Rocket Lasso Live S2 Ep 3: With Guest Krzys Pianko

hello everybody and welcome to Rockette lasso live episode 3 season 2 it's an extra special day though because I have my first-ever Rockette lasso live guests Krispy onco everybody so he's been very brave in general there's a lot of people in Chicago who I'm like oh you gotta be on the stream this like yeah I want to but maybe and he's breaking the seal when and there's other people yeah there's other people who have agreed now they're gonna be watching him it's right ok cool it's not that bad I gotta come and do it so why don't we go ahead and do just talk a little bit about your background getting nice and we're gonna get nice it goes here we're going to talk a little bit about your background so like you're originally from New York but you're in Chicago what kind of background you have what kind of work do you like to do and then eventually we'll pop open your website here so yeah I moved to Chicago prob about four or five years ago I've been a motion designer for 10 plus years the majority that time was freelance the type of work that I like to do you know to be honest I like I'd like to do a little bit of everything I consider myself a generalist but the type of work that I've been doing for the majority of those 10 years is doing a lot of projection mapping large-format work things like that that requires some good UV work and thing you know things along the along that scale so but yeah I love it alright so we're going to jump over to the screen here your your control of your website which is a very cool looking website so just quickly go through a couple things couple words about and we'll jump around and people get questions ready for that as I was mentioning we've got redshift and Arnold and he is qualified to answer those questions way better than I am so probably not that great but we can always veer off if need be and people are posting links to your website which is excellent but let's go ahead and give Chris some control here of his own website yeah and I'm kind of blown away that Chris actually spelled my name correctly I think that's the first time that's ever happened so this is my website this this is just kind of some portfolio stuff this is kind of more like client-facing so it's not some of the my personal work but whatever it's pretty cool or at least I enjoy it so this is a piece I did for Nike a couple years old at this point probably about four years old this has done an octane I had a lot of fun doing this piece that was extreme but aren't they always so this is this is that piece I don't know how much we want to scrub through it at school I have a jumping around those specific fun parts is to be honest I haven't even looked at this in so many years so yeah but feel free to jump yeah yeah yeah is that in is that 3d particle effects or pose um I don't remember I didn't do this part I believe it was done in post though so that was a cool piece this is a piece that I did back in New York and I didn't like the way it turned out so but I thought the concept was pretty cool and so I just decided just to kind of make some frames for just for shits and giggles so that was that was a lot of fun and there's there's a lot of stuff you guys can kind of dig through it if it interests you this is a piece that I just literally did because I was in between gigs and I just wanted just to do something creative and fun and decide nope no creative directors no clients just having fun for fun's sake and yeah I I still love this piece so much of the if you've ever worked with me before I did I do a lot of glass I can see questions popping up along those lines I get the glass questions I well I'll try I've been I've been thinking about Tron Legacy a little bit yes so it is always an amazing look yeah actually I believe that this was actually done in standard to be honest Wow so this is also a little old despite like three years old or something like that but it was just literally for fun and just crank out some some shots and and just you know just have fun with it but that's about it that's that's just some what some of the looks I don't want to spend too much time on myself here some some of these frames I still think are really fun and it wasn't done with a great engine or it wasn't done with a newer engine I should say yes that's that's my stuff feel free to dig around you know if you have any questions you can always reach out to me by all mean yeah we'll definitely follow up I'll be posting all his info everywhere it's getting warm the room quickly so I'm going to crack open the little window here get some colder air going okay so everybody start posting your questions remember to specifically make sure that we can see the artist who did it or their avatar or something along those lines or the studio and the time code if need be so start posting those questions but we've already got some starting to filter in here a little bit so let's see we from we get well we got your website there but then ZP Coolio has a Vimeo link a ribbon effect let's just check that out see if there's anything we can work with here oh I remember seeing this that's cool yeah look at that all right so if we were going to pursue this one how what might we do well first of all who made this this is a Zachary oh it's a it's it's that course on of course I should have known it's definitely got that look of his he is really good at pioneering taking like although if they're kind of my kind of workflows I will go and tinker with some sort of technical technique and be like okay cool I'm done I did the techno part he'll take that cool technical technique he'll find one on his own and then make it look beautiful everybody like oh how did you make that like I got start to turn to make my things look prettier after I come up with some sort of concept so okay how would you how would we go about producing this it's clearly dynamic I think we see the actually is it it or any piece is actually bumping anything else oh yeah well here they're definitely layering up so I think that yes there is definitely some implied non colliding going on so immediately that's implying some sort of probably spline dynamics sure I know I was pretending like I'm like I'm just agreeing in the gaps so I could Vimeo he starts the next video so let's just go to a still here so yeah so each of the ribbons is textured very individually so these would have to be a whole series of presumably different splines each of them being textured differently because you could make a dynamic spline and a very two-dimensional plane now you can't one of them and I've talked about this a lot let's jump to the our camera here so I've talked about this a little bit recently something that's a little frustrating with me for the limitations of dynamics in cinema 4d and this is where Houdini does start becoming powerful is you you can't ever change the point count in anything in cinema 4d expecially once it becomes dynamic if you have a dynamic piece of cloth and suddenly the clock gets an extra layer of polygons everything resets its back to zero so that means every point for anything dynamic needs to exist the entire time so you we couldn't like extrude we couldn't start in meeting a bunch of particles here and merging them together because they wouldn't interact with each other and then if we make a big dynamic spine amazing entire thing has to be there at the beginning and then the which means we have a we have a whole spine we have to hide from somewhere that's still viable now if we were to start tackling this do you see some element of it that you'd be able to participate in because I I have some ideas for the dynamic part of it but could you if I if I were to make these little extrude lines could you make it look pretty sure okay definitely you know just have fun and see what happens but yeah there's some there's some definitely some interesting stuff that you could do there all right so I'm going to take over right now yeah I gotta take over right now for the dynamic part and a Chris will take over and make it look cool and that's if we get it working so thank you very much for the question and a big thank you to as that corzine for always making beautiful looking things so we are jumping into cinema 4d r21 and another good thing is try and speak out what you're clicking as you do it it will very educational but in this case we're gonna be creating a spline to start out the good way of actually well there's a couple different ways of making straight splines we didn't used to know this kind of neither here nor there but something I learned on the 3d motion tour is a good way of making a straight line is making it inside and making it a two-sided line what do you what I originally would have thought was doing this wouldn't make it so that it's actually a loop it'd be close by but it's actually an open spline they made that work so it's a really cool way of getting a center point line going but if we want control many points there are I'm gonna make a helix make the start radius and then radius zero we want no angle and now we have a straight line with exactly 100 points on it and I actually think that's probably pretty good I'm gonna make it a nice clean length of 100 so if one are points that means there's 10 units between each point which might become relevant information create a floor so we have something to collide with right-click floor simulation rigidbody and on the helix right click simulation mm soft body so if I play it might hop in the air a little bit yeah just a little bit it's gonna explode a little bit I think it's good because it's colliding with the ground also yeah there should be no margin so I think that's just colliding on the ground also there's the thing that I've noticed cinemas been doing in our 21 which is it doesn't necessarily refresh back on frame zero without some external force applied to it but in case I can't move this five units up into the air because I think we won't give this a little bit of thickness I always forget I think what we want to do is in the dynamics I go to collision turn on margin and we're going to give it a radius now I never remember if we need a radius or a diameter I'm gonna say five for the radius and we'll see if it explodes so hit play okay well it's super duper explode I'm gonna turn now first I can I just make sure it's still working yeah it is and it's expanding that's very strange one of the points with 1000 lengths I wouldn't think that would explode right away because we have enough distance between them but maybe maybe it is too many points just for an experiment and once again you see when I'm resetting back to zero it's not resetting right away which is the kind of pseudo bug I'm talking about but in case I'm gonna try decreasing loaners points okay I see what's wrong these are we have intermediate points turned on we need to turn that off because it was adding I think eight points in between every one of the 100 points so there was way too many now if I play I don't think it'll explode out and it doesn't school now in the dynamics I'm gonna say yes use a margin and that's putting a little radius around every one of our 100 points and you see it didn't explode which is good now I'm gonna put up to 10 and we'll see if it exploded so it doesn't explode then that is the proper number it did explode I'm gonna try taking it down 1 it still will probably explode but well no yeah exploded there so that means 5 is the magic number that means every point is not wanting to collide with itself so we now have a set radius of 5 you can never ever you never have your radius be bigger and the distance between the individual points on the spline so with all of that in mind let's create an inside and a sweep just to temporarily see this and the thickness that we're dealing with eventually why am i doing in that menu let's go to our sweep and feed these both in and give the n-side a radius of five okay hit NB so we can see the individual polygons and now you can kind of see a visual representation of what's actually happening that's the thickness and this thickness won't allow it to collide with itself I'm gonna add a couple more sides to the inside you so it looks smoother it's still kind of twirling around because of lack of a spline having that type of friction but now we've got our basic setup I'm gonna save the scene file just because we've got the very basics ready episode three scene files I'm on a ribbons okay excellent so that's our starting point now what I'm thinking is we need to you know this needs to accelerate into the scene and I'm not even exactly sure how I want to have them eventually start slowing down maybe some friction with a fall-off so we need to have this accelerate on positive Z so with in with that in mind instead of actually I'm gonna make sure that there is zero friction on both the floor and the helix we don't need any friction for now maybe that's what will slow us down I'm not sure but let's give it some initial velocity so under our dynamics tag dynamics custom