Creating 3D Photorealistic CG Forests | C4D, Octane

[Music] yoyoyo today I thought I'd finally break down the Seoul drops commercial project I'm going to show you how everything was made how I'd created these nature cg / nature environments and pretty much the whole process of how this kind of don't know how long this thing was 20 to 30 seconds commercial you could say it's around 15 to 20 seconds in total excluding all the texts and stuff and I'm going to show you how everything was done from the lighting the texturing how I kind of built this whole forest 3d forest environment and higher ended it all out in cinema 4d and octane also show you kind of like how these liquids are done and I'll try and do it in a timely manner as possible and keep all the pointless chitchat to zero so I'm moving again tomorrow been moving around a lot this year it's been an epic year of traveling a lot of experiences and stuff so I thought I would quickly do this tutorial before I move and then I won't be able I might get busy and I might not get around to doing this that I do this quickly but yeah well break right into it so did this whole thing inside of After Effects didn't do any audio editing and Premiere Pro which is generally what I do in this time this time this actual commercial is built with no sounds so I don't need to do any audio editing this audio that's in this commercial was actually added in afterwards so I'm actually going to turn this off because you'll see how it was kind of bolts without any audio and then I only added in the audio afterwards because it wouldn't make sense if I post it on like YouTube or something without any audio so I just need to let this thing a little cash in here but I actually don't need to wait for that so the whole concept was soul drops I'm not going to explain the whole business everything but they basically wanted a commercial for the kind of soul drop bottle and they wanted it to pretty much look cool have a lot of liquids and originally was shot in like a very studio kind of environment so if I go into some of the original renders and here you can see we were playing up around with some liquid shots and studio kind of s grenda's but then they eventually said hey we actually want this in E kind of nature environment is that possible and did some test renders started to get it to look a bit naturey and then they said yeah they're happy to raise the budget to to get a better quality looking commercial because here you can see what the kind of original studio shots look like they didn't look horrible but they don't really fit the brand and then wondered some more excuse me something's got my throat there they wanted some more nature kind of shots and they're happy to raise the budget so that they get better quality commercial that also matches their brands so I'm here someone liked the original test shots of like drops and stuff and I said yeah as possible we can do some more nature environments so like some of the client commercials are starting to get now actually involve like like 3d realistic environment which is very interesting but I don't want to get into that but yeah I was kind of a cool project to take on something a bit different to what we normally do and yeah so that was a whole concept so I had this idea of like a droplet falling onto a leaf basically rolling off and falling and then falling into the into the soil drop container they this was one of the original test shots of the liquid kind of swelling in and they really wanted that so they kind of wanted to just transition from a drop into that swelling liquid but I was like yeah it's kind of too complicated also you know deadlines and stuff didn't want to make this thing take too long I just wanted to get it to look good and have it done so just having a cut from there today it was fine like it's not a huge issue if it just cuts from there to there I'm rather than having the littlest droplet trying to figure out how to form it into a swirling liquid that just yeah the pain so it's fine to just cut it and then have the liquid swirling into thing and then rotate and then they also have like a different light they have like a multiple lineup so they're different light versions of those products products so here they wanted to show it like coming out and reviewing in some way had this idea of like just having them pop out the back there so now we can break into the actual so that that's kind of the structure of this commercial and how like what how the scenes to kind of just like put together it went through like lots of variations and stuff but it ended up with pretty much this so I'll let this whole thing cash in the background and we all start to get into the actual 3d scene files so I think this one is the most important one because this involves every single elements that these first three scenes have and I can kind of dive into every single element as as quickly as possible so while this is caching the background will dive into the scene 12 here which is over here while it's also caching in the background we can start bringing in some assets in here so it's actually a little bit slower while it's caching and I don't really need to think that I don't think we really need to see any of this played back because it kind of saw what the video if you really want to check it out the video is already posted on my channel there link will be in the description and I might have played this at the start of the video I'm not sure but yeah we don't need to watch that again so you can see if you look at the actual scene it's a very simple looking scene from the outside it's just made to look like there's a lot going on and technically the kind of is that you can see the actual scene is not this huge 3d mapped kind of environment it's just like the small it's just contained in whatever the camera is actually going to see don't have all this like trees and stuff in the background that's not gonna be rendered and so we can start up for like the scene assets so where we got the actual like rocks and all that stuff from so we got it from mega scans quick slow mega scans helped out a lot in getting us the kind of forestry kind of assets it's very simple just download the the actual like 3d models from there and then you just need to have your own knowledge of like how to apply the textures and materials and how to kind of build them so that they look realistic which is for the most part also very simple I've done a few tutorials on like plants and bolding nature inside of octane as well and I pretty much who's used those same principles so as we let this thing kind of go in here so here we've pretty much just got like a