Cinema 4D Tutorial - Using Displacement in Octane Render

alright here we are inside of cinema 4d and I've already fired up octane so let's drop in a plane to start and I'm going to start with an octane diffuse material we can also get to that through this menu here octane diffuse material and then I'll pop that on the plane here and if I jump into this I can go down to the displacement tab and if you're on the newest version you will have this button called add displacement which actually just loads a displacement node so if I go to my node editor you'll you'll see here if I click get active material you'll see that it's just added a displace to the displacement so you can do that manually if you don't have the newest version then we're gonna jump into this displacement and this is where we're gonna want to load our texture so either here or here so let's find my displacement map here so it's this one and right off the bat you can see some things happening but it looks pretty janky and low-res so the reason is that it's currently set two levels of detail 256 by 256 so we just got to bump that up to 8k which is what we rendered our displacement map as and immediately you should see that we've got all this crazy extrusion and detail now we can't get that close to it at some point it gets kind of breaks down gets these weird artifacts but it works really well from a bit of a distance and you can do fun things like we can totally blow out this displacement and get this kind of crazy-looking city or we can just be subtle with it and get this kind of more I don't know a Death Star looking kind of interesting surface and it's cool if we look from the top here we can kind of see where we have those puzzle piece type chunks that we put in there that were darker so it's kind of cool seeing our illustrator artwork affect all this geometry alright so I'm just gonna take this and make a much bigger floor real quick so if I hold down option or alt while I click the cloner it makes it a child of the cloner and right now I'm going to let's see I'll change it to grid mode here there we go and I'll turn on render instances and we actually we don't need any additional instances in Y so I'm just going to take this down to one here and one really interesting thing is you can see right now I've only got two tries so this is Octane's form of polygons so this is the geometry it's calculating if I had more width and height segments you'd see this would increase but I took it down to one by one because it's actually calculating this geometry behind the scenes and it's using this image to push the geometry up and down but that's not affecting our geometry load time which is really good so we're kind of getting all of this displacement for free so I can kind of go in here and spread these out until they're just touching right here so it looks like 800 is where we want and 800 and now we've got a much bigger floor and there's an interesting mode in our 18 that I'd like to point out normally if we add more instances here it'll just kind of pile on itself but if we put this two per step what happens now if I spread this let's bring these back down to three if I spread this back out to where it's just touching so it looks like 400 at this point and I were to zoom out and add even more instances here you'd see that it would just grow but not overlap so it's calculating that offset there and so now we've got this really really big floor and I'm still navigating around in real-time which is super awesome okay so I can come all the way down in here and maybe we want to do some fun little lighting and shallow depth-of-field so let's pop in an octane camera jump inside the camera I will turn on my camera imager and then I'll just kind of play with this value and immediately we've got this cool shallow depth of field look I'll come to my post-processing because I always like throwing a little bit of bloom on there for whatever reason and yeah I think I'm happy with that right now the camera is set to autofocus which I want until I'm making my final decisions because as I'm navigating around if I've got this shallow depth of field look on and I don't have this on then it can get say I focused here and I moved closer then I could end up somewhere weird and everything is out of focus but with autofocus it's constantly searching for that focus point for me which is kind of cool all right so let's add in a daylight here and I can come over here and just start twirling it around until I get something different looking somewhere around there could be cool like maybe slightly longer shadows here but one thing I don't like is how pink this gets so I can actually come into the daylight tag here and I can reduce this orange enos here so we can get something a lot more clean looking I can also drop the power so it's not blowing out quite so much cool so let's jump on in here and work on maybe our texture for for this displacement so we can add our color map and some other things so if I click get active material this is what we've got so far we've just got this bitmap loaded into this displacement and as I think I've mentioned in other tutorials this bitmap node doesn't do as much as an image texture node so let's drop this down here and we'll just copy this path here ctrl-c ctrl-v and replace it and nothing should change I'm just gonna delete this dude there and now we have a power to invert this whole texture so we can get a totally different look by inverting the texture so now we've got something that's perhaps even more interesting so I'll stick with that for now so beyond this let's load in our color map so let's just drop in another image texture put that into the diffuse and let's bring in our color here and at first this might look like totally horrendous but we're gonna add more to it so if we don't like the colors we could always drop in a colour correct node so let's see color correction so you can just drop it right on here you can also take nodes say you had a node out here you can take it and hold down alt and then it'll