Siggraph 2018 Rewind - Robyn Haddow: Using MoGraph to Create Ant Man's Tech

my name is Robin hat oh I am a freelance Fantasy user interface motion graphic artists for film and TV I've had the pleasure of working on somewhere upwards of 35 different productions of which some of my favorite include ant-man and the wasp that just came out a few weeks ago guardians of the galaxy vol 2 and spider-man homecoming so I have put together a short edit of some of the work that my really good friends deca digital aka Corey bramble and Scott Higgs they're both made it out of work to be here in the audience with us today so we'll take a look at some of the process of ant-man in the walk [Music] [Music] [Music] [Applause] [Music] [Music] thank you thank you very much all right I call this presentation building assets for production because I'm going to be breaking down some of the tech that I made in ant-man in the wasp specifically in Hank Pimm's lab some of the tools that I use to create this some of the main modifiers behind this are the X particles network node alongside some some of the mograph features which include poly FX shader effector random effector as well as some spline based cloner driven nulls so let's take a look at the clip we will be breaking down here we have what I call the spatial anomaly matrix and the concept for this screen was to come up with some kind of circuitry that sort of lived beyond the tech of the suit and was sort of like the inner workings on some sort of like underlying technological heartbeat for the superheroes so as I said the main modifier behind this out of X particles was the network node modifier and I use poly fix shader fector random effector and for all of those flipping icons I exported some of the 3d spatial data from cinema inside for use inside of After Effects so let's take a look at how I made the inner circuitry just so you're familiar and you can get a overview of what my cinema scene file looks like here is the animation sequence in full inside of my cinema of you port as you can see everything runs in real time super fast and it's super light which is why I love working with splines and specifically the hair render which will hear me talk a lot about today so let's take a look at how the inner circuitry was built gonna open up a new seed file new scene file and drop in an X particle system object here I'm just going to disable the icon in viewport so we don't have to look at the logo for the duration of our scene and I'll just play out our emitter in its default state we're gonna go into the emissions tab and change my mission mode from rate to shot I'm going to want to turn my shot count down to something like 24 and so you can so you have a little bit better of so you can see it better for everybody in the audience here I'm gonna change my editor display from dots to circles so now you can see how my particles are working correctly and I'm just gonna change my timeline here to give us a few more frames to work with something like 20 seconds so you can see how my protocol is it amid emitting exactly how I want in one 24 shot count so now that we have that I'm going to add a trails generator in the generators tab trails and pipe in my emitter in the emitter drop down if I hit shift F + f8 to refresh then play my steam file we can see now how the trails object is drawing out the particle path of my emitter of my emission sprites which is exactly what I want so now that I see that I have a sort of live draw effect happening I thought it's time for the network modifier because I knew that the network modifier how it works is it lets particles move in a 3d grid like fashion and because I was referencing circuitry I thought that this would be a great place to start so we'll go into my modifiers tab and under the motion modifier tab ad network node will hit shift up shift up in f8 and bam right away this is the 3d grid like movement that I was hoping for and as I was sitting there and I was watching the particles draw out it's kind of meditative and calm as you see them sort of moving along their splines and I was kind of like a hypnotic I really really liked the pace but knowing that I was creating a piece of playback the number one requirement for this is that everything has to loop so I thought well this is not exactly going to work for those needs and also I found that the paths if I pull back in my viewport a bit they're just sort of drawing out themselves into infinity so while that was cool I knew that I needed a way to control my spline paths so I began to explore some of the options that were offered inside the XP network node and the operation that I stumbled upon was called inside volume and the inside volume operation is really really powerful because how it works is it lets you pipe any piece of geometry that you want inside of your inside the inside volume channel and which I will go ahead and do right now let's use a cube and drop my cube inside the inside volume objects tab I'll just disable the cube from my viewport hit shift F and play through the scene and now as my simulation is playing out you can see that my spine paths are being contained inside the boundary of my cube which is perfect that's exactly what I was looking for and also a sort of happy accident that came out of this was I you can see that the circuitry that are now that's now being generated is creating a more dense and a more complex looking path which then led me to believe like what if this sort of underlying piece of technology was we were looking at it through like a keyhole and it was just a slice into this like massive technological heartbeat and you only get to see a peek so the thinking behind that was then how can I come by I sort of was actually now missing those the boundaries that were served drawing out into infinity and I sort of liked the composition actually that we saw and so I thought