Cinema 4D Tutorial - Using Megascans for Product Renders in Octane

so as you can see this tutorial is going to be a little bit different to ones previously I've been a little bit up and down recently about my process with tutorials and how they how that process allocates my ability to decorate particular tutorials and I feel like I get the most fulfillment from doing the more advanced tutorials I it seems like they provide the most value based on the viewer base and whenever I record tutorials that are kind of under half an hour long they don't feel like they have as much kick to them um sometimes they do if it is just a very particular like subject um like with the shock waves that that just kind of had such a kick to it and nobody had done something so similar that it it was fine at like about 20 minutes long but I feel like when I look at my most valuable tutorials they're longer and I've definitely plagued myself for a while with the kind of perfectionism of creating tutorials and the process that I create them I I kind of got it a very over time I got this very particular Alchemy uh that was the way I created them and I'm quite proud of that process but it takes it takes a while and it was kind of set up in a very perfectionist way and I want to break free from it a little bit and be able to provide more just kind of meal my workflow um which I think is going to be really beneficial this is going to be me I typically when I create a tutorial I base it in some renders I've been making and then I go and recreate it in the tutorial and it's so refined and it's so particular and I've got a rough idea on my head right now what I want to create but as much as it's a tutorial it's going to be kind of a walk through and we're just going to kind of sit and sit in the software together and I think it's going to be a really nice experience for slightly more intermediate users to be honest all users but I think it's going to be a nice kind of experience just working in the software together I'm making myself vulnerable to run into issues and problem solve and that's something that I've always kind of eliminated out my tutorials which is completely false to a true 3D workflow so it's going to be interesting we're going to see which things the way things go you're going to see me have to make decisions which is another thing that's cut off tutorials typically you're going to see me pick what things I want to go forward with and mess with things and mess up and make mistakes and maybe I'll crash the software who knows I have a rough idea I want to make some sort of render with like stacking rocks or something in mega scans and then I want to like put a laptop on it so I want to see how it comes out and uh maybe it'll turn out like but let's uh let's go for it I'll still make everything chaptered and uh and and break it all down and try and make it structured as I will and I'll try and explain everything I'm doing as I'm doing it uh I'm probably gonna clock off the face cam though I just thought I'd have it on for introduction and because it's on the camera it will die eventually so um maybe I'll turn it on if I need to but I'm going to turn it off and uh and yeah we'll we'll see how this goes so yeah let's get straight into this I will promote now my free guide I wrote a big 10-step guide to improving your renders and you can go and get that in the description or on the channel any of my links uh definitely go check that out kind of a rough overview some tips that you can Implement into your workflow straight away for improving also I have a skillshare course that just went live again that will be linked below as well check that out super cool brand renders kind of similar to what we're doing today so go check that out and as usual we'll check out my assets and let's get creating this so to begin here I'm just going to go into Mega scans and I'm gonna find some stuff that I want to use I don't think I want to use rocks that's more I want to use kind of typical blocks like this and Cinder the cinder bricks the similar like these kind of things not those but something similar something along those lines there was the ones I used in my skillshare course which were like these um bricks but I don't know about using those so uh yeah there's gonna be kind of irritating I hate finding things on Mega scans it's just always a little bit irritating okay I think this is kind of along the lines especially here as well this like Rubble pack I think if I could stack these concrete slabs in a certain way that might give a very nice look um broken tiles yet these are definitely along the lines of what I want it's just whether the displacements look nice that's really nice yeah I'll probably stick to these so I'll download these and uh while that's going let's set up our scene so I'm gonna go for a square aspect ratio I think I'm gonna do two four eight by two four eight I'm gonna try and explain everything that I can do but there's gonna be much less explainary than normal tutorials and more workflow based so I will try and stop and pinpoint things and not brush over them but my normal tutorials are more for explaining what things are that I'm doing and in this tutorial I'm just going to focus on doing it and then has these assets done so I'm gonna push these over and typically when I bring assets over the first thing I do is lay them all out and spread them out and kind of see which ones I I know I'm gonna like and see which ones that I'm not gonna like all right so I usually just fan all of these out have a look at them and let's see which ones we're gonna like and I'll probably bring some other ones over a bit later but for now I'm gonna stick with these because I really do like I'm going to have my safe frames actually because that's funny uh for now I do like these turn off my work plan because I think if what's this