Siggraph 2018 Rewind - Marti Romances: Simple MoGraph Techniques for FUI Design

Thank You Matthias and thanks Maxim for having us here thanks everyone for being here thanks for the guys who are watching from home maybe from London holla to our studio there and to our studio to San Francisco New York we're at a studio as Matthias was saying we just worked in some films and products and we specialize in visualizing interfaces and you know futuristic technologies this is some of the behind the scenes which I always find very relevant because it shows some of the cinema 4d action and and how we get to composite some of this and today I want to I want to walk you through some of those projects so my name is Mario bromances I'm a creative director and co-founder at Tourister studio in San Francisco that's where we from that's where we are now we expanded to San Francisco a couple of years ago but the studio started in London eight years ago now the London office grow up to like and a good day we will be 70 people so it's starting to become like a bigger vir bigger VFX company we do the effects for films and commercials but we started as a motion graphic company and all of a sudden we realized that there was a window for us to work on apply our motion graphics into the film industry so this is some of the films that we worked on this last year's the very very late ones like we had Avengers infinity war coming up this last year Pacific Rim ready player one and we have now in three days mile 22 which is another production we've been working with Peter Burke and Mark Wahlberg so each as you can see each one of those films require a completely different approach and different type of graphics some some of those will need to be very realistic and grounded while others will aim to have more of a futuristic vision and abstract visualizations and that's the case but sometimes with Marvel films so I want to show you some of the work that we've been doing recently [Music] [Applause] [Music] [Music] [Applause] [Music] [Music] [Applause] [Music] right thank you so you know a territory we help directors tell a story that's what we do we create graphics for them and with those graphics we find we solve some narratives that the directors need to solve for each different film so we are designers and we design to tell a story and to do that we use technology and that's so relevant to be so connected to software developers like Max and cinema 4d is one of our main if not the main 3d package that we used to create all of these films and again like we some sort of us through the stories we sometimes inventing new technologies so for us it's very relevant to be close to what's happening in the present to be able to accurate be more accurate when we're trying to speculate what's the technology that's coming next and we are trying to invent for these future scenarios with Marvel and on some of these directors again we sit down in the middle of these two big industries while the films and games allow us to reinvent ourselves unthinking out out-of-the-box imagining things that might not be real or might not necessarily need to be something that's functional these allow us to be a bit more disruptive when we actually talking to product and prototype and experience clients that they need that approach of like being a bit less restricted and being able then to disrupt in the into their ways to visualize things or to tell a story again we're here today to talk about how we use Max and I think in the past we had an ansi graph and some of the other conventions we had like very very heavy lifting cinema 4d artists our head of 3d Peter eseni or like Nick Lyons or in the past like Nick Hill these guys are the guys that gonna be doing dealing with big big cinema files and big 3d you know technical solutions what I want to do today is show how this is software that can be used as a tool for not only these heavy lifting productions but also as a designer myself how I found cinema ten years ago was helping me and it's been helping me and other artists as a tool that might not require lots of you know the learning and and you know it could be very easy to create things that visually are you know solving a problem and that's why I want to just like talk about how we are gonna be using cinema today as a design tool and this could be applied to illustrators to the artists people that might not be just like or required it's advanced technical knowledge of the software and I think that's a value on what we're gonna be looking at today I'm gonna look at five quick widgets and little things that we used in some of those films this one and I made unmade this those titles up so these ones I call tracing orbs and this is you know I want to show some of the breakdowns on how some of the screens that we create where they start so with something as simple as a tracer object in cinema we created those lines and then within the compositing software like After Effects or new which is like can use those renders to mix them up and I want to talk us about the this orb that you see here in the middle and how easy is to create a visualization like this we can see it here functioning on the top this was for Avengers infinity war and and it's exactly using the same technique just tracing those orbs to create those core visualizations of data so I want to quickly jump into cinema and show you how how we get this done as you can see here this is pretty much what it is and let me just display this is what we're gonna be looking at it is also like a very quick render because we have the hair material so by clicking render is automatically rendering so I want to build this quickly to just show everyone how easy to create something like