What's New in R23 of Cinema 4D

hello everyone it's chris schmidt from rocket lasso we've got so much to cover here in r23 i am not going to do a lengthy introduction here if you're watching this when the video is new be sure to check the description below because there's a link to a live stream i'm going to be doing on wednesday with rick barrett from maxon where we're going to talk about a whole bunch of the r23 features but for now let me give you an overview of everything that is new [Music] the first thing to mention is that if you had the perpetual license and you did not have access to s22 and its features now that you have r23 you will have all of those features as well as the r23 features speaking of which let's begin stepping through the new features in no particular order the first new feature we're going to be going over is the remesh generator now what do i have right here i've got a car from the content browser and i want to create a low poly proxy of it so i could run soft bodies and smash the car you can't do that in this big complicated model but we could make a lower poly version of it if we wanted to so in this case i would do something like creating a volume mesher a volume builder and here's actually the first new feature we can see if i were to drag the sedan you'll see the first new feature and that is we get these wonderful highlights of exactly where we're going to be placing the object a small thing but a big quality of life improvement dropping this into the volume builder into the volume measure you can see we're getting a much lower polygon version of this overall object but if we wanted more detail we could start cranking up the voxel size by which i mean we shrink it and we get more geometry we can make it smaller and smaller and smaller getting more and more detail but if we were to try and run soft bodies on this it's going to run crazy slow it wouldn't be any good we would not like the result however now we have the remesh generator this is based off the instant meshes algorithm so it's really nice having this directly inside a cinema especially something that is parametric so dropping the volume measure inside of the remesher we can see instantly when i select it that's going to go from that kind of weird polygon flow right here it's kind of these voxel based ones and when we turn on the remesh we see that they're they're flowing along the surface a lot nicer now there's one main setting that we're worried about here and that is the mesh density currently it's trying to match the polycount that it was fed however now we can drop this down to let's say 50 and give it a moment and it is now generating half the number of polygons drop this down to something like 10 you can see that there's very few polygons relative to what we were feeding in when it comes to soft bodies it would not like this it would really like this and we could keep dropping this further and further and i continue to be impressed even down at let's say two percent this is very much the shape of the car and soft bodies would work really really quickly on this there's a bunch of different settings here we're not going to go into all of them you will see it's generating triangles here and there's no way around that there is a checkbox to say only quadrangles however if we turn it on all it's doing is subdividing by one if you you know if you feed triangles into like a subdivision surface it turns them into squares it turns them into four-sided polygons so in this case we could do that however it's just making more geometry and in this case wouldn't really be improving anything just because i think it's so useful as a new tool let's do another very practical example of how to use the remesh now if you remember the very first tutorial ever from rocket lasso was one with aaron covrette we went and made an object based off of photogrammetry specifically i took a whole bunch of photos with my iphone and then brought them into mesh room from alicevision.org and this was the end result that that piece of software was able to bring in it's wonderful it looks great however if i hit n b you're going to see the amount of polygons that were generated is absolutely insane so we can't deal with that we want to keep this object and we want to even keep these materials so let's talk about that process as fast as we can now in this case how about making a copy and paste of that original object we don't need any of these materials for the new one we're working from and hitting nb we can see the poly count the very first thing i would like to do is make this a little more reasonable by creating a remesh dropping the mesh density down to 10 and then dropping the model in now considering how many polygons there are we're just throwing this in raw and not being generous to the remesh at all we're going to see it doesn't take that long to recalculate now it's complete if we zoom up we can see that we've got let's hide the original you can see that this has remeshed and we are now at 1 10 the number of polygons we had there's still a lot there's a ton of detail but the reason i like doing this is i don't know exactly where i want to land and i don't want to recalculate the entire time so now how about baking this remesh down that gives us this as an end result still way more detail that i need so now creating another remesh i can drop this mesh inside and make way quicker changes to it overall so in this case dropping it down to let's say ten percent this is ten percent of ten percent so this is one percent of the original polygons and you can still see how many there are how about dropping this down to i don't know one percent so we're now at point one percent of the polygons that we used to have and that's actually pretty reasonable i like the way that looks overall so if we want to keep that we could bake this down again however we'll spend just a second and talk about the flow splines i don't have these intuitively figured out yet however let's go ahead and turn on some splines i already pre-drew and you can see let's hide that for a moment you can see that i've got a couple circle splines around the stump and then some straight lines along the flat area so now that i've drawn those splines i should be able to jump into the remesh and drag those in in fact i'll hit lock grab all those splines drag them in and then unlock it and let's see what the resulting mesh is from that now you can see actually that's really good you can see how these are all flowing along that line instead of them being kind of at the 45 degree angle they're now attempting to be straight lines along the z axis as i drew the splines so this is looking really nice i'm going to keep it at this one percent of 10 percent and make it editable and that's essentially wrapping up the remesh part of this however if you're interested skipping ahead i have now transferred the material from the high poly object to the low poly object and you'll see if we go to object mode that this looks amazing we've got so few polygons and it looks almost identical in quality to the one that has what is it a hundred thousand times as many polygons so with that in mind you can go check out the full tutorial if you want to see how to do it the short version is applying a fully reflective material and then using the uv unwrapping to make a nice map and then transferring it with a bake material tag and that just becomes the wonderful final material and let's just take a look at those poly counts again here is what we're actually seeing right now hiding that one we can bring back the original and cinema's gonna choke on that for a little bit because there's so many polygons so you can clearly see the advantages of using the new remesh deformer [Music] next up the new uv features in r23 i've got a female model that i made a while ago here never quite finished it here i have separated them the three objects so we could always put them to connect and re-weld them and in this case they're separated out so we can actually see some of the new features going to polygon mode you can see that i've got the entire body i've got the hands separated and the head i also took the liberty of cutting out the seams already so if i double click on the selection tag you can see that i have selected some edges some edge loops where i want the seams to be i always think of this like you're making like a teddy bear or something this is what the fabric pattern would look like where would the seams be so you could lay the fabric flat on the table and the more even you can get them the better and along the hands the fingers are separated out and it travels along the side and on the head you can see that there's one big seam traveling along the top of the head and the back and then a little bit underneath the chin typically you want those in places you're not going to see very much because of course that's where the seams show up so let's change our layout to the cinema 4d uv edit layout the first thing you'll see here is this lovely grid on top of our uv editor i want to see some of our evs so let's begin with the body double clicking on the edge selection to make sure i've got that this is so simple to do now i can just click on the set uv from projection it's going to take a frontal projection and then i can click uv unwrap and based on the edge cuts i had done it's now separated out all of the different pieces firstly let's say we want to align these different pieces better so let's grab the torso right here selecting some of the polygons i can hit uw selecting the entire island and i could hit r for rotate and start spinning this kind of any axis if hold down shift you see it's going to be snapping on units of five they've now in a more handy way moved the quantizing settings right here so this is how it moves rotates and scales when you hold down shift so in this case i want to rotate exactly 90 degrees so i could type in 90 and now as i spin this if i go far enough boom it will pop to 90 degrees next up we've got a new tool and that is if i select edge mode and i select some edges that i think are kind of perfectly vertical they're very up and down so right there that's pretty up and down let's say i want to align these legs i'm going to grab the edge right above the kneecap and over here the edge right above the kneecap and now i can click the align uv islands button and all of these will line up straight up and down based on that single edge that we had selected sticking with moving this stuff around if i were to grab this island here e for move scoot it a little bit let's zoom up onto one of the corners and go to point mode because there is now improved snapping settings in r22 this did not work at all if i were to select any one of my edges and go to move it yes it will move but now we can turn on the snapping settings so hitting p for the snapping menu i can turn on snapping and i can say that i want to snap to a vertex i can snap to an edge i'll turn those two on and now you can see i can move this around and it'll snap right to a point and it can also snap to an edge as well that is a wonderful little addition for us being able to get very clean fine grained control of this in addition we could be snapping to the new grid so turning on grid and work plane i should be able to click on one of these points again and snap straight onto that grid you can change the grid settings by going to mode and finding uv settings and under here there is our filter yeah under filter then here's our grid we can set the subdivisions however we like for separating this all out if we zoom in you're going to get the sub grid if we zoom in and zoom in you can keep getting subdivisions of 10 by 10 by 10 which is pretty neat and lastly for snapping we can