Siggraph 2018 Rewind - Tim Clapham: Creative Motion Graphic Workflows with VDB

yeah this is awesome listen to the new volumes this is done with the new volumes hello alright these are just me messing around with it but I'm my company is luxe and we're going to start with my new reel and then we're going to talk about our 20 [Music] [Music] [Applause] [Music] ooh thank you yeah loads of people involved in that not just me I get to work with lots of different Studios director client so like companies like bark kin things never sit still tendril many more visit Lux TV and the real is not even there yet but when it is I'll put credits always put the credits yep Lux TV there's two of those hello Lux comm is our training resource which we have about 100 free tutorials for cinema Arnold octane X particles loads of stuff some After Effects we also sell professional training and a lot of the renders that I'm going to show you were all done in redshift that's our render of choice and we have a new product by rich Norsworthy for sale at the moment if you're learning redshift this is the one this awesome rich really knows his stuff I taught me a thing or two that's for sure I love his work amazing so you can get that from hello Lux calm we're doing a sea graph special at the moment so now's the time to grab it I'm going to be talking about cinema 4d r20 I've been using it for it since c4d go which was actually a free version they gave away with Final Cut Pro version 1 so it's version 5 I think getting on a bit I'm going to be talking about open V DB which is what is open V DB actually there's a really interesting explanation on the open V DB website which says the open V DB is a C++ library for calculating something or other about sparse volumetric data I'm like well what does that mean anyway Dreamworks are kind of creative they've run a whole bunch of Academy Awards for it's really clever and the way I like to explain it is that if we think of pixels with each pixel that we're a pixels are generally square these days I know you can get a non-square if you think of a black and white image the pixel will have a value which is either black to Y and when we make a whole collection of these pixels and we get a picture Dada and we've opened VD billion volumes it works the same but instead of a 2d pixel we have a voxel and a voxels are square Kubik even they have depth but it's the same principle they all have a value and that value is determines like what your picture looks like but your picture is 3d and you make that picture by rendering those voxels either as a surface or with a volume shader or something so how does it work Stanford Bunny wouldn't be a presentation without it hi bunny but I put this up just to show you that voxels are measured by the size of them and that determines the resolution of your 3d image or your sculpt or whatever it is you'll volume so of course the larger the voxel the lower resolution so you can make your voxels smaller and you get more detail more resolution if you go even smaller and you get even more detail but of course lots and lots of these it's going to take more memory it's going to become a little bit slower but the nice thing about this approach is that you can't start off kind of roughing things out with a large voxel size and then you just make it a bit smaller to make sure it does change a bit as you change the resolution but just to make sure you're getting the result that you want and then at render time you can set that even smaller so you get a really fine detail so it's a nicer workflow and this is all the nerdy bit we look at some funny things in a minute but it's worth kind of understanding how that the different types of open VD work I think it's like when you understand the the the principle was behind it it helps you understand how to use the tool so we have two types we have signed distance filled and signed distance filled is generally used for like modeling stuff like that and what it does is if you add a model to it it puts all these voxels around the edge so we have an init in inner area and an external area and each voxel the value of the voxel is simply the distance to the nearest point on the surface and you can add more to the interior and exterior which means that when you model it you can kind of dilate or erode your models so you can change them like this the cool thing about signed distance field is that you can do amazing boolean operations and you can do it using lots of different meshes but you can also do it with things like shaders formulas and splines and you can use those to control values of your voxels the other type that we have and I've got this the gradient the wrong way around really it should be white to black but you know fog fog is much simpler it just has a value in the vauxhall of naught to 1 and it just fills your volume with these voxels in fact I read somewhere that generally the whole scene is full of boxes and it's only once they're activated that they use any memory or even considered and because of this technique of building this kind of grid structure it means it's really really efficient Germany use fog for rendering fog amorphous effects fire smoke clouds and you use signed distance field for volume rendering meshes but you can still mesh fog who says we have to stick to these rules and machine fog actually looks pretty rad so bla bla let's let's look at some stuff it's much more interesting one of the things you can do is you can create these kind of like fake fluid effects I don't know if any of you use After Effects but if you do you probably know that what you can do is you get to shape layers or something and if you push them together so they intersect and then if you blur it quite a lot and then crush it with levels you get