Fields + Hair Cinema 4D Tutorial: Sea Anemone

hi there Brady its Cushman from rocket lasso and I've got what I hope to be a new series of weekly tutorials and this is going to be the first one of those projects so the thought here is just to take something an idea to came from the live streams and just try and curate it a little bit more go a little bit deeper on it pull it out make it something that can live on its own now this idea actually is a little bit bigger than I had originally thought it would be so I'm gonna break it out to this one little project and maybe I could do a follow-up project and maybe even the third one I'm not sure but the idea here is going to be let me jump to the screen so we're gonna be tackling some sea an enemies the real goal here is to combine the power of cinema 4d hair system along with the new fields system so specifically let's take a look at this National Geographic video and one very specific little part here we've got all these nice little sea and enemies all floating around do you see how they have these little tendrils and all that they're grasping around trying to find food it's falling up from the surface but then specifically check this out watch this one right there so it kind of sucks in we're kind of taking inspiration from all these little parts as this was flowing around and the overall shapes and the way that one pulled in so that's the overall idea I'm gonna make it very stylized we're not gonna get too specific it's more about the overall techniques than any one of these parts in you know specifically so here we are inside cinema4d s22 possibly r22 I'm not sure how they want us to pronounce it I prepped a couple of little things here not too much I just want to walk through them I've got the lowest poly fish you can possibly imagine so there he is there's our goldfish and and we have this rock right here now I'm going to kind of go step by step on the rock cuz I hate I came in a tutorial like suddenly showing something that we didn't show how we got there so you see I've started out with a hemisphere and then that goes inside this connect object which is going to weld some of the points in because we cranked the tolerance up really high so you can see it gets kind of a little bit more randomized once that happened I'm applying a smoothing which smoothes it out a little bit then displacing it with a large noise displacement and displacing it a second time with a smaller noise displacement so we end up with this shape nice and kind of random and then after all that's happened then this is going to kick in and you see that we'll round all these edges specifically I have it set to solid so it's actually not bubbling itself it's just creating these extra subdivisions on the edge but once that happens we put that entire system into the subdivision surface turn that on you can see I'm hit n a shortcut and you see this is what we end up with and I'm like I said we're going for something a little bit more stylized so I really love the kind of look of these kind of hard edge shapes but they get rounded and a little bit soft I know it was just thought it'd look kind of cool rather than just say straight up a little poly look you kind of get the smooth little poly look so it's gonna be a rock that we play with and here's this fish and you know what just for fun to give it a little bit of life let's animate our fish now I'm the first one to say I don't like character animation with a bend deformer but I think in this case with it with him just waving back and forth with his fin it's an appropriate time to do it so with that in mind I'll put a bend the former inside the fish click fit the parent you see it's perfectly matching it I'm gonna divide this by two we're gonna once again leave this very stylized just kind of move it to the back so just this bit of the fin will be wiggling back and forth and if you've a few keyframes here let's increase the strength the default position is fine where it's tilting off over there let's have it till it's 45 or let's do 40 degrees and record I'll go forward five frames and we'll keyframe negative forty will keep your met and go forward another five frames and this time we'll do it as a positive forty record and now that should hopefully that's gonna wiggle back and forth once but if we go into it can we do from here I'm not sure no we can't do it from there so we have to go in the bend I'm going to right click on the strength and from here we go to animation show track it's gonna open up our timeline and actually didn't drag the fish there at the bend in so I'll just drag that in manually by selecting the bend you can see that'll pop open all of the properties for the track that's on the Bend and currently we have a setting here called after and it sets a constant so I'm gonna change that to repeat so now it's gonna take whatever this current animation is and just repeat it again and again and again so I think with zero repetitions it means it goes forever I'm not sure we'll find out rewind hit play and now you can see we've got this little fish swimming back and forth waving and there we go that's the extent prepping of that so looking good we're ready to rock on our little fish and we'll start billing me an enemy in fact why don't we save this real quick and then we'll move on all right we're gonna be working keep this as simple as possible let's use the default cinema 4d scene scale and if I were to create a sphere you can see there it is everything else was a little bit bigger so we'll just leave that at default now once again just because we're exploring these concepts we don't want to go too crazy with it so I'm actually just gonna create change the sphere to a hemisphere type if we hit end B you can see that there's not too many polygons involved in it I'm gonna hide the rock right now because it's a little bit in our way and with with just the shape I think it's actually by default almost perfect for kind of getting the overall shape of the sea anenome kind of stylistically that I want to do here so without even making this editable we can select our sphere go to simulate click hair objects and say add hair and boom we've got some hairs there's one hair sticking out from every single point now I think I might want to change it to be polygon Center so it's actually one from the center of each polygon I think the distribution is just a little bit nicer there and yeah we can start playing with that right away from there okay the Fisher's gonna be a little distracting so we'll temporarily hide that but he'll be coming back no worries so we've got these hairs there immediately falling down because of gravity now this is floating in the sea I don't think that gravity is gonna be having too much an effect on it so we need to change its settings but it's dynamic settings are actually directly in the hair we go into forces and here's gravity so no gravity zero such as zero that out and we hit play and now nothing's happening so if we wanted to do something we should add in some turbulence but you know let's even slow down a little bit from there let's uh let's make this a little bit more visible inside of the hair material that automatically got created with our hair let's double click that I like popping out to the menu because we see a little bit more clearly than this stuff over here and let's begin by changing some colors I think we're gonna make this kind of a purpley pink color so let's even start with a darker purple and it will transition up to the peak which will be a brighter pink color or something like that there we go no specular here's where the fun comes in let's play with the thickness but what I usually do is jump this up to a larger scale say 15 by 15 that's not 15 and now we get this big old one but we can't see it in the viewport now there are some new features in s22 that make this even better but you could actually do most of this even a little bit further back in time so in our hair object we can go into editor and currently it's displaying the guide lines but I'm gonna say actually I would like to see the hair polygons you see it's gonna get super crazy because it's generating this based off of all the hairs and by default the hair object creates 5000 hairs so if I go to the hair tab you can see it's create actually I'm sorry 50,000 hairs so we don't need to see all those in fact because we're making the sea anenome I don't think we need any of these hairs at all so what I want to do is make it so these hairs are not making 50,000 instead it's making exactly as many as there are guides so change route two as guides and now we get exactly one per guide so we have very direct control you see it very clearly in the viewport so now you can see that we can see these individually very clearly and they're gonna show up in the editor and we could turn on enhance the viewport shading which is actually gonna make them look a little bit nicer where we can catch the shadow a little bit better and have more detail I mean if you had individual hairs you can crank this up or down for the percentage but it's already set as guide so we just see them all so that should just look a little bit nicer than it used to in general but now we can play around and change the shape of what this enemies tentacles look like or whatever the tendrils are called I'm not sure now you see back in the hair material when you change the thickness from well I'd set the 15 by 15 and I like keeping those two numbers the same because that means we can control the profile directly from this spline so if I want to get skinnier on the end here we can just pull this down and we have direct control over what the shape is going to be now I think it'd be kind of cool if there was like a little little bit of a bulbous tip here so why don't we pull that down and pull this one up and we'll pull that back down again we just have it you know get a little bit thinner in the middle but you can see that there's actually not that much fidelity in this overall shape and the for that is it can only subdivide as many times as we told the hair to subdivide specifically how many I think it's called segments but it might be s segments so I click back on hair you can see under the guides that we have eight segments right now so this can only subdivide eight times if I drag this down you can see I actually drop the spikes because there's no subdivisions but as we increase it we're going to increase the fidelity of the way this shape is going to match what we're feeding it I'm actually create one more point here just to create a little bit more of a curve we'll see if we can catch that a little bit better but there we go so get a little better stalks going right there and now we can actually create this up pretty high and you see that it's gonna subdivide quite a bit and we have a lot of control over that and I do like that so we're up to the 25 which is a lot but I think that will work the hairs are actually gonna instantly match whatever that was set to because we're as guides so that's all working well the problem is going