What's New in Cinema 4D 2024 Full Feature Breakdown!

foreign [Music] what's new in Cinema 4D 2024 there have been so many new versions coming out so quickly and we've got a bunch of features to cover now I've been super busy lately doing the design and animation tour with mograph.com and Maxon and then just last Friday was the heifers event in Chicago so so much has been happening so I've got to learn this version of very compressed time frame which has been both fun and a little bit stressful but I've got this video for you and there's a lot to check out I don't waste too much of your time if you're new to Rocket lasso I do tutorials I do live streams I make plugins for Cinema 4D we've got we've got you covered as far as Cinema 4D is concerned but without any further Ado let's jump right on into 2024 and the first thing that we're going to be seeing is the new cinebench we've got cinebench 2024 so I've got that open right here and what you can do is very similar to The Old City bench we're going to be able to run a couple of different tests on your GPU and your multi-core CPU or your single CPU so I'll click on start right here and it will open up a scene and I believe this is all running in redshift so it's going to be doing redshift GPU and then redshift CPU and you can let the entire thing run through so right now it's loading up the project and you can see that my gpus are beginning the rendering process you can see this is going to take about 10 minutes so I'll just fast forward here and now you can see the results as compared to a bunch of other common machines you can see I'm running a slightly older machine here with two 1080s so here's one test I did and here's the new one I did probably a little bit slower this time because I'm off with screen capture the entire time and if we switch over to these other ones you can see the scores that I got on my machine this machine is getting on six years old so you see the single processor is way down there but yeah you get all the nice new information from your cinebench so you can compare different machines now let's move back over into Cinema 4D 2024 and start talking about the proper new features and the first one is speed improvements so what's the best way to show off some speed improvements well let's a B test between 2023.2 and 24. so I've got a copy of 2023.2.2 open right here and I've got a series of example scene files that we can pop open so the first one is going to be this scene file from a pretty old what's new video that I made and it's featuring a warehouse scene there's a bunch of redshift materials so those are going to be updating for the newest version of redshift here and then it pops open you see it says viewport this was showing off some of the new viewport improvements from like I don't know r21 or 24 or something like that so I'll rewind hit play and we'll see that we're getting what about seven six or seven frames per second so you know viewport's looking nice that's all playing through so yeah pretty good six or seven frames per second let's open up 24 and open the exact same scene file again the redshift materials will update there we go rewind hit play and we are running at 33 32 frames per second an important thing to note is I think different bits of Hardware are going to run even faster I think as a general rule this is going to be helping you a lot if you have a lot of processors running in parallel this is going to be applying when you have a lot of objects running in your scene file or if you have mograph objects that just have tons of clones and things like that that's we're going to see the most speed Improvement there are speeding improvements across the board but in general you might get like a five percent increase but depending on how much more graphy stuff maybe you have like a hundred times speed increase but why don't we check out a couple other examples back to 23 here and next up I've got just a highly subdivided plane and I'm going to be passing a linear field and a random field through it a lot of these scene files I made for Rocket lasso live the live stream that I do on Wednesdays on Twitch and YouTube where I take questions live from the audience inside of Cinema 4D we just try and figure things out so the rest of the scene files are from those if I hit play here in 20 three you see pretty good playback we got lots of different points and we're doing lots of math on them it's running at what about 75 to 80 frames per second not too bad jump into 24 however and drop it in and we go from 80 up to 100 and what 35 so huge increase on that one almost half again excellent back to 23 let's open up this one this was even though it's a very simple looking scene file the concept is fairly complex where we're dropping simulation stuff we're dropping ropes onto the surface and that eats Away by generating a whole bunch of tracers and that eats away at the mesh and then we have a volume measure that erases out from the geometry and we do a giant Bool there's a lot going on so if I hit play it's going to be really chugging as these Collide and you can see that's going to start dissolving away the mesh as it goes and this is dropping quick we're down at 1.4 1.3 around frame 30 we're at 1.3 ish oh really difficult to let that run so I'll pause that rewind so open up 24 open same scene file this one isn't as huge in a speed Improvement but if I hit play those will drop and we're going as we approach 30 way quicker we're still at 3.5 we're dropping the two around three frames per second where before we got 1.5 so almost double the speed depending on what frame we're at here I got another one here's a heavy mograph object based scene file back to 23 open this up and we've got these really fun spinning squares hit play and you'll see we're nice play back here in general we'll get him out 18 19 frames per second so very workable in 23 but let's open this up in 24. hit play and you'll see that we're running at about 170 150 180 it's fluctuating around there so way way more frames because it's a scene that's got a lot of mograph stuff inside of it so that's pretty exciting and finally one last file for 23 this is probably one of the most complex files that we put together during a live stream not because it was complicated to make but just because of the sheer amount of geometry that's being calculated so I think this is called a Menger sponge or Menger sponge but the basic idea is we've got this piece of geometry here a very simple let that calculate we got this very simple cube with a hole taken out of it so essentially there's 27 different cubes here for all purposes so we then feed that into a cloner and that makes 27 copies of it this plane with a spherical falloff will erase out the ones in the center so now we can clone that again and just repeat that pattern very fractal now we've essentially got the original 27 times 27 and now we'll clone that again so it's 27 times 27 times the original 27 different cubes and again and this one will take a while to calculate so you see that that is in if I go and try and rotate The View viewport it's got like take a second to cache all the geometry here in the viewport so you see my mouse chugging along there so we couldn't go any further yet here we go in the live stream you couldn't go any further you see I'm getting about two frames per second now as I try and rotate my viewport with all these different things layered up on top of each other so two frames per second let's open this up in 24. and first of all you see it opens very quickly we'll do the entire process again my original 27 polygons or cubes now we've got 27 times 27 and now we erase out and then 27 times 27 times 27 times 27 you see it almost instantly refresh there if I start spinning my viewport we are running at six nope even more 11 oh as well as fluctuating between six and 11 frames per second so way quicker to calculate and in this case I wouldn't even attempted this in the other scene file but why don't we pull out this cloner and make a copy of it so now we can do 27 times 27 times 27 times 27 times 27 so it's going to take a lot longer to calculate obviously but there you go we can go even one level deeper now it's going to be really slow as far as caching all that geometry but there's a lot going on there and you see how much quicker that is in the new version next up we've got what's new in the asset browser okay just close down a bunch of other pieces of software because it's eating up all of the GPU let's talk about the asset browser I have been traveling around during the that tour the design and animation tour along with EJ and Jonathan Winbush and I've been talking about nodes and capsules and while I'm doing that I've been asking everybody how many nodes I've been using how many capsules have they been using and I've also been asking about how many people know about the asset browser and so many people don't know much about any of those things so let's spend a little bit of our Spotlight here talking about that you can find your asset browser here in the upper left it replaced a Content browser a couple years ago but here's the best part new things are being added to it all the time for your Cinema 4D subscription so if I were to click on new content if you've got your c4d subscription you're gonna see we've got a whole bunch of new stuff in there in fact I'm just going to say all and let's start increasing that and I'm going to if you didn't know you can do these nice little drop downs we do things like search by creation date and I've already got this copy and pasted so I can say by this date so this is new stuff since the last version of Cinema came out so ever since 23.2 came out this is the stuff that's been added to the asset browser so you see all of these models all of these plants you can see this redshift icon so this means these are already compatible with redshift which of course is amazing because in 2024 redshift is the default renderer keep on scrolling we've got all these lovely glasses more plants more and more and more and more keep going further and we've got these different wine bottle cases scroll down further and there's all these redshift materials it's important to note that if you see this little o icon that stands for Maxon one so you need a Max on one subscription to get access to that stuff but again these are all redshift and ready to roll most of these are just a Cinema 4D subscription and keep on scrolling and there's all these different materials and we'll get to that little other stuff in a moment but I do want to show off a couple of these materials because I think they are pretty great I'll open up my old robot character Benson and zoom way up on them there a bit and let's apply one of these materials I'll just drop that directly on there I have not done any cleanup or prep or anything on this character let's open our redshift render View make that a little bit bigger perhaps and start rendering you see that this material just applied over this entire character we are going to start getting some amazing rust materials which are collecting on the corners anywhere return a corner and it just applies so quickly and so nicely and we've got a bunch of different materials that have all been added since 23.2 and there is more stuff added before that so let's give that a pause so yeah definitely check out all of that amazing stuff inside the asset browser but here's another thing I've been finding out that a lot of people just don't know about and that is that rocket lasso has been creating some assets directly for Maxon so now let's just search for the word rocket lasso now it depends on if you have a Cinema 4D subscription or if you have a Max on one subscription you'll see different things here some are for all those subscriptions and some are just racks on one but rocket lasso has been developing capsules for Maxon and here's a bunch of different example scene files using the capsules and down here are the actual capsules now we'll spend more time talking about this in a dedicated tutorial but I did want to very quickly highlight some of the amazing new things you can do with some of the new capsules and the new ones have come out since 2023.2 are our swirl deformer we've got a brake deformer and a catenary the name of that might be changing though we might want to come up with something a little bit more