Dynamic Play Store that we have here is it it's this one right whoa okay that's gonna come in useful crikey I should have used this on my uh skillshare course I was like sitting rotating them all and placing them all I feel like an idiot okay so I'm just gonna use this tool here I believe this was added in I thought it was in 20 I'm using or 26. um I actually have like all the versions of Cinema on my desktop and I just keep them there because you know you have certain plugins and for older ones and when versions of Cinema breaks plugins I just like to have older versions from my pipeline to go back to I also just kind of hate upgrades so I tend to go up and down with it now in my brain when I'm like thinking of this I'm kind of mindlessly stacking these but I want it to have some sort of Rhythm to it I want it to have some sort of kind of poetry that sounds just like I'm thinking about it way too much but you know what I mean just like intentionalism is a better word than poetry I also need to fit a Macbook on it so I have like this one model of a Macbook that I use for everything so I'm Not Really Gonna go to the effort of creating a whole new uh model or whatever just for this idea okay so I think when it comes to you know placing things like this for me personally it's always been kind of a difficult thing when it comes to stacking objects or arranging them in a way that looks like it you're you're intentionally arranging them in a way that looks unintentional and for me I've always found that difficult um so God didn't mean to do that I'm just going to put in a plane here and I'm going to use it to put some of them out at ground level so because I got off of that I know in the the new standard version like the the layout if I can switch to that this one I absolutely hate this I've been using Cinema 40 for 10 years and normally it's a dynamic place and I should probably put that on my layout but I absolutely refuse to use that this is so Cinema 40 you should look I'm always going to use it like that um so I have to type in to get the Dynamic Place tool right now because I haven't put it on my layout um oh I do have this one though which has a couple octane bits much I kind of forget that I can rotate them as well I think I might do some sort of weird stack here okay now you're talking so I'm gonna get this I'm sorry but that's a bit weird spiking up there okay right it's it's difficult to do this so early because if I take this to live viewer and it might not look good when lighting it so I'm probably going to change it again there and this is why I want to do this format of tutorials more because you can very much go like that you know you can create something here in the viewport and then you you take it across and you start texturing it and lighting it and uh one bam turns out you hate it so it's a much better format really unfortunately it's just not super beginner friendly because beginners kind of need that that guide in everything you're doing and they need you to explain everything you're doing and when you're hitting W and switching from your normal access to your world axis and you kind of have to explain all of those things that you're doing and uh it can get quite strenuous on the result and I think for the most part if you're competent enough at creating in general or learning things and you know how you personally learn things I I definitely think there's an element of you're kind of aware of what's going on and you don't feel the need to complain about the fact that it's not a beginner enough friendly or whatnot you know you just kind of understand what's going on and you pick up on that and you respect the workflow I think it's a certain kind of person that decides to complain about it so I'm trying to make kind of some accidental things here I I thought that having this smaller one on the top is probably going to be a bit too narrow if I putting the laptop on it but I'll see how this looks there was this other big concrete slab here that I really liked and I might Implement that one um some of these are nice as well but maybe a little bit too rough it might be nice to bring in some variation and add in some of these kind of broken ones here this is the ones I used in my skillshare class all right so I will use them here to add some level of exclusivity with this here by the way that's turned off you just double click that that gets the material view to load in whenever it feels like doing it um we might have to get octane going which conveniently I'm probably just gonna do now now before we go any further I'm just going to save the scene and I'm probably gonna cut this out because I've got so much NDA stuff lying around and I've got companies that don't even want it to be public that I've worked with them so I'm just gonna save this without letting you see I will say however this folder structure that I created if you go and get the free guide and subscribe to my email list you will get this folder structure and an overview and a short kind of Summary of why it's useful so that's definitely something you should check out as well a little bit of a plug there I but if you're kind of in need of a full structure for creating renders this is the one I use for kind of daily renders and whatnot so yeah you should definitely check that out okay so what I'm gonna do is I'm gonna Center the access here on these if it works and lets me okay thank you and then and then I'm just gonna bring over that concrete slab down like I don't know if it's gonna work or not it might not look super amazing but let's have a little look see who it is uh okay it's not as big as I thought it would be which is nice I'm going to pause them within a second we'll get that Dynamic place again foreign wait that's that one that's just that same Rock oh it's just one of the okay nevermind right so yeah for some