Rocket Lasso Live S2 Ep 23

hello everyone and welcome to rocket lasso live it is Wednesday it is episode 23 I am Chris MIT and we're gonna be answering questions about cinema 4d both from a live twitch chat and from a live YouTube chat so I never quite know what's going to be coming a couple of quick notes today while I'm thinking about it I just launched a new tutorial actually yesterday I had no yesterday they were doing work out in the alley and I had no electricity so I couldn't do my bonus stream yesterday unfortunately and I couldn't post my tutorial my weekly tutorial so I all went out today I'm really excited about the one that came out today let's move this the the tutorial is I think it's a really fun technique there's a lot of really neat details to that people can make it their own and there's just so much variation and uniqueness that people could build in it's actually a two-parter one is pretty short for me only about 30 minutes of information to do the core stuff and then another video that is just exploring more techniques but you know it's not the core information and then let's see if this works I have I put together a little animation to make sure that audio is on I just posted this on Instagram so [Music] that's the new tutorial that is currently live in fact here's a link to it directly you should go check it out if you want to see it and make sure you ask me on any social media platforms if you make something cool from it but I just want to make sure to share that because I think it's a good one oh we've already got lots of questions coming in from everybody before I forget make sure you subscribe to the second rocket lasso channel there is a second youtube channel called rocket lasso live where I'm posting all of the currents all the the replays of these videos the main channel is just for the weekly tutorials now and the more official things so that should cover that we've got questions coming in all over the place there's a lot of things coming in on Twitch so I'm gonna grab one from there let's see there any names that I don't click too often those this link work oh yeah that's that's the broken link so I can't click that one maybe a fixed one comes in um this guy makes crazy shapes and loops and cinema oh I might know what it is we'll find out nope not what I was thinking let's see we've got here firstly this is from you on visuals you one one you want maybe you want that otherwise YouTube can get angry whoa that's really crazy let's see 108 calling out what don't put any like tags or anything for what it might have done so we just have to look at it and figure out what we're seeing here pretty cool young are the crazy colors travelling along as a important detail on this one as well interesting I've got some basic ideas I'm trying to think it through a little bit more the code the colorizing of them I'd only have any theory on and I'll say even when it comes to the spline there's some plugins and we don't want to use any plugins for this if we don't have to that can do sort of spline slicing based on levels it's that's surprisingly surprisingly possibly tricky these are all static they're not animating independently and then you get these there's some of these shapes that seem to you see there's like a empty middle void there's a lot of cool things about this one so I don't mind spending a little bit of time tackling it the everybody's talking about most flying turtles lately I have not okay I'm gonna have to tinker with them I just don't have any intuition for the way they work I have the idea of sort of how they work but I don't know if that kind of thing would we really work I was more like branching in trees not not specifically curvy things now mmm I mean I trying to think of a way of doing it not dynamically because dynamics can give us a lot of trouble with this type of setup to tell you the truth some spline dynamics at the same time we could sweep a more complicated shape and that could be a straightforward way of doing it and then we could do I don't think it's how that one was done like one thought would be we could do a slice of a some sort of displaced landscape the most I'm not sure about this there's a lot of different directions we can go highly subdivide a plane just as a quick example I'm not sure if we'll stay on this one I've been becoming a fan of displacing things with the plaintiff Ector turning into a point based deformation and then inside the fall-off though this will push out on currently on why I want it to be on Z eyeshadows when I get a child so we can see it so it's gonna push up whatever 200 units inside fall-off I can feed a random field and just makes everything a little more metric and these calculate technically a little cleaner and you see it's really easy to interactively do this without like traveling inside of a noise so if we were to make some sort of landscape shape say like this the scale is kind of relative if we make it smaller it might be a good idea and it's pretty simple to overlay this on top of some secondary shape I could make a box shape T for scale approximately large enough to capture the edges give it a full box field remapping inner offset so we have a full transition there that can multiply on top of its and I see we've get this nice fall-off traveling up towards the center so if we did that type of thing I believe mmm parametrically there's no you know outside of a plugin there's no way of parametrically doing this but I'm thinking if we put that into a connect I'm gonna make it editable maybe we can go back to a lighter version if we need to oh wait um wasn't there a way there might be a way I'm gonna attempt a parametric way I'm not sure if it will work but well it'll be slightly more parametric if we put this into a fracture object then we can it's gonna make these separate breaks and isn't there a way of yeah we can go to selections and grab the edge surface break edges edge vertices mm-hmm might have to be this one I'm not sure certain so exposes that as a parameter it's gonna be hard to tell exactly so we'll just make this editable and I just want yeah okay that that is the one that creates the outline which is good now I can undo this is currently being fed these random chunks because the source is a random point distribution instead we feed it something linear very clean say a matrix object set to linear this will travel upward pick as many of these as we want if we feed the matrix in as the source it's going to start doing horizontal slices because at any given point that slice is the Clos to one of these given matrixes yeah I'm glad I remember this so we can increase the count decrease how far apart they are from each other let's say about 10 so now you can see we're actually getting something parametric esque doing a series of slices and the hope would be can we return it as a single I don't think we could tell to re return as a single object but perhaps if I feed this I'm going to create a connect without making an automatic parent because first I want to turn off weld there are a lot of points feed that in here I make that editable I think all of those different sections will be welded down if I double click you can now see I get the edges actually welding it might be a good idea that I think about it because if we don't weld it there'll be double points in that section so if I make it editable let's see if that selection is still good and it is so we do have to make it editable right there to get this initial one but this is now successfully giving us an edge selection hitting shift see typing in the word edge we can find edge to spline there is no shortcuts you have to that's the quickest way to do it that will have created a spline which I go to object mode copy the spline and then hit undo until this becomes parametric again holding my own ctrl or command I can hit the check box and they'll all turn off in fact I don't think you'll hurt anything they put that in the hierarchy as well so now it exists but we don't need it to be in our way paste in the spline and now we've got a relatively clean version of this the point distribution is gonna be a little bit wonky no easy way around that for easy distribution of points but I'm not terribly worried about that and depending on what we're doing I mean if we're looking at that reference we didn't push this too far before looking at the reference I think if we paste the second copy of it and turn one off on one of them zero it out so it's zero Heights and William zero down why so it's completely flat and we get this kind of fun flat topographical look maybe more slices would've been justified but it's very clean and then and if we were to take an extrude and extrude this upward hit and a so we're just seeing the final geometry it's very cool-looking turning on an SSA oh so there's a little bit of depth in it see a little more clearly if we drive this if we displace the connects line which actually I think we can just steal this plane I can hold down control as I make a copy that will deform of that geometry reactivate it the plane seems to want to push it in some strange directions so I'm going to make sure that it is deforming based not on the node but the effector I think the effector let's say oh that's oh there's some funky things we might be able to do with that oh and I guess the effector might be real or it's pushing on Z now because we're based on the effector we want to push this on Y so now because it's actually the same noise in the same placement we can actually get the same height field back again but a little bit more it I know it's kind of weird looks a little bit more parametric there but now we can put feet in animation speed and then if I play these will transition around although it is tilting over oh the mate this is currently an auto direction and as it displaces I guess it might be changing that so I'm gonna say just beyond why yeah there we go so those all now push upward and we're getting this effect if we were to just zoom up on something like this I think we've got a reasonable similar idea to what we were just seeing I wonder I know this is a good idea but currently it's an extrude which means we're stuck we're stuck to this kind of big thickness I could drop it down to something smaller but you see they we're going to get this more ribbon effect I don't know if this will work but instead of an extrude if I make two copies of the spline one that is displaced and the other that isn't I want to see if it's possible to feed these both into a loft and if it will transition between them okay it does I don't know if this will work because I think each one is going to get a certain yeah do you see how there are 16 segments that travel around I think every single one of fines is going to get 16 segments tell it not to subdivide individually as I increase this is gonna get smoother but you can see that the ones that are really small have a cartoonish amount of geometry generated on them and the ones that don't or need more and more and more and more so there's a lot of wasted geometry there but the advantage to this is you see that lays flat on the ground what's really cool down there and then we get whatever height we want to feed it um having said that let me just so you know there's always a million ways of doing everything here's a way of doing it just with the extrude which was behaving better because these are more even in their distributions so if I told this to extrude not very much you know let's just say 10 is a fine number I can say instead of deforming the spline that lets deform the extrude itself so the entire extrude is pushing up and down which visually isn't going to do anything until we add another fall-off this new fall-off will be linear linear it shall face on the y-axis shrink that way down and if I move this to the proper spot I think I have it backwards let's say Y - whoa whoa maybe I didn't have it backwards let me think oh well that's set to max let's multiply it as well so it's sort of like a mask there we go I think or so is it on the bottom it should be from the side the linear field should be affecting just the top layer yeah like this actually what we should be able to just put this in between so everything above is affect everything below isn't and if it's backwards if it's not working then we have to flip it and I feel like it is still backwards so y plus there we go so now we've got the best of both worlds we got the proper subdivision and everything's getting pushed up with its being pretty clean overall hitting na we see that final geometry it might be nice if it's we could try smoothing it a little bit because we get some of these pinches because it's not evenly subdivided [Music] it's smoothing put in a smoothing the former before hand and B hopefully we can see as we in get rid of all of the stiffness and as I with very few iterations you see that there might be some pinching actually doesn't seem to be doing a great job of spreading them out temporarily turn off the plane so here's what we're actually looking at and currently that plane is not deforming anything and my hope would be that as we increase or decrease this that these would be moving around but they really aren't now does that am i oh that's the first I think it's the first child in no it still doesn't really make a difference I'm kind of surprised but it could just be the nature of the way that this is laid out I'm also a little bit surprised that this extrude is working at all with this being the first child I think that it wouldn't see anything he's up for the initial spline but it's working yeah this point distributions bothering me a little bit it's just gonna stop it from smoothing a lot where I do want to put us I'll do some surface on there we don't need too much but we're gonna start we're hitting some of these pinches in the corners those edges might not be welded we might be able to put the entire thing into a connect it would weld the ones that are too close together it's going to slow it down a bit but if we put this up to a larger number yeah you see a lot of those really small ones are getting welded together so it might make cleaner geometry overall but we do have to be careful you can push it too far and in fact the way some of them are getting pinched or not pinched it's a little bit weird that's what's throwing me off is these extrudes which should be a very clean extrude you see there's actually splitting off in the two points I don't know how that's possible looks like this but as it extrudes if as it deforms it from the extrude it's a little bit weird let's try deforming the aftermath of it so that should be welded together and then get to formed there we go that seems to have allowed those although what does it look like we're getting a visual double layer there a lot of interesting little weirdness is happening okay well I moved it to be a sibling instead of a child of it and that seems to affect fixed it this is the order of operations is being very particular not in a good way but this is showing a better cleaner version of cleaning up that supplying where this connect becomes a some sort of resolution to clean those up although if we go too far they might start welding each other upwards although I thought the extrude was ten so you wouldn't think that that would happen too much but yeah there we go it's like that and then the subject surface couldn't perhaps smooth the entire thing out reasonably so everything becomes nice and smooth so that's a lot of that's a lot of work to get some of the basics here but I do think it looks cool now saving it is a good idea if you are supporting on patreon you can get access to these scene files for your own or reverse engineering purposes mmm lines glue mmm perhaps let's just check the I'm just checking the chat to make sure there's nothing too crazy going on but we'll keep on going alright seems to be working alright