Morph In Cinema 4D Using the Pose Morph Tag

in today's tutorial you're going to learn how to morph and animate an object in cinema 4d this is a fun one hey everybody it sticks here again from grayscale guerrilla comm bringing you the tools training and tutorials to help make you a better motion designer now today's video was recorded during an ask GSG which is where you can ask your cinema 4d questions live directly to us if you'd like to learn a little bit more about ask GSG i'm going to link that up in the description and also right here on youtube so you can see when we go live and also if you've missed past episodes or if you just can't make it to the live show we actually have all the seasons of ask GSG available on our training page which I'm also going to link up here just in case you wanted to see more videos just like the one we're about to show you right now so in this video we're going to show you how to animate and morph an object from one shape to another it's a very common question we get here at ask GSG so I'm glad we took some time aside to really experiment and play with this so that you can then use this morph effect in your next project so with that let's head on in and let's join Chris and Nick on ask GSG everybody and welcome to another ask GSG this is a kind of a new one for us there's actually me and Chris are in the room and we're going to try to tackle this piece that mario was asking about and it's this cool volkswagen spot where there's a bunch of morphs let's see our flink check them out where flink yeah we have the whole client listen up that I go on a bunch of the world I've read more for the full client let's make sure that I don't know where they did just making sure I got all the client all the all the credits that's what I'm talking yeah yeah so these are all people really cool stuff so let's just give it a play here and Mario is asking about the morphing in this piece and there's a lot of morphing a lot of different shapes and some of it's a little Wiggly lagging very out there it goes and there's also this wheel thing where the wheels kind of jump between each each morph in a nice way they kind of shrink in and shrink out and so we are talking a little maybe we just try to tackle this Chris for like two or three basic shapes plus try to see if we can get the wheels to scale with our shapes like that one right there like that kind of scale right and see if we can pull off something anything uh yeah I think so but I think we're going to try and do eyeballs instead of wheels just so we have something on the surface and we'll have a little more play on it unless you want really want to do wheels okay all right well let's do it we're going to jump on over in the cinema or an hour sixteen and it's always tough to kind of figure out where you're going to start here I think it might be best actually to start out as a cube the most important factor here is going to be getting the correct amount of geometry because we can't add or subtract points unless we kind of do a fake model swap where you jump from one model to another so we can kind of throw in kind of an arbitrary number of polygons the more polygons the harder it's going to be to work with but the more detail we can potentially get with the low-poly target models we're going for my keyboards not typing numbers this number five is dead I can't type five Baike type three so his five is day yeah we needed you came yeah so well we'll get to that I have a bad feeling there's some shorted out keys on your keyboard oh my god there is I'm gonna need we got some your keyboard over sensor I can't copy or paste all right so why don't use mine for a second look go grab yours from your dad or mine for my desk the cord is just about long enough for the story so sorry about that so yeah some shorted out keys alright so I'm what I've done is I've gone to a five by five by five subdivision actually I think about I might want to be lower let's go four by four by four you know we have an even number what this ends up happening is we we get this even split so I've got kind of a point on the edge and that's going to help if we transform this into a boat which I think is going to be one of our targets so I haven't done more stuff a little bit in fact last time I tried to do some more if I remember I was tripping up on a little bit so we're going to do is keep our reference cube that's going to be our base one I'm going to copy and paste it and then we'll just hide this other one I'll just turn it off so what we need to do when we're doing a morph is we need the this geometry to move into its new position but we need the same number of points and we can't do any like knife or anything like that so what I'm going to do is to get our sphere is super easy because all we have to do is grab a spear if I grab a sphere if I throw in our cube we can't just make a sphere because I'd be different geometry but by using a sphere Phi I can now make this exact sphere and it's got the exact same geometry as the cube so boom now we've got sphere and a cube and we should be able to morph between those two and in fact before we get all fancy with the boat and I have a new keyboard Thank You Nick it's a plugged in it steady let's try a number yay now her that would have been if Nick wasn't in the room - all right so so that yeah these are these are two different pieces of geometry and let's try morphing between just the two of them because I'm a little rusty on the more stuff so um we can do a current state to object on each of them so I'm going to do current state and on this cube I'm going to do actually I want to not lose the original so I'm going to do another current state on this one so these are our two objects in we want morph between in fact I'm gonna copy and paste them into a new file there we go they're both here so which one's a cube here's a cube we're gonna have the cube be month I guess let's fear should be the base object well the sphere be the base object I'm gonna do is right click go to semaphore DT and actually I think it's under character tags and we're going to go to pose morph which used to be called the morph tag and it now has a