Create This Animation - Camera Projection Teqniques in Redshift - Cinema 4D Tutorial

hello and welcome to the rooks nest Alex here and in today's tutorial we'll be looking at creating an animation like the one I made here we'll start by setting up this basic simulation then we'll take a look at creating the texture in redshift there's a couple of methods we can use for cam project in one that's very quick and will work well in skills for with static geometry and another slightly more complicated way used for this final animation with its animated geometry so without any further ado let's get started here we are inside cinema this is the scene we're gonna be working with I've already got a few bits and bobs set up I've imported this can which I think I got off grab CAD and then modified it slightly because it had too many polygons and for the simulation it was a bit much I've also gone and set up this rig of primitive cubes which is gonna act as our collision objects so you think it's pretty straightforward I've just used the same cube stretched it rotated it and built this sort containing bounding box area and then with a plane at the bottom which is animated to slide away so our hands are gonna fall in here fill up this bottom of this box and then this trade one leaf isn't slide out and release the cans again so the first thing we're gonna do let's get rid of this is we're gonna just put this in ammo graph object and duplicate a bunch of times so if I come up here hold down click cloner and this drop I can in the cloner let's set our cloner to grid array let's put a count to maybe I don't know we want it three wide and maybe about 24 high or 25 and only to tip actually that's a bit too much too many cans let's go sixteen and they're too far apart in the moment so let's just put in a value that makes sense let's make them start with 14 centimeters apart and then 24 and then in the Z it's just making 11 so we've got these cans all bunched up let's move this cloner up here out of the shot like so cuz we're gonna be looking through this camera that I've got set up and they're gonna fall down here fill up this trays gonna slide out and they're gonna drop so let's pull this up slightly higher drag this up here out of frame and let's just add a bit of randomness to these because of the low and they're all uniform so they might fall a bit predictably so let's grab our clone and make sure you got a clone is selected we got the mograph effectors and let's just add a random effector and in the parameters of iran because well because we had the clone is selected a random has been automatically added to the effectors list in this cloner if it's not there you can just drag it in just let the cloner effectors just drag it in here now a random effector on a parent parameters tab we only want let's just make this quite small we just want a small variation and the X values and the dead values and maybe slightly larger on the Y just to give it a bit more ideally we want a little of this intersecting as possible because when we turn the physics on or the rigidbody calculations they're gonna ping apart because they're intersecting each other but we're gonna rotate these as well so let's just rotate them to see what happens let's make it a full 360 along the Y and let's give it a you know like 190 like that make sure things aren't see like these ones are gonna ping apart just do another 190 on here Oh 190 190 let's have a look so we've got oh that looks pretty good for intersecting at the moment so that looks okay now what we can want to do is we want to add a simulation tag to this cloning object so let's birth atually turn it into render instance it will just speed up the viewport a bit let's grab this and add a tool right click and go to simulation tags and we want a rigidbody we're going to just leave all the settings at default for now if we press play well nothing happens maybe a foot so they know that's working but they're not colliding with our scene set up here so what we're gonna do is in our collision set null here which has all of these objects that we want to affect of cans we just go right click on collision set simulation tags and a Collider body we'll just leave all this at default for a second it's a static mesh but but I'm gonna change it to set a static mesh I'm gonna change to automatic because they're all cubes and also it's not static because this tray at the bottom is gonna slide out and that's static it won't register the moving of the mesh you press play now that our goes up nicely that looks like a pretty smooth animation straight out of the gate but I think it's because I've got a few settings set up here that I've carried over from when I did it before I'll just go through the things that you need you will most likely need to change let's just select our clone object here now they're a bit too Britany these cans let's just reduce that to 50% you know won't slide around a bit more because there yeah that's better dropping around maybe give me a bit of bounce maybe 25% just to make them a bit more ping e there we go these are all subtle changes these bits don't really matter what we one thing that does matter with that can is if we zoom in I mean this looks pretty good at the moment but we've got like a bit of weird a small bit of intersecting there you don't really notice I mean you could get away with this but I'm going to change the collision shape of this dynamics body from automatic to convex hull now what that's going to do is it's gonna be slightly slower than the automatic mode but it is slightly more accurate there we go but what's happening is so instead of it being I'm actually sure what the automatic is just automatically choosing something but with this it sort of draws a boundary abounding polygons that it uses as a collision mesh so sort of like won't go inside cause not concave so it won't go collide in the surface here it'll just be flat across here like a collision edge but it's good enough we get away with it here like see hit it's colliding they're not on the actual can inside because it's con that's not concave but yeah if you choose if you've got a lower poly mesh or you know something a bit more simple like if you these are quite high poly you can do moving mesh your calculations will be a lot slower but it'll give you more accurate results I won't turn that on for this because it will crash my computer so okay that's that for that lets go to our let me check these yeah these are all fine for now let's go to our collision set mesh now I will only got a hundred this is a hundred percent brick shin and 100 percent bounce now I don't want that let's just make this fifty and fifty and we press play there you go but it's a bit annoying the way they're stacking