Grow a Dynamic Plant in Cinema 4D

[Music] hi guys this is Steve with a mirror maze tutorial tonight we're going to learn how to model up some aloe and aloe plant we're going to learn how to model it texture and animate this thing using the matrix extrude we're going to use also spline dynamics and then we're going to get into a little bit of subsurface scattering and some other techniques to texture this thing it's pretty relevant too because today is Earth Day so happy Earth Day but anyway let's check out the sample I made here so this is the growing aloe plant and the reason why I chose al I did another sample previous to this with just regular Leafs just as a kind of a quick test but this method will show off the matrix extrude which maybe some of you aren't familiar with and it's just very powerful tool it turns something into something that looks very complex to start into a very simple task so we're going to get in and get started with that right now so let's open up a new scene here and we're going to select just a cube to start and shrink it down a little bit so that it's narrow and now we're going to go ahead and make it editable and select our top polygon so this is where we're going to add the matrix extrude and to do that you can press M and then X if you look down in the list is matrix matrix extrude so we're going to select that M X and you can see your options pop up and it goes to defaults so you have your steps of eight and then it also has move scale rotate all those options and you'll see what they do shortly so we're just going to change rotate to zero and we're going to change our scale just so you can see what it does we don't necessarily need to have the scale change but it changes the scale per step and it reduces it by the values that you input so that per step this is going to reduce the initial scale by 98% so to make your adjustments now that you have those parameters made well you will drag your mouse to the left or to the right to get them to register and so once you do don't unclick or click anywhere just leave the top polygon selected and you can go into these parameters now and readjust them and as long as you don't do select the top polygon you can still change these in real time so we don't need anything quite this tall for what we're doing so you can go ahead and change move so this is moving it along the what is the z-axis here for the local and we're just going to bring it down till it looks about right and that looks that looks fine and steps of about 30 look good and just to show you real quick and if we weren't going to be using spline wrap or anything else to model up this leaf we could use that's going a little crazy but we could use use these parameters below to just adjust the rotation slightly super-sensitive tonight apparently but you can so you could you could model up some leaves or any kind of organic shape pretty quickly so we're going to leave it at about these values and that looks good so the next thing we're going to do is build up those little spikes and I'm just going to turn on my shading here so that I can see the line work and actually for these extras we could go and select every other a polygon along the side what I would love to do is a loop selection around the whole thing but how do you do every other I found a really awesome plugin so let's see I installed it should work let's see if I have it here um oh you know what it actually didn't install for whatever reason I don't think yeah okay but anyway there there is a script out there that will select every other polygon but let's let's get a little crazy and go through and just manually select these I forget the name of the plug-in but if you do a quick search you can find it and we're just going to go through select every other yeah I'll have to go back and reinstall that because if you were to do this over and over luckily we're only modeling one leaf you definitely want that plug-in it's super helpful so as you're as you're clicking just hold shift down to select multiple and if you accidentally select one that you don't need just hit ctrl click and then hold back down shift so you can continue selecting and we're just gonna power through these not too many left ctrl click that and there we go there that looks good and just kind of rotate around make sure you have selected what what you need selected and then we're going to go ahead and use the matrix extrude again so MX and this time we only need about three steps is pretty decent amount and we're going to drag to the right just to hair and again you can adjust these parameters after so as long as you get it out there you're golden so Oh we'll just bring in the Z a little bit and that looks pretty good now so now what we need is the spike action so I think value about 70 percent brings them in pretty good and then also there is the variation tab where you can do initial or / step and we're going to do per step so what that does is it really varies up these spikes so it gives it a little bit more of a natural look so those look pretty decent and the next thing we're going to do is since we're planning on bending this and it doesn't look real pretty yet but it will get there we're going to slice this thing down the middle so if you hit f3 I should bring you to your right view depending on how you oriented your object but we're going to hit mkk for the knife tool and we're just going to want to do a loop selection right down the middle let me try that again there we go kind of hard to see because it was right on my y-axis but there it is and you can also see that we have some weird stuff going on with the shading with the Phong so we can also adjust that if needed if we