bunch of modes but the one we care about is points mode so let's even get this to work so this is the cube and actually this one is the sphere so why don't we rename it sphere and I'm going to let's see if it really is this easy I'm going to try and drag the sphere in and it's going to ask me if I want to add it in as an absolute or a relative morph target and hit yes because I want to be absolute which means I don't think we need it in scene anymore now if this works I'm not sure it will if we go to animate it totally worked awesome I'm going to hide the sphere so now all we have is a cube as I drag our sphere slider up and down our cube is now morphing between those two shapes so we only have don't even have to manipulate the model on the same model we can do it off of a copy of it because all the same all the points match actly it will continue to work for us so that means is we could actually just take this cube and paste it into a new file and make as many new models from it as we want to I just broke it because uh I didn't copy the other Cuban with it but that's fine I go back to one of our base cubes in here I can open open up new file now we've got this cube and I can morph this as long as I don't create or destroy any points I can put into any shape that I want and we'll be able to morph from it to other shapes so I'm going to maybe turn this into a rowboat really quickly so I grabbed my friend points I grew my selection I got pulling forward again I can grow my selection again I just have to keep the selecting the points I don't want to be part of that selection and I'll keep pulling that forward a little bit that's pretty good there we'll go to the rear of it grab maybe these points will pull those back grow that selection deselect these pull that back just a little bit you make this look too easy cuz sorry I'd be asking you eight questions already just to like select half these things to keep my geometry even not going to grab these loops and I'm going to scale them out just to just have those be a little bit more even and actually if we're going to add a little bit of a depression in here and this entire thing might end up in hypernurbs which would probably a good idea I'm going to scale these out and get the points a little more evenly distributed as far as the geometry is concerned so a little knife round a little nicer on the hypernurbs but I could also potentially grab these points and pull them down and that's going to give us the energy AMA tree and if we think of this entire thing in a hypernurb or a subdivision surface rather then you'll see the geometry that we're getting on that of course now this bottom part needs to get pinched or we need to make it smaller I'm actually going to go to polygon mode so I can grab this easily the fastest way is going to do a loop selection and then do a fill selection and it will give me the entire bottom and now I can maybe just scale this down and then scale it down a little on Z and then I'm going to scroll my selection I'm gonna scale that down and then scale it down a little bit and then grow it again scale it down sure get a little less and there we go and now maybe I'll just grab the entire thing I just hit save by accident got the entire thing shrink it down so it's a little bit more a little you know shorter go back to points I still got these points in the middle selected so I can pull these as far down as I need to without them quite intersecting there we go now we have a boat shape nothing super fancy but we've got a boat so let's go ahead and rename this one boat and we'll go back into what I think is them that is not the main file we'll go into this one and if we paste this one in here as well and I guess I didn't copy sorry about that copy yes it's copied we'll paste that boat in here as well now I can go back to the morph tag go back to edit my Morse and I'm going to throw in the boat and yes I want to be absolute now we can hide the boat as well we could kill it off in the scene but but we have it now and now we've got a boat and I can morph from the sphere to a boat or I can have a sphere go to a cube and if I actually go to the Q and I guess it still works but I think these are additives and this one's not doing anything but these are an additive thing I'm going to delete that pose because we don't need it but these are additive so oh I guess the boats overriding it so it's interesting I thought those would be additive but but this is the end result we actually want so let's not worry about that for right now I guess anyway we've got the basics of of the shape we just throw that one here I'm going to kill off the centering on that boat it looked like it was a little off-center oh I guess Oh dizzy I hate that said the opposite but by doing the absolute reference I think it's actually referencing the model it is look look at that so actually this is this is interesting I said it the opposite when that menu pops up and says do you want to say yes or no I said yes but that means it is a relative model which means there's actually a target in here this is constantly referencing our original model which means we need to keep in the scene but what that also means is I can go back and edit this original boat and it'll update into the master one so Nick just pointed out that this is off-center so I can go back to my original geometry pull it back a little bit so it's more centered if we want to let's say it's up in the air a little bit more or something like that that should automatically update in our master morph when we're in animate mode so now you see that it's not pushing as far forward as the last one was so now we've got our Morris we can animate those and have this guy do whatever you want along on those lines so I guess are we gonna try and what are we gonna try and stick on this thing well um I mean I don't mind just throwing some cylinders on it they don't have to be anything necessarily like an eyeball or anything like that I just think how would you take this morph but then also have those things kind of like tires applied to it right there's something on the top can we get a dress just to not have it be tires let's go ahead