actually do a pixel snap in order to see this we need to have applied some sort of material that we could paint on which i already set up so i can click on that material there and if i were inclined i could go and do a little paint scribble here and now that i've done that go back to p for snap and i can say i want not the work plane and now the pixel snap so selecting a single point from somewhere let's say that one i can now very carefully zoom way up hit e and now you'll see that i'm actually snapping on a per pixel basis you can see i'm snapping right to the corner of each pixel so you can get incredibly precise with all of that let's undo that paint because we don't need to see it back to the body back to the uvs zoom out and let's check out the next little section of features going to polygon mode i could zoom up on this section of the leg actually i don't want to see this pink so i'm going to change this back to an empty canvas and then we'll re-navigate over here all right now what i'd like to do is make a selection of quads four-sided polygons that are all nice even neighbors of other four-sided polygons now that i've done that in polygon mode i can click on the uv rectangularize button and instantly they will turn into a nice even perfect rectangle clicking on the cog wheel you see there's a couple different settings including my new favorite named parameter which is equidistant distribution great name turning that off well let's make another selection let's grab these down here and now if i click it then you'll see that we'll get a nice rectangle but it's just maintaining their spacing a little bit more instead of them being evenly spaced you can see that they were separated out so it maintains that separation clicking on the cog wheel again turn on equidistant and reapply now you see they become very square now if i were to hit uw and select the entire section if i click rectangularize it's actually going to give us a warning because we got some funky polygons right in here this knee does not allow for the layout so this is really for some very even polygon layouts if i want to keep straightening this out even more i could do a selection right there uw rectangularize actually let's do that without the equidistant that will even that out let's make another loop right along this edge grow grow grow grow grow grow ui being the shortcut let's even that out as well and now that these are evened out pretty well we could probably select all of these and say equidistant again and now those will even out quite a bit we can do the same thing down here keep in mind this only works with a single patch i couldn't select this and this and do both the same time only one of them so let's even those out and then we have another tool if we go to edge mode i can do some loops ul and do a loop right there and click uv straighten and it will straighten that line out clicking the cog wheel we have a couple settings including keep length and equidistant distribution like i say don't worry about that and now we just get a nice straight line there a nice straight line right there and one right there we actually select as many of these as we want and then if i click it then those will all straighten out and get very even overall so these two tools uv straighten and uv rectangularize are a really great way of making these things lay out a little bit more mechanically having said that we can go back to polygon mode and something i like doing is if we were to lay that entire thing out i could grab this knee section right there grow my selection and then under relax uv make sure that i have pin border points turned on and i can say hey this knee isn't very evenly spaced out so let's click apply on the smoothing and it's going to smooth that out and make it a little bit more even of a transition around there if you want to get weird you could select let's select uw select this entire island i could click apply here and because we're pinning the border points it will actually try and stretch these to the way that they look individually try and even them out a little bit more but we still stay in this big rectangle now having done that i'll hit undo having done that let's go to our next mode which lives under filter and under filter we can go to see the distortion and now we're seeing how the polygons are getting squished or stretched specifically if it's blue it's getting squished if it's red it's getting stretched and you can see that what we just turned into a nice big rectangle is actually distorting it pretty horribly things are getting really stretched really squished because that's not just the way that's not the way it was meant to be if i were to select those polygons uw i can just turn off pin border points hit apply and it's pretty much going to put back to what it used to look like even move scoot that over now another new feature that we have is let's go back to view distort that's going to pop open our uv settings here and if i click on display i can say i want to show shading lines i can say no no i want to see the distortion and something that's cool let's crank this up all the way is we can actually see the distortion in the viewport now we can now see the different points are getting squished and stretched right there and we can figure out how to smooth them out or just let this do its job none of these are very badly distorted so that actually works pretty well for me now this next thing is actually incredibly important and i'm so happy that it's here now as far as uvs are concerned let's go to our other model let's say the hands double click on the edges and do the quick process which is set uv for projection unwrap the uvs there's the hands click on the head do the same thing make sure i've got the proper edges set projection unwrap the uvs and there's the head now we can do all sorts of things like select this head grab the polygons hit r for rotate spin this 90 degrees even that out and that's all going to work really nicely but i want to make sure that all these are scaled relative to each other very cleanly so how about clicking on the uv map here and this should actually show a uv map layout of this should actually show a nice image showing the uv layout if we change the shading back to lines we can actually see that projected directly onto the model so if i make this nice and evenly distributed i just want all i really care about right now is them being evenly distributed so if i were to make sure i have all those polygons selected t for scale and scale up or down you can see how i'm seeing more or less of the grid so you see right there a nice big box kind of encapsulating the eye going back to the hands grabbing the uvs and the model let's zoom up on one of the hands i've got the entire thing selected hitting t for scale i could scale up or down once again i want that to be about the size of the overall eyeball that seems pretty good then back to the body and the uv tag of the body select all of those and let's make sure that these are pretty even and that's not bad let's make a little bit smaller which means making these bigger and you can see that those are now spaced out in such a way that that box feels about maybe a little big that's about the size of what they were on the eye now that we've done that here's the actual new feature inside of cinema selecting all of the models and all of the uv tags we can now see them all showing up at the exact same time in the past you can only see one at a time now most of the tools get grayed out here because there's not much we can change with all of them selected but the most important one we can do and that is under uv packing currently i have it set to geometry and preserve orientation so if i spun something i want to stay there if i click apply is now going to pack all of those into this one space so three different objects could have the exact same material applied and they could be sharing it without having to actually be the same model these all get distributed they all lay out exactly the way we want to we can make changes to it if we were inclined by selecting just one of them to make changes to and let's say let's say these legs are not rotated very well so i'll hit r for rotate and spin it like that and maybe we'll use that nice align tool i'll select that edge and that edge say i want to align uv islands now those are straightened out selecting all three models again selecting all three tags and selecting everything i could say hey i want to redo that uv packing just click apply again everything will get resorted placed into a new spot with the orientations being maintained there's a lot of options to play with here they're all the ones we've had but now you can do it with more than one model so we could say don't we we could let them spin we could let them stretch but right now all of them are individually scaled by us and now placed to maximize the area of course we're free to go and tweak and modify these as we want but it's just another really great improvement to the uv workflow in cinema 4d [Music] tackling a small quality of life feature next a bunch of our deformers have now been changed to just make them easier to use to give them context let's jump into the content browser and there's a bunch of new objects and we'll be covering some of the other new ones later but let's go into house plants and bring in an orchid a nice real world scale orchid comes in all tiny let's check out what we've got with a bed deformer you will immediately see we've got a new gizmo that is telling us what the up direction is and the direction in which it's going to bend let's make this a child of the orchid click fit to parent which sometimes that just doesn't work because of the way a model is built so here's a nice little workaround if you put this into a connect object holding down alt as i create a connect we'll make that an automatic parent now if i drop the bend in and say fit to parent that'll automatically jump to it and now i'm free to yank both of those out it's just a workaround i like doing when a model isn't cooperating so once again we've got our nice little highlights as we drag the form around i can make that direct child and now very simply it is trivial to see what direction we're going to bend the up is the bend direction and then off to the right is the angle so as i increase the strength it's going to bend over in that direction something else that's nice is you'll notice that these actually have sliders now before it was just a number we had to type in but now it's very simple to spin this around to a particular angle and get it lined up how we want and spin it via just dragging the slider this also applies in that exact same way to the twist where you can see we can see the angle that that's going to spin we have the same on the shear for the orientation and the taper gives us the direction it's going to be pulling in as well as the upward direction so nice little quality of life improvement the viewport continues to improve inside of cinema 4d let's go over a couple of the older ones that we've gotten recently first of all is the reflections showing up if we turn on reflections we can see our reflectance workflow with all these materials these don't have color channels they just have reflectance we can see those now turning on our ssao we can get kind of a real-time ambient occlusion which looks great everywhere and then on top of that let's get some depth of field turned on so we get some instant feedback how the depth might look and how strong it is in the viewport but now let's go ahead and hit alt v as a shortcut to get to the viewport settings clicking on this active viewport window going down to the effects tab i can twirl down reflections and inside reflections