What's New in R25 of Cinema 4D

hello everybody it is chris schmidt from rocket lasso and i am very excited to show you what's new in r25 so i don't want to waste too much time here but if you stick around until the very end of the video i'm going to be doing a demo of our upcoming plug-in utility spline so be sure to stick around until then but we've got a lot to cover when it comes to what is new in cinema 4d r25 i should note that like a lot of the recent versions this is going to break all of your plugins rocket lasso has already updated all of its plugins so if you go to your download page you should be able to download again and it's the new version that will have r25 compatible versions first of all let's address the elephant in the room and that is the new interface now couple important things to note first of all don't freak out i know a lot of people do not like interface changes any interface change in any application any app any interface that you could possibly come across it's always rough when there's a new one that comes out and people get used to them your entire workflow is move is based on moving the mouse very quickly going to what you expect so let's keep that in mind i understand people don't like interface changes and you know sometimes i don't as well but this one i've been using for about a week and i'm getting used to it very quickly in addition to that if i jump back into s24 i'm actually tripping over where that layout is so it doesn't take long to get used to it we're going to step through some ways that you can convert it so it can be simplified back to what you remember if you really want to couple things to cover first of all this is the first major interface change in 15 years so i think they would do a change if they wanted to make one and just make everything a little bit more modern and up to date second of all these were not random changes everything had intention behind it of why things were moving around as an example all the objects aren't lined up here on the top bar anymore instead they have been moved over near the object manager so where do you create objects well near where they're going to live if i wanted a new cube it lives near where it is going to eventually be placed and that is next to the object manager and everything's lined up there so just keeping that type of thing in mind you'll see that things are more intuitive now it's important at this point to distinguish between two different things and that is the layout and the icons the icons are updated a little less contrasty and softer on the eyes and they've been colorized and grouped up in more intuitive ways so those are the icons and those are what they are we can't change that but the layout if you don't like the layout you do have a way of reverting that back to the old one and you can do that if you really don't like this new one you want to get back to as traditional as possible you can do that by going up to new layouts turning off this checkbox and now we've got the old layouts so i can click standard and now we've moved into the standard layout here so if you want to maybe break this apart into two steps where you want to get used to the new icons while they're existing where they used to be then you can click on this and what's nice is this doesn't even revert to s24 but goes back to r25 when all these toolbars were aligned on the left and i know some people didn't like them being aligned in the middle so you can do this in two different steps but once you're used to that and you want to go back to something the vanilla layout we can turn on new layouts and here are the new ones selecting that we are now in the new interface so let's look at a couple perks of it the first useful thing to point out about this new interface is tabbed documents just like a web browser we now have the ability to have all of our open documents tab up in the top i've actually been finding this incredibly useful as i work and you know what it's a pretty unusual and unique thing that cinema 4d does to be able to have more than one document open at a time a lot of applications if you open up a new document it closes the old one so if we jump around these different ones you'll just see that they're already open it's really easy to jump to and along these lines we could be in this scene file copy the elephant and then jump into this one and put an elephant on mars and being able to copy and paste so quickly but and move between the files casually improves everything across the board just speeds things up a bit also now we have the ability to click plus up there and create an additional document if we want to we can click this x on any one of them and close them right clicking on the document tab we can say show an explorer which i find incredibly helpful it's really a pain in the butt to go and track down your individual files depending on where you've laid them out so this is actually pretty helpful overall closing that and then you can right click on the tab duplicate the project and now you have two different copies of the same project open which i also find incredibly helpful for maybe moving something into a new document making some changes copying it closing it and then going back to the original file and being able to continue from there the second thing to point out is these docked layouts now once again this is a very small thing but i find myself using it a lot more often than having to go to some sort of drop down to do it i will casually change the interface in this case we've got this elephant if i select it i can jump into the sculpt mode and now we can sculpt on it so i'll grab one of the sculpting tools and i can start painting on the elephant and then if i want to add hair on top of this we can so let's go to groom and under groom let's add a simulate add hair and now grabbing the brush tool i could quickly paint on top of that now these are layouts that we had access to before but the ability to jump to them so quickly is what is actually making them more powerful so in my case i've been doing a lot of nodes and we'll be talking about nodes a little bit later on but i might click on nodes and very quickly it's like oh wait i need to find something the regular layout because i can just do a single click get to it i'll jump to this layout find the thing i needed and then immediately jump back to nodes and continue from there so that first order retrieval makes a really big difference at least to me next up we can create our own layouts as an example if you didn't want your bar centered here you can always right click on your interface say customize palettes and you see we got this nice big separator bar if you double click any icon or this spacer it will actually go away closing that window now the interface is sort of locked there now clicking plus you can say save layout as and in this case it's going to be opening in this folder we'll just call this standard 2 hit save and it creates it it puts it in alphabetical order and now it's showing up in the interface so i could always go back to regular standard but if i want i can go into my regular one of course these are taking up a bunch of space up in this top bar but they don't have to clicking that plus again you see a list of all of the different layouts that are currently getting docked so i could say you know what i'm not going to be going to sculpting very often i'm not going to be going to uv edit very often i will not be going into groom or paint terribly often so turning those off it will save space there there's more room for these tabbed documents to go over and we just see the exact layouts that we want to let's delete the hair and oh one last thing in here i won't be able to show it very well but the old layout was sort of absolute but now if i make any changes if i were to drag this to a different monitor and change layouts it remembers what monitor you're currently on so it won't jump to your other screen i think if you hold down control it will jump to wherever you recorded it by default it's oh you're on this monitor that's where you want to stay and it'll create it there so another little tidbit the next interface feature to mention is the concept of hot corners now you might notice a couple of elements are missing from the interface that you're used to specifically the material manager is missing and the coordinate manager is missing but those are things that when you need them you need them but you don't need them very often so they were just eating up a lot of screen space as an example i'm going to open up the vanilla interface of s24 and just take a look at the size of the viewport because of these it's eating up a lot of space if i tab between both vanilla layouts of the versions look how much larger our viewport is overall and that is it's pretty handy and that extra space is definitely useful now what are the actual hot corners well the first one is the assets browser so going to the top left we click assets browser specifically i'll tab out it's eating up space where the viewport would be oh and if you haven't checked it out even in s24 they've been adding new content to the asset browser so you can always select new content and inside of there there are new models being added they added in some motion capture of a crowd cheering i got to use those a bunch in my advertisement for slicer which was really fun but anyway here's the asset browser it's already docked it doesn't have too much space and it's really handy to open and close up in the upper left corner in the upper right corner that is where materials live now and once again the materials are living near where they're going to get applied so they're not down here in the opposite corner they are where they will get applied quickly and it is now a vertical list so we could always make that a little bit smaller if you want to see the names or not change the size of it but being able to see more of the names i don't know about you but very often the names would get clipped off very quickly and now i think we'll be able to see them more easily here and you know everything behaves the same we can drag these directly onto the model that we want everything gets applied directly and we continue from there while we're on the topic of materials something to point out if you right-click let's say we didn't have