Daily Render Cinema 4D & Octane (Full Tutorial)

hey guys welcome back to another video today we're going to be covering how to create a minimal daily render inside of cinema 4d and octane let's get started so in today's video i'm hoping to cover some of the more practical tools and aspects that cinnamon 4d and octane have to offer we're going to be building this scene from scratch modeling everything ourselves and texturing and importing everything ourselves i will be using quicksole for today's video but feel free to use any other asset or texturing service that you use in your regular renders the only reason i'm using quicksole in this case is because we're going to be exporting directly from kwixel into cinema 4d and octane inside of the octane node space so i'll be showing you how to set that up as well by the way guys if you're interested in creating art inside of cinema 4d in octane you can check out my octane render master class in the link below we cover everything from the very basics such as sampling to building large complex scenes this is a class that i just finished updating it's the third update of the class every update is free to all artists who have purchased the class so feel free to check out the link below and we'll get started so guys like i said i'm recovering some of the more practical tools inside of cinema 4d and octane and one of the more practical tools inside of cinema 4d is just learning how to model learning your basic modeling tools and the basic ways to model just a simple room and that's what we're going to start with so i'm going to drop in two cubes i'll name one a and then i'll name the other one b now there's probably a ton of different ways to make a room with a doorway but this is how i've come to do it and i like to do it through booleans so i'll drop my a cube in and my b cube in as well right now we have a subtracts b they don't need to be named a and b this is just for me organizational purposes so i'll make our b cube bigger right here and then what you want to do is you want to make sure they're different sizes there we go and then i'm going to reverse this order there we go so now we have what we're looking for so i want to do is cut out a doorway just a doorway nothing else we'll cut out the room after this so i'll find my a cube and i'll bring it forward and there we go we should be getting a doorway except it's on the wrong side so i'm going to pull that forward right here great so this is a little too big and what i'm pulling reference from is actually a terrarium or type of museum what i really want to do is create this doorway that's kind of leading to another world so what i'm going to do also just to make sure every time i'm modeling i like to work in some sort of scale we'll have a person right here and this just helps me make sense of the scale of everything so for creating a doorway you know we don't have to dial it in it doesn't have to be perfect but something like this might be a good start i'm going to change our camera angle a bit let's go let's move up some yeah i like that a lot right there i want this doorway to kind of be intimidating so what i'll do is i'll grab it and bring it in a little bit and up don't worry we'll be able to change this later and then what we'll do is we'll take this other cube our b cube which is the room and i'm just gonna make it much taller and this is because we're gonna fill in this space and we're gonna want a lot of lighting to bounce around so i want to have this nice big voluminous room to kind of impose that feeling that there's a lot more behind this doorway than what you're just seeing what we'll do now is we'll connect objects and delete so there we go now we have our doorway what i'm going to do is pull in another boolean so i'll pull in a boolean right here and then i'll grab another cube let's see and we're going to do the same thing i'm just going to name one of them a and one of them b we'll do our original one as a and our secondary one as b actually well it doesn't really matter but i'll name that for that but i probably should have switched them just for organizational purposes there we go so now we have this cube subtracting from this other cube so i'm going to pull this up right there and look at that we're already getting this room kind of blocked out will make this much bigger so i do want this to be contained within the room itself and that's why i'm using these different views right here so if i zoom out like that and then pull this down i want to stay within this box because i still want this room to be intact there we go that looks pretty good i just need to make it wider now to fill up more area inside the room yeah and now we have this nice uh space inside the room and we have all the corners and sides intact still that looks good so we'll connect objects and delete so left click connect objects delete now we have this nice spacious room right here and we have our camera pointing forwards at right now just as a subject but we'll soon start importing some assets to kind of replace it what i want to do now is kind of just play with a little bit of lighting and see what we can work with so i'm going to bring in a octane let's just do a regular old area light and then i'm going to bring in a octane uh hdri environment just to make the surrounding area black so the first thing as soon as i start messing with lighting i know i'm going to be going into asus um so we'll go to our settings ocio i have a few videos on how to set up asus and that's also inside the octane master class but if you already have asus setup just go to osao make sure it's checked and we'll just click in click out yeah so now we're in asus we're gonna get that nice beautiful uh dynamic range and uh color space uh and highlight roll-off that asus offers asus is absolutely amazing uh something i'm gonna do with this light right off the bat is uh check surface