Create a SECRET WORLD in Cinema 4D + After Effects

Oh what's up everybody let me get the the webcam going alright alright morning everybody welcome back it's the fourth of July if you're from the US happy fourth of July to you guys happy Independence Day the streams do not stop you guys we are still going on the fourth of July you guys are having a good one you guys have been safe and healthy yeah yeah and it's been a it's been a crazy week we've been working on a lot of fun stuff at corridor got a couple of videos that came out we've got the stuntman react came in out coming out a couple hours ago actually with Aaron Tony super nice guy and Ren's 360 god camera came out yesterday I think and I'm still working on that Domino's video man there's so many VFX on that but yeah it's a good time thank you for joining thank you for hopping on in here guys we're doing something very interesting today which was definitely inspired by man I wish I had the original link here basically there's a video going around where someone like opens up an electrical socket and there's this hidden world inside from like behind the electrical socket let me see if I can find it yeah this is I think this is it and you go in here and there's like a little tiny room inside and I think this guy has like a whole bunch of these these are so cool definitely gets me going mozu it looks like his name is yeah check out mozu and yeah it's I guess he does all these like little tiny little craft projects like this and this gets me super amped and very very creative and I want to do something very similar inside of obscenity so I shot this footage the link to the footage is actually in the description if you guys would want to check that out and do this yourself but let me get going on this single monitor and you guys can see if I scrub through here you know very similar I just opened up this kind of electrical outlet and zoom up into what will be you know a 3d tracked world whatever we want to do it could be a room it could be an outdoor scene it could be literally anything but we'll figure that out once we track it so that's the first thing is figuring out how to track this yes I did shoot it on a phone so that was on purpose I wanted to make it feel as natural as possible and you know I kind of zoomed in here to get get up in here to see definitely give some parallax so that we can actually move around our 3d world and we'll comp it right inside so this is gonna be a fun one all this stuff all this we don't need to track it's just from this point on when I open up boom this little panel is when we'll need to track it so we can start the track from like back here frame maybe frame like 100 or something and it's foot and we'll go as far as we need to go so inside of cinema is there they actually have like a really powerful camera tracker it's really really cool and it's got some really nice features that I wish other trackers had the aftereffects trackers nice it's definitely like the fastest and easiest one to use but it doesn't always yield the best results and I always find that like for me I like that I like to use different camera trackers just if one can't achieve you know what I'm going for then I'll go to the next one and I usually work between After Effects tracker cinema 4d tracker in Buju those are like my three that I'll switch between but yeah for those of you guys who don't know I did a sea graph presentation that'll be coming out later this month with Macs on and I'm doing I'm talking about the entire workflow process from like when you're going for photo real CG elements composited it into live-action footage it's the whole workflow and it always starts with you know obviously shooting your footage but once you've shot your footage we want to we want to track that footage right we want to get a virtual camera of that tracked footage so in cinema if you go to the layout up here you can you know drop this down and go to the motion tracker layout and you're presented with some new buttons and everything and some new panels and whatnot this is actually really really handy there's a lot of cool things and cool features that I want to talk about so right over here to the right double click to create a motion tracker objects I'm just gonna double click that and it creates this motion tracker object up here with some options down here so we could either load our footage in manually or we could just double click here to select the footage once again so I'll do that load the footage in and if we scrub you can see we have all of every single frame right it puts it together and what's cool is like you can actually navigate around this view because since we're in 2d view up here we can navigate around this view like you would in cinema zooming in moving points and stuff and if you hit H it'll snap it back to full screen mode really really handy so like I said we don't need to track all this beginning stuff so let's save ourselves some time here let's just go to a frame 100 I'm a sure my sequence frame 100 and under the footage tab will start at frame 100 and I don't know if we need to go all the way like it kind of blurs out here I can just call it it like frame 490 so we'll trim it there we'll go frame 490 and that will be our in-and-out section there no down here you can see that we can cache frames and everything so it says three sixty four of six so six frames cached if we hit play it'll basically cache all of those frames for you so that you can scrub through your footage pretty easily now if you're dealing with like 4k footage or even five K footage and you're trying to track that you can resample it so resampling right now is set to 100 meaning it's not it's not down sampling anything but if I said that's if I set this to 50% it'll take my 720 by 1280 comp and it'll down the sample it to 360 by 640 but 100 is good for us right so the next thing that we'll want to do first off are you guys following here well give me a little thumbs up if you guys are following along I'm gonna crack open one of these kombucha x' but yeah the the c40 tracker is actually really really cool I honestly hadn't used it much before the see graph presentation and it kind of forced me to learn it and learn the ins and outs of it and there are things I really like about it sweet all right you guys good and I'm gonna try and keep up with this chat as best as possible you know I mean try and focus on the lesson but at the same time you know I'll keep my eye on the chat and why do I drink so much kombucha dude cuz it's good for you and I love the flavor you know get as much ginger in your system as possible it's good for that healthy gut biome I don't know that's that's that's what they say at least I'm not a scientist I don't know but I do try and keep keep my drinks and my food as healthy as possible ok so we have our footage loaded in right let's go over to the 2g 2d tracking tab and we're on the automatic tracking section you can go to manual tracking and and add all these manual points but we're gonna stay on Auto track now this is pretty much set up so that we can just hit Auto track and it'll start doing its thing and what's cool about the c4d tracker is that it tracks forward and backwards at the same time as you can see by these two arrows you can track backwards but you can track forwards but you can also do both it'll kind of go back and then back towards the center point to ensure like the best possible track you can up the number of tracks so you can take this 300 I don't know we can go to like 450 or something and another another tip for you guys let's say you have a shot we're like if it starts here let's say it starts here and then it moves out out of frame what's a better example okay so maybe this this shots probably not the best example but if you have like let's say you're panning across a landscape and you're panning across certain features that you that will never be seen again in that frame like you're panning and you pass a mountain the mountain passes frame left and it never comes back basically like you're gonna lose those tracking points so what you want to do is like go through your footage and you can hit create auto tracks that'll populate your scene with these automatic trackers but it's just for that little frame right there you know and you're gonna want to go through and just populate this with auto tracks you can do that if you're afraid of like losing certain tracking points did you guys hear that did you guys hear Gilbert getting meowing up a storm I'm gonna undo that though I'm gonna undo those tracks cuz we don't need them we can just hit Auto track and it's gonna work so we upped our tracks from 300 to 450 so there's a couple more points that it's it's looking at and I'm just gonna hit Auto track and if you guys are ever wondering if cinema4d is thinking or lagging or is it working just look in the bottom left down here and you'll see it's processing these frames it's counting up to four what are we at 490 and then it's going to count back down and then back up again so it's just scanning through all the all the frames so yeah we're back in a c4d right now I've been working on my Unreal Engine I'd like to actually create a cool scene with you guys next week so next week we'll be back in Unreal Engine learning the ins and outs or not the ins and outs say it like I know the program will be learning what I have learned so far I am certainly not I'm not even at an intermediate point in unreal engine I'm still a beginner so but I still want to jump in and share all my knowledge with you guys because I really believe it is the future so next week we'll be doing Unreal Engine and trying to make a cool scene with that okay you guys can't see the footage when you load it up maybe you need to actually click the motion tracker maybe that's what it is if you actually click this but I haven't run into that problem [Music] so that's about as far as I can help you with that okay so you guys can see we have all of these 2d tracks these are not 3d yet there's still just 2d tracks and you can see they have these little tails on them but you can zoom in right and come around here and and see their paths the tail is the path and the actual diamond is the tracking point now this can get a little bit difficult to see so if I'm gonna hit H and snap back to full frame here okay and what you could do is go to 2d tracking and go to options okay and in under options under display you can change this track display to show tracks and that's just gonna be the diamond itself and this is still very difficult for me to see so I'll go back to footage and I'll take the brightness down to like 25% and that way you can actually see what the heck is going on with your 3d track okay so now what we need to do is take these 2d tracks and convert them into 3d points so what we'll do here is we're going to go to the 3d solve area and the first time I did this you know I just ran the 3d solver it's basically all you need to do but it gave me some weird focal lengths it was like 144 my focal length and I know that's not the case because I shot this on my iPhone so I went to Google real quick and I just you know googled the specs for the iPhone focal lengths and it says the rear camera is 28 millimeters so it's the 20 millimeter lens and that should mean that if I type 28 