Cinema 4D - Learn Advanced Mograph Techniques and Procedural Systems | Jesper Sandell | Skillshare

Cinema 4D - Learn Advanced Mograph Techniques and Procedural Systems

Jesper Sandell, 3D Designer - Velocitypeak

Cinema 4D - Learn Advanced Mograph Techniques and Procedural Systems

Jesper Sandell, 3D Designer - Velocitypeak

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21 Lessons (2h 31m)
    • 1. Intro

      0:59
    • 2. The Cloner Blend Mode

      5:53
    • 3. Transform Between Clones

      7:20
    • 4. Fields Overview

      5:16
    • 5. Scale Transformation

      7:02
    • 6. Smiley Face and Fields

      5:55
    • 7. Building a Rig

      13:22
    • 8. Animating with a Shader Field

      8:25
    • 9. Enhancing with a Delay Modifier Field Layer

      5:44
    • 10. Inserting into Geometry

      6:14
    • 11. Integrating with a Phone Model

      8:47
    • 12. Axis Modification and Alignment

      4:14
    • 13. Subdivision Surfaces and SDS Weight Tags

      3:08
    • 14. Adding a Floor/Backdrop

      4:22
    • 15. Adding a Camera Animation

      6:44
    • 16. Defining Screen Area and Basic Materials

      6:24
    • 17. Reflection Map

      4:13
    • 18. Lighting the Scene

      10:42
    • 19. Texturing

      20:18
    • 20. Alembic File and Rendering

      14:54
    • 21. Thank you for watching

      0:44
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About This Class

In this Cinema 4D course, you will learn how to transform from one shape to another using Mograph and Fields. You can easily apply these techniques to a wide range of other projects and styles.

To follow along with the course, you’ll need a version of Cinema 4D that has the Mograph module and Fields. In other words, Cinema 4D R21(or higher) or Cinema 4D R20(Broadcast or Studio edition).

We learn best by doing, so this is a hands-on, project-based course. We will go through the lessons step by step.

Some prior knowledge of Cinema 4D is helpful, as I won’t explain the most basic aspects of 3D applications.

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 Here’s a glimpse of what we’ll cover:

  • Mograph Cloner Blend Mode
  • Plain Effector – Modify Clone
  • SDS Weight Tag
  • Axis location
  • Shader Field
  • Using Extruded Objects in the Field’s List
  • Delay Modifier Field Layer
  • Rig Building with Expresso
  • Using Alembic Files
  • Lighting
  • Camera Animation
  • Fusion Shader
  • Variation Shader

 

You’ll have access to all the project files to make it easy to follow along. However, I encourage you to build your separate project(s) and try out variations of what we’ll build together.

 

Let’s jump in!

Meet Your Teacher

Teacher Profile Image

Jesper Sandell

3D Designer - Velocitypeak

Teacher

Hey, this is Jesper from Velocitypeak.

I'm a digital designer with over 15 years of experience in multiple disciplines of design. Cinema 4D has been my go-to application for some years now. I've also been teaching for the last ten years or so.

The best way to learn is to do. Seek out challenges and solve them. If you do this regularly, you'll improve faster than you think.