artistically friendly but I might just open up a couple of example scene files here but you can see all these different preview files we got like three or four per different capsule that we put together so I would love to pop open let's start with catenary I'll open up this entire scene file here that downloads from the cloud and now in the scene file you see we've got all these power lines I will change my camera angle here zoom out a bunch and take a look at them so what is this capsule doing and for anybody who doesn't know what a capsule is a capsule is a bunch of nodes wrapped up in an object you can drag into your object manager so I'll just delete or you know let's yeah let's go ahead and delete that so you see I've got all these power lines all lined up and it's all being set up along the spine so I can just cut the spline here in this example file I can pull this over you see I can modify this we get all these straight lines via Mo graph setups and tracers like all these straight lines connecting all of them but now if we go in we grab that catenary modifier I'll just say I want to modify all of those drop it in and that will get applied and now you can see we've got these power lines sagging we can sag It Whatever percentage we want so I can pull back on that let me close down the asset browser and we can modify how far down those are each going and this is obviously designed to look good at a particular angle so we can parametrically have a wire tank we've got a bunch of different example files for that we've got this lovely world with all these lines traveling because we actually can go in multiple directions and I love this uh cheesy text file so we can open this up and I'm just using a whole series of catenary splines based on one single original spine so I can type in 2024 here it does need a single refresh now you can see that that text automatically updates and I've got all these hanging wires coming off of it and we can type in anything you want c4d that will automatically update and we got our lovely hanging wires I've even got up so some will interconnect between each other so yeah very fun additional capsule this is a spline modifier but we've got more than that open up another new scene file and we've got this lovely break spline modifier so we can create anything like maybe a text spline and let's zoom up on that and drag in my brake spline and that is going to automatically create parametric breaks in your spline which of course is actually really helpful when it comes to the catenary but lots of different ways of spreading these out based on a certain length or percentage we can change the Gap in between so it's a nice way of also making some dotted lines we could be animating this having it travel around we can add Randomness and offset but yeah if we break all these lines apart let's do a count of let's say I don't know five and then we drop in the electric spline modifier which is one that came out a little while ago then now we can create electrical effects but they all will terminate where I put those Edge breaks so you see how those will fade out to those different points so a lot of fun ways of combining all these and again I recommend checking out all of these uh different example scene files that with any luck is already there sitting in your asset browser waiting to be played around with like oh this electric spline running guy let me just double click and open that one I really like this rig hit play you get this electricity effect all traveling along chasing behind him and as long as you're using our electric spline this is all vanilla stuff coming straight out of Cinema so very very fun anyway that was just some stuff I wanted to cover that is inside of the asset browser that I feel like a lot of people might not know about up next is the updated Fong and normal tags so let's start nice and slow on this one opening up async file I've got a nice simple cube in a Bool as you probably know Bulls are a subtract B so I've got this connect object so everything inside that connect is going to get subtracted away so I'm going to say well I'm going to clone a bunch of spheres around you can see that's taking some nice little bites out of there kind of get these Pips going then we can clone a couple of cylinders and those are creating nice holes up in the top and finally we've got a couple of Cubes taking bites out of all these Corners working perfectly fine but now I want to Bevel some of these edges so I activate my bevel and it's going to look a little bit weird and that's because all of these shapes are completely disconnected from the surface so we actually have to tell the Bool to create a single object like merge A and B together when they get subtracted from each other so I activate that and say okay cool now we got a lovely bevel on all these different corners but you're going to see our Fong tag is messed up you've probably seen this hundreds of times in your work where the Fong tag is just behaving not exactly the way you want and there are things you can do when you can create Edge breaks and whatnot but there's an exciting new Option now I could bake this down and maybe that's a good idea just right click and bake but I like to keep things parametric so I'm going to instead feed this into a connect object and don't even bother welding but the reason I like to connect is we can say the fog mode is manual and I can just drop a brand new phone tag on there and we can control the Fong perfectly from here without making anything editable so you know we could change our angle here we could get these nice sharp angles if we wanted to just by changing the slider but you know now we kind of messed up the rounding here and you know it's fine but it could be better so let's pull this back up again and we can go further and see everything's really messed up but now we have a brand new style of Fong tag if I select my drop down there's a new square area weighted if I activate that it's just kind of a magical one button solves all type of thing and not only is it making those transitions between those shapes really nice you'll see if I hide my polygon mode that it's rounding out these Corners in a really nice way you see as I zoom up we've actually got these little highlights but if I hit NB you're going to see that these are just two polygons so it's actually doing a really really great job of rounding things out in spite of only having a tiny little bevel so this actually gives a lot of power really easily I am finding it to kind of be a one-click solution so let's drag this a little bit more into a real world circumstance I'll bring my robot back over again and you'll see here I've baked the whole thing down but you've probably run into this type of thing where you're getting kind of some ugly Fong here you see it's messing up on the head here because I've got a complex end gone going and it's just like there's not a good combination to make it look good well now I can select my phone tag change that to square area weighted and instantly everything is looking great it fixed over here it fixed it over there everything's getting super cleaned up and depending on what I set my angle to if I go really low you see we can still get those sharp angles there or I can increase that and you'll see with no additional geometry those can start looking rounded automatically so yeah just a really really nice way of just changing a single slider and getting really good looking fun results so very excited about that next up is a normals tag we've had a normal tag for a little while but I think 99 of time this is applicable only to people doing maybe CAD software stuff importing CAD files but I will make a sphere make it editable and quickly let's make a new material double click and you'll see it's a redshift material out of the gate because again redshift is the default renderer crank up the metalness to make it super reflective and pull back on the roughness drop this on because I feel like we can see everything working really well when it comes to reflection so yeah normal sphere reflecting the environment exactly what we expect so if we click on our Fong tag you will see oh yeah it does have to be editable so we'll make that editable click the font tag we can say create normal tag click on that and immediately say a normal tag overrides the Fong tag so the font tag is doing nothing right now it's all about the normal tag select the normal tag and you can see that we are it doesn't look any different it's identical but I want to begin to manipulate this so there's an entire brand new tool to do that 99 of time I don't expect people to need this but just in case you do you can go under mesh and under normals you'll find a new normal editing manager pop this open and let's say that I want to see the polygon normals and maybe the vertex normals you can go to the point mode here and what I'd like to do is begin to manipulate this object a little bit so maybe I can say I want to begin facing all of the normals a little bit more up on y so I'll say y plus which gives us an orientation and I'll say I only want to apply 10 of the power and now I can say a line and you see all of our normals have shifted a little bit isn't that weird click click click nothing's really visually changing I forgot what mode I need that okay in polygon mode now we can see the actual normals you see as I hit a line you see how a bunch of these normals are starting to aim upward now everything is shifting on y plus so now if I view this from the top it looks a little bit more flat and as I spin around the bottom you're going to see it's really tiny and pinched so it's kind of like a it's kind of freaky right there so I can't think of any practical application I'm sure if you work in CAD that you immediately be like oh I know exactly what this would be useful for but instead I just started trying to experiment with some weird things so maybe there'd be some cool Motion Graphics uses for it so here's a weird example I just want to show off so here's just that uh head bust from the assets browser and I again applied a reflective material because it shows it off really well so here we got that I'm going to click my Fong tag say create normal tag looks exactly the same but inside of the normal tag we can activate use Fields now when you first turn on use Fields what happens is there's no information in there at all so it's almost like I think it's always facing the camera it's always perfectly frontal so it just makes it invisible we're seeing we're seeing straight through the character let's delete that freeze because it's not doing much for us but let's just start out maybe with a spherical field as soon as I drop a spherical field in there you just get this really cool angle and refractive kind of property on the surface it's kind of like in real time seeing what A noise might be doing to a surface and I can imagine doing some really cool effects with this I mean especially if you're doing sort of some sort of like Predator animation or something you see if I drag it pretty far back it's going to kind of blend in with the background as I pull it Forward suddenly like it comes a little bit more into focus and then reverses around the other side so kind of fun along those lines but again I don't have a specific use case here but some other fun things I did I can grab this spear as you can see I've got this super low poly sphere and I'm going to drop it into the normal tag drop it in and I'm going to say I don't want to be based on the points instead be based on the surface give it a nice big radius and you now see I almost get this Spider-Man looking effect just the way those polygons are finding the nearest surface and getting projected so saying okay that looks kind of cool I'm not sure what to do with it but I like the way it looks and then of course we're getting these Jagged edges and you probably don't want that so something you do here is add a freeze so under your your modifier layers you say freeze you can freeze that property where it currently is so now it's taking that data that came in freezing it we say okay now average it pull that down to zero and we can slowly go up and you see I can actually blur the effect that we have so it's that same sort of effect kind of the same Spider-Man effect but now it's blurred on the edges so you get a nicer