well how can I achieve that sort of keyhole peek into something bigger effect so I edited I made edible I baked down this live simulation the other factor being I knew that I needed to make a loop and this live draw was just playing out in more of a refreshed fashion so all right clip on my system object and say current state to object wherein it bakes out it makes a copy and it bakes out my simulation into a rendered spline so now I was playing with my actually have it open so you so we're going through like a cooking show version here I had baked out my simulations of my standard operation network node simulations as well as my inside volume mode so you can see that I have the combination of the simulation where my live draw was growing beyond the bounds of the cube and it gave this really nice beautiful like dense concentrated 3d grid that could serve as the main circuitry for the slice that we were gonna display so I sort of was like well how what am I gonna do with this like wow this looks super cool I I knew that I needed a loop and I just this is exactly how it happened I was just toggling around the viewport and I really really liked all of the do rent geometric lines that all the various compositions from looking at it essentially through different camera angles so first thing first I was like okay let's check one of my must-haves awfulest and let's lay down some keys and build my basis my loop basis out of the camera move so I drop a Cameron did seem parented it to a null and keyframe some position and rotation properties aha out of Dodge I've got my loops therefore I knew that this was something that I could actually use but now and I was looking at this like we saw in the when the simulation was live even though they were just for display I really missed the look of the particles following or as it were drawing out on the spline and I felt if you could look at this it feels a little bit flat I wanted to have if we're talking about a technological heartbeat where is the pulse so the answer to that I thought it was a cloner object I'll put a cloner object into the scene and what I really really love about the cloner object when you are working with splines in object mode is that it opens up a whole secret other palette that you get access to so I'll put my cloner into object mode and I'll drop my main network I'll drop my main network spline into the object tab and oops well I'll just hit shift C and grab a null object IO in my customized layout it's always a living up here in my toolbar because that is my number one go to inside of cinema I don't do anything without an object so we have to have that right where you need it so we'll nest that under my cloner and now you can see I'll make my sphere or I'll make my null display a little bit bigger so you can see it and now you can see that in the object mode when I pipe my network spine into there right away look at all verts that I have on my spine there's so many so the cloners are going to each one of those verts which I thought was cool but in this instance it's now taken away from the point of the scene and sort of what I'm trying to tell you is gonna be the beauty is the inner circuitry so what I do in the cloner mode is I'll take off the per segment and now it gives me access to or it disables going on to all of the verts and it gives me access to a global count on my spine wherein I can have a controlled number in this case let's take 20 so it's something that it's a little bit more manageable and we can see and also within the spline when working with splines in the object mode is it opens up this rate slider which is really really awesome because if you put a rate value that's divisible of your timeline there and again you can have a looping effect with your particles now the other thing too is if you want to be a little bit more particular about the placement of where your particles are in your scene when cloning on to the spline is that you can play with this offset slider that lets you or gives you the ability to art direct the placement of your particles a little bit more so now I knew that I was going to be attaching something to these nulls inside of after some sort of a graphic and I wasn't exactly sure what that was gonna be at this point but as a safety I always like to take out whatever information I can from cinema and bring it into After Effects so I have options and in order to do that we'll just right click onto our cinema 4d tags add an external compositing tag make sure that children is enabled so we get all of our 20 clones that we stipulated in our object mode and in our render output settings sorry in the save settings you have to make sure that the Save checkbox and the include 3d data checkbox is enabled for your AAC file X Forte's so the other thing is - is that by default the splines do not render out of cinema we're just looking we can just see these splines in our viewport so how are we going to visualize that and again I might go to another one of my Cochise is the hair render engine and Cinemax it's so fast it's so light and you can generate results in less than a second so what I'll do is I'll just erase my tags that I had previously on there I'll select both of my splines right click onto my hair tags and throw down a render tag which automatically puts it into a line mode which is gonna work in our purpose and I'm going to create a new shader hair material that will turn off the specular and here you have access to customize your thickness let's choose something like 0.8 as a starting point as well as you can customize your color you don't have to be so picky or particular at this point with the color because we can take care of all that sort of stuff inside of After Effects but just to keep it consistent and do something nice I will put my I made a thicker and a thin one with a thicker root value and one with a thinner