initial velocity X Y Z let's give it I don't know five by five and see what that does so with zero friction that should just move in a constant rate and actually it's working pretty much perfectly so with that giving us the initial acceleration and if there was spine isn't resetting I think go Thor one frame backward one frame it will reset but that's why we're gonna be saving often okay cool that's projecting forward now we need to start bunching up somehow so I have two thoughts we need to decelerate it which to me and plot how we could do field forces can we do friction with a field force maybe it doesn't like a good opportunity to use field forces well let's start out with friction and set turbulence we'll use some field forces so I'm gonna create a friction what that's going to do is constantly drain energy off for the entire system you can see immediate everything starts slowing down so that's way actually that's actually a pretty good amount fortune it's just too much everywhere all the time so under our fall-off I'm gonna create a linear field and set this to be on Z plus I always get this backwards so let's just see I'm gonna put this over here and let's lengthen it and I'll see what happens so you can see it's accelerating quickly and then as it starts getting into this fall off as it gets into this fall off it's getting more and more friction applied to the individual point so it will slow down now I think I'm not sure entirely that's gonna slow it down so okay cool fair enough now we need there to be some imperfections in here so that they start it starts wanting the bunch up although if you're gonna get that natural ribbon going it makes me think that we need to accelerate this entire thing with like a wind or a field force and not just do the initial velocity I'm super curious I was acted this he always has like a really clean breakdown I'm gonna turn off that the immediate velocity and let's make a we'll do a simple version right now I'm gonna say simulate wind so we've got a wind it's always blowing forward on Z so I'm going to give that also a linear fall-off also set at the Z minus this time so it's only affecting things behind it so now it's going to be accelerating up until the friction so it's got full power up until there so it's not gonna start out with a full burst of speed but it's got some speed and will accelerate in and then it will suddenly at the friction need more frames jump it up to 2 to 2 and let's let this shoot in and then it's it's still pushing but then slowing down and which I think is all probably good ok so the basic way to do this would be with some turbulence but let's let's do a little bit of field force it's just because forces field force so of course this is new in our 21 and it's a way of using all of our fall offs and our field objects to create exactly how this is going to blow the dynamics around so with this in mind I'm gonna create a random field the random field by default here is gonna be set to noise so there's a noise within it and if we want to see a nice visual of this I'm gonna click on our field force go to this hoop I always do this delete that field force we need it to be the object tab not the fall-off to have I do that all the time mmm ring field or Rand field there now we can actually see something in the viewport not too much but go to our display crank this up so we get lots of resolution I want this to be two-dimensional looking so I'm gonna give it zero Y so now we get this nice two-dimensional visual of it keep in mind it's not literally two-dimensional it just looks that way make that bigger maybe a little too big but if we begin cranking up the scale of our noise then we should be able to see the patterns emerge throughout it so I'm thinking somewhere in the you know 350 ish so that will randomly game be getting applied everywhere immediately there's - Rinna feels like make sure I get rid of yes the correct one now let's start increasing our strength here so I'm gonna say strength of 55 and let's see what happens now we can see the sneaking forward now actually you can see right there it's actually that is starting to work better than I thought it would for the stop we're at because currently and feel free to interject if you see me screwing anything up or have any ideas but Chris will be taking over in a moment oh I was gonna say is the soft body settings are making this be pretty stiff so it's more it just can't bend that much so we're gonna start grabbing our shear and our damping and on so let's just let's try dropping this year and it's damping deflection and it's damping down to zero and we should immediately see that this thing can really Bend now so excellent that's working very well now we want this to essentially I think right now we're kind of think of that as the start point so let's have this field force not have any effect until it gets there a couple different ways of doing it but why don't we do the simple way right now which would be just go to the fall-off tab and apply a fall-off here as well what's cool is we can just steal the same fall-off that the wind had so this is now no longer this is only like that oh no I'm gonna continue this is good this was the wind was told it can only affect it before that point I want this to only affect it after that point I want to use that same fall-off though in case we change it so if I change this setting it'll change it for the wind as well but we could do is take this linear field and say I want that effect inverted so now we get the opposite of that now our preview isn't gonna show if I scoot this over it will but now you can see even that fall if it's showing that doesn't happen before that so now there is none of that field force before and as it passes through it's suddenly going to get applied and now it starts punching up and it's actually that's actually working surprisingly well so excellent a very good start here I'm thinking our frictions a little high so I'm gonna drop that to half see how that works let this travel a little further into there and it starts bunching up quite nicely the string isn't that long I'm fine no it's not we're not trying to recreate the Zechs effect exactly yeah it's looking nice I'm pleased with us so far so we've got that now a couple things we do actually I'm not sure if this works I'm going to attempt to make a simulation dynamics force I don't know if this works on splines but if it does work I'm gonna set it to I'm gonna set to something crazy like negative 55 and it's got a pretty big distance and this is gonna stop it from bunching up if it's working properly but I think there's a good chance that this doesn't work on splines and at a glance it doesn't seem to I'm gonna give us a couple extra frames here and just see if I tweak a setting if it'll change I don't think it will once again I'm gonna go crank I can just make the settings way too high and it just will be certain that it is affecting it or not affecting it so I play mmm it should be visually affecting it now it's not okay so that doesn't work but we are not limited we're not we're not trapped yet because what I want to do is make this bunch up but not bunch up quite so much although maybe it would be like this because right now we have a thickness of five but that means that this would never be closer than those five units now we could let's try it let's do this I'm gonna double the length of the spline but not double the points which means I can now double the radius of those points so now there'll be twice as much margin half as much detail on the spline but now it's twice as long and now when it's bunches up you're gonna see that they're not they can't get as close to itself as it was before actually that's working quite nicely I'm pretty pleased with that so let's go and make this look a little bit more a little like the final which means we can take this helix out and we will extrude it instead of sweeping it and keep it down here at the bottom of the hierarchy so extrude X Y Z not on Z but on Y and let's try 200 there we go perfect extrusion so now when you hit play this doesn't care about how the line is okay it's um it's not acknowledging the dynamics so a couple things a couple things to try it doesn't like the dynamics first of all when in doubt try a connect object I'm gonna hold down alt which will automatically make it apparent and I don't need it to be welding let's see if that does anything sadly it does not okay so it doesn't the extrude actually this is super interesting that the extrude did the sweep didn't mind the helix let me just take it out make sure it is still working and play yeah instantly works but the extrude doesn't want to acknowledge it now one thing it'll probably automatically work is we can just bake it so we go to cache say bake object it'll be probably pretty quick spline dynamics run very fast and that's it playing and okay that's working now put that into it extrude and let's make sure that that is oh it's that still isn't very interesting now okay we're slowly running out of the options but let's clear that cache and I'm going to actually okay this is getting really roundabout but you know you do what you got to do I'm gonna make a matrix object I'm gonna set this matrix object to be set to object the object is going to be the helix it is going to be a distribution mode of exactly the vertexes and I'll have exactly 100 of those now I'm going to create a mograph tracer and that tracer is now looking at the matrix I'm gonna say connect I'll connect element so I think that's going to interconnect all of these different points so now that tracer is a separate spline the order of operations might matter but it might just be liking a single frame behind so now let's see if this is working on the spines traveling but the matrix isn't chasing it I can't move it after the helix and let's see and it will move this after that the matrix I would hope would reference it but it's not I thought I had this working let's try putting this into back into a Kinect and I'm gonna run the matrix to view this we're getting deep here oh that's still not working man so I did this is just going to like the extrude it doesn't want to acknowledge this spline we don't want to there's some suggestions about like making the extrude have the dynamic but that means we're gonna be dynamic on this entire object and not on this two-dimensional plane which is really simplifying things for us that that's a good idea and let's try that so pull this out and we will make a most spline and change this to spline mode in the spline mode we're going to feed it to this helix and we're going to see if this most line is doing the same motion which sadly it doesn't seem to me no I just saw something else that might actually make all the difference I'm gonna make this I'm gonna make a copy of the helix and turn it off and now let's make this editable now that's an editable spline that might just change everything automatically that might looks like I accidentally deleted the extrude 200 on Y let's try running this directly in that again now that we've made it editable sadly no let's try the most line it is referencing this one I mean that's that's doing its thing but it's not cooperating here so let's see I know I've gotten this working we just have to think of the right combination once again every time we change the variable you have to recheck all the other ones so we'll put that back into connect object it is moving but the extrude is not referencing that's put this directly into that connect doesn't like it okay we're gonna try baking the but they made ed the boulders in the spine so bake mmm let's didn't mean to leave that let's see if we can do an Alembic cache can you Olympic cash a spline I don't know that looks a little weird at frame 0 so it's not encouraging let's try putting that yeah okay it does not like that either okay I'm usually we have a recourse here but now if we're running these dynamics rate forward just dynamics blind but we can not extrude it okay I've got I got okay I've got a different idea it was working with a sweep wasn't it so we'll put this back in the sweep and instead it will just do the simple method we'll just put a rectangle in there so here's a rectangle and we'll just make it skinny for the rotation yeah height and now okay now that's fine it's freaking out a little bit but that's because we need a rail spline or can we turn off banking turning off banking might do it reset this let's go to 400 because it's half through the grounds we could fix that by don't care if it's intersecting too width and even there we go there we go finally and now yeah there we go now we start getting the really nice wrinkles going okay so that is doing its thing it's not baked it's back to being dynamic there's a little bit of a goofy workaround but all's well that ends well don't need most blind there's our extra helix we'll go back to that if we need to once again the dynamics not resetting unless I jump one frame forward but we've got that it's working pretty well there's a little bit of