Cheers

Jesper Sandell

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Transcripts

1. Intro: Hi, this is Jesperson del. I'm a three D and motion designer, and I've been teaching for over 13 years in this cinema four D course. You'll learn how to transform from one shape to another using mo graph, and fields will transform a phone display into a smiley face. But we could easily replaced a smiley face with other taxed or any other object, and the phone model could be replaced by just about anything. The techniques are very flexible, and you'll be able to apply this to a wide range of your own projects. This is project based training. I'll explain everything step by step, and this includes building the mo graph set up and animation, creating a reusable rig, integrating with a phone model, animating the camera, lighting the scene and text oring and more. So if you're ready, let's jump in 2. The Cloner Blend Mode: Cinema 40 is one of the most popular applications when it comes to making motion graphics and motion design. And one of the key reasons for that is the mo graph module, which in itself is very powerful. But with the addition of Fields, it got even more powerful. So that's what we'll use in this course will use a combination of mo graph and fields at the heart of mo graph. We have the cloner now, a quick note. I'm recording this own release 21 if you have a prior released, the interface is gonna look a little different. So let's add a cloner. Now. The cloner in itself doesn't do anything. We need to feed it something. Let's give it a cube and then for it to work. We need to make sure the Cube is a child off the cloner and that something happened Now in the attributes, a manager I can see that to size for the Cube is 200 by 200 by 200. If I go back to the cloner, we have the motives set to linear by default, and it's gonna clone on one axis is gonna be the Y axis by default, and this distance between each clone is 50 centimeters. And since the cube itself is 200 centimeters, there's we can't see the individual clones. But if we up this to say 300 we can see the individual clones and then we have a count slider. We can add as many or as few clones as we want, and we don't necessarily have to clone on the Y axis. We can do it on the X or Z. Let's do the X and let me reframe that. And then we can also scale and rotate the clones. So, for example, if I do the X here, you can see each clone gets scale just a little bigger than the previous, and same goes for rotation. Each clone gets rotated just a little bit more than the previous. So I'm gonna set this back to zero, and then this 200. Now you don't necessarily have to have only one type of clone. You can have. Say it. Spear is well, and then this I one more this at a cone. So now we have three different types of clones and we have cube sphere Cone, Cube, sphere, cone and so on. So it follows the same pattern as in the Objects manager, whether Cuba's first and then the sphere and then the cone. And if we change the order here, it's gonna change the order in the cloner as well. And the reason why it follows this particular kind of pattern is if we go into the clone, we can see that the clones are set to iterating Now. Another mode that's very useful is too random mode, which lets you randomly place or distribute two clones, and you can control that to a certain degree by adjusting the seed. But the mode I want to get to and talk about right now is the blend mode, so the blend mode doesn't work with this set up that we have here. The blend mode blends between the objects, but there's a catch. The objects need to be similar enough that the cloner understands what can blend between them, and these are three different parametric objects, and unfortunately we cannot blend between parametric objects. So let's delete the comb. Let's delete a sphere, and instead let's take this cube and duplicate that control or command drag make the 2nd 1 smaller 50 by 50 by 50. Now we can pretty much see what the blend mode does. It blends between the objects, and it blends from the big to the small cube now, and it creates all the intermediate states in between. And while we cannot use parametric objects to blend between, we can do a lot of other things with this. For example, we can use to former's. So if I take a verified a former make that a child on this small cube, and I'm gonna tell it to fit this to the parents that has the same size, and I'm gonna bring the strength all the way up to 100. We don't have a sphere yet, and that's because that's Cube itself needs more segments. So let's up this to 10 by 10 by 10 and now we have a sphere. So now the blend partially works. The blend mode partially works. The cubes get progressively smaller on this end, but any breaks once it hits the sphere here, and the reason for that is the blend mode needs the same structure. The objects need to have the same structure, so Right now we have a verified the former on the second Cube, and that's what breaks to blend. However, if I copy this verified to the Big Cube and then I reduced the strength to zero, so it has no effect on the Cube. But by having the same structure, the cloner can now blend between the two objects, and we can make this more complex. I can add, for example, twist to this. Make that a child of the small cube fit to parent. Give that a little bit of a spin. Copy that to the big Cuba's. Well, I think that a child, the Cube, and not just verify okay like that. And then we want to take down the strength to zero our angle of zero. And now that works as well. So provided that the set up is the same. The cloner can blend between the two different objects, and this works with more than just informers. They works also with political objects and even with dynamics. So in the next lesson, let's dig a little deeper and start building the project 3. Transform Between Clones: at the end of this lesson, we're gonna have this set up. It's Ah, grid of clones. And then there's an area where the clones are transitioning from one state to the other. And, ah, it's controlled with a spherical field. So if I move that around, you can see that the area of transitioning is moving. So let's see how we can build it. Go back to the start file and the first thing we're gonna do is adding Cube. And because we're gonna add this clone grid to phone model and that phone model is model to re a life dimensions, this cube is way too big. So let's produce that instead of 200. Let's do one by three by one. And ah, we can frame selected geometry and cinema by hitting the s key. It's gonna frame the selected geometry for us And let's ah, instead of a cube, let's call this guy flat and then we're gonna copy it control or command drag called a copy rounded and ah, for now, let's hide a flat option. So the way we're gonna make it round it is by enabling the fill it option and ah, that rounds all the edges. Now this object is so small that 0.5 as of Philip Radius is too much. So 0.3, it's more appropriate. And then now we are gonna blend from the flat to around it. We need to do one more thing, and that's on the flat one the way it is right now that cloner won't be able to blend between the two objects because the structure isn't the same. So to make the structure the same, we need to enable the fill it. But what we can do is that we can take down the radius 20 and now it's gonna work. So let let's add these guys to a cloner, make them Children, and by default, the cloner is gonna clone them on the Y Axis is like so which isn't what we want. So let's fix that. Go into the cloner and instead of 50 on the Y Axis command centers to zero and ah, I'm gonna temporarily set this toe one. We're gonna switch it back to zero in just a few seconds here, but I want to make sure that to set up is correct first, and this up to count to just a few. Okay, so it it rates. We have the flat around it and so on. And let's switch that instead of iterated, let's do blend. So now we have a go from the flat to the rounded and then all the intermediate states in between. So that's actually the base set up. And the amount of clones that I need is only one, and I don't need to have any changes here as well. So I'm gonna set all the transform back to zero or whatever their default is eso Now we have just one clone. The way we're going to create the grid now is by putting this cloner inside of another Kloner. So let's first call this cloner loner single. Ah, a spell it correctly. Why not I? So and then let's add another Kloner And let's call that one cloner grid and that lets take the cloner single put that inside of the cloner grid and that this new cloners gonna do the same thing as all cloners do. It's gonna close on the y axes, but let's go into the grid Kloner and change the mode from linear to Gregory. So There's one that popped up here on the horizon. The step size is two biggest 200 by 200 by 200. Let's match the size of our clones. So one by one by one. And now we have what appears to be only one object. But if I flip the order of the clones here can see that it is indeed nine clones or nine objects. Eso if I go to the clone a grid here and say up the count 2 30 by 30 we're gonna change that later on. But for now, so that's the trick that it appears to be one single object, although it's made up of several clones. So how are we gonna transition between the flattened around? And now we're gonna use an effect, Er, and before I add the effect, er, I want toe select the cloner single that's going to ensure that the effect is going to be added to that Kloner. And then I'm going to go to the Mo graph menu and add a lean effect. Er and all the clothes disappeared. But fix that in just a second, gonna take the plane effect er and put it below the cloner Cinema 40 is operating from top down left, right. So if I want the plane defector to do something to the cloner, I want to make sure that it exists before the plane defector. And I'm gonna call the plane effect er plane Mahdi by alone. And let's go into the parameters for the plane effect er and that the clones disappears, be disappeared. And that's because the position is tick to move them up 100 on the Y. That's untech that and we have our clones back. I'm not going to use position, scale or rotation, but what I will do is use this option modify clone. So as I drag this slider, we are getting all those intermediate states until we finally come to the rounded option at 100%. Now, of course, this is affecting all the clones. So how do we constrict it to Onley? Certain areas. Well, that's where we start using to follow. And here in the fall off, we can add field. We can build very complex structures here, but we're just gonna start with adding a field. So in the fields list here, I'm gonna go and I'm gonna add a spherical field. So now the only thing that happens is that the color changed, and that's because fields can operate in colors as well. But we can turn that off by clicking this button here, but it's still affecting all the clones. So if I zoom out, we can see why. It's because it's because the spherical field is just huge in comparison. So we can change the size here at the bottom where we can drag directly in the view port. Um, instead of 100 I'm gonna do seven. And now that I'm movin, you can see that. Now we have the same set up that I showed you before the lesson started. We have a grid of clones, and then we transition between the clones and the transition area is controlled by a spherical field. So now what we're gonna add on top of this is some scaling so that the clones move upwards and that's coming up next 4. Fields Overview: before we move on to scaling, just want to mention a few things about fields and especially for the people who have never used them before. I just have a simple set up here. It's a cube and I've cloned it in a grid array. And I also added a plane defector, though if I enable that all the clones are moved up on the Y axis. Now, of course, all the clones are affected exactly the same way. And if I wanted to have a more gradual effect that some were affected and some were not, I have to use follow. So let me select the plane defector and go to the fall off tab. And this is where things are very different. We now have feels from cinema four D R. 20 and on. We have feels instead of the old fall off system now, the old fall offs that were used to are under this menu right here. So we have instead of a box, fall off is called a box field Now and capsule and Cone Field and so on. Let's add a linear field and let me reframe this. We can see a little better So So this looks very similar to the old linear fall up. One obvious difference is that fields can work on colors of this portion Here is purple and we have a color remap tab where we can change the color of these clones. Now, I don't wanna work with colors. I can turn it off by clicking this guy here under the field tab. We have some basic control for the field, for example, we can do the length. Or we could simply just drag in the view port like this and we can change the direction. So and for more control, we can go under remapping where we can control the overall strength, weaken. Invert this and that We can work with the offset like so we can set a minimum and a maximum for this and so on. And we can also go under the contour and it's going to give us more granular control. For example, if I select a curve here, then I can find tune this even Mawr. If I want hopes, I am missing. There you go like so. But let me set this back to none because this is not that different. from before. But where things really start, being different is if we look in the objects manager we haven't object. Called linear field Feels are separate objects. They are not tied to defectors anymore, and this is very, very powerful. For example, it opens up the ability to use the same field with several different defectors. In fact, we can actually use it with other objects as well such a xda formers or even Vertex map. And we can access fields in very different places so we can get them, for example, here under the create menu. And if you are on the cinema, 40 are 21. We also have a separate drop down here. The ability to use the same field in different setups makes for a much more streamlined and efficient workflow. Another big difference is in the fields list. We weren't able to combine fall ups in the past. We could try to combine different defectors, but we couldn't combine the fall offs. But that has changed. So if I go to the Fields list, which is now a layer system akin to photo shops and lay a system where we can combine several different layers so say that I wanted to add a spherical field to this. But I can go down to the drop down and I can add a spherical field and by default, this is gonna blend together with a blending mode off Max so you can see that we have the linear fall off and the spherical fall off at the same time. Or feel that caulfield snow. Now I can get a different effect if I change the blend mode to say, Let's try, multiply and let's turn off color. I don't want to work in color. Let's try, say, subtract. Then we get a very different effect so we can combine them in various different ways, depending on how we blend them. Now we can also that blend them with a passage sliders here for some, even more control, and we're not confined to fields On Lee. We can use other objects such as models. We can use spines and lots of other types of objects weaken group layers. Together, we can mask them. We even have something similar to adjustment layers in photo shop fields really is a game changer on how we work within cinema 40 and the type of effects that we can get and how easily we can get them. I urge you to explore more cause there's a lot of power and fields. So that was just a quick overview off fields and in the next lesson, let's continue with the project. 