this but also if you get to a shape that you like and you want to bake that you could also bake it and that's the case here you could also bake this sphere and rotate the element if that's what you need for that visualization for example so and this is something that renders in less than a second so it's not that we looking at heavy renders sometimes when we're working with some of these directors we need to be very reactive on how we change things on set or we change things for a pre-visualization that you know that is gonna change through the story I'm gonna just quickly create this and the first thing that we need for this will be in a sphere to get a better distribution of points we like the choice we like to choose an icosahedron as you can see here the points will be distributed a bit more in an even way we can add segments to this what we're gonna be doing pretty much is selecting some of the points these sphere has this point selection and this point selection is allowing us to trace those trace this little you know those little cloners phone spears and that's what we're tracing so some it's as simple as that you just trace those those selections and then you hide the sphere you got you know you got that effect again let's you know let's not stay here for too long let me jump into the next one the full of graphs this is some something that it's it could be seen as a 2d graph that we did for the Martian and for this we had to be very accurate on where the angle of the wing was coming from we could have achieved that with the 2d software maybe yes but not as quick as we could achieve this effect with cinema so I want to just quickly jump into that and show you guys how how that works you can see here what this is we have a controller and I want to show you how this works that will allow us and again these renders extremely quick and it's seen as a 2d element I want to show you how this is done if I change the perspective you can see here how you know this is Havas fear how we're using again the cloner and you know another element which is the field not the field like the the plane effector and how does it this is affecting the the the areas that we want out we want to control so I want to quickly show you this time I'm hoping it's gonna work everything well we started with the sphere again we want to see the vertices of this sphere so to have a better distribution we change this to icosahedron how we add some segments to have a more you know a more more density on those and what we want to do is just again create is exactly in the same way that we were creating the other the other widget we just create some spheres that will be clone around that to do that we select object and we drop the object that we want to clone into that sphere these spheres are massive so what I'm gonna do is just like change this to one centimeter and automatically you can see that this is being cloned because we are not interested in seeing that sphere I can just drop a black material to see the spheres only if I if I was to hide this fear will see through the sphere and that's not that's not the effect that we're trying to achieve here so and also because we're trying to create a 2-d visualization I can just go and change the camera to a top view and that way I'm gonna always have like the exact angle that we want but what what we want to do is create this plane effector that as soon as I drop it here you will see how is affecting in this case the position the position I've even had to drop my my effector to Mike Lohner because I already had that selected if that wasn't the case I have to just like drop this plane effector here and as you can see here this is affecting this is affecting this parameter that we have here take it's the y-axis of these spheres that's not what we want what we want is to have an escape as you can see here let me just turn this off as you can see then the plane effector is scaling all the spheres this is the effect that we want but we wanted to restrict that to the angle that we want to have selected so to do that we have the fall-off and that means like if I select an aspherical fall-off and I move this sphere to a hundred centimeters to the side to be exact then we can see how this is starting to create the effect that we want something as simple as that it took like no time to do that but you know we also want to create the other bit which is the outside so I'm gonna just collect this and call it like the inside and show you how we're gonna create the outside the outside is another you know cloner in this case what we're gonna clone those little sticks so we're gonna start with the cylinder as you can see here and as soon as I drop this cylinder to Mike Lohner that's gonna be clone as a linear format what we want is a radio format and change this plane to you know have a frontal plane we already see how these cylinders are too big so what we want is just to select different radios make sure that those guys are smaller and we can we can even like get to see where it is add on the in so we can just make sure that the sticks are gonna be cloned around it I'll get even like because we know that this is a hundred centimeters sphere we could just say let's give it 10 centimeters of you know of offset again the same thing will happen here what we want is to be scaling these elements at the same time that we scaled these spheres so the only thing I want to drop here is another plane effector in this case this cloner effectors that's it that's affecting the cloner in this case we don't want a uniform scale but we want let me hide this we want to have like the outer scale the first thing that we notice here that these cylinders are scaling from the from the