that open and you want to get to the materials quickly not that you can't from there it's very quick to click on but right clicking we can go down to make a new material by right-clicking the object so i've now made a new material and it's applied onto the model double-clicking that will open up the interface for being able to modify that so you can create new materials directly here without ever needing to go into the material manager right-click and go to material and create a different type of material or go to existing materials and get a list of all the current materials and apply it directly from there so we can get applied directly as well next up is the coordinate manager in the bottom right corner selecting that you'll see that we have our entire interface that we're used to i can select the elephant base move it there is now a reset transform button right there to reset the psr and then we've got all the different parameters now we can click on any of these arrows and have it increment up or down but now every single one of these attributes not just in the coordinate manager but everywhere in cinema you can just click and drag the entire little interface as a slider so i can drag that down you'll see it jumps down i can drag it to the right and we'll jump up and then something that's neat is if you select it you can use the arrow keys and whatever number comes after the cursor you can use the up arrow key and increment it up one or down and go down one and then moving over i can change it a little bit less and go over another one and change it a little bit less so being able to move the arrow keys around and get direct control over that is pretty useful as well let's hide that one and move over to the last one in the bottom left corner is the timeline clicking on that it's going to open up a timeline or dope sheet for you to be able to manipulate your keyframes very easily right there in this default interface as much as everybody loves the elephant let's jump into a different scene file for a change of scenery this scene file is using my plug-in mesh to spline to convert this car into splines but we're not here to talk about this we're here to talk about r25 moving on we're going to be talking about the changes to the way some of the icons behave let's go back to the standard layout and take a look at the order a little bit more as mentioned objects were moved over here to the right and on the top so it's kind of like this would be the first things you imagine these are the more global settings that apply to everything so things like the coordinates are you going to lock x y or z if you're going to set it to world coordinates and then what mode are you currently in that's kind of applying to everything and that's why it's up on the top now on the left menu what we have is something that's been updated and that is context sensitive menus meaning this is going to update depending on what tool you're currently on by default we are in model mode but there are other modes like the texture mode or polygon mode edge mode point mode but you'll see if you look on the left bar here the context of those is changing depending on what we might be doing so in this case if i select point mode you can see that we've got some different spline tools so i could grab the sketch spline tool and just start drawing on the screen and creating a spline immediately or getting rid of that we can click on the next tool which is just the polygon pen tool we can start drawing out some new polygons just by controlling that control i can drag them out and just make different polygon layouts from that so it's giving us a context for exactly the tool that we're in so now that there's actually a polygon object going you see additional tools have appeared now if you don't recognize the icons you can always look in this bottom left as you mouse over any tool in this case here is create new points there is closed polygon holes here we have bevel and you can see the little fly out which would also essentially the equivalent of bevel for splines being chamfer and round and bridge here's extrude the tools you'd expect to find in the bar depending on what tool that we're in again let's clean this up delete that in addition to that though we are able to make our own dynamic palettes let's open up a new scene file and right clicking kind of on any interface icon you can open the customize palettes that will open up the command manager and from there i can say i want a new palette so with this new palette open we are able to go into different modes and modify this now by default we are in object mode i'll turn off edit palettes i would like to go into polygon mode to start out with and then go to edit palettes so what are some things i use pretty commonly here well keep it simple i'll search for an extrude love me some extrudes and we'll search for inset which is which used to be the inner extrude but that's inset and okay those are the two tools to use when i'm in polygon mode so we got two icons there if we were to right click on one of them you'll see we have a new fly out called dynamic content currently it's turned off but we can say hey i want this to update this palette should update depending on what mode we're in in this case let's do document mode so selecting document mode that is now saying like oh okay i was in polygon mode so when i'm in polygon mode this is what i should show so then let's temporarily turn off edit palettes go back to edge mode and then start editing again now we're in edge mode so we can say okay now that we're in edge mode these aren't terribly useful in edge mode so let's get rid of those double click and those will erase out and let's add in something that might be useful in edge mode so i'll search for edge and i love the edge cut so i'll just drag that in we'll just keep it simple on that one turn this off and go to point mode and while in point mode we don't need the edge but i would like to use i don't know what's something good in edge let's search for iron i like the iron tool as well so having done that we can stop editing the palettes and now we've got our own little docked icon palette right clicking on it let's say that this should be vertical so i'll say change orientation and now i'll drag this wherever i want to place it so let's just scoot it right there above those it's going to pull everything out but i'll scoot that back up looks like the orientation changed again so i'll say change orientation and scoot everything in so it's nice and compact closing that out now we've got our ironing tool there but if i go to edge mode you'll see we've got our edge cutting and if i go to polygon mode you'll see that i have my extrude and inset turned on so we've now made a custom context sensitive palette while we're in the world of talking about customizing palettes i would like to go into the asset browser and search for our friend the elephant now right clicking anywhere we can again customize palettes and now drag the elephant or any asset from the asset browser and we can place that anywhere we want in the interface and now we've got an elephant button to automatically load that into the scene double clicking it though let's do something a little bit more dynamic turning off edit palettes i would like to click on the cube hold down and click on this terror off and that will tear out a palette for us and now let's begin to edit the palette again let's say i want to add the elephant in as if the elephant is a primitive object that i can drag it in whenever i want to so dragging in the elephant that will add it here as one in the list now right clicking on the cube i can say fold palette and that will collapse the entire thing down into a single icon double clicking where the cube used to be it'll kill that one off and now i can drag this one where that one was turn off the command manager and now i've got a new cube fly out and there is the elephant inside of that list ready to be grabbed and added into the scene instantly from there without even needing to go into the assets browser now there's certainly a lot to learn and get used to when it comes to the interface i certainly don't have it all memorized and i'm sure if you're watching me during a live stream i'm going to be tripping over a couple of buttons until i get used to the way they look and where they've been placed and even some of the new features about them for instance we've got up on the top some the ability to turn on the snapping we've got oh this one's cool if i click on this we can see the different snap settings which we've always had and quantize which we've always had but then there's also the mess checking and while we've had this it was kind of hidden away so to show you if i troll down the elephant grab the elephant body click on that we click on mesh checking enable it and that's now going to be giving us a bunch of interactive feedback about different bits of the elephant for instance you can see that there's a hole where the eye goes and this says oh outline boundary edges in green and it's now showing that and then this is a complex pole anything that's this purple color and you see right there that means that there are four points or more and here's feedback that there are six of those and there are 14 boundary edges and there are 792 non-planar polygons so just more information and very easy to get to with it being in this drop down so a lot to learn to get used to but once again everything is cleaner and more accessible right now more than ever i don't think it's going to be too important for anybody right now but if you right click and open up the customize palettes under file you have the ability to duplicate the current series of shortcuts and then modify them so let's say you're coming from blender you could go and find all the common tools set up the shortcuts for blender and have that as a layout and then eventually be like oh i'm going to go back to the standard one and have multiple different essentially collections of shortcuts so just want to throw that out there as well couple final thoughts to round this out something i'm sure everybody else has bumped into because i know i did it all the time and that is going back to 24 or below we have two different menus we've got this drop-down and this drop-down and i would mix those up all the