Cinema 4D Tutorial - Make This Awesome Render (Octane)

[Music] hey today we're going to be making this thing some good old verona refracture complex texturing nice lighting all that good stuff um hopefully you're gonna learn some new tricks techniques to make these uh beautiful images if you got any comments suggestions remarks or requests for a new tutorial hit me up on instagram at ojang or comment on this video and that's it let's go we're going to set our scene to a square ratio 1080 by 1080 set the octane render to as a rendering engine now we're going to add a plane it's going to be used as our backdrop and rotate the view set the camera rotate the camera and drag it to the right place this is the center of our scene so that's where our model is going to be now let's set this to garage shading and perspective so we can mess around with this view without messing our camera set the high segments up and shift click bend it's going to add a bend now we need to align the bend in the right way so we're going to rotate it around until we until it bends it the right way there you go now we can hit fit to parent and now we're just going to mess around with the size until we get the right curve amount that we want set it to 90 degrees and that's our backdrop now for this scene we're going to use uh one of the models from 3dscans.com a lot of great models here they're pretty dense but so maybe not good for animations but they're amazing amazing models that they have here for free um i use some of them and you probably recognize some of them that became kind of classics like the this dragon one but feel free to go and choose your favorite model once you did drag it to cinema and we're gonna need to align our axis so for that we're gonna hit the l button rotate the axis so the y axis aligns with the height of our model hit l again and rotate it back and now the axis is aligned with the direction of our model and we're gonna alt click polygon reduction that's gonna help us reduce the polygon amount because uh once we start fracturing it's gonna it's gonna be too heavy so after it's done the initial calculation you can play around with the reduction strength and it's gonna take less time to calculate because it's already done the initial calculation and it doesn't look like it lost a lot of details which is really good let's mess around with the reduction strength to see how much detail is lost and it doesn't look like it did so 40 reduction looks this pretty much the same as the 90 reduction yeah that's perfect so we're gonna choose that bake it and name our model and we're just gonna paste it into our scene make sure the scale is right so this is a two meter cube we want it half to size which is one meter so our model is going to be one meter in height and it's always good to to know your real life scale of your scene because the light and the dynamics they all work according to real life scale so we're gonna set the focal length to 80 position our camera now let's hit shift v go to view set the opacity to 95 that made the the sidebar darker so we can see our composition better what's inside the frame and we're going to set our kernel to path tracing i have my own preset you can make your own 10 24 max samples will be fine for this composition [Music] and all the rest is okay gi clamp is set to max 10 you can use one as well but not more than 10. static noise only applies to animations but i always tick it highlight compression all the way up that's gonna preserve details in our highlights and enable denoising great now let's start lighting up our scene so i'm setting up hdri link on the octane sky dragging the file on the hdri link and launch browser and select your favorite hdri you can go to hdri haven got a lot of amazing free hdris now we don't want to light up the scene with the hdri i just wanna fill up with some ambient light so i'm gonna really bring down the power to point one and set two light sources one from the top one from the right side the stronger one is going to be coming from the right side so we're going to drag it all the way to the right and scale it way up and that's going to be our main source that's going to fill up our scene and then for the top light i just wanted to light it um kind of like a like a rim just a little bit at the top just to accent in the edge so we're gonna go to details and set the area shape to disk bring it all the way down rotate it so it comes a little bit from the back now we're gonna hide the camera visibility and increase uh decrease the size we're gonna decrease the strength of both of our lights and as you can see it's very lit up and we don't want that i want the left side to be to be shaded and the right side to be lit up so this is a nicer look i'm going for more of a dramatic type of lighting so we're gonna really bring down the power of our top light and scale it all the way down because it's still lighting up all this shaded area and i just wanted to act as like a subtle rim rim light i'm going to decrease the size even more and this looks good now the shaded area is shaded and you still get that accent of the light coming from the back and the top let's just do it again let's compare the two so this is without the hdri and this is width and as you can see the hdri kind of tints the shaded area with a little bit of blue it's coming from the hdri colors and it's a bit too strong so i just gonna bring it