transition and even taking this and blurring it for different refractive effects like there's so many different cool things I might think might be able to be done so again nothing practical but maybe someone come up with something cool there that I haven't and I just want to show what I had explored so are so let's move on to a few tweaks to modeling now there's just a handful of little tweaks and some modeling tools I wanted to mention to begin with I'll make a text object let's say 2024 set that to the middle distribution maybe change it to my favorite lemon milk so we got 2024 maybe scoot this over a little bit more and rotate so in the Symmetry object apparently this wasn't quite working so if I make a new symmetry then this spline will now work inside of here when we do a remove outside that will now cut correctly along the plane and these are getting welded together properly getting chopped and welded so that is active which is lovely opening up another new scene file let's search for the bust of this character pull this over zoom in on in delete the material and let's do a nice little subdivision because why not so when it comes to modeling there is a tweak to one of the brushes where we say m c for the brush tool and here's the regular old smear and it's all stuff we've seen before but now we've got a new Mode called surface mirror so if I say surface mirror let's shrink this way down you're going to see that as I drag that we're going to get much better sticking to the surface for this so if I zoom up a little bit it's a little bit better for maybe making the character Smile or frown or but you can see I can put pull sort of the geometry over the surface if you go really big and like really powerful as far as size you can definitely pull it like away from the surface it starts dragging but it's really nice for doing little modeling tweaks there so another mode added in and also there's this new preserve boundary and this is a very small tweak but let me show let's do a loop selection and a fill selection so if we go back to the brush tool and if I were to try and paint you can see that this Outer Edge is moving along with it but I can instead say preserve boundary and then you see that outermost selection doesn't move so just two little tools added into the brush so very handy there but the next one's a little bit more of a big deal and that is the new pattern selection so to begin with I'll make a cube and subdivide this a bunch of times let's say 25 but 25 a 25 make it editable okay so now I can start to select a couple of polygons here we can kind of do anything we want but let's just go right for the jugular and I'm going to select a bunch of edges all the way around like that so what I want to do is turn this into some sort of building so there we go we've selected those now we could manually start selecting all of the different window patterns all around but instead let's move into our select and go to the new pattern selection so when you create this you're going to see this lovely little widget and it's going to ask how we want to copy things I'm going to say I don't want to copy down so click on that arrow and I'll say I want to copy to the right so now I can say hey I want to repeat again and again and again and again and again and hit apply so I hit apply and now it's made that entire setup and I'll say instead of pushing off to the right let's say we go down now and now because that's the active selection you can see we can repeat this pushing down now if we want to we could do things like add more of a margin so you can see there's a gap of two in between all of them but I think I'd leave like to leave it by one just make a bunch of repeats like that hit apply and I've got this huge selection automatically set up for myself excellent I mean if we wanted to get fancy here and I do want to show off a little bit of stuff as far as capsules are concerned because again I feel like people don't know about capsules so let's store my selection so I can say select store selection and just say windows and now that has been stored for us and now I'd like to maybe parametrically make this look like a building by turning these into windows so we can do that by using our amazing new or updated Commander from the last version and search for different capsules now actually before I even go there if you move into your asset browser you can always go into nodes clear this out and under nodes you can go into your geometry modifiers or your geometry selection and there's a whole bunch of different tools what's great about all of these is you're able to take them and drag them directly into your object manager and use them as deformers so you see I can grab this polygon bevel and it's selecting to any of my current selection and I'm getting the crazy bevel in all of them so that's a good way of finding things but if you know what you're already doing then you can use the commander so in this case I think I would like to take this active selection search for let's do a extrude so I'm going to search for the word extrude and because Commander is really smart it knows it extrude's probably what we want in here so I'll drag that as a child and you see that they're all extruding but if I move inside the building you see it's extruding every individual polygon but a lovely thing you do say use islands and now they actually get combined excellent so now I'll say how far do I want to push out well only very little I'll go out even just one and then hit n b so we can actually see this what I'd like to do next well how about we do a inset so I'll search for the word inset and again parametrically I would like to inset all those are getting pushed inward we can do whatever percentage we like that's looking pretty good and then I want to be a group so let's say use islands and then let's extrude again so I can duplicate that extrude that pushes out but I want to go in so we'll just say minus one and then we'll do another inset I'll pull a copy of that down and actually I'd like that inset so we'll do a second one there and the second one will say don't use islands and now you see that they each individually are getting inset and then we'll do one last Extrusion and that will again push in and then after that let's search for a lovely delete and here's a delete capsule and that will delete my current selection now you see I was able to update and get all these windows on this building just from that pattern selection and then using a series of parametric processes I could manipulate and change and automatically modify my model and what's cool is at any point we go back in here because it's parametric and I can say Okay I want to extrude them out further or I wanted them actually to be in set so I can push them further into the building automatically change them that way what's cool is we've got that original selection so I can double click on that selection and say maybe I want this to look a little bit different so maybe these outer windows are a little fancier and maybe this is one big giant window up at the top and down on the ground floor maybe there needs to be some room for the doors and these will be nice big tall windows for the ground floor and we'll merge those so we can now click on the selection tag and say update that's updated selection deselect it and now you can see that those windows have automatically adapted to my new selection and we get this crazy layout in the future I'll probably make more capsules tutorials as far as workflows to do this type of thing because we could probably make an entire building just based on a couple of selections but that's just a quick setup and showing off a little bit of the pattern selection the new projection deformer now the basics of this one are actually pretty straightforward but I feel like I'm going to end up using this pretty often especially during live streams so let's begin with a basic thing how about we make a figure and I'll make a plane behind him line it up excellent there's something big like that and let's make another plane down here and pull this one way forward and shrink it a bit and I'd like this one to be pretty heavily subdivided so let's say it is 99 by 99 very heavily subdivided now let's make a brand new projection deformer it's pretty easy to find it's got this lovely new icon grab that drop it as a child of this and already you can see these arrows facing a Direction so what do we want to be colliding with well we want to collide with the figure and the plane so I'll make a connect object drop them both inside of it I do not need to weld and that connect is now a single mesh as far as Cinema is concerned so I'll say I want to project onto that mesh and you can now see let's hide those original ones you can now see that we've got a mesh that looks like it is both striking the figure and is striking the background now important thing to note while we can grab the figure and start moving it around you can see that the projection is passing through it working excellently in the projection we got a couple different settings first of all we can see the entire hierarchy we choose the direction it's aiming not surprisingly we can transition the overall strength from zero all the way up to the actual effect we have field falloffs which is really important for certain effects that we could potentially be doing in the future there's also the projection mode right now we have parallel but there's also directional mode and I think directional mode is a little bit more like it's got perspective to it um and you can see as I move it around the direction is changing if I move it back kind of in the correct angle that is indeed still projecting the character but I think it's a perspective based projection so but typically I've just been leaving it in parallel there's this lovely offset so we can actually offset from the overall shape so by offsetting that way you can actually see oh it looks like this back plane is backwards so I'll spin that around as I increase that offset it's kind of putting like an error Gap in between the original model and the projection that's happening on top of it so yeah there's a lot of potential just for this type of projection as far as projecting text onto anything things on the Landscapes here's a random example that I'm not going to explain I guess you can ask me about it during my live stream that'll be happening on the same day that this video comes out so I can hit play here and you see I've got all these little kind of metallic worms traveling around on the surface perfectly sticking to that surface blobbing and merging and just traveling and there are no keyframes here so that's pretty fun but let's go and make at least step through a little bit of a setup I think is a little bit cooler looking so I've got this mesh here I made this via putting that same bust of a character merging it with a cube and feeding that through a volume Builder and I re-meshed it so a whole bunch of different steps to get to this final remeshed face here but you see I got this nice Hollow face excellent and then I've now got this emitter and I made a fairly fancy Field Force setup if you want to see how to do this field Force setup I talk about it in my what's new in r21 video so you can see I've got this directional travel where I'm converting some random noise through a volume Builder into a particular direction and then that's getting passed through a field Force to actually blow wind in a particular direction anyway the long and short of it is I've now got this emitter and if I hit play the emitter is spitting out a bunch of particles but they have no speed so they'll actually start getting blown by the wind that I have and they're blowing in a two-dimensional way you see it's perfectly flat so these are traveling around just blowing around here and eventually they can strike this Destructor so they can't go any further than that so to make that more interesting obviously we make a tracer object the Tracer is actually never stopping so it just keeps on tracing forever you see we get these lovely lines organically drifting around so I think that makes for a pretty cool effect right there right away but now we can make a projection deformer let's go and grab said projection drop that as a child of the Tracer and what do we want to project on well it's already the correct