Siggraph 2018 Rewind - Athanasios Pozantzis: Structure from Chaos: Using Volumes with Fields

I'd like to say a couple of things about our twenty you've seen all these amazing presentations our twenty is a breakthrough in new features and a new functionality I'm going to show a few of these things which have a slight overlap to what you've seen done by all the other artists and I'm gonna try and give a more practical spin to it so we're gonna start with a blank scenes and just build some things up so let me show you a couple of very very basic animations I put together the last couple of days which means the last few hours so one is this kind of bullet flying through jello animation and everything I'm going to do includes fields and volumes to a certain extent and one of the great aspects of all our new technologies is that they are connected they are compatible with all the legacy stuff with particles I think in particle standard particles splines either procedural or editable and so forth and I'm a fan of procedural workflows and I'll show you how to do things like this and changing parameters just by switching a few attributes but the other thing I'm going to show is this little thing which is a unified surface and this is kind of boiling up and again it's a relatively straightforward setup and I need to go slower because I can pull these off in about 15 minutes so I'm going to talk in in between to extend my presentation and at the same time I'm going to show you a few more things just to make sure you comprehend certain things about how the new functions work mind you anything you feel I've missed or anything you don't understand for all these new tools we're going to have extensive features on Cinna versity so if you haven't still signed up for free on diversity go sign up watch first University on YouTube as well and all the playlists and one last little thing in my first five minutes I need to say is that this technology is so new in the cinema4d ecosystem that although we have been exposed to it as beta testers for nearly a year we haven't seen the beginnings of how the Magnificent genius artists are going to use this stuff so I personally am confined to my own little perception fatigue and I'm gonna try to explain a few things and over the next few months as artists start to use these features we're gonna have more tutorials more complex setups and resources to learn everything you need to learn so mu hasn't watched any of the other presentations that shows volumes and fields okay so you you okay so then let's just begin and do that I'm gonna start with something I didn't show you something that's fun I'm gonna create a sphere thank you very much that's all I have to say about this matter I always make this joke so it's getting a bit boring so this is a procedural sphere and what I'm going to do is grow some hair on it so I'm going to go to my hair object add hair and anyone let's use the the hair system knows that it creates these guides but I want to actually make it create splines and there's a function in the hair object if you go to the generator and you set the none to splines this will generate splines we've got a few too many I'm gonna take it down to 500 and I'm going to turn off the dynamics because now they all kind of fall down and I don't have hair so this is a bit triggering for me so I'm gonna set my gravity to zero and one thing I'm going to do which doesn't do anything but I like to do it anyhow is in the forces I'm going to set hair to hair and just make this 10 good so our best plane if I press play now I need to do this if I press play now nothing happens which is the best-case scenario for me nothing happens we're fine but I'm gonna use the hair material I don't care about the color or the specular or the thickness I do care about the length the frizz and the kink and if any of you haven't actually played with cinema body's hair system you're missing out it's a fantastic and very powerful hair system that's been there for a while and you can control so many parameters look at all those splines now as a wiggly but no new features yet well let's do some new features stuff so volume builder which is a generator that creates a volume either of an SDF type or a fog type and if you had taken the time to watch my tutorials and sit immersed you'd have known what I'm talking about okay so I'm gonna make these children and then I'm gonna create what's called a measure and this measure takes the mess you see here and actually make something interesting out of it so you this is a very interesting setup you can charge your client about two hundred and seventy two bucks for that so we're gonna increase your income now by adding a bit more complexity to this okay I've always wanted to do clients watch these things I maybe need to watch my words anyway so here's the the lad I'm gonna go to the volume builder which is responsible for building the the basis of what is meshed by the measure and I'm going to select the element I want in my list to define things like the radius so you see the radius of each of any every one of those splines now that's why we get this blob is 15 centimeters so if I go and start pulling it down now you're gonna see a bit more defined structures happening and then we get this they disappear and that is because of two aspects first of all our volume is not that high resolution so I'm going to set this to two the smaller the voxel size the higher the resolution just like with with pixels and images they're smaller the pixel the more pixels we can put in the same space so I'm going to make this even smaller and you can see as we're going down so let's say something like five these now become little blue and the reason they're becoming blobs is that the way splines are transferred into the volume context is by creating