excellent now another big variable there was that we were seeing that the splines were existing as a separate thing let's look at the reference again quickly pretty neat so yeah very thin and then there's almost seem to have a little bit of physical form to them several things you can see that they seem to light up not everywhere so there almost seems to be a noise based thickness on where they show up and then each individual line is that true actually it's hard to tell no no Sara Lee see this pink is transitioning into a blue so I thought that maybe pink would be on the same line everywhere but it just seems to be passing through a noise which actually makes this way easier if we're trying to do identical I don't like aiming for identical but let's let's tinker a little bit and see what we can end up with we already know this plane is doing the proper deformation on things so I'm going to attempt to deform the spline now that does have the fall-off I'm gonna delete the fall-off and there that should push up push up the supply in the proper although they seem to live in slightly different places which is necessarily surprising I can put that spine into a group and I move this above it just for the purposes of being able to scoot that spline up and down and I think it will match if I move it up yeah exactly ten units so that's gonna match the extrude and now you see those two sections of line are matching each other now that that is happening elbow can become a child again and we should do that because then hold down alt put into a sweep hold down shift as I add in an inside this is going to become the sweep make it pretty thin actually incredibly small point five we get this nice little line traveling around the entire thing hit envy you see the extra distribution of it looking just fine now the noise is animated so this entire thing is going to be transitioning up and down identically so we have an extrude and a sweep both working quite nicely we now have the ability to deform the sweep however we want to and potentially colorize it based on a particular noise let's let's determine our noise via the thickness and it seemed like it was pretty random I'm immediately gonna save this as a second copy and here's the thought the same concept again feed this sweep another plane and I'm gonna make it the third child so it'll deform the result and I wanted to be treated as a de former it's gonna explode super crazy in the parameter I don't want it pushing out on why I want pushing out on Z but we already know it's really tiny so I'm gonna just push out by one unit you see how those lines get thicker all over the place now by creating a fall-off we feed another noise value in there at whatever scale we want and it's lit it's not the easiest thing to see but if I were to increase this you can see how there's varying thicknesses throughout the line I'm not sure what's a good I mean we sort of see the noise scale on the previous one so this one is now larger it's going to be visually subtle so we could go into the remapping but I'm going to create a curve so we can remap it externally and something that could be nice is pulling this this is a essentially increasing the bias where it's making it more likely for small values and large values to show up as such and yet just by increasing that you now see that our thin lines do indeed look pretty thin and the thick ones are thick so there's they transition a little bit quicker and we do have the ability of scooting this along as I pull this along there's going to be more thin sections which I also think is to our advantage in this particular one I want to exaggerate a little bit more so I will have it to form double the amounts which is two now you can see those lines get thicker in various places the noise is going to be very dependent on height so it's gonna travel faster than we want it to this noise we can set it to whatever speed we like like say 55 but this spline is gonna be traveling up and down through a noise which could create additional animation speed I don't want that to happen so this noise is gonna be told that it's it's vertical side it's why it's gonna be very tall so couple zeros on there and that's a very tall noise and that very tall noise is essentially not gonna as it passes through a really stretched out vertical cloud of noise it should look a lot more consistent now our actual animation speed here seems slow I'm not really seeing the transitions I'm going to increase this and what we want to see is these individual lines traveling around and I want them to be very distinct we want to see them as a group song in shrinker actually going increase the scale let's jump up to 500 and now we can yet now you see that that looks way better you see how we get kind of a grouping of them getting that that becomes thicker along those lines thus going into fall off we'd might not need to pull that quite as far we can let these transition a little bit more and I really like the thickness kind of carrying from one line to the next of X and you see how this is uh it's just a clean it's a it's a relatively simple clean version of this increasing the number of sides on the inside to twelve should make these nicer you know consistently cylindrical a consistently cylindrical sweep everywhere and now we can just color and texturize these however we like we've got a noise a particular noise that we have control over we could make the sweep editable which actually could be a good idea what if we do it with a this is it it's getting dangerous I'm gonna save this right where it is I don't want to make this editable but if we do we control the noise color and see it interactively in the viewport which would be good but I don't want to make it editable if we don't have to I don't know if this will work but I'm going to attempt to work with a vertex map without making this editable by creating a correction to former and a correction the former should see it's kind of choking on that this is something that can happen I did just save so if I crashed it won't really lose anything but it's not it's not there might just be too many points here in the correction the form is just a bad way to go it might wake up it might not I'm gonna hold down the turn-off checkbox for a moment and see if it's will acknowledge and if it doesn't another workaround it says ctrl or command R to say render and the render is going to everyone's while cinema is checking in to see if another command was input if yet render essentially interrupts everything else and it's the same it's like he escaped but escape doesn't tell you when it happens if you render it will tell you when it happened unfortunately I think I threw that at something that is very very very heavily subdivided or there's just something you didn't like about it I'm gonna give it a moment but I think I might force quit fork fork tongue is saying that the correction farmer is both the best and worst tool I don't use it too often but hey I don't disagree all right I'm going to force quit too bad but we literally should have lost nothing because I just saved it Wow look how beautiful all these are I love the colors here so nice British couldn't be cinema is opening there we go it just opened drag it to the proper monitor blink alright now just because it did not like that I am going to make this editable keep in mind that you can create a copy of it hold down ctrl or command and turn it off so there's one we can go back to if need be now this does need to be made editable but I believe yeah all the stuff is still living here yeah that that's something we're gonna have to do we still need the deformation to happen after the fact yeah hang on I gotta think about this because if the yeah they're already in their final position there so I gotta undo when we make this edit to pull undo I need to make this editable without that having been deformed so I'm gonna pull that away make it editable and now they should know I don't want this one performing it either so they should why are they also up in the air maybe I just hasn't refreshed no still up is a spline up in the air no this plane is flat I don't it's um hide this ok the sweep or oh no these are okay sorry my fault those are still they're not children but they're still in the same hierarchy make that editable before they're deformed because now I need that result to get deformed upward it's gonna stretch them a little bit but it is what it is and then put this to form afterward so now the thickness can come they're a little more vertically oriented I'm not gonna be terribly fussed by that now let's save this as one see and see if it is possible to create a other vertex color tag on it and this vertex color tag will be driven via fields and we can feed it whatever we like in this particular case we have the this random field already and excellent as soon as I drag that in we're going to see the colors in the viewport the random this random field is actually feeding in random colors already if we like that we could just say fine that's great use that that way we do have the ability of course of colorizing at different lanes that we can go into our color remap and say yes we want to do a color remap with a set color or even better a gradient and now we do have the ability of cranking colors to any any kind of spectrum that we want to be in here it keeps jumping the other screen I'm gonna ignore that one so you can see I can determine which colors are showing up and you see them right here in the viewport and it's based on the literally on the exact same noise field so we can see it here interactively and that's the advantage and now that we've done that if I deselect it we won't see that result but it is still really there we're just not seeing it so inside of say the luminance channel of a new material and this would work on a third-party renderers you have to feed it in the correct spots we can feed the color vertex map into a vertex tag a vertex shader and applying that material to the object we now are actually seeing that material get applied and there's a lot of things are neat on that we could say to multiply multiply it by a brighter than you know brighter than 1% brightness and you see how bright those become and those all get laid up the make another material to perhaps apply onto this vertical the vertical walls I don't have a specific plan we shouldn't make it I mean it's already very similar I'm I I shouldn't have made it as similar as I did I like trying to change it up a little bit and we aimed a little close to the source material on this phone so apologies what do I want a gradient a gradient so that just set to V and now we get this nice glowy fall-off and I can actually kind of like it inverted that can be any color let's push that here into a light teal yeah get this upward glow turn off the color channel those will glow upward it can be fading into any color that we like pull that back let those travel upward it can be shiny or not shiny there something like that so that's gonna start looking pretty weird and cool and you know depending on how you set that up and frame it then I think we've got the overall idea having said that there are a lot of potential different approaches here and it would be fun to explore other ones I'm gonna end this one here but there is a lot of possibilities and changes and things to make this more you know to make it more unique and make it our own to just change the effect I guess a though I really love the way it looks from the underside and like that's just really mean I like this the flat look and the flat topographical look is really neat to me yeah but I am going to wrap that one up there I think we already spent a decent amount of time on and the though I think we were constantly moving forward which is good so thank you so much everybody I am NOT yeah I'm not currently in the mood to try and make this one look super pretty but there's a lot of things you do as far as framing and zooming up and doing different effects on it layouts glows light up with an HDR or going through to a third party you render a lot of potential things to be done there I'm jumping in to YouTube to see if there's any questions because I started with one from twitch Darrin that's really I mean I'm trying to understand a question what workflow with axis centers PSR would you recommend when modeling using complex clones and cloned instances sweeps etc Darrin I'm not entirely sure I'm following the question would you recommend modeling you like like axis center when modeling using complex clones what does that mean modeling using complex clones yeah sorry I'm trying to wrap my brain around it but that's just not making that much sense to me are there any options to make the s22 menus more like the old style I don't know I haven't looked into it I don't recommend that you do that this is kind of I don't know it's my own personal preference but I just think it's a good idea if you need to do things to improve your workflow that's a good thing but it's going to happen all the time that you're gonna be end up behind a different computer or there's gonna be a new version of cinema you're gonna do a fresh install you've got it on your Mac and on your PC you've got a laptop and you're constantly gonna have to update your layout so the closer you can be to the vanilla layout the more that you just get used to the new on I've known people who will be in like Maya and they move in the cinema there I'm gonna change all the shortcuts and everything into the Maya shortcuts then whenever they're not directly behind their machine nothing works for them so spending the time to learn the new layout is it takes a little bit of time but I'm completely used to the new one and when I have to go to an older one I'm like wait whoa where is where are things because I've gotten used to it I feel like the new layout is a lot more intuitive having said that I wouldn't be surprised that there's a way of going to the older style but actually it would probably built into here if it was and there isn't one automatically but what you could do is I guess you were saying like these menus are you talking about these menus a lot of things get rearranged but there's this layout there's this layout and I don't think you can rearrange these can you that's just code based but you could go into your older cinema I go to customize and save as a layout and then load that layout into your new cinema so would remember the old and bring it into the new but as I just said I don't recommend that spending the time to learn the new is always going to be worth it mm-hmm Bernard I have no idea about redshift for for Mac I mean it's important to remember that even when Macs on purchased them there's going to be a large development cycle to begin the process integrate the teams and start working on that beta testing it before it goes out in the world it's not like those things just happen on a snap there was no work being done on it before it happened so yeah it's a little bit trickier mmm crossfader setup expresso rig to dynamically see the radius of an object and rotate properly around something like this all right Oh little light expresso could be fun oh okay so this is from Pau Wii U and it's something in blender but they are just rotating one shape on another one but it does look like they're probably two feet in maybe something a little more complex no it's still isn't eventually going to travel the second there anyone oh that line is just travelling secondary one so this is your question specifically can you make one shape rotate the correct amount on the secondary one um I don't think that is necessarily too crazy now we could visualize it just like they were in a very simple way with splines and maybe that's a good idea yeah well do with points because we can complicate it very very easily now I'm going to use an inside it's just something I like to