Rocket Lasso Live S3 Ep 7 with Nick Campbell

[Music] hello everybody welcome to rocket lasso live episode 7. we have got a very special guest today and i don't want to waste any time let's go ahead and try and pull nick up here on screen see if we can see him and see if we can hear him hello nick hello chris how are you buddy all right i can hear you perfectly i can see you perfectly how about how about chat how is nick popping up can you hear him hello chat how do i look how do i sound it's good to see you all we've got lots of people showing up okay we're dealing with a couple technical issues quick heads up to everybody we're gonna be doing some funky work around to make sure that we can see next screen at a nice nice high frame rate um but let's see how everybody's doing here and also a quick heads up if you are on youtube well every once in a while the streaming software crashes when i have a guest if that happens i can restart the stream again no problem however youtube creates a new url so if it crashes then i'll probably put a url on youtube for everybody to go move over to twitch if need be but hopefully that doesn't happen we've had good luck so far so we'll see if it holds out okay um quick heads up i don't know nick do you have the links to the chat if you ever want to be interacting with a chat when everybody else is doing their thing i'll send you some links to those directly yeah send me semilink i'm on the i'm on youtube uh looking here hello youtube chat good to see you but if there's a better one yo send it so we got twitch and youtube at the same time got the pop apps going we got lots of people coming in we got dean and mr matt dawg crossfader sphere factory crossfader good to see you rachel thanks for coming oh there's rachel here excellent yeah sean electron animation hamster evoked we got lots of people coming in how is everybody doing um okay we're gonna have lots of time for questions and we can just do general questions where of course we wanted to do cinema 4d questions i'm going to have some octane questions for nick because i know grayscale gorilla has been going in an octane direction recently which is super interesting ooh fun what are you renting on these days chris uh i'll redshift right now just because it's kind of the most vanilla cinema at this point so that's kind of where i've settled in but i'm not locked in on that for any like stylistic purpose it's just the one i think most people are going to have but i'd love to hear uh what what's attracting you guys to octane these days but we'll get there so yeah any questions everybody start getting those together am i green what's what am i is my light uh i need to yell at my light lighting director here what's am i green oh you look normal to me you got a nice kind of purple tint on one side okay i'll blame this one on skype yeah you look normal on me on my side um but i mean i guess it's a little weird to do but why don't we do a quick uh overview of who you are what you do what you're up to these days uh if you have any website stuff you wanna pop up i can switch over to screen just tell me if you're doing that and but we won't be able to hear anything um but yeah uh what's going on with you nick uh yeah man uh first of all thanks for having me on the show i've been meaning to do this so i'm glad we finally got this schedule i'm glad i'm on the show man it's really cool uh i'm nick campbell i'm the founder of grayscale gorilla we make tools for cinema 4d artists plugins hdris materials a bunch of training to help cinema 4d artists and in fact if you are a fan of this guy here chris not only do we have a ton of great stuff from chris from back in the day um that you can come check out as well on youtube we're actually moving a lot of stuff over from the vimeo days to youtube so uh so keep an eye out i think actually one of your last one of the last ones we did chris was from from one of your uh what was that one called the topography one we just launched so definitely check that out if you're interested in learning cinema 4d uh we got a ton of great stuff to help you out and then if you do uh work in cinema 4d for a living we create tools to help you do it faster and make it more beautiful so check it out if you're not familiar grayscale gorilla.com the longest url ever made uh you know wish it was a little bit shorter but uh if you just type in cinema 4d tutorials we should pop up there for you rachel see i am a tinge green i knew it that's okay i'm trying to look at it on the stream i mean you look the same as i do uh there's a couple people saying your mic isn't sounding amazing um you sound pretty good on my end um and what i'm hearing should just be what's running through [Music] restream uh too hot too too cool i hate bad audio guys i i let me know i'll try to fix it um i just moved the mic away a little bit because i'm excited i'm talking loud but let me know and i could i could tweak it but it sounds good on your end chris yeah look as long as it sounds good on your eye you know that's really what's been captured um but anyway everybody start getting those questions together we're gonna be just riffing this is gonna be old school we'll tackle different things maybe i can build some sort of rig and then nick can go and make it look pretty with some lighting and some materials there's a bunch of cool new uh materials out from grayscale gorilla i think you got a bunch of new car paints out like this week right yeah just came out yesterday so um i guess i kind of flew past exactly what we have over there but right now we we have the ability for you to get everything we have uh under an umbrella we call grayscale gorilla plus so it's a membership and you get all of our plugins all of our uh materials all of our hdris and all of the pro training for one price a month or per year and we're constantly adding new stuff to it and yesterday was one of our biggest additions yet so we have a brand new material collection uh might be able to uh show you later in the stream if we end up doing something like that where i could show you some materials um but amazing new car paint um uh collection if you guys do car paints or even if you don't do cars in automotive uh specifically if you guys do any uh like really textural paint jobs things like guitars um uh you know like a motorcycle helmets and other things that have that kind of shiny uh glossy flakiness to it these car paints are frankly the best car paints made for cinema 4d artists you got to go see them in action and if you're a plus member they're in your library right now you just click and download and start using them in all of your projects so we released that some hdris bunch of new stuff but we can get into that later um but yeah it's i'm just i'm excited to have it out it's uh really it's really been a big journey to get plus to where it is so i'm just i'm glad it's it's uh available to everybody now yes yes excellent okay i'm gonna go over the rules really quick for everybody if you're gonna be posting questions first of all you can only post links on twitch not on youtube but feel free to type out questions on youtube even cinema 4d questions those are some of my my favorites so no problem there if we don't get to your question i don't even click the link feel free to post it again just don't go spamming it if we're wrapping up one question go ahead and post again if you are posting a link to somebody's instagram or a video make sure that i can see the artist or studio who made it if we can't give credit we're not going to tackle it otherwise has to be really abstracted as a question um if it's a video make sure you call out the specific time code and no links to anything that's being actively sold as an nft because we're not we are not here to sell people's nfts besides that uh everything should go typed up questions are fine if you have any just general like motion graphics questions or i like that with chris they're like hey how would you make this and then it's their nft i i'm not sure but i think one of those might have snuck in early on and i read the description later pretty sneaky i like it i mean don't do it but i see what you're doing i see what's going on what a world man chris when are you dropping your nfts man what's when when uh the people want to know i i have had people bugging me i i don't want to speak too much to any of it but i am i'm not terribly excited about the entire nft space there's there are definitely good things but there's a lot of big question marks that i am i don't know there's a lot of hype i'm always very skeptical of a lot of hype i'd rather be you know slow and steady instead of jumping on the train so hey you weren't you were i think you were right about the vr stuff so i'm gonna i think you're you might be on something you know yeah hey i don't doubt a bunch of people aren't gonna make a bunch of money but i don't know i don't want to get into it maybe there's a whole conversation to be had about that one day but yeah i agree it's an interesting space but now is not the time my friends i am excited however chris to answer questions with you also um to make something with you man i i love seeing how you uh you know use cinema 4d in such new and unique ways and then of course i love grabbing it trying to you know make it look pretty it's one of my favorite things so i'm excited to do this today buddy yes me too and we do have questions starting to come in so i'm going to begin to click on those i'm seeing if there's any like just talking questions so to kind of do a warm-up but for the most part not so much but we do have links coming in yes i'm pretty excited any questions um cinema 4d grayscale gorilla my haircut whatever yeah exactly but in any case um hardware quite yeah that's all good okay we are going to go and tech and other people said your audio is sounding good so i think we're good uh i'm just gonna start clicking links nick should be able to see some details from my screen so hopefully that works pop this open mute the tab because if i don't mute the tab youtube does copyright claims let's see what we've got here this is okay well we've got a what do you even call this type of matrix or at this type of screen chris oh i only see i only see us two on the skype oh oh yeah actually that's because i forgot to click over to my screen oh good i'm just i'm glad it wasn't me there we go yep nobody could see it so there we go okay dude i love it chris i'm sorry what were you asking go ahead i was asking what do you even call this type of dot display oh i would say i would call it a dot matrix display popular pinwall machine so i'm real familiar with the dot matrix here yeah actually it does look like pinball buttons almost the way the uh when you do the zoom in oh yeah it kind of looks like arcade buttons when you zoom in yeah um this is from 2d peat from switzerland and yeah looking pretty cool on the technical basis there's a lot of different ways you could make this look a million different ways but as far as actually displaying this text i think we could probably tackle something like this yeah this wouldn't be too crazy um the uh is this something you want to dive into chris or you wanted to just kind of talk about how we would approach it in general you is this something we we just get in get in get dirty or uh what do you think um okay you get a few more we could just let's click a couple links and then decide which one we want to tackle but it's it's a really cool technique and we can take a look at that but yeah let's talk about this one no matter what but let's get a few of them up maybe and we we could pick one i like the sound of that i'll leave it up to you man ah let's see what do we got from mutter here or is that the same one nope that's the same link again uh okay how would we replicate this in cinema 4d take a look mute the tab oh okay this is can get crazy this is always dangerous because it's an entagma link and they always do incredible things um they got software that starts with h on their computer yes but this is actually blender which is extra interesting um so it's kind of valid as a question i i won't answer questions of somebody else's tutorial um but this is blender so it wouldn't be specifically cinema and i'm assuming i muted the tab but hopefully that is mute so we can't play too much of it because then copyright claims might come through but i'm assuming you're just talking about this blob so let me just uh mouse through what everyone's want yeah just seems to be the overall blob so we can probably judge it just from this beginning part so um so yeah and tagma obviously they do crazy advanced things their stuff always looks amazing i got great stuff great guys too i feel like half the time i get questions about like yarn and like string dynamics or because of things you know they're all an offshoot of things that they had made at different points but yeah this kind of cool weird blobby thing is a viable thing very abstract so it gives you a lot of possibilities to tackle but i definitely think we should take a couple more questions and see which one is jumping out at us most there's some possibilities here a little volume little fields maybe a little interesting like that one where the uh are these links coming through the uh the you studio.youtube or is it directly these are twitch chat this is the twitch chat coming up i'll send you a link to that one as well i gotcha oh i see it's too cool okay here's another one and you guys know in this in the chat that usually i tackle almost everything with by myself but when i have a guest i want to make sure that we tackle something that's going to utilize everybody's talents so let's just be extra picky and find something cool okay we got something from tavo studio and this is a still but they have several stills oh it's kind of this cool melty drippy upward chocolate ooh i kind of like this this is neat um i don't want to get ahead of myself chris but i those upward drips are here i got your name on them dude that's true it's you know what's making me think of the rock the goo rock tutorial guru chris dude it's a classic man i remember how long you and i sat around i was like here's the tutorial i made what do we call it like it's just it's this gooey rock tutorial but that's a terrible name goo rock tutorial and an hour later are like i guess it's goo rock it's a it's an awful name i i i think even rachel's like what what is this thing what who rock it is what it is though it's a goo gooey rock um uh yeah this one's pretty cool i mean there's no motion here but that almost gives us the freedom to sort of create it the way we want to um so yeah i'm kind of leaning towards this one just for some opportunities to do various there's a bunch of different things we might