little spheres because volumes need surfaces and a spline is not a surface therefore there's an intermediate transformation so by increasing the density we're actually gonna put more spheres and now we have SpaghettiOs or spaghetti or something like that so this is quite cool the good thing about this is that if I add any animation that effects the hair it's actually going to affect what we see here and let me make this a bit better looking and someone made these icons huge so I think see one of the things I'm not sure oh there they go I don't I never use this so I wouldn't know where it is good so if I press play nothing happens now but if I go and add an element that effects the hair something will happen so one of those elements are our standard particle modifiers so if I add a turbulence and go to my object and increase my scale a bit and press play now we have a jiggly thing it has to calculate the volume but you can see things are slightly moving around now so just like that with five objects in our object manager in our scene we've created something which is very convincing if we're doing any kind of organic and medical animation or a cell or something like that and all the parameters that apply to the hair system like making them longer shorter the frizam kink and all that apply to this case we can even reset the dynamics to work so we can do that no having said that there's something about this scene that bugs me and that is that all these little legs have the same thickness I want to make them a bit thinner at the edges so now I'm going to show you of course I did it on purpose like ooh I know that because I need to show you how interconnected the system is so we have this magnificent object in semaphore D called the most line and the most line is an object that generates procedural splines using L systems and all sorts of other fancy stuff I had no idea about I don't know how they work but at the same time it can resample splines and the second aspect of it is that it works with mograph so let's see what it does I'm gonna pull out my hair from my hierarchy fantastic I'm gonna put my most line where this was and I'm gonna set my density back to whatever I had before something like three and I'm gonna tell the most line to be in spline mode which means it needs a driver spline to give us a new spline that will have added benefits I'm gonna drag my hair which is a spine essentially in here and now what you will see is that we don't have the the diameter anymore because the diameter is controlled by the thickness of the most line so if I set this to five I'm gonna have the same result I had before get rid of all those little extra lines this is the same result as before but and here's the magic I can add effectors so I'm gonna use a step effector and I'm gonna change my scaling to minus one so now each and every one of those splines is actually driven by the step effector and is becoming thinner and all the other stuff like dynamics and so forth still work and this is so this is a primer of what you can do now imagine you can use a particle forces you can use hair you can use the most pine to resample this you can use an effector to change the size which means we can add randomness in between and so forth and yet now we have seven objects in our scene and still the ability to create something which is very convincing add a few textures and all that and I like to do that lately I've been told I need to make my images look a bit better so I don't understand it but I'll do it nonetheless so let's go here and the way I like light seems because I'm never in a hurry I don't do work for clients I can always use PBR workflows fantastic so I'm gonna load an image here some on the desktop there is something called SIGGRAPH 2018 it's 2018 isn't it yeah nose man the new folder here in my texts I have a really nice panorama from Dutch design and it's a Frankfurt pretty much where Maxon is based yes and I'm gonna add a sky object and as you saw just this has nothing to do with our xx but I always put when I'm using a sky for reflection I put everything in the color a lot of people in the luminance put it in the color everything else is wrong don't listen to anyone else email me and I'll explain why so that is that I'm gonna add a nice little car paint material from the new assets from our nodes and generally this goes quite deep I'm not gonna show you I don't want to scare anyone away fact of the matter is that we have all these new great assets we're gonna make a cell that has a car shader on it I don't know what that is some genetic mutation go to compositing tell my sky I don't want it visible in camera so it just shows in my reflections and then all I have to do is just switch this to physical if I want to I don't need to and just render and there you go we have something that looks much better than a gray and gray and that is technique number one did anyone not like it okay good so is this giving you ideas for stuff you're doing like what you need to understand is that all these years mograph being this amazing tool it was confining us to more rigid structures amazing rigid structures but rigid structures nonetheless imagine now bringing the power of mograph into the flowy organic world so we can we can do fake fluid simulations just by using standard particles and all that stuff so it's quite it's quite funny so let's move to the second technique now which is again you may have seen some of these things done by other artists I'm gonna do a very simple of filling up effect so I'm just gonna create some text I'm gonna create a seed and that's gonna fill up because I've seen a lot of motion graphics done where they want to fill up a surface with water or reveal something and so forth and in while I'm doing that I'm going to show you some of my preferred workflows