Siggraph 2018 Rewind - Matthäus Niedoba: Behind the Voxels: Bringing Volumes to Cinema 4D

i'm mateus needle bomb so I work as a user experience designer at Maxim and today I want to bring you a bit behind the Vox so it's all about volumes and r20 I want to show you what you can do with volumes I will show you a lot of use cases and also bring a bit behind the scenes how we made design decisions how we develop in the future so let's start maybe move the first thing what you can do of it and in our 20 it's all about modeling we looked at a way to create give you an easy modelling towards it so this is an example what we got from our development process this is from Glenn Johnson he's currently demoing there to aim D booth and he's a very talented modeler and he made this mechanical object using only primitive objects and volumes so no polygons were harmed in this case this is another example from AI expands them where they used volumes for this organic surface so they used them for creating these little tiny tiny veins and here's another example from AI expands aware they used volumes to create these toys and a good thing about is volumes by nature they are pretty smooth so it's not like a polygon modeling where you have this very hard edges so you have to bevel 80 and volumes give you a natural surface and they are pretty nice to work and to work with boolean operations so you can for example make this track and this is by nature giving you all these nice smooth edges so here is another example this is something I got from my colleague Glenn Frey so he was making these fancy slimy characters by smashing spheres and splines together then he used mixer mode to put animation on them and at the end he used volumes to fuse them together and I really like I really like this guy here on the left check out his great movements he's gorgeous okay this is another example this is also from my colleague Jana spilt and here you can see basically the workflow how he built this bottle and his fret so he used spheres he used to he used cylinders tubes cubes and then splines he merged everything together and also he didn't touch any polygons and isn't able to do a very very fast way of working and I will show you the basic workflow how he modeled this fret here so this is the basic workflow you have input objects polygons splines particles fields work as well and you fuse them in the volume buildin and this thing you do all your boolean operations you stack your objects you apply filters you can modify your volumes and then at the end if you're happy you go to the volume measure you create a surface you measure it so it can render it and then cinema it looks like this so these are the two basic objects I have here so I have my tube with a beveled edge and I have a helix object and what I gonna do now I go to the volume menu basically everything you need to know about volumes is in this volume menu and I grab the volume builder and I put these guys under the Builder and now I got a volume so here you can see these blocky objects and these are voxels and the most important setting in the ball build room is this voxel size here and this voxel size determines the size of each of these blocks here so if I go to something like 15 then of course the voxel size gets bigger less foxes are created and of course I lose a bit of detail so in this case I go off a lower boxercise to free so I get way more detailed volume and I can perform this nice boolean operations later but before I do that so I have the helix here what you see here first this is a layer system and you click on your object and you get all the conversion settings below this layer system and currently the helix is a bit blobby because a spline is created in a form of a particle convergence so cinema samples particles on a spline so you have to give it a high density but it looked really very smooth so here in a density we go for something like 0.5 and then we get a smooth object here and now I just need to grab it down it's fused nicely together and in my layer system I'd choose the subtract mode so I'm cutting out the helix from the tube and when I'm happy with that I go to the measure mesh it apply material and I'm done so basically this is a way how you would model a simple make a mechanical object using volumes alright so in my presentation I will show you another example how you made a more complex mechanical check again using primitives and volumes I will show you a procedural way of modeling organic objects we will model a cookie then I will bring into the design and development process from from the initial idea to the final developed feature and then I will show you the whole volume ecosystem and sending myself which volume types are supported this is gonna be a bit technical done and then I will show you all the use cases so what you can do with volumes I will show you how scouting got improved how we can make 3d illustrations using volumes how we can make a dual nature setup where you have basically two generative structures which are not intersecting with each other I will show you how to make an object dissolve using 3d noises and at the end a typical classical advertising shots where you put drops on a soda can so let's start off the first one we will model the screwdriver completely from scratch using primitives and I guess I made it in seven minutes so challenge accepted alright we will start with a sphere we will scale