there are screen space local reflections that checkbox was there before but this functionality was not let's turn that on and i can see in real time now reflections of our windows in the floor i can see highlights of our fluorescent bulbs showing up in the floor here you see how we can see the actual fluorescent lights showing up we get a reflection-based shadow coming off of this sphere everything it's just so nice to be able to see this in real time and like just the idea of framing and lighting getting that all set up like what a huge difference that makes zooming up over here i guess it's still focused on there so i'll turn off the depth of field look at the reflections that we're getting from the floor onto these objects it's just so nice be able to get that type of feedback everywhere so just another wonderful addition to the viewport i have a really really big announcement from rocket lasso and that is we have released our very first plugin my brother danny and i have been working on this for a long time and i am just so excited to finally get this out into the world now if you like the free tutorials i put out there if you enjoy the live streams where i answer questions from everybody that is all being supported by these tools rocket lasso as a company does not take on client work so our full-time job is making tools for you recall is really powerful and it has a fast and intuitive double-click workflow i have been using it extensively and i'm looking forward to using it more and more in the future it's been killing me not to be able to talk about it until we had it completely done check out the link below for lots of information about recall there are so many use cases for it it can speed you up in so many different ways i think it's something really unique for cinema 4d very important to note if you are supporting on patreon there are a bunch of coupons so if you are supporting at the 10 level you'll get an 11 coupon if you're supporting at the 50 level you get a 51 coupon so in addition to getting recall you can also get access to all of the archives of bonus streams and the seam files included from all of the proper live streams and the bonus live streams if you would like to support rocket lasso and the work that i do the best way to do it is actually to pick up a plugin that's going to help with your workflow check the link in the description to see how recall can help you and how you can support rocket lasso and the things that i do now back to r23 [Music] here's a small thing but i had mentioned in the content browser that there are some new objects and i just thought these are very nice to be able to work with i recently did a tutorial about doing growth effects with a bunch of different cool things and here you can see a version of this it's actually erasing out things it's all via a vertex map and this is a really fun additive process for like mowing the grass and things like that so you should definitely check out that tutorial however here all these grass elements were found in the content browser but they've added more since then so how about we delete all of the current grasp that's inside this cloner and go into the content browser under 3d objects volume 2 we have plants and inside there we have grass elements low resolution and in here they've added a whole bunch of different types of grass i'm going to grab everything after the dandelions scroll all the way to the bottom and select all of these drag them into the viewport and under objects let's go back select everything we just dragged in drop them all as children of the cloner and instantly we're going to get a full kind of field of wheat a lot of plants a lot of weeds and grass these will be blowing in the wind just working along with the tutorial so it's great addition to that tutorial but i just think these are really great elements for everything from architectural renders to daily renders to just something nice in the background on pretty much everything you do so i really like that they added those in [Music] here's a fun addition in r23 under the character menu under character there are two new templates for automatically rigging up your stuff specifically there is a face rig and there is the new tune rig i'm not going to bring anything up this moment but in the content browser let's delete that in the content browser under the example scenes we have character rigging and inside there we can find several new meshes including sporty and artista which is part of their new short film which if you haven't seen you should totally check out it's really nice double clicking on sporty we're going to get a fully fledged rig set up ready to go and it's got amazing cartoon proportions so if i were to click on these controls i can manipulate the character around and what's really nice is that it's built to have like stretchy arms and we hit t for scale and scale pretty much every parameter up and get some very very cartoony looks going on pretty much everything in addition to being able to work with a nice built-in facial rig that i'm actually pretty impressed with overall it's pretty cool so we'll be seeing this character in a little bit but let's spend a moment and use this toon rig and rig up that same female mesh that we were using earlier [Music] going back to this model from exactly where we left off how about we turn on that connect object make it editable so everything breaks down to one model and we will need the character character object now if you haven't used this it's it can take a little bit of effort to do it but that's the entire point of this section is not only showing a little bit of the tune rig but showing a tool that can help fix all of your rigged characters in this case i will play with the tune rig clicking on root that will create a root and then i can make a spine that makes the overall spine we could fix the step by step which is something i typically do actually which is clicking on adjust and now going to perhaps a front view very simple to select this this is actually where the hips go so i can start that right on the hips turn off snapping that shouldn't be snapping around that's at the bottom placement here's where the chest should pivot so scooting that down a little bit here's where the neck begins and here is where the head should start excellent and then once that's done i go back to build and i can add the arms if i hold down control it'll actually create both arms at the same time and symmetry is automatically turned on as well going to adjust i can move these arms to where i want them to be so let's move this shoulder section up the arm pivots from right here and up and i'll probably fast forward through making most of this because these aren't these aren't specifically new features inside of this version of cinema now that was pretty quick and dirty let's see what we can get from here actually let me scoot that one down there okay so now i've done that clicking on the binding tab i should be able to drag the body in and that's automatically going to put a weight tag on it and a skin deformer and it should just be bound and working now so clicking the animate button we should have a fully ready to go rig with the best that the auto weighting can do now there's definitely going to be some areas that aren't working amazing and we might tweak those however let's get our controls set up first of all if we're going to be controlling these selecting these controls can be a little bit of a pain so i'm going to go to select selection filter and say none and then select selection filter spline so the only thing i can select anymore is a spline so now i can just very carefully or very easily select something like that and start moving this around now you're gonna see right out of the gate that this is it's not amazing like there's a lot of motion happening which is cool let's turn on our subdivision surface you can see how this is deforming and it's definitely a bit clunky you can see the way this arm is deforming is not looking super great and if i were to select say the foot here and pull it up let's see what we get here like oh look it gets really chunky right there the foot bend the way this is connecting to the body is getting really badly pinched i mean if you need something really quick it works in a pinched but in this case i think we can do better and we can do better via a new tool that has been introduced in r23 and that is the strangest named thing called delta mush and delta mush is essentially the closest you're ever going to get to a one-click solution to solving these types of problems the delta mush is a deformer that goes after something like the skin deformer so just by dropping that in instantly look at how much that just improved let's turn this off and on by its default turning this off and on look at this arm twisting looking really weird the elbow looking weird especially right here in the armpit shoulder area turn that on and look at how much better that is right out of the gate look how the leg connects to the body turn this on and off like look at what an improvement that is look at this pinch happening turn it on off on off look at the leg look how much that's intersecting and pinching really weird turn it on and look at how much smoother that is this is all with its defaults as i said you can tweak additional things there's a lot of settings but honestly that's the impressive version of it is how much good that can do with something that was automatically weighted and how it will clean all of that up now like i said this is a fun cartoony rig you see how pretty quickly i was able to set up those basic points i have not re-weighted anything we probably would have to i think the head's probably going to not look great with the way it's going to be weighed yet by weighted default so we need to fix some weighting like that but as far as the things that got decently weighted you can see how much the delta mush is cleaning that up now there's actually a lot more features and controls inside of there we can change the number of iterations so i could increase this although i don't i don't think increasing the iteration iterations necessarily makes things better let's pull the arm up so we kind of see the worst case scenario we could increase the number of iterations you see it's going to kind of fix that a little bit but at a certain point it's going to make everything really smushy so on the arm it doesn't look too bad but if we look at the leg you're gonna see that it's gonna get pretty like we're losing uh so much definition so quickly so a little bit like oh that looks so good like maybe 10 ish iterations look amazing going beyond that can get weird we also have smoothing view so you can just start smoothing everything but of course that's going to make it look odd there's a bunch of different modes for the tangents and the way it's picking out what is getting smooth and what isn't there's different smoothing types as far as being fixed or proportional in essence it's calculating what the original position of this mesh is and figuring out what has changed from one point to the other and how should a transition between them there's an initialize you could set the initial state and it might speed things up but a very important detail is there's also tags that we can add to this now this rig is not set up to do it but just to show you there are delta mush tags and these could be applied to individual joints and sections of the body and you could give different areas different properties with their own falloffs and their own vertex maps so different things could have different weighting like the knee might be different than what the shoulder looks like but the important part here is how much good that that