Fill An Object With Dynamic Clones in Cinema 4D

in today's tutorial you're going to learn how to fill one object with a bunch of other object using cloners and cinema4d dynamics this is a technique I use all the time so don't miss this one everybody is sick here again from greyscale gorilla comm bringing you the tools training and tutorials to help make you a better motion designer now today's tutorial is all about dynamics and how to fill an object we get into a lot of detail in this one even some design but before we get started I wanted to make sure that you're subscribed to our YouTube channel where we come out with new tutorials like this at least one per week we even do a podcast every week all designed to help make you go further in your motion design career so if that's you please consider subscribing so today's tutorial is all about using cinema 4d dynamics to put a bunch of small objects inside of a large object and using dynamics to make sure that none of them are touching this is a really important skill to have if you use dynamics a lot we even get into how to control the gradient and how to really get this look going we even head into Photoshop at the end where I show you some color correction skills to really make that final render shine alright with that let's head on into today's tutorial it all started with this these renders from zeitgeist I've been staring at their work for years now and this is actually from a few years ago I actually tried to make this a few years ago and really failed at it and I think I finally found a way to do it and we're going to go through how to fill an object like this and then also work on how to texture it this way as well which i think is really what the secret is for these types of renders so there's this one there's the sphere filled with spheres obviously a little chunk taken out and then this one's really cool it's the cubes here with the cubes and of course the pills with pills these are all made with the same technique or can be made and we're going to start with the circle one just we can get the technique together and kind of talk about some of the ways to start to build this and then I'll show you another scene in where I made in this one the cube and talked about some of the problems I ran into making this and how to try to overcome them so let's head on in to cinema and start to build this thing so obviously the first thing we need is a sphere to fill and then let's make this shape let's make that bite out of out of the sphere here and with that we're just going to use a cube and we're going to move the cube up and out and forward to make that little bite mark out of it and what we could do is just go to coordinates and with if we know our sphere is a hundred radius and our cube is 200 then we could just offset this in X right we can offset this 100 and we know that that'll be exactly half you can see we're cutting this sphere in half now and if we do it on Y for 100 now it's moving up and then the last thing we have to do is Z on 100 and actually Z went backwards so we actually just want it forward 100 so let's go negative 100 and now we're taking an exact kind of bite chunk out of this sphere here with the cube so to take the actual bite out of it we need a bool object you can see this up here bool and bool works like this you take the bool and you say I want a minus B so you put those in order and now you have the pieces that you want you can make any shape you want we're just trying to replicate this one let's get this one up and ready so we could a be it and make sure we're doing as well as we can this is the kind of shape that we want and now we have it we can kind of angle our camera up here just to get ready so now how do we fill it full of other spheres well let's make another sphere here and shrink this down so we can make little little ones and we you want to get the ratio right if you want it to look similar so there's pretty small here pretty small ones and we'll take that one and then we'll take another one and there's also some larger ones in the group so we have kind of both scales set up and we want to set those and put those in a cloner so drop those into a cloner and this is how you start to fill the the object so you in the cloner you want to go to object you want to say and also go to object so mode object and then you want to drop the bool into your object here so this will start to clone these spheres on top of this object here you can see we have to change the mode we don't want the clones to distribute on each vertex we want to come in here and say distribute in the volume and now you can see they're popping inside of here so if we just turn off our bool you can see inside the the actual object is is where the clones are starting to show up but we don't have enough clone so we could scroll down here we could say not 50 not a hundred but maybe a thousand of these right a lot of clones we really want this to be full and that second sphere might be a little bit too large let's shrink that down just we could make it you know smaller objects here and we want to take the clone and you can see it's starting to fill that object a little bit we're missing a few parts but this will all be solved when we start to add the dynamics and it will start to fill this object so let's set up the dynamics of you know if we hit render you can see everything's touching and this is the real big this is the real big cool part of this is nothing's touching right and the easiest way to do this is to just set up all your objects get them as close as possible into position where they should be and then run dynamics for just a few frames to allow them to kind of separate from each other and then fall into position so we've got again we're going to do this with spheres right now and then I'll show you how the the cubes get a little bit more complicated afterwards so let's set this up very quickly let's select our cloner go to tags simulation tags go to rigidbody and this we have to tell to not make the whole system a rigidbody which this