Sand Advection - Content Repository Tutorials 2019

[Music] hi it's Bob Worsley here from in Cydia and in this free tutorial we're gonna look at recreating this fantastic sand advection scene so we've got this really nice granular sand simulation this is one of Mario's scenes and we've got this sand being exploded apart by an explosion effects sim so let's jump into cinema 4d and recreate it so here we have this X particles logo model which you can get from our content repository so that's all got in our scene and what we want to do is let's just put this we want to skew it a little bit we don't have to be completely head-on so we'll just change some of these orientation settings let's change that rotation something like that it's a bit more interesting obviously you can spend way more time making it perfect right so that's that so what we need to do is we need to fill this volume with particles and so let's before we start let's bring in an ex-parte achill system so we can stay organized and in the system menu I'm just going to go to the object tab and I'm going to disable icon in viewport and then in the emitter I'm going to go to the object tab and we need to go to the emitter shape and set it from rectangle to object and let's put our XP logo in the object and then all of the other settings you can actually ignore in this tab because in the emission tab of the emitter we're gonna change the emission mold from r8 which just spits particles out to hex now hexagonal is really interesting one thing we must do we don't emit all frames we just want to meet on one frame so let's put 0 to 1 and we don't want any speed so that's it so what I'm gonna do I'm just gonna make the geometry invisible let's just go forward one frame and you can see that we're kind of getting these particles inside that volume but there aren't that many of them so let's just do a couple of things let's change the display mode of those particles so we can see what's happening a bit from dots two circles filled respawn them so there are particles and I'm just going to go to my options to the opengl options and I'm going to activate the viewport ambient occlusion which is going to help us see these particles so there aren't very many at the moment we need more particles so the way in which we control that in hexagonal emission mode let's go back to the emitter to the emission tab the way we control it is via the particle radius so what it tries to do it tries to fill the volume using a 3-dimensional hexagonal grid based on the particle radius so if I put this down to two it's gonna spawn more particles because they're smaller so you can fit more in that volume so let's just respawn and now we're starting to see a little bit more of the shape of that X particles logo now so let's go down to one and they'll be way more particles now and there we go we're starting to see the effect excellent so this isn't kind of high enough resolution for our final render we haven't got enough particles but for now whilst we're working on our scene this amount is going to be good because we can visualize this as grains of sand but it's gonna run quickly in the viewport so we'll leave it at one for now when we get down to final render time we might want this way down like point to with you know quarter of a million particles let's see so it's taking a lot longer to process now spawning those particles in an hexagonal grid but that's because there's just so many particles being spawned now and if I Dulli in so we've got an awful lot of particles there these are being drawn as full circles and we've got this ambient occlusion so we've lost some of that viewport performance but that's kind of where we're going to be at final simulation and render time let's just stick that back up at one and then it's going to be much more manageable as we sort out our scene so let's just in case we need it put some more frames on our timeline as well good so what do we need to do we need these particles to act kind of physically accurate in in two different ways we need them to act like grains of sand and we want them to kind of clump together and then snap and break apart so that's a fluid granular solve that we need but we also need them to float upwards in an organic way and we're going to do that with another dynamic solver and that's going to be with an explosion explosion so I think we should sort this out first so what we need to do is go to the dynamics tab of our system object and the object we're going to choose is explosion effects and here's our domain now because we're not rendering the smoke and the fire itself we're just using it to push around particles we don't need a high-res sim which means we can increase the voxel size makes it a lower resolution less detailed sim and it means it will work it out much more quickly so we'll put it at try it at seven okay that's fine for now unless just make that invisible so now what we want to do is we want to create an explosion that is going to push our particles up so the way we're going to do it is we're going to use another emitter as the source of the fuel BLET us go to the emitters submenu and create an emitter and this one has his rename it and call it emitter EFX for explosion effects and in that one in the object we're going to make it a box and I want the box to be kind of halfway of the logo so something like that okay good so we want the box if we just disable that if we hit play what's going to happen is that these particles are going to come from the volume of that box and the direction of the phases of that cube so you say that's happening so you can pick whatever you want she can have it to be on any of the axis