Siggraph 2018 Rewind - David Brodeur: Creating Rocks and Terrain in C4D

hello everyone I first want to start off and just say thank you to Maxon for having me out here I'm really looking forward to showing you guys this so what am i showing you actually before we do that let's take actually look up my reel here and it'll kind of give you a little bit of breakdown if you're not familiar with my work my NGO is locked and loading my name is David beador and let's just check it out [Music] [Applause] [Music] cool sweet so um yeah thank you if you're not familiar with me at all I also have done some training and tutorials on grayscale guerrilla you might know me from there you might know me from locked and loading I'm also a teacher at the motion design department at Ringling College of Art and Design I teach 3d animation there as well all right so let's go through what I'm doing with you guys today so I'm gonna show you how I do my rocks and terrain so if you're familiar with my work at all I do a lot of like these close-ups studies of terrain and like a macro study and it's alien planets it's usually a little weird usually a little gross if you see my personal work and I get a ton of questions about how I make this and so it's a long-overdue tutorial here breakdown of how I actually make that stuff so if we kind of just slide through this is kind of what we're going to make I'm going to kind of show and demonstrate specifically on those ground materials and we're gonna go and break that down my favorite part about it is it's not really all that complicated right it's just kind of a skill on a certain technique I've developed by just doing it over and over and over again so this is kind of how I break it down I say time plus repetition equals growth I didn't miss a timeless repetition equals success because you can do things numerous times and have lots of failures and that in return makes you grow it's not necessarily successful and peace so I have a lot of people that I show how to do this and they come back and they're like mine doesn't look like yours how come and I'm like well you did the same thing that I'm doing except this is the first day I tried this technique and this is day one February 2nd 2016 all right I did this almost every single day maybe excluding a couple weekend days maybe for a 380 three days straight and then I came out with this there is really no difference in the technique with these two the this is the only difference it's the number of days that I did it over and over and over again and would tweak things and just keep figuring stuff out and defining how the lighting looks better camera and focal length and stuff like that and then we got here so today we're gonna go through how to how to make this into physical render then we're gonna go through and we're gonna start adding more layers and use octane render and we're gonna use a sculpting engine inside of cinema 4d as well because I notice as I one of the things to become more photorealistic I need to start layering things up I needed additional rocks additional stones right and these are all those things that that we're going to kind of evolve to hear through today so let's let's let's do this jump rate in the cinema 4d so like I said the first thing we're gonna do is we're gonna start off in the physical render your how easy this really is when we start breaking it down in theory at least so we start off with just a simple plane and this is really where most people make their first mistake this is boring this is so boring we don't just want to make a material and drop the material on this plane right what we want to do is make it this plane be interesting already so we're gonna just use some simple deformers I'm gonna grab the displacer to former here and I'm gonna throw just a simple noise shader on that alright nothing nothing fancy yet right but let's get an interesting surface to start off with so I'm gonna make a couple of these so I'm gonna I'm gonna just start relabeling this I'm gonna just call this large displace oh cap locks must be on and I'm gonna go into this noise material itself and I don't want to try to get the finite detail the granular level detail with the actual geometry I want to do that with the texture but I do want to break up some of the geometry and give you some larger scale noise in here so I'm gonna increase this global scale from 100 to 1000 and I'm gonna jump back in to the actual object here and I'm gonna increase this height I don't have these set numbers yet we're probably gonna go in here and redefine this once we get the camera locked in we might want to raise that geometry and raise that ground up a bit so this is the first set of displacement that we're going to have right and we're gonna be getting kind of deep down in there but like I said we're gonna have more than just one displacement so we're gonna try to have two levels and that's really what I'm working at right now I want to have this larger deformation here and then I want to have a medium deformation and then the small details are gonna come from displacements and the material itself so I'm gonna jump into the shading on this guy and this is where when you guys make it I'll like go in here and play with all the different noise channels right see what they do you're gonna get a