it a bit in z space and it's important to keep your segments count high this is because the volume builder does not in to take into account of Phong shading so you have to go high with segments so we use this cylinder now put it into z space move it here what I'm basically doing young I'm just blocking out my shapes so this is a modeling technique I would like to have when I was starting doing modeling so I will not touch any polygons here so let's grab this cylinder make a copy of it and Crees it make it this okay and thing you have to give to : more segments yeah okay when I got my basic shape now I think I will increase this one a little bit more make another copy and make it smaller here so when I got my basic shape I go to the volume and you can grab my volume builder I put all these objects under the volume builder and I lower the voxel size to something like free so in the next step I want to cut out a shape here to get a nice grip so for this I will use a cylinder and an array object and once you have five copies only rotate it in z direction so and I want to intersect the cylinder with the shape so this should be fine okay so let's put it to the volume now it's Union everything together and here I can go to subtract and I can cut out these shapes to get my grip so I will continue cutting shapes I will use a cylinder and cut out the bottom of it alright we put it here we subtract it okay and now I want to make a mesh give it a material to make it a bit more detailed I could of course first of all I will lower the voxel size so smaller voxel sides means more voxels in the volume go for something like two and to get rid of these jagged edges I can use something like an adjustment layer and layer based application so here I have these filters they are called filters because when you look here they are basically the same they are called filters and I use a smooth filter and this is a bit too strong so I'll go for the plashing thing with two iterations it should be fine and then the next step I want to make the shape a bit more roundish so I can use an address move filter for that I just have to reorder my stack here so this one should be filtered this one not this one should be also not filtered so here I can put another small filter make it Gaussian make way stronger settings and I think I can also go with a smaller voxel size so I get a more defined shape that's basically it I'm pretty happy with that okay we can start using the same workflow for the metal part so for this we use a cylinder again give it six segments in this case because I want to keep it sharp yeah something like this duplicate a cylinder place it here and here we gonna need more Oh more than 12 scale it down getting a cone that want us - see okay so now I'm happy with this I can make a volume from it we go this time for one because this is a small shape so we can easily go of lower voxel size and what I want to do now I want to make a cross screwdriver so I need to cut out areas here to give it like a cross shape and this is something I can do using a capsule so I'm using the capsule make it smaller bring it again to Z space place it roughly way I think I will cut it out and then I need 2 symmetry objects so one symmetry I will duplicate the symmetry and a capsule here T I will change the plane to X Z so and now if I set this to subtract basically the same work through like of the air I just need to tweak it a bit oops no to bring it closer and rotate it by a fing 10 and 10 was fine yeah I currently I need to bring the cone a bit closer so when I got across so let's mesh this and yeah we need a bit more detail here I can't even go to the 0.5 this should be fine and this is looking pretty good I think I don't need any filtering in this good we give it a metal shape and we are basically done um you might want to ask you how is the mesh looking like in this and it is pretty dense I mean I can zoom in here turn on the wireframe and it is pretty pretty pretty dense but I have one solution in the volume measure I have an adaptive slider and this is decimating it down so I could even go crazy with that but I usually fair recommend the value of 1% so 1% is really not creating any artifacts and you lower down your polygon count it still tries to maintain quads which is pretty nice when I want to apply deforms on that so let's apply a twist deformer let's get a twister make it higher here rotate it to 90 degree put it below the mesh room and let's say you want to play a round of the shape you want to twist down the shape of your object you can go crazy with that maybe 90 would be fine and now you're done this is how you could make a mechanical object using volumes and primitives only the cool thing is it's a complete procedural set up so you can change objects I mean you could move the cylinder away so do your bottom part it's gonna be added again so yeah you can play a round of it later it's pretty cool alright now we build something tacky let's go and make something tasty so we're gonna bake some cookies with volumes so I will show you through the setup because building it from scratch will take a bit of time and I have so many exciting stuff to show you but I try to make it quick so we start with an oil tank primitive you will use an FFD deformer to bring it more into shape and then I use a displacer to make it more organic and to get rid of these holes here I will use the connect object alright now we