center and that's not the you know the effect that we want and let me show you why because when I drop this fall off this exact same that we did with that with the with the spheres if I drop this full of and I put it to a hundred centimeters to the side as soon as we can see these things are being scaled also to the you know from from the inwards and we don't want that well the best way to solve this problem is let me go outside of this cylinder I can make it edible and as soon as this is editable I can change the point of you know the access to start from the very bottom of that as soon as I drop this back to the cloner now you can see how we're starting to get the the effect that we wanted these things grow from the tip and and also the nice thing about the fall-off is that you're gonna have control of how this gradient is affecting that selection therefore then at this point we can just play with how big this fall-off is how much is affecting that side and whatnot and the other thing that I want to just like the other thing that I wanted to say is like then these you can be changing those if you want still well this is animated well this is moving talking about animation then we might want you know the director will be very specific on where he wants these points or maybe we want to do this in a way that it could be interactive on set so the way to do that is to get those two plane effectors to a controller and a controller could be as something as simple as a circle which I'm gonna pull out a hundred centimeters again to keep it all tied what we want to do is attach these plane effectors to that spline so if I go to my cinema 4d tags I go to attach to spline I align to spline sorry I can then see those two tags as soon as I drop my circle that I can call controller then I you can see here the spline tag like I can just like drop the controller for both of them and that means like when I move this controller that's actually gonna be moving both of them not only one and that's you know and that's also giving us like the effect of like being able to play with whatever rotation position and everything is gonna be connected so again something extremely simple to create and that's that that is very powerful on how you can do these visualizations that end up in those big films and end up solving some problems the next thing that I want to talk about is the step effect on time offset again is another way to use the cloner and offsetting some of those splines and graphics this was used for guardians of the galaxy as you can see you know it's a very simple effect that you can see is down below this exact you know movement being very organic and being you know something that is pulsing these is thanks to being able to offset the time of these graphics and again back to this is seen as a 2d element is seen as a 2d animation but it's all done in cinema 4d so let's jump right into it so just to show how these works this is the same project that you were seeing there there's a scale there's rotation there's different things happening here and it gives you this sort of a very organic movement even if it was for an illustrator even if it was for a designer it's trying to get this shape you know that's that's only having you know being able to do that in less than five minutes that's good for any designer and also you can play with other things which is like not only changing this the size but also rounding rounding those elements to different shapes I'm getting that organic fill I'm gonna go quickly again how we can achieve that we're gonna start with you know this spline I can then select let's say we start with a Pentagon and what we want to do is go back to the mograph clone clone that spline automatically that spline is gonna be clone and the y-axis as you can see here that's not what we want actually we want lots of clones without having any scale or sign or position change and what we want to be doing is animate these splines so let me just like take that out I'm gonna just animate this spline going to the coordinates I put a keyframe for the rotation and I animate this rotation to go like let's say 180 degrees or tell me like that I I animate this with another keyframe I also can scale it up so I'm just doing this quick animation to show you guys you know how that will react later on and now that I have this spline I can just drop it into an O so the cloner gets that animation and for you guys to see what's happening here let me just go back to show how all these animation is is here you know in its clone what we want to play with in this case is this step effector again we just drop this SEPA factor into that and automatically the step effector is affecting that cloner in this case it's in the parameter of a scale which is fine but if you wanted to let's say you know get to another view you could like punch it like this and then you have like it's the same effect but in 3d so and then that animation is just like offset it and scale and in position I'm gonna turn position off and I'm gonna see this from again a front of view because the the nice thing about the step effector is that even if you're not affecting any of those scale or like we have down here this time offset and that's what that's what we're using to create these organic animations I can just like say offset the animation that we just created by 15 frames and all of a sudden as soon as I click play you will see that we're getting that effect of you know these animations being offset in time super simple to the point that also is parametric so if I wanted to again animate the amount of sides or the rounding we can just do that right now I animate these radius from 0 to you know having these round edges and