did right out of the gate with the defaults and i'm just kind of blown away by how nice that that ends up looking so that is a quick introduction to the delta mush [Music] here we are back in the warehouse scene although i am actually on a completely different computer right now the settings we're going to talk about actually something about my video card does not like them so still figuring out what might be up with that but i'm actually on an older pc laptop so give it a little bit more leeway for the amount of refreshing it's pretty old at this point so what we're going to be talking about is actually the implementation of magic bullet looks inside of cinema 4d directly now you get to it by clicking into your render settings command or control b in this case and under here we have magic bullet looks i actually already pre-built these a little bit but if i were to turn this on then right now in this preview and in my viewport we're automatically going to see a change in the way that it looks and just for fun let's click on these other render settings where i have different magic bullet looks and that's going to completely recolorize you can see that i'm getting some lens distortion there's some flare lots of stuff going on we can click on open magic bullet looks and it's going to pop open the magic bullet looks interface and we've got lots of different settings lots of tools to be doing kind of live compositing straight out of cinema and we can do different lens effects camera effects post ones subject there's a lot of really fun little details in here and then select i actually wasn't familiar with this until i started tinkering here but some of the changes we can make are pretty neat and the fact that we can see this all right in the viewport changing different luts we could feed in here completely different looks we can pull in and out we got a re-noiser to get some sharpening and then some grain fed in there's a lot of really cool opportunities here so i look forward to playing with this more if hit check on the checkbox it's going to apply that as the current effect and now it's going to show up here in the viewport so we can actually see it live and know what we're going to get and keep in mind this is just the viewport there is no render going on right now so this is the screen space reflections on the floor and all this is happening live like i said it's on a laptop so it's going to struggle a little bit as i move around but we are just getting all of this happening right here in the viewport and the idea of being able to do that type of feedback i don't know it's pretty cool doing pre-visualization directly out of the viewport seems like something that is a lot more viable now let's bring back sporty the tune rig from the content browser yes open another one for me now sadly because i've been so busy trying to launch recall i didn't have as much time as i would have liked to be able to go and really play super deep on all these and make my own rigs necessarily so we'll just work from this really great rig inside the content browser to talk about the new pose library the pose browser can be found underneath character manager pose library browser now this very unassuming window is actually very powerful but it's also very specific this is one of two new tools that i think are very much designed for like character tds it's going to be i mean people can definitely use them but it gets really specific and it's really meticulous so i expect to make some tutorials on this stuff in the future in more detail but let's make one from scratch right now one of the first things that's super duper important to know is that your poses that you make are not saved with your scene file they're actually saved into your preference folder because in theory any poses that you make with your character could be transferred over to other characters but it it's based on the way things are named and like i said this gets really specific so let's start to tinker a bit now what is the pose library good for well it's for repetitive poses that you're going to be jumping back to pretty often so maybe some different like hand gestures like pointing and the fingers being straight out or doing a peace sign or just like a fist or them splayed out but another good place to use it is in facial expressions more specifically phonemes phonemes are kind of like the key mouth shapes that are used by a lot of animators to get key poses and this is a way of building out a library that you can very quickly jump to them and it's pretty powerful but once again it's very specific now let's take a look at some phonemes here is just a quick google search for phonemes animation and we see a bunch of different images of people doing different examples of it now i would say that the best way you could possibly do it is get a mirror and look at the different mouth poses that you're doing good idea to always exaggerate them a little bit and you know have but having something like this reference would be good i think i might make a couple of the poses from here and i'll just keep that off to the other window as i build them as i said i feel like the pose library is a tool that's maybe built for people specifically doing rigging specifically like some sort of animation td because there's a lot of very specific steps as i mentioned it begins with the preferences the preference folder so selecting that i can create a new library clicking on that there's our new library i could name this sporty because that's this character and then we still can't do anything because we need to create a group clicking on group we get a new group this could be called the phonemes group and that is now made now anything that has a little star next to it means it is not saved yet if i were to close this if i close cinema if i close this window it is going to lose all anything that we save so you have to make sure you hit the save button here and now they are actually saved and you have to keep on every time you make a change hit save if you don't want to lose them in the future the next very specific thing that we need to do is we need to put the character into some sort of pose so let's zoom up quite a bit on the mouth and we need to decide of everything that is going to be controlled here let's store the first pose as sort of the default that we have here let's say we don't want to lose this particular pose what we need to do is select every single control that we want to be involved in it so i will select all of those and make sure that we don't have anything that we don't want so maybe i accidentally selected something back here i didn't but now you see i have an entire big group of controls and all of those are going to be stored so the way i store them is they are currently selected zoom up on the mouth to frame it up nicely select phonemes and then click on the last icon right here and that will add a new pose now by default it's got nothing it's just a new pose and you see all these objects are listed in it let's just call this default and then let's click this little render icon and that will create a screenshot of what we're currently looking at to store that pose now let's create another one some new pose now a good default here would probably be closing the mouth so how about we do that i'll grab the jaw pull this up until the teeth are pretty much right on top of each other select the bottom row of lips very carefully start to pull those up the middle one needs a little bit more and we'll make one or two poses here and then i'll probably fast forward and make additional ones so i'll pull this down and even here you see that these are needing a little bit more attention we can rotate them and those actually rotating is a variable on these so we can spin those a little bit help close those and just pull this up enough to get it pretty dang closed i'm not going to worry about being super perfect here but we'll rotate that up a bit pull it up a bit and move that down to help close it a little bit i mean if we wanted to we could have a sliver of it being open but i think that we've got right there is fine pretty close in fact yeah i'll make sure that there is a sliver of it being open good enough zoom back up on the mouth actually don't zoom up first select every single control that we want to be involved so selecting all those and the jaw once again making sure i didn't accidentally grab some other control something that'd probably be a good idea would be let me see if this works actually creating a selection filter so select selection filter i want to create a selection object and this can just be called mouth all and those will be all the controls for the mouth so if i double click on that it'll automatically select all of those controls so now that all of them are selected i can zoom up on whatever angle that i like click plus on the pose here is a new pose and then rename it to closed and click the render icon to render out that now you'll see that these all have the little star next to it they are not saved so clicking save is going to save those let's make one more mouth state here before i fast forward let's just make a nice ah mouth shape now actually if we click on default i want to jump back to that one so i can drag the slider up and now you'll see i'll jump back to that particular pose and and then hit enter very important hit enter and it kind of bakes that in right now so let's make the ah mouth pose i'll select this jaw control pull that down and then i think we want the bottom lip to be pretty pretty flat here so i'll pull this up and grab these two pull those bits of the lip up and even now i'm looking at my mouth as i do this so i'll shrink this in a hair as the mouth stretches up if we're going to maintain the volume which is probably probably a good idea to pull those in let's see i should be able to grab this top part and pull it up and that's actually going to move the entire top part of the mouth up so the top teeth move up and all the lips so that actually is quite nice do that so there we go that's a fine looking ah so not making it i mean we could change the tongue we could change the bottom teeth if we were inclined but i think that works pretty well double clicking on mouth all frame ourselves back up again on the relevant part of the mouth click plus to add in the new pose click on new pose say ah or a click the render pose icon and that works quite well i'll go through and create some more of these in a fast forward all right we've got some different mouth poses going here hopefully all working pretty nicely let's move on to the next step these are all nice and organized they all have a thumbnail associated with it and because of that i can now click on this button right here which will pop open our thumbnail view expanding this a little bit we can see all of the different mouth poses that we've built and it should be if we did it correctly as simple as clicking on each one of these images and it will jump to that mouth pose automatically in addition to that if i were to click on one of them that's fine it jumps to it but i can also click and start dragging the slider and move a proportion of the way from whatever i'm currently doing all the way to what this looks like and then if i hit enter it bakes it down you have to remember to hit enter because otherwise it will just pop out of existence but by doing that i could say okay i wanted some fur enter and now i'm in this pose and now i can start adding some oh and as i drag this it's going to start transitioning into this position so i don't have to go all the way i could just go to part of it and then hit enter and it'll bake that down as a particular pose at any given moment if i do see a new pose that i think is