Marti Romances @ SIGGRAPH 2019 | Maxon Cinema 4D

a longtime presenter contributor and inspiring artists all around the world is my good friend Marty romances creative director as well as co-founder of territory studio in San Francisco you've seen this work all over the place but I'll let him talk about it because he could do it a lot better than me for all of you who don't know we're giving away thousands of prizes at c4d live so make sure to register anytime this week before Thursday is your chance to win over $1,000 of prizes so check it out see 40 live and I'll let Marty take Amir thank you thanks for toys and things everyone who is here and who is home watching these life I think what they've just announced it's it's great it's big and cinema4d is always being for the people and like for artists that are starting at the same time that we use it in you know in Hollywood films and what I want to show today and like I did in the Vancouver edition last year is how very very simple stuff it can really help you create you know that accent on a graphic or even for graphic designers we then we're not I'm not gonna be touching on very very complicated 3d scenes for that you'll have lots of other people doing it over this a few days in here and also in the other booth so yeah my name is Mario menses we have offices in London New York San Francisco and this year also we're opening in Vancouver which is very exciting for us as a company you know we started nine years ago a few of us in in in almost a basement and and to see this company growing it's being incredible and we grow up with the software as well our expertise and what we do mostly we're mostly known for some of those films that you see here we produce those sorts of graphics for them known only and VFX but also onset graphics and for that we use cinema 4d we also do the same thing for video games and before I get started I wanted to play the reel so you can see what we do [Music] [Applause] [Music] [Applause] [Music] [Music] [Applause] [Music] [Music] [Music] thank you everyone I have to say that we do create this we do help directors tell their stories and we do these through design but you know to do that we need technology and it's thanks to people like maxin and you know people who are developing the tools that allow us to do those things where we can you know thrive on our passion which is creating all this you know these these sort of graphics and here you will see games and films in this real but also we are very very in touch with products real products real experiences and prototypes I'm even wearing today one what's that we design and for eight we also use cinema 4d and the cloners to you know all sorts of stuff that we do and how important is to be here part of this family which is Maxon talking about Maxon and the family we also were very very happy and honored to be with them collecting the their technical award at the Oscars this last year thanks to them the motion graphics community and mograph in general is having the you know the attention that it deserves through also motion pictures in the academy so I want to start just looking at point clouds and that's because it's something that it's very easy and everyone could do it at home and it's something we use a lot for some of those very technical ways to visualize different things we even use it for the most grossing film of the whole history so something very simple everyone can do at home even now more accessible with the new subscription system you know it's something it's something is incredibly powerful that you can have these at home for this film we created some concepts for a character the character that that we were having on this karaoke bar that the directors approved was this one and I you know of course we modeled it and thanks to the team they did an amazing job we also were very very happy to be able to use a lambic system like which is using so many different 3d software's to help our pipelines with our cinema for the users and implement in other words lots of mograph when we were creating these platforms was used as you can see here and the final product is this and the fun part about this is like all of these words that we put into it was for a LED screen that was living on a set at the very end of this bar for endgame and you can barely see that but that tells you how much attention Marvel and all these productions put into into these little things and these little details this is a video where we were building the set in there and you can see all our all our graphics around the little dances that we created and these excuse to build that world with them so even some of these other animations on the other screens were created with mograph but what I want to focus on is like this mask I don't know if you realize that the concept has floating LED masks and in front of the two dancers in the back and what we started doing is just we started sharing with the directors and production designers and all of the playback team different options for this and I what I want to show you today is how to very very easily achieve those point cloud passes with cinema 4d so we're gonna be looking at these very quickly and show you a couple of different ways to do it but also you want to show you like you know we use it in most of our animations and renders whatever it is to highlight a point on on this suit or in this case also to highlight the the shoulders so what I'm gonna do is I'm gonna jump right into it into cinema before that also I want to show how does that look when when we're playing it into the our layer systems well because we don't have the