Rocket Lasso Live S2 Ep 12 With Guest E.J. HASSENFRATZ

there we go hello everybody welcome to rocket lasso live season 2 episode 12 and I have a very special guest today who needs no introduction but I'll let him introduce himself yes hello I am EJ Hassan France or I design as you may know me I am a creative director at school of motion now I've been a whole time with them for since last August so man it's been like six months time is flying by but got a lot of fun stuff in store they were really ramping up our 3d content got a couple new courses coming out that's all cinema 4d related so stay tuned for that we're gonna have David era of dropping a whole bunch of tutorials on there about octane and all that good stuff and we've just finished up or 10 days of tutorials I got a cinema 4d tutorial in there about intro to box modelling so if you're not familiar with box modeling go go check that out we're not sharing the screen yet do you want me to go through that go ahead you know I'll click yeah sweet yeah no it is your screen yeah look at that alrighty J screen yeah this is my screen this is my trashcan MacPro say what you will but this is this is school motion we have our registration open right now I know a lot of people might have a lot of downtime these days so if you want to learn and up some of your skills definitely check out some of our courses we've got a whole lot there got my cinema 4d base camp which is really good if you're just getting a intro level knowledge of cinema 4d which I would assume most people tuning into krishma probably know some stuff about cinema 4d but there are a lot of tutorials that we're getting up here as well especially 3d just click on that low filter and there's my little giant big eyeball people I look in Adobe AIR oh I talked about this in my intro which was off-screen but check that out if you want to get a really easy way to get your cinema 4d are into a are a lot of people might know me from my website I design got a lot of tutorials up there and then my Instagram so I always like to like into interacting with a lot of people on Instagram I feel like know how it is for you Chris but I feel like I have a lot of interaction with people messaging me and stuff on on the instagrams more than more than anything else which is interesting and cool Instagram definitely took over Twitter I need to start paying more attention to Instagram because I'll check it and there'll be several days of like oops somebody messaged me and I won't have seen it so yeah yeah I feel like I when I first learned about the little direct messages I went in there and I'm like oh my god there's three years of this in here I didn't know no what I was doing so let's say you get some more psych stuff there or does that cover your no that's that's basically my intro but yeah if you want to catch up on my work and what I'm doing over at school of motion I also I guess I'll do the Twitter basically everything is just Ford / I design if I can even spell it I can't even spell my own thing there we go there's my assistant pug Gus there there's us so I actually stay I keep up to date on Twitter quite a bit one thing I'd like to help promote is I have I've been giving I've been providing project file cinema4d project files were like 4 bucks each basically it's like hey buy me a beer have a project file but everything going on I've actually opened it up for free so you can use this discount code the w fh 2020 work from home and you can get all my project files for free that are on my little gum road store so Gumroad /i design and you can see all of my stuff here but again is is free once you enter in that coupon code but if you ever watch some of my tutorials andele how did you do that thing and you want to pick apart my cinema 4d file see how horrible I am at naming my ABS knock yourself out excellent okay I pull us back both on the screen here and let me start reading through the chat so we already said some hellos and the pre-show pro tool says I just balanced out our audio a little bit thanks to Pro Tools 3000 in the audience level bevel hey what's going on thanks everybody for coming and hanging out those really cool and if this works out well like I said we'll be able to have more virtual guests on and do this I'd love to get some people from Macs on over to that's cool that's exciting so let's read through now like I said links only work in the twitch chat not the YouTube one but feel free to type out a question I'm going to pay attention to both of them but Andrew had a question here and he's asking about the feasibility of finding jobs if you're more of a technical artist and not so much about making like pretty renders and every day's because you know I guess a even there's been a lot of you know for obvious reasons there's been a lot of like video conference calls happening in different groups being like hey we're live-streaming this or that it's been really cool to see a lot of workflows and I've been surprised that hearing a series of stories of people being like oh yeah this huge studio reached out because they were following my Instagram and they liked my style they want me to get involved in something and you know even where it's like oh I don't use the software they use but they still want me to get involved somehow so obviously Instagram and that type of social media has been a big way for people to find work but if you're more of a technical artist then how would you go about doing that I mean I let you go first DJ if you have any insights on this yeah actually you know with everyone's been ramping up the livestream like you were saying and one of the things that we did at school motion last week was we had Ryan summers amazing amazing artists he and he just joined school motion recently and he's great at critiquing reels and so we just had all these people will submit their reels and we critique them and one thing I asked was okay we we have the traditional real you know but I feel like more and more we're kinda like a lot of artists are lagging on updating their reels because I think where you see artists at least a majority of artists fresh new work is on Instagram on their Instagram jams and they're sometimes the reels are from like three years ago but then all their fresh new work is on Instagram and one of the interesting things that I see artists doing a lot now which I think ties directly to your question about how do you show off your technical ability there's a lot of these artists we're actually showing like if they if they made a scene or made a rig they would actually show a breakdown in their Instagram post so you know how you could do Instagram posts you can do multiple videos and and stuff like that so you can actually show like your lighting setup with just the clay render and see like Oh lighting set up really nicely I see what they did there to show the wireframe like if you're really interested like how that you edge flows went if you're really interested in that and then just like rigging setups like what was the technical process how did you actually do this thing and they just show basically like a mini tutorial on how that set up was so I think if you're a technical artist and you go in and you rig something that's the perfect way to show it is like show the the actual art and then show the behind the scenes of the technical process to animate that thing or rig or rig that thing or use dynamics or or whatever you did and I think that's the key to showing off your technical ability is doing just that showing those behind the scenes yeah this is pretty much what I was going to to get to that I actually really love when I see a lot of more the more technical side of things in something like Instagram or on Twitter and it goes to like oh somebody does a really nice bit of shoulder rigging so the armor automatically moves up you know when you pull the control the shoulder will Bend with the arm it's like oh you just have to zoom up on that and show your control going up and down show the shoulder going up and down and if you do that type of thing it doesn't need to be a final pretty render but now there's going to be tons of studios who are like we need somebody to do some rigging here's a guy or gal somebody who's posting things saying like hey I just did this I I do rigging and I put that out into the world and I do I make materials and then you'll see me applied materials to a couple of different objects yeah you pre-built once it's like oh here's a here's a new brick shader made in substance and here's here I'm applying it to different things so I go here you're techno techno technical artist making materials but you don't need a big final beautiful render you need to show that hey I have skills that would be useful for your team and a lot of people I mean a lot of people watching we're gonna be doing hiring they are also artists so they can see the potential in what you're making is like oh if I had that rig I could do some amazing animations so the final animation is I think especially for finding a job is probably less important than being like hey here's the skills I have I'm putting those out into the world so yeah I think even if you are a good artist and you you also have that strong technical ability you're doing yourself a disservice if you're just showing that pretty render this is like oh actually this person is an amazing artist in an amazing technician like look at all these really unique and ingenious workflows that this artist can do as well and that adds that other higher ability aspect to to your work and what you bring to a table if you want to get hired at a studio like not only this can this person make pretty stuff but man they're their setups or just as pretty yeah the and I say it's something that that does tripped me up I love seeing the behind the scenes bit of work because there could be somebody who's the right way to say this but there could be somebody who's spending a month and they're just modeling an absolutely gorgeous car if they just go and post the final render then most people are just gonna scroll right past us oh cool pretty car render scroll Scroll scroll and maybe in the description that says hey I'm out list myself but people are just scrolling through but if you did a couple of work in progress it's like oh there's a person who's modeling a car from scratch and when the final render is there they're scrolling through your feed they now see oh they made the car because it's it's so it's so easy right now to go and buy model somewhere get free models like people are sharing more than ever and you can throw together a beautiful-looking render with some preset lighting some HDR's a bunch of models from all over the place and at that point the important parts they are the autistic ones art fundamentals of like composition and lighting and the color and that's what's important there so that's a there's a huge amount of skill there but if what you brought to the table here was your models people need to know that that this isn't something that was bought off the turbosquid they need to know that you made that so definitely show off those parts of it and then after that just go same advice you go get anywhere like make sure you well not right now but you know shake hands meet people go out like interacting with people honestly even doing this kind of stuff going in joining slack channels having conversations asking questions answering questions even more important and people get to know your name and then when you say hey I made this cool thing does anybody know of anyone who's hiring or I'm looking for freelance or something that's when it comes back around again every connection you make every hand you shake or virtual hand you shake I like eventually it does it does come back around and pay off yet the virtual high-fives all of that it I like the foot fives these days and turn around from behind there you go another thing just like this is more of like just a marketing thing that I think we can touch on just for artists that want to start posting their work on Instagram and and try to figure because it's all about the algorithm like how can you work that Instagram algorithm to make your your work show up on more feeds and one of those things is like as far as interaction goes with a post these are those breakdowns because one of the things is is when you just see an image you know you see like okay I'll like that whatever but the moment that in that post you also have your break down your your set up your technical setup you show like all these different speed like if it's a model you speed model and that's another on the little carousel of that Instagram post the thing that that does is number one Instagram gives you a better better visibility when you have that carousel so multiple images on one post and if you can get someone to do that bookmarking thing I don't know if you've done this Chris where you can actually save one of the options you can like you can share and you can bookmark and it's like a little bookmark icon and basically that saves that into a certain collection that you can name it's kind of like on Vimeo you can save a video to a certain collection or something like that if you do that that bookmark is like a mega like like it's worth ten likes or something crazy like that so if you get a lot of those that also helps your exposure using that term but helps your visibility of more people seeing that work and what you were saying is a lot of people are using stock models these days so I feel like a lot of people just don't have time to be able to model something so they'll go out and hire someone who models as well so if you can actually model and model well like man I think you're just dizzy all the time because so many people need things modeled and modeling is one of the hardest skills I feel like you can learn at this point excellent ah this is fun okay it seems like the streets coming through everything's good I'm frustrated enough to having to worry about that youtube over them not even thinking about things like the Instagram algorithm yeah it's crazy like anytime Instagram has a new feature like when they first did the carousels are they first did the bookmarks basically they're rewarding you to use their new feature you know yep this is like people knows all this stuff to like one thing that Mike told me was you always want to post the square composition so it's 1080 by 1080 and that's like the optimum things so video this is especially important because if you do a 1920 by 1080 it'll actually crop it and reprocess it and it can be really cruddy video like really highly processed but if you do 1080 by 1080 you get the minimum amount of processing and your quality and fidelity should maintain pretty good it's still I mean instagrams still gonna take your awesome render and just really gunk it up but even more so if you're having Instagram behind the scenes rescan or recompress or something like that so that's another tip oh but if you do post at that square format this is like where I was getting this whole time it it actually gives you like a 10% better visibility like Instagram will take yours 10% more than if you posted like that the horizontal version like the HD version so great another thing that a lot of people know about yeah this is just becoming a marketing class oh it's a good question we don't tackle that kind of stuff too often sure I just posted EJ's website in the chat so make sure you check that out not only for EJ's awesome content and tutorials but also to see the type of questions it might be good to ask let's say I saw a link just popped in here we're gonna do - as always when I have a guest we're gonna be a little more picky with them so we can find something both of us can tackle I am going to share my screen so me and EJ are still in the corner there we are with a big smiles for Instagram give it at that and now I'm gonna click a link from Emma Core the question is how do we rig with objects hanging with dynamic ropes whoo interesting let's see what we got here so some dynamic ropes audio down this is from man versus machine which always means it's going to be absolutely amazing so let's see what we got here all right I think they said about four seconds in so I think we hang in there so just these let's see full screen those blinds are cool I mean well I mean what I gotta say right away is these are these aren't even hanging per se until something becomes dynamic yeah it's this is just a I'm trying to see if it ever gets to the point where that wouldn't matter but yeah I think you want to think about this a little more abstractly I'll just pop open cinema because I think and do this in like a second you know if you've got something hanging and you're like oh there's a rope like that rope isn't a rope if it's just a cylinder right you just make a silly scale it up to whatever degree and now I'll make that a child of the cube obviously and now you know if I move this up and down it's like oh look I've got a rope and it's hanging from the rope now if you see where it's hanging from that could change it and if we were swinging this around and obviously the question dramatically changes but as far as what we're seeing right here at four seconds in you know don't be shy about just modeling a rope and letting it do its own thing they're just being maybe somewhere else it gets more crazy and you can actually see them hanging but don't don't do work they don't yell or move or anything just they're just moving up and down as far as I can tell so I'm pretty straight for what a lot of people try to do is they try to think of the most complex solution for a very simple problem you know some people are trying to do some complex dynamics set up when it's like actually if you just like hand keyframe something like just brute force it would take you a fraction of the time and you wouldn't have to deal with some of the things that dynamics might like problems that might come up with that like sometimes dynamics just can't get exactly what you want because you're dealing with the simulation and there's so much randomness involved in that yeah one of the there's like this complex equation that you have to run in your head of there's like there's like the quick and dirty approach and then there's the on the opposite end of the spectrum the incredibly complicated robust solution and you and then everywhere in between and you have to run you have to run that equation and decide how much time do you have and where do you want to to me it's it's a question of how much time you have right now or how likely is it that changes are going to come and you're gonna have to iterate again and again and again because if you're gonna be iterating all the times you need something very robust if the client is going to come at you would say no no I need this tweaked over a little bit then if you're doing hand keyframes you're having to fix that again almost from scratch