pretty good i could bake it in automatically we should zoom in here keeping in mind this is not going to render let's see what's a good pose well let's just do a default mouth and it will start transitioning it to this o like that and let's say that this is giving us a nice kind of eye type sound i could just click new pose and now a new pose has been created you see it says new pose i should go back into this menu and rename it and this is going to be an i type sound and i already got it automatically created the thumbnail for me so that's fine so i'm able to jump back and forth between these now a ton of these have not been saved yet very important to click the save button so those actually become saved they're saved not scene file but in your preferences so i should be able to go back here and we can start talking about actually doing some sort of animation but before we do there's one last thing i'd like to mention and that is by its fundamental nature what these poses are doing we have stored the information about individual objects as we went but we don't have to store every object on every time so we're doing these phonemes but in theory we could do a second menu a different facial expression but i'll keep it in the phone names here let's just go back to our default and i'm going to modify this again let's grab just the mouth tips here and let's make a smile this time so just with those two objects selected i will drag them way up and make a smile shape and you want it's a cartoony character so let's make it broader pull those out like that and perhaps even all these controls on the edges those can move up a actually no i don't want to move those i just want to keep the at the outside so i'll keep it real simple with these i could technically rotate them if i wanted to so that could potentially open up the mouth a bit more let's just do that so all i've done was moved these two outer controls so now i've done that how about we zoom up on the character again i'm going to close the browser for a moment zooming up on the mouth again let's store this now i'm not double clicking the mouth all i just have those two controls stored so clicking a new pose i can now rename let's render it and call this one smile and while we're at it how about we go back to the default and make a frown which should hopefully be as simple as pulling these down so those are moving down and we'll keep it that simple so those are down and we've created a frown zooming up again let's render the icon and call this one oops that was the default uh hit undo actually it's interesting uh so i accidentally overrode that and apparently you can't undo that so i'm gonna go back to the default pose re-render it and then now pull down the frown and be very careful not to re-render but instead click new pose and now i've got a new pose this will be the frown and now there's a frown let's save that and now the power of this comes in if we pop open the let that save and i'll pop open the manager which i move somewhere let's pop that open okay now we've got our thumbnail view again and now you'll see let me show you we can jump to any mouth pose that we want let's say the o shape and then i can start dragging up the smile and it's not going to have any effect on except on the objects that we specifically recorded for us now we can do the o shape and then start pulling up into a smile from there we could do the e shape so click the e let it snap to there hit enter and now start pulling up the smile and get a smile on top of that because those are the only controls that were recorded at that time so there are some more advanced combinations i forgot to do a thumbnail before the frown but you see as i can pull that down and he's going to begin to frown i do suggest when you're making these to overshoot the position you want because you can only go to if you can't go above it you see it's kind of locked there so if i want to make him frown let's even fix that why not pop back open the pose library go back to the frown and let's make sure that the frown is dragged up and applied and now from this point of view i'm going to pull that way down so he's got a mega frown based on that now i shall override this i think if we click select send a selected object that should do an override and then create a thumbnail of that now you see it's way down that's all overridden save it again so now that i've done that now we've got the frown so we can smile and we can frown as we pull those so yeah smile oh yeah i always remember and hit enter and now start pulling down the frown it can go way down but i can only go i can go part way if i want to so that is all working very nicely we can get these different mouth poses and very quickly get a basic mouth animation going and why don't we go about doing something like that we don't have all day to spend on this so let's just try and make the character say hello now we haven't talked about it yet but some more new features are underneath our keyframes our automatic keyframing we can now record active objects record animated or record a hierarchy as we go in this case i think we want to record animated and let's select all of the mouth shapes and then record them right now so clicking auto record so it's automatically recording and clicking that button one time to keyframe them right now so these should be actively keyframed moving to some other frame let's say frame four just as a test let's click on the o mouth shape hit enter to break that down and instantly you see a keyframe was automatically created for us but only on objects that were already keyframed so i should be able to transition between these two shapes and we can see the mouth actually transition between those two so that is actually working quite nicely let's do uh the hello shape so i'm thinking let's start out with the default smile now that should automatically have overridden because i actually as soon as i hit enter it should automatically override and now hello so let's go for an e sound so we'll move a few frames over that's an o i'm going to click on the e and it's going to jump to the e sound if we hit enter that should bake that down and i should be able to transition between these so let's go to eight there's way too many frames but let's go to the l shape so i've got a l or la i can drag this up or i could just click the button and jump full power to it so let me pull that up pretty far hit enter to bake that down and that should now be transitioning there [Music] and now let's move to an o so we'll go another four frames and click on the actually let's just transition into the o oh and that's fine i went full power enter and let's go another four frames and return back to the default mouth and we'll even pull up hit enter and then drag up the smile a little bit hit enter just to break those down and now let's see we got hello and then returning to a smile so that's not too bad let's hit play see we get hello drag select all of these keyframes drag them all over to make it way smaller let's just put one keyframe in between each one see what that looks like hello now it's not playing back in real time those it's a complicated rig and i'm recording so it's not playing back in quite real time but oops undo but as i drag you can see how i get these different mouth shapes now here's something that's just very important from the point of view of i'm a big fan of afraid of of hand keyframing everything but if you're in a production environment obviously being able to build out these shapes and jump between them is super important but don't let these these pre-built shapes like fully determine your character i can go and quickly jump to the shape but then be like okay that's the way the mouth looks like by default but he's saying hello so he should be smiling so let me make sure that as he goes that there's a little bit of a smile in there bake that in move forward and that's the oh hello and then so that can also have a smile hit enter but keep in mind that you know this is a very symmetrical face so here maybe this should be up a little bit more and that should automatically keyframe as i drag it jump to the next one and now maybe there should be a hint of a smile on here and it's already a little bit more crooked on one side go back a frame let's have the smile be a little more oops i'm on point mode go to object mode make sure that this is up a little bit extra there just so it's not symmetrical and as i jump between these different poses then with any luck you can start building a little bit more individual personality and making things move up and down and the idea of being able to get the animation hello [Music] quickly by building out these libraries is pretty powerful now we did not spend a lot of time talking about some of the different settings in here we have this will automatically be limited to the selection and it's attempting to match it based on the name it's looking for the name of this object as i said these are not actually these objects being saved it is this entire library being stored and it's looking for an object called upper lips underscore com plus is what it is looking for so if you have a different character with that setting that would work and there's different settings in here such as searching the name from match to the end or based on a namespace or best based on a separator and we could also limit this to the selection or the hierarchy or global so there's a different there's a bunch of different combinations here but if you do it meticulously and you do it in this kind of straightforward way here you see it it didn't take that long to build these out and the power i can get now to transition between these different shapes it could be could be really really good so that should wrap up this section [Music] next up are animation improvements these are sprinkled all throughout cinema and i'm kind of surprised at how many there are in this case i've opened up the living room scene from the content browser just so we can see more of that and the first thing i'll show is if i were to paste in this little animated character here into the viewport one thing that's going to happen is even though his animation is longer than the current timeline it's not going to jump the timeline longer so it is able to handle just being here in the scene without changing the time next up is a tiny thing but man is it going to help a little bit all the time and it's really the little thing to help and that is if we change our timeline which is currently at 45 but change that up to something like 90 the bar will automatically grow to match it so no more do we have to change that number and then change this bar to match it it will automatically come into the scene next up let's create a camera and the first thing to note is we now have the ability to keyframe things before well things are outside of the timeline range so in this case i could rewind this to negative one and record the position and rotation at the time of negative one before we used to have to like rewind the timeline to show that but very often you record like characters at negative one and things like that so now it's automatically working but let's undo that because we don't need it hitting play we have our little robot walking across the table what i would like to do is have this camera do a very fast fly around here so let's intentionally make an amazing camera move of recording at the time of zero and then fast forwarding to the very end and spinning to some other side over here and keyframing again there we go rewind hit play and we should have a single camera movement traveling over super amazing now having said that let's jump into our timeline window actually i'm going to go to my f curves so wind