Raphael Rau @ SuperMeet 2018 | MakingOf „Work Life“ Stillleben | Maxon Cinema 4D

yeah that's me and my talk so my talk is about the still life I did in about August mid-august and a breakdown of what I did to distill life to make it look like it yes you will see the still life later say the workshop is divided into three parts the first part is the introduction where we are right now then we have a the making off that's the main part and then if there's time we have a live demo where I go with one object through the whole iteration the modeling I am won't do modeling because modeling is always a time-consuming task I will do unwrapping substance painter workflow and then I'll go into octane and then show you the result that won't be very pretty because in substance painter you need more time to make stuff pretty than just five minutes or so but we all see you know if you even go that far and take it there hopefully we'll have time alright so for those who don't know me I'm a journalist in 3d id3 and compositing I have a small office that I share with a colleague Thomas Fela in Ludwigsburg and I'll I do almost all work from there but I also sometimes work on location with studios and do some other stuff and I'm also doing trainings so PVR based trading and workflow improvements yeah what else well my specialty is the physical based rendering and lighting of things so make them as close to reality most realistic as I can which ironically isn't what I did with the Easter life it's still rather realistic but I trying to make it more painterly if that's a thing so what I do all day is like doing small projects animations I didn't bring client work here because I like don't normally use client work as like presentation stuff so you I brought you two short films or two animations I did recently so if that will switch to you first technical difficulties I think the driver tries to go over the GPU and we have to reset the sound to that one okay [Music] [Music] [Music] [Music] [Music] so now from someone something rather old [Applause] thank you to something a bit more modern it's shorter it's just well small piece I guess [Music] [Music] and that's it okay here we go so don't confuse things alright so back to the presentation having difficulties here okay so work life is a still life inspired by old the old masters so if you were watch go into a museum and watch the old oil paintings of still lifes I very much got inspired by that and did a first one a couple of years ago and this summer I did a second one and that's it well that's just a part of it it's just the part of the reveal I really did that in this river crops in London so that's why I rendered this reveal and that's the final picture here so that's the still life I'm talking about today finally you can get to see it so why do I chose a still life it's because it's sort of a benchmark for artists to in the past practice their paint strokes and trying to get the light and atmosphere to work the best to get the whole composition with the mood it was in when they painted it and I just thought it would be nice of obviously I'm not the first guy that thought that would be nice to do something similar in 3d because in 3d you just have different tools but you can achieve the same with you exchange brush strokes for shaders and you exchange lighting for or yeah lighting for lighting I guess for digital lighting and atmosphere for volume and fog and then you have sort of similar tool set and a painter hat back in day the still life is obviously try to make it rather detailed so I go on in there and added dust spiderwebs and soul of details that make it more realistic because I noticed that the more detail a picture has more realistic or the more you feel that it's not computer-generated so I've gone in and added some dust layers and some other things to it that makes it give it more depth or more the sense of being aged with a still life as I said you have the you have the paint strokes and while a painter is mixing color we are doing that with shaders so there are different sets of faders implemented in here that represent different kind of objects so first of all there's this ways the handle of the knife and the plate where we have very rather basic colors they're just diffuse color diffuse shaders with a reflection on top so that looks like that hopefully you can see it's a little bit from even though they did a great job here it's quite dim and then we have the same thing but a little bit more complicated so the pumpkin and the rope is done with some displacements so you can you barely can see the road because it's in the dark corner back in the background but the pumpkin you can see that it gets us final look with the displacement on top then we have all the metal parts and the scene and if you look here you can see that there are some difference in there so we have rusty metal on the reels we have the funnel here that is like with an oily substance and therefore a hair stick to it or dust sticks to it then we have like very clean knife metal of course it gets washed every day I don't remember the term and the aluminium from the mill can also looks way more rough than other metal pieces here obviously we have the feather respect there that's made with the marks on pluck with impacts on hair set to feather mode it misses some features if you ask me but I got it where I have it in the render so I could take it even further but there were no controls there so I left it there so you have the coloring and the fine translucency in there sorry you can't really see that right now then obviously we have class classes rather simple and I always say that class is a the sum of its environment so if you have a glass object and your environment a then a class object likely to look also because it's either refract or reflects light and if there's nothing to reflect or refract and the class obviously has nothing to go after so with the class it's obviously I did more to the glass than it just make it transparent I added small fingerprints on the cheese cover and on the vase with the wine in there it's like if you have a container or fluid for a longer time there's some patina forming inside because you there's always a bit of what's it called for don't stone going on so it will form like some rings and stuff and that's what I tried here sorry it's not very bright and then last but not least the king of materials or subsurface scattering materials so obviously the tomato is too cheese a lot of of scattering is always related to food and since still life is obviously a lot of food there's a lot of scattering going on but also of course the candle in the background wax is a very very use of the news material to show off subsurface scattering and then the bones of the cat skull here but also the the cloth Pia in the front because if you look at cloth and the light penetrating it definitely has subsurface scattering right some technical data here so render time was rather long this is the course it was rendered with volumes and I had T if you look to the bottom of the piece you look that you see that there so quite a lot of grey depth here so I did that to get the scattering right and the volume with the 16 the few steps and with the glassy depth of 32 it's always necessary if you have glass and want to make it realistic you have to go to extremely high ray depths to get to fine detail out of glass pieces