that sort of metal ball like liquidy effect we can do that in 3d with this new system ok so here I've got like some type ok I'm just going to hide that I've got a matrix object which is set to generate all these matrices on the surface of that type and if I just hold down all I'm going to add in a volume builder and you see in this map in this men you've got a few options volume mesh is a really quick way to just create a mesh from a whole bunch of selected objects volume loader allows you to load VDB files if we want to create them directly we use the volume builder so as soon as I add that in and add my matrix object into that volume builder we can see all of our matrix all of our voxels here you go and essentially the way that they're visualized is with these like 2d cards they're sprites almost you can see that but they they orient themselves towards the camera they look at the normals and they and you get lumination as well you can see that these voxels are pretty big so when we come to our volume builder we can reduce that down let's say 2.5 and now you can see that we're getting these little spheres so where we've added our matrix object into the volume builder it's giving us like a little sphere around each point so we select our matrix object in here each of our objects has its own bunch of parameters and the matrix object as you can see has a radius so we can change this to change the size of those radius let's set that to say 10 and the other thing we can do of course is usable all of our effectors so if I add a random effect to my matrix Rambam oh it's already in there how about that for efficiency enable that but one thing you might notice is that even though this random effector is set to randomize the scale it's only randomizing the position if we switch these off oops not that you can see is in fact randomizing the scale of the matrices but it's been not taking into account that's because down here we've got this option used particle size if you don't check that then it makes it a little bit quicker and more efficient so it doesn't need to load that additional mograph data if we do check that you can see that now we get these random sizes so now we've got this sort of blobby thing we can add in a measure and the measures resolution will be determined by the size of the voxel and you can see now we've got something that we can actually render now as I said before like all of the voxels just have a simple value and just like in with pixels you can blur that value so if you've got like black and white pixels when you blur it you get all your grays in between this works exactly the same and down here you can see we've got a smooth layer and a reshaped layer so the smooth layer is essentially like a blur and there we go and you can see that's now blurred this so now it's feeling a bit more like fluid and a very common usage for the way that people would use this to render fluids is they're like create a whole bunch of particles and then they'll mesh them with open V DB and then they'll dilate those particles so that they become bigger and they also blip blue they'll go together and then you smooth them out and then you die Road them back again and then you get this really nice fine liquid effect I'm just gonna smooth this one for now down here you can see we've got different options at the moment it's set to Gaussian and it really is just like a Gaussian blur but on the voxels we also have a few others in here my favorite is laplacian flow sounds very exotic I don't know what that is but the difference is is that the the gaussian is faster and blurrier and softer and as you go down the list they become much more accurate and they become a little bit more demanding a little bit slower so depending on how you want it to work if I show you later you can see that that blurs them but the the definition is much more defined um so I'm going to set this voxel distance I'll leave it to actually so imagine we wanted to do like a little reveal of this we could come to the beginning here maybe set this radius to be seven maybe a bit lower five something like that and then just come to the end and let's set that to be ten twelve something boom and there you going I mean really simple and you can see that now we just do like a really simple kind of fluidy reveal really starting off with a really basic approach but you can see it works very quickly in nice and efficient and of course we can put on something a little dodgy material they're made and it kind of looks like honey almost anyway the next example is very similar but it's a bit more detailed and it just shows you kind of how we can use VDB with fields and stuff it's a really cool little trick that I've found and it just shows you really the power of the new field system so in this example I've got this text I think it originally said murder and I thought that was a bit scary so I changed it to the guilty but I didn't change it up here anyway so I've got this texture it's as if I were doing like a crime scene title sequence or something I what I want to do is I want to have like liquid pool as if it's blood and then all pool and cause them write the word and then a whole bunch of drips be generated procedurally as that happens so first of all just to create the pooling effect we've got this we put it in a volume builder okay what I've got up here is a Gen a particle system it's the standard particle system so if we press play you can see we just get all these particles sort of firing across I've added in a modifier friction friction slows them down with a linear field just so that when we do this they kind of start to gather inside there where the type is so we come back to my perspective view so I can do now is I can literally drag my emitter into my volume