are ready to bring it to a volume builder so this is now converting to a volume and that's the the issue what you get when your segments count is pretty low you see all these facets here you have multiple ways to solve it we could increase the polygon count in the oil thing primitive we could use a subdivision surface but in this case we're gonna use a smooth layer because this is give me getting closer to my desired result in this case now cane what I want to do now each cookie has these cracks inside so you could make them for example on a mesh using a display certain noises but we can do this directly in the volume so for this we will use fields and fields and volumes they work pretty nicely together so I have a random field I will give it a noise I the motor set to noise and I will choose a luka noise and watch what happens if I turn it on it's basically created these cracks inside and I use the fields in the objects creation space so per default is gonna be a box because the field isn't infinite thing so you give to ya give you have to give the field some boundaries to work with them and the box will give it a predefined box and objects will use any kind of objects below the field here in the layer so and at the end I set it to subtract because I want to cut these cracks inside okay so I can mesh it apply a displace or at the end and I'm ready with making a dog of a cookie so let's give it some chocolate for chocolate we're gonna use the clone and platonic switch we scatter on on the cookie and to make it more organic we convert them to a volume apply a smooth layer and at the end we add a measure so far so good but there's one issue so when i zoom in here I can see this intercept intersections you could use a correction deformer scalped them out but we want to stay procedural and there is a simple trick to get rid of these intersections so I can get good I will go to the volume builder of the dough and I will put the cha click mesh in the volume build of the dough and set it to subtract give it a moment to calculate and now it's subtracted everywhere where these chocolate guys are these little nuts whatever they can be they are trying to intersect it's cutting out the volume so you get rid of intersections and this is a fully procedural set up I mean I could change this for example to the cookie yes sorry I can change the oil tank to the figure and now I get a cookie figure it's almost as good as the one from Shrek but ok let's go back to the original one and let's make it a bit more tasty I mean every nice cookie needs some glaze on top and you can do this with volumes as well so for this I prepared a setup of an empty spline and when I use the sketch the sketch tool with polygon snapping enabled I can't sketch over this cookie like a guy in the bakery would do okay let's give it some more and when I release the mouse it's creating a spline which is converted to a volume and then to a mesh and I get some glaze and again to prevent these intersections here I will grab the Builder yeah the Builder of the the glaze and drag the measure of the chocolate and then subtract it so I'm getting rid of all these intersections and of course for rendering you can lower the voxel size that you get a better quality mesh but that's basically how you can create procedural models with volumes okay I want to bring into the design and development process this feature started of course by an idea and ideas usually come from every and mostly they come from from guys like you we have better testers so they submitting us with a lot of ideas we have conferences like the cigarette where we are collecting usually ideas by talking with you we have online service we are doing studio visits where we go to people and people they give always suggestions what we could do what you should implement and so we could also the request of looking at the open VDB technology because it's a great technology for meshing so and luckily one of our developers he took the initiative to try this idea out so he built a prototype where he was taking the open VDB library and could he do he could do some vox the convergence so he could convert particles to voxels and then to vol.2 measures so this was the first thing he was creating so he could he had a particle setup and then he was converting them to voxels and then to measures and this is something he showed up to to management and luckily everybody saw the potential in it so we said okay we're gonna make a feature in our twenty with this when we had the decision to go for it we started to form a team features are delivered by teams and usually a team has at least four or more people so you have a developer who is implementing the feature you have a quality assurance engineer who is making sure that the feature is stable by testing it you have a designer who is making sure that the feature is easy to use which was my role here and you have a product manager who is tracking and keeping we deliver on time so when we found the team we did brainstorming we know that we have to build the foundation of this feature set there were no other option before but you could use boxes and cinema so we were really thinking about okay how to make it right because we're building the foundation and we spend most time of working on the volume builder because this is the generator you were working on mostly we thought about multiple approaches how to do this and the first idea was to go