Jan Sladecko @ SIGGRAPH 2019 | Maxon Cinema 4D

yawn stretch Chico perfect okay hey guys so it's been said a lot of people calling me Jen's like oh yawns let's go Jana if I hear for everything so you name it I hear it and yeah this is my personal Instagram account you can follow me there and I was started my showreel which by the way I was kind of putting together some newer stuff to my old show relax for years or toriel and I realize how much change my style from the arc tube right now but let's start the show real [Music] [Music] [Music] [Music] so thank you so I will start my first project which I gonna show you is another bigger project which I was working on at the mail I again forget to install phones here but doesn't matter doesn't matter I will go through it I will show you the project first it was a big project for Audi I was doing like the all the graphics I wasn't like doing it was like shot everything by the mail they did all the post-production I was just adding the this environment and all the displays in the sport and by the way it was shot in Czech Republic where I'm from so it was kind of like nice coincidence [Music] [Music] so it was for I think it was for a release of the new float electric car from the Audi this was some first concept by maksimka Dean really talented art director from the male and when we get approved we start like developing the Luke for animation so I was using ex parte kills in cinema 4d post morph and I will quickly show you how works set up the animation this is what I was basically seeing in my cinema 4d viewport I'm not laying down the road I'm going through the environment that I'm building the mountains around but to be honest I build it backwards so now we're gonna play it how I was building it I had basically line down this environment and then I start with the gravity node I would start taking it take off all the particles and removing the ground and I will quickly show you how it's building cinema 4d so when we gonna have gonna create some simple landscape here just get some definition here so when we have the this kind of environment I just make it editable and I will use post morph in character text you will have to post more if I need to animate my points and right now I have this base and then I'm gonna have my new position so my new position will be flat now just make sure from the side view that now I have like - if this is my gonna be my main face when I have built my environment and then it's gonna be like my second environment which is flat then you have this setup you can check in animate it should be like you can should be able to animate it in and out and after that you can go here and with the shift you can click morph so if you click with the shift it will go under the object that you've selected if you click with I believe it's with the out it will go above so that's kind of like safe few milliseconds of your life and so when we have this more here I can just with lean and you can see early I already can animate where it's gonna be what I'm using a lot in cinema 4d I'm customizing shortcut to set or was the name of visit exactly it's it a record is it record active objects I'm just used to use another shortcut so was gonna be after me you gonna have to do it complications here so I will go on the beginning when we see entire landscape and never go like frame maybe 70 and we will like remove our montains so now I can like go through and like clean it out and if you want to like play with it also we can maybe go to more graph there's a delay effector and we if they're gonna be in the same group the delay effectors start affecting this effect so we want to be sure we are doing point animation so we are changing to the point and we will do something fun I usually go for spring which is it will give us kind of like the bounce effect so when we increase the number you should get a little bit more interesting effect of like the cleaning out this environment so you can use it for anything where you want and basically after this I use the particles which I am anything from the object I'm omitting the particles from this landscape object so now it's you can see shooting the particles they are not really visible I will make it a little bit more contrast and I will try to make the particles bigger switch it to squares and those particles we don't want to keep anything them you will just want to shoot them in the beginning so I will just get shot what's 10,000 particles and we don't want to even move them so we're gonna have a zero speed so they're gonna be just staying there and if you will go and if you will bring gravity note the fun thing is that you can actually know when new cinema 4d since they are 20 you can use the fields globally so I can just drag and drop this field and when I'm going through it's already stuck working together but what I was doing I wasn't falling down so I'll just reverse the gravity to negative and basically when you like fly through you can just clean clean the scene one more thing which I actually use there if you will let have a look here I had kind of like a cone and the reason was because I wanted to use more dense particles I didn't want to have particles everywhere when I don't have a look or when I don't see with my camera so and also if you look here and if I hide my landscape now we emitting particles across everything like all the sides of the montains if you are emitting particles but there's like one tip which not many people use if we create a light spotlight we can look through the light you can hit camera set active as a set of active objects camera I said a shortcut for Alt key out a so now I can basically look on the scene through the light and in the particle emitters we can say hey we want to emit from illumination and the illumination is going to be caused by this light so now when i image i'm a meeting just from the light so I don't need to emit the particles somewhere where I don't look and so and also it's just where it's affecting the light so we don't see the particles on other side of the montane