reason I thought these would all be different but it's just all of these are just this package just though right so a lot of camera and we'll build up Octane and I'm gonna change the camera focal length to 135 zero out generally my workflow with cameras is just to zero out get a nice straight on look I'm gonna change the path tracing and okay yeah I already don't like the Rocks so I have to find some substitutes I think all right just change them around well that's the name of the game we knew that was coming so I'm gonna add in a texture environment and I guess I'll declare this the lighting phase I'm gonna try and keep it as structured as possible but I'm gonna revisit things so uh what I've done here is I've pressed F2 to go to my top view camera's perspective now I can kind of thought about in the live viewer I'll stay the same but you kind of have to redo everything that you just done to make it look workable so I'm gonna add a Target and let's target the plane and as you can see we have awesome lighting just from that so trying to think of where I want to take this in terms of tone in terms of lighting I'm not entirely sure it's probably gonna be a good idea to bring in the asset which I'm not really going to go over um texturing it or whatever I create the asset a long time ago we're gonna bring it in or maybe do a little overview of some of the textures I've got on it but I leverage that model to work closely with my coaching students which you can also sign up for if you're interested so I'm not gonna go super big on it but uh because I don't want to take away from from that material but I will absolutely run over it here so regarding here it just it doesn't feel tall enough honestly but I am going to on live on the tutorial create a customize this um this thing here so because it's already annoying me having to type in so I'm going to add it in there and personalization safely as I'm going to save over this one cool because now I can just click this and get it was already bugging me okay right so let's go back to our F2 View and I'm trying to think if other assets will make it useful or if just duplicating the assets cool little trick that I tend to do I'm going to pop in a couple of these is with nearly all my mega scan assets I desaturate them and I don't know what it is I just a lot of them I can I do it with wood sometimes and people think I'm using bricks and I'm not using wood and I just I like to take the assets and just completely rip their color of them and give them this like lovely gray look and I've kind of found a nice visual language in it so I might do that with a couple of assets here today um I actually really like this as well so I'm going to bring that in where was the one I just downloaded okay this one Okay so this one's okay but this feels like one of the ones that should be on the bottom you know I mean this doesn't feel like it's allowed to to be in the top anywhere but it makes good kind of leaning angle and then that one is nice but this one's really perfect I like that I'm gonna bring this one in I should probably be telling you the names of these uh concrete Rubble if you type in the Breezer because I went to Industrial construction debris you should get all the same assets here um so let's get this up and I'm going to turn off the light quickly in there in the viewport and Maybe maybe we could go for like one of those cool renders that people do where we make it like a Defying Gravity and they're like bouncing on each other in a really strange way I think that could be kind of cool but it might look a little bad in place if we do that and only one of them is doing it we might want a couple uh but I might even do it with the laptop like I may have the laptop kind of balancing in a funny way let's drop this down I've not wanted to bring you down so I'll pop him here it's not working it's not working let's just dump it at the bottom see that looks come back to our camera here I'm gonna do a little bit of look Dev on here but I'm just definitely gonna yeah I already know I don't like that I'm definitely gonna keep trying to refer to this point in the tutorial as a kind of like look Dev part so just when I'm creating the chapters and whatnot I'm going to lay out these materials people keep leaving comments and telling me that I need to altering select it like it does anything uh maybe your version of octane does but mine doesn't and I think even if it did work it was like I have a way I like it do you know what I mean so even if it did Auto arrange it nicely I just I like the way I I do it so definitely gonna stick to that uh I tend to lay out all my filters and then lay out all the images like this so what one even is this oh it's the one material I just turned off right ignoring that okay so with this material here you'll see the displacement is turned off so we're going to turn this placement on set to like one 4K to nah in fact two and then bring to the mid level and what you'll see here I usually desaturate them give them some gamma and I usually bring in the gamma of the roughness make them a bit shiny but this one looks really low quality so I'm probably not going to keep that um in terms of how it looks next to the other is there's probably why it came in so small and I scaled it up and it's probably not meant to be scaled up so I might just keep that small for now I'm going to shift the light quickly and pop on the other side into the back a little bit and let's get creating this main material they're all using the same material which is very nice so we'll lay these out probably cut this out at this point okay so I'm going to turn on the displacement and okay 4K we go to the mid level a little bit and you'll see here I'm just going to desaturate it you can just tend to give them this really nice kind of silver look that they don't they don't have typically