reduce it to maybe like 45 it kind of clears things up a little bit and we're going to add a hyper nerve on top of that just to take a look and see what we have so if we render that out real quick we see that we have the spikes and things are looking pretty good for the most part pretty decent super quick you can go ahead and refine your geometry if you want but I think for the purposes of this tutorial things are looking pretty good so what we're going to do next is go ahead and add the bend deformer to this just to give it some shape because as you can see in the the final render these leaves they're wrapping around each other so that they it appears a little bit more natural they're not all flat so if they were all kind of bunched together like as they do when they start they just look like they they're growing organically around each other and in this sample here you can kind of see that going on this is a little bit a little bit more chaotic of a plant than the one I designed but I just wanted something simple neat clean something that Illustrated these ideas so next thing we're going to do is add the bend deformer to this so go to Bend and it needs to be a child of our cube and so once we have that it's you can add a value in right away just to see what's going on and it's bending in the wrong direction so we're just going to rotate that around 90 degrees so that we get it wrote get it bending in the in the proper direction and then we're just going to keep the y-axis length and we're also going to scale the bend down so that we get a tighter tighter curve now it's looking pretty good the other thing I might want to do is add a little bit of thickness to this so if we uncheck the bend we can do a loop selection right around the middle so you elf a loop and make sure you're in your line mode over here and if you hit T for scale you can just scale up the middle just a little bit to give it that fat juicy a low a lowness has a lot of juice in there that's a good good piece of aloe so there we go and just do a quick preview it's looking pretty sweet um yeah so let's just keep going here and the next thing we want to do is create the spline the shape that we're going to wrap this around so if we go into our front view or one of your one of your side use front is fine we're going to grab your bza spline tool and we're just going to create a pretty good looking it can be any shape you want or any direction you want but and you can always go back and adjust this later and on some previous tests I've done this with hair the thing I like about doing it with spline dynamics is that you have a lot of control right off the bat you can you can draw your splines and control everything manually and luckily we just have to create this one spline really and we're just going to clone this thing and it's going to create a whole plant for us so it's pretty slick pretty simple way to go about doing this and just as a heads up you may want it to start down and kind of arc outward instead of going straight up you could totally animate it that way but I found that this works pretty well and also for the for once we start cloning this you can create multiple splines to vary this this up which you'll you'll see in a minute but we're going to do a workaround that I think works pretty well so here's our spline now the thing is we're going to want to subdivide this just a little bit so if we select one point and select all and hit us that will subdivide those points and another thing we're going to want to do let's just add spline dynamics to this so you can see what it's going to look like as as it is without me adjusting the spline type so if you go into your hair tags you'll see find dynamics and the first thing we're going to want to do is fix our points so you can select your points and then set and you'll see that the spline does its thing now it's looking real funky because it's got the wrong spline type so we're seeing a lot of the interpolation of these what these anchor points are creating and it's not looking how we want it to look so what we're going to do is change that to be spline and it smoothes it right out and it has a lot better of movement so look it just looks much more natural and so we have that selection I think we're just going to keep this as it is it's looking pretty good so we're going to go back f14 perspective view and we're going to wrap this piece of a low around our spline so to do that we're going to select the yellow and we're going to go to our list of different deformers here and choose spline wrap and that is also going to be a child of our let's call it a low and so the next step to this is once it's a child you basically just need to drag your spline into the spline parameter and you'll have to change your access that it's wrapping around so we have the positive y and it's looking like it's dying right here it doesn't look very happy but this is where we want it to be for the moment I mean we're doing what we need to do so it's everything's all good so the next thing we want to do is offer for the sake of later on let's just Center the axis of this spline so that way when we clone it and move the spine around it didn't seem to move you do oh you know it's because it takes fine dynamics off there we go there we go okay so that okay so the axis is centered now just it was doing something funky because we had spline dynamics assigned to it so I'm going to go ahead and add that back and if you're out here if your key frames are way out to anything beyond zero and you have spline dynamics on you don't have a fixed point it's your your things going to start falling so just go back to zero and there it is and we're gonna select