a twist to it but even the reference and we don't we do not want to recreate what he had exactly so I don't push that too much further you can make this look as different as you want just make it look pretty but there's definitely a thickness to this as well so we're naturally getting that just by this method we are sort of forced into so we can make this like extra thick in fact 20 might be the limit of 10 that might be the limit as well but it's 20 as a yeah so yeah you see if that's not quite intersecting although I guess if we're emulating in fact we don't want to quite touch itself so that's fine there we can round it out through a subjected service or by rounding out our rectangle which probably be to clean this way I don't want too many polygons so we'll drop our angles 25 there we go let that run through it and a so we can see this a little bit more smoothly and that's all bunching up now let's go ahead and see if we can make that look smoother overall just by grabbing our helix and giving of those in-betweens I don't know if the dynamics will calculate down they're not so I'm gonna change this to be say natural and I'm gonna change it to be a b-spline and we won't give it to it actually will do uniform with two points b-spline that's one that will force it to smooth that whoa nope that they create the sub points okay it's fine yeah it's visually interesting but definitely now what we're going for okay so we can't subdivide that because it doesn't require it the points are too subdivided for the current radius we're feeding it and it does calculate at that step so along those lines let's just make sure that our rounding is super minimal and jump this up to like 45 degree angle and then we could just drop this entire sweep into a subject surface although the subdivision surface sometimes doesn't like dynamic things being fed in did I not I did not yeah with no in between points that's not gonna smooth that but there we go it's rounded out the tips a little rounded as well we're just ways we can fix that but now it's gonna be smooth it we get the noodley look and it's pretty much the overall thing so along those lines I'll even let you do some copying and pasting I think the entire rig will work if you just copy and you make as many of these as you want to have some of them shooting in and just because it's running quick I guess we made that editable so actually I'm curious if we can put the not editable one in because we figured out a different way of doing it so it's always better to have the parametric version if it works and it's yeah okay that's the worst which means we're it's super easy for us to take this and one frame forward one frame back super easy grab this and say twice as many points twice as long and now it should visually look similar I'm gonna save this as a new version and let the Chris take over all right all yours man cool thank you yeah that would have taken me like three days to do always I just want to see that play again it's so much fun oh man that's cool any him so really quickly I personally am a little OCD woops sorry I do not work with the mouse just Akane look at them organized keeping things nice and organized cool crazy cool so just really quickly if so what you telling me is I can just make a couple of these guys scoot over and then just just so we have a couple of the guys how fun is that I love it cool so I just make one more just so we have a couple because I think that what really makes its piece cool is just the color there's really nice soft gradients it has between all the pieces cool so we're going to stop there frame 136 cool if I just save incrementally as we do but yeah go for it cool so we got this thing going on alright so let's see what what engine do we have here yeah I don't believe 21 either cool pop that in there make some room pop this over here scoot that over oh my god I know Chris is bugging out over here it's just pacing back and forth cool see here oh what's going on Oh something wrong yeah which this should be it not sure why it's plain over there yeah yeah okay I didn't even know that um yeah thank you very much there we go yeah cool so what do we got real quick so we got this amazing thing just kind of framed that up a little bit so anywho where is I just click on this I could find the piece that is awesome so what he's got going on here lots of really cool gradients running through the actual piece itself and then there's some shifting gradients as far as every object and things like that what a really cool piece on floor yeah presumably or it could be a bunch of copies of it yeah anywho let's just let's just get in there I'm gonna see right Shiva - hmm yeah the other thing is that because I don't do 20 I haven't really messed around with 21 I don't think that's gonna be what I want no I mean you know forced into the new material mode are you yeah I'm secure so that's gonna open up the actual yeah yeah that's opening up deedledee the new or one anybody in chat know how to pop open in 21 the old-style materials don't anything a while for them to answer so keep trying mm-hmm all right let's see yeah so is this the new note space-based material yeah I think so yeah so the basic idea here being that Maxon I've read ships have been working together really closely so that they could implement the new style somebody uh Chris is saying is you should jump into preferences and turn it on huh let's check let's check that out real quick preferences there it is redshifted uh using those materials for presets is that it well that's awesome we'll see so make it from scratch again no because I could have produced a sure shot material yeah yeah yeah nah thank Chris so nice people helping you out got so many Chris's today it's amazing cool so let's just put this somewhere this is kind of getting getting loose its crushed we keep this at 1080 so it's not the craziest resolution yeah so they don't we just sit in control just kind of closing this stuff out but they're still available if you want to kind of click on them there to see it [Music] so yeah but we have a material here let's see about the first thing let's see here let's do a ramp I just start getting in here and we see how this ramp and how this material you said that overall the Geo I guess we technically should do it this way cool so this ramp is then vertical if we move this around when I ship that's your screen see here cool so we see kind of what's happening there we can do this and leave by default is that we could do try key but see what happens that's gonna be ugly you can do curious about that because it's a it's a rectangle sweeping around right it would be wrapping from the start to the finish around so we might need to map in a very particular way like shorted that not the halfway point and things I'm not entirely sure right let's let's check it out so that's the start from the beginning and you see what and is it play it's not refreshing into zero yeah cool emotion wave was also saying that we could project it fly yeah that would know what's cool that would work but it also we wouldn't map onto it directly anymore it would just be in space VI here's the gradient hill pass-throughs radians which is cool but you're not getting any of its you v's helping you out to do any cool effects right i mean if we look at for example you know with this you could you could do it flat from the side for sure you know it's getting you know this this gradients kind of running through sideways but like that pink streak yeah with it exactly we'll just stay in space not on the out exactly so that a lot wouldn't work there let's just see here real quick if we select this and then right click okay to objects or just kill these for a second i just focus on one dude cool okay so you get you get the gradient working well i think that's great yeah is it traveling back so i guess it doesn't need i'm just kept this year okay cool so we got that going on really sure and let's just see now if we just pause that for a second if it will actually stick looks like it is seems to and you slipped us around real quick just so we can kind of cool I mean of course as you got this dude but we're just kind of you know yeah we just pretend like it ain't there cool so yeah we have this guy going on so then what we could do is just you know of course just you always do a fun little color preset thing so we'll just do this color and then I still haven't fully adapted to the new and makes you make your own colors do you know well thank you yeah no no sure but yeah I still I still trip over the new ramps they're nice but I don't know yeah you always get the it's the results aren't always what you're looking for so it's like you know all the way past their mm-hmm let's see here cool yeah the ramp space I think you might drop no should I do check it out okay so guys thank you thanks Chris so see any I think that we're all kind of getting the idea right anywho you're right I should - you're gonna start doing some other colors as well so we got that we can then you know of course run this into you know the color base color run this through the air you know we're actually getting some like kind of shading information running it through the material what would be interesting here is like we could do a I always get mixed up with Arnold and redshift and say he's just running through here the user color data go down here and say object cool so we got three different colors I've only ever done that yeah which you can you can randomize it here but it definitely you have of course you have more control in a graph no it's nice you can do this because I would have put that into a fracture with the rent creating a bunch of overhead sure so what I want to do with this though I want to do a color let's see where is it so much such a little room yeah color correct where's your usually I'm like three monitors yeah this may be a little bit cool so we have that ramp that we originally made we're running it through the material we're just gonna put that aside for a second so that we have these coders that we created and then we have a user color data that is just basically putting a different shade different color on every single one but we can actually use that information to to change the hue for example to shift the hues that we originally put into our ramp so what we would do we would kind of want to we would want to range change color range I always like this one so if we do run this color and I do this I'm not sure if you really need to do it this way but usually when I do a utility note as they call it in Arnold I actually run it through here or I shuffle them all into one channel so I just do it this and just kind of just it's it's kind of just easier for me personally to visualize okay so we have like three different values and those values then I would run this value through for example do this this range and I would say disconnect this we do it another color correct I see here click-click yeah it's so much fun so then so what I want to do is I want to push this through here and then I want to push that through there so basically this is what we had originally and then if I go through here and I shift if I shift the hues well then I'm shifting the hues now hues go in a wheeler from 0 to 360 degrees so then I would want to change my range that I'm this utility that I'm pushing through this just to desaturate it just for my visual preference I don't know if it's necessary or not I just kind of way I've always been doing it I do everything wrong so but anyway so I'm pushing it to here to desaturate it so that I'm getting ultimately if I click on this I'm getting those values of from black to white so I can use this values to black to white to push through here now one changes values from 0 to 1 but I want to change them from 0 to 360 so the black to white is 0 to 1 1 yes and then the white output is 360 so then I want to take this range and change put pump that into the hue put pumping this into here so then what ends up happening is that we have now if we remember correctly we did this ramp we shuffled we pushed it through the color correct that we're now just changing the hue which is driven by this that is changing the hue from 0 to 360 now 0 360 is a little bit aggressive in my opinion I do this technique all the time but I usually just do it from something like zero to like 10 you know just to get like a slight variation as you can see here this just a hint of a variation and if you have like you know 50 of these or 20 then it's you know those little variations it's truly what makes like in my opinion where all the beauty comes from is just this little hints of detail so currently it was outputting those set colors from your is there we don't randomize those initial values or is it just sent this this these initial values like to randomize them I was doing that the other day like two of them just by coincidence looked at varies sure so is there a way to change that or I have to make more I think so I think if you do a I think you can do a color correct again let's