to come into when we do dynamics now if we play right now we're not gonna see anything because there's there's nothing happening so we need to create some sort of force the one I will start out with is will create a cinema force here from simulate particle actually simulate forces turbulence so the turbulence is is just a great setting it just makes things blow in one direction another typically I go up to 55 I just know for a fact that's gonna be a little bit too strong for this one so really if it relatively low in fact why don't we leave it down at 5 for now if I play it should play very quickly but here you see these are gonna get very Wiggly very quickly because of how many times are subdivided now if stylistically that if you like that then that can totally stay that way now I'm actually gonna increase the scale quite a bit and so now as I increase the scale you kind of pictured I always say that you picture this turbulence as like a big giant cloud of noise we're making this cloud of noise larger and larger and larger the noise is the more that they all react the same way so as I increase this more and more you can see them behaving more and more unified now stylistically this is a bunch of decisions that you have to make which is how fast do you want the individual hairs to go and I know we're making a sea anenome and that's very specific but the hope here is that these techniques are you can apply them to lots of different things we can increase the strength if you wanted to so these are going to be more effective more quickly but you can see that they're bending a lot and I don't want them to bend quite that much so a setting that you can't change if you don't want them be quite as bendy is we go into the dynamics tab of hair and under advanced there is a setting called guides and essentially what you're doing is currently it's subdivided 25 times we're gonna say well as far as dynamics dynamics are concerned to pretend today you're only subdivided in this case eight times and you see that they can't bend quite as much and they're a little bit smoother in the way that they move so honestly this default of eight is actually working quite well for me so I think I will leave it there and this turbulence is working nicely but what I'm thinking is let's make I'm gonna make this turbulence even the larger I want these all to behave very uniformly they're all doing a very similar thing what I usually like to do is make two different turbulence is I'm gonna make a second one now let's rename one of them turbulence large and we'll rename the other one turbulence small this turbulence small actually it's turnoff large because we know that what that one's doing so on this turbulence small I'm gonna get a lot smaller so let's see how small we can go and get something but you'll see as we make this smaller and smaller how much these individual hairs are each doing their own thing so we get these really nice wiggles individually you see all these are kind of fighting with each other up here that's working really nicely now we could slow down because this is having a little bit more of an effect so these can you know do a little smaller movements they could be just as big as well if we wanted them to but by combining the two of these now let's give ourselves even a few more frames here I'm gonna jump it up to about 333 so now you can see that they all are moving uniformly together but you get this a little bit of individual flavor so the stronger that you make the small turbulence the more that they're gonna feel like individuals and though you know the more you know in comparison that the large turbulence is the more that that's gonna feel like it's it's got more of the power and that they behave together so right now actually that feels pretty good I like the way that that looks while we're at it let's just make a nice material to put on to the geometry for our shape here so I just want I'm just gonna make any material in fact we're going really cartoony with this so I'm going to turn off the color channel turn off the reflectance and in fact I'll just use the eyedropper and I'm gonna I drop from the base of the overall stock here and apply that directly here and there we go that should just blend in very nicely excellent that looks pretty nice actually excellent so we're gonna want to start making this be reactive so what do we want to react to well we want to react to the fish so let's turn our fish on and there's our little guy now I don't the while I want to be the fish it's gonna take cinema when it's using fields geometry takes up quite a bit of time to calculate and even though he's incredibly low poly it's gonna calculate a lot faster if we if we control this via a spherical fall-off so with that in mind actually let's go ahead and create a circle fall-off right away or any shape that we want to write in this drop down menu we have all of our different field types and whatever shape we think is going to best match our fish we could create here now I think a spherical field is completely fine and acceptable here but we could let's do no is that a good idea we'll keep it simple no reason not to keep it simple well create a spherical field we'll put it inside the fish I'm gonna click the reset PSR button so it zeros out on to the fish and there we go this is now the distance that things will react you know well this will eventually be the distance in which things react to the fish so I can increase the radius here and that's how far things will react so do we actually want the fish to have to brush it or do we want to just have to be nearby I'm not sure I think the way they actually would react is you have to bump into it but you know what I like the idea of it being a little bit bigger so they'll react a little bit more distant to our goldfish here so that will be the start in fact we'll just rename this one of spiracle filled fish excellent now what is it going to be controlling well in this case I think that we owe the whole point of this actually is all about using vertex maps so we've got our sphere object which is where the hairs are getting cloned onto let's make that editable so with that editable we can create a regular old cinema vertex map the easiest way to do that is just go into the point mode go to select and create a well actually right here sets vertex weight and it doesn't matter we say zero is fine now it's got a vertex map we can immediately see it highlighted because we're on point mode and we have the object selected and there's our vertex map so if we turn on the use fields checkbox now we can use fields to drive exactly what's happening here now by default there's a freeze we're gonna get rid of that we don't want that but we do want is the fish field we've got right here now the fish is a little bit far away we can't see it too clearly so let's move the fish a little bit closer so we've got object mode grab the fish we'll move it down as soon as I move it down you say boom now it's starting to glow a little bit from where the fish is in theory close to it now this isn't the vertex map and we're gonna be making a couple vertex maps to try and keep it very clean technically I think you could layer all these up directly inside of a single vertex map but there's less clarity to that so I always try and separate these out so we're just gonna rename this one fish one so those are vertex map named fish one now this is just looking at this fall-off that's working quite quite nicely and here's my thought when the fish gets near that will this could potentially make them scale away actually looks like it too far ahead of ourselves let's take a look at what this does by itself I'm gonna keyframe the fish we'll keep this simple I can scoot out so you see actually none of his fall-off is touching it and we'll keyframe it just the position and let's fast forward I'm gonna play until right about there that's long enough and writing around there he'll have passed right by it so with that in mind we can hit play and what we should see hopefully is a vertex map pretty much passed right over the entire object and nothing really happens yet because we haven't fed this we haven't had the vertex map into anything so what do we want to control well there's a couple different places potentially you could drive this but I the one I'm preferring right now is inside of our hair material we can control the length or the scale to tell you the truth visually I haven't found a difference so I'm going to use scale and bianca's you know fish-scale anyway under a fax we can turn on a vertex map and inside of this vertex map we can drag anything that we want in this case fish one excellent now we're not gonna see it here in the viewport unfortunately sadly vertex maps don't transfer into the awesome new viewport settings for the hair but you know work with what we got but we see this is affecting you know the vertex map is there so let's hit render and see what we see look at that we definitely see that it's changed but you see it's backwards from what we want I want the ones where it's where the vertex map has been applied that should be worried they're gotten small and the rest should be the opposite now technically we could we could control that in the shader we could like in there's even that invert checkbox there but I want to keep it very visual I want to be able for us to interact with these directly so what what I'm gonna do is we can I'm going to create a second vertex map just because I know we're gonna need one so here's a second vertex map and we'll rename this one fish to and inside of this first for text map there's something that's really cool that you can do I'm gonna delete out the spherical field from there what we can do is drag in a different vertex map so by dragging this first one in this is referencing the first one but now we can modify this however we want to and not have any effect on the original one so it's a really cool way of propagating any effect that you build into one into other ones so with fish - we've dragged the fish one and the basic thing that we could do is just invert this so I'm gonna say invert so in the and ISM the modifier Laird is if there's an invert so now we've got the opposite you can now see that this is partially red and the rest is yellow so if I at render you can now we have to go into our vertex map here and drag in fish too because that's the one we're controlling let's just drag this down and now as it moves in then we could hit render and now you can see that those have shrunk away from the fish but the rest haven't been affected another thing I want to do right now something I just found out is yeah you see how these hairs are like very they're flat they're entirely flat but something that's neat is inside of your render settings you hit ctrl or command B to pop when your render settings inside of here if you change your renderer from standard to physical then it's actually gonna change the way physical views hairs is it kind of has to generate geometry for it to see them so if I get render right now it's