down even more and now it's not lighting up to shadows as much as it's just filling up with a touch of um ambient light which is what i want now we're gonna select both lights and reduce the temperature to 5500 the lower the temperature the warmer the light the higher the temperature the colder the light so bluer and 5500 is still natural light but slightly warmer as you can see now i think it's time to texture no first of all let's do veronica fracture so i'm gonna alt click verona fracture and immediately immediately it's gonna fracture our object now we're gonna click that eye icon so we don't see those of all those dots and let's increase the point amount to 1500 which means 1500 pieces as you can see there's many pieces but the problem with the voronoi default look is that all the edges are linear they're not irregular they're very straight and it's just a kind of a less interesting look less realistic um a bit too digital and defaulty so what we're going to do is we're going to combine you see these this edge we're going to combine a bunch of different pieces into one piece which is going to give us a more irregular edge and to do that we're going to go to geometry glue enable geometry glue and then set the glue type to cluster and that's going to take the 1500 pieces that we have and cluster them into five pieces or whatever we set in the cluster amount and that's that's a lot of calculations so we're gonna increase the cluster amount and then you're gonna see this is a trick i learned from rocket lasso who's a genius and now you can see that we have 500 pieces that have these irregular shapes to them which is way more interesting but i think we can bring down the amount of cluster pieces and it's going to give us even more regular shape because it's going to take into account more pieces combining into less pieces let's play with the cluster seat until we find a comp like a combination that we like and this is a good one you can see the eyes the nose the forehead and all that so let's add a random effector and as you can see the pieces are hollow to fix that we're gonna go to optimize and close holes in the object tab and this is gonna make all the pieces solid and let's randomize the rotation by a little bit and we really just need between one and three degrees on each angle because um we don't want to rotate them around we just want to kind of nudge them slightly so that the cracks show more but we but we don't want them to intersect so much and let's add a plane effector with a clone with a cone field and that's just gonna help us lift up some of the pieces which i felt might work for this is um agonized kind of hints that he's going through some right so that's uh that's our way of showing him disintegrating into into chaos slowly but surely we're gonna scale down the pieces as they go which makes it a bit cleaner and also pushes the whole disintegration thing but that's it's all up to you up to what you want to do i'm going to add one more effector the random effector and we're not going to randomize any of the objects we're just going to set the color mode to effector color that's going to allow us to control to randomize each piece through the texture it's going to give the texture access to the to each individual piece which is going to be important when we want to texture each piece individually so we're going to tidy up our scene all the lights all the effectors super clean now let's just kind of move it around and start texturing first thing i'm going to add a universal material which is what i usually use and this is the backdrop material so quickly just remove the metallic give it some kind of like a nice little purple color and increase the roughness to 0.4 decreased specular because we don't want it to be shiny now we're gonna start making our complex texture i'm gonna set the brdf mode to backman lower down the metallic to zero and start adding uh some imperfection maps now the first one i'm using polygon imperfection maps the first one is going to be just a fingerprint map and we're going to drag it into the roughness node and i right click and hit solo node to see only the node that i'm working on and it's not showing anything and uh why is it not showing anything maybe the projection hmm yeah yeah it's because we didn't we didn't apply it on the model so now if i solo it you can see the texture but there's no uvs so we gotta project in another form so we're gonna use box form projection and now you can start to see the fingerprints let's add an octane node uh gradient node just so we can dial in the black and the white a bit more precisely so let's use 15 on the black which means the least rough areas are going to be 0.5 roughness 0.15 we're going to bring in the white and just make the roughness a bit stronger that way we're going to duplicate that and invert them so we can use that on the specular which means we got the same map for the roughness and specular but inverted so the most the highest roughness areas are going to be the least specular areas because they're inverted we're just going to play around with them until we like what we have pretty subtle effect but it's working let's just get rid of all these unnecessary nodes because our our texture is going to get complex we do need rounded edges so we're going to keep that but set the ior to 1.45 going to give us a bit stronger reflective reflectiveness remove the metallic