be able to do with that yeah saying he spent hours on the goo rock so did we do it good i'm glad i'm glad it's helpful i was like three i was like a three hour tutorial split up yeah uh awesome oh i just clicked over in the twitch chat by the way before we get started in cinema and seeing some familiar faces good to see you guys uh winbush good to see you man pro tools 3 000. dude classic been around yes good to see that name good to see that name uh keyframe what's up guys sorry yeah we got tons of people thanks everybody for coming and hanging out i'm excited um so uh if we like the look of this one and we already have a couple links so i think uh of the three this one i think gives us some pretty neat opportunities and i think just for whatever material you might decide what you know what type of uh goo this might be you have a lot of options maybe to show us some octane stuff uh yeah actually it might play right into everything we got going i think it'll be nice to light up and talk about some different lighting options with this thing and of course materials um and just selfishly i'd like to see how chris tackles goo in a world that has volumes in it now because i don't think that was around not that you needed to use volumes but um gosh that tutorial is so old now it'd be nice to see how chris tackles a little bit of goopy goop in the new world in the new cinema 4d world i'm i'm interested too man this is my phone yeah oh i like it let's do it so once again tavo studio put this together i know we've gotten links to their work before they do really good stuff so make sure you go and give them a follow um ehab is saying that gurox showed showed him deway that's a good one oh and i'm also seeing we we said that we'd uh mention how we thought that led thing was done even if we don't tackle it oh yeah um i think we can even just talk about it chris i think you could set up those uh just let's just call them spheres for a moment because they could eventually be whatever model you want but let's say you just populated a bunch of objects uh in that grid and then i think you could use i think you use real type if you found the right typeface and you might even look up dot matrix led display typeface find something that has that thinness that that kind of mono thickness to everything and then literally run that type along the the dots and use that type as like an effector essentially to turn on and off the brightness i think you could we can actually dissect this a little bit extra if we want to start getting really picky i mean there's a really cool look but if you don't get really specific when these are in real screens when the text is moving across you're going to get that exact same look but offset like pixel by pixel as it moves across the screen but here in certain shots you can actually see like if you look at this why like sometimes some of them are being partially lit and other times slightly not where i think you can actually see that text passing through so it's essentially you know the voxel look of it is slightly jumping between them yeah it's a good point when you do it on a real.matrix it's going to jump exactly to the next set of pixels and what we're seeing now is something that really it doesn't it doesn't actually do in a in a typical dot matrix screen which is give you all this gray and kind of jitteriness and i think you're right that y shows it the best maybe the u too where it kind of gets too thick there for a while let's i mean here let's do the 30 second version so just the matrix object create a text object we won't even change the text just lay it down on the ground t for scale move it over and i believe if we go into the matrix give it a plain effector i don't want to affect the position but i would like there to be a fall off based on the text tell the text to be not a curve but be a mask and i want the mask to be coming down from y so along y now you can see the text is getting projected in from here and you can see there's a little bit of a transition so inside of the plane effector you can see there's a distance fall-off and we can cramp we can clamp this all the way down and now it's just on or off oh yeah that'll solve that ghosting effect uh yeah the ghost thing but then it also just goes to the difference kind of what i was talking about was that this e well actually i would love to even change let's lower the resolution actually i lower the resolution just by shrinking this down so you can see how this x is built like two pixels on top like two it's like two offset two two but if i start slowly scooting this text you see how like kind of the way that it's formed is a little different it's like now it's two layers of two on the top so that's that's a slightly more difficult thing to perhaps tackle but you know now we've got this pixelated look as long as you move nice and slow and this matrix doesn't have to be a matrix it could be any model pick it some spheres make it some buttons anything that lights up some leds so yeah that's the super duper quick version of that yeah one two skip if you then you're done and and really the only the trick for me is always remembering how to pipe in the different color language into the third party renderer you know like now that you now that you have this isolated it's really just about remembering the the like octane node or redshift node that takes that color value and then you just pipe it into whatever you want in a material and in this in the case of the renderer that we saw it's like in some luminant material that you then control using this green channel yeah i if i were to say it in a in a quick way but yeah exactly yeah cool now even even on this my like my brain already going crazy of like ways to make it so that your pixels don't sort of wander and i i wonder if we could i'm not gonna do it but you could probably take this matrix object and instead of colorizing them scale them down to nothing and then cinema doesn't acknowledge once they're scale zero and then you would literally just have those blocks and then instead of using then you take those blocks and offset them on say a different matrix object and now they would only appear if they were directly in range so that could actually use to use one to trigger the other yeah so yeah layer those up could be cool yeah so um do it do a search too uh if you try this at home for like a pixel pixel font something that has that built right in like an led uh like a clock radio type of display alphanumeric might be a good search term um you might find the typeface that'll actually just make this a little easier cool good i didn't mean to take you off course of the goop i mean i'm super excited to goop yeah but i just want to make sure we answered that one yeah that's good to do that while we're still back at that early step so uh can you think anything else before trying to dive in on the rig actually why don't we talk for a second about what we want to drip because this was it seems to be wrapping up some sort of fancy dessert but if we're just looking at the shop i mean not even chocolate but the the melting goop that's going to be traveling upward we could have this traveling off of some text we could just do a spear we can go old school and make a nice spear that people are requesting spears in the chat which is why i say that i mean you know me you know me i love that i wonder chris what might look cool is so imagine the sphere that's like half melted up so it's almost like the bottom half of a sphere like a little uh like a half of a snow globe and then then the top is still a little goopy and then it's almost like that's the transition it's like slowly disappearing as the sphere is melting into the to the uh into the sky totally maybe we could give that a go yeah well i'll i'm gonna jump in the cinema and start talking about this now even based on what nick just said if we were going to have a let's say we have a sphere and half of it is melting in the sky we have several different ways to think about this and one would be are we building a rig to do everything or are we building a rig to just just do one particular shot because here's why i bring that up let's say that we threw that into a bool and i'm going to throw in a cube as well and now let's a subtract b always so try to move this up i think that's what you're talking about we can have half a sphere and then the goop can be coming off of that so we could be like okay that's the starting state and we're just gonna have drips come off of that and we're really only expecting to see like five ten drips go upward would be one rig an alternative rig would be what if the entire thing is melting upwards slowly and then you would build a completely different rig where you have the entire sphere and each piece slowly moves away and either of those are valid to do um same way any reason to do one or the other i mean i like the idea of getting to the step and if we are if you're trying to art direct something and this is a really important question actually nick this is something i missed when you and i would do the regular streams is because we'd have these discussions about like wait should we approach it this way or this way what's the intent behind it i tend to just dive right now into like the technical side be like oh let's make something but it it is important to talk about because you know this is what you do in production right so we have a limited amount of time if this was a client coming to us and you know that's that's always how i try to approach these things this stuff's really fun but at the end of the day a lot of us do this for living and we got clients asking us to do stuff right and we go yeah we can do it or not so in this case they're coming at us with that brief let's say they're like look it's a ball of chocolate and it slowly is melting but it's not melting down it's melting up and as it melts it it um kind of dissipates into the air and then we do this really beautiful close-up halfway through that's like you know halfway through we zoom way in and we see all the little details and then we let's say we zoom back out to the final piece and the last little bit uh dissolves and then the logo shows okay so that's a really simple like client brief and chris said it exactly which is what part of the rig are we trying to build because there are two pieces to this rig there's the one that is showing it starting like a perfectly spherical piece of chocolate with like maybe one drip or one or two little ones just starting you can imagine you know that's starting this beautiful motion and then we can kind of quickly get to the to the hero shot which is what i think we we should tackle chris which is more of this halfway through shot where we zoom in and that's a separate rig because we want more control over this beautiful hero in the middle maybe there's like other stuff in the middle of this chocolate maybe it's one of those european chocolates with toys in it who knows there's something else in the middle we need to spend more time on so we're going to build a separate rig for that and leave the fully melted rig in another scene file completely because it's going to give us more control for both shots um did i get the gist of that chris 100 cool so i'm what do you think man you you want wanna you wanna tackle the like beautiful middle shot and see if see if we could get there and then if we get and then if we have time or there's not other questions we could talk about how we could approach the the other rig yeah i think yeah let's definitely focus in on the middle one essentially that's what got us excited was the idea of the drips going upward if we're worried about the overall spear then we're not focused as much on the drips love it that's my thought so let's see there's a million ways of tackling this my thought is why don't we create half of a sphere there if we want to be really precise which isn't a bad idea we can take this cube that's exactly 200 move it 100 up so we're chopping that exactly in half although now i'm seeing this tiny bool error error error where these two lines just happen to be lining up so i guess even along those lines we'll just take that down just a tiny little bit not surprising just perfect alignment on a bool that's to be expected and then i'll make a helix shape with a start radius of 100 and end radius of zero and a height of zero and that will give us this spiral and that is just going to give us a nice controllable way of kind of controlled but randomly placing some drips and i wonder if we can get away with honestly just using a matrix object here setting that to object mode dropping in the helix and now i can create exactly however many i want here's a count if we wanted to randomly offset them we could but in general this is going to give us some pretty nice spacing if we're inclined to if we want more we can increase the spiral so they'll travel around additional space and increase account until we get once again something pretty nicely evenly spaced so actually that's looking pretty nice to me so i i'm going to try and build this in a the simplest but most controllable way we can so we'll keep this clean name this drips and turn off caps lock will help drips and then we want these to slowly and individually travel up into the air that's going to be straight up into the air so a plane effector seems appropriate i would like these to be moving upward am i upside down right now i was spitting my camera a bunch no that's correct why are those traveling down oh the helix must have spun them in a direction um i can fix that easily just by going into the matrix and saying hey don't align the clone and i see they actually travel upward so about what's the furthest that they might go actually they might end up going quite far because as the individual drips travel we're going to want others to go further but let's say at the height of a drip we'd want to go i don't know maybe about there so that's just pushing straight in the air we can increase that or decrease it but for now how about adding in a well let's say a linear field yeah i think linear field's a good idea and this is just going to make it so we're multiplying everything so they'll all travel up this way an important thing to note of course is this is going to enable us to pinch this as tight as we want to or as slowly as we want to but this is just controlling the transition and right now as the rig is built in general they're well 100 they're going to be traveling from the left but of course we don't stop there because we shall add a random field by default this is going to be actually set to noise but i think this can be set to straight up random so everything is being given its own value set that to multiply and now they will travel