IBC 2018 Rewind: Matthias Zabiegly (Aixsponza) – Design Direction for Film, TVC & Online

thank you thank you very much that's a fancy title I'm not sure if my presentation will live up to the title it's actually about how to do things how we do things and we are I sponsor a 3d studio based in Munich Germany we are working for television commercials we do trade show backgrounds our bigger clients include Nike we did a lot for redbull recently we also worked for German kids feature film that is going to be released in January 19 a sneak peek of that today as well but I guess the best thing in every presentation is to start with a demo reel so here's work that we did in the past two years or so [Music] you make it so simple you make it shake baby shake all over shame on you baby shame on you baby [Music] you shake Oh baby I shake for your baby all over [Music] and that's how I spend my days a [Applause] cinema4d is the main program that we use in our company we are also part of the better team and that's why we got early access to release 20 and could use some of its new features already on a few productions that we did my personal favorites are volumes and fields and this is the two features that I'm gonna focus on in my presentation today namely volumes and if you you say that oh now we have volumes maybe you're asking yourself for our volume so just a very very quick overview of what volumes actually are would be a pretty good way to start I guess and I run through that really quickly because everyone who's presenting here is explaining this you can find lots and lots of videos on the internet explaining what volumes also I just run through that quickly this is the traditional way of doing objects in 3d I'm using two dimensions because it's always a good idea to choose to reduce things and explain it in in in simple examples and then build on top of that so we're doing a circle here in three dimensions of course it's a sphere everyone like spheres and without volumes in a traditional way of working in three dimensions you would build objects by placing points the orange dots connecting those points with lines and this is forming an object in three dimensions the dots will be forming polygons so there's such as forming spheres the thing is that you're actually only describing the surface of an object you create an Hollow object there's nothing really inside all you have in the program is the surface with volumes that's different with volumes what you do is you define a grid basically what you do in a pixel image you've got a grid and you can fill it with information in an image the pixels are filled with color values when you're modeling in 3d these would be 3-dimensional pixels in three mention pixels are called voxels just have a difference in names and you can fill those with values now if you want to use the grid to save the shape of the object the easiest way to do would be put number ones inside and put zeros outside so now you're saved in the grid that he is an object outside of your object definition of your surface there's zero so there's nothing there this would be the easiest way and this is called a four-volume that's available in cinema you can use this to save objects to describe objects it's very easy to calculate because it's just ones and zeros that you have to save there's no complex calculations going on it's very straightforward so it's very fast to calculate and very fast to work with but the downside is that the information that is there is sort of limited you know okay this is inside of an object this is outside of an object and that's it now you might ask yourself okay that's enough information really what else could I save into this grid like structure for example you could not only save okay one yes zero no but you could save the distances you could save into this grid cells that it's three point two centimeters away from your surface you could save into the other one that it's six point eight centimeters away that's one information you can store and the second piece of information you can store is if you put a minus in front you are storing that this is inside of your object if you put a plus in front you're storing that this is outside of your object so now you save the distance and as you put a sign in front of your number you saved inside outside and as you are signing the number and you're saving a distance this is called a signed distance field as it's a very long word but usually it's abbreviated with SDF this is also available in cinema that's the two modes of volumes that are available in cinema you've got more information so you can do more to your because you know more about what your scene is all about but of course this is heavier to calculate because you for every grid cell you need to calculate the distance first before you save it so this is lower took to generate as a grid all right what can be done with that kind of information the most straightforward thing that you can do is you can say okay if I generated my signed distance field now I want to grow my object by 2 centimeters this is very easy now that you have that information because you look for cells that are that have the number 2 plus 2 because that means that 2 centimeters away from my original surface and then you tell the prop the part of the program that's generating the mesh just create a mesh at every cell that has 2 and now you've grown your object with the scientist ins field it's very easy to grow objects to shrink objects and also to smooth objects because you can just take the number to a Gaussian blur like in Photoshop you're blurring the numbers there for blurring the surface of your object so that's operations that can be done very easily in a scientist ins field and are not possible in a fork volume so that's the difference fork for simple things very fast and to work with signed distance field for more complex operations but a bit slower to work