Siggraph 2018 Rewind - Aaron Sorensen: VFX & Compositing with Redshift & C4D

okay yep I'm Aaron Sorenson nice to meet you guys it's awesome I have a lot of the community coming out saying hey it's been awesome to meet a lot of you so to start I'm just gonna show my real [Music] [Applause] [Music] okay so yeah that's just a little bit of some of my work I thank you yeah so I like I'm I'm a generalist so I kind of wear a lot of hats my ingles I was want to make something look cinematic and really cool and c40 has been my weapon of choice it's I've been using it for years it's an awesome tool a lot of guys here do use motion use it for motion graphics but I use it in a different way I like to use it for VFX and compositing so today we're going to be talking a lot about using it for those types of projects so just a little bit about me so I am the creator of VFX central net where I create digital assets for VFX artists so explosions players I film some and I create my own as well we also give away a bunch of free VFX to the community and we are coming out with some training and we'll talk a little bit about that a bit later but yeah so go check out VFX central dotnet currently I work at a company called the void has anyone heard of the void okay yeah so it's a location-based VR experience we've worked we've been working with Sony and Disney and we have void locations around the world so it's really cool because you go in with you can go in with a group of four and everything you see in VR you can feel in touch so we have haptics the the ground shakes you have a vest it's really immersive we have smells everything else you guys will have to check it out if you're in Downtown Disney or Disney Springs you got to try the Star Wars one it's pretty awesome so yeah go try out the void and there I am a senior VFX artist so I work on anything that is public facing so you see posters you see our videos we have videos that play before you go in the experience to kind of help tie in a lot of the story elements and I work on all that stuff and c40 again is a huge part of our pipeline so here's just a couple images of this was downtown Disney and Disney Springs it was the craziest experience I worked on some of this stuff coming around the corner and singing your some of your artwork there in Disney it was really awesome kind of a dream come true moment and I used cinema 4d on all of it a lot of my artwork to create all this fun stuff and show to the public so just kind of cool and cinema 4d again it's been a huge help with that here are some of the programs I use so cinema 4d is major I've been learning some 3d code stuff redshift for my rendering and I've used octane as well Photoshop for some paints over stuff and I like to use nuke to composite it all together in da Vinci for some colouring so that's that's the might those are my weapons of choice and just here's the little image of something matte painting I did this I rendered in cinema 4d I used the projections and I had proxy trees and then brought it all together in nuke so yeah you have the tools to be able to create some really cool stuff with cinema and so I just thought I'd share some of that before I begin I want to show just an embarrassing clip but I just thought it'd be kind of inspiring to see where I started and tell you guys a little bit about that when I was really young before I understood about After Effects or anything like that I used to export out every frame out of iMovie every frame import it into Photoshop paint next frame paint I was dedicated to make cool to making cool stuff and I just want to show you guys a totally embarrassing clip of when I was I don't even know what age I was yeah this is how rad assisted the cool stuff I made in cinema oh my gosh look out so photo-real Haven robots land on cars oh my goodness yes so guys there is hope for you this is just some stuff I would make and it was pretty janky but it was my beginnings and I just always wanted to do the VFX stuff and cinema 4d was so intuitive the interface everything was it just made sense in my head and so for me as an artist it's been super awesome in they keep developing and adding more and more amazing stuff in it so before I begin as well I want to talk about my workflow and hopefully this is just some things that will help you guys though in your projects I am a small team there is like me and like a couple other guys that do the VFX and so for me I've had to streamline everything in order to make things work properly so I always like to start with tracking or animation I feel and I'll get into why a little bit later but the tracking and animation is essential to start this is a huge time-saver once you've locked in the animation of either your camera or characters it's going to help you a dictate you know how you're gonna light something how much you need to model how much you need to even texture so it's good to make sure you starting with your animation I'll do like white boxing or I'll have simple geometry animate a camera and then bake it out once the director or whoever's in charge the creative director is happy with it then we go into like modeling so then I'll sort replacing some of those lower Polly's with some higher nicer looking assets and then I'll go into texturing and making them look cool I like to then do a first one lighting pass and I do this first lighting pass to help me dictate how I'm going to do my matte painting later this way if I have some 3d geometry in my scene it'll look like it's being lit properly along with the matte painting so that's kind of what I do is the first lighting pasick the the one where I have like the big directional light whether a Sun or whatever go into baking animation once we're happy with that and then projections