ability to have to render these things very quickly on set we need to go there with all of these pre-rendered passes that will allow us to highlight different things into these animations so let me just quickly show you how these actually looks when so this right here is our point clouds and what we're doing is we're using different masks to you know have these point clouds masking in the different areas that we want them to be affected so now that we understand how we use these little things and how also we highlight all the things with masks and point clouds let's jump into how we create this point clouds and you can see here that you know we are actually doing it in different ways let me just quickly render this so we're gonna start with looking at the geometry of these masks that we were looking at actually the first geometry that we got is the one that wasn't subdivided so let me show you how these first geometry was looking for these are subdivisions that we had and what we're gonna be doing now is showing the fastest way in my opinion to render a point cloud the fast way to render a point cloud for us we discovered is a hair system and the hair system of course is made for hair but we use it in a different way if I render if I apply a hair tag a hair render into this and I render it you'll see that it's gonna start creating all of these big hairs that's not what we want we actually want these cares to be points so what we're gonna do is change the length from these 20 centimeters to even like point one and automatically you will see that what we're creating is very very little hairs these kids are still not doing what we want because what we want is a completely white point so to do that we're gonna go to the shaders create a hair material here and inside of the hair material what I want is white so the only thing I want is just to have a white point I'm creating a white hair material I don't even care about the specular this is a point cloud and what I want to make sure is that the thickness is also very very thin so I'm gonna also change this to a point one point one everything is at point one and as soon as I draw this hair material into this geometry that where we applied our our tag as soon as I render this you'll see they start doing something we start generating all over the place we don't even need to see the face so what I created is a black material that will go right before all of these sex now when I render I only see the points it's still not doing what I want and I think these points also look very very big so I can even like decrease the length here or I could go into my hair material and even decrease the radius of this hair so I could do that and automatically come on automatically you'll see how these points are starting to give us this little lighter effect and you know you see how fast this is rendering still something that I don't like because we're rendering this into the surface if we change these two points now you will see how we're gonna quickly render a point cloud on each vertices we can even like go smaller a 4-1 and and this the important part of this coloring if the render is super quick I just press render and if you have this in a massive Alembic file or a multi million polygons big model it will go it go that fast and the good thing is like I can actually have more subdivisions now if I want I can select all of these polygons and press you ass to subdivide it all of a sudden our point cloud is getting way more dense because we have more points to look at so the same thing that I was looking at this these other one you know as soon as you start subdividing it you start having all that these is as simple as that the problem is that sometimes depending on your geometry depending on how close you are from it you lose some points and that's why I want to show you a completely different way to create a point cloud that will give us a bit more a little bit more it's gonna be a modular system that we can you know tweak a little bit more and have more variations in the points and we're gonna do this with our friends the cloner effectors and all that and mograph effectors by just creating a cloner and instead of the using hairs in this case we're gonna clone very tiny spheres of course this is a big big spheres I can just do very tiny sphere 0.01 centimeters I drop these into the cloner and now we are cloning these spheres here they are so tiny that cannot even see them but what we want is to clone the spheres around these model our geometry let me just delete all of that even delete this shader effector these cloner is now cloning a line and linear what we want is to clone an object our object so what I do change these two object I have this field here where I can drop my face geometry and all of a sudden we will see you will see that these tiny points now our cloning at a surface if I can't if I increase the count you will see how these tiny points are starting to appear we can barely see them so I'm gonna just make this fear slightly bigger you can see them now what we cloning is the surface and that's not what we want I mean it could be what I want to if I want to create that lighter effect if I keep increasing this you can start seeing how this looks like but with as in over one we want to have these cloning it and the vertices soon as I change these distribution to vertices now we start seeing those vertices rendered now I can go back to make this a slightly smaller I know and we gonna start seeing that when I rented this we have the similar effect that we were having before pretty fast render as well now this cloner now can be duplicated