so we want them to go up which we're gonna put plus y so now they're all starting in that volume and the going upwards excellent so let's go to a mission I don't think we probably need a thousand let's go with 300 per second we definitely don't need them going up this quick so let's put it down to say 40 with a 20 variation full lifespans fine okay so that's looking all right so this is going to ignite it's gonna be the source of our explosion so we need to give it some fuel data so let's go to the extended tab to the physical data tab and let's just give it to fuel excellent and if we switch on exposure effects it still doesn't light and that's because we need a tag so it can communicate with our exposure effects object so let's go to tags X particles tags explosion effects source and let's see if we get an explosion and there we go very undetailed blobby explosion but all we want this for is the velocity information so what we can do we can visualize that if you go to the exposure effects object and go to the display we can change the display from fuel and smoke to velocity and there is the velocity data that we're going to be mining to put into our other particles right good so it's not quite right yet it's rising up let's just keep it on smoke for now it's rising up way too quickly and it's gonna make our sand gold shoot up and that's not what we want so what I'm gonna do in the exposure effects I'm going to go to the simulation tab and we're going to reduce this gravity slider now remember by reducing gravity this doesn't mean that the gravitational force of being pulled down to earth is being weakened that's not what this gravity slider does what this slider does it acts as a strength slider for these three buoyancy amounts and at the moment the buoyancy is making the smoke fly upwards so if I reduce the gravity amount it's gonna reduce this buoyancy overall and it's not gonna float up as quickly see it's much more of a slow rise and I think we can maybe go even lower than that alright and maybe even lower 0.5 okay good now the only other thing I want I don't want any lingering smoke here I want it to be all going in this direction albeit slowly so the way I'm gonna do that is I'm gonna go to the tag of the explosion effect source and with the velocity I'm just gonna put the velocity up to say 300 which is gonna make this smoke respect the velocity of the particle but it's amplifying it's from what could return it by 300% okay so let's just make that invisible and we can make this invisible invisible I think you know what I think we've still got too many particles coming out of this let's go to the emitter emission and let's put this down to say 100 we could always this is still all procedural at the moment so we can make adjustments should we wish nice so let's make that invisible right so what do we want to do I want this smoke to push the sound so we need to go to the explosion effects into the advection tab and activate it now a couple of things have happened all the particles have gone black and they're kind of moving with a smoke but some of them are kind of sticking around here and it's all acting a bit weird now what's going on well this is a bit of a gotcha we are using as an emitter source particles and the particles which are being ignited are also being advective by the fire once they've created so we're getting this really bad loop that's not working properly so in our emitter particles our exposure affects particles we need to go to the modifiers and we want to exclude the add vector by dropping in the exposure effects and now that isn't happening and finally I'm gonna go to that affection tab this is all of the data that explosion effects can generate and then pass into the particles and we don't need color or smoke or burn or temperature or UV we just want the velocity data and now we have got it moving up in the kind of way that we want so they're being advocated but they're not acting like sound what do we need to do to do that well we need to do a couple of things we need another dynamic solver to turn those into sand we'll go to the dynamics menu and we will pick XP fluid FX now before we move on there is another thing we need to do so in the explosion effects one we had to disclude this emitter from being being unaffected so we need to do the same thing with the fluid effects we don't want these to be affected by any kind of fluid simulations so let's go to fluid effects and drop that in there as well okay excellent so what we need to do to make these sand particles let's just change that to emitter sand what we need to do with those sand particles is tell them what kind of fluid to be do you want to be water or do you want to be grains now we want it to be Santo it's grains for us so we'll go to extended data fluid data and we'll change the fluid type in the emitter from liquid to granular and just straight away and no gonna 100% in the friction so now let's see what happens so it's changed ever so slightly we're kind of getting a few clumps but not many now this is key when we're doing fluids especially grains the more sub steps that you have and the more iterations that you have the much more kind of cohesive your granular solve is going to be and the way that we get more sub steps and more iterations is there's two different ways of doing it you can use the Chiti way which is the way I always use because it's fast I like it is just by changing the accuracy preset by default it's set to faster which means everything all worked really quickly but the sim won't be that accurate if we move it all the way through to these higher settings it will be much slower but you'll have a much