connect so that should work too so let's get rid of that one and then in the colour correct node we can affect the brightness or the hue like maybe this is a better set of colors here the saturation so we can desaturate you can also affect the gamma too so maybe we lighten it up slightly but let's add a little bit more to this so first off I think we're still in a diffused texture so let's come down and change it to glossy and now you should see some kind of like reflections starting to pop in which is pretty cool maybe instead of our daylight let's load in hgri so I've got this HDRI button here again you can go to your objects are all here HDRI environment that's where you'll also find this daylight and all the other stuff I just like to create buttons because it makes it for me so I'll jump into this here and I like me navigate to my textures real quick so I like these sky maps from video co-pilots jet strike pack for whatever reason they're kind of fun to play around with so I'll choose this sky map here and if I navigate around should be able to see zoom way out and actually we're not seeing it right now because what's happening is the daylight system overrides the hgri system until you untuck this so now we'll actually see our full sky map if we look around so that's cool and maybe I'll take off take this all the way back down to infinity real quick so we can kind of see our sky map so that's neat I mean jump back to where we were okay so if I boost the power of this things come a little bit more to life and I can rotate it around you'll see the reflections actually playing off the surface which is cool so now maybe we could even combine the daylight system and this hgri so what you can do is in your daylight here you can turn on mix sky texture and this will mix the two systems so this is still affecting everything and so is this daylight so if I rotate around the daylight I can get these kind of sharper shadows but also get all the reflections from the hgri so sometimes this is totally like the way to go let's see so at this point when the two systems are mixed this power slider no longer functions for whatever reason healed them of this for you so if I turn this off this power slider does work if I turn this on it stops working until I jump into the image texture and start messing with this internal power it's kind of weird kind of quirky to get your head around yeah so you can still boost the power of your hgri when you're mixing the two systems cool so you know something like that kind of looks neat so let's continue on I am going to now that we've got our color map looking a little bit better we've got some reflections in there we can add a bump map so I'm actually going to drop in another image texture here let me kind of give myself some more real estate drop in another image texture and clean this up a little bit and I'll connect this to the bump and this gets a little finicky alright so let some drop in I'm gonna cheat here and I'm gonna go back to my displacement maps and instead of one of the displacement maps I made I'm gonna use people's super green just for the bump and I don't it's difficult to see what happens so if I go to compare store render buffer and then disconnect this we should be able to see what's actually happening so let's wipe this and sometimes it gets difficult to grab this if you've got this focus picker selected so let's uncheck that and then there we go now we can see kind of we're adding additional lines and stuff but maybe that's not as much of an effect as I want to see so if we come back to this and pipe it back into the bump and then add a UV transform here that means we can now lock the aspect ratio and scale our texture so now you can really see what's happening especially if I uncheck this enable AV comparison you can see that we're adding in additional detail especially if I get really close look at all this additional stuff that we're adding to the texture so we can get really really close to this stuff and still see some detail so that is pretty cool I think I'm gonna be all finicky here and an invert this displacement map because I think I like the look of it better here and I'm gonna add my shallow depth-of-field back in just cuz I like it not that shallow so it looks kind of cool to me all right and lastly I'm going to add in a roughness map which if you remember from previous tutorials the roughness is the blurriness of the reflection so we can kind of blur this out a little bit but if we add a texture to it we'll actually see some variation in the roughness and the blurriness of the reflection which kind of looks cool it adds an extra layer of realism so if we drop an image texture in here and pipe it into the roughness I'm just gonna find one of my favorite textures here let's use this one but any black and white map will do and it's not really clear what's happening at first so one really good way to check what's actually happening is if instead of piping this into the roughness at first we test it in the diffuse so let's put it into the diffuse and now you can see we're adding all this little grunge all over the place so especially if I let's go to our UV transform here and again scale this so we can scale it down you can see what it's doing it's adding all this craziness here or you can scale it we could scale it way up but let's go for that kind of finer look there that's kind of interesting I think it's might be stretching a little bit but it's kind of unintentional right now so what we can actually do is go to this image texture and there's another button down in here next to UV transform that says projection and this will add yet another node called projection so I'm making a big old mess of these nodes here so you can see texture projection and instead of mesh UV we can just change this to box and now you should see it update and properly kind of be you vide and cube mapped to all of this geometry so maybe now it's looking a bit small so we can come back here go to our transform and kind of scale it up a little bit so