up in general from one direction on one side to the other but still based on this linear falloff and you see them each doing their own individual thing a little bit more but there's a lot of ways to offset that um additionally i don't want any color i'll turn that off um let me think what's the way i want to do this most because there's so many approaches even just to getting this to transition you could be animating a noise odd we could be doing this fall off slowly and actually here's an important thing if i spread this out really wide they'll all travel pretty uniformly and you'll they'll kind of get drift of all of them but if we pinch this really tight then in general we're still going to get that fall off that we saw um i don't mind that chris try the um if this was the full shot you know if we're if we're describing that original brief where we kind of like start the animation then we zoom in at like this area this part of it where it's like the most beautiful part i would say animate it with that wide gradient and don't have it ever start in other words uh we're already in you're already in the animation and it starts kind of like yeah like we're like there and it ends there you know like actually even you just saying that just made me think of doing the rig completely differently um because what i was going to do is and we could do this super quickly which is creating a tracer object so that we could be tracing these so hitting play and because you need the tracer from the beginning we need the tracer from the beginning so we'd have to travel up from zero or we wouldn't get the trail but based on what you just said what if we well i want to inter actually know that i think which is okay to chris because we don't have to render the whole thing you know like you can you can start it fresh to just to get the tracer but then when we get really to the end of it we'll just focus maybe bake it and focus in on the kind of middle part of that animation sure um there's there's so many ideas already for different ways we could do this but here's the new one that pops in my head what if we make another helix and i'm just using this to get a straight line so 0 0 0 and now it's 200 tall that's completely fine and that is what i would like to clone around the entire shape so create a cloner drop that in clone this as an object and drag in the same helix that's already set to count we'll just increase that and turn off the align so now we got a bunch of lines traveling upward the difference now being is let's modify these via scale so let's say that yes actually this strips aren't even necessary anymore because we ne we want this line so the effector will again be the plane but this time instead of affecting position that's the plane thank you instead of affecting position let's affect the scale i'll say uniform absolute but we'll just start to scale this down and if we say minus one it'll scale them potentially all the way down to zero but now these lines exist and the same falloff can be used to drag this and have them travel but you see now we've already got existing lines traveling upward and some of them i'd like them all to get randomized but we do have some already in process but depending on our pov um i guess we're overlaying i'm trying to think oh oh wait we gotta remember some invert somewhere yeah it is inverted because we're scaling down this plane is saying hey scale these down to like nothing i i guess maybe a cleaner way to do this is say hey let's give it a really tiny height of one and now the plane won't be doing this inversion instead we'll say hey you can scale up to 200. so now it's properly applying so that that conceptually gets rid of the inversion so yeah so they'll all travel upward but now we don't have to start with them being pre-rolled in a bunch of like negative keyframes we can just say hey we're starting right there and then it's ready to go um excellent and then let's bring those drips back i don't need the effector but what we can do is say hey clone not onto the helix but let's clone on to our other cloner let's see if it acknowledges it properly um oh it's taking on oh that's interesting it's taking um okay it's taking on the scale and they're currently scaled up to 200 percent we can get around that by saying hey calm down you go into a connect object and then the drips aren't cloning out to this thing that's got all this clone information it's just cloning onto a spline so we drag that in and hopefully the connect turn off weld very important it's going to delete a bunch of them if we don't and is it doing that old thing here do you remember this this problem nick where it's not creating the it's not create we're not seeing it because it's not acknowledging this as a spline so we can trick it into being a spline by putting that into a spline mask and now it's like oh it is a spline that's still one of the weirdest things to me because we didn't change what we're feeding in but somehow making a new spline mask parent has tricked this and being like oh i'm actually a spline but anyway let's make a count of one it's currently per segment and if i say don't loop but push all the way let's start at the end now these are now cloned exactly in the end of those splines meaning our rig is set up and let's have this travel in order which is yeah that starts it gets modified and then drip so it's already in order so yeah as this drags along then our individual dots should move up and even at this most basic of states here i think we're kind of ready to um start feeding this into some volumes and see if we can get some volume um one thing i think it's well i'm going to shrink the helix down just a little bit because i don't think it should go all the way to the edge so just drink that in the hair but you see why i made that helix look how easy it is to change where these are being placed but create the volume builder i always immediately put into a volume measure holding down alt to become oh hey chris it's been it's been a long time man but i got to remind you don't forget to save good call good call especially i mean i got pretty good luck with volumes but i'm just thinking you know that's a good it's a good a good it's never not in a good spot to save you know volume uh negative gravity um yes very good idea to save essentially you should save as soon as you'd be upset if you crashed and lost that amount of work so very very good uh good time to mention that if you are following if you support on patreon then you get access to these scene files but in any case here's our volume builder it's inside a volume measure i would like it to be seeing the splines uh let's drag in the spine mask see if it sees that yes it does so we'll use a spine mask jumping inside we can already tell we're going to want more resolution from this so let's drop our voxels to three which okay you can see a lot more resolution that might be acceptable we might change it as well i would like the spline to be acknowledged as a density of one and you see it smooths that out overall here's the one that's really cute already i love it oh yeah it's like these cute little uh dick looks little little pokemon um so now i put the radius down to five because this is just supposed to be the you know connecting drip then uh let's drop the spear in next we'll drag that and now that's instantly that gets blobbed in we're probably going to want some variation up on the top but let's not worry about that quite yet and lastly the drips themselves drop that in and i think that these yes these can these will get acknowledged as individual drips but here's the reason why i did this first i'm going to save again i wanted to see if the volume will acknowledge the scale of these and it does say use particle size so i'm hopeful so with the drips selected i will create a random and drop it into drips and i want it to affect the scale uniformly and then say positive and negative is that applying no i didn't have it selected when i created it okay so now it is being applied turn this off so that did not visually change the scale yet but inside the volume builder if we turn on use particle size yes awesome totally worked um so now you can see that we can randomize the scale if we turn that on i didn't know if it would work but it did very nice so we can control these drips i don't want quite so much randomness just a little bit and potentially um and it could be a good idea that instead of using this just purely random scale we could have tied it into that same other fall off so the further up they are maybe the bigger the drip is or maybe the smaller the drip is do you have a thought or preference on that nick like should we just leave them or i would say yeah i would say two things make it a little bit more tear-droppy if possible oh like that's like taller and then um as far as randomness i don't know my liquid physics good enough but i'm thinking just like random would be fine i feel like uh i i i don't i don't know if it's like tied to the length i almost want to go look at the reference and kind of see but yeah um they're somewhat uniform they actually don't seem like i guess the more they stretch but the more they well yeah but i guess it's pretty random you see there's some fat ones but you get as skinny up top and as something stretches you would expect to get skinnier but you can also see there's some skinny ones down there as well in the refrigerator you know what i think so you know what i think um sorry chris i i feel like it's easier to talk over you when i'm not in the same room to cut you off there sorry buddy um i feel um i feel like if you imagine a drip forming and then all of a sudden the actual drip falls off the end then it's kind of skinny for a while that until the the rest of the liquid kind of condenses so i think the random and some of them super small might be the right way to go yeah let's do it if you if you get that little like kind of teardroppy tallness to it i think it could be good now here is the magical step that everybody's waiting for and that is using the smoothing deformer which i absolutely love drop this in and that is what's going to actually start making this look cool and drippy so oh look at that yes that's everything you want it to be now um because the way we built the rig i think it's just a good idea if nothing is quite close enough to bump into the neighbor but that's as simple as grabbing the original clone and changing the count and just either finding a a random seed that happens to work out or or potentially manually placing them to make sure it doesn't happen and potentially them bumping in is fine but i wouldn't mind yeah they're being a little picky but that's fine actually there's a little uniformity to that so let's go easy actually no no what am i doing okay so we do this this is still an entirely cloner based setup so how about throwing in a push-up heart effector i almost never use push apart but this is a good situation to use a push apart so let's drop this radius way down uh also let's um i'm going to temporarily turn off the volume which should probably be down at the bottom to be the last thing to calculate and oh the push-up part is really pushing things apart so let's go way easy on that oh is this oh okay this is it's really interesting you got to keep this kind of stuff in mind but what's happening is it's seeing the modified scale again so even though i'm putting a really tiny radius they're flying really far away but that's because the push-up part is calculating after the scaling is happening so if we say okay calm down first push apart and then scale and immediately see everything jump back into line move this in the approximate visual spot and now start increasing this just until we start seeing some movement so you see right there this should be enough to push them completely apart from each other the drips are still hidden turn back on the volume and let's hide some of our original geometry and yeah make sure that that that does not render and now we get the drips and nothing is bumping into each other and it's looking pretty sweet actually pretty simple um let's see just for fun okay we're getting nice playback so you can actually see oh look at those and if you want i mean like we're saying this rig is not necessarily built to have them go off the surface but if one does happen to be on the surface like this this one right there kind of like that that one's hanging out late if we go far enough presumably well okay that one must be randomly getting multiplied oh okay here's what we do here's what we do um inside the plane uh we are currently multiplying and this could be and because we set this to random this could be applying everything from a zero to a one from a black to a white so something might be full power something might be minimized and that's what's happening in this one instead we got two options we could say overlay instead so now no matter what like you know when you overlay two materials on top of each other if you're overlaying a type of gradient if something was black it's going to be still black if something is white it's still going to be white but it's all the middle grays that can be affected so that means no matter what with this overlay there will be some motion from everything and presumably a lot you can see how high that will start going but we can just play in this nice little range here in the beginning but like seeing those drips come off the surface is really neat so in addition to that what if we just take that helix and we're building everything really clean like let's just pull that a little bit further down into the surface so that when those drips actually begin to exist they'll pull completely from the surface yeah it'll kind of form from zero almost forming and then pulling up so oh that's looking awesome um now honestly there's not i don't know that there's a ton i can add well what are things you'd like to see added the one thing i've got in mind is adding a little bit of wobbliness to this flat surface but what else would you like to see nick before i were to hand this off to you i think you nailed it a little bit of like waviness on the top and some sort of um very subtle or slow movement of the sphere going down i think that will help sell this so making sure that the top part of that surface and whatever rig you're about to build looks like it's going down a little bit and i think it will help sell this uh look of melting away rather than just drips coming out and then the wave thing that you said uh like a little little warbly on the top uh to sell it or yeah a couple thoughts in my head um that that's the main one yeah um sounds good so couple different things we do first of all as nick was saying it might be nice to have the chocolate