do so I can put exactly as many sizes I want but you could do this with a circle spun I'm gonna give you it very flat on and seeing the individual little tick marks spinning I think will be useful as we just saw in their example I shall do that using a helix spline set to 0 0 0 don't doesn't even need to be too long but for our quick setup purposes I shall clone it's said it's I guess I could set it to object that might save us some clicks later so I can see I've got a bunch of copies of it spin that an additional 90 degrees technically positive 90 so it's aiming inward T 4 scale to shrink that and I can see I've got these little tick marks that are evenly spaced you see actually the lines aren't too smooth there that might be able to be fixed by turning on the smooth rotation yeah turning on the smooth ER rotation will actually line them up properly you see here that those are not meeting in the middle and that's why this smooth rotation checkbox is there it's going to kind of interpolate this in a more accurate way and now you see those individual lines so just a quick way of visualizing this as we rotate it in fact dropping this down to 8 will be a better count for us dropping that inside of that inside we now have the ability to copy and paste it and make whatever modification that we want I'm gonna set that to 1/5 we're gonna set 250 in radius and I think these ratios are going to be very important now when this is spinning around do do we want that to be automatic or is that something that is independently keyframed I'm not sure I'm not that's like different ramifications on the setup in fact I mean in all the ways this is like a a gear setup but if we move this exactly over 200 50 we could have that be rotating and spinning and the best way to animate that I think would be to create a null drop in our outer circle I'll just call that outer and we can just rotate this inner null by whatever amount that we want and that will become the base rotation so I will do that and we'll later on we can randomize this but currently I'm just gonna record on B and at the very end that will have spun 360 degrees keyframe it again so now we should just see that null spin it's gonna travel around and we can see that move one full rotation now let's say that as of that rotates we need that to do some sort of math and counteract the rotation I do not have a I have an idea of what to do to approach it I do not have the actual math in my head so first thing we do is save it wheel on wheel Express all righty this null is gonna be doing part of the action so I will apply the expresso tag to that programming tags expresso takes a second to pop up B now we need some variables here the actually yeah I won't be able to change these so well you will that can do the rotation but I'm gonna bring everything in as direct variables so this null is actually going to be our rotate null outputting from there we want the coordinate rotation rotation B that's its local rotation not that's absolute rotation it's local rotation and then specifically we're going to be controlling the rotation of this outer circle and I think that will also be it's a B so we can say coordinates rotation B so those are two variables but the one of the most important things here is going to be we need we need to work from the radiuses likely of the inner and outer so I shall bring in the inner bring in the outer and we need the output of the objects property radius of both of them object property radius there's two radiuses I don't know which one I'm on that end side so there's two different variables so just to keep this clean that's all also it's a little frustrating that the expresso nodes are like super pixel perfect I can't make this bigger and say aim perfectly in order to be sure I'm grabbing the correct radius on the inner one select the inner go to object and make sure I grab the correct radius and drag that over select the outer select the outer draggin the proper radius because there's a secondary radius which is based on the rounding there's a radius for that so use one make sure you have the right one so we've kind of got all the ingredients here but I don't I don't know the correct mixture of them if you will now let's just take a look it let's be very direct here if we drag the rotation of one the rotation of that null and feed it directly into the rotation B which is gonna be the rotation B of the outer one it is going to be creating some sort of rotation and it is going to be relative to that so I actually doesn't do a horrible job I mean it doesn't look great but you can see that as that spins it is I don't actually know certain points just like the total distance traveled interestingly now if we want it to be doner if there's just like a Sippel ya just gonna be a lot of math here it's just not fun I just don't feel like it's fun to these aren't this isn't they fun livestream question so maybe I shouldn't have done it to the hall but let's try multiplying I'm gonna search for a math node and let's see what we can get away with not doing so I'm gonna take the current rotation and output it to the other rotation currently it's adding it's adding a zero but I said let's multiply so currently it is well it's multiplying by zero now so if we say 1 you can see this spinning the proper way just not enough so we could just start doing some guesses so I could say like multiply 2 so I said okay multiply that rotation by 2 and you can see it seems to be spinning a lot better is it on the points perfectly no I think it's sliding a lot you see right there it's kind of right in the middle of the square and as I keep on going it's gonna be sliding along so it's not quite fast enough now my guess is going to be something like taking the inner radius minus the or yet taking the inner radius minus the outer radius or the relative ratio of the two of them and that's gonna give us the proper result which you could you know potentially I could mathematically give you exactly what you want because of the ratios we did I feel like doing that we might be able to guess because it can be relatively clean things like this 2.5 is closer once again yeah there's some people were like oh here's the math which could be fine the yeah I don't know the Steve on YouTube is saying like two times radius / or radius 2 / radius 1 so be like a 4 to 1 ratio even that that's well I mean but if that was case I should be able to just type in the x 4 cuz that's the ratio and we see that go it doesn't quite seem to be I think 3 is too much yeah it's still sliding so I don't know I um the math is doable but it's not gonna be fun to watch me just guess and checking math you see the basic idea here you see that it would be grabbing the inner radius and outer radius I honestly just want to continue on this one it's if any even if I was building this one I could go and Google something or I just start guessing guess and checking based on my intuition but at a certain point it's just pure math so there's not much to talk about now Shane just said something about turned into a spiral graph I actually almost ordered a spirograph because I wanted to like try and emulate it but turns out there's actually a spline in cinema that does a lot of what the spirograph might to do and I just kind of never realizes in there it's called the cycloid and there's a good chance you kind of ignored this one because it doesn't I know it's not super intuitive because I don't even have a good vibe for exactly what this does but check it out if we grab the end angle and we keep on increasing it the spline is going to continue and it's gonna keep on spiraling further and further along which by itself is kinda neat and there are actually two there's three different modes in here the cycloid and epicyte glide and a hypo cycloid I forget which one it is but ya think I think one of these is very we'd have to do the math to get the layout to be perfect but if you set this one up properly then I think essentially you do you like you automatically kind of get the spirograph look you so yeah this actually can create them in a straight line or in a spiral I think a little bit of math might be needed to like I said make sure that these are overlapping in the proper spots so a point count like Miami or is it just this angle maybe there's a point count yeah but but yeah all these different properties can be used and you can spiral and do funds biography things yeah cycloid they the radius isn't everything it's very like I said it's very unintuitive like this can actually create these neat sine wave shapes but it's all based on these the ratio of these different radiuses so like if we do this perfectly you can actually get this bouncing spline I only just ran into this a couple weeks ago so you get wing wing wing wing wing wing and it's like there's no equation it's just the ratio of these different things so make those spiral you know it's actually might be another way to make a straight spline it's not the best way because there's no control of the point count but we have really big spirals you these eventually need you see it's a bunch of circles offset in time and space so I think this is the radius and how much it's getting offset in space so it's pretty cool and if it is an abyss cycloid then it's traveling in a circle instead of in a straight line but yeah it gets really even that look as I increase this I'm getting a really nice looking helix now obviously we make helix is in other ways and there's obviously more to this than that it's gonna spiral in and out but it's a neat one do the Explorer so yeah cycloid it's weird and there's definitely possibilities with it um let's see mmm Diego reaction diffusion there are people have tutorials on reaction diffusion there was a Tim Clapham has a really good video on reaction diffusion I always sort of it's a very specific formula to get it to do the kind of proper growing it's really cool but I don't I don't have it in top of my head so I will just recommend Tim Clapham video on reaction diffusion jus ha you you can't put links in YouTube if you want to give me a link you have to go onto the twitch you head over to twitch rocket lasso just search rocket lasso twitch and you can find there and it's really easy to post the question so if you do jump over there I'll keep an eye out for it but yeah you cannot post a link here Darrin the saying spying pen that makes me use illustrator more I mean how often are you drawing that are you going to draw in cinema I mean I you've almost never used I mean I almost never used this tool the spline pen tool oh yeah you talk about the spline pen tool that's playing pen tool I like I mean this is almost identical to the one in Illustrator so I don't have a problem using this at all the sketching one maybe maybe you don't like the results of that but I really love like the ability to grab this and change the curves I'm moving around I've always felt that like they updated this a couple versions back in cinema but I've always felt this was pretty intuitive and the ability to grab the different handles and manipulate them in these different ways like it's always worked really well the sketch tool like obviously that one is going to like create all sorts of it's gonna try and subdivide and some very interesting weird pinchy ways there are some settings to change the way that it's viewing it but I don't have a strong intuition there mostly I mean for me whenever I'm working with some sort of vector art I almost I always avoid illustrator and I make everything I can in cinema to the extent where like I really want a bunch of you know maybe there's plugin who knows but I really want a bunch of mograph tools inside of illustrator constantly in Illustrator like I've got this I've got this graphic that I want to do and I want to have a bunch of copies of it I want those copies to be traveling along a different line so let's see what's a good example here like how hard would it be an illustrator to I know in cinema it's such a trivial thing right here to let's say what I need to do here at the height yeah and we can get our spiral the cloner can clone on an object the object will be the helix and lay that on the correct orientation so like it's doing this type of thing is so trivial in cinema I can hide the original wand and there we go that's my vector line that's what I wanted or I can say okay I did want to if I didn't want to align the clone so let's flatten those out and now they are flat and now you know they're two-dimensional and I can do so many things and I want to deform and instance and replicate and if I change one all the other ones change even like simple transitioning in a very parametric way you can't do that in Illustrator at least not in vanilla not that I'm aware of so I almost always do all of my vector work in cinema directly mm hm let's see people chatting back and forth Mick what do you get here how did you go about creating in this effect hey shell or cannonball cutting down a tree hmm that sounds intimidating hang on commercial here oh this is from sure like yeah Sherlock Holmes I watched the behind the scenes on this because this was made worked the I think corridor crew talks about this and they call up the slow mo guys who helped to build this and I think a lot of it was built for real but some parts of it were not but anyway you're just talking about this type of tree explosion um I mean I don't have super well I mean it's not this is things we've talked about before let's approximate it I'm not gonna make a big old tree but we can approximate it by creating this cylinder shape creating a brake on this I don't think it's actually all that crazy so here's the thought of course we're gonna use our own would fracture what do we do before basics of Verona noise fracture I don't know turn off our point generation grab another matrix object and that's fair what am I thinking I mean I do like this grid based at distribution so I can hit T for scale and scale that down so we're pretty close here so if I were to feed this in as its point distribution it's actually gonna make a bunch of vertical cuts which is pretty cool like all these super vertical cuts now I don't actually want to do that so we could push that further whenever you can you drop a null in as a source I've never trained yeah so there's a null OOP I move this null up then hopefully well maybe then okay it does come in a source so now you can see this null is now the closest thing for any of these chunks so that becomes kind of an endpoint for that if I make a second and I'll move this down here I can drag that in as well and that will become a second kind of cutoff point so now all of our action is happening in the middle that's not always going to be the case but it starts it works for these basics now I've kind of got this very vertical orientation because we have a very horizontal orientation for the points that we're feeding in so there's a lot of those let's go to an end point here drop this down not quite so many in fact we're I mean we're running this in a live stream so I'm gonna significantly decrease the number of points here so you see the number subdivisions that are being fed through in the matrix adding a random effector is going to add the random variation to it that's actually pretty much that's pretty okay if we do smaller numbers the smaller we displace this the more it's going to sort of maintain its vertical nature and not break them up too much you can bring it up as much as you need to this is just kind of choosing stylistically what is going to give you the best outcome now that's giving us a bunch of nice breaks there and they were going to somewhat randomly make their way up to this top section having said that the real way of getting kind of the vertical splinters the the entire tree has a very up-and-down sort of orientation there's a cool parameter in the fracture that you can go