different look each time and you don't want if you do this numerous times you don't want it to always look the same right and so this is where you're gonna find that kind of variation I don't really know which one I'm gonna pick yet let's just go with a [Music] turbulence whatever and I'm gonna go in this turbulence now and in this material still and the shader here I'm gonna reduce the overall global scale to this I'm gonna say for this one let's make it 200 now obviously we need more segments in here so instead of adding them in here which we could write we could we could well not that much let's just say what if we did 200 by 200 okay this is not really the look that I'm gonna have drive it remember I don't really want the detail coming from the actual geometry itself I just kind of want this to be rough so I'm gonna just reduce this 100 by 100 and I'm gonna throw on a subdivision surface here I'm gonna drop that in and I'm gonna take these subdivisions down and I'm gonna start looking at I'm gonna real able this - let's call this small displace and for this one let's let's tone down the setting a little bit let's maybe make this like 20 here or something we're gonna keep reducing this I still don't want maybe that much bump out of this guy maybe I'll do something like 10 okay cool so you can see we're starting to get some sort of interesting geometry out from this now I'm gonna add a camera just so we're starting to lock in to where we actually want to look you'll notice that in a lot of my work I've kind of found that I really like these high ridges and these are these are kind of the areas that I specific like to place the camera towards to get my get my like main focus point right and I put like you know whatever subject matter is usually some kind of weird alien slimy looking disgusting thing right so I kind of want to pick my focus here before that though I also want to change the focal length you probably have heard this before you might have heard other artists even today or this week they're gonna be talking about the focal length do not please do not just use the default focal length because this is an actual artistic choice right when you pick up a camera you don't just go with whatever is attached to it right like not if you're a serious artist right that is an artistic option that you have and it determines what that final image looks like the same goes for 3d so I've noticed just through trial and error that for me like a telephoto lens works really well it kind of really just compresses the scene and and it really gives us nice alien looking kind of terrain world whatever alright and you'll notice as we start doing the texturing it will look bad it's not gonna look great and then when we start adding our lights in that's gonna give really nice contrast and all the different grooves and pockets in the in the in the rock and the terrain and then and then we'll add depth of field and that is going to save us the depth of field breaks up this like kind of visual repetition that happens from this texture so let's let's just start making the texture here so I'm gonna locate my folder here and I'm gonna discuss a little bit about the the textures in which I'm using for this so you'll see I got physical render textures so if you guys have used any online resources for getting your textures things like polygon textures calm or quick civil mega scans you'll probably notice when you download a material you download it it gives you this entire list of like you know displacement normal bum you know reflection specular right you gives you this whole entire package what I actually do for making my ground materials is I mix and match these so you'll see right here these two have the same kind of file name because they are from that same download and then the actual texture that I'm going for the the the in the diffuse channel is something completely different I'm mixing a matching these two packages together and that's how I started breaking apart and getting more interesting macro detail if you want like a further distance shot away I'll pull it up here right there's something I did for Aldi and the same techniques that we're going to do today or the same techniques I did for this but we're I didn't mix the materials like I'm gonna do today so this one the the the ground material here was just a straight channels that you would download with the diffuse reflection refractions all that stuff the bumps and normals but when I do the macro ones I like to mix them up you'll see that I don't keep them all at the same hundred percent scale and then this is another thing that I did and the same techniques I use to create the sand here is exactly what we're gonna do today so you don't just have to take away that oh okay now I'm gonna learn how to do alien rocks and whatever macro study of rocks the techniques are going to apply across many different looks it's the same exact steps so and and towards the end when we get into the octane render you're gonna see really easily how I went about making this alright so lets import some of these textures here so the first thing I'm going to do is I'm going to import this into our color and to our diffuse alright so the next thing I want to do is I'm gonna grab it normal turn that on come in here grab the normal channel