order to see some shadow on there and look at these beautiful extrusions that we get pulling out we can set exactly how many steps we want to see as I get pulled in and out all the way to zero we have the ability to turn on a separate bevel control so that we have we can have a different start and end bevel we can turn on the caps from one side or the other just like we used to via a start cap and end cap but one of the coolest things here is the ability to load and save preset so if we click load a preset look at all these presets that we have in here right away we click on this they're even they're even named here's a basic flat we've got some rounding we got like this inverted rounding one and you click on a preset and you still tweak it to be exactly the shape that you want it to be now we can you know change a shape depth make these more shallow change the height like there's so many little saying settings in here it's crazy the new combinations you can do I think I spend all day going through every single setting but it's really powerful I want to spend a second talking about the selections let's go and make a new material let's apply it immediately and just make it some bright color let's go ahead and make it a nice orangey color now with our selections we can actually instead of just having to memorize the what the caps are called we can actually just expose them now so we can do something like turn on our start cap and now you can see our start cap is created and it's even got this nice little symbol on the icon now in order for us to know that this isn't something that we can manipulate it just is what it is because it's being generated internally so I can go to head to this material drop our selection tag in there and it looks like it's on the back cap here you can see that just that selection was implemented there we can turn that off when you go to the shell instead let's drag the shell into that material you can see it's actually the outside part of it the original geometry so exposing those is really nice and then I want to show one last thing with these features let's open up a new file I'm going to create a inside now it's creating an extrude here so we can see this is working here as well and let's hit and the B so we can see our subdivisions under caps we have a new cap type before we had n gone triangles and quads and then that's also gotten splitting out to regular grid if you turn our regular grid you can actually twirl this down and can change how your grid is looking or go ahead and make it quad a dominant to make them squares so all those settings still exist but now we also have a de l'année setting and what the lawny does is it creates triangles of kind of decreasing density so now I could see that very well here because this is very clean let's turn off quad dominant it's very clean so we just kind of get these triangles but if I start adding subdivisions to our anent our inside may go intermediate points let's change it so it's subdivided thank you see I've got all these points on the edge and you can see what happens is they get translated into triangles and then a smaller amount of triangles and smaller and smaller smaller and it tries to make these big old triangles at the beginning so now based on this density slider you see it's gonna try to make nice big triangles so it's not too subdivided but we had a nice clean mesh or we can increase our density and it's going to try and subdivide it it's gonna submit it a lot and we can go all the way we're gonna get a very even pattern overall but when I look at some of these subdivisions it just opens up a lot of possibilities for breaking things apart or exploding things or using the old poly FX like really great subdivisions here and you get some really nice random looking patterns I really like that and you turn on quad dominant that's gonna try and make them as many squares as possible you'll still be left with a handful of triangles but as many as it can convert it will so that works really well and then the last thing I'll mention here let's go ahead and delete that let's go ahead and make an arc let's go ahead and make an inside T for scale skillet and side down a little bit let's create a sweep make both of those splines children or the sweep and then in the sweep let's go ahead and change it to step you can tell I love that one instead of going positive unease you would get these nice little sub ditions why don't we go ahead and go negative on it and you see it's gonna kind of break backwards but if we do the proper combination of maybe turning on extend shape and pulling it this direction you see we get this really nice enlarging cap we get this really nice foot at the base here in this extruding out and it's all still a parametric so we could go back to this pipe and animate this moving up and down we fix that Phong tag make that a little bit lower I think they'll be a little bit cleaner and like it's just automatically adaptable and man I just love playing with type of parametric setup of getting these really nice arcs and columns and steps and boots and before I forget there was one last cool thing I want to mention if we go into our curve so we got the spline so we're just looking at spline types here we don't need to go let's actually threw those out further we can modify this arc just like you'd expect we can grab it pull it in change this change of curves but something is really neat that they've added into splines here is we can if we select all of our points we can right click there's two new settings we have a double and cemet rise I think it's symmetrize but if we click on summit rise then it's going to make a mirror copy of it you see this one point that was on the right is now the middle point it's even welded so that those are have become a single point there and we at now have the ability for it to grow and shrink so I just thought that was really cool let's do it again right-click cemet rise boom two arcs going if we want actually see that doing something here let's go ahead and symmetrize that we could add additional segments you actually see how it's getting subdivided and we need to add two bumps there and in addition to that let's hit undo a few times and we've got our main arc here and now if I right click I can also say double and you can see it's actually going to repeat this so overall it's making the splines behave more like the gradient does where we have the doubling ability and we have the ability to reverse it so just those two features man that adds on so many additional possibilities of ways we can create to these these amazing bevels okay let's start getting to some of the crazier stuff let's open up a new file and we're gonna be playing with some of the new features inside of fields really good way of visualizing this kind of stuff is with a matrix object the new default is this flat grid I think it's been that way for a little bit let's go ahead and make this a lot bigger like two to two by two to two making a whole bunch of clones and I want to make it round so I'm gonna make a cylinder so get this big old cylindrical shape the main way of manipulating this is by adding an effector of course so we click on our mo craft drop-down and I'm gonna add a plane effector everything gets pushed up into the air pretty straightforward that's working well let's push it up twice as far and let's go to our fall-off tab and do something pretty straightforward let's make a radial field and the radial field of course is one of the fancy ones let's go to our field just make sure there's a full transition here so it's spinning from one side to the other let's go ahead and give it something like five iterations you can see it's looping five times and that's working well now something that is pretty common inside the radial field is going into your offset and adding in something like maybe time let's go ahead ahead and add in a time offset and what that means by putting it in there is I can hit play and now it's going to be spinning all of the time let's go make sure we turn off clamp so I can keep on spinning forever and it's going a little fast let's drop that down there maybe 60 frames rate of 60 and then you see this is spinning around forever so what's new well if we go back to the plantiff Ector we're going to see that our radial field actually has some children now there's an entire hierarchy and we can now see the the offset parameter right here in our main tab and with it being here in the main tab that means now we don't no longer have to go digging deeper and deeper and deeper to to affect it before you would have had to have if you like to manipulate the way that's spinning you'd have to click onto the radial field go into the offset tab click on the time node and then make changes here but now it's all right here in the main fall-off and click directly on time and directly affect the way that these settings are working and we can manipulate the hierarchy in additional ways directly from this interface we can create a spherical fall-off let's go ahead and make sure that's a big old fall-off going all the way to the edge here let's actually go to inner offset of zero and now I can drop in to the offset I'm gonna say let's multiply so we're multiplying that and this is now successfully fed into our radial field into the offset it put our spherical field with the multiply but we did it all from this master hierarchy and that is incredibly powerful the next setting that we have is a masks let's go ahead to our radial field and let's create a mask and I want to mask off this overall effect that we have going right now this effect is affecting everything equally but why don't we go ahead and through this mask let's make another fall-off and in fact you know what I want this exact same spherical field and once again it's really cool field so you can reuse different parts so in this mask I'm gonna drag that same spherical field and now I've done that it's actually fading out from the center to the edges and you see the edges aren't being affected at all so we get all this big radial from the center moving out to the outside we click on our spherical field and let's go ahead to remapping