every single time but if you build a very robust reg maybe you don't but if you just have to do it that one time or it's like just a half a second in your shot you know the shot just a second long like some of these shots in here someone did point out that actually at 31 seconds in the ropes are dynamic and you get that little bit of like it looks like I don't know if it's collision deformer or something on the mattress let's see 31 yeah I love this rock chopped up that's nice I think even that is relatively straightforward though with you know foreign cinema like this close that cloth right there even would be harder than anything else we're seeing but oh it's for a mattress that's great purple the evolution of sleep it made the most beautiful thing for the most mundane objects yeah Alex let's see I don't want to hog the screen so let's make sure we can tackle some things that both mean ejq do but once again just keeping this really short and sweet always think of things in the lowest poly possible version so you should get that bed we're just trying to squish it down I'm going to it and B so we could see the subdivisions here and we're gonna give this not too many subdivisions maybe I'll give it one vertically and then I just want these to all be approximately square maybe I don't even need that vertical one so here's a low poly model but let's say that we were gonna be crushing something more complex I don't wanna spend a lot of time I get something very complex so I'm just going to make a cylinder drop its segments down to four turn off the caps put that into a corner and turn on Honeycomb I love honeycomb any time I could find an excuse to use it I do so let's see we have to change the spacing here I'll just go squish these koi just kind of visually together a little bit a little bit spacing between them and T for scale scale it way down so you can imagine that we have something a lot more complicated like this would be very hard to make this model Bend and deform and match exactly what that motion was but it would be pretty trivial and I'm gonna make sure that's kind of fitting inside of this mattress shape so if we just ignore that for a little bit I'm gonna create a floor scoot the floor down just eyeballing all this that let's make it a little more colorful so make the floor dynamic simulation rigidbody make the bed I'll just rename that bed and we'll add a simulation soft body to it without even I'm not gonna change another setting if I play you can see that's going to instantly sag down a little bit and if we started to counteract that in some way we could do that several ways we could add a little bit of pressure to it so even just 5 is enough to start inflating that a lot so there I'm doing a pressure of 1 so just the tiniest little bit of inflating so now if we were to start crushing this via whatever shape let's make a cube and simulation and rigidbody that's gonna fall and whatever weight this cube is is going to force that mesh down the resolution of this bed model is going to determine how sharply it can bend and if we grab this block here this cube drop this block on it we can at any point go to mass and change it from world density to a custom density I say hey this is 10 times heavier and now you can see it's gonna really squish it down you could make it 0.5 and that's gonna be a lot lighter so it's not affecting it too much so I'm gonna just set that to 2 there we go that's our model that's everything we're going to do with this and now we've got our more complex model right here for I'm not sure if we have to but I'm going to throw this into a connect object so I'm gonna hold down control which turn will actually want to hold down shift so we have a connect I don't want to well this is now being treated as a single model and if we create the amazing mesh deform ER I can drag in the bed as a source and I don't think I have to but I'm gonna say accuracy don't ignore external set at the surface so it's gonna find any points even if they sneak outside and hit initialize and now you see the bed essentially disappears it's changed it won't render and it's showing up as a wireframe now and with any luck there we go you can now see that our big complex model is taking all the deformations from the super low poly model and we don't have to overthink that and simulations are going to run incredibly fast super real-time and thinking of things in this way is going to be really important really powerful and you know you can DeMott everything you get more and more advanced from there just as one final example if we were to create another cube and just drop this onto a rigid body actually a Collider body simulation collider body then even that will fall and it will Bend I guess the pressure is actually doing a really good job of keeping that straight kill off the pressure and now that should fall and bend over and start falling through there as well so you know complete control over that I'm gonna give this scene file a save I guess we don't need to specifically share it but here is file number one on Dropbox so you need both EJ and I can get at it so bed mesh to former Chris and for everybody watching every C file UCS save will be available on patreon afterward so anything to add to what I was just talking about there he J no I think the an alternate way that could also work I guess well not the floppy thing but the things landing on the mattress is like a collision deformer on the 3d motion tour we use the collision to former quite a bit and of course added some J go to former to that but I think that's like a good way to kind of art direct the collision a little bit with ripples and add a little smoothing with the relax or something like that how often do you use collision deformer over just straight-up dynamics never the collision deformer it just doesn't pop into my head as a thing to use because you can only push it so far until before it breaks and then right always feel like well I'm gonna get to that point later if not sooner so just go right to the dynamic source and I mean dynamics and soft bodies are like one of my areas of specialty so I just go right to those right away and as far as cloth goes do you use soft bodies for cloth or do you ever use the cloth Mangin I almost exclusively use soft bodies what cloth has over soft bodies is two things one being that you can tear it which is actually huge that's really important and the other is it can pin things really easily you can fix points and that's so difficult to do with soft bodies that's so inaccurate so yeah that's a little bit of a frustrating limitation when it comes to that but let's see we've got some other links coming in on some questions somebody's saying actually this will be really good while we have you here we're gonna have everybody shout out different ideas but people are saying that we should have you model up what are your cute little characters just to do it and I think that's a great idea we'll forgot something cool to do with it in fact we'll do it we'll do this in two parts everybody if you're up for this why don't we have everybody in the chat shout out some sort of critter and so if you get to wear my modeling skills on the spot and but I can point and yeah if we see something that's cool then maybe we'll put something together I mean I love that pigeon that you've got so something yeah kind of in that style but a different critter would be amazing so yeah people shout out something that would be cool there and then while we're working on that and we'll kind of see where it's going we'll have the chat say what we should do to it if we should ring it up if we should make a soft body if we should be shooting a million particles of them at each other we'll figure out something weird and just fun let's just make something up from scratch and just see where we go with a chat I've actually never done this as far as the chats concerned know somebody yeah the things are coming in quickly yes Meek's I just wanted to do a quick shout out Meeks send me that question next week and I will definitely tackle it it's not a good one when I have a guest over but I definitely want to do that one when it's just me but everybody in both YouTube and twitch I'm looking at the chat is out now different animals if if you see somebody else idea and you think it's a good one shallot paper happy toilet paper and we're getting a lot of good walrus Narwhal not baby Yoda and overweight Chihuahua owls starfish danger noodle danger noodles that's a snake should we make a I could make I mean because it's super easy to model just like a happy toilet paper guy and then what you could do is like I can have we can have them running and you can get like the billowing like the roll like the little thing is like wafting the winds yea wafting in the wind yeah yeah we could totally happy TP how does everyone feel about happy TP we could use some happy TP it's very topical everybody could use some mess off body rolls oh yeah you could could have a lot of things okay it looks like we got some pretty good agreement to cross the board on it so yeah let's dive right in in I'm gonna let EJ Drive it so I'm gonna click on his screen and I'll be chatting all the way through it as well so and while we're going everybody feel free to suggest additional things like if EJ's gonna start building it out but then you know and I can rig it up so we got a little bit of a trail wafting behind it as it moves but what do you mean what I can do is I can give it arms and legs or if you want to give it arms and leg and you can rig those up I mean we could do a lot a lot of things here yeah there's a lot of options but for for now let's uh yeah I think arms and legs are probably a good idea and then if somebody saying saying tear off some sheets I mean you know it's we got to be careful because yeah we'll run out of time quickly we're already 40 minutes in but it's a kind of thing he's like I would it would be amazing and we won't be able to do this but what popped in my head would be its tearing off a sheet of itself and then blowing its nose it would be like that would be funny that'd be adorable so yeah I gotta think about it okay all right all right there's a toilet paper done No [Laughter] I'm curious what your thought is for getting kind of the spirally look Oh both on the top and on the tube yeah what I was thinking is like this would be very stylized but if we're gonna do that kind of detailed just I do some noise as a texture or something you know like it yeah do you think could be texture you know like this is actually a very this is a soft ball for me to model I think yeah the but I think with everything being very stylized we could just draw a very kind of cartoony spiral like from the top down and like in fact if you send me if you it would get your final ratio and just take a screenshot or it just view it from the top I'll take a screenshot and I will over here at the same time just make a spiral texture and now send it your way Oh for this yeah is that your final ratio though in outside different let's skip this let's do like this guy's got to be double ply like two ply yeah yeah you gotta beat them up beat them up a little bit here okay so yeah you get the ratios and then pop the way back to the top I'll take a screenshot and make up a spiral that's got the proper ratio there you go all right so let's uh you want that top right there I got it hope it got it in you I'm gonna be keeping half an eye on here while in mine I'll be just making a nice spiral and for everybody anybody curious I'm just gonna make a helix and spiral it in the proper ratio here but so we have an image he can project down and just do whatever he wants with it actually that makes me think maybe we shouldn't maybe we can make a geometry based if we just do a helix you could just do a helix and in the same deformation that you're doing the helix can live in the top and you can just spiral it in and out and then you can actually give it like a little bit of depth that could work we just do a yeah yeah just flatten it vertically shrink the inside and give it zero Heights and then you can have whatever resolution spiral looks cute oh not yes yeah that's correct tight now you need zero start radius we're not zero but yeah that's smaller sorry yeah and he just increase the spiral and that that'll be how many times it swirls around simple as that it's two times ten whoa okay now I add some subdivisions yeah that's a little too much it's too much just spiral there well yeah actually why there's a lot of yeah I guess we do yeah we do need that but yeah if it's gonna be realistic you need a ton if it's gonna be more cartoony it could be relatively light 350 inside the outside there and then where we seem like just throw like this is our sweep and just get that kind of raised up good a video maybe I'm trying to think about the best because we could also run just like a sketch in tune directly on that spline that is true tune and then it would change out super quick throw some yeah there's some hair yeah oh yeah a hair on it or yeah let's leave it let's leave it as a spline because it's gonna be pretty slow with that Mason if we're doing red shift we got to do the red shift thing Oh red shift here alright so there's that and let's add door little imperfection here get a little displace going on some Bend is saying that we should just have one leg extending from the tube in the bottom so it's like hop on one foot Oh one-legged toilet paper well do you know I don't know if every clip is but you know a lot of toilet paper holders have like it's like a double cylinder that's got like a spring so it's almost like it could be that and it like bounces on it I mean usually just do some like cute like bendy arms but anything I mean I like the Ben yards cuz it's good I mean that in a minute it does yeah if we're doing an EJ style it just has to be I mean that's that's the first time mm-hmm but now fear factor is countering with four legs we got just a little bit of you know imperfection there with the displacement and displacements the greatest thing it's the best prime rounding so get something like that beside that and fun part it's making the yule eyeballs and the pink is the eyeballs so do you have like an eyeball Rick you like to do or is it yeah typically like I'll just copy and paste eyeballs from another scene and drop them right in but this is basically I'll show like my actual workflow here so there's an eye sometimes you could do like the the pupil as like just a texture but I'll I'll do a separate thing there this looks like crud but what I like to do is throw this in an FFD so grip that so this FFT will affect both of these and let's go and fit the parent that shrink it down now just select all of these points command at4 scale nice shrink this down now our parametric squishing yeah the great thing about this is I can rotate this around and it's still squished that is cool so if you want to do like a I rig something like that and totally do that well escaped so let's uh up the segments and now you can really see if I rotate this it cross craters saying make googly eyes that's cool idea and I'd love to do that at some points but I think this will we'll be able to eat up all of our time quite I have it I have a tutorial on googly eyes actually yeah back at GSD we were giving away a free set of googly eyes I had two different options one was like expresso driven when was dynamics driven awesome but that Google imagery nice so now it's always the creative decision is how big yeah do we want these eyeballs do we want them super big I that's how I really tiny enclosed together yeah I did like really big but it might take away from the toilet paper all right so let's hide that ffd one thing I like to do too is you maybe select hit zero to get my rectangular selection it's kind of bulges out just a little bit yeah totally and now do the mouth it's gonna be very simple kind of rig here simple mouth rig because trying to you know box model and inner extrude a mouth on this geometry would be it wouldn't be that bad yeah it's keeping a parametric is a good idea I like right now you know I mean let's first save that's a good idea there's also the yes are you gonna use a surface to former brands for for the flappy well depending on what you're doing with the mouth you could just make a mouth and it projected on to the geometry oh yeah yeah so then you can work very two dimensionally but you get the 3d automatically this that the one which I wish I named this just not that's fine just put EJ at the end so we know it's you're the last one to touch that file okay my last one to touch the TP so yeah surface before another thing we'll see if this works actually well I don't know because sometimes you could do the project and but sometimes it doesn't work so go in the front here and like this oh it's already adorable you haven't even closed his blindness keep something like that I'm really OCD about my spline points like just gotta match em up make it nice and curvy so this is like one way to make the mouth is like Al because there's only there's so few points you know it's actually not that hard to kind of move this in a place and then just move these two points back but I've never actually I don't think I've tried that surface to form or something so let's do that now it might be a little weird on this doesn't have this only has a few points on it yeah but put that into a loft or an extrude no then you'll loft yeah definitely do a loft yeah and then we can give the loft as many subdivisions as we want to I think so the loft I usually do just for the mouth but I want to do the lift lips so yeah okay so I'll do for that is there any not no instance if you're doing that that we might need a more heavily subdivided spline and that gets more complicated but it might work I'm not sure and then let's grab our circle spline yeah I'm still getting used to these dang menus Circle what so the great part about this is that you have this one spline it has the thickness on it so you can throw a texture on the inside of the mouth but you're using that same spline to drive the actual lips which is nice honestly I don't think we need to use the we don't need to use a surface to form or we could just use a bend deformer or the use the warp to forbear don't use that with too often oh yeah warp yeah because we have a cylinder here yeah but cement yet two cylinders that we could but honestly a bendy former works just as well as long as you Center it or you off-center it yeah all right let's use the bend I guess both these and look it's the eyes like accidentally renaming things here hey Oh give him fangs Shh the vampire vampire TV I've onto that I don't even want to go yeah we can't finish that sentence I do anything that would be appropriate to finish that sentence would be inappropriate - yes brain was working my mouth was going luckily behind that let's do this perfect yep so what EJ is doing here is if you set it to unlimited it actually bends the opposite direction on the other half so by splitting the difference it's actually gonna Bend both ways and from the top view he's gonna be able to match the curvature I guess it should be yeah probably a perfect negative to say oh it's got a center that up which is the same as a positive 90 yeah so that's just because we're on a perfect cylinder we didn't have to do anything fancier than that and abend the former is certainly reliable yep and then just pull this out shrink that a little bit and once again because that's be deformed via a bend it should be really easy to animate those four points and fall right yes on the ballot I may have to worry about it'll do it there's more for something like that just animate it super easy you just space these eyeballs out a little bit more something like that we neither have the eyeballs there have little arms there so I think I want to do that let's put the mouse down here and maybe maybe we have him this is always when I have a little fun make him like cross-eyed or something yeah and also play around with like the pupil size because he hyped up on coffee I think you should I think we want like a crazy toilet paper roll like he's trying to get away like everyone's trying to grab him and he's just like nope can't catch me I'm the toilet paper man yeah he'd be a little manic right now yeah we're out like that there like that should he be running away in fear or like just goofily running I think goofily running would be kind of fun yeah let's see so much asking about what if we wanted the ID I used to be completely flat boy you're hanging um use a disk I always suffer I should be checking the chat again no no no you're good to work I'm keeping an eye on the chat definitely of running away somebody says yeah he doesn't like his job well the real question is it's like if he's unraveling do the eyes go with the sheets or do they stay on the body as it gets smaller smaller eventually the eyes would just be on the tube now that these are like the questions that Pixar movies bring up or it's like wait a minute like how did the cars build these buildings they don't have hands right sometimes like what if toys had a soul what is well that worked I think that's actually the one that works the best if each movie breaks it more and more but the simple idea that when you're not looking the toys are alive like right every every little kid thinks about that but it's like what if toys had a soul what if cars had a soul yeah what if a rat had the soul of a cook right exactly and then it's like well what if feelings had a soul yeah that's because it's like ghostie everything is Pixar what if this that what if a robot had a soul yeah that's true now I'm getting toilet paper references here see what ok what's real toilet people who look like kinda lumpy could always make like some kind of design on this you know if you want the fancy TP but I guess the big thing so this is where we can like cheat a little bit you know like we could have the role where you know looks like it's seamless but you know what we're just probably gonna hide it in the back so you don't see that the the actual floating is billowing in the winner the roll is well yeah if that comes if I do that part I'll make it match pretty well so like you could but we'll probably want to do some of the little stripy lines yeah like the cut points I'm not sure the the little perforation perforations on those sheets I mean you know there's not much that makes toilet paper toilet paper so right I need to do that all right think a question on YouTube I think your name is French so I don't have the pronounce and apologies but is like yeah how did it how to make eyes like sphere I stick on to an uneven surface and match the normals you can actually use the constraint tag really nicely on that type of setup where you just say hey stick to this point and oftentimes I wouldn't want the sphere the eyeball to directly stick I'd put it into a null and put the sphere or the eyeball into the null and now you can move it relative to the point it's stuck and then you can even go crazier where you could put multiple null constraints and it's just a I think a surface constraint inside of it and you can put multiple ones I now link those together for rotating particular things so it's just like oh here's three points now you can lock and I completely to it hey toilets story will be next for Pixar so what if toilet paper had a soul you know like when I like to make things look a little goofy like to give it buck teeth so maybe we can add some buck teeth here and that's that's fairly easy to do all you need to do is just like could just place things or you could clone onto that spline the teeth nice so you can also create it and put in a line to spline and they would also lock to it but the clone is a way of getting multiple teeth and has a automatic let's do that let's let's get crazy here let's get some capsule chiclet teeth pulling that on two caps a little interesting yeah see how that works clone that spline yeah we need this to face just do this ah now he's got fangs and then what we could do is it's kind of flattened what not that flattened like that let's do the end offset and let's do this even let's give it let's give just two buck teeth they're clones now Lions play so nicely beginning yeah now what we can do is see this not that this damn boob look don't want that let's just make this height smaller do two very nice I like it [Music] like that hey Johnny said if you mix enough EJ tutorials you can do a cartoony character with googly eyes sticking on it moving limbs textured as a cartoony toy it's all there yeah you combine everything yeah the complete package all right so I think we're ready for perforations and somebody said it should have little hearts for its patterning a little hard for it for its quilted patterning oh there you go and that's your how would you go about doing that I mean just potentially Jenny all that stuff is like I would just think textures yeah yeah see even the perforations the perp yeah rated bits its texture now would you do would you go until I photoshopped for that type of thing and just make an image for yourself like a black-and-white image and bring it in as a like a bump or war actually let's try this you're not using redshift yet but could do is so use redshift you want me to do things yeah okay just really talk your way through it because we don't get to I can I can fumble my way through a redshift but I can't be like oh here's why I'm doing it it's more like just keep clicking until it works I don't know it well enough because I just don't render that often so really the only thing is also save save often yeah especially when you're bringing third-party renders that crash everything all the time I think with redshift is if we make a new still getting used to redshift I think a new redshift material and then we open that up for some reason on my hacky Mac it doesn't update there it won't update there while your viewport is render your render so that's just the thing yeah it's right off I think it's it's the same way that what's amazing is that the cinema physical renderer you can actually be like the renderer is the same thing that's rendering at the material icons which is also rendering out with the viewport which is also what's rendering out into the picture viewer and cinema can actually do all three at the same time which is correct it was actually super impressive but I don't think the third-party renders can like if you send if you start rendering out red shifts to the picture viewer you can't run your render view like the engine is taken up by that mmm that's true red shift is technically no longer a third party renderer but you know it's not it's not fully integrated it's not built in-house so it's kind of straddling that line right now right this is kind of bugging me a little bit also I guess we can deal with we get there but my we're still streaming just fine but my ex splits which is what we're streaming from isn't allowing me to make any changes I can't even move it so once we swap off your screen I'll probably have to kill it and start it again okay but I think we're still a little ways from it so I'm gonna I'm just gonna kind of walk through red shift as if people are completely new to it yeah okay so one of the things when I was learning red shift was this shader graph every textures note based in redshift so if here if you've used octane before like you have the option whether you want this node based interface or you just want your basic you know uber material basically it was what you're used to in cinema 4d follow these different channels but actually on surface level you know you have all your familiar channels material channels and in the cinema 4d shader but this red shift material note if you just click on it that's the same stuff you know we have diffuse we have your reflection or roughness refraction transmission and we even have like subsurface which is just single subsurface and it's really really easy and easy to use so one shiny we don't want shiny uh or see-through TP necessarily from but none of these things would not even worry about yeah so a lot of this stuff like just to say that the basics redshift material like for plasticky kind of stuff is really easy to do we're doing people asking how you're running redshift voila domak so that is because I'll take my camera here well I know I'm just in a little corner there but I have a EGP you set up right here so inside this box with my megaman is a 1080 TI you can see it right there yeah so this is a SONET breakaway box it's it's like 200 300 bucks and you just throw in a 1080 T I'd if Andy Needham's in the chat there he's got a dual setup so he's like the master at this stuff but basically the one thing he can't do is update past High Sierra OS so it's kind of hacky but it works I'm able to use redshift but a website I always recommend is a GPU dot IO I'll type it in the chat here GPU dots IO so whether you're on a Mac Book Pro Mac Pro as long as it's running one of these older operating systems that still supports CUDA is great or you know get a PC or wait until metal is supported by redshift and octane and all that stuff which who knows when that will actually happen but when they were getting the questions about that Wilford when they first pick it up I think they were like yes that is the plan we want to make sure it's fully compatible once but who knows on timelines yeah because what you don't want to do is have it out and then it supports you know 50% 60% of the full feature thing and you're you know how does how can you work with people who use PC if you're sharing files and stuff like that so I get it but anyway so yeah this is like your basic redshift material whatever but if you want to do like a little bump the one thing I was thinking is that like now that's not probably not gonna work too well I was gonna say you could do like a tile shader but then you'd have to limited mask it out to just being one thing so I mean if the you v's right now it should just be UV on the top so if you were just spin it oh if we want to do like the bumps on the top well yeah the top we can texture the top and sides separately for sure yeah but I was thinking the perforation bits here yeah so let's see it's easy enough to do like the spiral Tyrol tile thing for the top I could try that is there a spiral there I think there's a spiral so let's just go to if you want to add c4d materials in here just type in C for Dean there's C for D shader drag in there and here is your familiar this other way you're familiar shader will drop down menus you can go to say [Music] doo-doo-doo tiles o surfaces tiles there we go I thought there's like a register you're bringing you into cinema one no yeah that's the great thing about this is you can bring any c4d shader in here and kind of pump it into whatever let me hide all this crap Tobias is also saying that we could just do a gradient where you like just do a single stripe of black and we could tile a looped gradient yeah and just do it up like a layer shader all right yeah let's do let's do the perforations first I don't know why I blew out the I don't know why I blew that out there's a tile and on the oh no in thing with the tile I'll just close this out is when you click the tile it shows up here yeah it's not like within this unless you twirl it down so I mean you just gotta make sure that you know you know that that's hidden see twirl that down but then at this point you just do like we would need lines right and let's do white one thing to easily populate each of these color tiles just click and drag and hold I didn't know that for the longest time yeah dude when my when I find that out you could even do it like in between you can grab color of the television traitor to the luminance channel and yeah oh just drag it anywhere yeah drag it anywhere in cinema man and I don't know if we should do the grout or like the tile color I've always never noted no I wanna yeah I mean depends on what your plan is let's just do that I don't like dealing with the stupid grout yeah I grabs really janky with the edges and aliased and yeah grout we had battle with yet the aliasing is real janky okay so we have our tile so this is kind of would be the perforation but we need to get just a little stripe and actually we need to have it like this wait no no I think you need like that yeah so now let's grab our layer shader and doing it all in the cinema materials yeah I don't know how to do I don't know how to do stripes and stuff I mean unless you just bring in a texture it's easy to use in redshift but so let's do I guess you do with gradients but that could get you to be difficult oh yeah no no let's keep doing it the way let's do it this way well yeah you can't do this just a little whoop little thing right there there you go there's your strike and there's a strike and go back to our layer and just let's play ooh I've got a thing let's maybe make this actually the one thing about if you wanted to tile this you want to keep the global scale in the c4d shader add a hundred percent cuz you'll have like clipping and it won't be a seamless pattern you know yeah so yes I did like even numbers it can still work so like 200 400 800 yeah so something like this as long as yeah exactly but you don't want like 55 because that'll be cut off yes okay we'll do 50 probably are you using tablets I am asking which one you use I have the Wacom Intuos Pro so it's touchscreen it's really nice I don't have the 3d pen that has the extra button on it wait yeah I need to grab it this one doesn't have the middle mouse button on it so that's the 3d version of this pen I think it's like 70 bucks I should just get it but ok so probably need to make this a little guess we'll just see how this looks so that's our texture and I guess we'd want this to affect the bump or a displacement or something so for that what we need to do with the c4d shader for redshift to be able to use it as we need a texture yeah redshift texture so you need to do a little bit of conversion here right we're pumping our c4d shader into our this one that works exactly like expresso nodes so a general image texture okay and then we have this out color and we have all these little options here like gamma just a one thing that's important is like the depth and the width and height because this is like the actual resolution of your texture so probably give by with 1280 by 1280 we'll see and since there's just black and white 8-bit depth is fine and now to use this as like a bump we put this into the redshift material here and go to overall and there's your bump input right there don't we have to feed that to a height oh that's right nope you're right so we have it's like this please bump I don't know if there's something that does it yeah boom oh yeah bump man yeah so there's all these little things that like gotta get the c40 shader to convert into redshift texture and you need to put this into a bunk map thank you yes into the book the important thing to keep in mind when it comes to node based systems is instead of having every property everywhere you have to pull in specific properties win that's relevant to you and as we as the world goes more and more node based that's important to carry out those concepts in mind because right now in cinema you can only use a setting that they give you but if you kind of bring in the raw settings whatever they're appropriate they're appropriate then you can build much more advanced things potentially right right so this does make sense it's just again I'm very new to this but like basically why you need that red shift bump map before you put that in the bump it put cuz here is your bump settings now without that you had no way to adjust any of this stuff and typically so let's go ahead and let's apply this material let's get a reg of render of you open here so already you can see on the top so I wouldn't happen something's happening so you can see this is the height scale so that kind of just that one thing I'm seeing is kind of like a embossed kind of deal going on there now what we need to do is worry about how we're mapping this texture let's see what's going on the backside here you can see that okay we're getting it's really big and it's going to the top here so what I'll need to do is just kind of do a selection and that okay if I make this interval make a copy of it just so we have a backup but FRA save again DPE make that a bowl everybody's gonna think there's an episode about thinking particles but it's about that so let's do our do Fung break selection there just select the edges I can't and I'm bring to do that intuitively because I there's so many different helpful things and yeah so I'm just gonna drag and drop that material on there automatically applies that polygon selection now where'd our thing go where'd he go where'd you go what happened Tyrael was there did go back to the material or click material Oh height scale is zero oh there you go that would do it that would do it no bump if it's that's zero so now I mean we can do the hacky do cylindrical and then do the scale here and that's Oh does that work is there a seat I'm gonna do that I'm gonna do that test Dina to keep going but a Dean is saying that we could have kept a pair of our ya kept a parametric and you see one C to the C one C to exist on a tube I'm gonna find out on my own and I'll let you know huh you know no it doesn't have caps yeah it's not caps if this was an extruded shape that whatever this was if this was I think you're thinking of cylinder not tube object I'm pretty sure so two cylinder even the cylinder has its caps and that is designated to c1 but that's if it does I'm I'm on a cylinder right now and it does not apply c1 and c2 so maybe in our 21 when they merge the caps that doesn't happen anymore mm-hmm now you could