orientation I just want to project onto my remesh so as simple as that the entire thing gets projected onto the face if I want to we could push that off of the surface a little bit I tend to go really small maybe even like point one you can see it's just slightly off that surface and if we hide the emitter rewind hit play you can see we get these lovely lines that look like they're tracing out the shape of the face kind of organically growing there this kind of makes me think of maybe the uh the movie Annihilation or maybe The Last of Us opening where you kind of have these 10 rules growing and you see how you know well relatively straightforward this setup was laying those all drift out but then even a little bit more fun is we can drop these inside of a volume Builder and the way I've got them set up there's actually a little bit of a fall off on them so let's see in the volume build you see that's dropped and now it fades out just a little bit and it's a very high resolution and this is probably getting a significant speed hit from the new version of Cinema but now if we apply I guess I don't have a material let's just make one apply it here so it's a slightly different color and hit play and now we've got this effect growing directly on the face with all these nice little tendrils spreading out from where they begin so very nice very easy to use the projection deformer it lives alongside a huge cast of other incredibly useful performers that we've had for a long time it's always amazing to get an additional one inside of that collection up next a new mode inside of Vamp the vertex map manager the new mode is closest polygon I am super curious how many people have used a vamp in the past now we're going to use a relatively straightforward example here I'm thinking we just search for models and I want to find my old friend the Raptor so grabbing the Raptor you can see that he's looking pretty good and he's got good UVS already that's the important part here let's make a material that we can actually see said UVs make your brand new redshift material double clicking I would like to search for the word UV inside of media if I scroll down eventually I find this UV test grid drag that in as a material and I'd like that to be the color of my material drop that on the Raptor and you see he's got some nice UVS but the important thing is that he's got separate UV Islands here and those UV Islands correspond directly with his polygons so he's got separate teeth and separate arms and separate legs and even this tail seems to have a break at a certain point so let's say we're going to convert this into a different mesh I'll make a duplicate of it and feed this into our volume Builder into a volume measure it's going to need to be really detailed let's hide the original ones you see that's still nowhere near detail enough so let's say 0.2 okay that's starting to get pretty dang detailed maybe 0.3 and just to make sure we catch all these little teeth and whatnot how about I feed in a dilate in the road which is going to inflate it but I want to inflate it a tiny bit maybe like 0.2 I'm just guessing numbers here you actually see all the individual polygons and everything so it might be a good idea to smooth out the Velociraptor before we feed it in so I can feed in a substitution surface you see everything gets smoothed out and the teeth need a little more I'll put that below there you go now the teeth will reinflate and I'm not sure if these are good numbers or not but there we go we got a raptor now way too many polygons we don't need nearly that many so do our usual trick of feeding this now into a remesh I'll say I only want 10 percent of the current polygons so that's going to have to process all the way through well that kind of obliterated the teeth but I'm just going to roll with it I'll make this editable and if we were to apply the same material here you're going to see that okay it's just totally not doing anything I think it's a spherical projection at this point you see that there's there's a focal point in the appropriate spot on our Raptor so what we need to do is I'm probably going to break our Raptor down connect and don't weld so that's all one mesh but you see if we show it it is still correctly doing the UVS as we want them so I want to transfer the UVS from one to the other in fact we make this more visually obvious by dragging one off to the side because that will still work so we go to our character drop down go to the manager and grab Vamp for our vertex map manager we can say that this is the source and the new one we made is the target there are two new things added into this transfer window there are now vertex colors and normals which didn't used to be there but we what we want right now is actually just our UVS and our material tags let's delete the material and the UVS that are currently at the Raptor because we're going to get them from this now let's do a a different mode not the new mode first so you'll see under evaluation method that we've got the new one which is nearest polygon with data breaks let's try all the others let's transfer this map and you'll see it's like okay that transferred but we're going to get some wonkiness anywhere you see kind of this warbly twisting that means it didn't quite work so it looks good on like the leg but when the leg moves to the body that's where it kind of messes up so let's try the next one nearest Point transfer the maps so similar thing doing an okay job but similar problems normal projection try again that one's taking a while to calculate there are quite a few polygons okay normal projection actually took quite a while but you'll see same problems undo let's try Source projection similar thing undo Target axis projection and almost exactly the same thing different warbly bits in different spots but all these have the same problem and that is it doesn't know how to do the transition from one polygon Island to another well that's where the new mode comes in under space we well not space under the evaluation method will say nearest polygon with data breaks which is the important part and we'll transfer that map pretty much instant there's no calculation time and now you see we get this lovely break just like our original model head so that has been doing a very nice job transferring things over I think it's just going to be my go-to method for transferring things because it's doing an excellent job of it overall and yeah that is vertex map manager now you could use that to transfer a bunch of different things I've been actually using it in let me see if I have a file handy here you'll see soon I'm doing some simulations using this almond that you can find in the assets browser so I want to run it on a low poly object so I made a low poly and it wasn't quite doing the materials very well you'll see here that my remesh is trying to do its best for transferring the materials but you see we're getting these twists and it looks a little messed up in a bunch of spots so instead I'll try and transfer that so here is my new model there's my old so let's pull open that at Vamp again and this is the source this is the rematch and you'd think because there's no data breaks or you know there's no polygon islands that it wouldn't be as useful but we can say UVS and material tags and even here I'll say Okay near surface local go and say okay it's okay but now you can see these lines clearly are not lining up so we'll just jump right to nearest polygon data breaks transfer and now you see look now it's not being all warbly over there so just seems to be a better mode overall for being able to transfer over your UVS and material tags next up more assorted things a topic I tend not to know very much about is the importers and exporters so under importers and exporters all of these should be working a lot better with all the redshift stuff because obviously redshift is default in 2024 and in addition to that gltf has a lot more work put into it I don't know what it was lacking before but apparently now we've got all sorts of things like morphs and textures and instances and always remember these highlighted things are showing new things like morphs and textures and instances so yeah nice additions for our importing and exporting next up a super tiny one but I actually think it's pretty neat to the align the spline tag so if we were to create let's just say and keep it simple make a spear shrink it down say animation align the spline align to the spline now we have this overshoot option where before we just had Loop which was lovely actually originally we had clamp which meant when we hit 100 it would just stop there dead and it couldn't do anything else I couldn't above 100. a couple versions ago we got Loop so when it hits the end it actually just loops around to the beginning which is very nice and then now we have extend if we turn on extend once we overshoot the spline whatever the final Direction was it'll just keep on going so I like that as a little addition I always like more options especially to a trident true tool like the Align to spline next up this is one that we have found incredibly useful over here at racolasso as we work on capsules let's grab our old friend the elephant and the new thing is if we select an object and let's say we go to polygon mode under filter there's a actually no other options there's a new Option called polygon indexes and it will actually show the exact number of the index of the polygon if we go to point mode we can turn on the point indexes we can see the exact point index now this is going to be useful in a bunch of different ways as far as snapping the specific points using espresso and like we said making stuff for capsules selecting very very precise things so very very nice I mean I guess even when you're working with a capsule if we wanted to extrude let's say a particular polygon here is number 581 let's say that's the exact one we want to extrude instead of making selection we can just search for that extrude drag this as a child and this is applying to everything but if we type in 581 then that's going to say that very specific polygon and there it is so we could say 581 through five eight three let's say and now we get those three polygons which we can easily identify from the original model here so very handy we can turn on create islands and now they're all merged and we can make like a robo elephant or put a backpack on them or something all without making a selection tag so a pretty handy little one to add on there as well for our TDS out there let's take a look at what's new in Neutron I have a sneaky suspicion that a couple organizational tools were added into the nodes and capsules because of the tools that rocket lasso has been making so let me give you an example let's search for Rocket lasso here and I can scroll down let's grab the electric spline I'll drag it out I can right click on that and say edit asset as group and it's going to pop this open you're gonna see we're attempting to be as organized as we can but as we zoom up you'll see that a lot of things here are actually groups so if I were to travel over here you see we got generate position offset and inside of that group we can look around there's like oh inside of this group here's another group called The Noise offset inside of that group we have a loop and we can go inside of there so now you can see we're in the group in the group in the group in a group and that can get a bit you can get a bit lost that way and if we zoom out it's kind of like well what's going on we're trying to be organized but you know do it our best but now we've got some nice new organizational tools right clicking we can see we've got a new note and we can do control slash to make that pop up so I'll just click it right now and we can see instantly it wants to just a type and I can say this is a new note click off of it and instantly it converts into this cute little Post-It note so we can drag this around easily have it hang out with a group we can easily identify that let's say that this group is supposed to be something in particular so we can say that that is actually and you can just double click on it we say that this is supposed to be for the spline mapper and now that's been updated having done that there's a bunch of different options right clicking we can say change the size of the text