so let's write something like I don't know grow and let's use one of my favorite typefaces which is impact there you go and yeah this is good enough and what I'm going to do is create an extrusion to this and this is done so what I do when I'm using volumes I like to be able to reference the object a few times in different volumes to do different types of effects as Chris and they're the GHC guys showed sometimes by combining volumes together you can great extremely complex structures which although they're organic they look quite engineered as well so what I like to do is I create an instance out of the geometry I'm going to use now not all render instance or multi is just that a typical instance which is nothing more than a absolute copy of that object but that object still has geometry and everything else and I make a null so I'm gonna just group this and I'm gonna make that invisible okay so here's my object and I'm gonna create a volume builder I'm gonna set it to fog and I'm gonna set this to two so it has more resolution I'm gonna put this in here and now we have all these little points which are voxels everything that's white has a value of one everything that zero has black it has a value of zero and if you watch my tutorials you'll find out exactly why this is the case so what I'm going to do is add a measure to this because as you know if we mesh this now if you render that nothing will happen and there we go we have this little grow so what I'm going to do is use volumes sorry fields in the volume context and my preferred way to have better organization of my scene is to create a group field this group field is basically an empty layer it has no data whatsoever and I'm gonna stick this guy in here and you'll see a square hole happening there and the reason is that the way the the volume builder is built because a volume needs a surface the first thing happen what happens when we drag a field inside our volume list is to ask is to tell us all right make a box because a box of these dimensions will allow the volume builder to have something to work with but because I already have an object underneath it I don't need to do that so in this case I'm gonna switch this to object which means now my field is affecting the existing object destruction and is erasing everything because it's putting a zero over everything else okay or 1 whatever anyway it's doing something we don't want so now in the group field I can start adding things that will reveal my volume and the simplest thing you can do number one let's create a a sphere a spherical field I can create some sort of you know spotlight effect with this move it around and wherever that sphere falls I get my object so the simplest way you can use it without going into any complex things is add a lot of these and just bring in animate them and reveal your logo piece by piece and you can use splines you can use anything you can make puzzle pieces you know that there is no end to what you can use I'm gonna use a sphere now because it's a simple and I'm extremely lazy so the path of least resistance I think humans evolutionary advantage was laziness I think I'm and that's my conclusion now that's why we're at the top of a food pyramid good so now this is a solid structure if I press plane nothing will happen because I'm not telling it to do anything different no keyframes or anything like that but what happens is that with the new system we have all these amazing control layers the white layers and one of them is called the freeze layer the freeze layer is a data layer so all these are data layers the white ones is a layer that records the current state of what's going on and after its recorded it it does something based on the menu here and when that is done it rerecords that state so if I say glow and press play it's gonna start growing okay that's it and let me show you a few things about this you see that it stopped out gee we have the other four letters the reason is because this is a volume escape sorry because it's a volume you can see that everything is basically little dots little little voxels and these voxels have a defined distance if the grow parameter is smaller than the gap between two voxels there's nothing to grow into okay so if I were to do something like I mean if you make this out of glass and you want to fill it with water you will need to create channels so the water can flow from one to the other as simple as that so if you wanted this to continue and fill the whole thing up all you have to do is go and add to your volume little cylinders that do precisely that so let's do that and create a cylinder make it small good let's put it on the over there let's change its height and now I'm going to turn this off so I know what I'm doing what I'm placing it let's go to my side view good good so I want it to float that way and I can make this quite small a go and I'm gonna make a copy actually I'm gonna make an instance of that so I can have them all the same then I'm gonna say I want them this to flow from here then I make a copy I want it to flow from here and grab all these this and this and this and this one two three drag it in my volume builder and these will become part of the whole thing I'm doing here correctly yep I just need to take all these and put them underneath there yeah so now if I rewind and press play I think that it's gonna transfer the growth through that little pipe and move to the next one and move to the next one I move to the next one so again with a very small number of objects we're creating an automated no keyframes by the way an automated setup where we get this automatic which is nothing more than an infection of data from Vauxhall to Vox of that all it does so the good thing with this is that our original seed was a sphere if I wanted to create a situation