builder and you can see now we get this same kind of thing with the matrix object it's putting this radius around each particle it's mesh tier and you can wear doesn't mesh to it these are voxels but we could measure it I mean you see how quick that was problem with this is that the default particle system it doesn't work with effectors so I actually want to take that out that's what I want to do is I want to have all of these sizes different just so that every ball this as the liquid pools they're all different sizes be a bit more interesting so I'm gonna come down hold shift let's add in a matrix object okay by default we've got a grid array I'm gonna set that to object mode and then I can grab my particle emitter into there and it's the same as before so now we're creating a matrix on each of those particles which means we don't need to see that anymore we can hide that it also means with our matrix object we can add our random effector we can enable that and then again we just need to come in here and set use particle size of course I don't want to see it like this I only want to see the the particles when they intersect with the type and because we're using signed distance field you can see that here as our volume type it gives us these boolean operations so much is intersect hide this matrix okay and then rewind press play you can see we start to get this result as the kind of the particles intersect with the extrude object still not feeling as fluid as we might want but seriously we can just do that blurry trick again and it works fine we said that on now and press play you can see bobba bobba feels a bit more fluid II it's nice the way they kind of get that merging together I think with the smoothing seem to have gone louder all of a sudden and with the smoothing there I'm going to just reduce the voxel size to one so it's still reasonably defined so essentially now we have our a fluid effect so the next thing that I want to do with this is just create like some drips that happen and I want the drips to be generated almost in a procedural way because I don't want any drips where there isn't any blood it wouldn't make sense but I don't want to go through and hand keyframe all of my trips I want the I want that I want this mesh or whatever to drive the animation and you can do that pretty easily with mograph now so if I fold this down in here I've got a drip spline I'm just gonna come up and just switch all these off for a moment so I've got this drip spline this is not oh exactly complicated it's just a simple spline that just animates down you can see it there it could be a most blind but I've just done it with point level animation it could be a more forever I've used an instance here of my text spline I switch that off and that's just so that if I come back here and change my text then obviously that's going to update in the instance trying to keep it procedural but I need a flat surface to generate my drips on because I needed I need a surface with depth to use the intersect for the boolean but for the drips I just need this flat surface so here I've cloned all of those drips across that type because we're using mograph we can easily come in here and adjust the number of drips if we want more or less you know we could place them in a more of a manual way or we could just randomly adjust the seed until we think that looks good you know something like that that one looks great so now what we can do is we can come back to our volume builder here it is and we can drag our cloner in there but you notice in the previous examples what I did was I added them all as children and you can see next to them in the list it says child very handy it tells you just in case you don't if you can't see just below that line now you know it's there um but the other way of doing it is you can just link them so if I drag and drop this one in now it says link so that's pretty handy so you know they don't if it doesn't suit your project for it to be in the same hierarchy it doesn't have to be and there you can see my drips and aren't they looking good obviously they're a bit big but the nice thing about this is that the cloner is being recognized as a spline and the way it works it's very similar to like a Photoshop brush and a Photoshop brush is essentially a whole bunch of circles very close together that's what's doing here you can almost see the ridges on them so we can make the radius of these much smaller say 0.4 now you can just see we've got a few little dots but if we increase the density it's going to increase the number of circles so let's set that to 1 and now we've got these drips so we're sort of halfway there if we get back to the beginning and press play now we have drips just dripping from nowhere so one of the features of mograph has always been that you can take animation and you can use effectors to control when it starts it was never that intuitive but now they've kind of changed it and it works really well it's like you could just grab an effector and pull it through and it will drive your animation it's something that people have wanted for ages and it works great so one thing you might think is that yeah we could just grab a linear field and we could just drag that through and drive those drips when we want them to happen but we can actually do it in a much better way if I come up here and select my text object drop that into a null and then add in a correction to former just so I can keep this procedure we could make it editable but I want to access the points of this object and also keep it with an instance so if I if the producer says here we're not calling the guilty anymore we're going to call it murder or something then I can do it easy I'm on here I can now I've got points I can add in a thinking