maybe we can invert that so you get the middle part is not being affected but the outside is let's go ahead and make that a little more extreme by increasing our our inner offset when you drag that out so there we go you can see how we're getting this nice little flower pattern emerging from the center point going to the edge and that's all through the power of this new hierarchy right in the main fall-off tab and just keep in mind how crazy fields gets right now we're just using this plane effector and we're getting all of this motion no keyframes anywhere but this entire radial field this could just be a mask in itself let's go ahead and create a brand new a brand new random field and I'm gonna go ahead and say that this random field should be affecting the color and the kneel position scaling rotation let's go ahead and set to normal so it's completely overriding everything and you know what instead of the plantiff Ector and right now it's completely overwriting all we're seeing is right and this random field if we click on the plaintiff Ector let's go ahead and say not position let's affect instead our Y scale so just gonna make things way taller so that's what the random field is doing it looks pretty cool it's neat but if we go back into our fall-off tab I could say you know what random field you have a mask and that mask is going to be this entire radial field that we've been working on so let's make that the mask and now you can see that this city is only generating where that mask is allowing it to be generated so the ability of layering this stuff up is crazier than man that looks really cool it's crazier than it ever has been before like just these parametric building like I'm trying to imagine how you would make this in pretty r20 and now with our 21 and this power of combining masks and seeing everything in a hierarchy it just makes everything cleaner and faster and so much more powerful there is one more setting I would like to talk about in fields but it's really specific and I'm just going to use kind of a ripoff of the example Maxon was doing because I feel like it's the best use case for it because there's a lot of different ways of doing and this one's really specific so let's go ahead and create a simulate particle emitter and we were emitting particles let's go ahead and have this go for longer and let's crank up our timeline to be longer and make that longer and let's make these not live as long let's say about 90 frames wipe them go nice and fast and I like and give them a little bit speed variation let's 75 percent speed variation or no speed variation let's do life of variation yeah there we go so you can see we're emitting particles pretty straightforward so they're flying along and they are going to slowly die let's go ahead and create another a matrix object because it's kind of like a cloner but really quick and set it to object and the object will be the emitters you can see we are now cloning directly onto an emitter pretty straightforward now let's go ahead and add on a plane effector as you do and this plaint effector outside on top of the matrix is currently just pushing everything up into the air that's cool I don't want to push up though let's turn that off instead let's just turn on uniform scale and say that they should get way bigger let's go way big so that's what the plaintiff Ector is doing but if we go into the fall-off we can go ahead and drag in our emitter as a source and I'm gonna bring it in as we can do a particle or point object I'm gonna say it's a particle object and a new setting that they've added in our 21 is that the emitter automatically has a color based on the particles age so the older it is the darker it gets and now that we have that variable not only is it cool that we can colorize these particles which is pretty powerful by itself but now we could convert that color into other settings because you see right now it's not changing the scale at all because the color here the life the age of the particle is only a color parameter so in order to manipulate the scale of the objects with this we need to use the new field layer called channel convert so go ahead and create that and something to imply is this doesn't work until you twirl it down you can see it has a source and what source doesn't need well it needs the emitter cool I'm gonna turn off and make blending normal so you get the channel converts just completely taking over it's doing everything now you don't see anything visually happening right now and that is because we want to go just click on the channel convert and this took a little bit for me to wrap my head around but the basic idea is all of the data that could possibly be here is the value of the object the color channels the color the Alpha the channel the direction channels and the direction so right now value equals value alpha equals alpha it's really straightforward but what I'm going to do is I'm gonna say I want the value and that is to say the PS are the zero to 100% type of thing I want that to equal the color so let's click on value here and change it to color and the instant that I do that you can now see that as it gets older it's shrinking down so that means the color was white which is 100% and it's going to black which is 0% so it's just doing that conversion from one side to the other so this channel convert is the ability to put one type of parameter on to another now I don't think it's really straightforward to do that in a lot of other ways and this this emitter example is really good because it's the only time you have one piece of data that can only be gotten one way this could probably be useful in a bunch of different places but this is the main one I'm seeing and just keep in mind the amount of control that we can have now here we've got this channel convert doing its thing but I could go ahead and let's create a invert so now I'm gonna invert it so now the 0 and 100 have been flipped and now they get bigger as they go if I want to I could create a curve I could make it so that these are going to be smaller for longer and then get really big at the end we could do the opposite and make them get bigger quickly so they get emitted really small and then they're going to scale up and kind of love off a little bit and then maybe we can say you know what and at the very end I want them to shrink back down again so they shrink tout let's have that happen really quickly so just gonna shrink down boo-boo-boo-boo-boo and they kind of popped out into that transition a little bit faster creamy nicer let's say we wanted to change the color I can go ahead and grab them make the emitter here let's drag it in as a particle object again I don't want it to affect the value so we'll turn that off and agency we've got the white to black gradient again now we can create a nice colorizer let's move that directly above the emitter so we can affect that color directly and that should be colorizing that so now we can go ahead and change this to maybe a nice teal color and now you can see we're actually getting a colorized transition between those so it's a pretty interesting way of transferring the age of a particle onto the value of the particle and having that control this and that might be valuable in a couple other places in the future as well but this isn't a breakdown of every single setting it's just kind of an overview so let's move on to our next part all right we are now going to move in and start talking about what I think is the most powerful new feature in our twenty and one in fact I think it's one of the most powerful features that's ever been added into a version of cinema 4d so a little bit advanced in a little technical though so let's see if we can step-by-step this and make it clean and logical so it is the idea that we're going to be playing with here is going to be field force and the field force can affect dynamics and it can affect particles particles is the more visual way of seeing it so we're gonna start out that way so let's go ahead and start out by creating ourselves a nice emitter it's gonna be emitting a bunch of particles just having admit for a really long time the speed is fine all that looks good let's go ahead and hit r for rotate we're going to spin this exactly 90 by holding mount shift let's go ahead and scale this yeah here I'm gonna make it really wide a thousand and let's grab the Excise and set that down to zero so we just got this nice emitter hit play it's gonna be emitting we need more frames let's go ahead up to 999 and we'll scale that up and why don't we go ahead and even save our scene file just so we can jump back to this if need be alright so you're probably all familiar with the way we usually would play around with these types of particles we would jump in to simulate and we go to forces and maybe create something like a turbulence and the turbulence is gonna make them start blowing in random directions we give that a little bit scale a little bit of power and we get these kind of blowing around all over the place but we don't really get to visualize that and we don't have a lot of direct control over that and we have all these different field forces let's go ahead and take a look at the menu we've got attractors we've got we've got friction we've got gravity we got rotation turbulence wind all the ones I just listed have been completely supplanted by field force let's go ahead and create one field force is sort of all of the forces and you can combine them all using fields so let's go ahead and try and do the simplest version of this but I play right now nothing's happening yet but we have to go into our field force and let's go ahead and add in something so let's go ahead and I'm gonna create a solid actually that's just saying like hey full force full power do this thing let's create a solid and in the context of a field force this is just a vector it's a direction so you can think X Y Z so currently this is saying Y is one so it's saying full power on Y so if we were to hit well let's go ahead and take a look what we got here - you see I've got this little gridded box here we got all these nice little green arrows pointing upward let's go ahead and tweak our display