let's add another dust imperfection map i'm gonna just select your favorite dust map and plug it into the bump now we're gonna solo this and sometimes it's getting confused but here it is now we don't see anything because again we need to set a projection first so we're going to set it on box projection and because the box projection treats each individual piece as its own textured model it's gonna repeat all the the map on each piece so you can get a bit of a repetitive look so you gonna have to play with the transform until we get um play with the position the rotation and the scale until we find a less repetitive look it's not a huge deal but it's totally up to you and the look that you're going for but you always want to avoid repetitiveness because the eye picks it up pretty quickly let's mess around with the projection doesn't look like it change anything and um this this looks right okay this looks about right so it kind of glitched out we gotta bring it back to path tracing mode sometimes it gets stuck on info channel mode so as you can see our bump is showing it's really cool it looks like the model has been painted over without being cleaned so we kind of the paint settled on all the dust which is a really nice look and we're just going to add a noise texture into the bump as well this would be a very subtle and large no noise and that's only going to be to slightly very subtly break up the surface and kind of make it a bit more wavy it's gonna be very subtle but once we combine it with our uh dust map it's just gonna gonna give us a nicer a more detailed effect and we're going to combine them with an add node and plug this into the bump and as you can see now we got both of the maps combined and this this looks really cool okay now we're going to start setting our color so to do that we need the multi shader node that's going to use our color effector color randomization to access each piece and as you can see it's already working and now you can add a octane rgb spectrum to each one of the textures you can add as many textures as you want and that's going to add this orphan rgb spectrum node just make sure you don't get rid of it and let's just start coloring away and pick some nice pink some nice teal and i'm thinking you know we got the purple in the background so what color is what with purple teal pink maybe some um some yellow and some more purple and this is gonna be more of a creamy light yellow beautiful look at that so now we're gonna we can go to our color effector and start changing the seed to get different combinations of colors which again it's just it's super convenient and because we didn't affect any of them of the positioning of the of the shapes of the pieces changing the seed won't change the randomization on the pieces it's just affecting the color now let's make it cooler so we're gonna add two dirt nodes one for the crevices like dust kind of settling in the crevices and one for the worn out edges there's gonna be two different ones we're gonna we're gonna invert the normal on the first dirt increase the strength increase the radius by a little bit and as you can see we got black on the edges and we want to break up the perfect dispersion of all this black for that we need to apply any kind of imperfection node imperfection map or noise texture to the dirt map and i'm just using a dirt noise node um it should work fine uh we wanted ultra complex in a lot of detail so we're gonna crank up the omega the octaves and just play around with the contrast and the gamma until we find something that we like change it to turbulence and this looks even more complex so that's pretty cool and let's see let's solo the dirt as you can see it broke up the dirt really nicely now we we want to combine this with the multi shader we're going to use a mix texture for that and plug the dirt into the amount which means the black from the dirt map shows texture 1 and the white from the derp map shows texture 2. so we're going to plug in an rgb spectrum to texture one just give it a light grayish yellow color and now we're going to see our light yellow grayish color where the black from the dirt was again plug in a gradient node and we can play around with the strength of our dirt node like that as you can see it's a really cool look and let's let's make the dirt note a bit stronger increasing the details i'm playing around with the noise dirt map to expose more of the of the of the dirt and playing around with the gradient node and all these things allow me to play around with the strength in different ways and it's a really cool look i really like it now we're going to use the second dirt node to control our crevices as you can see this is an inverted dirt node or a regular one and that just focuses on all the deeper sections and again we're going to plug in the noise we can use the same noise texture on the dirt map to break down break up i guess the perfection of it and yeah just play around with the gradient so we can have more control over the strength this looks cool this looks good enough let's just increase the radius let's fine kind of playing around with all the options there and increase the details and that makes it a bit stronger but we don't want these cracks to to have the black in them we just want to focus on the crevices on the outer sides of the model so that we're gonna go to include object mode and use self instead of all