see here we go - here we input this so you go through this and put that bad boy there so this is what the the utility is coming out - I think that if you do a key shift here you can change things around now does that actually change the the mathematical value when we pipe it back into the gray I don't know so let's find out we pipe that into here and that goes all going in here these starting to get messy and do we have a different outcome not really if we put that back if you bypass that one any changes no so the hues that actually are not changing anything as far as the black and white value but what we can do is we can sit there and take this and maybe change the contrast of it a little bit but I should change something now yeah oh yeah so we're just kind we're just taking the that utility Arnold utility you know and then just literally just increasing the contrast ultimately getting those colors so this is the colors that we have now I know it's only three so it's really not that like that big about Wow but if you had like 50 of these it would make a difference and they would all kind of relatively stay in a similar place and the system setup in a way where you could just you could just make another and it's automatically going to get the variations line and all this without a cloner or a color shader sure and you know you could do this cool cool and you can also take that color data and you can like you know make that instead of just like just adjusting a little bit of the cue you can make it adjust you know do a different range map pipe pipe that bad boy in here and then maybe you want to change the gamma but that range from that range from 0 to 20 has a pretty extensive pretty heavy gamma 0 to 1 should you know you could do 0 2 or excuse me 1 2 1 yeah I should be so that that's pushing everything out to 1 which should be at the boletus linear color space we could do like you know - ultimately or 0.5 just ultimately range mapping those values that you're pumping into here I do this all the time and it just really is really nice for those like subtle hints and then as far as you know do you want to continue or cool I don't know if you want to yeah so then now that we got kind of like a collar that we're looking forward to meet cool so now that we have kind of like this all the stuff going on starts a little bit dance I know now that we have all that good stuff going on as far as like we generally have like the colors that we're that we're looking for you know we can sit there and keep playing around this just kind of want to get a little bit more variance in there as far as like by the head of it the snake well if you you could right click and duplicate them if you wanted to and make a bunch of copyright or sure the actual nose yeah I just wanted to get just a little bit more color in there or something so I think like the next thing would be maybe to do it do it like a little do a little bit camera stuff and this is another cool little technique that I picked up from a tutorial somewhere please humbly apologize I don't remember which one but it's you know a super helpful technique that it's like I've been using cinema for so damn long and as soon as I saw this I was like holy this changed my life so anywho so I have a camera here right if we go in here and right camera yeah there she is go in here and say when this came on cool I take this camera ship see reset PSR all the icons are different - yeah you know one of the best features an r21 they docked oh that's all right I've dabbled with it we just we don't have our farm set up on 21 that's that's the way that's the reason the main reason I haven't but I did just give a shout out the best feature in yeah yeah yeah no it's that's I have noticed that I totally forgot but I have noticed that and that is a damn good feature so it's like now we got this big ass you know plane right in front of our camera which is absolutely not useful at all but if we put a C here and I'm never gonna find it if I put a display tag because I know they change they reorganize all that all the tags and I just could say I just want the lines and you know we gotta make it a nice pretty color oh let's make it nice cool we don't want to render it we just want to see it and hear and then we're gonna take a camera and say the camera focus on that plane so then we took we took this plane if we move this plane the reasoning is because when we're in camera it's always so hard to say you always had this without this device without this device is you know you're always trying to especially when you're doing a shallow depth-of-field they always trying to find out that like that one little part that you're trying to highlight and you always doing this going back and forth taking the taking the the focal plane and moving it moving it back and forth jumping back in the camera out of camera back camera out of camera at least I have been doing that for late years so when I saw this when I saw in order to do this it really changed a lot for me because this now where those lines intersect is exactly where a depth of field is gonna lie we can just go in here and cydia tags edge of camera and then we go to a Boca and I just like crank that up so as you can see now that's kind of where our depth of field lives and for me I just I it's just one of those techniques that once you do it one time you'll never do it the other way because you realize how ridiculous your workflow was before this moment yeah well the just the way those lines intersect it's not taking much visual space yeah but it's also important to remember that it's a plane that is a focal point not a point but it's a focal plane yeah absolutely so it's like let's just say just make it a heavier deputy feel this because it always looks cool cool so we have we have this we have this kind of this this let's say like this is our look we can get in there a little bit more or something I don't know but and you know you can just sit there and just adjust where you want that stuff to live and I say and then we have our camera we're just going to oh I'm never going to find it again protection to throw that on our cameras then we're not really moving our camera anymore and then we could probably know that we have our depth of wheat I'm sure later on if this is a project we'd always jump back and I came and adjust adjust adjust adjust justice that's what we do but let's just say for now that's it that's awesome and we're feeling that so the render to wrench it usually the way I start off usually the way I start off as like an HDR I I know that everybody is you know if people have their own opinions on each your eyes whether it's like HDR everybody has their own opinions as far as each your eyes it's like oh that's a cheat of a thing at the end of the day 3ds a cheat that's something learned from Chris but I remember you told me that like when I first met another very good point but you should do that it's like a starting point I'll go online somewhere and just find like you know a studio HDRI something you know even if it's a low quality JPEG just to kind of get a general really quick Universal lighting and then just take it spin it around a little bit just see kind of like oh you know about where where where things live that you like okay yeah that looks cool I know like in Arnold you can actually do a shader to pipe pipe it in and then sometimes the shader I'll just do lookup Box noise just to get like different variations of light in there and just a kind of a starting point and then if I actually do like the HDR and I want to keep it then I usually dial it down to like very very low settings just to get a hint of color there a hint of lighting and then actually go in there and start putting in some area lights that's the general workflow that I like to do let's just we'll just leave this for right now it looks yummy for sure it looks appetizing this one creative director used to work for you so yeah I like everything that when I see it I want to eat it yeah fair enough no see enough to just give in to wire where's that just pop it up yeah cool awesome so let's just get her getting over here and just hide this now we're gonna pipe this into our lights I always do like well it's like these you know especially when you work on like a bunch of other artists it's just important to kind of stay organized and it's always like I was was always taught as lights camera Gio or action so like let's say I want to get an ear and oh no this is gonna be our target and then we're gonna reset that Pierce art that's a way back here they'll leave yep cool can we see that no there it is let's see here let's just make the sphere and then we just make this 20 we're gonna kind of this is going to be our kind of our target for our light and let's just say this may not be so necessary for this specific project but let's just pretend that it is so usually the way I work is I have a light here and then I'll take a put it put a light in there I'm just gonna put a light inside this null target guy let's make him a pretty color to it why not cool awesome and then we're gonna take this I'm gonna reset this PSR so now we got that no we got we got that and we're gonna sit there and say take this guy tags and I'm gonna find it target cool so now we want this target with this light to target its parent so then I can sit there and take this light and move it around he's just kind of building like a very kind of just basic lighting rig all right and then clearly it's a little it's a little hot let's see here just Shh let's do this - whoops this is 10 awesome let's turn off ratio and see kind of what we're working with I kind of like the background whatever it's just flat white so clearly probably don't want to do that but just for kind of you know for explanations sake so we have this I'm kind of moving this around - whatever - we like what we like and then the other thing is - we can sit there and then just animate this if we want to and that basically that light stays with us and then we could sit there or excuse me that light stays - I make no sense the light stays nested in the null so we could add another one let's say hit W for world space push that over here and we just have like a little bit just like a really basic little rig here and then you know we could also just take this or similar to our HDR I just take this and spin it around and both our lights spin around kind of giving us is just some whatever just something to play with you know let's say like I love this this is great this is making mom happy you know mom's proud she's like that looks really great you know maybe when I go back in here and change around some these materials or whatever or you know the same way we did this whole little setup we could do that whole little setup and maybe take one of these little ribbons and make that one ribbon have some subsurface or make the reflections you know the same way we made that we change the hue of all of these three little ribbons we can also change the specularity roughness of these things or maybe this one's super shiny and maybe this one's not as shiny and that in my opinion these know trees can get really really big but they're all relatively simple just buffing that up a little bit anywho maybe you know you can for example just take this and I don't really do this but let's just say for shits and giggles so like we chant we pump that into the reflection color so you don't really see too much let's say the reflection is down a little bit but then you can sit there and go to color correct and then maybe pipe this into the color correction and maybe like this and then you can sit there and you know change oh not the roughness but the actual reflection in color and you know you can sit there and change maybe something here so then the same color is getting piped through but then you're also manipulating it and it's kind of like you're just doing compositing on the shader level and this stuff can get really really really really complex and really interesting as I'm sure you all have seen before anywho I don't know what else to really do I'm just on the ramble yeah let's just set up for a quick animation and keep the keep the settings oh you know better like sent some quick render settings let it run for 200 frames will cry rendering them some quick render settings as far of some render so yeah we'll just I'll put it - oh cool so do we want let's just see really quickly if we look into our camera another thing I like to do personally just for like workflow wise I like to do a reviewer no not that one to do a view new view panel well and that is the other monitor what I like to do is like nest these to you know make this make this my view Frankie folks use this render view and then so this is so then I know that this is ultimately my camera and this is my working space so that's kind of how I usually have it set up the same thing like you know you have your render view on the right side and you can kind of use that for like looked up and all that stuff but at the same time you can also