where this is filling bottom up all I have to do I can even remove all my cylinders and everything else I don't need these anymore what I could do is go here select let's select the field here and say you know something I want a linear field I'm gonna set it to plus why make it smaller rewind always remember to rewind and maybe I need to go to this guy and clear freeze it and see what happens oh I'm gonna set this to add yep I just need to reverse my field to - and there you go so now my seed is this layer here I can control how thick I want it and I need to make it a go so this is my original seed and everything grows in the same manner from that seed so have one set up and just by changing the shape and the position of something I can make different things I can have two seeds and it can grow inwards outwards I can grow two volumes from two different places with two different liquids so to speak so again this is just a very very small indication of how you can create procedural more organic things now the many are worried like but this is to Jaggi yeah why don't you put it under a smooth performer and leave me alone that's a go so or why don't you put a smooth layer on top of it yep right on top there you go so I can smooth it out I can make balloon text and because everything is based on the original extruded text regardless of how many copies of this volume we have in our scene all I have to do is go and change the extrusion on this one or I can go and change the text on this text the nose and there you go and everything works it's so 100% procedural no keyframes or anything like that good so filling text with water done now the next one I'm going to show is the bullet going through the gel okay so anyone that wasn't here from the beginning shame on you but here it is so we're going to do this effect and again it's gonna be it's only kind of two keyframes where the the keyframes of the bullet start and end position everything else is going to be calculated so I'm gonna take the same thing here great new file paste it here make an instance of this again I don't need to do that so that's cool this bullet there you go so let's create our volume so I'm gonna create a volume builder and a volume measure and do this I'm just gonna leave it at SDF now increase the resolution to what I'm used to - okay so we have our nice text here and let's create a bullet so this is a modeling 101 use an oil tank make it smaller do that do that good make it editable and go and select this loop go to select fill selection do that and do that and one of the best features of cinema 4d r20 is that when you delete points it deletes polygons as well sorry when you delete polygons at leads points as well you can always keep the previous functionality by pressing shift so what I'm gonna do now just make sure oh that's good enough I'm fine with that so I'm gonna rotate this I'm going to make it ever so slightly smaller move it to the middle of my text move it up and let's do a quick animation let's go here let's go to the old tank coordinates let's freeze transformations if you don't use freeze transformations please start using them go to frame 90 let's just fire this through here good keyframe right click here animation show F curve just want to change this I wanted to have a constant velocity and then I just wanted to go and stop a bit abruptly so yeah it's a slow motion bullet and it goes like that and it stops good so this is these are the keyframes I'm gonna add nothing else so I'm gonna use all this information to create exactly what I want so number one as I told you before we can use splines particles and all sorts of other objects too in the in their volume context I want when the bullet goes in I don't want the bullet itself to subtract punch a hole because as it moves forward that hole would close behind it I want that hole to stay open so that is basically the the bullets trajectory so how do we extract a trajectory from a motion well it's quite simple we use our fantastic tracer with the bullet loaded here I'm going to turn off the vertices because if I don't I'm gonna have all these lines little lines here and now what the tracer is doing it's tracing a line it's generating a spline from the bullet so I'm gonna take this tracer put it in here and simply set this to subtract select it radius 15 I'm gonna check it out density let's put 4 so we have nice and we have a hole so as the bullet is going through it's actually punching a hole it's not the bullet that's punching the hole it's actually the spline that's been subtracted by the volume and then the volume being meshed so we're fooling it into believing that it has a bullet is doing everything so let's go back do this I moved my bullet a bit now it's in the middle excellent so phase 1 is ready but as you remember I've get this bulging effect going on and in order to achieve that I'm gonna use fields now in a totally different context what I'm gonna do is my volume measure which is a highly tessellated subdivided surface because that's the nature of the measure because it's gone high subdivision I can use a de forma with great ease so I'm gonna use the simplest of all the former's of the plane effector in the former mode so let me make this a child of an awl make this a sibling tell the plane effector to go point mode and look at this negative something so then change the parameter to Z which is basically the normal direction let's say 10 so you can see it's bulging out so what I need to do now is constrain this effect of the effector on that spline well that's very simple because we can drop anything literally anything inside the fall-off I'm gonna use the same tracer here and I'm gonna set this tracer to the mode that's called sorry over here radius and I'm gonna extend the radius and there's my Bulge just a plane