5. Scale Transformation: in this lesson, we're gonna add the scaling to the clones. So let's go back to the start filed. And ah, the way we'll do it is by adding another lane effect. Er so to make sure it's added to the correct cloner. Let's select Cloner single and go to the monograph menu and add a plane effect. Er and of course, the clones disappear again, and we'll fix that again. Now let's first pull this to the bottom and call this plane scale and then go to the parameters tab. Tick off position. Now the cones are back instead, let's use scale. And we wanted to go up and down. That means the Y axes eso I'm gonna do. For now, of course, everything is affected. It's because we don't have any fall of enabled. So if I go to the fall of Tab, I can reuse the same spherical field that we used for the other plane effect. Er right, Let me pull that one out. It doesn't have to be a child of that clean defector, so I'm gonna drag a spherical field into the fields list and success, and that's one of the rial powers off fields is that you can use it with several of factors like this, so we don't need to affect color. So let's uncheck that now we have one little problem and we can't see it from this angle. But if I look underneath, you can see that they are scaling down, and now many times you can get away with this. But in our case, where we'll stick this into a phone, well, we don't want the phones that we don't want to clones to come out of the phone, So we need to fix that. And why is this happening? Let's look at that a little bit. I'm gonna disable the cloners for a second, and I'm gonna pull out our objects, and it's gonna be easier to see from a different view. So I'm gonna go here and I'm going to go to the front view and then let's zoom in. So the reason why they are scaling down end up is because the axis is in the center of the object and that's how parametric objects work. They have the axis in the center, and you can change the location of the axis. We could convert this to a political object that would work, but I rather not do that. So instead, what we're going to do, we're gonna place them in a null and have the null at the base of the object. So let's do that. Let's go and add a note. Pull that to the bottom and call the first NOL flat. Copy that one control command drag, and this is gonna be the rounded one. And then let's take the flat and put that in the flat nal and then the rounded Put that in the round? Didn't know. So let's temporarily old option click on the stopwatch so we can focus on one at a time. So if I click on the flat mile, we can see that the access is in the center. But if I pull this up now and I know if I look at the Objects properties here, I can see that it's three centimeters tall, so I need to move it. Half of that. If I go to the cornets tab, I can simply put in one point five. And now if we select the null, we can see that denial sits at the base, and that means that when we use the null now in the cloner, it's going to scale in only one direction upwards. So let's do the same thing for the round. Annul on hide that. Just move it up 1.5. And now both Nell's are sitting at the base of the objects. So let's take both dolls, drag them back into the cloner. The Kelowna single enable it, and I'm gonna go back to the perspective. You we can hit F one or used these little icons, and if we look at the bottom now, we can see that it is staying where they should be or they are staying where they should be . So that is working. So the base set up is done, and the next step is to replace the spherical field with a smiley face. But before we do that, I want to show you a few more examples. So me open this file. This is outside the scope of this course, but I just wanted to show you a few more ways to use this technique, and hopefully this can work as perhaps a starting file for other projects. Eso in this first example, is really similar to what we've done already. We turning. We're turning our Cuban to a spear controlled with a linear field. So that's Ah, hi Dad has moved to the next example, and the next example uses models, although it's not a very complex model in this case, but is using political objects. So in this case, we are opening or closing a whole. And I imagine this could be used with adding a liquid effect or something like that, maybe something pouring liquid into these cups just as an example. But he works with political objects, and then the next one is using dynamic objects. It works with dynamic objects as well, and for dynamic objects to work. We need to play the timeline. Then here we have the Cube turning into a sphere again, but this time is also becoming a dynamic object. So it works with dynamics, which is really cool because it opens up so many possibilities. And then I have one final example. Um and, um, we have this flower. It's a very crude looking flower, but we have a close to flower and then it's gonna open. So it involves. The set up involves a few more objects, but it's still the same principle I haven't open and the close flower. And the only thing that really matter difference between them is that I have a bender Former that in the open flower. It has a different value in the strength, then does the close flower. So that principle sale holds true. The cloner can blend between objects or structures, provided that the structures are the same. So what? You have the scene files, and hopefully you can take this lot further than I have here. So I just wanted to show you that you could do a lot more with this technique than we are showing in this course. Okay, so next up, we are gonna add this smiley face to our cloner set up coming up next. 6. Smiley Face and Fields: in this lesson, we're gonna build the smiley face. So let's see how we can do that. So the first thing I'm gonna do is I'm gonna delete this spherical field that was just for the initial set up. So let's delete that. And instead, I'm gonna add a text object. I'm going to use a texts plein, and then it comes in large. Zoom out. Okay, So the funt, I'm going to use his wing dings. And I chose wing dings because I have it installed by default on both my Mac and my PC machine. So hopefully you have that, too. And if you don't just choose an appropriate font that works. And I know it's the 2nd 1 here. It doesn't say the name, but I know that this is wing dings. You can see wind ing's and to get the smiley character what happened to know that that's shift J from a lot of experimentation and testing lots of characters. And there it is, and I can see that it's huge in comparison to our cloners Set up eso Let's reduce the size to 50. And if I move in on this guy so we still need more clones. I'm gonna use more clothes than this. So let's go to the cloner grid and instead of 30 by 30 let's do 50 by 50. And that's gonna be enough. Let's go back to the text object and, um, the alignment I prefer to have in the middle. So let's align that to the middle, and it's also facing the wrong plane. Right now, it's facing that way. I wanted to face straight down, so let's do X Z and ah, we need to put this in an extrude object, so make sure the text is selected. You hold down the altar option and click on the extrude object. It's gonna become apparent off the text. There it is. Now there's one apparent problem with the extrude and Nestea that the extrusion is going the wrong direction. That set this to extrude on the Y axis instead. So and there we have him. Now we need to move him into place and let's name him also extrude Smiley, And then it's called the text Smiley as well. So let's move the extrude object down and I'm gonna type in a number here. I know that minus 18 is Come do the trick. Okay, So the way we are going to get this to work now is to place this extrude object in the fall off for our plane defectors. And I'm gonna start with the scale. So I'm gonna turn off the modified clone for now. And in this scale, I'm gonna take the extrude smiley and drag him straight down into the fields list. And ah, now we have color shift. And that's because he can operate on the colors as well. So that's unchecked the color. Select the Theis extrude here. And then we can choose to work with either points, surfers or volume. Now, in this case, points and surface is going to give us a fairly similar look. Um, and then we also have the radius, which gonna dictate how far out the clones are being affected. Though if I reduce this, I'm actually going to reduce this all the way to to and to see this a little bit better. I'm gonna first just hide the extrude object. We don't need it. We don't need to have it visible. I'm also gonna turn on in the options we can turn on a me into occlusion in the view port so we can see some shadowing. That helps a lot. So this is the points mode now. Ultimately, I chose to surface mo. But if you want to say have a whole for the eyes and the points mode is probably better, eso you have to experiment. But I chose to surface, but I wanna I wanted to be a little bit more irregular. While the radios is pushing the clones in or out, I we can also use the actual extrude object and kind of push it down a little bit. So if there's a little trick, if you hold down the old key and use the down arrow, you can actually get smaller increments. And I know that minus 0.3 just gives me this less regular look and I kind of prefer this. So I think that's gonna be the final set up for the scale. Now we need to add the same set up to the modify clone as well. So let's enable that again and take the extrude, cool it down, and then I wanna have the same settings. I want to use surface and let's take off colors as well when you surface. Uh, and, uh, if I go down to say 10 it's going to start creeping in on the edges here. I wanna have a bit of a lip on the outside off the face. Eso I know that four is going to give that to me. So now there's a bit of a transition area from the flat cubes to the round of cubes, and I prefer that, so that's pretty much to set up. So here's our smiley face. Now, in the next lesson, um, we are gonna build a rig for this. I know that some people dread that, but having a rig is gonna enable us to make less clones as bigger clones, which is gonna make it a lot easier when we animate. So that's coming up next 7. Building a Rig: in this lesson. We're gonna build a rig, and the rig is gonna be able to control the clone size by up that to five. And that also controls the amount of clones that we have in the scene, which is gonna be make the view port a lot quicker toe work with, and then we can turn the fill it on or off. So do you absolutely have to build a rig? No, you don't. But it's gonna be ah, lot easier to enemy to preview with the rig, so it's gonna make our lives easier. So let's go ahead and build it. So let's go to the start file and see, What do we need to do? Well, the first thing we need to do we need something that can hold the interface elements for us and that that will be a null. So let's add a note to the scene. Rename that cloner rest solution like so and to this null, we need to add user data so I can go down here to user data and say, add user data may pull this one over. So the first thing I'm gonna do is delete the default data. I'm gonna add a group, and I'm gonna pull this group out of the default group. And the reason I do that is now we get the option to name this instead of just saying user data, I'm gonna call this one cloner rest rest solution as well. And to this group, let's add data And this data, the 1st 1 we're gonna called Clone Seiss and that we can have it animate Herbal, the data type off float, which is a numeric data type. That's fine. The interface. Right now it's float and we can see a preview at the bottom here. I prefer to have this as a slider. So let's make it a slider. Percent is wrong. We want us to be really values for the unit. Step size of one is fine, and I want to limit the minimum here to be one. So one is gonna actually going to be the highest resolution, the maximum I'm going to set the max to 20 although I doubt that will ever go over 10. But let's set it to 20 enemies and that the default value of one here is fine. And then let's add one more data and this is gonna be the check box for the fill it. So I'm just gonna call this fill it on and that when you have a check box, when you have something that says either yes or no on or off and so on. That type of data is called a bullion that gives us this check box, and I'm gonna leave it unchecked. Eso That's the stone. We are set up here, so let's click. OK, so now we have a tap called cloner resolution, and then we have the day that we just set up. So now we need to hook this up to the elements we want to control. So to do that, we need to add on express attack to clone a resolution. So I'm gonna right click on it, and I'm gonna say programming tags in an expresso if you have a prior release. This was under cinema 40 tags, but now we have all the programming tags under programming tax. So let's add Expresso. So to this, what do we need to do? Well, first of all, let's add cloner resolution, the thing we just made and if I click on cloner resolution. Go to the cloner resolution tab and we want clone size. I can just simply drag it in and drop it right there. Do the same thing with fillets on Dragon Drop and we want to control. What is it that we want to control now? Well, we want to control the size off our objects or the flattened the rounded. So let's take these guys and just pull them in and I'm gonna drag this down so we have some space to work with and that What do we need to get? Well, let's go to the flat. We are gonna affect the size. I'm gonna leave size. Why alone? But we are gonna affect size X ticket to rag. It sighs, Z drag it in and then we also want to fill it. So let's drag that in as well. Now let's do the same thing for rounded size X and then Size Z and then the fill it like so So let's connect them. So fill it on, going to go to this port and the same for the rounded. And then let's just take a look here. If I click on flat and I look at fill it. I can see that this one has a different icon. This indicates that it's connected via expresso, so it's we don't have a fill it. If we go to the cloner resolution and unable to fill it, we have a fill it, so it works. So to work a little quicker, I'm gonna turn it off. So let's do the same thing with the clone size. All we got to do is just connect these ports so size X sighs Z and do the same thing for the other or rounded. Now they are connected as well. We won't see a change because we set the default to be one. So to make sure this actually works, let's set this to say five. And now we should get bigger clones and it works. It doesn't look right yet, and that's because we haven't connected the cloner. So let's do that next. That's drag in Kelowna Grid, and I'm gonna give us a little bit more room like so. So let's click on the clone a grit and see what we need to bring in. We need to bring in under the object tab. We want count and we want size. So in order to get count because I wanna have X and Z, I'm going to go into the menu and I know it's under the object time so we can go to object properties and then we have count, and then we want the first or the 2nd 1 Count X, and then we won't Count Z as well. So object properties count and then Count Z. And then we also want the size now because these are all going to be the same. We're not really using the y axes, so we can use the same number for old 34 size. So that means we can simply just take size and drag and drop it directly in the interface. So the size we can connect directly here so we can take clone side and just connect that. So now this sizing works on you could see something happened in the background there, and that's because the size off the clones just got bigger. But what we really want to do now is control the amount of clones that we get, and to do that, we need to do just a little bit of math and it's fairly simple math. Our we know that our Max resolution is gonna be 50 clones and then that with is one centimeter. So the maximum the maximum we're gonna get Here's 50. So then what we want to do is we want to divide the maximum with whatever the clones size is. So for example, right now we have the clone size set to five. We would divide 50 by five so we could go into the cloner resolution. We could add more interface elements and do these more complex, but we can also just simply use a constant number. So let's do that going to right, click a new node, Expresso general. And then we can use something called a constant, which is just basically a number. So for the value we can define here in the attributes manager, the maximum value is gonna be 50. And then we need to divide that with a clone size. So we need to bring in a math note a new node expresso calculate, and then we do math. So I'm gonna connect the maximum value, which is 50 and then in the math operations or the functions. What do we want to do? We don't want to add. We want to divide and we want to divide by the clone size. So whatever that is right now it's five. And to check to make sure this works, we can try this with a result node. Gonna right Click New Node, Expresso General. And then we have a result note and that's a very useful note. You can always check a lot of things with the result node. So if I pipe is in here, we should get 50 divided by five should be 10 and we have success. So let's take this output and bring it into Count X and Count Z. And we can see that things are going on behind this Expresso editor and it certainly looks correct. So if I go to the cloner resolution and do one here, then we should get 50 and we do so it is working. It's just one little kink that I I want to fix. And that's if we go to clone size and set that to four. Then we're going to divide 50 by four, and we're going to get a number with a decimal point. There Ah, and we are feeding that to the cloner