up like this so I might go to my cloning object quickly my random sorry and just modify the seed and see if I get any different results there you go see I've got a nicer for there so what this stack on the side that's not too bad there's trouble more time have a few more ticks they're getting the bottoms there do you want one more maybe two let's see what happens okay that's nice okay so I'm happy with that as is now we should modify our scene settings or our projects dynamic settings now if you press control D to bring it up or we can go to edit project settings either way make sure on the dynamics tab first thing we're going to do is at the moment if we look to me these are all falling way too fast I went a bit slower one bit to see what's going on so I'm just going to drop the timescale to 50% and now you say you see much more of the animation well that can did a nice little flip very cool and we're also going to come to this expert tab now by default I set these two defaults that's 100 that's a 5 that's a 10 if I play this now the default settings you'll see you see how it's a bit less if you've got a bit of shaky bits a bit of jittery stuff going on first thing you can do is increase this so how many solve iterations per step and how many steps per frame so I just put these up to 15 20 I mean you can go quite higher in these but sometimes there's a good middle ground it's not always a good idea to go huge like that seems quite smooth but if I say hustle to 50 and 50 you might see that it starts to get you'll slow down but it feels more erratic you see how they're all jiggling around so it's not always good to go really high I just put this about to 15 and 20 now the other thing I can do to smooth this animation out or this simulation is to adjust this scale the scale on my scene now because my audits are quite small they're about 10 centimeters in size by adjusting this scale I'm gonna improve the accuracy of my soul these smaller objects and there we go see how they sit still now they're not jittering around so yeah that's the dynamic settings and once you're happy with that so we've got all this set up you check we've got we're at 15 steps per frame 20 and maximum solver iterations per step and our scales at 10 we're all good to go so let's go to our clone object now let's now cache this animation out so we can scrub through the timeline without having to calculate every time so we come to the cache tag and just click bake object and just wait for that to finish and we've got our baked simulation so now if we scrub through this you know we can see it in real time just play oh I like that spinny can at the top we come to our camera we'll see what it looks like Oh than always I think a little slow there anyway so now we've got this simulation done let's take a look at texturing right now and how we're gonna project that text onto the cat now like I mentioned in the beginning there's two ways of doing this and I'll go through both of them one foot if you just want to do Stills and the other if you want it to animate and see how it was stuck to the cans and moved with them as if they were accidentally falling into the perfect place so let's start projecting our text or creating our material that we're gonna use so let's select a good frame hundred when it comes to rest so like 100 seems about right let's hide all the geometry our cans are colliding with like the boxes and stuff so if we hold down alt double-click that to hide it from a viewport and our renderer now we can see our cans or the texture I'm going to be using projecting onto this is this one I made earlier in Photoshop it's just some text some white black on white actually it's really dark blue and white by accident but ignore that I've just made it at the aspect ratio of my final output render just to keep things simple so let's create ourselves a material they've come into Matias redshift materials material let's apply that to our can this change this just make this UVW mapping for now and let's open up our redshift shader graph what we're gonna do is we're gonna grab a camera map node and in here we're going to load in our texture and we're gonna put it straight in to our diffuse voila now another thing I'm going to do is I'm going to offset this projection so I'm going to make a duplication of this cap of my camera I'm using for my scene just take the protection tag off it let's call this pro projection cam and let's go back to our shader graph let's select that and come down here to camera on our camera map node so now it's using that as a projection camera go back to our viewport I'm going to lock this in place make sure it's locked come out and I'm gonna take this projection camp and I'm just gonna offset it slightly and rotate it so it's not projecting from the exact point of view of my other camera so you can see it's got this saber that's a maybe a bit too much so let's let's give it a but you can see it's not perfectly flat and round like it was before so before it was looking like it was photoshopped flat on top where's now at least it looks more 3d so we just slightly offset that camera let's come back to our camera view now as it stands this is great if we want to use it as a still because now I can just I don't know I can come in here and I could just you know reposition a camera and just take photos because it needs to be animated so that's ready to go but I want it animated and I want this to stick to these parts of the can so right in order to do that we need to bake down these cans into their individual meshes and then bake UVs onto those and in order to bake those juvies we're going to be using a camera mapping tag and we're going to change it to camera mapping on here and in our texture here we're not going to be using this we're just going to be using in normal texture and load in our Rock's nest label again put this in a diffuse and as you can see it's not actually working this camera mapping tag here that's because it doesn't seem to work with render instances this tag it will work if I change this to instance get updates out in the Select camera so bitching cam there you go and change this to sixteen point nine because that's my aspect ratio so it does work like that and also we can see it in the viewport now which kind of is kind of helpful so our next step now now that we've got a cloner we've set least an instance and you've got a cans we need to make a bunch of these counts and use it to turn these cans into individual so it's sort of the first frame it does mean what we can have to do is reef simulate the thing again so it might not simulate the same way so you may have to lose a couple times and go over it again but for our purposes now he's gonna rush through it quickly so what we want