with because all these numbers have to calculate at first oops that's what volumes are as a principal now what could you use volumes for you can use them for modeling and for very rapid modeling that is because what scientists and field and also volumes are very good for our boolean operations when you want to subtract one object from the other with if I just go back to a fork volume here it's very easy if you have two objects to subtract the objects from each other because all you have to do is calculate 1 minus 1 then you subtracted one object from the other if you calculate 1 minus 0 you don't subtract anything so boolean operations really really fast to do in a structure this because you're not caring about polygon surfaces and edge flows and stuff but this is a very good structure that you boolean modeling so using volumes for very fast modeling when it comes to boolean operations is a very good idea in project that we have used it on is checker Toby and the secret of our planet checker toby is a TV series on german television toby is going out into the world and trying to check out what things are about it's an educational series for children so they are always focusing on one topic and explaining how things work and it's good for children because it's entertaining and it's also educational that's the mix that they are doing and he's rather popular so he got a feature film coming to cinemas 31st of may of January 2019 and we did all the 3d rendering for it it's got about 15 minutes of 3d shots in it explanatory stuff there's no trailer yet because we are only at grading stage so I can't show you a trailer but I got permission to show you a few images of assets that we have used and it all happens in a very tight environment so this is an a toy truck that we have built to be used in a few shots that we did for the film and this is modeled exclusively using volumes because everything that's subtracting one object from another object volumes is your way to go also this one soft structures organic surfaces also lend themselves to volume modeling so this is a perfect example as you can create these things rather quickly toy rocket that's also got a lot of traditional poly modeling but the main thing in the middle here that was volume modelled all the boolean holes that you can see Burton using volumes and all very quick to do the math the toy train the smoke lock who's damaging our environment unfortunately but smooth a little spoiler in the in the feature film everything's going to be okay because it's a kids movie that one was done with volumes as well and from the empty cinema scene control n create a new scene to the finished mesh without shading it took me and I watched the clock it took me 12 minutes to create the engine piece so this is really fast modeling and how you do this we're going to look in a bit of a live presentation in the program here is my file without volumes that's the basic thing let me just show you in a new file how to use the setup how to how to use the system so what you do is you would create a few few objects and say okay I want to create a cube and I want to subtract that sphere here really primitive example but what you do is you get yourself a volume builder you drop the two objects in the signed distance field is created represented by these gray rectangles that you see so now we don't have any polygons anymore but we have an actual filled volume that is representing my objects if you want to have more detail because right now it's very close if you have if you want to have finer detail there's one main setting to adjust the detail that's the voxel size here as I mentioned before voxel is choose the name for a three dimensional pixel so that's our voxel see three dimensional pixels if you want to have more resolution resolution you have to make the individual voxel smaller so if I type in one for example you get a bit more resolution and now you can come in here and say okay here's the sphere right now it's a union with the cube if I switch this to subtract you're doing a boolean subtract and you're good to go that's the principle behind volume as a modeling tool there's two main things you can do with your result you can either smooth it by putting a smooth layer on top now you see that you get sort of beveled edges it's smoothing the results and in a reshape layer you can do extrusion or growing of an object and shrinking of an object by just right now it's offsetting the surface by +5 that's what I put in my slides you're growing the object by 5 if you put in minus 10 you're shrinking the object by 10 making it smaller so this is the principle behind volume as a modeling tool in my smoke lock it's pretty much the same thing it's all primitive object here's a cylinder here's a sphere here's a cube and I just arranged them so that the primitive objects are forming the shape of the of the engine that I want to have and if I go in say okay here's my volume builder if I switch that on it's checking it's calculating the volume and it's putting all these objects I I just arranged together into one surface if we look closely there's a small cut here disable the volume builder to see the objects that's Tuesday a ring that I placed and in the volume builder if I just make that bigger so you can see better what's going on because that's a really long list of objects here's the torus and I said it to subtract so it's creating that small indent here this is a good example of how not to work at the office I'm always promoting the idea of one name your objects and to put it into sensible hierarchies this is completely not good and this scene looks like this because I made it myself if this was done by a freelancer or intern or so he boot gets screamed at I guess but you know you're getting sloppy and I am never so excited forming the shape and I'm putting everything together so I forgot about naming so please name your objects and use