that's gonna ignore the places in between each piece and just focus on the overall outer layer and again we're going to mix that with a mixed texture and this time we're going to plug in an rgb spectrum that's darker because this is a older oily dust that's got stuck in the crevices it's a bit darker and you can see if i'm soloing it you can barely see it so i'm just adding another gradient node to make it stronger the dirt node stronger yeah and it's a really subtle look but you can tell what it's doing now we're going to add our third imperfection map and this is going to be this the dust that kind of just settled on the surface it's in your dust and for that you can choose any kind of dust or wiping imperfection map that you want we're going to mix it but this time we want the black to show the color system that we made and the white to show the dust color so we're going to plug in the lighter rgb spectrum [Music] and then plug in the imperfection map to our mount and let's see how this looks we're going to solo this of course we're going to plug in the texture projection and there you have it now we're going to play around with it move it around on the surface until we get to the look that we want and again the black shows our color it's a majority black but we can play around with the gamma play around with the with the contrast of our image to expose more or less the dust [Music] and yet again we're going to use the octane gradient and i'm just exposing more of the white and we can barely tell what's what what we need to see so let's set it on a very strong red color so we can tell more clearly how much it's showing and as you can see it's barely showing it's only showing kind of the very strongest light uh white areas which are kind of specked out so if you decrease the gamma you can see it exposes more of the of our dust layer which is red now [Music] so let's just choose another yeah um a map that has a bit more gray in it and less stronger whites and i want to bring out more of the gray parts of the image [Music] bring back the color of the dust to a lighter cream grayish and that's cool i mean it's it's really just a matter of adding a lot of subtle details that really enrich the image right so use a lot of subtleties to get richness rather than less strong moves use many weak moves or subtle moves now what i want to do i want to use that dirt node the black areas the worn out edges to bump down the surface because i mean technically if if the edges are worn out it means layer of paint were being removed so what i'm going to do is i'm going to combine our bump map with the dirt node from the worn edges using a multiply node and that's just going to give us a really subtle effect where we bump down those worn out edges and i also want to use that worn out edges dirt node to completely roughen up that area in terms of specularity so i want to really make it way less shiny on the edges where they were worn out so again i'm going to use that node and i'm going to invert it this time because i want the edges to be white because that would mean strongest roughness levels i'm going to use an add node to mix our current roughness map with the dirt map [Music] and um instead of inverting it i'm just plugging it into an inverted gradient node and now i can really dial in the amounts and this looks good and as you can see it really it really removes some of the extreme shine from the edges if you look at the hair if you look at the at the the broken pieces yeah again very subtle but everything together makes a big difference and as you can see we got a pretty complex um material but feels natural feels feels nice and subtle let's add some rounded edges that's gonna round our edges just 0.2 centimeters is fine and set it on accurate and we're good look at that let's bring up our exposure and just like when you take photos if you want to lighten up your scene you increase the exposure you can also make your light stronger but always try to play with both because they both get different effects and increasing the exposure is a very natural thing to do so don't be afraid to play with the exposure inside octane i also want to make these highlights the the top rim highlights just a bit stronger and also i don't want them to light up those um pieces that are flying too much because it brings too much attention to them so i'm gonna take our top light a bit to the left and i want the the shaded part of the face to face the camera a bit more so i'm going to rotate the camera bring backdrop bit closer let's make the backdrop even less shiny so i'm going to reduce the specularity and i'm gonna bring up the light and reduce the specularity even more because we don't want that strong highlights in the back because they again they take um attention and i'm looking at the negative space of the image as its own shape whenever i'm thinking about my composition is the shape interesting does it hold the subject in a nice way is it balanced with the subject um that's a few things you want to think about when you when you compose your image and again the the part that's facing us is the shaded part which gives us a bit more mysterious a bit more dramatic look which fits his expression it fits the vibe and it looks better so let's think about rendering so i'm going to just name the files set it the format and open exr enable passes paste the name and add some indication that it's