to form you can play around with a fall-off and all that to give it a better shape and whatnot I'm not gonna bother with those things because I have more serious things to show you and then I think if it doesn't fail I'm gonna add a random set it to minimum which is one of the modes here these little layers are like Photoshop layers if you want to experiment with the modes you can you can recreate them in Photoshop and start using multiply add screen and all that and of course watch the tutorials that are upcoming that will explain everything for you so random field View settings turn it off that will be nice to be default function so there you go the noise is only applied it to the Bulge and all we need to do is put some nice materials to this and I'm not gonna do it right now because I need to show you the bubbles which is a bit more complex so let's move on to the little torus boils hey go yeah let's do that again okay sound always helps sell the story alright so we are gonna take advantage of other features now again we're gonna stick the standard workflows with the new workflows and see how things go and if any goes wrong I would say well I'll make a tutorial answer makes me feel so comfortable now up here I have the power of tutorials so we're gonna begin with the torus normally everything begins with a cube but you know I'm breaking new grounds here so make a torus and I'm going to use this torus as the object to create my the main object for my volume but as the source to to generate the little bubbles so as usual I'm gonna make it a child of a non selected make an instance of it and name it volume Taurus it does it make a copy of this and name it emitter Taurus at least a keyboard that works the best keyboard ever made so what I'm gonna do now is hide the volume Taurus and I'm gonna use this in the following way the symbol cloner a simple sphere the good thing with bubbles is that because as spherical it's always simple to make them then I want to clone the the spheres on an object and the object is going to be the emitter okay so now we have a bunch of spheres on the surface as it says here 20 spheres on the surface of our Taurus now the couple of problems here I want to omit them from inside I want it to be smaller and then I want them to go outwards become bigger and then explode okay so let's start one by one let's make my spheres smaller so I'm gonna make them I don't know 10 nope I think we need to go a bit bigger actually I wanna make them as small to begin with my emitter needs to be smaller but I want to keep the same object mind you I can't scale it down because scaling it down will scale it like this I want to bring it in the surface so what I'm gonna do is pretty much the same I did before with the bulging from the bullet I'm going to set a plane effector set it to point mode tell the parameter to be -10 in the Z or minus 20 in the z o minus 13 the Z minus 48 in the Z so now I'm emitting these little bubbles from pretty much the center line of my torus object okay fine and I may even make them smaller what is not happening is that these little buggers are not moving and how do I fix that well thanks to our fields technology now I'm gonna call this clone clone Bob billa's clone bubbles I'm going to add another plane effector and I'm gonna call this plane move scale now a plane effector like every other effector let's put this to a hundred defines a certain transformation position scale and so forth position in this case how do we make it so that this position the final position is achieved through time and the way to do that now with our new field system is that we can use in the fall of tab at what's called a time field the time field now is set to 30 frames and what it's telling us which is very similar to our time effector is that the value from zero to the maximum value that the effector is providing is going to happen within a span of 30 frames if I press this button it they're going to move for 30 frames so what you're seeing here funny enough is we can approach the the let's say capabilities of a deterministic particle system if you don't know what I'm talking about don't worry the second thing I want to do is scale them up as they're going out I need them to become bigger so I'm gonna change the scaling so now they're gonna grow how much they're gonna grow I'll bring this up I'm going to tweak this so that and when I say deterministic I mean you can scrub it doesn't need to calculate anything everything happens in a fashion where it doesn't need to know what happened before so what I'm going to do is go here and just using my arrow keys I want to place them in their final position eyeballing is the most accurate instrument on the planet and my favorite way and I want to make them this big that's their final size so now I have their minimum size and their maximum size and while they're growing they're going out as well and with a couple of numbers you can tweak that excellent so we got our bubbles bubbling outwards now the next thing I want to do is randomize it because they're all going bubbles never go in unison we know that that's a life experience for you so what I'm going to do is go in here in my list and I want to randomize this somewhat so I'm gonna add a random and multiply it or subtract or something like that but anyhow now I'm getting this randomization so you can see that now they're coming up in different time frames okay which makes it extremely interesting let me extend this few frames I just experiment with these I'm never sure exactly what I want to do let's see yeah that works as well and it's a bit more accurate so we've got our randomization we've got our generation the next thing we need to do is the popping we need to find a way so that just a few frames after they reach their final position want them to pop