time no matter how much time went by no matter how careful i was trying to be i would always click in the wrong one it's like oh i want to sweep so i click on kind of like this nurbs it's like oh wait it's not in here it's actually in this one sometimes i'd even do like the usb thing where i'd be like oh it's here wait no it's not not here it's here oh wait no i was right the first time it's in this one i do that all the time anyway inside of 25 those have been merged into a single giant drop down and i think that's just going to simplify everything although we do have a lot of icons to get used to here so looking around i do feel like they are very well designed and they are intuitive it's just different so like my favorite connect object kind of is these two interlocking clamps and then if you go to your deformer fly out there's some really fun new icons inside of here i particularly like the jiggle and the melt icons are pretty cool and just because i don't know where else to put this for this 25 demo if i were to select an object and change the display color to custom we've got the color parameter and we've had this color parameter on all over the place in cinema but now if you open it up it no longer has the ok or cancel button it's sort of a live parameter so i can just click and drag and you'll see instantly it's updating in the viewport as we go and you can click x or you just click anywhere and that locks it in before you have to hit ok or cancel and it's even funny because on a pc and a mac those buttons swap sides so people would definitely trip over that when they switched versions now it just will disappear and automatically apply when you need it to another random tidbit is that cinema4d now supports hdri monitors and i think if you have a mac one it's called an edr monitor and the idea is you can actually see your hdrs the brighter than white kind of show up in your monitor but that wouldn't show up in a recording and i don't have one of those monitors the next thing i would like to go and tackle is actually not technically a new feature of r25 but it came out after s24 as one of the updates in service pack one and i don't think that this feature got enough attention and it was highly requested so i really wanted to make sure to emphasize it here and that is cappuccino and dynamic placement opening up a brand new scene file i would like to load in a couple of models that i made now if you're supporting me on patreon these models should be available as soon as this video goes live there's a link down in the description if you're not you can just use some spheres and cubes and it will work just as well but the models i'm talking about are inside the asset browser and if i clear out this search i'm already there under rocket lasso dice these dice are what i'm talking about right clicking and loading them in they've now appeared they're really tiny because they're real world scale so there they are really small hitting n b you can see that they're very clean and low poly work well with dynamics but yeah they're just ready to rock there let's group them all up again and close the asset browser okay so we've got some different dice i want to make a whole bunch of copies of this so i'll select all of them and copy paste paste paste paste paste lots of different copies of that selecting all of them i can select the dynamic placement tool which came out in s24 and then just clicking and dragging they're all going to explode outward and then try and go back to their original position which is really great none of these should be overlapping anymore so now we've got a giant pile of dice and now i would like to drop these down something so let's hit let's actually just drag them up into the air and we want something to fall down so making a landscape object we got a big old giant landscape t for scale shrink that down a bit make it way taller there we go something for that to fall down now selecting just the dice i can go back to our dynamic placement tool if we turn on visualize colliders we're going to see a preview of what this looks like and it's pretty good that's actually a pretty good low poly version of where those might fall if you want to make it a little bit more accurate you can turn on accuracy and let's jump it to let's say eight and eight and everything's going to recalculate as it makes a low poly version of this so that it can run nice and quickly you know see that there's a little bit more detail it's a little bit more accurate on there so now holding down shift while in dynamic placement it will trigger gravity and they'll all fall down bouncing around and eventually settle wherever the settings allow them to and usually this tool is made just for dynamically placing these things that's why it's the dynamic placement tool but a very very common request i saw this over and over again during live streams and during my s24 video is people wanted to be able to record that and have control so and if you're not familiar you could always grab this and drag it around you see this is dynamically being dragged around we can place this however we like we could change the scale and move them around let's say you wanted to be recording that somehow well now you can and as i mentioned this came out in the service pack 1 of s24 but let me show you if we click on cappuccino now and click on start record now as i hold down shift and drop all of these you're going to see that every single one of them is getting keyframed so now close that down rewind and now all of that motion has been captured let me deselect them you see that that animation has been captured and you can try it again and again and instead of putting a bunch of dynamics tags and setting all the settings up we can just uniformly capture that recorded and now that's ready to be sent out to some sort of animation and that would go along with any motion that you do i just thought that that was such a nice addition that i needed to bring it up even in this r25 video the reason i brought that up is it's really important to remember that maxon is releasing two full versions of cinema every year so we're kind of getting more features than we ever did over one year's release cycle in addition to that something like service pack one came out and they added in the ability to capture all the different dynamics through cappuccino when you're running your dynamic placement which is pretty cool and then as i mentioned in the asset browser they're adding new assets in as the year goes by so there's a lot of additional content coming out inside of cinema 4d and i think a lot of that was able to be unlocked because of them going subscription what is next well this is a pretty important feature that they've added in it's very simple but it's very intuitive and i think it's going to really add to a lot of people's workflow and that is presets opening up a brand new file we can start out really simple creating a text object from this fly out we've got the text object and a text spline but i want regular geometry this probably happens all the time you probably use text pretty often and you have to change a bunch of settings by default because this is just not the way you use text so let's say we've got a bunch of things we want to change changing the depth to 50 and perhaps not quite so many subdivisions i'll set that to 15. and change the height to 100 maybe i want it centered in the middle change the font to i don't know let's say rockwell let's even say it says rock well now in the past you could have overridden the entire object and had it load in a new defaults but now i can click this drop down in the upper right corner and say save preset and i would like to save it as rockwell hit save okay cool that's now saved now let's change this over to oh i don't know let's go to a different font something weird let's do ms gothic and we'll just say gothic here and let's make it flat so flatten that out and okay that's a different preset that we might want to use we'll jump this back up to 200 as well so click the drop down say save preset and say gothic flat save that now deleting this object opening a new scene file closing cinema reopening it doesn't matter if we go back into the text object we can click on this drop down and we can now see we can change this to rockwell we can change this to our gothic flat and we can now create as many presets as we want create all these different modes and what's really cool is that this applies to any object in cinema that has parameters so you can do this inside of let's go into the material manager double click make a new material so if i double click here and open up the material manager actually we'll leave it here in the normal docked one we can change this let's say that we want the default to be no color but just a pure white luminant so click on this drop down and just save this as loom save that and now when i open up a new material it can be the basic one but i can instantly click this drop down and go to loom and update it to that preset incredibly useful incredibly powerful but it doesn't stop there deleting that why don't we make a matrix object so the matrix by default has a bunch of cool different presets but let's say that you've got very specific things you wanted to do like a grid here is very useful but maybe you want a vertical grid by default so let's set this to 1 by 100 by 1. so that's a different default so let's save that as vertical but actually we could save this as vertical but i would like to right click on the count and say save selected as preset and let's say 100 tall and save that as a preset and a different one i want is maybe a simple five by five by five and perhaps at that point we want to also change the size so let's put exactly 20 between each one of those selecting count and holding down control or command i can select size as well right click and say i would like to save as a preset and i'll just call this 5x5 5x and hit ok and now we've got those particular parameters recorded so now when i click on this drop down i can say you know what i want this to be 100 tall but you see that the spacing didn't update because when i saved as a preset i only saved a particular setting but then let's modify this just so we can definitely see the change let's click and say i want my five by five as soon as i do that i