so it's no different here no difference here so I just had to render power and I left it rendering overnight so I just why not take it to the best way to the best level I can and obviously that's rendered with eight cards so quite a bit of rendering power there but in 6k resolution so that's also why it took so long when I started working on that I thought well it might take one to two weeks to go over that and process everything but in the end it took four weeks and that's almost non-stop work that's because I really was struggling with a lot of the composition and the colors on the objects all fitting together in a nice way and you know that moment sometimes it really clicks and you do something and all works out just fine there's the exact opposite sometimes so you work on something and nothing works and but I had to do the presentation in London so I couldn't go whatever so I had to do it and had my way force my way through it so yeah I struggled with all of the aspects of that so finally we arrived at making off where's the time already 20 minutes okay so I obviously had inspiration from contemporary artists that I couldn't include in my presentation but I thought I'm might be clever and just show the websites of those artists not sure if that's legally better but at least I try that so some of the or more or less all of the objects might be very familiar to you for my what I just showed you so I had this inspiration here for the goblet and that's by that artist if you can pronounce that I don't know then we have the Chasen graph yes I think I'm not true West from but he does some really great paintings they look like photographs or like even more hyper realistic than photographs and especially that one I was drawn to words with the Goblet that was fallen and so I put some of the same goblet in my scene then we have sorry where's the name Lord see there's no no surname to that but I orient myself with that two words that ways I put on the right side of the still life and she also has the smirk and very very very much ripped off just perspective and all I just like the way it looked so I thought why not why not take that and put it in my picture of course I had to remodel it but you can see why I took it it looks really nice and that those are not paintings those are photographs I think at least and finally all these I think it's called so he has this very old industrial still I swear he puts old oil cans and stuff like that in so I took the funnel from there and was inspired here to put that in my still life so hopefully I don't get any legal and for my legal problems here so back to the presentation so I started with the concept so the concept in the beginning looked like this so I trying to draw stuff when I when I have the idea you can see it's quite good match between the final thing and what I drawn and the first and no it's not that I want to impress you and I've drawn that afterwards like in school where you have to like have to give some drawings with the project to make get a higher grade so I really did that beforehand you can see that the proportions are different but there's there's this feather here in some kind of ways and there's here the I don't know what you call it like the carafe or something then that's which to the milk-can and then here it's a way bigger real then the the hammer is obviously turned upside down and instead of a funnel I had oil can but in overall it's the with the center piece being the Goblet here it really matches what I did in the end right so we go through the different stages that I took to do that picture and have prepared a blossom - for every technique I used so with subdivision surface technique obviously the pluses you get a very clean mesh if you do any right of course and that gets you to the next point if you need you ease from such objects you can get easy you east from there requires you have a clean mesh if you once try to unwraps cat data it's a nightmare so I need needed to do that in the past and I prefer subdivision surface meshes of course you get the nice beveled corners for a realism because every object needs beveled corners it's really thing that makes a night and day difference so the - of course is I called it modeling syntax so you need a I needed a long time to adjust to different edge flares and what to do when I encounter a certain edge situation one so it's like learning a language if you used to like answering someone and the model dictates what like the mesh flow should be and you then answer with your technique by doing that and I'm trying to compensate for any bad decisions yeah and of course that is time-consuming so learning modeling itself is time consuming and then modeling at them itself it's time-consuming so but you have the benefit of the UVs so let's go through almost all of the objects so there was a rather simple one like round objects are always the easiest you can just either use a what's it called lathe NURBS or you can just model them and just adjust the width of the polygons rings what I normally do because it gives me creative flexibility when I modeled stuff like that I always try to model it with a thick-walled so you can make it glass because I wasn't quite sure if it would end up in class or in a parcel on or something else so I modeled it so it would be not doing anything strange when I decided to make it a glass object also the cup and the lower port are not touching because that would cause problems with the ray tracing when it when I decided to turn it to class so not symmetrical objects but semi symmetrical objects are really easy to do like this pumpkin the tomato and tomatoes like that's really exists it looks like lazy excuse for a tomato but I I was walking through the supermarket and was paying extra attention to the fruit section or that I don't know what's called fruit section let's call it fruit section so I have seen that tomatoes and thought hmm that might be interesting to put in a render so I did then we have slightly more complex objects where we have rounded corners but they end up in a square design down also it's thin double walled so we can't we can get a glass object out of that and I modeled that not I think it's called not I didn't do the inner screw part but I did it with that one so I really modeled that thing to look more realistic because I wanted it to be more in the foreground and I knew that it's always better to have a model than just using such a lot subdivision to use displacement then a frame where you carefully place like the edges and metal things in the edges to not end up in the render at all because it's in an angle you don't see them the hammer with like a bit more complicated geometry especially the metal thing on the top to hold a hammer it's to the handle then the book it's almost unnoticeable in the picture because the mug can stance on it and the cat skull takes up the front part of it but it's nice to have like things buried inside so you barely don't notice it and then just if you look long enough so you can see how there's a book in there then we have objects there are not occurring in the image that's because I wasn't sure what was fitting and I was constantly arranging and rearranging them and it was like yeah then suddenly this this object doesn't fit and I needed to model that one because it fits much better then I was tired of just simple round objects I made some variation