here so we can see exactly what working with I'm gonna click on display and right now we have line density let's go ahead and crank that way up and see oh okay lots of lines we don't need to go that crazy but this is a nice little display of what should be happening and you know what why don't we go ahead and make this two-dimensional instead of three-dimensional for demonstration purposes it's going to be easier to understand so why don't we go ahead and flatten this down to one so we just got like that one layer and let's make this way bigger like I'm gonna say 2000 by 2000 and it's really big so let's go ahead and increase our density and now you can see we get all these nice little directional tick marks going in a particular direction and we said we want everything to travel on Y now let's go back to our object tab and we have our solid I'm gonna say you know what instead of traveling on Y let's say we have X we want or actually Z I think is the orientation I'd like that to go so let's go to Z and type in one and I can see oh now the arrows aren't green they are blue and you can see they're pointing to the right let's say negative one on Z and I can see it's change color again they've turned yellow the opposite of blue so these were just manually typing in a direction here so let's just leave it as one and let's go back to our object to heaven right now it's saying add to velocity five so our particles are gonna go shooting upward but now we have a field for saying a blow on z direction so if I play we're immediately gonna see everything begin curving off to the right so okay right away that's pretty cool pretty straightforward it's like a wind direction that we have a very nice fine-grained control over so that's just blowing it off to the side we could change the orientation by saying negative one and suddenly everything's gonna be blowing off to the other side right now it's set to velocity type add to velocity but we have three modes here there's add to velocity which is constantly adding on power it's kind of like the way wind or turbulence traditionally work but we also have sets to absolute velocity and you can see this is suddenly going really slow and that's because every refresh it's not adding five it's saying no no no no five is your total amounts that's full power so in order to see this why don't we go ahead and make this just vertical on Y and see they're moving up but they're moving up very slowly so why don't we go ahead and say that their strength is fifty okay ten times this beat let's say that it's 500 and now you can see now we've got some speed going now they can travel up you can also see though that now that it we're traveling at such a speed all of our little direction here our vector our normal direction has scaled up really big in fact why don't we start introducing a little Z on it and you see if I pick it up one these lines have gotten really long that makes a little bit harder to see what's happening so we actually go back to the display tab and we have a if we twirl down display of vector length you turn that off and we just get a set length and it won't ever change I kind of like getting the length feedback though it's good feedback so I like turning it on and then going to our our displayed length and setting it down some smaller so I'm gonna try point one actually point one in this instance as little is a little weak so say 0.05 and there we go now that we've gotten to a reasonable length where they're not running into each other so we've got this really nice wind and it's blowin off the side why don't we go ahead and save our scene file and continue so that is like the most straightforward possible implementation of this we have a solid force that saying do this particular thing let's start making it a little bit fancier I've got a let's set it to add velocity again now mmm I know it's a tough thing it's a tough call of all the crazy combinations we could do here it's me really hard to explain and this isn't supposed to be a tutorial on using every part of this it's just the overview so why don't we leave it on actually let's do a change direction so what change direction does it's a third type which I even kind of forgot to mention what this is going to do is just absolutely take our initial speed and force it into the new direction so we've got this solid if I had to turn that off you see our particles are shooting upward I can turn that solid back on and they're gonna turn right that's all well and good but what I can do is let's create a mask on that solid and what should the mask be well let's make a spherical fall-off and I'm gonna drop that as the mask and we have to make sure it's affecting the value so let's turn that on and now I've done that I can go ahead and pull our spiracle field let's pull this up into the air and you can now see that those little blue arrows are limited just inside of this fall-off so we are now having this up 100% powerful effect changing the direction to suddenly start flying to the right and the reason it's completely powerful even though it's got this fall-off is because there is no other vector everything else is zero is just taking the original speed because in the field force there's nothing else except for what's limited here so we can start combining these things let's make a second solid and you move it down below and let's have it affect the direction and it's already set on Y so now you can immediately see that all these are pointing up a Y they're setting the direction but now this is combined in a more interesting way you can see that these are flowing up the fall-off is taking over and it's changing the direction until it exits the sphere and then it begins going straight again because it's got this other field it's got this other direction to be traveling so this is where things start getting pretty crazy so we got like this little sphere fall off but we go ahead and let's make a second sphere fall off and let's go ahead into our mask here and let's add in that second sphere and let's say add those together so now okay second sphere field and I can scoot this one over here and now we have to spear fields each pushing off to the side okay that's cool but we could change the radius we can change the fall-off we can yet let's change the fall so this is gonna get smoother and you can see how these arrows are changing direction they're not arrow so I'm gonna probably keep referring to them as that so you can see that's really smoothly falling off and changing that direction let's go ahead and that's working fine I like the way this looks let's go ahead and create a brand new spherical fall-off actually let's do something different let's make a box fall-off um box fall off so a little weird let's leave a sphere I can make a spherical field it's a brand new spherical field here let's go ahead and pull it up in the air and let's see what's happening well not much yet and that's because this isn't turned on and right now it's at the max we could turn out normal and I think normal is what I want and you see naturally what a spherical field does is is making things point in a particular direction so let's go ahead and give it no fall-off so you can see what's happening on this is all of the arrows I think are pointing inward maybe outward I don't know but yeah there we go so notice I pull it in you can see especially as I drag it in everything's getting sucked into the center so this is like an attractor but now we have control over the fall-off I could say you know what I want to fade into this so things are gonna be attracted a little bit on the edge and then curve into the center it's like okay that's crazy we can go into our Direction tab inside of every field and we go into direction we could change how powerful it is with this scale slider but we can also turn on invert direction and now instead of this being an attractor it's now repulsing it's now pushing these points away you see as I move this around all of our points are getting forced away from this position and it is just kind of being added it's just like overriding what's underneath it cuz we set this to normal but we can do things like set this to add so it's adding that based on it so it's pushing away but it's going with the flow so we don't get this big slowdown on it let's wait for the particle sketch up we don't get all this big slowdown it's actually continuing with that curvature but getting pushed away as well now once again keep in mind that we're doing this on a two-dimensional plane in order to simplify it but there's no reason that this couldn't be a big giant three dimensional field of particles and we couldn't be working with it that way but let's go ahead and give this another save and continue tinkering around with it let's go ahead and simplify this a little bit hit play let's delete our two spherical fields and I don't want that middle solid anymore so everything's happening they're going upward because of our solid saying to travel upward and we got a spherical field which is gonna push them apart so let's go ahead and add something in like a random field the instant we add a random field it's being combined to be the max and you can now see that there's a Eurasian these are wiggling around the important thing to note is that the random field is on all three directions all three vectors so if I rotate my camera now it's not flat anymore because these are kind of projecting them left and right so we'll just kind of ignore the fact that that's happening but what's important to note is though if we click on a random field there's a lot of really cool settings in here by default it's now being created with a purlin noise that's pretty tiny but if we start enlarging that let's jump it up to a thousand you can start seeing a little bit uniformity between these and now we start getting like these beautiful flows look at the egg pieces traveling through space like that's so cool now keep in mind that's being added it's Mac so it's kind of being in a way it's being added to the fields below it so it always has this upward direction but if we set that to normal it should be in fact if we turn the other ones off it still combines in an