brightness or uncheck surface brightness and that's going to allow me to resize the light without having to change the power the power will stay constant so that way i can kind of change how my shadows are looking without having to re-type in a new lighting value every time let's go to this light right here we're gonna do a negative 90 degree rotation and point it down so it's going to kind of serve for our purposes as this overhead light so another thing you might notice is it doesn't look that realistic we have no gi and that's because of our mode i'm going to go into path tracing which is one of the highest quality modes uh inside of octane i'm going to take our gi clamp down to 10 and uh for now i'm just going to take this like 2500 so it's not constantly running in the background yeah so now we're already getting this nice highlight roll-off with this nice interesting composition the light spilling out of the room it's kind of drawing us in drawing our attention in uh to the to whatever the subject is going to be which we'll decide on later one thing i do want to do before we jump right into uh texturing and everything is i'm going to go ahead and let's try to switch this mode yeah okay we'll switch that display mode so we can see this a little bit better i want to make this roof a little bit higher i don't want to see that light in there i want it to feel like a skylight like this big tall room where the light's just spilling in so what we'll do is we'll just go to our modeling right here and we'll grab this top right here and just pull it up just like that now we have a higher ceiling and hopefully what we might have to do is uh yeah we actually grabbed so here's the funny thing because we did that boolean subtraction it looks like we grabbed just the uh bottom piece or just the top piece we need to grab the bottom piece as well yeah you can see that right there so we just want to expand this cavity and pull that up perfect and what that's going to allow me to do is pull this light up you can see how this light going higher is changing our shadows as well so this is also going to play a big role in our composition i think what i want to do for this light is make it a little bit bigger so we can get kind of a softer spill and let's see yeah that should work i'm gonna bring that power down a little bit it looks it seems to have gotten brighter but it shouldn't have because we have surface brightness unchecked uh we could even make it double-sided as well and that's going to kind of fill that room up with more light that's maybe something we'll play with later on but before we start playing too much with our lighting uh i want to add a little bit of texturing in because right now we just have white surfaces which aren't are going to very much skew kind of what our composition and lighting is going to look like so i'm going to go ahead and start adding some textures to this floor i already have an idea of what i'm going to want to do i think i want this floor to be very very uh reflective and very very specular i'm going to see that i want to see like the color spill out from that room so what we'll do is uh i'm gonna look for some kind of concrete that's a nice concrete but not for floor let's just search floor and see what i have downloaded yeah so so these are interesting well we'll keep in mind that like we don't necessarily want to uh like we don't need to pay attention to if it's specular or not so like this one's not specular i'm just looking at the imperfections of it that one's nice definitely what i would do on these is dark and i'm a bit this one might be dark enough this is not something to worry about i'm gonna make sure we're doing okay so this one only comes in 4k resolution for some reason uh which is fine but maybe we could find an 8k resolution yeah this one has an 8k resolution uh that one we might use in i could just modify some of the aspects of it uh we could also what we could do as well is click on one of these and see you know what i'm going to click on this right here because i'm trying to get specifically a concrete floor not too much bump that one has too much bump that's the same one yeah so we're just looking we're trying to select a material you're really just looking for the qualities of that material so like this one's nice but this has two too much bump for a smooth uh like museum floor or surface or even industrial floor surface too much as well that one still too much so i think what we'll do is we'll just use this one that's 8k i'm going to do 8k because i'm i'm going to be a little worried about scaling it too small at 4k and seeing some tiling actually this one looks perfect let's do this one so we're going to be doing the industrial concrete floor too for this video specifically and uh something that they did that's a little annoying that i don't necessarily prefer is i'm do not see my material manager so i'm gonna pull that in real quick and because we were in the uh octane space right here we're in octane render we get the octane nodes so let's go ahead and go to our node editor just left click like you know sometimes qixel does this just left click and then i would click uh auto arrange selected and now it's kind of cleaned it up for you i'm going to just clamp this node editor down here so now all of our windows are attached to our workspace let's go ahead and drop this onto our floor right here okay that looks nice so what we'll do is we definitely want to scale this down keep scaling okay i'm seeing a little bit of repetition but that's nothing we can't deal with what i want to do is go to our roughness right here there's many ways you could do this you could do this through a gradient so i'll pull an octane gradient also i want to if i want to make this surface less rough and more reflective what i'm going to do is take this white value here and pull it down closer to black and now you see we