grid right now. So the count 12.5 12.5. Although it works, it's just a funky number to feed it. So let's round it off and there are different ways we can do that. But one easy way is to use this expresso and then we go to calculate and we can do something called float map. So in the float math, we have a data type really weaken set that to an integer and interject only has hold values . It's going around whatever you feed it, it's going around it down. So if I pull this one into the input and then check the result, we get 12 so it rounds it down, so that works. So we can connect this to Count X and then Count Z, and then we have a complete set up. We can close this, and now we have. They're so excited to one this is gonna be our full resolution and that when we do most of the animations, I think we are going to be working with five, which is gonna make this a lot snap here. So now that we've built it, we can reuse it. But how do we re use it? So let's take a look at that. I take Kelowna resolution and I do that. I wanted to copy. It's a control or command, See? And then I'm gonna bring it into a new file. So this is a similar set up, Um and ah, let's re use this so I can simply just control the or Command V. So it's not gonna work myself. And if we open the expressive tag, we can see that we have. These are saying object and then yellow. That means Cinema 40 doesn't know what to do with them. We actually need to connect them to the correct object in the scene. So well, that's gonna be easy. We can just take this cube and drag it, drop it, and do you see it updated? Now we take second Cube to the same thing updates. And now we need to update the cloner as well, which is to clone a grids. We can just take that one and drag and drop it. And now it is updated. We can close this, and if we change this now to one it works, and we can turn the fill it on or off, and it works. So you can re use this one in other projects. And you can, of course, build upon this rig and make it more complex, more versatile if you want. But I think this is a good starting point. And this is gonna make our lives a lot easier when we start animating. Ah, and that's actually coming up next. 8. Animating with a Shader Field: in this lesson. We're going to animate the smiley face on and off, and I have a sample animation here. If I play this back a full resolution, we're not going to get very far on the view. Port just can't handle this amount of clothes, but that's why we built this rig. So if I stop this and up to clone size 25 and let's try again So now we get some sort of a feedback in, animates on, and then it animates off eso. Let's build it so we can animate this on and off in a number of different ways. Use different fields. But in this case, we're going to use a shader field because that's gonna allow us to use noises. And that's his produces a less linear result. So let's do that. Let's add ah Shader field lads call this one shade of field animates on Oh, and let's twirl up the cloner. But the shaded field above the plane defectors, a shade of field needs a great scale map toe work with, but let's add a noise right away in the shade of drop down. Let's add noise and the way will use to shade of field is in the fall off for the plane defectors, and I'm going to start with the plane Defectors scale. But let's temporarily turn off, Modify, clone and let's also up the resolution. So as we defined the look well as we fine tune the look for the noise, let's have it at full resolution and then, when time comes for for animation, will just bring the clone size up. Okay, so let's go to plain scale and drag the shade of field on top of extrude smiley. And we get this somewhat unwanted results. Well, first of all, let's turn off color. We don't need color. Second of all, let's go back to the shade of field and into the noise. And the reason why we just have this flat surface again is because in the space we have it set the texture, and that means that each clone is treated the same way. But if I switch this to world, imagine a big noise field surrounding encompassing this entire object. And when I said it to world now, each clone can be treated individually. Now this doesn't solve the problem. With the smiley face disappearing that we do inside of the fall off for the plane Defectors scale. So this field structure works to say must delay a structure in photo shop and that if you add a layer on top of another layer, it's gonna obscure the layer underneath unless you change either the opacity, which we can do here on the right side, we haven't a passage slider or we change the blend mode. So let's ah, change this to a multiply, and that's going to give us the smiley face back. So now let's go back into the noise and fine tune the look. And we can do this in a number of different ways. And at the bottom we have contrast sliders. We have Low Cliff, which controls the black and then high clip, which controls the white. And then we have an overall brightness. And then, on overall contrast, the way we're going to animate this on and off piece by a key framing the brightness value . But let's first set contrast. If I up this to 79 we're gonna start losing some of the parts of Smiley here, and then I'm gonna further enhance the contrast. Just gonna up the low clip a little bit and then the high clip as well. Now, a big part of the look is gonna be the size off the noise. Right now it's set to 100 by for examples that this to 50 we're gonna have the smaller patches like this. But I would much rather have a large chunk. So I'm gonna set this up to 250. So I like this look a lot better. And another thing that's gonna give us a very different look is also the seed. Every time I changed the seed, think 70. It's going to give us a different look so you can play around and see if you find something that suits you. Now. I ended up on two, and that's after just a lot of experimentation. Now, another thing that you could do, you could change the type of noise, which is certainly gonna change to look, I'm happy with standard noise in this case, so I'm going to leave it at standard noise, so it's time to animate the noise. Now, eso We're going to do that with the brightness slider, but to get some sort of a reasonable feedback as we do that. Let's go and up the cloner resolution and set that to five and that we also need more frames. 90 frames that we have now is not enough. I'm gonna double that 200 80 and then we need to extend this Barbican DoubleClick either on top of the bar or just next to it. That's gonna extend the bar. And I'm also working in 30 frames per second. And if you want to make sure that you are, too, you can go to project settings or control D and make sure that frames per second set to 30 . Okay, so let's go back to the noise and animate this. So on frame zero, I'm gonna take down the brightness to minus 50 and now all clones and disappear said a key frame and then on frame 40 I'm gonna bring the brightness up to In this case, I'm gonna set it to 26 and then set a key frame. And then let's hold that all the way until 100 and then, actually, we're not gonna change this value. We're just gonna do another 26. They were just gonna hold from 40 to 100 but then less animated off on 1 40 Let's take this back to minus 50 and let's set for Let's not forget to set a key frame. So now we have the animation here, so it's gonna animate on hold until 100 then animates off. If you want to change the timing of this, notice that even though I have rightness selected, we can't see the key frames in the timeline. But what we can do is it the right click on brightness? Go to animation and then we can go to show track, which is gonna open up the timeline. So now you can move your key frames around like so if you want to gonna undo that, cause I'm I'm happy with the animation. But one thing that I want to do here when I select all the key frames and by default Cinema 40 ads and ease in and out on all the key frames, and I would much prefer to have this as a linear type of animation. So with all the key frame selected, we can go to this button and click it. That's gonna turn all of them into linear key frames. So now I'm happy with this. I'm going to close the timeline window and, ah, I'm gonna do one more thing. We need to add it to plane modify clone as well. So in that Ah, inside all the fall off, let's drag the shade of field and turn off color and set the blending mode to multiply. And now, when we try this, we get the intended result. Now, the animation isn't super exciting yet, so let's spruce it up a little bit. And we're gonna do that in the next lesson. 9. Enhancing with a Delay Modifier Field Layer: in this lesson will add some jumpiness or some springing this to the animation. And let's take a look. Though the clones animate up, they jump in the air somewhat, come to a full stop and then they're gonna animate off or down. And as they animate off, they are doing some kind of jiggle dance. But they also dipped below the surface there. So let's build this. And the way we are gonna build is is in the plane effective for scale. We're gonna add a modifier layer. We're gonna add a delay modifier layer. And if you're familiar with the mo graph delay effect, er, this is very similar and that the delay modify layer by default has a moat set to smooth. So this is gonna be a very smooth animation. But we also have linear and the one that we want, which is spring, and that's gonna cause this spring in it. Now you play, you can play around with this, but I found that 30 is gonna be just enough for for us. So I'm gonna play this back, and now we're going to get a somewhat different results. So we do get some spring in this of the clones coming up and as they and made off get some springing this but notice that they don't dip below the surface and then they actually don't go as high up in the air either. And the reason for that is that the delay modifier layer is clamped is clamped so that it cannot go above 100% or below 0%. So if we wanna have that going through the floor or jumping higher up, we need to unplanned pit. So we cannon Clampett with this little icon here and that you can already see something is happening now for the delay modifier layer toe work properly. We need to play it back from the beginning again. So let's go to the first frame and then play it. And then they are going higher up in the air. And then let's make sure they did below the surface. And yes, they are. So that is theano nation. Now I let's I'm gonna play it again and pay attention to FBS frames per second because during the animation, we're not getting more than close to 10 frames per second and that let me first show you where you can see that hot element if you go to options and then configure there's a HUD tab and then we can take on all kinds of things in the view port if we want. Ah, in this case, we want frames per second so you can turn that on and off. So that's where we can see it. So now we know what we get around 10 frames per seconds, and I would like to to see this as close to 30 frames as possible so we can go to the cloner resolution and we can increase this to eight. Now, this isn't gonna be perfect, because we're not gonna be able to see the full all the clones. But it's gonna be close enough for us in this case. So let's play this back again, and we're gonna have close to 30 frames per second this time. So there you go. So it's much easier to kind of see it's this time and gonna work isn't gonna work. We don't get the full resolution, but it's close enough for it to work. I also want to show you one more thing here. I'm gonna go back to five and then let's play this back again and it's a little slower now . I wanna wait until it animates off and OK, so that's a good frame. Now, if I just render this frame is gonna work, it looks the same. But watch what happens if I go in. Set this to either stand it or physical. It doesn't make a difference. Actually, it's the same if you use 1/3 party render as well by render this frame can see that the result doesn't actually match what we have in the view port. And it doesn't matter if you do the physical or the standard renderers or ah, third party render it doesn't match. And the reason for that is because there is a bug currently in Cinema 40 and, uh, the bug comes when you enabled delay modifier layer. So what I would normally recommend when it comes to mow graph and the animation is you can bake the animation the mo graph animation. So you would do you would right click and you would say mo graph tags and get a mo graft cash and then you can bake this and it has lots of benefits you can render over networks and another things. But in this case, that doesn't actually work. Eso I'm gonna delete that. So the solution that we're gonna use is if I right click, I can go. And that can do something called Bake as Olympic. And that's gonna bake this out as key. Famed data on this gonna work just beautifully. So that's what we're gonna do. I'm not gonna do it yet. We're gonna wait until right before we render out the final piece. But that's what we're gonna do to overcome that bug that may be removed when you watch this . Hopefully. So Okay, so next up, let's see how we can integrate this into actual geometry coming up next. 10. Inserting into Geometry: in this lesson, we're gonna insert the cloner set up into geometry and that will start by adding it to a plane. So let's see how we can do that. And that before we begin, let's stay organized. So let's add first on null to the scene. And then I'm gonna control hopes, control or command drag to make copies. Three of them the top. Now I'm gonna call seen, and then the second it's gonna be outside G E O for geometry. And then the 3rd 1 is gonna be the cloner set up Kloner set up. And then let's take all the cloner elements except the rig and put them in the cloner. Set up 12 that up and then all these knows go into the scene. No, and, ah, it doesn't make a difference. But I prefer to have cloner resolution on top. And then I also want to do something for the plane effect. Er here. I want to disable the delay modifier layer. For now, um, we need to play this back from the beginning toe work properly. Eso We'll bring it back when we are going for rendering later. Okay, so let's twirl this up. So what do we need to do? We need to add a plane, and we need to cut a hole in the plane that matches to size of the cloner set up. And that's a pretty straightforward process. And a bull is gonna work just fine in this case. So let's start by adding a plane, and I'm gonna make this plain a little bigger. 