projections just set up and painting so again why I have the animation is one of the top things you want to have approved is because once you start doing projections you project from certain frames in your camera animation and if you start changing your animation it's going to start messing up your projections and it can get messy really quick when you're doing projections so you want to make sure you are baking and finalizing all of your camera animations then after that I will go into the simulation side of things and the reason why I do this after for me it's because I have found that my mat paintings can actually help a lot of my lighting and compositing what it will do is if I have a simulation on the ground with a projected texture it will actually illuminate and light some of my simulations giving me a little bit more photo realism in my renders so that's kind of how I've worked that in there and then I'll do a final lighting pass so sometimes there's just some things that just maybe aren't looking right and we want to tweak those things and kind of make them feel like they're a little they're set in a lot better after that we'll do a setting up a OBS or multi passes so this is just setting up your reflections and your diffuse your Z dev your object passes these things are gonna help you guys in your compositing bring it all together and make those final adjustments and then render so I used redshift C 40 has an amazing Pro render engine there's a physical render engine octane Arnold there's many tools for that so I prefer to use the thread shift in my workflow so now we're gonna jump over into cinema and talk about some cool tracking stuff so does anyone do you guys know who knows that there is a tracker in cinema 4d yeah right on right on so there is a tracker in cinema 4d and they just updated it I'm going to be using the R 19 version but the R 20 version I went back there and played with it you guys it's so fast and they've improved it big-time so you'll have to go check out the tracking in R 20 it's pretty awesome so we're just going to go through tracking a shot and what you do is go up into the motion tracker and over here it's gonna ask us for the footage so we'll just navigate to that let me just make sure here it is okay all right so here's our footage and this footage is actually from my course that's going to be coming out um where we take this shot and we build a whole scene with it and actually maybe before we start let's just show you the preview of what we're going to be creating to kind of give you guys an idea of what's happening here so let's open this up so started over so this is the shot we're gonna be creating this is what I created in cinema 4d is you have this shot on a green screen the camera does this nice cinematic pan up and it pulls backwards and we have the that environment completely projected so it's a I just like to make things look as cinematic like as if it's from some movie so and you can do it all in c40 so yeah just fun stuff and I'm gonna show you how we're gonna do that so I want to talk about tracking in general before we kind of get into the tracker when you're setting up your footage to be tracked you want to make sure you do a couple of things to help out the tracker so a tracker it looks or points of contrasts and it'll make all these little points where the contrast is and then it will run through an algorithm and I'll calculate each point and how they're moving with each other and that way it'll find out the parallax so it's like okay this points moving this look fast this one's moving this fast and from that it can calculate how the cameras moving in our scene so we can help it out a little bit in a couple ways is first denoising your footage if you have noisy footage it's gonna have all these flickery things happening and what's gonna happen is the trackers are gonna jump around and that can be problematic so Dino is your footage and then I actually will do a new sharpen or an unsharpened and you can change the radius of your sharp and so we're not sharpening teeny details but maybe wanted sharpen larger details so we can make our tracker markers even more contrasting so what it will do and if you look at this tracking marker it's hard to see I'll turn up the samples on this a little bit is when you do an unsharp and it will actually make almost like a halo around some of your tracking markers and that's going to also just pull out that contrast so that's just a little tip on when you're doing you're setting up your footage for tracking and now let's talk about the motion tracker so the motion tracker is really red obviously you import your footage you can import your lens profile if you have some of that stuff and this slide right here is the sampling so if I turn that up we're gonna get a sharper image but sometimes it's better to use it at a at a lower resolution so it's faster the other nice thing about this interface when you're in the motion tracker is you can zoom in and you can pan around and it's not moving a camera it's using as a 2d plane so we can move around and look at things and you'd have to worry about ruining your camera perspective so that's super helpful and now let's start talking about the actual tracking so if you click on this next dialog after footage 2d tracking they have first this auto tracker and this auto tracker is awesome and one of the first things you can do is set up the number of track so it's gonna look for 300 and the minimum space and so how close they are and what we can do is I'm just gonna click create auto tracks and immediately it's looking for those points of contrast that we talked about and it's finding it all around our scene so we could turn on this number up first hit delete and turn this maybe up