root value and we'll put each respectively on a spine so now when I hit render you can see the hair render hair renderer in action and that is what will be exported out of cinema and into After Effects so let's take a quick look at my air at the piece of playback we will we are recreating at the moment and as you can see the nulls that I assigned the compositing tag - I made a flipping animation like a flipping icon sequence inside of After Effects and catched a little tag to it that is describing it's 3d spatial data to make it look like it's actively calculating and returning values of where all of the nodes are going so think back to our viewport those splines those hair splines looked a little flat and what I sort of again and when I sort of criticizing what I was doing through going through the process here I thought well how do we know it looks this was a if we look at my scene here and we play like how do we know how like how do we describe this looks very flat how do we know where all of the circuits how do we infer that it's a part of a bigger environment and I felt like we needed to have some texture in there and texture in 3d space to infer part of the environment and what that would look and feel feel like so I started to play around with what sort of a cage or a light textured dimensional cage element could look like and like most things in cinema it all started with a cube so I'll drop a cube into my scene and I'll just hit NB so we can see it in oops I'll just hit and B so we can see everything in wireframe mode and actually so you just don't have to look at grey on grey we'll use a color and I like yellow yellow is my favorite color so let's make it Orange orange is my second favorite color that's better we'll go into our object mode and just so we have more face access more polygons to play with I'm going to change my segments up to a value of 10 holding down to control you can pipe in the same value to all three of your channels and with my cubes still selected I'll hold down shift and drop poly effects mograph modifier as a child of my cube and this is what gives me access to manipulate all of our faces so with the poly effects my effecter selected I will start to manipulate the geometry in this instance I began to play with a shader effector that's also one of my go-to and my favorite ones like the de former because you can pipe in C for these procedural noise and therefore you have an access to a loop so again I'm always thinking about what I I'm building out my things in a way where I know it can loop otherwise you'll build something that could look really cool and doesn't work doesn't fit the brief it doesn't work it doesn't matter so well turn-turn out my position parameters again just because I'm going to be looking for a little bit of texture and I started to play with this position in Z depth and this the scale parameter and like I don't know like there's something to me about a really nice-looking mashin when you see all the polygons building on it just doesn't get old I think it looks cool I like it I want to see it all the time and this started to add that element to my scene which I I was liking however again the uniformity is boring and so I thought well ok I'll I'll start to play around with some of the fall-off options that we have firstly number one being a sphere and with the fall-off you can see how you are able to control the strength of the effector and how it manipulates your geometry so again this was like super organic process that one thing just sort of when I'm just sort of playing sort of leads to another and I thought this was really really cool now if we think back to why I'm here like in the first place and what I'm doing I'm just looking for texture and these phases are occluding my the focal point of my design so how can we customize the fall-off even further so I started to play around in the spline graph so I'll just add a couple points and select a a spline preset linear mode to get rid of all those busy a candle handles at this point I just want to open up the option to have a whole bunch of points we're holding down command I can drag as many as I want so now you can see that when I'm manipulating the fall-off I have like point control over how the values of the like the strength values of my the parameters that I input are affecting the geometry this is really really cool and it's this is where you start to play and it gets super super fun so I thought well now maybe I can stack some of my effects some of my effectors and have the sort of effects layer or build upon each other now that I've done some of the hard work so we'll duplicate my shader add it to the poly effects effector list and maybe like rotate this one around maybe duplicate another one add it to my poly effects and scale this one up a bit oops that scale it up my scaled up my poly effects scaled up our second one and it was just sort of more it was more I guess sort of how a really good model or feels when you're just sort of pushing it and pulling the points in a way where you have total control so I'm just gonna flip back to my spatial anomaly matrix that I have and give you a quick render preview of what and final I built and you can see how these elements of the outer cage just served as again texture and just super fine detail I ended up adding a cloth surface to some of these the inner points of my cage here which if I just select my cube go simulate the cloth cloth surface if I hold down so if I hold down alt it'll create the correct parent-child relationship and you can play enter in different varying values of thickness and also subdivide if you're going to be doing a wireframe so you can get a denser looking mesh with the subdivision channel here anyway we'll go back to the spatial anomaly matrix and again like I kiss let's call it secondary level of detail that was added and I pushed it even