and I'm going to also throw in the displacement so in the displacement import that in and we're gonna eventually check on the sub holiday on the displacement here but just gonna drag and drop this material on to our plane and let's throw the interactive render region on you can see this is this is not quite there yet this is not exactly what we want okay so this is the kind of detail that we want out of there and as you can see inside a cinema right now we are not getting that kind of detail that's not there yet well one we don't have any lighting in remember I said that's gonna make a big difference to the camera and the depth of field is gonna make a big difference but three we haven't even kind of finessed and massage this enough so I really like breaking these up right now each one of these materials that I have are all at a hundred percent scale and for the displacement we'll do the same thing when we jump to octane I like to change the scale of the displacement material and kind of reduce it so I'm gonna throw this into a layer and in here I'm just gonna add an effect transform and I don't know exactly what scale I want this to be yet I kind of try to clear my head every time I do these that way I kind of make them slightly different each time and let's go into the displacement check on sub polygon displacement and we should see increases let's increase it to like 40 okay so we need to throw some lights in there because we don't even know what we're looking at right now right just kind of a visual mess so if I go and I'm gonna keep the lighting pretty simple let's just throw in an infinite light and I'm gonna see if I can get just a nice little extreme angle here to our lighting something downward now that's just gonna really help give us like really nice kind of shadows and different looks like that so I'm really just trying to get where the camera is right now I'm gonna throw a sphere in the scene I'm gonna use this as my focal object and I'm gonna drop this into the camera so this is not gonna be something that we're going to actually be lighting it's really just something so I can easily pick a focus point and I'm gonna get get my camera here and drag and drop that sphere into it I'm going to hide the visibility of that because like I said I just want it to be able to see the the focus object let's go into our render settings I'm gonna change this from standard to physical and in the physical setting here I'm gonna change it to from adaptive to progressive when I'm just kind of doing look development and things like that the progressive works super quick as you guys know it works based on scan lines so you can see a result very quickly so anytime you're doing texturing a lighting it's a really nice way to start out you don't use my final renders for progressive but for this it will work just perfect and I'm gonna check on depth of field let's just expand this window up and in the camera now I got to go into the physical and I got to change the f-stop I'm gonna drop it down really low for now and and I'm gonna just start centralizing that but already just by adding that depth of field I mean let's drop bring this back up to 8 just so we can look at how crappy it looked before right doesn't really show us anything but now that we're starting to kind of solo out a specific section and show the viewer where we want their eyes to go to we actually have that focus point now I'm not happy with the the displacement quite yet I think it's a little bit extreme so maybe I'm gonna change the height to like 25 like I said we're gonna be kind of jumping back and forth in and out of these material settings because we kind of want it to be nice and custom this is really kind of getting there I think I would personally like to have this detail even smaller so I'm gonna go into the layer and I'm gonna change this scale from 0.5 to 0.3 let's just see what that looks like now right it's kind of getting a little bit more granular and I'm gonna go back into my displacement and reduce the height maybe back down to 20 and so I really want to get just that like kind of small touch of noise in there all right so this is probably as far as I'm going to take the physical render because then we're gonna get into the next step of we're gonna go into sculpting inside a cinema 4d I love the sculpting edge inside of cinema 4d I'd use it in almost every project since it has come out it is fantastic say file new window and if you guys haven't used the sculpting engine before even get into the sculpting engine I'm gonna just model roughly what I want some my rocks to look like and in this all these extra rocks that we see on top of the ground surface like we just made those were all sculpted and then cloned or scattered across the geometry prior to our 20 this would have been kind of hard to do in cinema 4d with how many that how many clones I do put in here sometimes but now our 20 has the multi instance feature which is just like the octane scatter feature if you're familiar with octane so you can do it very easily without having to use a third-party renderer which is fantastic but today I'm going to show you with with octane because I didn't have access to our 20 before this so now we're gonna start sculpting these rocks and I'm gonna show you a couple techniques that I've kind