make basically connects everything all together into one object we want to tell this clone to put it on each individual sphere the way we do that is we say inherit tag two children apply tag two children and then we say individual elements top level so that's just like the first level in here so now if we hit play which uh I guess now's as good a time to talk about this hitting play has been my biggest risk to date for locking up cinema 4d and if I look up over my computer and look at Chris he's probably nodding his head going yep you always do that you hit play and then you and then you're stuck because it's calculating frame by frame by frame and there's no easy way to stop it so I've developed a habit mostly from Chris yelling at me to to fix it but by using the key commands the actual key commands to move forward one frame and calculate one frame so here's what I've been doing I hit shift F to go to the beginning and then I hit G on my keyboard to calculate just one frame this way if you lock up your system it's only locked up for one frame and then after after that one frame calculates it will stop and you can do whatever you want it's not setting they're trying to calculate frame two and if you've run into this you know how frustrating this could be because there's kind of no easy way out of it and this has been saving me a lot especially with the number of dynamics that we have okay so this is rendering pretty quickly we're going to step this up this you can see the big problem we have is they all just kind of explode out into space but we want them to stay within the bool objects so let's go back to frame one and let's set up the bool object also with a Collider body so here's simulation collider body and we do have to tell this to change its shape from automatic to static mesh and this will allow it to exist inside the object okay so now let's hit G go move forward one frame more forward one frame and now we have it right you can see it's calculating pretty quickly we can add a lot more clones actually you can see we are our scale is still pretty large um these big ones are there's too many of these big ones there's quite a few of these middle sized ones but there's not enough of those little baby ones so I love these little little tiny ones so let's add those one way we could do that is start to randomize the size of our objects but when you have such a large ratio between the large ones and the small ones what I like to do is just grab another clone and make this one much much smaller maybe like one right that looks a little small - looks better all right jump back to frame one we're doing shift F and we're hitting g g g g so now what well now we have um enough of those medium ones enough of the small ones but too many of these large ones so how can you limit the amount of large ones well what I was doing was basically just setting up the ratio inside of the cloner so let me name these just so we know like medium and then we have large and then we have tiny right so we have three different versions you can see tiny medium large I want more of the tiny and medium ones and less of the large ones so what we could do is duplicate the tiny and medium ones and put those in the object so now when it iterates through this cloner it's going to pick up a tiny one a medium one tiny one medium and then a large one so the ratio now is like five to one or one out of five is a is a large right and this is might be closer so let's jump back shift f g g g g and we may have to add more clones now because we have much smaller ones you can see it's not filling up if we navigate around our sphere is only half full so this is the other thing you have to watch out for for this is getting the right number of clones so let's go ahead and add more clones we go to our clone ER and instead of 1000 let's go to 1,600 shift F playing forward g g g and you want them to you know just fill up and no more you know if you have too many they're going to vibrate in there they're gonna jump around you can see a few of them escape and that's okay the final render actually has a few escaping but I'm going to show you how to get rid of those if you don't want them and how to add extra ones as well so let's hit render this looks a little bit better I think those tiny ones are too ill still a little too tiny let's try three and let's just see if they can move in place okay cool so let's uh you know we could tweak everything forever but I think this is looking pretty good here's that's the general concept so okay so now let's fill it up a little bit more and I want to show you how to get rid of some if you don't want them so let's go back let's try to explode this out into a lot of objects and then we have some that kind of escape the world here how do you get rid of those well you are you can just paint them out basically using the mograph selection tool and this is something actually never played with Chris also helped me figure this one out it's like how do you just kill clones that escape their their world um and this is the the kind of the best way we found and let's go let me just show you how that works so you go select your cloner you grab your vector and you get a plane effector this plane effector in the parameter you don't want it to affect position but you do want it to affect scale and you want a uniform scale of negative one and this basically will just make that clone disappear so now with et well you select the cloner you select mograph selection and it's going to give you a brush and it's going to have all the clones sitting here waiting for you to paint them with the brush you can make the brush bigger and smaller but you just paint them out so here we go we're going to paint this one out this one out I'm going to hold down shift so I can rotate and get other ones if we're missing any there's one and we're just painting out the ones we don't want now when I did the cube one that you'll see later there was a ton of these that exploded out because of because of the way the cubes aren't round and they just kind of