into scale cells and we can tell it to be a lot more let's say Y oriented so I'm gonna make it five on that and you see it's going to stretch those cells out and they become very vertical now I'm not sure how far we want to go on that and it does seem - I'm not quite sure what the algorithm does but you see I did push those upward and that downward so it could be justified to trance okay apparently the other you're gonna go so far before that starts pushing back away again so you see how we've kind of got a reasonable distribution of these different pieces so hopefully this is low poly enough that we can run this relatively smoothly so I'm thinking I will not colorize the fragments save this as m3 and you know let's just fling something at it now especially with it the very much the slow-mo that we are getting like here it's very slow so gravity doesn't really have much of a chance to take over so we're just not even worried about that control D for dynamic settings no gravity was just fleeing something at this I mean we can't go too small or too fast because the dynamics won't catch it or we'll have to start cranking our settings up now we already did the shattering glass last week so let's just do the capsule did a good job for us so creating another capsule actually I'm gonna keep it really straightforward in fact back in the day maybe it's a musket balls I'm gonna get really small sphere we would probably make it even tinier if we can get away with it but simulation rigidbody there's no gravity so it's not going anywhere custom initial velocity u cz+ is its orientation so X Y Z crank this up - I don't know 999 hit play let's just see how fast that is quite slow I'm gonna triple its speed and we need the tree also to be dynamic simple as adding a rigidbody to that hitting play and out bonk that's gonna like bump bump its head against it bunk now what we need to have happen in this case is crank the well this could be a Collider body so it just doesn't stop but we can also go into its mass and crank its mass up so give it a custom density or it's just a straight-up custom mass but I can make this behave as if it's ten times heavier than it what it really is and this should like plow through a lot harder oh that really great looking cut right there I didn't know had this curvature to it so it looks like a looks like a beaver went to it and started gnawing away ronk so now you can see how that's going to plow into it now it's still not heavy enough to just blast right through I could just keep on adding you know bigger numbers here at some point where's just gonna blast right through so I kind of feel like that all we really need to do is push it along those lines adding in more segments is going to be the main thing so it's running very quickly so I'll make four times as many segments and I'll add a lot more vertical randomness here mmm 35 and yeah as I add more vertical randomness here it's going to hopefully give us more variation in the way that those split I think the overall effect is still gonna be there but yes now you see we get the bigger splinters up there but more variation the small ones I could just keep on pushing that smaller and smaller and that's actually working shockingly well now if you didn't want the entire thing breaking of course we could you know limit certain sections that not all of it could break let's say let's just do that really quickly let's say like this front half of the tree can shatter away but this back half we want to not shatter away so we did a similar thing last week but adding in a mograph selection tag you see all the different does every single clone every single point getting generated turning on in the tag fields delete the fries create a linear fall-off now you can see everything there is true everything there is false or selected and not selected and it just has a straight up threshold so it just has a hard cutoff but we can also be very specific and pull this down there's I don't know if this is a bug per se but make sure when you're playing with linear what feels in general it's very dangerous to drop it down to zero because you'd think at zero everything would be true and false on one side of the other but when I go to zero you see it's a spear so I've actually been waiting to show that as an example because I run into it all the time but it doesn't come up too much in these types of talks but if I increase that again to any amount like zero zero one it can now see it I think that there might be a there's like a small bug in cinema there where it should be greater than or equals and said it's just greater than or something like that is something very simple but it is a small bug but I could just scoot this wherever I wanted to that's going to say that those are not dynamic objects probably a good idea to grab the bullet just move it a little more frontal and now as simple as that we can go into our dynamics tag and there's a mograph selection for what is dynamic and just by dragging that in those have now been told that they're dynamic ones are not it an a let's turn on some lovely ssao and hit play so those will shatter and you see that there's an entire section in the back that is going to keep when we need a few more frames to see it with those fly away a little bit more and wherever I left that there's a chunk of them that just are not going to go anywhere and I mean I guess the upper part of the tree in the bottom one shouldn't so we can just change the way the field lays out I mean it's super simple now take a look select the fracture actually no we want this tag there we go this is a currently a linear field but on the linear field we can say actually you're not a linear field you're all box field let me get scoot that too or if we want to know something like that say all of those are breakable and all of those are not so super easy to make a tweak there now the top that's not going anywhere that's not going where I get all these other pieces and you know it's yeah this this is it this is this is what I want it to be we could break it there's so many places we could break it up more currently we're just feeding a single null in so this entire top part is just long but that could be a matrix object but like five segments and then that that front tip would be broken up a little bit more you have a lot of art director Bowl power here to change it and the size of these chunks is just the number of matrix objects I'll push it up really far it's gonna we're not kind of very many steps per frame here but this is purely a factor of how many pieces we have so you can see that well there's so many pieces now it's having trouble shooting through it's a cool little shatter but the vertical nacelles let's make this be I'm not sure to tell you truth I'm not sure that we will be able to give this a mass that will be forced all the way through we'll make it ten times stronger but based on the way it's built I'm not sure that this actually could get all the way through so yeah that's really gonna fight it based on the structure that's in there so at this point what I would do if I'm trying to force this which we are make it not dynamic so that sphere our bullets it'll be off and just to speed this up we'll turn off that calculation frame z-position I'm not sure at what point is travel through bullets say about one second in will say this has travel to the opposite side that has this doesn't slow it down that's gonna do what it does oh I hope I don't didn't do it but I should have set this to be it ellipsoid calculation and that makes it go really quick and I'm just willing to be slower so I'll save it as another version it's plate oh let's make it let's turn it out the fracture that's funny so there's me a lot of calculations because it's 55 x 55 number of chunks actually slightly more than that but this isn't a force its way through smaller chunks I mean look at that I mean this is unreasonably looking similar to what we're getting here and this is real like they actually did some of these effects with actual slow motion as I said they worked with the slow mo guys which is pretty cool the and in my distribution I'm randomly lighting these fade up and down I should add more variation there so that it's not so dramatic but a transition from one thickness to the next but we could do that just by doing more randomness and variation in the way we feed the matrix in there's a lot of possibilities I wonder and this is just a thought but each of these chunks is going to be calculated by a OC aware frames per second are before I finished the thoughts yeah we're at about one frame a second 1.2 once it gets going and it might flow down one so it's all start colliding currently the shape is set to automatic which probably means they're being calculated as a moving match or possibly a convex hull is what they're going to be calculate at but I wonder just because of the simplicity of these shapes if we set those all to a lip side which means they're all being calculated as like stretchy spheres how much what if our steps per frame are going to be better because that is by far the quicker calculating one although okay those all explode from each other but with them exploding you see that this is seemingly running away well necessarily I know if we can trust that now because the ellipsoids are running into each other so apparently the absolute loops or knots that tells me information I didn't know I was always curious at the ellipsoid is trapped inside the inner bounding box or layout of her bounding box or an average of the two and this definitely tells me that it's not based on the inner bounding box so I'm not sure which one is best on that but leaving it to automatic clearly worked and it was not running too badly so I think I will leave this one there but it's a pretty cool shatter and it's not too hard to set up like we didn't very often we have to like work really hard to make things cooperate in this case we don't we don't really it just kind of works pretty cool and then I know there's techniques were like generating particles like X particles has stuff works like Oh based on where these phases are as they break II and create a secondary spec you know the secondary emission of small particles to fill in the gaps get a little bit of like composited smoke in here you could really like layer these up and make something pretty cool out of it and a little gravity go a long way but you know pretty cool but to cool all right I shall save that one and let's do another question Moustafa is saying he's anyone up for a c4d competition that's a good segue into everyone should be aware that there is a rocket lasso slack channel and it's going to be mostly the same people who are hanging out in the chats here but if you like maybe if you like asking questions answering questions constructive feedback and contests and challenges and you should head on over to the rocket lasso slack buy and you can get there by going to rocket lasso slack comm across Rader you put the link in twitch I'm gonna put the link in the YouTube I don't know actually I probably will come through as only because I need the www hopefully that's the link now but any case you can go and continue the conversation there and there are different kinds of I I'm not I'm not sure which ones are happening right now but there's sometimes there's like weekly drawing challenges and there's different contests so yeah that's a cool thing to go and you and it's all just community driven so just head over there be helpful be cool try and answer as many questions as you ask and it's a good place um next question ooh and well I'm not sure and MTR and them too ER but character cloth simulation please that is not a well yeah they're saying that there's no good character cloth simulation tutorial in cinema there's one of the good reasons for that is there are two different essentially there's two different cloth simulations in cinema and one of them is designed to be cloth but it's terrible with characters because it just it doesn't it doesn't behave you can't push it too far before it breaks and that is the cloth simulation tutorial but the problem is that the cloth simulation I think that not cost a mutilation suit or there's called simulation the problem is is that everything is it's just a very oh it's an older system it's been around since like cinema 4d version like eight so and it hasn't been updated since then like barely at all and then there's the newer system it's not like state of the art but the newer system which is the soft body the problem is that soft bodies are really cool but they don't have all the cloth based tags and information now having said that we have slowly and sort of accidentally been improving making it so that cloth is behaving better or I'm sorry get my words straight we've been making it so soft bodies actually behave better as cloth then we ever had them working before now I'm this is not a good time or venue to make a comprehensive cloth simulation tutorial let's see if you do a couple little basic things and how far we can push it and we can just use this figure as a very good low poly proxy now I would recommend this even with a an entire character is like you'd put the rigidbody structure inside and that's what actually gets collided with but in this case let's begin by adding a simulation Collider body tag and currently is going to apply all the tag to the children like the down down down down so the entire thing is dynamic and it's not going to fall now let's make it difficult on ourselves by putting in a little bit of animation hang on excuse me so okay this is gonna be terrible I'm just gonna add in a vibrate tag because everybody has it this would be a good use for signal or you just do some actual character animation I just want to stress test this which is and I would really do it like this is just do something like a vibrate tag note the limbs are gonna bend in unrealistic ways I am not worried about that I'm gonna allow it to bend 90 degrees in every orientation relatively slowly 0.25 fight play then hopefully we'll see this arm is just gonna start moving and wiggling around give ourselves some more frames and that's working fine I think we probably even double this so let's jump it up to 180 on every orientation now that's fine you got to be careful actually did see right there it's passing through the head you gotta be careful of that we don't want that to happen so I'm gonna lower this amount just slightly because if it actually passes through like cloth if a cloth is stuck between two things and it it's passing through itself like it's gonna explode it doesn't remember to go now we could also copy this tag to lower arm now this is gonna not be a accurate to elbow but by putting a couple of vibrate tags around and we could technically type in some different random seeds so they'll all Bend slightly differently then I mean it's gonna be a little dangerous when it passes through itself but let's just see what it does so we can do something like that I'm going to copy the same tag to the arm arm arm once again type in let's type in 8 + num so now those are just kind of doing this funky little wiggling thing now we technically could have made them not Bend as badly but it's fine I don't care and then you know well let's even make the let's make the torso Bend so that's the upper body I'll put another tag on there draggin a random seed this one shouldn't rotate as far because it's just too much but just a little extra motion so this is we're purely building this as a cloth moving a stress test ok everybody on the same page alright let's save this for a mmm soft body cloth tests all right now the figure is not technically at zero which would be a good idea the body's the main one I'm worried about but those were signals better but yeah I'm just gonna work from here now here's a super basic thing let's make the most basic possible