Control Softbody Dynamics with The Mesh Deformer - Greyscalegorilla Tutorial

in today's video it's gonna get bouncy you're going to learn how to use a mesh deform er to control high polygon objects and soft body dynamics don't miss this one hey everybody its Nick again from grayscale guerrilla comm where we bring you the tools training and tutorials to help you become a better motion designer now if you're new here please consider subscribing to our YouTube channel where we have tons more tutorials like this and even a podcast all design to really help your career go forward and help you become the best motion designer you can be alright today's video is all about soft body dynamics and specifically how to control high polygon objects using a low polygon cage to get soft body dynamic looks this is really important if you're trying to make really high polygon objects look like it's soft body without really slowing down your machine so if you've ever been confused about soft body dynamics don't miss today's tutorial and in fact let's get right to it right now so first of all I should say you know this is no replacement for real modeling what we're trying to create is a low poly mesh that will deform a high poly mesh so let's grab our high poly first and that's gonna I'm going to use it's in the sculpting menu I'm going to use this tirana source rex to kind of flap around so we're going to go to base meshes and we're going to go to source Rex if you don't have this any kind of biped thing will work all these techniques will work on any symmetrical object so we're going to get into symmetry we're going to get on all this stuff but what what we have if we turn on our lines is a pretty high poly object and in truth we could probably use this as soft body to begin with right we could just add a soft body object and combine all this together and see if that will work the problem is is our teeth are separate from our tongue is separate from our body and there's just no real easy way to have them all interact with soft body geometry so what we wanted and I should also say that if this was even higher if this was like a super technical robot like with little bolts everywhere and like all these little bevels and stuff then it would be really hard to just throw a soft body object on this and have it flop around with any sort of speed right so we want more control so we're going to build our own cage that's going to go around this mesh so that our soft body is on the cage and then this mesh will be deformed so let's uh so let's figure this out so here's here's the technique Chris taught me that's been helping me a lot when I've been playing around with this stuff and what we need to do is we need to um we need to go to our side view now we're going to use sweet NURBS to kind of create a sweep that is going to go along the the edge of his body here and then go along his feet and go along his arms and then we combine it all together with some basic modeling tools and create this mesh so let's start I'm going to grab a Bezier curve and I'm going to start drawing a Bezier curve now if you haven't played with Bezier curves you basically click and drag in the direction of where you want this curve to go and we're going to get as close as we can to our our object here and it doesn't have to be perfect we can tweak it later but I do want it to be close and that is because this this object is going to end up B being the fake for our soft body and if our fake is much larger our cage think of it like a cage if our cage is much larger than our real object then there's going to be some collision errors when it hits a wall or if he bounces around and he's hitting the floor the cage is going to deform the main mesh which means that uh which means that the collisions won't be accurate right so if this was way up here and it hits something it wouldn't look correct so we want to get close but we don't again we don't have to be perfect so here's what we're going to do we're going to take this spline and we're going to copy and paste it and make a duplicate spine spline that's identical the reason we do that is we need the exact same number of points on both splines for this to work so let's grab our move tool and let's just start grabbing these down and adjusting our handles and making new points with these handles and they're gonna they're going to match up here so you're going to see this kind of in in in a second once we kind of set all this up but for now just need to move your points down set this up and in this case we're going to move this one here let's move this down here and you just need the same number of points this one I'm actually going to pull forward we may have to add some more geometry there we can just adjust these handles as well and maybe move this up okay so now we have our two splines we have a top and bottom and this is how we're going to do this we're going to go back to our normal view so we could see this and we need to put this into a sweep object now the sweep needs at least two things for it to sweep right so we need we need a shape for it to sweep and then we need a spline or something to sweep along so in this case we're going to use an end side because we don't need a lot of geometry and in fact we want a low amount of geometry for this to run fast so we could put this in the sweep we could put one of the splines in there but you can see that's not doing what we want it