me what's it a vertex set vertex weight so vertex maps can use fields but if you think about it the red is a value of 0 but when it goes yellow it's a value of 100 okay this gives you an idea of how this is going to work so come to Mike Lohner under the transform tab at the moment it's just set to play if I set this to fixed what I can do now is I can scrub this value and you can see that's controlling my animation and I know that these have 50 frames rather than doing it here though we can do it with an effector so with that selected let's just add in a plane effector under the parameter tower but I want to do the position I just want to do the time offset so if I set that to 50 frames now when I adjust the strength of my effector it's going to adjust the animation okay but we can drive that strength parameter by using a field and we can use vertex maps as fields so if I come back to my vertex map here let's select that so we can see it enable use fields now I can grab my emitter and drop this in there okay and now when I press play although the particles are hidden you should see at some point oh we can't see it because you've got all these other stuff in front but hide that and that and there you go I missed it so you can see now as the particle is hitting it's changing the values of the vertex map they're going from naught to 100 just like the strength of the effector so now if we take this vertex map and we put that into our plane effector we can use that to drive the strength so we come to fall off we drop the scene now we press play we should see that now it drives our trips so all I really need to do now is pollute think back together hi dears and press play and hopefully it works and we've got one trip that started on its own look at that I think that's a lot of a refresh thing it's happened to me a few times it's generally if you change it but what's happening now is that the drips are being defined by that vertex map so if I didn't like that which I didn't I can come in here and just change the random seed and hopefully it works this time no just the other way of fixing it is because I think the reason it's doing that is because the the radius of the of the particle is too big you see so we can come in here we can make the radius a little bit Orla or alternatively we could maybe add in like a curve let's just come back and see this because we need to see this working properly all right so now we do that and then maybe if we just grab this and just crush it a bit so bring the yellow up but we bring this back a bit so it's less likely to because the area is not so big we need that yellow bit to be exactly where the spline sits you know where the axis of that spline is okay and then now that should be should give us a better result so you can see how we can use this for creating like these fluid effects there you go so now we don't get any drips until we get the fluid there and the cool thing about doing it this way is that we can easily add more drips if we want to we can use the cloner to randomize them but if we do change the word or we change the way that the fluid effect occurs if we'd have animated these with keyframes we'd have had to go in and move all those keyframes around we time it every time we UART direct it and change you didn't need to reach Ange those keys with this we could say let's make the blood a bit bigger let's make it faster or ever and it's going to drive those drips they're just going to automatically happen so it's a much more flexible approach it's much quicker and works pretty well and you can see that just by adding in that modifier layer it sort of fixed that little problem we have which is great when you get a little problem like that and you can actually fix it in a presentation so the next thing I wanted to talk about was Albert Einstein and I don't know if any of you've noticed but there's been this huge thing of like scans online it's great it's a really good resource if you like if you even if you just google scan the world it's a really nice project where they've just kind of scanning artworks from around the world and you can access like hundreds of different sculptures by Rodin you know the great Italian Renaissance artists I don't even know who made this one of Einstein but I thought you know it's a great way of playing around with VDB as well so we're going to just abused Einstein a little bit here which would be fun so this is the mesh that we have I'm going to just drop this into my volume builder and you can see now we get all of our voxels if we come in close we can see that there Toodee but it's good because it gives you a pretty good representation of the result that you're going to get without having to have the overhead of your actual geometry if we do want geometry of course we can mesh it so here we've got a volume measure if I just bring up my edges you can see that's the kind of geometry that you get so it's a pretty dense mesh but the nice thing about volumes like this is that they're really fast for creating like rapid prototyping and stuff so for example if you wanted to create like a car wheel like the actual the rim part you could do it with a cloner and you could create one of the spokes in a cloner a radial cloner and you could create a cylinder or a tube for the outside and then you can put in a smoothing filter and you're going to get a really nice result with a look with hardly any work and then if you wanted if your client is like what's it like with five spokes what's it like six spokes or seven spokes you just change the count on the cloner and you're going to get each wheel really quickly so you can do these kind of rapid prototypes for like R&D for client approval etc and then if you're not deforming it or you don't need you just leave