thing let's put up poncho on this because that one we don't have to overthink so if we were to move a plane up here scale it down hit env so you see our poly count and we want a few more Polly's than that jump it up to something like twenty to twenty to make it editable select some of the inner Polly's now this is not proper cloth but this is a kind of the most basic thing I can think of to start out with I'm not sure it's the best shape here he's going to be but yeah let's say something like that delete those out they simply do not exist anymore make sure that this is not intersecting with a character on frame zero simply right clicking at a simulation soft body and let's see what it does we hit save just to be safe hit play and now you can see that's gonna fall on the character and you know do something it's it's on there and it's now here's the thing is this is already behaving faster and more robustly than cloth would be behaving so you know that's already kind of an advantage now we're immediately seeing some problem problems but we didn't change any settings yet so let's do that first of all let's say I'm not sure if we want more or less friction to tell you the truth there's a little bit about a decent amount of friction but the main thing we're gonna be changing inside of a soft body keep in mind that these settings are very dependent on your poly count if you we have more polygons each spring does more work well that's not true they do the exact same amount but if there's twice maybe polygons is twice as bendy and a single orientation so first of all structural is the stretchiness I don't want any stretchiness so I'm gonna get rid of that in fact we'll put tons of damping in there so it shouldn't be able to stretch too far shear is its ability to tilt over like a house of cards kind of tilting over and I don't mind if it does too much of that and flexion is the one where it can kind of be really floppy that's this is kind of the main setting in both splines and soft bodies for making it really bendable so I'm gonna lower that because I wanted to be very bendable so let's hit play and see what we get there and I mean you see where it can pinch a little bit tighter there it's free to do that the hole is not too much bigger but you see it's definitely not holding its shape too well and you gotta be careful where a lot of the well first of all we're seeing some vibration in here a lot of that could have to do with the structure being very high and the amount of damping but you know all things considered like this is not doing a that bad of a job it looks okay that could be fed into a subversion surface and it should Bend and everything should look okay and it could even be put into a cloth NURBS and be given a little bit of thickness now having done all that we could of course increase our steps for frame so control D expert there's currently a collision margin mystery of getting rid of that is a good idea or a bad idea but it's gonna fit more snugly on the character and then let's crank up our stuff for frame to be at least three times the amount now of course that's gonna make it take three whoa for some reason it's in the cloth yeah and that makes some sort of sense okay well unfortunately there's a thing where that this cloth forgets where it was and I put into a solution service not at the time zero and then it broke it's like we talked about being very careful about placing these things luckily I can just reset PSR and move it pretty much back where I wanted but that's a dangerous thing to do you don't want to make changes not at the time of zero so let's make the poncho stand out a little bit so this is three times as many sets per frame it should be very bendable not very stretchy more steps for frame and it's not vibrating anymore which is good it's barely passing through the character and we got rid of margin so it's actually pretty tightly on the character and it's running reasonably well and it's it's already built in automatically in cloth worth not going to pass through itself having said that if you're not too worried about passing through itself a good idea would be inside of the soft body under collision you'd say don't worry about self collisions and now it can pass through itself but it should in theory calculate quicker because it's not worried about intersecting itself tell you truth in this particular circumstance it doesn't really seem to be improving it too much which is surprising but maybe it's only when it's actually intersecting that it would be trying to do those calculations so now that's kinda like version 1.0 and i will save that now just for the sake of it i will subdivide this one time you asked to do it just full-on subdivision now this is four times as many polygons this could take a lot more calculation time I think we're safe to just hit play it's gonna be slower but you should just see that's gonna behave a lot more like cloth because there's more polygons it's more bendy there's more stuff that can fold over and wrinkled on itself it's gonna you see it taking on the contours of the body a little bit more accurately all that is working better so you know just something to keep in mind yeah layered I mean the draping and all that's not horrible okay now let's try and address maybe some problems if we can first of all in this one well I kind of didn't want to do it on this poncho like this punch was supposed to be like version one of like okay that's kind of a thing so let's treat it as such and I'm gonna turn off the dynamics on that and hide it because now let's do a the simple verb mean like more complex things would be like actually making some sort of shirt or pants or something I'm gonna I'm gonna make it easy on myself and just put a cape on the character now this is not necessarily gonna be super easy it makes it super easy in cloth because of like belting and fixed points you don't get those for free when it comes to yeah this gonna be super tedious actually not think about it but let's see what we can do what's the easiest way of doing this I think you feel like a loft would be but what's the super duper duper basic one T for scale make it not too wide that's fine now we move this up to where the cape would begin and we want I'm gonna go way low on the polygons because like I said there's no good way of doing this even though it's a better assist make it editable select these points T for scales scale down a little bit grou uy shrink let me shrink not on Z shrink grow shrink grow shrink grow shrink I'm growing selections shrinking what I currently have it's just a way of transitioning into the skinnier shape and not changing the point count so now you see I've got all these individual points now what we'd actually have to do is make these be locked and there's only something I've started very very recently doing is actually locking these points onto the actual mesh of the character now he's already bent a little bit so these are not perfectly aligned and actually surprisingly I lucked out where the point counts are very similar so here's what I'm gonna do I'm gonna turn on snapping you know know what do we want to do what's a shortcut I'm blanking on the shortcut oh it's letter P not you P but just P so he hit the letter P and now you see we got all these snapping settings I can temporarily snap or tear it off so I can say yes enable snap and it's currently enabling vertex nap which actually what I want so I could grab any one of these points just go e for the move tool and I'll start here and I can just wiggle around and snap to the exact points that I want to so this becomes exactly in these locations exactly there exactly there of course when I said exactly that's not exactly that's why I say we're going around like pull it away before you pull it back and it snaps into place so those all seem to be pretty well in that spot and you see that those were matching so I've kind of made it easy on myself turn off snapping we don't need that anymore here's where it gets maybe tricky and or tedious is we need to manually belt these points on we're gonna make it simple on ourselves and only put two points on to start out with save it again be okay all right here's what we're gonna have to do I have to select this singular point go to structure and see that's point number five we also need to go on to the figure and go to points and select its equivalence point and see has point 16 so we need point I have to connect 2.16 needs to be done manually but we recently or at least I recently found out that you can use fixed connectors for this job so I I don't know actually if we need to I'm gonna try making a child of the plane but my intuition says that we have to make a child of the body so here is a connector I want it to be a fixed connector connecting uh I'll move it mmm I'm gonna put it in the bottom it's on the bottom and we already know that that is the polygon point number five so it's linking to there it's also now going to link to I think the figure is the upper part right nope it's upper body that's the one so connector also links to upper body and that is polygon point number sixteen so that should be linking those two to each other was sixteen right upper body point structure sixteen yeah it seems like the fix connectors a little bit stretchy oh but it still zero size erode out receptor it's gonna jump up here tell you truth I think it'd be a best idea if I move that hit shift ass and I'll turn out snapping in and snap that to the same point so there you go now it's actually snapped there now it's a single connection and you know I remember reading this to be five sixteen because I know I'm gonna forget create a copy of this and what do we want to connect you I want this point which is point zero to connect to equivalent point zero and fifty six zero 56 alright it does the same thing except this one goes from 56 and it goes to zero we also need to move this and snap it to that point turn off snapping shift s is that and now hopefully those are connected I don't know if it's gonna work because I think that we need to make these a child of the Cape but like I said in cloth II could just make these fix connections make them a child or you could use the belting tool we can't do that here let's hit play and immediately they are acting as if they're broken so I'm going to attempt to make these children of the upper body and let's see if that works they again immediately break oh I guess they actually can undo because I didn't turn this into cloth copy the cloth that we already working from the soft body and let's enable it to be dynamic save it again I'll see what happens okay nothing good it's like a super exploding okay now move this the connectors to the upper body see if that changes anything I mean I can't tell but it seems like the first couple frames seem okay now these are both technically fixed connectors so why is that drifting so far away it's a good question we have regions of influence that can be dangerous where it's like trying to spread out too far I'm gonna set that down the 1 and 1 and then also we have ignore collisions I can't turn that off I don't want to ignore the collisions these can collide with each other so hit play okay it's trying harder to keep those there but I guess a not doing a great job it's super freaking out this was working really well when we were doing the sequence but that was only a single connection point so I'm not sure now these are technically fixed connections maybe that's not a good idea I think it's changing the ball and sockets it's really large because we're working a small scale so I'll chop those down to 5 so those are now being told that okay you can rotate I don't think that's gonna change much I mean technically it's a little more stable but let's see what we can do we've already got ourselves four frame cranked up and we've already got our margin dropped down so it's almost like we've already we've already done the things that would typically do to make that work better yeah not great the ability to belt these quickly would be good but they are not cooperating very much at all [Music] I'm increasing the region of influence doesn't really seem to help much you can see it's trying to connect at one point over here but it's not doing a great job of pulling it now we could use Springs but that has its own problems as well we can try I don't think it's gonna take too long because I'm gonna hold down shift as I have both of those selected simulate spring it's gonna make them children not only children it's going to automatically put them the correct position and now I think I can select this object object B right click and say copy and then go to the spring and paste identical and then we might do it several times as it adapts to the proper settings yeah and then we do that and then a third time paste and now it is taken on all those settings which is nice and now we have to do the same thing on the other one copy those settings and now you can see that what's happening is when I it currently doesn't have objects so it can't put the proper settings there so now that those are existing we can paste again and turns on those settings and now it does have all the final settings we need to wait to paste a third time which is it makes sense what's the little ridiculous so now we have these connectors I'm gonna turn off the connectors and let's just see if the springs by by default they are immediately exploding the rest length is set to 100 I click that it will actually set them both down to zero and well okay now you can see that it is not it's not going crazy but in there not it's working better so now I'm gonna start increasing the stiffness which is gonna pull them more okay well increasing the stiffness too much is immediately making them explode away so you see it's kind of holding it there but they're sliding away if I start increasing the stiffness it's gonna pull it closer and closer but I think a certain point they're going to explode and it's just gonna fly away now the only way I've ever found to get around that well first of all damping does have a effect on that so I lowered the damping and it's not exploding at 5 now but I don't think it's going along its way to explode actually now I've cranked it up to about 8 and they're pretty close to hanging on to the proper spot now it's visually freaking out there but that's just the springs that's not really a variable so you see we're just dealing with that the springs are also I thought they may be made him ignore but they're not so it was passing through the body an awful lot which isn't great but I was gonna say it's the only other things that you can do to improve that is crank up your stuff per frame which usually does help but there are limits to how far you can push that so yeah now you can see those are kind of stuck and it's it's a better simulation but it's so hard to belt things even though there's gonna be more accurate in its ability to like bend and drape and whatnot but and here's some of the additional problems if we were to now I mean I guess I happens with cloth as well it doesn't like it doesn't like these pinches but you know that's just I think inherits that simulation if we subdivide this more it's gonna change the point count they don't have to manually link those again so that doesn't that's not great either there's a lot there's a lot of variables there yeah it does but this just forced it through the body which is of course not a good thing either all this would work better if we told this dynamically to maybe and it's probably not great idea but I so tell it to view it as a lips look how quick it is man okay so I turned these all to be calculated as at ellipsoids and look how quick it calculates now because this cloth is not it's just thinking all these are the closest approximation to a sphere that they could possibly be and you see that we're now running at 55 you know