have this very reflective floor that almost looks like it has a coating right here so you could also just do this through your coding right there for to plug that in but i'm going to just keep it plugged in to our roughness for now another thing i'm going to do real quick is save this project file and it's always important to work on a saved project file because it's going to import all of your textures with uh your project also octane is more stable when it's saving to an actual location i just noticed that especially when soloing in the node editor you can get a lot of crashes if your project file is not saving so if you want to make octane more stable save your project file make sure it's saving to an actual location it's not just saving to your bug reports so what we'll do here is uh we do we want a displacement do we need a displacement i don't think so that's nice displacements are very nice looking but i think we can get away with it uh we'll just keep it here just in case uh but we'll work around that so what we're doing here is we have our texture let's take that brightness down a bit i don't want to draw too much attention to this the color of this floor i'm actually more interested uh maybe we'll keep the brightness somewhere right there and take the saturation down i'm gonna i'm way more interested in the reflections from what's inside being shown on the floor so when creating a scene like this you want to focus your you want to focus your attention to uh kind of where the most detail is so i don't want there to be a massive amount of detail on this floor a lot of color a lot of texture variation because that's not really the purpose of the scene i just want something with a nice amount of detail that the brain can look at be like that looks realistic and then like focus on the subject so something like this looks pretty nice i think it's a good start what i'm going to do is i take our figure out no longer needed whoops that was our floor take our figure out and just say that's no longer needed let's go back into bridge and look at some of the assets that we have so i'm definitely going to use these trees as our subjects i find them very very interesting and then i'm going to pull in some rocks as well and probably some grass but we'll take that one step at a time uh you see here's the thing when working with these quick slash sets is you want to make sure like this rock has like a lot of moss and stuff on it so i'm going to try to find another rock with that they have so many options and variations you could be tempted just to select any random one uh something like that looks good i'm gonna download that maybe use that that's a nice one that's a nice one as well we've got some clips yeah i mean just select i'm trying to think about how the kind of fit into our scene as well i think i'm going to kind of do this balance thing so i'm going to have a larger rock on this side and then a less larger rock on that side and it looks like for some reason some of these textures didn't properly import let's take a look at that we'll see what they're oh actually i think octane is still updating so that's probably why we'll go back to bridge while octane updates so let's go and just search rock uh i like that one yeah i think we got a good start obviously these rocks aren't the right color uh oh definitely this one and we'll export that one as well one thing is uh it takes a few seconds to kind of pull everything in and convert your textures especially if they're very very high displacement or if they have a very very high resolution displacement that's why another reason i just didn't displace that floor is because octane will start to slow down and the viewport just becomes laggy it becomes more unstable with a large amount of displacements in polygons so i'm trying to keep it light so i can move as fast as possible see right there i'm going to reposition this rock maybe rotate it a little bit wrong direction something like that and i don't know why some of these aren't importing with textures what's that was the only one that did so i'm going to reset our render data and see if that is the problem now is also a good time to go to the project asset inspector and yeah it looks like we are we have them all here i'm just going to consolidate assets to our project file so i don't have to worry about okay that's okay we don't need the hdri we don't have one when you consolidate the assets you move all of them off of wherever quicksolid storing them and next to your project file and that can also help potentially with stability loading textures in and out of ram especially if qxel saving to a hard drive or something like that yep so we have everything consolidated and i'm going to reset this render data now and that's going to take octane a while to do so in the meantime we're going to search a little bit more for some rocks i like this one as well actually this one might we might have already imported it it's hard to tell because the way they name these rocks are exactly uh it's not exactly easy to read or understand okay there we go so we just brought another one in i'm gonna go ahead and delete the ones that didn't properly come in for whatever reason that is that one came in properly that one probably didn't let's reset octane and take a look at our scene great so we got this tree right here and we got these rocks going on this other one is apparently way smaller than what i thought it would be let's go out of our modeling mode and go back to our object mode so we can kind of move stuff around i think i'll scale this one up a bit because it doesn't really matter if it's uh if we're using the same texture quality like this is an 8k texture it's going to maintain a reasonable reasonable amount of detail so we'll rotate that like that right there something like that looks nice i want to kind of balance everything out in this window and another thing