of developed to make rocks and prep them for sculpting if you haven't used sculpting this might be a nice little run-through for you so I'm gonna go out and go into my modeling layout and I'm gonna go into my edge tool here my edge mode and I'm gonna just cut up this this rock a little bit here this cube right and we're first gonna make this it's gonna be very geometric based but before I go into sculpting I like to get just the loose rough geometry before I start adding in the detail and making it look more like a rock so now I'm gonna go into the polygon face tool here and I'm gonna just start pushing and pulling some sides out bear with me it's not gonna look great but it will once we once we're done sculpting it here and so I just really want to get a little bit of variation and there's no right or wrong way to do this it's really just kind of a trial on everything once you do it a bunch of times you just see it starts to make more and more sense okay cool this is my rock that's it guys no we're gonna sculpt this let's jump into the sculpting tool now and now we're definitely gonna get a lot more subdivisions in here but that's okay so I'm going to add some subdivisions I usually use a welcome for for sculpting it's just a lot more fluid so bear with me I might be a little rough using a mouse here but it'll turn out just fine actually before I get to this point I'm gonna get the grab tool and I'm just gonna try to break up some of this very flat geometry that's not gonna give us a very organic look to it so I'm just gonna simply come through here and start pulling some of these faces out a little bit pull this face out right just break this up a touch and do it to this side all right very cool and then I'll get the smooth tool and I'll kind of do the same thing with the smooth tool I'm not really going through many of the details here and sculpting so if you're you're unfamiliar with it you'll have to just try hard to keep up cuz I'm just gonna kind of go through this there's a lot of tutorials out there and training out there already that kind of just go through the basics of what these sculpt tools do so I would recommend you check those out so I'm just coming through here and I'm kind of you can see I'm hitting up these these harsh corners I don't want those I want kind of more seamless blends between them okay still not a rock right still very kind of ugly you're like very cool Dave this sucks so the next part I'm gonna add another layer the subdivisions here and I'm gonna get the flatten tool and with this flatten tool I kind of try to like make my rocks before I get the detail in there I kind of like to make it so they have very like sharp like chipped edges yeah almost as if it was like chiseled off a bigger rock and this is just again a technique that I've come up after doing this numerous times over and over again on how I feel like them I've gotten my most realistic looking rocks so I'm gonna come in here and and I'm gonna just keep changing my brush size but you'll see very very simple I'm just going to flatten out certain edges right very kind of chiseled very faceted looking piece of geometry is what we're gonna end up getting here flat in these areas out right so we're not really sure what kind of rock this is yet but I can't wait to show you a couple very underutilized aspects of cinema 4d here in just a moment so once I once I'm happy with this let's reduce this brush size get a little smaller faceted pieces cool right and when i zoom out you'll see it kind of common has somewhat of a shape of like some chiseled rock it'll be rough though and that's fine you'll see how it starts to come to life in a moment okay let's just zoom out of here okay so not really what you would think a rock would look like but maybe your imagination can start kind of breaking it down and now this is where the real fun comes in I'm gonna go into the pool object and this is what I find to be a very underutilized aspect of sitting before DS if you sculpt you probably know about it if you don't sculpt I'm sure you don't know about it but it can be very helpful regardless so if you go into the content browser into the presets and if we go into the sculpting brush presets here and go into there right there's a whole list of different brushes and we're gonna go into a I actually will digress for a second let's just go into the cracks this is something that most people don't know and this has nothing to do with my project by the way this moment right here if I double-click on that actual textures folder if you have cinema 4d you have access to all of these seamless textures if you double-click on these now within that texture folder it's gonna bring it up to the picture viewer and you can save these out and so I've done this in a lot of different my projects as well where you'll have nice custom displacement textures right out of cinema 4d and you can import those right back in really kind of helpful so you can do that with all of them okay back to back to my lesson I'm gonna scroll down here and go into the stone folder and if you double click on any of these guys they're gonna automatically be applied to the the brunt the pool object itself so I'm just gonna go in here and find one I kind of very very them up a little bit I wouldn't say I have one that's not necessarily