actually going to generate the geometry and you see that these actually get thickness so first of all those just look cooler like that and all you to do is change the renderer and now we've got that without generating geometry live in the viewport so it's kind of a nice little advantage there so I'm actually quite pleased with it that's working really well the fish will pass through they should move and like I said it sadly we don't see them but let's send this to the to the picture viewer because I don't think it's gonna take too long for that to render out we'll stop it after it's gone a little bit and we don't need it to be very large resolution so we'll just say divide it by two and render yes continue without saving it we'll just let this go for a few frames shouldn't take too long at all and as our fish moves in we can immediately see all of look at that running away from the fish and instantly as our fish moves away swimming his little tail all those are going to pop back into place and continue wafting through the turbulence so let's stop that from rendering just take a look at what we end up with yeah instantly reactive so that by itself is pretty cool if you want to stop there you just see how you can use vertex maps to drive the way these hairs are behaving but let's see if we can take it a little bit further my thought is I do like how some of them initially move but my thought is is if this gets kind of touched by the fish at all then maybe it can grow and the entire thing will shrink inside so let's do that and we can do this again with fields so with fields currently we're inverting this overall effect but before we invert I'm gonna actually temporarily turn that off and let's actually scoot our fish in so we can see us how how its interacting for our purposes I'm gonna scoot the fish up a little bit so I'm going to delete out I'm gonna go to the Y position and hold down control and shift as I click on the keyframe and that's gonna delete all the keyframes on Y and what that means is he still animated just not on Y anymore and with that that means I can just scoot it up a little bit and now it will continue on the same motion so now you see it's just gonna graze it it's only gonna hit that a little bit of a of the top there so how do we get this to grow and spread to the rest of it well there's several ways but in this case let's create a freeze modifier layer inside of our field with the freeze I'm gonna say I want to add I'm gonna view what's below and then add to it and how are we going to affect it well I want to grow and we've got these different settings here it's always a good idea to not just guess and check what this radius is go ahead on your geometry and in this case I'm gonna select our sphere which is actually our sea anenome I don't know how to spell that son who's gonna stipend I think I did save it oh wait here I can copy I can copy an enemy from here how do we spell that and then no me there we go anyway sorry little detour under the freeze we want to grow now let's click on the enemy model and see how far apart these points are approximately I want to view it I think this is flat on so if I were to grab these two points it's approximately approximately flat on you can see that they have a distance of a little bit more than 27 so they probably about 30 units apart these are maybe a little bit more vertically yet these are about 40 apart so that's about our distance so just to be safe I'm gonna do a distance of let's say 55 but that means good girl very quickly through the entire thing let's just take a look at that we should be able to play and you can see you boom that even though just the top is being graze the entire thing is growing very quickly so that could be fine but let's slow it down a little bit let's go really extreme I'm gonna say 10% and now when I go pass by you see very slowly the rest of it grows I've covered this before but what's happening is it's viewing a point that has some power and if it has if it can reach the radius let's say a distance of 55 units away saying okay cool this neighbor has that so I need to start applying some power as well I'm going to apply 10% of the power so that's why it's gonna be like 10% 20% 30% and it's gonna slowly add so even though we have a relatively large radius our low effect strength means it will grow slowly over the surface so excellent that's working really well now what we could try and do here is click invert to invert that end results because we already know that we Newmont the opposite way feed it in but you're gonna see that's gonna start flashing back and forth and that's because of the way that this fries behaves it's trying to grow based on the previous shape but then this is inverting it and then the freeze gets reapplying it tries to grow so this in this invert is messing it up now there might be there might be different methods to do this but for me I like I said I like just making another vertex map it does not take up too much information that doesn't slow down very much so by making another vertex map we shall just name it fish 3 what is this one doing inside of the fields well we'll just delete everything and we'll just drag in fish too so we're just kind of daisy chaining these vertex tags and now we've got this one under control so we can add the invert in now after the fact so this one is free to grow and this one will do do the inverting so along those lines when this passes by that should grow and slowly turn red and now the entire thing is red now the problem here is that this is permanently red there's nothing that's going to make this fade away and that's a bit of a problem there might be additional methods here I've kind of I kind of want to explore more but a very straightforward solution we can do here is make another spherical field that can you erase this back out again so with that in mind I'm going to create a duplicate of our spherical fish field and I'm just gonna call this one fade so this one needs to be way bigger so we get a t4 scale and scale it way up and essentially what we're saying is you're only the plan is to say that you are only allowed to grow and get fully covered if you are inside of fish fade once fish fade moves away then it's going to kind of go back to its original color now you have to be careful it can get really confusing once you start using the inverts because everything becomes the opposite so I'm gonna turn the invert off we don't even need to think about that one for now and let's just deal with our new spherical fish fade actually I like that name so we'll add another word fish the spherical field fish and in this case in the third tag fish three we're gonna drag in that fade and this new fade is you can see how it's actually it's causing that to fade out a little bit already where it's only full power in that inner part of the circle so that's actually working pretty well by default but it's overriding everything underneath it so we need to change the way its blending from normal to multiply so now this should be viewing everything that comes underneath it so let's just view this this is not inverted but we should see it grow but then I would the fish doesn't go quite a far enough away so we will animate the fish a little bit more I'm gonna give us a few extra keyframes and at that key frame we will override it hit efore move and then just go whoopsie make sure we're on object mode and scoot the fish until the fall-off is fully away and we shall keyframe the fish again just the Z parameter so it should override the current one so we have play this should go through and it's inside the range I was able to grow and then it moves out of the fall-off now we have a lot of control over the way this fall-off behaves so in this case you see it's got really big fall off once hide the previous ones just when you see this one you see there's a really big fall-off range so what I'm thinking is let's make that not quite as much of a fall-off so we can go into remapping and here is the control here and I'm gonna make this inner one larger so it's pretty much like okay you can be full power inside of the circle and then you slowly fade out over there excellent so we should see this it's gonna just get grazed by the other one but it fully grows and then as a fish moves away it becomes black again so that's a that's a pretty robust a little set up there and hopefully not too complicated it can get can get complicated if you don't break these things apart but you see how we layered them hopefully you're not too crazy so now that that all seems to be working when you say okay let's take that end result here and invert that we're safe to do that because it's not the pendant done and you see it's not flickering back and forth or anything so it wasn't dependent on anything else so inverting safe hit play and now it's inverted so you see it's actually a yellow which means it's full size and it turns black for a moment and then goes back to yellow so with all of that in mind we should be able to go into our hair material transfer in the fish three and let's just send this immediately to the picture viewer to see the end results because we sadly cannot see in the viewport and will let the fish begin swimming it's gonna take a moment for it to go while that's happening why don't we set up something make this feel just a little bit more underwater and that will be we'll create an environment so with this environment we can turn on enable fog and immediately you see we got this nice big fog going to make this feel a little bit underwater we can add in maybe a blue you can add in kind of any blue color I'm gonna go a little bit teal why'd it smell bad we'll make it a lot darker and you immediately see they'll fill in the background and then we can grab the distance and start shrinking that up and as we shrink it you see that we're gonna get this nice instant fog even in the viewport so that's looking pretty nice another important thing to note is we set this up to render in physical which gave us that nice and you know there's like a thickness to all the tentacles but the fog doesn't seem to work in standard renderer on the hairs but it does work in physical so that's just kind of a nice little addition we get there so I'm not sure how long it takes fully to fade out but let's see what we've got here hit play let's shrink so we're a and then boom they can all spring back out again so I'm actually quite pleased with that that seems to work really nicely now you have a lot of artistic control that you can add on top of this currently currently we're just letting a fade away but we we do have the ability to add some things like some decay we could add some springiness potentially so that they have a little bit of wiggle on top of it the scale I'm not sure scale can go above under percent I actually didn't even test it it kind of be fun to test it you see that currently it's a scale of 100 but it can go above 100 so just for fun I don't know what this will do it could be terrible but inside of our effect right here why don't we try creating