so it can gives you a little bit like lighter effect that basically is scanning something and just from the one direction you can see those things so this is basically all the girl that I was just rendering rivers and adding trees and some details but this is like the this is basically entire technique and okay my most working for a second so I'll go back to presentation what we have here next so this is when you can when I render some test just see how he's like lying down we are trying like different directions we're trying to also inverse like coming to us but yeah so that was basically the all the key now I will switch to personal projects for a little bit this was the first episode for my short animated series based struggle which I'm doing on Instagram it with popular so I keep going it and I'm like it's my platform and my pleasure I can try to combine my favorite things which is animation and humor so I'm just trying to do like smaller grotesque situations and using Sigma 44 it so this is first episode I will try to show you roughly always in each episode what was the technical difficulties which I have to deal with I'm not gonna be talking now about the rendering of the environment or about the animation of astronauts but because I will show you later on but here or you can notice if you watch only the front left wheel you can see the wheel is already now like spinning and now when we hit the dirt you can feel the suspension and it will move all the car because sometimes I'm animating the things which are in front of the camera but sometimes is good to direct the dynamics in a movie so we're gonna show you now how to how to do those kind of things so I will go to cinema for the closest project this is my simplify scene it's it doesn't look exactly the same but it's you get the point I will show you first one tip with the camera if if your modular is maybe not so handy but for me as an animator I'm using it quite a lot and this is tip from my ex coworker kylemore he told me that he's using usually set up the top camera too so I switch my mouse to perspective and now you can have luck you can admire those textures which are basically done by my girlfriend and she's not from the kindergarten school ask her you have a stylized one so now this is my second camera for details and I hit f1 and I can see my wall scene so if you're doing like texturing already you're modeling some details you are really lucky in the zone you don't have to zoom out but you can just hit f1 and you can like quickly switching which in those two modes so it save you some time or you can when you have a camera I can just jump to default camera which I have set up on shifty you can like play with the details and then you can like jump back so it's also like why how to do it the problem with this is when you jump off the camera there is no shortcut to jump back so you have to always go and click on the camera but it saves you some time for sure and then now we're gonna show you how to make this object moving so when we have this car here it is all simple geometry I already recall the wheels uh but I will show you in one wheel what I was doing we need to connect the wheel with the body so I will go to simulate dynamic I will at the connector so as you can see right now I have a connector in this scene I will put it under my wheel I will wrestle PSLRA which means I will put it in the center of the object so right now right in the center of the wheel and we need the wheel suspensions if you have real suspensions you can also be careful on the axis right now they have different axis than the wheel so we want to be like moving upwards and downwards that's how the suspension works suspension works but also if I go to x-ray we need to be sure we are aligned towards our wheel axis so right now it looks perfect we can make break can bring back the visibility of the wheel and now we have to connect these wheels so we'll go to object what we want to animate what we want to connect we want to connect the body of our car and we are connecting the wheel so after that you will go to dynamics simulation rigid body and now if I did everything right you can see all the wheels are on the springs connected to the bus the bus doesn't moving so we're going to bring this same thing we're going to bring the rigid body check on the bus and now it's falling down because we don't have set up collection any kind of dynamics on the ground so we're going to put static dynamic just go Collider and now we can see when I going to move this it's already we have like some basic dynamics here happening also maybe you notice I am playing my scene and turning off Kauai smoothly and I don't clicking any buttons because I'm using so often during a day I customize my shortcuts because in default cinema 4d has a shift F key which is go to start frame so my shortcut shift G which is right next to it I put I set up to play so when I just like go back to first frame I immediately can play and it gives me like much more I mean those are things that you do data I'm like a couple hundred times it just make it make the difference at the end and so when we have this subject of what we can do next so let's bring some engine let's make this car able to move I wasn't using engine in my episode but I just want to show you what you can do with this so we have their engines we connect we want to move the body in able to move our car and then we gonna ng connect the engines to our rear wheels because this is a classic old style car and now when we connect the engines we need to be sure they are aligned well so this is our air L this is a real left wheel so we just need to be sure that we rotate this 90 degrees and there is a blue arrow I don't know if you see it it's the direction which wheels gonna be spinning so just make sure you're spinning your wheels proper direction I will do the same thing here 90 degrees and now we're not gonna play the scene the wheels trying to move they are slow let's add some torque to do some proper speed nothing going on because the this ground is really