with like cut glass or something like that it ended up to being a copper Cup of course the cheese with the cover the funnel isn't too difficult either the only difficult thing was the handle there where I needed to have some kind of railing then thanks for continuous turmeric for the simulation so II I talked to him to do the simulation for me because he has a subset and not substance and what's it called marvelous designer license and so he only had had time in the night so we were sitting there at midnight and I over Skype and I can you push the clothes a bit a little bit back and can you do a fault there and I felt like this mean where the client sits and back off the artist and go ah I've felt very bad at this moment but we managed to get a good result out of it so thanks Cornelius then the candle that you also almost don't see in the renderer was a challenge to get the dripping wax models but it's not a big deal it's like just a few drops so then the knife obviously then the mode key and so the objects themselves aren't too difficult yeah you can see that I try to be very clean with a mesh and that's what's taking the time in that then diadem that I also didn't use I guess I was a bit influenced by Wonder Woman at the time but it didn't look good and the pictures I didn't bring it in so there the wheels that are in the scene I actually used wield and famous wheel tool and cinema4d to get base lay down and I'm just deleted points and reshaped it to be subdivision surface [Music] usable the rope it's just sweep with twisty and twisted shape off like together a couple of circles they're stitched together so it's not really it looks more like more work than it actually was the most work here was to get the alignment so it looked like bound rope then the hero object the Goblet there the most difficult thing was to model in those spikes I don't know what do you call that so cut cut edges or something yeah took me a bit but actually in the end I managed to you there's a couple of three polygons like triangles in there if you look closely but and the feather the feather is really simple I just put hair on the spline and then just adjusted it a little bit so we are at the learning corner I don't know if that's right term in English but if you know me I really try to get a knowledge across so not only showing you stuff but I'm trying to get you involved into the techniques I've used so modeling of course what II what I always do and what helps me is to put on symmetrical supporting edges so supporting etches food for the modulus or for the non modelers are the edges that are across the main edge and if you do don't do that symmetrical you can run into problems and he have an easier time if you do that symmetrical and get to supporting etches to every actually you want to define so that's the subdivision surface view so yeah that's what I just said so it's getting you a better mesh workflow so but not only that you can use it for other techniques like getting vertex maps and if you don't use the symmetrical supporting edge here the vertex map wouldn't stay up here it would go down to the next edge and therefore it would look or it doesn't give you granular control as with this technique here so although with the subdivision surface it gets pulled down a little bit though so for what is subdivision surface so obviously it helps with the realism of the scene by rounding the corners so doing that and suddenly the object gets more dimensional and gets more depth and why vertex maps well a lot of renderer support vertex maps on a shader so if you have something like that where the concave concave parts of the mesh are what its vertex mapped and the convex parts I always don't know watchcon well what's convex and what's the other thing so might be wrong here but you can get something like that where it is vertically inside of the holes here and then there's like brighter parts where he usually touched the object and that helps you to get procedural shaders going so for us I use dry some UV it's called UV 3d or something unwrapped 3d before I switch from similar 4d because cinema 4d unfortunately didn't develop their Avene tools in the last couple of years so I did look for another software to support that and I'm very happy with UV rising UV so the blast site for UVs is it's generally good to have them even if you don't need them it's a good fallback if you have problems with materials you can always bake to UV then and then just have a stable map put on your objects obviously it's time consuming to do that for every object and also it it yes you you have to learn it of course but the learn curve like the knowledge here always is like oh you ease they don't give me you ease but it's actually not that that he if you want if you do it a couple of times so just it's like I don't know doing some fixes in Photoshop or something it's just another task to do it's not just like something that is very technical and takes time to do so here are a few screenshots I did for the UE so that's the screw that's the hammer that's the wheel we're trying to get the same result later so there's a four window stairs blocking for cinema 4d then where you can just select the object click export TV and then it opens up and rise them and then you can do your unwrap and and save it and it comes back to cinema 4d so it's right a convenient right say up substance painter are used for half of the objects maybe a little bit more I used substance painter for the other half I used procedural techniques so with substance painter obviously if you worked with it before it's like really nice to have like this real-time feedback of the material so if you tweak your materials you get real-time feedback you have a procedural bridge so you bake some base Maps downs and this tells the shaders where the object is edgy and where some in depletion happening and so on and then you can just apply smart materials on it and it will find like very organic ways to make them make them look like the object was like rusted or a little bit although older that's what I needed for my still life so I obviously did use that so sorry the last point was that it's has an established PPR workflow and a lot of renderers out there already a support PPR workflows that means you get four maps with different data sets and then get the exact result like you have in substance painter in your renderer octane right now doesn't do exactly that but it's very easy to get it to look the same and I go over that later so the - thing is the four textures you get for every object if you're working on a memory constrained project you use up a lot of memory by giving four textures to every object and if you want to change something in the look of the object you have to go back to substance and reen export or change that and re-export the textures again and obviously is dependent on the resolution of the texture so that's what I get out when I do that and substance painter so those this is all procedural it's called painter because you can paint on it but I am very bad at painting so I try to go the procedural way and you can't just weak your shaders in a way that it comes up with this and it fills in the rust and the corners and gets you the gets you the used style so almost the same like I was doing with the vertex maps but without needing vertex maps beforehand so that's the hammer it looks better there and that in