the passes set the format to exr octane because we have highlight compression all the way up we can't use linear tone map because then the highlight compression are not going to come out in the render so we need to set it at tone maps let's enable shadow denoise beauty denoise reflection indirect and let's info let's set the info channels to max samples thousands shading normals and ambient occlusion now the ambient occlusion we're gonna want to in post bring out some more details so we don't need all that background ambient occlusion we just want occlusion to focus on the details so we need a really short distance and the beautiful thing about this is that if i just drag in another random model just align the axis real quick and paste it into our scene because it's a procedural effect both the textures and the the fracture i can just drag in remove that texture and drag it and we immediately have the exact same effect and same texture on a different model and it would work with any model and that's incredible i mean both the texture and the the fracture itself and you can play play around with the you know animate the plane animate the pieces flying i mean you can really take it to i'm sure you you're already thinking about different places where you can play with it and look at that it's so so pretty i really like this so i think this effect is great i mean i uploaded to my instagram a bunch of different models that use this effect and it's so simple once i set the effect i can just replace the models and re-render it and let's set our depth of field if i click on the f f icon over there i just click anywhere in the model that i want the camera to focus on and i want a really strong depth of field so i'm going to bring the f-stop pretty low and that's that's really cool so we're really focusing on the eyes whenever you whenever you got a face you usually want to focus on the eyes because that's just how our brain works and that's just the specularity is a bit too strong in my opinion so i'm gonna grab our roughness map and bring up the levels of the black in terms of make it lighter so the least rough areas are still slightly rougher than they were and that's pretty cool let's see if we can get a nicer explosion thing going on dissipation thing and we'll play around with the cone field and that's a really cool look you can still see the eyes are still intact but you really start to see the disintegration of the pieces so cool playing around with the bloom so i enable the bloom and i crank it pretty high so that i see what's the limit of where i can take this and then i slowly bring it down and i'm upping the cut off just so we so the bloom focuses on the highlights and if i bring it all the way down oh that's so cool i've never went so high but if we up the cutoff almost all the way to the top then it really only focuses that strong bloom on the highlights and it's really a cool effect really gives us like a dreamy it's almost like in contrast to his expression right so there's something in this fun colors and this dreamy bloom that comes in contrast with its agonizing pain now i want to add some debris so i'm going to add a polygon make it super small duplicate it make it triangular too so we got two different types of polygons and set it in the cloner we're going to set the cloner to object let's try and see if the corner field would work now let's just add a cone and align it with our cloner i'm sorry with the cone field of the planer of the plane oh my god mixing up words so what i'm doing now is i want to add very subtle tiny debris that's that's flying where the pieces are flying that's going to add a really subtle but super realistic and rich detail and if i set the cone as the object for the for the cloner it's going to clone all these tiny particles in the area of the cone and let's give it some randomization i'm going to rotate all of them into different directions randomize the scale and play around with our cone area i also added the color effector random to the cloner so that it'll also color each piece in a different color and just align the the cone better with the explosion and let's add a plane which will help us um disperse the the objects as they go further so as i'm playing i want to push them all up but they're all getting pushed in different directions and i'm not sure why inside the linear field because um i want them to start pretty condensed and then as they go they disperse more and more but they're still going in different directions and i'm not sure why maybe it's because the plane is set after the random [Music] so still not they're still going in different directions um maybe it's the align clone yes and there you go so i untick the line clone and now they're all going in the same direction so now i can really tell them to push up and with the linear field set to uh setting the contour of the linear field to being is it stronger in the beginning or no no it's the other way so the contour tells the effector to work less in the beginning and as the the linear ends it works more and more so in the beginning of the linear field there's still more tidy tightened up together and as the linear field goes they're more and more dispersing and again we're going to just play around with the with our spread we can really up to the count say 800 and now you can in the live viewer you can really start seeing them and because because it's