to do is create a copy of this Kelowna so that's control jack drag it out of high rockin it up let's disable this one so it's not affecting our scene let's select this and let's just hit C and voila a bunch of cans now we're gonna need to mix this cache just make sure this caches empty cuz it now we have to resubmit the scene back frame zero let's just cash it straight away big object so now if we scrub through this about our camera view look there we have our cans but as you notice this is all messed up all our settings are correct but it's looking messed up in here just refresh it just make sure bigger but still if we move this it does move with it but if i refresh this you see it's back to how it was before it's not actually staying with the cans it's still just projecting onto them as they move so what we need to do need to bake this into the UVs so this come to frame 100 where we want it to rest it should refresh this you can see that's a final resting point as you can see the simulation is slightly different as well now so you might want to tweak it fiddle it find one that works for you what we're gonna do now is we're gonna bake these you've ease into these cats we slipped all these with this perspective right click generate uvw coordinates so now it's using the UV coordinates if you check one of these it's not using camera mapping and now when we scrub through you can see cans come together and bring the texture with them let me unpause this we can look at it in the viewport here let's play it builds it up let's it go well after now let me just walk you through my materials or this is make build material looks similar to the one I did for the final animation so we come to our materials here let's delete our camera map or listen update this window go to view port select frame 100 we go shada graph view now let's clap grab ourselves a material blender we're gonna have a couple of materials that were mixing together let's make this material our base material and let's grab another material select copper my favorite and plug that into layer one color now let's remove this from the color channel of this material and let's apply it to the layer one blend color and let's run this out into our surface Oh got them the wrong way around just looks quite nice now let's just switch these do the old switcheroo let's make this our base and this our layer one there we go now our base color which is this now let's make it darker the nice shade let's increase the roughness I'm what around there maybe make it a bit darker and up for my gold material or my bronze I'm just gonna give it some diffuse weight color to bring out the things I'm gonna make this like into a orangey yellow color we'll drop that up you see start to see a bit more and this increase the weight let's put it all the way up I'm a bit more red dark there you go now let's take this and let's use a bump map so let's create a bump map or a bump let's apply it to both materials in the bump channel though our copper and our map and let's run that straight in to actually just put it through a ramp node put the picture to the ramp the input texture input there you go now you see the separation the bumping between the two it's a bit high so we reduced intensity by go naught point to make it a bit more subtle so now you getting this little embossed look this base material is still too rough but what I did I used a and Maxon noise and I change the noise type to say something like I don't know let's go with wavy turbulence actually no let's do something like Pok so if you ever look at that in the surface you can see it's like this material I'm just gonna run that straight into a ramp node click it into our material which one is it this one is our brass material we're gonna put it into the roughness Channel reflection roughness look at the output of that and now we're getting these of rough areas and glossy areas but we just want to reduce the effect of that bit we want it to be a bit more rough all the time don't be ever get that shiny so this pops up here and let's bring this down just let me get some variation in the roughness on the surface and it's still too rough to smooth I mean so let's do that let's make it bit more rough up there there and also I created I could use the same sort of pot so noise here to create if I affect the scale super small here's the low clip I clip to make these little bumps and also the smaller this goes can I make these small imperfections and I could add that using some layer color shader they want let's take the bump map Rama ha ramp here just have a look what we're getting at and the output meant we're just seeing these dots but if we disabled so we've got the rooks nest there we just want to blend mode let's make this subtract or darken so we get some bump in here and we just we adjust the color like that so we're getting some roughness or the bumpiness on the cans from this and we just layer up multiple versions of this at different scales so I got another one on top of that into layer 1 layer 2 color we make this one a bit bigger so point 0 there are six enable that make that darken and reduce it so we've got some larger dots you see so we get these pitted and then we can run that bump that bubble run across all of them so if we put this back out we've got these bumpy materials this bump is still quite strong in it as well so we'll just reduce it down and it's great another material and let's apply it to our back plate and this is just gonna be the most basic of all of them make it like a dark grey there we go and no refresh no rough no reflection but lots of roughness I just realized I failed to connect this car later actually into the pot map it wasn't actually affecting it but now you can see it's a bit more rough yeah and if we go looking at my lighting setup for this we just got this dome light and a physical Sun the dome light unit just has a HDRI that I created and if you're interested in learning how to do that yourself I made a tutorial about it a few weeks ago so I put a link to that in the description so if you're interested you can check that out but yeah now we have it so well done for making it this far if you liked the video and like to see more please subscribe check out the channel leave a thumbs up if you've got any questions or suggestions feel free to leave a comment I will be getting back to all of them and if you'd like to get hold of the project prior to this animation head over to our patreon the link is in the description and that's all from me for now though thanks for watching [Music]

Channel: The Rook's Nest

Views: 16,181

Rating: 5 out of 5

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Id: pI_M0f3VTFc

Length: 27min 44sec (1664 seconds)

Published: Fri Apr 10 2020