do it if we built it completely different and we had made a couple of circle splines and then extruded them upward then yes technically we could do this but that's not the way we did so we'll just keep going so let's make this big enough so we don't have these seams right in its face maybe we have it right down the center there yeah definitely need one yeah take that so like now we need to make the line real thin yeah and we need a we do negative it's two negative one like that you know you have to push them in push it in do that and then we go into our shader here that's correct Scott we are not using displacement I don't think it's calls for displacement no this is fabulous like grenade killaby or something yep but actually did just learn that displacement you can't just throw a you can't just throw a displacement material on something and be done call yeah yeah it's so straight throw on that object redshift object tab yeah and then tessellated and the tessellation is very specific parameters yeah can I make this bigger yeah usually just click the upper right button inside of your mode so go right up up up go up to stop right yeah it's good to be right there so all the way to the right of that bar all the way to the right all the way click that one and then some eyes this window protip and then I mean and you can also expand this and type in the manual numbers on the nut on the knots but that load up it's pretty good yeah yeah you might it's cartoony you want to pop out a little bit more than a normal one would and then yeah anyway maybe cuz we want more perforation so I was just wondering that and we could probably tile it via this we could also tile it via probably the tiling naturally in the material if we want to do vertical tiling but yeah let's see how it looks okay that's pretty good yeah I like it alright and actually maybe the we do want some of the grout to kind of soften that yeah you gotta be kidding you could obliterate it if you're not careful but a little bit could zoom in there let's get real close and personal with our TP it's fine I think it reads that's good enough for that yeah Merrick tweak that for her forever there's our TP material did you make it lightly not translucent but like a little bit of like an inner glow type just for like the lights bouncing around inside of yeah so let's let's actually add some lights here let's do a very light teepee after dark for up you something like that yeah let's throw in dome light it's too bright and everything up a little bit a little bit a lot a bit down let's bring down our lights here I like how we barely see anything and he still looks super crazy hey Matt you know those overexposed areas out of there like that save make these bigger baby well back bigger lighting to point late setup why not sort of three you get ambient sort of three yeah I've got the ambient going on painting with lights with EJ Ross there we go alright so that's looking good not too overexposed or anything like that and what else we need we need you want me to do that top texture as well a little spirally enslie's yeah and we also will need a neighbor of this material to be applied and we actually need oh we just need a material also without that yeah but we can just let's make this one on the side and once we like it we can make a copy of it and then remove the bump instead of tweaking both again let's do create a new no no no okay just finish the yeah where you just saw the translucence yeah yeah do that first otherwise we have to make every change to both materials right so yeah let's do you want to do some subsurface there isn't there really what's the UH I'm trying to think of what the setting is it's a very simple setting I just opened up the material a Maya to take a look or trends transmission is it yeah transmission maybe it's just like oh that's just uh yeah let's just get to see through a little bit you said what that does subsurface maybe it's just we have reflection all the way there's also backlighting maybe it's just a little bit oh yeah it backlighting yes I think that's what I was thinking on the top Oh Ray Ray right like that what's yeah not too much just a little bounce it around inside of it color back nice and now let's add a top texture now yes yeah no I mean you know it's pretty cuddly so should we add some bum to the actual material oh that could be a good idea just feed us see 4d noise in just get a little bit yeah yeah something going on the noise so they have the built-in texture and this version doesn't have the c40 noises built-in yet I think that's still in beta is it do you did not have that copy no I think it's like a new vert and that's the other thing with using the the old or using Mac in having this janky setup is that sometimes the latest and greatest doesn't quite work wait I don't know I don't I don't even know what version this is I have the one with the noises so okay I don't have the noises yet well to be careful about sending those things back and forth right exactly so let's just do a my doing noise and then we need the redshift texture I'll just duplicate that we will I guess I would put this in the I need to combine two different bumps huh how would I do that hey only once yeah I wish we had taken out the should this be and we do this like as a displacement well we said we wait what do you try to do I'm sorry I'm once I'm a sentence or two behind we just do this at the bombas a displacement what are you bumping oh I did noise oh yeah you can feed it into another bump and then mix them with a yeah there's a bump blender oh there's a bump blender yep I think if you search for whoa don't blender yeah hey this has many bumps together as you want all of the bumps we'll need this bumping here right input you to it and out this will be bump input zero or should this be the base this is the base yeah so people are saying we should get some logos or something some sort of pattern on the paper but we'll see rocket rocket last so toilet paper yeah we're gonna run out of time and I think we got a lot more we wanted to do so let's not go yeah we'll do it you let's get this noise on here and then call that texture good yes bump in put that there and I'm not sure the blender works oh yeah there's a blend wait so now I think you just start blending them a bit okay yeah so there's our thing that's back let's go north shader make this twenty Tony look and let's get this bigger noise actually no do if like a fine noise what if those are cinema noises do an F p.m. yeah that's what I'm saying where's FB area text not the director click on the word noise instead of the little picture jot down duh you we're so spoiled now knowing about a little preview that we don't think to use the original right oh yeah what's great about fbm is essentially what it is is noise layered on top of noise at a different scale so it's noise on noise on noise on noise you kind of get all the you know you get like big ends medium and small noises all layer data yes look at that yeah nice texture going on well imperfections there that's some TP that's a good-looking TP so let me just throw on some like really simple shiny materials and then I'll give it to you and you can just create the flowing bit yeah we can yeah we get some time so yeah yeah I'll take over for a little bit figure out a little bit of stuff and then we'll keep going from there materials do [Laughter] this is just gonna help baby's eyes TP TP tix look at EJ being nice and organized yeah look at me go it's only because I'm on the livestream I need to we need to fix that tiling though that's where I need to know it's what's going on with that as a little saying we should make sure to turn on additive inside of the bumped blender so that we get the maximum combinations the maximum bump okay bump went whoa what'd I do I don't know I didn't it Oh additive mode bring that back a little bit the one thing I do want to know is why this is I think it's because I scaled down this texture overall I'm using these the length and all that well know what I'm thinking that could always that the tiling yeah what I'm thinking is that it's converting the cinema 4d and the Bakke because it has to bake down anything from cinema and that beta might have weird edges I don't know this for a fact but that's my guess at the resolution I'm viewing you because I can't rescale my xsplit I can't I'm having trouble seeing it I did that windows appear so let's oh yeah just let somebody saying just switch to the redshift noise and that should probably redshift noise and that all okay yeah and that means that the type of noise we're using here this should be pretty similar oh did it go away yeah that's right there you go yeah yeah I don't do it I just hate how all these fractal doesn't do crap turbulence yeah I hope this reason we love our cinema4d noises yeah well you could we got more to do so we can't spend too much time on it but yeah you probably take those and layer several of them up but well we're doing right now why did I somebody saying fractal would be the best of them but yeah fractal okay I have too much experience on it but I think fractal is probably similar to fbm okay there we go you just really got a crank up that height scale anything okay all right what I am it'll do let's put our shiny materials here get a little roughness and let's just throw a noise for or reflection roughness get a little bit of variation then I look at that I'm a kid you know so many things to play around with on these things but let's make the texture white and then just make this I or that people and what color should our toilet papers pupils be and we could just go for the full contrast where it goes black but if he's kind of crazy it could also be I'm kind of thinking like a red orange then we can give it away it looks like an M&M now and then this could be the lips and we'll make you make this blue blue lips not two lips blue lips that that's the loft whoops sweep and just turn let's get mouth make this dark mr. Matt dog is saying yellow eyes and brown pupils I kind of like that idea yellow eyes and okay hey just slightly sickly looking there's the left and yellow eyes brown pupils for such you stick some eyeballs in the mouth on pretty much anything and it just looks absolutely adorable like that looks so cuddly I mean he's crazy looking at the same time I wouldn't mind if you sitting on my bed long he's clean yeah yeah I mean yeah he looks less cuddly once it goes yellow yeah yeah it looks very sickly and now he died now he's what shot out now I don't want to get near him yeah the blue look he needs to look attractive and people want them people want him so we want it we don't want this sickly yeah teepee I'm with you when they n do on a try is like what does this look like if his irises black and his pupil is white I think we're going back to being a vampire now with the fangs yeah that's true now that's like Adventure Time yeah let's not do that it reads more like a highlight in the eye instead of a right exactly whoops that's purple I like that yes deep purple why not okay two quick things to do then let's duplicate the white material and kill off the perforation great we got the top and bottom and then we need the spiral and then actually we didn't think about well you need a thin tube in the middle middle to be the brown oh right need that Brown how would bake TP without the brown and then I'll try and deal with the sheet of paper coming off of it so much potty jokes so that was that so there's air so this is the one on the top we sound looks perforation bump I mean oh did I apply the new one I think get my nuts oh there you go okay nice and I mean it's just got the same texture but yeah a spiral will make it read so I'm curious how you're gonna make the spiral does uh actually I guess redshift does render you can render a redshift hair type of thing can't you yes let's do uh is that just a rich I'm not sure we've never done it before we have to do oh yes you never you were never doing the red yeah you've got yeah any of the I don't think we had any time to get into any of the texturing things during our presentations on the 3d motion tour we had so much just base knowledge to throw at people yeah well we are we were more interested in showing off fields and and horses and some of the cool dynamic stuff instead of doing some I mean material stuff tends to be pretty meticulous it's it's what's gonna give you the entire look but it is it's more technique I mean I guess you could go creative like how to make a creative texture but I think it was mostly like this is how this works you know I think we keep the simple just duplicate the simple white material and just make it brown right it will keep yeah the the one with the texture yeah no point in putting the spiral in there we're not gonna be seeing them such a point yet oh yeah yeah you do have to we can render out the tag we can render I'm sorry we can rent out the spline but we have to apply a redshift tag to it no object yep yeah I'll do the check by I'll double-check it now while you're doing this just for once the tube is actually the tube oh yeah the tube is being a - I don't even have to rename that let's give it a little bit more and more segments Oh rat a little darker all right all right very nice at all right okay uh spiral and we're gonna go to our seelix we are going to go to redshift tags object and as long as it's not spline then you get this curve setting there's a curve to curve and then in oh and I'm guessing hair strand will be the way to go but it's gonna need a material as well so that knows what you're looking for but that turns into somebody the chat shout out I think you need to make like a hair node or something or maybe there's entire redshift hair material this is the hair material okay yeah there's a hair material that should be that's simple then apply that and OH thickness let me just see if this is even doing anything at all oh somebody says any material will do but yeah let's make sure you need to see some hair strands per sample don't eat that it makes color I just want to see if I see anything here Oh yep something thing Oh oh that's super thick oh yeah just that somebody everybody's just thing use it basic material so just make a oh like just a clay a normal material okay in just see if this purple works oh yeah straightforward soup something like that then I'll just I'll just make I did not know you could just play regular materials yeah that's not that's cool we'll just make this like a gray that's Shanee let's not make this shiny and that weight down don't need that noise and then um just move this I don't know if this is I'm not sure what it looked like but somebody said change the hair in the object tag into cylinder instead of hairs okay I might make it more rounded because right now there's definitely a oh there we go yeah it's perfect instead of it feeling like what do you call it I'm totally blanking the word what's those shiny metal property and a and a strop oh yeah yeah because make it really thin like I think we just want a hint of this so make those Harry's or I like the thick and maybe just make the color just a little lighter subtle Sonia I like that go through or we just make the spiral yeah have more angle there or it may be less like there's so many of them they're kind of eating everything up so cut the spirals in half see something like that yeah so stylized you can see it's there yeah implied spiral and spray hashtag implied spiral let me just make sure this is like resting right on top okay what so it's better like that because it's like actually intersecting but the hair is still visible based on that thickness that we had there which is kind of nice yeah I like that and you can even remap the thickness via the scale so if you were inclined you could make it I really like a little more organic looking yeah oh yeah so now I don't accept emphasis in different spots yeah those little imperfections go along though sure whatever Basil's saying to try some Mayo stuff I think we'll keep that simple I notice right now awesome oh you were and somebody was asking why the material is all black and it's because we're currently using the render view so the redshift can't render the icons oh right right right so I think that's uh I think if anything maybe you make make this texture here maybe do 20 or 15 just want to see more of the perforations there okay actually I mean you don't want to do too many because you know then they start turning into like weird little long rectangles instead of kind of strayer's this is true like we like that you like that one right down the center yeah we definitely need one hanging out near the focal point yeah yeah that makes it really clear what it is I think he's looking amazing I love them yeah cool yeah so do you want me to hand this off to you yes save it as a new version and then I'll try and get get a little bit of motion in there with maybe some I try think about the way I'm going to apply it is actually because if we go full dynamic if you soft body you you almost can't use soft body because you can't pin it down so this actually might be one of the rare opportunities where I would use cloth because we could pin it so easily it's right your axe very well with other things but if you make sure it's not colliding then could work alright so I saved it out by this any time I kind of would want to maybe make a dynamic version of it and start make a pile of them that have evolved flopping around yeah of course he of course you'd want them to kind of fully unroll but oh yeah okay you're my dad legs to this guy so you could just have legs just no arms I don't know I kind of I kind of I right now with my head I'm picturing you just put that whole thing into a cloner and just make a stack of them rotated randomly and offset yeah and there's just like a pile of them so they're not they just have faces but they don't have limbs yeah I can dig it so yeah and then maybe just have one of them like wafting in the wind then yeah go ahead you want me to duplicate this scare yeah get them all into a null and make sure the nulls at the at the ground level quick heads up to everybody in the chats when we go to swap over to my screen not probably have to quit the stream it started again so you have to refresh and that can sometimes cause trouble in YouTube so if you're if it's not working in YouTube then you might need to jump over to the twitch version when that happens because sometimes it starts a brand new stream so to sue in YouTube I'm gonna see if I could put a link to the DP I think I want to give him like maybe different facial expressions on some of these guys oh yeah oops this is not centered we hate that when you gotta get a new no then place everything underneath yes sometimes you just need you know TP one how many TP should we have mm-hmm I'm trying to think I don't know I mean I would probably I don't know maybe uh yeah you can all set up I'll take I'll