when you bring them in yeah something like this because if we keep bringing up that that gamma of of the roughness that will make it kind of give it its 100 shine and if you unplug it completely yeah nothing really changes if we bring up the rough notes at this point and then we Leverage The Mix here when we bring that gamma back down you can get like this like nice kind of rough highlights on a lot of these rocks I'm gonna pump the color a little bit back in I don't know I just think that looks way nicer than it did before and I tend to do a similar kind of thing to to all the assets I'm gonna do Ctrl s and save and now I'm gonna set up some lighting properly but I want a background um so I'm gonna do that although in fact no I'm gonna thin out that plane and I'm just gonna kind of leave it blank I think or yeah because I'll I'll do that and then put like a concrete material underneath it and we'll see how that looks but we need to fix this guy because he's all over the place so sort him out right okay and I need to sort of this material now okay so lighting wise what I'm gonna do um I'm gonna add some Bloom I was not technically lighting but kind of the same same setup I'm gonna make the sound thing right 248 and while we're at it we'll go to render settings 248. um I'm Not Really Gonna use these so we'll set them all to eight so the GI clamp to ten and with the light let's add a falloff map and I'm gonna keep it at 90 degrees right now and I'm gonna set the power to 1000 I'm gonna turn off my balloon because that's horrible and I'm gonna make a light Maybe 100 by 100. I think if we get some nice kind of backlights like that and then we'll duplicate the light and we'll shove another one over to the right I'm gonna bring a little bit more forward I'm gonna bring down the power what I'm going to look at though is if you say this to 180 degrees just this kind of soft above lighting here you can get like really nice soft lighting I don't know which one I actually like more I I'm gonna highlight lights and turn them off though yeah kind of difficult to know um but I'm gonna clock the camera in a bit more and scale up that plane and already I know it's early but I tend to like mess with like different angles and see see how it's going to look quite early on which is something I've always kind of done uh because I like this here it's going to look at different angles and I think it's it's kind of valuable to do this and see where different things to piece together okay I'm going to turn those off and I'm gonna go and grab my MacBook model so I've just dropped this in here and like a year ago I used this for a freelance project and I actually created this controller in espresso which is pretty nifty I forgot which tutorial I used for it but there was this tutorial and I used this um expresso algorithm with a range mapper against the God I can't remember how I did it yeah you set the degrees or whatnot um I did this like middle of last year like April 2021 or something and it came out super cool so what I'm gonna do is I'm going to place this here and I'm probably not even gonna use that tool you know because it's kind of restricting and I'm gonna see what kind of angles look cool I think having it kind of lean on on the the rocks to the life side as well definitely look kind of cool all right but let's just start off with it here so I've got all the materials here I'll run through them quickly and show you what's going on uh there's really nothing complex besides probably the screen material so with the screen material here and we're using a mixed material now I think I'd use this before composite or what were they called before composite materials that were called something else um but I would probably do that on one of these just for simplicity's sake but really simple here we just have a I've called it diffuse but it's it's a glossy material in material one mixed with a a diffuse material and then what we do is we have although this should be plugged into there ideally and then that's better okay so what we do is we plug this this image texture this background into the diffuse of both of them um I don't know why that was unplugged like that because it gives it this kind of nasty white Haze um I'll leave it like that for now because there must have been a reason I put it like that and then you you plug this and I've brought down the camera because if you don't bring down the gamma it's just going to blow out and look really disgusting um and then you plug that in for black body emission surface brightness power kind of 15 kind of low we use a full texture in the middle what this is going to do is it's going to allow us to especially if you use like no roughness here we're gonna get the brightness of the screen and we're going to get the Reflections at the same time so there's a nice little hack for that I do something similar in my tutorial with my iPhones and then these textures are the rest of them like nothing nothing to worry about just black glossy material this you know mental material that so I'm going to come back to my main camera which isn't this one no which one is it that's what I think and I'm gonna try and reoriently take this and I think I am gonna fix the lighting because I'm totally not keen on it so where's that first light we brought in I'm gonna play with that okay now the rocks have definitely gone too shiny I want to say so probably go into this and sort this out and they're probably not dark enough but I am gonna alternate with a couple different MacBook positions here to see what's going to work and what what won't I didn't mention to one of these like interesting floating ones but it has really massively gonna work I think we could get away with it if we do something where it's like leaning between them so if I can push this one back a little bit hopefully we could get