have this or like this is my frame framed up like shot so then you can kind of work and you can kind of see what the camera sees at the same time if we I'm gonna say this cool I think you have to set like both viewports to preview for them to both for them to both run I think it's like a preference thing man that looks awesome so let's just say like 200 frames like you said yeah okay even skipped like the first scene I mean we can render some bling frames it just in case that starts like 70 yeah would you see like one hundred two hundred seventy two hundred yeah he's not the one ever so three hundred cool redshift so let's see about I mean that's a whole nother as a whole thing as far as I can optimizing renders and stuff like that but generally speaking if we go in here this is what's gonna render this is just the IPR let's see here if we go back into a render preview we kick this out just for one frame now it is good to bucket because that's what's gonna just going to render great super noisy because there's only 16 samples so let's just bump this up to 256 which is probably too much something he ate I remember asking Chad this question so you're going to like the very kind of binary like bit numbers I forget the word is but it's like you for increment increments of two yeah is there a reason to do that like this in any way optimized or speed up or anything or is it just like a nice clean number right it's a doubling I mean it to be honest I haven't I mean you seen some OCD stuff like here like I gotta have like my novels like laid out so it's like for me I like it because it kind of just I just like it cause it's kind of organized weird strange setting and strange away from me but to see here its primary engine let's see he was a brute force and then there's a guy so we're gonna do like some little GI but I think it's because of the graphics card I think that the graphics card is more optimized in that business type that type of math that everything is done into when it's if you do if you do like you know 130 or something like that you may not necessarily if you feel like a big difference like render wise but I think that the graphics card technically speaking isn't quite as efficient that way so Chris Crocker is saying it's easier for redshift to process those multiple right right exactly yeah so like alright that's cool we're into that so yeah so that's that's that you know we can go in here and kind of optimize our lights this that if there's any key settings that are go to that people might not know about feel free to go into it key settings and well anyway if there's like a this is like if you need to whip out a render really quick here's of great settings or anything anything that people might not know cuz I sure yeah I mean you know for like looked you know basically this this is kind of a unifying magic number you know if you want to I would kind of the way that would probably work in this situation would just like okay cool like I have my final render like this is what I want and then maybe I'll crank this number up this current this number up is kind of like the fine-tuned number or like like this is gonna be more noisy this is the threshold of you know how much noise it is the rich it finds acceptable so you can sit there and crank this up and it will render faster and it'll be more noisy but then you know you can always just go back to back to the default when you're a that's just kind of a quick way to kind of jump back and forth in my in my opinion Masada that kind of stuff integration where it was it's just uh optimization you can always change like the amount of bounces and reflection refraction and all that good stuff as well those numbers are just kind of basic or kind of de set mmm that might they may work for you they may not maybe you want more bounces and all that good stuff I find that you know this is something I kind of go back to a lot all right I knew to what the line the other stuff as far as like you know sampling overrides this is kind of more for something's not looking correct then I'll jump in there as far as like overriding certain samples like my reflection this that's starting to get into the optimization workflow but just for now was like going that looks about good you know mom would be happy so so that would be at and then I would just kick that out yeah what frames are we opening um oh yeah we wanted to do 70 we don't have a save directly yeah cool um let's see here from say 70 to 200 I'm gonna say trainer we can't stop it early 300 whoa Chris whoa too much 3,000 going out quick yeah cool awesome and then make sure that we are in camera which we are right here and that's it they were good with that excellent look that chug for a minute and we'll cool first of all our chat died there so I got a sign back in again so I still see the YouTube chat but the twitch chat died so if anybody said anything like in last five minutes we can't see it on this computer but I didn't pull up on different computer so if anybody's start getting more links together but in the meantime we still got this a render cooking away it's already done about 20 frames so it's gone pretty quick we won't we won't wait for this but we can keep on chatting so something that back in the day we a chat about at this point was with everything we just approached what might we do differently and we'll so what would we do differently in that than what we just did if we were to start that again from scratch or what did we need to learn I would recommend a different co-host I would start there you know I don't know what we would do differently I mean I think that that was a fun process yeah I mean as soon as I started getting into it it would be really cool to see like how to mix some gradients as far as like we did the gradients on like the h-space I believe like that ran the length of the the ribbon it'd be interesting to do so I'm like maybe chop it up into a couple little pieces we're like in his in the reference there was a nice little piece of pink that was in the middle of the ribbon and maybe also mix the the gradient do it do a mix of two gradients like you know going from the length of it and also the height of it so there's a nice of gradient coming up from the bottom and then as far as shading it would be interesting to see because it has some really interesting like little nuances as far as like there's a little like curvatures and things like that to see like how subsurface we're looking at that might be kind of damn subsurface always looks extra delicious you could go for like taffy here or sprinkles like clones sugar on to it or this places the the the splines I definitely need to maybe chat with someone that max on and figure out exactly what's going on with these splines because you like oh it worked in a sweep and it doesn't work in the extrude for no reason like this dynamic they worked in one didn't work in the other and that that seems like a limitation that shouldn't be there but it would be good to have some definitive work right now I've got I've got workarounds I was like let's try this let's try this I would have been stuck for two days on that yeah I mean but I mean I think I mean as far as like the lighting really really basic nothing special at all there I think I think some really interesting dynamic lighting would have looked really really cool but but the main credit here of course goes to Zachary Corzine who's just always makes incredible looking things but it's fun it's always fun trying to see if we can figure out how that happened I even think it's it's hovering like we have I think you have to reflect the floor but it's clearly off that floor but you could well I think well I mean you see this this ribbon is definitely not touching that one so it could be clones but it could just be a reflection with some space actually no yeah including behind it these are really close yeah so I think they are extra clones of different ones along those lines if this we could have totally done that not changing anything you just feed in we are currently feeding in one rectangle but we could have fed in like three rectangles in a row and then they would have automatically stacked up they're not changing anything else so yeah I think you're right those those are not reflections because we got a big gap here a tiny gap here we have done it in a way just uh just for fun that it starts off with no gap and then creates a gap halfway through yet you would be able to bec bolt I mean we still got it running but I'm just popping it back to cinema for a moment while that's still going well yeah well that would go to I'm always worried about making tweaks while we're rendering but yeah we'll break it so we've got just this one rectangle going but if we put that rectangle into a connect object hold them all to makes a connect now I can make a second rectangle and a four move I don't know where it is so I'm just gonna move in the viewport right on why and I can see we have a second one and now we have that gap and they're both being combined into a single spline it's a little bit tall so we could shrink that one up to 200 move it up and down and now we could place that where want so if we were to you know when those can be intersecting and there's keyframe at the slowly spread as it went right but what would be interesting is how it when you start as one ribbon and then halfway through it splits off into two do you mean not do you mean not that this wouldn't be throughout the entire ribbon oh you want to start peeling it up at a certain point yeah well at that point man we could take mmm well I guess you need that you need to do it to the final geometry here so what I would do is just take a bend so we can take a simple version would be making a been the former everything is a little offset here so we'll scoot this over our four rotates been at named degrees II to move scoot this up and if it if we trap it only in that position and we'd had to be careful like there'd be some very specific things but if we make this a child here tell the bend to start peeling upward and then let's just say negative 90 that's way too much but we can stop it from affecting below by making a fall-off so once again another linear fall-off set this one to y plus all right I am okay it must be rotated so the orientations are also Z plus and it's backwards so it should be Z minus and then we just shrink this pretty much down to zero if we find that perfect spot between them right there we go so now now one will pass through this Bend and the other won't so as we scoot this backward that will can potentially peel away and do its own thing but then we also potentially could make two what could be fun would be doing the simulation twice so instead of this being a floor make it a plane because floors are infinite so you can't make more than one to make one point one way or another plane on the other and this noise that we have that noise could be very vertical so as its passing through you'd have two completely unrelated dynamic lines and then at certain point they could start diverging early on they do the exact same thing but they be living on two different levels being affected by the same noise until a certain point when they suddenly start getting affected differently by some so yeah there's a lot of potential there as well that sounds like quite the rabbit hole yes a very fun always I appear to have put our render screen somewhere in that I can't quite reach it where's it hiding have you popped that up this is a Windows question I clicked it and it's down I think I moved it below here how do I make it pop up it's lost forever can you control yes he is fighting me now what are you doing over there yeah but it's still hiding below it's returning it to its original spot how do I fix out somebody who checked I'm here to fix that win up somebody said went up mmm shift f6 that seems dangerous but I'll try and roll Alt Delete that's changes audio me said went up try that nope I think something like my F keys are whoa well the our keys are doing something Oh something interesting is happening there but I'll click that and then say windows up alright no it's not that window though let's see this is taking this one and putting around and that's a cool shortcut thanks for letting me know that because it's a really nice way of putting things through out through the window but it's not grabbing our hey hey you popped up I finally got it it took the other space ok cool thanks we got it alright I think there's rendered enough start putting questions and again I think a couple we know already but let's just check out this renderer and then we'll begin the next question so let's see what we got here enemy that's pretty good for a little time we spent on that that's pretty satisfying and surprised at how well those are colliding Oh another thing I want to mention that we didn't spend any time going into but something we could you can do with field forces is you can take a spline and feed it in as a thing that's being referenced so you could actually feed a spine