explode out a lot so I'd to paint out a lot more but the concept is the same so now we have a cloner we have our mograph selection tag that we have to tell the plane effector to use so we go to the plane effector we go to a vector selection and we could say hey all we need you to do is look at those clones that we selected and then we have to go forward a frame just to kind of refresh it and they're gone right so now we have no extra ones and if more show up more show up and if we recalculate the dynamics other ones might pop out at different times so just be aware of that this may be what this may want to be one of your last steps so because we've cleaned this up let's start texturing this thing let's get our camera angle let's add a camera and let's uh you know set like a wide angle here I know it's a wide angle because the ratio between the large ones that are close to the camera and the smaller ones that are farther away so they definitely put this wide-angle lens you can see the wide-angle lens here as well there's really a lot of angular distortion on this cube you can see we're really close up on this and we're really looking far away on this one this one really shows off the wide-angle camera it's very very the parallax not the paralyzed but the the conversion lines you can see are very close the things that are far away look much further away than the things that are close up and so those are things you can look at to figure out what lens to use so in this case let's use a like 26 or 25 something really wide and fisheye kind of maybe even like a 22 and that is kind of roughly the the look right here you can see these are large and these look smaller back here even though this and this are the same size you know we're this and this are the same size we're much closer to this one okay so now what well now we got a texture this thing and I'll tell you what I did I looked at this and I said sub-surface scattering we need a ton of it we need it to be beautiful we need all this light to blend through it looks real you know looks like candy right it looks like like jack has been staying in the studio since I've been working on this looks like you could eat this stuff looks like you'll reach in and grab it and take a bite out of it and subsurface scattering really gives those things that this look the problem was is I started playing with subsurface scattering and the render times went crazy they just shot up um minutes and minutes and minutes per frame just for one still and it was just it was hard to work with it was hard to to set up it was hard to get the look that I wanted and you would get really close with subsurface and you would change one thing and the whole all the colors would change all that all that all the details would change and it just didn't work out and you can see we have a lot of like brightness over here and then darkness over here we have some really nice shadows and stuff that subsurface scattering just gets tricky to to handle that so after playing with that for long enough and remembered that Chris had this really cool chan loom kind of technique and I asked him how to set it up and it ended up working really well for this so I wanted to show you guys and if I mess it up maybe Chris will come do another tutorial to show you exactly how this is but this is how I understand it let's make a new texture and set this up um let's go to our luminance here and set up our Chan loom so we go to texture and we go to if I never remember where it is effects Chan loom all right so that's our basic setup we have it on all the clones we need a light right so you need a light with Shalem for sure and you need shadows so let's just give it basic soft shadows and I pulled the light over to the side and I hit render and this is what I get basically a fake subsurface scattering and you can see how fast that rendered now it's a little noisy we can fix a lot of this stuff but this renders so quickly and it's just a really really great for for what this is if your if your subsurface fake is really this kind of super scattered super bright look you may want to try this chan loom technique you can see you know this is obviously a far far away from where we need to be you can see all the nice little detail we have in here let's add another light over on the other side but tone this one down a little bit hit hit render and now we're getting this nice soft fuel right now we combined this with the colors we combine this with other brightnesses and it's going to go a long way actually before we build everything else I forgot to show you guys how to set up the colors and so let's set up the color really quickly and this this works for all of all of these here you have you know this uh where the bite is taken out is a different color and then it blends into an if another color again same here it's kind of green and kind of like reddish off-white in the middle and it fades off so how do you set this up well in in your cloner object you want to set another mograph plane effector and this plane effector is going to be your color fall-off so now go to the fall-off you want a spherical fall-off in this case in the in the cube one we used a cube and I'll show you the other scene file I'll just stop talking about the cube one until we get to it but we have our plane fall-off and we want the inside of this here where this sum where this fall-off is we want everything inside the fall-off to be yellow and we want everything outside to transition to the pink right so we have our basic plane effector let's go to our parameter and say I don't want you to mess with position I don't wanna mess with anything all I want you to do is set color and change the color right and now the only other thing you have to do is go to your cloner and go to transform and zero this color out to black okay so let's see what we have when we hit render oh we have to let me just delete this this off of our R Oh don't delete the cloner Nick Oh messed up got to recalculate we may have a couple extra pete flyouts that's okay i meant to just