more accurate sim and the grains will can be far more kind of clumpy so let's just put it on too high which is another preset and leave everything else as default and see if it has any change now what we should see is that the the particles are sticking together a bit more yeah we're getting bigger clumps as they're breaking off but got a better acting more accurate sim we've got more sub steps and iterations going on that's what the high preset does and now it is far more clumpy so that's nice I'm just gonna leave it on high for now if you have used these types of fluid solvers before and you're very comfortable with things like minimum maximum steps CFL value iterations min and Max and you're able if you want you can just go onto custom and then you've got full control over all of those SPH fluid simulation values but if you haven't I just urge you to use the fast presets and use fast for kind of drafting go up to high or accurate for final render time okay so that's kind of fine for now and I'll leave it as it is that's working okay but we don't want all of those particles to start advective immediately we want them to add vector on the top down so how do we do that well what we're gonna do is we're gonna use particle groups so let's go to the XP system to other objects and I want to bring in a part it no it's not another objects whereas it's in the groups menu of course groups create group okay and I'll just leave it at that for now so actually let's just change the color of this group make it pink so at the moment particles aren't being put into the pink group because we haven't told them to so they're just staying in the green one now if I go to exposure effects to the advection tab and drag in particle group one the only particles in this whole scene that are allowed to be advective are the ones in particle group one now because we don't have any particles in particle group one we've lost the advection is not happening anymore so what we want to do is dynamically move particles from their birth state into particle group one and then they'll start advective so we're going to do that with fields so let's go to well we need a special modifier that's going to help us do it first so we'll go to the modifiers control modifiers and let's go to the change group modifier and the new group we're going to use is particle group one there we go and let's just take editor display off so it keeps the same circles that we've got defined but it's going to change the color dependent on the color that we put here okay so let's if I hit play now they have immediately been put into particle group one and then they should start advective because we've set particle group want to add vex in our explosion effect settings and it's working as we would imagine fantastic but we want to dynamically put them into particle group one from the top down so we're gonna do that using field so go to the change group modifier will go to fall off and we're going to add a box field and let's just increase the kind of fall off of that field let's bring it up there we go so if I just lets I'm just going to put my fluid effects down from high to medium so it runs a little bit more quickly while I demonstrate so if you press play no particles have been put into Group one and as I move my field down they get put into Group one and you can see they're starting to add vet alright so that's kind of the technique so let's just think about keyframing this field so we want to start with it here let's put a keyframe on the Y and then as it comes down maybe 60 frames ish let's put it down and then they're all in keyframe again let's have a look okay so that's interesting I think we could perhaps make that a slower animation so let's move that keyframe long yeah that's nice and they're coming in sometime sometimes um okay very good and I think we can it doesn't need to be quite this far down on the Y so let's just put it it doesn't need to be quite that low down let's try that that's going to move more slowly and let's come down passes them into particle group one and then they start to add vex okay and that's the basic technique let's just make a couple of adjustments will go to exclude effects again and let's put this back up to high we might even want it on accurate let's come a bit closer so here comes the advection okay so that's interesting I think that's slightly too clumped together they're not breaking up enough so let's go to our emitter sand to the extended day to the fluid data and I think we could reduce now stability is really interesting an important parameter so what stability is saying is is basically an amount of how far one particle can move in relation to its an immediate neighbor before it is broken off so if you have stability way up it means that they have to be moving very fast away from each other to be able to break apart if you reduce the stability it makes it easier for two previously connected particles to be forced apart so if we reduce this we should get more of a break up of clumps of our grains let's have a look yet so the breaking off a bit back more now okay I think we could perhaps let's just rotate this field ever so slightly and move it in the X there just to see if we can get it feeling a little bit more random and it's slightly less uniform okay good and I've got a feeling that our exposure FX's is kind of moving a little bit too quickly this explosion so what I'm gonna do I'm gonna go to the exposure effects to the simulation I'm gonna move all of that buoyancy out of it at all so the only thing that's driving this upwards is the velocity of the particle that is being spat out by that emitter and yeah that's feeling