to do right this is just going along one spline but if we put our second spline in here this is our rail spline this is how sweeps work sweep this along this and if you just leave it alone it's going to look at the wrong size it's going to look at the size of this as a ratio but if we put our rail spline in now what it's doing is it's taking that that shape and it's kind of putting it in between these two splines and giving us this base geometry pretty cool and this is the main kind of way we're going to do this the problem here is that our geometry is uneven right we have a lot of points here we don't have you know it's kind of spaced out and the way we fix this is by grabbing both of our splines and going to none intermediate points none right we just want all the regular geometry that we made so it should be said here that you should always do this on the most curved part of the geometry so you can look at this foot here and it's pretty flat right you can see from the run his arm and his foot are just kind of straight down cylinders and that's really not going to help us too much but from the side it's kind of going in and out and it's thin and it's thick you know there's more contrast from the side on this particular object sometimes it's from the top down maybe if some of these arms are out you know so find the most contrast same with looking forward on this Raptor this Raptor here doesn't have a lot of points up up and down right you want obviously want to follow the most sweep Abul parts of your object so if it's a human maybe it's top to bottom from head to belly and then add his legs and arms with this particular object we're going finding the longest most obvious shapes and starting there so keep that in mind when you're building this okay so now that we have that we need to kind of make sure we have ways to connect our legs and our arms so this is where we're going to start to talk about geometry and again I don't know a lot about this stuff Chris showed me some stuff and if you want to follow his version you could go watch the car smash but I figured this was different enough and also it's me so I'm just excited okay you know get over it I'm excited to to to do some modeling finally something that's kind of like modeling but let me shut up okay so let's do this we need the arms and the legs after we build those to connect to the body so let's make sure we can we can do that I don't want to move that spline so that's something I already messed up so one thing you don't want to do is mess with any of these center points you don't want the spline to be off left or right and that's because we're going to end up using a symmetry object to cut this in half and then and then mirror those too so let's just go ahead and make the leg using the same thing so let's grab our spline our bezzie a spline let's zoom into our leg and kind of start below the geometry so we don't we don't want this geometry to get in the way of our of our leg spline right so we're just going to start a little bit low and then we'll close the hole a little bit later so here we go we're going to start there we're going to put one eye right there we're going to put one here and this is where it gets a little tricky this is our collision points are going to matter a lot if this thing is going to bounce around on his feet or fall and hit his foot and hit his face or whatever you want to make sure these are as tight as possible to the real geometry so the bottom here the foot I think is one of the more critical pieces and that's why I want to make sure that that curve maybe I move exactly so it's just flesh or flush with the bottom of us of his foot there and so there we go so that's the that's that spline let's copy and paste this and and move this up so in this case we have to kind of make a big bubble there this this can kind of go down now now again if we're building the mesh we I don't think anything's going to catch him in his foot I'm not sure how detailed we're going to get but that's something we can do you know we could try to do this with our with our curve and see if that helps and then do this and come out here but remember all these little curves they're kind of going to go away they're all going to be linear if we if we don't add any geometry to them so remember that so this might be enough it might not be enough let's see let's copy and paste this sweep because it already has some good settings on it let's delete those splines and use our new splines and don't forget to turn this to none and then let's go back out and see what we built so we built a leg right in the middle and that's because we used our side view but we can fix this we can grab our splines and let's make sure we grab our object not endpoints the entire object and move it over and see if we can cover up his foot so we got some kind of polygons to move around but let's make sure it's kind of centered on his foot there and you know we have plenty of room for this to come up and and and get up to his leg and and do that so that's that's good kind of a base idea there let's do the same with the arm and you know this is where it can get tedious here this is why modeling has never been my strong point because it is a little tedious but I think we're going to end up with a pretty cool result it's going to be worth it I promise so here's his arm and we take the spline and we copy this over and move this one ooop point I just made