slippery so we can go to dynamics and just add the friction and now we can see our kids trying to get through school but they didn't they didn't make it through the mountain and now I will be showing you how we can help our animation because let's say everything is set up as you want and you don't want to change anything in your settings but you want to be able be sure that those kids get to the school and so I will go back to the first frame and you can help it animation so we are let's say frame 70 we want to be on the top of the montane but right now I can move anything because his lock is dynamic Singapore the calculated disposition go to back to first frame I was turn of our dynamic and I would go to frame 70 roughly and I will move the bus the position where I want so let's say I want to be here again I have a shortcut shift e otherwise you can have this record active objects star using shortcuts it makes your time more efficient and then let's say like double time here 140 we're gonna be behind the bus now go back to first frame oh no I just break my nevermind go back a few times I didn't save my position here sorry I didn't put the key frame so now one more time 70 here 140 roughly here and now if you can I hit play everything is perfect we can go to next project no I have to I have to turn them back the dynamic go on so and we need to say right now if I will play it still nothing going on they are still not able to make it so we'll go to dynamic and I will push them I will say okay try to follow the positions which I just draw so now the bus is going and it's able just to go over so we just help the dynamics so if you have some interesting dynamics happening in your scene and you just want to end the product logo at the end of the frame and exact position which you want but you want to be like reacting on with old kind of objects you can like direct your dynamics and its kind of powerful way in my case I was using the flying car so if I will just lift it a little bit higher and then maybe just in side we we gonna animate our position where we gonna fly and I was just little bit increase this value to make sure is he good you'll be sticking and also we can do the same thing for rotation now he should be I just turn of the engines now we kind of like get similar result like it's like just flying and hitting this stuff so yeah that was a first episode now I cannot go to second episode you're a bit sure in the time I will just click straight forward [Music] [Music] the funny thing with this I came up with this idea I was with my good friend who's songkong in we are in acupuncture and I was just sitting there one hour like all the needles were into me and I couldn't move and I was thinking with some uplifting ideas and I just like figure it out he's kind of like flying astronaut I don't know so then I told him right after the acupuncture and he told me that's a good idea I don't do it and it took me a while but I will not show you quickly how it's done in this episode again I'm using the or animations this is my friend he's trying to have identity keeper unknown so I blur his face but he helped me to act like the force I was roughly animating based on him it's not exact but it's just like to kind of feel how the body moves and in this episode I would say except the animation and the loop which I'll be showing later there was interesting thing with this goose or I don't know how we call it a cable and he's like flying away it actually got stretched and stopped playing and I kind of my way so I will quickly show you how to do that nothing this scene by the way before I will jump there when I had speaking SIGGRAPH two years ago I was trying to show the feature that if you hover over the button and you hear the S or you can also use scroll to first active object it will show you when you have a lot of objects in the scene it will show you the object and it's like really saving the time and you have like many objects in your scene but I was trying to show it and it didn't work so let's have a look what happen when you apply the texture I can see when I hit the S now it doesn't do anything if I had s here it works if I hit as here it bringing me just back to the texture which I applied and I didn't know that if you apply any kind of tag any kind of texture right now if I would say stick texture you can see there's a small yellow rectangle around my icon it means that cinema 4d automatically select your text so even though you're selecting any kind of objects your tech is still selected so what you have to do just click somewhere else so if anytime we're gonna be working and you will get stucked just click somewhere else and then hit s again and it will work so just quick tape so we have a here two cubes nothing going on us and crazy super simple animation so we're gonna show you how we can create a cable I will turn on our snipping - I will connect those cubes and when we have this and we hit us shortcut is a subdivision so all the us us us us and we have a bunch of points on this line and right now we want to connect those and we want to make dynamics so we'll go to hair hair spine dynamics and now that it's dynamic it's falling down how we gonna make sure it's not gonna fall down we'll just use our constraints so we'll connect the left point to the left cube and just hit set and then we're gonna do the same thing for the right cube and we can also select this point set so now it's already moving and then we will go maybe like I don't know frame 55 or something and then you're gonna animate our influence to zero we don't want to affect this anymore so if you're gonna play it it basically shoot our shoot our spring or should our line and we can even lock add a little bit more rubber effects them even stronger and for you to be able to see it better I will bring it my sweepnurbs with sphere and we have this kind of like weird CGI whip and because it's cinema 4d everything is dynamic we can we can use it for all kind of stuff so yeah quick tip I I kind of found it by accident but it works here I will just show