out of focus you don't need any any uh width any depth any three dimensionality to the debris you can just that's why we only used polygons like flat polygons because that still works they're not colored and i'm not sure i i know why yeah we need to set the instant mode to render instances and now octane can recognize each piece individually there you go now we're gonna hit render and there was i had some issues with rendering this it's a weird bug that maybe it's octane maybe it's cinema but as you can see i tried to render it before and sometimes it would just not render the voronoi fracture not completely sure how i fixed it but it sometimes happened with the volume builder it sometimes happens with the with the voronoi fracture i try to exit to restart um play around with different options there just kind of you know cache it or yeah just sometimes it worked sometimes it didn't i still encountered this problem i'm not extremely sure how i fixed it but trying to restart try to exit um it'll work at some point so we're going to open up after effects we're going to bring up our renders we're going to set a new composition with our beauty and then drag in the passes now we're going to set the extractor plug-in on the pass and then choose our denoised layer and we're going to bring down the opacity to mix it in with the beauty a bit more because we don't want it to be too de-noised and and smooth i'm going to duplicate it set it to the noise reflections set the blending mode to screen because we just want the brighter parts to blend in bring it down all the way to 25 opacity as you can see it just gives more definition to our reflections duplicate it again let's set it all the way to 100 so you can see what we're working with and then test the shadow pass now the shadow path became very noisy i think it has to do with the hdri i'm not sure but sometimes it happens and we can't use it so we're going to use the ambient occlusion and as you can see we got all the tiny details and we can use that as a matte layer for an adjustment layer so we can add an adjustment layer let's quickly name all our layers beyond the noise reflection indirect the noise reflection the noise beauty and the beauty so we're going to take our adjustment layer set it to luma matte inverted because we want it to be affected only by the black parts of the top layer of the ambient occlusion layer and put some curves and just bring down the the darker parts and as you can see we just make the darker parts slightly darker which really just gives some more emphasis some more detail and we're going to duplicate it and now set it to shading normal now the shading normals they give us the the x y and z directions from the 3d space it colors x y and z with r g and b so each color is the different direction that's in the 3d space not sure which is which but i think the blue channel is what we want here so we're gonna to select our blue channel we're gonna convert each channel to the blue channel and that's gonna only show our blue channel in white which allows us to access the blue channel now but i don't want to now it's showing out the right side i want to control the left side so we're going to invert it and now as you can see our left side is showing with white and i just there's a lot of gray here so i don't want all that gray area i just want the very accenty edges to be white so we're gonna crank in the levels and now we only have the very accents very is very rim as white and again we can use that as a matte layer so we're going to add another adjustment layer add some curves to it and just bring up the highlights and now it applies on the whole image but if we set it to luma matte now it only applies to that those accents that we extracted from the shading normals so that's a really cool way to access to to just give more subtle control of of light or as you can see tiny rim lights that i can access in post and not worry about it in cinema so it's so cool it's so easy and i use it all the time it adds more depth to the image when it's used right so we're gonna add another adjustment layer that's going to give us overall control and just increase the contrast by a little bit that increases it over the whole composition and i just want slight increase in contrast and because we we increased the contrast our saturation went up a little bit so we're going to reduce our saturation by a little bit just um just an artistic choice i guess make it a bit less strong and that's it all right so this is our final image i hope you learned something hope you can take some of these techniques which you apply them on your own projects uh whether it's textures lighting setting up a scene thinking about composition all that good stuff um if you have any comments suggestions questions remarks on how to make these tutorials better i'm more than open for anything i'm still perfecting my process here and i'm really trying to make these better and better and better so comment on this video subscribe share this hit me up on instagram and follow me at ojang and most importantly have a great day peace

Channel: New Plastic

Views: 14,617

Keywords: cinema 4d, c4d, octane, tutorial, how to, animation, after effects, models, 3d, blender, render, Voronoi, Voronoi Fracture, Materials

Id: h9h9yZfwsHw

Length: 47min 51sec (2871 seconds)

Published: Wed Dec 16 2020

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