interesting way so if you turn it off you can see that the randomness is everywhere and it's it's gonna find these points where everything gets blown in the same position so that doesn't work so what kind of leaving the other layers up works and how I'm completely absorbed the way all of these things combined because it sets the normal so you think it would override but clearly it doesn't affect everything in that way but in any case well we've got these all traveling upward but with some additional randomness if we want to we could jump in the random and I could give it some animation speed so let's give it a 111 animation speed so you see these slowly rotating and changing directions and you see that's really breaking apart our pattern a little bit they're not doing these consistent lines we have them continue doing their lines if we make it pretty slow so slow that down and we'll see the lines form a little bit more so automatically pretty crazy pretty cool we couldn't have done this before an important thing to note here is even though these particle we've kind of got this grid here this display grid which is showing us what's happening but you can see it continues calculating even beyond that each particle is individually going through the field force list and being like okay how am i affected by random how am i affected by a sphere how am i affected by solid so this is just a way of us seeing it so it's not like the resolution of this matters the resolution doesn't have any bearing on this whatsoever each point is being calculated exactly precisely as it should be as it's flowing through this density it's got nothing to do with it just thought I should throw that out there let's go ahead and probably even give this another save and figure out what's next so let's go ahead and simplify again we don't need the random field so we don't need this vehicle field let's go ahead and start adding in some objects and I thought this is where it gets really crazy really powerful right now everything's gonna be continuing to travel upward bow let's go ahead and create an arc shape let's make sure it is actually intersecting with our plane a little bit and let's go ahead and our field force and make it having an effect and I like making a child just because it keeps a little more organized now that's gonna look a little bit weird starting out like what is what is this orientation if we play it's going to definitely have some very strange effect so we kind of have to go through this in a logical way let's go into our field force click on the arc and see exactly what we have happening well right now there's kind of a fall-off happening so I found is when you add a spline in you want to crank up your offset all the way stand that's full strength and now visually it's a little bit more obvious what's going on you see where this if a point is closest to that point on the spline it's flowing in that direction but this point is closest to that one so it's flowing in the direction that is and all of these are closest to that one and it right here is where that transition is happening so very important to keep in mind you might do a full offset to make a spline behave I guess logically so now if I play we're gonna see these particles flow and it seems like our spine is going from start to end so I'm gonna click on the arc and say reverse your points so you can see it's green which means it's traveling upward and you'll see these all curve around and right here they're getting like this really harsh change of direction that's pretty cool and that's pretty interesting now this drove me nuts for a long time but once I figured out is like okay that makes sense is this is having full power all the time now there's a different mode and that is if we change our spline to not be calculating from the distance along but doing a radius and by doing a radius let's go ahead and start increasing this radius you're gonna see that we've kind of got this little fall-off and what's going to happen is any particle that comes in here is going to get pulled to it but I don't know it's just like this this visually isn't what I was kind of hoping you kind of hope that you could get them to travel along the spline but not be attracted from every direction from full power this is cool with what it's doing and once again we can go to the arc and we go to a direction and we can say invert the direction so now it's pushing those particles away so in this gets near it's gonna flow around it and we got that fall off but that's not quite what I want so how do you make it actually do what I'm describing well we're gonna go back to the arc here let's go back to the lair and I do want it to be a long it's going to travel along and let's go ahead and reverse that again oh yeah you can reverse it by changing the order of the spine or I also changed it by going to direction and inverting the direction but let's go ahead into our arc and let's add a mask with this mask we can drag in the arc a second time and so now this is a this is flowing the way we want but it's affecting everything but now with the mask let's go ahead and set the mask to be distance mode radius and then let's give that a radius in fact why don't we pause this and go back so we can see our flow and you can see as I increase the radius these are curving to match our shape now this is what I was looking for these are gonna flow up they're gonna get near the object follow the curve and then begin flowing forward again that is crazy this is so powerful this is making particles and we haven't gotten to it yet but dynamics so art direct a bowl it is insane it's like completely boggling in my mind and keep in mind that this is actually three dimensional right now we're treating it like it's 2d but this actually has like a cylinder like almost swept along it and that is the direction so this stuff gets crazy so we've got that going but something array a little rigged I found kind of useful is let's go ahead and select the arc and then let's go to our little uh generators here and hold down alt as I create a connect and now there's a parent that's a connect and I can go into my field force and I'm going to drop the connect onto the arc I'm gonna drop the connect onto the other arc and you see it's just continuing to behave it's working exactly the way we want but now instead of dragging in the spline again and again and again I can just copy the arc and now I have a second one and I get T for scale and scale a second one and you can see that's automatically adopting into the field force and our particles are now flowing across that one as well so just with these two spines in here you can really see the possibilities we could we could create I can grab this one I can move let's grab the first one actually you don't scoot this one down here let's make another copy and then I'm going to I don't know let's spin this 90 degrees that orientation and let's spin it 90 degrees this orientation and let's go ahead and pause that so I can see this a little better and I can pull this one up here and I can see our curve is continuing from there into there to then travel upward or we can just draw whatever spline we want at all in here let's just go ahead and check that out really straightforward but this can flow upward and then transfer to that one and start travelling that direction as well the way these things start layering up is absolutely insane let's go and give this a save I'm gonna go ahead and open up a scene file I created right here so this is kind of the same ideas we've been talking about a little bit here but you see I've really been layering up some different things so you can see that it's gonna start out with a bunch of particles and they're flowing through some randomness and then they get pinched here and then I have a different randomness here that as I travel up they're gonna start spreading apart because the randomness is being reintroduced and then we have some attractors some negative attractors which are pushing away the shapes here we have a radial like the old radial field spinning around with a fall-off so it's actually forcing them to spin around the shape these are all gonna continue to flow and scatter upward they're all being pinched into this kind of one you know this 2d field here by having one linear blowing one direction and another linear blowing the other direction and then they're going to continue flowing upwards striking these different shapes and they're going to get pinched in here a little bit actually takes a little bit for those to travel because they go pretty slow up there but you just like how all of these combined you can see in here there's different masks layering up and it's just like it's so insane like look at how I'm art directing this instead of using a whole series of crazy winds and rotators and tractors like it's all a single field force and they're all flowing up here they're traveling into this middle point getting pinched down here there's another randomness which is forcing them to spread out into this infinite little spray and it's still being treated pretty much as two-dimensional like this is crazy this is this is just regular old cinema 4d particles the idea of us being able to make something like this is just insane let's go ahead and try another scene file this one's just a slightly more complex version of the splines we were just tinkering with you see a whole bunch of splines layered up everything even forced a curve along there and even though that's where we're getting our preview keep in mind that's calculating everywhere so even though this is pretty much 2d now it's gonna introduce a kind of three-dimensional segment here where those particles can travel along that outside and they'll just continue traveling forever it's it's so crazy let's get anyway go let's close that and go back to our scene file right here not that one let's go back to the one we've been making from scratch and let's take a look at a couple of other little things let's try adding some different objects and you're gonna delete the splines let's delete the spline masks we've got our solid why don't we go ahead and tinker with text for a moment let's