for a more graphic program you have a cloner it takes objects as children and then it uses effectors to modify them and for volumes it could look like this you have the volume builder you use objects as children and then you use filters instead of effectors to modify a volume it was a nice idea but the problem here is that you are pretty limited basically you can only manipulate the volume only at the end so at the output that's what we thought okay we have to go for another approach let's go for the metabolic proj I mean we have the metaball object and then you use all these objects as children to the metal bomb you apply text and these tags control basically the influence of the metal bone so for volumes it could look something like this we could use a volume tag and in the volume tag you would apply the boolean type it was okay idea but the problem here was it's all about clicking I mean for creating attack you have to go to the tag menu you have to create a tag on the object and then you have to click down in the attribute manager adjust your settings and you have to go back to the object manager select your tag and you a lot of clicking procedures will slow down your workflow and this is something you wanted to minimize so we want to give you let's say a very feature that you can work fast with it and then we thought volumes are basically like pixels in 3d space so why not go for the same workflow like a pic space application is doing it so we went for layers so that's the final result at the end you have a layer system which is evaluated from bottom to top you can use folders to group your objects together and you can use kind of adjustment layers like filters so you can use smooth and reshape filters smooth smooth out your lavaca volume reshape foetus will inflate or deflate your volume the good thing is once you click on an object all your settings appear here below so everything is pretty pretty compact so this was one thing we had to make these kind of design decisions the next thing the next big topic was how to deal with complexity when I started to work on a project I fought at voxels they are just picks it's in 3d space and the problem is it's not really like this I mean the key thing is performance when you think of a 2k pixel image the 2k pixel image has 4 million pixels a 2k volume when you bring this to the fur dimension has eight billion boxes and unless you don't have any really superpower computers it's slowing you down but luckily open VDB brings a lot of tools to optimize this huge data set so when I started to work on this project I heard to learn about scientists since fields isosurface extraction half-bent voxels marching cubes volume grits space representation CSG boolean s-- and it was all a lot of complicated stuff which I thought ah how can we deal with it and still make it simple to use so we said okay let's expose the parameters only when you need them so in most cases you only need to deal with the volume type in the voxel size for example when you want to do modeling but when you want to work with fields and in layers and sorry with fields and filters and you're running into performance issues sometimes you have to tweak these voxel ranges so we try to simplify it but we didn't catch the functionality away so that you always have access to these parameters another way of making it easy to use is using the existing cinema for the echo system so basically polygons and cinema simple objects they can be modified by deformers which you put under the polygon object and by generators which you prove put above these objects for volumes it's pretty similar so you have a basic volume object which contains the voxels then you have the filters which work like deforms you stack them under the volume and then you have generators like the volume measure which are generating something in this case a mesh so these were ways where we tried to really simplify a complex technology however there is a bit of technology that would still have to deal with and these are basically the volume types so cinema and cinema you can work with two volume types one is dedicated for more graph and one is dedicated for modeling for modeling you would use a sine distance field a scientist ins field is a bit counterintuitive it's not flooding the object completely with voxels but it's creating layers of voxels around the surface so it's creating voxels on the inside and boxes on the outside of the object and if fun the good thing about is it's really good for boolean operations and for meshing so you can create really precise measures from these volumes a fork volume however it's a bit like you expect it's flooding the object of voxels and each voxel stores a value between 0 and 1 and this is pretty nice when you work with fields for example or use in any kind of more graph setups so I would like to show you how this is done in cinema so here two example representations of volume objects in cinema here on the left side we have to stand for bunny in a scientists field representation which is represented also as a basic volume and on the right side we have an explosion which I got which you can get from simulation applications I could be named and this is represented in the farc volume so and the volume you can see basically these little dots and they have a grayscale value and higher values mean that the value is closer to 1 and darker a darker color means the value is closer to 