and just stick some spheres as if they were eyeballs or something onto the surface so we've got the we've got the original cube and let's see yeah we're making this up as we go folks but let's morph back to our cube and let's stick to let's stick to that geometry so I'm going to create maybe what is this one eyeball and it's going to create a white material I'm sure nickel make it look pretty we're going to do that and so that is on that let's move it over a little bit like it's an idol I'm going to right click on the sphere I'm going to go to character tags constraint and what are we going to do we want I think to clamp this thing we want to clamp it to cube one which is our master morph let's just call it morph so we're going to we want it to be stuck on the morph object now we want to be fixed as well let's see we want we don't want to stick to the origin the origin is essentially the axis even though acts as a separate mode and you'll see that there's a distance set here and that's the current distance of this object from our center point we don't want that we want to be stuck to the surface so now that I've done that you see it jumped a little bit the reason it just jumped is it thinks that we told it to be that same distance away so I'd actually have to drag this back down to zero and now it think now it's stuck where it should be in addition to that let's see we've got it aligned to Y that's fine it's just a sphere it doesn't matter and it wants to know the orientation it should be pointing it's a sphere so it doesn't matter much but we put a pupil or these were wheels or something we want to be aligned properly and the way we ought to be aligned I think is going to be the faun normal which is the smoothest of all of them the straight normal will be just stuck to that geometry but it wouldn't account for the hypernurbs and nice withing that we're getting so yeah we'll do the fog normal on there it's a fixed position and we might have to lock position I can never remember that not let's see what happens when we morph actually I almost guarantee we have to lock position I'm just going to go ahead and turn that on so now we've done that I'm going to try and morph between these two and you'll see that the eyeball is sticking to it and now if we transform it to a boat let's see where that ends up so yeah there we go that there now looking at this in boat mode this is making me think that we want this a little bit lower so I'm going to try and pull it down but I can't I can't pull it down because I think we're on lock position if I turn that off I can now pull it to a new position and when I say lock it is now locked there and you'll see our axis is pointing straight away from the surface so now I've locked in the new position it should remember that I should be able to jump between our other morphs and it's going to maintain that same relative position that's really cool so now I'm going to maybe shrink it out a little bit cause it's intersecting that geometry and now let's we could make a copy of this and move it to the other side or we could just because the shape isn't too crazy we could just do a cemetry on it which would be kind of the dumb method but a fail say I think with eyeball stuff it's going to be obvious that it's a symmetry but what if we had like in the tire case like what if you had two on each side so maybe you just show it as if you were to copy and paste yeah and it's okay so we'll do that I'm going to copy/paste that sphere and I guess what I would do is just unlock the position and now we're going to make sure we're on model mode and I'm going to invert the relevant axis which is going to be X so hopefully this works if I do the opposite axis is going to jump to the opposite it's automatically going to reorient it to the new direction and if we didn't do that in kind of one swoop if I try to drag it over it's going to be changing the rotation will be really hard to get in the exact spot but by doing it kind of that way in one step it worked really well and I can relock that position those should be stuck there now their calculations might look a little weird where they're calculating this is always a weird weird thing in fact we should probably save this we got asked just g25 a twist to 2015 folder awesome so when we get what's today one uh-oh that beacon that would make the only one 21 I don't know the day good enough um more 1421 for those of the for those of you playing roulette at home just write those down boom okay so that's saved in case we screw something up but the point being as I drag this it's guard to tell but as I drag this transform actually they're stuck in there pretty well but as I drag this transform there's a chance that they're going to be kind of lagging one frame behind I'm not really seeing that but if there were we could try and change some priorities but it seems to be working so I guess we don't have to worry about that right now I still think these two guys are a little big we can shrink them back down make a cute cute little guy and that might be that might be as far as I go on this one if if you want to maybe take over yeah absolutely I mean from here it's for me just doing a couple textures and lights and some basic stuff but um why don't we animate this real quick Chris and you might be quicker at animating it so you give me so let's go um let's start with the sphere guy okay and let's have him morph into square Coover we can change it over yeah so actually let's do 20 frames of just cube 20 frames of cube may weigh 20 frames of cube guy which means will stick on him yep and then transfer yeah over the next uh I would say 20 frames okay that's what we can treat the sphere dude and now we main this maintain this probably for another 20 ish yeah give it a little bit more timing on the hold just a week it yeah so there's a little bit of beat to it give us more frames see and now we can I guess another 20 frame transition that's we get so we want something a different but more follow the boat there we go on that mmm sweet I guess see we should loop back we should go back to a sphere okay there you go so record both those keyframes again I guess I