we can change this from the second one I don't want them in the vertices I can have them in the edges we can have here let me just turn this on so we can see a little bit more what we're doing we can see how these little spheres are now ones are in the in these vertices and other ones are in the edges the ones in the edges you will see that I can even offset them so I can maybe create animation or I can create different points that are not right in the middle of them of the of the edge and the good thing is like I now have the opportunity to change these two maybe I want the vertices want to be slightly bigger so I can do that and I'm starting to now have two point clouds here one that is the smaller one in the vertices the other one is the bigger one in the in the edges so is that this is not even finishing here I can add another one to clone on the center of the polygons and we can do that right now by just duplicating this corner I can change the distribution not where it is not edge now we're going to the polygon Center and we can see now we're adding another extra step and if we can even say you know what this one I don't want to I don't want to clone a sphere I want to clone a cube so instead of the sphere let's get rid of the sphere we can clone cubes let's make sure that those cubes are tiny cubes as well then I copy the same value we're gonna create a very very tiny cube and you can see now I have these cubes on in front of you know every single polygon and the other ones and the vertices and the edges that gives us also the opportunity to separate different things and highlight separate parts of this geometry I could actually go to this geometry where we actually will see now how we now have these tiny ones in them in the middle of the polygon the ones and the four edges and the ones in the four vertices I could even go here and say I want to select maybe a mass let's go to the ring selection let's let's say that we want to create a mass for this guy we can just say okay we're gonna create these ones these points that I'm selecting with the ring selection I can even like go to the fill selection and with the shift holding the shift I can add these into the selection and I can save this selection now I can say this selection I want to set this selection tag this selection tag will help us saying well these big spheres that I created and the vertices let's make them bigger so we can obviously see them these big spheres in these cloner that are you know looking at the geometry we have here selection tag that I can drop the selection that I want it to do here drop it here and automatically you will see how let me turn off the other ones you will see how these tiny cubes actually let me let me make this not in the not in these one but in the spheres and the edges so we can see it quicker I drop this election tech here and automatically we see how now we created the selection and now I could be changing the texture in this I could have these as different passes or if I want to add like a different effect in here maybe we want to have a random effector onto these one only then I could create that too so again like those little things helped us a lot creating all of these passes that we'll be adding in two parts of the film or parts of these animations that need to be you know selected or highlighted in different ways as you can see here so I just wanted to put it out there this is very very simple stuff that everyone can do at home and that we even these simple stuff that renders very very fast we use it as different passes for some of the graphics on these films alright so that was the first thing that I wanted to talk about the second thing that I want to talk about today is how fills and the new volume system that came with our twenty and of course with our twenty one get ready to see even a like a dial up version of it are very very extremely useful for us so as you can see in some of the stuff for example this is for Blade Runner some of these films require a very abstract visualization whatever is for a planet whatever is for something that comes from another galaxy and and in all these even for gusting the shell sadly we didn't have the fields and volumes but now that we have them we can very very easily create all of these very organic visualizations and I want to show again you how you can quickly create something that complex with a few steps and the volumes and the fields again all of those are examples on how sometimes we need to create those more organic more organic systems to start with I want to show a good example here let's load it it's calculating the volume a good example of one of these cellular systems or DNA strands could be something like this and I want to show you how to create something very very similar to this from scratch and so we're gonna create a new scene we're gonna create some geometry let's go with the Taurus Taurus cos a and the Taurus as you can see we have some polygons right all we need to start creating in here what I want to show you today is how we create a system that is completely parametric that you can change everything even after spending these ten minutes that we're gonna spend creating this you're gonna be able to modify it because we're gonna do it in a modular parametric system and non-destructive which is very very important for that I want to play with instances I don't want to play with Taurus I want to make sure that once I create an instance I can drop my Taurus here or whatever model we want to use so we're not even gonna use the geometry itself we're gonna create these with an instance of a geometry because maybe