melt away i'm gonna keep calling it chocolate even though maybe in the end we'd make something natural i'm gonna add one more thing because i'll um uh i've zach i go by zach in the chat has a good idea that i think will help sell it at the end an overall uh like distortion for the whole thing that'll push and pull some of these strands a little bit crooked um that might be at the very end where we do some big deformer kind of 3d noise kind of thing to it that just makes it a little bit less straight up but i would i would say that might be fun to do because i think it'll be pretty straightforward and quick but i'll let you go ahead and make the top wave here yeah sounds good um temporarily hide all of our volume bring back the bool now this is maybe a little bit dangerous because just because we know bulls can be weird but the most straightforward way i can think to deform the surface is let's just add some subdivisions we don't have to go terribly crazy but if we add some subdivisions to this cube then we can deform this cube before it even bools it out and then the resulting shape can become the surface this can be pretty straightforward um i'm going to do my plane deformer actually we'll be using this twice but dropping this plane effector into the cube i would like this to be treated as a point deformer and as i usually do let's rename that the form just so we remember what that is and actually we should be doing that in a lot of these like this is a random dot scale and this is a plane y plus um just to move there push apart self-explanatory i don't need to explain that okay so this cube is going to be deformed via point currently it is pushing on y local y so we'll get rid of that i think z is the one we want yeah if i push z you see everything moves up and down so right now i'll just say 22. uh actually that's a lot say 11. but we don't want to apply it everywhere so in the fall off give that some noise so here we go um some people are saying it's a little bit of lag but there might be twitch because my mine says we haven't even dropped a single frame so hopefully we're going well okay so now you see this random field uh this is currently based on noise i'll make it uh let's increase the scale i always do this i keep on increasing the scale until we start seeing some uniformity just so we know what the ballpark of what this is supposed to be is and now that we've got that we could start shrinking it back down again knowing what the scale is and then perhaps we'd want doubling up the resolution just a little bit more there this random noise can be anything we want in this case knocky maybe i like a nice knock it's all going to get smoothed out anyway so we don't have to worry too much scale it up again for that uniformity it's a little subtle so how about cranking up the amount of deformation that's pretty there we go yeah there we go and if we were inclined this wouldn't be terribly difficult actually yeah this would be fine if we well if we wanted to which we do we can add in something like a spherical field which is right in the center and now we can create some additional fall offs so it could be like a little bit weaker in the middle that spherical field could be set to overlay which i think is a good idea too powerful right now but we always pull back it's always a good idea to go too far and then pull back and then under remapping i'm going to say invert so now we can decide exactly how and where things are getting applied actually i kind of liked it the other way just so yeah i would say go the other way because if this was in a uh in a glass whatever you'd have that little like meniscus at the end kind of curling up you know like uh like the liquid anyway so that this like con con uh cave kind of thing i think was looking pretty good yeah so just by setting this overlay we can set the exact amount of power we want just a little bit just to imply a little bit of dip there we can still see it get all messed up there we pick a nice angle now um we just have to make sure that our helix will always be low enough to be underneath the shot so we can get fancier with that if we need to i'm not super worried about it but the main thing is going to be just taking this cube and moving it up and down it looks like the bool is cooperating we're not getting any bad pops anywhere so how about just a quick keyframe here we'll keep this simple a i'll set the linear control d and say key interpolation set this to linear so when i create keyframes they're not easing in and easing out so at the time of zero that'll be the arbitrary height and how long do you want this to be 90 frames 3 seconds what are you thinking yeah i would say like a three four second thing and i think it's important too it's uh good that you pointed that out chris that linear keyframes are uh perfect for when you want to capture the action mid action you know which is exactly what we're doing in the shot to go back to the start of what is this rig for it's for capturing the middle part where we maybe slow things down and see it really move slow and so in that case you do want it linear yeah we're catching it mid action exactly it's already moving and and uh i think that's important when you think about your camera moves uh all this stuff like linears if you're cutting two action that's already happening linear often is a great place to start you just don't want to see the first you just never want to see the first frame of linear keyframe almost yes well yeah we wouldn't want if the animation to begin we wouldn't want it already doing this but um okay so now we've got this movie down i because the drips aren't sucking out too much volume from it let's leave it nice and slow but it's traveling down so how about adding a little bit of animation speed into this okay we got to go really easy on it like just a little bit of change between them and let's keep in mind it's gonna be getting smoothed out as well so the subtlety additional subtlety will be added as soon as we reintroduce our volume uh hide the original here is our more drippy surface it is getting smoothed out and yeah that is what we've got um i haven't keyframed our linear field so let's choose where we want this to begin and end so you tell me okay so here's our total range so when do you want to start i would say you say stop yeah keep going there wait like right right see that one on the right the little peekaboo right on the right yeah wait go down a little bit more yeah right there all right yeah okay it's tricky to time this with somebody when we're in different states streaming i mean the tech is pretty amazing if you think of it but it is like right there wait go back yep now the ground has moved down which automatically did a little movement for it but where do you want to end there there it's i imagine this is a super slo-mo cut cut it zoom in okay uh we're not getting real-time play well let's turn this off for just a second so we can get some real-time playback so here's what we're actually getting yeah dude i want to zoom way in on this thing excellent so uh not too much more for me to do here before nick gets his hands on it let's do that giant deformation you were talking about i think that could be cool yeah i i've got one more quick request chris which is take those top drippy sphere squares and and either add a little teardrop to the bottom of them so they're a little bit less spherical or just scale them like on the on the y just to give them a little bit more uh i don't know drippiness and less i have a prediction though because the volume builder was saying that it's seeing the particle size i bet you that it doesn't see its x y and z it probably only sees one dimension but that's not to say we can't fix it because i know ways to fix it but let's just grab the overall this is going to grab every single point on the matrix i'm going to say scale vertically and you see they're scaling up uniformly even though i'm only scaling on y they're scaling up overall so i can't see them individually we have two options one would be turn these into geometry and they could be stretched and then the second idea and this could be silly but my thought is just to do something different would be let's make a drip two and these drip two are doing the exact same thing except i'm gonna say okay yeah you're doing your thing but back themselves up a little bit yeah back up a little bit and then we'll scale them down a little bit it's pretty good i mean i would have never thought of that chris but i think you might be onto something here buddy it might make it a little extra the way that volume works it kind of like over adds sometimes but this will be interesting if this works uh increase the radius yep there we go oh my goodness my goodness yeah so personally probably making a sphere or even making a slight teardrop shape on the original thing would not be a bad idea um in fact we could you could go crazy advanced probably and no that probably wouldn't work i was going to say make a taper that follows along the spline but i don't think that would actually work but you can see that that did indeed process i'm going to scroll a couple frames just to make sure nothing's popping too bad we can increase the resolution in fact i almost guarantee you're going to like so why don't we even right now just drop this voxel size down to two but the important thing to do is because we're dropping it down now because there's an increased resolution the effectiveness of our smoothing is going to be lessened so now we have to increase the iterations to get the same visual result of course this will slow everything down but now we have a higher overall resolution to make everything nice and smooth and i think that's working pretty well that should calm everything down a bit there should be less popping the blobs are emerging all right let's just get that overall deformation going because i thought that was a neat idea and my thought is i guess we've got a lot of geometry here i'll hit save again but why don't we just do another deformation on this overall shape and we'll process it pre-smoothing so we can really mess it up and then let the smoothing fix it so um okay here's the way i'm thinking we do it actually let's just steal this plane deform so i'm going to copy that but i don't i don't want the contents so you can see this is just super inflating everything so that's way too much but let's uh let's go a little easy on it just we'll start we'll start here inside the falloff create another random field and now you see it's only applying in some places the random field set that to normal here's the overall scale we can make that larger let's add a lot of verticality to it i think just in general it could like a general vertical stretchiness could give it the upward motion in general so yeah i mean that's really coming through on this shape a little less so on the vertical ones but that could be if we shrink down our x and z so let's drop those down to let's try 22 22. and then you can start seeing a lot more individualized messing up on everything could be fine now you see i'm super duper messing this up in fact we are just straight up inflating it outward there's things we can do to push it in and out but let's just see what happens if we now say okay but then the smoothing happens and actually just to show you if i turn this on and off it just seems it smoothes out so much that it just seems to um erase out all that just is slightly inflating it so here's a trick i like to do what if that comes after the smoothing and we can go pretty light on this we only go too far but like it is a smooth out version and then we'll just make another smoothing deformer nothing says we can't so another smoothing deformer but this time we're just worried about smoothing out that extra deformation we made so we'll just calm it down a little bit there i didn't copy make a duplicate of it bring that back to 33. okay so now we get the super smoothing one a little bit of deformation and then a little bit of smoothing again just to pull back on these imperfections and let them very smoothly get laid out so let's just see what this this deformer is now doing that should we should i put the effort in to make it go negative as well because it's kind of making everything a little fatter i do like it skinnier yeah so let's try and make this go in and out or actually i could mess it up but let's just try inverting this let's just say hey this goes negative so it's going to make everything skinnier and then the smoothing we just have to make sure we don't want to go so far that this happens yeah you don't want the pinch um so one like if we put enough smoothing after the fact that we could potentially prevent it that way but it does get really thin um i guess we just if this is the one that's sticking out as getting pinched why don't we just make sure it's not pinching quite as much even that's probably like 2.5 or something super skinny i like it so this isn't going to play back in any kind of real time but it's still very scrubbable [Music] and i mean there's a lot we could do we could modify we we could we could be animating the scale of these drops as they go upward we could be having some drops loose in the air traveling away um there's there's potentially a lot of options but i don't know i think i think the only other piece of art direction i have chris is now that i see those thin things we should take the big drip and the medium drip like the top and the taper and just scale them both down a little sure thing they're still a little too bubbly all right i'm going to turn the bottom one off so we can just observe the top and we'll just change the radius inside the volume builder let's take it yeah well yeah you can see we got a big one there a small one there we can do different random seeds and get a really nice looking one but let's go pretty easy on it yeah what do you think something like there that's looking good dude um yeah and then what is these are controlled yeah this is the upper drip i'm going to grab both the same time and if we were to do this we can of course pick different random seeds until we are like that one looks good or that one looks good so yeah we've got the opportunity to change the seed and then let's turn the bottom drip back on to get the extra pinching although it's still pinching pretty well without that because of all the extra smoothing yeah so let's grab this and shrink that radius down oh right there buddy yeah so obviously this can all continue to be tweaked and i mean what's cool i mean this is a super i'm going to save it right there but super duper parametric setup we can go back into the coder and say hey i want like four times as many drips and it'll just create four times as many so that's what's