render I don't know why so the Koch wheel with the rusts on it and I don't obviously show every object because we are here in three hours if I do so the other way I did things was to procedurally generate generate them with nodes in octane so the plus side for that is it's very flexible because you can every time go in octane and change something and see it in real time a new render then of its but you can get really complex with that because you can put note after note after note and get really what you want the the if you use noises it's like not resolution dependence so you can go very close without seeing pixels but the downside is of obviously because of the complex traders it needs more rendered time it doesn't slow down drastically but it's obviously for every sample he needs to go through the whole shader tree so it needs more time then obviously it can get complex and the node tree so you can get lost in there and then two days later you don't know what you did there and yeah you have to go through single nodes and see what he did and happen to me too and this also is the potential for errors so if you get a complex node tree and you don't know where it originates if something doesn't work you have to search for it which is time-consuming so here some of the objects that was done procedurally with shaders and dirt based to get the word show up a bit a little bit more aged that's mixed a bridge between a UV so the scratches were brought in in with displacement in Eevee and the rest was more or less procedural so the D saturation of the color at EHS was a procedure procedural thing done with dirt also then here it's almost the same I showed with the vertex maps on a shader the knife a little bit more clean because you eat with it then the oops then the candle with subsurface scattering I put fingerprints on it because he sometimes receipt the candle to make sure it sits correctly and doesn't burn down the house if it falls the cheese I used a mixture of displacement on top and on to form the crust and then I had subsurface scattering in the middle part and some likes old stains on the side then the berries the berries are falling out of the cup in the still life what I did here was I didn't want to use the same texture on the berries on every berry because it will be very obvious if the texture on every berry will be just the same scratches or the same bumps and stuff like that so I wrote a little OSL script that uses the random color note a random color note just gives out a random color for every clone and that pipes into a projection note there where there OSL script listen and by the color I just multiplied the color with the offset of the UV so you get a different UV offset for every berry and therefore it's not as similar looking anymore for the pumpkin I just used substance and use the displacement output for that to generate that it's quite funny because the stem there does look without displacement the displacement made it look quite realistic after that that's rope so if you remember it was like very in a dark corner and in all the focus area so a lot of potential wasted here because I added some hair and some displacement to it to make it really stand out but when I placed it in the scene and the foreground it doesn't didn't look good so I placed it and way back in the background that's the cat skull also that's actually a print model so I looked for a cat skull model somewhere and I didn't find one till a friend of mine suggested to go into print community and see if there's a 3d print model of that and I actually found one so I just used that for broader than to the scene and unrendered it alright so we are back at the Learning corner and there's no presentation for me without for now you all know that say for this you don't know for now it's like a formula that makes the have to rethink that in English now so if you have rays coming towards the surface dependent on the angle of the Ray it will be the probability if the Ray is going to be reflected or refracted so that's actually what Fornell is doing with metal surfaces that's the dielectric materials rays can't be refracted can go inside of the material so they have to be either absorbed or reflected so for metals reflections normally higher here's a basic example and you probably already know that because I show it in every slide show this is a black plastic black plastic surface where I put a printed checker board on top to reflect on and this is a 45 degree angle and you can see that the reflection is rather dim and if you look at it at a very steep angle where you can see the reflection of the of the black surface is almost indistinguishable from the original printed checkerboard and that's exactly what the frell's doing the just giving you strength values for the reflection based on the angle you look at objects you can see that on normal objects to not only just checkerboard objects you can see with the PlayStation it gets way shinier back here because you can see way steeper on the edges and with the extinguisher here it's the same on the rim the other thing that's happening or not the other thing but the thing that's happening is mostly only the last couple of degrees before you look directly parallel to the surface there's one more thing with metals metals can have colored reflections so they tint the reflection while dielectric materials never do that the material itself might be blue but the reflection is not tinted blue with a blue object so you can see that here basically you can explain everything here so with a non tinted metal you can still see the blue in the sky but with the Golden Bell up here you can see that there's the sky tinted golden okay so that's a video with the IOR changing and materials the IOR is basically to slow down off the light when the light travels inside of the material and therefore it's there for controls how much reflectance and how much refraction you get so the denser the material is the more refraction you get and the less reflection you get you can like if you have a lake and do you skipping stones on it if you have like that doesn't exist but if you have very soft water the stone is actually going to get it's easier to not skip but go inside the water and if you have ice very hard water then you the stone is going to skip very likely and that's basically the same for a light race if they hit an object and the object is very dense they are not likely to enter it or not s likely as to enter it as with like not as dense materials right normally the presentation flips out after I do a video so we have to go out here it's like very strange so let's go back one well basically what follows now is just a breakdown of the objects that I placed in the scene I did a render one or two times a day and I just made a video out of it so you can see the different objects how they are blazed and my struggle with them so yeah let's go fullscreen here and there's no music unfortunately but I can't talk over it a little bit so I started when I wasn't still have no no textures on there so you can see the textures coming on there and everything there's objects in there that never appear later so I try to get stuff going so you have now the three different lights that are in the scene that we will talk about next to that so we have three different lights and obviously the whole scene is enveloped in a volume to get a painterly look going