didn't quite give me enough frames so jump back over and now we'll go back to original three sphere man so now we should have a loop there we go sweet okay so um getting here here's we here's what I would think if to just it's gonna be a little bit different from the other piece that we have from the reference but I think this would be if Chris sent me this something kind of fun to do which is just make him kind of dance around a little bit so I'm going to actually not put that on subdivision surface I'm also going to save this Chris so I don't break yeah anything which I might I saved it over a new one plug-in already I already broke it yeah they don't even happen I don't know and I just saved over it so we're we're happy about that I mean I might be able get back its that back nope oh it could be because the geometry is changing positions and then when you jump to a different time it's trying to snap to the nearest available surface yeah so I don't know if anybody noticed when that happened or it might be just that I you know I'm bad luck um but that was interesting yeah unfortunately I just noticed it Chris as soon as I hit save over it yeah but look they're correct I know what that that is really bizarre well let's see this is the these are the problems I was actually expecting to have with easin for some reason they weren't happening so okay if it's working it's working all right um only well if there's anything you could count on folks it's me to break stuff I'm usually Chris's like yes works great here check it out and then I click two buttons and I break it that's usually kind of where I end up so uh so what are you thinking well there's there's some welders there's a bunch of different ways to try and approaches I'm not sure what's causing I like these should be stuck in this new position but yeah I do see a little frame of lag right there yeah see right there you can see it kind of lags behind what I'm doing and it might be when we jump a time that it doesn't know where to go you see it's jumping that time yeah and it could just be that frame of lag but then they end up in the wrong spot and you think lock position would kind of stick them between like the relative points of a couple others but it doesn't seem be the case why is it seem like it's working now um it's it's really not working I mean I think they just happen to jump to the right spot I'm not sure what you did where they moved off to the goofy spot there's a couple as far as order of operations go like this could be as simple as like moving this to that time but nope they're still lagging so now we can now we can make these calculate at different priority times we could have these like calculate ad on the animation time that didn't seem to fix it we could have it these might be also happening too early I'm not sure gotcha um okay initial zaps is no good we can go to generator and in fact the generators run pretty late so we're going to go up to the max number which actually 499 so these are the absolute last thing happening and I think that finally got rid of it like they're not lagging behind one frame now they don't technically have to be this late but they have to calculate after all these other things are happening now I kind of get the general idea of render timing but um I'm actually a little lost on what the priority is so can you explain a little bit about like render priority in the object menu and then also if reordering things here doesn't fix it how you decided that just to kind of maybe not go super technical but just kind of describe why you thought that might be the case sure well first of all the order of operations in cinema is uh it reads like a book so it goes like left to right and then it goes top to bottom so something that's up higher will calculate before the ones that happen below it this usually isn't relevant for almost every project you do it just doesn't matter until you get to rigging when it's like oh this null is telling the arm where to go but that's relative to where the shoulder wants to be so the priorities become really important and technically what we just did is some very simple rigging not even counting the morph like we just rigged these spheres to attach to a surface so if we click on the morph tag you can tell you can see when it is prioritized that this is calculating at the time of expressions but that could be happening like I'm actually not even 100% sure I tend to even just jump around and get sometimes I know but like this is when the animation is happening and after the animation happens then it's calculating the expression but if the let's say these are keyframed like we have got keyframes here so this is calculate animation happens and then expressions happen but these are animated so which is coming first I'm not a hundred percent sure gotcha and then like I don't think it's affecting this but we've got the the subdivision and so if we were on top of the subdivision and that's a generator object so if we actually had these being stuck to the subdivision surface the priority would change again where we want these to calculate after the generator and in individual objects there's no way I don't know of any particular way of finding out when they when they generate but this subdivision surface calculates at a particular generator time like it might have a value of generator 200 and so if you want to calculate before you'd have to go one lower or one higher I don't know what it is so I just get I just went to the last one this is generators the last one in the list it happens latest and then I put on the biggest possible number so this is the latest that anything could be possibly calculated so that that does seem to stick it but I still feel like and I don't know I'm gonna save it because that's kind of working but I think if we jump to the earliest time they're still gonna get left behind oh wait they didn't so that seems to be working yeah so what you did to break it that seems to fix it all right um so you saved it yes in fact why don't we save it the new file and there now go ahead and break it ok here we go so here's what I'm thinking I'm thinking this guy this little character