depending on how important it is we can say extra large and drag out the Post-it note so it's a little bit better fitting right clicking again we can go to color and we got a bunch of different preset color options we can say that this is purple we get these really lovely pastel colors ready to go but if you want to get specific you can always click on its properties over here and change this to absolutely anything get some super crazy colors in addition we can turn on transparent background very handy click on that and you can see it kind of gets rid of everything we just get the final text so when you say that hey that's really important right click huge make this even bigger and now we can place it wherever we need to so that when we're super zoomed out we know okay that's where the spline mapper is being worked on also we can control click and make a duplicate of this right clicking we could actually just click on transparent background turn it back into a Post-It note go back to our regular small size of text zoom up double click again and say this is uh another note double click on that it'll shrink it down nice and small so very handy I think we'll be using this all the time but in addition to that we've got our nice lovely group right here let's pull these away let's say that we know that this area is supposed to do something very specific but we don't want to collapse it into a group that sort of disappears so instead selecting all of them I can right click and say group in scaffold and there's a shortcut of Ctrl G and that's because alt G is already for grouping everything into a group so instead let's do group and scaffold and now you see you get this lovely gray box surrounding the entire thing and we can instantly type so say spline mapper again and now we know everything in this group is a spine mapper now a couple things are really handy here if nothing is selected if I just click and drag I can easily get to my nodes inside of it if I click a single time on the scaffold it is now selected and I can move the entire thing anything inside of it is going to now move around with it now these things are stacked up in different orders if I were to grab this and move it let me steal this node right here if I grab my scaffold and drop it on top of there use it kind of grayed out a little bit and it's because it's behind the scaffold so it doesn't move with it but if instead let's make our scaffold way bigger I'll grab this larger make that actually let's uh let's scoot over here make that way larger move this back in position let's say we want to add all this to the scaffold if I drag it into the scaffold this way automatically it is added now if I made the scaffold too big I can double click on any of the edges and it'll shrink to automatically encapsulate the current selection and again we're free to move these around now that these are inside of here I could select a couple of them let's say these three and then hit Ctrl G and put them into another scaffold um and then call that test and selecting this scaffold we can right click and give it a different color this one will be yellow so like this outer one right click and give that a color of green so you can see how we can start layering these up we get very specific meanings for what the different colors mean maybe yellow is experimental and green means we know that part was working we can grab our spline mapper drag that inside give ourselves a little bit of extra information that will now go along for the ride as well as any of our lovely notes or little Post-it notes all go along for the ride inside of scaffold and we can put a scaffold in a scaffold and scaffold and it's really easy to select any selection there pull it out have it hang out by itself pull it back in again even here it seems to get big enough to encapsulate that if I drag it in so very handy new ways for being organized inside of the world of capsules and neutron with nodes let's close that out and open up we'll just delete that and that we're in this file there's a couple of new nodes that were added in and we'll cover those quickly moving into the world of nodes something that might be handy is moving into our asset construction right here as a group and let's say I want to make a nodes modifier so I can drag that out and we'll make a plane and I'll drop the nodes modifier on top of it so this is essentially acting as a deformer but there's nothing inside of it double click and right now it's like geometry in Geometry out but what do we want to do let's take a look at this you can see here's our polygon so if I were to take let's say double click in this empty space and search for extrude here's the simplest possible thing we can do I'll say I want to extrude this geometry so now we will feed the geometry into the extrude and then out of the extrude and now you can see we've actually extruded that geometry as a deformer so we can say offset variation put a bunch of that in if we look at the bottom you see it's kind of hollow so we say okay well that should be closing the caps and there we go we've now made a very very simple capsule for all purposes we can pull this out and drop it on a different object let's do a plane this time and put it there and you'll see that each of those will get randomly extruded so that is what that is the most basic capsule you can possibly do so having said that why don't we look at some of the new things we do one thing that we can do is this new clone so if we search for the word clone double click search clone here is clone onto points double clicking on that it's got a couple different things it wants to do first of all it wants to know what geometry it's going to be cloning around so let's search for a pyramid so here's a node-based pyramid primitive drag that in so there's some geometry and where do we want to clone well on to the points of this plane so we don't need that extrude anymore but we want the points of that plane search for geometry and we can get our geometry property get so here's all the properties of our incoming geometry and we're going to Output an array of lots of things what things well I want to get our Point positions excellent so that's now all of our Point positions so say those are our points now that's going to be outputting a whole bunch of the copies so I can say try and output the final geometry and there you go you can instantly see that we have now cloned this pyramid onto every single one of those now it's a little big right now so why don't we shrink that down a little bit and then you see we've got these nice little spiky pyramids on whatever geometry we want to feed in so if that was a sphere we can instead put the spiky pyramids directly on the sphere so yeah this clone onto points is a brand new node we'll see if there's any cool stuff we can make from that in addition to that you can see right here we can actually be outputting a list of all of the individual copies of it so this is a silly a little bit of a silly example because already you can see we can output that final geometry but another new node is this connect so if I grab this connect it can actually be fed a big list of objects now before you have to manually add in individual objects but now we're putting this entire list in and I can say all of that list of different objects should get merged down as what let's say as a mesh and I can output that final geometry we get the same results but now we're doing it in two different ways so this connect can merge a bunch of different splines together or lines or Point clouds so very handy along those lines and then we've also got two final ones which we don't need to get into the specifics but we've got a new explode so we got explode mesh Islands which will take a single piece of geometry so actually in this case you can see we merged all of these together so I can say well just take that and explode all of them into individual objects so every single island is now it's own individual object so if I were to say get an element so I'll say get element right here I'm going to say here's the array I want to Output only index 0 and I think that's fine I can output that and now you see we only get the first one or I can output the next one the next one I can cycle through because we've successfully merged them into one group and then exploded them into individual groups so that's a handy way of getting exploding mesh islands and then we have the exact same equivalent when it comes to spline segments so we could explode out a single spline into all the different parts that make it up and then act upon those individual parts and then use the connect to re-merge them back together so it's a way of acting upon each individual segment so pretty handy along those lines and now the part you've been waiting for or possibly the part that you skipped to inside a new scene file let's take a look at the basics I'll start with a plain object and I'll make that editable right away all right clicking we shall add a pyro emitter and right away you'll see a couple of differences first of all we've got this new uh emission type so we got surface and volume which we've already had for a while but now we've also got points and actually we'll do that we can do that here we have the individual points and we have the thickness so we'll set the points and hit play and you're going to see that every individual point of this plane is now an emission point so right away that's pretty exciting there's a lot of different effects we might be able to do with that let's make for instance one of these uh these Primitives here drop that on instead hit play and I can see that we're going to get Pyro from every one of those points let's right click and add a animation vibrate tag we'll give it some spin about 700 on every one of those point one on the spin hit play and then we can have these spinning around and you got flame coming from every single point so there's a lot of potential applications of that but the ramifications of points being able to emit pyro goes well beyond that we can do things like create a matrix object we'll decrease the number of points here a bit but a little more spacing on them and then let's put a random effector and that random effector will be set to noise that will be indexed if I place you can see we'll have every single individual one traveling around it's a little bit quick so we'll lower that down to 25 speed and increase the distance traveled a bunch maybe even slower still so there we go so now we've got a bunch of Matrix objects traveling around so why don't we right click and add on to that a pyro emitter and immediately you see actually put the setting away where it just automatically set the points so you hit play and now every single one of those becomes a spawn point for pyro which you know immediately is incredibly powerful the ability to have mograph very quickly Drive these different effects and then another instant and obvious use case for this is the Cinema 4D particle system we can say simulate emitter let's have this burst I don't know 500 over the course of a second always remember that and we'll have this emit only for three we'll have these emits they'll live for about 55 frames they'll emit for only three frames and in my emitter I'll shrink this down to zero zero 360. so now if I hit play we've got a burst of particles traveling in every direction in fact why don't we even say that they will shrink and they'll have a bit of a little bit of random variation on their scale and they'll shrink as they get older so we got our N scale we'll say they get smaller and they've got their individual speeds we'll say that they're faster and there's some variation on them so we hit play and now we get this nice burst and they all live for up to 55 frames all right just right click on that say simulation pyro and the Pyro is seeing the position and the scale of every single one of those particles so we hit Play instant burst of pyro like very powerful you can see that the scale is translating through so there's some larger ones and some smaller ones and they will all eventually Fade Out and disappear as their scale goes down so immediately there's so many instant effects we're going to be able to do just by using this emitter next up I'm going to open up a file from 2023.1 when pyro first came out and it is this grease fire in