i'm trying to do is i'm trying to kind of make it feel like there's more behind this uh this doorway so i kind of want everything hanging off a little bit hanging out of the picture frame i'm not a big fan of this rock maybe i can move it and use it somewhere else though i don't think it should be highlighted it doesn't look as good as the other one i don't want to put it behind the tree necessarily uh maybe something like that yeah that looks nice and then what we'll do is we'll go back and we'll find another rock to drop in this one looks pretty and i like the like moss and stuff and lichens on it ah of course it's not coming in with textures let's go ahead and double click that and see what's up oh yeah this is another thing that we're gonna have to cover is i don't know if sometimes uh you'll notice like we doing universal which is good because universal is actually made for this kind of texture workflow but uh it appears our displacement's not coming in uh so we're gonna have to check all those let's just uh auto arrange selected and kind of just clean that up right there perfect let's hit re-render on that and now we have our texture in and sometimes it helps to also empty your texture cache if you're running into those problems so yeah i think what we'll do with this rock is scale it up as well that looks nice these are very uh these are very big intimidating shapes this tree is kind of giving us in this door he's kind of giving us a sense of scale something like this maybe yeah i like that a lot actually let's pull it this way some yes and then what i'm gonna do is i'm gonna just brighten it a bit and maybe add a little bit of saturation so we'll do like a 1.2 brightness to match this other rock and then add a saturation of 1.5 see what that looks like a little too much 1.3 should be good and maybe our brightness could go to 1.4 yeah i like that and then we can also see this color kind of spilling out and i love this uh white wall it's kind of giving us this uh this uh kind of illusion type effect so uh like an infinity room type effect so what i'm gonna actually do just so i can move around the scene a little bit better is i'm going to name this boolean the room and then i'm going to turn it off just in our viewport so i can just see what we're working with here and something else i'm going to do is start adding some plants to this floor or this surface right here so what i'll do is i usually like to do this just with landscapes because they have a nice cut off i can easily just drag this down a bit and kind of cut that edge off and then i can scale it and not worry about any seams or anything showing see that looks nice we'll pull it up a little bit more and i'm just messing with that z height or y height yeah that looks good that's a perfect surface for us to scatter on i think i'll do is uh i kind of like the juxta position of having sand like in this nice clean room so that's what we'll do we'll export our roaded sand in here and it's going to load it in then we're going to just drop it on that surface and there's i'm gonna auto arrange selected uh just so that's clean and then we could probably play around with this as well it's not it's not a big piece of our scene so i'm not too concerned with how it's looking oh that's definitely tiling right there and then i do not want to even worry about wasting vram with that uh displacement on this surface two saturation two so saturation one brightness one point four uh that looks pretty good right there then what i'm gonna do is go this landscape object and i'm just gonna increase the segments and then i'm going to increase the furrows and then what i'm doing here is trying to add some detail yeah something like that looks is kind of what i'm going for yeah i might pull it back a bit so what we're going to be doing now is uh scattering using octane scatter which is one of my favorite tools that octane has i wish every render engine had their own instancing tool like octane it's really one of my favorite things about octane besides the specular nature of it so what we'll do is we'll drop into octane scatter we'll scatter on a surface and guess what that surface is going to be our landscape octane is automatically gonna scatter some spheres around i'm gonna crank that up to five thousand something like that looks good and i wanna find some pretty unique uh some unique foliage uh grass that can kind of grow in this room something that is gonna be surreal so uh i think we'll export that because i've used that before and then we'll use a few more to kind of create some variation within this scene but uh something with a lot of detail because this is our subject this is what the eye is going to be drawn to we want to give it the most detail possible so it it's going to throw that all in that's looking really nice i love that color that bleach color will drop in that octane scatter and look at that that already looks uh pretty pretty sick um what i'll do is i'm gonna bring in a random another great thing is it works with the mograph tools so we can go to our vectors drop in our random and then what we can do is uh we don't want to add a random y height because we want it to stay connected to the ground but random z and uh x and z height would i i would usually recommend but the problem is that our geometry is going to it has like a lot of bumps on it so if i turn this off real quick i'll show you what i mean so we have a lot of bumps right here and if we had a random z or if we're at a random x and z height then it's going to like if it'd be scattering here it's going to move it that way and then it's going to be floating which won't look realistic so what we're going to do is not add any randomness to any of those values because we want it to stay on the top if it's on the top and not have it offset but we can do is add some random rotation and scale let's turn back on that scatter so right