here is dancing around a little bit so I'm just gonna give him a little low Knoll and on that null is where I'll put this stuff so hopefully that way and not breaking any of that and it's all sticking together but now that the nulls at the bottom I could grab something like signal and I could add a noise modifier and maybe even a bass modifier for some rotational stuff so we could just grab rotation here and drop it in signal and I'll just use noise for now and see if we can't just give him a little bit of character kind of like wobbly like fun stuff as he's moving around so real basic but this way you know if you had if this guy if this character had you know eyeballs which I'm not sure if these are aiming the right way it looks like they're straight out from the surface so he look a little like cross-eyed cool so we can actually um but you guys are given like little black beady eyes and then it wouldn't matter yeah I think if I just grab a gradient um and went let's see circular and those always stretch weird but you can give it a go let's see if I could just cut this in half if I can't get ya ever stretch weird they always stretch where you have to set him to you could do what we had to set to a flat projection now he's a little sad now yeah how would I map on to him what I could do is switch the spheres mapping yes is that correct and I could do this uh even on both of them I'm not agree with the protector but what projection type are you on um just change to flats right yeah I'm sorry the gradient oh and here Linda yeah 3d linear you got to turn off the 3d because that means it doesn't care about the projection anymore gotcha gotcha I don't know why I went to that so I'm just going to go to to be so there we go so now we could just reverse this and make it a lot smaller and it's still coming in there almost it's getting there there it is it's a real sense of the spot but that's actually I wouldn't have thought to do it that way that's interesting okay so yeah okay he's got his little weird little eyes there alright and okay so now he's dancing around okay that that's great okay he's cute so where we gonna go from here he needs his own texture obviously um so let's grab some basic kind of texture here and I'm always you know doing this while this animating but we don't have to do that either we just pause it here and we'll use basic color let's give let's give this character a little bit of color here let's go with orange of course these orange e orange e red and just some basic reflectance here we'll use ggx reflectance and we'll just add a basic for now just to get started with a kind of a basic reflective kind of character we don't have anything too reflect and the reference is kind of this white void with reflections which is basically what HDRI studio pack was made for so I'm just going to open up the rig and copy and paste this in to our scene and then just move the floor down so it's below our character and now hopefully he's not moving around so we can add things like position and make make this make this thing dance a little bit more do whatever we want to we just don't want it to intersect the floor so there we go he's cute he's looking good let's also set up our widescreen um look Sloane yeah I'll have to see what happens there I think if it starts from the beginning it'll be fine but oh it didn't render the right frame well it's rendering current frame so jump to 60 but that means it's falling behind which means we're still technically some sort of priority problem okay so we'll do a test here but I just want to make sure we're working at sixteen by nine and just so we could render it and everybody can see I'm just going to shrink this down so that when we do render it's gonna kind of show here also we're in a different window so I'm just going to go to startup user so we get our little tabs up here just so I could jump between our our views here so let's do um frame one just to make sure everything's okay and here comes team render and yeah check it out it's interesting so we are going to have a look okay here's what you get you and this is really goofy and it's a it this might not be a bug in cinema but I bet you anything if you rewind the timeline all the way yep and then render it'll be correct okay just did that and I think that's what I just did actually no you weren't at frame 0 you rendered frame 0 but you weren't at up it didn't work I thought it wouldn't I thought I went back to frame 1 or frame 0 and did that and that's uh I I can't I cannot possibly account for why there's everything let's get him textured up and then maybe we'll help jump back and see if there's a secondary thing we could just week but we have our basic reflections now but he um he's living such like a bright world that this default HDR is a little bit dark and if we turn this on you can see if you turn a preview on you could rotate it it's just a lot of black in this one which actually helps in a lot of renders there's a lot of contrast but because you know because I want him in such like a white world we're just going to go pick more something like a tent here maybe with a little bit more kind of color around it you know maybe we'll keep it black and white but this will be a lot brighter around so let's do that and that's looking pretty good we also have this default light that we don't want so I'm just going to turn off our default light and I think I'm also just going to do a basic kind of softbox just to get some basic light on him um in this case I think an overhead softbox is going to go pretty long way I like overhead and we're just gonna move that down a little closer to our to our character here Chris we have a name what do you think squishy squishy squishy the the sphere here so um one thing I'm gonna do is set this - it's already on area but I want inverse-square lighting here not clamps sometimes I like the clamped because I don't like it getting too bright but I do like this kind of really bright highlight on him on squishy and so there we go so now we got some of that um but it's kind of - shadowy on the bottom and that's where I'll pull in a something like a global light to just kind of