kind of tersh h 2 RI h da riser got from h TR haven so i'll put the links in the description for that as well it's H Dora Haven and you can get like these free kind of nature HR eyes around this one's around 8k resolution and then we've also got like a sunlight coming in so I think I'll structure trying to find to think about the best way to structure this tutorial so I'm not jumping all over the place so I guess we can start with the nature elements because I'm sure that's what most people are interested and then we can do lighting and all that stuff so here you can see it's really just like a few objects kind of duplicated in different places so here I've got like my scene elements so we've got like the Seoul drop which is basically it's kind of hard to see but here we've got the Seoul drop which is basically the the product then we've got our scene which is my real flow liquid scene which also get into the products again and then the whole environment which is all under one North yes so if I just solo this whole environment you can kind of see what this looks like in the viewport here I can kind of get an idea of where everything's placed here is the little stump that the thing sits on and then you can kind of see it wireframes away all the kind of plants and rocks and all that stuff are so I'll just show you how one of these things has done and pretty much the same technique will be applied to everything so we'll pick a like a leaf here so here's a leaf and the same process of texturing is applied across all these pretty much so here we've got a leaf like so so there's still some showing in the viewport because it's done through octane scatter and I don't want to turn things on and off and then forget which ones are turned on and off so you just kind of have to try and pay attention to this little leaf over here so maybe I can lower the background a little bit and then okay so here's our leaf that's isolated so the texturing for this one is you just have your you just take your your object and I just added a little bit of a subdivision onto its just to smooth out the leaves a little bit so it's just very subtle and some of the leaves kind of had like little bit hard edges so if you look very closely I'm some of those like as an eye for detail you'll see like the leaves kind of like bend in a very hard way kind of see the polygons in the actual leaf so I had to like just move them out very slightly so I give it one subdivision level it's a subdivision surface and then it basically just smooths out the leaves slightly and made it look better and then once you get your asset from wherever you're getting it from I got my leaves from crystal mega scans technically could do your I could have done like my own models for like the leaves and all that but that just would have taken way too long don't have time so got the assets from the body source just get your model from there and then all the leaves and stuff will be UV mapped for you you just need a basically plug in the normal Maps the bump maps the all those maps in the right places so here we just put in our diffuse map in our diffuse map spot you apply it to your material then our specular I just left on one you also if you're dealing with like thousands of little leaves and stuff and a lot of different types of plants that are like 4k resolution you don't want to have too many textures and you've seen depending on how much GPU Ram you have or depending on like it depends on your renderer but if you're using GPU rendering a lot of people don't really have kind of hard way that I have so you might want to limit the amount of textures you're using and the resolution of your textures even I didn't want to have thousands of textures in the scene so I didn't actually put in like a specular map or roughness map I just made the specular one and made the roughness 0.3 it's a it's a bit easier on your PC you don't have so many textures going into around that way otherwise technically you could have a bump map perspective the map and a roughness map but in this case I didn't have that all I had was a normal map and a glossy matte or and a diffuse map or albedo map whatever you want to call it so there's really only just few textures in here and that's pretty much it just a glossy material so the right technical way to kind of get a photo lura sztyc photorealistic looking plant is you have a diff you have a glossy map which is your very shiny kind of reflective plant and then you also have a diffuse map and the diffuse map will have a transmission and the transmission basically just allows lights to pass through the leaves a little bit and scatter in the correct ways and it'll make it look a bit more real but in my case I didn't want to have thousands of textures and I didn't want it to the render times to take too long because they're already kind of long for the project so in my case I actually decided to just have it just one glossy map you don't have to have five different textures for one little plant otherwise that all just yeah the render times will go up and if technically it didn't really look that much better and from what I saw like it would there was a little bit of a noticeable difference but it didn't necessarily look better so I preferred to have the render times lower less textures less clunkiness in the scene and just having it just look good and I still look good so didn't do that for all the textures all the textures are just glossy maps so even if I go and select what one of these leaves here you'll see it's a glossy map we've got our color map and then just a normal map there's no roughness map doesn't respect you the map and that's all we have so that minimizes all the textures so you can see this is all the textures of the whole scene and half of these so all of these here are just for the actual salt drop bottles so yeah so that's pretty much just for for all the kind of leaves and stuff how they were kind of textured if you want to know so yeah so these leaves are just kind of placed in different spots for compositions sake so how different here you can see these multiple cameras here which is basically just testing out different camera positions which one would look at the best for the scene in terms of composition stuff here we have some lower angle ones some higher angle ones some with like the leaves kind of curling around and we have some wide-angle ones and like some more compressed kind of camera angles basically just different variants and then some from the top and sides and all that basically just testing out which is the best kind of look but for the most part the the leaves are just kind of pace placed around for the best