right in the camera settings I changed focal length 10 to known inconstant and I change the focal length to 28 it should get a more accurate representation or a more accurate track if you actually know your focal length if you shot it with like your DSLR or something that's always really good info to plug in to the 3d tracker because the more oh goodness Gilbert come on bud I don't even know what view what what am I looking at here God dang I don't even know what happened guys what viewing my in what just happened dude when you got cats and keyboards man they do not go well together jeez sabotage get worse meowing cuz I don't know who knows why this little buds meowing let's we changed my view okay here we go thanks Gilbert alright so yeah we need to convert these into 3d points so we got our focal length twenty millimeters the more truths you can plug in to this the better and let's go ahead and just run the solver and see what happens actually real quick before we do that before we do that if there are any 2d tracks that are slipping and sliding around we'll want to delete those because it's it's basing our 3d solve off of these 2d points and the more accurate these 2d points are the better so I think what I'm gonna do you see how the door is moving here and all these points are moving with the door I want to go ahead and delete the points that are moving with the door so I'm gonna wait until it stops and then just delete all of these points I'm gonna select all these points and it'll repopulate you know these points will certainly repopulate but I'm gonna just go ahead and delete all of these that move with this door and then let's go to the moment before and just make sure all those points are deleted like this guy here and then you'll see it starts to get it starts to repopulate here which is great now this point here you can see boom once you select a point you get this window over here and you can actually track it so it it certainly has a mind of its own it starts moving around after that point and it just kind of goes off and disappears so we'll want to delete that one - we don't want to base our 3d track off of some janky 2d points you know what I mean now you don't have to do this for everything because you know we'll be here till next Christmas but if you just do a quick scan of stuff like I'm seeing these two points down here those are floating I'll delete those anything that starts floating you'll want to go ahead and delete those and I'm sure there's like a number that I'm I'm missing here but you know we're doing our best all right I'm go ahead and save this we'll be tracking and let's go ahead and run our 3d solver with our focal length plugged in and once again it's gonna be thinking down on the bottom left down here and it'll take a couple minutes in the meantime if you guys got any questions I am happy to answer and what's cool about the cinema tracker is that once you track your scene you're gonna have to optimize it right so that means the program wants to know which way is up which way is left and right which way is um you know which access is the z-axis you basically need to tell where's the y-axis where's the x and z axis right so that knows where it is in 3d space and then you also need to tell it the scale so it knows the scale of say you know like this electrical outlet mr. boku my favorite ice cream would have to be coffee ice cream it is quite delicious tracking in a tracking NC forty is it better than After Effects I'd say it has a lot more options it has it way more options so it's it's much more of a built out tracker than than the After Effects tracker the After Effects tracker is good for like quick tracks and I'm I'm wondering if the After Effects tracker can track this I bet it can to be honest with you and it's actually it's a little bit more difficult to use simply because it doesn't have that many features you can't tweak that many things and optimizing it or you know setting the the correct orientation for your scene is a bit more difficult and a bit more like it's you're kind of you're kind of putting a blindfold on and you're doing it with a blindfold is the way it feels but our 3d solve just finished let's take a look at it all right so if I click off and then I scrub we can see we have some points here green points are good red points are not so sure about themselves but the green points are feeling a lot better okay so this isn't bad but let's go ahead and just see let's optimize this because as you can see our grid view here is way off if I were to spawn a cube like we're inside the cube no good we want the origin point not to be inside of our camera but we want the origin point to be sitting flush with this this outlet here so I'm gonna go ahead and like I'll leave this cube sitting here so you guys can actually see what we're about to do I'll hit the motion tracker and we'll go ahead and save our scene and now that it's been 3d solved you can you have a couple more options down here actually specifically this option right here the Create position constraint and if you hold that down you have three other constraints or two others that you can make but we'll start with position to get our origin right so create position constraint I have it selected you can see we have a little constraint button here and all we need to do is select one of these 2d points that we want our to be our origin so let's see let's have this point right here be our origin and if I click away you can see the cube has been moved there but it's not oriented properly but it is sitting at that spot that's our origin now so 0 0 so if we want to spawn like a person that person is gonna be sitting right there right in frame but again they're not oriented properly so we need to adjust that real quick before we move on I just want to talk about this position constraint so once we've created it you can see there's little this little constraint what would this be it's not a modifier it's like a constraint tag that has been created and the mode by default the set feature to position the feature is the 2d point we selected it's this 2d point that's the feature and it says feature to position and the position is whatever we put in and in this case by default it's set to 0 0 0 so that's the origin point now if we hold this down we can make a vector constraint as well and the vector constraint is basically aligned so we want to choose two points along the y axis or the Z or the X and define which axis that is so that our grid starts to line up and starts to orient properly and what's cool is because yeah cinema has it all built in you don't have to do it in another program it's all just in one program so let's find points that can be our like our y axis there's a lot of points along this little bit here so I'm gonna just select one and I'll select two and it's kind of a trial and error process we'll have to see if it sticks but we have our y axis and a new constraint tag was created and under the axis box here we'll set that to Y and now you can see our our grid just aligned itself so I'm gonna scrub through and make sure yep that looks correct and I'll go to the end and it actually that that looks correct all right so if we click away we bring our box back in we can see it starting to get a little bit closer to the right orientation so this is good now what we'll do next up here is we need to set another axis we need to set the z axis or the x axis in this case I think the X will work the best simply because there's not much Z Z goes in into deep space right Z will go will create depth right but the X is like left and right ok so we have that left and right data that we need let's select a motion tracker what would this be the motion tracker object will select that and we're gonna find some 2d points that are along the x-axis like this one and maybe maybe this one that's a little off I'm gonna undo that so let's try maybe zoom in here and see what's going on I want to find two good points that stick okay let's try this one and this one and we'll say that is our x-axis and let's see if it's stick so I'm gonna go to the beginning it looks like see how it's off a little bit right you can see how that's off so that's no good and then we'll go to the end and it it's kind of still off so let's click away just to see what our cube is doing and it's not it's not bad but it's not the best so let's try undoing that again and let's see if we can't find another two points that work for for us here maybe these maybe these two let's try that as X and I'll scrub to the beginning that looks like it sticks and I'll scrub to the end and it got off again it got off again so that's no good I want to undo that I'll try one more and if one more doesn't work then I'll do it manually and I'll show you guys how how to do that so let's see here all right let's find let's find some points maybe like this one and this one we'll set that as X and we'll scrub and see if that works looks like it looks like it's working in the beginning and it looks like it kinda is doing a thing at the end that's not bad let's bring the cube back in and I'm actually gonna flatten the cube so we have a better representation of like what this is actually doing and how it's actually sitting here all right that's not bad at all I think it's the track is fine it just the orientation I think needs to be tweaked a little bit so what we'll do is I'm gonna grab the motion tracker and I'm going to put it inside of a null object and I'm gonna rotate that null object so that everything lines up perfectly so I'm gonna hold alt and drop a null into it by holding alt you make the motion tracker a child of the null object and let's go to coordinates and we'll just rotate it along the x-axis like this when it lines up looking nice and then we can scrub through our footage and see that it actually is sitting pretty nice right inside of that a little electrical socket now that 28 millimeter that I typed in it might be a little extreme just because like the iPhone I'm sure is doing some cropping so it may be more closer to like a I don't know a 30 or something it's hard to tell it's hard to say but I think for our purposes this will be okay this will this will totally work so yeah well click away and let's hide these auto features awesome now let's just create no okay here's another thing we have scale to think about okay that that's a two meter cube but at the same time like we are creating a huge world we don't want our huge world to be massive and to scale because that'd just be ridiculous we want to scale everything down so maybe maybe what we'll do let's get rid of the cube let's bring that person back in and let's say how like how big do we want a person to be in our small little CG world here mm yeah so you see how like the 28 millimeter lens is like these lines are not are not correct so maybe what we'll do is take this world and and just adjust it a little bit like this and we'll see if that does anything for us yeah I mean like we could go back and probably change the focal length of the camera but I'm planning on actually making this an exterior scene like it'd be cool to do like a little construction yard or something so I'm gonna roll with this since we don't have all the time in the world but I think you guys get the idea now let's go back to our idea of scale