you quickly my the process you can see I was like collecting quickly some models like get files then I using the software a ref is it called just a ref is for references you can quickly put pictures from the internet superfast software for putting your mood board together you can scale the pictures you can like it's really handy and and then I think it's gonna read just re F and it via oh sorry pure F sorry pure F is really good software is lightest for free and then I was like cutting textures then I start working in substance and this is like my final what I would like to show also or say about this as I'm learning I'm practicing storytelling and sometimes I'm like adding the details which no one noticed I got a huge hate on 9gag that oh the oxygen would make you fly but it's not oxygen if you would go look closely and maybe even sharply it was helium but I made it so small that no one ever noticed same way I was like editing actually animation of this ammeter so when his lifting is when his red zone I had to stabilize it and zoom it like three times to able to show you right now no one noticed even me I don't even see it in the video so so be efficient with your time I'm definitely killing a lot of time with details and which are invisible I don't know if you have their spot in here I was just playing a little bit with light usually just put the light down see how it looks from the sides maybe you can go a little bit dark but I didn't want to it looks interesting like if I could give it they are a little metric but because I'm trying to make a funny series and I'm trying to make fun of their struggling I forced myself to use colors and to make it look more brighter so you can hear see there's like few iterations but yeah I ended up on the bright one and fun fact Chris Brown brought this animation and he forgot to ask me he he made at the end almost nine hundred fifty thousand views before Instagram deleted it and I realize that you basically don't have too much rights to do anything with his unless you do copyright for your work so if you do some work which you think will be stolen just to copyright for lucky about $80 and you should be okay now we'll go to next episode which is space struggle episode free which I was trying to play with the hair dynamix and luck interaction so I'll just play the episode it's a little bit random but someone someone find it funny I mean here you can see I was like or I will show you first cinema 4d file or I already show you this and this was like my progress I was starting with the blue I was setting like volumetric but I started really looking like underwater scene and I didn't want to end it up like in underwater scene because I wanted to kind of fly out of the idea at the end from the field so I ended up in the it's kind of like a red horde and if I will go to cinema 4d I thought it's gonna be straightforward but I ran into few of the complications so I'll show you how it works if we have an object and we go to simulate hair objects at hair in the default the hair just starts falling down so if you go to dynamics sorry force we can turn off the gravity and the hair sticks and I have like a simple object which I want to interact with them so I will go to this object I will go to hair tags hair collider and and I will even show you from the side view and I will add I can add even a little bit more randomness I will generate from the area so if I'm going for a side you can see it's going through the hair and I'm like ok it's gonna be probably dynamics I went to I went to expert dynamics try to add the substeps it didn't change so I went to hair advance I could didn't find anything so you have to go to dynamics and in dynamics he you have to go to Eddy and advance and here you can add a higher number so if you will add higher number it'll start acting better but of course higher number means it's gonna be much slower so your goal is to find the level then you can I get decent result but don't use too much big numbers so let's say we want to use number like seven and now we already see it's kind of going through them again so you can play with your other values like maybe stiffness it's gonna be not so not so hard and now it already kind of works better so if we go to our like main camera I render it the default color is this not so nice let's put some nicer color so you can already see it's kind of block work so this was like the the basic how I use the animation and I didn't open second scene but yeah that was basically I just add the character I used from the mix mo I found like falling animation it was kind of working well and then after that I animate it and it's the same thing just like little bit playing with the lights next episode last episode is space struggle for I'll just play straightforward I really thank you for this episode thank you every or I really think - Roger Lima was doing audio for this animation and my coworker grab Rob near he was doing voiceover because without the audio I just wouldn't work and you need to always find someone we click with you and and I was really fun to work with the guys and I will show you how it started so I started with just male pitch just sketch on the male paper it looks kind of like something else but I was trying to make like some weird object which could be like attracting you in the beginning like it could be interesting almost like art installation but then turn back and make something like crazy and I just like okay so it's gonna be a rough idea and I need to know like set my background so I remember artist was drawing the murals on the concrete walls and it like water around I think it's shown euro his name so I really like this visuals and I like yeah I want this in concrete and and I knew I want to have a sphere object like rocky so I I look on Instagram and I think all those references down are from Philippa Hotels said that okay let's combine those two words together I start looking for some also mood board like an architecture concrete with water I really like this kind of luck I don't know they're Turkish