a decay I would say that a delay we have delay a decay and I say the wrong name even though he's click the right one so we have a delay which is just like the old what we call it I'm blanking I is it's just the yeah yeah it was the delay effector but inside the delay factor almost everybody immediately goes to the spring so we can now spring everything that's happening below it so I wanted to be pretty springy just so we can see the effect and currently fields are clamped you see we get this nice little clamped checkbox that means all the values are trapped between zero and one but if we want this to overshoot its original position that we have to unclamp it and hopefully I don't know but hopefully this hair parameter scale allows it to overshoots beyond that and if it does we might be able to get a little bit of extra life out of this so we shall hit save just in case and let's render that to the picture viewer one more time and see what the end result of that happens to be because our little fish moving along I mean it should actually do the springiness and the shrink and the grow so it might shrinking a wobble wobble wobble on the bottom so we might actually wanted to stop doing that stop it from doing that but it also could be fun they seem to shrink down these little spheres which actually stylus the clay I'm kind of fine with and they're all popping back out again very nicely oh yeah it look they are springing now they can't scale less than zero so they shot down they scaled to less than zero and then they got clamped there and now they're allowed to grow out so at least the spring was working on the ground level and let's see if these overshoots yeah yeah look at that oh there's so we put a lot of spring on there so these are probably way over springy but we did that just to make sure it was working in man is it totally working so yeah its springiness on top of it so that should be able to just bring a little bit more life to like them shooting out and wiggling let's just let this bounce one more time before we hit play and you see the fog coming through here on the render as well yeah we're really springy so let's see what that does yeah look how Wiggly that is wow that's really cool I didn't know if that working it totally did all righty so with that in mind let's stop that we'll just keep that behaving that same way keep in mind that you have the ability to do different kind of clamps we could stop we could actually delay could be added I don't I don't wanna go too far experimenting with something I haven't played with too much but there's a lot of places to explore by using some springiness you could add some moving which will slow them all down it'll be smoother in their motion you could also use decay and make sure that you know it could get pushed down and live there longer before it slowly fades back out again there's a lot of possibilities on there in fact from young yeah we could put but we could put the decay that would slow everything down a little bit yeah it's a little dangerous so let's just not do it so okay all that is working really well what I'd like to do now is try and apply a little bit of color to the effect so what do we got right now well we've got three different vertex tags but let's say when the fish gets near essentially as they're shrinking it'll choose a different color to fade to so in order to that we're gonna need a different type of tag we're gonna need a right-click on your object go to other tags and grab the vertex color because it didn't have a home so it's in the other menu so vertex color and I move it to the end just cuz it's kind of like the if we're daisy chaining I like to think of them in kind of order so inside of that I'm gonna click on use fields and we don't need the fries but we do want is to drag in one of our vertex map so we'll drag in fish three and there's something it's really cool we can drag this tag in and it's really easy to get colors from them because we can go into remapping and I'm gonna enable remapping but once you turn on enable remapping we can now remap the color so with the remap color we can say I want this to be a gradient and we can choose the different colors so I think that the first actually the last color here this is the color that they're gonna start out as so we can go to this kind of pinky purple color and this is gonna be the color that they kind of shrink to so I'm gonna make it kind of let's make it kind of a sickly green they don't like when something gets in the air so I'm gonna turn this bright green and shrink in maybe maybe it's this is not correct for the critters we're just having fun with it and that should hopefully work we might be able to remap things onto slightly four colors but let's just hit play and we're gonna see it here but when hit red oak we haven't applied in there or you can actually see the vertex color map applying directly on the here so you can't actually see that the green is indeed being applied where they would shrinks actually that is giving us pretty good feedback even if it's not directly on the hairs so but ten chilly we could remap the color I'm actually a little bit curious if we could you know change the offsets here so yeah you can see I could increase this and change the way that these are mapping a little bit we might be able to like increase the power even more yeah change the max remap all those in fact we could probably even go to a curve and change the way that these colors are applied so could do something like that so they're actually purple in the beginning and as soon as they're affected at all they should turn to a pretty bright green right away before that is applied so assuming that's all working we want to control the color of these hairs so how do we control the color of a hair well we can do it in the material again and in this case we're going to go into the color Channel now there's a lot of places you can potentially feed this material so you could be you know there's different spots but not all of them except the vertex map and one that won't is actually the color Channel right here that will not accept it but one that will is the roots so if in the roots we could we set the effect vertex map we can drag in our vertex color and that should be feeding in color now once again unfortunately we don't get the direct feedback in here you know we only see it on the surface of the object as it fish passes by it but that should apply to that currently the blending is set to normal which means that that completely takes over and that means it can be like a solid color just on that color so if we want to add a little variation in there we could go into our color channel here and maybe set this to I want to be black and white so I'm gonna go to a dark ish gray and then on the other side I'm gonna go to a lightish gray and I didn't walk all the way to make it too extreme because now what we can do is set this blend mode to overlay so that should overlay our color on top of it and if we hit render hopefully we'll see that we still get this nice and gradient transitioning from one to the other if we have play and let the fish do its thing a little bit hit render then hopefully oh yeah look at that look at this nice transition or they turned gray and then to green and we're getting this color where they're lighter on the tip and darker on the base because of this overlay if we wanted the base to be darker you'd always grab you know this would make a little bit darker there and that's gonna force that to transition to be even darker so that's all working quite nicely I'm pleased with that if we were inclined we could even go into our material and in the luminous Channel we can also feed it that same vertex map so it's a vertex and in here we'll drag the color with a vertex color map and that should also be colorized and that one we do see in real time so you see how the colors are being applied and if I render you see even the surface is going to change through those colors now because it's going to this base color you see it's actually quite bright compared to it so we could say this should multiply and we know any color let's just multiply by something relatively dark there we go so now you can see that that's very close in color we just I'm just gonna eyeball it I like this kind of cartoony look so there we go it's kind of just transitioning into the surface and when this is a little bit earlier before the fish gets there hopefully that's kind of it yeah the same kind of dark purple color down there as well so that's actually working quite nicely I think this is let's send it to the picture viewer and while that's rendering let's give ourselves a little quick save here and continue to the next part now my thought is is what if we wanted to clone a whole series of these on two different places on to that rock that we set up and we want the fish to be able to make all of them react kind of in order now there's kind of some manual ways that we could do this where we just kind of rebuild the entire rig but I thought maybe let's make a little bit more robust of a rig so that if we want to make changes we could make the changes relatively easily and you can see how quickly that hair is render here and this isn't physical so it's actually even a little bit slower than regular hair is what's just still really fun to be able to see this and how quickly they come through oh I forgot to chill the spring out a little bit so it's looking a wiggle op let's hit play yeah really fun I love this reactive stuff like fields have made everything so much more powerful so with with that in mind let's start setting up this let's go before I forget the spring let's fix the spring so delay spring let's say 25 percent 75 ok so I should chill out the springiness now we want to start cloning a whole bunch of these so what do we need what we need the rock that we made so it's unhide that rock and we need to clone this mesh a bunch of times so how do we go about doing that well I mean we'll make a cloner obviously we'll throw in our anemone and it's going to clone onto an object and that can be just the surface of the rock and I can see boom it's gonna start making a bunch of clones all over the place like a temporarily turn off the hair and his rendering right now and actually probably should stop it from rendering put your viewer oh it is done rendering excellent so it's done there so we are cloning a bunch of these all over the place and currently the rotations are good and in fact I just messed up my camera by spinning weird so I'm gonna go to I think there's a sort Cup I'm gonna go to parallel and then back to perspective and now we're back to a normal camera so with that also keep on clicking as we have that done we want this is cloning a surface which is completely fine I just want this to be in the correct rotation I'm not sure what it is so I think it's P I'm gonna try a 90 on P as okay it's a correct rotation vise to need to say negative 90 if I say negative 90 now it's pretty much right there on the surface it's working quite nicely now it's