create a text object let's go ahead and change this orientation to be looking flat on us middle say our twenty one couple exclamation marks move this up hit T for scale make that little bit bigger and let's drag that into our field force and see what we get well right away you can see it's flowing around on the orientation but just like we saw before we want full offset so now you see everything is being forced to flow based on what's nearest but we also need that fall-off so let's go ahead and create a mask we're gonna make the text a child of the mask and we'll give that a radius so that can fall off there so now we have the direction flowing around the spline but it's got a more limited radius when we grab our emitter T for scale scale that but a little bit bigger so we get more particles traveling along let's see we get oh look at that these are now flowing around the text now here they're getting a little bit trapped in that circle but you know they're flowing up and around so if we were to chill that out a little bit let's go to our radius we can start decreasing this radius so that they can they can now flow past and you see some of these I seem to be getting trapped inside of the R these are a bit more straightforward it's going to flow up and away but you know we can increase that radius and start trapping things even more we can actually have these flowing all the way around if our emitter was in such a position let's go ahead and give it some height and let's rotate it so we're flat on and this is completely taking over our direction so if I let them emit originally from here then there's particles everywhere and you see that they're gonna be traveling the entire shape until they kind of get flung off from some corner so the combination of these is just really really fun let's go ahead and drag in a scene file I have here's the word moo and now you can see that these particles are being generated right on the corner and they're traveling around it if we go ahead and take a look at our field force you see that the flow is traveling really nicely broadly around the overall object and like me it's just so crazy so powerful like how would we have done this in the past like I just have no idea now we're probably spending too long on field force already yet man there's gonna be some tutorials coming out about this believe you me but I didn't want to spend a moment and show you this setup I have it's a little bit more complex because what's happening is we've got a bunch of cubes up here and I have a dynamic tag on them and not only is it dynamic they're actually soft body but they have a lot of stiffness so that makes it so that every point is being affected and let me hit play for a second here and you can see that there's an emitter and the emitter is shooting at little n sides and the n sides are flying upward and the insides are going to are generating this radius around it which is like a negative attractor so it's forcing things away and then they also have a tail which is pushing things upward so these are being randomly emitted and our cubes are falling and everything's being forced to kind of behave in a 2d way so if I were to hit play and let these continue traveling upward the boxes are going to start being struck by these individual Oh kinda like firework things and the force is pushing them upward and they're actually getting flung purely by wherever these particles are and it's just you know the idea of doing this kind of thing it's just so insane like this is so crazy it's so powerful and these are these are nice little two-dimensional two-dimensional boxes but the idea of having some sort of paper traveling along in here is really great too so here's another scene file where it's you can see it's really straightforward I've got a helix and the helix is is being told to have it travel along with a full offset and then there's a little bit of randomness and I've got a plain object a nice you know generic plain object here still parametric and it's got soft body on it and with those combined I can hit play and now this is being forced with no keyframes to travel along this spline with all this nice little flow happening and this randomness and it's gonna come off there and I think it's we couldn't keep flying around and around because of course if we take a look at our field force we've got this big old circle traveling around let's go ahead and make this even bigger it's huge say five thousand by five thousand by five thousand and actually this one doesn't need to be that can be two-dimensional you see that this is just a big radial because it's referencing whatever is most close to it maybe all the randomness on top and you just get this flowing around it's so crazy and we just go to our soft body settings and change we've seen change our structural so that this could be more stretchy and the sheer so it could Bend more we could get rid of the energy being during now from the system and we get this thing blowing through the wind a lot more randomly we could add some stiffness so the original shape has to be maintained a little bit and just the idea of this of being able to art direct a soft body in this way have it have it move in this direction and flow in these ways it's just insane it's not it's something we couldn't have even considered before we've been such a pain in the butt to build something like this I had some rigs that might do some somewhat similar things but just the these forces are so crazy it's every single other force combined in more crazy interesting ways than we ever had before that we can feed in spines feed an object drive regular dynamics drive soft body dynamics drive particles it's just absolutely insane now if you didn't think that was quite crazy enough let's open up a new scene file and look at our next new feature in our 21 which is tying in very directly with all this inside of our of volumes inside of our volume builder in fact there is a new mode we always had signed distance field and fog but now we've got a vector and this is just storing those vectors those directions and what we can do with this is start feeding in objects much like we were doing before so let's go ahead and make this circle and drop that in and boom we've got this little vector circle behaving much in the way the other one was except there aren't at channel additional vectors outside of it but let's go ahead and make a second circle and let's pull this one over and one is sort of overriding the other we can go into the vector field here into our volume builder and I can say that I should add these together and now they've been come combined you can subtract them from each other you can do a cross product of each other I don't even know what some of the stuff means actually I want combines really nicely but with these combined where I think this really gets powerful is these modifier layers we can do things like create a vector smooth and what this one is going to do is this really nice smooth transition from one to the other one so we kind of are blurring these vectors between each other and smoothing them out and that's going to create an ability create even crazier shapes than we were before like the idea of blurring these together like that's so crazy we can add something like a curl I'd honestly don't even know exactly what this means I haven't been able to read any documentation yet but that's adding in all this randomness that's kind of following along the surface the ability to add an absolute rotation to it so you grab all these and say you know what I want these to rotate on Y by 90 degrees and they all rotate directly to do that and then on top of that you got things like invert to just make it the opposite to change the opposite direction and man they just they just layer up so so crazy so straightforward and then even these like this invert this rotate these like yeah these have a feel to fall off on it we could have this rotate to fall off over a certain speed or it can rotate things as a linear field was passing through it and even the smooth you could have the smooth only smoothing certain areas of it so that gets crazy and then ultimately all of these are just a layer you can add into the field force in another setting where it's like you're using the particles they're shooting up use a field force and you drop this in as a single element much in the way we're using the spherical fall-off so a random you just build it right on top of it with this and they're all being visualized and they're right there i I haven't even begun to wrap my mind around all the potential possibilities on here but it is really crazy I actually have a more specific example I'd like to show that I think will show off the volume builder even better I'm going to set this over to vector and the first thing I want to do is create a particular direction now the volume builder doesn't have something like a solid so we're going to have to use a linear field I'm gonna drop that inside the volume builder and I see we get a direction so I want this to be a specific size so in the volume builder I'm going to go ahead and take our X make it down the wand let's make this 2,000 by 2,000 so we got this big old grid and just heading in a particular direction now let's go ahead and create a random field let's drop the random field in there and you see we get this random field just creating crazy noise right in the center but why don't we go on the random field here actually it's going the volume builder and I can say that the random field the shape shouldn't be based on this box it should be based on whatever is below it so you can see it's the exact it's adapted the exact same shape very useful now let's make this random field have some particular settings right now it's a purlin noise we made it bigger we could see the pattern emerge it's pretty nice we've all these other noises which I've barely begun to play with so we can do something like so that's a little weird but let's try alvaro noise and now we get this really nice kind of almost like diamond pattern going around but there's a problem and the problem is that the pattern has kind of three dimensions it can aim up or down left to right