great about the rig that we just set up everything can be changed we could even add an individual one if we wanted to um so yeah anything else you want to see here before i send it your way scrub through there chris let me see where we're going let's do a attempt to scroll in real time because we're not going to get real-time playback yeah i think depending on how you deliver it to me what do you think is best especially for live stream do you want to give me a bake or do you want to give me this raw or do you want to i'll give it i'll give i'll give it to you in this state because well first of all it'll be really quick to transfer if we bake it down or do an olympic it's going to dump big big old phone it's going to be a giant file so uh yeah let's keep it going save um i'm gonna put just so it's gonna be clear on your side i'll say this is c underscore chris save and now give me a moment everybody as i put this in dropbox so that nick can get access to it i should have been saving these directly in dropbox let me uh give me just a sec before you switch over chris i'm going to make sure i got it all and it's in here dropbox where did i put that uh live stream guest sync nick and paste and it's super tiny it's only 166 kilobytes which is great for that's why i love parametric all right let me let me give it a test here first before we uh let me know and i'll switch over okay we got we got playback all right we got playback the goo guru the guy this looks great okay um i think as long as at the end chris could i put a smoother on it oh yeah it will be slow down you can change a bunch of stuff i figured it'd be fine you can even make it as soon as it gets on your end but we just want to send it over clean so the file should pop over make sure it opens and then i'll switch to your screen uh i think i'm ready let's give it a go i know we were having some tech issues here earlier guys so let us know if you could see everything uh and chris i can't see the other screen so just let me know when i'm live here you are now live and i am seeing your mouse we have to do some workarounds to make the mouse work we have to do a bunch of workarounds but you may see the mouse trail for whatever reason turning that on on windows uh helped one of those magical windows things so yeah part of the mouse trail we're not in the 90s the sharing the sharing app didn't allow the mouse to come through so turning on mouse trail tricked it into sending it okay so here's where we are uh chris this is this is awesome great stuff as always we got our scrub and i i've always pictured as you as you built this thing we're kind of so just just so i could kind of visualize to imagine this commercial okay so first of all um the first thing you worry about is your camera right if you've known me you know i'm always yelling about picking the right camera in this case it would like start off with some like kind of like 70 millimeter zoom kind of like centered spherical thing in the center of the frame so now imagine this whole thing's like a big sphere just wanted to we're not going to work on this whole thing but just so we can set up the shot imagine for the sake of this commercial it starts with this perfect chocolatey sphere then you start to see these little drips go up fast like sure it starts like melting away the the level comes down and these drips start flying in the air then we get to this kind of middle area this is when we we cut i'm actually just going to duplicate our camera we're not going to do the full edit or anything but this is when we cut in and if you remember the the goo rock we actually did this we did the the the um kind of opener shot and then we zoomed in to this kind of close-up to really see what the heck's going on in this thing and we showed all this detail and then we backed out again watched the rest of it dissipate and in the goo rock it was like closing into a rock or whatever but you get the idea okay so that's all i was talking about at the beginning but let's start making this look look like chocolate let's do it so um first thing i do is i'm actually gonna copy and paste this whole thing into an octane starter scene and this is something that i've built using octane so that i don't have to reset up my render settings reset up my oh my favorite uh kind of setup every time i use octane so i'm gonna immediately do that i'm gonna copy it we're gonna go into this octane starter scene you can see it's already here uh in the live viewer but this scene is set up just so i have some basics that i use all the time right i got little shapes here i got a background i got hdr all set up ready to go got some materials in my scene so i could instantly just drag them in this is how i like to start especially with these third-party renders so let's just copy this in paste it in i should say and i put it in a null so that i can move it back around and i could just put it right in the center of my scene here and now i could get rid of of course all this other stuff and now i have this beautiful drippy drip up in octane and chris since i don't have um the view uh the the the chat or anything visible please let me know if if something pops up um that i can answer or you know if i'm missing something okay i think everybody's just mesmerized right now so i mean octane's beautiful isn't it like you know i think redshift is just as beautiful and it octane's a little bit faster with this stuff where it's just like the grain goes away in half a second and done yeah i think octane definitely gets you where you're going faster and it looks best out of the box it's mesmerizing so i'll break down some of the settings if you guys want i'm using luts and i'm using a lot of stuff to kind of dial this look in um but let me know if you have any questions but for now let's just set up some basic like uh like food material right so chocolate so first thing i'll do actually let me show off our new search in the library if you're a plus member you have all these materials we just added search and i think there's actually a chocolate there is a chocolate cheese louise oh my gosh okay so we have this chocolate i think it's part of the everyday material collection uh let's just drag it on and what's great is you know a lot of you're like look that's great you get a chocolate right away but i want to know how to make a chocolate from scratch well you could open these up and they're all open nodes ready to go and you can see how this is set up so we have a little scattering here we have some rounded edges to round it off which actually buys us a little bit more detail there on the edge and then we have some scattering which i think is kind of you know kind of our subsurface scattering we may have to dial that in so let's actually dial that in and this is why we leave all these nodes open here so we could kind of lower it and see what happens so let's go to the file is pretty large it's a big giant sphere and not like the head of a person so we probably need a lot of treat this bigger or scale everything down yeah so i'm actually just going to keep dropping this density until we see something drastic so there we go so that's too much right like we could see through this chocolate this is not like dr pepper yeah yeah actually if we go a little bit lower i think we'll get like a little root beer or something weird red redness but yeah dr prepper that's a better one okay but you know 10 we're still seeing through it but this is where you could start to dial this in and say okay now we're actually oh now we can actually see through some of these strands which i think for chocolate is a bit much but if we find the right thickness then it'll go a long way with a lot of these drippies i'm gonna move forward further in the scene so we could see more drippies uh i don't know if that's gonna affect do i have to go frame by frame chris no because we're not doing that we're not doing tracer okay so now we got some of that so now let's frame up something that is a little bit closer to what i imagine our close-up will be zoomed in as automatically like ooh there you go yeah so uh so couple things we'll probably need to do one is throw it in uh in a subdivision surface which i'm just gonna knock it to one just for live streaming and also i don't think we need a lot of extra but some of the these little details in the ground i just think we need to ease up i think i could just drop the whole null in here i'm actually going to save on my side yeah actually you might want to just drop the volume but yeah save it okay let's uh let's save uh as okay and uh we could put this in here and uh remind me chris about the scene file and all that stuff oh i'll just rename it just go ahead let's rocket one chocolate rocket chocolate rocket chocolate changing the business dude let's go okay yeah go inside and drop the volume builder in it not everything yeah there you go oh buddy oh buddy okay i think we're onto something okay so this is more of what i've imagined our zoom in will be so let's set up our shot um i think i kind of want like let's play around with the camera what's really nice about um octane is you can see your results so fast you could try totally different camera angles one of them i'm imagining is this okay totally straight on totally zoomed in and we might even have to rotate around here and try to get some of these other angles but that some sort of side shot might be very visual this is overly lit now so i'm just going to go into our hdr and uh rotate it right this is actually the octane sky we're just going to rotate that around we might play around with some other lighting options but ooh look at that got some nice back lighting so this is the first thing i would do is just set up what we want our shot to kind of feel like is it is it moody from the back let's zoom back out and show the difference like imagine if the first shot of this was more like that remember the last one how bright it was like look at how much more moody and um i don't know like essential or the right word for chocolate you know like this is very album cover stark quiet um feeling where the other one was like you know hey kids let's bite into some chocolate you know like let's just rotate that around and show the difference but this is where i go especially with something like octane where we could get those uh so quickly look at that totally different result that's like a date this is a saturday morning commercial you know this i mean that that's i don't think you should put that on air right yeah you know like that's like spooky but that this is the power of of lighting and the ability to change this stuff really easily so this is um kind of where i go first but the uh the chat is of the opinion that it's a little transparent and looks more like barbecue sauce yeah i think so too especially when we do the zoom in guys i think the strands are a little transparent so we're gonna thicken that out thank you guys um okay so that so now we have what we kind of like it so i think we're actually going to keep this backlit for now we're going to zoom in and we're going to see if we can get something that looks a little bit more dynamic now this backlight we might have to cheat it when we zoom in because it's so shiny right here um so let's move that around yeah right there that that's not chocolatey enough is it guys so let's jump in to our material i think it was under trans uh medium uh and actually it was up in the scattering so we got to go into our node go into our scattering let's make it visible and let's dial it up so let's just double it roughly okay that's better already so we got we got that the other thing about this with chocolate is we got this daylight and this like daylight color with chocolate is kind of weirding me out when i zoom in something about it out here is fine it almost looks like a little planet but when we zoom in and we start getting these these like bluish colors in the chocolate i'm a little i'm a little freaking out and in fact when we zoom in it makes it feel a little bit more like a product shot so we could actually dial that in real fast this uh hdri link's all set up right here and we can just dive into something like i got to clear my search we got uh pro studios metal might be because this is really reflective we might get some really nice this might as well be made of metal yeah exactly we got these nice kind of reflective parts here that we could jump through this might be too over lit yeah yeah we don't want this overlit one this one might be good let's zoom back out and see where we are especially the side look which i really enjoy i'm kind of debating keeping it at this scale we might still do the zoom in guys but i kind of enjoyed this look so much i kind of want to keep it here but you guys let me know um okay so let's let's do that for now so the obvious next thing i want whenever i want to close up you probably know what i'm going to say i want some depth of field so let's go into our octane camera rake here let's go to depth of field and let's turn on actually let's go into f-stop and let's turn our f-stop to 2. okay two's pretty zoomed in i might have to dial it back a little bit i'm going to turn on my focus thing here and focusing can you just now work places and get a different focus is that what that's doing nick uh oh we uh i don't know if you can hear me nick but we still see your screen but i've just trust your audio oh wait do you see me back okay i could i could hear you i could hear you now buddy yeah yeah okay so back to uh you clicked the focus thing is that just resetting your focus yeah if you leave this on in octane then you can uh let me turn up our f-stop just a little bit more it's kind of unrealistic but i'm going to prove a point um if you leave this on wherever you click will go in in focus nice so so now the back piece is in focus you can see up front is out and if i click on i don't know this close up dot right here you can see the rest goes out of focus so that's all and i'm i'm making sure our subdivision surface is working the way i want it what i might do can i add a octane wrap like a rounding tag here right on the mesher i think i can add maybe even moving it up to the subject message um okay that let me let me try it here first um let's go to i always forget where it is subdivision division level one to throw it out there this is a little bit of a it's a thing that happens but because we put as such a strong smoothing on there the smoothing can give you these little pinches like it's valve geometry but you get these sharp pinches and i think those sharp pinches are what are bothering you um it's a little bit yeah and you can see it on some of the drips where there's like these little sharp points on the drips it's not a it's not the workflow