800 by 800 can leave the segments at 10. And then to cut the hole, we can use a cube and that the cube size needs to be about the same size as the cloners. Set up. Have 50 clones at Max resolution, and each clone is one centimeter s O. That will be 50. Let's make this 50 by 50 by 50. Then we can see that it lines up with a cloner at the bottom so we don't need to see the cloner set up. Let's hide it. Now let's bring in the bull and the bull operation or the bullion type is a subtract B. So let's put the plane as the first child of the bull and then the cube, and there's the whole. Now the bull can create some fairly unpleasant geometry from time to time, so it's a good idea to check to see what is going on. So let's a go to display and display the lines. Me zoom out here so I can see the geometry So the bull created and guns palla gowns with more than four sides and on a flat plane like this, it's not gonna be a problem. I'm going to see what we can do. So if I go to the bull and the options now, we want to make sure that high quality is switched. If we turn that off, we get all these weird looking polygons, and we don't want that. So let's make sure we have high quality enabled now create single object financial that that just means that if you create an edit herbal object from this is going to create one object rather than several pieces, and that we are going to create a single object. So let's make sure this is checked now. Hide new edges. Miss depends on the situation. In this case, If I uncheck this, it actually creates perfect quads or four sided polygons. Whenever you do any kind of modelling. You want quads, in most cases at least, so this is perfect for us. So let's make sure that we don't hide the new edges, so we don't need to keep this as a bull object. We could leave it, but it just requires a little extra processing for cinema 40 on. We don't really need to do anything more with this, so we might have spell convert this to a polygon object. So with its selected, we can either hit, see on the keyboard or used his button. And now it's a political object. Let's call this floor, and that's going to go inside of outside G E O. Let's re enable the cloner set up and that it matches. Now we need to align them on the Y axis. It's also turn off the lines. For now, let's go to go rude shading and let's see well, when we set up the cloner, we moved our shapes up in the air when we put them in the null. So they're three centimeters tall and their base is at world zero on the Y axes, so that means we need to move the floor three centimeters up. Let's go to the coordinates tab and just move it three centimeters up. And now they are perfectly aligned. Now, to see this better we could create a material and put it on the floor and the cloner. So I'm just gonna double click in the materials manager to create a new material and just give it a color blue color. And I'm gonna put that on the floor and, ah, this world is down and put it on the cloners single as well on a click away to make sure nothing is selected. So we get any highlights, and now we're gonna have it seamlessly integrated. Now, you might as well also up the resolution here on the set this to the max one and that there we have it. So now that cloner set up is seamlessly integrated with this plane. So in the next lesson, let's take this a little further and integrate this into a phone model 11. Integrating with a Phone Model: in this lesson, we're gonna import a phone model, and then we're gonna cut a hole in the front of that phone model so that the cloners set up can fit seamlessly. So let's start. So this is where we left off. And, ah, let's delete the floor. We don't need it. I don't need the material for the cloner single, and I'm just gonna delete the material from the materials manager. Oh, delete that, and so that we can work quicker. That set the cloner resolution to five. And now let's go get the phone, and I have it in a separate file bone model. And this phone model is comprised of several different parts. We have the front, the back side at the buttons, but I've organized it in such a way that we only need to worry about the front, which is the part that will be working on all the other phone parts are inside of this no called other phone parts. And then I've placed other phone parts in the front, inside of another null called G e o phone. And then when we moved the phone later on, it's important that we move the entire phone, the entire null, not just the individual parts. And then we have this in a subdivision surface to make it nice and smooth. And then, just for organizational purposes, I put it in one more null called phone. So let's select this top null and then copy, controlled or command see, bring it into our file and let's just paste it in. And let's bring this entire phone into outside G E O. And um, let's hide other phone parts. We only need to see the front. The other parts are going to get in the way and be distracting. So what do we need to do? Well, this is very similar to cutting a hole in the plane. We just need to go about it slightly differently. Eso First of all, let's take a look at the lines, display quick shading lines and then for the phone. Let's disable the subdivision surface. We don't need that as we work. So let's look at this from the top view so that select the top you and let's zoom in here and let's go to frame zero so we don't have any beveling or any filleting on the clones So we need to We need to have an edge that is right in line with the top of the cloner. And we need to have one that is right at the bottom here as well. So we're going to make cuts there and then let me zoom in. We do have an edge here that will be able to use for the left, and we have the same thing on the right side. We have an edge we can use there as well. Eso We're gonna move some points around, and that's how we're going to create at the whole Now the first thing I want to do is there is an edge that goes from the left side to the right, right in the middle of the cloner, and, uh, to make it easier for us to cut this, I'm going to remove that edge first, and then we can We can bring it back later on. So to do that, that's selective front. Let's go into edge mode and let me move in on easy way to select an edge like this is to simply go to the edge and double click it That's gonna select it as far as it can in this instance because it goes from the left side to the right side, it's gonna select the entire edge and to remove this edge. Now that's used this command mesh, remove, dissolve. That's going to remove the edges, going to remove all points on it. So let's do that now. We don't have it anymore. So the next step is to cut across from the left side to the right side, and the tool that's gonna allow us to do that is in mesh cut, clean cut or M J for short cut. So if I move in here now, the problem here is that as we cut, we need to make sure that we are perfectly in line with the clone or the top off the cloner . So we are gonna use snapping. So let's get to snapping. Can tear off that window. I'm gonna enable snap and ah, we need to tell cinema what to snap to. So Vertex Snap is gonna allow us to snap to the points which we want. I also want to snap to the edges, so let's enable that as well and now in the plain, in the plain cut tool, the motives set to cut all which is good. It's gonna create no disconnected points. It's not really not gonna split anything. So cut. All is what we want. Now the plane mode right now is set to free so we can freely cut any plane that we want. Now, I prefer to use an either local or world and then just pick a plane and the plane. Well, we just have to test and see Well, this one, isn't it. So let's try X Z. And now you can see that horizontal line, and that's an indication where the cut is gonna take place. So this is the correct plane. Now we have more options in the plane cut. We can do several different cuts so we can offset the cuts and work with spacing. But in this case, we only need one cut. Okay, so let's ah, make that cut. And since we have snapping enabled as I go to the edge of that cloner or the points of that cloning, you can see that it snaps. That makes it really easy to cut. I'm just gonna click and zoom out, and we have a cut from left to right. Let's do the same thing at the bottom. Snap cut. So now we have the bottom and the top edge. Already already done. We need to work on the left and the right side now, So let's switch to points mode and I'm going to select a move tool. So when we made the bottom cut here, it created an extra point this point. So what I can do is I can take this point and because we have snapping enabled, I can snap this to the corner of that Kloner and then we can do the same thing for all these corners. Select this point. Move it in there. Let's go to the top, Right, Nap it. And the one final to go do this guy and then snap in. And ah, now we have all the edges perfectly aligned with the cloner. All we gotta do at this point is believed is to delete the polygons. So let's select polygon mode. And, uh, I'm gonna select this polygon list disabled snap. We're going to select this polygon and because we deleted the edge or re dissolved the edge at the beginning, this polygon goes all the way down to the bottom, so to select all the way to the other side, if I hold down shift, I can select multiple polygons. But if I also add the control key, it allows me to select all the polygons in between like this. So now we've selected all those polygons in between, and that's a really quick way to select multiple polygons. Okay, so let's delete Max Base and that let's go to the perspective, you and let's see this rotate around and then that's just Ah, hi, the cloner set up to make sure that we actually have it where it's supposed to be. And we do. There's just one more thing I want to do here, the edge that we removed before I want to bring it back. And the reason I want to bring it back is because we are using a subdivision surface and ah , they can create stretching in the materials if you don't have fairly even topology or geometry. So let's bring back that edge and we can use to plain cut to again. So mesh cut, plain cut and then I'm just gonna eyeball. This doesn't have to be perfect. So something like that, That's good. So obviously, we haven't lined up the top of the cloner with the front of the phone, but we're going to do that in the next lesson. 12. Axis Modification and Alignment: in this lesson, we're gonna align the front of the phone with our cloner set up so that they can integrate seamlessly. So let's see how we can do it. Okay, Before we begin, I just want to say something about the cloner set up on the rig. When you cut the hole in the geometry, you want to make sure that that whole size matches your final resolution and that we're using one as to final resolution. And that's because the dimensions of the cloner set up can change. Now, if use one or two or five, but 10 it won't change. It will remain the same. And that's because 50 divided by those numbers will give us an integer, ah, whole number or no decimal points. But that's no longer the case. If we use three or four or six will get decimal points, and then the dimensions are going to change now. While we could build a more complex rig to account for that, I really don't think that's necessary in this case, so just keep that in mind. So now for the task at hand, we want to align the front of the phone with the top of the cloners here, but we can't just align the front of the phone. We need to align the entire phone or we leave all the other parts behind. So what we need to do we need to align this now the g e o phone, although the other parts are hidden right now. So if we go to model mode and then select the move tool, let's take a look at the Axis. So the access is down here is going to be a little bit tricky to align to top of the cloner here. So what we can do is that we can move the axis for the now. Also, it's aligned with the front surface of the phone. So let's first high the cloner set up so we can see this a little better, get a different angle. So I want to move this axis so that it sits on the front here, all of the phone, and in order to do that, we're going to use this access mode Now. We also want to make sure that it sits directly on the surface, not a little bit above or a little bit below. We want it smack on the surface. So how do we do that? Well, we can use snapping again. So let's bring out the snapping tools enabled Snap. And it remembers what we used the last time we used Vertex snap or snapping to the points and to the edges. So that means we can just drag this up and it's gonna snap to the front of the phone. You can see that it snapped. So let's move in and see. Make sure that we actually got it and we did. So now with the axes in this location is gonna be a lot easier to align to the cloners now . So make sure that you disable access modification and then the spring, the cloners set up back. And then let's just move him up until he snaps to the front right there. So now they are perfectly aligned. Let's see this a little clear. So first of all, let's turn off the lines and then let's bring back the other phone parts. And then we can also turn on the subdivision surface so it's a little nicer and smoother and ah, that's also go to a different frame. Let's go to a fame where we see the clones and let's up the cloner resolution to one. So we see this in its full glory like that. So now we still we can still see the edges off the cloner set up, and that's because they have different textures. But on the cloner single, let's add the same texture that we're using for the front of the phone, Which is this guy right here. Phone front. I'm just gonna put that on the cloner. Single hopes to try that again. I worked and it's gonna update. There you go. So now we have the phone model and the cloner set up seamlessly integrated. Next up, let's add a floor to this. 13. Subdivision Surfaces and SDS Weight Tags: before we move on to the floor, there is one little detail that are forgot. Let's Ah, disabled snap! And I'm gonna hide the other phone parts for now. And then I'm going to zoom in to one of the corners of that hole that we've cut and that we can't see anything. So this is an easy one to miss. Um, we could get away with it, but let's do it the right way. I'm gonna hide cloner set up and let's look at this corner here. It's gonna be the same for all four corners. But let's focus on this one. We can see that it's not a perfect 90 degree angle anymore, and that's because we have this inside of a subdivision surface. And if I turn off the subdivision surface, we get our perfect cornerback. And if this was just a flat plane, we could just simply take it out of the subdivision surface. But we can't because we have other parts of this geometry that need the rounding. So what can we do? Well, let's enable the subdivision surface again. I'm going to select the front. I'm going to go in and select points mode what we can do is use something called Waiting and Waiting allows you to control the influence that a subdivision surface has on individual points. So let me select one of these points. I'm gonna select this one right here. Hold down the period key on my keyboard, click with the mouse and drag to the right and watch what happens to that corner. We have a perfect cornerback and you probably didn't see it. But on the front, we also have another tag. If I click on that tag, we can see the influence it has here we have this red area and it called on STS weight tag . So if I hold down my period key and click of my mouse drag to the left, we can reduce that. If I drag to the right, we can bring it back. So this is a really nifty tag. You can use it on individual points, but you can also control the subdivisions surface or or the influence of a subdivision surface on individual object as well. So we fix one corner, but we need to do it for all corners. Eso Let's select all the points around the whole now, And an easy way to do that is to use the loop selection. Let's go to select loops selection and that we need to enable boundary loop. Let's check that. And now we can select the entire outline here. There you go. Hold down the period key. Click and drag to the right. And now you can see all those points are influenced. Let me click away here, but we don't have the red area. And make sure that we got everything. Yep, It looks good. We can bring back the other phone parts. We can turn on the cloner, set up and let's get a different angle. And OK, we are now ready to move on to the floor. 14. Adding a Floor/Backdrop: in this lesson, we're gonna add to floor or really, it's floor slash Backdrop to the scene Eso Let's see how we can build it. Go to where we left off and, uh, takes a while Top date. There you go. So first things first, let's Ah, disable snap. We don't need snap anymore. And let's close this and to work a little quicker. Let's up the cloner resolution to five. Okay, So to add the floor, all we got to do is add a plane from the Primitives menu. So let's add a plane and ah, let's call it floor and I'm gonna make this bigger. I'm gonna make it 1000 by 2000 and then let's zoom out. I also want to move their floor back on the Z axis. So let's move it back, and I'm gonna put this to 6 50 and that's good. And we also have one problem here, and that is that the plane is cutting the phone in half, so let's move it below the phone and then wanted to see it better. Let's go to either a side view or the front you and then let's just move it below the phone . That's close enough. Now, you may have noticed that the phone does have a camera here and it's coming through the floor. Now. We're not going to see this in the render, so I'm simply gonna ignore it. In this case, let's go back to the perspective. You and ah So the way we're gonna bend this now is by simply using a bend a former, I'm going to select the floor and hold on this shift. And that way the floor is gonna become the parent of the bend. A former let's add the bend. Former. Now let's go to the object tab for the bend. A former and let's just give it some strength. So it's spending the wrong direction. We need to rotate this. So let's get the rotate tool. And I'm also gonna show the coordinates tab while I do this so we can see the values. The first thing I'm gonna rotate it on the heading, so hold down shift, and that's going to snap the whole increments like so. And then I'm also gonna rotate it on the bank. So hold on shift. Go backwards. Minus 90. So minus 90 on the heading and minus 90 on the bank or the banking. So now it still doesn't look right. We need to make sure that the bend fits the object in size. So let's go back to the bend. Informers object tab and say fit to parent. And now we can bend it to correct direction and I'm gonna bend it more so that's up to strength to I'm going to go all the way 250 and it doesn't look right now, but we can move the bend of former backwards where we can move it backwards. So let's get the move tool and let's just move it back. And I mean, you type in a value here. I'm gonna move it back 770 on the Z direction. And, uh, yeah, that is the base set up for this. Now, you may notice that on the edges were getting some stair stepping and that depending on how close you are gonna be to the backdrop or how visible it is gonna be, you can fix that. Eso Let's go to the floor. Let's show the lines so we can see what's going on. Quick shading lines and, um, under the object tab lets there with segments. We can really reduce those. We don't need that many. And then we can increase the height segments going into 25. And, ah, like I said, it depends on how visible it's gonna be, whether you need that to be smooth or not. But I think this is good for us. Let's Ah, hide the lines. Let's go back to Guru's shading and we have the floor backdrop set up in the next lesson, Let's add a camera and the camera animation. 