maybe the first three points like we did previously and just set the position there we go alright so now that we have everything in place we're going to go ahead and rotate the spline around so that it's looking more how we want it to look so the the beauty of this spline wrap is that let's see so the beauty of this spline wrap is that we can control the rotation of this and so we can rotate it all all around and so for the moment that will be fine sorry I just realize that it was a recording this at a smaller resolution but I think it will you guys should be able to see everything so that is good and now what we can do is adjust the size so that the bottom is small so it starts off at a point kind of like our sample does because we all we want it to just kind of sprout out from nothingness and we'll also drag the top down and to create a new point on your spline you just control click and boom you have a new point so if we just rotate around we can see what we have here and it's looking pretty good and you can adjust this to your liking I you can adjust the anchor points push and pull them until you get the look that you want so that that may be pretty good for this I'm just going to control click out a few few more points maybe bring this one down and angle this up so it gets fatter toward the top smooth these out that might be that might be what we're looking for so you know these things are definitely things worth taking your time on and tweaking and getting them exactly how you want for whatever you're working on but this is pretty good so now if you hit play you can see this is deforming it's moving nice and dynamically so the next thing we have to do is clone do a radial array and get this thing looking like an aloe plant so if we option click that will just automatically make everything a child of it and we're going to go ahead and select radial and we're going to render instances for now and we're going to choose the XZ plane so that they all show up next to each other and look at that they all popped into place starting at the center so now we can see that they're kind of snug around each other but we also at the bottom I think want a little bit more rotation so we can go in and adjust our spline wraps rotation just so they start to kind of twist around one another so they're kind of nested within one another that's looking pretty good and again something you can tweak and also you can adjust your bend on the fly which is great so you can always change that up if you want I think it's looking pretty good around 90 or 100 so there that is our aloe plant check that out that wasn't so painful and if we hit play we can see they're all kind of rotate or bouncing doing their plant like thing so what what's missing here or this could be you know made to your taste but I think what we want to do is add a little variation to to the balance of these so that it you know because in nature things don't happen happen in sync like this there's a lot of randomness to how things move when there's wind hitting it or turbulence so a way to vary this first of all a way to vary everything will be to use the random effector and that we're just going to use that to vary our scale do do random so right off the bat is selects position but we're going to deselect that and choose uniform scale just change that to a small small value maybe not even point to maybe something like point one so it changes up the look of this so they're not all quite uniform now that's not going to change the fact that they're all following together but it's changing the scale so that's a start and we're also going to get into the time offset parameter down here which is great for once we get this spine animated but before we do that we're actually going to just make five different versions of this super quickly and how we're going to do that is we're going to take that out of the hypernurb because i don't necessarily think we need it I think we can yeah so we can throw it on top of our cloner and I believe let's see do do I think that may alter the stack a little bit we'll just keep it a child will keep that hypernurb on there because we're going to need it for later all right so anyway we're going to option G to put that all within a null and then with rate underneath this null but not inside of any of this it can just go right in between we're going to stick our spline and we're going to change our radius back down to zero so they all go back right into place where they were and then what we're going to do next is just duplicate this so control once you have it selected control and drag down and just make we have four let's make five copies of this so now there are all their own object and they're still going to move at the same time but that's what we're going to go ahead and fix right now and what we really should have done is we should have animated the spine first but we can just select them all and adjust all the parameters at once so that's fine and if we just right click we can unfold all so we can have a look at everything here so the next thing we're going to do is just go through these different spine dynamics tags and we're just going to vary them all up a little bit first of all I I guess the gravity is fine it seems to be working just fine these are pretty floppy piece evallo I think they're pretty stiff realistically but you know it's fine not everything has to be very uh very real so we're just going to change the stiffness and the rubber values a little bit just vary them up 10% 15% just just to add you know a little variation each one of these is an individual they're all a little bit different so maybe leave that one the same and then change the stiffness