better that's feeling more clumpy and then they're moving up much prefer that okay that's looking good so what we want to do at this point is we want to see what it looks like with a higher resolution of sand but as we spawn more particles we're going to get a much slower responsiveness in the viewport so let's cache the exploder effects sim at least and then that means that it's not having to calculate this explosion every single time it can just read it from the cache so the way we do that is we just I don't catch anything but the explosion of X so we'll go to the other objects menu and we'll bring in a cache and this cache I'm going to go to this inclusion tab and I'm going to set the mode from exclude to include and I'm just gonna put in the exposure effects so all its going to cache now is this simulation nothing else I'm going to change this just to internal memory and let's have a look that should be fine so let's build cache so what this is going to enable us to do is we'll be able to disable this emitter effects because we won't need to use it anymore because the explosion will be put to cache and then we should be able to have slightly better viewport performance when it comes to messing around with our fluids and you can see this is caching pretty quickly we're up to frame let's just go to 200 and that should be fine and there we go 200 so hit cancel if you hit cancel it keeps the cashes that you put up to the point where you cancelled so I've got two hundred and three frames cashed so I'm just going to put two hundred three in the time line so now what I can do is I can switch off one emitter so now it's just the Sun that were worrying about and because our explosion effects has been cached we're still gonna get that nice advection there we go that's looking very cool so one other thing we could do to randomize a little bit further I'm not entirely sure how successful this would be so let's just keep it so at the moment as our box fall-off goes from in to out there obviously being swapped into a different group but we're getting this very uniform line as they're getting put into that group so let's see what happens if we can let's see if we can break that up a little and I think we may be able to do that by going to the change group modifier and let's just reduce the probability of change so this will happen per frame so not all of the particles should be thrown into that new group as soon as they get within this fall-off line let's see I'm not a hundred percent sure let's have a look yes okay so that is a much more broken up isn't it you can see that it's more broken up the line that's interesting I think that's going to work for us so I'm going to let's just reduce that a bit more and see if this is gonna give us a more random look that's definitely breaking it up more okay good well I quite like it we'll leave it for now so let's go to my emitter sound and let's just try a higher resolution so we're at one centimeter radius which is giving us a lot of particles but if we reduce this we get more particles so let's just point put like 0.7 so a lot more particle is going to be spawned let's see what difference that has in the simulation and it will have a difference let's have a look here it comes teensy it's running more slowly because it's having to work out so much so many more calculations so I can think there's an argument to suggest we're getting much more nice clumps now as you can see yeah I mean I'm pretty happy with that that's that's okay that's looking alright so just before we move on let's just see what happens if we put the accuracy of fluid effects from high to to accurate so this is going to give more iterations more sub steps making simulation much more accurate and it'll take longer to process of course so you can see the difference in speed much much slower but we're going to get a far more accurate and hopefully better looking sim so let's just see what happens as it comes down now we may need to reduce the structure of our grains now that we have more particles and it's a much more accurate sim with more iterations and sub steps we may need to reduce it to break these clumps up a bit more you see we're getting these big long bits that haven't broken and that's a result of more particles and more sub steps and iterations so let's go to our sand emitter and into the extended date and let's put the stability down to say five and fingers crossed that should mean that we're going to get more clumps as particles break away we could also reduce cohesion which is it's a bit like a kind of a springy constraint that holds them together if you go high on cohesion you can get some almost like soft body type looks from your grains so let's have a look with reduced ability so I'm hoping that we might get a few more clumps break and off yeah so it's it's it's more likely to break yep we're getting another break here that we weren't getting before this is breaking up more okay that's good and what really makes this sim is when you get these lower down bits intersecting colliding with these lumps and then further shattering and breaking them up it gives a really nice look now arguably I'd say that now perhaps has been broken up a little bit too much so what I'm just going to put that up to seven and I'm not going to preview it so that's looking really nice so what I'm gonna do is this because we want to move on to rendering it but we want the rendering to be easy to kind of try out different looks so let's cache this scene so we're going to go to the emitter sand let's go to a mission and I'm going to put it down to I mean I said in production I think you can have 1.2 but I'm not gonna go that low