fill in some of those gaps in the bottom so there goes alright and let's just try out other shapes to see how we're sitting here we got some nice shapes going on but that softbox while it's really nice it's just kind of too soft right it's kind of too large I'm just going to shrink it down a little bit and what this will do is make make the shadow it makes it more focused so you can see now instead of this really giant shadow we have this really more focused shadow which still might be too much but I kind of like it kind of like the feel of that and the only other thing I want to do is brighten up our global light a little bit more and maybe even turn our softbox up a little and shrink our floor just so we could try to get a little bit more reflections on the edge of our little character here so floor size we only need it as big enough to catch a shadow and no more there we go all right so we got if we have our character and we're going to turn off our preview on our HDR s we're looking pretty good the only other thing I want to do is cheat that softbox I'm going to set up a camera that I could come back to and because we're always going to face our character from that one side I want to cheat this softbox over to the camera edge just to kind of push a little bit more highlight on the edge here he also has like specular nice little things like that so there he goes um and while I did that he looks even better I think if we come back and really stretch this out so even more reflection on the side of them I'm just going to add a little bit of height there and cheat it a little bit further so we're just trying to make this a really simple light setup without going too crazy and there is Q man looking good squishy let's check them out in sphere mode let's get them set up good looking good and theory is there so in this particular case I I think the texture might look a little bit nicer if we first of all get rid of a lot of that specular but also turn up the roughness and try to get some more kind of like he's a little bit more rubbery now right but of course we need physical render for that because physical is going to render the new reflectance stuff a lot cleaner I'm going to set up our prayer uh I'm sorry adaptive automatic render for 20 and in this case I just keep using the the scene here just so we're not rendering um to our scene file yet because or to our picture viewer because that tendon did to mess up a couple things with our eyeballs that maybe we'll fix but I like this um I like this texture but I like it so much that I want to add his own little bit of shine so he is actually almost a little self-illuminated just so he doesn't get too dark anywhere around well that makes for effectively like a quick fake subsurface scattering yeah yeah yeah that's a good point so I like him I like his I like I like the way he's moving and I wonder can I grab this null and just cheat that null a little bit and it's not gonna let me well your the signals taken over the null so you can't rotate oh because I'm on rotation so I can actually just do this again and just cheated something the null so now you know I like everything except for I want him kind of facing that light a little bit more and our camera we can adjust that kind of maybe we look up at at this character a little bit more and there we go so question Chris can we do we have access to the boat position can this boat be lower oh yeah yeah the reference object is still in there so if you want to the original reference and I guess unhide it what you want to do is not move the boat because I won't changing anything but if you actually move his physical points then it will relative to everything else go down so if you go to point mode or polygon mode or something and just grab everything and pull it down it will probably won't update immediately but as soon as you do any kind of frame refresh I think it will update there it is okay so I just wanted that because uh the boat now is kind of in line maybe yeah they all the same bottom point yeah exactly so they're a little bit closer to the ground I'm also just going to check that from the side view so our sphere is kind of just touching the ground the rest of them are hovering we could change the sphere if we want but I think that looks pretty good the last thing I'll do is give this a little bit more of a wide angle not too crazy something like 28 so we can really kind of get low and get kind of closer to this character now the other thing we could do and I'm just going to duplicate this camera is make a secondary camera that's more zoomed in and if we do that then we back away it's going to make our character look a little smaller it's going to make them seem like a little cuter the flatter we look at something like this the more kind of like teeny it is especially if you're looking down on it so it all depends on what you're trying to accomplish that render that we're kind of referencing is more cute and more fun so that makes me think I want to get more of a zoomed in lens it's going to flatten everything out a little bit and it's just going to give it more of like a cutesy kind of small feel to to our to our character here I got a question kind of a real-life camera it's 36 millimeter a type of standard yes yeah so I'm just going to add a little ambient occlusion just we could catch this but yeah so if you are familiar with photography the millimeter of the lens is on whatever lens you're screwing on to your your camera so 50 is kind of a what they used to call like a default lens but 50 was based on a full film camera because it's a ratio between the size of the film and I think the want to say the millimeter of the how do they measure that anyway it's a ratio right and that millimeter is dependent on what the frame size is so that's why we also have size of our frame size or I'm sorry we also have the ability to change our frame size so our sensor size is 36 right and if we match our focal length to our sensor size we're going to get basically this kind of normal feel of a lens the more we are a different between the sensor size and the focal length the more extreme this effect will be so if we go