an extra one so let's make sure we're on move-move mode let's make sure when I move mode instead of this so just click the move tool and I'm going to move this one over I'm going to grab this one and move this one over maybe up a little bit to get it close closer to the to the mesh same thing we're going to copy and paste this mesh delete those we don't want those we want these new ones we want none and we're going to go back and we're going to see what we have again we have an arm right in the middle but we want it to match on the same side so again go to your move tool and go - I think this is model mode yep and move all of them over and just kind of roughly line it up with this arm and we can always shape this geometry later and we will do that and to do that we actually need to combine all this stuff together and make it real geometry right now it's all parametric and you've seen so excuse me if you actually know what the heck you're talking about if you've modeled before maybe you want to go watch a different tutorial but for anybody that hasn't really played with these tools you know modeling all this stuff's been really tricky to me so there's a lot of rules we're breaking for real modeling you know we're going to end up building triangles where we don't want them we're going to end up having an imperfect mesh for this but again we're using this for a very specific reason we want this dinosaur to have a cage around it to have have some soft body stuff happen it's not supposed to be photo real or anything so you know that's not what we're going for so again apologize if I'm screwing too much stuff up but this works this works so here's here's what we're going to do we need to take this parametric though that's what I was talking about we need to take the parametric objects and turn them into real geometry right now all these parametric objects are creating this geometry on the fly based on these settings so if we change us one of these things everything moves it changes we need this to be like a real mesh and the way we can do that is to grab the good-old connect object man this thing what what doesn't connect object do well we throw all of our sweeps into our connect object and what you can also do is just kind of make a copy of this I made a second connect object and I'm just going to like hide that second one right so I'm just going to hide that second connect object and now we just kind of have a backup right if everything goes wrong with this you know this might be a good time to save as well and then we take this other connect object and we just hit C and that connects it right so we take everything connects at all let's take off our Phong tag so we can see all the ROG geometry and let's also look at our mesh and figure out what we need to do well first of all we need to connect these arms to the body and we need to connect this leg to the body here so I think the leg has a pretty good point to connect it's going to be this polygon is going to connect to all these polygons and this polygon here is going to connect to here but there's kind of not enough geometry there so we can actually do that by going back to our side and just making a new piece of geometry so we can connect our mesh here and you can see let's turn off our velociraptor and this right here we just need more we need more geometry right there and this is where we need the knife tool so I'm gonna hit K for knife K for knife brings up the knife tool and we want to make sure we have nothing selected and we want to make sure we are do we need to be in point mode I think we need to be in point mode yes sorry folks you know I'm learning this literally this week and you can see how much of a dummy I am with it but this has been pretty cool so a k4 knife now we got to check out some of these options restrictive selection that's fine we don't have anything selected so that's not going to mess with us single cut that's fine select cuts visible only this is what we want to turn off if we turn if we leave visible only on it's only going to cut one side of this dinosaur it's only going to cut the this side of the geometry we want to cut both sides so we turn off visible only and we make a cut right we could just drag all the way across that geometry make a cut boom his leg we could also do that for the leg as well but I think we're okay I think bridging this from here to here will be fine so let's get back to our other view and let's start bridging these things together so now instead of selecting points we want to grab polygons and I would grab this polygon a selection tool here and you can change its radius if you don't want it that big and we're just going to select all these polygons on the top of the leg or whatever you're trying to connect and then I'm going to select this other polygon so see how they're both selected and the way I did that is I held shift down right so I selected all these and I held shift down the whole time and select and let go and now I have all those selections together now that we have that we can hit M and this will bring up a bunch of different kind of modeling tools and stuff M on your keyboard will bring this up and then you just look and find the one that makes sense so you know Chris knows all these like he doesn't even need to look at this he just goes MD right there it is D is closed polygon hole so click D nope I'm sorry don't click D we're gonna use D later we need to