i i i would do it but it's not the cleanest workflow but essentially i would take this entire volume measure and then feed it into a brand new volume measure that's observing the previous state and they'll give you a nice smooth out one another alternative would be using the new remesher um which could then clean it all up but that might look a little bit janky from frame to frame so yeah there's a lot of different choices but there's definitely there's some pinching happening and that's because of the smoothing and no matter how many times we subdivide that it's still going to happen okay so with that and with the old you know live tv stuff happening let's let's focus on this shot because i think it'll be helpful it just so we have a final finish shot and then i'll i'll actually dive into it too with a little bit more time and see what that close-up could be maybe smooth it out because we're that was our original goal but for now let's just zoom back out to this kind of like almost would be a starting shot and it could also even be this close-up like this might even work just fine let's see there we go that might be something maybe we're a little close maybe we're more like this and let's just find that shot we want to dial in which this looks pretty good to me uh chris sorry about the audio can you hear me still okay okay coming through just want to make sure it was clipping a little bit so this actually i think is a good place to kind of like work on our final look our final lighting and then we'll just talk about the render settings a little bit as well so from here um what i would usually do like once i have the camera set up let's lock this so that scales down i think we could scale this down just so we could see the full frame we're working in this uh kind of square right now which i think is okay i think a square is obviously a pretty popular uh look right now but if i were framing this up i would literally center this dude and get the focus going okay that's looking pretty good there's something about that strand that's overlapping with this one that's bothering me so i could literally just grab my uh volume mesher rotate it around just because i like my camera rig enough i don't want to mess with it and i could just cheat it a little bit uh i kind of liked that where it was that's a little bit better there we go boom so i like the kind of anti-symmetry this one is a little kind of sideways good framing i like our colors here so this is where i would say okay i'm happy with this this look i will i would scrub through it so let's go ahead and scrub through it and say see what we get cool oh that's cool it kind of blinks on there so we have this moment in time where it kind of shrinks kind of gets blobby the blobs kind of add later chris you see that on your end yeah it seems to be uh maybe the it's just the way the volume mesher sees the matrix objects but yeah it's like waiting till the last minute but that's okay uh well let's just find a beautiful frame i think the later the better for this one we got a little bit more goopy and then from here um let me save from here just because i like this framing and i think we're at a pretty cool point um save it then what we then what i would do is okay we're working with the client i would either think about options to give them or even myself i would say okay this is like this looks good but can we make it better right and so what are the ways that what are the things that we could do to make it better well first of all because it's on this um uh because it's on this s table platform this like psych we're missing all the reflections on the bottom that might show up from this hdr so one thing i'm i'm gonna do is let's just collapse this for now let's turn off our octane camera and talk about uh first of all just moving this platform down and just shrinking it until it's a little bit more out of the way so let's go to the s-curve let's go to the depth definitely don't need that much depth and the height is fine i think what i'm just going to do is drop this way down so it's a lot more out of the way and uh on obviously we can also just rotate it just use the back of it or just use a plane because we're not really doing the floor so let's just go ahead and do it the right way boom get a plan still like the backdrop but i think the psych is getting in the way of some of the reflections so let's just hide that for now and one thing i want you to notice when we go to our camera is how much the color changes and that's because of the lut that we're using i've been falling in love with using um these camera luts right in octane um and i'm still learning more about the aces workflow i know that's a lot of question people asking questions about that but even just adding a lut in um octane just adds all this nice little compression of the the color detail and a little bit more solid like black area down here um but i already i like this more so let's keep tweaking just for a few more minutes just to see if we could plus it any better before we you know ship this off to the client or before we send them something let's try a few more of these um uh studio maps here's one that's a little bit brighter i'm not in love with i'm not in love with the front corner of this chris but i like the lighting on this one sometimes when i like the overall feel i just kind of like rotate it and say like maybe it just has to go somewhere else yeah it definitely was super warm and friendly but the uh when you say the front corner do you mean the lighting on the front corner or the literal front corner it's it's a little bit of both actually like the harsh lighting on the front was bad ooh look at that yeah that's uh oh octane i'm actually gonna use this to boost it up just a little bit okay we're losing a little bit of our chocolate we may have to go back a little bit as far as where this goes chocolate wise and i think overall what this really is doing to me is the reflection in general is just too much it's like it's it's it's what is bothering me through the whole thing like this the way that this reflection is like that um maybe just blurring it up a bit or yeah yeah so i just think a little bit of roughness i it's maybe not what chocolate does perfectly but i think it's okay for a little bit of art direction here so that helps already um let's continue a couple more and then we'll set up our final render settings i always want to make sure we get to like all the way to the final render um before we change anything and just in case we're not we're missing something let's make sure it's not like what we what we really need to be is like indoors but in a much more realistic environment with a lot more windows and all that kind of stuff so i always last minute are like am i just way off base here let's try something really different yeah that did like that last one this like overly top lit one's nice yeah even though that parts the corner really nicely yeah this this little highlight over here i think when we figure out the rounding and all that it'll be perfect but let's let's keep this here and then let's do our kind of final framing our final render got our got our our new album cover here chris yeah and it looks delicious it is really tasty so let's go ahead and focus in right maybe right in the middle there just to get that piece um and that is it the only thing i'm thinking is the lut is a little bit heavy-handed so i'll come in here i'll show you where to add if you haven't messed around with luts and octane um definitely check it out there's this tab right here custom lut and um here's here's what it looks like without the lut right it's okay it's like a little washed out compared to what we had before but as we dial this up look at what happens we get all this contrast all these nice compression of the um the the highlight here from the window and again maybe there was an easy way to go zero to one but here's none right that's okay boom and all of a sudden you get all this nice little detail so this is good i'm gonna try rotating it just a little bit just to catch that corner a little bit out front more oh where it goes group yep dig it um i think this is where i would leave it so from here i would just do a render full frame to check the overall resolution um i don't even know what our settings are set up here i don't think we need all that all those samples let's go to 2000 samples let's go 1600 is fine let's just render do you want want to continue without saving that's totally fine um my favorite uh key command that chris taught me is control tab to blow up an entire window just like this and now we can sit here watch it render so um chris can you check the chat for any questions or anything we should look at i think this is actually on frame one but we we should change the frame so let me do that check for any questions before we i'll pitch it back over to you here in just a second sure um let's see you know mostly people are just making comments about chocolate i think i think the the overall material needs dialed in just a bit it's a little red for me um that also could be the lut pushing up the the chocolatiness like the um coloring a little bit off on that but that's that's the last little tweaks where you know we could spend a half an hour dialing in the exact perfect chocolate texture but let's see how this looks this is much later in the framing here i think it's just taken a while to calculate the later state of this thing but it should start firing up we'll get a nice little render here anything else from the chat um question uh which luck did you use somebody's asking yeah so uh this is actually um i'm gonna get in trouble for this this is actually a pack that's not out yet it's like crazy it's a tease it's an exclusive tease yeah it's an on uh it's it's a it's an unwarranted uh i didn't i didn't ask the team for this one but uh the too late you guys asked so i'll show you um it's this really beautiful set of filmic luts uh that we're working on it's not even uh quite complete yet but um this is one of my favorites it's the first one in the set and these are really built to emulate using uh film using really subtle but beautiful color correction right from within redshift octane i think arnold also they all use luts um and you could just instantly get that look right away so yeah well there's even the uh the new magic bullet look so you could even run the luts directly in the cinema viewport oh that's true so you could do it in post right within uh magic bullet looks and um if you are in plus or if you bought this pack in the in the past we do have the grayscale gorilla looks uh or it's not called looks um the grayscale gorilla lut uh collection if you have those those work in here right uh really easy and in fact i think it's in a newer version of octane uh if you steer it to the folder where these luts are you could then use this luts preset and just like toggle through them these are the default ones that come with octane some of these are pretty good um but uh if you have any luts or you're using the grayscale grille a lot you can load them up right within here and then use these light presets to dial in and i think you could actually dial it in in the octane uh settings itself tell octane exactly where your lights are and that makes it really really easy to uh kind of toggle between all of them okay so here we are uh just last minute things before we pitch it back over to eucharist there's still a little bit of a smoothing issue i honestly i think it's probably just the resolution of my screen yeah that goes away when i do that um there's a little bit of smoothing i would do around this edge that's a little janky that's cool thing i was talking about that's the pinching you were saying so that's the only really issue there um i think what where we where we are with this if this was in a real production is i would go make many different shots in this style maybe a couple different styles maybe one a little bit more moody maybe one a little bit more kid friendly and prep it for my client right and say like hey here's what i'm thinking again of where this style can go it'd be very moody and dark it could be very you know whatever um and so that's where i would take this so there you go um almost done rendering if there's no more questions chris i think we could pass it back to you and see what's next nice work i love this stuff man this thing looks great somebody's asking if you could maybe set it up to do a uh maybe a lower resolution animation so we can see the entire thing play out maybe we can jump back over to you after it's rendered a bit yeah i'll set that up um if you even if you want to pitch it back uh i could set that up in a kind of minimal way here yeah just turn down the settings cool let's see [Music] perfect render for easter time ooh chocolaty easter let's go um i don't i don't have a great answer for this but crossfader asked where was that but crossfader was asking if there'd be any way to use like a vertex map to transition this into a secondary material um [Music] not a vertex map because it's all parametric potentially i'm wondering i guess you potentially could use a vertex map if you had it baked down to some sort of alembic points no it still has to be a point object you can't you can only put a vertex map out if it's a point object so but if you're controlling the vertex map with fields and that would potentially work you could use proximals or the equivalent of that in different renderers but it's really tricky to do that type of thing when it comes to parametric meshes i'm going to hit i'm hitting render am i still on the screen i forget yeah i can't see it yep you're let's see here all right well yeah are you sitting in yeah you're you're getting a little choppy you might be different you can always ping back yeah okay so i'm pulling i'm pulling up my screen and we'll let that chug and when you get a couple frames let me go take a look um before we go any further i just want to address some of the pinching and so we've got my screen back up here hopefully you can see that if you tab over nick but you can see the pinching even right here in the viewport and this you know here's a pinch and there's one and there's one this is something that naturally happens when you start using a lot of smoothing and i'll show you if i change the mesh type here that actually this is just a one little extra polygon that happened to get created just because that mesh was popping up but if i were to turn off all of our deformation you see that this mesh was significantly different than it was so that's this might have been better in this condition but once everything gets super smoothed out that can become a problem several things we could potentially do to fix that well