now we have a rotation of zero as we start pulling it up we're going to start randomly rotating them and if it's going to be in the h direction it's going to be a thousand we'll just do a thousand we want full randomness on this a thousand degrees but on the p and b direction that's going to be adding randomness to this way and this way and if you add too much randomness you could get something like a plant being flipped completely upside down while we do want some variation within the way that the plant is tilting we don't want too much so i'm going to be very s careful with how much i do this see like right there we're already kind of tilting those off so maybe something like four and four looks good and then random scale we could try doing something like this but then we're kind of smushing them so what i like to do is let's do a uniform scale a new form scale of one that way we don't get any kind of smooshing or compression uh uh going on in our scene so that looks pretty good right there actually i like that a lot what i want to do is i want to change the overall scale of them instead of going and changing each one i'm just going to go the octane scatter go to distribution scale i'm going to click uniform scale and then if we just change our first one under uniform scale we'll do 0.8 it's going to scale them all down a bit so 0.8 0.4 0.4 is a little too much 0.5 uh that looks pretty nice actually i like that a lot let's see so something we're running into is we're kind of scattering where the landscape's not showing because it's getting kind of cut off so what i'll do is i'll bring it up a bit what we might need to do as well on top of this is i said i didn't want to do a displacement on our landscape but we might have to just to push it up a bit so what we'll do is we have to go back into bridge and find that sand which is right here go to files i'm gonna pull that displacement file back in and i'll show you why oh ak displacement i don't know why we have two of them there we go let's pull this out right here so displacement displacement plug that in right there and then we want to keep the same transformation okay so obviously something is going on here we need to change our mid level to 0.5 and that kind of helped maybe take our displacement up to 20. i'm just trying to pull it up a bit uh 20 wasn't enough 50. okay 50 is nice but now we got that seam showing so maybe 50 40. uh 40s too much 30. we're gonna have to go back down to 20. okay there we go nice uh and then i'll just do like a 2k displacement just so we don't see any kind of pixels or anything going on that that looks nice and i think that uh will work for now what i want to do is on top of this make sure that random is applying all of our fields yes um you could also change this to like a noise mode if that's something you're interested in uh what i would think i'll do is go back to our scale do something like point seven yeah i like that a little bit more uh maybe we can actually turn this down a bit and give some room for some other plants to show so we'll do something like three thousand so we're gonna just got a three thousand uh plants around and then go into our bridge right here uh the thing is i want something that matches this which is not really showing me sand sand shrubs there we go uh that looks nice and that looks nice and there's even another yeah apparently there's two collections here so that's interesting oh this one will be great oh yeah another thing is you want to be careful about doing what i just did let's go ahead and do that um the reason you don't want to bring them all in at the same time like that is because we're actually going to want to uh do a octane scatter for each plant separately that way we can control the direct amount each one has so we'll just drop that down drop that down delete that uh so we'll call this one one this one two and this one three we could also do a different random effector for all of them but i'm not going to because i would just do the same settings so i i just want to keep that a random control all within the same effector okay let's go back and restart what we're doing here i think first thing we'll do is oh i like yeah we'll do this one this is a very interesting plant that one's cool too that's like a dune type plant yeah so we just exported one to cinema 40 successfully let's go ahead before we export another one let's drop that under random three sweet so now we got this plant in here um let's turn that scatter amount down a bit we'll do something like 1000 okay i like that what i'm gonna do as well is uh first off let's delete these materials that we're not using so materials remove unused materials and what i want to do here on this yellow rabbit bush that we brought in let's auto arrange these auto range selected and uh we'll go to our translucency and then i'm going to bring in a color correction so this is just a way you can quickly modify some of the quick sole assets uh i i'll keep our brightness at one i like that but i'm gonna take our saturation down so we can match the other plants in the scene a bit more yeah so that that that fits a lot more in my eyes than the other one did uh or than it did with the full saturation so let's go back again and it's just a matter of finding something we like that could look good i want to do these i want to add these kind of sticks in and that's because uh i think uh a lot of this stuff looks alive this kind of looks less alive now which is kind of a good thing because in nature not everything is perfect in uniform so what we'll do is we got these shrubs dropped in let's drop them down into three and obviously uh you wouldn't expect to see this many so let's do something like 500 to just add a little bit of variation yeah it looks nice and i think we can go back uh i really like some of these plants specifically so what i think i'm going to do is i'm going to just