delete the texture and i deleted the whole clone okay so now we're getting what we want so the inside is let me get rid of our lights the inside is white and the outside is black okay so this is the first start so you let's get this this ratio correct it looks like I need to clamp a little bit closer on the inside so we can go to our plane effector and kind of scale this fall-off down a little bit so now it's really only going to grab the inside ones and I want to also warn you that if you're using instances that this will mess up this will mess up your colors quite a lot so let's shrink the whole entire plane effector down a little bit this is our first plane effector let's go to this one and make sure that's on and I want to scale the whole fall-off scale down to make sure that these outside ones are still becoming black and it looks like it's working pretty well looking pretty good all right so we have the inside white the outside black so now how do we make those different colors well now we come into our luminance and we use the Chan loom to get the the color and we have to use the we have to use the color channel from this black and white to start colorizing it so let me show you where that is you come in here and let's just wait on the channel loom for now I'm just going to place this with luminance color shader so now the luminance will be driven by the color shader when you add the texture now to the cloner it should work just like it used to right so now we have our um now we have our inside white and our outside black and this is actually driven through the luminance on the texture so now to make it the colors that we want we need to add a we need to add a colorizer to it the way we do that is we can um just add a color Iser right on top of this so let's just grab color shader colorizer and now the colorizer automatically grabs yellow to black if we open up our colorizer it's going to say black red yellow you can see that's what's happening here um now I'm going to redo this I'm getting some weird colors here on the outside these should not be any different colors and maybe it's just uh you know the way that this was built so I'm just going to reset this a little bit oh and I see it looks like it was actually set on birth so let we have to fix that and we have to fix it at the end of the tutorial here because I'm not quite sure why those are outside of there those should be the same looks like this was set on birth and then the dynamics filled it in one way I think we could fix this is I the reason I think it's happening is because see it the whole thing is not filling up the way it should so I'm going to try something this is on the fly hopefully I'm not going to break anything here if you see a sudden jump in the tutorial you'll know I really screwed up but I try not to add anything so but I do want to fix this for you so let's see if this works here's the rule for everything if you're having a weird problem like that what do you do you connect it connect object so I'm going to put the bowl in a connect object try to make it one solid piece so now what I want to do is tell the cloner to use the connect object instead of the bool and hopefully now it's going to fill in and oh my gosh it works the connect object always works thank you connect object you're my hero so now I want to use I'm just gonna move the dynamics tag up here and try this so now let's refresh and start and start and start and start and now it's working yes okay so now we can scale our plane effector up man I love when that works um I love I love messing up a little bit alright so there we go and we're just going to set this yellow to red and fill it and now we're talking alright sweet so that works really well what do we do now still looks nothing like this final render let's go to our specular turn that off and let's look at the look look at the final renders get our colors right so one thing we can do is just like color drop these colors so like lemonhead yellow and kind of sherbert pinky sure sherbet what do you say sherbert or sherbet or sherbet what do you say Jack sherbert Jack says sherbert is what um uh Ernie says to his friend anyway uh colorizer let's change the colors we want yellow in the middle but I think it's more of like a pale like less saturated and then we want on the outside we want this kind of light pinkish all right boom sweet render still nothing like what we want so now what's the issue so now we have our general color but we don't have all that chan loom effect we were talking about so how do we take the luminance of our colorizer and also add the chan loom on top of it well this is where you start to look into a layer of material that you can layer other materials on top of so we have our main colorizer on top of it we're going to use the Chan loom so let's add shader effects Chan loom and let's just use the defaults right now let's turn off Gaussian and leave on shadows and set this to along normal now these are pretty similar effects and I'm looking more into what makes this Chan Lim thing work really well but for now let's just start with these and see what happens let's hit render and oh we don't have our lights let's turn our lights back on and now we're starting to get this kind of internally glowing object right and you know we have some sample issues we can clean this up but for now let's add this to our colors so the way we do that is we back one layer out we take our Chandler and we multiply it on top of our color so now we're getting our channal oome on top and our colorizer below it and it is still you can see not very you know it's too shadowy so what we could do is just tone this back down we want that luminance to still be mostly bright but to start to pick up these chan loom effects right so what else can we do well you can see the shadows let's let's turn off all the lights except for one and I'll just turn this one all the way off we have one light over here and I'm going to turn up the Chan loom I know we're jumping around a lot but this this technique is pretty pretty