to and there's actually a tutorial that uh really wasn't very popular but I I think the info and it is pretty helpful all about this and if you look up just focal length on greyscale gorilla you'll see a tutorial that is really showing the difference between extreme different focal lengths so just as as an example if we set up this render here and we're looking at this character at with a 200 millimeter lens that's a zoomed in lens that means it's flattening out its perspective it's all kind of the same perspective no matter how we look at it the front and the back are kind of the same size but if we take that same camera angle or or same framing and we use a 15 millimeter lens well automatically you can see a 15 millimeter is going to snap it really wide and and to to kind of um to kind of compensate we have to zoom way up and when you zoom way up on something and try to frame it well now look at the difference between the front and the back of this of this character the perspective is like is like way crazy but if we try to frame it the same let's jump back okay so this framing is kind of like flat this framing is a little okay so there you go there's our difference so see how kind of fun and cute he is here and see how kind of large and like looming this is like it looks like a submarine is oh and then from here no matter how we look at it it's like oh look at that cute little little boat right so the angle of these lenses really is really help set the scene on what you're trying to render so again in this case since we're trying to make this kind of cute we want to zoom in on things and think about it in real life if you have something small like an ant that you want to zoom in on you need a high-powered magnified zoomed in lens to go see that world and that is where our brain is used to seeing that cute little things are used are are rendered with or are only seen with zoomed in instruments that give these effects and in other cases a city if you want to try to fit a city building in your frame you have to use a wide-angle lens and that wide-angle lens gives you this big perspective of the whole city so therefore our brains are trained to see wide-angle lenses as big objects and zoomed in lens lenses as small objects because before 3d world that's the only way we could see those objects all in one frame the specifics of like if you haven't watched either tutorial next referencing you totally should although you just did cover a lot of them from but that that in a big way opened up my eyes to like you it's just not factor for me like I don't usually think about the cinematography of any given shot but by specifics about 36 being 36 millimeter being a standard for a real camera is because that is cinemas default that's almost like like you wouldn't use a default cinema light you wouldn't use a default cinema texture like you have to change those things and I think that might be an element people don't often think about to change that that piece of it and it it could be a way of like glancing at well for I mean like somebody who's been using cinema long time or a real professional they're always going to change their lens but somebody who's maybe new and they haven't gotten into it that much you can kind of tell like you don't even realize it but you're looking at it you're like that looks that looks like a cinema render that looks like c4d and you might think that because it's using the default the default right filming right and that's that's basically what I said in that in that video is don't allow the software to choose for you and and that's like you said it's exactly right same for lights you know you wouldn't use the default light when you render your scenes so don't use the default camera learn what these settings do Sarkis and you know learn about the depth of field and it all plays against one another so if you actually know this stuff with real cameras a lot of it translates which i think is pretty cool um but yeah check out that video and um I guess we're just get back on top of this one so is like the long section where the mouse isn't moving yeah that's true maybe we should have switched to our our faces okay so so I'm gonna use this lens um just to kind of set that up and now we have this looping thing the other thing that's not looping is the noise so you can see it kind of snaps but in signal I could tell it to loop on 131 frames and if I do that then uh it that should that should loop perfectly so 131 so now when this comes back around the loop it'll be snow pice and smooth right and I know it's a subtle move but if I crank this up you'll see it or not see it or yeah yeah I guess that's the point is you won't see the loop points now we have a perfect loop with our rotation here we could add position and stuff too but I think we're okay that's a decent now let's just check out a couple frames so we can make sure our settings are okay so we have this kind of glassy reflective self illuminant boat kind of feel and I would say everything's pretty good except for these shadows get a little dark and because we're in a magic 3d land we can go to our softbox and basically either shrink it a little bit more or what we can also do is um just turn down our shadow density so we can just cheat that shadow to be not so dark and now we're getting all the same brightness from that light and all the same reflections from that light but with less dark shadow so now it's more just a basic kind of bottom shadow there um and you know that's kind of that's that would be where I start so from here you could tweak all the lighting and get it but I think as a basic scene with with a basic camera setup and a single light I think it's looking pretty cool so let's just check it at all levels and from here what I would do is um you know just set up the the final render for all frames instead of current frame turn up the the render and then the last thing I was going to ask you Chris was if I hit render we got to try and fix those eyeball you know this is this is where this is what happens to our eyeballs oh cool I'm gonna turn up the settings just a bit and we see the light in the corner as well oh yeah so