here so I'm gonna go back to our motion tracker I'm gonna select any one of our position or any one of our vector constraints and in this case the x-axis all right for length we'll say we know it even though we don't and that actually by default snaps to more of a size that I feel like is gonna work for our our little world here so if I go to filter and I turn off work plane grid and let's bring in the wireframe mode you can see the little person sitting there and we'll say a person is gonna be about that size in this in this world right because I want to put down like a layer of dirt and then have like a fake sky and maybe put like a little construction truck in there or something and just building out like a small little playground all right so next we should probably build out like the tiny little box that we're going to be putting our world in okay so on the origin I'm going to spawn a plane and let's go ahead and rotate it holding shift to snap it to 90 degrees here and I just want to bring it out so that it's fitting the bounds here of our of our electrical outlet I see that doesn't work that doesn't work for us you see the the focal length is off so I'm actually gonna I'm gonna redo it I'm gonna go back and let's try this one more time let's keep all those things that's fine the 2d tracking is OK 3d tracking let's try changing the focal length to let's try a 35 okay or in fact let's just try 36 by default and let's try running the solver and see what happens so in the bottom-left it's doing its thing it's thinking real hard when sometimes it's tough working with the iPhone sometimes it skips frames there's like variable shutter speed so it's tough with motion blur and random nation weird motion tracking a shot right now inside of cinema 4d 3d tracking it actually and we're trying to just refine our track here so that it better matches our scene so that we can move forward and and add our CG elements to our 3d scene and make it look legit and mix with this 2d footage as well Birk a I'm glad that you could still join even though you're still at work it means a lot thank you so much I hope works going okay for you I know it's kind of tough some people actually really enjoy working from home I'm I'm definitely in that boat so going back to work can be tough but hey at least we're at least we have a job you know at least we're getting closer to making ends meet and everything and I hope that you're doing all right yeah how do you know the mobile camera focal length here like okay so made our scene let's move forward and see here let's see if if this is working okay let's take these constraints and let's go ahead and delete the constraints or didn't even need to do that let me I mean maybe I didn't need to delete the constraints and let's take the null and I'm just gonna zero it out and let's bring in that cube and see or the plane rather and it it's hard to tell like did it did it get closer yeah this is a this is a tough one so let's let's give after-effects tracker a spin and let's see if if this works let's go to frame 100 and let's just throw down let's let's go 3d tracker and this is why I always like I always like doing multiple multiple trackers trying different methods because sometimes other ones work by default when others require a lot more like manual labor to get you know a nice little like a track out of it right so this is gonna go here it looks like it's gonna track the entire thing but it shouldn't take long it's just gonna take a minute but I think the thing that's holding us back is the focal length so if um so I have an iPhone X R let's just Google iPhone X our focal length and it says 28 millimeters let's see if we can find like if there's a difference between like the camera and the video camera because I know the video camera like zooms in yeah it says 28 millimeter equivalent I mean 28:28 seems right to me sensor size let's try the sensor size in the iPhone iPhone XR sensor size hmm ass tough one I'm not really sure maybe let's try it let's try changing it back to let's see go back to the tracker and let's change this to unknown and we'll run the solver again and we'll go back to FX and we can see we have all these points wonderful yes look the after fixed tracker worked now let's just see if this lines up okay let's do let's make our tracker tracking point smaller subtract point size will go like 25 okay and I want to find four points that that meet the corner so maybe like this one one two I'm holding shift three and four I'm gonna right-click will set ground plane and origin and I'm going to right-click again and create a null or no I'm sorry I'm gonna create a solid and now we have a solid sitting there that actually looks nice so let's orient this properly we want Y pointing up and Z pointing away alright so let's see here let's go let's orient this properly there we go like that and let's go ahead and like let's go ahead and scale this I'm gonna unlink it I'm gonna scale it on the Y and you can see here how like the after effects tracker it really it can come in handy because now that actually matches the aspect ratio and the focal length of this box you know the perspective of the box and let's go ahead and scale it on the X as well so we know that's kind of the area we want to deal with there and this is this is After Effects tracker by default this is great so this is basically like our floor plane it's gonna be obviously 90 degrees rotated from there but I'm gonna name this floor and I'll show you guys how i optimize my scene so that I can bring it inside of cinema 4d and the the dimensions are gonna stay the same so with the floor selected let's go ahead and parent the camera to the floor okay is that right that should be right mm-hmm maybe the scale needs to come back down because we know that was like a test right so we know it works let's parent the camera to the floor there we go okay so we want to normalize our scene first we'll normalize the rotation so if we go our we'll just zero everything out besides this X input which is at 270 the position needs to be since this is what this is 720 by 1280 so we needed to do that by half so 720 divided by 2 should be 360 and then 1280 divided by 2 is 640 and then zero out the last little number so that is going to bring that's setting our origin point so that it's at 0-0 when we get to cinema and then finally it's and again just a touch on that it's half of your composition resolution so the our comp is 720 by 1280 so we're setting the position to 360 by 640 and then the last thing we want to check is scale so it's right now it's set to 100 let's go ahead and hit control Y we'll make a new solid I'll make it okay yeah I'll make it a 3d layer we can see that our rotation is off we want it to stand up tall so let's go to rotation and adjust that rotation so it just zeros out okay and then let's go ahead and scale our floor down until this black solid kind of matches and fits into our composition so let's try this and about like there feels pretty good to me all right so now our scene is optimized we can delete this black solid and we can unparent from the floor and when we bring this in cinema everything should be lined up pretty nice alright so we want to go file export max on cinema 4d exporter and I'm just gonna find a spot for this real quick all right back inside of cinema and it actually looks like yeah that's cool it actually looks like the default numbers worked for us because now our plane actually lines up so we didn't even have to do that in After Effects but I showed you guys you can do both that looks really nice yeah that actually lines up sweet much better much much better I'm gonna hop out of the tracker layout I'm just gonna go back to standard ya scrub through here and let's give this plane zero segments and it should be sitting yep on 0 for the Z okay so it's sitting right on the face of our of our electrical outlet and real quick just so I can show you guys what the After Effects scene looks like I'm gonna go ahead and open that up for you and we'll load in our footage I'm going to double click make a new material down here and let's go ahead and load our JPEG sequence we'll click it we'll go to animation and calculate if you port animate preview all right and then I'm gonna hold this down make a background drop it into the background and notice our scene is optimized and set up in a way that allows us to just hop in and get going inside of cinema so either either way is gonna work for us here whether it's the after-effects tracker or the c4d tracker so that was cool I wasn't expecting to to ace both of them but the c40 tracker took a little bit more work the after-effects tracker was a bit more of an automated process sometimes the after-effects tracker just doesn't work and the c4d tracker is way better it really depends on the shot all right um let's see all right so moving on let's deal with let's make that let's make that box because we want to have a little box to set our world inside of yeah that feels good to me okay so let's take this plane and once you have it matched up to the dimensions of your box I'm gonna scale it down just a little bit probably right here and let's hop out of our camera view and I'm gonna hide these tracked features and we'll select the back of this plane I'm gonna make it editable I'll select the back of the plane hmm let's reverse our normals we want to make sure that what we're facing is orange versus blue so let's see reversed normals you are would be the shortcut and I'm gonna select all of these edges ctrl a ctrl drag click and drag and that will just create a little box for us moving back into the wall and I'll select that front plane and I'll delete it and we'll want to close the polygon hole in the back so that's gonna be MD boom closed polygon hole and let's make sure our normals are set and they need to be reversed you are I think it was yes so now what we have when we hop in here is we we actually have a box that kind of has some depth to it and it moved its it actually like sits a little deeper in 3d space so we can set our scene here we can build out any sort of room or world we want and and then we just need to light it in a way that that feels natural so I'm gonna actually push this plane back a little bit more right so we have a bit more depth in parallax in our scene so we're coming around and like getting the full view that so that's gonna be that's gonna be really cool okay you guys falling along so far let's feel okay to you guys we talked about the after-effects tracker we talked about the cinema4d tracker and using them both to get a solid track out of this so now we just need to figure out what goes in this box and obviously we need to light it so I think what we'll do next is probably figure out what goes inside of the box and I'm actually going to ask you guys what do you guys want to see inside of this thing go easy on me I don't have all day but I think we can make a small little like diorama inside of this we could do maybe like an outdoor construction site now like a room with a whole bunch of stuff in it it's probably a bit too much work but we could we could maybe do a beach scene like a pool or something we could do a forest maybe a four little forest scene with some trees inside hmmm it'd actually be really cool to photoscan an environment and