my go-to I'm gonna just click this let's click this stone 9 whatever and you might think that I'm gonna add it actually I'm gonna undo that you might think I'm coming in here to add this level of detail I'm not this is not what I'm going for I don't want to get again that finite detail with my geometry I want to get that with my textures but I do want to break up this very geometric chiseled thing that is happening here and make it feel more organic feel like it was weathered or worn away wrote it right and so if I increase the size this is something else I've kind of figured out for me working at this scale if I increase the size somewhere between two to three hundred percent here and I'm gonna increase the pressure just don't have to click as much you see I have a rather large brush but watch what starts happening when I start clicking this right I'm just clicking over and over and over again I start to break this up and right and so I'm just gonna kind of move around and do this through all the geometry and you'll see it takes these very straight lines and just starts manipulating them and bending them and distorting them ever so little and if I find a point you'll see we can we can start to push and pull individual aspects of this rock more and more and and this is kind of something I just discovered as like I said I did I've done these over and over and over over again and and you might want to change your brush scale down a little bit but I've noticed kind of the larger that you can do the better and it's just multiple clicks if you don't want to click so many times you know you can increase the the actual pressure and that will start distorting it a little bit a little bit faster right come up here let's maybe pull some of this stuff what's really nice now is if we look at this right we're getting something that now feels much more like this kind of organic rock Boulder thing and then once we apply these textures it's really going to start to pop now I didn't come in here and like literally make with the pool brush some of these small little details that we're seeing in there right like these small little details that's just happening cuz I'm using the pool and using this texture and I'm allowing it to do the work for me so now we've got our rock texture I'm just going to save this out just in case you know we got every start the machine or something like that and I'm gonna go back in to my other scene here and we're gonna just seamlessly kind of I'm gonna I'm gonna delete this light we're going to start to transform this scene now into the octane render scene and I'm gonna go back into my standard layout and I don't need this material anymore because we're gonna rebuild this material you guys are gonna see how simple this is to use I'm gonna actually approach the material and octane a little bit different and and you could do it the same way as I did in this cinema physical render but I think I want to show you guys more than just one way of kind of doing it so I'm going to use an octane glossy material and I'm gonna open up the note editor if if you're familiar with octane it has the ability to make materials just like cinema 4d has been always in this kind of folder hierarchy and if you're more familiar with notes you also have the option to do it via node base so I usually gravitate anymore more to as the node base which is fantastic that our 20 now has the node based material settings in there if you haven't seen it it was amazing Chad Ashley did a little presentation on it this morning and so I'm gonna open up the node editor here and I'm gonna drag and drop an image node image texture node and I'm going to import a couple extra texture scene files that we have I mean I'm a 3d my source images and the octane render and let's just take a look at these first year so this is kind of more of that stereotypical download that you would get from polygons or textures comm and all that right this is the complete list all these are together so if I were to just use these as a RS default I would probably get a pretty nice realistic rock material from you know a few manech point but it wouldn't really give me a good vantage point on a macro level let's let's go through I'll demonstrate that and then I'll show you how to get now that macro look out of those same materials so I'm gonna connect this and I'm gonna just kind of duplicate this down and I'm now I'm gonna bring in the specular material and I'm gonna repeat this process for each one of these that I want right if you guys have used these materials like this before this is a pretty common set up bringing the roughness in we probably don't need all these for this but I have them here so we're gonna use them all right let's uh let's do the bump now well bump normal and then the displacement and then that would be it and I'm gonna show you how to start breaking these up so we can get something a little bit more interesting than just the default visual that most people are going to get from it because most people aren't going to start actually breaking this up so here's our normal and then our last one is our displacement and this displacement is the one that we're going to probably be tweaking the most here as far as the scale if you remember in the beginning I mentioned that I don't necessarily