we can turn off the light by going to a red softbox and seen by camera is off and let's just go to the vote and see if we can't get a decent looking render here where they gonna be where's the eyes oh boy I just got there on the other side somewhere we got the boat but no eyes so what do you think is is causing huh I'm not sure the first has to do would be make third like actually let's give it all the frames yeah and just save for so the very first thing we would do I think is let's see we're actually spit this out as an animation so I'm just gonna say all frames um I guess we could do things to speed that up but let's just go ahead and actually I guess team render if that's all up to date um and now let's see at least if the if the first frame is still goofy since that could be a factor but I just want to eliminate it as a possibility so it is still weird even there which is just completely baffling because it's working perfectly fine in this scene so it turns into like there's a bunch of I don't know there's a lot of potential reasons for this to be happening and a lot of potential fixes so well it's like there's there's the old brute-force method and I don't I tend not to like doing it too much um but what we could do is instead of clamping to the surface and I like I think even in the chat I've been said to try turning off the lock position we just saved it I'm going to save it again that I think that's a bad idea because if we turn off lock position I think they'll just slide around so like you see out there they're maintaining they're trying to stay in their original position and they'll just slide around so that that is not the solution um and I'm not sure if they just got a goofy tee or not always super cute so I'm going to revert okay so unlocking it's not an option because that's really weird now a possible option is we're in fixed position yeah I'm not sure why this happens like sometimes you can actually get this working really well I'd made us that rig that one time that worked but a kind of foolproof solution you can do is snapping it to a specific point make it make it be stuck to a particular point so he's kind of in sphere mode here um even though all these things are badly named so what we'd have to do is find the point that it's closest to and then snap to that we had more subdivisions two to three in the render oh that's weird let's see well maybe you'll see it alright Ivan just gave us a hint he just knocked on the door and he said to change the subdivision surface because they're different on the editor and render I don't know if that'll fix it or not like that almost doesn't make sense to me that would fix they're not because we're not snapping to the subdivision surface that should have nothing to do with it but subdivision surfaces have been known to do weird things so they are both set to two and let's see what happens here so it looks like looks like it stuck so it could be that that pop from one to the other I then mm just just for the sake of testing wall into the editor I'm going to change it to three and yeah when we change it to three it snaps so that is really bizarre two points diven yep Ivan having I think Ivan gets a rubber ducky oh yeah okay yeah so yeah okay well that was the fix on there really weird that doesn't make sense to me because we're not snapping to the subdivision surface we're snapping to the morph anyway I'm not going to do it because that does indeed fix it but you could figure out the actual point so like right here this point is that point is really close we could grab that point go to our structure and we're in point mode and I can find the point the current point is number 17 and then in your constraint tag you can tell this to snap to a point and a fixed point I thought you type it in somewhere constraint they type the number somewhere maybe maybe it just snaps to the nearest point um targets you know see in just a number looks really weird I don't have a screen as enough oh well alright I guess I don't have all the settings memorized how dare you could I know anyway uh that's rendering oh wait we can't jump to this other machine it broke it Oh other machines other machines have more more problems we got some team render problems so it's working well in this one machine you know as soon as it's jump to a different over here we're getting that messed up well I think Chris at this point we ran out right into this guy and we should um maybe look at this as something as a technical fix that maybe we can post a little even just not even a video just a little like hey we i d-- settings we did this we did this we did this and this is this is how we think team render messed it up and this is how we think subdivision surface messed it up all those kind of things yeah I can't I can't think of a reason another machine would do it we try to keep everything identical um but there we go yeah I think I think that'll live for this one thanks again for watching everybody now don't forget if you have a question for us for a TAS GSG thanks again for coming everybody now don't forget if you have a question for us at ask GSG click down below and learn about when we're on live and how you could bring your questions live directly to us and also again if you can't make it we record all the shows we actually give away the scene files as well you can click on our training page down below to learn a little bit more about that ok with that I hope to see you in another tutorial really soon thank you for coming by today and have a good one bye everyone and we actually answer I love you we answer the question who loves you

Channel: Greyscalegorilla

Views: 140,262

Rating: 4.893116 out of 5

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, cinema 4D tutorials, Cinema 4D, cinema 4d tutorial, morph in cinema 4d, morph in c4d, morph tag, pose morph, C4D pose morph., Animate between two objects in cinema 4D, 3D morph, how to morph in cinema 4d, light kit pro, full cinema 4d tutorial, signal, c4d animation, Cinema 4D animation, C4D tutorials, C4D Training, AskGSG, Chris Schmidt, Nick Campbell

Id: 20vxg6yTUmU

Length: 49min 42sec (2982 seconds)

Published: Fri Dec 09 2016