do that part because I might make like a dynamic stack of them and have them all kind of all over the place andwe want to think of this anyway to like have each of them have a unique expression from each other - yeah that's exactly what I'm gonna do yeah well right now you're doing it manually try to think of a way of doing it inside of uh everybody automatically gets one that's a Chris question that's beyond DJ's capability so we got that like that look you should have them like decently offset there yeah so now let's give these guys different now this is this gotta move this light and let's mmm my pack of those under blue Lister I don't know what that means referring to the jet she's talking crazy every thing either shadows are making them look evil yeah if we're making a lot of them but don't like me might need to go pretty far away yeah you probably just make a null put all the lights in a null hit T and scale the attire no way up and it'll just take your lighting and just make it proportionately larger that's true okay now let's work on these phases so for the eyes for this one almost like it that some of these are looking at one another maybe it's maybe this one is looking up we rotate this one maybe this one's looking down let's yeah and trying to think of how I would yeah if I were to make the eyes automatically be able to update and do something crazy and a cloner I think what I would do with that yeah I don't so they upward what you're talking about is automatically yeah so here's a little trick on like okay I want to make these eyes like look down and like to the side I can't exactly do that with the symmetry so what I'm gonna do is duplicate the symmetry flip and then delete that symmetry and delete that delete that symmetry we got two eyeballs now we can do is uh at a target tagged have this target this target null when I'm doing this rate look these are back I'll actually no not target aim rigging constraint aim and will aim this at this null so I am and now we can do is that's flipped still so we can just shoot well do both these Murphy's let's see what's going on there we go that's working whoo although oh crap what I do why is this F of D Oh cuz the FFT is right over there hit dad hey Fitz appeared oh my god God knew the humanity oh it's got a negative one in there there's all types of whacked-out stuff going on all right what's it's doing okay oh he's escaping the FFT let's there just the axis centers goofed up something happened weird with that FFT when I flipped it so there we go yeah I'm not surprised FFT would would potentially be strange and when you have the really tight tolerances and you don't really have much option to move them around so right usually usually it's good to leave a little bit of a margin on an FFT little bigger what the FFF D with the FFT man but see this okay it's all so crazy so now this is backwards uh back to square one alright that's the face I tried to do this rigged thing and I think that flippin thing that I thought was so clever just broke everything yeah yeah FFT compete weird pull the render view up so I'll just change the mouse real quick well we're running out of time so let's save it now okay take a look a little bit okay we'll see what we can do what's that saved and like I said I'm gonna have to I can't swap the screens everybody so I have to probably kill it and then we'll be your rights back so give us one moment and hopefully you'll see us did that get sent or saved EJ yep see okay let's see if I can successfully quit this thing nope it's not even letting me right click so to the task manage now we my file browser to the shared EJ folder see it seemed files and they said we would oh I think you guys eat chipped it sounds weird old guy I got it I got it Jessica justice of the house hello has she just woke up the okay so I know you just spent all that time trying to make the - sigh you just spent all that time trying to make them all fancy but we're now going to kill off a bunch of them and just work from the one original one which is the ground one so we've got that we're gonna see what we can do a couple different things we're see if we can make its waft in the air we're gonna make one sheet now I've been trying to think of like the best way to do that because I would kind of like to make a fully dynamic version of this and that would be he's not default height what's the height of the cylinder sorry that's all good it's been made editable like that it is 2 6-4 usually I'm very OCD about round numbers yeah just uh didn't happen to be right there yeah that's all good and now I need to probably let's see you beveled it the bevel is actually gonna make it pretty difficult to tell you the truth because now if we peel off we have to be below the belt or above the bevel how do we follow the bevel so couple extra challenge is there I guess for now going to ignore the bevel and I just want to grab all these segments vertically and you should see right here I have 22 polygons selected so we should be able to subdivide this to height segments of 22 it might actually be one higher or one lower yeah it seems to be one lower and we do have to actually make it a little shorter which should be that height which are just copied which is yet just not quite go all the way up to the rounding so what I'm trying to think is how do we how do I want to do this because we could just displace it and have it wiggle around that way we could go soft body butts gonna want to fall over if we do that and we'll have to pin it in a bunch of spots and that yet will be imperfect we can do soft body and that would actually lock it in place pretty well but then it doesn't interact with other objects very well so it's kind of we we have our choice of different systems and none are going to do a perfect job for us unfortunately and the cloth even cloth doesn't like interacting with itself I get so slow and we've got a decent number of segments here I'd want to keep it relatively square the fewer the quicker it'll run but mmm so let's try I'm gonna try doing it with cloth we actually use cloth very infrequently so that could be a interesting place to start I'm just gonna eyeball this I want to line it up pretty much right word that edges cause to me where the tangent is it will do something like that so this should be closing I copy and paste make this one turn that one off make this editable because we need to select our edges here and now when we add a cinema 4d simulation cloth it's really simple to go to dresser and say set fix points and now when I play these should just start falling and it's going to do its own thing falling that's fine now the next step is gonna be how well can we make this interact with the object and what I would like to do is do a very low poly version so I'm just gonna make a cylinder here and we will give it no height segments so it's just 16 segments around we'll see if we can make that as a kind of invisible Collider body for this extra strand that will be olaf ting around in the wind so I don't know if you I don't know if we need to make it editable but I'm gonna add a simulation cloth collider and let's just see what that does by itself in fact I'm gonna save it right away because we're dealing with with the cloth which is not the most reliable thing so we'll hit play and actually that seems to have done all right it doesn't seem to be passing through that I think it will pass through itself but let's go and tweak some settings this is behaving a lot like cloth it's flopping around way too much so we rename that sheet and we let's go easy on the gravity so I'm going to just do a gravity of negative one so yeah there's just a little bit wanting to pull it down and then we've also got in our tag settings we got things like stiffness and the flexion rubber bounce friction these are all fine I don't think we need much in the way of friction bounce I don't even know if bounce really does much but stiffness and flexion are the main settings I don't remember reflection needs to be low or high when it comes to cloth so let's try going really low and it seems to bend a lot and that lets go really high and see what that does and that definitely seems stiffer so I think yeah I think going stiffer and that's a good idea now I don't know if this whole if this will work in theory but we have one stripe here and it's gonna kind of really harshly Bend off of that corner so something I kind of like to do is grow my selection I'm gonna grow my point selection by one unit and fix those points as well so if we have two of those stuck then all of the springs could because even clot this cloth simulation uses similar Springs of soft bodies they're different but the similar where it's trying not to bend and if this one was here they can kind of spin around them but if we have two of them then this has to bend on that corner and I think that's going to do a better job of making this kind of maintain that orientation a little bit have you ever tried and this is a trick that I forget where I saw this at but if you took that second row that you just added and unselect some of them it'll actually help give you some kind of wrinkles there because you're very inducing some imperfection yeah that's a fine idea so yeah I'm gonna deselect it's a little hard to see but because it's currently showing a preview of where the fixed points are but i'm deselecting a couple of points here and there and now I'm gonna clear the fixed points and set them again and now you can see I've left some in betweens now this is still yeah you can see that there's it does kind of quickly introduce a couple little ripples and there so it's neat yeah and now I'm gonna make a plane put this down here I'm even gonna leave a few segments on it and I just wanna see how well we can make that also be a Collider and there we go so that should yeah so that's actually doing a fine job of colliding with the ground it's not super crazy it's also makes this wat like I'm gonna have a cape like he's paper everything about that so let's see I don't have French ships running but it did not render the icons so I think that's the thing you have to like I'm have to manually do it render the materials please fix is the stuff on mine it's you have the stupid materials so let's see TP main TP texture is TP main the one that actually at this one does want the stripes so let's add that one and turn on a redshift or a render view play and see what these are doing yeah it's doing a fine job we just needed to connect a little bit better here which I think about the best way to make those blend well you see we're getting kind of a ambient occlusion type of shadow separating them mm-hmm and it maybe stick it where the the lining or just that yeah just the material yeah but I mean no one's gonna see that side that's the thing so it doesn't really matter yeah mm-hmm just tricky one I mean it once again it goes to like we're not perfectly matching this curvature so that's introducing the tricky bit Oh Dean this thing we need a belt tag I've never really used too much I've never used belts too much so it's actually not an area of expertise for me and I'm pretty sure well we won't be able to clone we won't be able to clone cloth in a way that will be individually dynamic now when you when you use belts so for this right now can you animate the character and will that follow along with it I'm in need of a belt for that with the belt I believe it would now I'm trying to see you wear at the time of zero but here's the thing that's a big pain in the butt with this old cloth system is I'm trying to say like oh I'm gonna spin this and I want to move it to where the perforation is but it's not gonna let me because we've already locked it in place and that's going to fight and I wish yeah Leo Leo you're correct that belts would follow I'm just not super familiar with belts so this is going to be me attempting to figure it out on the fly which is dangerous so we can create a cloth belt and the cloth belt is belting on to something I'm actually gonna belt it onto the cylinder and say set and and click show but I don't know what show is going to mean that should be in theory belted on there I'm gonna save it again because I'm not sure what that's gonna do I think it's based on the fixed points my hope would be if I grab this cylinder and just scoot it yeah it would move it but actually it is not actually the cylinder does move but that's not belt the belt is not moving with it oh and I thought unfixed the point so how do you lock oh you set the OIC clear okay so here's those clear those points are still selected in the belt I'll set those points and now based on those points the belt is referencing the cylinder they're set so if I play I think with the cylinder you have to have the cylinder editable or I wonder if you can use a correction to former to select those points on the actual cylinder because that's what you need to build it on is a point selection clear set again okay they turned yellow so that should maybe be something okay do you see that belted I did make this editable and I try moving it yeah if I move it moving and I built it it to the cylinder so that's the invisible object sounds fun now hopefully it's belt did yeah unfortunately well it's belted but I want to still scoot this in the proper spot so how our perforations aligned at this point the easier thing is just going to be to rotate the material yeah so let's see that should be the far right V yeah that one and now we can spin it so we've got our offset yeah I'll set you or just rotate the object altogether yeah actually that's not a bad idea that's actually I like that idea better because then we can align him he'll be he'll be crooked when he's made but it's all it's all about than being relative oops I made it render Ichi okay so yeah I'll just spin him until he's lining up with his perforation [Music] there we go that's close but it still goes to like I want that to smoothly how do we make the shadow not show up is it just a little too close right now I don't know if you can do like a they're redshift tag that you can say is that I guess that's the ambient occlusion like there's a well I just I just forced it to intersect itself a little bit so I think this tiny tiny tiny little bit space between them is just enough to create that shadow but yeah I mean it some sort of like stopping them from casting shadow on each other I know do that in cinema but I don't know I know there's compositing tags in redshift and then I also need to offset the material on the sheet here because it's not quite far enough back let's zoom it back there just keep scooting this a little bit more more more more more and I'll just let that cut right off halfway on the edge and when we resumed out that should look pretty good yeah so that should line up and it's actually popping in in the beginning a little bit which I suppose makes sense the gradients probably not dead center so just to save us a bit I'm gonna scoot that back a little bit in the profession so just be in a little bit but there we go there and so yeah that's just okay so we got one happy one happy little guy and then we can I think we in we could put wind and whatnot right yeah we yeah it could take forces can they accept its general cinema4d forces I think you can yeah so if we create a simulate force wind then that's blowing backwards and supposed to see what kind of effect we have so if I we need way more frame so increase that and make it way stronger we should say okay we do see a reaction pretty much right away so there we go now that should be a little bit of a wind wafting back there a little cold collision there intercession yeah well that just goes back to us using cloth you know I had what's the cloth equivalent of increasing the steps like that force field or whatever force field expert the point the point EPS edge yeah these can get dangerous epsilon yeah it does these are nonsense parameters which is yeah like if you're adjusting the polygon like I don't get it if you're adjusting the edge collision aren't you technically yeah it's like the absolute distance between them so I just scoop that down a little bit yeah I mean it's just that video we because of the belting we're just using a simpler older system the yeah and it does have built-in once but I so people talking about a chat it does have the built-in ones we're just using the ones that we have direct mature this way what's it I said I keep your getting the chat to forget in the chat how can you forget the chat doesn't check here what's up chat cloth sickness your call sickness cloth thickness did you put in a cloth check get more wrinkled now oh I mean we coups use I accidentally rendered render view I mean we could add thickness but I mean it's a sheet of toilet paper doesn't like a nice thickness a relevant variable here if anything maybe if you put a clock put that any cloth object though with no thickness just the subdivision you'll get more of the wrinkles more of the wrinkles I don't know that I follow but I'll put it into a clock as you add more subdivisions right oh well no because that's just subdividing after the fact so this we could actually just put the wrong object in there yeah so we can get tons of thickness here 0.2 perhaps but yeah we ought to subdivide fine I mean you could subdivide but we'd have to subdivide at the simulation right so this entire thing would have to be more deeply simulated and I'm not sure if putting that what's the what's the setting that allows for more reflection well we're not in soft bodies so we only had one setting to play with and that was oh that's right so we're using rubber will tighten it up a little bit well I'm not sure do you want more or less wafting in the wind because I did a lot of things to stop it from wafting in the wind that's right now this should be really light yeah and we could add more with this wind blowing backwards we might be lad to Loomer of that gravity back in because we went easy on the gravity so that's gonna pull it down quite a bit now we can counter that again with some more wins from so that this might make it a little bit more alive super toilet paper there's a lot of energy in there whenever friction has an effect on this so we'll do a a simulates forces friction mmm I'm putting a ton of energy into that and it's not so anything friction is actually a variable or just do air resistance mm-hmm yeah it's some drag mm-hmm little drag usually goes a really long way yeah long trek mumfie's says more iterations makes it more rigid yes that would be if we do have iterations wait it's like stiffness again and again and again but we're not trying to make it stiffer I don't think I think we're just trying to big slow turbulence yeah so now there's a little bit of dragon it really slowed it down and I agree now now that we have control over it we can go back into the forces and make a turbulence so the turbulence will give it a decent amount of