so because we're gonna use the same kind of timing what I'm going to do here is make a copy of the plane move scale and call it plane oh right sorry plane pop and what we're gonna do is set that to have a parameter not of position and scale but a parameter of visibility and apply it to my scene bubbles so nothing happens currently because the values are inverted let's put it that way in order to fix this I'm going to invert the already existing values and the next thing I'm going to do I think I need to do something with this I'll I'll remember if I don't remember I'll just go one by one until it works so let's leave it normal we'll see what happens and what else do I need to do and I need to use something like a range mapper to push up these values here to change the way there you go it works told you it's gonna work why worry how was a close one so what I'm doing now is using the same data I was using to grow these but I've assigned it to a different parameter and slightly amended the way the whole thing works the first part of the animation is ready and as close to perfect the next thing I want to do is create holo little bubbles because this now is is going to become a big massive object so I'm gonna do the following thing I'm gonna put my clone bubbles in here and in my usual fashion I want to create an instance I'm not gonna use an instance of that yet but if I wanted to I could actually do that great so we have our instances here we have we need a volume builder and a volume measure I'm gonna put the Builder in the measure and I'm gonna put my bubbles in here and my volume torus in here so now we have a unified structure that represents the meshing of that whole thing happening I'm gonna increase the resolution a bit and you're gonna see faceting happening no problem go to our original object and increase I don't know 120 and a 36 or something like that I mean just push up the values and I'm gonna keep it a bit low just to make it a bit faster so we have this so what I need to do now in this situation is create a second set of smaller spheres which I will subtract from the volume to create the little voids inside so clone bubbles I'm gonna make a copy of this I'm gonna call it clone bubbles inside okay and I'm gonna make I'm gonna take this and I'm gonna say I'm gonna make an instance and drag this little guy in here and I'm going to take it and tract it but now we're gonna have a problem because we got to service intersecting together so we only see the holes so I go to my second bubble and I just make my sphere smaller you just stop this for a second go here let's make it three so now you will see that everything looks the same but I promise you there are holes in the bubbles so if you want to see them just pause a frame there go to one of my side views and look at the interiors of the bubbles and I can eyeball it and make them as big as I want and this is the thickness of my bubble so the more viscous the fluid is the thicker of the bubble even if that's wrong it sounds so scientific doesn't it yeah so so we have the basic stuff done and of course I could you know say yeah thank you very much but no it's not ready yet what I want to happen is that when the bubbles burst I want them to leave a hole behind for just a few frames okay because currently both the outer and the inner are bursting at the same time so I'm gonna do that in a non-standard way so my inside bubbles are disappearing because they have the pop I'm gonna delete the pop so now we have the holes but I want these holes to get smaller which is the equivalent of if the spheres working the inner spheres were moving further out they didn't stop well one of them and in order to do that let me do that and explain why that happens I'm gonna make a copy of my plane move scale which is that parameter that moves them and scales them and call this scale plane move holes and in my bubbles inside I'm gonna replace them so they're still identical put one here and we're gonna get exactly the same result as we had before now with fields there's one little we're three little checkboxes and it's this little thing here if you go on this side you'll see that little blue thing which is what's called the clamp so by default all the values we feel feed in the field system are constrained the minimum is 0 and the maximum is 1 and that clamping allows for very let's say easy to understand math because the plane effector has a value at 0 its 0 but at 1 which is the maximum it has whatever the value is if we and unclamp this then what's gonna happen is that my spears are going to continue moving out thus giving us the impression so although this effector is telling them to move from 0 to 50 we've unclamped that so after 50 it just keeps on moving so anyone that has used the F curves knows that we have the continue the ping pong and all that so just like that just like making a copy of this setup we have a fully procedural set up with bubbles that grow go out pop create a hole and then that hole is closed slowly of course we can add more tweaks for example make them speed up as they go there get smaller do all sorts of things but you know do that for work you get paid for okay and we're going to do an extensive tutorial on this and and to close things up let's shade this and make it look beautiful so in the color it's just going load my favorite frankfurt frankfurt my favorite city you can make jokes about germans alright yeah yeah cool yeah thanks I have to be very careful these days so I'm gonna add again I material there I'm gonna go to my compositing tag and remove my camera visibility and let's create the simplest of all simple materials materials ever created a transparency channel with a glass or water preset drag it on this guy here and it's not gonna look very nice at this point let's render it and I