hierarchies because it makes things easier and doesn't give you a messy list like this please one thing you can see that the volume system is accepting pretty much any object there is in cinema there's converted objects polygons objects as input I used a lot of generator objects like not converted cubes and tubes there's an extrude here there's an sweep here there's a symmetry here there's even a cloth surface which I used to give it a bit of thickness that one object that I put in and it's accepting everything it's even accepting splines which is a cool thing because that front bit I don't know what it is called that cow protection thingy this is actually splines that I have drawn and in the volume builder splines are accepted as input there's a value down here you can define a radius so all my splines go into the surface with the radius of 1 point 6 and splines are accepted as well very nice also other things pretty much anything that is there in cinema particles are accepted you can drop in particle systems and you get volumes out of particles hair everything that is there is accepted into cinemas volume system and once you once you created the volume the last step is to maybe put a smooth layer on top this is not looking so good right now because the smooth layer is dependent on a voxel distance and for quick feedback I set the voxel size rather high the final output size voxel size was 0.2 centimeters and as the blur happens on a voxel distance as you make the voxel resolution smaller the blur is getting smaller as well that's why we get so much blur right now and in the end you mesh the volume there's a volume measure right here if you put your builder in so if you put your volume into the measure it is giving you a mesh and you're done you would need to up the resolution to actually get the final measure I'm not doing this it's taking about 25 seconds on this machine to calculate the really high resolution mesh I think you hopefully you believe me that this is actually the scene that I used color of course you want to color your smoke look this is a small piece there's two ways of coloring this one is abusing the correction deformer the correction deformer is a de forma you can find in the deformers list you put it in and what it does is it's giving you a virtual representation of your mesh so what it is intended to be used for is to choose go in and do correctional modeling you can the correction reformer is deformed it's giving you the surface the vertices the polygons and you can use it to put additional modeling on top that's not what we're going to do we are use it to put color on top in the in the shape of a vertex color tag if you try to put a vertex color tag on the volume measure it's not working it's not adding attack because the volume measure is generating a dynamic surfaces the point count is changing and in cinema vertex color doesn't support changing point count you need static meshes and this is potentially not a static mesh because I could animate the objects that are inside creating the volume so I use a correction reformer instead add a vertex color color tag and tell it okay please use fields field is also new with release 20 it's basically like the for olives that you know from release 19 or Pryor but they have been improved quite a lot with a lot of new functionality one is that you can use fields to write color into vertex color text so what I do is I choose get myself a spherical field place it right and as you can see now that spherical field is controlling where color goes if I move that up a bit I could use the field to color my volume depending on position if you want to render this you get yourself a material put a effects vertex map shader in there and then you can use the color that you've written in your vertex color tag in the shader and now you render it and it's not working because you obviously need to apply the material first stupid me and now you render and you've got a purple top and a black base and the purple is coming from the spherical field because in here every field that you create gets assigned a random color this one got assigned a purple color of course you can for example use white because now you created yourself a mask that you can use in a shader black would be painted metal whites would be masking out a gold shader so that's how you can colorize volumes even though volumes themselves as dynamic surfaces can't really be touched at well in terms of color ring them that's number one using a correction reformer to color your volumes way number two to color your volumes is to simply convert it to polygons that's what we did with the smoke lock which is converted the mesh as you can see the measure is not generating nice low res meshes it's a brute force way of meshing but it's very quick to do so and with modern render engines you don't really need to care about having low poly representations of your meshes anymore that whole smoke lock thing has I think let's check it how many polygons are there 4.2 million and we put it into a scene puts our surrounding around it and maybe the final scene was 25 million polygons or so and that's not really that much problem for modern render engines so the need for low res edge flow topology is not really there if you have static normal deforming meshes of course for characters and when you need to deform them unicode topology with static objects the amount of work that goes into each apologizing is not really needed because you can just use the hi-res so what we did to put color on we converted the volume surface into a polygon surface and now we can just do selection tags and put our shaders onto selection tags in a very non fancy way too straightforward slap your shaders on this is volumes for rapid modeling of course you can also use volumes for more designer II things we did and a short animation a short piece for the release of cinema 20 in in better phase we did a lot