further just to have some finer detail and I duplicated my cube for let's call it outer outer cage made my segments a little bit bigger and in this this time instead of using the shader effector inside of my poly effects I use the random effector and again manipular actually I think I don't even manipulate the fall-off I just was looking for some texture and I just wanted to have a little bit more 3d environmental Beauty if you will and so I just used the random effector and stacked some of those position and scale values there and in order to create a nice soft shaded fill I went into the transparency channel and piped in for now I like to keep my values at like a 10% off white or you know to a 30 or 40 percent gray as 100% Dwight will be transparent and I just kind of I'm looking was looking for a softer feel and with a nice blue and again I duplicated that texture for my outer outer shell and made a darker blue and actually I'll just delete that and show you I made a darker blue but when you hit render here now we're faced back with that problem where some of my outer poly faces are including my circuitry and while I wanted the texture I didn't want them to obstruct the heartbeat of the piece so I knew that if I right-click on this cube and add a cinema 4d display tag I can completely control the visibility this way if I hug 'l the visibility channel on and i'll turn it down to something like ten so you can see it's just sort of a nice light dusting which is exactly what i want so let's go back and take a look at our final piece and i'll play out the spatial anomaly matrix alright let's get ready to look at the quantum vehicle chip analysis in set and quarries beautiful UI i have created a element that will i will show you how to make a points pass inside of cinema 4d again using the hair render engine as well as time remapping our render inside of After Effects to create high-tech neat looking scan effects so here we have my scene file and I'll just hit na to get rid of the wireframe there's we were just getting a clean look at our geometry and the first thing that we're gonna want to do is set up our points pass so I'll select my piece of my three pieces of geometry right click on the hair tag add our render tag and the default mode is surface of which I am going to and it change to points I'll take my length right away down off the top down to length of one we'll do a render preview and you can see that my points pass is working as if I enable the verts here you can see that hey a hair node is being rendered on each one of my vertices now I don't I want to keep everything clean and separate I don't want to see the geometry in my scene so what I always do is make just a fully transparent material and I'll drag that onto my part of me you'll drag that onto my geometry and when I give you a render preview again now you can see that I have my points pass totally isolated without any of the geometry so by default it gives you not so pretty brown color oh I'm gonna want to go ahead and create a new material actually I did right here in the same way that I showed you in the previous example by doing a new shader hair material and I'll toggle my thickness down to something super super fine to get a really nice tight points pass something like 0.2 and throw a nice blue color into my gradient I made another one here as well I probably vary the level of the thickness anytime there's an option to do so I always like to add a little bit of randomness so things don't just feel so global you can feel it at every level so if you might I like to do it wherever there's an opportunity to do so and now you can see that I get a really cool-looking detail points pass of my chip so I'm gonna render that out in one pass and now as I'm it'll take a moment to tell you something else that's super cool because I think I'm like our 17 cinema came out with a take system and this is a perfect example of the take system where you can just add a new take and set up your points pass your fill pass and your wireframe all in one go and then just render everything once I am NOT that eloquent at telling you how to do that and I didn't want to stumble and make it painful every for everybody so I reference Chad Ashley's tutorial at greyscale gorilla all the time especially because I forget some of the steps and I encourage you to go over there and listen to and explain how to do that because he's really good at it in this example we're gonna do the long road we're gonna take the long hand manual Road and just imagine that we've rendered out our points Pass and the next thing we are going to want to do is create our wireframe and there's a number of different ways that you can create a wireframe inside of cinema I can talk about that probably for an entire presentation but I again don't want it for you and in this instance one that is super quick and I like cheap and cheerful again it's like less than a second per frame is using the cel renderer so I'll go into the effect tab enable the SEL renderer we're gonna just right off the bat enable color mode and edge mode and just for the sake of visibility I'll make my edge color white and my background color black so we'll go into here and give you a quick render preview and right away I have it's running the splines of my geometry which is super cool you get lucky all of us oftentimes when you're working on cool projects like this too you get lucky and have like a really detailed nice-looking wireframe because what makes a wireframe looking cool is the stuff you want to add stuff to it otherwise you're just looking at a flat shaded surface so in this piece though I knew that what the technology was going to be revealing and scanning was the detail and I didn't want to give that all away in the first my first go so I want to just turn off the edge mode and we're gonna give you a slightly more subtle unobtrusive