select all of them move them off to the side right here and just pull out the ones i really like and scatter those a bit more i want to pull let's go into this viewport right here i want to pull in some of the bigger ones actually so what we'll do is oh yeah that's one that i definitely want maybe this one also and this one yeah so now that we kind of got those pulled off the side i'm going to shift click on them make sure i got them all selected do so i'll punch control c and then i'll uh just punch control v in our scene then i'm going to copy our third octane scatter name that one four and this is going to be those two plants that we really liked and we can drop in some more plants in here as well these are going to be hey these are going to be like our favorites so right now we're scattering 500 let's go and turn off all the other ones oh yeah something else that i want to mention that's really important that i haven't been doing is change the seeds of these so they're not scattering on top of each other and we'll do something random here and that's just so they don't scatter on top of each other that's all we're trying to eliminate from happening what i'll do on this one is i want these to be a bit taller so i'm going to uncheck uniform scale i'm going to change that back to 1 and i'm going to change our y axis to 1.5 that might be good and maybe even take down these other two accesses to 0.5.5 that looks good now it's kind of getting distorted so i'll take that down to one maybe 0.7 yeah that looks nice right there and then what i'll do is we'll go back to this do we need to add any more plants in or are we good uh i do not like how that one's just kind of stuck right there so one thing i did like was all those actually being in the middle and kind of drawn some intention so what i'll do is i'll go to this octane scatter select them all and pull them into the scene and this is just set dressing at this point there's not really a rhyme or reason to what we do from here on ford yeah i like that right there that looks nice and then let's see this one is our these are dead ones they should be three threes are dead ones i'm gonna change that seed because i just don't want i don't want to see those there yeah okay that looks that looks great right there and i'm gonna go to our original one right here and i'm gonna increase this count back to 5 000. just so we're really filling that room up we could even do maybe we're not really restraining we're not really restrained by the amount of geometry we have right now because we are working relatively low geometry so something like that looks good um maybe we take the scale down a bit though 2.5 again just so we can kind of see that tree yeah that looks nice uh maybe 0.6 now one last thing to deal with and that is this doorway so there's some really fun tools that we can use um our room right here let's drag a bevel in this bevel is just a complete lifesaver drag that into the room if you drag it under we'll offset we'll offset by a lot at first so let's do something like well that might have been too much i'm gonna go to original view right here so i can see it i'm going to turn it back on so 45 is a little much 10 might be good let's increase the subdivisions okay so it's like a very uh smooth doorway yeah that's something that's something that's a little bit more reasonable offset of four that way those edges aren't so sharp so now what i'm going to do is i'm going to drop in a concrete material so this concrete material that we're going to be using is going to be for the walls and we're going to be modifying it uh a good amount and the reason the reason we're going to be doing that is because uh i want to kind of control the lighting in this room and how it's spilling out and this material is going to have a big effect on that and i'll show you exactly what i mean so it's bringing it in right now we'll drop that in to our room and it's going to have actually didn't do too bad of a job usually it messes up the way it tiles and texture or the way it tiles and applies but that looks good well auto range selected i don't i don't know if well you know what we'll do we will do displacement on this one we'll do an 8k displacement we might regret doing that but we'll see so i have a big problem with this material and its current state and one of them is it's stretched and kind of messed up and that's going to be under our projection so let's take our projection out right here and we're going to take all of our projections and connect them to one texture projection node that way we can control all of them simultaneously instead of having to go do one at a time and they've already done that for us which is really nice so what i'm going to do is drop in right here and we'll go to projection type we'll do a box projection and now it's kind of fixed that stretching that we were getting we can now transform we want to eliminate the tiling that's the goal of this that's a little too much oh wait that's not a bad start and what i want to do is i really want to deal with this color this color is not what i'm going for i really like that white look so what we can do is we can start pulling down this saturation we're going to start getting closer to a white color we could also start pulling up the brightness but another fun way we could do this is just by adding a mix in so if i do a mix and then i'm going to do this on our multiply right here that way it's going to apply to both this and our ambient occlusion which isn't necessary but i'm just going to do it by default it's going to mix 50 50 50. so i'm going to bring it a float right here float or you could do a color node and just to prove it i'll do an rgb spectrum here and if if i were to change this rgb spectrum i could mix more to one or the other just based on the color so just know that float and rgbs work the same for mixing however floats uh the gray