something here where it's kind of bouncing between the two and who cares if it's floating you know it's it's 3D that's what we do uh so I'm going to plug that material back in because I don't like that white Haze and I want my Reflections and you can see them there now so that's the the power of this material and I think it's definitely getting somewhere at this point just starting to shave up a little bit but I'm gonna zoom in our focal length way more and can I bring this down okay so I think next up I'm going to bring in a lot and but what I will do is show you my way around using that a lot if you don't have one that you like or you don't have this a lot so this light here I've got it's going to add like a a bunch of punch to it but if I turn that off and you use this DSC S31 5 underscore five it's gonna do pretty much the same thing and I was going to add a bunch of punch to it so I just suggest using that um and the lot really really brings this together and I think it's just so useful to add kind of contrast and curves and a bit saturation to your render before you bring it out and do that in post because you never really know how it's going to respond unless you know here so I am a big advocate of doing it right here in render and not really doing much post unless it really needs it so I'm just gonna do a little bit of camera imager work and then I'm gonna rearrange cameras create a couple different ones and probably rearrange the MacBook again because it's not looking great so I think there's a way to go here is going to be to add more underneath it to give it that kind of to sell that tilted look almost so I'm going to duplicate that one and bring it up I'm going to try and slot slot this one in this Dynamic Play Store really makes life easier not even kidding as much as it can get like a little bit stiff at moments it it makes doing this stuff a lot easier so okay scale it up with this tool okay right so I think with the front on camera angle I had like I said I start out using those angles but I typically do end up ditching them for for other angles later on so at this point I kind of like this this above angle it's a bit more dramatic it sells it a bit more uh this front angle uh might look okay later on but right now I'm just not I'm not massive on it so I think what I'm going to do next is I'm gonna play with the lighting and really horn this Lighting in so we've got this kind of key light up at the side here I'm gonna just mess with how does this look if we make it give it way sharper Shadows so if we make it smaller and we set the power to about 10 000. we can get some really kind of nice sharp Shadows off of it here and I think if we provide something like that and then mix it with this kind of larger fill off to the right I think we might get a nice result but I don't like how soft it is in those rocks so let's bring it to 90 degrees and bring the power up or set the power to 100. and I'm going to make it quite a bit smaller because I think it's just far too big right now and it might even be more valuable to have at the back just to fill in some of these rocks here um I do also feel like the rocks are too wet still so I don't mess with that okay so I'm definitely going back and forth with this here trying to see what works it's difficult because when this is closed in like this I love the reflections you get but it's almost not as empowering for the product itself as when it's kind of sitting upright so I'm a little bit torn between the two really to kind of know what I feel works best I feel like I'm not massively keen on the lighting so that's kind of tricky as well maybe we go I'm just kind of flecking the lights from the right to the left until I like like what I'm seeing um but I did like this kind of closed up position um especially like that there is a hundred percent so let's let's stick with this for now um but what I might do is mess with making the laptop itself black so right now I've got it in this kind of silver material um and I've just done it artistically I haven't actually said that why ior values particularly correct so I'm just gonna make this like a matte black and I'm gonna see how this fits in the scene just now and go back to our other angles okay so with this front angle so I think it's also remembering that we can kind of turn everything at once here if if we need to so if I place this in here and let's have a little go with turning all of it and then we'll adjust our light accordingly because it's a little bit better I think it's time we lean into the background in the world building a little bit more because it's okay right now but as long as we've got this white material against the black background it's not going to feel like we're making as much progress as we could so if we go to surfaces here and I'm just going to use a texture probably for both I'm probably going to use one of these asphalt textures and I've got a bunch of these already installed and I might just go with those already because I know they're reliable um so let's give this one a go here rough asphalt I think I use this one relatively recently uh I created a render recently of a blue BMW M4 you may have seen that and I was absolutely rinsing through these asphalt materials trying to find one that I liked uh because some of them just they just don't have nice displacements they don't work well I only may show up good in the previews so I'm gonna sort of this material so in the material I'm just gonna apply that to the plane there and first thing I'm gonna do is bring down the mid level and I'm gonna bring down the scale on the transform we don't really have to massively worry but it's hiling because of the way our camera angles are going to be so I'm going to bring the displacement quite a bit so we get this kind of nice nice kind of rocks poking through and I'm just gonna adjust the