of tests and we're playing around with the features and it was all very exciting and then we noticed that we did a lot of scenes and setups and they sort of looked nice but they didn't really fit together as a combined animation piece so we just took all the playing around scenes that we created sort of unified the look by putting shaders on lighting it and we created this animations there's no story just in case you're wondering what the storyline is I can tell you there's none because it's just a result of us playing around with a better version of release 20 and Maksim decided to even link it on their release 20 release page so that was very nice for us [Music] we first thought we could call it what the because really but that's not really great for marketing so chroma is the name because it's white plus color it's got one object in which is called a Detroit a gate gate is a kind of mineral stone I'm not really into mineral so I can't really tell you where that name comes from but I can tell you what it is a Detroit a gate is called Detroit a gate because that's how it's looking for real and the way these stones are created they are created stones not natural gemstones back in the good old days when Detroit was still strong on building cars and not an empty town where nothing is going on that it is right now back in the good old days where Chrysler was still strong they had a paint shop painting the cars that they did and someone left a pen end up in the paint shop and said okay left my pen just leave it there and they started painting the cause and when he came back six weeks after or so to get his pen back the guy noticed that there has been collecting paint on his pen in layers and this is where that comes from he cut his the pen in two halves and he was seeing all that layers of colors that have collected on that object he left in the car paint shop and this is how these kind of gemstones are created you spray and starting piece like any objects that you can find and you spray it with colors you leave it too hard and you spray you harden it you spray you spray you build up layers of colors and then you polish it cut it in half polish it in all shapes and that's how Detroit are gates or creators and this is the idea behind this object that we used in our animation because as we analyze what's going on here this effect is based on the distance to the surface so as you're going inside the objects you move through colors through a gradient and the gradient is basically mapped on the distance to the outer surface that's what is the idea behind that thing and anything that's based on the distance to a surface should now trigger you thinking Oh scientist ins field because a scientist ins field as I just explained it's just the saved distance to the surface so you can use a signed distance field and the numbers that are saved in there and map it to a color gradient I wanted to do this as a live demo but unfortunately my file was broken so we have to resort to slides here this is what's in my shot the objects that's a photogrammetry scan of an artichoke cut into half I put again a vertex Calot a color top a vertex color tag on top and in that tack I was telling okay I was telling it okay take the volume subdivision surface as the input and put a color riser on top and this was the result it's not looking really nice because the range is wrong the volume signed distance filled saves numbers that are 2 centimeter values distance from the surface the colorizer is expecting an input range from 0 to 100% so you need to map the range in the signed distance field to 0 to 100% to get sensible results from the colorizer and as fields in cinema really come with a lot of options you can also do things like a range mapper that's available in this menu down here where you can choose map ranges so you know okay I want to go on the inside so there needs to be a minus here and now comes an information that you can find nowhere and it's exclusive from me to you what to put in here because that's percentage but this here is centimeters I know that from the outermost point to the deepest point of that cut is roughly forty centimeters but this is percentages here the the factor to get from centimeter to percentage it's kind of arbitrary I don't know why they did it but what happens is one centimeter equals 100 percent so that's why I did minus 40 centimeters 0 0 equals minus 4,000 percent and this is mapping my color range right so now I'm going from minus 40 centimeters and I'm mapping that range to 0 to 100% and that's why the colorizer is now giving me the colors that you see in the rendering that's a little gem in my presentation mapping ranges from Zion distance field to other ranges 1 centimeter equals 100% that's something you have to know all right going into cinema once again one thing I'd like to show you is this shot here it was also in chrome and as Spheeris popping up from beneath the surface and exploding into smaller spheres and they are influencing a cloner that is cloning a hexagonal grid and it's basically moving it up what happens if we look into that vertex map here again I'm a really big fan of vertex maps because it's they are giving you a lot of power because you can use them everywhere in cinema you can try for this place with vertex map you can limit the form as you can do really a lot of stuff you can render them vertex maps vertex color maps are really a powerful tool sometimes a bit underrated I think by people but I'm a big fan of them and now especially in release 20 they became a lot more powerful because vertex maps can now be driven by fields the revamped for lofts that are there what happens here is I deactivate everything that's here and as even the bottom one now which is looking at the small spheres if I hit play when the small spheres are exploding you can see that they are generating a dot in the vertex map based on a radius so two centimeters