we want to change the geometry later and I will show you that too so to create these volumes we're gonna create we're gonna go in here and get those two guys out both the volume Builder and the volume measure now yes I could drop the Taurus into into these guys and see this effecting but I don't want to I want to show you how dropping the instance will affect if I drop it in the Builder it's gonna create those different voxels if I drop it into the measure nothing is gonna happen so remember if you want to create the volume voxels it's gonna be with the Builder now that I see this I don't even need to care about seeing my Taurus because what I want to look at is the volume that we're creating these voxels right now if you go to the Builder or is you know they're big voxels and I can reduce these to five and we can start seeing how the definition goes but gets read up before we get into that the definition I want to show that we have two very important different volume types here what we're looking here is the signed distance fill which is almost gonna affect as in a surface volume but we don't want that we want to change this to fog and all of a sudden this fog is gonna show us all of these points that are almost like inside of this volume with these also if I change the voxel size back to ten we'll see that we're losing a little bit of voxel quality in here let's go back to five and let's see how these voxels around creating are you know gonna be the by the geometry and the way that to do that is the volume they should measure system here as soon as I drop the volume builder into the measure we can see here how now we have geometry so we can never see the Taurus back again now we have the geometry and if I change that and I keep increasing the voxel size so we lose voxels we will see how the the measure will try to interpolate almost as a meta Bowl system you know the median points let's go back to five what I want to start doing this degree these abstract visualization is creating something with with a random noise also if you want to see any of these measures and builders Sinha versity has an amazing amount of tutorials and I recommend everyone going there to see more in depth you know volume learning techniques in here what what we wanted to create is in here and create fill order to create these random fill these random fill as we understand if you remember the random effector from mograph it's gonna create the noise actually this is now a random that I can change the seed off but what I don't want this I want to create a noise and now we have a visualization on these box of how these noise is gonna be affecting I can scale it up I can change the noise type let's change it to Voronoi because let's say that we're gonna find something very very organic so Voronoi is a good idea okay we're gonna we won't even like see if we want to have these animated we can change the animation speed here if I clicked in and I press play we will see how all of these noise is gonna be animating ah and I will show you that once these applied to the 2d geometry let's say that yes we could create we could drop this random fill inside of the Builder but actually this is not what we want if I do it we will see that we're gonna start seeing something and I'm gonna jump into these we don't want to see these box we want to see these random noise into our into our torus we don't want these here because what we want to do is work in a parametric way what we want to do instead is we want to create a fill group and then sand this field group is what is gonna go inside of the Builder we can see it here now this field group is empty but now is when I want to drop my random fill inside and we were to see this right but these know what we want because what we want is actually these fill if I go back here this field to be affecting our tourists not a box so in here in creation space we can see that there's this option you can either have a box to visualize it or you can click object and all of a sudden our noise is applied to our torus so as simple as that we can already see now you know that animation that I was talking about its animating if I screw through the timeline let's let's change it through 300 for example and we can see more so we have our noise now we can go to our random field look at this noise and say I want to scale it up a little bit more or less actually we can hide this with because we what we want to see is how it this is affecting our model now what we want to do in these noise is select a part of it so inside of this group field and inside of the volume builder here we will have let's go inside of the group field we'll have something that everyone who is familiar with compositing software's like Photoshop and all of these different combinations and compositing modes will be familiar with and here if I hope I will see all my modifying layers I could see something as simple as an invert and if I drop it it's gonna invert my my volume effector I could do something which what we're gonna do today like curves curves are gonna give us a black and white value that is gonna that as I push it I can I can select which value we want we want to work with actually I don't like working with these splines being Bezier mode so I'm gonna change the spline preset to linear and as I change that and I move this here I can select those two points that are selecting that part of the noise and with shift I can move this left and right so even to introduce some 3d model or we could animate this by just doing some keyframes on the shape and animating these left and right to see how this comes to life even