to like 400 and it'll just populate it a little bit more but again we want to make sure we're hitting those nice contrasting values so I'm going to turn the spacing it down a little bit and try that again and now we can see is concentrating some of these points a little bit better so the next thing I want to talk about is looking at what to track so tracking can be interesting because you are trying to solve a movement of a camera we don't want to solve his movement so in here the fun thing is is you can go in and select all of the points on him and just delete them so now that it won't track his movement and we not to worry about that the other thing to look for which I used to made this mistake when I was younger is tracking reflections so sometimes the tracker will make and we can see on the on these stands it's making points because it thinks that these are nice points of contrast on the stands when really these points are moving reflections and so it's kind of deceiving you have to realize that as our perspective changes as I scrub through the footage some of these reflections especially down here on this mat they're gonna move because reflections move based on your perspective so you have to be careful when you have reflective objects and it's best to just select them and anything that's reflective and clean them up and get rid of them so once you go through this whole process of removing reflective tracking markers you're gonna have to start adding back in some tracking markers that it can be calm confident in so I would hope you guys would do this better than I would but I'm just gonna delete a couple of these and we're just gonna do this really quickly just that something that I know are gonna break and maybe we'll just hit we'll just do the running rover on the tracker so with using the tracker there's a couple different ways to do this is because we're at frame 1 we could hit this track forward and it's gonna track all the footage going forward if we were at the in frame you could track backwards in between you'd do the auto tracker and it will track it both ways I'm gonna start at the first frame and we're just gonna I always just like to hit the auto tracker because the habit and it's just gonna go through and if we look down here it's gonna process those frames so you know what's running through the tracker and while we're waiting for this again I was gonna say if you guys get a chance go back and try out the motion tracker for r20 it's very fast and it does a great job I even tried I tested it with this footage and didn't even delete some of the like high moving tracker markers and it was able to pull off a track so it's really cool so now let's just scrub through this footage and we can see now we have all these points and have these little tails on them and that is telling us the path of the movement of the camera and we can see some of these are sticking really well but some of them aren't and so you'll have go through and obviously clean up some of these if they're sliding so it is a little it can be kind of tedious but you do have to do these types of things when you are tracking just to make sure it's solid I'm gonna leave this for now and I'm gonna get us a little bit more information for our solver so we can go into the manual tracking tab next and here we can create our own tracking markers to help out this auto tracker a little bit more so if there's points that we saw that didn't get a tracker for example this marker that missed out we can zoom up on it and if we hold ctrl and click we can create our own tracking marker on this and this dot this box right here we'll look at the contrast value so whatever's inside this box it'll try to determine the luminance contrast value there's different in this tab there's different color channels you can have it look at for contrast so we're in luminance there's a red channel a green channel of blue so this can help you guys out when you are if you have maybe two colors that are contrasting each other very well so we're just gonna leave it on the luminance and because we are at that end frame we can just hit track backwards and let's just start scrubbing backwards and see how it did so we can see it's sticking it's looking pretty good and we can see that tail it Hale done held in there very very well and it's good to have these manual tracks because again these are going to be the most confident track tracking markers to help your 3d solve so this is looking really good it does break near the end and we could help it out even a little bit more by making another keyframe just to give us some confidence so I like to just grab this box and move it a little bit and it made a keyframe down here and now we can see we did extend the life of that tracker just a little bit longer before it gets cut off so you'll have to go through and make all these tracking markers manual tracking markers just to make sure that we're giving it enough information I'm going to run the 3d solver and we're gonna see how it does but we just did one manual and a couple of auto tracks and so the next thing we do is head over to the 3d solve tab in the 3d soft have we can do a full 3d reconstruction a nodal pan or a planar track we're just going to run the 3d solve and it's going to run through and create a bunch of points for us the other thing is if you have if you have all the lens information like when you're on set and you take note of all of your camera data and what focal lengths and all that fun stuff you can put it in here or you can have it try to solve it so we're gonna say unknown but constant because we're not zooming or or anything like that and we'll just hit run 3d solver so we can see down here it's going to run through it did finish and we'll see what