wireframe that will just serve as a nice detail and a highlight in our final render so we'll go back and I'll just play out my scene a nested all my geometry under rotate no so again we're starting from the bount ground up you want to make sure your first thing is covered and yet you have a looping element and remember we have our points pass we have our wireframe the next thing we're going to want to do have our fill pass so we are I'll just just take away my my fully transparent material and I just will again use a for now inside of the transparency channel and I think it's also in the for now at or the luminance channel for a little bit of a light hit an extra more of a dramatic light it and a nice soft blue in the color channel to blend the two for now objects together so I'll just go into my I've already applied the material and make sure that my selection isn't interrupting and show you how the material is applied to my geometry I'm going to disable my sense L renderer that could have easily been handled in a new take but any in this case I'm gonna show you you'll appreciate takes once you do the long route several times this is how the shader has been applied to the geometry so we have our three passes and the next thing that again I always like to do is set up some nulls so we have access to that in after-effects and in this case you saw like I showed you that in averts mode there's many many verts and and again we saw the beach ball spinning wheel of death earlier when I cloned or I think I increase the subdivisions but again this is like allows for another area of danger where we don't want to lock up our machine so a nice cheap trick is to drop a cloner into your scene ahead of time and what I'm gonna do right away as a by default the distribution is put into vertex mode is I'm going to move my cloner into surface mode because that way I can limit the count of nulls that will be added to my scene and in order to I think there was an exploded view of this chip at one point so that's why I have all my slices separated but in order to have a global application of those nulls I'm going to duplicate my slices oops I did a weird render take we're gonna right click and say connect objects and elite and I just call that like a dummy and I make a dummy null so therefore when I type my nose into the object mode of my geometry the merge dummy is that's what's telling or that's what the cloner is being told how to assign itself so I can then add a number whatever number of different clones that I would like to my geometry and well you can do a random seed also for placement if you want to sort of art direct different areas that you know in your mind you'd like to attach graphics to in after-effects in order to get that data out like I showed you in the previous example we're going to right click on our cloner object cinema 4d add an external compositing tag right there that I had highlighted I already have one on here make sure that my the children checkbox is enabled and in my settings I'm going to want to make sure that my save checkbox is enabled included with the 3d data so we will have rendered out those sequences and now I'm going to hop back into or hop over rather into After Effects to take an isolated look at what gets brought into After Effects from cinema so that's my main comp and I think at the time we were simplifying everything and just calling these PI pieces so I'll go into my main PI comp and when I import my AEC file I'll just unhide all my nulls loops when I import in my IEC file you can see all how all of my nulls have been imported in here I had 20 and they're locked - my rendered image sequence I like to kind of keep that render as light as possible so we'll concentrate that down maybe this was like a hundred frames because at this point we're gonna let after-effects do some of the work for us and we're going to enable the time remap setting and I'll just solo my render sequence and when I do a time remap in after-effects I imagined in my mind where I thought some cool areas were going to be for the scan and drop down some key frames - so I knew where my whole beats were gonna be and working in film and time is always of the essence I like to try to steal back as much of that as I can because it so it always gets taken from you so I will copy my time remap I will copy my time remap keyframes and in the same way that I import it in my in my RGB my beauty pass I'll duplicate my time remap keys onto my wire frame so it's pretty small here in this viewport but here once I have my elements they're all on separate layers inside of After Effects oops let's pull out some controls so we can see here I can play around with different colors so you can throw out some different looks I'll just throw a human saturation at the bottom or somewhere on to my layer and you can you know if it's like really really bad maybe the chips chips gonna break later well we can make it red and we can equally I could even make a control layer and we can make both of our passes red or something like that red equals bad so then if you recall the main purpose of this screen is to reveal the inner workings of this piece of tech and that was in our points pass so I will I'll just toggle on or actually I'll solo only my points pass which again I copied the same time remap keyframes that I generated on my first pass onto my points pass render and this time we are going to this time I'll just play that out this time this is what we are going to want to reveal during those hold frames and so I created I used a shape layer I animated a shape layer and used it as an alpha mat to serve as the scanning reveal part of my chip which if you appreciate a really good-looking mesh and you're a super nerd about stuff like that like me you could spend a long time even just looking at this as an element I I just like I said I kind of really enjoy it