something as simple as that is so quick to create like a you know a volume representation what but these are what we want to do if I hit ctrl + I click I'm creating a new point now I can move this down and we can see how these is now let me move to the right to the left now this is creating something like what we will want we want we're trying to create the cellular system some blobs for dr. banner let's say it's experimenting on something or whatever it is man in black I know I'm starting to get what I want I'm gonna just add some some size here that looks cool yeah that's that could be some cellular system here but we're seeing something here it's a we're seeing lots of jacked edges here I want to create a very very smooth version of this and a way to do that it could be just to go to the volume builder and reduce the voxel size actually I can reduce this to two and we will see it it's almost like a subdivision we're subdividing this but yeah it's not it's not yet perfect I see see I you know I see these jagged edges I could see how this is not perfectly smooth I can smooth that out there's actually a smooth layer right here and I could click and these will be applied to this volume builder and you will see how automatically this gets a smooth now I could do that but this is not what we want to do because as I said before we want to work in a parametric way in a way that we can create a lot of different measures and builders instead of having to go inside of each measure builder changing these parameters I want all these parameters out in a you know master affect your group so as you can see these gray smooth layer that's not what we want I'm gonna delete it you can already see what's happening is definitely smoothing it out but we don't want that we want to go into our volume mininum and here we can see this a smooth filter that's the same I have it outside now so I can like we did with the torus and the instance or like we did with the random feeling under random group I can call this a smooth filter inside of my builder I can drop it here as you can see it's now blue and oh wait Marty this is not working I just dropped a smooth filter you're wrong no because this is most filters like we did before we said remember when we said that there were two volume types one is the signed distance field but this is not the one that we were using for this preset the one that we're using is fog so as soon as we change this now is affecting now our our smooth filter is affecting it now I can go into my filter and I can change that I can I can even animate this strength if I want it you can see how this is affecting I could even like you know just to go quicker I'm gonna go back to the voxel size to be bigger but then this is also affecting our smooth layer so everything that I touch on the voxels and the voxel size is gonna be affecting these a smooth layer because these also has a voxel distance if I want if I increase this you know I'm gonna increasing my my type my strength as well let's say this way of my own my smooth filter is almost like we have Gaussian we also have mean and we also have median it's whatever it feels good to you I'm gonna keep mean in here I think like it's good enough I can see these being a cellular system and the the crazy thing about these is like maybe you don't want to create a cellular system maybe don't create just a design of one model I could like actually get that shape and use it for my commercial or whatever is I can guys that I can pull that out and get that geometry and do whatever I want with the new volumes it helps a lot on something that before we only had the metaball systems to do work with so again really really powerful to create this is for anyone who isn't to farm visualizations these will be like a lifesaver I have to say now you know it will say Marty you've been talking about parametric waste and if ways to to make these assistant that is modular and that's because this is not the only volume measure that I want I want to create a few ones so I'm gonna rename these to volume measure one I'm gonna create I'm gonna put these guys also into an OL alt G to create a no I'm gonna name these let's call them master effectors and we have them here so we don't have to worry about them now let's create another volume measure just by copy and paste I have now a duplicate of that and what I want to go is inside of my group field and you remember that when we were creating these curves we said that these is almost like a selection of that noise that we have affecting the whole volume if I select this node here and I move it to the relief to the right I'm gonna have the same noise affecting a be firm part of it so as soon as I move it out you can see that I'm creating almost like and all the layer there you go is the same noise affecting it but it's a different layer I have all the control on this I can actually grab these curves and make them like slightly thinner because maybe I want these layer here to not be that chunky I just want almost like a layer that wraps around it so again like play with it have a look at what is the visual that you getting and we're gonna start having you know let's just start having some color here so we can easily differentiate those two systems I'm gonna create three materials double click quick material I'm gonna let's say create one red one why not let's create one blue one why not I'm from Barcelona I'm always supporting my team and we're great a football club Barcelona modular system here one is blue one is red we can see clearly here this is our system it took us you know less than five minutes to create if it