kind of thing we got from this we'll see if it pulled it off so it only did it on a couple of frames because we didn't give it enough information and we can see right there so it got it to this point and then it stopped and that's because we just didn't make enough manual tracks but you can go in and make more manual tracks to help it out so I'm gonna pull up another project that I tracked fully and we're gonna we're gonna discuss the next steps that we'd take so let's jump into this shot so now we have this solved camera and let me just show you what this all these little point clouds look like in here so this is the same shot that we had and now we have it keyed out and they also turn off the camera displays because that's okay so this is the camera move that we have in the shot and we also have this guy keyed out I'm going to show you how we did that as well so once we're happy with our solve and it's looking nice what we can do is we can jump out to a different perspective and I'm going to show you what we what we've created here let's turn that camera back on so here is our solved camera and we can see it has all those keyframes baked in and we can see the pan of our camera and what I did is I took a plane just a simple plane and I put it as a child to the camera and the reason why I did this is so this plane is always Auto orienting towards my camera after that I took this footage that we have right here I did a key I went in after effects I pulled a simple key and I rendered it out as a PNG sequence with RGB and aiso with the Alpha so the color and the Alpha channels all in there and so we have the luminance as the color and the Alpha Channel in there as well as an image sequence and make sure that you're going to the animation tab and hitting calculate and it'll make sure that you have all your frames in there then what we're doing is we are projecting from our perspective that baked camera we are taking this material putting it on the card and now we are projecting that keyed footage on this card so this card now has this solved camera in there and we'll get into the projection stuff a little bit more but that's essentially how I had that and that's why how we're able to get this keyed out version of our guy and then I animated the car just a little bit in z space by eye to kind of figure out roughly where he would be in 3d space so now there's some fun things we can do with this so I work on some smaller budget stuff and sometimes we don't have enough to maybe do a huge epic shot maybe one where the camera flies back and does something crazy but we can do this in 3d and I'm going to show you it this is a really cool technique for example in some movies you'll have a camera that's flying through a city a CG city and then it'll come up to maybe a window and it'll slowly push in and then it transitions like perfectly into a shot and this is a technique that we're going to show you guys now which has been a kind of a cool thing so we're gonna do is we're going to create a new camera that is a child of our baked camera so if I click on this solved camera and we're just gonna go create this new one so created right here and if I click on looking at it through that perspective it should look exactly the same because we're in the same perspective view now we're gonna drag this as a child to that salt camera so let me just jump out and show you guys what is happening and let's see if I can maybe make this a different color so we can tell the difference between the two right now they're all laying on top of each other but once I start moving it you'll see what's happening so this camera that I have selected that's a child should be moving exactly the same and we see that it is and now we have a lot more creative control with this shot what we can do is we can start animating this a little bit so maybe we want this shot to start you know panning down and we see his feet walking in and waist do a slow pan up and reveal him so we could start this first frame before I do this actually I'm gonna make a keyframe to to lock in that position because it once you zero out this camera it's going to be exactly the same as the baked camera so let's just make a keyframe right there at frame 59 and the frame 1 we're gonna have the camera looking down and hit keyframe and I'm also going to change this from spline to linear and let's look through perspective and see what this is doing so now we have this pan but it's also still moving with our tracked camera so that was just a nice simple little move that we did we just added a little bit more and let's get a little bit crazier with this so let's go outside of that and let's say after there let's have this camera you know I wanted this to be a really cool crane shot maybe flying back in revealing the landscape so let's just take this camera and let's fly it back and maybe have it go up a little bit and I'm just gonna make a keyframe at the very end and let's look from perspective and see what we got and we also can have him let's have him center framed maybe at the bottom make a keyframe another helpful tool in the camera settings is if you go over to composition we have these really helpful guides and this will help you compose your shots put them in the thirds or whatever they have all of these really helpful things like the Golden Spiral this is just great thing to help you kind of guide your audience is I have what you want them to see so yeah now we have this shot that's kind of craning up so let's go back to our first frame and see what this looks like got the nice pan and now slowly this camera's pulling away from that track camera but it's still gonna there'll be little motions that are still going to be the same you can push this too far where we'll start