not sunk into the surface at all I don't really want to sink it into the surface because we do then the tentacles will be kind of coming up out of the ground but I don't want it floating out of the middle of nowhere but everywhere we clone that we're cloning our hairs or the hairs are being generated is going to be all of this geometry we can't really limit it unless we kind of explode it make it less parametric so one thought I have is let's copy and paste our cloner delete the contents and I will create a second sphere and remember we left everything default so I can just drop that in and on the second one I'm gonna turn on let's turn on the hemisphere again and on this corner we'll just have it spin to 90 so you see the way I get this counter shape on on the backside so those should be identical and they should be matching now the bird and I can't I didn't think about this but the vertex map might not match perfectly there it's not a detail I'm terribly worried about right now but it's something to keep in mind I just wanted a shape to complete there now what I would like to do is maybe let's have these anything any change we make to one we have to make the both so with both cloner selected I'm gonna make a push a part effector not what I typically use but sometimes useful push a part and then you see that sectioning of force sees away from each other and it's gonna make sure than that overlapping too much and now I don't overthink it so let's just keep on clicking both cloners both selected will go to object mode and we'll just keep on clicking different random seeds until we get a layout that we like the look of and now this one's actually if I didn't expect to find one so quickly but this one's actually not too bad there's more I mean if there's a lot more detail like I said I'm not want to worry about the details too much otherwise this tutorial will be three hours long so I'm gonna copy that number I like the look of it let's just tick through a couple more times see if we find any others that we like a little bit more and we do you know I'm cloning 20 of them right now which might be a little excessive tutorial let's drop it down to 15 ooh there we go I like the look of this one so this will be our layout now a couple things that we need to do like these vertex maps will not acknowledge actually the vertex maps I think do a fine job but we can only feed one vertex map into the material so if that's the case and we got two of these materials let me show you got the right one okay this one is dead that one doesn't do anything so I got rid of an extra material just so we don't get confused we've got all of these and we can only feed one vertex map in but technically there's like 15 of them so we can't do all of that so here's something here's a trick and hopefully we get this to work properly I'm gonna grab this entire cloner and I'm gonna drop the entire thing into a connecting hold down alt as I create a connect and now that's been merged in all these are one shape technically and I turn off weld now you can't drag vertex maps onto a connect this just doesn't work but someplace there's some place you can drag them and that is if we create a connection to former so a correction the former is pretty crazy it is actually making a copy of all the points in polygons I think even edges and if we were to select this and go to point mode it's a little bit hard to see because these are all purple so I'm gonna change our display mode to have no materials you can actually see that there's a point on every single one of these so we actually take those in and manipulate the object or even the polygons you see I'm on a correction the former not the actual object and this would actually deform that geometry which is pretty cool but that's not what we're worried about right now but we are worried about is dragging all of the relevant tags from our anemone and on to the correction deform ER and now with any luck let's grab our fish and we're gonna give them new animation so I'm just gonna delete all of this current keyframes so no more movement for the fish but the fish is going to move let's make sure we're on object mode I'm gonna move the fish so it's pretty close to one of these so it should be definitely within the fall-off if I could select the correction the former and let's just grab the first tag and go into point mode then you're gonna see that this correction the former is actually taking on the attributes of this vertex tagging actually see that this is falling off from where the fish currently is so this is very very good news for us that means we can kind of parametrically make as many clones as we want and not worry about these tags we only still have one tag that we can feed directly into hair in fact it's we just we didn't even copy it we just moved it so we didn't break any of those old connections now we do need to grow the hairs we've got our hair object which is currently turned off if I turn it on it's still just viewing that original object which is cloned away it's not existing there anymore so we need to feed it a different object and that object will be it doesn't work with the Kinect it doesn't work on the cloner doesn't work on the original anemone it doesn't work on the correction but it does work on the Kinect remember when in doubt use a Kinect object now the connect object well I'm isn't about to connect when you drag a different object for hair to be on if there is now a higher point count a higher poly count then it is currently generating the same number of hairs that it used to so we actually need to grow as many new hairs as I can essentially one for every polygon so an easy thing you do is just type in a big number and as soon as you kind of click off anywhere it'll acknowledge it and it'll drop down to exactly the in this case polygon center count so there's exactly 960 polygons in this overall scene and you see it instantly created all of those now things go a little bit weird there and it's not behaving make sure that you are still set to polygon center and you might have to reroute and regrow but in this case everything worked perfectly fine for us so you can see that we've got all these clones and we've got all these nice and enemies copied all over the place and hopefully everything else is pretty much still working so let's go ahead and do a quick save on that one and do a little bit of a test in fact let's just hit render and see what we see okay this is a very good sign this new and enemy which was cloned is shrinking and it has the proper color so it looks like everything transferred over exactly the way we wanted it to now I'm trying to think is there any way that we can I actually hadn't thought about it but I'm not we're not feeding the same material onto the bottoms of these and I want solved a problem and so without having done any tests let's think about it with the setup we currently have is kind of this entire thing is transferring through so here's my thought let's go ahead and make this we're gonna go and make this the base so that's where everything's already been and now let's make a duplicate of that materi let's call this one underside so here's my thought is if we do the exact same idea I'm gonna copy the correction actually what we'll put undo that let's do the same setup so in this second cloner I'm gonna put it into a connect if you hold down if you hold down is it blinking right now if I hold down alt as I create it you see automatically makes it as a parent which is good turn off weld and excellence now the reason we can't put this all in one object is because the hairs are gonna copy onto every single polygon inside of the connect and we didn't want that so now we've got the separate connect the separate connect can also be given a correction and that correction is going to be fed all of our vertex information but we don't need to have it do all this this double calculation from everything all we need to do is I think we can delete all of those and just use this vertex color tag and we will feed it the same source that we were feeding the other one which is just this original fish 3 because vertex maps don't care about what object they're on they're just care about how far away from the object are they so with that in mind let's apply the I'm gonna apply the underside material onto our copy we might need to make it editable I'm not sure we'll find out and under in the under side let's go into the vertex map and make sure that we link our brand-new vertex color tag if you wanted to you can always rename it if you're being nice and clean it's always a good idea so this equivalent could be for text color under side just so we know that that is the one that is linked so we have a brand new material applied and that one should transfer through let's hit render and see if that works I think it did I don't know for sure but these seem to transition correctly into the color underneath it so we're able to combine both of those excellent we've got this rock maybe it's I mean everything's very cartoony right now so we can make a cartoony material I mean if it's very cartoony we just just use a luminance channel and we can do something like we got a couple different options we could make a gradient we can do it for now personally I think it's kind of fun to do a fall-off shader if you haven't played with fall-off shaders and very nice and this concept can apply to a lot of third-party renderers as well what this fall-off shader is doing is it wants to know what in what orientation is important so we got X Y & Z and we're saying what the more Y that it is the more flat then the more should apply so in this case this is saying when something's very flat I think it will be white and when it's not a very flat on the top then it will become black so just by making that material just the straight luminance drop this inside of our rock right there hit render then we should be able see that yeah the top is kind of one color and the sides get darker so the entire thing is too bright for my liking so let's make a darker gray and that can transition into a pretty dark grey but not quite all the way something like that and that should be based on kind of a color fall-off along those lines say there's a little bit of transition there now the whole thing I mean his we've got the environment so everything's go fly you see me get closer there's a little bit more variation so that should make that pop out just a little bit and you know you can this is not what this tutorials about so you won't spend too much time you also make a fusion and in this case I can throw in a for null fall-off so you kind of get this look very flat I can invert the gradient there so it's kind of looks like a regular object and we'll set this to overlay on top of what we already had so we got that base color now it's gonna overlay it and that should just make a little bit more of the detail pop in a kind of a stylized way completely fine for the super basic tests I just want to look a little bit better so now let's make sure that this is indeed working