one that was popping in my head is this is our final mesh but we can always go inside of the volume builder and we've got all of our different layers of mesh going but if i were to re arrange these a little bit here is our actual kind of big half sphere blob so i could create a smoothing deformer that only applies to everything that's below it so if we just add a little bit of smoothing on this bottom layer you can see we probably erase out a lot of you can actually see the pinches like even here but as i start to smooth this out the smoothing is probably going to take care of most of those and those kind of pop out of existence largely it's possible other ones pop into existence but yeah that does seem to help a bit there that like i said this is largely an artifact of the smoothing so a i actually just want to experimentally do this is we've got the new cinema remesh so this came out in r23 if i hold down alt this will become a parent of it and we can see right here it's recalculating it's kind of caching the internal i'm not actually not entirely sure what it does inside but it's caching the geometry we're feeding it and now it's looking at the different mesh i'm going to say keep the outline which should maintain everything here and now we did not change the poly count this is attempting to maintain about the same poly count but look at this very different mesh that we are getting everything's been put down to these perfect quads and occasional triangles which you see is obviously very different than if i turn it off about the same mesh density but we get all these quads that are kind of meeting in odd angles so just by throwing this into the remesher this might give us a better overall mesh but i mean if this gets really thin we might end up losing things like that i'm not super experienced in playing with this too much i've used it in very basic ways so i'm not sure what the best setting for maintaining that yeah that's definitely still breaking that so it'd be something to keep in mind um but you could of course drop the polycount or increase it so that was one option here's the perhaps slightly crazier option and i don't necessarily recommend this but if i was working on a on something for a client and i had a deadline and i couldn't get rid of those pinches what i would do is take this entire volume measure make a completely brand new volume builder volume mesher so we'll put the builder in the measure and now that that is here i can say okay in the builder and i will leave them as separate objects i'm going to take the volume builder and say okay take this other mesh back inside of it and so we're kind of doing this little inception thing where we're feeding it into itself but now this is going to end up smoothing out all those pinches we just have to lower our voxel size to such a size that's definitely going to catch you know even these thinnest parts of the mesh but those pinches should pretty much be gone just because it's remeshed everything complete this is unrelated geometry to the original one it's just happening to reference it so um maybe even a little smoothing on this just to get rid of a little bit because you still get these kind of like these angles but that uh that's a a thing i would probably do if i needed to but once again it's still all the volumetric like you're talking about the edge like i already smoothed it out so that might improve things but if you didn't like the edge we could always go to this cube and just say hey let's do a different seed different seed and then you could of course get the exact edge that you want each of these being completely different and of course you know you always have the option of popping out the sculpting tool and actually making the shape that you want or deforming it after the fact how's the render going pretty good we got 15 frames maybe you need a few more extra seconds here uh let's see yeah proxima somebody's just asking proximal question mark um i don't really have i don't want to do a big demo on proxima but here's the 30 second version i'm going to create a null when i was talking about proximal to transition materials pretty much we just need to make make a mask of some sort and so using the vertex map is a way of making a mask but in vanilla cinema we can create a new material i'm in fact just going to use the luminance channel inside of here put an effect proximal and inside the proximal it wants an object so if i were to drag this null in and apply this material to the final rendering mesh and hit render let's see is it too big or too small i think too small should see the null that should render oh i just hit render again it popped in i don't know why it didn't but now you can see that there's a perfect spherical fall off from that and you could remap this but this could be used as a mask where perhaps you have the chocolate material here or like a melted chocolate material and a rough chocolate material and potentially move proximals around to do a transition it's kind of the old school way of doing a vertex map equivalent thing just to throw that out there all right i think we're getting close here all right let me know as soon as you want to and i'll swap back to your screen it's almost 30 frames but i think we're getting the gist and i could actually show you the kind of close-up too if uh if you want to zoom over all right hang on i'm switching back to you [Music] okay you're in control okay so this is the first 30 frames now the speed of why we set this up i don't think it's the right speed for the wide shot right i was kind of framing the wide shot for the still but watch what happens when i just zoom do like a little you know the zoom in this is why we slowed it down so much is because for how close we wanted to be i knew that too much speed was going to like be too confusing for the eye so in some ways the more close up you are on something the more you do want to slow it down and let the detail kind of unfold so now imagine this shot but with more rounding and more smoothing slightly less reflection and then chris's new fix for this little corner here you could see like really how cool that could be like some super zoom in or even even just this part right just kind of reframing it from within the the uh fake frame here yeah obviously we're showing it from this end no the difference between the zoom in there is like huge like it looks kind of ridiculous the amount of chocolate that's dissolving away with just these few drips but when you zoom in right it totally works yeah that's actually that's a good point it looks too much here and then it looks like it might be on the right zone here and this is where chris kind of started this whole thing off which is super important is building different rigs for different uh you know parts of the uh scene for different uh feelings you know like this is a very close up uh very um slow-mo uh romantic almost you know i'm getting you know you know i'll just say sensual you know i think it's i think that's a good word it's very close up and it's very um you could slow it you could slow this down in a way that makes you want some dang chocolate where this this does not make me want chocolate [Laughter] so it's it's uh yeah it's something that's something to think about on there so every every extra frame it goes i like it more and more and if i were to cut this in the middle of a scene i wouldn't cut it that far back i would cut it more like right here i would start the zoom in right there and maybe a little bit further back but that's that's kind of where where that would end up yeah totally and even looking at it again like we're even getting some extra pops in there essentially even though as much as i love the smoothing deformer like we're over reliant on it here it would have been better to actually model out a small teardrop shape so that we wouldn't have to smooth so many layers maybe like five iterations is good but 33 is a lot so we're getting these little pops and almost like a stop motiony vibe to certain angles and if we just made sure the input mesh was a little cleaner then that wouldn't be necessary yeah i think it's i think it's really close like as a proof of concept it's done you know it's it's just like prepping it for final up in the res you know maybe art directing one or two more specific blobs like you said chris maybe even having a drop that is already floating into space you know so imagine that shot imagine a shot where we're following a drop up here and we're just like slowly moving down now it's not letting me do it because it pauses but imagine the framing just like super slow beautiful oh my gosh i want to see more though that's the kind of camera moves i would start to set up and get get out to the to the client or whatever and then like a completely separate rig maybe where you see one drop of chocolate break off from the stem and then become a sphere like that's a completely new unrelated rig oh yeah exactly you could have a super zoom um like you know this close kind of thing that uh yeah that that that's a perfect example chris of another rig completely that is literally just showing like one of these pieces of chocolate turn into um you know turn into a blob or whatever that could be its own entire rig you know exactly i mean maybe the same shader maybe largely the same lighting not totally but you could copy and paste them but yeah yeah exactly exactly um before i cut back over to either you or someone was asking about the car paints and since it's i since i know it's going to look good with car paint i just have to i just got to do it do it do it also somebody's asking is there any kind of regular gsg sale that might be coming up before they order their subscription to gsg plus we don't have any sales in the works but i will say that if you're looking at uh grace gorilla plus um if you if you want to join for the year i think you get like four months free essentially so you save quite a lot if you buy the entire year and for anybody looking at all these materials and hdris and just looking at plus in general we have 60-day money-back guarantee no questions asked so we we want to make sure you're in love with this stuff as much as we are so what i would recommend is getting the year automatically saving the four months off essentially the full price rather than pay monthly and um and and you absolutely have the uh like guarantee that if it's you know not for you or whatever money back so that's what i would say is is check out the annual membership um here they are look at these guys i love these things so the classic like teal the purple i'm always kind of a sucker for that one look i mean yeah um yeah sorry i hear you pop out too chris sorry the choppiness oh this this i think will look pretty good i'm gonna also tone down our depth of field uh let's go to this lens just crank up our f-stop okay so i'll just demo you a couple couple of these because they're so fun they're all drag-and-droppable just like all of our materials but they're also openable in nodes so you can a see how this craziness is put together uh and learn how we set this stuff up we also have custom controls over things like flakes uh custom nodes built right in to the shader that allow you to change the scale of the flakes for example and scale them up to get a little bit more detail if you need it all this stuff and we have trading on our youtube on how all this stuff works just to show you where all that is but a lot of these are just designed to drag and drop uh they look honestly a lot better on cars than on this uh sphere but i think it actually comes across pretty good yeah my worst model yeah i might want to rotate it just a little bit um just to like that front corner is bugging me so much now but oh and now i got motion blur okay oh that's funny okay there we go hey that's better let's go to a later frame just so we could get more blobbies i love how it pops in like that let me i'll show you a couple more um the crazy greens a fun one i don't know how the the camo is gonna um yeah this is gonna be mapped oddly but yeah but you can see uh there's some there's some cool ones hey it's better than i thought um but again these are designed uh for getting that really nice highlight of course i gotta show you the orange one um and just frankly like show you uh the the close-up i had a pause there it goes so these are really designed and i'm just going to let this render here for a second these are really designed for cars obviously those multi-coated car paints that let you you know have flakes and then a gloss coat and then a different color coat even these color shifting ones like the holographic one um i'm actually going to just going to turn up my render settings so we could see a little bit more resolution here a little bit more quality let it go but you can see you get these beautiful fall offs this is what car paint does that not just glossy stuff does you get these nice fall offs and different layers and levels of uh kind of richness in the paint so i'll just definitely feel the layers yeah i'll do one more because these are really popular right now these holographic uh iridescent kind of uh looks um and these are super beautiful like really drag and droppable ready to go so um i i just gotta twist my lighting a little bit on this one two two front lit oh there we go of that side lid on this one okay there we go i'll leave it at that one but yeah anyway if you have any other questions about this stuff we just dropped a bunch of videos you could always check out the website and everything else but um i'm just going to keep dragging on materials chris until you cut me off yeah well actually a pretty good question somebody somebody is asking uh why not arnold um but i would just do that more broadly like between kind of the big renderers these days redshift arnold octane i saw some people chatting v-ray earlier as well and then um you've got uh the corona renderer right the um yeah yeah i mean so so why did you currently land on octane for your preference and actually an additional question when it comes to these car paint materials are these just for octane uh good questions i'm gonna try to get to all of them i'll start with the cart paints the car paints are fully compatible with octane redshift and arnold uh so uh all of and that's all of our materials all of our htris um all of all of uh all of that stuff is across those three major platforms like it pro all of that stuff i actually knew the answer that i just wanted to set you up well oh thank you chris i appreciate it in fact you can see i have redshift ones installed and the redshift ones have these awesome little uh uh extra um things here as well these little dudes and in fact if you have the redshift version of the car paint uh