mid level until it's where I want it to be against the bottom of those rocks and again I'm going to do the same thing I'm going to desaturate it I'm going to bring up the gamma quite a bit it's probably not going to show up because the the light blasting on it but while I'm at it I'm going to come back to these materials because they feel really low quality and I feel like a portion of that could be because of the displacement um but also just a mega scans sometimes they look a little bit like that and it kind of sucks so I'm just gonna mess with the color I mean I distance it looks kind of fine um so that looks nice now we've got that background on there now let's have a go with duplicating this press R rotate it up and pushing this way into the background a little bit and on the background one let's set the the length to 50 percent we should push it even further into the background you can see because of the light position we have this nice kind of fade on it but the material doesn't look good at all really so this does look nice I'm going to stretch this out a bit so regarding the background another thing we can do is if we duplicate our sky here and we you know treat this as our shadows and I'm gonna bring it up a little bit because the Shadows are like tremendously dark but then we make this one our visible environments will be a background I'm gonna plug in see what the octane gradient we had a gradient then we make it linear and then we come off of that no we go into this this sine wave and we then mess with the scale so you can see here we can catch that line just there and you get like a smooth gradient and then if we leave on the Z here we make it 90 degrees we can get this nice kind of fade so if we then do that and then kind of give it like a nice kind of coming from complete darkness which matches our shadows down here up to a lighter kind of gray we can get this really nice fade between the two which then adds a little bit of sustenance to the top of the image while keeping this like really Punchy feeling so I think I'm probably gonna go with that over the background and then that allows us to have all this contrast in the front of the image which then it kind of Blends that contrast upwards so that's the feeling we would have wanted to get with the material or with um messing with all those scans and and then you know create a background light and that's like really really Advanced and it takes ages so I think this is kind of a nice cheap way of doing it and we can probably amplify it quite a lot it just depends how you want to go about it we could add a little bit of this kind of color in here as well um not that much yeah maybe about that amount but then darken it and then we get this nice kind of look here so how does it look if we had some Bloom back into it I would never use much Bloom over like 10. it'd be very very scarce with Gloom but what I'm gonna do is I'm gonna drop one of my cameras down here one thing I don't like is just how how lit up this is this ground so we've got this one light here and I'm just going to duplicate this for a second so I can play with it and I love how much it's lighting up the rocks and I think it's better coming from oh actually it's okay coming from over there either or same thing's happening so it's coming from that angle right over here but I want more of like a low light across here that kind of Sparkles and makes it shine a little bit yes physically inaccurate but who cares so what I'm actually gonna do is on the ground here I'm gonna go to cinema 40 I'm gonna add an octane object tag call this floor and I'm going to go to object layer I'm going to use Light Pass Mark enable it and then in this light I'm going to make sure this is a light pass one and I'm going to turn it off so now it's not responding to that light it's just ignoring it and this plane won't respond to that light now what I'm going to do is I'm going to create a second light so we're going to keep this as key I'm going to call this fill for now I'm going to make sure that this is set to 2. and then I'm going to add a octane object tag to this in fact it's already on there so then I'm going to select no we'll do it this way we're going to turn it off all those and I'm going to add it to the null where all our rocks and stuff are but I'm going to turn off two so it doesn't respond to our second light that we've just made and then I'm going to do the same for the MacBook I'm going to turn on the light pass and I'm going to turn off two and then let's take our fill light which is number two and I'm going to readjust this and now we've got a light that just basically controls the floor so what I can do is get the lighting that I want without impacting the rest of our objects in the scene so this is kind of highlighting just the work I want to do in the material right now and I still feel like the scale is way too big so I'm going to bring that down quite a bit I'm going to get this much more finite look and mess with the color a little bit I'm just going to do a little bit of playing back and forth with it but I don't like the whole thing being lit at once we've got this nice kind of we've got light on this side we've got dark on this side so I'm gonna try and oh I did that on the wrong one and that was working in the MacBook too um so we've got this kind of Darkness on this side and light on this side and I want that same thing to happen so what I'm going to do is I'm going to bring down this power to a thousand I'm going to make it a wider light and I'm going to bring it really low down and I'm going to bring it back a little bit I'm gonna try and get it blocked off from this geometry here so I'm gonna come back into the roughness and the wrong material Jesus I'm going to make sure it's feeling quite quite rough I although the color is way too dark right now so we'll bring a