composition so if we looking here we've just got some leaves going around the little stump here and then some on the sides here as well just so if I go down to here here you can see we've kind of got like our whole focus is just focus on these bottles so here you can kind of see like there's a little bit of a little bit of a circle here going kind of with the leaves here so there's no like blank space here and there's no blank space here or there's a little bit of blank space but that the idea for like the composition of everything is that you just focus on here don't get too distracted from everything it's the background and that's where the focus should be so that's kind of a quiet place all the plants and stuff so for the most part these plants are just kind of like hand placed in different places and the only thing that's not really hand placed is the scattered leaves on the log here and let's just use doing octane scatter so I just need to wait for this thing to update when you're dealing with like a lot of textures and stuff it may crash or just may fail to update when you like certain program stuff so for these I just use octane scatter to scatter the leaves pretty much pretty basic so here if I go into the leaves leaves these leaves like flour 1 2 and ground plants let's solo these so here we've got a grand plants and then our lives on our log and we've got two different types of leaves on the log just add some variation and to get like this variation and size and all that I literally just used a scale a noise in the scale and that'll just give you like these little patches here so okay that the background is too blurred but if I'm looking from if I solo these these three and I also solo the log like so so now you can see this kind of like patches going on in the log and that's literally just used using one little noise shader which will kind of give you like this variation and size and all that and the noise shed is also in all the leaves and then same on the ground plants just scattered some leaves on the ground and then you kind of get this kind of look here so here you can see if I'm like looking at a camera like this is so messy you can't really see what's going on which is why the depth of field obviously helped isolate a lot of things and this would be way too noisy if there's no depth of field you your eyes would be looking everywhere so the depth of field definitely does help you focus on the product and not like on what's in the foreground or what's in the background and stuff like that so yeah so a lot of these leaves here just like hand placed all of these leaves a hand place and then just on the log EMA on the ground the Sun like scattered leaves that's around here and you pretty much just put these leaves on like a plane and just scatter them around and you just want to make sure that you kind of constrict you want to make sure that you're scattering and putting stuff in what your camera is actually going to see rather than having like a four thousand centimeter plane with plants scattered everywhere that you're not going to see I just only had them in this little small section here and that's pretty much all the plants that are being scattered around so there's quite a lot of plants but they're kind of low resolution in terms of polygon count they're like very low polygon count and the textures are kind of low resolution as well so if you look at these texts these ones are only 2 K because they're so small you don't really need to have 8k texture resolution on things that are going to be blurred out firstly in the final render and secondly are very small so having them at 2k will help your RAM help your scenes load times and stuff like that and may help your render times a little bit as well so having them low resolution like that helps so that's kind of like how all the plants and stuff were kind of place down so and I kind of went over the texturing of how the plants are done it's just you just a diffuse map and a normal map and then the glossiness and the blurriness of the gloss and the blurriness of the reflection is pretty much just adjusted to however I think it should look and how it looks better so lighting wise we've just got so if I go and solo this around here we've just got a sunlight not really anything special with the settings here and then just got a skylight a HDRI that's helped to mix the mix the sunlight together just to give us some more accurate kind of lighting in terms of render settings I just went for thousand samples and if you zipped with five anything higher than that I didn't have a noticeable difference same with the specular depth and then my GI clamp I clamped it down to zero because when I was at 100 we're getting global illumination that wasn't necessarily making the scene look better and it was just introducing fireflies and stuff which was kind of a problem and around a thousand samples was the perfect it's kind of sample count for me in terms of the rendering if I went higher I was actually getting artifacts and the rendering sometimes you'll start to see like little specular white dots coming out and like starting to render in and it would actually start to look worse and I was a huge problem set it's actually kept it on a thousand and yeah I didn't really have time to make it like 8000 or whatever it needed to be so these artifacts stopped appearing and yeah I was it was just like time issues with having it any higher and a thousand was the sweet spot and that's what worked so then we've got I got a depth of sampling which is just kind of fine Tunes to I kind of test it and find it tuned it until any part any time something was rendered enough it just turned off and then it could just focus the rendering my pots that weren't being that soul needed more samples pumped in and that's pretty much it and as usual for our settings here we've got a linear kind of color we've got a like linear kind of setup and then I just kind of boosted the excursion here just to make it brighter because a little bit dark and then the white point I also just little adjust just did some white balancing a little bit an octane because it was a bit off and I just needed to be a little bit down there and then I also did some hot pixel removal which I don't normally do but I was getting some hot pixels which was such a pain to try and get rid of and this honestly was just like an easy option to get rid of them and it kind of works so I don't normally do this at all but in this case you know you've got like a whole jungle rat you're trying to render and stuff and it can take a while to render so that's that just solved a lot of problems rather than my cowl renders