put that in the side of their that would be sweet Oh a fish tank fish tank will be cool Park okay a space Beach beach hmm mega scan Z I'll probably be using a lot of mega scans forests mmm okay forest maybe we'll do something like that we'll do a little forest scene or something what could the background be because if it's like a little room a little box room oh we could also do so we could also push we could also push this back a little bit more and do let's see if I hit KL it'll be a loop path cut and I hold shift we can like snap to the middle and we'll grab this little bit we'll control drag it that way so it turns a corner like that right that's interesting huh maybe it's like a metro or like a train station with a big window like right here like a stained-glass window shining down or something and we have some park benches maybe or it's like a clock or it's just straight up shoot okay just the metro line it could it could it could do something cool where we grab these points are these faces rather and we can extrude inner MW and we'll drop let's see we'll drop this down Mt so that's gonna be like the trip the train tracks and then maybe on the other side here is the other the other platform or something just push that back a little bit and then you could have like a little like a little escalator going up or something right here so push that back in space and then they'll be like a little escalator going up that way okay I think that's pretty cool I think that could be really fun and they'll be like struts along the wall or something alright so now we're at the point we're like let's see alright I'm just getting a whole bunch of ideas here I'm gonna take these points let's move them now let's do let's hop out of the camera and just move that back a little bit so there's a bit more room to stand there sweet let's grab these points I'm just gonna try and make more of like a platformer in here yeah this is gonna be cool awesome all right I'm glad this is giving you guys some good ideas I'm excited about this alex says turn on back face culling what is that I've heard about it but I don't know what it is is it a bit easier an easier way for you guys to view what's going on maybe some ambient occlusion would help let's see where is my ambient occlusion settings filter effects here we go radius 20 let's just boost it up it's kind of janky okay here we go oh snap that's a good one and see backface NP that's good okay that's good very nice thank you for that tip that's a good one very good one okay so we're kind of set up to start detailing out this thing then we can talk about lighting later so I'm gonna need to gather some assets and probably some reference footage so let's just look up let's Google metro station or Japanese train station something something like this that's cool it has the ads on the wall like we can do so much detail on this you know it has the the pillars these standing pillars that we can put in here so let's see let's get our like let's get our our scale right yeah that that feels good to me you know there's a person there let's go and move this person down to this ground plane so we want the person to fit right on the ground there so let's go ahead and just eyeball this in I'm hating s to snap my vport to the objects selected okay that's great now is there a way I want to have my origin point be right on the ground here so how would I do how would I do that let's let's think about this for a second there we go I think if I just move it no actually I doesn't work esker it well we'll just hold ctrl and will spawn things on this person that's what we'll do all right what does the ceiling look like okay it's a very low ceiling but I think ours will be a high ceiling so we need an actual metro line we need this floor pattern this multiple floor pattern we need the tracks which I know mega scans has the tracks so I'm just gonna I'm just gonna go to bridge and start favoriting some items here that I know I'm gonna need okay so this is quick sabrage you guys don't know about it it's basically the best thing ever and it allows us to transfer all of the any mega scans library asset we want we're gonna go ahead and transfer that into any program of our choice so you see right here train tracks these are some like old train tracks but I think this would actually work these railway tracks right here yeah these are definitely older but I think that's okay I'm gonna head and favorite this let's see what they have for concrete barriers maybe something like something like this could be a useful item I know we want let's see if we go home we'll go to services and let's just type in I know they have that like crosswalk texture what is it called it's a floor some type let's see that's that crosswalk that yellow crosswalk kind of texture I know that polygon has one but I think mega scans does too um crosswalk what would that be called yellow crosswalk surface it's like the bumpy the bumpy surface hmm let's check polygons I know they have it let's do man-made or is it under doesn't have a floor let's eat crosswalk dang I know he has it yeah the thing for blind people yeah oh it's not in surfaces I got you let's just search everything tactile paving ah here it is yes it's a decal yeah all right nice find we'll grab this one too we'll get both heck we'll do all three good fine thank you guys thank you thank you Surya appreciate you okay um let's let's go back to our reference let's go back to a reference and see what we need okay did I close it I may have closed it oh yeah this is good so we have these like top lights and we have these signs and stuff and there's a lot of like detail on the ground so there's like this beige tile that we can use so let's find surfaces ground maybe it's under tile ceramic ooh this is good something like this we can we can scale this up that's nice I like that this is good anti-slip we'll grab that so yeah I just gonna wanna go through here and like pick your materials and everything and this is gonna probably be the longest portion of the process is piecing everything together let's see what the walls look like so hmm yeah there's a lot of detail in this there's all these ads you know so we can go to town on the banners and stuff well here's a here's a look there's a nice one yeah we have all these signs and everything and these pillars so maybe this needs to be like a let me save this actually and I'm just saving iterations so I can always go back if I need to I'll hop out of camera view and I want to make sure like let's let's get to maybe there's two areas for where the actual train is going through so we want we want to fit two trains in here I'll go back to the plane and let's just move everything mandus back face culling is so nice let's move everything all these points back a little bit more so that way it's creating like we have two sections now where the Train is going to be passing and I'm gonna make sure that we don't see the edges alright the train just keeps going so let's do let's move these points back like that okay a little bit further and very nice man yeah you can really go to town on this yep chips we're doing a secret diorama of a metro station exactly okay so let's just like let's block this in a little bit more we can throw some pillars down and I'm actually I'll probably to make this this little waiting area a little larger I'll give it a bit more room so maybe we just keep adding depth to it the more depth to this little secret diorama the better so let's do let's grab these points and push them back awesome sweet okay let's let's see what else we need so the only reason I'm like hesitant to do these pillars and these arches is just because like maybe they just go to the ceiling I guess I think that could be fine but it might it might feel a little weird but let's let's see so I'll make a cylinder and I'll actually spawn the cylinder on the figure so if you have the figure selected I'll hold control and make a cylinder and now that cylinder is spawned inside of that person or in the place of the object you had selected so let's go ahead and scale this up so we have these two pillars I don't know I feel about these yeah I don't know maybe maybe I'll get rid of the cylinders I think this is gonna be cool you know just this Michael that's awesome I'm glad you pieced piece that together round okay so let's see about texturing this this thing out okay we want to have a metro going through here a Japanese like little metro some junior line or something this one right here so let's do a search let's see okay let's try turbosquid and we'll search for free well we'll see we can find here hmm okay not not much this doesn't do is much here um I mean I'm down to pay for five bucks I can pay five bucks for something let me try CG trader you guys tell me about this website it's actually really nice hey Arnie thanks for the super chat appreciate you man thank you thank you thank you it really helps out a lot you know these tutorials they take a lot to to get started there's a lot of pre-work I got to put in and even after the fact I still have to keep working on it to put out that final result so the super chats really really helped and I really appreciate your support so Arnie thank you thank you a ton heck yeah Independence Day stream okay let's let's see what we can find on CD trader do they have any like metro trains Metro train see I can just buy this scene for a hundred bucks and pop it in do they have anything for free this isn't bad here no that's pretty bad that's pretty bad let's see what they got for 10 bucks all right four dollars for this train here that's not bad ooh $8.00 this is it this is about it right here FBX yes okay I'm gonna get this this is a good one give me one second guys while I go ahead and log in and get this train asset going if you guys can think of any of any other things I'll need for this little metro let me know in the chat while I download this alright almost done here guys gathering assets this is like this is the longest part of the process man come on started leave you hanging guys just bear with me here okay I think we're in business we got the FBX ready to go what on earth there it is sweet very cool all right so the axis is all off I also that also has some key frames that I want to delete let's go ahead and zero out all this stuff here and I'll use the exes Center tool to Center the axes up with the model perfect and I'm actually gonna bring it all the way down to the Y so it's sitting right at the bottom that way I can you know get this train to sit on the ground okay let's take the train bring it into our scene okay boom it's tiny we'll scale this thing up and how does this work okay so trains I guess yeah they're like the doors are right on the edge so let's hop in here so that the door comes right up to the edge of this thing it looks I can't tell this kind of janky I'm go and delete all these train materials and we'll get that right there on the edge I'm just lining the train up there we go and then we have a second train going the other direction so I'll copy that and move that over here and we'll rotate that around and bring up these polygons so that like so it's just enough to like fit fit these two trains right I think you guys get the idea you know we're going to be building this thing out for the next hour or so