for our overall fish we should name some things so this is going to be this will be the hair base this will be the the Angus it's the let me copy the word anemone underside and okay that's working fine and what what do we want to do what we want the fish to travel past a bunch of these I think the best way to do that is going to be let's create a spline so how hard is it gonna be to make a spline here I'm not sure let's just it's gonna actually be really hard to make a spline here so me show you a couple tricks we're making this up as we go so we got a bunch of these clones but my thought is what if we made a tracer object now let's do this I'm gonna make we can make it kind of anything I'm gonna make a sphere in this case and let's just move the sphere someplace so I got to turn out snapping you do a shortcut shift s which will turn on snapping and you see as I move it snapping to all these different points I can drag it to one of the anemones and then turn off snapping but I know now that I'm approximately the correct place so let's say the fish is gonna start there and I'm gonna copy paste so now I've got a copy of this I'm gonna turn on snapping again let's say I want to travel here turn off snapping yeah move it up just a little bit copy paste and now we're going to travel next well turn on snapping move it approximately here he's gonna be swimming past all the anemone so now turn house snapping and I'll move it up a little bit actually that one snapped a little far back so I can pull forward and then copy paste and this one I don't know and let's be careful here because why not I'm just gonna eyeball this one movie here copy paste again actually could just control drag but copy paste works as well let's turn on snapping because I want to snap down here turn off snapping move it up copy paste snapping one more time actually I guess there's two more he can swim past so move this over here say it with me snap on snap move it copy paste snap snap don't snap anymore pull forward the snapping is really speeds that kind of stuff up excellent so now you see we've got kind of the sequence of spheres and that by itself isn't doing any you know it's too much good but I'm gonna select all these fears I'm not sure if this works but let's turn on a tracer and yeah because they're all selected all of those were put inside of the tracer now it's gonna be tracing those but if instead we say I want you to connect nope not connect elements connect all objects and now you can see that there is a line traveling from one to the next one now currently it's actually traveling through every point of the sphere it's gonna be really weird but let me show you I'm gonna hide if the spheres and you see it's actually tracing all the different points of the sphere which is cool but we don't want that so I'm gonna say don't trace the vertices and now it's just going from the access to the access to the access to the access of each of these and it's creating a VAT for us now there's a lot of ways we could have done that we could have just probably cut and moved a thing but I was able to place that pretty cleanly pretty pretty easily so at that point I can make a copy-paste of our tracer and this one I'll make editable now maybe wanna go back and change those later so I'm just going to turn off that nice little hierarchy we made I'll even make these children of it so we can collapse it you see they're all turned off they're not having the effect and now we just got our nice tracer set up so now we can grab our points and change our spine type wing change it to a Bezier let's go to a b-spline that's very smooth b-spline we'll turn on a uniform shape and you can see that's actually going to start smoothing this out it's a very smooth line actually now but it's so smooth that I'm gonna manually grab a couple of these and just make sure that they are just enough away from the surface that our fish will not be colliding with them this one very close but you see it makes a very smooth curved line so I do like Bezier curves a lot care of that one up now this this technique is actually useful in a lot of different places I've used it for several things keep in mind the busy a curve the points don't actually end upon the spline directly is making so smooth that it actually floats my way so as I go to select a point I'm just kind of aiming for the general area where I know the point exists and then hopefully it will select it in this case I'm actually will the trouble there he goes way over there there we go pull I went up and we got our last one which actually isn't too bad I'll just make it travel a little bit further excellent so that becomes hopefully a path for our fish to swim now it doesn't have a guide spline yet so let's see if we'd need one I'm not sure if we will so and also I haven't checked but let's see how quick this runs I'm hit to another quick save and let's hit play yeah it's not it's about seven frames a second so it's not it's not amazing but it's definitely workable so yeah we've got our fish path so we can move our nice little fish up to the top right click animation tags it needs a while lines the spline tag the spline go click on it the spline that we want is in the tag tab drag in our fish path we want it to be ten gentle and now you see the fishes jumped over there it's actually the spline is backwards from right I thought it was do I care the fish could come from this direction I mean if I do care then all you do to select the fish path I'm gonna select all the points right click and say point order reverse and now the fishings not jump the other side now I intentionally designed the fish when I model him to be Z forward so his forward part here Z is pointing that way so automatically means he's aligned incorrectly if you happen to model something it's not aligned correctly a very easy way to fix it would be to let me just show you I've got the fish selected I can alt G and I put him into a group and that group is exactly where the model was and I could then move this tag up a layer and that tag is now on the null and I'm now free to grab my object and let's say my fish was wrong I could spin him around backwards and now he'd be facing correctly my name was already correct so we can do some do I'll even leave it in the null because that's just a nifty thing you can automatically reorient it that way now let's make sure that he's not popping in any kind of weird directions from his ten gentle thing if it's working then we just leave it keep in mind that this is traveling at about one third of the spoke before we do this we should probably give them what to train so at the time of zero I want the position to be zero at the I'm not sure how long we want those just through the entire time line 333 let's drag this up to 100 oh it looks like he's traveling really well so we might not need a rail spine although I will make one just in case you're not familiar with them they record that as well now keep in mind that by default cinema records its keyframes as a spline which means it's kind of easing in and easing out so I could grab that point and change it to be linear and I can go down here and carefully drag and move it and select that and change this also be linear and I was gonna be moving at constant speed across the entire spline and we can see forget play I'll get them that's adorable now let's just check out real-time I can turn off the hair just so now we're actually it's a little bit slower so I think maybe some of the rock stuff and all the other things I was doing are maybe a little more complicated we can see he's doing a very nice job very calmly swimming I think it's actually that's pretty good it may be a little bit of a bump right there so if we were inclined we can always go in there and I did create two points right on top of each other in a very close proximity so I could just delete one of those and it'll smooth that out a lot you can move things around and whatnot now let's just say that the fish was not correctly rotated the way you want the way you would do that would be I'm gonna duplicate the entire path and I'm gonna rename it fish path rail and this is now going to be the direction that he travels so let me show you inside of the align to spline there's a place to put a rail path so let's drag that in and it's gonna get a little bit confusing the beginning but if we just scroll and go to any particular point like right here the fish is at the beginning you see he's kind of laying flat so Ken looks like he died we don't want that so I'm gonna grab the equivalent point to where he is approximately and I can just move this in space and that becomes his secondary access now it looks like for where he's currently and we wanna flip to the opposite side so I'm not sure let me click on the fish this is his X plus his X plus becomes a vector so all we want to do is always take the equivalent position on the rail spline at any given point and scoot it a little bit on what would be the fish's x+ so we could just scoot this forward until he gets a little bit weird or you know we just kind of know it's on X plus I could always just keep grabbing these and scooting them a little bit onto the X plus and now I have very direct control over the way its rotation should be and if you were inclined you know it over here let me just show you if we were to scoot it over here you see he's doing a very good job of floating and we have very nice orientation but let's say right here we wanted him to flip around or lay flat or anything grab this point I can start moving it up and you see if I move it up instead of my max he's gonna start tilting over so right there you could tilt we could have him Bank a little bit so right there he moves down I get to move it over so you still have the ability to do that and as he swims here we could grab this one and now we could say no that one should orient back on X pretty flat so that would straighten them back out again so this enables you to without any keyframes create kaneo completely control the orientation that it should be facing you see right here using a tilt a little flatter and then straighten themselves back out again so we have complete control over the rotation of this via just moving the second three points so real spines are very nice very powerful and you should definitely use them all right well all of that seems set up and ready to rock so we shall give this one final save rewind all the way turn on not the tracer that one's done turn on the hair and that should turn on all the tentacles and even I mean like it our fish should be swimming through but I'm even Klein too like well let's uh let's keep it simple let's just make a camera and it will target to the fish so target tank for a camera I'm gonna link to the POV of the camera by clicking on this little kind of a mic and I don't know it's called but we'll click on that right click and make a target tag I just want the camera to target the fish directly so now it's gonna look right at the fish if we have play anywhere the fish goes the camera is going to be looking