like four times as long trying to get those rid of those Hawks pixels so it's pretty much the lighting the texturing again explained it just like a diffuse map and and all that you just need to get your well in our case we just got our assets from mega scans you import your geometry you apply your textures onto the geometry and you just scatter them around and place them in the right places and then you just need some accurate lighting you need path tracing or some kind of ray tracing methods to to get like if something that looks more photo real and then you just need some optimized rendering to to make sure and obviously some good GPUs would help and then you'll get some pretty good-looking renders so that's pretty much for that and then we've got our soul drops so the product parts the parts that we specialize in good times so if we look at the Seoul drop here or should I actually move a little bit further forward there and inside of this one instead since this is just a single one of the things a little bit slow here sorry I think it's loading in the liquids cool so this is very basic I've done like a lot of tutorials on like how to make different types of products and I've made different types of cylindrical shape products into different tutorials so it's again just the same formulas this is a very simple product to do I've done essential oils before and the essential oils are pretty much the same kind of shape for this so it's just like a cylinder for the lid and then got like cloned cylinders again to go around it and then we've got like a little in a droplet piece here which is basically like the droplet where the liquid comes out that's what that looks like then we've got our label or our graphic and then our gloss gloss again it's just a cylinder over here and I've used a display display tag just to make sure that it's easier to see in the viewports because the poor performance was kind of important and like being able to see what's going on a jungle scene so I just turn this on made it easier to see and then we've got our label here I've done like lots of tutorials on how to do this very very basic stuff so the only thing here is we've our actual gloss is a specular material with some Tron's mission going on here so it's a little bit dark so you can kind of see through but can't fully see through just to add that little extra for realism so I could have gone with a glossy material here it probably would have looked the same in this section here but here if you look at the bottom here you can kind of see some light reflection or refraction going on because it's a specular material so here you can see how the light is kind of reacting zoom in a little bit here the light here is kind of reacting and it's a little bit brighter here as a kind of glass actual specular material would behave if it was a glossy material it would be a lot darker kind of like this or even like this little corner here it's kind of dark but as soon as the light hits you can see some some reflection and refraction going on inside the glass which gives that extra photo realism and it goes a long way when the final render comes out this little extra photo realism goes a long way it actually impacts the rest of the whole scene and yeah makes a big difference so that's why we opted for the specular material for that and then here it's just a normal label map done like los toros on that pretty basic stuff so that's pretty much how the SOL drop thing was done so for the rest of the texturing of this just like glossy materials just a black glossy material literally nothing else in it no scratches fingerprint marks none of that fancy stuff it's just basic materials and looks clean looks good and gets the job done so we've gone over most of it here you can see the kind of viewport is kind of optimized so that we can kind of see what's going on the best before when I didn't have all these things applied like the these different display tags I like these leaves and stuff Alysha currency was going on in the scene and was very hard to kind of animate the camera and stuff if you just saw geometry everywhere and it was kind of hard to see so that's why I kind of like a Diddy's displayed size and the bottles and stuff just so it's a little bit easier to kind of see what's going on so that's kind of what I did for the viewport optimization so next is these leaves before I forget I'll do the a lot of people kind of wondering how the leaves are kind of like waving about like the winds I want to do that first because I probably forget and for that we just use different kind of turbulence and random effectors and applied them here so here I've actually got a corona which I called a wind vision realization wouldn't visualize there this phone is actually not what gets rendered it's just for visualizing the wind because you couldn't really see it well with octane scatter and with octane scatter as soon as I made the objects visible and turn them from lines to objects the viewport slowed down a lot so I had to make a separate cloner just for visualizing how the leaves would move and once I got a idea of how these leaves would move I knew that the rest of the leaves would move exactly the same and it would look good so here you can kind of see that the leaves of waving around a little bit and to do that you pretty much just take a random effector here I renamed to turbulence but it is a magrav random effector that I just renamed turbulence and instead of changing instead of having it on random you change it to turbulence and that'll actually change it to a turbulent effects something that you'll get in like simulations so here if you go into your particle dynamics you get turbulence it has the same effect instead of just randomizing things and giving them random points and rotations and stuff it actually adds a turbulence effect which is kind of what you'll get here and then you can apply where you want the turbulence to be do you want it to be in the position you want it to be in like the scale or John it's being like the rotation this case we just change it to a rotation had it like 15 by 15 by 15 so just rotates 15 degrees in each direction and then you just turn turn down the animation speed to a small amount so here it's on a hundred percent turn it down to four you get this kind of slow kind of wind breeze coming past and just turning on the scale so that's also rotating and smaller scales on them like they're not all rotating and once together so now they're all rotating like in smaller scale which means like individual parts are rotating more than just like all of them rotating at once so kind of what you get here so that's pretty much