as soon as I play it you will see what when we get to this point that's round the edges it's you know even even to a complete sphere if we ran it completely you can see how then that will affect all of them with this time offset and again this is parametric you still have the spline and you can then use the spline to whatever you want to do you're gonna be driving some particles to it you want to visit extruding that or creating bullying's creating whatever you want and this is right on like how we created this little thing here on the bottom for guardians of the galaxy and again yes you can do this with the to the package but if you can do it in less than five minutes instead of 40 and then also these adds the parametric options that then you can just modularly combined with other things and that's perfect again talking about combining with other things I want to talk about how some of these little little very simple things when they are combined all together create very very complex and the detailed designs like this one that we did for Marvel this was on the concept early stages trying to you know simulate the data core as you can see here these same thing end up in so many screens for guardians of the galaxy or Avengers like all these intricate things are different very simple layers animated in cinema 4d it takes no much to you know to learn this in in in less than 10 minutes and that's what I want to go through it as you can see here the final result is again seen from a frontal view so it's seen as a 2d element but it's really created thanks to the you know the death on the 3d and some of the things that we can achieve with with cinema 4d and I want to jump right into it I don't want to just get too deep into how you know how many things you could create with this because I think the nice thing about these projects is that you learn something very simple and then you can go home and combine it with whatever you want this is a file as you can see this is it could look a bit complex and and it's not really and you will you will get to know right now why this is not that complex when we render is Grendel you know it's something that is looking very futuristic you have these little particles there is no particle system here and I want to show you why like how we're using some of these techniques again from the front is seen as one of these widgets so let me go quickly through some of these points starting with the first one which again is extremely simple this is a cylinder sorry this is a tube as you can see here that has been sliced so as you can see this tube has been sliced here and we use that to animate this in as you will see here the animation is some rotation and the slice is opening again if I render this this is just like you know have a cylinder but as soon as I drop this into an atom array to get like the vertices and points you will see here we start getting this sort of a far particle looking system now guess what if we drop a displacer in here then what we're creating is like displacing this displacing all these polygons that might not be just like the effect that you're looking for but as soon as you drop the atom array then you have this sort of a randomized abstract particle system there the good thing about this is like this the displacer maps are allowing us to have animation in here as you can see it's not the rotation it's like the animation that all of these noise is and the turbulence fields are affecting today if I go to the field sorry to the shader you can see that these wavy turbulence has like an animation speed of 1 and again this is it's gonna give us this look and feel but I can change the noise to be something a little different I can go into cell noise and all of a sudden you have this different animation happening you know I'm completely different looks that is more blocky and gives you a completely different effect again it's a SIL parametric and it's super simple you are displacing it to youtube or or another object and you are dropping this atom array to it and you will see that for these other passes is pretty much the same thing in this case we're using the atom array selecting like the cylinder radius being like something slightly chunkier so we can get this wireframe mesh out of this and it's exactly the same thing it is a tube in this case this tube you know has some some more like density here because we can change again we can change whatever we want on this we can round it we can just add whatever we want and then we're just displacing it and through throwing this into an atom array and that's the second layer of this just combining those two will already have a very complex look and feel the same thing happens here more displacing more tubes and then another one which is like this one is just these pads with two cylinders that are just being animated in and moving around these are two tube sorry that then again if we wanted to animate them you can just go into the inner areas outer radius or animate this spline we can just make this being another layer of these complex visualization and it's extremely simple to create these two tubes and but but when you combine them all that is when you have the good result this one again is cloning a tube with this random effector if I unclick this random effector you will see that I have this tube which again it has a slice right and I'm cloning it you know a bunch of time 16 times the only thing that I'm doing is adding this random effector that as you can see here is affecting this scale so when I do this then I have this little multiple cylinders being seen and the good thing is that I can still like add more to it I can offset them if I want to just animate this rotation in