this pan if I play you can see we get this nice initial burst but maybe I don't want to see that initial burst maybe I just want my animation to begin and the fire is already burning so from here I can select my pyro object the overall scene one move into I think pyrosine and here you can see we have a set initial state so if I click on that that now becomes the initial State and if I rewind hit Play You'll now see as soon as I hit play we're going to have that initial fire already there but we still have this secondary burst going so it's just like there's an initial state of information there so so if we want to stop that we should probably move into our original pyro tag and say that we don't need that initial burst of fuel so if I say don't give me any initial fuel we've already burned the initial State now we're just constantly adding in new temperatures so at the first frame we've already got our fire and now we're just continuously adding you can see up here more temperature constantly just to keep the flame burning so we don't get that giant Fireball we just get our constant grease fire so yeah a very powerful initial state into another empty scene file let's make that plain object again just keep it real simple let's explain this in the simplest terms possible make this editable and let's make a polygon selection so we can make this manually or we could of course make a field-based selection but let's say this is a store selection just from the base simulation add a pyro emitter and you'll see that we have this new emission falloff and also an emission map now with this emission map we're already emitting from the surface so if I play you'll see that we've got Fire coming from the entire thing okay that's cool but now I can say well now we have an emission map so I can just drag in the selection tag and only where that selection tag is will there be pyro so that will limit that automatically and we can also do that via a Vertex map or a color vertex map it's really nice that these icons are here so we can see exactly what's going to be feeding them so yeah pretty trivial to right click and add a what is it other is that a Vertex map in that vertex map activate Fields delete the freeze create a random field and make that field large enough that we can actually kind of see a pattern there and let's give it a decent amount of Animation speed and then move back into pyro and feed in that vertex map now there is going to be kind of fire everywhere we can see that some areas distinctly have more and others have less based on where that vertex map is telling it to go and it's animated so it should change constantly now if you want it to be a little bit more extreme we can go back into our vertex map at frame zero and let's crank this up to 100 contrast which we can do easily via a quantize drop this down to zero and now you can see we have black and we have white so if we hit play now we should see that we only have Pyro from certain areas but then slowly it will grow and erase from different areas but of course this is like heavy contrast you're seeing the entire thing Philip there's more subdivisions and of course you'd see something different but it's pretty cool being able to see and control this type of pattern from the surface we'll delete that vertex map and now we've got this emission fall off this one's a little bit subtle but I think we'll be able to see it we've got a thickness that we're emitting from so if I view this from the side and hit play you can see instantly we have a certain amount of thickness that's coming through let's jump this up to about 20 hit play and you see instantly a strong burst of fire and smoke traveling all the way full power from the center point all the way out to 22. now if we give an emission falloff of the same amount I hit play you're going to see a difference where there's a bit of a fall off happening it's hard to tell because we're constantly pumping more energy and more smoke and more flame into it but there's now a fall off traveling from one side to the other which is actually pretty important for having things fade away I think that will actually help make things a lot more controllable I'm going to jump back into our nice burst of pyro here back with the particles and we'll make a little bit fancier but something I want to mention is that all of the cool stuff happening with particles here can also work with the thinking particles inside of Cinema but I'm not going to do a demo of that honestly I didn't have too much time to build demo scenes because I was busy running hephras here in Chicago so we're going to Tinker around with that in fact I'm going to be doing a live stream with nose man with Maxon um I think Thursday so if you want to see I know we're going to be doing a demo involving that but you're able to control the data a little bit more specifically there but we're going to keep it nice and simple for today but we've got this nice explosion why don't we set this up to be a full 360. so in my emitter I'll Crank It Up in every direction we've got that initial burst of particles I'm gonna have them die off even quicker just so we can have everything run relatively quickly and let's see if we have play we're gonna get a burst in all directions like that looks so cool right away so simple to set up too and we got a lot of different settings we can change as you know there's so many different controls we can let this keep running of course the longer it runs the more that the calculation time is going to take because you know there's just more volume and more calculations to do but that's looking pretty cool overall these are fading away and we get the nice little subtle burst and the final little bit of smoke how about adding a little gravity in here pretty straightforward add a gravity I think this will fall very quick so I might weaken a bit yeah you'll see a quick person they start falling so we'll do about a third of that gravity and we get a nice burst and then they'll start arcing downward perfect okay so we are running the simulation it's running pretty quickly even here in my viewport everything is going to fade away and disappear at I guess it should be frame 55 or thereabouts so I'm gonna say my animation is only 55 frames long and now here's the other big feature that was added to pyro if we move into our pyro object you'll see we have a cache Tab and I really like this interface overall because what you can do is make multiple caches and jump between them and it's gonna be saving it wherever this current scene file is so why don't I save this and we'll just say pyro cash test and cache it and it's going to save in this location and it's going to run through here you can actually see it playing in the viewport I tend to yeah I guess technically that slows things down a little bit but it is good knowing if things are working and if you like the way that it looks so personally I prefer it being able to actually show that so we'll let that run all the way through running pretty dang quick overall I mean it should be about as fast as would be playing the viewport so now super simple way of caching that I can jump to any frame now and we can actually see what the Pyro should look like there but the nice part of this is we've now run a simulation we like the way this looks so there is this option for upresing a cache now technically you could save out like a low res cache from a different piece of software there's a lot of different ways you might be able to Source this but we've already got one right here so we can have our pyro cache we can move down here into this upres section and we can do an upres factor and additional octaves we've also got things like where the noise is going to be emitting from and we can do different falloffs we'll keep it nice and simple we'll add in an extra octave and we'll uparez as a factor of three rewind all the way and just say up Res the active cache so it's going to say store here say yes this is not overriding the previous one it's taking the information from there I think it's taking like all the directional information that was generated from your original one and then it's creating a tighter density of more information and it's calculating it based on all of the forces that were generated from your low res cache so you can get an effect that looks just like your original one but with way more detail so it's a good way of doing practice runs and being like okay now crank it up so it's pretty it's a pretty neat way of testing and then Uprising when it's finally time so I'm going to let that finish it's going to slow down before it starts speeding up so I will Fast Forward I dropped the up Res a little bit to make that go a bit faster so let's go and do an A B test here so here's our lower res version I can even go a little bit further no let's see the fire bit so here we get some nice Fireballs here that's all looking pretty good all 3D all ready to go and now as simple as checking this other cache you can see instantly we're going to get the up Res version of it so we can jump between those two it even goes to this upres version is going to take longer to show up in the viewport so you could run a very very low res Sim and then use this for working on the project and then activate the hi-res Sim when it comes time to render there are so many more fun things that we could do in pyro that covers the new settings as far as I know but you know unless we're gonna make this a video like three hours long then we should probably wrap that bit of it up and then jump into and finally we've got the new Rigid bodies in cinema 40s unified simulation system starting out in the most simple way possible let's do this just like we would with bullet I'm going to create a plane maybe scale it up a bit let's show our polygons and create a sphere move the sphere up into the air now let's right click on the plane and say that simulation collider and then right click on the sphere and add the new Rigid body doing nothing else we should be able to hit play and our sphere will fall and hit the ground not super exciting but let's push this further create a cloner chop our sphere inside let's make a bunch of clones maybe shrink the overall cloner shrink the Spheres just enough to not be colliding move this up a very important thing to note let's make a few more of those a very important thing to note is your simulation tag can't be on the child it has to be on the parent so if I play right now nothing's going to happen but as soon as I move this tag onto the cloner now something can happen so pretty stable there and then they all start falling pretty cool let's add a cube in there as well t for scale let's set that to random and get a little bit of a random rotation in there as well maybe a bit of position just a bit and a little rotation just to make sure that everything isn't perfectly lined up as they fall so now if I hit play you're gonna see the whole stack Falls and collapses down working just fine simulation stuff now moving a little bit more advanced let's make something like a Taurus we'll make a donut shape move this up in the air t for scale maybe shrink that down just a bit now if we apply just right click and simulation rigid body tag and we hit play we're going to see something familiar you see that crashes and pushes right through everything you see that none of those shapes could get through the Taurus and it's just like bullet where the shape out of the box is not it's it's trying to be as simple as possible and fast as possible so a trick you can do is hit control or command D and go to simulation and you can activate draw so we can say enable I want to see the rigid body shapes so now if you go one frame forward it's going to calculate everything and you can see how our Taurus has been sealed off so we want to change that there is pretty much two main ways of doing that we move into the rigid body and under the Collision tab you see we've got Collision shapes so it's a little different than rigid body so you'll see we got Auto and then triangulate mesh which is a full see the entire mesh and we've got convex Hull and of course a simple sphere and a simple box so we can do triangulate mesh pretty straightforward now this is going to be slower to calculate let's rewind and hit play but you you'll see in the simple scene like that that's doing a fine