around the small spheres we are getting dots in the vertex map which is nice but not really that super awesome to make it super awesome what you could do is you can add a delay and that means it's adding a delay they are not disappearing immediately but the dots created by the spheres are staying for a bit it's basically a paint on effect the organic movement that you can see is caused by the mode set to spring if you don't want that you can set it to smooth and then all that organic wobbling is gone because it doesn't have a spring-like behavior anymore but they are just staying and doing traces in a smooth way but I thought that going to spring and just had doing that nicer movement is pretty okay to have them disappear more quickly you can use a DK decay meaning that the traces don't stay on for that long they are disappearing quicker it's not really that obvious because I just used the tiny little bit of it but I thought it would be quite okay and that last thing because what I wanted in this shot was the appearance of the spheres creating small waves without a liquid simulation in a fast way just having waves behind the spheres and the waves are done using a remap with a remap you get a curve and you can you can tell okay that is just a gradient its vertex maps or where they are read it that means it's zero percent where they are yellow it means there's a hundred percent saved at that vertex and you can remap the gradient using a curve and when you do that what you get is the same gradient as before the same vertex map as before but that curve is put on to that linear gradient so it's looking a bit more interesting and it's looking a bit like waves emitted by the small spheres without any simulation or anything so that's a really nice effect and that vertex map was used to drive a cloner that was in here cloning hexagonal shapes and she's controlling how much they move up was it in here yeah I was in here there's a plane effector that is moving the clonus up by 1.5 centimeters and this is controlled by that vertex map I just created by switching on follows and using fields and they're using the vertex maps to control the plane effect I'm the plane effector it's moving up the clones and if you hit play I'm not sure if it runs in real time as sort of you get what you have just seen in the vertex map you can now see in Mike Lohner that's just a way to represent my vertex map and to make the rendering a bit look a bit nicer so that's cool for really quick click fakie impact wave things when you don't want to do simulation another project where we use their because sometimes you do tests and you do playing around and then boom a project comes around and you can use exactly that test that you have choose done in a real paid project and that's what we did in Nike for the Soccer World Cup 2018 that didn't really go well for Germany unfortunately but it went well for us because we were booked to do the worldwide campaign for Nike accompanying the Soccer World Cup this summer formed and print and whatnot and that's a few layout images that we sent to them choose to get away from that technical thing my talk was very technical until here I thought maybe let's just look at a few pretty pictures that's a small peek into our process that would be images that we send out to Nike just trying to get a look with them trying to get feedback what they think the the whole thing was about food different kinds of football soccer boots that Nike is doing and they their strongest feature they their USP is that they have a very very colorful soul so the idea was to just take that very strong and prominent color and have it featured prominently in our shots and keep everything else white just a bit like what we did with chromatin just now because that's a shiny thing and we do trendy things there's a green shoe another idea was to have a bit of a link to the animal world and get aggressive animals in like that scorpion thing because sports athletes are at left Atlantic they are aggressive they are muscular and there's power and stuff and scorpions have power and stuff so that fits nicely so these are images we send out they are already looking a lot like the final product would look like and this we discovered that this is a very good way of communicating with the client because the client doesn't need any imagination at all Nike does have imagination not dissing clients here but it's really nice for clients and also for us to see what the project actually will look like in the end so we're not doing any sketches that much anymore we're jumping straight into 3d render out the real thing and the very good thing is if Nike comes back to us and says oh we like the scorpion we like that scorpion like nike swoosh can we go with that we can say oh of course we can go with that because it's finished already let me just render it with proper samples and we're done it's not really working that way but a little bit this was layouts that we did for the print that we had to deliver the shoes have different colors in their souls and they also have different patterns on the top part of the shoe so we thought we pick up the patterns that are there on the top part and just have it bleed out of the shoe into the background and have a bit more differentiation between the shoes by color and by pattern so that's layouts that we did you can see it's a bit rough because it's not really connecting to the floor right now that is something you can put a bit more detail into the patterns but you get the idea and it's very good to put that in a PDF presentation send it out to the clients and get their thoughts back more layouts more layouts this of course is not good at all because it features one shoe prominently but we need to feature all four shoes in the same kind of way and not have one of their shoes sink into our milky ocean so this didn't really work out for them which is okay and this is this the final