in or out and I kind of want to treat this in a 2d way a lot a lot of things are a lot more controllable in 2d so there's no way of forcing this in that direction but with the volume builder there is because we have different modes of combining things and right now it's something normal but we can set this to add and subtract but there's also the cross-product and by putting the cross-product it's I think it's kind of taking one shape and multiplying it by the other and because the original shape was 90 degrees this one is continuing to be 90 degrees it's become very flat and now these have turned in these nice radials and that is actually exactly what I wanted and you can already imagine how particles will flow through this field we're not going to actually put the particles in but now on top of that we could go and do something like create a vector smooth and we can very clearly see what this vector smooth is introducing we have these very kind of harsh patterns with no transition but as we add in this smoothing they're gonna start blurring between each other you get those smoother transitions from one shape to another and we could even start adding in additional iterations here you can see it's gonna smooth more and more and more and when you pull this down and see the patterns emerge a little bit more on top of it so we can use the volume builder to create even more complex things another important thing to note is that the field force can be integrated into thinking particles here is a very basic thinking particles rig if we double click we can see that we've got regenerating from the null putting into a group the group comes out we make ap force object and in there you can just drag into the parameter the force field and in this case we've just got a nice little spherical field and a radial and a random let's just go ahead and link of those two things up and you can immediately see the thinking particles are being affected via this field force which is actually incredibly powerful one of the clunky things about thinking particles is how much time you have to spend inside to express so connecting nodes but now with this being external like this it's pretty trivial to go through and be like oh you know what the I want the random noise to be animated and then go ahead and give that some animated speeds night speed and I never had to build a rig or go into expresso to make that happen and we can get that motion pretty much for free right on top of it and an addition to that it's probably important to note that with thingy particle in thingy particles it doesn't have to be the field force we could go ahead and just turn it off entirely and we can make a simulate or let's make a turbulence is usually a good example let's go ahead and give that a strength of 55 get a little bit of scale grab our P force object and tell to reference the turbulence instead and now we're going to be able to see that these are being affected by the turbulence this turbulence force and just really nice to be able to finally integrate those into thinking particles it almost makes me want to give thinking particles another little tinker around with them a little bit more now let's go ahead and transition into our next set of settings I have nothing to do with the field flow but they do use the volume builder so let's just continue with this theme so let's go and create our volume builder and look at the first a simple setting which i think is pretty cool let's go ahead and create a spline i'll give it a zero radius there a zero height let's go ahead and drop it into the volume builder get ourselves a decent resolution here and now you can see if we click on a spline we immediately have a spline scale here which is super great we used to have to use a matrix or a most spine rather to make this work and now you can just do it directly give it a solid radius give it plenty of subdivisions with a density and now you can just directly control the shape of this and like I mentioned before you can now select your spine all the points right click and I can say you know do a cemetry on here and now we're moving the spline twice and it's wrapping around there more and you know to see these smaller ones we have that and more and more small voxels but that's really great and the idea of doubling it now so we get double this effect like that's really cool so that's a really straightforward a new setting on top of that let's go ahead and open up a new file here because I want to talk about caching in volumes so I'm gonna go ahead and pop open a file I had from when our 20 came out you see it takes a little bit of time for it to open you can see we've got this mo text and there's a bunch of gibberish where it's traveling all around the outside there's a whole bunch of volumes there's a bunch of different objects all layered up making these cool shapes so that's working well but I want to change the text on here and if I were to let's just grab this and like I type in some other gibberish if we just click and wait for this to refresh its going to take a decent amount of time so why don't we go ahead into our volume builder and I'm going to create a cache layer let's go ahead and pull this up to here let's go ahead and create a cache lair right here and I'm gonna go ahead and say cache it so now everything from that point and below should be cache and it doesn't have to do those calculations so now if I were to copy this new text go into our most mine and update that it is not gonna take nearly as long for that to refresh because it didn't have to do all the calculations below it and of course the big super slow one is smoothing but that's now been cached away and we didn't have to worry about it and then the scene file is very useful for showing something else that's been added in our 21 inside of our volume measure we can actually turn on something called create curvature map if I turn that on and we scale our viewports would be seeing this correctly it creates a vertex map now chemica edits to that directly unless we made the entire thing editable but we can jump inside of a material or a bunch of other objects but specifically let's make a turn on the luminance channel to see this very obviously and create a vertex map and let's drag in our vertex map there and we should see right in the viewport that it is creating these nice little kind of convex and concave shapes and we'd be able to I put rust in certain areas or put dirt in certain areas probably deform certain things in certain ways based on a lot of possibilities are opened up by that tag being exposed and being parametric and there's an additional setting to change this to specifically convex or concave but I think this is another neat addition our next feature is copy and paste we're gonna open up this little scene file we got our cute little Mouse character here I made a while ago and we've got the mouse and we've got the cloak I'm gonna go ahead and select all of the polygons of his cloak and just ctrl or command C copy let's go to the mouse and paste and there we go these have been copy and pasted from one model to the other in addition to that we could go ahead and just select something like this let's grab a couple of his hair let's grab those two hairs UW select connected and then copy and then paste and now we've got a copy of the O's and I could spin them rotate them around and now I've got a couple of extra hairs there on his on his mesh in addition to that it's pretty simple to copy and paste multiple things from multiple files if we were to let's just say take this mouse and I'm going to copy and paste him the entire character so we've got two copies I could go ahead and select both of them and let's select part of one so let's do a u L loop selection maybe get closer to the neck here let's do a little loop selection around the neck and we'll do a loop selection u L u L around the neck and set u F so like this head and then this will select the body I can now copy you know I can copy and if I were to paste right now it's going to paste all that geometry I'm sure oh yeah if I copy and paste it's actually going to paste both of the pieces of geometry to both of them so it actually copy and pasted the body and the head and pasted them the body and the head onto both on using their local coordinates if I were to deselect it and paste and it's going to paste just that geometry as a new set of objects so we've got those copy and pasted from multiple objects but like I said if I select let's now we get the separated copy of that head select the body paste the head onto the body you can see it actually jumped into the proper position because it's using their local coordinate so you can actually copy and paste from multiple objects and it will jump into the correct spot based on where the axis is so yeah copy and paste between objects is pretty powerful you can also do points but that's less useful than polygons you cannot do edges because edges cannot exist properly without their corresponding polygons and/or a point but copy/paste a very nice addition all right next up is pretty straightforward but I think it's pretty neat and potentially powerful open up a new file and we are going to look at the new addy noiser that is built into the renderer so in order to create a scene file really quickly that's going to be relevant to what we're doing I'm going to actually open up the light kits browser from greyscale gorilla I was a lead developer on this so I know this should work well for this test let's go ahead and pop open something like neo-noir it's gonna open up a whole scene file for us we got some Spears we got a whole bunch of lights let's set up some render settings real quick so I'm gonna pop open render setting commander control B and let's go ahead and change this over to physical and let's go to to our physical tab in fact let's go ahead and add in some global illumination and I don't have any particular settings I just want this to go very quickly so let's do a light mapping maybe a qmc maximum death lower that down that's all fine and let's jump to physical and I'm gonna really lower this stuff down let's go down 1 1 1 1 very very quick setup here so let's go