make let's see bridge I think it's bridge so B for bridge and now let's click here and you can see it's trying to guess where it wants to bridge so from here I figure we could bridge all the way to the edge and it's going to connect the rest check that out made a bridge for all those pieces check the geometry make sure nothing is overlapping I think we're looking pretty good with the legs so now we have to do the same thing with the arm let's grab our polygon tool and our selection tool live selections fine hold down shift move your camera hold down shift click check it out boom now we do the same thing so remember M and then B for bridge and then we can connect this BAM to this and you know you want to make sense right we want the outside to go to the outside snap and then it bridges all that together so decent-looking geometry I think we're okay look at it from inside as well you know we have some weird stuff here this little thin piece here you know I don't know what do we do with that I'm not sure I'm sure like real modelers have a problem with this for what we needed to do I think row K so there we go so now we got our we got our cage okay but if we're going to make a symmetry object we have too much geometry on this side we have to get rid of half the geometry so that we could symmetry it out and the way we do that is we go to our top go to our top view here and we're just going to grab everything not on this side of the of the Raptor and just delete it and to do that we need to grab point mode we need to grab rectangle selection will be easiest for this and we want to check our settings again only select visible elements now the reason you know a little side note the reason modeling is so tricky to me is because it is not parametric you have to make sure you do things in order because this is real geometry you can't just have it all there to change at any moment so many other things I do is parametric we can change it at any time we could change the text you know that you know I love that this is not the case with with geometry we have to do things in order we have to make sure all the stuff is set up properly so only select visible elements we I want to turn that off we want to select all the geometry on this side of the dino but we don't want to select the middle stuff right selected too much so let's see if we could just grab everything on this side including the back of the tail there let's make sure we're zoomed in okay so that that's selected I didn't grab the nose part so I'm again I'm gonna hold shift and select more make sure everything on that side of the body is there we're going to delete boom delete it's deleted come on in and check out what we got we have a half of a cage of a dinosaur this is what we wanted to build this is its shell this is like its protective case that we're going to use for soft bodies soft body Geena Geo so there it is cool looks good what do we do now now we have to throw this into a Kinect a cemetry object to make it symmetrical and again remember we didn't want to move any of these center points because we want them on a clean axis so that the symmetry does all the work because we're in the middle because we didn't move these center points this is something you know you want to make sure you don't move these middle points because then the symmetry object will work properly if one of these points for example let's just mess it up if one of these points is off we're going to have a hole or we're going to have overlapping geometry we don't want that we want perfect symmetry and that's what we get because we didn't mess with those middle points ok so there's there we go there's our cute little caged Dino and again we need to select our symmetry and we need to um to uh connect it but before we do that before we do that let's turn off our symmetry and let's turn our Raptor back on because you can see there's still parts of the head and the leg and the arm and little pieces that are not perfect and we want to do all of our changes now before we bake this mesh with with symmetry so now what we can do is go to Point mode make sure your mesh is connected all these things you have to make sure that mesh is connected or selected I'm sorry make sure your match is selected to be able to pull all this stuff off now what we want to do is pull up on this geometry to kind of create the Geo to make sure that the the collisions will be proper when when it hits so if something were to hit his head right now it wouldn't really register because the cage is inside you also don't want it too far above because that will look unrealistic as well but you want it as close as you can get it okay a little bit is fine but a lot will will mess up the illusion this you know again you want to make sure you don't pull on that middle axis you want to make sure you do it from the side so you're not moving that access very much that's too much we can move now these outside ones we can move all we want they're not part of the symmetry or they're not part of the center part of the symmetry so I think they'll be fine that this that one needs to move maybe out and back a little bit there you know check your check to make sure you're not breaking any uh any polygons make them make sure you're not having any crisscross polygons they make you jump jump and you want to grab that was awful I'm sorry I'm going to move this down cover his belly up in case it gets a little cold