strength give it some speed and yeah actually a big ones very good idea as well slow down the frequency is goofy little guy okay little too big wow I'm shocked at how powerful the drag is look 0.5 a lot of these settings are so finicky sometimes they'll especially the older systems like soft bodies it makes a lot more sense but something like this where like a hint of drag is going to man really really slow down yeah my point one now and now I finally seem to get a little bit of motion back yeah he's just happy they're often in the wind happy TP very happy happy TP as far as making well I guess the a thing the try would be to try putting into a cloner I don't think it's gonna work but let's make a null that will contain everything relevant to making it dynamic dynamic TP and even better like that's a cloth Collider but then it turns into actually this is just to see if we can clone it so I'll just make a simple cloner make a single extra clone put it in so we get to scoot it up and let's just see if those two it's just gonna hover there but let's just see if those two sheets are running each other and if they're identical because my guess would be they'll be identical it's hard to tell yet but pretty yeah they're pretty identical yeah they are they literally identical where they just seem I think they're literally I think they are I'd yeah they're identical so what's happening is because it's a I mean I think cloth is older than a cloner so the it's not calculating each one individually we're if we were using soft bodies it would well you can't you can't change the seed Leo because it would change the seat on both of them we didn't we could put in multiple clones because the turbulence should act in a 3d space using that noise that you'd get slightly different no no I agree it totally would but here's the difference what's happening is it's not creating a series of copy here and then running the simulation it's running the simulation on the first object and making copies of it so executive operations yeah so at this point the only thing you could do and we probably totally can all we have to do is make it editable as soon as we make it editable everything will reactivate so on those lines let's just make uh we'll make a we'll make four of these and create a random effector and yeah that's gonna push it forward backward create some rotations spin them around randomly there we go and then the Lighting's probably gonna get really squished again so I'm going to create two that no I talked about earlier put everything into that no T for scaling we're gonna scale the lights up in a very relative way and that should kind of emulate the closer lighting we had but in the overall shape this little bit of floor was just for doing collision so we could put them in some sort of nice world but based on that I'm gonna give it another save and and now I'm gonna make it editable and you know if you're gonna make something like this editable it's always a good idea to save its beforehand so rewind all the way make it editable so there's four different ones okay there's a little something that's a little bit dangerous is the the belt is remembering its original position so we're gonna get yanked up to this one yeah I'm not sure how much that's gonna mess up the overall cloth and if it's going to recover from it so thank you thank ins well it's just that it needs to be initially you have to add the cloth tag when it's in its final position so it's actually doing a good job of in spite of how long it took to whip them into their position now that they are in position then now you could you know essentially if you start your animation here I don't think there's a set initial state in cloth unless there is yeah there's a there's a set to initial State let's see if that works and I search for the word sheet grab all for the cloth and say set initial state and let's see if I rewind if it's remembering right where it was member for as clunky as we just made that that actually works pretty well sometimes it you know it'll clump and then that clump will remain and you know and it looks like it relax it's pretty nicely yes pretty good I'm gonna make the the scale the turbulence a little bit larger because we're seeing a lot of like individual like I want these to be a little more uniform but so happy that's pretty great they're they're loving it the the next step here would be if we were to continue would be I would all to do a rig so that we could control the eyes individually so that they'd get randomized via like a random effector or yeah and the mouth visual clones like that be a thing to potentially do but yeah all of them I'm definitely gonna work on this and add funny hey reactions and stuff yeah but let's see what would you what would you want to do from here I'm not sure if the connections are great but hopefully that seemed there makes that just sort of work I mean and we didn't but something I'd want to do is like have one of them have like two layers of sheets so he's got like twice so have even longer and I mean there's a lot of things I mean that they're here I wonder I just don't trust those kind of these dynamics but this since they are connected I'm curious can you just like extrude I can make one out 100 if we could make one of them well we did it down to this position so the idea of doing that seems really sketchy we'd have to do in the before we baked it down States which is doable let's live dangerously man let's see we'll have to undo back to before we made it editable and I don't lose everything else so I'm gonna copy the lights and then undo cloners back boom delete the lights paste the lights and now we will clone two of them and one of them this one we will do some extra extrusion so let's see we guys see what the length of this is and the length is 15 I'm gonna copy that select that edge do you select the extra little ones I got hit the letter D for extrude and extrude it by that amount to say apply now I'm gonna hit transform again anything anything that I'm just gonna bunch of times two two two two two two two two so that might be more than there you go but yeah but that should that's extending them and now in this corridor that's going to transform what's it I always forget about that new transform button you just want to extrude out about that sometimes so this is going to do the same exploding that we had but we know how to fix that already so for the first few frames is go super freak out as they're trying to get to the new position but after oh oh I also undid all that nice oh there it goes oh wait wait Oh interesting so ripped off it totally ripped off that's interesting and the other one just went about one of them didn't even seem to clone yeah undo and just go to the belt because we changed the points it's D belted it's possible so that should be rebuilt it now and yeah that should be it maybe hit play let's see if it stays connected this time yeah I just had to when you change the you know once again the old system it had it had a it's points were set but we just changed three point count to the point so it doesn't know so yeah now especially with these being longer I'm assuming that we're going to need to tighten everything up yeah like we need to be a lot less flexible so I'm gonna put the flexion back up to 99 so they should become a lot stiffer overall and the turbulence should be showing out a little bit these are I'm still waiting for them to figure themselves out yeah bottom this bottom one seems a little yeah turbulence is really ripping through I don't think it's a turbulence I think if there's some sort of intersection happening on some oh it's just doing that it looks like it's working itself out yeah this I'm hoping like I think I can I think I can yeah it's getting there yeah there we go oh this looks so good okay alright so back to set initial state and now we've got alternating one sheet two sheets and yeah that's looking good and those are bending nicely let's see register under view and now okay here's kind of last thing I want to do already like a half hour over so we can you know we can cut this off whenever but I'd like to see if we can run rigid body dynamics on the sill on like a in fact I'm just gonna make a new make a duplicate of this cylinder and run dynamics on this cylinder and have everything be a child of it I will see if it's forced to follow I'm just curious so this one will be dynamic actually that's though this is in the reverse order of what I thought it was so he actually wants oh that's interesting why is a when I made the cloner editable there's double count yeah I think these made that or TP there's the foam there's these two dead empty ones that's interesting so there that the bottom one is the top one so great so they reverse order duplicate dynamic it doesn't have to be visible but I'm gonna make it visible just for our purposes and it's pretty low poly it's will be a rigid body simulation rigid body and just for our testing purposes I will make a Collider body just below it now I fully expect this just to fall straight down and it's gonna fall through them but it should bounce off of that if this works so well first of all let's just make sure that that does bounce down so rewind hit play and yeah not all of it but just that one's gonna fall turbulence is taking over but that's gonna fall okay so that bit is working now we've got this fully dynamic one I'm gonna make everything a child of it and make sure that this dynamic tag is not applying to the children so it's only calculating on itself so now let's see if the entire thing moves down and if it does move down does the belt move with it mm-hmm seemingly totally yes yeah which I'm kind of shocked by so yeah that is now these that is dynamic and that the cloth just has to go wherever the rest of it says so I think that will just still pass through things and it's probably it's it's not gonna behave great but we can make it pseudo dynamic if it's soft body obviously they look better we just can't build any soft buddy cool that's neat it's just it's just so crazy how both cloth and soft body have just been untouched for so long yet and you say that and it's like yes that stinks it desperately needs updated but for it being so old it is quite flexible and usable for a lot of things like it's it's pretty crazy I know you like to do this too but you try to recreate these crazy Houdini things you only see people use in Houdini for but then you can like oh actually like you can now with fields and you know stuff like that you can actually like trigger a cloth inflation because we have fields that can control vertex maps and then you can use the belt tag and you can influence the belt tag using a wait a vertex map and oh yeah all this stuff you can get super insane with with how deep you can go and I mean you know having said that I would love to see a updated system oh yes you know a more uniform dynamic system but it is it is still surprising what you can do with it so those are dynamic they're the turbulence is taking over in they're curious what they'll do when they roll because well I guess yeah yeah see this is gonna fight because you know it's not self colliding and we just gotta keep on maybe making them a little bit stiffer it's all about the flexion and yeah this old system you can't go above a hundred percent like if I type in a giant ember it goes to 100 so you just have to start iterating so I'm gonna say ten iterations but that means we have to counter pull down the stiffness so it's just like that's our is our thing but now these should be in theory ten times stiffer than they currently are oh wow they're super stiff that's actually I'm impressed that it's very stiff yeah that's cool yeah that's that's pretty good feel like if you just took us like a pause that you can get a good camera angle that works really nice for like a still lender you know totally well actually why don't why don't I save this and send it back here away and you can take you from here and do the set up for a final like animation or final render wanna yeah let me just take a look make sure everything I didn't miss anything oh oh I got a trade-off the dynamic ones unfortunately I've just made it a parent and I hate I hate doing this but I'm just going to make these invisible and then you have to make the children visible right I hate I hate doing that but just for for time sake I'm not going to do it this way do you it visible visible visible oh did I miss one I did miss one go away and come back alright nice so yeah that seems to be good oh yeah and I just want to make sure that these lines are coming with ya those lines are still there actually that looks surprisingly and it looks a meaning yeah I mean we got I think it would pull back on the weird thickness cuz getting lost there but I mean that's believable and I think that's like a lot of this is just tricking the eye like you don't need to go in there and model all these fine details like yeah you some hair yeah alright I'm gonna save this as number four and then as soon as you see number four pop in and you should be able take over here alright waiting for it go Internet yay go internet I think all right and your screen is back up this is how is g-man seamless I'll just save this i guess a I'm sure besides me having to force quit that one time I'm very impressed with its ability to this is very significant it's super smooth like yes this is no less elegant than if we're in the same room yeah I mean it's what you know times like these it forces you to try these things out and sometimes you're very surprised that you know how effective and you know live in a we live in the future yeah but even it's sometimes I've been wanting to have remote guests on and it's just like I'll get to it when I get to that because I like I I'm trying to alternate every other week and have a guest so this is also thank you yeah I might have got overboard with how much I stiffen it up but you can go back and do less iterations actually you could just take the flexion and drop it down like 50% and they'll start moving more but let me do that but I think what I want to do now just have like a little Collider guy here and get this so these guys are falling in a fun way oh yeah it totally pause it and like just get a nice camera angle and all that good stuff and render out a still let's do uh a cloth glider on that sphere and let's get our that cloth surface what are these hey Leo says yeah EJ break it some AJ smash oh yeah cloth tip just going back to we're now saying I don't like setting the advisability the stop lights where I was making them visible and not visible I hate doing it that way because you know like if we want that tire hierarchy to be disappeared for a second those lower ones are gonna fight back and they'll still be visible so what would have been better we're just trying to do this quick would have been to just make a null in the exact same position of the dynamic object and then use like a PSR constraint tag and then had it follow the dynamic object rather than being a child of the dynamic object see what this looks like with this collision I could also probably put some tags on it to make one not render in the other ones render but hey oh no did is it wait is it not why is this not oh it means me made edit and you added a cloth Collider tag that's not cloth that's regular dynamics Oh would need it and it doesn't need to be made it okay I don't need to make that a live woman you that's right that is all but that that'll work because even with the call sheet oh no the cloth will pass right through it so it just depends if you want which system yes yeah see yeah yeah nice yeah new this damn smack around EJ smack of a road okay so we need to needed time this this is the fun part is like whacking these things yeah well depending on what yeah there's a lot ways you could go about it you just interact it me it's running surprisingly well considering how many simulations are around you man yeah Wacom a little slower we could also just turn to the wind and everything off from affecting the dynamic the you know rigid body dynamics and then you could just set different custom initial velocities or even manually places it's pretty good there you go posit oh oh god no what's going on here I think oh yeah they're having the the soft bodies having trouble keeping up or the cloth is having trouble keeping up with it it might I just need a very I'm just gonna position things here and maybe knock s bottom just something like that try to art direct this a little bit yeah that it's pretty good see I like these two yeah even that one but this top one yeah maybe one more one more sphere to block the top from falling backwards too far yeah I remember which direction everything's going okay it's colliding it's colliding to get a little bit gap in there it's behaving differently it's that's a completely different situation it's still I think that top coat that delete that top one top one or just I'll move it off to the side or something so ricochets off it you get yeah there's a million things we do you could put the bounce parameters pretty high risk so there's like a lot of power if it hits it's but I don't think that's a good idea actually okay yeah then things'll be yeah we be minutes already having trouble keeping up okay so that knocked that top part how to still I mean we could also throw a dynamic sphere at it that's true yeah why don't we do that let's do that yes well we what are we doing here yeah why why are we just with these little I throw throw yes as the seconds from the top dynamics on hey go put it in front of him and set a custom initial velocity you smack them right in the face see the that's why I say you know whenever I do demos with dynamics I'm like I don't play video games because this is my video yeah we play we play cinema4d we play with play-doh and TP at people and now let's do in the Z 50 question mark this there there Oh need way more speed add a zero under there or speed need for speed be me to it oh it's yes but they're all hitting the C thank you I need to borrow money you just want one or have one coming from this direction oh yeah that could be yeah give it a negative Z negative do you but I think I hit the second from the top from the front really hard second from the top okay yeah they'd see that there pull that down just a little bit so it's only hitting the middle one yeah that guy I think that'll give you some mode no no no there yeah what that's smacking that guy okay oh it did you do that I see your negatives into all of them oh jeez what the heck oh-oh we definitely need no jumping on this one yeah that put it like right right up on it right on that and move it up so it's only in the top one let's crank this up let's go thousand ah harder to pull mental but a times two on everything five thousand Oh probably yeah that's for your also need two thousand oh my goodness I think we need to I think we need to let's