lot of the gamma back in um okay I just need to readjust this so there's not much room in the back kind of going into the shadow a lot of it I feel like is the Target because it's targeting the floor still um and I want it to be targeting the center of the world I forgot about it with that light as well so I'm surprised that's actually that's kind of a mistake I've made there so I forgot that that's affecting the light here although that has came out well I'm gonna leave that and I'm going to add in a null here and call it Target and then with the fill I'm gonna Target that and that probably should allow me to get the look I was wanting now okay there we go much nicer but in in this camera here I'm gonna add some depth of field because that's why I brought this this camera down because when it's at the bottom here of kind of close to the floor if we bring this down and we rotate this up and then we've targeted that if we go to our thin lines depth of field crank up the aperture set this to two so this to three so there's still like 0.08 I'll bring this back down now because I brought that up too much and then it should okay apparently because of our focal length really small here um depends on your skin size levels and then we get like a nice kind of blur here on the ground and uh separates it a little bit but sorry tweaking the material again okay so what's left to do I don't know we've been going just over an hour and it's feeling okay oh no I can't do that has a what else can I add let's see how different aspect ratios go so we'll call this Square we'll call this wide I'm going to make this 25 to 60 by 1440. and sometimes your composition just like holds up and better in another aspect ratio and if you just let me switch it for like two seconds everything just looks a little bit nicer um which is exactly what's going on right now so this is also cool but it's almost like the laptop just doesn't suit it like I've just threw in this product whereas if I just make a random with just these blocks it looks better um it's just so irritating um maybe that's it maybe that's the render is just these blocks because that looks much better than with the laptop so let's find a way to make sure the laptop has its place so maybe we do this kind of like mental balance with it um where it's like bouncing on the Rocks but I don't know about that maybe it's floating above yeah let's do that so let's have it floating above so we get these like really nice reflections we're in 16x9 now oh that's the thing you've got to be careful about that gradient though is if you start changing your camera angles you'll you'll see the edge of it I am and then let's sort out that gradient actually I'm going to call this gradient again I didn't even do it um I'm gonna bring it in a little bit okay I can see that he looks like he's poking through a little bit just snap him back a tiny bit I as for what else I could do besides to throw some X particles over it not entirely sure um maybe we could do that just for advanced sake but let's do some scene cleanup and run through finishing this up so I'm quite happy with how things are right now just took a little bit of playing with to get here but what we will do is throw some uh we'll throw some like simple particles all the way down it just to see how it looks um regarding these other camera angles now we're in 16x9 which I think I'm gonna stick with uh I'm back here this does look cool we'll probably just have to release this a little bit in our focal length um because it's nice it's nice to have the floor like present in some camera shots so I think even just like that but the way this this fill light is is spreading across it still not a big fan um maybe it's maybe it is just better responding to our first light I don't know I just I don't like that like big white light across it so unless you we block it with something I don't know about that I mean that works if we backlight it because then it gives the rock a highlight too to make it warm to match the laptop oh and then we bring down the power but then I'm getting all caught up in this bit to get it to match that I'm forgetting that the whole ground is going red so maybe let's not do that I will keep the light a little bit more neutral though uh yeah let's just leave it there I'm not going to be a perfectionist over it um interesting quote to live by perfectionism is just procrastination masquerading as quality control so let's just make the bloody render see how it comes out um right what was I going to do I was going to clean up the scene we'll call this uh Mega scans we're going to delete this horrible ugly one that I didn't like and I'm gonna group that in with the floor and I'm going to call that Geo and then I'm gonna take my MacBook would be in there put that in Geo this wall we can delete that this light we can delete that we can group all of these and we can call that alt G lighting we can call this o one we'll go through our cameras I like this one call that or two it's not the same as that it's different enough um I'll call that all three go to this one oh God that's not nice anymore now it's different or four and then fifth one Crank that up four five and then we can put them alt G cameras okay so pretty much done uh if we want to do the same thing with the materials uh Ctrl G add to layer G Mega scans these right click to layer laptop and then let's pour some X particles over it so at a little like particle segment render's probably done maybe I'll add another section for like rendering out or something if you don't have X particles you're not into it but I just think it'd be funny to interesting to see what we can do so let's add in so I just feel transparency I just tried to create something with X particle that didn't like it so it's cut it out and then I thought I know something else I want to do so still likes