job and stuff can fly through the hole but the more complicated thing but potentially more powerful is changing this to Auto or leaving it on convex Hull and that is with this geometry accuracy if I hit play right now you can see it's that same sealed off shape but if I increase this up to say two and hit play you're going to see it's going to try and decompose the object into a series of convex hulls now a convex Hull is pretty much a shape with like no holes in it there's no like dips or divots into the surface so it's trying to break that apart now I don't have a good intuition for how this geometry accuracy works because the numbers are very unintuitive to me my go-to number has been eight so if I set that to eight and hit play you're gonna see it's going to subdivide a little bit more but you'll still see that we got a little bit of chopping off now we can go and crank that way up so we can say like 20. and if I play it's gonna take a while to initialize it's really thinking about this one shape so be wary but you can see that it's subdivided significantly further and that would be significantly more accurate like really accurate overall and if I play in theory if I had a bunch of those that should be way faster there's less you know you know triangle calculations it's all convex so that should probably work pretty well as well but I don't have a good intuition for the way these numbers break down so be wary of that we're not going to spend all that much time here on the rigid bodies because it should look pretty familiar across the board all these settings have been completely copied from our bullet simulation stuff that we were used to we have things like the trigger we can give it custom velocity as far as a direction or spinning it we've got deactivation so it pretty much falls asleep if it goes slower than this speed or if it rotates less than 10 degrees I don't know if that's per second or per frame and then you know we saw Collision we've got Mass very very similar to what we're used to we've got one different setting is hollow so it's not going to treat it as a big solid object but we'll talk a little bit more about the the way things get weighted because it's throwing me off a little bit forces very familiar except you'll notice that we have a twirl down under follow position and follow rotation of this damping and recoil I haven't played too much with that so I'm not going to speak to that quite yet next up we've got the forces where we can include or exclude anything like turbulence or friction or wind anything we want to put in there and then we've got another new checkbox which is pyro and this is should the advection of pyro should like the velocity of the smoke and the fire push these objects around so you can turn that on so that it will see those and then we've got a cache which is very similar to other ones that we've seen having said that the interesting part here is that this has well two important things one it can interact directly with the other unified simulation systems like pyro and cloth and rope and the other one that I really like is it's got stickiness so I've got a scene file to look at the stickiness so here's a simplified version of it I have this ice cream file now we're going to do this a little bit from scratch I've got this emitter and it's emitting a bunch of cubes and keep in mind there's a really teeny scene file so we have to do the numbers a little differently you can see you know keys are figure so this is very small so we're emitting a bunch of Cubes if I hit play you can see that it starts generating cubes and they're barely moving so we want to make that a simulation so we right click and say and this goes on the emitter just like it would go on the cloner it's going to be a rigid body now the first thing to notice is well let's hit play and you can see everything's colliding and flinging apart I've got a couple forces like this friction so it's slowing everything down which is going to help with the goopiness of the ice cream you see they're all flinging apart so I don't want that to happen what I want to do is play around with the stickiness so let's put a stickiness of five there and when I play it's going to behave a little odd and this threw me off for a while but I think it makes sense you see that they're all really really colliding with each other it's like well why would that be happening it's happening because of this thickness we're in a very small scene file and let's see these cubes are only one by one by one so you can think of the thickness just like on cloth it's almost like this force field around it and the force field is kind of bigger than the shape so we need to do is make that thickness really small so say like point one and now it's not as big as the overall cubes and now when I hit play you'll see that these are actually sticking to each other so that's actually pretty cool yeah look at these big giant clumps that we're getting and how they're kind of oozing around so that's working great a couple things we do I mean first of all we could crank up the stickiness even higher if we wanted to so they should be even more stuck to each other and then something I found is even though these get some nice structure and they're running pretty quick there's some nice structure here where you see it's not just immediately falling and bouncing around but something that's pretty neat is if we go into our forces and we add a bunch of follow rotation then this is going to be very shy at rotating away it wants to maintain this angle so as essentially this ice cream starts stacking up it's more reluctant to fall over so you kind of get taller structures before the entire thing will finally tilt out of the way so just something to keep in mind now I am feeding this entire structure into a volume Builder and then feeding that Builder into this mesher and we get this lovely blob now you can of course play around with this even further in this Builder we could do things like dilate in the road which is essentially inflate or deflate so it can inflate this up a bit let's see how far we should go a little bit more and then maybe make a smooth pullback on that so now we made it bigger and now we're going to smooth it out a little bit if I turn this on and off you can see that it's mimicking our shape really well so now we can just get that final ice cream falling and flopping into it now unfortunately I found one small limitation the volume Builder doesn't seem to be in the same order of operation so if you hit play you see it looks like it's doing a volume blob but it's not actually accurate if I hit pause you see our simulation is actually way down so it's not going to play back in the viewport properly if there's a good way around that I'd love to know there is this um simulate before generators but that does not seem to solve this problem here it's still going to do the exact same thing in fact it seems to break it here so I'm going to leave that off and just leave it here now the important thing is is it would cache correctly and it will render correctly but it doesn't look good in the viewport so just keep that in mind but anyway I took the same system and I've got a different scene file and I made it way more advanced where I have vanilla and then I made chocolate and I put almonds in it and I put a cherry in it so let's open up that scene file and I gotta turn a bunch of this off in order to get it to run even somewhat reasonably well because I got a lot going on there's two different streams of chocolate that same vanilla happening we've got these almonds falling we've got these cherries cloning on so now if I hit play it's going to take a little bit but now there's a whole bunch of stuff going on just out of camera I also put that cylinder in so things couldn't fling away so now you can see I've got this big Clump going and everything is sticking together I made the vanilla ice cream very sticky so it really wants to stick to itself but then the almonds are not as sticky so they kind of get pushed out to the outer part of it which to me is a good thing and then I also made the chocolate and the chocolate isn't quite as sticky as the rest of it so it also sticks on the outside and I also set the chocolate to not start falling until around frame 60. so you see all this starting in the fall and collect I mean the more particles they have made obviously the slower it's going to go let this go for just a few extra frames here you see this chocolate start to fall and I even made it smaller so it's going to have a higher resolution so let's pause this and now I can reactivate my volume Builder and we got this lovely chocolate going reactivate the vanilla and we've got this Big Blob of vanilla this is the Almond there we go now we see the high poly almonds swapping in so you get this big old blob of ice cream so it's kind of my first test playing around with the new Rigid bodies just adding stickiness and already it was able to do cool things I was not able to do before I've got one low resolution animation you saw my Benchmark this computer is not amazing at rendering but I can open this up and here's how that looks overall not perfect and this is kind of my first test there's a couple little Jitters but overall like I'm very pleased with the way this is working and those are all cubes inside of there so I'm sure that there's a lot more I could do to push that further so very very fun I love it here's an earlier animation even lower resolution you just see these blobs but what I love is the structure of them you can see how they're stacking up before they want to fall so pretty cool okay so let's talk about some other little tests and experiments this one is pretty fun and I think conceptually simple so here's the idea I've got a rigid body tube for this ribbon so this could be tape or some sort of ribbon and then I've got a very simple Helix which I'm extruding upward and that's just creating a big swirl around it so I've got cloth on this ribbon and I've got rigid body on the tube that's all I got to do right clicking on this cloner and I'll explain the cloner in a moment we go to simulation and make this connector and I'm going to say I want this connector to connect cloth to rigid body so I can say update live and start increasing the slider until you see I've got a couple of nice connections there I could keep going further and further but eventually things are going to start connecting where I don't want them to so I'm going to pull back until it's only um this area excellent so that's all I'm going to do zoom out of it hit play and now I've got a rigid cardboard tube spinning around thanks to this turbulence and you can see my ribbon slowly twists around but the ribbon is stuck to the tube which is awesome now something that's a little unintuitive to me just because it's a different workflow but if you think about it it does work is this is a rigid body and this is the ribbon on the outside we typically we would put like we just make one null with like some cloth and some rigid body but the cloners won't see any simulation stuff as a child it has to be on the parent so if I wanted to make a bunch of clones of this I actually have to make them all disconnected so here's a ribbon cloner and a tube cloner I can select both cloners and let's make a couple of copies here and let's see yeah let's go two by three by two and just for fun let's turn on some random color and the one thing to note is we've changed the geometry which means we have to change the connection I have to click the connector and we just have to change this number to trigger an update and I can see those have indeed connected again not changing anything else just making some different clones we can hit play and now we've got six different ribbons of different colors all twisting around and it was pretty easy to put together and we're still getting a pretty good frame rate for all the simulation going on so pretty exciting to be able to combine these soft bodies with these rigid bodies so simply just with a connector everything parametric so very very pleased with that stuff and yeah very fun to put scene files like this together I'm excited to explore this stuff more in the future having said that I've got a couple other scene files we can't step through every single one because this would be like a three hour long