right at it so we could actually place ourselves someplace a little bit more in the environment you know something like here so we can be seeing everything maybe a little bit lower I'm not sure you know yeah this could be you know keyframe the cameras just go keep on looking at the fish but as he passes through those should suck in and yeah that's working quite nicely any at least well we can even right now hit render and we should be able see they sucked in and the fish is staring into our soul keep going and the fish will swim swim swim zwi actually it's pretty no it's gone working quite well he's not even passing through it and then it'll turn the corner and then you'd probably cut the shot but you yeah there's a lot of fun we could layer and layer and layer this kind of stuff never ends we could make some particles coming down I wonder if you could even make it so that there's like turbulence or these would react a little bit to the particles like there's so many places we go further and like I said this is just project this is hopefully just a tutorial on project one and I've got like some additional ideas of things to do with hair and fields so we might see additional projects in the future on those as well so we will set this up to do a quick render because why not I guess we're fish I didn't think about it but the fish is not lumen int so I'm gonna make two quick materials for our fishy so we will make a luminance if I have you good to make them shiny but I'm not gonna worry about that right now we'll just make a gold color I'm gonna turn this off we'll make a gold color for the fish be a good to name these but not gonna worry about right now and then this eye so let's just put these on the fish so that's on the fish and then this will be on his those are his pupils so we'll drop those on there I guess we need a black one for his pupils so no luminance on that one so he'll just pop a little bit in this kind of very very stylized simple world hit render on that one and there's our very flat fish okay I just kept the rendering it's about six minutes not very long and here's what we end up with and I definitely see some changes I want to make so we're gonna make a few changes but let's take a look oh are you so cute we need to zoom back out a little bit because we're not getting to see the plants expanding that much they're getting a little bit they look a little bit weird and sparkly down here I think it's because they're shrink in all the way so let's make them not quite drinking all the way I also thing can be really fun to add some bubbles to him and this background is just so flat I think we can make that pop a little bit more so let's just hit all of these very quickly now if we don't want these to flatten out quite all the way it's really simple to make that change I'm going to go into our hair base and on our last vertex map all we need to do is make a curve so if we make a curve from the modifier layers here is it going all the way to the bottom and all I'm gonna do is grab that and pull it up a little bit so now it cannot shrink down quite all the way another thing I saw is the fish is is kind of intersecting this plant a little bit so I'm just going to a rectangle selection actually I'm gonna dealing from our camera so I can find both of those there we go both points and I can just grab both those points and pull both of them up into the air a little bit and maybe back a little bit just to make sure he doesn't intersect with that one another thing I noticed that I would love to do is let's not have the plants get really dark they get their like black all the way to the base so I'm gonna do is actually scoot this dark point forward a little bit and let's grab a slightly lighter point and pull that back a little bit and now when I hit render we've got the plants you see they get lighter as they go down again and now we can grab our base and underside hang up brighten those back up again so we're multiplying it by a lot I don't need to be precise I just want these two yeah there we go so another maybe a little too bright let's find the point where it's pretty close I just want them blend and I just want a little more of a splash of color there yeah I think it's right around there or they're just kind of blending a little bit seamlessly from one to the other in fact that's stripe I just made probably a little dark so let's grab this one not overlay some quite so dark and we should still get our nice gradient that's looking nice excellent and then okay now the next thing I think that would be great is let's make our fish have some bubbles now what I'm actually going to do actually know a couple things like I said let's move our camera back the cameras a little bit close for the overall animation I just want to see a little bit more of the context of the overall rock let's turn off the hairs just so we can see this and I can scrub a little bit quicker so there we go now we're just back a little bit but we're focused on the fish which is what we want but I want see a little bit more of our environment here so instead of targeting the fish let's create a null put the null in the fish zero it out and let's say target null one which we shall rename target and now I can target the fish but a little bit lower and now I can just look at the environment a little bit more let's make sure that that looks pretty good through the entire thing that were very low and we see the fish he comes along but we're seeing the environment a lot better and he disappears around the corner excellent now right now we still see him but I think I'll be hiding behind the anemone by the time he gets there so I like that next up I'm going to save just in case next up let's go and give him some bubbles why not it's fun we'll copy and paste it into this scene but just to get some scale and make it work run really quickly a copy copy the fish new file paste the fish and there he is and hit reset PSR so it's zero is out and now there's the fish so really simple for us to now create a particle a basic cinema 4d particle emitter I want its to emit I don't know I let's say six particles and the size of it should be zero zero and I'm gonna move it up right here to his mouth and what should that be emitting well if we hit am it right now it's just gonna spit them forward I think I want them to immediately have a little bit speed so I'm gonna rotate it upward and we'll see it more but now they at least have some initial speed and then I want them to continue upward with with some speed so I'll also create a simulate wind and here's a wind that we will aim straight upward and I'm not sure how strong it is but hit play and that should be yeah these will kind of accelerate a little bit as they go and that is excellent and we can even call this wind bubbles then I want to control the way these are emitting very clearly so instead of cloning a bubble in a very simple bubble of that and just create a sphere and honestly I think I might just make another white luminance material so everything we're aiming for here has been very cartoony so just straight white luminance is about as cartoony as we can go here put that in and instead of dropping it in the emitter let's create a cloner and I'm gonna drop this into the cloner and clone onto an object the object before is being the emitter and week you say emitter bubbles and excellent so this should be now creating a clone on top of every single one of those now a fish isn't moving so I'd feel like it might not be giving us very good feedback right now so I'm gonna put the bubbles inside of the fish and let's just keep hearing the Fisher a quick I'm not sure how fast I'll be moving I just want to have an idea of what the bubbles are doing so yeah at the end which is about three frames I'll have the fish moved to about there that should give us a fine idea okay neat I think there's maybe too many bubbles but we'll see after we finished the scaling so right now they're gonna be full scale all the time we don't want that so let's create a linear or I'm sorry at plane effector man plane effectors have become so powerful now with fields I don't affect the position but I do want affect the scale and the scale is gonna be uniform the same in all directions in an absolute way so I want to be negative one that means all of the bubbles should be scaling down to zero there's none but now we can give it a fall-off guys a fall-off spiracle field and a spherical field will be in the fish PSR reset PSR scoot it to the front and now that is where they are going to begin now I want to give this a full fall off like that and we can just keep on scaling this up and now you can see the bubbles will get bigger as they go I say move away from the fish so it's kind of like as they're raising to the surface there there's less pressure so they can inflate a little bit more but there's still a little bit big overall something at sea for scale and scale them let's grab the bubble tea for scale scale them all down and then third I don't want them to be zero at the beginning so well some let's go to the plane and I think it's under Mack if we pull the max back the reason we're using max instead of men is because we're doing the opposite we're scaling these down so I want them to scale down less so we're pulling down the max and now you can see when they're created they'll already be existing a little bit and then just for fun let's add a random as long as we're doing the extra effort we'll make a random this will not affect position but it will affect the uniform absolute scale and now these can all scale upward to get a little bit bigger so we have some random bubbles and they're a little big again suppose scale them out overall excellent don't get play okay now I don't want them colliding with fish too much so I'm going to admit them faster in the beginning so let's about double that about 300 and now you can see they're shooting out quicker so they don't collide with the fish so much they're moving straight up and down but we're gonna be putting in the scene with the turbulence so let's go into this and grab our turbulence large and small copy open the new file close the new file and now automatically bring us to the one we were working in paste and you should automatically be applied let's see if the turbulence makes those a little bit more interesting sort of doesn't feel like you're having honestly and that much of them affect so what I'm thinking is let's copy and paste let's copy and paste the small turbulence and I'm gonna make a lot stronger and save like 55 and all yeah and already we can see this is adding a lot more so let's double that again 111 there we go now you can see that we get some nice extra wiggle going on there and uneven the scale is pretty good on that let's I'm gonna try doubling again just to make sure just to see yeah that starts getting a little bit crazy so like an extra 100 on there is pretty good so we don't need the other large and small but now we have a turbulence bubbles but we have to remember on both the wind and the turbulence to make sure that