let's call that cool and instead of keeping it in the diffuse again we'll put it back in the roughness map so we get this variation and if we want this to be even more extreme like it's not especially noticeable right now we can drop a gradient in here so a gradient will basically clamp the values so strop a gradient between these and let's just kind of crunch it down these values towards each other and again it's kind of hard to see what's going on until we put it in the diffuse and now I can really see what's going on so we're creating almost this like paint look so that's going to affect all those reflections in that area and one other thing we could do is just invert the entire texture here invert and mess with the gamma so maybe we want it to be more like that so we really get it going and now let's put this back into the roughness and now we should really see that difference once we put our color back in okay this becomes even more apparent if we remove the color Channel for a second and take our diffuse down from white down to something much darker we can see the reflections a lot better and if I kind of come around here and maybe boost up our hgri and again we got to go into it and boost it up because we mix those two systems and maybe we brighten this exposure even more you can really start to see that roughness map taking effect and pooling in these interesting areas so I think once we put this color channel back in though it's gonna be all crazy bright and blown out so what we could actually do is we could mix it down with this power slider so we can just bring in a little bit of color that way okay so one other thing that looked cool was when we actually had this grunge map in the diffuse channel I thought that kind of looked neat though this is a little this is way too extreme so we want to mix this down but what if we actually so we use it in the roughness map but what if we also use it in the diffuse Channel somehow so how could we mix this color with with the output of this grunge map there's a node down here called multiply so we could just pop that in here and it's basically like a blend mode and after effects it's taking one channel and multiplying it by the other one texture and multiplying it by the other so you can see now we get this crazy like super grungy thing going on though here the gradient is too extreme so let's make this kind of like a a little bit lower so just something like that or maybe actually I liked it bright but maybe the dark is crunched in too hard we could separate these out a little bit to get some more crazy variations and then finally we want to bring back our roughness map so we can just basically create a copy of this gradient here hold down I think ctrl and drag and then we'll pop this in here and add this back into our roughness map and then with this gradient we can further play with it I think we had it more extreme here so yeah just giving you an idea of all the kind of interesting ways you could play with this texture I'm gonna move on and actually apply this to a cube at this point so we've got our giant crazy field going on we don't actually need this much geometry anymore so let's bring this back down to like three by three and kind of come back in here and I'm just gonna create a cube there it is and I'm just gonna duplicate this texture to cube and already we've got some interesting stuff going on I probably want to rotate the lighting around here until we can see what's going on a little bit better there we go so that is already looking kind of cool and let me give myself a little bit more room okay and so let's try to recreate that composition that we had going on from that reference so right now we have a really kind of wide angle lens and it's difficult to get the same look but when I was looking at his artwork it looked very flattened like as if it was shot from a really long lens so right now we're at 36 and what we can do is we can zoom way out or we can dolly way out rather hold down - and then right click instead of left-click and then we can dynamically zoom in so you can see how it's changing focal length so I'm just going to zoom into some kind of like really long lens you can see how much bigger this stuff kind of feels all of a sudden so I really like what's going on there now one interesting thing about this displacement is it can sometimes come apart at the seams so if I go back to my displacement down here sorry for this mess of nodes but go down to this displacement you can see there's this option called mid level and what this will do is it'll actually kind of bring it closer or further away from I guess you can't go negative sometimes these are really separated and it gets super annoying but yeah we just want to kind of bring this in a little bit so there we go okay so we're getting closer here let's add in those cubes so we can just kind of add in a couple additional cubes this one let's make it let's just make the size 1 on Y and then we'll push it up here actually let's make it something like let's call it five there we go and let's move it twenty on this actually in the coordinate let's move it 20 or 15 or so I think 15 looks good and 15 this way and then we'll just make another cube here do something really similar where we'll go to this object and we want this one to be five in this axis so hopefully you can kind of get an idea of what I'm doing here need to give myself a little more room and I'll push this back until it kind of pops on through here so let's just call it 101 is the value we'll use for this so this one should also be 101 and again 15 is our magic number so we'll move this down 15 I'm just trying to make this whole thing symmetrical it's 15 there and now we just need one more cube here and this one was under the object this one was five on X this one was five on Y so this one we want five on Z and then we want to move the coordinate on Z until it pops out and it's at 101 okay now we want to move this down 15 and over 15 okay so we're getting close to setting up our composition here that