crazy I want you to see what all these little settings do so first of all let's clean up some of this grain let's go to our physical render and I'm going to set this to automatic and set this up to like 50 and see if that cleans anything up definitely cleaned up a little bit of the grain and I think the other way to clean some of this up is to actually go into our samples and just turn up the samples on our Chan and you can see it renders a little bit longer but it's cleaning up that effect quite a lot so let's jump up one more time you know let's jump it back to 20 just for speed of rendering for a tutorial and then know that we can always turn this back up alright so now where do we go from here what we have are our channel effects we have our lights and we have the kind of shadowing going on so let me just put this light kind of right in the in the bite area and see what we get this is looking much better this is all fading out but we're going to add another light where do we go from here how do we add more kind of more of this glossiness that we get on this render well one way we could do it is to just add another light over here and also just tone this one down a little bit and now we're starting to get lights from everywhere starting to brighten that up starting to get brighter and darker areas but we also want to kind of manage the difference between our Chan loom and the pure brightness so here's here's the pure brightness color and then here's the Chan limb coming in and if we tone that down now we're getting more to where we want to be so this chan loom is basically adding more of that shadow detail in the center in the areas that we want well this is getting close but there's a lot of glossiness on this you can see there's a like a reflection and a really kind of bright glassy texture to it and so what do we do for that we had reflection so we could add reflection we could add a fernell shader and just tone it way down we don't need a lot of reflection but a little bit will start to pick up its surrounding the surrounding kind of bits and already it's looking a lot more glossy it's picking up all this stuff but there's nothing else to reflect so you need something outside to reflect you could add a sky object in here they'll give you a general brightness um I always grab the HDR Studio rig and just turn all the floor stuff off just for this I just need basically an HDR that surrounds it that gives it a little bit of reflection and shadow and now you're seeing that the glossiness is coming in way too much reflection though so let's tone that back way back just want to pick up few of those head kind of highlights the other thing we can do is add our specular channel back in so let's turn that in by deep turn that on by default and now you're seeing that glossiness is coming back in um that's actually not a bad spec it's a little bright so let's tone it down and it's a little sharp so let's just kind of fat in that specular it's going to get this nice kind of shiny glossy feel to it almost like a blurry reflection that's looking way better um so where do we go from here well that pink is not the pink I want so let's go into our colorizer and pick a much more pink pink let's have a white the pink and that's too dark so as always when we get into the texturing and lighting section where you know tweaking 5 10% on everything and trying to get it look the way that we want and there's just no other way around that the ways between the ways that textures and lights and and and and shadows and everything interact is what makes this turn from a pile of spheres into something that looks this good because um we got to this point in with grace fears in like 10 minutes right but now we've spent the last oh you know double that trying to tweak tweak all the textures and colors and get all this stuff going and I guess it's obvious as I say it but this is what make what this is what turns a pile of spheres for me into something that's this beautiful or you know pile of cubes into something that's nice and tweaking and tweaking and tweaking this is what makes all the difference so let me show you another little trick about this Chan loom effect I'm going to crank up the channel effect just so you guys could see the kind of see what it does so check out the shadows check out the density of the shadows once you look at like how sharp all the shadows are and if we go into our light we can actually go into our shadow layer and say okay let's make the shadow map really high let's set this to 50 hundred instead of 500 you can see now we have much sharper shadows it looks like a hard shadow conversely if we set this to custom when we set this to like 100 we're going to get like super soft like like fuzzy shadows right we can use this to our advantage if you want these to look softer you add more softer you want to look bright yet more bright this really helped make the right look for me when it came to the final render so let's take our luminance let's go back in and drop this down and this is more where I want to be okay so perfect let's crank this light down the other thing I want to do is add a dimension to the light right now the light is is just as bright over here as it is over here and that's just not the way lights work so let's go to fall off and set to inverse-square clamped and just shrink down the fall off a little bit so they they fall off by the time it hits the other side of our of our object here hopefully it will fall off and that helped a lot we're getting a lot more shadow in here and I still do want kind of less light over here then on the other side I want there to be a bright area and a dark area so even less how low do I have to get this that's getting a little better let's turn this all the way off and make sure this is working the way we want it to there's just too much luminance so again we're balancing again balance balance balance and I'm going to turn off our multiply all together to make sure a Chan loom is working correctly so you can see this dark area is what I'm looking for that