the mesh as it is but if you need to like use a rigging on it then you just read apologize it to a nice decent mesh but it allows you the speed and efficiency of like creating those four concept work which is brilliant so here you can see we've got this mesh one of the features that we have is this adaptive subdivision which is cool we can drag this and we can adapt the resolution of the mesh so you can see down here in his mouth he's got like a lot more Polly's but where he's got a flat forehead it doesn't need as much geometry so this is really great for keeping the polygon count and point size of your scenes much lower I'm going to just leave that as it was and let's get rid of those edges the other thing we have on here is this volume range fresh hold and remember I said about that in here in an exterior range this allows you to adjust to that range so as we go all the way to the smallest point we're like right at the very inside of the voxel range and you can start to see the voxels appear and the same if we go the other way you can come back to the volume builder if you want and you can actually adjust that in here so you can create a bigger range if you want to erode it or dilate it more okay so what we're going to do first of all here is we're going to create a whole bunch of matrices over the resurface I've got a plane effector to scale them down and on that plane effect I'm going to add in a random field let's use a noise let's change that to stop all will get it quite big and the thing about this is that the noises and stuff when you're doing this kind of stuff is really visual we can see that noise affecting the scale I've got some animation on there we can also add in modifier layers so let's just add in a curve I'm just going to pull this up just to crush it and crunch it a bit and the effect that I'm after here he's sort of like maybe bugs crawling under his skin or something or eroding away his face could be like he was a sculpture being eroded or it could be like a horrible walking dead II sort of thing let's grab this matrix drop it in and he's already looking a bit peaky so what's happened now is it's taking all of these matrices from our volume volume builder in here and it's and it's meshing them all just as before but if we chose use particle size then it's going to remember that we've got a plane effect of scaling them down it's going to use that mograph data and now we have all of these sort of horrible looking things crawling under his skin we can come back here and we could do maybe add in a linear field as well and if you watch my presentation yesterday I showed a whole bunch of growth techniques any of those would work for this I'm just going to do this with the linear field nice and quick to show so now we can use that to kind of wipe this on maybe use a shader effect a shader filled with some noise to add a bit of distribution so it's not quite so linear so now if we wanted to instead of having these go in we want to have a whole bunch on sticking out like boils we want to have a bunch that are rolling in so we can take this matrix object do pick up let's call this one subtract okay and if we select our volume builder we can select this we can choose use particle size we can set this to subtract now it's subtracting and it's eroding in but the problem is is that these matrices are in exactly the same place as the others you can see if I switch it on and then the other ones appear so maybe what we need to do is add in another random field so we can use a different random different noise pattern to redistribute them but actually because of the way fields work is much more efficient than that we can take this add a new one of these let's call this one subtract or whatever so drop it into here instead of this one it's still using the same field which is cool because we share in them so we don't have to create extra ones but even though it's using the same field we can come here let's just switch that one off switch that one there what we could do is we maybe we just adjust the curve because the curve if you think about it where I've crushed it down and we have noise noises white going to black back to white but with this curve we're saying only use like 20 to where 70% so we're kind of crushing it down so maybe on this one we say alright well we use a different range of noise we could pull this across maybe we pull this one across this way you know something like so let's just grab it all and have a look we can like make it bad he's getting better feeling good oh he's coming down with it again so now we've used the same noise but we've just redistributed those values for that fall-off and now if we add both you can see we've got the same we've got some eating into him and some not pretty cool let's just pull that up a bit so what were essentially doing here I'm going to just increase the resolution of this let's say 0.5 just so you can see it a little bit clearer there you can sort of see the result that we get you can see how fast it is that calculating this so what we're doing here is we're using matrix objects and then combining those with fields to control the values and we're using those to mesh our matrix objects with volumes but actually we can we can do we can actually use fields directly we don't even need to include the mograph objects I mean we can if we want because they mean they allow you to sort of paint your patterns all over it but instead of that I want to show you how you can do it directly with fields it's actually really easy this one is using fog rather than signed distance field and we can still mesh fog as you can see and the thing is is when you're using fields and stuff like that if you don't need to create boolean's and complicated meshes fog is much quicker