do a couple of tweaks to this right so it's water and what I'm gonna do is go expand this absorption distance makes your glass look fantastic make it a bit grey take this down to 20 render and how we got this if it's a bit faceted don't worry let's just smooth it out put it under that but a smoothing the former and let's just put this a bit down let's see what that does nice and smooth and there you go bubbles holes everything is deterministic no calculation times let's add some lines there so we can see it maybe some transparency no I don't like the lines but some transparency and you can see everything and it's all procedural now setups like this can become even more procedural in what sense I've made three plain effectors that have the same lists what I could have done is taking all the common elements group them under a group field and use wherever we use exactly the same parameters use that group field and the we will be able to save ourselves from selecting this random and this random and changing the values and because I'm lazy a click less is a click less value is great so because I have a few more minutes I'd like to show some not project based stuff but just things to feed your imagination so my very good friend Sebastian Hathaway was that correct rotation busty hi busty I love you he actually showed me how it easy it is to make a little probe to go and measure volume so this is part of the geeky part of the presentation but yeah everyone likes a bit of you wouldn't be here if you were not geeks okay let's figure don't forget about that so I'm gonna create a volume builder now for everyone that anyone that's watched my tutorials there are a couple of things about the SDF which are not obvious obvious so in this current state with voxel size each little square is 10 centimeters and they the the exterior range is let's say 10 nothing changes other than bounding box and the interior ranges are 2 but what if I'm trying to take measurements how do I know what is the value of each voxel in in the ether over here so 10 in this buffer so the easy way to do it is you'll create a we need a norm just because we can just move it around and just gonna move it out here and make it into a little circle which I can see nicely XY there you go so I have a little circle here on this I'm gonna call it Bluebird and I'm gonna create some text because that text is gonna give me feedback I'm just gonna send whatever the value is where I can see it so what I'm going to do here is create a little expresso I'm gonna drag my little null in here and I'm gonna create what's called a fall-off and this shows off a bit of the power of the new fuel system because the fall-off now incorporates the the fuel system so if you use Express so in any capacity you can drive any parameter and cinema4d using fields from now on no excuses light intensities John Johnson back there was experimenting you could put a bunch of lights and throw something in and the colors will change and all that so I'm gonna take my little probe now and get my global position ok feed it in the sample position in here now what I'm what I trying to sample I'm trying to sample the volume builder and because the volume biller has values which can exceed 0 to 1 all I need to do is and clamp this and unclamp the remapping again all this will be clear as we go forward if you watch this university tutorials grab the text here go to the text object take the text grab it here connect it out and now what we're gonna see is the value of the voxel in in this position so this is a sort of a probe that allows us to move this around and while you're learning what volumes are this is going to give you the ability to understand what's happening behind the things I can't really grasp I can't really see and just to wrap this little thing up if I put this under a volume measure what you will see is that when of the volume measure range goes to 100% it goes to the outermost box all available and when it goes to 50 it's on the surface of the original cube and when it goes to minus 2 it to 0 so it goes to the lowest extremity defined by this so two voxels inside so this little cube has two voxels inside and ten voxels outside okay so basically this is all I wanted to show but before you applaud me and you know selfies and all that I'd like to besides the extent my thanks for maximum once more for a great hospitality I want to thank the the Maxon developers and everyone that participated in this particular release because we've been saying game changer on all these years I didn't mean it but this time it is an actual game changer the new stuff you're going to be able to do the new world that opens up for artists so my congratulations go to all the development team and design team and management team of Maxon a lot of whom are here so feel free to approach them and harass them yeah because they already have bloated ego so yeah and yeah I want to thank them for this amazing release and we're gonna see a spectacular stuff coming out and some people out there I'm not gonna tell their names one of the developers I talk to very frequently and the development support and everyone thanks very much my name is a financial presences aka nose man if you Google nose man I come up first nose man nose and thank you very much for coming [Music]

Channel: Cineversity

Views: 6,640

Keywords: 3d, 3d software, c4d, c4d tutorial, cinema 4d, cinema 4d tutorial, cinema4d, maxon, tutorial, c4d new features, c4d r20, c4d r20 features, c4d r20 news, c4d updates, cinema 4d new features, cinema 4d updates, cinema4d r20, new features, new in r20, release 20, release 2018, c4d live, c4dlive, siggraph, siggraph 2018, siggraph 2018 rewind, siggraph c4dlive, siggraph maxon, siggraph rewind

Id: gXonkDD-7_4

Length: 48min 49sec (2929 seconds)

Published: Tue Aug 28 2018