between 30 and 55 frames per second which is a significant improvement now I mean I don't know how well this is gonna be stuck on the character tell you through I mean it eventually does you know he Pat's his butt and then the entire thing explodes but let's make the entire thing vibrate and see how kinda like I said there's just a test procedure so we can just start throwing it in now I mean okay I'm impressed that's holding on okay right so yeah well here's where this is why this is good is you see actually wrapped around the body there like there's actually spinning it wrapping around the body and we're getting really nice frames per second now of course this attachment point isn't amazing and it's gonna be passing through the body a little bit keep in mind it's now a sphere that is colliding with and we could improve that but its ability to like whip around and wrap around the body and all that it's just a better simulation no easy way I mean we could subdivide its further but they wouldn't be running the calculations on that but yeah look the way whoops it's men wraps around the body like that's so good so you can see where that improvement comes in now that's just wiggling back and forth one direction those will still snap into place but you gotta be careful when it comes to vibration the the there's like an initial state on the vibration so it's like the characters way off set and then suddenly the cloth has to snap there now that could be fine but in this potentially dangerous so typically what I do is I actually keyframe the amplitude if I'm doing the cyber setup so right around now we could say that's moving around a lot so I'll keyframe that then rewind and that's the zero point say that these are all zero zero zero and that should and then you have to manually reset but I reset the character now he's at zero zero zero and now heat slowly transitions that into animating so it doesn't have to snap into its initial position it's a small detail there but I mean well here right here you're seeing the contradiction and everything is we can get this character moving and whipping around as calculating quickly and it's calculating pretty dang accurately but we have to work so hard to make this like attach and it's going to be very hard to make improvements from there but like I don't know like we couldn't get caught to work this well I don't think like look out like this essentially hasn't really broken and we're like you know almost a thousand frames in here so I don't I can't make it any more definitive than that there's just more effort to be put into it you know and putting a couple extra Springs in here so it's connected at more points would be a good idea but this whole thing I'd want to be at least twice as many subdivisions so you could get better wrinkles and folds and it's not even I mean it still cloth simulation buts pretty low resolution cloth simulation so but it's something I mean I'll just say I wish that we had a better cloth simulation in cinema there it just we we just don't have it I know and I know different software's have better or worse ones and the Marvelous Designer is the one that's got the best and I was not even designed for like movies or character animation even though it's got really great uses in that in that world I'm gonna save that as far as I'm gonna attempt to take this one but that is the extent that I can push that right now without doing deeper research let's see some of these typed out questions get difficult like when when the typed up question is really specific to a particular instance it gets a little it gets kind of challenging to even read it like I clone a circle its rotation set driven to its position to rotate correctly but when cloning the object and tried to randomize the position keyframes rotation is recognized by the cloner presumably if you say set driver then that means you did set driven which means it makes an expresso tag and cloners don't acknowledge expresso you have to make it editable but you won't to acknowledge individual expresso tags as individual clones yet to make it editable I talked about that in actually next week's tutorial I talked about that concept a little bit how you have to make cloners editable but that's next week [Music] sorry Trey Trey is asking about after you've made a character about exporting it to like a wave form or FBX as a way of saving with other programs I never share with other programs so I am NOT I am NOT I know almost nothing about importing exporting because I started and everything in cinema so sorry I cannot be of more help on that let's see Nelson what do you got paper being pulled from the top and bottom edges ten seconds in let's see what we've got no audio please apparently you can call out the time specifically in Vimeo so that's good to know we got some more paper ribbons look kind of laying on their side I mean well hey this is the same animation piece that we did a bunch of stuff a couple weeks ago about folding ribbons and you're essentially asking about unfolding ribbons to a degree you could just think of it as um as reversing the shots I mean I'm planning on recording a tutorial along these lines I haven't gotten to it yet and I don't want to just remake what we had last time let me think I've got an upcoming tutorial planned not done I have done practices on it but not final all right my compromise here instead of doing the entire thing is let's open up our file from a couple weeks ago so if anybody isn't familiar there's a different episode you can go and check out to find this I just have to see how quickly I can find it I'm gonna guess episode 20 nope it's gotta be episode 21 then that's super recent nobody's episode 21 all right in episode 21 scene files I think this is the file yeah okay so the paper looks terrible but here was the idea so there are a bunch of floors that are trapping our simulation into a essentially two-dimensional world and because we're in this two-dimensional world it's really easy to throw in a helix well this is just like straight spine with a series of subdivisions and if I play you can see that just the spline hopefully this works smooth enough you see that this spline has a lot of friction and it's gonna start layering its way up and you see a layers and layers and layers and this gives us a really nice kind of basic ribbon idea so you know that's all working quite nicely and then to get your final ribbon you turn on you put that into an extrude and now it's extrudes it two dimensionally which is pretty cool so that's like a basic idea now essentially you're just asking a question of how do we rewind to this process well you could do the basic one which would be bake it we could bake this and then just play it backwards you guys will render it out and you'll reverse the footage but assuming that we do want to you know kind of have it in the scene working let's work we're back in the noodle and once again I'm not gonna spend any time on it but the important thing is that you get the radius of the individual points and the distance and then you set the margin as I said and here I'll even put a link to the Epis so actually I can't I can't I just had to make me find it so it's um mmm jump in - just give me a moment I'll put a link to these episodes so people can go find it and catch up if they wanted to rocket last so live episode 21 easy enough and let's see how I'm gonna scrub approximately to the right timecode right yeah this is approximately the right time code copy URL at the current time paste and paste so if anybody's lost you go and catch up there but we end up with this noodle look here is my thoughts I'm gonna make it a lot shorter so currently it is really really big let's go over you making I'm gonna take off a zero take off a zero so it's way shorter does this kind of give us a little folding no unfortunately not quite so I'm going to double the amount double double the important thing here is always if I double the height I have to double this audition do the same thing to both so and that's close I guess I'll double it one more time times 2 times 2 wing rewind and now we should get a couple of folds but it's not so long that we can't undo it now that's doing a fine job of piling up so now I guess this kind of goes back to some of things we just playing with if I want to make a spring probably so I have to make this editable I can make of the helix editable which means we can't make changes which is a little dangerous actually we don't need to make it editable no we don't have to make it editable we might need to make it editable for a moment to see how many points that there are but that should be a point zero but the last point is 160 so we just need to know that information I don't think we need to make it edible so creating in a spring mmm I'm not entirely sure the way I'm gonna do this but here's a interesting thoughts making the spring linking the spring to the helix that's going to link to nothing it's going to link to a polygon point specifically point 160 a Limited radiation I can see it is attempting to connect up to that top point now it has a rest length we could increase that but my thought is we actually want the wrestling to be zero I'm gonna give it a stiffness of zero so that means it should be pretty much ignoring it it does break right away I don't know if that is maybe the zero is bad it still it seems to break right away maybe it does need to be made editable maybe it's just too far and it breaks right away maybe it needs to be made editable I'm just trying to see if we can make the spring not explode no even if we make it a little similar maybe it's just too far away and that automatically breaks it I'm going to it shift s Terenure not turn off the sweep and move this on XY and Z it's going to snap right to that top point and now hopefully it is actually there and I can set the rest length which is zero let's see if that still still breaks right away [Music] let's try increase in the region of inflow I'm just going to keep changing random settings so I get some sort of result here once again we it is possible we need to make it editable no even that's still not acknowledging it properly where's our stuff for framing here not that high I cranked it up to 25 this flipping out but it's not holding on to it yeah that's not super encouraging crank up the stiffness mmm I'm gonna pull it out of the hierarchy entirely when in doubt start simplifying mmm still stuck on they make editable thing but like where there's so many other variables going out right now yeah um I'm not sure if that's a limitation or if I'm just not quite doing something right here I guess it won't take too long to doing it turn off the spring let's try a fix connector if that doesn't work then I might have to dead-end this one for now and come back and visit it once again let's have that snap up to the first point this connector wants to connect to the helix specifically the polygon point of count 160 that should be all we need to do hit play no it seems to yeah breaks right away [Music] mmm we actually had run into a lot of trouble with strings recently I don't know if it was bugs or if I was just not doing it correctly but the you can do spline dynamics but those pass through themselves I think do spline dynamics pass through themselves I don't remember I'll do a quick test because they're super simple setup if it does work hair or a spline dynamics which is based on hair hit play so it should fall but of course it doesn't see the floors I don't know if it's programmed to see the floors at all hair coordinator it's hard to tell know what's passing right through unfortunate so our entire 2d world doesn't work but if we made a plane and put that there does at least collide with it yeah I think so nope yes no it's still passing right through so does it have to be made to editable to work nope yeah I don't know I got to have some tests with spline dynamics because maybe they're just completely broken right now yeah apologies but I just don't this one's not just not cooperating right now and I can think of other methods but they're starting to get really long and tedious and it's not no good for a live stream not like this so setting dead ending that one for now but we can't tackle it again at some point let's see what do we got oh Java Instagram link asking can this be dynamic let's see oops what did I just do all right we play for a moment turn off the audio all right this is from Klara is the e silent I'm terrible about names it's cinema4d it's called together apart see we got kind of a slinky type look and you were asking can it be dynamic I mean is this one is it not dynamic it almost seems to be that's neat I like one thing I'm having trouble seeing is okay there is just a big gap I was wondering if they were connected like a proper tube or if they were just like a series of rings with just a little bit space between them so asking if they could be if they could be if we could do this dynamically yes is the short answer the more complicated answer is what are we thinking we will actually want to do with them so here's how it's my actual thought here if we make a cylinder make it exactly 10 units tall 200 radius so we get something like that now if we were to just use these as dynamics the most straightforward way to do it would be just a series of fix connectors which is completely acceptable let's just spend a moment and make a few hopefully it works all right and we get the doubling effect which is always nice so those both become dynamic and then we need a series of copies here but I will begin with just one copy which will move up 20 units there needs to be a gap in between the gap very important then there is a connection between them dynamics connector and that needs to move up a very precise amount as well which is no apparently exactly 10 oh yeah because that's half below and half above so that makes sense put this inside of that cylinder because I was like it being a child of one of them and this will link actually I usually like going from top to bottom that's just not the way we're building it how the bottom is cleaner though it just it just organizes itself in a cleaner mental way so yeah just to keep it simple I'm going to go top to bottom so there's currently at zero zero zero okay then we'll have a second cylinder and that is going to be below it so I will shall say minus 10 nope I'm sorry not minus 10 minus 20 minus 20 now that connector is going to be now at negative 10 so you see it's exactly halfway in between them so the reason I like doing in this order is because it's just very logical to say okay this connector is going to connect from the top one to the one there's no one above it to the one below it's very kind of a logical thing to do now currently that sets a hinge ultimately we're gonna want to be ball in socket because it can rotate in all directions although I think that's fine we can leave in Balan Saket but you might want to just rotate on two directions not three having done that we actually would want a child there so what I might do is delete that copy the cylinder and say minus 20 and now this connector connects to its child and now that one's got a blank one ready to connect to whatever is below it this floor is just getting our way right now I move it to the top temporarily visually had it we'll fix it later fix it in post grab both cylinders hold down control make a duplicate of both of them and now we have to subtract again by the current count so I think it's B minus 40 take their current number and say minus 40 and now we get that it's it's not too complicated because now we just grab the last one we didn't use and connect it to the next one and now we can easily do a doubling so I'm gonna get copy whatever this number is minus 80 and it's just double the previous amount grab that one connector we didn't use connect to the next one and you can see how very