so let's unsolo you can see how I just chopped my points pass segments to be displayed only during the whole frame times that we mapped out in side of my original time remap oh I wish I could make this a little bit bigger for you guys to see and now it was pretty cool I was having a lot of fun with things to explore and I'll just put it in a hundred percent even though we can't see the whole thing in entirety what am I gonna do with that with all that null data and my really good friend Scott Higgs is a really smart guy guy and he thought about that first and he developed a plugin called layer stalker I'm just gonna open it up so you get familiar with the interface check it out on a II scripts because before I met him I was doing everything the long way with to world express to compact for two world expressions and this has totally been a game changer for me when I'm trying to extrapolate and do something with that 3d data so what we're gonna do is just create something really simple to start like a little number node and I'll choose my target layer which brings up a custom palette with all of my layers and my pre comps and if we go to my main original PI pre comp you can see that all these data one two three four five six seven oh that is we can access all of that inside this little UI panel inside the pre comp and you can go as many pre comps deep as you want and still get it so I will stop I will effectively stalk the position of said require said requested layer and you I use layer indices to duplicate I just duplicate out all of my numbers so I effectively am the script is looking at all of my exported data nodes from cinema and attaching a number to that just play out those eleme elements isolated on their own and so you can see how they are locked in 3d space that match my camera I love this a lot I do it every day it's great it's so satisfying once you don't once you know how do not have to do the longhand way you just want to stock everything super creepy anyhow so those are we'll take a quick look that was all my number tags and then I just used again my really smart friend created a script where I could connect all of my nodes to each other so I could again start to play with some of that spatial data and limit it and constrain it along along certain accesses axes as you see like I did here with these notes so going back to our first example and you can see there's a bit of a pattern here is like you're always trying to add another layer or another bit of depth to your element without distracting or taking away from the focal point this point this one not that not being the inner circuitry but we're doing the reveal of the technology inside of our chip I thought well how can we get some depth back into our scene again like I'm always it's like it's like a push in pole relationship with just trying to bring things out so it's not so flat and it just has more visual interest so I thought like this element looks really cool what if I could have supporting it or it's like being hiked held in this like suspended sort of computer-generated analysis into some sort of a type of a 3d grid so I hopped back into cinema and started to play around with some planes and I'm trying to get better at texturing things because a whole other beast and a true art form and it was it's not something that I'm very good or I'm not patient with it so I know I totally could have used a bunch of these I'll just select all these textures that I made I know I totally could have just like played around with the poly the poly count or the face count on my planes and gone into edge mode and extra spline and created a wireframe of my grid element that way but I was a I'm sick and tried to force myself to learn something new sort of under the gun and that was working with textures so I create I'll show it to you it's like super basic and very rudimentary just a really simple grid inside of Illustrator and I rendered out that alpha from Illustrator and created a new material in cinema and imported that in that texture into my texture channel and the color imported that image in the texture drop-down in my color channel as well I copy and paste and put that into my alpha Channel so then actually when I globally apply my texture Tim clapham from hello Lux I was doing every single one of these in the long way and he was like whoa you can just select them all at once and do it all in one go and I was nervous and scared but he was right and I did it and it worked so I select all of my tags that I would like to be applied to those individual planes and we will go fit to object and it's sort of a quick it's sort of a thing but all my textures hopped to their respective planes because they're all a little bit different sizes and now when I hit render you can see that the Alpha Channel the colour Channel is reading that cheap and cheerful texture and what I also really like here because I have a light in the scene is it I'm just for continuity it sort of blends the two elements together is the my grid is not just one hard element I'm look at that nice fall off I didn't even ask for it it's giving me that nice fall off automatically applied on my scene another thing that us always has bugged me when I'm playing with textures - in cinema is the fidelity and I don't like the aliasing or the jaggies and after many conversations I had a talk I asked one of my friend who I know is very very good at it and in the editor tab of our material you see there's a texture preview size no scaling changed my life everything maintains fidelity and is super super crisp so um a nice little tidbit because it before you would zoom in and you would feel so close to your camera you would see some of those jaggies and nobody ever wants jaggies so that is how I made the secondary more environmental element we will just pull up my screen here that is now you can see it just sort of