let's go down to the feet and talk about that so this foot right there that little thing I want to kind of get that as part of the mesh because as part of the if it were to hit something and it were and it wasn't part of the of the soft body collision I think that would look unrealistic right so I want to be close but you know without too much geometry I also want to make sure the bottom of his feet are are pretty clean and accurate because I he might be hanging out on his feet a lot right it's part of our as part of our thing maybe we're going to throw this down a flight of stairs maybe we're going to let them flop on the ground or something you know we want to make sure wherever these high contact point areas they're there and they're accurate so below is JA here I'm going to move this up and back just to clean that up a little bit and this can kind of go up that's looking good and ok so there we are so now we did it I think I'm comfortable with his hip hanging out I don't think we'll ever see that is maybe his hand needs a little bit of love here is it a hands I don't know is it a claw maybe it's a claw who knows right moving this around this looks great and you know again too if there's too much room you might want to pinch this in as well right so you know you grab this front one and that looks pretty pretty good actually I don't want to mess with that ok so there we go we're looking good cage looks nice what do we do now we have our symmetry object we turn it on we check we look around and we have a hole back here but we could fix that that's ok also this tail this piece right here right in the back we want to make sure we do it from our side view so we don't mess up our symmetry stick it out I don't want that and I want to tail the stick out I want it to be accurate as close as possible I promise this all becomes more fun once we close this cage up and we make it editable which we can do right now so symmetry here it is you can also save this connect object out if you want to change it later but I think we're OK for this let's hit C and now we have our symmetry on our connect object and let's turn off our Raptor and let's see what we have the front looks fine now you might you may have a hole in the front of your Raptor face but you can close it the same way I'm going to close this tail this tail you can see we have a hole because the symmetry didn't connect that as perfect as as we as we could that's ok if you have holes here's how you here's how you changing you grab your object you grab your mass you hit em and you look for the thing that makes sense closed polygon hole D right so you hit D and look at how easy this is you just hover over it you click it you're closed you're done that's it so we have our mesh we have a dyno we now what now what okay well now we want the mesh to have soft body on it and then we want the this mesh to to deform the high poly Raptor okay so one thing to keep in mind here before we set this up is the way soft bodies work is it kind of takes every point on your object and puts it like a spring between it in the next point that's kind of how it works it's like a spring between here and here spring between here and here here here here here all these little pieces right so the more Springs the more floppy it is the more rigid it is if there's a piece between here and here then this piece is going to actually going to be rigid and it's going to bend all in one piece it's going to be like one hinged piece and then this will stay straight wherever the geometry is will stay straight geometry that's just how the soft body works so the more Poly's you have the more floppy things get and for me I think it's going to be a lot funnier if this Raptors tail is like flopping around so I need more geometry back here so the way we could do that we can go to our side view let's open that up then we grab our knife tool and do the same thing we want to make sure our knife K is our knife tool well we want to make sure that visible only is off and we just want to like cut some some even geometry here uh you know close enough right so there's one there's one and as we get to the edge I'm gonna actually add a couple more points because I want these this back to be really really floppy let's also do this to his neck I feel like his uh the neck is going to be a point where we want it to be a little bit springy and its snout as well we could just cut this into a little bit more geometry so it does Bend a little bit more so his leg too could probably get stretched out so remember though you don't want to overdo this or we're back to basically our regular mesh which we could just use the whole time you want it to be as low poly as possible but have enough up I have enough springiness to do it so another way to think of it is house how how floppy do you want this to be you know we're going to have settings and stuff we'll play with but these points matter a lot okay so there we go did we do it I hope so let's let's set up the soft body and do it so let me show you the the first thing we're going to do is going to add a floor we're going to take our simulation tags we're going to add a Collider body we're going to go to our mesh here let's go to our mesh this is named it mesh and add a soft body boom soft body tag now we're going to hit play also you might want to just hit G to go forward a frame and see what happens make sure it's playing well and then hit play so