15. Adding a Camera Animation: in this lesson. We're gonna add a camera and we're going to animate the camera. And ah, the animation is gonna look like this. We start fairly low and then we can see the character and here's more head on. The character disappears and will end up here. Eso Let's see how we can build it. Okay, so what do we need to do? First, let's add a camera. I'm gonna click the add camera icon and to see through the new camera, we need to click this see through camera. I come and then let's move in. So I want the focal point to be the character on the phone rather than the entire phone. And what type of a camera do I wanna have? Well, this usually involves some experimentation. Um, but let's go to the object tab by default. We have a 36 millimeter lens and ah, let's try one direction. I'm gonna try a wide angle lens and then that zoom in here. So this creates a very kind of distorted world with extreme angles and so on. You can see the push button. There is not round at all. And while many times I like this, and in this instance, I want to go with a much longer lens, the opposite direction. Let's do an 80 millimeter lens, and this is gonna be much flatter. And I think that's appropriate in this case. So I'm going to stick with this 80 millimeter lens, and the way I'm gonna do this now is I'm gonna find a base post, and then I'm gonna put the camera inside of a null and I confined tune with a null, and I can do the animation with the null. It's much easier to control the animation that way. So let's go to the first frame and then that's fine. Oppose something like this. I have some numbers I'm gonna type in so we can stay in sync. Go to the coordinates tab and for the exposition. This type in 41. Why 86 And this is gonna be minus 1 87 and then for heading that's to 12 and then pitch minus 23. So this is the base post. So now I'm gonna add the camera toe A no. But the way I add the camera to annul makes a difference here, and I'm gonna show you two ways and we're ultimately gonna go with the second option. But the first option is to simply use all Tor option G, which just gonna group it. And then if I twirl this down, look at the camera. Now all the coordinates are zeroed out. They are transferred to the null, and that means the null is in the same location as the camera. And that really isn't ideal. If you want to create a camera rig and because if I rotate the null now, well, it's not rotating around the phone. It's rotating around the camera. Eso This isn't really very useful. So let's undo a few steps or control Z. So we're back here. And this time, instead of just using the shortcut, I'm gonna go to the menu. I don't know this way, and I can call this hopes that's called this cam controller and let's put the camera inside the camp controller. And by doing it this way, now the camera retains the original location, and then the cam controller is in the center of the world, which is also the center of the phone, and this makes it a lot easier to control. So now if I make some kind of modifications here, I have ah, controllable rig, and that's gonna make it a lot easier to work. So let's set this to say zero and then bring this to seven. This is gonna be the start. And let's keep frame this he framed and then let's go all the way to the end and let's set the final post and I'm gonna straighten this out like so and then bring the phone a little bit more head on going to minus 29 and then set a key frame. So now we have it going from this, we can see the character disappears, and then we end here. Now let's also make thes key frames of linear. So I'm going to right click animation show track. All the key firms are selected. If they're not, just simply select them and then click on this icon to make them all linear. No, easy in or ease out like so. And, um, now I wanna push out ah hardware render so I can see the animation at full speed. So I'm gonna go to the render settings I'm gonna change to render from standard to hardware open G l and the under output. Well, 80 by 7 20 is fine, but I want to frame range to be all frames and ah, saved. We can save it. I'm gonna save it in a different format, something that makes small file sizes of like MP four is good and then save it to wherever you want on your hard drive. Just gonna call this one preview how you spell it. That is how you spell it. Save. And we can also take some options under hardware open G l. And this depends on your graphics card, but I'm gonna enable enhanced open G l and I'm just gonna do ambient occlusion and then close this and then send this to render to the picture viewer. And this is a really quick way to send out your animations so you can see what they look like with a correct timing and the it renders really fast. And it's done. But let's see you go and ah, yeah, that's the animation. And, um, I'm happy with that. I'm going to stick with it. So next we are moving into the text oring and lighting face. So that's coming up next 16. Defining Screen Area and Basic Materials: we're going to start the lighting and the texture ring process. And the obvious question is, Where do you start? You texture first or do you light first? And there is no clear cut answer in the reality. We go back and forth a lot, but it is easier to light something that has to correct tone already applied to it. So let's do that. First, we're gonna add a texture to the floor and to the screen area of the phone. So let's begin. Okay. To start, I want to make sure that we can accidentally move our camera, so let's put a protection tag on it. Let's select the camera and right click, and in cinema, 40 are 21. It's under rigging tags. If you're on a prior release, it'll be under cinema four D tags. If I don't remember incorrectly. So let's add the protection tag and now we can't move it. We also don't need to see through the camera right now, and then let's hide it and let's move in and then see, What do we need to do? Well, the phone has most materials already applied to it, but we don't have a screen area. So we need to make a selection for the screen area. In cinema 40 you can have multiple materials on objects if you use selection tags. So for the front, for example, we have two materials apply to it. This white material is applied to almost all parts of it. But then we also have a second material which is applied to the push ring here at the bottom. And ah, in the attributes manager. We have a selection slot, and we can see that we have push ring there on. That happens to be this triangular shape here. This is what the selection tags look like. So we need to do a similar thing for the screen. Now, uh, I'm gonna turn off the subdivision surface while we do this. Also gonna hide cloner set up and then to select polygons. We need to be in polygon mode, and then let's go in closer. So the screen is from this corner to that corner, and then it goes old way down to the bottom here. So let's go in closer to see what the topology looks like. So this is the end of it. This tiny little polygon, so this could potentially be somewhat tedious to select. But there is one tool that can make this a lot quicker. I go to select and choose Fong Break selection, and Fong is what smooths your models or your objects, and it does it based on an angle, and we can also select polygons based on that angle. So if you look here at the bottom of the tool, we have Fong angle, and right now it's set to 20 degrees, and it just so happens that that's gonna work perfectly. In our case, I just click once you can see that it actually selects the entire area, and that's because the screen area that we're capturing here is flat now. You may from time to time when I select a little bit more than just one flat area. Then you could just increase the Fong angle. And if we click now, we actually include these, um, adjacent polygons as well. But we don't need that. So let's do 20 and select again. So let's just pull out to make sure that we actually got all parts off the screen and that we did Okay, so let's look at a quick way that we can apply a material to this selection. First, let's go to the materials manager. I'm gonna double click to make a new material dragged out to the right. Not that it matters. I just like to have it on the right side. And then I'm gonna call this screen. That's double click it. Let me pull these over and I'm just gonna make this a little darker. We're going to come back and tweet this later on, but just to have an approximation. Eso That's good. And then I'm gonna close this and I'm gonna drop this material right onto the selection. Cinema 40 is going. Apply this material to the front piece is gonna make a selection tack for us and apply that selection tag to the material so you can see that we have another selection tag and if I go into the material, we could see that in the selection slot. We have that selection tag. My polygon selection one isn't very descript. So let's go and select the tag. Let's call this one screen area and then because I renamed it, I need to reapply it. Let's drag that in and to be organized. Let's put that one with the other selection tax. So now let's bring back the cloner set up and let's also turn on the subdivision surface. And I want to match the same material to clone or single so we can override the current material and by just dropping it on top of the old material. So now we have the phone, but we also want to add a material to the floor. So let's double click in the materials manager again. Drag it to this side. It's just to not be confused with the other phone materials and then call this one floor and ah, let me put that on the floor. Double click this material and let's make this darker as well. Now this material, I am going to make a somewhat blue tint, so I'm going to do 203 Let's give it a bit of saturation, make it darker, and we're going to come back to tweak this material as well. This is gonna be a good reference for when we start lighting, so let's close this. So now we have the approximate shavers in place, which is going to make it easier when we like this. So next up is to add an object that we can use four reflections, so that's coming up next. 17. Reflection Map: in this lesson, we're gonna add a reflection source. Eso Let's Ah, start and that we should be organized as we work eso let's get a null into the scene and control command dragged that for a 2nd 1 Let's call the 1st 1 here camera and then the 2nd 1 lights and ah, let's take the camera and the camp controller. Put that in the null for the camera toward lit up, twirl up to floor, twirled up the phone, twirl up the cloners, set up and floor. It should really go inside of outside of G e o like so Okay, so the reflection source is gonna be one giant sphere. So let's add a sphere to the scene. And, ah, for it to be giant, it needs to be a lot bigger than this. So let's do just 10,000 on the Radius. And now it's encompassing the entire scene and that what's going to give us the reflections is an HDR I map. And to get one of those, let's go to the content browser but can use what cinema 40 ships with, and I already searched for this. But if I to start a search I click on the magnifying glass and then I get a search field and I can do HDR I And then I have a folder here HDR I and ah, the one I'm gonna choose is called promenade under the bridge. I am in release 21. If you are on a different release, you're gonna have different h your eye maps and it is in critical that you use exactly the same map Eso If you don't have this particular one, just do something else. You can get a very similar result and you're not limited to using whatever ships would cinema four d Another source that I usually recommend is hdr I haven dot com they have absolutely fantastic HDR I maps completely three So But in this case, let's use promenade under bridge I'm gonna double click it and then I just wanna put it. It comes here in the materials manager. I just want to put it on the right side here and that lets go back to the Objects manager and let's put this hdr I map on top of the sphere and I also want to call this one reflection sphere reflections fear like that. And if we switch to camera angle now, we can see that we do have that map, but it is very pixelated. Let's go into the material and let me pull that over. And this is the picks elation here. It's just in the preview. It's not gonna be in the final result, but it is somewhat distracting. So to fix that we can go into the editor and then we have something called texture preview size. Right now it's set to default. No scaling is gonna ply No scaling at all. But we can do, say 2048 by 2048. Now it looks a lot better. I don't want the reflections toe have any colors on them. So if we go to the loo eminence, which is the channel where the h your eyes mapped into or loaded into, we can put this entire thing into a filter. So if I go to this drop down and to filter and then we need to go inside of that filter and then inside of this filter, we have a saturation slider so we can just drag out all that saturation and now we won't get in the color in the in the reflections eso that is done. So this is essentially set up and that we won't see this in the render because the camera is gonna face this direction. But it can get distracting as well in the editor as we work. So we might as well just turn it off in the editor like So? So now we are ready for a lighting and ah, that's coming up next. 18. Lighting the Scene: in this lesson. We're gonna light the scene and we're gonna light it something like this. Eso Let's start. Let me first just turn off the interactive Render Region and let's go back to our starting file. Okay, so let's light this. Let's put the reflections Fear in the lights Boulder, First of all, and that we need to see through the correct camera. So let's enable this camera. Let's look through this camera the one that we set up before and that we control this up and that for a reference frame That's Do pay 33. Yes, so we can see some of the clones and ah, let's ah also look at the settings for the interactive render region. The render is not gonna be the hardware render. It's gonna be the physical and under the physical tablets, let's do progressive and ah Messi. Let's do one for these so it's quicker, not progressive. It's just gonna continuously render until we tell it to stop. So that's pretty good for the interactive render region. Now, I also like to turn off the default light. Um, when you have the default light on, it's just gonna kick in. If you have no other light sources. Um, so if you don't have it enabled, I don't have a light source than the scene is gonna be black when you're rendered. But I preferred off. So that's close his window now and that let's bring in the interactive Render region and let's try to maximize this as much as we can. Well, it's all the way to that side all the way to that side, and we can leave the quality in the middle. I think that's fine. It's gonna be faster. I did say it's gonna go pitch black and ah, it normally does. But in this case, on the reflection sphere, our HDR I map that we added, we added it to the luminous channel. So it is illuminating some light in itself. I can just turn it off to illustrate that, but now it's gonna be all black. But of course we want it, so let's enable it. Okay, so let's start bringing in lights. Let's go to the lights menu here, and I am going to use throughout target lights, and the target lights are just standard lights that have a target tag attached to them. So the light is always aiming at the target and the targets. It's in the middle of the scene, which means it's also in the middle of the phone, and that makes it easy to aim the light. And let's call this key light and let's look at some of the options. So under the general tab, I am going to leave the intensity at 100. The type of light is gonna be an area light rather than a spot. And I wanna have shadows. So the area shadows are the highest quality shadows. Eso I want that. But now we have shadows and I also want to make this Ah, somewhat yellow light. So the spring this into around 40 40 something like that. And ah, that's also up to saturation, to say 14 or 15. So that's quite yellow. We will somewhat counter act at with a blue fill light later on, but we will still have a bit of a yellow cast in the scene. Okay, so in order to precision this light now, we need to look at this from all camera angles. So let's click this icon or hit F five on your keyboard so we can see all the Ortho graphic views and as I positioned the light. Now, I'm gonna do that in the Ortho graphic views. But I'll keep my eyes open on the perspective, Costas, Where will see the result? Okay, so that zoom out, I'm gonna zoom out in the top view so we can see that delight is all the way here. So to move the light now, I'm gonna select a model mode and then the move tool and we are going to create three lights. This light, the key light is going to be the main light source. And I am gonna put that light source over here and above fairly high in the scene. Let me pull that light up. So in the front, we can see that a little better. I'm gonna put that something like that, maybe push it a little to the side, something like this. So this is gonna be the main light source. Ah, and then we're gonna add a fill light coming from the right side. And that's gonna mainly fill in these shadowy areas that the key light is creating. Now, just fill in some of that details, so let me actually pull this out. Little like this. Put this more at an angle. Helps keep rece icing endless. Do it from the top. And the reason I pulled this one out. I want this a little longer. So we get shorter shadows, especially here, and this is gonna enable us to do that. So I think that's a pretty good set up to start now. I do have some settings I can type in. Eso weaken, stay in sync. So, under the position for Xmas do minus 1 74 and then this do 5 61 and then do 1 49 These rotational values are dependent on the target tax. I'm gonna leave those alone now under the details. I also made the light, um, a little bigger. I stretched it out, so I'm gonna make this 400. So we haven't even number there. 