points different for both so keep that in mind as well i think what we'll do is we're mixing with a white and a gray and we're mixing 50 percent right now that looks pretty nice we're getting some kind of artifact here that's probably because of our bevel modifier modifier so let's see what happens if i uh i'm just going to current state to object this which for some reason it's not i want to do oh let's just let's do the old-fashioned way connect objects delete and it's still not fixing that problem that we had so that might have been the wrong move i'm just going to do that maybe we need to add more subdivisions ah it looks like it's just an artifact okay that helped get rid of it a bit there we go looks a lot better um so we're kind of controlling how what this room it looks like currently uh something else i want to do is i'm going to take our octane light you notice we haven't messed with lighting that much um that's because our lighting setups pretty solid i already kind of knew what we wanted to do going in i'm going to call this our room light and this is going to be our door light or i'll just say outside and that's because i want to kind of show a little bit of this doorway so we'll bring this outside light to the outside oh and something else that's uh going to be a problem as well well first off that's way too bright uh and we didn't cover this but this is something to consider is we're getting no we're not getting a lot of bounce on this and that's because we're just in this empty void right now so what i want to do is drag in this cube and i'm going to pull it up some and back some that's actually really cool right there i like that a lot that's just an accident too and now we're kind of reflecting our gis bouncing inside of this space at least now uh so kind of like we'll get some more light balances out of it instead of it just bouncing and going into a void let's go ahead it will actually because of the way render engines works it will um de or increase our render time a bit add a little bit more gi noise in the scene but i'm more than willing enough to take that for some more realistic lighting yeah i like that and then i want to scale this down a bit i like how we can kind of see some of that detail coming in now that looks good i don't want to scale it too much because i do not want to tile i'm going to change this displacement to 4k and maybe oh i think those artifacts were actually from our displacement a height of 10 might be too much but who knows that looks good i think i'm gonna what i think i'm gonna do is mix 0.5 but i'm going to take some more saturation out of that and maybe even increase the brightness now what we can do is we can take this top white color and just knock it down a bit that looks um that looks pretty good i like that as well and then we're gonna go to our roughness right here and i'm going to drop the brightness some get a little bit more reflections going on it we also have a specular map i'm going to add an octane gradient and we can maybe play around with the specular map also see if i like anything know what i'm not even going to do a specular map for the wall yeah just straight up roughness looks fine yeah this looks really good uh that looks like it's mapping fine now i'm going to bring our outside light up just a bit more maybe one yeah and then let's take a look at our camera see what we can do here uh so everything looks good maybe we go to an 80 millimeter focal length yeah i like that a lot more it's kind of pulling us into the scene a bit and then i'll go to our angle of it and kind of tilt up like where our eyes are kind of being drawn to follow the tree up into the sky and it's kind of like you know it's it's a very interesting uh scene because the trees kind of like disappearing up there and it's making us wonder like what's beyond what's beyond this right here is there more to this uh room in this scene than what we're seeing and i think what we can do now is i'm gonna pull this out because we're on our final touches right here i think our tree doesn't have displacement because it didn't import properly if i were to guess knowing how yeah it didn't so we'll go ahead and select hierarchy auto arrange selected where is that at right there and then we'll drop in our displacement which wasn't even connected to anything oh yeah this is another thing i forget it turns it off on top of that there we go now it's connected back and now our tree has displacement i could go add displacement to these rocks as well so oh but let's let's definitely change this in 8k displacement i want to get all that detail out of that tree because that is our subject there we go that's looking a lot better now we'll go to this rock note editor there's a few more things i want to do that aren't necessarily related uh to just fixing the scene and one of them is uh messing with the camera so before i fix all these displacements and stuff because you know that's pretty simple i just showed you how to do it we'll play with the camera angle a bit so we'll play around a bit with some of our camera settings i kind of want to first before i jump into octane camera settings i'm going to tilt this up just a bit more something like that looks good i'm going to push in a bit as well yeah i like that a lot more right there let's go ahead and go to these octane settings and then let's go to our post processing enable i'm going to just crank up our bloom all the way and find a nice cutoff point so like that looks good pull it back some and then glare power crank that up as well that looks rather nice right there glare amount we'll just add a bunch of blades to that glare and then i'm going to go to this light this room light so this is another reason we work in aces so i'll show you this in low dynamic range look how horrible it looks but inside of asus it's beautiful it's not much nicer roll off so we're going to be uh pulling