and then it aims at itself far away so you can make a case one of those dynamics points that does work when they're dynamic one of those splines could be in the field force saying everything stay away from me or things get attracted to me or things get attracted to the front end but not the back end and you could make the spline have effect on its neighbors where these could be trying to clump up but it could be making kind of a bring j by clumping up or it could be trying to push them away gently so there's a lot of combinations you can do by with field forces just combining different splines so they are super fun and thanks everybody for those shortcuts from here oh and Michael okay we're going to share make you're on a correct screen again I'll be setting up a big version of that render for the scene files but we'll stop that render for now even though it's still continuing I'm so blown away you figure that out and like literally two seconds I mean that's super satisfying that's awesome yeah this is super sense thing thanks a curry thank you very much as beautiful work absolutely let's go ahead and give that a stop and a save pause that and open up a new scene file why don't we save this why don't we save your layout here just in case so the next one requires some rendering what do we do we don't do this too often Lane yeah save layout as red shift one good enough all right to the questions up here our Sun Wells is linking to a Twitter status hopefully this is something good okay cool stole it into the crack screen here this is from Penn Oakley this recently I have not seen this one that is is it intentionally stop-motion or is this playing back jerky I think it's intentional okay cool just make sure that I don't have to open this into something else kill the audio just in case everybody's getting blasted by some sort of thing so this is pan apply maybe pan apply creative so very neat okay what are we looking at here once you extend it starts out I'll see it animates into you know okay so they all just kind of appear at a certain point I mean this is I mean it's cool but I almost want to say that this is almost a tutorial onto itself like all we need is some method that's gonna take this hexagon shapes I'm playing take the sexagon shape and it's gonna try and smooth it out and you get that transition once you've got that you just can clone it and make more and then you just make a copy of the entire thing and offset it in the proper position it seems like twice and then once you've got there's three different sets of it now scoot those in the proper position and now you get these intersections and that can just become infinite and then this is definitely a morph we could do this with a morph effect I think to transition here and actually do a fall-off with the morph so that's pretty cool yeah just do it that way I see no reason why not should we give this one a go we've also got a Heinz ketchup is linking to a Vimeo one let's see which one of these is we like better oh no it's like a slimy magnetic I actually have some of this stuff in real life I just love magnets but oh my goodness well first of all it's a Houdini and the bubbles are insane this stuff all slamming over and getting attracted to a particular thing is pretty cool and crazy I like the idea I think this would just require too much exploration we'd have to spend so much time just playing and playing and playing and playing there would be like two hours until we're like okay we kind of got something kind of slimming into a position like I feel like we could do with different attractors field forces to have this have a lava traction lots of gravity until it's slowly climbing up big pile of spheres maybe like very low poly spheres so they're thinking all kind of bounce against each other and this is if we're not going particles we're just doing vanilla cinema like you just let these spheres with almost zero friction slowly scoot or maybe even cubes oh really a trick I've been doing a lot by the way this is from jf Haring um and just absolutely insane but something I've been loving doing with dynamics is putting in cubes so it's incredibly low poly and runs really fast but telling them telling them the van the dynamics to interpret them as ellipsoids so with spheres and that calculates dynamics dynamically really fast so you still get you'll get a little cubes rolling around in like this impossible way but it's great for feeding those into a volume and blurring them and making this kind of maybe a little bit more like this goo so the bubbles that's interesting I mean you could you could a bunch of points at it and you know to make like a vertex kind of fall-off deal and then that affects the shading making them transparent you know you could play around with that too but this is definitely now I feel like you're right I wasn't thinking this would be shader based but that this is transitioning just really nicely into that so you just create some sort of spherical fall-off where it dips down like it would curve in the surface dip down and then dip up and then dip down potentially doable but we need we need more hold onto this question and hit me with it next week because yeah it would be it's highly technical and it's not great one where the guest where I think this other one we might be able to make a little bit more or our own so yeah let's go back to I like this one a lot but let's go back to did I lose oh is this Twitter one this panel ply one so can you think of a fundamental way of changing this that's not gonna be exactly what they had because if we make if we make this out of Hex's it's just gonna look exactly the same I guess we could do triangles and then we might be able still overlap them in that kind of cool way still get the morph and maybe let those transition that way so yeah so I think I have a I have a I have in my head I think of how to do this with a morph I think the morphs work through a cloner still so I'm gonna try and whip together a very basic morph and cloner and then I'm gonna let you build into whatever structure you think looks cool and just make it look pretty however you want it's sure unless you have unless you have a technical past but yeah let's just play all right let's do it all right so we're jumping back in I'm going to go back to standard layout right away new scene file and let's just begin I'm thinking but actually here's if we do look at the reference are is this flat or are these scaled in space I feel like that might be way further back and that might be way upward like it's kind of like the border certain borders you are totally right now I don't want to make what they made exactly no I totally get it but yeah just to clarify it now you opened my eyes what we're seeing there isn't a hexagon it's actually that so if we were to take this and then do an inner extrude and increase our maximum range do something like that hit delete there we go now we got a hexagon but it's actually a cube shape so you have a really good call there and that's what's enabling it to have all that depth so that if you were to copy and paste that cube you could scoot it and start like you're like interlinking them like this because there's so much depth inside of them so yeah could could call air but just in there I mean all that interlinking is really cool but I I want to aim for something a little different so perhaps this will be a dead end but I would like to do a let's do a polygon that was this triangle an equilateral triangle if we turn that on it's not equilateral it no its height in which that's not equal our what's it is there a good way to get an equilateral triangle and cinema isn't like the height 50 I guess it might just be an inside with three sides that's an equilateral now well my cameras okay there we go well if I my eyeballs couldn't lock onto the perspective okay let's have this lay flat on the ground okay cool so we got our equilateral triangle and and then I guess to make some geometry I'm just going to throw this into aloft create a second one T for scale be selected scale now we have a second one inside of the laughing I say caps nope nope and now we just have this nice little triangle if I were to make this editable and now I've got my polygon equilateral I don't want those auditions and B let's go and fix our solutions not per segment and no mesh V now I do this is a good way of getting these if we said that the three then we have exactly one so if we go to six we'll get that halfway point so divisions those do that that's cool all these selection texts we don't need those those will slow you down unless you have a reason to use them you should get rid of them and if our final camera perspective is going to be like perfectly from the top we can do some perspective e-type tricks now as far as making these interlink as if there's some sort of chain let's go and clone a few of them before we push it too far and now if we make it a we have to be a honeycomb or do can we be a grid I feel like a private either I'm gonna do a honeycomb and lay it flat on the ground and if we give this enough space if we give enough space and what we need to do is have every other one of these spin around 90 degrees we couldn't we could do some fancy tricks but I'm just gonna put that into a null and then make a instance of it okay I'll make an instance of this and then also put that to null alt G and now they're both in the nulling you grab the instance of one if we make any changes I can update but I can say 180 and now every other one is all just really quick way of doing that all right excellent ello they are L they are offset in space so they're both in null so I'm just gonna eyeball it and we'll scoop that up so that's kind of I'm going for now because we're on a honeycomb we can have these stack I'm gonna be inaccurate with this one we just stack it like that and now we're getting these nice interlocking ones that way and now we can make exactly however many we want and just have it layer pretty cleanly they're offset in an oh there we go there's no zero offset and then we get the beautiful kind of triangle hexagon type of thing going okay so that is kind of the base of the pattern and now my thought would be copy and paste the entire cloner actually no we need an instance of it that way it updates as well an instance of the overall cloner and we'll pride change it but this is just less building the basic structure if this even works am I not in fact you do the simple version which would just be offset this my camera's not oh oh so you know super hiccup to there but it's still going I'm just going to use the word eyeball it's really hiccupping on this anything there was that many clones but I'm gonna set that to be a multi instance and there we go hopefully it's running away quicker maybe the mouse is thinking or something but sorry all that just to say I want to scoot this so it's visually in the center point is offset perfectly so we're in the center of a triangle okay so that's offset that way now we can go back to our original shape and this might make a mess but going back to our original shape grabbing some of our points if we were to pull this up into the air then we can hopefully have things start passing through each other in a way that will look interlinking I'm gonna hit grow selection and just pull that up further and I'm not sure what combo here is going to look good maybe maybe I should undo those and then select all the middle ones let's try just moving those okay that's potentially something because if we take our copy and position it correctly we might need to rotate it or flip it upside down let's try flipping it 180 get off point mode and then flip 180 no it's not it's almost there but if this it's just not quite positioned in a way where I think that the pattern I was just making he's going to work scale it just to kind of flip it yeah let's do that scale negative Y let's go to object mode is not cooperating so T for scale I didn't force that and holding on shift to a negative one and now that has inverted it back to model mode very good idea to always go back to model mode no yeah let's scoot it the XZ plane and see if there's a is there a position that this cooperates oh I mean that's what we get for trying to make it different than the original yeah mmm even logically does that make sense I think it does if this were to be there I think I should go up and that should go down and with the proper rotation wouldn't that just work which one we're pivoting from this one know that it's just yet this Pat it I arbitrarily picked a pattern and no it doesn't tile well so that's on me let's get another little hiccup now as far as that extra tiling I'm just gonna call that a dead end we won't worry about that but let's go ahead and let this morph in some fun ways and then we'll just continue from there I'm fine with us having the heights that it does but let's build that morph we don't need to see the cloner for a little bit while we build our morph I am in fact why don't we subdivide this a little bit more so we have a little more