there we go I mean what else do you need we got it look we got a low poly I just giggle with this stuff I don't know how it looks like Barney is not having a good day here but it's all soft body that that's default settings on the soft body and while this is pretty funny because it's just like low poly cage what really is going to make this better is if we use this mesh to deform our Raptor and then here's how we do that we take our Raptor and are our main mesh and we added two former to it this deform er is called mesh deform er you put this in the hierarchy with your with your whatever you want to deform if this is the robot if this is if you're following along with the Raptor you put it in the same hierarchy as all of the other geometry here and that is your mesh now the mesh deform er is going to ask you what your cage is your cage that's what I should name this cage okay your mesh is going to say put your cage here boom okay also make sure you're doing this on frame zero it's very important with dynamic stuff that you all start at frame 0 when you set all this stuff up also you know maybe his feet shouldn't be under the floor so let's just either you know don't move the mesh right what you don't want to do right now is move any of the mesh so I'm just going to drop the floor a little bit we can move the mesh later once it's connected but here's what we need to do we need to grab our mesh make sure a cage isn't make sure at frame 0 and hit initialize here's what's going to do it's going to create a bunch of stuff on our cage to basically make it disappear you can see the cage is literally still there as a cage but now it's controlling our Raptor so now when we hit play that uh oh boy we get a problem that I've gotten a lot this problem is that all of the geometry is not inside of the cage and while this is pretty cool actually that's really cool what we really want it to do is kind of say it doesn't matter if it's inside or out you should do it you should let connect on all those polygons roughly where they are anyway so to do that you have to go to advanced you have to go to external and go to surface so use surface mode instead and in this case we're going to reinitialize frame zero make sure you're back at frame 0 now it play and now we have our poor Dino flopping around and hit the ground and the cage now is is is moving the main geometry and that's the thing to keep in mind this low poly cage is moving the main geometry around ok so now we can do things like put the main mesh in a sub divider and look at all this nice round geometry we have now what now when we hit render width is really nice high poly Dino we can add all this texture we could add all this crazy stuff to this model and the cage is still what's driving it so we we get pretty fast playback for uh for a soft body collisions which you know can take a long time to calculate but that's why we have this love this low poly thing anyway so what can we do with this well you can throw them down a flight of stairs you could smash stuff on top of them like we did in the like we did in the truck um or the van smash we threw like safes atom and stuff like that you could set up a cannon throw things at them you do a bunch of stuff with soft bodies but I want to show you something that I was playing with just before actually I was recording this tutorial and so again you know if you just need the cage stuff you could stop you can start to play around you could do with whatever you want but if you want a little bonus today I'm going to show you something pretty funny that that was that was basically making me giggle a lot so here's what I did what I wanted was to take the stiffness of our model so let's go into our soft body settings and look at what we have here so we're not going to get in all these settings here right now you could check out the manual you could look at other things to see what all these do in fact the reason we're not getting too far into them is because I'm still learning a lot more about what all these do but one one thing that I played with a lot of stiffness so stiffness is basically how rigid the the dinosaur is when it when it falls so you could see now he's pretty floppy if I were to take stiffness and say ten well you can see he's more like like a he's a little bit soft body like his arm kind of flops there a little bit let me unselect him so let me just turn off the lines here so we're not seeing that there we go so you can see his arms are a little bit like soft a little bit floppy but the more I turn up-up stiffness the more sabores rigid the the cages and the more the less soft he is right so here's here's the idea I had I wanted him to be super floppy and then all of a sudden have this his the stiffness a level go way up so he just almost like if something were to deflate and then inflate very quickly if you took like I don't know like a balloon and flopped it down and then it inflated very quickly it would just kind of like bounce off the ground and that's that's what uh that's the look we're kind of going for so to do this we need to turn down its general settings so drop your structural down to ten same with sheer same with all the dampening so the dampening is kind of how quickly it springs back we could just drop all these settings down and again we'll get into these settings in other videos but for now we just want a more floppy when it hits the ground now he's going to like