0 so when you look at the signed distance field you can for example measured as I did before in my examples so we can apply the measure and you get a pretty nice accurate mesh from this volume you can also mesh volumes so you can get pretty nice effects of that like something like this but a more valuable use case for volumes is to use them for example with fields by the way I got the volume with the volume loader so the volume loader is located here and it can stream really beat sequences what I can do now with this for example I can use a matrix object which is full of blocks here and I can use the volume loader to scale these blocks using a plane effector so when I have the plane affect on it's set to scaling it will scale everything down by minus 1 when I turn it on I need to push the volume loader and the fall-off currently the scaling is driven by the volume loader I have to invert this effect maybe make it invisible here and this is something you can drive this is an effect which is driven by volume so you can also apply a delay effect so that it gets more smooth ok so we're done with the technical side let's go through some use cases so the first thing is sculpting sculpting got enhanced with the volume mesh command in our 20 so we have the volume as command here and a valid case for it is when you want to fuse something together so for example I want to fuse the bolt to the neck of Frankenstein and polygon modeling it will be very uncomfortable but here I just need to select these two objects and apply the volume as command and what it's doing under the hood it's converting these meshes to a volume and then converting him back to meshes so now these things are fused into one object but let's say I don't want that I want to cut out the intersection where the ball in the neck are intersecting so in this case I will go for the settings on the volume command we leave it like it is and as keep objects keep objects is creating me a set up with a volume builder and the volume measure so here we have our volume belgium and in the boolean operations we set it to subtract so we are cutting out the bolt from the neck i duplicate a bolt oh I didn't want to duplicate a builder and currently I have this man yeah not so beautiful I'm jacked edges here and I can smooth them out using fields so in the builder first of all I create a smooth filter now it's of course applied on the whole object but when we go for the field section we can move the bolt inside and it uses when we click on it in points mode on each point of this bolt it creates a mask in the radius of 20 centimeters so basically here you can see the dis moving is only applied only around this finger which is pretty nice so at the end you can make the measure editable and continue scouting on that okay so let's go from sculpting to some 3d illustrations this is an image I got from younger he's a very talented cinema artist and he made this image completely using volumes and he was so kind enough to give me the scene so I can share it with you so when we look at his scene let me go first to start up layout and then up me and see I want to look how he built the ice-cream parts of the boy here and the most interesting thing is how he built the ice-cream on the spoon so basically he just used some splines and sketched them around and he converted his splines to a volume applied some smoothing so this is basically what you get directly out of it and if some smoothing and then at the end the measure you get a nice creamy looking shape so the same technique is also used for the ice cream on the head so in this case he used a Hilux stand the sweep generator to block out the basic shape and now of course because these are method measures than they are intersecting with each other but when he converts it to a volume and then to a mesh all these intersections are gone basically so the first thing he did was using these spheres to cut out a hole here on the ice cream because this is where the boy is taking the spoon taking out the ice cream and offer to the girl so this is the basic shape and then with some smooth filters and the reshape filters he made it a bit more creamy so at the end he applied this deformers on the mesh to bring it in the right position and a banty former to pose the character and this is the basic workflow for everything for also creating the ice here for creating all these other objects around this is the same workflow for everything here here's another example also from younger where he used the same work for to create bottles like more product design fashion way and these carvings here they are also made using splines which are cutting in the volume here is another example from Aran barreras he used also the same workflow to create the slides here is an example from la sala which is getting more abstract way and he used volumes to combine these spheres together and we want to stay on the abstract way and we want to create some generative design so I want to show you how you can create this dual mesh setup using volumes and more graph so let's jump into cinema so you start basically with a sweep generator with a spline and a circle and what I did here and the details I rotated it so this is the default setting what you get and I wrote I did to get a nicer edge flow so if the polygon reduction I'm giving it triangles and for this place I make it look a bit more organic so this is the basic shapes where I