and after some compositing that's the final result and it's staggering a little bit but you can see the detail that you did see before right okay now we have to get out of the presentation go to depth so basically the light sources are used worse once the candlelight then we have an environment and hgri so I used actually I used modern interior for the HDR I it's again one of Maxum roses HDR is because I really like them and since you don't see a very distinct reflection on any of those objects I could get away with using just a modern interior and just like the lighting situation of that HDR I giving me a warm light and it has some action accents in there that are looking like candles or something like that so that was what I was looking for then we have a window light that's an area light that's 100 by 150 centimeters and was it slightly focused I use es ly to focus to LA yes image to focus the lights and you can actually dial in some different gamma values to get at more focus or less focus so that's my workaround for not having spotlights in octane then we have a simulated sunlight it's an even more focused smaller spotlight with an ILS light in there and when I did the presentation I looked at that and thought hmmm that already looks nice I don't even need the other light sources why did them but anyway I did them so I show that and that's all light sources combined so that's the clay rendering for the final lighting and you might have noticed that there are some strange shadows in there and I when I was going over you looking at still lifes I was seeing that huge amount of them had like some diagonal shadows in there so I was wondering why it was and we know what started lighting I noticed that it was looking much better if you have that so the old painters just did that right and try it around and looked up different lighting situations I guess and they came up with that I'm not sure what they did back then but I just modeled some frame to be blocking the light now you might ask why Sir say why is the frame having like this inside part actually when I did the lighting it blocked all of the light so the milk-can was black from one side completely and I wanted to give a little bit more reflection to that part so I made this translucent that inner part to get in the scene a little bit more light and not completely block it so especially with that light you can see the shadows forming there and with the spotlight you don't even see that because it dose doesn't hit the obstacle back there so that's the final light situation with the further away camera and this is how it looks like in the scene so obviously I only build what you see in the frame because otherwise it would be wasted time it took long enough for that small portion here so why waste any more time and you can see that I put the sunlight a spotlight in front of the window spotlight there's a trick if you set the transparency for the octane light to zero it won't cast any shadows on the other light otherwise you have shadows from the light from the light in the back and obviously you don't want that so we are back at the learning corner here and this time it's about colors and saturation so if you have materials that are completely white you shouldn't do that you should always go to 80% on your materials if you want to have bright materials if you want to seen you seem to look white you rather crank up the exposure of the camera or crank up your lighting but not crank up your materials because it's a rule universally materials don't have the possibility to get a 100% light output from the input normally you have even with white materials and 80% output same goes for black materials so there's no real black material so I always say that this is you don't have black holes normally you will do shading on so that would be more or less the only reason why you would do something completely black obviously if you know what you're doing and if you want to have an absorber and you've seen you can make it black usually those are gamma those are linear value stores those are no no gamma value so it equals to 15% and the cinema 4d slider so if you go to the color pick it would be 15% the same goes for every channel actually so if you have a very saturated material that one slider the our slider is zero and the B slider is one you have to set your sliders accordingly so the blue slider goes to 80% and the red slider goes to a little bit higher than black because that's just one wavelength inside of the light and it goes for all of the light information not just white light so to what what is he talking about why is that even necessary so if you have a lot of Chi on your scene the light will not lose energy and while it bounces and what happens is that you get a room that looks maybe quite nice but you don't see any shadows so there's on top there's a light slightly extruded from the ceiling and you don't get any contact shadows there because there's no absorption of the light information so if you also look at the render time it's four minutes 12 seconds and if you do the same thing with an 80% material you get the right contact shadows there and also your render time goes down now you might think okay we can do that first render and then just get the levels down in Photoshop well sounds good doesn't work because if you do it looks still washed out sorry might be that one yeah and sorry I must must have must have missed a slight after that there should be a slide where it's turned down in Photoshop but that's the right slide here so that's how it should look the same for black materials if you expose a black material for a longer time you can see still information in there and that tells you that they're still photons coming back from that material since you shouldn't use black materials right so this is coming too close to the end just two more points so the point here is doing volumetrics again or three light sources here we have our HDRI with Waldo metrics obviously I rendered them inside of the scene that's just for visualizing them right now just black scene with the volumetrics inside here is the window light again and then we have to spotlight and I find it quite sad that this shadow of the goblet is almost no visible and a final render because I was really hoping for it to show up and those are all the three light sources together so almost lost after that I think it's composting so those are the grains of dust I put on a scene to make it more old and aged lastly huge use octane scatter for that on some of the objects are hair scattered also like on the cloth and the rope as we've seen before yeah and if you want to know about the spiderwebs workflow I encourage you to look up the ABS what's it called not ABC IBC yeah IBC presentation from Maxon I did on exactly that topic where I show the whole workflow with the spider webs and basically it's just getting the spline there then using dynamics to get the weight down so they hang and then just merge them together so it looks like they're merged at some point right so yeah we are almost done here so that yep sure in general they're the dust on the object there's with octane there's a tool coming that's called octane scatter and octane scatter is giving out clones for for a object to use so you can do small dust particles inside of the scatter tool and then scatter it on any objects what I did here too was getting vertex