for this let's go to 0.4 okay and then I'm going to go to my cache object and I'm going to go to inclusion and I'm going to put in the sand emitter I'm going to reactivate the XP emitter EFX so we get our explosion working so everything's as it should be okay let's go to object we'll go to Bill cache and over right now this is gonna take a while I would say at a rough guess about maybe 10 minutes or so to get through these 200 frames so what I'll do let's pause for now when this has finished I will come back and I'll tell you exactly how long it took and then we'll move on to the next stage okay so that took just over eight minutes to complete it says it down here in the info not bad 8 minutes 17 seconds and we've got a huge cache size now memory used 1.3 to gigabytes so because I used the lazy persons option and cached these internally it's fine it works as a cache but it just means that the cinema4d file for this scene is over a gig in size which gets a bit unwieldy so it's a further example and I always say this is is don't be lazy you're far better to cash to external files in its own folder which can be kind of shared and stored far more sensibly in a more organized way I think than using the internal cache I'd save that for very small scenes but so let's have a look so what we can do have cached everything we don't need the explosion anymore we don't need actually we don't need anything we don't include effects we don't need our emitter EFX kind of explosion source because that's all cached so we should just be able to scrub through this animation which we can great so let's just play it through so getting some really nice small and big chunks that's kind of what you want really and it's looking really nice and we're getting nice interaction between the various different chunks as well it's bright this one breaking off it is nice so that's looking good and the beauty of caching it obviously is we can scrub and then that means should we wish you know if you wanted to come in closer to this breaking clump here you can say you're breaking off and it's all looking really cool so the physics in this scene are working so nicely together it feels so organic it really is a fantastic technique and we're getting these clumps breaking and what's nice is when you get a lower clump banging into one above it and making it smush apart even more so that's working really well excellent so let's get on to rendering this and making it look good in cycles 4d so let's just minimize that system and what we'll do I'll jump into a different layout which is better for demonstrating cycles for D and we'll get on with the rendering so here we are on our cycles layout let's get cracking then so first we'll bring in a cycles camera and let's just put a protection tag on that so we can't move it right so what we're going to do obviously this the real-time preview is rendering now but there's nothing there because we have no lights in the scene so let's sort out the lighting first and then we'll texture the particles so to do that and to see what's happening what we need to do is put let's put like a holding texture on our sand emitter so we'll go to create cyclers 4d surface will just make a diffuse standard diffuse and stick it on our particles and now what we're going to do is we're going to light the scene using objects using planes so we'll go to the object list table bring in a plane let's bring it down below and what we need to do is make an emission material so that's got to create cycles for the surface emission stick it on the plane and you can see now our scene is being lit so it looks like we're lighting our geometry as well so yet look XP logo let's hide that from the render so now we're rendering just our particles so we don't render this from below actually light this from below with our main light we're gonna go above and then even just with it above without doing anything you can kind of start seeing that the effect is working great so what is it with this main light is we are going to make it a bit smaller and we're going to kind of light it from above but we want to create some nice kind of angled shadows and stuff so let's just bring it out of the way something like this obviously if you're doing this yourself give yourself plenty of room use all of your orthographic views should you wish to get this lighting right but I'm just kind of eyeballing it with all this stuff open so you can just see all of these different windows and this isn't the way you should be working when you're doing it and especially I'd advise working on two displays if possible right let's whack up the strength of this emission shader up to say 100 right there we go that's a nice contrast going on already and even that just was one light one plane making that light looks interesting already good let's change the color of that and we're gonna go actually no I'm not going to change the color of that for now because I want to make sure that the scene is correct first so what I want to do is we're going to create our next light so the the next light we want it to be acting as a was kind of a fill light really but almost a rim fill like over these sides in this lightening up the shadowed area and we're going to give this one a contrasting color so let's have a look will come out like a camera and we'll let's make a new plane and this one we'll put it on the plus X 2 we want yet plus X let's pop it back here we're going to have it thinner and I'm going to rotate it up and I'm going to stick it down in world space kind of lighting from that we could perhaps move it behind let's just have a look and we'll switch off our original one okay so we're not