a more organic way I can just change the radius but then in this case that you know that's not the effect that we will want or I can either go back to the this random effector and animate these in if I want it so again super simple you drop it to you slice it you drop into a cloner you have a random effector and that's the effect you get and the same thing happens here again super simple stuff we have all of these cloners here let me just focus on one for now this cloner has a sliced tube as you can see creating you know these little blocks and this cloner is being affected by the same random effector that we had before so if we had to animate this all of them will animate at the same time extremely simple and when you know when you just like looking at these things you know you will see this is this is complicated it's not really so this is again going back to keynote quickly because I don't want to just spend too much time on this thing this is how we get effects like this that will be seen as something of it complex and all these systems but they're extremely simple layers just combined and creating this a bit more of a complex animation again from a designer point of view because this is not requiring extreme knowledge on on a 3d package this is for designers as well and that's the point I want to you know I like to for you guys to get through from today's presentation again creating a vortex this was done for infinity war for the new guardians of the galaxy spaceship these guys are doing in going into time travel we have some some artists here that helped me and others with this project so these as you can see is a very simple visualization of a vortex that it will take a little long time to create in into thee so let me just quickly show how that was seen from this you know from cinema 4d and I'm not gonna go too much in detail because I still have I still want to touch in a couple of things but as if I press play and I would say this is an a slightly more complex way to operate because these particles are being emitted from this circle and they are shooting through the camera and then there is a wind it's a win affecting these these particles and creating this turbulence so let me just like I'm just living it loading a little bit because it's a first time but if I click render BAM it renders extremely quickly we can grab this we can put it into our compositing software play with the colors and we will get to do will get the exact same but if you look at this if I you know change this camera as you can see when it's lit when we see this from the side this is just done with some thinking particles and you know again cloner as you can see here this cloner is going to this little tube and little cue that if I just like want to see it from the side you will see the exact same things but when you change your point of view from from a very you know from a very defined angle you get these effect again I'm not gonna go through how we get to do this I think it's extremely simple to create particle systems as well within cinema and then playing with thing in particles but I just want you guys to get the point that just to create this thing in the middle that's what we use and it was very easy and quick to do and we could iterate and then we can later on change things in After Effects or in new changing this colors changing the displacement and different things I want to talk about this a little bit as well how we prepare some render passes and for that I want you you know I want to share with you guys some of these breakdowns on how we get to create some of those screens seeing them from the beginning and kind of breaking them down on all of these different elements because whereas it's very important that once we are on set with the directors and production designers and even when we are trying to visualize something with them and they're sitting next to us and they want us to change something we cannot afford to then say oh let me render this again wait two hours and you will have it they want to see it there sometimes you'll have actors that they are you know very expensive to have in that in that scene waiting because they wanted you to highlight a different point on this 3d we don't have the luxury to say oh let me just go and render farm this out so what we do is we just like segment all of these layers that you will see here on all of these different passes so we have more control later on without having to re render those scenes and it's extremely simple right like it's gonna be selecting some of those points creating masks and then being able to add more color change the color at you tweak things into these different passes and get into these visualizations you know that again those ranges will be seen as something mega but they are not really and let me just quickly jump into how this is seen from the compositor the compositor view in this case you know we have these listing here let me just actually show you guys how this works so then we added all the UI and everything but we start from rendering these elements in cinema 4d and rendering these different passes and then because we have all these different passes that I can just show you we can then quickly just change the color change the transparency of this we already have all these passes rendered and all these animations you can see here how which is like rendering from like different colors different reflections glass pass x-rays wireframes different ways just like to visualize these elements and how later on this bullet let us like play with it and and that's that's what I want to show you today here if I just go into here I can start showing you guys how we can solo these things and you will see what