had overridden count and size and that's what overrides it so you can make these big absolute overriding presets and you can also make simplified ones that are only applying to particular parameters creating another text object clicking instead of the drop down clicking the word default it's actually going to pop open a simplified version of the asset browser and you get a visual preview of all of your presets but there's something pretty cool here if i mouse over any one of them you see there's a little crown icon if you select the crown you've kind of promoted that up and what that means is when we get rid of that make a brand new text object it will default to that setting so at any given point you say you know what this is the new master one that's the one i want to load by default you can click the crown and that one now becomes what loads instantly but of course you click this drop down and go back to the regular old default and go back to that so now it's non-destructive and you can make as many versions of this as you want and as i mentioned it can be applied to materials it can be applied to any objects anything with parameters i even had tested it by going into a material and i had applied let's go into luminance and inside of here go into a noise inside of the noise look you can do it inside of here we can change the default settings inside of the noise and make presets for that so your ability to customize your own personal cinema and have common objects you need man this really opens up a lot if you want to be even more organized with your presets you can go into the assets browser click on presets and inside of there is going to be a giant list of all of the different presets that you've put together so there's our five by five by five and there's a noise one that i had made and just all sorts of different subdivisions but here's the text you could select any one of these and right click and say show details and now we've got we could put keywords in here and make it searchable we could add dependencies to it you could create a brand new image of it let's say actually let me see if i can do this properly if we just zoom up on the text actually i guess i should load this in and if i double click it'll create that default so if i were to zoom in on this and let's send that to the picture viewer it's over here i could say hey copy and then on this image right click and update from clipboard and now that is the preview image so it's that quick to change exactly what the icon should show up as and that has now been updated that can be the default and we see all of them all previewed here there's a bunch of spline presets i made for myself all the defaults that cinema comes with so a lot of power there to organize more create presets and just speed up your workflow close that down and tackle the next feature and that is spline import now spline import is kind of a fancier integration of the old art smart plug-in from cineversity so opening up a brand new file actually dragging over illustrator you can see i've got an illustrator file here and i don't use too much illustrator so i asked my friends over at loose keys who are a local chicago studio who create animations and explainer videos i'm gonna have a link to them below they do good work so this is an illustrator file that they gave me so moving back into cinema dragging over that illustrator file keep in mind that is an adobe 2020 illustrator file so not like an old adobe eight selecting ok change any settings you want but hitting ok this will now import that file and boom there it is created we've now got a whole bunch of geometry created anything that was a fill is created as an extrude any of the different lines that you created are now brought in as sweeps it is live linked to it so selecting this object which encapsulates all of this you can open it up in illustrator you click this refresh button and have it refreshed from any changes you made in the master file we have different settings we can change here as far as the separation let's change this to maybe a 0.2 and now there's not that much separation between the layers anymore i'll put it back to 0.5 we can you see we have a bunch of different settings here we can change this to have a little bit fewer polygon count traveling around you can make this editable and you'll see all of your individual objects exploded inside of it so all imported separately but i want to keep that actually i guess if you want to do that would be good to make a duplicate and turn it off and then make this one edible so you can always go back to the original if need be additional details that are important are you can also import pdfs and svgs as well and just have some fun with this one before we move on there are of course a bunch of other settings things like the width the depth the growth which i can drag this back and any path from illustrator will only draw in this case 20 percent of what there was you can always right click on one of these parameters and it's going to jump that back up to its default if you do a partial growth you have an offset so you could animate a line around this scene file's not set up very well to do that but now that this is all geometry let's have a little bit of fun with it and create a floor object so there's a floor and scoot that down below and then just throw on both of these a simulation and we'll say a rigid body setting what's cool is if we select the rigid body on the illustrator import we can go to collision you can see that it is already applying the tag to children and setting it to individual elements so that means i can just hit play having turned those settings on and the entire thing falls apart collapses and it's fully dynamic that quickly so a lot of fun to be had creating and importing different files from illustrator and bringing them into cinema 40. important to note i didn't have a file that showed it but this also supports symbols color spaces and gradient fills next up is the track modifier now for this we're going to need some animated keyframes i wanted to get some motion capture but maybe not the stuff that cinema provides i wanted to find something maybe a little bit weirder a little bit more jittery so i went looking around on the internet and i found this website called mocap data and they had one category called joke which i think were outtakes and in that collection i found this file so it is a bvh file i'm importing and from there you can see i've got a character if i hit play it's going to animate starts out in the t-pose and that just starts doing some silly movements but you can see that it's decently jittery and that's kind of what i was looking for in this test so in order to show the differences i would like to make two copies of this expanding this will make a duplicate of it selecting the hips with the middle mouse button i can select it and all the children automatically going to the basic tab i'll change the color to let's go with this dark purpley pink just so we can see the difference between the default one and then this one that we are going to modify selecting hips i will right click and add the new animation track modifier now what is the track well in cinema 4d you are recording keyframes and keyframes are stored on a track so a track is the line that holds all of those keyframes and this is going to modify that now i have found a couple of limitations in this tag i haven't gotten to play around with it too much so we're going to focus mostly on the spring mode and maybe tinker a little bit on some of the other ones if they're going to cooperate so to begin with we've got this default setup i would like to turn on affect the entire hierarchy so it's not just the top object for some reason the strength is down at 0 by default so i'll set that up to 100 so we can definitely see it the green one is got the track modifier applied so you definitely see two different motions happening and the green one has all the springy wiggliness on top of it so definitely having a big effect on the entire hierarchy so how might this be useful well it's non-destructive the original keyframes are there and unmodified so we were able to make changes here by doing things like adding a bunch of stiffness so now it's trying to snap into those positions more quickly but it's going to get rid of some of that jitter and then even better i can do something like add a lot of drag on top so let's go easy on the stiffness and with a lot of drag you see that these are very slowly going to attempt to obtain the position so with a nice combination of stiffness and drag we can slow down the overall motion and it'll eventually get where it needs to go but takes out that jitter so it's very similar to spring when you use like the spring constraint tag or spring inside of fields and i think that there is a lot of usefulness to be found here i'm pretty sure yeah we can go above 100 so of course we're gonna get some super crazy motion there right click the arrow to reset it to default which is actually zero so i'll say 100 and we're back to it wiggling around so yeah as much stiffness and as much drag as you want lots of drag means it follows it drains the energy out very quickly now let's go and actually delete that tag and then start again on it and on this iteration i would like to once again set to hierarchy and then jump into posterize so posterize is kind of like a quantize or a step effect and by default if we have play it's not going to look terribly different in fact i think it's going to be identical but if we begin changing the step frames i'll jump that to 5 frames you'll now see that that is only updating every fifth frame so we can get some nice stop motion on top of it set that to any number that we like let's say that goes to 15 so only two per second and you get this really cool kind of echoey animation happening on top of it there are additional settings i don't have a lot of intuition for them quite yet something like the offset which will just i think rewind the time a bit so it can happen let me put this to zero or one you can see it's actually just ahead in time by rewinding at 18 frames or you could say okay five frames later so it's lagging five frames behind and then there's time factor which will slow it down or speed it up i think i sped it up so it's getting there