the wind effect for individual leaves that one's a little bit more taxing on the on the viewport so this can be a little bit trickier on the viewports because in this one instead of rotating or I might be wrong let me just check okay so this one was changed to object I thought I rotated actual polygons applied as the polygons but here we just took a turbulence modifier because isn't affecting mograph Kona's this is affecting out for objects you need to create a random effector change it to turbulence and then under the formants that are having it off off you change it to objects so now it's gonna affect any objects that is this turbulence thing is under a group or if the stab you lence is under an actual object a child of an object is going to affect that individual object like here it's affecting this object but if it's in the same group as an object or same under the same null as an object it's going to affect all objects in there so here it's only affecting these four it's not this turbulence modifier isn't affecting the rest and yeah so like here if I'm playing this you can see that all of these leaves are kind of waving around and I just have like these turbulence modifiers apply to individual leaves depending on their scale depending on how they're interacting with cameras um if it's getting away in the camera I might have it rotate less or rotate differently so yeah that's pretty much it so here we've got some flowers that have like their individual turbulence underneath here this is only affecting this flower and like the same as this one this is only affecting this flower and that's pretty much just how you get the wind effect to going you just have like random effectors which you change to turbulence and you just kind of need to apply the properties to make them look more like wind so that's how the wind effect is done for the forest now the liquid yeah so this liquid was naturally not done in the scene I did the scene and animatic 9 so if we go into number nine here and then solo this [Music] here we've got some liquid bank this was done in realflow inside of cinema 4d so pretty much this got an emitter an emitter we've got a noise demon here which will kind of so yeah so we've got an emitter and we've got a noise demon which will kind of break it up so here you can see how the particles are breaking up into little pieces and kind of splashing around that's due to the noise demon we've got our D spline here and I've placed a D spline going in a straight line the D spline basically we'll just rotate this liquid so here you can see how the liquid is rotating it's gonna apply a rotate of force to the liquid which will make it rotate and it's more visually interesting than just like one streamline of liquid just pouring down and then the noise demon obviously here is busy breaking it up into little particles here and then we've got a K volume which will kill any particles that go in to go past this point here basically just saves on your end time and your simulation time and stuff like that because this is where the inside of the bottle will be you won't be able to see it hence here so it's you you won't be able to see anything past that so kills that and that's pretty much it so for the fluid it's just like a normal PB d fluid 200 resolution the scale is pretty high so everything in the scene is kind of scaled up by quite a bit so you can see how small a one by one cube is 100 by 100 cube is compared to the size of this bottle and this is the size of this bottle is not real-world scale in the scene just because the liquid looked a lot better and it's just easier to simulate and higher kind of seen scales and yeah we kind of wanted this huge kind of wavy kind of look rather than this little droplet coming out so you increase the scale and simulated it this way and yeah just cache it to an SSD you can pretty much just copy your scene and paste it in your other scene here and then just reduce the scale down to a normal scale here so you've got coordinates like reduce down but quite a lot and then just place it to the right place so now we've got a normalcy scene scale so everything else like this bottle and everything is now modeled to scale and this is a correct scene scale and we just really made this thing smaller to kind of fit in the scene here and yeah so because it's cash to an SSD we just need this new scene file that was copied in to just read off this cash and then oh whatever I go back if I go back into the scene and change the simulation and cache it it'll update in the scene and solves a lot of problems so terms of animation we've done our wind animation and liquids now so the rest of the animation we've pretty much just got for our camera the cameras are the few just starting in one place it's zooming out and then it stops and then that's all for the camera motions to shoot just to camera zoom out that's kind of smoothed out at the end and that's it the rest of the animation so we've got liquid coming down which I just kind of describes and then we've got our lids coming down again just a simple keyframe going from up down today and it's also got like a little bit of screwing motion which is a little bit hard to see here if I can find a different type of you maybe I saw frames nice appearance so it's a little bit easier to see with the rotation so here it's just like a little bit of rotation it's kind of hard to see in the render because the motion blur and all that but it's got a thing screen on and then we want these things to come out the back and the reason why I turn them off here is because you can kind of see the shadow you can kind of see like the shadow of the rest of these things behind and I didn't want that to always show in the render so here there's no shadow of the rest of the four bottles behind it but then here they fade on so here you can see the shadow is fading in and that you can fade on just using like a visibility visibility thingy whatever this thing is called visibility tag in the octane tag and you can literally just keyframe it to go from general visibility zero to two one and you can fade on the actual shadow that's busy coming on in the back here so here it's kind of fading on like that and then once the viz once they're all visible in the back now they can start to just move out and again just keyframe animation done tutorials and streams and like keyframe animating it stuff like that pretty basic stuff so here they're just kind of key framing out one by one so they all kind of have the same animation they're just at different times so this one's animating than this one then this one then this one and that's it and then the rest is literally just