ahead and just hit a render in fact when we did not save it but let's send that out to the picture viewer so we can do a little a be test so that's rendering and you can see that this is processing and you see we've got all of this grain mostly from the GI and from just the general low settings that we fed into the scene file rendering pretty quick overall now was jumping to our back to our render settings right click and we're going to add in the brand-new D at noiser this one's easy to explain because there's not much in the way of settings you can set up some of these different passes we can maybe output the material color or the was a albedo layer but I'm not gonna worry about that not do anything it literally just is turned on and exists now so let's go ahead and do that render a second time so it's going to do the exact same process gonna take just as long to render that initial thing but let's keep a close eye because the instant it finishes it's going to run that as a post effect and the D noise or should run and let's see what we get OOP look how smooth that went and made everything it's pretty good if you were in an animation you had the render settings this low I mean I you're probably gonna get a little bit of flicker but the idea is that you're kind of cleaning up from this to that automatically it's pretty good I am pretty impressed and here it looks like it added about a second of render time so along those lines it's pretty nice cranking up those render settings a little bit would probably go a long way setting up the separate pass I think would probably be a good idea and that I know much about that specifically it does render as a post process it is based on the Intel open image denoiser so it's just a neat little additional feature here to make your physical and standard and I think pro render renders all just look faster so a great little addition okay up next is a nice little organizational tool that can totally see using if I was using a complicated scene or if I was working with a team I'm gonna go ahead and pop open a scene we were looking at earlier it's not terribly well organized I have all of these kind of negative attractors here but there's nothing calling them out I didn't name them in a particular way something something I could do is select all of those spherical fields and jump to the basic tab twirl down icon settings and we can now turn on an icon color and say let's get a custom color actually to the display color you can say custom and now you see all of them turned from pink to yellow so whatever my naming scheme or coloring scheme could be or you know while organizing is like okay maybe yellow means that these are being used as a tractors and those are all now obviously linked to each other and we change this to and obviously any color that we're interested in turning it into so pretty useful little addition there and you can also set it to we have a display color and turn that on and you could have this be displaying the exact same way that is in addition to that we also have this file this icon file slash ID and well what is that Wow if you open up your command manager and the best way to do that hit is hit shift C and type in command and we can go to customize commands so let's pop that open so we got our little command manager here and we've got all of these different objects with all these different crazy icons and we could find something and we wanted to maybe behave a little differently oh you see we got this constant shading icon it's similar but different we've also got this constant shading that's kind of a neat looking so what I'm gonna do is I'm gonna go over here and I'm gonna right-click and copy this ID number and I'm gonna click on all of our little spherical fields and let's go ahead and paste that in delete the ID because we just want the number and then click off of it look at these icons as soon as I click off of it boom all the icons have updated to whatever I want to set that as so if I was kind of building this nice little custom rig I want to call things out specifically it's just a neat little additional detail to throw on there there's also some different presets on here that they set up and there's a good chance you can probably save additional new ones in there so if you wanted these all to be feet then those can all be feet now and it's a neat way of being a little more organized all right we're getting some of these smaller ones now let's go ahead and jump into a new scene file let's keep it real simple I'm gonna create maybe a flower object here let's drop the petals down a few let's create a nice little let's see let's make a pyramid shape make sure it's facing on z+ because in cinema that means forward that's the forward direction T for scale scale F and a little let's right-click and add a align to spawn you also see they reorganize the layout of this menu here there's no longer just cinema 4d tags but they've been broken apart I definitely am finding this pretty intuitive so that works for me but we've now got this along the spline I'm gonna feed in this spline I'm gonna set go ahead and say ten gentle so it's actually aiming and we can go ahead and start increasing this you see it's gonna be traveling around doing its thing now if you remember in the past we were clamped from zero to one but now we can actually overshoot it beyond 100% and now we can just keep on looping around and around and around which is good that helps with things like motion blur but in addition to that we can also go negative which is pretty cool it's just a nice to have that value unclamped at the very very tiny thing but useful to me here's a short one but worth mentioning like I said they've been updating the core of cinema 4d and there's the new modeling core and there's a bunch of things that have been implemented into the new system so grow shrink and convert selection have all been updated select connected melt disconnect smooth shift spline to mesh generators split has a significant speed up and polygons group to object has a significant speed up and I've definitely dealt with that when you have a I got an entire city and you're saying hey explode all the different chunks in the separate ones if that's faster that's great most of these are just kind of worth mentioning that they've been updated in their in the new code so it should be better and faster stable more ready for the future the only one that there's actually a difference worth checking is gross selection pop open a new file here if I create a plane make this editable and select the polygon the growth is different than it used to be the shortcut is uy as always we can now see that grows the entire square we're in the past if you grow if I had just that selected the growth would have looked like that but now it can select based on the point on the corner so that is a nice little addition to that growing a little bit more consistently the way you might expect it to next up the project asset inspector you might remember the old texture inspector by going to your mode here going to project info clicking on textures and you get a list of all your textures so what they've done is they've expanded that idea to the project asset inspector let me show you a scene file that will show this offer really well this is actually a pinball machine I designed for half res last year and you can control it inside of cinema 4d so if I hit play here then I can go ahead and shoot the pinball and it's gonna bounce around you can hear sound effects and there's some textures in here and there's just a lot going on and I have control over this using the arrow keys so it's a really fun little project let's go ahead and let that drain and let's go ahead and pop open our project asset inspector so you can see that right now it is having trouble finding a bunch of stuff in this scene file it's finding these materials but a lot of these sound effects it's not doing a good job so the project asset inspector can view much in the way it used to do textures it can now do images video sound files external like a B C files FBX is like GI caches all of that stuff it's kind of got everything covered it's got all those nice texture assets settings if I select all these and I say like real ink assets I can go and navigate down to my sound effects folder for that hit OK and it's like okay I just found all of these everything except for this one EXR so it's a really good way of real inking all of your assets and you know in this case I actually needed to find those so that's a very nifty new tool next up a little talk about you VW's mostly just you v's a bunch of the primitives mostly objects like the cylinder and the oil tank things that have caps attached have been redone I didn't mention this earlier but the caps are automatically welded all of the time now and they changed the segment default count so keep that in mind when you're using it but the caps if you make it editable are definitely weld it all the way so that's nice that's that that's how that's a positive so if we were to make a new material here let's go ahead into the color channel and just throw in a nice simple checkerboard we can go ahead and throw that on the cylinder and we're gonna see some nice clean UV w's and that is going to go across the board on a bunch of objects even going all the way up to the new text if we drop UV or drop the tagging there you can see we got a really nice cap projection here but it goes all the way over to these fancy rounding and even all the step and solid all the different types they have really nice you visa travel all the way up and down them but there's been a couple of tweaks in the UV editing in cinema as well so let's go ahead and jump to this file I've got that Mouse character again I've already kind of done a couple of setups here with the edge tool just getting some outlines going so if we were to jump into the body paint UV edit layout then is going to pop open here and the workflow actually for getting some decent UVs and cinema I don't think it's terribly difficult if you go and you look at your character go to the projection tab I'm gonna click frontal and you see it's just projected and frontal that just