quickly and yeah you see that's uh yeah the entire animation is happening faster so you can speed it up or slow it down via these so i have to get used to the specifics of the way these parameters are interacting but i think that this is very powerful i have to say i haven't gotten to play too much with the noise or the smooth they weren't behaving ex the most intuitive way so i'll probably cover those more in the future it does seem like the noise is uniform throughout the entire thing let's see if we can get to do a little something reset that to zero give it some strength let's go easy on the strength a bit and you can see it gets pretty crazy and twirl that down and we have a lot of different settings where it's affecting the position and the rotation let's just do a little bit of rotation and we are in hierarchy mode you see that the entire thing is wiggling around with some noise but i would like to see in the future this have a different noise on every single object in the hierarchy because right now they're all identical if i change the c they all change together but that's adding on some random noise and then going and switching this to smooth it's very similar to what we can already get out of the spring with a lot of drag but what this will do is as we increase the range it's going to essentially blend frames that come before the current keyframe and frames that come after the current keyframe and this remaps those values and hitting play we can get a little bit of smoothing in between those you see it just takes the edge off of those just a little bit so a way of smoothing between those capsules capsules are a new integration of scene nodes directly into the object manager so let's start out nice and simple opening up a new file i'll create a plane and we need the asset browser which i will set into nodes change this to a list view shrink it all the way down so we can see an entire list of them and now what we can do is start dragging in certain nodes directly into the object manager as a modifier so the instant i drag this extrude over let me hit n b you can now see that that's extruded this plane upward rotating my camera down you can see that every individual polygon has been extruded we can go into the settings extrude these up do an offset variation see different offsets so what we have here is a parametric version of an extrude let me hide this safe frame so we don't have that distracting us so what do we got here well it is a way that we can start using individual nodes or even collections of nodes directly in the object manager so this is the beginning of really seeing production-ready versions of these nodes in a way that i think anybody can start using them so let's make something a little bit more complicated not too crazy but we'll keep it a little bit simple step by step now there's a couple of different types that we can use here the main two ones when it comes to modeling are going to be your geometry selection and geometry modifiers so under geometry selection you saw that when we extruded we extruded everything but if i say i would like a noise selection i can drag that into the plane and there is now a random selection happening but we can't see that visually represented so in order to make things clear i am going to find a store selection and drag that next the store selection is going to create a selection tag for us and i will just name it one the instant i call it something it will actually make a selection tag right there named one with that in mind we can create a new material double click change it to i don't know let's make a crazy pink color why not and then apply that onto the object limit the selection to the selection tag and now we can see where that noise selection is actually happening so selecting the noise selection we have the ability to change the seed to get completely different layouts change the threshold to do less or do more of that threshold and we could even change this from selecting polygons to points or edges but we will stay in polygons and we can even do all the different noise types but we'll keep it simple this is working well for us so far so if that is the current selection if we move into our geometry modifiers i could drag in an extrude and the extrude is extruding exactly those polygons from the active selection just like if you were to by hand select some polygons and then hit d for extrude and extrude outward the current selection is what gets extruded now keep in mind these are all individual extrusions so if i want these to be extruded together we can turn on use islands which is very nice and all of those are extruded together as a single piece of geometry and you can see that our active selection is still here up on top so pushing it further let's grab an inset drag that next and you see every individual polygon of the active selection shrinks but again let's use islands and those all shrink in a bit then we extrude again i'll make a duplicate of that same extrude and each of those levels extrudes upward now we can do additional things let's do something kind of fancy i would like to go back to geometry selection and grab a new modulo selection dragging that in it is now selecting every third polygon but again we cannot see that visually represented so how about a new store selection and i'll store that as two then on our material i'll say i would like that to now show the twos so now you can see every third polygon getting selected going back into that modulo i can change this to every other so now it's essentially going to look like visual stripes going across because it's every other but i could say hey every four polygons select two of them and now we get skip two select two skip two select two and it just travels along that way let's keep it really simple though by going to actually three and one is pretty good so let's do every third so what i would like to do is another extrusion but not from here we could do it from here let me even do that let's create a new extrude and from there you see all those individual polygons are being extruded even the ones on the sides and then they do a bunch of intersecting which you know depending what you're doing might work might not work but let's delete that and let's do one of the other new things we've got and that is the geometry selection select now i'm very happy to see this in the past it was kind of a pain to select everything but we've got a bunch of options right now i could say type in the word all and it will select all of them actually why don't we immediately store a new selection so we can visually see this represented so again we'll do it from scratch create a new store selection and this one will store three selecting the material drag in three and now you can see all has been selected we've got a couple of different things that we can select through this right now it's all but we can do something like even and now selecting the even polygons we can select the odd polygons we can select one comma two comma eleven and now it's selecting the first the second and the eleventh polygon i can say i would like to select let's say 12 through 33 and now it's selecting 12 through 33 and i think we need to do 12 through 33 comma and let's do 44 through 77 and now we've got two different selections so we can type in anything we want get a very direct selection but where this is even more powerful is the ability of combining other selections so we still have that early selection which should be kind of the top of these plateaus and then we've got our every other selection going on so let's say i only want to see a selection where we have tag one and you have to put in quotes and tag two in quotes r and i'm saying i wanna see where the two are combined only the every other one on top of the plateau is showing keep in mind this is important you have to think of this almost more like programming so it's saying where is there one and two so this isn't combining one and two it's where are one and two overlapping where are they both existing you can also use the word or and that is more like combining it kind of like a google search now it's the top and every other one and you can also subtract from each other but in this case i would like to use and and now we've got a nice complex selection in a very logical way that we can type out and we can type in additional things we could say and odd and now you see only where it's also odd but we say or odd and now we're getting the odd ones and the selections from the top with the plateau all sorts of cool crazy combinations there it really opens up a lot of opportunities but with that now being the active selection going on we can go back to our geometry modifier grab one last extrude drop that in and extrude a bunch of these i will say use islands just in case any of them are bumping up against each other put a bunch more offset let's do a lot of variation add a couple of subdivisions why not and now we've got all these crazy stacks this nice parametric setup i could even do those other deformers like we did earlier creating a smoothing drop that as the next object and now all that gets smoothed out let's reduce this only do a little bit of smoothing maybe even just one and get these nice little plateau type setups going keeping these as kind of parametric extrudes and parametric insets and we've got things like grebel and untriangulate and triangulate and solidify solidify is pretty cool let's after the smoothing add a solidify solidify it's cool but i think we need to select all of these so let's again go to selection i would like to select let's drag in a new select right there type in all i've selected all of them back into our modifier and we can solidify and solidify is going to oops rearrange solidify is now going to essentially add thickness just like the cloth nerves would so this entire thing actually has some thickness on top of it we can go positive as thick as we want we can go a little bit negative there and you'll see them all inflate but it's actually got some volume built into it a lot of fun super crazy combinations and there's a big kind of deformer stack we've got going here let's create a cube instead and on the cube i'll set that to 22 by 22 by 22 and swap this entire stack from our plane onto our cube and the instant that i do you see we've now got that cube