of this one to like 15 and 30 if you put the rubber too low your geometry may blow up but now you can see that they're all moving a little bit differently slightly subtly but you know that's that's pretty much what we're looking for and you can adjust that until you're getting something closer to what what you might want to see but I think that's pretty close pretty good so the next thing we're going to do is grow this thing from nothing to the full-fledged aloe plant that we see now so we're just going to select all of our spline wraps and again this is something we could have done before we duplicated this but that's okay it's not always perfect so we have our endpoint selected and we're just going to go because we know what growth how the growth is going to end and so we can just select a point out in our timeline and I'll just choose 54 now that may be a little too slow or forty how about that and we're going to control click the parameters that should be adjusted and I believe we're going to control click - I don't think we need to adjust the rotation at all and I believe the only other one we need to do is the spine size it just may be these two you can get into the other ones if you want to make a more interesting kind of bloom out of this you can also add you could you could totally add constraints to one of the vertex points of your spline and have those controlled individually so you can get the spline maybe blooming tree eight up and then it falls later on and it's Lyford there are lots of different options we can get into those maybe in another tutorial there's just so much that you can do with all of this but already this is a pretty powerful little setup so we're gonna we control clicked all of our parameters so we set our endpoint now let's go to zero and now we're just basically going to drag all of these down to where they start looking like they're growing a little bit so you can just adjust these and most likely they're just going to be kind of zeroed out don't necessarily have to be but you know get it down to where it starts looking pretty good at least smaller than what it was and adjust the two parameter so let's just make sure we control click to activate those and we can see this thing grow and I mean already that's pretty good we're really already seeing how how well this thing grows how quickly how responsive it is so why don't why don't we just leave it there I mean we could really take all day but let's let's not for your sake and for mine and continue to move forward here so that's looking good now how do we vary up the rate at which they grow well that's where the random effector comes back into play and we're gonna adjust the time offset to maybe ten maybe fifteen and you can also extend your timeline out to however long you want to watch those dynamics interact but there so you can see they're all kind of growing at their own rate and so you'll also see that maybe these you know the animation male a little strange because you can see some of these as they grow up they kind of maybe don't bounce exactly how you want them to so for that and this looks pretty decent maybe we don't need to get into it but you can you can keyframe spline dynamics obviously all these parameters but when the gravity comes in when is it going to go to negative 9.81 so you have control over all of that and you could really have that take effect maybe 20 frames in so that it starts to fall at the time that you want it to and maybe it's you know at when it's when it's growing up like this it's so stiff and and strong because it's much smaller you know it wouldn't have as much gravity interacting with it but as this thing gets heavier and starts to bend outward gravity takes place and does its thing um but man I think that's looking good this is a pretty sweet setup I like it um let's let's get into texturing this and see what we got going on in terms of texture yeah I like that um yeah let's let's let's move on so we're gonna just fold these and we'll start with just one we can solo it you don't have to I'm going to and what we're going to do is just start a material and add it to our aloe and first thing we're going to want to do is go into the color Channel and create the main hallow look now what do we have what what it what is distinct about this plant you can see that we have the these little white kind of splotches everywhere just scattered about that is a pretty distinct trait and you can see them here too they're a little more pronounced but the one I have sitting beside me looks a little closer to this they're all different um but yeah I mean III went online I found different examples but I also had one here that I could look at and I could touch and just like take a take a you know close examiner very closely to get you know the information I needed so I mean if you're trying to create a photo real texture that's definitely something you want to do now that's not always the case for me I don't always try to do photo real but for this I feel like I wanted to go more in that direction just because of the way these things interact with light it's really nice especially if you have one like in front of the window you can see in the morning like if the sun's rising you can see the sub what would be subsurface scattering coming through the other side it's it's like a candle or your skin or anything that light can penetrate through so you know that was pretty inspiring too for me to create something that had those properties so we're going to use our color channel first and we're going to create a layer so just under this toggle down to layer and that will allow us to have multiple shaders going on so the first shader we're