melt into like this little puddle this poor little pathetic little Dino guy like a like a deflated balloon right but then what I want him to do is I want from this position I want him to kind of instantly turn up the stiffness so we could actually just pause it turn up the stiffness and hit play you can see he bounces around and that's what we want but we want it to happen over and over and over so how do we do that we can animate the stiffness to go up and down and up and down now you can animate this with keyframes I reach for signal because this is exactly why I bill signal I grab signal and - if you ever want to use signal with anything else that is on the same line as it you have to just lock down your parameter that you want to bring in so you just lock this down you select your signal that you want it to drag it on to and these take stiffness and drag it into signal so now all the signal of all the stiffness properties are driven by signal we can unlock this we can go into signal and say ok what are we going to do well we're going to animate the stiffness going from 0 up to 20 and then I need it to go back down and then loop over and over and over and over again so I'm going to take this and I'm going to kind of pinch this up and down and make basically this kind of wave right so here's what we got he's let's check out what signals doing it says frame 0 play through and then somewhere around frame like 45 right this is our timeline it's going to jump way up to 20 and then it's going to fall directly down back to 0 again okay so in this period here is how fast it's going to oscillate between these the last thing we need to do is just say we need you to loop this over and over and over again ok so now that we have all this set up he's gonna flop on the ground and then he's going to jump and then he's gonna flop down again and he's gonna jump and he so pathetic ok we could also us make our timeline a little bit longer in this case oh man this is great he's flapping around but you could see once he's on his side he's just kind of like laying there like hopeless like almost like he's like trying to breathe or something so how do we keep him upright so he's always kind of like hopping on his feet well this is a little bit of a cheat but it works really well you go to your force and you say follow rotation and you just like turn this up a little bit so now his instinct is going to try to be like staying on his feet he's going to try to rotate back to where he's flat so he's all trying to hit that point now sometimes he's going to end up on his side now he's screwed you can just turn this up more so now now you know you may have to restart it but he's always gonna try to land on his feet is like the cat slider right follow rotation you want him to land well there you go come on buddy oh no a little bit higher all right you can see instantly he's trying to stand on his feet oh poor little buddy alright so anyway this is hours of fun uh if you want to change your settings here you could like if you want him to jump higher you could say like 40 like stiffness 40 it's going to go even higher so here we go nice big jump and then if you want this to go slower right you could just set this to 60 and now he's just going to lay there longer like in a puddle and then he'll jump up again right so you can do a lot of stuff at this point you can grab like a cube or something and you can like maybe like smashes on the ceiling so we put this here we put a dynamic setting on there and now when he jumps look let's get our camera angle right now when the Dino flings in the air it's not just going to fling in the air it's going to smash against the ceiling oh little too little too close let's uh give it a little bit more room we want we want that jump to be even quicker so we can go to signal and we can make this curve like way more sharp and then the fall-off more so here's what's happening it's the more the more sharp this curve is the quicker it's going to jump in the air boom smash right and then that the more this falls off the quicker it gets all rubbery so let's see what this does smash mm right so there you go umm play around with that like I said just kind of a general you know the general tutorial today just to get that soft body thing but play really play around with it thanks again for watching everybody and hey if you're new here don't forget to subscribe we have new tutorials just like this coming out every week to help you become a better motion designer so with that I hope to see you in another one of those tutorials really soon and until then happy rendering bye everybody I'm feeling good feel good my hair is feeling good blooper time blooper time blooper time it's a blooper time pooper time blooper what happening my dog Boober a good name for a dog blooper I like that blooper come here blooper blooper get out of the trash blooper what did I tell you about that

Channel: Greyscalegorilla

Views: 52,741

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, Cinema 4D, cinema 4d tutorial, c4d tutorial, cinema 4d tutorials, c4d tutorials, softbody dynamics, mesh deformer, low poly cage, softbody physics, cinema 4d bouncy, cinema 4d bounce effect, learn cinema 4d, intro to cinema 4d, low poly modeling, soft body dynamics tutorial, cinema 4d soft body, cinema 4d soft body dynamics, nick campbell, signal

Id: CLLKQNcN4D8

Length: 38min 30sec (2310 seconds)

Published: Thu Jan 05 2017