let's bring these points in and bring these points up awesome and let's start texturing this thing and start throwing down some textures all right so this is definitely one we're like the more time you spend on this the better it's gonna be and the more detail you add the better so I think what we'll do is we'll actually make a shadow catcher material in octane and apply it to all these front faces so like here and here and then let's load in our JPEG sequence and we'll go to our octane settings and just make sure that alpha channel is checked keep environment is unchecked will hop back into the camera all right so when we render this we we don't want to see any of this any of these top faces or any of these side faces we just want to see what's on the inside so we might have to do that and like render passes and stuff and maybe what I'll do for for this tutorial is just kind of give you guys I may not go super deep into the texturing and everything and the placement of assets but I'll at least well at least render something out we'll light it so it looks nice so I'm gonna drop in an HDRI image just so it you know the lighting is a bit more uniform between our live-action plate and the CG elements here and let's go and delete that that shadow catcher we don't need that for a second I'm gonna make a new octane sky and I'm going to load in a custom HDRI image that I took all right so this is actually taken basically right where the camera is I'm going to scale up this sphere and let's hide the plane for a second and we'll hide the trains let's go and organize this so we'll just group that alt G I'm gonna call this geo for geometry and then I like to let's see let's do the figure and the background the octane sky and this sphere I'll do that and I'll call that scene and the null that's our camera so in the scene let's take let's make a new octane glossy material drag and drop it onto the sphere here and let's go ahead and let's see let's go to index drop it down to one and let's go ahead and just give this sphere a bit more segments all right and let's just make sure that this thing is oriented properly so let's go to switch over to DL and I'm going to select the octane sky tag go into node view let's give it a color corrector color correction node okay and then I'm going to give it a transform node that way we can move this hgri around to about there because that's where we filmed this thing from back in the path tracing and I think hmmm it might be I might just leave about a fault I think it looks fine by default let's hide this fear and let's bring our geometry back in and let's try and set up that flat wall plane as a frontal projection or with frontal projection that Alex is talking about I think that's probably the best way to do this so I'm wondering if we can take certain parts of this plane here like these bits and even this even all these top faces too so everything up here everything facing the camera basically everything back there and these bits on the side maybe we'll start with we'll start with these and we'll see if we can get projection working so let's try let's see let's drag and drop our footage onto just those polygons and it's giving me it's saying I can't do it let me set selection and we'll try this way okay and then now what we need to do is go to projection I believe camera mapping is the way to do this front we'll set that the front and we'll select our camera will drop our camera right in there and it never works exactly as I needed to so standard it's looking for an aspect ratio 16:9 so it's like one let's see 16 by 9 so 9 by 16 because we're vertical man that's not working well we can calculate it but you see how it's all broken up and it looks it needs to probably be in the luminance channel so let's let's copy this paste nope paste in luminance that ways maintaining his full brightness maybe we need to convert this to an octane material shoot having trouble here hmm I don't know why it's not just playing properly hmm man it's all troubleshooting guys the effects lots of troubleshooting lots of googling things you don't know yeah I feel like octane does have a camera projection note I'm just not familiar with it too much I don't use it too much let's see let's load our sequence again see about getting some lights in here so going back to the reference we can see that there's these strip lights all across the top all across the ceiling here so maybe we can do something similar by maybe up on the ceiling here we can add some some octane area lights let's go ahead and like move this down rotate 90 and we'll just get this out so one will just be on one side of the track we'll go up to the ceiling and then the other will just be on the other side of the track and we'll take both of those and we'll just bring the power down to like 25 or something and let's change the the tent like they're kind of I feel like they're they're like those uh that greenish tint you know that tungsten or not tungsten but um I forget the term the fluorescent bulbs are those fluorescent bulbs they're just a little green which i think is pretty pretty cool it's a pretty cool look so maybe we can take the texture and give it a see 4d RGB spectrum and we'll just make it a little bit on the green side so you get that just that nice little tint okay so we can also drop in our bridge assets that we downloaded like the floor and the tiling and all that stuff so let's go ahead and export these we'll go to our favorites and we want to export all this stuff for cinema 4d so we want to make sure that stuff is all properly set up okay we want to download all this you can select all those at once and we can download all six assets while that downloads let's try and work on this projection bit so yeah I think that's a good idea who said it David yeah let's try let's try that David I'm gonna select the edges of this plane here yep ul for a loop selection and let's just go ahead and go to our scale tool I'm gonna hold ctrl and drag and that's gonna make new polygons right there for us and then we'll scale it along this side we'll scale it up so it's just in covering our entire scene like this I'll hop back into camera to make sure we're covering everything now we're getting in there now this is also a really cool tip to that you guys can use your actual tracked data from your tracked camera and make a full CG scene that way so like we can build this whole thing out right obviously you can tell here in the render that this is entirely CG now and it can feel interesting because it was shot with a real camera but you tricked the audience and you actually build out a full CG environment using that actual tracked camera data it can give it a really cool look and feel so let's see let's take these four polygons let's turn off these lights for a second let's grab all this and we'll make this let's see maybe this is the shadow catcher or we can set that selection there we go that is actually working for us do you see in the render here we are we're getting exactly what we want and only what we want so David thank you that was actually the best way to go about that and we're peering inside of this let's turn those lights back on they really helped that's awesome all right let's bring these lights up just a little bit more sweet so how did I get the backplate to show up in the render basically I went to my octane settings and I set that to alpha channel and I unchecked to keep environment so that's gonna actually allow the backplate to show through your footage down here and I man I'm in path tracing indirect lighting you know you're gonna have to go back to octane and change those settings again if you want that indirect lighting as well but direct lighting actually keeps that green tint but yeah Pat raising is probably what we want for this situation because we've got a lot of bounce light bouncing all around in here I think these trains need to be scaled up so I'm gonna take both of those trains I'm gonna scale these things up and just make sure it's looking nice from our side view I'm turn off these lights so it's a little easier to see and it'll take these two trains and it's a little hard to see so I'm gonna hide the background that feels right sweet all right so let's let's add that tiling back to bridge we can see a list all of our stuff is downloaded for the most part no I guess it's still downloading did it stop here weird well we have our dirty swimming pool texture so let's start with that export settings we want to make sure we're going to cinema 4d not Unreal Engine and what export 4k is fine and let's go ahead this is done as well and we'll just transfer all these that are finished so we probably not even gonna need the train tracks because we don't even see them are you guys doing okay lag too bad for you guys I think I just want to download one more thing here this this yellow tiling and we'll export so man I I realize like you could spend a week on this adding vending machines and signs and lights and everything and really building it out to to be a full and complete scene and there's just no way I'm gonna be able to max this thing out on the stream here just why I just I wish I had more more time you know to set this kind of stuff up so it'd be nice to actually like have the completed version for you guys and then just kind of break it down live okay so we have our stuff imported in here let's go ahead and start applying it so let's start with the actual the floor tile all right let's see let's see all right so I'm gonna render region here just so we can actually see what's going a little bit better and let's go ahead and drop our that swimming pool texture on to the floor all right so the mapping is way off with the wrapping rather is way off so let's go into the node editor and fix that up the easiest way to do that or you know what honestly it's probably easiest to do it up here let's select the projection UV mapping and we'll set that to let's try flat cool so that actually worked for us and then we want to scale it way up so let's go tiles point to refresh our scene and scorn thank you sir for the super chat much appreciated I'm glad you enjoy them and I'm glad that you can actually you know learn a thing or two from these I know they're not as like direct and full of information as a produced tutorial would be but I still think it's fun to do this okay so we have our tiles but the tile ends right there we wanted to end we want to scoot it back a little bit so let's take the offset V I believe let's set it to one and see what happens it's just annoying that the rear end of this every time try setting it to two point five maybe I can't tell that to doing anything [Music] yeah I cannot tell here we go we can actually see it in our viewport and yes that makes more sense I'm just lining it up so the tiles make sense let's try point one 0.16 0.16 perfect I know I need more GPUs guys I'm still in a 1070 it's crazy it's crazy but hopefully there'll be something cool for all of us in the works here so we'll see about that and I'm glad you guys prefer the live streams over the the full tutorial but I got a couple of those in the works for you guys as well let's add this yellow bit so I'll select those three and let's go ahead and drag and drop this yellow texture let's make sure our selection is right so we just want these