204 100 But I'm also going to make this somewhat smaller. So instead of 75 I'm do 75 because we're gonna have a fairly flat light set up. I'm going to counter Act that to a certain degree by making this light a little smaller, smaller lights in general give a much harsher field to the scene, so the key light is set up. Let's add another light, which is gonna be the feel like. So let's control or command drag that. And I am going to disable the key light when I do the fill light. So let's call this bill light like so and, ah, let's go to some of the settings. So first of all, I don't want this to be a yellow light. I want this to be a blue light, So let's push that tourists around 2 20 or so to 18 is good. I don't want it as saturated, So let's bring it down to eight. And, uh, I don't want it to be so strong. So let's set the intensity to only 50. Is this just a fill in some of the information that we lose in the shadows? So let me also put this light on the other side, like so. And, ah, I'm gonna pull this down in the scene, maybe something like that, maybe even further down like that. And, uh, right now it's casting shadows. I don't want that. So let's turn off shadows and you could see that we do have a lot of that information that was lost from the key light to see that we haven't filled in. We still have some shadows, but a lot of this is filled in, which is exactly what I want to do with this eso that we are on the same page. Let's go to the coordinates tab. Type in a few numbers 1 33 4 x and then this is 1 35 That's a little closer. Let's do Z 72. So those are the numbers that worked before. So let's do that. And let's also enable the key light so we can see both lights at the same time. Okay, so those are set up, let's make one more light and that we're gonna call that the rim light and we're gonna have that right on top of the phone. And the purpose of that light is to fill in some of this area, just brighten up this spot with this thing. This area right here, eso let's duplicate the fill light and hide the other lights. And that's called this one, um, Rin a green light. So that's good. Now in the Settings for the Rim Light. I don't want it to have any colors, so let's take out all the saturation. We can leave intensity at 50. That's fine, But let's move it, move it, go in closer here. Think that's good. I'm gonna make this a little skinnier in this direction. Pull it down like so maybe extended a little bit like this. Eso keep an eye open on this area right here. This is where we're trying to fill that in, and I think that's working quite well. So let's go and let's see. We can do maybe even out. Those numbers are 36 21 and let's do 1 20 So I think that's good. So let's look at all these lights together now and see what we get. And let's maximize the perspective you and that we can increase the quality, so that looks quite good. I just want to look at some of the other frames as well to make sure that it works, and I think it does. Okay, so let's go back to this frame and then let's also bring up the cloner resolution to full on this Gonna take a lot longer to render, so we may have to wait a little bit. So let me go to clone a resolution that is 21 And now it's gonna take a lot longer to render. So I may have to pause here. We'll see. Okay, so that did take a lot longer to render. So I paused it. But now I am back. So that's the light set up, and I'm happy with it and let's move on and do all the materials coming up next. 19. Texturing: So in this lesson it's time to texture and that we're going to create the texture for the cloner and then for the screen. And then we'll tweak the floor texture somewhat. And as you can see, the top of the cloner and the base of the cloner look very different and that we're gonna use something called a fusion Shader to achieve that and that we're also gonna match the screen at the screen texture with the base of the cloner eso Ah, let's start. Okay, so let's texture this and that. By far the most intricate material is gonna be for the cloner eso. Let's start with that and that when we work, let's set the cloner resolution up to five and let's bring in the interactive render region . And ah, make this smaller and it may also bring down the quality so we can have this update faster . And let me make this smaller on the top in this answer matches the size of the cloner more or less like So okay, that's good. Now let's double click in the materials manager to create a new material, and I like to put them on the right side I'm gonna call it a loner. I need to put that on the cloner set up now. So let's twirl it down and that we can replace the current material by just dropping it on top of it like so. So let's go into the material now and let me bring this over. So I'm gonna turn off the Color Channel. We are gonna be working with the reflect INTs and the Luminess Channel. And so we're going to set a base, Look here with the reflect INTs, and then the difference between the top and the bottom is gonna happen in the luminous channel. But let's first set up the reflect INTs, and I'm gonna delete the default speculator. We don't want that. Let's replace that with a G X and ah, the attenuation. I'm going to switch that to additive. It doesn't make that much of a difference. In this case, you would see more of a difference if you were working with the Color channel. The additive is gonna allow the other channels to come through in a different way. This set it to additive, and I'm gonna make this a rough materials. So 45% take down the reflection strength somewhat. And then I'm gonna up to speculate strength to 100. You can see that on the hot spot here, and then bring this up to 100 is gonna be a lot brighter, so this isn't anywhere near where we want to be. But let's ah, good to the color for the layer color and that let's make this a darker color around 40 get us much closer. And then I also want to add some for Nell. To this and for Nell is the reflection. Fall off and it's based on the viewing angle. And, ah, instead of none. Let's do conductor weaken do conductor is all things metal and then die. Electric is basically everything else. And in this case, I'm gonna do conductor and I'm going to use the preset off nickel. Now, most phones don't have nickel on the front of their phones or on the screen, but most phones don't have the cloners coming out of the surface. So I think we are on safe ground and OK, so this is done. This is going to be the base of everything Now, on top of this, let's add the Luminal Channel and the first is gonna look very incorrect. We are now gonna add the Fusion Shader and the Fusion. Shader allows you to blend between two materials, so let's enable it. And now we need to add some shades to the fusion Shader. So let's go into the fusion Shader and we can use a mask. So let's first enable mask and that means we have at the bottom we have a base channel and then we have a blend channel that we're gonna blend with, and then they're gonna blend based on what we do in the Mask Channel. So let's start by adding just a simple color to the base channel. I'm just gonna add a single color to this and it's gonna give us white, which isn't what we want. I'm gonna make this very dark, not black, but 4% just 4% on the brightness. And then let's go back. And while we illustrate to set up, let's just drop a color for the Blend channel as well. But again, not a white color. Let's just make it a reddish color so we can see better and let's go back. So now How do we blend between these colors? Well, let's go into the Mask Channel on at a shader and I'm gonna use a greedy int so we can see that they are blending. But let's switch some things here. Let's go into the Grady int. We don't need it to cycle So let's untech that and the type of Grady in we want We don't want this to be a two d Grady int. We want a three d Grady int and we're gonna do a three d linear. And I'm going to change this space that this three d linear is operating within. So instead of object, I'm gonna set us to world. Although object would actually work to Let's set this two worlds. And now we're working within world space in a three d linear and we have a start and we haven't end. And on the left side here we have X and in the middle. Why and then Z now because we're working while up and down that means we wanna work with Why. So let's take these and set them to zero and instead will be working with these middle ones . So to get a sense of the size of the space we're working with. I'm gonna set the end here to 10. Remember that these objects are fairly small so that the object space is gonna be fairly small as well. And to see this even better, that's right. Click underneath ingredient and do interpretation of all, not weaken. Set that to a step. And now, as I dragged his white, you can really see what's happening. You can you get an i d off the size of the space where working within. So while we can control this with start in the end, we can also control a lot of this with the position off the knots. And I tend to prefer to work that way so that I make the start in the end, a little bigger than it needs to be, and then a controlled space with the knots. So I'm going to go and I'm gonna right click again and bring it back to a Samoud interpretation, and I'm gonna increase the this size here, so I'm gonna start with start. It's gonna be minus 10 and then the end here is gonna be all the way to 50. But that gives me a good way of controlling this with knots. And the transition area is gonna be even smoother because of the greater distance between this start and the end. So of course, there's a lot of tweaking that goes into this and you have to tweak these materials and we're condensing this down to say what, 15 minutes. But in reality, this takes hours to get the way you want. But I know that I'm going to set our Grady in position for these knots. Say, if I twirl down this, I can actually set up position for those knots. And I happen to know that this 1st 1 is gonna be 25 and then this 2nd 1 and you don't necessarily have to match my values. These are just one came up with after trying a lot eso By all means, go ahead and try lots of different things with this. But I'm gonna do these values and then I'm gonna go back. So instead of a color, let's do a Grady int here as well, So I'm gonna do ingredient, and then let's go into the Grady int and we're going to make very similar changes that's toilets up temporarily. So the type is gonna be a three d linear like we used before. And we don't want this to cycle. And the space Well, we're still working with world, so let's do the same here. And then again, why we wanna work with why not excellence that x 20 And then I am going to set this space to B minus 1 10 up to 35. So now we have a space defined Let's set the colors. So for this color, I'm gonna have it be just gonna be a hint of orange in there. But it's gonna be a dark color going up to saturation, to say seven, pick seven. That's good. And then make this a dark material. So I'm gonna bring this down to six. So it isn't black has a bit of orange in there. We left the base and then let's go to the other side here and then this increase this. So this Ornish material. Now I'm gonna make this a hell 18 and ah, saturation of 60. And then brightness at 100%. So now we can start seeing this a little better now. in addition to the mask controls. Now we can control this by simply moving these knots around. And this really requires a lot of tweaking. Like I mentioned before, I'm gonna type in something that I know works here. But you don't have to watch me tweak forever. Let's do 95 like So. So now we have the base set up. But actually, one thing that we're going to do right now, we have just one single color here. But I go back and I have this set to be a greedy int. But what we can do, we can introduce a little bit of variation in this and the way we do that or one way we can do that, is if I go to the drop down here and then we want to go down to effects and hopes and then something called Variation. So you're going to see what it does just by enabling it. It gives us variation in the colors. So let's go into the variation Shader. So what it did is they loaded the Grady int that we currently had, and it's adding variations on top of that. So the reason we get all these random colors is because random color is set to 100%. I take this to zero. We won't have any variation. We can also blend based on a Grady int. If I bring this up to 100% gonna blend between these two colors as well. So the blue and the white and the color that we currently have. But you can also do other things. This is a very useful shader. You can, for example, the bottom. Here we have greeting variations. You can do contrast very the contrast to convey the gamma the hue down here saturation. They're ton of things you can do with this very useful shader. Now, I'm not gonna use this because I also want to control the blending from the top to bottom. I want to create some variation that way. Eso let me set all these back to zero. So instead, what I'm gonna do is I'm gonna make a copy of this current radiant that we have. So what we can do is I can go into the drop down for this Grady Int and just to copy Shader and then under shade is here. We can add a shader. So this click add shader and that's gonna be texture too. And then I can do go to the drop down and say Paste Shader So now we have two identical shade er's. But let's go into the second shader and just change up a few things. We don't need to change up a lot. I'm just gonna change the color somewhat. Instead of 18 I'm gonna do 23 for the hue and then just increased the saturation with one. Just settle small changes. But I also want to change the space here. So let me do a minus 100 then 45. So now we have slightly different spaces that the not operate on. So you can already see. Now we are getting some changes and we can also do this. Let's move this second, not the position to 64. So now we have a bit of variation in this, and this is gonna go a long way later on. So now we actually have most of these things set up. But we don't have it bright enough on the top. So in order to get it bright, let's go to the luminous channel, click on it and go to their root level here. And I'm gonna increase the brightness, which gonna make this a lot brighter. However, we need to do one more thing. We're not really seeing a change yet because we need to change the mix mode. So eso blends with a fusion shader as well. So if I do this now to multiply now we're gonna get a very, very different results. So now is much brighter on the top. Now, one thing that we're going to do at this point is we're going to go into the render settings and under effect, you want to add ambient occlusion and watch what's gonna happen in between these clones when I enable ambient occlusion, it's gonna create that little nice shadowing between the clones and without. It just doesn't look right. But when you enable it, it looks a lot better. And this is the base set up for the cloner. Now, next we want to add it to the screen and, ah, if I close this and I close this as well now, the base of the cloners and the screen is gonna be the same. So what I can do to make this a little easier. I can simply take this Kloner Control Command, drag it and call this screen and we already have a screen apply to the phone. So let's go to the phone list. World is down and we have this material that we created before with the selection. So we have a selection enable screen area. But if we take a material and drop it on top of an existing material like this is actually gonna take the same attributes, there's going to remember this selection now. So I'm gonna let go the mouse so we can see that the selection still remains here. So let's go into the screen. We don't need toe have all these things on this material. Eso I'm going to go the reflect Ince's going to remain the same, but in the luminous we don't really need the fusion. What we can do is that we can take this base color. We can copy this because this is what's at the rial base of the cloner. So I'm just gonna copy that popular shader, and then I can go to the base of the luminous and instead of fusion. I could simply overwrite this by just saying Pace Shader. So now we have the same material on the entire screen as we have the bottom off those cloners. Let's bring this interactive render region out so we can see that you can see that this is indeed seamless. So now I also want to tweak the floor. So let's drag this out even further. As we can see now, we have most of the things for the four set up, but let's if I double click, it's gonna open it in the already open material editor window. So the color we already have set up its ah, this blue material is dark blue material. But let's go to the Reflecting Channel and let's just delete this default speculator and let's add a Beckman and I'm gonna switch the attenuation to additive so we can get the Color Channel to come through Additive. And this is gonna be rough. So let's do roughness. 