easily we can start doubling the effect that gets a little harder to copy once we run out of sections here but now it's minus 160 once again just doubling I can see which one wasn't selected that becomes the connection in order to make this look good we will need a couple of more a couple more copies copy again my I'm starting to not be able to do the mental now so minus 160 times 2 just to be certain and now that will move again correctly select do that again and here this will be our last doubling select all of them against me a little hard to make that duplicate in the correct spot down here yep I knew I was gonna miss it I don't know if there's enough room to do it you see these are not they're all children of that one I'm trying to think of what the best way to do this is I guess the original is that safe I it's so dangerous because I can just copy it above yeah I think that's fine I can copy it above and just make sure that when I go to select I'll grab the second group of them take that minus 160 weight minus parentheses Oh looks like I lost the number let me make sure that I got the correct selection there we go - parentheses 160 times 4 is the last number I remember so I'm doubling it twice do that now they are offset so but the point being I'll grab that last connection I'll link it over hopefully it's all working the point being is even though it's tedious to do this connection and I think I think there's even like scripts out there whatnot that might ought to make this a little bit more you see how quickly you get the doubling doubling doubling doubling so you don't actually end up making that many connections that's assuming I did this properly which maybe I didn't now I could scoot that up in the air but I'm just going to the floor down below and now we should hopefully have a whole series of connections here they are dynamic and I should probably group them so I'll create a null select all of these and make them a child null just for organizational purposes makes a lot easier to do something like that also now I can collapse all the expand all of them select the top dynamics tags gruel downs on the bottom dynamics tag and it's super easy to changed the shape currently set to automatic I would love to make this a sphere and that might even be possible but let's try and setting it to a cylinder y-axis so they're all y-axis cylinders before we do anything and I might have horribly messed something up I'm crossing my fingers I didn't but let's save it 5a I don't know to call this it's kind of like a slinky but I don't know segment connectors okay you never know how the dynamics are going to handle things so in this type of situation make sure you hit one frame forward two frames forward it seems to be moving okay so it's safe to it's go hit play and order okay not a good start tell you the truth although I mean it's they seem to be connected properly but yeah it's a little dangerous okay couple things well let's just start working away through first of all the Kananga search for the word cutting you know Co N and I can select all the connectors currently they're saying ignore collisions I don't ignore the collisions they can collide with each other that's fine so hit play and they should run into each other now they're starting to do this oscillation where they it's echoing all the way through I honestly can't think of a better way of fixing that except for cranking up our stuff for frame and not letting it get to that point it gets there really quickly anyway unfortunately I can't tell if I made my connections correctly I'm gonna attempt to do it to find out by tilting the entire thing sideways and seeing if that can handle that a little better it's really hard to tell I mean if all of those are correct and visually they semi its exploding but they do seem to be correctly connected yeah very dull yeah this it's kind of mechanically not working very quickly sadly yeah so not much we can do yeah this is oh dear this connection is wrong 32 is connecting a cylinder 1 maybe because I didn't maybe cuz I didn't copy paste and I control dragged okay you know what there's a way of salvaging this it's gonna be a little bit tedious but it's not actually too bad check this out let's see if this works all right I messed up these connectors all the structure seems to be there what's not working we need to automate this because it can take too long to fix so here's what we're gonna do all right click on this top connector and add some expresso we could do it there so I think we're gonna do this the simplest like the dumb method the very simplistic method there's smarter ways of building it but there's gonna be the simplest one so actually this is also in the next week's tutorial but grabbing this connector what is that connector supposed to do well this connector is supposed to connect to its parent and it's supposed to connect to its parents next sibling but it's relative to the expresso tag so there's actually pretty important I'm gonna drag the expresso tag and then output the expresso as an object search for the hierarchy node and this hierarchy node is going to accept the expresso tag as an object and it was actually currently want to iterate there's a go travel down then iterate by going next next next next next but actually if I just delete out the start and iteration path it's now just outputting the connector object so where the expresso is it's outputting the current connector so that's actually really good so this connector should be whatever this is outputting so that it is now that object now with that in mind we need to control two things from it and that is the object above it which is that one and the object below it which is this one but this is already outputting different objects let's search for the reference node re F there's reference so there's currently inputting whatever object that the expresso tag is on so object a should be whatever the expresso tag is on travel up so let's type in you travel up one layer that's gonna input into object a then we can create another duplicate of this and whatever the expressive tag is on I want it to travel up and then go next so the path becomes up or you end up next feed that into object B so without having changed anything else we just got these simple five nodes although you know hierarchy and reference nodes are not simple nodes but this was a very simple implementation of them based on that if I click on it you now see that this is linking 32 to 33 so excellent it has automatically done that so if we can get this to work I can just search for the word connector and we might be able to copy the children is that safe to do I think it might be like I save it as a way of saving a little time I'm gonna copy that to the parent select same or copy tag to children and honestly if we just like hit one frame forward it should force all the connections to be correct 35 connected to 36 so I should have fixed all of them so now I can select all the children tags delete and I'll just keep this one in case we need it and turn that off so we've now used expresso to fix all the connections for us we even have the thing about it so these should all now be the correct connections and I feel confident just hitting save hit play and let's see there what's going on here oh very important that does it worked perfectly but something to keep in mind is the very last one it doesn't have a next to connect to so it's currently connecting to nothing and this bottom one needs to be turned off that one shouldn't exist so that's why it wasn't moving so hit play and that's better now okay this is now working excellent so that didn't fix it excellent excellent excellent so now we hit 999 it's play and it's actually bouncy and now we can see them begin to fall over and behave in a very cool way actually it's really neat so it's kind of like a slinky not entirely but now just based on not colliding with each other I'm sorry they are colliding with each other so they can't bend that our and now you see how it's going to automatically create counting these fun little bends and ripples and whatnot so automatically that's pretty cool I like that yeah I'm actually it's really neat well I because that's working I do want to let's make you have some a double the stack and see if I could do a better job of it this time collapse the entire hierarchy if it doesn't work but you just copy expresso again you saw how easy that was copy paste everything in fact I'm gonna grab all these cut paste so as to be in the proper order and I can grab all of these bottom half and move them down now I do not know the math here so this is maybe not smart but I'm just going to eyeball moving it down the proper distance you're actually folding on shift yeah hold the amount shift we did a perfect unit of 10 so I actually put it the exact place I wanted it to be so if it if I'm doing this properly I should be able now make that bottom one yes make a connection and connect 64 232 with any luck that did update now we have double the stack they said double the stack almost doesn't is that twice as tall don't feel twice as tall oh it's traveling through the floor okay I'll select everything put it back into the no collapse it and once again move the four down there we go I was like it seems not long enough all right everything should be working I'll just save again hit the play it's still running very quickly and now we get yeah a lot more fun yeah so well there's this is the dynamic version it is there it is dynamic it's going to do its thing I love how these like are traveling through like these little ripple effects okay where do we go from here I'm I don't want to loop it back onto itself because then we're getting too similar to what the original reference was we could apply forces to it we can I mean currently has a particular type of connection if he wanted to we could select all of the connectors just for connect and change it to a different type of can if we were to say make this a two-dimensional connector or I'm sorry only work on one access to type of thing with a hinge and I'm not sure what the current orientation is so it's zoom way up come on Wow that's not cooperating there it is okay so now you see this hinge is existing in this orientation right there in between so now he can't tilt in three dimensions I can only tilt in two dimensions so you're gonna see yeah it's gonna alternate like that and it's gonna be kind of trapped in that particular orientation as far as the entire structure is designed I'm not saying that's a good thing is just something that you can do I'm gonna undo make them both make them bendy again now control D and turn off gravity general gravity zero and now we can put in whatever we like let's make a turbulence forces turbulence now this is pretty big so we're gonna be a large turbulence fifty-five remember gravity is 40 so this is a little stronger than gravity scale pretty large frequencies all right so now yeah so now we've got a turbulence it's a lots of Bend where it wants with no gravity the spacing between them is going to be how far they can bend so technically we could let those Bend a lot more I don't know how easily how easily can we make that work I want to say why we want to double the height so I think it might be as simple as selecting all of them grab the Y position x times two so it's gonna make them twice you're did 90 get the X x times two huh I don't know I must've missed typed but now you see there's twice as much space in between them but let's keep in mind that we need the connector to also be at the halfway point otherwise they'll bend a little bit strangely so this is currently at minus ten but we need every connector to be at minus 20 I believe let me test its mic just minus 20 yeah minus 20 is the halfway point so search for connect and let's make sure that all of those are set not to a relative one but an absolute minus 20 an absolute minus 20 which is relative because they're all in a parent so now they're all at the exact halfway point and now this essentially should have the ability to bend twice as far because oh it's below the ground this is zero gravity as well but we've made it twice as long and once again it's still in three-dimensional space so it's just going to get turbulence to cool you you [Music] yeah the way they cascade through each others really neat I really love building structures through connections because you get you can't make this type of thing any other way like we could have faked we could have faked some of this by just making a dynamic spline but they wouldn't they wouldn't Bend properly wouldn't you wouldn't be able to constrict its bending you could you know eyeball it by a wooden either would work accurately this is just going to work the way we set it up the colors aren't you know we can't easily control the colors and some sort of spectrum but I know there's probably boys doing it that wouldn't be too hard actually mom I'm trying to think of how I would do that is there a clever way is there a clever way of colorizing these the way we want to let me know here's that let's do an experiment we've got all of these I'm gonna select every single cylinder thank you so why it'll still render properly Oh lag a frame behind though with every single cylinder selected I can create a tresor object which is going to automatically put the cylinders inside of the tracer I don't want trace pads I want connect all elements but not the vertices so the hope here is if I hide this we should have a straight spline yeah and that straight spline is gonna lag a frame behind but it's gonna essentially trace the midpoint of all of them so we can see that that is the halfway point wait where was I gonna go with this I was gonna use of color vertex tag but I suddenly realized that that probably doesn't make sense no there still might be ways of doing it if no but these all need to be in some sort of they still need to be putting some sort of cloner or fracture for that to work yeah um yeah I suddenly don't have a good way of doing it I mean I like you know you can do these connections in between and that's neat and then even that I wonder it I wonder if we could well the tracer this is gonna Bend in the way that like a tube would or sort of like a slinky would so if we actually keep that in mind could we make sort of a duct you know like the tubes behind a dryer could we do that so here's the thoughts how many how many do we have we have 128 of them right now so what if essentially we're not going to view that that's just that's just gonna create the dynamics for us and then if we create I suppose like an inside and we'll keep a pretty low poly so we can see it quickly um 16 that's a nice half way now clone clone onto an object the object is the traitor so now we get a series of those I can make exactly a count of them we have to be careful about it looping so if you turn off loop then that's going to be per now if I said to 128 it's possible we need one more or one less but this should be visually identical to what we had and these will not intersect each other but we have complete control over them and they're generated via a clone so first of all if we did want to control their color I'll just do it here because what what I'm about to do is gonna make it irrelevant to do that but we could turn that on and say I want this based on the field color oh but there's no field let me say I want it based on the effector color there now we can colorize them so just to throw that out there okay so first of all let's see if this works in the loft I don't know that it will I don't I don't know if that will loft put that in does it interconnect them all seemingly yes so now what the thought is is what if I put a second inside in it so there's it's alternating between these two tell the cloner to create twice as many clones and then have every other one be smaller yeah look at that so now every