window timeline f curves and pop that open we're gonna see we have a lot of things going on in the scene just because of how many keyframes are being brought in by this little robot character so specifically something we might want to see is well let's just say we want to search for all of the positions of x on everything all over the place well we now can click on the search bar and before we can only search for the names of the objects so i could have searched for our camera and yes the camera will show up but now i can also search for the camera and i only want to see uh position and now by typing in pos then now only the camera and the position show up instead of everything we could clear our camera and now we're seeing the position of everything i could type in x and now we're only seeing the position x of things or anything that has the name x and you know i could search for body and now only the body of the robot and x are showing up so very quick to navigate these clearing both of them out it's amazing having this track name in there very very useful in any case i just want to edit my current camera so i can go and focus in on the different animation tracks the f-curves of the camera but now there's a new shortcut if we hold down alt and shift as we click move rotate or translate so alt shift in this case e then it's only going to show the position tracks i can hold down alt shift r it'll show rotation and alt shift t would show the scaling tracks in this case i would like to see the movement tracks so let's hit alt shift e for move and what i would like to do is have this camera movement on the overall camera i would like it to really ease i wanted to like be going really fast in the beginning and then ease way out so i'm going to just grab our x position and then grab the x final keyframe drag this way out to really smooth that out now what you're typically going to if i were to rewind this all the way to the beginning and hit play we're going to see what typically happens when you're trying to do this kind of modification and that is it looks awful everything is offset they're not in sync with each other at all anymore that's not surprising in this case because all we did was modify this x position on the f curve but let's try another new feature and that is let's select the curves from x right click and say copy the e's of those curves so now if i pull back all of our different keyframes and i can show all of them by saying view hide unhide all so now i can see the position and rotation i can select all of these select all of them control or command a right click on it and say i want to paste the e's then the ease has been translated onto all of these different tracks meaning if i were to now rewind and hit play we should accelerate in and then slowly ease out we've now been able to modify all the tracks just by modifying one of them and copying it over and the camera is still looking where we originally wanted it to and we didn't have to compensate with a target tag or something like that next up rewind all the way next up is a nice little organizational tool if we were to select the camera and then click on this filter then it's going to show some new settings here specifically animation tracks keyframe selection animatable attributes expresso driven or expresso driver driven and overridden parameters by turning on these different attributes our attribute manager will show only very specific things in this case it's only going to show the tracks that have keyframes or we could turn off everything that doesn't that isn't key frameable so we can't change we can't animate the order of hbb so i can say okay don't show that and that will be hidden also show things are only espresso driver driven and finally overridden parameters which i still need to look up what that does exactly to wrap up this animation workflow improvements section let's go and make a little animation from my robot here first of all i'll jump my timeline up to 1000 frames you'll see the preview range automatically jump up to that longer length now i don't actually want to see all of that so if i pick some other arbitrary time let's say around 29 frames in if i hold down shift while i push o that'll actually set the output for the range now there's a new shortcut for shift i or shift o for the input or output range so now with that in mind let's rewind to the time of zero and record the keyframes of everything about this character so i will just click keyframe which is what we've had for a while now what i'd like to do is turn on auto keyframing meaning anything that i record will automatically get recorded when it changes the problem with that mode traditionally is anything else you do in cinema if i forget to turn it off if if i create a cube if i change some parameter i don't want to change if i move my camera all that could get keyframed but now we've got a couple different modes we can play with in this case i've already recorded everything one time very specifically so i can say i just want to record animated so only something that's already keyframed will be keyframed again in this case i'll just move one frame further and select a couple of controls here so i want this character to be animating a little bit maybe a little bit of a dance so actually at the time of zero i'll have him look up in the air and then after that he can look down a bit take the waist area drag this down rotate him forward push him backward a bit take the arms i'll pull that out a little even flail the hand out and every time i do this is keyframing the position and rotation of these objects so now if i hit f to go back well let's record the eyes as well move those up and let's go back a frame and you can see he'll jump back to this position i want to pull these eyes down in this case so now you can see i'll look up and down and i can keyframe back and forth and see those changes take place and nothing else will have been accidentally recorded now in addition to that let's go one more frame forward and keyframe a few things let's say i want this to look up and over and i want this hand to be down further and the body can be moved and i'm like you know what no i didn't want to keyframe all that i can select all of the objects that might have keyframes there's a new button down here called delete keys and by clicking that every single keyframe on that frame will have been deleted if i hit f we'll see it refresh and now there is nothing on keyframe two anything that was keyframed on these objects is now gone very nice to be able to do that and not have to do it manually so with what i want to have keyframed already keyframed let's turn off the auto keyframing to get rid of that big red outline and move into the timeline so window dope sheet or i can hit shift f3 as the regular shortcut we can see everything that was keyframed here and i want to change the timing of my second keyframe so let's say he's going to be dancing to a song and maybe i know what the beats per minute of that is if you have pretty much any song you can just google the song and bpm and typically find the beats per minute now in this case what we can do is click the add markers button and that's going to pop open a tool to create markers but now we can click on multiple markers and set things like a total count or a bpm so i know that the bpm is 117 so when i hit ok it's actually going to create a marker every 117 beats per minute separated so that is very clean to be able to set that up so now it's pretty simple to go and move this around and know exactly where it's going to be falling inside of that animation now if i want to be really precise i could just click on the stop keyframe and it's 117 i could say divided by 30 because i'm at 30 frames a second and now it jumps to 3.9 times 2 and now it's exactly half of that beats per minute so now just to have fun with it how about selecting the entire summary and i want this to repeat by going to after and setting this to oscillate so now going to let's hit tab actually and i can select everything and here are my keyframes i just want to make sure that they ease in and ease out click that so now definitely easing in and easing out let's hit play and see what we get got our character and now he's bopping up and down based on this timing on 117 beats per second if i want to get a little bit of animation perhaps i could take the head and select its keyframes scoot it forward just one frame there select the hands and select those keyframes pull those let's make sure i actually grab them select those and pull those forward two frames and i get a little bit of overlapping animation on the character give that a pause and we could stretch this out to see the entire timeline and at any point i could of course go into my timeline and modify things based on what's happening on the beat at these different times but for now the simple version is i've got this looping animation going back into the timeline one more time it is worth mentioning that we can select all of these different markers and selecting them inside of it we can set a length to the markers in this case maybe something like 14 and now each of them have that range set so i can jump between these different ranges by clicking the shortcut control shift and then you know f and g f and g are the normal frame forward trying backward but hold ctrl and shift will actually jump to the beginning of the next range and you can see it's actually not only jumping to the next range but it's also showing exactly that range in the timeline so we could work directly within that limitation by jumping back and forth between the different marker ranges and it's not something i'm doing here but if we had these all lined up and it is now possible to go to file export and go to fbx before we could export takes from the takes manager but now we can actually export from the timeline markers and each one could be a separate little section and inside video game engines and whatnot it's a way of isolating different bits of animation one more important thing is in the fbx export there's also bound joints only so you actually export animations based not on the bait down points but based on them actually being linked to individual joints so both those are very powerful and nice additions to fbx [Music] a specific but very powerful new tool in cinema 4d r23 is the motion transfer inside of the content browser we now have access to a bunch of original motion capture that maxon has put together these are unique to them so we could bring in any of these skeletons i am partial to this waving high hitting play we can see we've got this nice simple skeleton and it is indeed waving hello now if we go up a layer you can see that we have a model this male puppet and it's all set up to automatically work here i would expect that to work so we'll ignore that part let's get a little bit fancier jumping in i have a miximo brought in so from adobe miximo i brought this model in it is fully rigged and i brought in as a t-pose so here's an entire skeleton set up ready to be animated i could grab any one of these let's grab the spine and hit r for rotate and you can see the character is going to respond so with that in mind how about right clicking on the hips and saying i want to define the character under rigging tags character definition that will create this tag we can now hit open manager which will pop open this manager right here all we need to do is click the extract skeleton button you can see right now we've got all these zeros under joints but clicking extract skeleton you can now see that there are 69 different joints stored if i twirl down torso you can see we've got one object for the hips three for the spine two for the neck two for the head etc