this wall a bit back because i want to add more light to our subject right here and that wall is kind of taking a lot of light it's very bright and it's kind of distracting us a little bit so i want to create some background uh subject separation so let's go ahead and select that wall i want to make sure we only are pulling that back wall back everything else looks great select the inside and pull that back also let's hit re-render so octane can update yeah so we kind of pulled that wall uh far far back in the scene and that looks pretty good i might have pulled it too far back because we can't really see the detail of it anymore oh actually you know what it is it's this other room that we have so this reflection room uh okay yeah so we just pulled it we pulled it past our room that's bouncing everything for us what i'll do just to make this simple is i'll make this editable so i'll punch c and we don't really need it in closing this part so we'll delete that right there we'll hit re-render and another thing i see is this reflection room is also yeah there we go okay so it looks like we might have pulled our wall too far back let's go back into that scene i'm going to turn off this in our viewport because it's just in the way at this point i just need it to bounce light so let's go back to that back wall and let's pull it forward a bit more hit re-render on octane so what i'm trying to do is i'm trying to get the bloom in the glow on this tree but i still have a little bit of detail in the background but not too much to where it's too bright and overpowering so something like that looks good let's take a look at our room light it's a nice size i might turn our power up to something like 1500 though oh way too much something like 1200 maybe that's where we're at let's take this bloom and glare power down so still way too bright light uh we'll do one thousand maybe two thousand or sorry uh let's do eight hundred too bright 700 oh that looks better i can see this tiling on this back wall so let's fix that real quick transformation up higher that looks pretty good right there um [Music] another thing we need to do is we need to extend this floor that we have right here so let me go back into object mode and let's just make sure that floor kind of fills up it's more of that room right there let's go ahead and hit re-render something else i think we're gonna do on top of all this is maybe pull that ceiling up as well actually that looks nice um kind of regretting pulling that wall so far back which is how this whole mess started uh i wanna i want it to kind of saturate to white a little bit more so we'll pull it forward some right there and then i think we'll go to the mixture of this material right here and we'll bring it a little bit brighter and then our scale is messed up again a bit and then we'll take our light and we'll go back to 600. yeah so this is a really nice start to an image maybe that's a little too bright still maybe 500 and then what we'll do is we'll change our bloom there we go we're getting some that bloom which is kind of like that filmic look and then what i'm going to do is take this room light and i want to add some more uh value uh variation within the uh within this room so what i'll do is i'm going to take this room light and i'm going to pull it up and back and now it's going to start adding shadows to our subject which can draw visual interest to it so let's pull that back more and then let's angle it maybe a little too much and let's go ahead and now that we pulled it back some we can increase the intensity so we'll do 800. and we'll go maybe to 750. so we're starting to get to a spot that looks pretty nice um you know this is pretty much the end of the tutorial the only thing i would recommend you doing is when you're exporting octane render if you're going to want it to stay the same look if you go to your ocio right here and then if you want to export an srgb color space this is where you do it you go output and then output srgb right there if not if you're going to be compositing later on in asus with your render passes then make sure that you're going to be in asus cg or asus2065-1 asus 2065-1 is a much larger color space than asus cg i recommend just sticking with asus cg it's more than enough for what you need to uh for compositing the reason ace is 265-1 assist is more for like archival purposes so just know these two aces color spaces are not the same i recommend asus cg you're going to get a much smaller file size and it'll be a little bit easier to work with okay guys that's pretty much it for the tutorial i wanted to show you a little bit of my process on creating these renders and uh you know if i were to uh play around with the scene a little bit more i'd get to a point uh to where we kind of started off which was this original scene right here so i just wanted to go over the process of creating renders inside of 740 and octane if you liked the video you can go ahead and check out my class at the link below where we go into much much greater detail into color spaces render settings designing materials shaping a image to tell a story pretty much everything you would want to know as a cgi artist that's using cinema 4d and octane render okay guys i hope you learned something from this video and i will see you in the next one

Channel: THEO

Views: 20,324

Keywords: Theo, Cinema4d, vfx, octane render, octane, texturing in octane, octane alien planet, cg planets, cg, octane tutorial, cinema4d tutorial, displacements in octane, how to octane, how to cinema4d, making planets cinema4d, step by step, tutorial, maxon, render, planet render, space render, full tutorial, start to finish, daily, daily render, octane class, masterclass, scifi, scifi render, cinema4d scifi, octane scifi, texture, quixel, import, texture model, quick render

Id: C22PC1m2h4A

Length: 57min 5sec (3425 seconds)

Published: Mon Nov 22 2021