getting distorted but there's just little subtle things you can do to make it look like you had a larger production than you did just a helpful little tip there so now that now that we have that and we're happy with this animation we need to bake this animation and I'm gonna show you something that I learned and that a mistake that I was making in the past so if i duplicate this camera so it's the same camera and we go up to our let's pull up our timeline and let's say we want to bake this camera we're happy with the animation well if I pull this camera into here and I bake it there's gonna be an issue and I'll show you let's just hit the baked objects and all so ok bake the camera and at first it's looking good and it's like okay I think this thing worked but once I pull this camera out of here I'm gonna show you what what happens so now the camera isn't work it's not moving properly because it was it was just a child of the baked camera so that's a problem so we gotta figure out a way for this camera to be baked and take on the attributes of its parent because it is a child so what we need to do is we need to give it a new parent so the first thing you can do is go in and create a null and then again I'm going to duplicate this camera just so we don't lose the way we animated this so we have this new camera and we're going to let's make sure it's looking the same as well and let's drag this into this null so now it is a child and now we're going to use the character tags and do a constraint so this is gonna help it be parented to its original solved camera so we just click on let's go to the parent and now we need to tell it who the parent is so click on this tab right here and it says target so its needs something to look at and it's that solved camera so now if I hit play on this it should look exactly the same but we have an outside of the solved camera so that's looking pretty good and now we can go ahead and go up to our dope sheet and let's drag this camera in and let's bake this animation and see if it worked so made a copy and so far if I toggle between these two yep it's working and let's pull it outside of that no and it should still be looking great perfect so this is how you bake that animation like we talked about in the workflow its making sure you're baking your animation the director is happy everyone's happy so you don't have to go backwards now we can move to the next step which is projections so let's jump over to the next project where we will be doing some projection has anyone use projection man a couple of us out here yeah projection man is an awesome tool and we're gonna show you some cool things that we can do with this let's go in and turn off ya camera alright so here is that same baked camera now I have this environment that I created cameras kind of pulling back and doing some cool stuff so in projection man we need to give it some frames to project from and this is where you want to minimize as many projections as you can so I want to choose a frame a first frame to project from that will cover as much as of this environment as I can so let's go up to the window and open up projection man and we'll just have this dialog here side so what we're gonna do is we're going to click on this plane that we've created these kind of mountain landscapes and we are going to project on that so make sure that's selected and that we are in the right perspective if you were in a different perspective it will bake from that perspective so we got to make sure you're in the right view and then select what you want to bake so we in a bake we want to bake on this polygon so I'll just click on it and we see it's highlighted over here and we're gonna go to camera new and we're gonna do a coverage render so I just click on this and we need to choose a place for it to save so we'll just save it here and you also want to name it what frame you're projecting from so we can see that I'm at frame 52 so I'm going to name it frame 52 hit save and then there's a couple other options in here so obviously the size and we want to save an alpha channel we can also do a straight alpha and I'm also gonna do this draw edges so this will look at our polygons and it will have all the lines so if it's a flat render because right now it's just checked on that constant shader we wouldn't be able to tell where like hills are so I'm gonna do the draw edges and we're just gonna hit OK so immediately you can see it open Photoshop which is really cool so this is the render that we have and this is just a reference for us to paint over so we're not going to use this as the projection we're just going to use this as a reference so we know where things are so let's check out what happened in Photoshop and here is our file in here now I'm going to open up my project that I've painted and we're just gonna move it over it's open frame 52 okay so this is a painting that I did very very quickly and I just did these kind of mountain ranges and this one it was the same where I had theirs there was my render like so so this was a really nice guide to be able to match up my Hill and if I turn down the opacity that was another nice way to be able to see where these hills are lying it wasn't perfect but it was good enough and you also want to make sure because right here it's kind of clipping so you have to make sure that your geometry is a little bit bigger than your painting because you have an alpha Channel otherwise it'll be clipping you can adjust it in c40 later and move some of your polygons so I'm just going to this is already saved and we're gonna go back over into cinema and we're gonna load up that matte painting so if we go to the plane right now it is using the other project so I'm just gonna load a new one really quick so