maps on objects to constrain the dust to different parts of the object so so sometimes like all of the time the dust come settles down from the top so I don't want to get dust from the downside from the from underneath so I did that and it's rather easy to handle and the good thing about that is that it also supports Maxon what's it called effectors thank you yeah so you can afterwards you've scattered them use effectors to rotate them around and that makes the and really realistic hope that answers your question so again we have the candle the surrounding and that's already with the volume inside here the Huri the window and the Sun on its own you can see that the shadow that showed up really nicely before it's not visible anymore and those are all the passes together now I also rendered out a glowing Clint so post-effects and octane this was way too strong so I dyed it down in compositing so it's nice to have an extra layer for that to be more flexible then I reduced the lightness and saturation of the tomatoes there because after all my Corrections there were quite blown out I increased the lightness of the candle and I did that by using object passes to get the information for that different objects into your into you After Effects so we have a glow and Clint up on there and this is After Effects glow object that increases the highlights of the objects if you can see that and then always composite respect best friend is the big netting of stuff so you get a more focused look towards the middle and since the look you should be looking at the Goblet in the middle it's quite nice to use that technique just a color correction to make it more warm because it was a little bit too cool for me and then finally some contrast correction to get the image to pop and this was also the step the tomatoes were blown out so I had to dial back the saturation there before so this one is with chromatic aberration but I think the projector already has so much chromatic aberration that you don't see it it's very subtle but you can see like the detail I did to the glass with the fingerprints the dust on also never make glass surfaces perfect they also have a slight wobble in them so I try to do that you can see it on both of the glass objects here and what else well it was a tap to dark so I lit up the mid-tones and that's it that's the final image okay so let's see well yet I think we should get maybe five minutes break or something or it can go and never come back if that's all you wanted to see and I'm offering to do a live demo after that so after five minutes there is who want can come back and see me unwrapping stuff and doing substance thank you [Applause] okay of the finest focused on so a couple minutes to go so let's give them a chance to come back the thing is that I like expected to be doing a normal presentation and then they taught me to do a workshop and I thought okay it's like a lot longer so I needed to gather some more material funny thing in office that I'm likely to be more entertaining if the presentation is shorter it's like a long stretch thing hopefully you're not too tired it's thank you the question was why cheese octane over other renderer like v-ray for me it's the path tracing for octane so with octane you get a very high level of accuracy when it comes to light interactions in objects so you don't have to deal with GI or something it's like handled by the engine if you just set it to path tracing it's all more or less clicks into place and therefore you if you have a white wall the chances are the white wall and your render looks very similar to what you would have in reality also if you have glass there are very few renders that do class quite nicely octane is one of them the other one is indigo heard that yesterday was a presentation about the guy who did camera lenses and he also used any girl like because of that so yeah I looking forward seeing that presentation somewhere so when it comes to realistic behavior overall I'm always a bit biased towards octane because it well its unbiased yeah there's no real unbiased render but it's like more unbiased and other renders yeah so I guess we go on with the demo part so first of all let's talk a little bit of modeling it's not really hard to do since they implemented the bevel tool here so what I would do is going ahead and select some edges and then use the bevel tool in the solid mode to get the supporting edges going obviously that's way too small now that's something because I clicked it twice so I have to confess I don't really can model so sorry about that all right now it's working so if you have problems that edges here normally if you do that the first time it looks like this and if you put that into your subdivision surface object to get this bend here that you don't really want say now I have to redo it of course but if you do that and want to push that connection to the back you can just use the other mode here and then it will do this for you obviously I have a problem here right now but it doesn't matter for now so the other thing you should really be paying attention to I have presets here already in place what I really want to do always is do the render and the editor subdivision at the same rate because I've run into problems with octane of obviously rendering in the viewport but then when I do the final rendering it wouldn't render anymore because there was too much geometry on the card so I always keep that at the same number so I'm sure that what I see in the viewport or in the life rendering is the same as what I would see later on the other thing is setting this to etch otherwise you get problems with the you isse later on I'll go over that when we do the UVs which is next so let's go to our UV scene here yep so let's see normally there should be luck in pop-up here but it isn't so let's see if we can alright there it is so this is the rice UV bridge and the cool thing is that you just have to select whatever object you want and then just click on that and if you have rice um installed it opens up with the checked with him now I recommend deleting the UE tech on there beforehand otherwise you will get the UE that you already had which is mostly very messed up and unfold and you want to start with a clean slate here cool thing is and I don't know if Moxon likes that that I'm talking about different software here but it's sorry wrong setting here if you you can customize that for cinema 4d and get the same shortcuts then in cinema 4d here so you can navigate and select and stuff like that the same way as in cinema 4d so what I want to do is just a quick unwrap so I double click on some edges to get a loop cut or a loop selection rather so let's just select whatever makes sense and then I can press C to cut it or I can just go to the cutter tool up here now we need to do you in more cuts for example here to like this is one of the easier objects so the most difficult part with you being is if you do you being to unfold the objects before you actually unfold it and your you have to have the capacity and you had to do that so because it's quite tricky if you don't know where to place cuts and I place cuts here because I rehearsed that before of obviously right let's make them cuts and I don't want that one so I stitch it together back together again make this little mistake here but that looks right now okay so once you have done all your cuts you can go