getting all these crazy effects applied the entire stack is still live so i can go back to the original actually let's turn off that solidify we don't need that and we can go back to the original noise selection and say hey a different seed and that's going to filter all the way through choosing different selections at that point the important thing here is go step by step very carefully if something doesn't seem to be working turn everything off until it seems to be correct and then start stepping through slowly making sure that the different stacks are doing exactly what you want them to do and as we step through we can get all these crazy things all stacked up on top of each other so yeah basic capsules are very fun now let's look into making one of those from scratch opening up another new file we will again keep this real simple maybe making a spear set this over to our triangles and make something brand new if i move into asset construction we have a bunch of different types of nodes we've got these different groups and several of these are how we can create these capsules specifically here there's a geometry modifier group dragging that in as a child the exact same way it is a geometry modifier group but it's empty it's not doing anything but because this is an empty one i can double click on it and it's going to pop open the node editor so why don't we switch over to the node view and double clicking it it is now going to put us inside of that node we are no longer in scene nodes we are now in this geometry modifier group and you'll see that it is inputting geometry and that is whatever the parent is and it's outputting geometry so let's do the simplest possible thing let's pull in that extrude node again i would like to pop open the asset browser we are already in nodes put that into list view shrink that way down it's just the way i like to work and keep it keeping it simple going into modifier we can find that extrude drag it in the extrude wants geometry so we'll feed it geometry and it's going to output geometry as soon as i drag that you see that that gets extruded we have now built our own modifier it just happens to do a single extrude add in all the variation that we want i wonder if that can go beyond yeah it can go beyond so i can even push that to go positive and negative by pushing beyond 100 right clicking to put that back to default this is something we're already doing but keep in mind this interesting thing that just happened and that is we dragged that extrude directly as a child and it made one of these modifier nodes but now we're dragging it inside of this node and now it's just one small aspect of it so let's make this even fancier let's not use that extrude this time let's delete that and maybe do a chamfer or bevel as it used to be called connecting those two we'll see what the end result is and right now it actually defaults to point mode not what i was actually intending to do but that looks kind of cool you see it's taking every point and doing a small bevel or chamfer on the point so with that modified this way we can do additional things to it so that just modified these how about after it's chamfered then we can do a inset and we can drag that directly on the line and that will interject it and now you can see we've done a small inner extrude on every single one of those polygons and then after that has happened how about now we create an extrude so that extrude happens after those it actually didn't do that selection shrinking in we should probably select all the polygons first so going into our geometry selection i shall say after it transfers i would like to select all polygons we're in polygons i'll say all and now it's selected all the polygons so the instant i did that it has now selected all of them and then when it did the inset that selection shrunk with it and then we extruded so that just creates the effect that i was looking for the extrude i'll set to let's say negative one and that is now pushed in we can even push it down down down just get whatever look we want maybe that's looking pretty good for me and then let's make one last note i'll search for you can always double click as well search for a delete and we can now create a delete node that delete node i will interject after the extrude into the final deleting out those polygons we can now see we are left with this outer sort of this wire frame shell traveling around the outside so that's looking pretty neat and that is all ready to go we can select all the nodes hit l and that will sort them together in a nice clean line and maybe let's promote a parameter or two we've got our inset which is currently set to 20 here's what i like i can click on this output and say connect node and then say existing nodes root add new input and that will automatically create a line from that particular setting out into the input and then before we go and modify that let's go into the extrude and i'd like to output this offset selecting that connect node existing root add new input and now we have an inset and an offset now going into our geometry modifier group you'll see that those two promoted parameters have appeared here so now we have the ability to drag this slider and modify this generator in very simple clean ways we can have this extrude outward now we have extrude inward as far as we want to you can modify these settings i don't fully have my head wrapped around it entirely you'll see right now that the slider is probably gonna be insane yeah it goes out really far so the slider goes all the way to a thousand where based on what we're building maybe the default slider i'd want to go to maybe 10. i don't know if we'll figure this out but right clicking on the word offset i can say edit port and we have the ability to limit the value so i'll say i want to limit both and it can go from negative 10 to positive 10. close that and we'll see if that works yes save the database and now you'll see if i grab the slider it's going from actually it only goes from yeah now it's clamped from negative 10 to positive 10. so i have the ability to lock those and make the controls a little bit more specific so a lot of cool crazy opportunities here it's right now a good idea to keep things relatively simple this is nice and clean ready to go we could group these together but i think that's a good demo for making the basics of a capsule keep an eye out for additional content that i will hopefully be making in the future about this and i'm pretty excited for the future of nodes integrating into traditional vanilla cinema 4d let's move into another new file and this time we will stay in the world of scene nodes proper now here's my thought this time let's play with the new blue noise distribution which is kind of like circle packing and it's also how i put together that little still frame with all those spirals so let's see if we can make that work to begin with i would like to search for an extrude so we'll search extrude and we should be able to find a nice basic extrude line we need some sort of line so i'll search for text and that will give us a text spline so tech spline feed the geometry into the extrude line that is getting translated through the spline tessellation that automatically created that for us and we need to turn this into some sort of real object that we can feed out to the scene which is always the geometry operation so searching for geometry up just keep that in mind it's one you have to use all the time dragging in geometry this now has very basic information as in like it exists at 0 0 0 type of thing that can now be fed out into the scene root and instantly you see we've got some extruded text so we can make some changes here for our baseline in the extruded line i'd like this to extrude an offset of zero and let's type in some custom texture we'll just say r25 center that in the middle and we didn't really talk about it earlier but keep in mind that a lot of the layouts have changed so everything lines up a lot more cleanly and i kind of like everything being popped out into these quick tabs which is funny that's why we've been designing all the rocket lasso plugins as well so anyway we've got a little bit of texture we'll leave everything else default maybe we need a slightly fatter font let's do show card gothic which is not a go-to font of mine but it was there let's use it spread these out a little bit more okay circle packing what do we got right now well i like feeding this out so we can see that yes indeed we've correctly built this let's say that that extruded bit of geometry it shouldn't be an n-gon so let's turn off n-gons and say maybe it's quads hitting n b you can see that that is now returning as quads line these all up together selecting them hitting l nice and clean now let's get some circle packing going we can search for the word blue and you'll see we got a couple different types i would like a surface scaled blue noise dragging that in it wants to be fed geometry well that's nice because we've got some so feed is some geometry and it is like okay cool i'm now outputting a distribution well what is a distribution in a lot of ways think of that like a matrix object it's a series of points and positions and saying hey this is where you belong so having done that what do we want to create on top of this well keep it simple i'll search for a sphere and there's our little sphere primitive it doesn't really exist as much yet we need to set the radius when you're using this blue noise always set your radius to one it's expecting exactly one as the unit of measurement so that's outputting a sphere's geometry where should that go well i would like to turn it into maybe some real geometry so i'll steal that node and say hey you've got geometry and you can exist in the scene and you'll see there's a tiny little sphere right there and then i want to give it a position so search for the word matrix matrix i hope one day they change this because i don't think matrix is very intuitive to artist types it's more of a programming thing and the matrix is your position scale and rotation so it's really your transform so that is saying like okay cool you're you have geometry now and now we're saying oh and you also have a position but the position can be like an iteration it can be a whole list of positions and that's what this is