geometry to work with my circle got really big middle mouse button as a button to do that and it's like all of our outlines here hit MF for edge cut and say apply and then turn off oh no and guns it was off by default so you see we just got some extra polygons in there just gonna give us a little more geometry to work with so I killed Fong tag you know if we want to we're not gonna pull it off temporarily okay let's add a character or is it called now rigging tag pose morph so we got our pose morph what is it going to control it's going to control the points so here is our base pose here's our new pose our new pose is going to be what the new pose is just going to I think mostly round of this out so I'm gonna have all of our corner points it's like a pivot from the center because this triangles just don't there accesses in the center point once again using the word eyeball and just move the axis with the modeling axis more towards the center pull that in grab the center ones T for scale modeling axis sort of the opposite scale those out and you see ever own did that significantly there it didn't scaling it made the thickness a slightly different but that's good enough for what I was aiming for here so with that in mind we go animate and now we should be able to morph between those two positions and as simple as that we can turn our corner back on again and now we get overall pattern and because that's just an instance of this which is why I did it they'll all do that more so you get this pretty neat pattern right away although that's rounding into it so I feel like an overall shrinking might be a good idea so go back to edits it's like all the points we gotta select the object that would help and suppose I'm gonna t4 scale the scale the entire thing down except on Y once again access the visual center just enough yeah there just wanted that space in between animate and then we can do this now currently we can only control that via a slider and one of the most amazing things in cinema is that we don't have to control that with a slider we can control it with a fall-off let's see if it actually works though I don't want to promise something we can't deliver here so what we need is I [Music] want to but why I'm always so mind when it comes to finding the former's and I meant to read through the manually morph there it is geez please all right maybe that child there's no morph so this morph is controlling what this pose more so I can drag that up go to a fall-off now this is what makes it powerful is we now can go into the fall-off tab and create a miracle fall-off and let's see if this actually works actually that transitional point is fine so I'm just going to pull up this radius and it's affecting all of them simultaneously oh I do have a lead since instance oh thank you yeah I would have done that like so we I had multi instance on very important very very very important when it seems like one of your mograph things is not behaving exactly the way you thought it would there's a good chance that it's because you changed your instance mode to render instance or now multi instance and as exactly what's happening that would have been tripping over that for like four minutes before I got it so now just by turning it off you can see that as I increase this radius is independently changing each of those as this grows now I'm just using a simple spherical field here but this could be a linear field it could be a vertex map on a plane that's dynamically growing it could be based on dynamic spheres falling and triggering different things so it's a lot of control to make this just do in you know crazy combinations of really really fun things I wish we couldn't make these intersect some more interesting pattern but the morphing of these is pretty neat so I'm not sure where to go from here so I'm gonna let you take over cool I don't know where to go yeah thanks yes this is cool another the way I would have approached this which is you know the the morph you know this Vista former is absolutely great and probably the right way to go I know that like a lot of times what I've done in the past is I will in a cloner put all of the just make a make two cloners and blend between them blend between the zero state and 100% state and make like you know fifty cloners or whatever and then bake them down and then use a then use a fall-off to select which cloner it picks and that can be it's just kind of an interesting way to do it if your scene is really heavy that's the way that's just what I wear my head was a sure anyhoo I see here let's see and once again are twenty once alright guys here we go were you back let's try to do this one in Arnall just for shits and giggles after we saved the layout and everything no no where is that way it's a yeah we're just jumping all over this is just crazy cool and then grab you don't need you all right cool um so let's just just really quickly just so we have something to you know just a visualizers I love it I think those are good habits like I I wish I had to have it like that it's I've just been doing it for so long that it's just it's just it's confusing for me not to see those things I know this ridiculous absolutely ridiculous anywho so here we go we have we're looking at this and this is like you know if you weren't donate you are in there whatever but it's just kind of right now just so we can visualize right thing and we'll actually take this and just just take out the cameras we're not visualize a camera we don't have to save yet do we know do you want it you want to label this to be is it to be to whatever right we'll do two K and then we don't two K don't know anything so we got that we have this guy here and then we can go into the shader level material sinister for this let's see here so just just so doing this on the cloner let's see here [Music] cool and basically back to the same layout as before awesome so once again like you know when it's when you have a cloner the always fun to see is a user data user data RGB we're just gonna pipe this I think it's all w1 okay so leave this corner we change the color so it's it's literally this is what this user data node is it's just it's just taking the the color of the cloner currently which is a beautiful pink and then so in the spherical we can see color remap or Z or no is it hmm how would we it's very interesting so a plaint effector yeah I just looking for I see here a moment a factor playing a factor let's say we can say this is color cool here and then in color we don't want it to affect any parameters what we do want it to affect custom color and let's just say this is green in the fall off we're gonna type that back in there so what's happening here up around like a brain buster the color of the corner is pink the color of this effector the color factor is green and we're just blending in between as we move this around this is adjusting the color and that's cool just by this little note here but so we have a standard surface let's make this just pipe that back in here and let's just make this for shits and giggles we come on Wacom pen away I know it's it's crazy just for just for right now we're just gonna do a copper or yeah you already here first we're going to a copper and then we're gonna do another one let's do this one we're gonna do let's say a plastic we're gonna do black black and copper is always cool looking worked with me before you know that matte black on that black and gold that's my thing anywho so back to where we were we have a couple materials of yeah but we were making pink and green and it's not really that beneficial for us so what we can do is we could say the original the cloner to make natively I wanted to be the cloners to in the shader level to make the the color black and then on the color level we're gonna say parameters we're gonna make it white so now what we're doing is we're just basically making a mask and which is pretty awesome as this just kind of hide this just getting it a little bit cool so which is awesome because you know it's all affecting everything together so we basically made a mask if we go into I believe it is a mixer blend and make shader so again it's gonna mix the changer we're gonna say one of these is gonna be shader one and one of these are gonna be shader two and then the mask that we're creating is gonna be in the mix I do like in the mix more than the red shift mixing the red shift mixing layer node is very intuitive to me yeah it's and what's interesting about all that is when especially we started mixing a bunch of different oh hey what's going on especially me start mixing a bunch of them stuff and you start using ramps like those ramps and this color values linear all that stuff it starts getting doesn't seem that really makes sense at least not to make any who is cinema reached things as to point to gamma and then you got the Arnold enriched it rose one and it just like it just seems like you're just crunching it a lot in a ramp anyhoo I like these but invert them of course there's so many different ways of doing this I think they called it compliment I know but then it's like well compliment why we call a compliment that should be invert so we had in parentheses presumably aren't old calls a compliment are things but nobody says compliment in cinemas or anything they put that as a cool that's fun you know so now we just basically just just made a mess you know now it looks like I'm not really sure let's see something real quick this is a black or a black color yeah okay I guess I guess this it looks like the the shading was a little bit off but it's probably just do some specularity or whatever but could be the screen as well I'm not sure all right I got a specific challenge for you sure first of all let's go ahead and maybe smooth out our triangles and then thicken them up sure like let's give them some thickness maybe via a like a cloth trim or something and I want you to make this look like a nice like messed up copper metal okay yeah so I mean that's just really quickly just really quickly you can sit there and I'm sure you're thinking like this is not the way you should must do it Chris I see here oh they moved it's an inside of the NURBS menu no joking just really really quickly there's couple ways of doing it but ultimately subdivisions 0 thickness I don't give there's a kiss my yeah I'm not a picky coin yeah thank God I wouldn't be here if you were cool so we have that we have some thickness right just have a shits and giggles curious what that looks like yeah that's kinda know I like it that's good I'm feeling that cool yeah so all right so we have this and then we wanted to make a kind of a beat-up copper generally speaking the way that I use substances a lot it's just it's just such an awesome awesome starting point if you haven't used substances I highly recommend it if you could like substance source and if you have an account which I think it's like 20 bucks a month it's an absolutely great place to just pull materials as a starting point and if they're not working for you they have seeds so you can sit there and randomize it and this and that it's similar to like where hgri is a really great starting point I feel like those materials are awesome a really really good starting point anywho that being said that's generally how my what my initial approach would be but since we don't really have that now this is getting a really kind of washed out and kind of gross and that's just because the light here is just it's just so flat but like I was saying earlier really just for just a starting point it just it gonna get something get something on the it just just get some kind of light what I do is no easier for denoise just go in here Lauria see for the best that is all w1 salt all W leave or whatever like such an important sort cut I feel like it should just be like the letter A yeah you end up using it a lot so it's definitely one that sticks but yeah I do agree with you um I see where we're just going to do hey this is the poor man's HDRI we're just once again it's just kind of hard to see everything and it's just like right so you know windows yeah yeah exactly exactly does it make this a little bit bigger c500 it's literally just ridiculous but there we go so then we go to Ernest Arnold we say a shader Network and then we're gonna pipe this bad boy in there I'm gonna see cool Missy here do something pop up no mMmmm object just usually works not sure [Music] that's unfortunate um you see here unfortunately I don't know any better oh it's all good there it is so he's got to be in the Uni space whatever but this is like I said this is just like the poor man's they should i when you just want to get something in there you just cycle through the seeds until you got like a window configuration yeah I like the look oh hey yeah boom I got all these like beautiful metal him like it what a great like boom random random rectangles bearing and it's you know you don't you know you don't get caught using the same HDI all the time either but yeah just like in you know just it's also a