seeing anything and that's because we haven't put any light on it so let's just put the same one on for now okay so there's that light all right let's come out I'm just going to move it back a bit okay good so what I need to I'm going to control drag this emission texture this one is gonna be my opposing colored light and this is gonna go on my second plane so I'll just replace that okay and with this one let's bring that strength down okay now I feel like we're still getting too much light with this I want it to be far less and choose what I want to bring it back to be much more like a rim than a fill yes so that is better it's lighter in these areas that's more of the look that I'm after great and if we bring in the other light there we're getting the effect that we want and and Mario and his scene in the content repository actually had another light but for now I'm just gonna leave it as it is arguably we need a little bit more lighting in this area which we might add later but for now I'm pretty pleased with how that's looking so let's color it so our main light is this emission texture here and let's just do it here we could do it with black bodies and whatnot but let's just do it the quick way there we go so that's looking pretty good and the other one we're going to make it a contrasting color so we're gonna make it kind of like a cyan blue very nice that's looking good so I think now we've got that blue and I think we could just bring up the saturation of this one yeah that's looking good and then I think we could even bring up the saturation of that Scion as well all right so that's pretty interesting I'm liking that look so this is too dark this is too dark this is a little bit too dark I mean I like the contrast but I think it's just not working for this camera angle and we can't have this much in shadow in the foreground it doesn't really work so let's add a let's add that that that third light so the third light let's just bring this one away a bit the third light is going to kind of be lighting it from above again would be a smaller light little scale lie down so I brought in another plane here for us and we'll bring that up and we can have this quite close so something like that maybe I'm just gonna angle it in a little bit and this one could we'll we'll check see we might have to change but we could just give this one the same emission texture as the other orange light let's have a look so that's brightened it up significantly hasn't it but the beauty of doing it that way is that it's brined it up and brought this all made it far more prominent but we've kept to that kind of nice blue fill stroke rim lighting and we've kept some of that contrast shadowing that we were getting when we would just have a two light setup so that's okay let's just try reducing the strength of this one down to say hundred and twenty okay so that's kind of alright we'll leave that for now and there's no point in making more adjustments on the lights just yet because we haven't actually material textured our particles so at the moment what we did if you remember we put a standard diffuse texture onto our emitter and it rendered them straight away as these spheres and that's because it by default it instances spheres on particles if you want more control we have to put an instance tag on here and that opens up lots of other opportunities let's just minimize some of these menus right so let's go to the tags menu cycles 40 tags and bring in an instance tag and here it is so what it's saying is is instancing spheres with 24 segments and the position of our particles and that's what's happening that's working okay and what we're able to do if I just let's just dolly in a little bit when I come right in close you can see so we can see the spheres clearly yeah but what we're able to do which is really nice in the instance attackers we can add some size variations so let's put like 30% size variation and now it's looking already a bit more random because we've randomised those scale values they still are cohesive they're in the right position but we've managed to make it look a bit more random we could even ramp that up to say 60% variation and there's even more so and if you change the seed you're gonna get slightly different looks so that's kind of randomized things but what we want is randomization of the texture as well as the size and the way we're going to do that is by using instance objects and we're going to use multiple objects to instance and each object will have its own texture so let's make that more clear so what we're gonna do is we're going to bring in a cinema 4d sphere everything's gone black because a sphere is completely encased our scene so let's put this down to a radius of one so it's somewhere buried in the middle of the scene and what we will do is we will drag that sphere into our instance tag and now instead of it instant seeing the default sphere it's instancing this one that we've put in so what we could do let's create a new material so we're going to create shader cycles 4d surface and we're going to use a principal so the principal shade is great because you can do diffuse with specular you can do metals you can do glass you can do subsurface scattering you can do all sorts we're just going to do it as a default diffuse material and for that we're just going to be using the base color the specular and the roughness they're the only the only things that we're going to adjust so let's put that principled shader on our sphere that we are instancing and you could already see we're getting some specularity now from our lights they're looking a bit shiny let's just wrap that whack that on to full so