three little strips and we'll go to this little bit and we'll hit set selection all right and we're not seeing anything I don't know why yet it has opacity with it okay so if I got rid of this opacity then it's coming in okay now let's go back and we'll change this to flat and now we're actually seeing the material awesome all right so let's adjust this so it actually lines up we wanna make it large enough so that one of these fits inside so it's kind of trial and error here there we go that that works it feels like it's stretched needs to be stretched on there we go and let's give it let's try 0.8 and 1.6 something like that that works for the most part let's get some texture on the actual wall here on the this may be some sort of tile or reflective tile as well oh it's like a brick material let's try that let's try a brick material so in bridge I'm going to go to surfaces let's find tile stone sidewalk ceramic and we'll see we can find like a brick ceramic brick texture Tokio wall tiles that's not bad maybe something like this let's give this one a shot let's try downloading this guy yeah I'd be putting vending machines in here signs on the wall like posters and stuff let's try let's try adding like a cube and I'm just gonna like flatten it out scale it up and we can put advertisements on this but maybe next time I'm in the subway I'll just photoscan it so I can just drop it in and it'll be a lot easier so we can put ads on on the walls here let's just try googling like like Japanese boss coffee billboard and we could like take one of these or something and rework it like like this right here you know we can take this save this image out and we can drop that let's see if I make a new octane glossy material we can drop that on these cubes and then we can load in the diffuse channel we can load up that image we just saved you you guys can see why this is taking a really long time to get the feeling right you know because there's just a lot of details you'd want to add to build out this whole scene you know and you can give each one of these like a little light panel above it shining down let's go back to bridge and see what's good with our our tile texture so we'll bring this into cinema yeah definitely a wet floor would be Oh a wet floor sign yes that'd be very nice maybe there's some assets in bridge mmm caution 3d assets construction Street so you could definitely add a whole bunch of this stuff I think like some of these caution caution cones or something will be sweet you know I have this one I could bring this one in and now let's get let's let's adjust our actual wall texture cool drag-and-drop and the material wrapping is insane so let's go back here let's set it to cubic and we'll scale it up a little bit so we'll try tiling 0.5 and I want to brighten up this this diffuse pass just a little bit so I'll take the brightness we'll go to two maybe three it definitely feels gross it definitely feels like a gross like metro and not in a good way it's gonna take a lot of work to actually get this to look right denne um tips for unwrapping UVs man I to be honest with you I do not have many tips on unwrapping you've ease it is not my specialty and it is certainly an area I need to put more time and effort into though I do know that in cinema 4d r22 there's like a whole new unwrapping feature and on in unwrapping kind of layouts so they make it a lot easier in c4d r22 that's all I know though it's about all I know 3d model Haven has one oh yes that's right that's right 3d model Haven com here we go wet floor this is great we get the FBX oh they have high poly versions now - awesome might as well yeah 3d model Haven is such a great site it's part of the texture Haven and hgri Haven kind of like conglomerate and it's very very useful very high quality stuff some of the highest quality stuff let's see where do we want to put this alright and we'll download the textures alright back in the cinema I'll just make a new it's actually yeah let's merge it with the model we just downloaded the wet floor sign we'll get that FBX loaded in and then I'm just gonna go ahead and like solo this thing so I'm gonna click select the sign and we'll solo it and we'll hop in I'll make a new glossy material drag and drop and let's go ahead and drop in all of our assets so actually I'll make a new RGB or now an image texture that's what I want okay and I'm going to load these textures that we just downloaded all right so that's what the diffuse and it's not wrapping properly why is that strange so weird Wow me geez maybe it needs to be flipped or something let's try adding a transform node and flipping at rotation 180 on one of these axes what is going on man I do not know this is what it's supposed to look like maybe I imported it weird yeah the 8-bit ones not working either that's strange huh yeah the low-poly model maybe all right geometry yeah that's fine animation now materials should be good how the low-poly one works that's weird that's really weird anyway that should be fine for us now we have a nice little wet floor sign that we can add in alright I'll get out of solo view and we want to transform this sign to this figure that way it's on the ground it's same for the construction cone we can take this thing and let's move the gizmo to the bottom and then we'll transform it once again we'll transform it to the wet floor sign that's totally fine we can scale it up and we'll just put a couple in here awesome sweet and the train itself like I don't think we're gonna have time to texture this thing but maybe what we can do in the meantime is just give it some like emissive materials in the window so we can grab in our train if we're lucky enough will actually have the windows as its own geometry that way we can easily just drag and drop so let's do [Music] yeah it looks like this is all one piece so we'll have to go in and grab these window bits and I'm wondering if any one of these set selection tags are just the windows and I'm hoping that's the case yeah there we go so that's Windows I'll make a diffuse material drop it on there and we'll give it an emission blackbody emission let's unsolo hop back in render our scene and see what it looks like it's probably gonna be really intense but I guess that's not the case let's go to our mission settings and check surface brightness that that will do the trick cool and just for the heck of it let's let's give the the train a chrome material or a scratched metal or something so we actually have that chrome here and we'll throw it down on the train it looks like that's not doing anything alright let's see let's find it looks like applying the chrome material to just the train isn't working because I think I need to delete all these question marks because it's still I think it's still trying to like find the original textures which I deleted because they were whoa that is intense what is happening there okay by making it Chrome by making the whole thing chrome it like blows out everything that's weird Oh weird okay it's working for everything but I see I see all right so obviously there is a ton more work to do on texturing this and building out this metro station but I think I'm gonna render this I'm gonna render a little bit of frame so we can see what it looks like in after-effects and we can composite in after-effects so let's let me just tweak this chrome real quick I'm gonna give it some roughness so does like point two and I don't know why the rest of oh it's because of these question marks again so bear with me while I get rid of all this stuff there we go okay so now it should actually be working on both trains awesome and I was going to animate these things real quick so we'll start with one train speeding by so as soon as we open it this is gonna be speeding by starting from like here we'll make a keyframe we'll move forward and we'll move this train all the way across the train tracks to like there where it's gone out of view we'll make a new keyframe I'm will hold shift f3 shift f3 and that will bring up our timeline here and I'm going to select both of those points and just set them to linear and another trick that I actually learned from Andre Libre Andre Libre I think that's his name he has a great YouTube channel but he actually just recently dropped a c4d like tips and tricks video and one of them was really cool where if you hit play and you're not getting your full frame rate which it looks like here we definitely are we're getting 33 40 frames a second what you can do is hold down this film strip and uncheck all frames and it's going to play out your animation or play your sequence in real time it may still be laggy and chunky but it'll it will essentially ensure that you'll you'll be able to watch through your sequence and as real of like feedback as possible so we can have that train move a lot faster awesome and then this this first train will just kind of like move into the station and maybe what we'll do is for will actually scoot this back so the train passes and then this other train starts pulling up so we'll do like a keyframe here and we'll move forward and have the train stop like right right here at the end we'll make another keyframe this first keyframe will set to a linear keyframe and the second one we're going to actually animate and tweak a little bit in the animation window so we want the x-axis so if we open this up and we go to position x axis you can see how it's just kind of like a linear line we want it to slow come to a really slow stop so I can select both of these keyframes here and I'm pretty sure yeah it's just the X just like both of those and we'll give them like a Bezier curve and this one wants to basically start as a linear keyframe so I'm gonna get that just right in there and this one wants to slow down to a stop so something like this right so it curves up and it slowly comes to that stop right so let's see what that looks like so it rushes in and then comes to that nice slow stop but I think it's a little it comes in a little fast something like that that's cool and let's hop into our camera to make sure we're only seeing what we want to see here let's bring its back over so we can see our viewport a little bit better and let's play it so you see how that train is hiding right there we want to bring this train back a little bit when it starts out so we'll push this back a little bit more make a keyframe there and really condense these keyframes so that thing flies by and we get in here and then this train comes in you know and then you'll animate the scene further but we could let's get rid of this figure real quick you can populate this with a whole bunch of people and go to town with it but again just for the sake of time we don't have much of it cuz it's the 4th of July baby I got barbecues to go to ok so I'm actually gonna render this out with motion blur and to do that at least as far as octane goes you'll want to go to your camera and make sure it has an octane tag on it you can right-click it go to c42 octane tags and give it an octane camera tag and under motion blur I'm gonna just set this to like 1 over 60 ok and we'll make sure our shutter alignment is centered and we will enable it and it looks like energy geometry will give the train an octane object tag and that just kind of like allows the camera to talk with these objects