Turkish color I don't know like a green blue green blue color and on the right I see I start doing some sketches maxime good ian was helping me little bit with that as well and then afterwards I did like bunch of different options and I'm actually not designer purse a more animator so I took it as a small exercise so just trying to play with different lighting setups and how it could work and it was for me kind of like learning learning time and I basically this is like first iteration and last iteration as you can see the shaders was already there the concrete I had the water but what the change was I was trying to tell the story so how can I do something fun and he can like fly away what he can hit I was setting the pillars it didn't look well so that's how I actually start designing the environment based on the story which having to say so it went well together and now I'll quickly showing some of 40 how to create something like this so as you can see here and there's super simple object and the disk we can even delete this so I will at the displacer for our sphere and in the shading you can just put the noise as you can see this to be too pointy we can like smooth it out just make a bigger bigger scale for our noise then maybe can even like increase the the height then if he's pointy again you can play with the subdivision and stuff when you have this on default it doesn't do anything so I can hit I can add some like movement some animation you can also add some like vertical movement I don't know it's very sensitive so I'm adding small numbers so you already cannot getting something like moving and interesting and then on top you gonna be adding a displacement textures the same thing I did with Taurus here which I also adjusted the displacer plus I was doing this kind of like inverts rolling effect so how I achieved it you can just put some test textures you go in the beginning and here you can see that if you playing with offsetting of the textures you can you can just like imitate this effect by sliding the texture on the geometry because when is gonna have a displacement it's gonna look like it's actually moving even though you're just moving the textures on it and after this under my desk I just added the formula I just it with make bigger we can add some waves you can see the aircraft going in averts now so if you want to have an effect like an helicopter flying above the water you want to be sure it's going like from the outward subjects so I just reversed the time I'm not adding but I'm subtracting the time and we can also add some follow up just to don't have this effect everywhere so we can add some sphere so when we you gonna play it now we have our basic girl animation before the astronaut came in I was also using the vibrant egg on the object so entire object is kind of like levitating let me have this we cannot go now to redshift to see how we can render this but uh before that I'll just quickly show you one tape I want to do also ground we need to unbend it so I won't have this small pound and around I want to have my ground so we can do we have just ground we'll lift it above the water and then we just want to make sure that under the rock we cannot put it we're gonna like a bulge it down so would be what I'm using for this is grab too then you have a grab tool with middle click and dragging you can choose the scale and when you like drag like this you you can change the geometry problem can be it's not always like symmetric it's it's a really sometimes hard to make it straight so if you hit the ctrl key it goes straight based on the normal up and down so I can go under the object and I can like just make sure I'm like under the object and I can like create some kind of small bulge here and now we will start entering this so I will go to redshift I'll bring Richie type er you're gonna adjust our panels here a little bit just for a second maybe the layers we we don't need layers so let's get some space here so when you gonna render this I already put the HDR texture so we can have some basic lighting in the scene so we already see I put the I created environment here any environment I just dragged the HDR texture here in the basic you can see just HDR textures when you have this node which I created like here create redshift material environment and then you go to cinema 4d redshift environment and all you have to do edges and drag and drop and and you have your basic scene so when we have this how we can make this work better I actually was using super simple geometry for the ground I I was not much more complicated than this flat geometry and I was just like a cheating it with the displacement so if you're gonna go to our textures if you don't load any PBR textures from the mega scans poly poly go on textures calm it always come with bunch of channels it you can just drag and drop in the in the material so we have a color we have roughness bump that all those things you you just get with PBR textures so the color go to the diffuse Channel let's try to make more space here I just this small a color correction roughness go to a reflection reference bump map go through the bump node to overall bump input and then this place man go through this placement node to end result to output displacement as you can see nothing really change because we need to know other subdivisions for our geometry in this placement you can keep everything as it is one we are using height field map video news vector or tangent less if you'd be using normal Maps but because we have just a grayscale gorilla or grayscale input we we just keeping it on the height field so when we have this set up we will go to our plane object you'll right click and under the redshift we will add the redshift object and we just make sure in geometry we're going to overwrite and even added desolation which will gives us subdivision six number is good default number if you need you can add up minimum length flange if you want more details you set the lower number but this is a good usually it works pretty well like a default numbers so I'm