get rid of that let's also there you go now we have alternating will actually have it hit this one to me move this one back and we'll hit the so we'll hit the bottom in the middle yeah be give they tilt I mean could just wanna play C's but that's about let's see I think to hang out Maddie see you next time who wants to watch just shoot balls at TP yep okay oh that's nice I like that good stuff where and need make the school and it's that closet that it's that mix of getting the nice-looking nice-looking collisions and falling and then getting the cloth but if you start smacking it too fast the cloth is gonna fall behind so you need reasonable speeds but you could you could also lower the friction on all of them so they're more likely to slide off each other more easily let me just put this one and then sure you said friction on what the top there's a series of objects called dynamic so if you search for search for dynamic with your magnifying glass and then ya grab those for dynamic tags and then remove a bunch of friction like potentially zero okay just so they can freely slide past each other that's okay there we go yeah so they'll freely move but I guess the friction them having friction is what makes that hill ting yeah although that's pretty good shot there but that one that one is this one on the bottom needs that I think this one needs friction may we just alternate friction amounts well that won't do anything if something is a hundred friction multiplied to something with zero friction then it's still zero ooh I'm sure there's more efficient ways of doing this we're just having fun with it now mom cloth look good it's pretty good that wasn't well I mean it's not wrong no well that one is twisting around itself really that would seem to be passing right I don't know it so high yeah I don't know why that's doing that Boop okay let's move this one this should be like a carnival game if I could just snap my fingers and have one feature in cinema it would be to have this belting and fixing that cloth has in soft body because this would just instantly be working in soft bodies right without needing all the fixed s-- things are tend to be one unified system because some factors yeah yeah and yeah fix connectors might work but hey it's it's this thing where I think this is hitting it too fast that it's pushing this and this is going forward like bad inertia there try this one more time do yeah because this gets hit and then I stopped it and this totally one yeah I think you know what at this point I think like the dynamic version of this is just it's not gonna cooperate that much so if you're actually trying to direct it at this point you should just manually move them around so let's do that because we can do that just yeah just move move those those dynamics around manually yeah or even their nose yeah and then you'll have to you have to yeah that will break but then you can let them pre-roll okay yeah it's a lot less fun but you'll be able to put them exactly where you want yeah see and then this goes back to what I said initially right it's like sometimes dynamics is you know overkill you can't get exactly what you want so it's better to just hand keyframe it than waste I mean it was fun wait I'm also I just realized if you're seeing the bottoms of them you'll perhaps a copy that's helix to the bottom as well if that's what's becoming prominent oh dang you're apt to delete the dynamics tags off of them otherwise they're gonna be falling oh-oh-oh-oh or at least turn the dynamics tags into off there you go snaps and then those will freak out for seconds and then well just keep letting go for a while it's gonna take a while for those to settle like it's gonna take like a hundred frames think I want this woman to just be oh god oh god no this one really whacked out like you know move this one close to the camera so this one can be really big okay okay that's that's now for the drumroll but it is nice that you can move these around I never thought to have this go on long enough so it resolves itself the cloth simulation resolves themselves you know yeah and Leo saying it might be possible to clear it and set it so they jump to their proper position for now this is working for us but that if that does work that'd be cool oh yeah that it yeah but it has to do that every single time you move it it's such a pain one of those a price sort itself out but that one is I sneaking in front of itself okay it's great angle though I like the angle which one is going away oh that this is the farm that's a front one okay yeah just yeah just let resolve until it's in the better position then yeah yeah just not blocking it first one but it would be cool yeah we can also animate we could keyframe this or die we could render it out and just do a couple frames of them wafting in the winds yeah so it could also be animated with it's kinda like just slightly moving so it's like a slow-mo yeah yeah just give this a pause at any moment where that one is looking good this is like intersecting the eyeball or something yeah it's really going back there and I'm a it should be seeing the collisions on it but it's only the collision is only on the cylinder and not on the eyes so but you just wouldn't you you wouldn't want that happening anyway it might just be the yeah maybe even tilt the window a bit to the left like so that they'll be info yeah there you go give it a second get out of the way TP there it goes there it goes almost almost get a good silhouette there Oh God the sale of the the other one came way out yeah okay I it's pretty I mean that's a few a few more frames I take that as the the frontal one I don't like the way that one is right resolved yet but it's get it's getting there see yeah I mean that's even that's better posit there okay I think that was a good start point so before you do anything click on search for sheet and then grab all of those and say set to initial there you go so now you should be able rewind watch and that's where those starches should we said it play it again I mean you if you want to find a better frame but at least they won't pop yeah yeah I think that I think I'm liking that yeah I'm liking that so now let's save good redshift let's get our redshift camera someone said fisheye lens so we'll try the fisheye yeah and then definitely there's definitely some wonky subdivision so we might need to put the at least that one into Auto for shadows good call depth of field for sure hell yeah um fisheye and this is fun that's super fun okay so yeah the the only thing is you can't see the sea ammos well if you if you let resolve a little more I think I think that's flooded resolve wiki I think we're using resolve the wrong way too well let it simulate for a few more frames let's make sure the wind is facing oh yeah and turn off the renderer oh I guess you kind of can't because we need to see we just see which way the fan is going it is that direction but only slightly yeah cuz it's z+ that's always forward this would just need this to go that one needs to go left yeah actually you doing good jacket the other ones go and random that already try that right there from the top anyway that looks like it's gonna be good yeah yeah it is weird that you have to be zoomed in so much to see the fissure yeah okay yeah at least now you're seeing yeah there's seeing a little weirdness right there it's a lot better no guys a lot but yeah if you get good framing this one's too angled up but Pro Tools is saying remember at the beginning when you said Oh toilet paper that's an easy one a hundred and sixty minutes later right all right let's angle this guy down Oh yo to resolve and now resolve go TP go doo-doo-doo-doo actually I didn't do that long for that to do that well if you didn't move it much it would take a lot less TP go okay I really like that bottom one but that left one you don't see anything yeah only barely any so maybe I'll rotate this guy yeah the back one on the front one are a little similar yeah like that I need to whoa its fluttering it's fluttering oh we got a question about our computer specs oh don't ask about mine yeah don't want to know and then trying to remember so that I had mine listed somewhere but I think I can go to my settings and be able to see it system [Music] and you see that's boring I have this angled up and about your PC ivan i 9a9 979 60x I think to 64 gigs of RAM go down I think we're getting think we're getting somewhere well nope this was looking good right there yeah yeah you gotta be quick on the draw okay what is looking nice just now I need that one all right we got all the flowing now all the fatimah see it's pretty good just got watch out for the tangent from the front one in the back one because those are very close to each other might need to rotate just yeah there we go that just breaking that tangent yeah yeah there's definitely some we got a deal with a shadow or some translucency when it comes to the single sheets because some of the shadows really dark on them sure what the best way to go about fixing those would be and also I don't know if you want to but you might wanna shal again just to make sure you don't lose the good one in case you rewind I'm glad we stopped running the dynamic trying to throw the spheres at them I don't think we would have ever yeah we were valve it it's like wait no no wait no and then oh uh the helix needs to be copied to the bottom of two of them there's the helix helix yeah just manually can you just do it up to you just copy it once inside of itself and scoot it down you probably set it to negative Y which one means move whichever the front one it well anyway don't you seen the bottom because the helix is only on the tops Oh duh duh yeah yeah yeah but yeah just you have to do them individually but he duplicate that bottom helix and just said it too you can't do it from here well I guess you mmm I mean I'm just sorry think of the quickest way but yeah just whichever one is a front one I don't know which one is physically different one just set it to negative Y and it's helix and that should know we I don't think you put on the ground so you have to manually move it so just do this yeah there you go yeah yeah yeah yes yes okay because you probably you still doing this on too much yeah yeah fighting for screen space yeah such a big difference between streaming and trying to think how you get Leah or that's great so I guess that uh let's see TP main it doesn't want any red we've got a lot of weight on this I don't know I mean backlight getting darker now yeah backlight is it gets darker as you go up she's weird well I mean we might not want to use backlight because if the nature of it being like super thin also do those actually I didn't think about it but the part of the problem there might be coming from the thickness we gave it maybe turn off the cloud surfaces cuz that's not giving us too much I'm just curious what the which one which is a front one actually that didn't wait to still went on at the bottom so this is this one you're missing yeah search for oh that's the top one yeah that didn't seem to change anything honestly yeah so what's the just making it so he said I need a little omission on it but yeah I know I know Zach yeah you could do that yeah I don't exactly saying that we could just change the material that's just on the sheets instead of everything but I don't know I I always like just changing the material let's try that flow just to make sure you're adjusting the texture that's apply to yeah because there are two or three different materials so make sure that we're on the proper one because if you're like tweaking the one that's doesn't have the perforation then we'd be like what's going on okay sheet [Music] we got all the but see I don't I don't like the idea of changing its setting individually because you you see where it's connected on one of them so if it suddenly gets brighter and it's not getting brighter everywhere it's not gonna work yeah so it just goes to like you know can that handle subsurface or do we have to go easier on our shadows like reducing a really harsh shadow or something there yeah could you see yeah that doesn't work uoq mm-hmm maybe a little bitter this is by the way very different from the usual episode to get EJ involved yeah yeah yeah translucent that's what we were using was a lot of translucency yeah see through but see now we are just seeing through it you don't see if you toilet paper I mean you're maybe 5% but I just need to you know we haven't turned on actually the radii render settings there's not that oh my goodness oh god no we achieved yeah Zack is probably right backlight is meant to replace like super thin objects not volumes right but see I could go a long way here and Joe was saying save I did he's been he's been short cut saving old man you can just put like yeah they're just different yeah we could have a little headbands on me down just say it's a color of the eyeballs so that they met yeah there you go got Donatello already yeah let's get some laughs favorite let's get some Raphael of course you like Donatello it's the Brainiac Leonardo I didn't always like the adventure characters Mikey leo and these won't update so just gonna throw them on here boss is so annoying with ya don't know what's what yeah you might want to rename the hierarchy just for like fronts like 1st 2nd 3rd 4th so you know which ones from front the back or something yeah at this point doesn't matter yeah I I tend to agree ah there we go blue blue and blue then there we go we might need to change the ellipse to something more neutral though right on [Music] maybe I might be where your bow if it's just white or like a very light gray yeah yeah yeah let the eyes pop the color everything else can be yeah or just new pink I think we need a yeah Leo's mentioned a but I think we need some sort of radial or not radial gradient but like a circular gradient in the back so they're kind of popping from the explosion oh sure they're his white down avoid of light pink yeah I know I want pink is creeping me out a little bit what's that pink is creeping me out a little bit I think pink looks better than gray someone says but I don't know pink was creeping me out though what is the best way to get gradients in the background yeah that's a good question vignette a camera tag so it says oh this is why it's great doing this kind of work with I know it's not because somebody do this I think we're just a plane with a ramp is another way though so under exposure there's a there's a vignette in setting oh there we go dude why won't you vignette right now I'm thinking just a plane yeah easy solution oh wait were you doing that in the camera it would have to be on the tag it's under exposure override yeah wait oh okay is what you doing it okay change the color someone says no oh what's it something appeared down on the ground or has that always been there oh that's the plane I just added here oh whoa whoa scale the heck into that sucker you sure yeah cow well make it a child of the camera and you can just adapt the rotation of the camera and then it should yeah yeah it said the whatever your closest tonight nope no okay yeah that works yeah look how easy and shrink it so we can get and that's already got the vignette like building it might be you know we have like four different people saying different ways of doing it a plane the plane might affect the lighting yeah I'm saying but that's also wired if you want like that backlight from the from the GI right maybe we so this is where we could use no want to make this break so this is where I will need to have like a light here in the back well yeah well if we make this luminance plain then we could just get at the cast light right it we turn GI on G eyes on I just need to change the lights here whoops let's go down to nothing doo-doo-doo-doo let's see if you change the color by clicking the small triangle instead of popping out the window color you can see the result in real time that's probably a good point and I would be doing the same thing EJ is so if I pop out the color do the toilet right now you see the color bar up there like where it says color yeah I think what we've been doing is double-clicking opening here it'll automatically update so it's problem when it comes to a real-time renderer that's probably yeah that's true yeah protip oh yeah bezel that's a good point there's probably background there's a background image setting in a dome light we're not that's not the path or going down now but yeah we'll keep that in mind in the future Oh in the dome light that's right yeah because I have a dome light already in here you can yeah we could have just turned on the background and throw in an ingredient or something okay it's all blown out now yeah I know I kind of like the butter white I mean I know that it's maybe bad you did but it was I don't know they just felt softer they looked more cuddly when it was white all right no I thought I had save thought I had a G I turned on Oh [Music] Layton's it up a little bit yeah it's all blown out yeah this I think we need to have the background color something what color background green green for the Turtles voltar do it for the Turtles but because it's the they'd none of them have green in their eyes right like neon green is super green the little little Fay little green yeah better there we go digging it see now so actually that's not it's not wrong Dean is saying like I say he's saying cricket crowd come on heads out of the gutter I mean it is anthropomorphic toilet paper yeah what'd you do today we spent three hours making happy toilet paper rolls yeah let's do to make this overhead a little several people are seconding making it brown it's brown flush I mean it's it's on it's on it's on Brant or it's oh yeah let's see see what it looks like brown a nice rich chocolatey Brown look at tan yeah it's tan maybe from a baby maybe a chocolatey dad chocolatey there we go like skin color yeah we need that we need to illuminate the center or get a radial or a circular gradient on there like some sort of brighter in the center darker in the end yeah it's milk chocolate brown yeah let's see let's make a another light well what I can do is just have this effect the background yep include crude a sack is on the exact same page shoot by whom whoo-hoo there you go that's the chick you Howard talkin where yeah I think we need were blown out a little bit on the toilet paper war brown more Brown even darker dark rich brown going to brown taupe not that much split the difference did you do okay so now we're overblown on our yeah the front ones definitely blown out yeah everybody just wants to lower the intensity and something like that yeah not the exposure actually I think with these we don't want I think for these we just that's we don't want to affect the plane [Music] yeah that's better just have this background light illuminating everything got that vignette and then what wanna well it's