specifically and it's gonna say hey we see that you're moving real fast we're gonna give you some motion blur so I'll show you what that looks like real quick I'll render my scene and you guys can see here that this this train indeed has motion blur but I need to give those lights to the trains so I'm gonna switch out I think I'm gonna switch out this train real quick let's delete that train and let's make this make sure this train looks good with all the lights and everything why doesn't it have lights what happened materials man that's frustrating I think this this train asset is all over the place I only need two of those tags let me just check these material selections real quick because something something is up alright so it looks like for this cab specifically this one is actually getting the materials but we want this to be true for all of the cabs I think that might just have to be something we skipped for now because that's gonna be just a long tedious process of getting all that stuff lined up and everything but I do want this train the entire train to be chrome and for some reason it's not doing that I do not know why that's just gonna be mmm it's gonna be a minute I'm gonna go ahead and render this thing guys and I'll undo the deletion of that last train there we go all right go back to frame number one hop into that camera and let's set up our render settings here so it's thing about this octane all frames yes please and for our sake of PNG is fine with alpha all right and we should be good and let's see let's do for the sake of seeing something on the stream you know let's just go 200 samples and we'll select the camera tag we'll go to camera imager will drop down spectral AI D noise R and enable it and let's make sure ooh here's one last one last idea so this door is being opened right let's see if we can open something along with that real door so I'm gonna go to the frame where the door is closed here right the actual door and let's go to geometry okay let's let's spawn a cube right so actually we'll actually cover it with something here and I'm gonna take the HDRI image and make it a little brighter I feel like it needs to be a little bit brighter so we'll go back to scene we'll go to node view we'll grab that color correction and we'll just take it up to like I will take it up to like two or something okay and then let's take the gizmo I'm gonna hit L oh it doesn't work if it's not editable so we hit see when we get editable I'm gonna hit L move the gizmo over so it swivels from that side and let's see if we can't make a keyframe here and when the door opens like this we actually open up and reveal all this from the inside and we'll take the cube we'll give it an octane camera tag visibility it's not camera visible but it is shadow visible so you can see how that closed the door kind of darkens up our scene it's being led by those lights from above maybe we can take those lights down so these octane lights will take down to like 12.5 and when the door opens it's letting in all of this daylight from the actual HDRI image and let me just see if I can once the door opens we wanted to kind of fade out oh it didn't save okay I need I didn't make the key frame so it opens up make the key frame and then we can just kind of open it up all the way and scoot it over make that key frame so it's actually being opened that still looks dim if I turn off these lights why is it dark why is it dark it shouldn't be dark let me double check my HDRI settings again guys this is all just a whole bunch of of problem solving okay so you're asking how to make custom buttons how to how to set up custom buttons so you can hit shift C and look up anything you want like this axis Center tool you can drag it and drop it and it'll make a new button right there just like that you can also go to the window customization customize commands and you can do the same thing here you can look up like set selection and you can drag it drop it in there but since already have one if you hit this checkbox edit palettes you can like come up in here and double click it I think will erase it yep and then you can even add these icons separators or group separators to add you know like these little spaces between everything but make sure you go to window and you save your layout if you don't save your layout cinema4d won't open up with those new buttons so just make sure you do that now why on earth is it black now so the lights are giving us something but I don't I don't know why it's just completely dark like this hmm I did set my octane sky brightness to zero by mistake oh man thank you thank you thank you sweet yeah so it opens it up and reveals our scene in here that's great and let's get those lights back in awesome and I'm just gonna drop the tile texture on the other side something like that and then we'll do we'll set that selection all right so it's on there I also feel like doing a clay render of this would be cool too so we just get rid of all that and it's just like the actual clay render but nah well we'll bring everything back all right so let's go and render this thing we can start from frame 100 and let's give it a render so I think the biggest issue or not issue but the biggest hurdle in after-effects is to combine the edges to mix to blend the edges properly so one trick we could do is actually bevel the edges of this plane here that way it catches some of the light and it bleeds off into the actual metal texture another way would be to create like a little cutout in the metal texture in 3d and then kind of inset our room back inside of that and expand it out so there isn't a seamless blend from the metal of this electrical socket to the tiles because I don't think you can really do that it's gonna have to be a hard line at some point and for the sake of getting the most frames out of this I'm going to lower the render resolution so we'll do 960 by 540 instead and we'll take the samples to just like 150 and we'll render that and we do have the AI denoising turned on with the camera all right so as soon as we get a frame out of this I'll load it back into After Effects but basically what we'll have to do here is we're gonna have to we're got the rotoscope this this little door this panel here so that we reveal our render underneath and it makes it pretty easy because the things already tracked so let me show you guys how to set up a track mat let's take that floor and let's hit control shift Y to go into our solid settings we'll make it black and I'm just gonna scale it up so it covers the entire little like door panel there we're going to be row toeing right so let's see if the pen tool lines up with what we're doing here and it looks like it does okay great let me set the floor opacity to zero and since the the floor is actually tracked onto our footage we don't have to animate a mask that's the idea of a of a track map it saves you a lot of time so let's go to the first frame like right about right about here I think and let's just make let's uncheck rotor bezzie a and go through and just make a couple points we'll go one and let's try point here and I'm holding all to just adjust one of those little arms and I'll wrap it up like that okay so now when we turn this on I think at this point we can load in our footage so I'll double click in the project window let's load in our footage import you want to make sure interpret footage main you want to make sure that your frame 8 is the same as the frame rate on your footage ok so that's that's one to remember and you want to make sure it's set to straight unmad 'add that way you don't get any weird haloing around your your CG object so I'm gonna drop this in above our footage and we'll bring it to frame 100 because that's where we started our render from and since it's tiny like this we need to hit shift F and that will fit it to the composition it's very low poly right or low samples right now but that's about all we can afford in terms of time for this for this stream so let me just set this up real quick if we right click the image sequence we just brought in and we go to time enable time of your mapping and scale that all the way out we can turn off time remapping and now every time we right-click this and reload our footage it's automatically going to update down here we don't have to keep dragging it out every time so let's scrub and make sure that everything lines up it looks like it's not lining up with our camera so I think that's going to be let's see we started from frame 100 we're on frame 100 so I think we'll just have to adjust this when we have a bit more frames that's it's gonna take a minute to figure out what the issue is there but let's let's focus on one thing at a time here the track Matt okay we we want to have this door wrote out on top of our footage here so let's duplicate our footage bring it above our render okay and now we have this layer here this is our roto layer and we want our footage to reference that so with this solid above our footage we can set our footage to alpha Matt and now it's just going to be this little door here okay you can see our render is peeking through down here so we'll probably have to adjust our you know back in back in cinema 4d you will have to adjust this box here so that it kind of goes in and follows the contours of this little panel same four back here actually back here is not going to matter too much because we can take floor mat and just move it back here so now let's let's keyframe this mask on the solid here so that it moves along with the door so I'm just gonna go forward shift page down goes forward ten frames so I'm gonna keep going forward I'll set this to none it's easier to see that way and I'm gonna just keep moving forward here every ten frames making sure that this stays shift page down and the good thing about going every 10 frames is that if you can get it looking nice every 10 frames there's gonna be times where all those frames in between the 10 frames they just work out and they look right and then you don't have to do it frame by frame because you know you're getting it you're starting general and then you're working it in and getting more specific so I'll get the in-between frames next so it'll be every 5 frames but right now I'm going every 10 frames to get it to look right and if my if it's hard to see this mask you can change the color down here you just go black alright that might also be hard to see I'll just set it to like a bright yellow and that's a lot easier so keep moving and that should do it that should do it right there we'll probably need to get in here and row to this as well so it's gonna require a bit of roto work to get this looking right so let's go back every five frames I'm gonna go one two three four five that's page up and I'm going to go through here and make sure all this stuff kind of aligns itself and now I'm gonna go every 10 frames which gets us in between these key frames down here hopefully that makes sense to you guys keep going back and you can see how like it's basically lined up the hard work has been done and we go through make sure things are looking good then you can go every like three frames so you go in between those to make sure it's looking good so we'll go to those in betweens and we'll find any like like this moment here where it's way off we'll