not going to change them and then we need to turn this placement turn on still nothing really change if I gonna like put some like huge displacement scale number watch on the ground we can see like more prominent shadows but more works like a bump bump right now it doesn't really give us displacement because we are limited by this like a scale the maximum displacement size so if you cannot increase this number we already start getting like some more rocks here we barely see we barely see our pound so it can maybe make even a little bit more visible pound or water let's see how it looks it's getting slightly better we can like also with the same technique we can looks a little bit like make more interesting or background and you cannot just really quickly scale like for somehow let's say interesting of course right now we have issues that in the front I don't know if you see it we getting stretch because it's black and white black and white map we're getting stretch our texture so you can see like artifacts so then you can have some additional details like some additional geometry in the front to cover it up or like do it more proper way and the same thing I did with the texture on on the rock so I just bring the texture here right now you can see I'm just like cheating it I'm just have a 2d geometry stick together so it doesn't look that it's actually hoe so what I was using I just did the simple cylinder object and I just like booting it out so now we actually getting the whole there we can also bring we can bring our astronauts there so now it's like our everything start work together and next thing what I would show how I actually work with the lights because if we gonna go now I'm using just HDR texture right now for light all the scene if I will turn it off and if I will refresh our scene it will go to default diffuse channels but in the moment when you turn any of the lights it will start be lit again so let's say we cannot bring one white light here I will look my camera and again I will hit out a or camera set active object this camera and now I'm watching my scene through my light so when I'm moving my camera view I'm realizing my scene so you can really quickly especially with like GPU and there's like a octane or a chip you can really quickly like do many iterations and see like what kind of roughly works like let's say this is some studio lighting we want to go from this side we will add maybe one more light some red tone can be like a more like rim light all right and we see also little bit fork because we have red shift environment plug-in but yeah that's it I mean that's basically how I was approaching all the episodes of course more you have time you can adding some additional rocks and more details but this is basically Luke almost like the same as the first episode it is really like simple simple scene so we're gonna go next which is my project silly wheels is a kind of fun short loop animation so I'll just like play there's not much to say about it [Music] let's go so on with with this series actually all the cars are animated by hand we have a neighborhood which would be bored I was just adjusting the colors but I was in modeling it and so it's actually simple way how to build this the the cars when they flying away I was using Storify the former in cinema 4d so also simple no dynamics and actually people are asking mainly how I did how I did the skit is it's called skid marks like you can see here so it's a grease simple really simple technique if we go to cinema 4d and maybe we will even restart our layout because we don't need render for this I'm sorry before I will jump there I will show you quickly one tape which I was working on let's say we have here a sphere and we have a plane with collision and collision and colliders you have this sphere so what happens when you go close you can start like getting this kind of a bulge effector is trying to trying to surround the object which we have here if we play this animation because I have like your dynamics here which says shoot the ball 500 centimeters this direction and so I'm just shooting the ball as you can see it just like Blake on one few frames it's just super fast so we can play with it actually and we can go to college in the former and we can play with rest or shapes so if I said 0 it means it won't try to go back so we can actually draw with with the objects you cannot do something and we can like drawing with it or in my case I want it to be kind of like this Terminator effect and he like healing himself so it actually go back to back to original state so when you play with this because you can always layer multiple effects together when you add the jiggle here you can see it's already starting getting some interesting stuff happening but from the side view it's going through but it doesn't change the speed is going real fast if you would like going to some jail or something it would slow you down so what I add here is a friction with simple linear field which you can see here is just like right above the plane so if you're gonna played right now you can see already kind of like like entering gel effect or it can be like anything basically like in matrix and he wasn't going through the mirror and of course you can add some characters and play with it so if I gonna play it you can have some I don't know funny animations and in the collision you can add multiple objects so I have the falling guy as well so if I gonna get multi falling guy as well he now go through the through the ground as well so it's just like small fun tape and now I will go to the Skid Row's or Skid Row I'm not gonna go to schedule a good idea skid marks so we have a we have wheel here super simple scene and then I added new objects right under the wheels you will see why but I guess you already guessed is because the tires making the marks from in the bottom when they touch so we will go to more graph tracer and in our tracer we we just make sure that we will at or our new objects so we can click this arrow and all the wheels and if you play you can