can clone arc splines on it so I will use this arc here you can see it I can zoom in and this arc is gonna be cloned on these edges here so I use a cloner I said it the distribution mode to edge I'm using the Kinect for everything and I say scale on edge and currently all of these arcs they are created on the outside of this tube but I want to have also some on the outside and some on the inside to make the shape look more interesting and for this I use the formula effector which is rotating the arc by 180 degree and a formula effect one needs of course a formula and in this case it's enough to just type in I D so basically it's using the ID number and multiplying it with the rotation so if this is a value of 1 then the rotation is going to be handled 80 degree if the idea is the value of 2 it's going to be rotated to 360 degrees and so on and so on so when you turn it on you get these arcs on the outside and on the inside and this is pretty fine to create the mesh so I will make the connect invisible I will turn on the volume builder so I used it in a volume builder here and I use a matrix object and the matrix object is also using the connect object in vertex mode and on each vertex it's creating a matrices so I can get these nice bubbles here and when I mesh this I'm basically done with my structure the cool thing is it's completely procedural and it works interactive when I select my spline and I'm dragging around with my spline here the structure is automatically adjusting to it okay so let's create the green shape of this for this I will bring back my connect object i will use a Voronoi fracture when you use the same input source and the same distribution source and the Voronoi fracture it's going to create some nice honeycomb patterns and you only have to go to the object tab and offset the fragments and then you're done with blocking out your basic shape the next thing what I would like to do is convert this to a volume and here run into an issue the volume needs a closed object to support voxels in it so index if the fracture I currently have yeah I have a plane I have a flat object but it wasn't work around I could do so let's let's show this by a plane so we have a plane you will use a volume builder and the volume measure and of course by itself there is nothing created because the plane yeah it's not a closed object but we have the option in the volume builder to use mesh points and if we lower the voxel size here I can use the mesh points and use this maybe with a size of seven it's using the points on the mesh and treats them like particles so in the plane for example you can go high off your segments and point count and then you have a way to build a wall all right let's go back to the dual mesh because this is the same technique we're going to apply in the Voronoi fracture we will not use the subdivision surface of or something like that because in the Verona fracture we have this detailing tab so when I turn on the wireframe when I enable detailing you see that all these triangles are created of course and all of these points are created and these points I can use in the volume builder so I use them in the volume builder the Voronoi fractures using the mesh points with the radius of seven so the next thing I'm gonna do I'm going to use an instance of the cloner and the matrix to subtract them so that I prevent any kind of intersection I can mesh this as well let me turn off the wireframe and to make the shape look more organic I can use a reshape filter in close-up mode so when you add positive values in the close-up mode it will close holes in a volume it's basically gluing voxels together which are close by each other so when I turn it on I'm kind of gluing this easier address here together all right the last thing I want to do I want to mask this so I don't want to have to Green the green shape to be on on the whole tube I want to mask it out in a certain radius and for this I will use a spherical field so the spherical field I dragged it before in the volume border and it's set to intersect when I turn it on it looks like a mask so I can mask out the green shape here and destruction the nice thing about fields I can use one field and multiple deformers effectors of volume builders so for example when I go to the metal structure I want to shrink it a bit together where the green shape is appearing so I use a displace here with the height of minus 2 so it will inflate it will deflate the mesh I use a yeah white color for water shading and for the fall of I use the same spherical field when I turn a displacer on then it gets shrink down in these areas with the green shape is appearing and so in this way you can create a nice interaction between these two structures so for rendering you would lower the voxel size that you get a better detailed mesh in this case okay that's it about dual meshes we will go to something again abstract and involve the fields so I will show you how to create 3d noises and how to make this dissolve effects so first of all creating noises is pretty simple you need a random field you need of course a volume builder and a volume measure you pipe them together let me and make the fields invisible and this is basically the shape where you start so in the field we will set the mode to noise purlins is currently fine but we increase the scale to 500 in the Builder we will now we use fog and we go off the size of free so when when I go