going to create so we can get some instant gratification here is the we're going to create those little white splotches so to do that we're going to adjust the noise to a displaced Veroni so the great thing about this displaced Veroni is that we can adjust the octaves on it for these other options I don't believe they were available so we want to be able to adjust those octaves just so we can really simplify this thing because if if you don't know the the more octaves this has the more complicated of a texture of a shader it becomes it just it adds more more octaves more I guess color values or shades of gray to to the mix so I just scaled that up to illustrate that but we're going to scale it back down and we can adjust the the low clip in the high clip so the low clip brings a little more contrast to the darks and the high clip same thing but for the high points so if we drag the high clip down below the low clip we're going to start to see the white the white splotches that we want to see and they all look pretty vertical almost you know it kind of oval like on on those examples so we're just going to kind of adjust that till we get something and you know it could really be anything it could be you know far fewer than this and to adjust that you just suggest the low clip and get rid of some of those and you could scale it up change the global scale so that they're all scaling up quite a bit more I mean really I think I think that's I think that's perfect it's nature you know you can't can't control it does its thing so that's good and the next thing we want to do is we don't really see a whole lot of these around the edges on the spike maybe we do but if you don't want to see them there what we can do is create a gradient and just drag that below our noise and what we're going to do is turn this into a layer mask so you can see already this is is basically masking out what we don't want to see and so around the edges maybe we don't want to have as pronounced of those circles maybe we want to have them kind of fade out so we're actually going to do this in 3d linear space and you'll see that if we do it in the Z direction it's going to wrap around the object so right now it's it's doing it in the x axis so just to illustrate that really quick let's turn these deformers off take a look at what's going on and it may be a little hard to see because it's black but let's see if we can because we basically want that gradient and I'll just do it to show you we want that to wrap around our object in the right way so if we change it around the Z to negative 100 and positive 100 we'll be able to see that you know what let's let's change the color of this just for illustrative purposes [Music] oh you know it's layer mask there we go okay so we can see that it's rapping now around the Z it's going around starts one side ends on the other so anyway that's exactly what we want it to do so we're going to go back change that to black and change this back to layer mask and we're just going to have this black on both sides white in the center just so it feathers it out a little bit and we can bring these in and also add some turbulence just to vary it up take a look I don't need specular on [Music] and that's looking pretty good I think pretty decent it's just it's hard to tell because we don't have any color there yes so we're going to add our green and it can be kind of like a pastel green and just add that to the mix so then we can see right through it and I think that looks pretty good there's you know a little variation they kind of fade out and if you want more variation just add more turbulence really so these splotches just have kind of more realism to them because maybe not all of them are are perfectly white there that's a pretty good start for the the color now before we go any further let's add an environment to this so that we have something to reflect it's just going to be very simple but I just want to make it like a white or maybe even something slightly just like a hint of orange and we can just we can just hide that in the editor view so we don't have to look at it it's a little difficult to see so the next thing we want to do is we can add let's see I want to add a little bit of diffusion to this and so what that's going to do is just if you take a peek here you can see that it varies the color all across the surface so we can just change the black value to I don't know like a darker green so that it blends in better this can be a little bit larger so that it creates more subtle variation here in there and it also doesn't have to be as pronounced maybe we could do like 50% just so that there's a you know it's very very imperfect thing so that's looking pretty good maybe that white doesn't need to be so white but you know we're going in the right direction so we're gonna do I guess let's see bouncing back and forth here but let's next add a light into our scene and we're just going to do a simple Omni light and we're going to bring that back and I don't know we're going to put it back here we want it a little bit low so that we can see some of the subsurface scattering going on which we're going to add in a moment but we're gonna I don't I think we're going to actually want to increase the intensity we don't necessarily need to yet but and you can see when when you hit render there there's definitely no interaction with the light it's just pure black so that's why we need some subsurface scattering so we can see the spill through the object so we have our light selected and the only other thing is we're going to change the fall-off to something a little more realistic so once we have that set we're going to go back into our material