ones the little materials are cars they're super cute you gotta go check them out um not possible on octane but um if you're using red shifted it so first of all about plus and about these materials and hdri's it is all uh redshift octane and arnold and then for me i've used all three so i started with uh arnold because i was on a mac for so long needed to see the power of this third-party rendering and just finally broke down and used arnold and chad was using it at the time and i think there's even a video of chad kind of showing me how arnold worked so that kind of set me up for like the love of of third party rendering one of them too was was on one of the live streams we did chris where you had uh redshift installed i don't think we used it on the live stream the first time you ever used redshift was was the last episode of ask gsg yeah when everybody was was over at my place it was insane and so that that was really the first time i used a third-party renderer like that that was gpu and it was on a windows machine it was super fast and honestly that was the moment i i knew that i had to get one of these pcs and i had to go down this rabbit hole because it's it's amazing and so redshift was my render of choice for quite a quite a while uh you know obviously maxon they're part of maxon now so i was like no brainer let's do it well and then of course uh octane has always been a big player in this space it's super beautiful every time i saw somebody play with octane i was always just like man that's a little bit faster and it's a little bit easier to get something beautiful like right off the start it's just like naturally beautiful and you know me i'm lazy with this stuff i want it looking good i want to look a good right now and so i was like i got to try this um you know i got to try this uh octane thing so i installed it got to work in took a little bit extra to figure out some of the crashing and all that stuff but i uh for the last uh since since i got it stable it's been really really beautiful really really fun to use and um uh it's it's just been a blast and then of course uh david arya uh made some training for us to t to show octane in like just a few hours like learn the real basics get dangerous with octane and once i watched that i was like this is it i'm done uh i'm done for now i'm sure i'll change my mind one of these days but i just love the speed of it i love how easily naturally beautiful it is um and and some say i cheat a little bit too because i i'm never working with something super complex it's just not my style of work you know me i'm very minimal in in my design and octane actually uh works really extra well with that because it's less likely to crash and less likely to fill up your your graphics card full of geometry so um yeah i mean that's that's kind of where i ended up with octane um hopefully that answers the question yeah well you've you've done the journey through all three at this point yeah i mean that that's really um that's really the fun of it is once you once you find if you're out there and you're like still on physical first of all you know my heart's with you um but if you haven't tried it don't once you go through that first initial thing of like okay everything's different okay where is everything uh how do i set all this stuff up once you do it once with one renderer it's actually way easier to do the second and third one at least that's what i found once you understand that this is just going to be a part of your career using different renderers maybe the a different uh you know space you work at maybe a different studio uses a different render you should really be able to pull the look off you want in multiple renderers so i would encourage anybody to download these things there's demos free trials all that stuff put it on your machine get dangerous with this stuff because it's just so much clearly uh faster and and i mean the results speak for themselves such a beautiful way to work so if you haven't taken the dive do it let's go yup yup yup chris are you octane are you uh where are you with all this yep still right still redshift over here and uh enjoying it learning it more i mean you know me i'm still not rendering isn't my primary thing um but when i need to rich has been working out pretty well awesome that's just like i said i'm only using redshift well not only but you know all three are great um but the thing that decided it for me is that redshift is the one that's closest to vanilla cinema how am i saying this i want to make like the tutorials i record and whatnot as accessible to as many people as possible and since redshift is the one that maxon you know packages up with theirs then that's the one i'm leaning towards so no i think i think that's smart i think that's smart and if you're thinking which one do i try just stop thinking pick one that is compatible with your machine just start with that like i said get the free trial get the demo um if you're if you're just learning i think a lot of these have educational licenses non-commercial licenses all that kind of stuff just get started with it and once you see it you'll be you'll be all in um it actually reminded me of the earlier question about uh discounts and stuff like that if you are a student uh if you and we accept online students as students if you are learning this cinema4d getting started with all this stuff and you want to join plus we have a non-commercial license it's half off so 50 off you could join plus right now and it's half off for the year so 199 for the year you get all this stuff you get all the tools that the pros use and you can just start learning from our giant library of training including redshift all that octane training i mentioned we got redshift training tons of arnold training as well so i just want to put that out there if you are a student just getting started you want a non-commercial license hit up the educational page and just fill out the quick form and we'll get you hooked up let's see well i think we're pretty much wrapping this up at exactly the perfect time chris i'll i'll come join you in in the other uh in the screen here just cut from my screen first and then i'll swipe over and see you on the skype and i'll uh we could wrap up maybe answer a couple extra little questions let me know when my screen's off your screen is off yeah where is the two of us up on screen now woohoo we did it dude as soon as we started chat and i just swapped over here oh awesome cool i just wanted to see the chat say hi to everybody yeah yeah we're here people hanging out on youtube and on twitch thank you everybody for coming and hanging out um oh there's a question i was kind of waiting for this the whole time so somebody's saying if r24 comes out in a month does that mean that they can no longer use signal uh no you're you're rocking you're you're rocking so uh i'm assuming you're talking about if you only own signal so let me start from from there and i'll graduate all the way up for the different stuff so if you bought signal as just a separate plug-in anytime in its history uh you are rocking on r23 and when r24 or whatever they call it whatever the next version of cinema 4d comes out uh you're you're good to go uh you can come to your site come to the new site we actually have a new page for you come download the latest version fully compatible with r24 and get back to work uh no problems there now what you may be talking about is the next version so 25 r25 will be the last will i should say it a different way r24 will be the last version that we keep compatible with with our perpetual versions of our plugins so that means that if you plan on using r24 for the next three years five years your version of signal will work on r24 23 22 20 all the way back to what it supported right now you are good to go no problems the only um uh that that is for perpetual users if you plan on using signal or any of our plugins past 24 then plus will have to be the way that you uh continue forward with grayscale gorilla that is the latest versions they'll always be up to date with the latest version of cinema 4d and more importantly cinema 4d changes a lot more frequently now than they used to which means a lot of development work and a lot of stuff on our end to make sure it's fully compatible and you stay fully compatible moving into the future so just to be clear about your question uh signal and all of our plugins are are fully compatible through the next version of cinema 4d and then uh like i said if you want to stay on 23 24 22 we we're not stopping the uh use use or your license to use that stuff you bought it for these versions you are good to go however if you want to stay up to date with the latest version of cinema you need to stay up to date with the latest version of uh of plus and that's where all the future plugins will always stay up to date with every new version the m1 chips people are asking that's all set ready to go if you're using the m1 chips it's fully compatible with the plus versions this is where you're going to get not only the new versions of signal in all of our plug-ins and all those materials and all that crap that you saw but also updates and of course anything new that we drop is instantly in your library so hopefully i answered that specific question if i didn't i'm not i'm asked happy to dive in but does that make sense chris i think you got it i actually just um just got the gsg hub the last couple days and i i your guys downloader and updater is really nice the uh everything living in that one single hub the um and seeing all the different smudges and the materials and the plug-ins and like even the way the interface worked for like downloaded restart cinema like it walked you through very nicely so very nice dude that means a lot coming from you man i appreciate that and we've worked really hard and the teams worked really hard to make plus super easy to install everything just like you did um uh this week super easy to install everything all in one place always up to date and same with the materials if you've used our materials in the past and you've bought them separately you've most likely gone through the like zip file nightmare which is like you know uncompressing 10 different zips and compiling them together and putting them in one place in your hard drive it's like seven gigs or something it's because the resolution is so high yeah the resolution of these materials are so big and the zip files were out of control so you know part of the big switch to plus was to make all of this stuff easy we don't want you messing with zip files we want you working and making beautiful stuff for your clients so we wanted to build this hub so that you click to download and depending on your internet connection these are big files right but but they download they install and you're ready to go no unzipping no compiling your own stuff um and you're always up to date so that's actually part of the the process as well so same as i said before if you're looking at it or if you have any questions hit up support but it's really something that uh the team has really worked hard on for the last you know year and a half or so to build uh to build plus and now officially as of last month everything that grace gorilla ever created is inside a plus including all the plug-ins all the materials and all the training so definitely check it out if you do this stuff for a living guys it's a super time saver um thanks for the question too i appreciate that glad we could clear that stuff up yeah um yeah support team dean thank you i i mean i i try to brag but our our i think we have the best support in our industry always on top of it they're going to answer your questions if you guys have any questions about this stuff head up to our support page they are awesome they are on top of it so i appreciate um anything else chris no that should wrap this up i wanted to do quick announcements on my end let me make sure i can get this to go my screen um so quick heads up eye let's see if it actually swaps oh yes it did um so i updated the schedule for the live stream so if you head on over to rocketlasso.com go to the streaming page uh we've got some more guests coming up i've got smear balls coming up in two weeks which should be really good nick again another nick yep uh rick barrett will be joining me the weekend guy casey hubke after that i love that guy we got nose man and then we have fun he's okay one regular week and we got jess herrera on which i'm looking forward to talking character stuff uh jess is awesome if you haven't checked out jess's work she she does incredible work i even sent links up here so you can click on her name it'll go right to our website so go check out her work so yeah go head on over to yeah let's see adorable dinosaurs look at that so i'll put a link to this in the chat but yeah definitely go and check out the schedule so you can see what is upcoming on the live streams so it's going to be busy the next couple months but i hope that i'll be able to do a regular rotation of guests the plan is every other week but i just happened to everything got crammed together so that's a temporary thing but now we've also broken the seal here with nick being a guest so good chance we might get him on again sometime maybe chad might join us some people in the chat were asking if we could get a three-way chat or a three-way broadcast going getting chad in here as well that might be challenging to get the the structure going with how much difficulty we had today getting these going pretty cool yeah uh hey but before we wrap it all up i i just want to appreciate you bringing me on chris this is awesome always love and beautiful stuff uh with you it's always fun man i appreciate that likewise it's been too long good to see you so yeah that's great thank you guys in the uh chat here as well for the the good questions appreciate you love the cinema love playing in this stuff all right well thanks everybody for coming and hanging out with us um if you like i said if you follow on patreon you get access to all these scene files and early access to different replays there's a really cool tutorial i just posted on patreon yesterday it'll be public in a week it's all about this peeling paper off of a wall for like spooky wallpaper or revealing a poster i think it's pretty cool but that's gonna wrap it up thank you so much everybody on twitch for asking great questions everybody on youtube for asking more great questions i'll see you in the next tutorial or i'll see you in the next live stream bye bye everybody thanks chris thanks guys [Music] [Music] you

Channel: Rocket Lasso Live

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Length: 122min 3sec (7323 seconds)

Published: Wed Mar 31 2021