video but here's one final I've got where I started integrating a little bit of rope stuff so here I've got a big old solid cube and then some rope and then the tarp on top if I select this connector you can see that those are indeed connecting and that the important thing to note is I've got a wind a very powerful wind blowing upward affecting only this plane only this tarp and the tarp is very stretchy and I'm going to scale up the target length so now if I hit play you're gonna see that my tarp blows up in the air is caught by these ropes and it grows really big and it's able to suspend this really heavy Cube I didn't change the weight of the cube so that is great um one thing I'm not entirely sure turning on the simulate before generators make sure that your stuff doesn't lag a frame behind but let me see if I can make these connectors yeah you can see my target length is down to one percent but I still get a significant gap between here and I haven't been able to figure out a good way around that and that little Gap does bug me cranking up your simulation settings can help with that but it does change everything if I say 55 I expect those yeah those will get tighter but you see suddenly everything is different so it's just going to fly away just completely different settings of course they're gonna mess things up typically you want to set your sub steps and your passes and things like that early on because it could affect things dramatically just like you saw here and then I've got a even slightly crazier version of this where I put a balloon in between the two and the balloon is what's got the wind blowing on it so now if I have play a big old giant balloon starts to inflate and catches so now we've got soft bodies catching a soft body connected the ropes connected to a rigid body and that is going to eventually settle down and suspend the entire balloon and again very stretchy so you know pretty fun to combine these now one I would like to spend a little bit of time talking about because I think it's very practical is this painting file so what do we got I've got just a simple sweep you can see it's a rectangle and a rectangle and I made sure that my rectangle was subdivided so you can see I got all these little subdivisions going on pretty straightforward let's make this a rigid body and hit play you can see okay rigid body falls plop now I do have my draw enabled and you can see that we've got a problem where this doesn't have a hole in it if we're going to turn it into a painting we can't we we need there to be a hole so pretty straightforward we select that tag and my go-to number is two and you see if you can get away with two and if you can't get away with two I've been jumping to eight if there's better rules for that I'd love to learn it but I just don't know what they do I don't have a help file to look at so now you can see that it is a good accurate enough frame for us to work from so then I can make this plane and I just applied a picture of a character from The assets browser in there and what I want to do well I'm going to poke polygon so I can get these nice triangles everywhere so it tears nicer and I've got a Vertex map but we'll worry about that later but we can activate these and see we get this nice vertex map okay so having done that if I play well nothing will happen because this isn't uh a cloth yet so let's say simulation cloth on this plane now this is real world scale nice and small and remember we had that margin problem earlier and that's going to happen here if I hit play you'll see that that suddenly shoved everything away and that's because this frame has a rather large margin of 1.5 centimeters it all set down to 0.1 and the cloth also has the same thickness like I said that also down to 0.1 and now hopefully we'll see it doesn't really shove it away anymore it just Falls so we need to connect those now I did not make any effort to making sure that these connected evenly like that point is not lining up with a point on the frame but you'll see if I right click and say simulation and add a connector and again let's update live and increase or decrease this number you'll see that it just it's just going to attach to the nearest surface so that's a you know that's a nice detail that that's automatically working so you can see that connected all the way around the entire thing perfect exactly what I wanted so now hopefully I can just hit play everything else is pretty much default and there we go we have a piece of cloth stuck to that frame it's a little bit floppy right now potentially we could change some settings like we could maybe say that the target length is like 97 so try and shrink a little bit so you see that makes it tighter get rid of all that bendiness it's adding a little stiffness if we want um honestly I want to kind of leave it all default so let's talk about tearing it which I think is pretty cool so we can twirl down cloth tearing which we've had and activate that what I'd like to do is make it so that this is tearing based on my vertex map here now what's important to note is turn off deformed points because otherwise your soft body is going to pass right through a cloud of noise and not be stuck to it if I play right now you're going to see that that is perfectly stuck to it so yeah there we go we've got noise and the important thing to note is when it comes to tearing it's going to tear at the high contrast points so I made this random noise and then I made a quantize set down to one so it's pretty much just black and white this is 100 and zero percent so with that we can go into our cloth and drop this inside of our map and I already know we have to drop this way down so I'm going to say that goes down to one point or 101 so if it stretches pretty much even a little bit it's going to start to tear so I can hit play and then you can see it hits the ground and it's going to start tearing it's just going to keep tearing and tearing and tearing if I select the vertex map you see it's perfectly tearing along the high contrast areas so we get this lovely tethering effect passing through the entire thing we can hide those polygons you see the whole thing begin to rip and the best part here is be because we're connected to this rigid body that is able to be simulated and move around but we get all the torn pieces connected to it while the whole thing is moving so that's pretty cool and one last effect I want to show here is in our vertex map if I get rid of all this high contrast by moving this linear field which you'll see is just setting the minimum value so move this linear field up you see everything gets erased out so now if I hit play actually let me click off the vertex map now if I pass my linear field through I'm suddenly revealing that vertex map and it's enabling that to start to rip actually let's make that a little more extreme If instead I say hey I want you to rip even at a hundred percent that means if there's it'll just start tearing because it everything's 100 already so if I hit play now drag my linear field down as I pass through it it's just going to start tearing and I can just rip the whole thing apart artistically directed exactly where I wanted to tear and of course you could have painted that vertex map if you wanted to be somewhere specific but yeah very fun to be able to tear this type of thing apart we can make multiple paintings make them crash through each other we've got the initial velocity so we could be flinging things through the painting like there are so many crazy combinations that we can be doing here I've got one last scene file to share we're not really going to build it because it did take a little bit for this to actually come together but this was a little bit of a stress test where I want to push everything now I don't think this is that real world scale to be really big typically I always think the simulation is going to work better if things are typically about the size of a cube so that's why I left it big because you don't have to make all the numbers really really tiny the important thing to note is I've got simulated chain this ring and then some rope this rope is merely looped across it then that's connected to some more rigid body which is connected to some ropes which are connected to some rigid bodies and this rope is going from rigid body to or it's rope to rigid body to rope to rigid body now the important thing to note is it did take some tweaking here overall if I hit play You see I've got some friction to slow down but some turbulence to create some wind and the entire thing is holding up some things that I've discovered I don't know for sure but I feel like the ropes are very heavy they're disproportionately heavy so I've been taking my mass and lowering it down to like 0.1 even sometimes 0.01 to make the ropes really light in addition to that every object kind of that's higher up in the chain I made it disproportionately have more mass so these chains have a lot of mass in in them just to make sure they don't get yanked apart where the things get a little bit lighter as they get near the bottom because otherwise it's like the weights getting stacked and stacked and stacked and things start breaking but that seemed to work pretty well you see I've got some lovely wind chimes going here it'd be kind of cool to figure out if I can do some espresso connections and automatically make some rings happen if that collides but that's working great important thing to know is Ctrl D you can see I've cranked up my sub steps here and a bunch of passes uh 55 and a passes of five is my go-to number if things aren't working out of the box that's what I crank it up to but you saw the picture frame was working great and I think this is at um oh maybe I did increase this one here as well oh yeah I guess I was running the picture frame at 55 and five so important thing to note uh and why don't we just for an experiment put those back to default and see what happens it well but right now it's our setup to tear the entire way but that's actually working pretty well yeah the tearing seemed fine so yeah leave it default and if you need to crank up sub steps after that I find passes to be pretty good uh these other things they definitely do things like extra iterations and smoothing iterations but I'm just not quite sure exactly mathematically what they do and Visually they don't ever seem to make too much of a difference thank you so much for watching my what's new in Cinema 4D 2024 video there's so much to cram in and I was trying not to make the video two hours long again it's really easy to go crazy with all these new features now I am looking forward in the future to putting together some videos on nodes and capsules especially the new capsules that rocket lasso has been putting together it's really exciting for our stuff to be directly in the asset browser now if you found this video informative if you learned something new if this can be useful for your job anything like that and you want to support of course the easiest way is doing the old thumbs up thing down below subscribing to Rocket lasso but if you want to help more directly then you can support us on patreon where not only does that support rocket lasso but you get access to all these scene files and the live streams that we do and you get the scene files from this video everything I was showing up on screen I'm going to have available for download in addition to that if you really want to support us the best way to do it is to pick up one of our plugins we've got five different plugins and the best part about that is we worked really hard on those and you support us through picking them up but you get new superpowers inside of Cinema 4D with like all of our different spline tools and recall but anyway thank you all so much for watching and supporting rocket lasso through all these years I really appreciate it and I'll see you in another video or live stream bye bye everybody foreign [Music] [Music] foreign

Channel: RocketLasso

Views: 63,909

Keywords: Rocket Lasso Live, Chris Schmidt, Cinema 4D tutorial, cinema 4d motion graphics, cinema 4d motion graphics tutorial beginner, cinema 4d questions, cinema 4d advanced tutorials, Maxon, Simulations 3D, ZRemesher C4D, Pyro, Fire, Smoke, Explosions, explode, Fuel

Id: 7sCQhPtSY2Q

Length: 92min 2sec (5522 seconds)

Published: Wed Sep 13 2023