and add the reflection and we want this to just generally reflect some light we don't want a whole lot of reflection going on but we're going to add a fernell and we're going to make this super blurry because there aren't any sharp reflections on this object this is very diffused very blurry it's really not helpful right now to preview but you can see you know you just want a pretty soft reflection on this thing and that that may even be a little too blown-out for this but just something there and that's looking pretty decent and so the next part we'll just add a bump to this and the only thing we're going to want well we're going to want this original we don't necessarily need it but this original noise the Veroni kind of cellular like structure we're going to create another layer go within that and actually let's let's ignore that cellular structure thing and first choose some displace turbulence and we what we really want what's characteristic about a lot of plants is they have these vertical striations and you maybe can see it a little bit here but just the their cellular structure how they grow and how they say stay so strong you can see those striations which maybe you can see them here a little bit yeah so those verticals those vertical strips pretty characteristic thing so let's get some of those in there and we're just going to scale up the y-axis of this noise to really start getting these vertical stripes and again adjust the low clip the high clip or just the contrast but we want to get a lot of darker and lighter more contrast in general so that we can get those stripes there and so we're just going to change the width of this down to maybe like 20 and maybe that is super narrow let's take a look and see what we have and that may be too narrow and it may also be that we're just using the standard render which is just a preview but let's make that a little bit wider and the other thing I don't know maybe it makes sense to do it now but we're just going to add the stick texture stick texture to this so as it animates the textural stick so let's take a look at the bump and see what we have going on here there we go and we have our vertical striations and so the other thing that I was exploring is we're going to set this up with a bump because we're pretty far away at least in in my example were far enough away where displacement isn't really some it would be a waste of render time honestly but you know bump is a 2d effect it's not creating any new geometry it's just shading it in a way that that it helps make it look 3d and for a lot of cases that's great it saves a lot of time in rendering and that's fantastic if you want to do any close-up work on these I would get rid of the bump channel and just copy and paste everything into the displacement and maybe we can do that real quick but you would essentially be copying the whole texture layer get into displacement and the other great thing about displacement is that it actually interacts well with subsurface scattering where it creates the actual displacement and the object and so the subsurface scattering will take into account those variations were the object dips in and out but that takes a little time it definitely looks pretty sweet and it's something that you should play with for sure so the other thing we can do here is this the same deal for the color we can copy this gradient layer mask that we chose and [Music] add a gradient down here and paste it and turn it into a layer mask so now we're just getting it most likely around the edges and we can just do a preview to check that out and yeah you can see that it kind of feathers out around the edges more striations in the middle it's looking pretty good I definitely think that white color is it's getting to me it's a little too much tone that down gray value something it could even have like a tinge of yellowish grayish or something so yeah and you know at any point these can be varied up they can be changed so you're not really stuck with anything which is always a good thing so the next thing we want to do is add our subsurface scattering what we've been waiting for here and this is awesome I definitely want to been experimenting with it a lot lately want to continue and there's lots of great ideas for tutorials using subsurface scattering it's just I totally love the effect but so right now we have the path length and basically what that does is it looks at the thickness of your object and the the light source that you're using and it's gonna allow the light to pass through certain parts and not pass through other parts and so the bigger the path lengths that you have the more generally it's going to light your object so if we just choose 20 right now and do a render region we're going to see that it's generally illuminating that and you can see the difference between this one and the ones that aren't textured so we can see that general nation of the objects so let's bring that down halfway just take a look and see what's going on and you can see it's a little bit different it's a little bit more refined not as general of an illumination and if we bring that down to to do a preview in again as you as you reduce the path length animation time our render time is going to increase but for this case it's still not too bad and it seems to work out pretty well so you can see the light is passing through there that it's it's glowing a little bit around the edges it could be you know we could use a little bit more and so as you decrease the path length you'll totally get that so another thing we're lacking is um the color the spill that's coming through so these red green blue values you can adjust so we want more green