wasn't because I'd like to talk a lot over it and you know we can render eight here here you go the important part is like that noise is still animated it's the same noise that we had before I can scrub through the timeline and I can see how these very very like complex system is now being created now it's a game already but let's say that I want to see my Torres back I want maybe these two being a selection of that Torres affected it's okay this is our volume issue number two remember we want to create that a third one so copy and paste I gonna name these number three and guess what we're gonna do the same thing we're gonna go into our growth film we're gonna go into our curve and let me just actually drop this material this white material on this one so we can differentiate it and in our curves if I select this and I move it to the right we will see how that is sliding to even like you know another pass I can even like start playing around with these a little bit more and say like yeah now I can see how this is almost like an infected system on this toros okay that's fine there we go we still have our noise everything is working everything is parametric now we have these three volume measures and the important part comes now we've been doing everything in the parametric way so if I want to now go to my random fill where we remember we with we choose that Voronoi noise let's sit I don't want this burner anymore I'm gonna try a different one so I just need to come here I change to a different noise all of a sudden voila the whole system changed I don't have to go inside of each one to go change it and whatnot I can now have all the control I want this is slightly bigger I can scale this up or I can scale this down to 200 I will have a very intricate level here this could be an another solution to give to the director 10 different types of this DNA system right anyway let's say that you know I like the Voronoi one I'm gonna go back to it I'm gonna just go back to 800 our animation oh no this animation was too quick it's okay I can change the animation speed from 10 to 5 and it goes slow it will go slower so all of these is very important because whatever we do with this system now is affecting the whole thing the smooth layers as well isn't the Masters effector if I say I want to change it to Gaussian its gonna create a completely different thing I can start now getting two very very different ways on different designs this could be something more for your graphic design for your poster something that you want to create and it is still animated again I can still scroll through and change the keyframe here and see how this is all animated anyway so let's go back to where we were because now that we are familiar with the cellular system let's say that the actually Marty we're not having to put these on a torus we're gonna need to put it in a in a different thing it's okay that's why we created that you know that's why everything is called into these master effectors these stores is not what we want maybe we'll want these onto a cube okay I can create a cube I can drop it into into these stores can turn the torus off all of a sudden oh well this is the exact same preset in a complete different module in a complete different structure I could even if I want create like a cloner of cubes you know here's my corner of three cubes or eighteen cubes whatever I want to do is it this these are the guys I can just like make them here we go this is our our cloner I can change them I can modify them however I want and if I drop this here it's not only gonna be created for each cube but it's gonna interpolate them the the parts that are in between them so you can see here how the same one is you know looking at it in the same way that I we're looking at the tours and it as soon as I start making them slightly closer let me change this amount of the Y separation to 150 it's creating it it's calculating the volumes here you can see at the bottom you can see how now is creating these thing we could animate these we could put whatever we want into this cloner now these also works with very complex models let me just go quickly to maybe these one we have this guy here right we remember this guy mmm so I can drop this guy - we can grab these let me just get rid of that hair render we don't need it I can grab this model I can go back my to my untitled file that I did not save and I could lose all my work now I will go back here it's gonna calculate all of these let me stop the cloner let me actually just we don't need any of these cube or cloner anymore and what we're gonna do now is not our tourists remember it's not our tours anymore is our good friend iron man now a good friend iron man I mean making him a bit bigger so we can see how will the oh my God look at this it looks like from halo now wait a minute I created Master Chief from iron man anyway oh I know why I don't have him but I'm not gonna go into it I'm gonna drop this here I'm gonna kill my tours and of course this is a very intricate system now we can see how you know the only thing we're creating here is they'd actually let me go into my master effect your Chum the smooth filter off so we're gonna start seeing this this could be like we did with the point clouds you know we have rendered Ironman we put the point cloud in the you know on the helmet or whatever selection we want we might want to create this messy filter around him maybe it's an infection or something the good thing is like the animation that I had is still here I can still scroll through it and we will see how these points go out and move actually I do have another you