so if you can get away with fog use fog if it's faster you use it that's my rule and there you go so I've drop that in and you can see we've got a result already I could just set this to multiply and now like look how fast is a boolean operation like these are the kind of things we dream of with this mesh that is like pretty dense so that's pretty cool so these are a really great way of creating like these real-time billions we can do even better than that though and let's pull this out and I'm gonna create a group field group fields allow you to create groups of fields and you can create these presets almost you can create like a whole comp as if like it's almost like a pre comp in After Effects you create all these effects with like your shaders your fields and some modifier layers and then you can reuse that in lots of different places and any changes you make to that one group field will kind of flow through everything and it will change everything so it's really nice and efficient so in here let's add in something like a random field see these are noise just as before you stop all I think gives a nice look but we'll have a look at a few and let's get some animation on there as well at the moment set to max I'm going to set it to overlay we don't need it in the group field because we're going to reuse those but let's just drop that group field into our volume builder and if we set this to multiply we get this little cube now the reason we get this little cube thing you can see there's the noise it's sort of working the reason we get the cube is because a group field doesn't really have any spatial information when I drop the spherical field in there it's a sphere it knows to do a sphere the group field doesn't have any space same with like a random field it's like this infinite it goes on forever so the creation space here is set to box but if we choose object instead it looks at the object underneath and then we get this result and you can see now we're actually using that group filled with our spherical field and we're kind of meshing that noise instantly and it's still looking pretty fast feeling pretty good and you can use the same field twice as well so if we come down here and grab that field again this time I'm gonna set this one to be Max and then subtract and I'm so sorry Einstein now he's having a bad day I'm already sure what you'd use this for maybe feel like like bringing on some rock textures or something but if you maybe let's just try mod noise scale that down 500 say now you've kind of got more of a like a blocky pixelated result which looks pretty cool I'm another one that works quite well for annoy is good and like scale that up a bit maybe thousand now you're sort of thinking like chocolate or something you know we grabbed this vehicle field you see we can move that round still getting a pretty good result we can adjust our fall-off here and if we want we can also use our measure and we can adjust the actual threshold here and because when I push that out you can see that we end up with a sphere shape that's because I'm using the spherical field but if we were using another object for instance then you could use this as like a kind of transition between shapes there's all sorts of things you can do and you can see how much fun it is and you can waste hours of time doing this it's great so in this example we're actually using the fields directly in the open V DB but just remember that the open V DB voxels are just something that has a value between naught to 1 and when you add in a random field it's just kind of values that are saying make this nought make this one and all the in-betweens and then when you adjust your volume measure you're saying which threshold at what point do we actually measure that voxel when it's point 5 or 0.6 0.7 so it's really simple the way that it works but it allows you to achieve really fast and impressive results I'm so I thought we'd give Einstein a break show you something else with meshing noise this is the kind of thing that you're gonna see over Instagram everywhere but it's fun and it's cool and that's nothing wrong with that it's a great way to learn the tools and I think as people learn these new tools over the next 6 to 12 months people are just going to start doing some incredibly complicated amazing things with them so in this example I've got an instance for my head which means that I can change that referenced object nice and easily so I can build this set up save it out and then I just swap the object in the instance and it will update on all of my models I'm gonna mesh this is it my volume measure excuse me and once again I'm going to come up and create a group field now we could add a random field directly in here but what I want to do is I want to use a group field because you can use it as well as for grouping lots of different fields you can use it for using like non object fields so for example example the random field the spherical field etc all of these fields are objects that appear in your object manager so you can just drop those straight into your volume but things like perhaps alright these modifier layers you can't put those in so if I put a random field into my volume builder I can't then colorize it or use curves on it but if you use a group field then you can so it's like another way of using the group field so it's a really great idea that it's designed like that so let's just choose noise leavers Perlin noise for now set that say 250 we can add some animation to this and you get this preview which is nice so we can see what it's going to look like and you can switch that off as well so now we've got a random field in there there's top this group filled into our volume builder we can have the same problem as before so we set this