we liked let's make this a little bit taller again so we can see a little bit more what's going on this is obviously really really bright so let's um let's create a new material so let's create a new glossy material and again that would be under materials octane glossy material let's add it to all the cubes here and let's make this one pretty dark cool I think that this is yeah this is good this is reflecting our floor so one other thing we can do let's make it even darker and now we can take all three of these cubes go to our fill it turn that on and now you'll see it starting to catch kind of light on this edge here that we only need like probably one or even less on the bevel and the next thing I'm gonna want to change is just the lighting I don't really like this daylight or these environments so I'm going to kind of like this myself and I'll show you how I would go about doing that on this octane sky instead of having an HDR eye I can just load in a C 40 octane RGB spectrum which is literally just a color and I'm gonna make it pretty close to black and then I'm gonna kill this daylight so right now we've just got this one color lighting the whole scene so let's make it even darker a little bit and so I'll kind of move around show you what we've got so what I want to do now is add in some area lights which I think will help it a lot so if I go to options I can uncheck check camera and what that allows me to do is I can pop out of the camera and navigate around and light my scene without affecting my hero view so let's um throw down one of these area lights here and actually I'm gonna start with a targeted area light I just find it makes it a little bit easier and I'm gonna ask it to target the camera so target the camera and so wherever I move this it'll point towards the camera right now it's a bit too big so you can see there's the camera wherever I move it to it's going to kind of point at that camera so that helps me just kind of positioning the lights at first and I'll scale it down even more so the smaller we make the light the harder the lights gonna be we're gonna have these more intense like hard glints and if you make it really big and then decrease the power so the bigger you make it the brighter it'll get but it'll also become a much more even light so that's really good to be aware of it the the scale of your lights really affects the quality of the light as well in your scenes so I'm going to start with kind of this hard light here and then I'll take off the tag at this point because I don't really need it anymore cuz I've kind of positioned it so I can kind of point it down like something like that and I'm totally winging this and then I'll duplicate out a light by holding ctrl you can see I can kind of light in real time which is super useful these cubes are not working for me they've got to be I think let's see let's make them like 15 I want them to intersect so actually like 25 and let's call this one 25 and this one 25 okay it's getting closer now they're all kind of too far out extruded so let's make let's make 95 a magic number 95 and finally this one here 95 and the bevel is also way too big so let's go to our fill it radius and make it like point 1 cool so that's a little bit better and let's continue lighting our scene I'm just gonna keep dragging these area lights around until I'm happy with how they look that's bringing some nice light in there that's catching a little more of edge and now maybe I want to power this up and scale it down to get even more of a hard light and I could even change the color let me make it a little more blue and maybe I'll make this one if I add in to this texture here an RGB spectrum I can maybe make it even a little cyan that maybe that's a little too much and then if I want so I'm gonna keep art directing this again the cubes are too still way too far out for my liking let's go 92 90 to 92 okay I'm liking that little bit better let's come back to our camera and nothing's gonna change until we go back to our check camera here so I'm gonna actually probably zoom out a little bit because I want to see more of what's going on I think I got a little too close for starters so maybe I like that composition better and maybe a little more down looking down on it okay and then let's add a kind of interesting texture to this so let's go into our roughness map again and just add in maybe this one here you can see instantly we got this different look though actually for this one I want to add in some smudges so again I'm gonna go back to my node editor get active material I'm gonna replace this with an image texture so I can scale it and then this one I want to be I'm gonna go to my reserve here and kind of find a polygon texture from polygon comm so I'm gonna go my textures polygon overlays so I've got all of these like kind of smudges let's try this one as you can see the smudge is starting to come up now we're gonna want again to UV transform all this same stuff that we've already learned lock aspect ratio and start scaling this down so real quick there's a small issue on the sides here if you ever have stretching you can also just select all the materials here and change them from UVW mapping to cubic mapping so octane will also respect that change on this level versus you can also do it on this projection node in here if you add this projection so that's just good to know that you can change it here to box or you can change it all the way up here to cubic so either one of those works so that fixes a really small issue and I'm gonna keep messing with this glossiness here I think I want this diffused to be even darker and you know what is missing is the index of refraction let's make this way more metallic so there we go now we're starting to kind of reveal some more interesting stuff okay and let's mess around with this texture a little bit more I'm not really loving these smudges so let's try another one let's go for this fingerprint overlay cool I think that looks a little bit neater though it's really really big so let's scale down