let's just click on that makes your frame 50 to the plane and if you already had something that you painted on the frame this is how you do that new projection load bitmap let's go into our projections find the one that we painted at frame 52 and right here it's going to ask for what layers we're gonna use in Photoshop because it uses the Photoshop layers so we want to use that Hill which is that front one as the illuminance Channel and we also want the hills alpha Channel and we're just going to hit OK and now we can see that is loaded onto our object one thing that you have to do is turn off your reflectance and just so this looks a little bit nicer I'm gonna turn up the resolution so we can see this is why I like projection man is it creates a camera from that perspective in the past before I understood projection man I actually would take myself camera delete all the keyframes because I didn't understand the power of projection pan and I would just make sure it was that one frame but projection man will create a new camera and it'll lock it so it won't move because we're projecting from that cameras perspective onto the geometry so let's go back and look through our Bates camera and we can see if we toggle between that frame 52 in the camera because we haven't moved it's exactly the same let's go to the very beginning and hit play so we can see now we have part of our environment projected right there on our geometry which is looking pretty cool so you can tell by the end that it's not looking right and we're going to show you how to solve that so the other thing you want to do is I actually like to turn on this this is on the material this right now it's projecting from the front but sometimes if you have some geometry where we're seeing the back sides it's good to do both and so now it's completely transparent anything that isn't a part of that alpha is transparent so that's just a little tip right there so let's do one more projection because we can see as we got to here that it's cut off so this is another reason why I really like the projection man so let's go to the end frame because we're pulled back far enough and it's we know how much it's gonna cover on that and we're gonna do a nice paint over make sure your plane is selected again go back up to camera new projection and we're going to do a coverage render I'll just click that and again rename this make sure you're naming it what frame you are working on vu too and I'm gonna draw the edges as well okay so it just launched Photoshop for us again and the cool thing is is we can see our previous projection so we can figure out where we need to blend these two and what I'm going to do we're gonna do a little bit cheating is I'm going to take my previous map painting and I'm going to drag it over into this project which is figure out why that's okay and make sure bounding boxes are on so what we can start doing is we can line up this same environment and you know what maybe we'll just flip it as well so we can just start playing around with this thing I would hope that you guys would do a better job than I'm gonna be doing right here but I'll just kind of show you what I'm going to do so what we'll do is line up this hill and we can turn the opacity down and look at where this mountain is lining up and we think that that looks pretty good hit enter let's turn the opacity back up I'm gonna create a mask and we're going to just kind of paint out some of this stuff in here and make sure there we go there we go see ya we're just gonna paint out some of this stuff Eric goes and change all right we just grab the lasso tool hopefully you guys would do this quicker than I am and I also wanted to make sure that my brushes are out because the cool thing is you can have a nice soft blend so it does use the Alpha right in there so we're just going to blend these two and this is what we're actually projecting this is a patch projection so we're just adding a little bit more from where it was clipped so now we can just save this and let's go back over to cinema now I know that we click right here on this plane and we're gonna specify which layers for the luminance and which layer for the Alpha now previously I did have something happen with this it didn't allow it so I'm gonna reload this one so again click on the plant the plane new projection just go back to this perspective and frame plane I'm gonna reload that same one that we just did there we go Hill there we go so now we have this patch projection and we will turn up the resolution let's take a look and now we have this cinematic shot pretty quick and again what are the advantages of doing something like this well I've noticed in my renders that anything that's reflective I have another object in here it'll take on it'll start seeing those reflections in our environment and sometimes you can fake it in post you may do like a nice render and then add in the background later but you miss out on a lot of really good reflections and also reflections in like based on distance because sometimes 3d objects when they use reflections is it can tell if there isn't depth to it because things reflect differently on perspective so this is just a really good way to help you guys get those more photorealistic renders so the other thing we can do is we can start adding things like a sky or whatever on this image so we're just going to do that really quickly and I believe if we do it from if we pull the camera back we can actually add our own and a projection from this perspective so if I wanted to pull back we can see that's what our projection looks like hair and cinema and the cool thing is we're getting that nice depth and you can go in here and mess with that even a little bit more and one of the ways I like to