to object I can we set this to multiplier now you can see we're getting this and I mean look and we're talking about yesterday we're going to do 36 days of cheese rather than 36 days of type so there's my Swiss cheese example and of course we can add in these filters smoothing their the reshape layer allows you to erode and dilate by the way you can also add these up here as objects if you want to use them in more than one place so it allows you to globally change it um I don't where about for now I'm just gonna add in a smooth layer okay we could set that Vox with distance to one maybe so that noise it's got values between naught and 1 and depending on what it is in 3d space depends on wherever that voxel gets meshed so coming back to our group layer what we could essentially do here is what we did before is we can add in a curve and if I set this to be a linear curve add in a let's add a point and pull this up pull this down so now what I'm doing is I'm saying only mesh the values or only use these values to in your voxels between naw it's going up here to point two and back down to point 4 and if I grab this whole point thing I can pull it across and just change the range of values that I'm including so imagine I just want to do it like this but the cool thing about this approach is now if I come up and grab my volume measure I can change it let's give it a different color material so we can see it I can come into my group field and I can change the woops I can change the range you see now I've got the two different values and they're kind of meshing together you know so I could do this again let's make this one green you can see the difference and again we've got this group field and we pull this one right across okay and you can see there of our various meshes so now we've got these three noise there's got one noise type but we've measured it three different ways by accessing those different value ranges now we've got that set up we can use our threshold to sort of change how much of that we might want to see if we don't want them to overlap and intersect we can kind of shrink some of them you know so you can create these make crazy effects they're really cool and because we've done it all using our group field as well we've kept it really easy to adjust so I could come to my random field I'll say alright maybe let's use mod noise maybe make it like 100 so we get this sort of cubic head you know it probably looks better a bit bigger and because we're using this low is large voxel size everything is happening nice and quick so we can get a rough idea of what's going on but when we actually take these objects and we just say we make this one or something so we're going to have a lot more voxels it takes a bit longer to calculate but now you can see we get a lot more of an accurate result and you can see that this would be perhaps a little bit more useful like heads-up display or something like that or you could do tight with it I've just done a head you can do any object you want and again like sorry coming back to my random field you can just experiment with different noises and Voronoi again looks pretty good let's change let's make it even finer 0.75 point 8 you see down here it's calculating for the volume there you go now we've got that result which is pretty rad if I just come back to here I've got some examples of that sort of stuff so like now you can create this kind of thing this is the same as it's pretty much exactly the same as I just showed you these are all rendered with redshift is where redshift is available Stoney that's available yet but NORs are 20 but rich if the developers have got it ready for our 20 it works with all the new stuff volumes multi instances so it's pretty cool so the next thing I wanted to show you is this one it's a very similar kind of approach and this is kind of like using Vaught using formulas to control your voxels a game with just a simple head but it's when you like realize how this stuff works and then you think there's just such an infinite number of possibilities you can create all sorts of mad effects the clients are just going to love so if we come back to cinema once again a very similar set up we've got an instance so that when I create McCloud multiple volumes I can easily replace my object I've got a volume builder volume measure so if I add this in okay there's my volume so what I'm going to do now is I'm going to just create you could do this with a group field as before and then you could use that to alter the values as well I'm but I'm just gonna use a formula field now don't get me wrong honestly this stuff down here I have no idea I don't what that means so I'll just like play with it change things to add PI in there or change sin to tan or something or all I ask someone clever anyway so if we drop this in you can think about you can like you can you can think about what it's sort of doing if I select my volume builder now my formula field you see again it doesn't have a shape so it's creating this box but we can use objects all right so now what's happening if we look at the formula field it's doing some weird things but each voxel just has a value so it's changing that value based on this formula so it's taking 0.5 is adding sign and I know sign is this thing that does this so imagine naught is in the middle it's going like 1 minus 1 or something or it might be going anyway might be just we going naught to 1 and back and then it's looking at sub fields and subfields are amazing and then it's looking at the ID and the count and it's like what are all these different variables where we can fold it down we can see them here so ID is the component index so if you are using a formula to former that would be the the point of the object it'd be the vertex