we can get the full impact of that speculation now you can see we're getting a specular highlight and that's because we are using the principled node that allows us to get that glossy specular so if I just dolly in a bit further so there's a couple of things to consider when we're using our printable shader if we're gonna be having a camera angle from out this far we don't need to have a sphere with this many segments this is creating a lot of geometry for each sphere and its rounding it off nicely but we don't need that many for this camera angle so if you reduce this it's gonna be much easier on the system and should work more quickly so let's just put this down to ten okay great and let's now duplicate this sphere so now we have two and I'm going to just delete the material from that one and now I'm going to duplicate my principal shader which gives me a new one and this one I'm going to give it a black color so it's completely very dark black and I'm going to drag this onto my new sphere and then in my instance tag I'm gonna drag in the new sphere so now there are two spheres in the instance tag and what you'll see is now cycles for D is instancing both of those spheres one of them is the dark color one has the light color so we can get some really nice variation there and if we change the seed it'll redistribute them into different areas so here now we've got this is a very dark we can very clearly see these highlights if I add a bit of roughness it's gonna make them look less and less shiny and look they're starting to look a bit diffused now with it's spreading out so that's also an interesting look so we're not going to quite want it that so what we're gonna do here we're gonna color this using the lights and we're gonna use this base color just a gray scales to give these different brown and yellow and orange textures so that's that one so let's do it again let's copy the sphere will delete that material is on it and we will copy this shader and this one will give it a different grade and we'll pop that on our sphere and we'll move that sphere into our instance tag area and now we have got more tonal difference between the two let's just do I dunno I just leave it as that for now so what have we got we've got one that's let's make one really light okay so now we'll go out to our come review so by doing that we have got this variation of color now which obviously is is is far better and what I'd urge you to do is is use multiple spheres with with slightly different textures on them and you're gonna get a really nice variation in your in your materials and especially if you give them kind of different roughness values you're gonna get these different kind of textured looks for these spheres and it's gonna look really nice okay that's looking good so what else might we want to do so we'll probably wanted to do soem depth of field effects with this as well so let's just get to this camera and we can take the focal distance and click on this arrow which allows you to pick focus in your scene so let's say that we want which bit do we want to be in focus we want an interesting bit that's breaking away really let's just look at this central area just for now so we'll click that as our focal area and then in the cycles 4d camera tag we can just increase this aperture radius which is putting the rest out and making it blurred and that's looking pretty good so let's just kind of cycle through this so there we've got the beginnings of the animation of the fracturing of the sand moving its way up to the point where it's completely getting obliterated and you can of course change the focal point to whichever bit you want blurring out the rest and you're getting these really nice sand like effects so that is the basic technique of taking a particle simulation and using the cycles for the instance tagged instance various different objects in that scene to get different looks and to get variation and of course we didn't have to just use spheres look we could bring in should we wish we could bring in a platonic let's make that platonic give that a radius of one as well we'll give the platonic one of the principled materials that we've made let's drag that platonic into our instance Tiger now one of them has got more kind of rigid edges if we turn off all of those now it's all platonic we could go with a I mean we could do look anything you like let's take a capsule in their capsule and we'll make it much smaller one centimeter one centimeter drag that into our list and then we've got various different objects so you can you can instance absolutely anything you want and it can give you some really nice variation especially if you mix that with other colors you're gonna get this fantastic look and then once you rendered out that as an animation you're gonna get this really nice flowing render so if you've got any questions about these tutorials please do go to the insidious cored Channel all information about how you're joining that on the insidious i'ts and don't forget to subscribe to our youtube channel as well and then you'll get all of our latest free video content as soon as it's released so that's it from me I'll see you next time you [Music]

Channel: INSYDIUM LTD

Views: 32,010

Keywords: MAXON, Cinema, 4D, C4D, X-Particles, xparticles, particles, simulation, cgi, vfx, mograph, motion graphics, motion design, design, cycles, cycles 4d, computer fx, fx, INSYDIUM, digital art, motion, motiongraphics, 3d, 4d, effex, visual fx, software, tutorials, tutorial, tip, hint, help, quicktip, trick, hints, advection, sand, granular, c4d, cinema 4d

Id: AANHiU-UfDU

Length: 49min 6sec (2946 seconds)

Published: Wed May 01 2019