nice an interesting way to kind of control it but whatever like I said I don't necessarily recommend it like production setting but it is it's a good way to kind of like just get something going cool sooo what we can do let's try to see if we can get some holding down control just just hiding those windows that's maybe had some of this didn't you know that all right sorry guys open I do need that and cool so we're just gonna we'll just take this and just get it out of here for a second so we got this we got this copper material and then you know we can always sit there and take this as well maybe just to get a little bit more lighting in here whatever cool great and then they do actually lugar I know it's kind of love the c40 noise so then we had the c40 noise what is it which one are you I said Luca my favorite yeah cool so then we're gonna do this into a bump bump I think it's 3d because it's the 3d noise I don't know but Matt we're gonna run this into this and this is J geometry normal you haven't got some bumps going on it's looking kind of cool it's already cool yeah you can get all the dots and stuff yeah so let's see this make this like five cool saying just maybe take this down to the 0.5 all right I mean that's kind of cool but same the same technique as we did before where we go we got the c40 noise going into the bomb blah see blah see blah what else can we do let's just see for a second you ambient occlusion we might be able to get a little bit of fun stuff going on here maybe maybe not just to kind of maybe darken it or change something oh I see here say just mess around that's around town so let's see here these I really never know what I'm doing here I just kinda just slide things around yeah exactly getting something there it's just not much it's such a soft curve yeah and it's very very true let's pretend like I never did that we go to the cloth surface and increase the subdivisions by one and maybe I'll sharpen everything up a bit to get but yeah yeah I see what you mean that's that was that's a good call see here no the only thing can't go 525 no I'm not having the best of luck mm-hmm but I do feel like there is some information there yeah we could do kind of weak oh you're near and far yeah we could do this darkening there I mean yeah yeah yeah you absolutely right we could do a we could do a couple of things we could do a ramp ramp float you go in here oh you go in here and then go in there and then so you kind of crank up ease up a little bit or down a little bit you know or actually let's do it your way yeah yeah you're right that's cool whatever what I was going to do is actually do the range and change the actual range and remap right easier to one but for my money you can't be a spline sure this is a full-on range mapper happening right I just don't I'm gonna see like for example I'm not really so sure that this is affecting anything oh it is the center huh yeah it's transitioning between if you put those two points really close together you'll get black and white yeah because I know like on some engines I believe that it's only really factoring in the top two points anyway that just might be me so we got this this little thing and what can we do with this little thing like well so we can sit there and put this maybe maybe let's use this mask as like a specular wait I don't see what happens so that happens if we just remove the bump for a second see what's going on here is anything happening we could just hold down shift and select a look a little bit of a preview window just to see what is going on is it doing anything for us not necessarily at least not in this situation but maybe instead of the wait we can do loop you can do mmm specular roughness that's been something yeah super shiny down there yeah opposite yeah let's do that this part you could do it with the yeah the the ramp the ramp yeah well that oh guy over here not too far just just swap their two positions huh yeah that should do it cool yeah I like that so then we feed the bump back in it's too bad that the node did the dot this appears hey you think it's a fun way they could get cluttered but you always have to go find the parameter again yeah that's interesting I mean it's just you know stylistic but it's like it's kind of fun I would maybe crank that down just to make it a little bit more rough here but like or you know let's see if we what are we doing here yeah that's kind of ultimately the concept is well hey what's up okay so like ultimately the concept is there that you know like you're just using that as just to manipulate it in some way maybe you want to use that to change the color of that gold you know you can sit there and feed that AO into the maybe dark in the color and it composite you couldn't I mean have a different noise yeah yeah you know like let's actually just do that real quick this is a quick way to kind of yeah yeah grab a color do a flat yeah so you can just are there and just do a flat the color we want we want that cold gold color back pipe that in there cool pipe this into because we're just replacing that but what we're doing is all to also exposing the ability to kind of interfere with this data of this color so then maybe we want to multiply you know maybe because if we lo if we look at this for a second what's what's this doing so we multiplied it we're gonna make this this part darker up here mm-hmm let's just do that there's multiple ways of doing it well let's say that the first color is this input and second one is this input so this is now the new color so then if we sit there and type this color into the color you get that yeah well or you get that so it's just kind of roughening that but maybe you want to invert that or a complement it skews more yet it's hard you gotta come on it yeah and put believe this should work depending if the ranges are within one this that's got weird and I believe that this got weird because the values were maybe out of out of one and zero for zero to one well you're inverting the oh that's not the mask yeah but I have noticed like you know sometimes sometimes you can't push these these levels are these pixel values pass to zero or under zero and over one so we don't want that mmm yeah it's like it's just a plain with tweezers yeah it's quite amazing yeah so we want that to kind of live in between this guy here oh cool there you go yeah so you know and then you can in here ya know then here you can you can adjust like you know how much of it you know put piping something in here and so then all of a sudden this stuff starts getting really kind of crazy conceptually that's what's happening I'm not really in love with Outlook and I don't wanna stare spent too much time doodling around with it what I do want to do though real quick is let's just kind of clean this up a little bit cool so we have this we have this material this little node tree we're going to duplicate that node tree but what we're gonna do is maybe I just kill the bomb so what so we have one and we're gonna take that right Bell - so we have one that's just just straight-up gold or a copper and we have another one that's a there's this roughed up little strange copper that we made whatever it is strange copper it's a thing so then what we're gonna do is what we did in the beginning we're gonna sit there and mix in between those so never be able to get that tiny tweezers from really far away yeah it's the worst all right boom so when we zoom out what's happening here technically speaking do we still have sorry yeah all right we don't need to believe this stuff so in theory wherever this dude is should you should be able to mix if one will be the way to kind of find out if everything is still piped in let's just let's just see sorry I'm keep missing these microphone boxes of you cool let's just make sure that this is still display color it's possible that putting the entire system into the cloth surface and the subjection surface killed all no that's interesting do this that's it that's work known accomplices yeah so maybe that's that's what's happening as those values might not be might be getting kind of wonky let's pretend like whoa we'll just complement it cool did that still work though with with this curious so one always a good way to check is that it looks like it is interesting well I mean all that means is you have to move the change of hierarchy so put the morph put the loft into the cloth into that and then that's what the cloner gets fed whoa Chris went well he would pull pull be it pulled the cloner out from cloth right I said said this taking that out all of this needs to go inside the cloner now so it's gonna be cloning the final effect right so then we're putting the means you can't either that this is that we make a second copy of that whole system right there and then delete it's children going yeah delete no one and I will drop in lost I don't know what I do and then put them knowing right okay I don't even know what just happened [Laughter] if the cloner goes into is being fed out all the geometry it's not viewing the clones as clones anymore but now we change the system around so that it's making a bunch of clones of the final form of the geometry instead of taking the final clones and changing the way that geometry looked so ultimately I don't know you don't know if you really see what's going on yeah this is this is changing in between the tomb and or no it is not because yeah no no just gotta like speak with authority you know justice this is what's happening you don't see it but it's happening now I believe that that is happening at least it should be let's just double check to see if this is working and that is working it's a little bit other side yeah so we can do that in and just ramp it [Music] if we ramp it input and then let's just take this and see well I guess the ramp can't make it brighter no oh so freaked me out there for a second Chris cool so we have that so that's definitely definitely definitely definitely mixing now now we still kind of hard to see and yeah is it working or is it not one way we can tell is just waiting for something in the mix no again it's happening I swear so I think I see this right now it's kind of hard to see yeah yeah it is a little shiny in the middle I mean you could do is juice to a flat that we got dark enough the color of shade guru or something yeah let's do that instead of making let's do shade or two it will be instead of a copper let's just make it ain't no aluminum you can see it just happening that's a little bit there and the spherical dude for the severan see the world yeah okay it's really fun I love making shaders and substance it's so in substance designer it's so oh you've actually you've actually designed it oh yeah and I win nuts on like two materials like going on really deep it's like 200 nodes just going insane it's really really fun just to visualize what's happening looks so what's the reason that this is kind of cool is because you have an effector we have a fall-off you know affecting your geometry but at the same time it can also affect the dish on a shader level and to kind of draw back to what we were Tom but earlier that can also affect like you know there's bubbles where you have this bubbles there may be two getting displaced up that geometry but on the shader level it's making it transparent so just that that mix just as a whole nother layer of all gets fun yeah you know sanity yeah anything else no I think that should pretty much cover that I do want to pull back up the nice render view of the previous thing which if you are yeah let's have that playing in the background as we wrap up all worth it for that yeah yeah let's see the chat we weren't scrolling with it so we weren't seeing it yeah thanks everybody for coming and hanging out hanging out this whole time asking amazing questions the big thanks to Chris for coming and being the first-ever rocket lasso live guests very fun thank you very much for having me it's an honor to say the least thank you very much would you recommend other people who have been reluctant to be on livestream is it yeah I need to call KGB out you know what's going on buddy where are you I know there's some of the guests that you have coming up I don't want to it's not my place to say but I'm super excited about some of those guests they're coming up it's people that I absolutely love their work and I admire very very much and I can't wait to see him and I can't wait Thanks slow well thanks so much everybody for coming and hanging out let's say I don't think there's any news or anything so let's just wrap it up here I'm going to roll the big thank you for all the patreon supporters and I will see some of the supporters tomorrow for the bonus stream and otherwise I'll see everybody next Wednesday so thank you very much everybody [Music] [Music] [Music] [Music] you

Channel: RocketLasso

Views: 5,367

Keywords: Rocket Lasso Live, Cinema 4D tutorial, Chris Schmidt, Krzys Pianko, Motion Graphics, Live stream

Id: BUNFyN7EE60

Length: 124min 40sec (7480 seconds)

Published: Tue Jan 28 2020