the wind moving and a little bit of motion and that's pretty much it for for the scene so kind of explained everything the lighting the texturing other plants were like kind of done and the texture and how the textures apply for that explain the liquids and yeah that's I guess that's the that's pretty much how it's done so this scene a lot of the same process is just applied here so just have a log in the background and some new color on top then we've got like a couple of bushes in the back here and then we've got our leaf of course so let me just get out of the camera here so here we've got a log just got a log with some leaves cloned on top again log and the plants or four mega scans and then we just gather some leaves on top and then here we've got a leaf which I got from polygon because the mega scans library didn't have any high resolution leaves textures and I used something like 8k resolution and they didn't have anything at that resolution so I got the sleep of polygon aka resolution leaf and if you want to know how to apply this kind of texture onto a actual geometry and stuff I've done a I've done plant tutorials on like how to do plants and forests inside of octane and it's the same process there how to apply a leaf on to like a polygon and stuff same process with us pretty much I was UV mapped and I just used like a bend deformer to bend the leaf and use some of the geometry of the actual leaf to bend it so that it's more the leaf shape so like this just takes like a lot of references you have to like google references of leafs and and things like leafs and forests and droplets on leaves and stuff like that just to see how a leaf is shaped and the new shape it accordingly and for the texturing for this one this one's a little because it was more up close and more detailed look I had to kind of go a bit more complicated rather than just like slapping a texture on it so here we do have our diffuse map without translucency transmission in it and then we've also got our wet or a glossy map with our diffuse you know speculum in the map or roughness map we've got our normal map here and then you kind of just mix those together and then we kind of mixed our reflective glossy map with our diffuse translucent map so we do have some lights kind of coming through here here you can see how the light is going through the leaf and gives it more of an accurate look and more photorealistic look and yeah so because we're because we're close at a closer look you have to add in some more details versus if it's just in the background and blurred out so you have got different camera angles that originally tested with and I believe this is the one that we finally ended up on so I don't think we have any bump or scratching Maps and here don't think I did that and so yeah that's pretty much it for the for the lighting again just used a here we just used a sunlight with h2 right same as the previous scene that I just kind of described and broke down and then for this liquid drop here so again now this one is actually done in the scene so this one a little bit different you just have a sphere as your actual emitter down in realflow once again and you're you just have a sphere as you matter and you literally just let it drop and then on to the leaf here so here we've got our little leaf here and we've got a some tags so we've got Collider tag just to make sure that we've got so that this thing will actually collide with liquid and then we've got a sphere which is our emitter so this is now filled with liquids like so and then we just let gravity some drag or air resistance let this thing fall down and then we've got some surface tension the surface tension just clumps it up and gives the whole thing some tension into like one big ball so if you have this that are really high rate like eleven thousand for example this will make sure that this stays in one drop and the particles don't break up into little pieces stays in one drop so this is pretty much how you do a drop inside a real flow you just have a lot of surface tension and of course the surface tension you need to kind of adjust your actual sub-steps and stuff to match that we're off loes complicated it's not a real photo tutorial so can't really go into that but yeah you just need to do that and then you just let gravity in the rest do that so here this all takes tweaking depending on your scene how fast you want to fall and all that but here kind of just adjusts a lot of things like the surface tension the amount of drag that you get and the actual settings on the leaf is Collider so the actual friction and stuff to make sure that this thing interacts like a real droplet and also falls at the right pace because if this felt if this thing rolled up too quickly excuse me this thing rolled off the leaf too quickly it would look wrong and if it kind of landed and splashed or bounced or whatever it would just look wrong so it kind of need a lot of tweaking a lot of knowledge with like liquids a lot of references and a lot of knowledge like things like real flow and stuff to understand how this works and then just have this thing rolling off yeah again different variations of how this thing looks originally it was just like kind of a ball and then it kind of like was more of like a liquidy flat kind of thing and then eventually just got like a bit of a mix of a liquid ish kind of look and a bit of a mix of a kind of droplet balls and yeah so then yeah this is literally just gravity letting the leaf fall off and then it falls off so this is just a whole simulation then I looked at references of droplets falling of leaves and I noticed that at the end as the weight of the leaf comes off the the zero reaction again like every thing every opposite reaction as in reaction I don't know what the saying is but every time a droplet falls off the leaf the the leaf because the weight is all pushed off the leaf kind of goes up a little bit so this leaf is actually hand animated so we've got a turbulence modifier again just to give the leaf a little bit of wind like everything else in the scene you don't want the leaf to just be sanding so it wouldn't look real and then the leaf itself is also hand animated so that the leaf just like pops up at the end so here the leaf is hand animated to rotate down a little bit and then you just use like some curves in your actual you just use curves in your actual timeline here so that it looks correct and then as the weight of this drop comes down to the bottom this thing the leaf will wrote will rotate more and then right at the end there's a little bit of spring force of the drop coming off and then this thing will go up a little bit