other one is being smaller then it's we don't need it to create all these in-between subdivisions I'll turn that off so now we see we got this type of geometry and if I play yeah hopefully we can see that these will pinch in but they can only pinch in so far oh look at that that's cool and look how fast this was running so now we've got this tube type shape let's exaggerated even a little bit more so yeah these can stretch and Bend in between themselves but they won't overlap and overshoot so they have this automatic limitation built in that is awesome look at that that's cool it's actually running really fast so I think we could increase our sides up to 24 and it's not super smooth but we could you know subdivide it and currently the Phong tags are probably activating deactivating activate/deactivate yeah the Phong is the messy thing so I could you say okay nothing everything has falling or nothing has Fung turn off caps get rid of those end caps and now these will Bend and now we've got this really awesome sneaky wormy tube that should be kind of dynamically accurate we could make it do whatever we want it to the ability to we could pull this and run you know it's already dynamic but we could make a fixed connector and force it to follow something or be connected to something in fact if we go back it should be a simple as this might be silly but if I just go back to the bottom one remember always turn the bottom one off but if I just turn that on is now connected to nothing which means that one is stuck it can't move but everything else can so watch that one's gonna stay in the same place but these these will not and now this bottom one is a ball and socket connection like you go back and make that a fixed connection which means that bottom one can't rotate so everything above its gonna try and Bend but the bottom one can't so everything else will move and Bend and currently there's no gravity it's just turbulent so these are just randomly moving around but that bottom ones never gonna move so yeah look at this pretty robust rig I never thought about it in the in terms of disks I always built this kind of thing I cubes or spheres so this does open up the opportunity for this type of tube but I love these little pinches in there that's the cool part let's see trying to think of anything I want to do with em II keep in mind like we're doing this loft version of it so we have a lot of control over how many copies there are and we could mechanically we can make it like more visually mechanically sound I would think maybe the offsets wouldn't look right but I think if we put like two of one type and then one of the other and then double the count again a certain point will start slowing down but now now you see that we get two in two out two in two out and they could start looking very mm very mechanically sound like it might look less organic yeah you see how they're gonna Bend look at those beautiful pinches like it's working perfectly those those can catch up to each other but not in the end they can't pass through the Fong tag is still potentially acceptable it just has to be at the right threshold still running reasonably well because I guess these are just clone so the actual dynamics run on something pretty don't use edge breaks I'm having a little bit of trouble with a Phong tag but this might just be the shadows generating I'm not sure but yeah that was a little bit more mechanical I'm trying to think I mean you can make more than one tube easily we could potentially be go we could easily grab the tip here and be dragging around making it to whatever you want this would interact just fine with things like spheres like we could we could make dynamic spheres and crash them into it or have them be attracted to each other and I look I always love the idea of having these two we have two rigs right now we have a dynamic series of cylinders and then completely unrelated we'd have this sweep but and I'll save this is another version because it's working quite well see me refreshing properly impressive so we're doing this but just to I guess we have a lot of the work we need in here but if I turn off the other hierarchy as I saying let's say we want to color we have all those cylinders we want to colorize them or have a little bit more control over them I could if we're making a little bit more what's a good way I don't want to just make what well I'll make them thicker we want to have the same outer radius and we'll give it an inner radius of let's say 180 a height of 10 so now we get this ring I guess I want to be a little smaller like that and we'll spin it around what's our there uh 24 36 36 will be pretty smooth around so that goes into the cloner clone 128 of them exactly the orientation is not correct so we'll put that on z+ so now we get that so we have this and as we kind of alluded to earlier we get the structure it's going to clone really quickly and then I think we'd probably make this a multi instance so they're gonna run really fast so we can get this type of more complicated structure going and we are having all the trouble thinking of like how do we colorize them well it's like no those are just dynamics that we're done with those now we just control everything via this so as simple as creating a step effector or yeah let's make a plane effector always use plaintiff actors make a point effector color it with a field colors which it already is which means inside of fall-off we can feed anything and you're like in this case I could say a step vector and the step effector should affect the color and now it's going to take each step of the way traveling all along it which means inside of its color remap we said that's a gradient and feed in whatever gradient we want to so let's make a rainbow one look at that oh it's so cool so those will we can colorize those in it's such a quick trivial way we understand I think of other cool things to do here I mean if we are actually making a slinky I don't think I'd want to build it this way because slinkys can bend more than this can so I wouldn't build a slinky this way plus slinkys can get longer this actually is never getting longer or shorter it so a set length here's a I think of the dynamics will run quick enough but this will definitely slow it down a little bit but just as a cool thing I'm is very appropriate for this month what was I gonna do oh if we make a simulate force no no simulates dynamic force this is a tractor it's like self we can make itself for a pulse or self attract so I think yeah by default I think they attract so if we make the strength strong enough I think we make this like curl up like a worm the radius is not huge I'm gonna increase that significantly if we get that whoa okay well let's give it a little bit time but yeah okay so this is totally working you see the because I made these are all attracted to each other but the radius is large enough that it's going to make them all coil up and they just kind of happen to coil up so that's neat based on their shape it I wasn't really think about this but they can intersect each other I mean this is kind of realistic this is the way they would intersect but they do have the ability to do that and of course you have the ability to do the opposite I could say negative 22 and now it's it's repulsing itself it could never get that close to itself you gotta go with a light touch with this type of thing because everything one of these is trying to get away from every other one but in general this is gonna probably start to slowly straighten it out but it is also fighting with the turbulence so yeah this in general would eventually straighten out but enough enough turbulence I'll start increasing the power of our turbulence and at a certain point it'll be strong enough to overcome yeah now starting to it's strong enough to overcome it's trying to straighten out all the way so yeah it's just two opposing forces and you just gotta find the correct balance of them turn it off in the turbulence gonna be crazy we then we could do four to a positive force but make it pretty light so it is self attracted just not too much apparently a little goes a long way no wonder we're having to crank that up so high yeah not perfect spiral this time but it will kind of bunch up like a snake in space well yeah strength that one is more powerful I thought it would be so good price up that don't like point one or something yeah let's see we're already 20 minutes over I'll see if there's any short questions or not cinema questions but this is pretty cool actually it'd be good to maybe look up bottom line because a bottom ones fixed so that already looks cool there should be the should be the thumbnail for this I'm gonna say this is thumbnail because it's will be a background thumbnail thumbnail yeah looking up the tube there's probably very quickly break but for a few frames there it looks pretty cool if we told it to be straighter it could hold on to it but yeah any questions Pro Tools I am NOT gonna speak to that we'll make an announcement soon about that yes Neil I guess naked space you haven't seen a snake in space I made a comic about it once let's see uh yeah it seems all good yeah we Robbie the robot arms it makes for good robot arms super dynamic I just love making those things and we put all that work into it but you saw how I really love this expresso setup like it's so basic and it's well it's currently broken but we could easily fix it and it's just like okay boom everything gets fixed and it was really easy like you make it more dynamic so it actually will dynamically look through all the children like you only make one tag and it would go and check check check check check check and do all them in one go but is it more complicated setup and the ability to copy and paste that onto all of the child tags and just fixes everything such a great little bonus yeah we could totally we could make it into a slinky like you could just uh I guess okay that's that's a good scale thing it's not gonna be a good slinky but are you a good slinky or a bad slinky if we turn off the cloner let's just rewind all the way it's just not it's not gonna be good slinky because it's not gonna be very stretchy it can't go very far but this I mean we can make this a slinky as trivial by making let's say it's not actually we want to lay on X&Y and even the height doesn't really matter so if we make a spline wrap put that in the helix it's currently traveling till the spine wrap to travel along Z plus that will travel along the tracer then now we get a spiral traveling wherever the tracer is and then we just have to make I don't know ten times as many spirals and it's gonna have nowhere near enough points so I'll make more points tend to have many spirals again actually I guess we could say if we're being I don't know if it's a cure but let's say 360 times 128 which is how many rings we have and yeah that seems like a fine set of fine spiral and then I guess the slightly tricky part is the sweeping of it like the angles gonna be weird there's actually a way around that I can think of create a sweep Matt will sweep that nope that will sweep that t4 scale now here you see the angle thing I was talking about how it's twisted in all these weird angles which isn't quite right but it's what's cool is the fix is really easy we just create a second helix and so it's one helix and this will become the rail if we just shrink the radius then it should make a rail one and now it has a perfect orientation make sure that our rectangle is the correct direction oh and it's taking on the rail scale so turn off rail scale scale this up to whatever size you want uh technically there we go okay it's hard to get the recombination but there we go now we get this so now we got this coil going and the thickness will be by increasing one or the other the slight trick is you see it's actually getting thicker from the center point out and in actually now I think about it that should be fine we just need to let me look at the original let's make that invisible so we don't want to be any bigger than that but all we do is take the outer helix the big one and shrink its radius I guess we want the top shrink in the inner the that radius down until that matches I thought we're going to do something fancy with the rectangle like making it edible and whatnot but you know don't even have to do that now we can hide that again so now we've got it one giant long sweep that we can control the thickness do whatever you want I did like that rainbow gradient and you know now that we've changed the structure of this that's as simple as going into the luminance channel creating a gradient there twirling download preset grab our rainbow again apply that to the sweep and change this to be a 2d V and now that's gonna spiral around around around and go all the way up to the thumb hopefully there could be some sort of order operations I'm not thinking of but let's see if that just works each play seems to just work now essentially we have a slinky but it's a slinky that's never gonna stretch too much but it is a spiral this is a spiral that's gonna spiral all the way up and down that spline so it's a continuous spiral so you know it's cool along those lines but a slinky who would be stretchable and nothing we did made this so it could stretch making a proper slinky would be a different challenge but this just made me think of things differently anyway so I might approach a slinky very differently with what we just did pretty cool pretty cool oh yeah somebody somebody were saying put a helix on it but it did work I mean this slinky it's just not stretchy slinky thanks ProTools let's see yes somebody said they're late yeah this will be available on on the channel the official restream or the replay channel the archive channel actually let me pull that up because I think it's important every I will put the link in as well everyone should subscribe to search for look bracket lasso is live let's go to rocket lasso live and there's rocket lasso but there's another channel now here which is rocket lasso live and this is one that everyone should also subscribe to because of this this is where I'm posting the replays so you get all of the previous episodes so there's more than 40 episodes everybody if you're not already subscribed go there right now hit the subscribe button and I post the episodes usually on Friday so the replay will be there along with notes and time codes and links so once again if you are oh and I forgot to mention but if we go to regular rocket lasso we just crossed ten thousand subscribers which is pretty cool yeah so thank you everybody for supporting and following all those lines it's worth mentioning that if you are supporting on patreon you get all those scenes file as well as access to the tutorials well you can actually get access to the tutorial a week early officially but you can also ice livestream the recording of the tutorial so you actually can get the tutorial two weeks in advance with that in mind and you get the scene file so it's pretty cool so if everybody if anybody's interested if anything I show you here is useful and maybe it works for a client you make something really cool from it if you want to support then patreon is the current best way to do it eventually we'll have some tools out there and the best way will to support will be to buy the tool and then you also get something extra useful for yourself but for now that is the best method so that should a wrap up today's episode thank you everybody for the questions there were some fun ones in there for sure make sure you check out the new tutorial subscribe to both of the channels and I'll see you in a week bye bye everybody [Music] [Music] [Music] [Music] you

Channel: Rocket Lasso Live

Views: 1,018

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Id: RLToatgXc1g

Length: 145min 27sec (8727 seconds)

Published: Thu Jun 25 2020