particles um I'm just gonna do something else I'm going to delete the like the modifiers and groups over here that I know I'm not going to use and then I'm going to push this emitter off to the side kind of like similar to where our lights are and if we just hit play here let's hit pause have them shooting out excuse me and a lot of motion modifier without a turbulence we'll just have them spraying out all sorts of directions and push that way further back though and we'll bring down the emission to 100 emit for 15 frames look at that okay right with this let's hit render right click on the emitter add a octane object tag geometry we can see we've got these fears falling about now and we'll see the radius to one and we'll drag it in there I said it's like 0.4 actually and okay that's kind of like a decent variation so what I'm going to do here is use these as like dust particles almost so we've got a really nice kind of um array of them here now you could just do this in a corner probably make your life a little bit easier to be honest um I'm gonna make these 0.1 let's put a specular material on them and then focus on our laptop and get some depth of field and then what you're going to find is we're gonna have these kind of nice um like dust particles almost so let's go back and forth with this for a second I'm gonna bring It Forward I'm gonna make it way wider so we get them from like every so we get them at multiple points on our Z depth here I'm gonna make it for like double the amount of time now if we hit play sorry render we'll have a look at this okay it's interesting having these like little dust and dust particles everywhere almost but you kind of want it at the point is if you see your cameras all the way over here you definitely want it spanning that whole whole way if you're doing something like this and then we'll set the particles radius variation up a little bit but the reason for that is because we can then take advantage of all of the different ones at different points of focus and it's going to make it really feel a little more embedded like it's actually there um although for some reason you can't really see them now probably more to do with our aperture remote um moving on the scale even more nice little detail it yeah it's nothing crazy I thought it'd be interesting to add in get these like nice little points here you could do in trap call particular you can do it with whatever but it's like when you get it just right and you have a certain amount of them and you set the bulky settings that I showed you earlier and you can get like nice kind of hexagons or um you know whatever looks kind of cool so you can play with that I'm not gonna perfect it honestly I'm gonna turn it off um but what could you call them um particles fast particles um and yeah kind of interesting so I think that's it I don't think I'm gonna do anything else in terms of rendering uh I'd probably just uh clock this to PNG and uh yeah that's that so that looks super cool regarding any noise here you might need a denoiser um I think I went over those settings on the material here on the base a little bit of roughness like 0.4 not really any other settings changed so yeah that's about that while we're at it let's um let's get this rendering so typically I'll just put this on my output folder here stills and uh we'll call this uh laptop floating and squirrel one um send that to render so I think that came out really well I think I managed to compartmentalize a lot of what I was doing but I know in the middle there was a lot of kind of playing and going back and forth so I hope you enjoyed it um definitely more on the advanced side you're gonna have to pip pick apart my work phone whatnot but definitely some valuable things in there regarding lighting and composition and why not uh so yeah as I said at the start check out check out that 10 step guide and um all the other guides that I have there for for free and on my skillshare course I'm super pumped about that and I want to get as many of you on there as possible so please go check that out and and show support there and I will say now I've got patreon on the way I'm setting it up I'm just kind of getting a lot of content in the bank for it because I don't want to launch it and not have stuff on it so a lot I'm setting that up at the minute and that's going to be kind of more tutorials similar to this one more advanced tutorials um stuff for my client workflow what not uh and uh and I'm finishing up my coaching as well at the minute getting those kind of modules and like horse figured out um so I've been look out for those you can go check out my assets as well thanks a bunch for watching this tutorial and I hope you have a similar result if you have be sure to tag me in it probably should have sorted over his camera angle though I can see that like you can just see the bottom in this here because I've moved it back when I was messing with X particles and that doesn't look nice so let's fix that and render all right so I really hope you got a super similar result and you were able to follow along and make sure you tag me in on Instagram and uh I will be creating many more tutorials like this very soon so thanks for watching and I'll see you in the next

Channel: Sketchy Visuals.

Views: 19,436

Keywords: Cinema 4D Tutorial - Using Megascans for Product Renders in Octane, Cinema 4d tutorial megascans product renders, product renders megascans cinema 4d tutorial, octane megascans product renders tutorial cinema 4d, octane render megascans cinema 4d tutorial, quixel octane cinema 4d, cinema 4d tutorial, octane cinema 4d tutorial, octane cinema 4d, megascans cinema 4d, megascans octane cinema 4d, megascans octane c4d, cinema 4d, tutorial, megascans, product renders, c4d tutorial, octane

Id: E6s06qKVxhc

Length: 66min 21sec (3981 seconds)

Published: Sat Dec 17 2022