adds it's like very quiet a little piece of texture supporting the main element that I thought brought in a nice bit of depth to this the window part of this screen that I thought was missing without it so lastly I would like to show you another example where we are going to use object buffers to make custom selections on our geometry in cinema and then again these are all of these examples that I'm showing you I'm sort of using the exact same techniques but I keep layering something that's a one thing a little bit different in each one of these it's all a lot of the same techniques that I am sort of building on each other to add something that is a little bit different so let's take a look at this 3d part we're actually quarry set up this scene and he's so amazing because he's super clean and organized so I always love working inside in his files and again under nested under a rotating all you have a short image sequence not to knock on your render time and what we have here are because often from production they come in and like millions and millions millions of different pieces and using a number of different techniques like preserve groups and connect object and merge and replace you can reduce it down to a manageable manageable amount of geometry and actually in our twenty they have improved all of the import features which I'm so excited about because I remember five years ago researching pain painfully how do you bring it CAD files its SolidWorks files cuz all of the set all of those files are from set people that build it and they work and those things so how can we do something with it here and our twenty is the answer because we don't have that right now we did all of those painful steps and anyhow the for the four pieces that I'll just disable the visibility on holding down alt you can attack all of your traffic lights I'll just show I so they all I've got some pipes and I've got some a little bit of the dressing there we go I have a few little bits engine bits for highlight and then the outer oops I turn off that now and then the piece of the outer hull now you see the four pieces that are in my scene in order to export all those layers out into passes that you can control individually we are going to add a cinema 4d compositing tag which i think is already on here and that opens up the object buffer channel you're going to want to go through each of your individual tags and yes you can copy and paste all of them onto respective layers we're just going to want to make a detailed note of ensuring that each of the check boxes that are applied here are indexed properly in into it into a unique number once we have those four buffers set up will go into our multi pass tab and add an object buffer layer you can add as many as you have added into your scene as many as you want oops I'll just close I'll just delete these two because in this case we just have four you need to enable that your group IDs are respective to what your tags and you can team up you can say we want this one to be one in four you don't always have to just be four so that's cool too so you can't combine all that stuff so let's just remember that for when we're playing around in there and make sure in this instance we'll be simplifying what it is and I tell you I just have those four that match the four in our object manager and I'm just gonna do a frame so you can see what the output I'll disable the save make sure we're doing a current frame and I'll do a shift are this time and I don't have the lightbox pro kit enabled in this machine that is okay because I am just going to show you a single frame here if I fit to screen what are the passes that I have set up in the lair I'll hop into my layer tab here and go into single pass you can see that I have my beauty pass I've got my alpha in this case there was a depth pass setup to which I played with in After Effects so you can get some really nice tint you wouldn't get that nice tint if you didn't have that depth there again you can play with depth of field or camera focus and I have access to this is what my object buffers look like here's one here's two here's three and now there's four so I will just show you I tie it because it was a little bit redundant I'll show you the screen again I didn't want to take you back into After Effects and show you the time remapping feature because I just dropped some keyframes in the same way that I showed you with my chip analysis sequence and here you see in this piece I like I did with the points pass weave sequence on this really pretty orange to say like the computer is looking at this parts now and here now we have found these components and let's keep calculating and it's just like a quiet background screen that serves as dressing on the set it's not saying look at me look at me we're just doing our work so I see I'm running a little bit long and that's okay the last piece that I was going to show you I'll just do a quick little like a little playthrough was the atomic fluctuation field where I wanted to focus in on some hex because we're dealing with loss these honeycomb that is the technology and again I used I just use the cloner object here in this close up of what I call the nano hex tech to generate out of a cylinder with reduced segments a denser wireframe and when I you render out the cell render you can see all those little notches and I sweep Don I sweep some NURBS onto the spline here so we have some rims and that was just a nice little way that I could easily sneak in some geometry and use the cell renderer to get a more detailed wireframe rendered out of cinema so thanks very much for watching my name is Robin hat oh I hope you guys enjoyed the presentation thank you [Music]

Channel: Cineversity

Views: 29,925

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: YHDmeQewkmE

Length: 56min 58sec (3418 seconds)

Published: Fri Sep 07 2018