so with that created how about we go into the content browser and find some animation we like once again i like this waving hi animation so you see it already has a character definition tag on that so we don't need to worry about that clicking on the hips i want to create a solver that's another tag you can also find it by right clicking under rigging and find the solver now that the solver is created it's asking what motion do we want to transfer to the current character so the source should be this waving high animation so i'll drag that tag over and the instant that i do you can see the character snaps let's add a few extra keyframes for ourselves you see the timeline automatically adapts to the new length which is nice hitting play now this character is a waving hello immediately hiding these joints so we can just see the character it is waving hello and just working so anything out of mixmo is transferring over very nicely now this skeleton here is incredibly similar to the one we're referencing but these do not have to be as identical as that let's open up this crazy warrior character also from miximo and he's also in a t-pose by the way it's very important to set them up in a t-pose otherwise it doesn't know what it should be taking the original reference from however i can right-click on the hips add another rigging character definition tag open the manager click extract skeleton those all get populated 66 different joints have matched now we need some sort of animation i think it'd be cute to have him waving so we'll add that in again again click on the hips character definition tag create the solver we want to link to this wave from afar add a few extra keyframes in hit play and now this very dissimilar character is doing that same motion it's transferred over no matter how long the limbs were or how we've stretched them in different places if it was bigger or smaller this should all translate actually really well now i tried to go deeper i did go deeper and figure out how this is working so i want to show you my the results of that over here i have that same model the motion capture model from miximo i deleted out all of its skeleton all the joints and i remade them myself so here is a joint chain that i built incredibly simple i just kept on making more joints dragging them to different places i didn't even worry about rotation i just placed them where i thought they should go then you'll even see here let me hide the character you'll even see that i intentionally messed some things up where this arm is incredibly simple so we got the shoulder the upper arm the lower arm but over here i put three different joints actually four different joints just to make up this upper arm section the one thing that's very important if we're going to define this character is when we right click rigging tag character definition and again open up this manager is the naming scheme if i were to twirl down these individual body parts we can see that if i click on any of them you can see that it is defining it somehow so first let's click extract skeleton and you'll see that 31 different joints were found one of them is hips why is it hips because it is automatically by default the way maxon made it it's looking for the word hips so i made sure to name the first object that one right there the hips object and then we have the spine no matter how many things are named spine it's going to find them and place them in order and then one for the neck one for the head now it gets a little bit fancier when you go to the left arm because we have something called clavicle which essentially is your shoulder and if you click on it you'll see that what it's searching for is left and shoulder it's actually two and signs to ampersand and that's kind of a coding term that just means and and this is saying it is looking for the word left and the word shoulder and if it finds both of those it will automatically find it and drag it into this joints automatically now if we go further we have bicep and it gets even fancier here as it's looking for left and arm but it doesn't want the word forearm and the reason it doesn't want that is the next one is forearm so it doesn't want to confuse it so here it's looking for anything that has the word left and arm and i had three different joints named left arm and that's why all three got put in having said that we can actually even go further for instance this clavicle i could say this is looking for left arm and shoulder but i could say left arm and shoulder comma or let's say it wants the clavicle so if we named a character with a clavicle then now it would find anything with clavicle but we don't want it to have any thing with clavicle i specifically want anything named left and then ampersand ampersand clavicle so now it's trying to find the combination of the two so left and shoulder or left and clavicle and it would find those objects and populate them into this particular spot so you could very meticulously name everything place them or make different character rigs that can store these here's the default max on one we could save it as a preset we could make our own we could add extra body parts into it make completely new ones there's a lot of different variations we could do here in addition to that this extract skeleton is really just a shortcut we don't have to do that you could do it manually i'll delete this tag right click and create a brand new one so i want the rigging character definition and here's the manager but i could go into torso and say here are the hips and then drag the hips in this could be anything it could be a null it could be a cube i could drag it in and that is now manually assigned so extract skeleton is just to speed things up so you could have a completely crazy skeleton naming wise but then you have to manually drag it in having done all this work though let's click extract skeleton it gets built it is now controlling well i mean it's set up to control this and once again you see it's in the t pose which is important so now that i've got that how about selecting all of these joints unhide our character select the character and i'm going to bind it because right now it's not linked in any way so character bind and i never made any controls here this is just the skeleton it is now in theory yep you can see it automatically made the white tag and the skin tag so if i had to grab the upper leg and rotate it you see that that is now bending it has bound that mesh to these joints and that is set up and very little work and with no rigging because there's no controls here i could let's minimize this i could go back into the content browser grab the lovely waving hi animation and with my own skeletal structure drawn there let's say that i want this to have a create solver it is going to link my character definition to this waving high from afar and instantly the character still jumps to it and if i hit play it is still going to match that animation so with very little work i was able to transfer this to different skeletons and one i made myself as long as i defined it in the same way that cinema is looking for it after just recording that i thought it might be fun to try and transfer this to something completely unrelated so here is a little robot character i've been playing with and i just ripped out all of his controls renamed some of the joints that are inside him and let's go ahead and create that same waving animation you can see the robot is very small so just for a little bit of movement continuity i'll have t for scale just scale up the entire character and there's a lot to it so it's chugging as it refreshes everything there we go nice big giant version of the character right clicking on his skeleton i will add a rigging character definition open up the manager click on extract skeleton and he doesn't have like a spine or a neck or anything so there's only 18 joints that could actually match here however if i click on create solver the solver gets made i want to link it to the waving animation and if i go ahead and just hit play it is working shockingly well like obviously the character's not designed to do this but that is pretty amazing and as i said i ripped out all the controls so there are just some joints inside and i rename them and uh i'm transferring the animation out of this character so yeah i think it's actually a pretty robust tool as long as you get the basics right so just want to toss this in [Music] the last major thing we're going to talk about is something very different for r23 in fact it's very different for all of cinema 4d and every single version i've ever played with and that is scene nodes one of the reasons it's so different is it's being presented by maxon as sort of a tech preview this is not production ready but they want to get feedback from users about the way it works it's a big integration of some of the new core and i think a lot of things in the future might be built upon it so it's a fun thing to play around with and a simple way of thinking about it is a super expresso but really it is so much more let's open it up by changing our layout from startup layout to nodes it pops up on the other screen for me and if your screen is blank here like mine click on this nodes icon here and it's going to pop open now when they did their tech preview at siggraph they called it neutron but now the official name of it is scene nodes so here are scene node now there are a lot of things implemented already and this is only the very very beginning of where this is going so this is going to be a relatively simple and quick demonstration of just some things i've been playing around with sadly i was working so much on recall and getting that launch that i have not gotten to play very deeply with this whatsoever so really these are just things i've been playing around with for the last day to begin with let's move this face into this interface and i can do that by searching for the word legacy and finding a legacy object importer because in the future this object manager and everything about it is going to be legacy so this is the start of that selecting this node it's got some properties i want to drag in the subdivision surface and then click update parameter ports and we're going to see a whole bunch of outputs from this node i can even turn on the subdivision surface and see it all smoothed out now a way this is very different than espresso is we can do something like search for the word extrude and pull in a geometry extrude definitely couldn't do that and what do we want to do here i want to take the geometry and output it into this extrude and then i want to output this geometry into the scene but before we do that we need something called a geometry operation and by dragging this in it kind of makes it real so this geometry becomes real and that can be output into the scene and immediately you can see every single polygon of this head model is being extruded clicking on the extrude node it has all of its own properties dropping the offset down to one or let's even do 0.5 you see this is going to drop down every single one is being extruded and you know that's pretty straightforward but nice and clean and parametric but let's make this fancier of course to begin with how about searching for a random so we can make a random selection here's a random selection it wants geometry so i'll drag geometry up to it and then output this selection so it is the input selection on the extrude so only those things are being extruded and i can see random extrudes with the random selection we could increase the amount or decrease it we could change the input seed and that will change all that we could keyframe it if we wanted to however let's get a little bit fancier clicking on