if you're using a formula effector that would be the clone the number of the clone because we're using a voxel it's the number of the voxels so it's means it's going to iterate through every single voxel really fast it's gonna then do that for the whole count which is means the number of them it's then going to add time we've got this D which is Delta time and then times it by frequency which is how fast it does it so essentially it's just doing this sine thing so all of the voxels and you get this sort of result so it's like now what you need is you need someone like a really good TD in your studio who can do try this formula or you can go online there's a different formula websites and you can just try them all out or you can just change this one so I'm thinking rather than using the idea in the count what happens if I just remove this part whoops I'll just dejected the drive I don't know what that was but hopefully they didn't want it um okay and now it's not doing anything you notice these looking a bit blocky as well I think if we set this to multiply it's going to look better there you go now it's not doing anything but that formulas still doing something because it's got this subfields parameter in there so some of the fields allow you to use fields in them which seems a bit crazy but it means that you can like attenuate or control with the strength of that field with another field so it's pretty cool it means if you added like a linear field in here you could use it so that you've made a gradient so with your voxels at the top would be doing the signee thing and then at some point it would stop and you can use them with regular mograph as well so the subfields in here allow you to add something else in so what I've got here is I have this matrix object okay I'm actually going to change that to be object drag in this head all right let's say about 200 of these maybe so now I've got all of these on the head and I can say or I use that as my subfield and what it's going to do is it's going to take that point and it's going to put the formula around it so each point is going to have that sine wave effect this is where it starts to get fun so come here and I drag my matrix in point object and you can see there we go so now we've got a result and now if we scrub through you can see starting to look pretty mad and of course we can come to our matrix and we can like adjust the radius of this row whoop so you can see you can do some pretty dope stuff we can come back to our volume measure of course we've got this we can use I think in here what I'm gonna do is set this to use and I'm not that's something else you can or me it will come back to my formula field okay let's reduce that down this is set to multiply okay so let's just do pit that make this a different color whereas before we were like using the curves to crush the values this time I'm just gonna use blending modes so in my volume builder here I can just set this one to subtract okay and can't see the material for some reason I don't know how well now we've got two things going on there looking pretty mad let's come in here change this maybe set this down to 1.25 okay and maybe in my formula increase this I don't know you see this is where I wish I knew what I was doing 70 to 720 so now it's going to do it twice as many times not sure why we're not getting the different colors here actually let's just delete that and that let's do it here as cuz that sets it on user error yeah so now we can adjust this there we go that's what I'm talking about yeah it's there in the end and now you can see we've got that kind of result that I showed before and that's just by putting those matrices on the surface if we add like a random effector so they move around then it's going to do something weird if you start firing particles through it's going to do it or you could draw splines and it'll do it with a spline or you could do like all of those things together you could do like some really cool mograph thing with like effectors and and then use that as to control your formula you know so the possibilities are infinite probably can't scrub this because I've set the voxel size a bit small but you can see it calculates pretty quickly and then that's how you can create those kind of crazy things so yeah so as you can see I'm no mathematician but you can see that like this is great fun it really is and you can have so much fun with it and like event like we're going to take these ideas and take them even further and do some amazing work for our clients so thank you max Tom for implementing this stuff is awesome thank you I don't finish it well most so I've got to do the hard sale man by my training so all the stuff that I covered yesterday and today I have some new training out I've only spent 50 49 minutes 18 seconds today and I've obviously leathered on about all sorts of stuff my training is seven hours just under you can get it on a special or I think it's going to be 99 bucks but it's on for like 79 at the moment from holo locks calm and this is a little promo video of all these sort of techniques and you learn all of this stuff in my training everything I've covered go into in a lot more depth plus a lot more sure so yeah hello Lux comm check it out and I know our twenties not out yet but it means you're gonna be up to speed and when you do get it you'll be like I know how to do this already so yeah hello Lux calm please visit anyway if you don't want to buy it just go and do some of the free tutorials there's some great stuff this is my Twitter if you want to follow me thank you very much [Music]

Channel: Cineversity

Views: 13,402

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: 1P3GwYQzT6Y

Length: 49min 47sec (2987 seconds)

Published: Tue Aug 28 2018