a little bit so let's go to our transform and scale it a little bit like that so I think that is kind of more the look that I want to go for again let's go to our objects not objects let's go to our check camera and untape that so I can keep lighting the scene because right now I've only got kind of one light that's really doing that much work I'm gonna kind of tick these off to see what they're even doing so these two aren't doing a whole lot so let's just get rid of that one and let's move this guy over make it a little bit bigger and we can also kind of stretch it out might get a more interesting look and let's boost the power until you can see it it's kind of contribution there we go now we're seeing a little something we can make it a little warmer maybe that is interesting I think I'm liking that a little bit better so it's just about playing around until you find something that is appealing to your eye if I come back to my camera here I can turn back on check camera because otherwise these controls in here won't work and I'm gonna do my favorite thing which is go down to my ektachrome profile which is going to totally make things out of whack and then I'm going to kind of boost the gamma a little bit here and then turn the white point a little more orangie so that we kind of compensate against that and already I'm liking this look a lot better though it's kind of a little magenta a little too saturated so actually just made it worse so let's pull it this way there we go liking that a little bit better let's boost the gamma a little bit more so it's not so crazy and then drop the exposure a little bit kind of dial these values against each other until we're happy so that's pretty interesting I think the displacement itself is a little too crazy so I can always go back to my displacement here get active material go to displacement and change the height to maybe two so I think I like that look a lot better it's a lot cleaner looking and again we can always see like what inverting this texture would look like too so I'm actually liking that so I'm gonna stick with that and then the final piece of the composition was just creating kind of a set selection on one of these phases so if I go to these phases and go us us us I can subdivide this a bunch of times and then UL is loop selection hold down control to deselect and I can have this face and go to set selection here and then I can do the same thing for this face here u.s. u.s. u.s. u.s. I think one more time UL deselect and then deselect there and then I'll set selection on that and then finally for the top one us a bunch of times ul cool and then all set selection on that guy so now we can have yet another material if I just duplicate this glassy material and change the diffuse up here so we can see it so I'll make a brighter metal we can drop it on there and then put in our selection tag so you can see what that's doing so let's just duplicate this over and then let's bring this back down and change maybe we'll change the specular color to like a gold and that will actually make it look like a gold there we go that's kind of neat maybe let's go blue cool I definitely like that better the last thing I would like to see is more of a highlight on this top here so again compare options actually on tick check camera zoom out here and let's just get one strong backlight going so let's duplicate one of these guys and make it a smaller light kind of bring it around until we see it hitting there we go we can see it now and again let's make this taller and with this light I'm gonna make it a little bit warmer maybe and really boost the power so we can see what its contribution is so there we go now it's really affecting it but I think it's too low let's bring it up higher there we go that's what I'm looking for that's obviously way too bright let's bring that down make it even smaller for that kind of harder light give myself some room to work here kind of like that highlight there now we really want to drop the power down that's kind of cool so just play around till you find awesomeness so I'm digging that a little highlight there I can still cheat it around there we go I think I'm happy with that I'll call it good and lastly I took down the color because I can't stop tweaking all right I think I'm happy I'm never happy I'm so depressed okay swear that this is the last thing I swear so this is just one small thing that I forgot but under the camera imager I found that this button really helped so it's under thin lens perspective correction this is used for like architectural rendering but it also just kind of stretched everything out in an interesting way that I liked so let me pull this up here so we can see our final render I'll let that refine for a second and get rid of this stuff here so we can see the whole thing cool stuff alright and my final tweak was to mess with this fingerprint overlay and make it a little less intense alright thanks so much for watching you guys that's just the bare minimum of what Octane's displacement can do it's one very small niche but it can do about a million other things so thanks so much for watching if you liked it hit the like button if you hated it go rabble rabble rabble in the comments and any questions you have leave me a comment and I'll get to you and answer you so some of that might have been confusing I was up pretty late tonight hopefully it all came out okay but if there were any buttons that I kind of glossed over or anything that weird that happened let me know and I'll get back to you so I'll see you in the next one thanks bye everybody

Channel: eyedesyn

Views: 118,971

Keywords: greeble, octane render, otoy octane, cinema 4d tutorial, octane displacement, cinema 4d displace, c4d tutorial, displacement map tutorial, c4d displacement map, cinema 4d, c4d, maxon, learn c4d, eyedesyn, cinema 4d tut, octane beginner tutorial, otoy octane render, beeple, cinema 4d displacement tutorial, displacement map texture

Id: 068g41cTrYY

Length: 38min 29sec (2309 seconds)

Published: Wed May 17 2017