like to keep all these textures at a hundred percent scale not for the macro level for now I'm just gonna connect this default though right just as as you would normally and I have no idea what amount that we're gonna have this or what we're not let's just close out of this for a second and I'm gonna refresh this material so it shows up down here and I'm gonna simply just drag and drop this on to our plane object here and let's just render this out real quick and let's see what we're working with so this looks awful right does not look good at all we're gonna take these same exact materials that don't look good right now and make them look good by breaking stuff up a little bit if i zoom out though see if i zoom out okay that doesn't look half bad right it's like okay yeah that works right and so that's where these textures kind of shine at is at this kind of vantage point but if you really want to get up close on them they kind of fall apart and they don't really work so we're gonna zoom back in here we're gonna set our set our camera up how we want it remember I like using these kind of high ridges and things like that so this will be a kind of the ridge that we're gonna focus on I'm gonna turn this camera into an octane camera here just by simply throwing that tag on and I'm gonna make a quick little focus here so I'm gonna go in uncheck the autofocus and I am going to increase my aperture and let's just pick a certain area okay so I'm still not happy with this but this is okay right now and I'm gonna add in a light so let's go into our objects and I'm gonna just do a simple daylight rig when I do this I really like mixing and matching I'll throw an HDR eye in here as well and then when I have objects in the scene what I really like doing is adding specific area lights for those specific objects to get just more accurate lighting I never just use like the daylight or the infinite light by themselves you always want to use an additional life to help kind of bounce light or fill in some spaces so let's just change the time so we get some lighting that's a little bit more direct enable this and I'm gonna go in here and I'm going to change the North offset and you're gonna see that we're gonna start making this a little more interesting now remember I still am not happy with this actually I hate this right I don't think this looks good it looks good when we zoom out possibly right at this level that's very nice but when we get into the macro and that's where I really want to show you guys how to kind of start breaking this up we're gonna open up our material settings here and I'm gonna talk briefly about the actual diffuse layer itself I'm going to throw a color correction node this and with this color correction known for me the this kind of brown warm tone takes it out from this rock like area that I want it to be in so I'm gonna go in here I'm just going to decrease the saturation it may be like something like 0.5 for now and I actually want it to be a little bit deeper and darker so I'm gonna increase this gamut maybe like 1.5 I'm not sure well we'll hop back in there and play with that a little bit and then this displacement material here this is I really want to change this so I'm gonna go in here I'm going to add a transform node and plug that in and I want to change the scale of this so I'm gonna make this point five let's make it let's make it even less let's go 0.2 alright so as you can see we're starting to get something that feels more and more like what I like it's not there yet we still got a little work to do I'm gonna come in here and I'm going to turn off my font I'm not necessary for this case in the actual displacement itself we can see we're using a fork a displacement texture here and this level of detail is set to 256 by 256 so I'm gonna increase this to 4k that way we get just like better detail you probably can't see from where you're sitting I can see it up here though it was very jagged and kind of pixelated on the edges so we want that kind of be smoothed out let's go into our light and let's increase the brightness the overall power of this five might be too much but now you can see that the direction in which that light is pointing is gonna make a great deal of difference I might go into this material as well and change the overall scale you could go in and make a transform node for all of them and drop the scale down but this is probably just easier for this point so I'm gonna just say eighty I kind of scale that down I'm gonna go into this camera here too I'm gonna increase this aperture I really want to have this crazy kind of drop-off here and let's go back into our material again right it's just gonna be a lot of back and forth until we really dial this in and get this right which is why if you do this technique don't just give up on it easy it's really about getting in there and looking at it and kind of like going in with a fine comb and figuring out how to to transform these details I'm probably gonna scale this down maybe 0.15 I want to get I wanted to get a little bit smaller so we get a little bit more of that granular level detail and I'm also going to reduce the amount that this is being displaced here let's reduce it by by 50% all right cool so we're starting to get there again right I don't like how Brown this is