one I can't even tell ya that's the final one so as you can see just it didn't really change much over the course of the week or so that we were working on the print thing but it's more in the details in these kind of projects getting the patterns exactly right all the shoots angles or the shoots not angled so that's the range of renderings that we send out to Nike the main thing to generate however was an animation and this was the result for shoes for different animations [Music] [Music] and if you watch when the next shop begins the ripples that you can see in the milky ocean they are generated exactly the same way as I've just shown with chroma vertex maps delays bring lights moving and remapping with a curve so there's no simulation or anything it's just the shoe pushing itself to the surface generating the waves using a cinemas field feature and this is the last one [Music] another thing we did was short animations nine seconds I think for every individual athlete that has a Nike contract these animations were sent out to the football players with a Nike contract so they could use it on their instagrams if they want we did some 120 or 130 animations where it's just like power production you switch out the images of the players you generate the file as a collection of 80 animations that we did that I'm going to show right now but the total number was I think something between 120 130 which is very short Instagram use just to show the range of things that you have to do these days it's not just that one animation pretty much all clients want a full package and that's something that you have to consider when accepting jobs of course a lot of work also went into layout trying out things how do we get the look what kind of elements do we use and choose like with chroma we rendered out a lot of tests layer things moods design studies and when you just cut them in a row at punchy music you've got a video to show in presentations here's layout things that we didn't use [Music] playing around doing stuff that's why I like my job and the last and final project that I want to show to you today is a TV commercial that we did for Swiss law Swiss laws is a lottery in Switzerland you can bet on sporting games and they wanted to have their package rebranded to start out fresh to get themselves maybe also a new image appear fresh and forward moving and there's a lot of text here I'll just go through that quickly what they wanted was a collection a film that features a lot of different sports because it's important that with Swiss laws you can not only bet on football but you can bet on place bets on a lot of different sports they wanted to have their spots be very energetic and sport likes of it's fitting with the muscular image of sports show a variety of sports and the important thing with Swiss losses as its state-owned the money that is not being paid out to people who won their bet but is sticking with Swiss laws is not going into new fancy cars of their bosses but it's actually used to support sports in Switzerland so it's state-owned and the revenue that is made by the bets is going back into sports events creating opportunities for children to actually do sports and the idea was to not have an too obvious look like what I written here they didn't want to oh look football there's a football I must be able to place bets on football because it's a football they were open to a more well to a finer approach to not have that obvious bam here's our message BAM you are stupid he is it again but they wanted to have something more refined so layouts that we did also very much finished in the visual appearance very nice to send out to the clients very easy to understand where we are heading fortunately a swiss loss really love them so we didn't need to try out different ways they they liked the graphic approach the simplified approach to not show oh biking here's a bike but to keep there is a bike obviously but it's not so prominent it's a bit more hidden and it's a bit more emphasis on design and making an image look nice and not so much on a very clear powerful message as they said they wanted things to be reduced we also thought it would be the idea would lend itself to also have the color palette reduced so either going completely black and white or doing a warm cold contrast II thing Levent for something in the middle in the end like most of the times when you present you ways of doing something the feedback is yeah we like both can you do something in the middle so the final thing will be something in the middle not completely black and white but also not so colourful as the top ones because especially with this image here with the two motorbikes the feedback was that it looks a bit too Christmasy because of all the glowing little things and that's not really sports and and athletes so ok we understood that moved away from that but what happened just by itself without even thinking about it we realized that at one point there's a lot of circles in the image so we thought that having circles could be one of the ideas to follow through until the ends and make everything based on circles so that was pretty helpful because it's just giving you that frame you can work in having reduced colors relying on circles a lot of course breaking them up here's a rectangle to not have circles everywhere but circular and reduced color palette that was the two main things that we followed with this spot and here's the finished one [Music] [Music] [Applause] and to round my presentation off I only have two minutes or so left this shot here is full CG goosebumps because you can't really film them when you add a set having an actor with a really nice lower arm and you tell it goosebumps now there won't be goosebumps so that's why we did that in 3d and I brought the shot because that was done in cinema as well in a really simple and straightforward way here's the original arm that we used in