so that's kind of how you get this kind of look of the leaf it really sells the effect of a leaf being on the other droplet being on the leaf because there's actual weight to it rather than just leave just standing still it wouldn't look real so this weight factor here really sells the the photo realism and the actual weight of the leaf coming off here so there's a lot of other things that Casella like I could add like little rotations of the leaf and like the leaf kind of waving a little bit more and like looking better but yeah it's all relative to how much time and like how much effect you'll actually put in here just a side note so these little particles here are just done inside of After Effects so just particular just add on a camera and add some particles and you get these little particles waving around so I kind of just adjusted the rotation and the air resistance all that to mesh particles again you just need like a lot of knowledge and a lot of experience in like in this kind of stuff to understand this if I did individual tutorials on how to do all of this it will take forever so a fortunately I can't like show everything specifically hi wreath as well setting those tweaks again with a flare she's just done with optical flares and then you supply it with an overlay and the optical floral says a little bit of rotation and stuff and yeah so this is all just like leaves rotating in the background and yeah so here you can kind of see the bokeh is actually small and then it goes bigger and the reason why it so this is all all of these little factors add to the photo RISM of it it's a lot but the reason why is because this little camera is actually keyframes to focus on the leaf of focus on the droplets here and as the droplet goes down the focus point moves from there to the actual droplet so it's not just staying there and then the droplets in barriness it's actually move so here you can see the focus actually getting bigger because the focus point is moving and that's realistic that's what it should look like and here you can kind of see these particles kind of blur and fade out as they get further away and it's kind of matching the bokeh of the leaf and the CG scene and all that all these little things are kind of like adding together to make it look further istic and the droplets off also looks good because of the type of lighting here you can kind of see we've got like a shadow of an actual leaf on this leaf little details like that will add to it so you've got we just got like another leaf on top here which makes a shadow creates a shadow here so here if I just bring in my plants it's got like a leap this leaf is just crossing a shadow on this one just adding a little detail to that and then here this bloat this motion blur is actually done with After Effects I decided to do an After Effects because I'd rendered in octane and it didn't look good it is kind of a little bit more accurate but it in the end it didn't look good and it just made things worse and it kind of took away some of the detail at least here if I didn't in sort of auto fix with real smart motion blur I still got the detail here you can see this this thing is finely detailed very well a lot of detail and applying the motion blur on top you still get the detail and so look at the motion blur and it still looks phenomenal doing this out of octane actually looked worse so I did inside of After Effects I tested it so so yeah so that's how the droplet was done here you can kind of see we've got like little grain in here so to add some other realism I did some color correction here a lot of stuff going on so here we've got brightness and contrast to brighten it up the scene is a bit underexposed so brightened it up added some noise and this noise just add some foam grain onto it basically and that'll simulate the effects of a camera also hide some of the artifact artifacts that you'll get but it does make it look more real because it simulates like what a camera would look like so noise as much as like this perfectly Keane render also add some stylistic stuff and all that sharpen it a little bit just add some sharpening make it look a little bit more finely detailed high resolution even though it wasn't really necessarily and then some curves just to add some color grading here so adding some blues and the in the blacks and then a little bit of a vignette to make your eye focus in the middle some levels again just like different little stuff and then some here in saturation to actually desaturate the image of it because there's a bit too saturated where it look kind of CG ish and faked and I actually need to remove some of the saturation excuse me to make it look more real but but yeah then I'm just trying to think what else is next cuz I also kind of have to go now so yeah pretty much explained kind of that scene this scene is very simple it's just like a droplet falling down originally I actually simulated this and then I decided here I could actually just have a sphere falling Oh animate it down so this is really just a sphere going down and then because I wanted the background to be motion blurred actually rotated the HDR I instead of yeah I actually rotated they should all right here so here you can see this this HTR eye is actually keyframes but it's a little marquee here and it's actually the wrote the HDR is rotating the ball is falling down with a camera so here we do have a scene with all the stuff in I could have removed everything but it actually had no impact on the render time and I probably would have saved more time just like rendering it out then the way it was then trying to optimize it all that so here the camera is moving down but to get this thing to move the background to move with it I actually had to rotate the background otherwise it wouldn't look like it it was falling so I had to rotate the background so there was falling so it looked like is falling and then here this little effect here this little addition of here you can see the foreground coming up also adds to to to making it look like it's actually falling down correctly and yeah and here again motion blur down on After Effects because it looked better that's not a reason why adding it inside of octane did blur some of the reflections in here and also yeah it I didn't really like the way it looked yeah so I just added this inside of After Effects it was quicker and in my personal opinion it looked better so that's why I did that so here we've got some color grading again so I've got like just a background or just a just a basically an orange layer applied to give it like the stylized look got a flare just to give it some of that glow and that