the extrude it's got some nice properties including use islands i'll turn that on and now you can see that each polygon individually is not being extruded now groups are being extruded which visually i always like a little bit more instead of using a random selection how about searching for the word noise and there is a noise selection pulling this in instead of using that one i'll use this i'll put that as the selection and i don't need this random one anymore because we have this noise selection the noise is quite large by default and the head is pretty small so i'll grab the scale and start pulling this way back and as i do we can see the noise begin to emerge i think three percent is a good number to see sort of a random pattern we've got all the different noise types but leave it on the basic noise of perlin and that is now what is being extruded and that is working quite nicely let's layer it up even more i want a second actually let's get it animating so in the noise you can see that there is a time input so we need this to be driven by something searching for actually we can do something else let's click the letter c and search for time and there's time so we can click c to quickly pull up a commander so with this time node i could output the current frame as the input to time and now hitting play we should see that animated but it's way too quick so we need to slow that down let's search for the word multiply and there's an arithmetic multiply i can drag that directly onto one of these connecting wires and that will actually jump in between the two which is a very nice kind of speed up feature definitely don't have that in espresso i want to multiply this by some smaller number it's defaulting to an integer so that should actually be a float so we can type in decimals so 0.01 to make a very small number hitting play now you can see it's slowly animating as it goes now as you can see this is like expresso and how many people have used espresso in any significant way beyond set driver set driven so along those lines think about the iterator node inside of espresso have you used that well when it comes to these scene nodes that type of level that that depth is kind of built right into the core here we are getting things like point arrays like are you familiar with what an array is in this context it's it's more of like a programming term in this case it is every single point in a giant list and in espresso you could do things like iterate but it would if you connected two nodes that didn't want to be connected then it would just turn yellow and not work but here i could accidentally multiply an entire array of points with a different array of maybe normals and i might be doing 10 000 multiplications up against 10 000 normals and that could really really be a gigantic calculation that cinema needs to do so you have to be careful with the way you're playing with this in addition to how complicated some of these nodes might look but i think a lot of the power here and once again as a tech demo is looking really promising let's push this a little bit further how about we double up on this by let's duplicate most of this i'm going to copy our noise selection and the extrude so i've got two of those now i want to take the end result of this geometry and feed it into the second extrude and i want this to be fed in again to the noise selection and now it's going to be making a new selection i want it to be different so let's put a different random seed type in some random number and output that second extrude into the output of the geometry for geometry operation and now you can see a second extrude on top of the first one randomly getting applied everywhere so with that in mind let's make it also animate based on time so i can multiply like feed the multiply into that on the time so now we have two different nodes being driven by time which is being multiplied by 0.01 and we can see how it's connected to two different things and now we have two different extrudes where we get this final geometry popping out in the viewport hitting play we can see that animated and it's running nicely there let's give this a quick save and make this even crazier still oh here's something that's neat if i select everything you go to view you can see you can arrange the nodes or select them just with the letter l and it will try and arrange them in a nice way where the wires aren't overlapping too much if we can avoid it but anyway i want to make this fancier by putting it into a grid let's get some mograph type functionality in here searching for grid this definitely trips me up a lot if i hadn't practiced this believe me i would not look the smooth in it i've got all these different types of grid we got a grid offset a grid distribution and maybe you'd think okay i want to clone things a grid distribution it's like no no that's not a grid distribution oh i want to generate a grid that's what you want nope that's not what you want what you want is a distribution operation in grid mode that's what we actually want so i'll drag this in and with this dragged in let's go ahead and take our final geometry and spit that out into this grid and then output that grid information into the scene and hopefully as soon as i do that we should start getting some copies now the face is pretty big so let's separate these out in fact let's simplify a little bit and say three by three by three and i'll change the spacing a bit to let's do 33 by by 33 by 33 and it chokes on those a little bit i'm not sure why like changing those numbers is but you know i'll learn as we go so now you can see i'm making a grid of some different faces i could hit play and these will all be playing very nicely hit n a as a shortcut and i can actually just see the meshes there well let's go ahead and add some color variation to this searching for the word color we can pull in a color operation what is happening here is and i think the way it's referred to it is a data stream this is a stream of information and most of the time we're used to in cinema we kind of have everything all the time but this is more of the raw components so we have the basic geometry and we're modifying it but that geometry doesn't have a color in fact it doesn't even exist as geometry until we say hey it's geometry hey it is a grid of geometry and now i'm going to say hey this is actually it has color so i'll output the color and then output that into the scene and then hopefully give it a moment there we go you see colors are in there i can change the colors to whatever i want let's make it a bright green color and these now have the attribute of color prior to that it didn't have that at all now there are so many nodes i've barely tinkered with a handful of them but another one i know that's pretty cool is i can search for the word hash which is a kind of another technical term but it's a way of like extracting information from one thing and translating it into another so in this case i'm going to twirl down this output and get kind of all of the information that's inside of it and specifically i want to steal the index from this so whichever number clone it is i'm going to feed that into the random seed of this hash and now this could be outputting random numbers for us essentially random numbers because we're changing the random seed specifically i want the color so i'll output the color from the hash into the color operation and from that hopefully we'll see that we end up getting random colors of all these heads now here's just the thing i don't quite understand from tinkering around you can see that when i connect some of these nodes it takes a little while for it to figure it out but then here's here's what throws me off and is really cool is let's go ahead and change the count of this thing to 33 by 33 and you can see as i'm typing it's taking a moment for that to calculate and let's do another 33. so okay this is now creating about 35 000 copies of it and they all popped in the scene but now that it kind of chugged when i typed the numbers in you can now see that they are in the viewport and they are running crazy fast and this is now like i said 35 000 different heads each having done all that extrusion information two layers of it randomly but here's the crazy thing is i'll rewind hit play you'd see this actually playing pretty dang reasonably in the viewport with all of these copies i can still navigate my camera around and all of these are animating so the amount of power that we can get from the system is insane i'm barely barely scratching the surface of the possibilities here and i mean i really haven't but just showing you some of what it's capable of is pretty crazy now as i said this is being presented as a tech preview there's no way of interacting with this as an object we can get this as an end result and it will render however it can't be represented in the object manager right now we couldn't apply a specific material to it from the object manager it's kind of the final thing that happens it's the final thing that calculates the scene nodes are not represented at at all in the object manager so it's definitely a different way of thinking there are so many nodes i will definitely be playing with this further in fact if you're watching this the day the video got posted i'll be doing a special bonus live stream for patreon only where i'm just gonna be playing around with nodes and trying to figure them out and also tomorrow i'll be doing a big live stream with rick barrett from maxon and we'll just be going through the new features and that's open to everyone and i'm very much looking forward to that there is so much to learn and play around with in this version of cinema and man these scene nodes are it's gonna take a little bit to wrap my head around it but i'm looking forward to the power and this is a preview of what is to come is pretty exciting as i mentioned earlier i have a brand new plug-in out into the world so if you like these free tutorials if you like my live streams if you just like the content i put out there for cinema 4d the very best way to support me and rocket lasso as a company is to pick up a plugin that is going to be super useful to you so go and check out the videos for recall i think it's an amazing tool i am very much looking forward to seeing the ways that people use it it is the best way to ensure that i'll be able to continue making free tutorials and doing live streams for everyone i really enjoy making those but of course this is rocket lasso's primary job i'm able to make free tutorials and free live streams because we make plugins we do not take on client work we make plugins for artists we try to make really good tools that are super robust and tested and between me and my two brothers we have 20 years of experience making plugins for cinema 4d so please go and check that out it's really appreciated this was really fun i look forward to seeing everybody in the live stream for this as well as future tutorials where we will be playing with things like r23 and just things in cinema in general so thank you so much for checking this out see you wednesday see you in the next future videos and that will wrap it up for now thank you very much and this is chris schmidt signing out [Music] food my [Music] you

Channel: RocketLasso

Views: 61,600

Rating: 4.9369817 out of 5

Keywords: Rocket Lasso Live, Chris Schmidt, Cinema 4D tutorial, cinema 4d motion graphics, cinema 4d motion graphics tutorial beginner, cinema 4d questions, c4d s22, cinema 4d s22, cinema 4d advanced tutorials, Cinema 4D R23, R23 new features, Motion transfer, Pose library, Animation features, Toon rigs, Cinema 4D New features

Id: ugAH-GoBFxw

Length: 92min 11sec (5531 seconds)

Published: Tue Sep 08 2020