to the measure I have this Vox the range fresh hold and as I said before a fog volume is storing a value between 0 and 1 now when we look at the fog volume we can see this grayscale area so areas which are darker and they are caused by the noise and the measure if the measure you can adjust the meshing based on this grayscale value sold you apply and you can play around to the threshold so you can create this dissolve effect and you don't need to do this only in this year you can we could also use another direction for that so we can use a linear field put it under the Builder and in the Builder we set it to add so in this way you can control also the direction of your dissolve effect you don't need to stick to cubes we can for example use any kind of object like a platonic put it under the Builder now I have to reorder the stuff so I put a platonic at the bottom and in the field I will say it change the creation space from box to objects so the fields will use the Platonic as the creation space because fields are infinite basically so now I can dissolve this platonic and at the end you can play a round of noise settings for example we can choose from purlins to electric and we get this nice dissolve effect so in this effect is something we can apply on something a bit more complex like this catch model by the way in our 20 we have also the possibility to import catch models so you can import ideas or step files and I did this with this CAD model so what I will do I will use a field setup to make a dissolve effect on this CAD model so I have a cone field a linear and the random field and in this case they are animated so they are animated from bottom to top and they will dissolve this CAD model so we convert this model to a builder for volume this is a rough representation of the CAD model in the farc volume and then under my builder setup I use the group field and the group field is combining all these fields what I did and now if I scrub up and down so the group field is building up my CAD model when you turn the measure on we can see this better so this is a kind of a dissolve effect you can't create on any kind of model what you want soin currently it's in the preview mode so because the boxes that is pretty high if we would lower this down I would not be able to play this back smoothly but what you can do you can use the Alembic exporter so when you do the right-click you have this bacon the lemak function and that did this in advance and this is the same setup just with a lower voxel size and this is basically the end result you can get and this is been cashed as a lambic me and again this procedural basically you can put in any kind of object that you want if you have to setup ready okay so my last example for today is how to create these drops on a soda can that's basically a typical advertising shot you have to do and there is a nice way to use volumes and matrices object to create these drops so here's my soda can and they used two different matrix object the Builder the volume builder is treating a matrix object like a particle sauce so you don't need to worry about particle count you can go pretty crazy in the matrix object the Builder can handle this so the first case I used a matrix object with bigger drops when I turn them on and you can see that they have different sizes this is because the volume builder takes also the scale into account so you can modify your scaling with effectors for example like the random effector and the Builder takes it so you have to adjust the use particle scale so this is my matrix object if I don't use the particle scale to scale everything to 1 centimeters and here it's taking the scale defined by effectors so in the next step I would like to do some strokes because when drops they are going down by gravity they create some kind of these strokes for this I will turn everything off I used these tracers so before I had a matrix object and I traced the matrices down I was animating these particles down and I was tracing them and I can put them in the Builder together with these big drops and this is the blocked shape what I get so the tracer is you are using a density of 2 which is fine because the Vox this is low but to make it more natural I can use a smooth layer and it will killed some of my drops but on the remaining drops it will fuse them nicely together and create really these natural-looking drops here so and if you want you can add another matrix which wait more drops whoever just skated very small so we can yeah add a lot of drops on the scan we are almost done here there is only one problem it's again the intersection problem so normally these things are intersecting and we don't want that but the same we use the same workflow like in a cookie example we are taking the builder of the drops and we drag the model of the can inside and we set it to subtract we give it a moment to calculate and it's basically it's done so when we zoom in these intersections are basically gone I mean there is some fine-tuning we could do but I just want to show you the principle how this works all right I came to the end thank you so much for listening I hope I could help you to give you an idea what you can do with volumes thank you so much [Applause] [Music]

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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: coLAWYJ1Jjc

Length: 45min 53sec (2753 seconds)

Published: Thu Aug 30 2018