45%. Let's leave reflection at 100 gonna take off and he comes Speculators strength there, and, uh, it's way too bright. Let's instead of white for the layer color. Let's to something around 65. Fix it for That's good. So that brings it closer. Let's also add some friend l to this on, and I'm gonna do die electric and of all things I am going to do ask about like so So this is actually pretty close now, But I also want to add some or surface imperfections. Eso bump that's enabled bump and that this is gonna be very simple. I'm gonna add a noise, texture, noise and, ah, let's go into the noise. That doesn't look very good, But let's fix it. Let's go into the noise. Can I leave almost everything at its default? But I will switch to global scale to something really small, like one and ah, when you are using noise shade er's in the bump channel, you should, or it's a good idea to do. Delta match. The Delta size with a global scale is going to give you a much better looking noise, so that's set up now. It's too intense. So instead of 24 the strength list is bring it down to five, so this is fairly subtle. So now we have the cloners set up. We have the cloner texture done, the screen texture is done and the floor texture is done as well. Let's take a look at this at higher resolution. Spring this one out and that first let's bring up the quality slider so we get a better sense. And I also want to see this, of course, with full resolution in the cloner. For now, let's first turn off the interactive Render region so we can have the cloner load first. Do one for the cloner resolution and you know what? Let's pick a different frame, so they're not all so. They haven't all come into the correct position, something like that, unless re enable the interactive Render region. So it takes a lot longer to render this when we have higher cloner resolution. And that's because we need to bring in all that extra geometry. But here we have it. Eso the texture ring is done. Coming up next is exporting. The cloner set up now as theologian Pick that we talked about when we did the animation for the cloner, and then we'll tweak the render settings and send out for a render, and that's coming up next 20. Alembic File and Rendering: Okay, this is the final lesson. And in the picture viewer, we have a sample frame off what will be exporting and that we're also gonna bake out the mo graph animation to annul emmick file and that we look at how we can optionally add some depth of field eso Let's start. Okay. The first thing we're gonna do is to export the mo graph animation to an Olympic. And I also noticed that I have, ah, duplicate of the screen material that I didn't delete before. Let's delete that. So we're not confused, So one thing we need to do before we export this, though, is we need to go back into the plane effect er for scaling. The whole reason we actually need to export this is because of that bug. So let's enable the delay modifier layer, and I'm gonna go back to the beginning. It's not necessary, but I'm going to go back to the first frame and to bake this out as an Olympic. What we want to do is we want to select the top level cloner cloner grid, and the way we're going to do it is simply right clicking and do bake as Olympic. You can also bake as Olympic and delete. But then that will delete the source and I prefer to have it still in there. It just in case. Another option to do this is we can go up to the file menu here, file export, and we can do it from this menu on. This is going to give you more options, but I'm gonna do it by right clicking inside off the Objects Manager rec click and do bake as Olympic. So this is gonna take a little while and we can keep track of the progress at the bottom left here. And what is going to do in the background is gonna create a folder in the same folder where you saved your project file and it's gonna put the Olympic file into that folder and then once it's done, it's gonna import it back into the project. So this is gonna take a little while for it to calculate olders so I'll be back once it's done. The Olympic export is done and it's been brought back into the scene and ah, it looked a little weird here in the view port and that's because the Olympic file and the cloner set up their occupying the same space. But we're gonna hide the cloner set up in just a few minutes here. I also noticed that all the lights are outside of the Lights folder, so let's put all the lights and the light target in the Lights folder like, so be neat and tidy. Let's do that for the phone. Let's twirl up the phone and this is theologian Bic File, and it has a little A in the in the name. So let's call this appropriately Len Big Olympic. This Pull this out and twirl up cloner set up and make sure it's inside of the scene's folder, and now it is. So now we need to hide the cloners set up and just keep it as a backup. But simply hiding it. Using the traffic lights isn't a good idea because it's still gonna be calculating in the background that's going to slow us down. Eso. In a scenario like this, a much better workflow is to add this to its own layer. So let me show you how to do that. Go down to the layers manager and that we can create a new layer here, new layer and that Let's call this cloner, set up original like Dad. And to add the cloner set up to this layer, all they need to do is Dragon. Drop it on top of this. So let's do that by take Loughner set up and drag it down to this layer. If I also add the control key, you can see that there's a little plus sign And that means that I'm adding the entire hierarchy So all the Children are going to be included. Eso Let's make sure we do that. Okay, so I fight. Twirl is down. You can see that all the Children now have this little green indicator that there are that they belong to this layer. So now that we have this on a separate layer, we can control it in the view port with his iconic can simply just hide it. We can hide it from the render and we can hide it from the object manager as well. We don't need to see it. So usually what slows things down the most is gonna be generators and did formers. I'm gonna shut both of those off And if you have a scene that's very sluggish and slow and you're looking for a way to speed it up, try to disable generators and the former's for objects that you're not using at the moment . That usually speeds up the view port a lot. I'm going to go back to the attributes manager and, ah, on the cloner Olympic. Now I want to make sure that I add the same material. So let's drag and drop their material and the way for a top date. And there you go. So now with the Olympic, we can now scrub the timeline, and we have much better feedback. And this is with full resolution with all the clones. And because we have the delay modifier layer now baked into the Olympic, we have all these nice overshoots, and this is gonna render perfectly and that we also have some more benefits of having an Olympic file. So if I select the Olympic file, we also have an offset. We can offset this in time, we can speed it up or slow it down. We even have a time remap graph that we could use so Olympic files adds lots of bonuses, so we're ready to render an optional thing that we could do to enhances is to add some depth of field and I say optional because it's gonna add to the render time. But let's see how we could set this up with the physical render. Let me pick a different frame. Maybe this frame. And to see this while we work in the view port, we can go up two options and that we can turn on a depth of field. So now we can see it in the view port. Now note that that doesn't turn it on for the render. We need to do that separately. Ah, but let's go to the camera, twirl down the camera folder, go into the camera and at the bottom. Here we have focus distance so we can set a number where we should focus. It's easier to use this arrow. They can click it and this click anywhere in the scene. So say this. So now this is gonna be in focus and how much depth of field we get. Well, let's go to the physical tab and the F stop here is largely going to control is just like a real world camera does. So if I go for a much lower number like one, we have much more depth of field in the scene. And, uh, I'm gonna go for five. So it's a much more subtle effect, and it will be more visible in the actual render. But let's go back to the object tab because I want to use an object because we have a moving camera. I want to use an object that stays in the same location, and then the camera is going to continuously focus on that object. So let's add that object, and that's gonna be a no. And let's call this focus and, ah, let's pull that into the camera folder. Let's go back into the camera and we have a slot that we can at an object to. So let's pull in the focus object. But now the camera is continuously going to focus on our new No. We can also make the null a little bit more prominent in the scene, so let's go to the focus null. Go to the basic tab first, and let's set display color to on and let's do like a reddish color something like that. And let's also go to the object tab and instead of a dot weaken, display this as a circle that we can see it, it popped up. Here it looks white, but if I d selected, we can see that it is indeed a red circle. I also want to bring it up a little bit, so let's go to the focus object and the coordinates tab go up to seven. So now the focus is going to stay here, regardless of how the camera moves. So now we are ready for Render said. Let's go and look at the render settings. So let's go to the output tab. I'm going to stick with a final resolution of 12 80 by 7 20 If this were for a real production job, it would be at least 1920 by 10 80. Ah, but for this, I'm going to stick with 12 80 by 7 20 and, um, we're going to send out to test frames, one with depth of field enabled and one without. So while we do that, we need to set the frame range to be just a current frame and we'll come back and was set us to all frames later. So let's go to the physical tab and for depth of field. We need to enable it here. So here's the check box for that. And let's set some settings here, and these are highly subjective, and I just came up with them after doing lots of testings. So you should really test on your end as well to see what works in terms of quality and time, because these settings make a big difference in terms of how long you have to wait for the render so but here we go. I'm going to use a fixed and ah, sampling quality of high sampling subdivisions off six. I'm gonna set up the blurriness subdivisions to to the shadow subdivisions as well. And then the ambient occlusion to two as well. Especially the ambient occlusion makes a big difference between one and two. Here, if you want to skimp on something, you could skimp on the blurriness subdivision and the shadows subdivisions. And let's send this out for a render and we'll see what it looks like. So it's gonna take a little while and I'll pause while it renders. Okay, this frame is done rendering. And on my machine it took one minute and 38 seconds. And you're not kind of get the same result is going to depend completely on your hardware. I have a fairly fast machine, so chances are this it'll be slower on your end. So let's see what we can get without depth of field, that's Ah, close this. Go back to the physical tab, uncheck depth of field. And I'm still gonna use t fixed sampler. And we can do sampling quality high. But we can lower this to five and that we can also lower the blurriness subdivisions. We don't need that in this case. So this is what I'm gonna do for the non depth of field render five. We're sampling subdivisions and then 12 to 1 eso Let's send this out for ender and see what we get and out Pause again. Okay, Now this frame is rendered as well, and it took 42 seconds. So a lot quicker. Um, which one do you like? The better to like the one with depth of field or the one without? But I like the one with depth of field somewhat more But is it worth all that extra time? I'm not sure. It depends on your hardware, your patients, perhaps your deadline. Eso There is no definitive answer in this case. I am going to render without depth of field. But you can choose to do whichever way you want. Of course. So let me close this window and I'm gonna stick with these settings under the output. I'm gonna go back to all frames and let's go to the save option. Let's check that and save it wherever you want on your hard drive and then the format. Well, I usually recommend either a P and G or an open e x r and ah, open the X are you can do either 16 bit or 32 bits. I am going to do a P and G, and I'm going to stick with a 16 bit per channel rather than eight. And I prefer to always render out still frames, and then I bring them in to say after effects for some compositing eso This looks good to me. I am going to close this and then let's send this out for a render. So render to picture viewer and this is gonna take quite a while. And I will check in once the render is done. Okay, so the render is done, and it took close to two hours on my machine. Eso Let's take a look. Let me expand this window here so we can see all of it like so and play. And Ah, I like it. I think he looks good. Um so I like it. And like I mentioned before, if this were for a really production, I would increase the size. In my original sample, for example, I had depth of field enabled and I rented out in 1920 by 10. 80. And if you don't plan on taking this into a compositing application, you don't have to render an image sequence. You could also render, Say, a quick time or a V I file. Although almost all renders would benefit some from at least some post grading. But that concludes this project and well done on making it all the way through to the end. I hope you'll find lots of uses for these techniques and perhaps take it to the next level in your own projects. Thank you for watching 21. Thank you for watching: thank you for going all the way in finishing the course Well done. I hope you've picked up a lot of new skills along the way that will help you on your motion graphics journey. Don't forget to post your work in the section below. And if you post on social media, consider adding the hashtag at Velocity Peak so I can further share it. If this was valuable to you, please post a review. And if you follow me here on skill share, you'll be notified when I released new courses and also let me know what you want to learn Next. You can catch me on velocity peak dot com or at jesper sandal dot com and on Twitter at Jesper Sandal, I'll see you next time.