coming through so let's just see what that looks like and so now it's just letting mostly green through so we don't even need to change our main color necessarily if we're adjusting down here so we can play with these values until we're getting something very close to what we want and as long as the other side of this is looking good I think that's a pretty good plan and so we may just add like a darker green to this or you know the more pastel II green just to kind of darken things up a little bit but also leave our green that we chose there so now it's looking a little bit more how how it should it's still glowing quite a bit and we can decrease the path length to one and do a test on that and that should you know start looking a little bit closer to to what we're going for here so it's just calculating and now this is where you can really start to see you know this this is this is looking a lot more like what we want to see so the lower the path length probably the better off you're going to get because now we're starting to see the light coming in just around the edges where it's a lot thinner but in the thicker portions it's not coming in quite as much so yeah I mean I'm pretty happy with how this is looking it's definitely along the lines of the preview that I created so we're just going to go ahead and apply this texture to each one of these and we're just going to control drag our stick texture not both textures and add that to each one because sometimes when you're animating and you don't have stick texture on your your texture is going to resize I don't I don't not entirely sure if it would for this I had stick texture on because I did run into some issues so we're going to leave it on and let's just do a preview here of what this looks like and let's render that and then our separate window just a standard render something real quick and while that's going I'm just going to talk about rendering this animation out so I definitely I ran into some trouble here and the solution is that in newer versions of cinema 4d under the subsurface scattering you have a little bit more control over what's going on so up here you'll probably see a multiple and a single option and if you're rendering this out there's multiple and within multiple there are two options there's direct and cache so how it works and from my understanding is that when you're doing short path lengths like we are here you're going to want to use of the mode that's direct so that's more of a brute force way of rendering subsurface scattering it's gonna really tackle it well and pretty much flawlessly with very little error if any and if if you were to use the cache version you would want to reserve that for longer path lengths and that is basically creating small samples throughout your texture and it's it's interpolating those throughout the whole piece and and rendering it out that way so but anyway for rendering this animation I would choose direct mode to to go with your corresponding short path length and your animation should render out just perfectly so we can see that this is coming through here just kind of a quick render so we can see a lot of different variation with the the color and how the lights hitting it and you know you could you could add a little more light a little more reflection to some of these but I mean this is this is a little bit different from my example this these colors are a lot more muted and this also had you know some just slight adjustments in post but this is looking pretty close and the other thing is if you wanted to get those white splotches on the other sides where where the subsurface scattering is not picking them up you can simply take that noise copy it from your color and you can go into your luminance turn this into a layer add a shader paste it we grabbed the wrong one [Music] hold up we control Z that because I did something I didn't want to do so copy that texture from your color and go back to your luminance add a whatever doesn't matter and paste that channel and so now we're going to screen this on top and maybe maybe just reduce the percentage so they're pretty subtle popping through we're not going to sample all these but maybe I'll solo this i light and one of these so we have that and that may pick it up may not but anyway it's it's going to be there you just may need to increase the intensity of the screen blend mode on on that Veroni splotchy texture but yeah there it is and that's way too intense but that's the beauty of it you get to go in and adjust things and have a lot of fun when you're doing it so we'll probably just leave it right there and you know that's something you can play with you can tweak it but you basically have all of the big ideas that you need to create this piece here and if you want to do some close-ups some you know more interaction with the the actual volume in subsurface scattering we can probably get into that on another tutorial but essentially you would just paste every all the information in your bump channel add it to your displacement and and tweak it from there you render times are going to increase but it's totally worth it you can get some really great results but anyway I really appreciate you guys watching feel free to stop by Facebook Instagram any of the other social media mirror maze will be there so check us out and thanks for watching stay inspired keep making cool stuff and I'll see you next time

Channel: Studio Electric

Views: 21,251

Keywords: cinema 4d, spline dynamics, cloner, how to grow a plant, bend deformer, sub surface scattering, motion graphics, mograph, plant, maxon, growing

Id: fqQ5ECkgNJ8

Length: 61min 20sec (3680 seconds)

Published: Wed Jan 11 2017