do that is play with the magnet tool so I can go in here use the magnet tool so if you know that there's a certain ridge that maybe is protruding a little bit more fun thing is you can go in here and start manipulating this just to give it you know more accurate parallax because the way the camera is going to move you'll start seeing that parallax and some of the mountains and the hills so that's just a super helpful way to be able to get that detail so let's um try to do another projection from this perspective maybe for a sky so I'm just going to move the camera in right there select this other plane and we're going to do another coverage render and again name it this one's just going to be like a coverage where she could name with that okay so yeah I didn't bake in the other camera I should have added the other object in there if I selected that both planes we'd be able to see both but in here we can start painting in or adding in our sky so let me just grab that sky element in our other project it's a lot of layers going on in here so I know in here I made this sky so we're just going to grab this sky element and I'm going to bring it into this project and we're gonna scale this thing down let's just move this thing into place we'll do this pretty quick and I mean we didn't necessarily have to do it this way there's different ways you could do this let's go back into cinema and again we I think we have to reload that sky cuz it did not like that so let's do that really quickly camera it'll ask us are alpha and luminance and there we go so let's go back into our baked camera and take a look at this shot and like I said this is just such a helpful way to be able to figure out how you're gonna create your scenes and I did mention that it is good to have your lights set up like if you had a Sun or whatever and make sure you have your lights set up before so that you can kind of see how your lights going to be hitting so in this instance I would want this light right here to be casting shadows across let's just turn on the shading so you could angle it your your area lights or your son to be hitting a certain place and this way it would it would help you figure out how you're going to do your map painting in this particular scene so let's just I just gonna move this light around really quickly so you'd maybe want to do something like this before you jumped into doing your map painting just so you could figure out how this map painting is gonna look and which direction the lights coming from so let's jump back over to the final shot and once you get your lighting your materials and everything set up properly and I did the lighting like I said before on this project because I knew that where he was going to step through the light and then I did a lot of the map painting this isn't the final shot and I'm gonna be I do have a course coming out which show you guys some of that so I do have a course coming out at VFX central net where I talk about using a red shift and doing this type this exact project but adding a lot more and it's called the VFX crash course so if you go to VFX central net you can sign up to be notified when the course comes out and here's kind of what we go through we do the pre-production we create a concept art with Photoshop and then we do an animatic using cinema 4d and octane and this will help us plan for our production and how we're going to shoot it so then once I create these nice animatic this camera move that will help us figure out how we're gonna light our scene on production and that's gonna be a huge time-saver then in production we do a whole lesson on what to look for as a supervisor as a VFX supervisor measuring distance from your talent making sure that things are lit properly tractors are set up properly and then we just go into a lot of fun stuff in post production which is tracking animating we use cinema 4d and cynthaiz they would do sculpting texturing an environment a 3d coat and cinema 4d then we lighten render using c40 redshift and then we do all of our compositing and nuke and a lot of people I don't know if anyone here is a nuke compositor but we also can teach you guys how to use fusion just node base and I talked about the difference between compositing and something like After Effects vs. compositing with a node-based compositor and I kind of help you guys make that transition to get those photo-realistic composites and last we talked about in this course getting and working with clients something essential that a lot of people don't talk about special if you're freelance it's important to work with the clients and keep a good relationship so we have discussions on that as well if you guys are interested I'm on Instagram I'd love to get to know all of you a bit more at VFX under - central and I have a YouTube and twitch channel where I do live streams and I do a lot of educational stuff training on cinema 4d redshift octane compositing and I really try I'm trying to be more engaged with the community and figure out what the things that they're wanting to learn which is why I created the course that I have coming out because I have seen a lack of the full production on how things are done so yeah and don't forget to check out the FX central dotnet thank you [Applause] [Music]

Channel: Cineversity

Views: 91,704

Rating: 4.9849849 out of 5

Keywords: 3d, 3d software, c4d, c4d tutorial, cinema 4d, cinema 4d tutorial, cinema4d, cineversity, maxon, tutorial, c4d motion graphics, cinema 4d motion graphics, cinema4d motion graphics, mo graph, mograph, motion graphics, c4d live, c4dlive, siggraph, siggraph 2018, siggraph 2018 rewind, siggraph c4dlive, siggraph maxon, siggraph rewind

Id: hFuJSQdYB_s

Length: 46min 38sec (2798 seconds)

Published: Thu Sep 20 2018