make sure all of your movies are connected with each other the way that they would be normally in your scene we can jump into the relaxed UV I'm gonna change it to LS cm or ABF whichever works better I usually try both and make sure your cut to selected edges is turned on and then I'll all I have to do is hit apply it's going to chop him up into little bits and we can also try LS cm see if that looks any better they look pretty similar to me so I'm gonna hit that and actually there's an auto realign button i always forget about but if you turn that on you can definitely see them lay out a lot better and there we go we've got a nice layout let's try LS CM also good I don't even specifically see a strong preference for one or the other but some of these tools have been cleaned up a little bit if you go to any of your UV tools go to the UV polygon I'm gonna select just one of these let's grab that one UW select all of the currently so you know select connected and then we can click on the newly updated UV transform tool and you can see we get this nice new little gizmo here or we can move it around we can spin it around we can grab an edge and scale it we can hold down shift and scale it left and right pull down ctrl or command and let me see grab a point in the corner and you can see we can do a nice little shear on it you know so grab a corner point scale it up in hold down shift and you can do a non-uniform scale hold down control and get a free form of transformation on it and of course you can do start doing things like holding down alt and getting gap to the corner or shift and getting identical corners you can see we can really go and distort this thing around and get some some crazy layouts on it if we want to so it's nice little useful tool to be manipulating UV some more in cinema 4d there are a couple more things in this version of cinema that I'm not very qualified to talk about for a couple of reasons but let's see if we can do a little hint at least talk about them being here let's go ahead and change our layout jump here and first of all is there is a new rig type inside of the character creation tool so inside a character you can do some auto rigging and there's a new one let me see what we got here there's a new mode for a mix omocha troll rig where you're supposed to be able to rig your character up pretty seamlessly here just like you usually do with the character rigging tool and then you can bring in a mix mo animation and just have them linked I tried doing it and I don't have any access to documentation I wasn't able to figure out by myself so my result was something like this which is fairly terrifying laying everything I don't know there's something I did wrong and it's my fault so I'm pretty sure it's gonna be a pretty cool tool I just don't have it the other tool I'm not overly qualified to attempt to talk about is the new Auto weighting and I just haven't incurred that much and if I haven't been able to read the documentation is there's just not gonna be that much I can do but there are two new types of auto weighting where there's like a heat map and a volume based one and they seem to do a much better job of getting around corners and being smoother and whatnot I'm really excited to look into them but they'll have to be completely separate tutorials on doing those at some point and maybe if I can pull off the live stream maybe I'll be able to talk about those more on the live stream proper so I sadly do not have any visuals to go along with this last part by thought it'd be important to mention and the reason I don't is all the next stuff is involving using the node based materials and using Pro render neither of which I use mostly because right now the node based materials are not tied into the displacer or the shader effect or anything that you could kind of build that way and typically I don't do much rendering and when I do some rendering I've been trying to get more into redshift because Maxon acquired them having said that I wanted to mention some of these nodes because they seem really cool and some of the other details first of all they're adding in node spaces and the idea of this is they're opening up the material node API for all the third-party developers so that means that redshift and Arnold octane all of them can go and tie-in to the same universal system and ultimately a user or somebody could make a material where the controls are simultaneously controlling the equivalent material in Arnold or octane or physical and you could somewhat interchangeably jump between them there's potential for that to be built so it's gonna take a while for the third-party developers to do that and someone would have to make those materials but it's a cool option in addition to that there are a bunch of really cool new just shaders and nodes inside of the material nodes and if I was using the node materials at all I'd be really really excited for these I'm kind of excited in general for them I just need them to be implement in the way that's gonna mean something to me so the first is that they're adding in a blur node I've really wanted a blur for a really long time once you add in blur there's a lot you can do with it and I did do a quick test where the blur did work even on top of a noise and that's really exciting the idea of blurring something and recombining it other ways like it's a workflow I really love they're adding in a cash node much in the way that it was working with the volume so you can kind of cache something so it doesn't have to calculate all the way through there's also a new kernel node not that I know I don't know much about it but there's a bunch of presets where you can do things like box blur and edge detection embossing and sharpening having personally gotten to tinker with that one but it sounds neat there's a new generator that generates cells which is kind of like a Voronoi breaking apart but it's based on a material and the way the material is spread out so if you fed a gradient you're gonna get more cells in one spot than another and it man if you could feed that out into like a displace or something that'd be really really cool so I'm looking forward to hopefully that being the case one day next up they added in some round corners it's kind of the classic shader where you can put that on a box and mix the corners will beveled and it's just really neat that you can do that via shaders it seems like there's some combination of things we could make frosted glass now it's almost like different roughnesses of glass inside of cinema in both physical and pro render teams and then finally they added in a lime it's just a straight-up line but from some of the imagery I so I was really cool as breaking apart and I'd love to go and tinker that and maybe make a tutorial on that in the future I just don't have that right now the other important thing to note once again something I don't tinker around with too much but seems like if you're using node based materials then there are a Ovie's now and a lot of people really love a Ovie's if you're going and compositing was something else those are you know the ultimate thing for having ultimate control over what you were creating there and if you don't know what an AO V is it stands for arbitrary output variable the basic idea being is you take a shader or part of a shader a part of the output of a particular material and render that out as a separate render pass so you could tweak that later so you know you can imagine there'd be a racing stripe on a car and then you could change the color of that in post type of thing but kind of anything that you could imagine you could pipe out into that so that's really powerful you've made it to the end thank you for watching if you liked this breakdown then a thumbs up or a comment below is always appreciated this wasn't I didn't have access to the documentation and I was trying to figure out a lot of this on my I was having a little bit helps with some people answering questions for me but it's some tricky stuff and I really look forward to digging in deeper in the future the new version of cinema 4d is always a really exciting time for me I really love all the features and some of the stuff in cinema 4d is getting pretty deep this field flow stuff is is it's tricky to get my mind wrapped around but it's so powerful it's so crazy that these systems are getting integrated in those ways and breathing new life into old systems it's really exciting so I hope to do a livestream tomorrow if you're watching this video on the day I came out from live from SIGGRAPH and hopefully someone from Maxon will be joining me and we'll be able to break down a couple of parts that I wasn't able to make a scene filed I was excited enough to show you but in a case that's gonna be really cool if you have any comments if you have any things that you'd like to see in the future tutorial wise or during a live stream go ahead and leave a comment this was really fun I really enjoy breaking the stuff down learning all the new features and trying to break down who I thought was important I didn't hit absolutely everything that was new there's a couple little things but I think I had all the big ones at least I wouldn't mention them and we're gonna be able to go really deep on some of it this definitely isn't the tutorial it's just a breakdown so you can expect a bunch of stuff about field flow from me and probably from axon so go ahead and take a look on that and anything I didn't cover you probably just go to max on dotnet and they're gonna have some videos breaking down certain things but this was kind of a hopefully a little bit of a comprehensive breakdown in order of things that I thought was cool so in case I will see you in another video or livestream soon thanks for watching and I'll see you next time bye bye [Music] [Music] another employer prefer another

Channel: RocketLasso

Views: 97,231

Keywords: cinema 4d r21, cinema 4d tutorial, cinema 4d fields, cinema 4d field flow, cinema 4d vector, cinema 4d new features R21, Rocket Lasso, Chris Schmidt, Chris Schmidt tutorial, c4d r21, Intro to cinema 4d R21

Id: 0Yaceh0tfSg

Length: 84min 24sec (5064 seconds)

Published: Tue Jul 30 2019