I guess see what you got there they looked actually pretty balanced but another game blowing out again I'm not sure we just change but it seemed balanced for a second so those are two brights it's pretty good it's pretty good just a little flat in the front some rim light on the in the left so it says yep on it I want to make it neither too late this can just be a nice overhead light [Music] use a spotlight well we gotta go I do appreciate all the feedback from everybody we can't we can't order it all these art directors here that man just five Simon art directors I think on I think we're getting close I think we're getting close yeah there's there's a nice pop to it little blown out but it's a little can you make the logo bigger yeah it is a weird episode one for the ages hey your first live remote livestream had to be something a little bit different yeah it certainly is Herrera source is saying could they be napkins instead toilet or paper towel rolls or the furthest now this guy facing directly on is kind of bothering me so well it's the front super blown at two plus what you're seeing so what I'm seeing on my end it's not blown out but on the live stream it looks blown out so I think that's the issue we're having here could be looks awesome this isn't the most calibrated monitor yeah actually I just switch the other monitor it's a little better yeah yeah dang live stream fart directors okay now it's blown out I shouldn't move that okay well everybody seems to approve okay of let's do that we've taken okay this does not look blown out where I where I'm sitting okay if you say so it does look like that on mine but yeah see because I see on the live stream it is kind of blown out so it looks better on mine but yeah that one side looks blown out but it's looking good so one thing is there a no-knock teen there's like a render setting where you can clamp cutoff thresholds [Music] I think it also got to throw on some sort of redshift subdivision on the sheets because definitely that bottom one you curling I'm not sure what the best setting will be Oh Leo saying like cool hold it let's uh let's let's start another question now it started Nick see three more hours do it oh yeah know that we are now in the longest episode of the season at least I've got three hours and all we did was toilet paper oh yeah also I answered one quick one about a mattress we all learned something about each other today I think that that's the most important thing we learned a lot about the chat as well yeah yeah I think the Julie quick chat really brought it today geometry override enabled ooh that's nice already I think it's due I think that looks good actually I always want to say that this is limit out of frustration test out of frustration yeah so angry at this okay the I do agree with that cross fader is saying that the the red there's somebody I mean I know you're going for the turtles but the red is the dominant color here and it's kind of clashing with the background like the purple and the blue are like nice and soft oh right yeah that's a cooler yeah so we can pull away from the turtles and to do whatever we want and then even the orange now is too close to the background I do agree with that retro tribute I were just going to do oh oh yeah and we forgot that the field oh yeah we didn't do depth I'm just gonna turn all of them purple they're all Donatello's and I'm doing the blue little shimmy yeah well save depth of field depth of DOF shift camera boca enabled am I doing this right all right focus distance from camera no [Music] it's just adjusting the f-stop no I always just thought it was rich if camera this is just under blue mm-hmm nope okay you entered your polka that's both yeah and then Rocio see you radius there go that's the stuff and now okay we figured out just before the chat started shouting out all the correct answers so so focus on this guy and then yep circle of confusion circle of confusion I think when I change you all right I changed something though the exposure just get that back to where it was how's the art directors do it they like that mom well if you D the saying motion blur would work better than COC but we'd have to have it you're moving that's so that's gonna happen that's a little tougher I don't I don't yeah I know you could move the camera but I mean it would be cool but I don't I just don't think we're gonna go that direction can actually adjust the offset or the aspect it looks like they're moving yeah yeah well even if we were to move the camera and do that we want one of them to like be still in the frame otherwise they're almost gonna be streaky so yeah Johnny is saying that he's used to Arnold and some octane but it's feeling like redshift is a little bit weirder and maybe more complicated that could just be the way we're using it that we're making it seem on elegant because the two of us can are we rolling around in it yeah two of us put together our amateur redshift artists I just simply don't render things in general but is there a way to adjust like how much the like how you can in regular render you can adjust exactly what that distances from that focal distance it's an mm I think it's just a yeah it's just the COC just a sort of confused like if I want to blur this all the way out I can't like I want to focus on this I can't extend that debt you know I don't know if such things let's just you to call it done let's put a lot on it but that's what that's like we're getting this are these what's that just come with it or yeah they're not the best yeah they're all pretty intense what's carbon saber that's it's very carbon Seabury I don't know what that mom honey City style Thrun rain slog I don't know those we're doing it for me like you had it pretty well dialed in yeah yeah it's not let's not do anything Oh what happened now what happened is that I guess that's so I guess that yeah I mean that's looking good and then the one of the things I thought was like a render artifact it's just the toilet paper folded in on itself so I had to pull my screen up bigger oh yeah they're so happy I think you just fit the mouth a little bit or something on one or two of them just pull the spline that should be super quick I'll also save it yeah when I increase the size of that everybody saying just fix it in post position post all right move I'll just close that and get out of this camera and let's just do tubes mouth actually you know it suddenly popped my head would be we shouldn't do it in the stream but you know those uh almost like a cinemagraph type of thing where the camera just moves a little bit left to right left to right it just oh yeah it just gives you the parallax yeah like that would work well for here just that little bit of parallax depth of field ah good idea Jess but we didn't think of it and now they're all simulated and they're stuck but we should have had wonderful be upside down Oh rotate the face I've seen that busy handles here oh yeah it's well it's just the red shift lighting change uh yeah display change your display modes to a non textured like quick shading there we go yeah what happened to the teeth I don't know I think they flipped their orientation you'll have to offset them again well maybe that one just doesn't have teeth they cannot be a little different okay yeah no teeth got teeth knocked out by those uh by the spheres were bashing on to do this one will just change this one really quick have him be upside down you've already arranged it just flip it upside down oh just the yeah we don't need to do that dynamics anyone yeah well don't not a whole model just the faith oh yeah we'll just spin the mouth who is safer oh yeah it's the hard thing with this character is that yeah there's a third so it just makes it look frowny I guess yeah they're upside down I guess you could scoot the mouth down further or I guess up further if it's supposed to be upside down let's see now he's right side up move the eyes down a little and the mouth up a little and I think it'll read eyes down oh yeah there we go the mouth up a little and then I think it'll read really clearly it's upside down there that looks upside down I think so yeah it's just as long as you have the mouth up a little bit that's the thing with these mouths and they're centered like that yeah your brain to fill them in yeah yeah all right I like that he was concerned it down there this one can look a little conceit can be like oh god these look a little cheeky day this one will be a little more and about to open like like the top and bottom point move them up so it's kind of like an O shape like oh I have one guy that's like that oh you really then yeah the teeth are flipping that's very weird yeah it's just the way splines behave yeah they don't have a rail so right so this one can just lose the teeth yeah where you could give him a whole mouthful of teeth tubes goodbye sums like oh hey okay let's go back into our fish I save redshift render view good bakit render hmm no I Johnny I'm there with you like the next thing we gotta do is tweak of couple pupils Oh cuz oh I had them changed but you yeah yeah no I killed well yeah when we made them more just maker thank go went away but easy to tweak here just don't do it yeah just just rotate them a little up and down nothing too crazy yeah that was fine that was already upside down so he look great you this one we'll look at the camera yeah yeah there you go yeah stare into your eyes crap was I of course I was looking directly through the camera oops yeah no he's happy yeah yeah let's turn down this dome late a little more contrast there all right TP TP dumb TP it's done this no this guy over here is overexposed oh yeah all right yeah I call that a successful livestream and see the portion of the show where you just fart with lights yeah well this is that that's the upper last 5% will never go yep the one thing I don't like about ready yes Lesley some vignettes really strong now [Music] kind of like a little darker anyway it makes it less are more brown yo yeah just make a little bigger and then Willis bright yeah it's the world they live in boom alright and then I'll just save this into though now when you're doing this type of thing would you spend any time in Photoshop doing any kind of tweaks or anything or not with not with third-party renders you know and because you can do what's everything all in camera you know so it's not not really a thing yeah well you and I have talked about you and I are a lot less likely to spend a lot of time in post and it's just like oh no it's all and render which is really nuts which is spoken by people who don't spend a lot of time in production right yeah exactly just up the samples a little bit yeah pretty sure he's saving but somebody's good so you haven't saved it so I've so trust me oh you trust me nice big render well I didn't even do Full HD damn it oh yeah or we do Instagram boom square that up oh what's going on there everything sumed out I think your aspect ratio change because of making it square so now you have to zoom up a bit or well whoa careful to do this again it's actually physics where composition pretty good actually not in the camera I know sure if your tree oh do we well it doesn't even matter what that looks like there yeah because this is all that matters so it's weird that see this just zoom up yeah well that's the edge with the fisheye I don't think that's oh I guess you can't just zoom is there a way to see like your boundaries in here very weird I don't I don't have an answer for because you'd want to see like what is the safe area right I think I'm sure there is frame region frame [Music] hello anyone anything I think no nobody's I think it's just like this renderview window cuz whatever size you make it is what its adapting to yeah but it uh but an octane for example you know you have well stretches square just stretch the overall window square oh so that's yeah but see it's adapting to whatever you feed in so the window am i zoomed in on the IPR yeah I was well yeah well yeah but regardless it still got the giant circle there right it's weird let's render wine rendering at if whatever you know what we'll fix that in post yeah just render a double scale and then will crop it in Photoshop because that's basically what you need to do I think this is just the this is just the result of using fisheye so what I would do is just double the size and just cropped in like that yeah yeah do it yeah once we crop in those great times to PNG yeah yeah go 16-bit oh she blames once this is rendered the collet well we got crop it and then we can call it never use a fisheye camera before yeah I think this is just the yeah well pain out there just paint it alright let's see it looks blown out on your end but it's it's good over here yeah no my might this screen is not I actually usually have my Cintiq screen but my brother wanted to borrow it so I borrow him his monitor instead and this is not calibrated for like art and stuff so I have my screen let's go into Photoshop Photoshop Photoshop little koala pre yeah well koala guy yeah we'll see though on instagram soon so give this the size this is the right I can't remember if it's canvas or welcome what I would do oh no it's a hit yeah I hit cancel I don't just want proper I just select all copy so ctrl a ctrl C and now crop it and it paste it in a movie where the heck you want yeah now crop it however you are wanting didn't you copied and not just duplicate it right the copy was important but I dunno what sizes it's a ratio yeah but you need your 1080 all I want you the way you were okay but the way you were doing it was fine I just want you to copy the image for so you could paste it in but yeah canvas size is what we do there we have it save save the shared folder yes alrighty man alright so let's pop that up full screen and then let's chat we'll close it out with a chat and we'll be done oh that's awesome I'm up and you see the curvature and you get the little you get the low texture their line is important a little bit of texture mm-hmm now if we really wanted to go we would have us that that we would have offset this on all of them I was gonna suggest that and I was like hey yeah there is this little thing going on there fix it that clone stamp that one oh well all right all right all right here the rightmost one that's happy he's just like yeah everyone else is freaking out well the front ones cool but this one's right I don't know about that yeah upside down it's definitely concerned yep I have concerns 1 million hearts on Instagram thank you I I think so too yep no this is don't worry this is going on Instagram oh yeah so you could just yeah just paint this out let's get that magic by magic thingy tool zoom way up see boom magic thingy - uh done save save repeating poop texture Oh God and pencils down yeah that was uh that was a lot there's a intense for what we end up with here but I think they're cool I like them okay I jump us to chat screen here's works but uh alright alright everybody we're gonna wrap this one up for this so man we're talking about words EP after three three hours I think we all need to we rapidly yeah heading to know I mean it's must end at four so we're almost two hours over so we've almost gotten we're heading towards four hours at this point so much better than another half hour with simulation you both make my day and these strange times stay healthy keep social distancing thank you so much I'm glad like you know if you're good if there's gonna be a time to just goof around it's it's these times yeah just make your own fun you get a job you got to do yeah so yeah it was a weird one and fun but you know what this was fun and I'll see I was 1 a.m. in Greece Wow Wow killing ass Dana who's it latest for that's ignore authorities at 4:30 like in the morning or 4:30 in like the late afternoon because that's an important distinction I guess I can't it has to be in the morning because it's almost the same time is here and there's no way he on the other side of the plate a that's different but that's super crazy and you know I'm sure this is not the last time we'll get EJ on the stream so this is fun yeah this is really cool for 13 in the morning in India or how yanks thanks for staying oh that's crazy [Music] about midnight in France so yeah this should wrap this up I guess we'll discover the last basics all these scene files will be available on patreon thank you so much everybody for supporting it there'll be a bonus stream tomorrow and then let's see I think of other news things do you have anything coming up any other streams you're involved in or anything EJ I think the marathon streams will pause for a while yeah you do Monday Tuesday Wednesday non-stop streaming from you yeah the one thing to that I we can announce is that you know we did a kind of internal like school motion alumni livestream about and Ryan summers was doing real reviews it was a runaway hit so we're gonna be opening that up to the general public sometime soon so if you want to I'm sure we'll be putting out information for the people that want to get their reels reviewed by Ryan summers use amazing creative director used to work at digital kitchen I like a fellow Chicago you say Chicago yeah but yeah we're gonna be ramping up the live streams quite a bit we got a lot of tutorial content tomorrow we have an article on school motion that's gonna have 50 free textures that you can download for free and there's gonna be a list of 50 texture websites that are like not crappy textures but like legit textures to normal Maps bump maps that are done a lot of free resources that's coming out tomorrow nice yeah there's a lot of cool stuff coming out of school emotion right now Joel is asking about the max on nab stream and I think both of us are presenting from them yes that's true yeah yeah okay maybe that's that'll be my next live stream we'll see I mean how far away is that what is it it's a little less than a month away yeah that's that's enough time I think let's see yeah this should wrap this up thanks for the link in there Pro Tools if you want to continue the conversation we've got a rocket lasso slack channel you get to it they're going to rocket lasso slack calm and just pop right in and so all the same people will be in there chatting and answering and asking questions so it's really fun okay see everybody on the bonus stream tomorrow for patreon and otherwise I'll see everybody Wednesday thank you so much EJ everybody make sure you're probably already following EJ it's like almost impossible that you're not so make sure you are following him and Instagram and all that so we can post our nice render today on it and that should that should wrap this one up thanks so much everybody and see you next time Bob thanks Chris [Music] [Music] [Music] [Music] [Music] you

Channel: RocketLasso

Views: 3,529

Rating: 4.9424462 out of 5

Keywords:

Id: u4JAKP4NiHs

Length: 213min 55sec (12835 seconds)

Published: Thu Apr 02 2020