outputting an entire list of positions so feeding that distribution into the matrix will automatically get a link between distribution and that's putting it into an iteration collection or iterate collection which is now outputting the elements to the element but i'd like to break that connection and actually just say i want the not the entire list but just the matrix to connect over and the instant that i do we've got a series of spheres sort of in the shape of that text hitting an a so we can hide the polygons you see we've got an entire collection of spheres now let's change some settings inside of blue noise you can see it's trying to output anything from a minimum size of 5 all the way up to 25 and it's trying up to 100 times so let's get some higher resolution here i'll say they can be as small as 2 and as large as 10. so you can see they we start out a lot smaller and it's trying to make 100 of them but let's make it so we can make a lot more and just click and drag the slider and as i increase it more and more and more you're gonna see that has more chances to try and fill this up and now we get some nice circle packing going where none of these are bumping into each other and they're starting to fill that space up really well creating a bunch of copies everywhere so really fun start there i'll give this a quick save into this tutorial folder just save it as 1a r25 blue okay let's see if we can break this apart and do even more things with it so zooming out a bit we've got a bunch of different information coming from this so we've got this distribution going and it is iterating through the collection but that iteration is outputting a bunch of different information it's outputting different indexes so if it's outputting different indexes maybe we can do something with that so what if we want to apply some colors to this well let's search for a color op so search for the word color you'll find a color opt down here on the bottom drag that over i would like to link it in as well so now we're giving this chain of information color information up until now it had no color replace that you see everything is turned black and that's because the color up by default is just outputting black so if it's just outputting black well it's pretty straightforward doesn't do much but let's try dragging in this index instead so dragging in the index we should see a single black one and the rest are white well why would that be well we are currently outputting a zero and then everything else is one two three and you can think of that as outputting at zero percent and then 100 200 but you can't go beyond white so only one of them is black but there's a different setting here instead of index and that is ratio and if we just drag this connection to ratio instead we are going to slowly fade from the smallest number up to the largest number we are also outputting color but we've got so many different possibilities and so many different options here but what i like to do is actually use the hash hash is kind of like a super range mapper searching for the word hash we can drag this in and what hash wants is well it's kind of like it's got two different random seeds and i like leaving this one seed open for me to change the number and then the salt is like the source number so the source number i'll say is the index and that will feed into salt so we're feeding in a whole bunch of different numbers and this is going to kind of randomize those numbers and output to us something between 0 and 1. so between 0 and 1 is all good but it's got a couple of different outputs it can also output color so it's outputting anything from zero to one as an integer or a float or a vector or a bool to be on or off but we can also just output a color so this makes it really easy outputting the color into our color operation we've now got 100 random colors going on but that could be combined with anything that we like let's blend that using some different color options i don't even know what they are let's search for the word color and i'm guessing color blend will do something for us so if we say that that is our foreground and then output this inside here we can set a background color and let's make it i don't know let's go with a bright yellow green and start fading back on this and yeah now we can see those blending on top of each other what yeah we didn't oh okay this was the correct node i haven't even used this before let's say overlay i love me some overlay and yeah we can start feeding in some of that color you see it's dominated now by this green base that we fed in change this to multiply instead and now we can get some darker colors so you can see by combining in this case very few nodes we're able to create something relatively quickly very powerful and by using all this raw information pulling out the raw information from say this blue noise we're able to remap it and create all sorts of different functional things so it's going to get exciting as we continue into the future and are able to implement this into even more places in cinema opening up a new file let's spend a second talking about splines inside of nodes now we had been using a bunch of the geometry modifiers and selection modifiers but there are some other types that we can drag in currently i can't get the spline primitive group working but the mesh primitive group works to make spline so let's do it that way so by creating a mesh primitive group i can double click on it and go inside of it and just like we were modifying geometry we are now making geometry from scratch you can see that there's no input but there is an output so in the most basic form we could search for something simple like a primitive sphere inside of this and output that geometry and now that is creating a sphere from scratch essentially let's make something a little bit more interesting specifically let's make a spline now a basic thing we could do and something that's neat is if we go into the i think geometry generator nope geometry primitive there is a segment now if we drag segment it is a straight line spline that exists only as a node but by outputting that into the geometry we now get a straight line spline something we've never had in cinema before so creating a let's hold that down while creating a sweep and then also feed it a rectangle which is super huge t for scale scale down down down down down so you can see we've got a straight line spline hitting n b we can select these properties and create as many subdivisions as we like and make it as long as we like and even offset it left or right to make it pivot from the correct spot so it's kind of a primitive we can make by dragging a single node in and now it can be swept or extruded or lofted just used as a spline so that's pretty fun out of the gate but we can create our own as well from scratch so deleting that segment what if we want to build a spline completely from scratch well let's start by creating a list of points we can do that by creating an array and an array is just a container of information so i'll search for the word build and inside of there there is a build dragging that in it is hey what is the data type that's what it wants to know data type and the data type will be a vector a vector is just three bits of information in a row so yes a regular vector is one two three by default it created four different points for us which is just fine so keeping the simple why don't we just make a straight line here i'll start out by saying negative two and positive two actually let's make it pretty big so let's say negative one hundred and positive one hundred um you know what i'll keep it simple let's put a midpoint of zero so i'm going from negative one hundred to zero to one hundred and i'll say truncate and get rid of that last point so we have three points coming out from here so it's three points but what do we do with them well we assemble them into a spline by searching for spline and grabbing a spline where is it spline assembler so this array out of points can be fed to points which can be fed out as geometry and now i've got another straight line based on the numbers that i typed in here from scratch we've now created essentially a spline primitive from the straight up numbers now let's prove that we've got x y and z here let's increase the midpoint up and you see as i drag this the midpoint is going up or down so look we got on mac little smile or frown complete control over that currently you see it's rounded and that is from the spline assembler by default it's set to a bezier spline so it's automatically rounding it out but that could be set to linear for direct connections between them and also we have a closed setting like a spline does we can close the start and end and those will just loop around so a lot of power right there and then if we want to make something fancier we do have the option of using some of the distributions i don't need this build anymore but we'll keep the assembler and let's go into the distribution menu and we already used one of these from the blue noise but there's a bunch of different types you'll probably recognize most of these as different settings you would probably find inside a cloner or a matrix different layouts like spiral or linear or from a grid or from the edges of an object but let's keep this simple and make a spiral there's actually a primitive for this but let's make a spiral and i could show you how this could output a series of spheres or something but just keep in mind this is outputting a series of points but we need to be able to read this as positional information and that's not what this is currently outputting so in order to do that we're going to need a special node called a decompose node so let's say decompose container so i don't expect you to know that i didn't know it i spent a bunch of time until i figured this out properly and this one seems to work so if i put this distribution into the container in it's now outputting a bunch of different information and one of those bits of information is the matrix which is all the positional information that we need so let's output that matrix into our spline assembler and the instant that i do we're getting this well super crazy spiral happening and that's because this is based now on the spiral settings here and this is saying that every