close-ups you don't really need to model a lot if you go really close this looks like a real thing if you go into a close-up everyone is thinking ooh a low arm don't work too much that's another thing you can take from this presentation only do as much as necessary if it looks right it is right we put using a cloner put spheres on top right now they're intersecting which is not nice because in reality things are not intersecting but there's the push a bottie former so we at the butcher party former switch it on it they are not intersecting anymore and there's a plane effector and the plane effector is moving the spheres up and the plane effector has a fall of that still done in release 19 there were no field so that's an old-fashioned fall-off just a linear fall-off and if you move that plane effector through my clones they'll be moving down onto the surface now you might think what were that that that's not goosebumps that's vias going down onto a surface but okay if you hit render the thing is you don't really see the spheres because I've hidden them for rendering as you can see with this red dot here I don't need the spheres for actual rendering I need the spheres to generate a displacement map for me because what I do is I put a material on top and in there there's a displacement map and the displacement map has got a proximal shader what the proximal shader does is during rendering it's looking at all the clones or the spheres that I put onto my surface and when a sphere is sitting on top of the surface the proximal shader is generating a white dot when the sphere is not sitting on the surface it's moving away from the surface the white dot will fade until it reaches the threshold distance and then it's just black so what happens is my spheres that are sitting on the surface are generating white dots we can see that if I just take my proximal shader put it into the luminance channel okay ah no no the mouse is really quick here okay good thing they're always three ways to do stuff in cinema paste shader if I hit render you can see the proximal shader is now generating white dots where the spheres are sitting on the surface and here where the spheres are moved up there's no white dots and if you don't use it as a color in rendering but if you use these white dots as a displacement a displacement is just in rendering taking the surface and moving it up by three centimeters as I put three centimeters in my height here and if you hit render now the white dots are transformed into small bumps which are going to me my goosebumps and the funny thing is that's all there is to this shot it's looking really simple now but if you have good lighting good shaders depth of use always helps because you can't see that's good if does that's the scene put a skin shade on top strong rim light from the back depth of field and you're done you're nearly done because if I use another two minutes I can show you that what a goose bump does for real it's got a hair sticking in each bump so that is something you would need in a close-up as well having a hair sitting in exactly every bump that is relaxed lying down and then animated to move itself up for the goose bump to happen so that's my last scene here here again I've got my spheres sitting on the surface and to be able to place hair exactly at the center of these scenes I decided to use a tracer with the cloner in there what the tracer is doing it's generating a really wild spline connecting all the spheres that I had and now I can use this spline because there's a point on the spline exactly at the center of every sphere that I had I can use this as the base to put hair on here's my spline if I show you the vertices a point at exactly the center of every sphere that I had so I put hair on top I tell my hair system to generate hair on every vertex on that spline and I generate hair that us is that is standing upright on every vertex of that spline so now I have two hair system one where the hair is standing upright one where it's flat so I need to blend between these two states in hair you can tell it to generate splines so if I hit C I don't have hair anymore but I have actual splines and splines are very nice to have because they support post move tags so the last null object here I unfold it and I on Island what I have is I have the hair standing up and the hair that was lying down is still there but I linked it as a morph target in my post more tag so now I have a slider that is giving me control over the hair is lying down the hair is standing up and the hair sits exactly at the spheres that are creating my goosebumps so is matching together the only thing now to finish this shot off is to take the animation from the plane effector that was moving through my spheres creating the bumps on the surface to control that blending and you can put a fall-off onto a post more tack by using a move de forma multiform as a de forma that can be found in here somewhere morph de forma and the morph deformer is just taking in house more text that are sitting on the object it is applied to and it's giving you a fall-off so if I activate this I can use the same fall-off here as I have used for the spheres to move down and as I use my move deformer let's hide everything we don't need this one and as I move the move de forma through here I get the same fall-off as I get for controlling my spheres so the hair is standing up while the spheres are moving down the bumps are generated on the surface the hair is standing up and there's your finished setup for the shot once again shaders depth of field strong rim light and you've got a shot done and I've got my presentation done I'd like to say thank you for hanging out with me

Channel: Maxon

Views: 10,898

Keywords: c4d, cinema 4d, r20, release 20, bodypaint 3d, maxon, 3d, animation, rendering, ibc, ibc 2018, presentation

Id: 33PRNwOgFk0

Length: 56min 17sec (3377 seconds)

Published: Wed Sep 26 2018