to the unfold button and that will unfold and do the first iteration of your placing the islands inside of your UV space they're quite interesting like these are probably quite good in the relaxation here but want to have them straight and the cool thing is that there are tools for that so I can go to UV Island mode now let's also take that one and then just straighten it out and it's really fast and you can have really fast feedback now while straightening out the proportion changed so to get my old proportion back I just hit that button and that will compare all polygons with each other and get the right proportion so you have to same Texel density on every island that makes sense so after that I'm just doing a quick re packing here and then I'm done I can hit save and that will get me back to cinema 4d with the UVs that we tested and obviously the that's a slight disadvantage the object comes back and you have to replace your old object but it's better that way so you if something gets messed up along the way you can you still have your old objects you have to set that and the settings here but yeah so if we put your TV on here you can see yeah nice UVs so now it's the thing where I can show the etch thing if you don't put that to edge and leave it on standard like it is if you load cinema 4d on default you can see that you Kiwis are rather distorted everywhere so not really looking good so I don't know why somebody hasn't done that it's like bothering me for HS t just put it on a trip of course then it looks fine alright so that's that close that is that open the next one which yes I guess texturing mmm well maybe to substance did I miss something I don't know but we also did a pardon right now so that's when you want to get objects to substance you can do a lowres on the high-res model since I used hero objects that are subdivision objects and I'm not using a game engine to render I am just using high-res objects to put my materials on what's important is that if you have different objects with the Yui space going from 0 to 1 of every on each of them so I have that one and then I have that one this will cause overlapping in substance so it gets distracted so what you need to do if you have that you can also pack your both objects so they don't occupy the same space that's another method but right now what I've chosen is put on two different materials on them so substance will then notice that there are two different materials on them and then just give me two materials inside of substance painter to work with what I do here is to export them as FBX that's sort of established workflow you can also use obj but FBX supports more information than obj so I am used to doing that the only thing if you want to export high-res objects is to be sure to use bake subdivision surface otherwise the subdivision surface will not be applied to the object on export and you get the low res mesh in substance alright we don't need any camera splines instances lights tracks normals we do well I guess that's good here we go so we can open substance painter and import our object it's funny how this is a maxim workshop and I'm using all the different tools but eventually coming back to cinema 4d and rendering there hopefully that works right okay sounds still working so just you do a new project whatever you set here can be reset later so let's keep it rather a small texture for not keeping awaiting with prepare preparation times normally if you do 3d scenes within any render engine you should go with OpenGL maps for the normal map we come to that later and for the workflow we use PBR workflow there's more diverse workflows where you can also have like a scattering map and stuff like that but for russets cogwheels it's enough to have like this PBR metallic roughness workflow obviously I have to load my FBX here and then click OK and if everything goes good then we have our COG wheel in there now you can see that's there is both materials were imported correctly so we have an inner outer material and we have layers for the material now before we start layering we need to tell substance what to do with the object now despite octane where we have two dirt note that's really raytrace substance uses maps like normal maps and stuff like that to determine whether the edges is concave or convex and stuff like that so we need to bake maps before that so I'm just baking the maps for the otter wheel here let's see where I can pull that down all right so I'll leave it at standard you can always rebake that if that's not high enough resolution the only thing I want to change with curvature enable seams because that with every seam of your UV island tries to put an edge there and that's not what we want that's for if you're doing game assets and stuff like that there's other stuff you can care about like the Rays of the ambient occlusion but it's good for now the course also we are running out of time so you can can also bake for all objects that would mean that the inner and outer object would be baked at the same time I guess I want to do that just have to apply to all so all materials I'll apply it with the non seam version here and then we have to wait like what every 3d artist is doing from time to time just the good time so I get coffee and that basically generates normal Maps world position maps and so on well maybe I should get the sound down right so if I go to that you can see that it creates or kind of a couple of maps like there's other baked maps like ambient occlusion and the curvature map and a position map and so on and this is where you shaders are basing the information towards so if we were very lazy what we are today or I am yes we can use a smart material on top of the wheel to just show you the workflow so smart materials take exactly that information at which is baked and apply it to the object so we can use that for example and get something like a dirty grain or something like that wouldn't fit in the in the still life obviously but you get the idea so it's as easy as that to get a nice looking come on nice looking object obviously there is a ton of other materials in there so maybe let's do one more try and basically those are preset materials so they have their own layers where I can change things let's keep the inner part that material because we can I'm just exporting the outer part of the material later so what we can do is go back to materials and go use a cobalt pore to get the base and then go back to the smart materials and do a for example a dust layer to get some fine specs here and then finish that off with or is there a rust does anyone use that well what we could do is go here and search for rust and yeast that one I guess and then use a not a smart material but a [Music] procedural smart mask to get your dust do what you want so maybe use that mmm I'm trying to find something that really works well let's stick with that it's like it's the other way around normally you would use that for showing up the edges you can even invert that but I'm not going to bother now so when you're done with your material when you spend some time with it not like me doing it in five minutes and looking quite unprofessional right now and you can export the materials the textures now small hint here is you have to setup that as a right combination of materials that you can use in your render and there is the PBR metal rough that we already established