is what I'm trying to get I want that dark area to exist perfect okay so now let's multiply that on to our colors and that's looking pretty good it's still a little bit too shadowy so again we're tweaking we're tweaking we're tweaking so at one at what point do you start to say okay we're looking good here let's bring it into Photoshop and finish I would I would say somewhere around here let's look at the let's look at the the between and see what we're missing we're missing some shadows so select some ambient occlusion I think will help in here so let's just add some ambient occlusion I know I want it to be super teeny and I know I want it to be really minimal so I'm just going to take as much a mean occlusion out of this as possible do a render and that's helping fill in some of these gaps here that's helping kind of give that different color and the other thing I would say is that the pink is a lot more pink here and it's also the yellow almost makes it outside you can see these these these colors are our own are still part of the yellow family and only the edge is pink so what do we go from here we take our plane and we scale this whole thing up I just want the edge to be the Pink's fears and now we're getting a couple of those nice little weird yellow ones I might scale this up even a little bit more that's looking pretty good we got our reflections or maybe a little bit too strong so again we're really at that point where we're tweaking and tweaking now if what we're doing is making this to look good for us we could be done we could play with this for hours but if we're trying to match something you know really look it match it like look at this one sphere and look at this one yellow sphere and see like what are the differences I think we're getting pretty close I think we're getting pretty close as far as colors and the rest I think we could pull off in Photoshop so let's crank up the settings here because you can see it's still a little bit grainy let's go to our physical render and set this to a lower number so a lower number will give you a cleaner render let's do a test that's looking better and let's do a little bit lower and we may have to just crank up those samples also inside of our chan loom and I think I'm going to learn more about this Chandler thing and come out with a separate tutorial just on this so we won't get in all these settings too much except for I'm sure we need more samples just to clean up some of this oh there it is okay so you can see it's a lot cleaner now all the grains gone um but it is taking much longer to render but that's okay we only need to render this one more time and that's what the Alpha so we could bring this into Photoshop so let's set that up let's go to our output and let's that's probably too big for what we're going to do with it so let's go six hundred and current frame is fine let's go to save alpha channel and let's render it and it will render to the picture viewer now while we're rendering the picture viewer it's a good time to talk about why that took a little bit longer to calculate and that's because the dynamics calculate in the picture viewer frame by frame by frame to get to frame six even though you've done it already in the viewport it has to recalculate all your dynamics so in this case the dynamics didn't take that long to to to calculate so you didn't see a lot of that but if you ever have a picture of you and it's just calculating calculating it's probably redoing all your dynamics up to that till that point one thing I didn't do is add a straight alpha so we have two rerender one more time all right and here we go and let's see should we just we look at the cube one before or after we go to photoshop let me show you that scene file while we're here this is the cube and you can see there's a lot more stuff to load there's a lot more particles in here there's a lot more clones and because it's kind of a tall render it's a little maybe a little hard to see but I think we're kind of as large as we can for this screen size and let me just do a quick render and you can see where I ended up with the cube in here so same concept right we have a bite taken out of it with the bool we have our lights around it to give it that to give it that chan loom effect we got the gradient set up and now the only difference is the plane effector is a cube fall-off where is that where is that one I think it's this one so it's a box fall off excuse me and now the box is just on the edge and then it trails off to an orange at the bottom so there's that difference and the only other thing I had to do is add this cube right here and what this cube is is is it's exactly as big as the bite so I put a cube right where the bite is and I set it to be dynamic and I kept this shape to be automatic and all that meant was that there were never any particles that intersected with this area in other words if there was a particle that wanted to be in this little area this cube said you can't because it is a dynamic object that just nothing can penetrate it right so that cube either needed to be back inside of the object or it needed to be exploded out like all these here so same other than that same concept I'll say one more thing while we're at this at this cube concept here is it was a little bit trickier to figure out how to make sure everything was full so in other words remember when we were like okay how many clones do we need well in this case we needed you know a lot more there's 3,000 clones and I also what had to add a lot more of these little bits to the to the cloning system to try to fill in all those gaps so you can see this takes a lot longer to calculate I hit G and it's you know taking a few seconds per frame there just to calculate the dynamics but it ends up being a really cool render and I'm sure I'll add the final render of this one in the in the blog post so you could see it but this is uh this is where we ended up with the cube so you know again same concept alright so let's go back to the picture viewer let's export this out with our alpha