see you remember like Iron Man like it's opening the whole chest its opening and this volume is now looking at it I actually could go into these random fill again and change the scale I could change this to a very very tiny one and we have now you know a system of these little particles that we could have smooth it out as well I could change the the different noise that since these two the Bob's or or dance like let's go to get some boxes out of it and we can see here how all our geometry is here as well I could go inside of my builders and this is something that you could also do you know in a parametric way I could change that to be a very very tiny voxel size and we will automatically see how we now have a very very dense thing where we see let's go to the beginning so we see these match back we can see how these maize that we created is now affecting in the same way again these random feel now is creating sales let's go back to Voronoi or Berlin or any of the noise that you want to try and now we have our animated noise that is still animated affecting a completely different geometry so again like I think this is a very very powerful thing for designers for whoever's doing visual effects to create these different passes and whatnot Anna and I we really like it especially to create these very very organic animations and organic things with the fills and the volumes and measures and again for days I only use the random fill but make sure that you explore this because the possibilities are infinite almost like inside of fields you will have lots of different effectors that you can tap into formulas into sound into all sorts of things and we can you know and you can use this for also although you know with other different types of volumes but remember that we can even like the inverting some of those we could use any of those tools here any of those modifiers to also change things into that visualization so again this is one of our favorite new features I've been here now for 40 minutes so I'm gonna just quickly click it goes through another very very interesting thing I'm gonna just spend five minutes for that one and this is how important is a we can now import a lambic files we did this a beautiful trailer with these little fellas that these are called the Blanco Blanco she's a new video game coming up soon and we only have just like these little guys animated our team of animators were actually giving us the cinema 4d team a territory studio all the artists that are working with it wanted to render with cinema 4d and do all of that so we created all of these walls with cinema 4d and what we wanted to is to import all of these great animations and we created this trailer trailer is something that you will feel there's a lot of animation here especially when you see all of them dancing but all of those animations were imported as a lambic we didn't make any rate system but you can see the amount of people dancing here and you know all of these guys oh yeah then you'll see that well you get twenty make lots of guys and get lots of bland coastal actually not we only made only ten but thanks to Alembic we get to start dropping them change their textures make them look like a completely different character and then you know it's close through it I want to show you how how quick is this words you know in less than two minutes I'm just gonna dive in show it to you you know the amount of guys here dancing let's finish the trailer and we also created these in four weeks which was crazy right like we'll have enough time to be animating lots of says so let's reuse lots of this stuff so you know there's a lot of information here but look at how quick I couldn't scroll through and see this animation here right it's insane it's here and actually the good thing about it is that I could merge another animation let's just merge any a different one let me go back to my my romance is a little big and let's say that I want to add a completely from Blanco I see here some of those let's just add this guy maybe let's just add this guy I merge it it's here I can put it with all J into a No this is our guy let's find him it's pre-press age we'll see now the whole thing and let's find this guy let's see where were these guys at oh here is okay I can have this guy now it's the same guy here but maybe I don't want him to be doing any of that I could go to select mile Amex I can offset all these animation right these guys here is not doing that anymore I want it I can just drop him here in the background and now as simple as that I have my master animation and these animation is here I get startled importing all of these guys as we animated one guy dancing off setting these time here because so the animation in this three seconds of that shot is not exactly for all of them it's just they look like they are all different this is extremely powerful for when you don't have much time I need to be reusing some of these animations importing great animations from all the software's if you want and then using them in in that way so again I think with that I have to say thanks everyone for being here first of all thanks for maxim for having me here for everyone who made this possible feel free to get in touch nor in the I will be around over in the back with these guys ask any questions you want Annie don't you know don't be afraid to reach out in our social media and ask us questions we always on it and replying to everyone so thank you very much

Channel: Maxon

Views: 19,211

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

Id: 4AiQxEJjVJc

Length: 44min 2sec (2642 seconds)

Published: Mon Aug 12 2019