single point is rotating 137 degrees which is a lot so let's say like 5 degrees and it's currently a closed spline so we'll say no you're not closed and now we have a spiral going around automatically being generated by this distribution turning it into points and then turning it into a spline currently that has some height information i think yeah right here here's the diagonal let's flatten that out so that should be laying flat on the ground we could make that spiral more by adding additional degrees on there and that will spiral more and more and more and you can see how that is getting created really straightforward changing this to a different distribution type let's do a radial instead swap that out a radial is just a big old circle and now you can see i've got a circle spinning around as many subdivisions as i like set that to any radius i want if i want to close the gap right there we'll just say close spline so you can see how i can start creating spline primitives that could be output as different objects as well renaming this taking different parameters and promoting them out into the main object which we did earlier let's promote this one let's say the count goes out as an existing root add new input and we can do the radius which will be the second most important existing sorry root add new input so we've got two settings going out selecting our primitive group let's call this radial spline and that we can now set to exactly the radius that we want to hitting the letter s it even zooms up on it and the count that's going to be fed into it so creating these modifying them we could start feeding in so many things we could spend next five hours just building crazy node setups doing things like dragging in noises to displace this and have them transform over time or cloning spheres onto every single point or blending between there's i'm never going to go into it but we have the ability of weighting the colors on a spline essentially there's weight maps on splines inside of nodes so there's a lot of really powerful ways of playing with different bits of information interlinking them using the nodes and we have a very exciting feature in nodes inside of cinema 4d so that is concluding all of the new features that i have to show specifically about the new r25 stuff you see there's a good mix of things all over the place and again this is a half year release so keep in mind we had all that stuff from 24 as well now as promised earlier i would like to talk a little bit about a preview of our upcoming plug-in utility splines we've been very very busy over here at raqqa lasso the last couple months we released several plug-ins the first one was ricochet which if you haven't seen we can feed a model into our ricochet spline plug-in and we can make our spline bounce off of the model and you can see here as i increase this number that we can bounce very fast very quick calculations and let this bounce over and over and over again let me just type in an extra zero on there you can see we can fill this model up to an insane number of bounces it runs crazy fast with so many splines there's a bunch of information about that but you should totally check it out and then we released our mesh to spline plugin which enables you to take the mesh of a model and convert it to a spline interactively so i've layered up a whole bunch of different splines here but as i rotate around this is the entire car model but selecting any one of our meshed splines you can see we can convert the edges or polygons or outline to it converting it to a spline which then enables you to render this out in third-party renderers very very quickly hitting render here with the redshift it's going to calculate all of the different lines and then render in the viewport and it renders a sketch and tune type look but using redshift or any other third-party renderer and very recently we released slicer the ability to take a model and throw it through slicer chopping it up into a bunch of splines or extruding it creating bevels lots of lines and just opening up a lot of design possibilities there as well so as i mentioned we worked really hard on these this is the way rocket lasso makes money by creating free tutorials and tons of free live streams but we create plugins that artists can use to create cool work that they might not have been able to do otherwise so unlocking your creativity is always our goal and i'd appreciate if you take a look at any of these it's the best way to support and i've got links down below but let's talk about the brand new one that's going to be coming out maybe in about a month i don't know exactly when opening up this scene file i've got this vector file from vectorworldmap.com and i like it because if we go to point mode and zoom way up you can see how many points there are in this file so zooming back out again we can make this a lot easier to work with by going into object mode extensions going into our rocket utility splines and i'll start with a rocket smooth now by default this will smooth things out but i want to simplify and don't even show that yet dropping the map into the smooth i will zoom way up on one of the coast lines and turn on our tick marks so i'd like to see how these are subdividing let's make that a little bit smaller and see how many points are being made up on this object so we can begin to add iterations onto this to smooth it out it's going to look at the neighbors and by increasing this it starts smoothing out the spline so all those rough lines get curvy and round out but there's still a lot of points that we started out with here so we can change this to a different tool entirely in which case let's pull this out from rocket smooth and instead feed in perhaps the resample or even reduction but we'll start with a resample if i feed in the map into the resample you see immediately we've dropped down to very very few points clicking on our resampling you can see that currently set to source points step and we got a bunch of different modes there so we can say hey exactly every five units create a subdivision so let's drop that down to one you see a lot more points if we crank this up to 10 there's gonna be a lot fewer points so very quick to remap this to exactly whatever count you want there to be next up we can change this tool to instead of resample we can go to our reduction i do like reduction a lot creating that i can drop the map inside of that and this has got a lot of points so let's override so we can actually see all of the points and we've got several different modes here we've got the deviation mode which is the most powerful and that is if the line wanders too far away over one unit away it is going to create an additional point so this will only create as many points as are needed let's actually view those individual points from the tick marks and if i say okay you can only deviate up to 0.1 from the original line you can see that we get a lot of lines back in here again but lots of detail going into the advanced tab we can see that we have gone from 56 000 points and we've reduced it to 26 000 points being at about 50 of the count if i say you know what you're allowed to deviate up to 0.2 then it's going to get rid of a lot more of those and now we've reduced it down to 26 of the original but we have several different modes here we have deviation which is my go to which is why that's the default but there's optimize which behaves a lot like the cinema 4d optimize for getting rid of points we can set that down to something small like 0.1 and it will begin reducing them here it reduced it down to about 90 given that setting then there's percentage we say hey get rid of a certain percentage of points so let's say we get rid of 50 of all the points and it's going to attempt to get rid of the least important points keeping all the sharp angles that you want and then lastly you have angle threshold so anything shallower than a particular angle will be removed so you can actually control it that way and these work great on top of fonts as well if you want to clean those up and these all combine on top of each other i could feed this reduced spline into the smoothing spline selecting the smoothing spline we can now begin adding those iterations and see those points just smooth themselves out until we get a nice clean organic layout now that we have this nice clean organic layout what if we want to reduce these points in a very clean way well we've got another utility and by the way this tool will come out with all five of these as one and the next tool is the bezier spline that is going to take any spline that you feed in and attempt to turn it into a bezier spline so let's check out what that is outputting and you'll see that is reducing all of that complexity down to exactly these points so if i were to make this editable all that crazy complexity we had going to point mode now you can see it's reduced it all the way down to these nice bezier lines you get very clean control over so everything just opens up possibilities for playing with spines they have a lot of function the reason i want to show these off is unlike the other tools we had which were like really fun and kind of sexy to show off these are utility splines they give function but they don't show off as well so i just want to show off a little bit of that utility there was also the cleanup spline but that's more for very geometric shapes which this one is not and just cleans them up really easily and gets rid of redundant points but anyway that's going to wrap this up thank you so much for checking out this video i look forward to seeing you in more live streams if you're watching this video and it's brand new rick barrett will be a guest on the live stream tomorrow if not i'll see you on the regular wednesday live streams or in a future tutorial thank you so much for watching and for your support and i'll see you next time bye bye [Music] [Music] [Music] foreign you

Channel: RocketLasso

Views: 48,604

Keywords: Chris Schmidt, Cinema 4D tutorial, cinema 4d motion graphics, cinema 4d motion graphics tutorial beginner, cinema 4d questions, cinema 4d advanced tutorials, What's new in Cinema 4D, R25, Cinema 4D R25, What's new in Cinema 4D R25, New Features in Cinema 4D R25

Id: -0Qlj_jeNxU

Length: 78min 2sec (4682 seconds)

Published: Tue Sep 14 2021