Sun flare in the back make it look more like a real Sun shot because and real camera is kind of that give this like overexposed look and then some just call it in that also had in the first scene just to add some color to that so this kind of one looks like when it's soloed and then applying the filter and then there's the flare and then the CC color correction and and that's it the only thing that I didn't like about this this year you can see that HDR eyes kind of there's a hole on the top and that was really biting me but I couldn't find a way of fixing that just at the time I mean I'm sure if I really went to look now I could probably solve it but at the time I just couldn't find a way fixing it and I didn't think anyone else would really notice so that was the only thing that kind of bugged me and annoyed me but other than that look good the scene again it's just the same as the scene that I need to break the scene down and the scene is just falling down the one neat thing I did in here is I actually had the camera inside of the particles inside of AutoFix also animated with the CG seen so here you can see the particles are going in and out of focus as the camera in the CG scenes moving so here particles go and and out of focus because this thing is kind of in focus here and it needs to the particles that are applied on top inside of After Effects need to match the focus point of the 3d scene so in future it's probably will be better to just do this particles inside of 3d and to solve this issue but here I did a good job of animating these particles so that they the depth of field and in a out-of-focus match the actual 3d scene here so as this droplet goes down this particle starts to come in focus because this droplet is part is passing the particle technically so here it goes down passes the particle and the particle goes I was out of focus because the droplet has not passed the particle just little things like that all add to the photo realism and then here we've got some leaves waving again just a turbulence and then it's pretty much just falling down into do you think so this is just a drop test keyframes from here down to there a linear keyframe and that's pretty much it so yeah those little details like this this particle just going in and out of focus they all add up in the end and the cut to the scene here again we've got little particles floating around so this was all done in after-effects here we've actually got some wind going and it's also moving according to the animation of the 3d camera so all of these little things just lay it on top add to it here we've got like a little flare so here is kind of like a more Sun Street kind of flare applied which gives it like these kind of like sunray streaks which kind of like added to added to the whole look and they're also rotating I believe and yeah so that's a lot so this is actually if 3d camera flare applied inside of After Effects which is moving with the 3d camera applied inside of After Effects so this 3d camera is a composite in After Effects and it's moving through the so here the camera is moving through the flare as the camera in the CG scene we've out adds all that depth as all that realism to 3d rather than just like a 2d flare stock up on and then camera zooms out to as the flare is zooming out so you can see like some little lens effects going on and like as the camera zooms out the lens effects kind of pop on the screen the lens flare is kind of moving a little bit as the camera moves and it's also a little bit of flickering of the lens flare a lot of detail kind of just got composited on top and then of course we've got our CC which has a camera grain and I'll color correction apply it so this is what the actual CGC came this is what the actual 3d scene looked like out of render doesn't look looks okay doesn't look as great but then if you add on these little details and all these extra subtle details like the particles and the flare and then our CC color correction all adds together to make it seem like this so in this case this scene was the only scene that was I think rendered rendered the motion blur inside of octane the scene had a lot going on and and it's I would rather have it rendered an oxen so that we get a photo is we get an accurate motion blur if I apply this inside of After Effects it would have this treatment there's too many moving parts and the artificial motion blur applied and off to fix would have looked incorrect in some areas and here you've also got things like translucency and all sorts of stuff and if I applied in on top inside of After Effects you wouldn't get it accurate the way it should look so this is the only scene where the actual motion blur was rendered out inside of octane render and gala is pretty much it so hope you enjoyed I think I've explained everything else if you have any other questions unfortunately I can't do a how-to on every single thing inside of this because it will take too long but that's pretty much an overall breakdown of this project so if you have any questions feel free to leave it in the comments this project file if you want to download this project file it's available on patreon you can also get my free guide in the link in the description on like how to create more professional projects and like how to optimize your projects so your render times lower and your viewport speeds are higher and pretty much a lot a lot of techniques are using this project to kind of explain in that but if you want to download this project file with all these things and all these elements and stuff so you can kind of take a look at how everything's done it'll be on my patreon page I uploaded it there as well with another eighty plus another eighty plus project files something like that and I hope you enjoyed leave a like if you did and subscribe if you want to see some more and I will see you again if you have any questions anything I may have missed feel free to ask in the comments I'll try and get to it and John I have a good day I'll see you on my next video and goodbye [Music]

Channel: Arthur Whitehead

Views: 48,444

Keywords: Octane Texturing, Cinema 4D, Cinema 4D Lighting, Cinema 4D Texturing, Cinema 4D Modeling, Octane Render, Octane, Octane Tutorial, Realistic Rendering, Photorealism, Photorealistic Rendering, Cinema 4D Lesson, Cinema 4D Product Tutorial, 3D Animation Studio, Freelance 3D Artist, 3D Animation, Octane Advanced, 3D Forest, Photoreal CG Forests, Realflow C4D, 3D Jungle in Octane, Nature in Cinema 4D and Octane, 3D Liquid Simulation, CG Fluid SImulation, Photoreal 3D Environments

Id: _-1aoCOShX0

Length: 56min 43sec (3403 seconds)

Published: Mon Jan 13 2020