still so I'm gonna come in into the color correction node and let's say saturation 0.25 let's increase the gamut of 1.8 just make it a little bit darker overall I'm also gonna throw another plane in here and I do this a lot in my work too it just kind of helps break up that repetition again and I'm not going to spend a whole lot of time on this material I'm just going to throw in a specular material for now you could give this kind of like a bluish tint or tone to it or add a little bit of subsurface right now it's picking up the sky reflection so it kind of works it gives it this kind of feel that it's like wood or a puddle or something like that let's take a look into this displacement and let's see what it will look like if I just reduce this overall height of this displacement again if that's gonna look good or not yeah I mean that's fine I think I probably want the overall scale of the displacement a little bit smaller if I can so let's do that let's go into the transform node let's just make it point 1 so we're really I really want to get that granular level detail the other thing I'm looking at is the actual diffuse texture itself I think this scale of this is just a little bit too big for my taste and really you can see these light and dark areas of that material just what the image was I kind of want them to just be a little smaller it's going to give it the field that that it's a lot lower more like macro texture so I'm gonna put a transform node on that and I'm just gonna reduce this by 0.5 you're gonna see these the little spots here now have become smaller we can do something maybe like 0.3 instead right it's getting smaller and smaller and this now like I'm getting very happy with this now this is more looking a lot more like these kind of references that I'm showing you so we're not done yet though we've got more so remember that rock we sculpted way back when we're gonna go look at this now this is where I'm talking about in the beginning of my presentation of making things more photorealistic and it's about layering if you're just satisfied with this that's great it's a good look but if you want to then take it to the next level this is where this comes into play I'm gonna go back in I'm gonna open up a couple of my original files so we can actually take a look at this technique again because remember I said this technique is exactly what we're doing today it's gonna give us a totally different look all these pieces of sand we're gonna do that with rocks but not this many so if you can kind of use your imagination and think okay how he's doing the rocks I could make sand like this that detailed using the same techniques so there's a lot of different techniques that you guys can do to achieve this so let's go into that nice beautiful little rock that we sculpted so I'm gonna right-click it and say current state to object and I'm just going to copy this rock over and paste it into our scene you can see that it is rather large that's no problem we're gonna just scale it down and we're gonna be messing with the scale a whole heck of a lot and I'm gonna right click on this is our actual ground I should just label this here why not so this is our ground I'm gonna right click on this and I'm gonna say current state to object and I'm gonna use this piece of geometry to clone onto so I'm gonna just select some of these Plains here so I mean it just increases brush so I'm gonna select some of these Plains and this is where I'm gonna clone rocks on to probably not gonna go back a whole lot further it's just really not necessary cool that's good for now and I'm going to select the invert of this and I am going to delete so now all we have is a section area that I want to clone on to that surface now this is one annoying thing that happens right you guys have had this where you delete the points now you got or delete the phases and now you have all these extra points that have no geometry to them well fortunately in our twenty this is no longer gonna happen to you it doesn't by default now which is fantastic it's just kind of one of those redundant things so when you delete the you have all these extra points if I'm gonna hit you to bring up our quick command here and then I'm gonna hit Oh for optimize you can see now we got rid of all those extra points that's something that you're no longer gonna have to do in our 20 when you grab that all right so I'm gonna hide this ground we don't need to be seen in our visual at all and I'm going to get an octane scatter and again if you remember from the beam of the presentation you no longer need this now this scatter tool it was really good because octane scatter was so much more powerful than anything else on the market but with the release of our 20 it has the multi instance feature within the corner object and it gives you the same functionality you'll have to have someone way smarter than me about how that works behind the scenes but it does do the same thing and it works really amazing alright so I've got my rock here let's label this and I'm gonna make that a child of my octane scatter and I'm gonna change it to surface and I'm gonna drag and drop my ground surface in there let's just see what this looks like it's gonna look kind of chaotic and in the scale of the rocks it's not going to be there yet but