let's see where that is yeah and that material has some where normal and the normal with the color corresponds to a DirectX normal but we need an OpenGL normal so what we do is track the OpenGL normal there and then just apply 2d Archie Beach and if you're smart you can just duplicate that and so call it my own preset or something and then you can find it here my own preset and just tick off the inner because we don't want to export the inner material right now so that a path where you want to export to and basically that's somewhere in the presentation text output okay and then just export and this gives you the four textures or even more textures depending on what you did with the material that you can then bring inside of octane so let's do that opening the last scene here which is the texturing so right let's see if it's already attached yes so we go and open octane and hopefully everything's working so let's try that yeah it is it looks strange but it is I guess I've missed see get th GRI oh it's just a color okay that's yeah it's not loaded th your I because it's on my hard drive in my backpack [Music] right so let's improvise a bit and use just light white put it a bit back here so we at least get some some directionality off the lighting make it a little bit weaker so here we go maybe that's too weak so right so I also prepared a little bit a little bit here so what you need when you bring in PBR textures is actually two materials one materials is responsible for the diffuse diffuse and one material is responsible for the metal so you can see I have color roughness normal and metalness and that's the four Maps that you usually need where the your workflow and the only thing I need right now is to go through my object and then just assign the right textures to that so color roughness that of that roughness normal year ago and then last but not least the metalness which is then switching between metal and dielectric surfaces the rust is dielectric the rest is metal okay and that should give us a look that is well worthy would be ten ten thousand times better if the hei was working let's see if we get get a better look for that just go to environment set it to black that already looks better so you can see that's somehow looks the same as here obviously it would be looking better if I had the hgri but you can see that small note here is you have to really be careful about using the right gamma on those so the color comes in with a gamma of two point two and basically all the other textures come in with a gamma of one octane thus sort of a normalization of the gamma of the normal map anyway so I didn't bother to put it to one point one because it doesn't change anything and you have to invert the metalness map but that's basically it and right so if you follow that all you might say okay there's something missing and obviously I'm not going over volume today and but last but not least I'm doing a little bit of dust on the object so it already looks so let's make it look even more you can't imagine how it how it could look right so there's this object that's the octane scatter and basically what the octane scatter it needs a surface so we try in the Kok wheel object and that crane again generates like spheres on that on every vertice we don't want that we want random distribution so we get it to surface now it's still a bit dependent on the polygon size which is annoying sometimes but ye sort of can live with it most of the time right so the other thing is that you can stick whatever object you need to be replaced with the spheres inside of the scatter so you can't just go and find mm I don't know what do we find or it could use figures but I'm not too experimental today maybe use donuts big donuts that's way too big obviously so let's make them way smaller and you also notice that the size of the hairy things is adjusting to the size of the object so let's make them 0.2 here oh that's the value I want it so we have little Donuts on our wheel the cool thing is that simile doesn't handle the geometry so it stays pretty fast and therefore we can go up to I don't know a lot of them it takes octane awhile to prepare and then you have like very many donuts on your wheel and then you can go to the vector tab here and bring in a mokra for example random effector and place it in there and then it does exactly what the random effector will tell it to do which is right now change the position but we can also change the scale and the rotation which I did with my dust kernels eh let's do that real quick maybe 0.8 or something and then just so you have like I don't know it doesn't even look like donuts anymore let's get let's get the distribution number a little bit lower so last but not least I want to show you how I did the vertex maps on there on lots of the objects back then our trend he wasn't out yet but I had I'm in the beta so I had access to it and it has this new fields tool so what you can do is go to a object I'm just creating a vertex map by going here there might be easier ways but I'm just sometimes very biased with my workflow right so you can have a vertex stack and there's a fields option back there so you can tick it and then you can choose any sort of fields to generate a vertex and I'm going to select the shader field and there's actually a shader to have like a world direction for objects so they align with the colors to the world direction and that's the normal where's it does someone see it here not fall off yeah sorry not not normal to fall off you should the present it should do the presentation next time so we can just get a black and white gradient here and you can see there's something happening with the or there's rather nothing happening right now and this is because there's still this freeze in there let's get a little bit more space so if I uncheck that now it should be happening something and probably it's like because the gradient is too relax it doesn't has enough contrast so you can just use that to get enough contrast in so now we have the things that are on top getting the word vertex wait the cool thing is if you turn that object around and set the shader to be global it will correspond accordingly so let's go here and look for the world space and obviously that changed something I can just adjust at T so it will update when you move your objects around or checked around maybe there's a update bug happening here but you can see it's changing so let's go back here and when we have something like that and you want to freeze it you can just um take the the field option here and it will stay in the vertex map and I just at that point safe the object and brought it back to or 19 and there did my workflow so the work for looks like that it's very simple just use the vertex map of the object dragging it into the vertex map slot here and then use it as a target now for some reason it doesn't work right now so maybe have to read yeah now you can see that in there's like weather areas gets really steep you don't get any donuts anymore so that's basically how I put the dust on everything okay and I think that closes up my presentation thank you for all staying so long with me you

Channel: Maxon

Views: 22,308

Keywords: Cinema 4D, C4D, Release 20, R20, Maxon, SuperMeet, 2018, 3D, Animation, Rendering, Raphael Rau, Silverwing

Id: unETsI0U2vw

Length: 92min 21sec (5541 seconds)

Published: Wed Dec 05 2018