the anemones are not seeing those so we got to remember that so this is all working really well we can rename this clone bubbles and all this bubble based stuff is kind of wrapped up together excellent even this is the bubbles good to name these kind of things so what do we need I think this is working well we've got our bubbles coming out from the fish and they are traveling out quick and maybe the fish is going a little bit fast so yeah I'll slow it down a little bit so the initial speed can be a low two to two they're living for 600 which is longer than our animation which is fine there we go yeah I like that a lot all right so let's copy everything into the other scene final setting a copy bubbles the effector turbulence bubble bum bum everybody caught the copy window back into the fish paste all these things in the actual fish itself it needs the bubbles and it needs the fall-off and everything else is relative so let's grab both of those hit reset PSR and I think right here we can use eyeballing a pullet right until it's on the front of the fish excellent and I think the last thing if I'm remembering correctly but I'd like to do is brighten this up a little bit so I mean I think it looks great in this kind of simple cartoony world as the fish swims along but it seems a little dark and dreary now that I'm looking at it so let's change me I'm gonna brighten the color up a little bit let's grab the environment number everything is driven by environment going to chill that out a little bit let's bring it a little bit more into the blue range maybe saturate it a little bit more yeah that's already aw look at that that's already more lively but this still very flat in the background and these rocks are very flat as well I wonder what we can do for the rocks I'm not sure just make this up as we go but honestly maybe we just throw noise in here we had this fusion I got a copy we could put into a layer shader of course or we can use the new material stuff but I'm just gonna copy the fusion go into the fusion paste the fusion into the fusion and we'll just put in a nother we'll put in the noise to get some sort of pattern I think in this case a wavy turbulence might be nice and it's just cuz it's kind of like a actually no it wasn't the way be turbulence maybe turbulence where it's just kind of like a noise but it just gives a little bit of something and I'm gonna that's also set to overlay and hit render and let's just see if it's applying on the rocks yeah you see there's just this little bit of stylized or it's just a little bit texture on the rocks but I guess a turbulence isn't doing it for me displace the turbulence that's maybe the one I want it this yeah displace turbulence to me kind of has a same vibe that these rocks do which is kind of like these heart soft but hard edged shapes so yeah this is something to break up that patterning a little bit and then we kind of need some sort of gradient in here because it's all very flat so didn't say these rocks just stop but I don't think I'm gonna do anything to fix that maybe maybe the cameras a little too far away it moves up now I can't really think of a way I don't want to zoom in anymore but these rocks just terminate but we're cloning onto those I don't wanna mess that up and this is all bonus detail but what I do want to do is let's go to a side view and you see here's our overall setup and I'm gonna create a light and let's move the light up pretty far and I'm gonna say light no illumination we don't need that but we do want is to see your visible light so this is just gonna become a big old visible light and I'm gonna scale up pretty large now that could be too much but let's hit render and see what we get look at that look how we get this like kind of illumination vibe from the top and there's kind of as gradient fall-off as it travels down so we kind of gain this inherent murkiness from that now if we're inclined we could give it a little bit of color you know you could colorize that we could you know even change it a little bit you know make it kind of a green color or you know yeah you have a lot of control over the way that that could change I think leaving it pretty light and maybe even going 150 on the brightness maybe yeah just pop that a little bit my head starts getting a little bit flat honestly so maybe maybe actually not maybe we can't do that but make it a little bit brighter of a blue yeah that helps that's kind of nice and then actually because it gets so nice and kind of bright there I wonder I don't know these are just a live experiments but we could always try darkening this background a little bit so if that's darker then it's gonna be a little bit more gray and then maybe the light can make it pop but I can tell you that's actually kind of killing it so makes me want to do the opposite let's brighten it up and I they go a little bit more lively and this has all those color but you know what no let's go back to 100% and increase the gradient and now you get this nice overall fall-off now there's a lot of different ings we could potentially do like if this feels a little bit more powerful the Middle's because it is it's a big spherical light but there's things if you'd like move the light further away and increase the radius and as we do essentially we're making it a flatter and flatter so we could potentially do that kind of thing and just keep on countering the brightness a little bit so this should be a little bit more of a transition of a gradient yeah but now that we're in the edge we could start increasing the brightness more so now we get that gradient back so a nice little push and pull and there's a lot of different types of lights we could try the yeah look at that you know we could try some of the parallel spots and whatnot but thoughtlessly just this little gradient one is working well for me so we just change a bunch of things hopefully these don't quite go down to zero and right here you see it doesn't seem like they go all the way to zero we've brightened these up change the rock a little bit which honestly feels like it could be a little darker and maybe have a little bit of color so I say multiply by a little bit of this color here and it should just make it darker and have a little bit of color on top of it and it should kind of make that fade away yeah that's gonna make that fade away a little bit and now we got our flat fish hopefully some bubbles coming up almost forgot the anemone the hair has forces and we need to exclude bubbles and the turbulence bubbles because otherwise those will be applying and they'll be blowing way up into the air so we don't want that so let's give this a save as the next version yeah go ahead override that one and now let's just give this one another render should probably take almost exactly six minutes what quick little thing I just noticed I wanna fix these get really dark over here and then I just realized when you're when we reset the PS are on the bubbles then we aimed them forward a little bit so let's just fix those two things so we'll stop that real easy you will grab the bubbles and then rotate them up there they're 90 degrees here so they're aimed up and then the anemone we need to pop open there wind up the material if you go into the illumination tab then we have two settings we all get rid of the roughness we'll get rid of that and then the diffuse which is actually kind of creating the shading on it if we get rid of both of those and hit render you can see that one spot that kind of had shadow that was taking away the cartoon enos is now very flat looking which is what we're going for here excellent and that with that let's go back and render okay we're about seven minutes later and the render is finished let's take a look at it we got our little fishy swimming along Thanks yeah look at the the reaction on these this is great like this transition is really nice exactly what I want I'd love the way the bubbles coming around the bottom I'm not gonna rerender a couple things maybe I tweak right there the fish does kind of a hard a somewhat harsh turn right there so I'd want to smooth at that spline just a little bit the bubbles around here seem to go a little bit wild a couple of them the turbulence is lighting that one escape I don't know if it bothers me too much because I like the rest of it but you always give a fall-off on it if I want to there could be some other gradients like some other light fall-off surround here I mean you know stylistically we weren't really trying to make too much in the way of art this is more about the technical part but hey try and make it look a little nice and stylized why not it's as fun yeah I really like the way that this turned out I mean it's obviously not complete it's just a fun little project if we took a little bit more to completion or at least stylistically doing something with it and I was originally aiming for but you know the main thing here is supposed to be that takeaway of hair and feels and just having fun with that but you know we'll just take the projects kind of where they they bring us so hopefully I'll be able to have some tutorials coming out on a somewhat more regular basis so it's actually filmed in front of a live studio audience actually just people online in the chat so getting some some notes and what people would like to see so it's kind of fun yeah that was really fun this was a fun project it's kind of an experiment I'm gonna try and do these weekly tutorials where I am trying not to overthink it and just get some cool techniques out there now we tried to make this one kind of a little more finished a little more stylized you know not properly but you know more more than I was aiming for originally the real point here is the techniques using hair and feels just some fun ways that you might be able implement them this was just one project of hopefully many I got a couple different ideas just involving hair and the plan is to do these weekly in fact I filmed this with a live chat going of people from patreon and they're helping come up with the ideas and what they'd like to see and some places to go and little bits of feedback so it's really fun if you want to participate in that and you want to help me and support these kind of tutorials or if you ever found them helpful then I do have a patreon set up you get the scene files I've seen files from this project and from all the live streams are going to be on there and yeah it's really appreciated but all the content is going to end up on YouTube one way or the other for everyone so with that in mind thanks for watching I'll see you in another tutorial or in another live stream sometime soon so thank you so much for watching and bye-bye [Music] [Music] [Music] [Music]

Channel: RocketLasso

Views: 8,169

Keywords: Rocket Lasso, Cinema 4D tutorial, cinema 4d hair, cinema 4d fields, c4d fields growth, cinema 4d fields tutorial, c4d fish animation, cinema 4d underwater tutorial, chris schmidt cinema 4d, cinema 4d vertex map fields

Id: LkUh7vtafd4

Length: 83min 44sec (5024 seconds)

Published: Tue May 19 2020