I mean like these passes are different and they are all separate and they'll you know it looks okay sorry then so he's asking for a neon okay so I would just want to show you quickly how just getting into one of those passes and changing the color can affect the whole the whole design sorry that I just have to check this so yeah let's go into these bus and let's just grab maybe these lines these lines are already being tone into a color but let's say that we want just to change these because something bad is happening as you can see we're already having having completely different look maybe one a warning sign next to it something wrong is happening but we have all these already rendered and then that means like we can just play with it we can just change the whole you know the whole value of this maybe maybe we're next to the director and he wants to try something else we don't have to go back and render things and and that's why then it's so important for us to have like this versatility with cinema 4d rendering different passes because then we can get to do these things and again these goes also for you know some of the lines some of the point point clouds that we get from the health cell render or or hair render they're extremely fast renders but when they are all combined they create something that is truly like impressive to to some of these guys and and we did the same thing here let me just quickly open this wing screen just to show you that you can then select different points of this very intricate model and you know we might want just to focus on this part of the spaceship but then we might mean what we might want to just like render this section here as an object buffer and that will allow us to then without having to rerender highlight something in that you know in that in that project and I think that's that's pretty you know pretty important for at least for for us that we have to be very reactive and pieces might not be the same for a VFX pipeline of course but for a designer to be able to iterate and go to the clients I go to the directors and show these things it's an extremely powerful so we can just like quickly also open a couple of other things but you know you will have this and you have the ability to then also like look at what's what's highlighted what's pulsing just because we could render these different passes so if I go to this way you will see here how I can select this thing and this can be like quickly animated within our compositing software without having to render some of those things and what I was saying you can change the color later on you want this highlight to be blue there you go that is blue now it takes nothing and so that versatility I'm having different scenes within cinema is great and the last thing you know again how some of the stuff that we've been creating let me just go back quickly to my keynote some of the stuff that from ready player one one of that scenes that you guys will recognize that was all created within cinema 4d and and I want to just show you a little bit of the process and how some of these this this particular scene it's all done in cinema 4d you will see here some of the early stage and and some of the concepts I believe like the London office I ended up working on 260 versions of this but all of these was allowing us to quickly iterate with the director and showing them you know showing everyone there what what it could be done even even things like the ready player one or the Oasis titles for that intro were created in cinema 4d so as you can see here some of the early previous different options on how we get through through that intro all done in cinema 4d so again from the knowledge of a motion graphic art is jumping into some of these tests and some of these things it's truly awesome that you know we're integrating all of these through all these film pipelines so before I jump on this I want to open that file you know we have a couple of different files here but I just again just opening this for you guys to realize that some of these things is something that you guys could be doing at home maybe that will be a bit of a more complicated scene as you can see there's lots happening here but it is at the end of the day lots of again what we see here a step effector oh look a random effector oh wait a plane effector these are things that we just discussed like 30 minutes ago right and those things are being implemented into the way that you know the designers at the studio and everyone works you can see this is the tunnel and and he's just like flying through so I found that these things are relevant to also artists that want to have an early you know a bit of a more easy in access into a 3d package cinema 4d by all means is the most friendly user interface that you can find as a you know as a non 3d artist to start getting to some of these solutions so I mean I could be here for ages but I think we don't have much more time for it so I would say you can reach me on Twitter your Marty romances or we you know I'm also like on territory studio feel free will like feedback we like people just to ask us questions and and you know send your works and same what you guys doing because I think again like we really value like how designers get out of their comfort zone and cinema 4d is for sure like one of the best software's to just get into 3d and getting to do some of these stuff so I would say thank you very much things everyone at home just you know come check out our website you know thanks for coming all right [Applause] [Music]

Channel: Cineversity

Views: 46,327

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: ky3vawOQxeA

Length: 40min 9sec (2409 seconds)

Published: Fri Sep 07 2018