adjust it for the most part you know here again there's times we have to do it frame by frame like in this case when there's a lot of movement we'll have to do a frame-by-frame but that looks good so let's bring the opacity back up to it looks like let's reload our render and we'll set the mass to ad set it back to add just maybe revealing our train station now let me figure out why this framerate is off so inside of cinema there that's the issue frame rate it's set to 24 so I think we need to set that to 30 hit control D to check your project settings FPS 30 let's try reading that now it should line up with us now there's still a lot of work to be done but I think you guys get the idea I think you might be able to take this idea and make something really cool of your own yeah you get a bunch of samples in here you actually build this out so it looks like a legit structure and it's actually real and then you comp it in looking real nice you guys can get some really really cool effects but yeah I would love to get to the point where I can do this to its completion it's just gonna take way too long as you guys can see you know we're already looking at man what are we three hours in you know so this can go for a week to be honest but I hope these tools and these tips and these ideas can help you guys you know kick started on your own kind of fresh interesting ideas and this is all again based off of somebody who actually did this in real life again we got a shout out let's see secret room behind so your room behind outlets so it's a Japanese artist let's go ahead and read up this is because this is how I got the idea his name is mozu 21 years old and he does stuff like this and you can see all the detail that can go into this you know actually building on a room with all the papers and the air conditioning like this is so well done that is awesome and he does a lot of these oh wow it's just all of this all the same post he does a whole lot of that stuff so definitely check out mozu because that's how I got the inspiration for this effect let's reload our image and see if it's working it still looks like we need to align some stuff up but it's all good again that goes back into the week of work that it's gonna take to really make this thing shine okay so I appreciate you guys joining me and as you guys know as some of you know I do a weekly challenge and I hold it for for you guys and anybody a part of the create with discord server so if you guys hadn't joined one definitely consider doing so because there's gonna start to be some really interesting prizes I'm trying to line up prizes for you guys every week on this in the past that we've done grace go gorillas everyday material collection and that's just straight-up like 250 bucks of some of the greatest textures handmade by those guys absolutely incredible very useful we also did a giveaway for a car shader set up by Mouse and he spent the last year building that out so I want to keep the prizes coming so definitely start joining these these contests these weekly creative challenges so that you guys can start winning some cool stuff and also honestly like I think at the end of the day it's so that we can learn and grow and get better at the craft you know we're trying to get better at so let's go ahead and announce the winners of last week's challenge first okay the challenge was snow that was the prompt that's all you guys had to go off of and we got some pretty sweet results so let me go ahead and pull those up for you guys and announce these winners there's always five there's five winners so let's see let's see all right so first up first winner of this week's weekly challenge with the prompt being snow let's go ahead and open up the swag ninja this guy rented this really really cool scene very post-apocalyptic very creepy reminds me of the walking dead you got the guard towers up here spotlights coming down it's all snowy got all the snow coming down and I hadn't played the last of us two yet but I could totally imagine this scene being in that game nice work on the volumetric spotlights good stuff and you have a nice warm glow in this camp so it looks like there's a lot of you know there's people live in there there's a lot of liveliness maybe on the other side of this thing you're just wondering you know this guy's been out traveling for who knows how long and finally got to a spot is it a good spot is it a bad spot I don't know but it's it's piqued my interest so dissuade ninja congratulations on your win this week for the weekly challenge so you'll be getting the weekly challenge winner role on the discord server so congrats next up we got David Katz with this image here I really liked it you rendered David rendered two images but I picked the one that I felt was best this feels really nice I actually feel like pretty cozy in here it's definitely cold and windy outside and you can tell from this warm glow there's probably a fireplace going on the inside which is great you have a map here and again there's kind of a story going on here it looks I don't know what this is maybe it's a photo book or something but there's a story and again it piques my interest I'm wondering where is this person going did they spend all their time getting to this point but I think I think this is really nice I think you did a good job here and I like your lighting outside I like your environment it feels very nice so congrats to David Katz you are a challenge when this week next up guys we got mr. clay boom this is awesome I really like your lighting here I think he used though was a world creator I think to get the this really interesting landscape and I think as far as I know world creator if I'm right if you use world creator actually sends out different like texture Maps for you to say oh this parts snow this parts rock and it's really really in depth like comprehensive program that I want to look into especially if I'm gonna be getting into unreal but anyway I really likes I like your colors you got the snow down here and I really love the way the mountains break up here and you have the snow in the grooves of the mountains so mr. clay congratulations you are a challenge winner this week I think it's your first one so extra congratulations alright second from last we have a render by visual this is really cool you got this nice motion down you got a spaceship back here rushing through the scene you can tell that it's kind of windy based on how the snow is falling and this is a cool little little cyborg thing here you've got some nice colors some very very subtle cool colors in the background mixed with your warm tones in the foreground that's looking very very nice and visually you you always do a really good job so congrats again on winning this week's weekly challenge very very nice last up last up I think this is this person's second win I'm looking at him right now in the chat he's sitting right there and he has no idea because there's a lag there's a delay between what I'm saying and what you guys are hearing but let's go ahead and congrats salumi with this painting this is your second win done with a with a painting again and I really really like your work here let me do this so it why I don't know why it's being dumb ignore this ignore this side business over here okay this is awesome it looks like you did this in Photoshop and I love the vibes here it's it looks like a speed painting I wonder how long you did this in but you definitely got the color and you got the emotion and it feels very fun and I like how you actually went with a painting instead of a render because again at the end of the day guys the whole point of this time is to get better at what you love doing right and Zaloom he loves painting so you know he put in a painting for his challenge and won for the second time with another painting I'm really impressed this is really cool so congratulations salumi for winning this week's weekly challenges so that's it guys that's our five winners for the weekly challenge and if you would like to join the weekly challenge then I suggest you just go ahead and do so because it's not I mean it doesn't take anything other than then you saying okay let's let's do it this week you know to sign up or anything the only thing you need to do is follow the rules for the weekly challenge which I'm about to dish out right now for the next one and you just have to submit it on the discord server which there's a link in the description below for you guys but oh and that's Zulu meets a third time I apologize so congrats to everybody let's figure out this next challenge do we want to do something along the lines of like a secret world or something to tie it along with today's stream or do we want to do maybe we could do anything secret world is kind of cool because that way like it could be like a snow globe it could be a tiny little room it could be like The Lion the Witch and the Wardrobe where you go through the Wardrobe and go through the closet and it goes into this different different land you know or like Winnie the Pooh or something so maybe secret world is the challenge this week I'm feeling that if you guys are feeling that give me a thumbs up and we'll do it hmmm I think using the footage I mean that if you guys want to go above and beyond and try and use that footage it's gonna be tough because like there's gonna be a lot of compositing work to do and if you just want to focus on the 3d aspect I'm not gonna knock you for for not using the footage but if you want to use the footage you can and submit the footage you know you've submit your whole VFX shot that could be fine but yeah let's do it secret secret yeah secret world that is the prompt for this week's weekly challenge the idea is just to create some sort of secret world make sure you don't just download some secret world and render it and post it as your submission that would be kind of lame put some time into it and make it your own make it cool we just need a single image it doesn't need to be a render or anything or an animation rather you got a you got a let's see submit a clay render which is a render without any textures and you need to submit like a node tree or a viewport just so I know that it's something that you did right other than that I think I think that's about it guys I don't know if there's any specific directions or specific notes or rules on this one it's pretty self-explanatory I'm excited for all the for all the entries I'm gonna see throughout the week but yeah I hope you guys had a good time I'm gonna get to the store here and grab some barbecue materials but I hope you guys enjoy your Saturday enjoy your fourth if you're celebrating if you're in America otherwise enjoy your weekend and I'll see you guys on the server throughout the week and I'll be working hard on the next corridor video in the meantime so thank you guys I appreciate you and I will see you all next week peace

Channel: pwnisher

Views: 17,780

Keywords: vfx, visual effects, 3d, modelling, blender, cinema4d, maya, 3dsmax, octane, arnold, education, tutorial, stream, pwnisher, corridor, tank, texture, archviz, photoreal, boston dynamics, bosstown dynamics, robots, after effects, compositing, live action, corridor digital, s22, v2020

Id: kLXhln57Mqw

Length: 185min 50sec (11150 seconds)

Published: Sat Jul 04 2020