let's save as I'm gonna say this is a 16-bit TIFF and I'm gonna send it to here but these fears and let's go to Photoshop and finish this thing up alright so I'm going to go open and I'm going to go spheres boom open and I gotta shrink my Photoshop here so now we have our our sphere object we can obviously kind of crop this down don't need the whole whole big thing there and the other thing we could do is go to our Channel and command click on our alpha and go back out to layers and just paste this out so command J made a new object and this way we can put this on top of a gradient so in this case we have this like green to blue to green gradient um and we can actually just color drop this if we want if you know if we're not sure what colors those are we could just come in here and say you know let's say I that's a green and let's go flip-flop these and let's grab I eyes the color picker picker and we could grab that one and now let's make a gradient out of these two colors um here's the gradient tab here let's set our opacity all the way up let's make a new layer in Photoshop and let's go to our gradient and just drag one out so now you can see we have this kind of green to blue this is exactly the opposite of what we need so we can either reverse this or reverse them here but I could just reverse and do like you know a kind of a bluish to green kind of thing and that is close right so we still have a lot to do you can see there's blurriness here we could render with depth of field which I've set up in other tutorials we don't have to set up here but just make this your focus point set up your lens and drop your f-stop until you get this much blurriness and render that out you can see some other tutorials where I do that excuse me but uh now what well now we can add a curves specifically just to our overall object or our main object the way we do that is we hold alt or option down and we click the curves on top of it so now the curves only affect this thing and not the whole object all right so I'm gonna blow this back up I want it to be a little bit brighter and I want the darker stuff to be a little bit darker alright and that's looking good um the other thing I want to do is maybe shrink this down so there we go and I also want to paint a little bit more darkness over here I like how dark this is over here but this just didn't get dark enough for me it now I could sit and tweak it in cinema and rerender Andrea render Andrea render but why do that when I could just select this object and duplicate it right so I don't even need to select I just need to selected in our layers we hit command J we make a new layer and now on this one we can darken this now for this I could use the the I think it's burn tool burn tool will darken things Dodge tool brighten things so I could just grab say take the mid-tones and just kind of paint in there then this is too too much let's drop our exposure down we can just paint a little bit of darkness now on top of that we could raise our overall brightness to kind of compensate for that now it's all about the balance of all these things another thing I could do is add a gradient so in this case I want a black and white gradient I just want the opposite of that again here we go and I'm going to overlay this one this is going to give like kind of a hotter color boost in the middle and just kind of change some of the colors on the outside and I'm just changing the opacity down I don't want this full opacity I just want a little bit of an effect you can see it kind of makes all this stuff real nice and sharp inside of here the next thing I'll do is duplicate this layer and multiply it this way it just kind of gives a vignette over the colors and I want my curves overall to jump on top of all of this so one last curve let's go to here let's go to curves and we could brighten this and kind of pull up some of those colors in the background and start to get that so we're getting pretty close it's a little hot here now we could change we could change that by kind of dumbing this down a little bit but really it's just pretty bright I might need to rerender come to come back in and tone down some of these colors but I think overall it might be this right here there we go that's looking pretty good darken up the edge a little bit more that's pretty close so not bad we can always spend more time and spend more time like getting more of this ambient occlusion in here you can see it's a little bit dark here in fact uh why don't we do that we can come into this one remember when we darken the shadow we can come in here and we could use that dodge again or is this burn always get them confused burn and we could say shadows and just add more shadows in there you can see the difference so here's with more shadows here's without we may have to go into the mid-tones pull those back a little bit to to kind of pull some of that yellow out of there so this is already looking better see all those shadows we just added we just painted those in with the burn tool so that's really powerful again rather than sit in photo cinema and tweak our settings a hundred times to get into this you know we could we could try to paint that so not bad thanks again for watching everybody and hey if you're new here consider subscribing to our youtube channel where we come out with new tutorials just like this every week as always I just wanted to thank you guys for watching and I'll see you in the next tutorial really soon bye everybody wait guys this is really important just ran out of paper towels you know what we call these in my family do do do you know why because every time you get one you do this dude dude

Channel: Greyscalegorilla

Views: 135,973

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, Cinema 4D, boole object, c4d dynamics, cinema 4d dynamics tutorial, fill a sphere with other spheres, cinema 4d tutorial, cinema 4d tutorials, cinema 4d dynamics, zeitguised, nick campbell, Chanlum, greyscalegorilla tutorial

Id: CaGyjIWgWI4

Length: 45min 47sec (2747 seconds)

Published: Thu Jan 12 2017