we're gonna add some variation to this in a second we're gonna change the scale of them alright cool not there yet like I said so instead of doing this we're going to I'm probably gonna go into this scale into octane scatter and I'm gonna reduce the scale I'm gonna say point five point five point five they're all gonna kind of shrink up a little bit that's fine I'm gonna do a couple different layers of this now I want to go and say mograph effector random effector and you can use different effectors in the octane scatter just like you can do with the cloner object and then I'm gonna drag and drop the random effect you're in here I don't want to move the position though not via here not randomly in the position but I do want to transform the scale so let's say like negative point-eight or something like that and and so I'm gonna just start adding variation of these pieces then I'm gonna change the rotation let's just let's just crank this up because I just want them to be very varied and and have a whole lot of differences I definitely want these to be smaller than they are right now so I'm gonna go in here and I'm gonna say let's make this a point to the scale everywhere right and you can see they're really kind of intersecting in the geometry right now I do want to lift them all up and if I go into the position and I increase the y-direction here we can see that they're all gonna start raising up now I don't want them to be floating so you've got to find some kind of in between I think that works pretty well I'm gonna use the same texture that we use to make the ground but I want these extra stones that are sitting on top to have a different color to them slightly different tones so I'm gonna open this guy up and go into my node editor and I actually want these I'm gonna make these a little bit brighter so I'm gonna bring this to like maybe 1.2 or something like that and I probably am gonna take off the displacement I don't think it's gonna be necessary for for the stones they're at such a small detail we might turn it back on let's take a look so okay so now you can see that there's they're kind of popping out a little bit more I'm gonna reduce these even more because I have so many of them so I again it's all about the layers so I want to have more layers to these so I'm gonna go into this octane scatter here and I'm gonna change this to 0.15 maybe 0.15 all across the board well what did I do Oh 1.5 no 0.15 and 0.15 perfect okay so now we're getting that kind of smaller detail right so now we've got the granular level detail with the displacement that's on the material on the rock and then we're adding smaller pebbles on top of the material on the actual ground surface and we're gonna do one more layer of this so I'm gonna copy this scatter and I'm gonna change the seed up just like that I'm gonna reduce the amount that we have maybe just something like 50 I don't know well we'll come back in to tweak this and I'm going to increase the scale so let's make the scale 0.5 let's go a little bit lower let's go 0.3 right and you can kind of keep doing this and we can kind of change that material in that texture again and more and more now it's like we are getting a pretty cool look you can throw a couple different variations on here right I can I can copy this material down here and open this guy up and we can say hey maybe maybe one of these we want to bring in a little bit more of that kind of brown tone back in because remember I kind of really dropped the saturation but maybe we want to have more of a warm tone to a couple of those stones and so I can copy and paste this octane scatter again maybe make this will just keep it 50 but I'm going to change the seed so they're not right on top of each other let's just throw that material on there and let's actually let's increase it so let's go let's go 200 just so there's there's a lot more and let's go point to point 2 and point 2 for the scale and so it's all about having that variation mixed in so this is really limitless with what you can do with this guy's you can make sand very like like like the Pixar film the short film Piper right that's if you see their breakdown this is pretty much what they're doing right so you just translate it from one thing to the next and they put a lot of science and math behind how they were doing it and so that's really how I go through and make all my different brown materials let me pull this last slide up here right this is what I was just talking about if you just joined so same exact technique that we did to make this kind of more like space rocky dirt terrain thing it's the same exact thing that I'm doing to make this beach scene so you can apply this effect to multiple different things and and that is it guys so I want to thank Maxon again for having me here and presenting thank you guys for showing up hello online people thank you for coming hello Brittany that's my wife I'll get points for that one and that's it so I really appreciate it guys you can find me at locked in loading com you can also find me on Instagram and Twitter at locked and loading and I appreciate it and thank you so cool [Music]

Channel: Cineversity

Views: 67,640

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: jkEkftbxC8E

Length: 43min 16sec (2596 seconds)

Published: Thu Sep 20 2018