already like start basically drawing with the wheels and then you will go to you can make a sleep nerve and in the sleep nerve you just drag the rectangle drag the tracer and you will get somehow like a mark like tire mark effect so when you play this you actually start drawing on the ground of course you can also animate the tracer let's say it's gonna be inactive then we're gonna keyframe it it's active and then maybe it's gonna be oh did I do it wrong I guess I did yeah we want to be active here and then maybe like frame before inactive so I mean you cannot play this you can just draw the marks like this and then I was supplying the texture with alpha Channel I have just looked long in Photoshop one long one longer mark on the road you can even even just brush and take a render with it so super simple and the next project the go this was actually a huge project at the mill it was the last project I've been working on there it was directed by Elia Abu Elia baklanov is a creative director it was opening movie for off festival you can have a look on the v-mail web side of the mail just type archive it's written with X and it was a big collaborative projects I don't even know how many people work on this it was like 20 minutes short movie most of the CG were done in cinema 4d there's a lot of beautiful shots I have here just my shots so if you want to see like all of them just go check it out just my shots all life action combined with cinema 4d [Music] [Music] so with this okay this one I just want to show you a little bit the reverse working I was working on the model of those wings and then and then artist Sidney Chan he was actually painting the paintings based on the CG models which we created so it's kind of like interesting rivers I said it's interesting feeling when you like modeling something and then you see like someone like painting like this kind of a picture out of it and then Maxine Greene was like finalized of finalizing the pieces and modeling he was like really cool 3d modeler I will show a little bit more frames later on in presentation so here you can see a little bit breakdowns we got a live-action footage from the drone which was doing Ilya in the desert somewhere abandoned Factory and we were just trying to bring like a little bit tech stuff on top of it and now if I go to cinema 4d this could be actually presentation on its own but I will just quickly get a feed web how I built this so as you can see here we have a Justice footage which is from the drone you can bring it in cinema 4d 3d motion tracker you can just load it here and when we have the footage and process it I actually think I use just out of features so it wasn't really complicated track you will get the points which kind of like trying to represent each point in the space where it's on the scene we have a lot of red points here but doesn't really matter I wasn't even cleaning them because it was still really solid track and when you have this calculation you can go to reconstruction and you can actually generate the mesh out of those points so if I did that it will gives you not always it works and does give you kind of messy result but in this case actually give us very nice results so if I will go to ice our view you can see there's even things which I didn't even notice there's for example this like like a different like level on the ground and we have I was really happy I was able to get all those edges of the roof so then you can just use the poly pan and it can really simply recreate by some basic geometry you can recreate the scene so that's what I was doing so I I do my simple geometry here and if I will go to back to this first frame I just put the geometry on top of it but maybe hide the that's maybe high the tracking as you can see I was trying to keep the geometry kind of simple and clean but then I make the boolean object which kind of make it messy but you will see why in a second so when I got this you have basically all the heavy lifting down then it can be just fun because you already know everything that is in the space and you can start placing the objects keep dashing so what I did first I wanted to kind of edit parallax so it's fun to extend the real environment so I'm a deadline made the holes and I just created it's kind of like small underground Factory it like a bunch of pipes all kind of different the bags look you need sometimes like the customized model as you need then you had some like stuff on top of it some models then you connect them I mean the design of this hole was again from the artist Sydney town he was just like it'd be cool to have like this kind of like crazy cables around the scene so when we have this I was like adding we have even flying the drone in this scene I know if it's visible here then then I was setting this main rail which is close to this to camera so I just kind of kid back together from what kind of different parts it's kind of like moving some oh I switch my mouse to different setting so just a simple animation then some additional assets and then when you play this you have like it's kind of like mixture of I don't know CG and real and then you can have to render just the elements all the all the ground you will just render as a matte object or as a shadow path so it means it will catch the shadows of the 3d objects you're trying to set up the light based on the real Sun it's it is actually really easy because let's say let's say here around this water tank you can see the the real shadow which was there and so you can put the Sun and then you can like try to make sure that the Sun is projecting the same length shadow and then you know that all your objects gonna be like perfectly lit as well so yeah that's actually I think I think this everything what I have here so that's it thank you and keep following me on social media [Applause]

Channel: Maxon

Views: 44,840

Keywords: c4d, cinema 4d, r20, release 20, sculpting, bodypaint 3d, maxon, modeling, modelling, 3d, animation, rendering

Id: cCGXRNQG1-w

Length: 53min 14sec (3194 seconds)

Published: Mon Sep 16 2019