Cinema 4D and Redshift: Soft Body Jumping | Alexey Brin | Skillshare

Cinema 4D and Redshift: Soft Body Jumping

Alexey Brin, Motion designer

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5 Lessons (31m)
    • 1. Overview

      0:29
    • 2. Building scene

      2:40
    • 3. Soft Body Settings

      9:25
    • 4. Tweaking Soft Body

      5:34
    • 5. Setting Materials

      13:10

About This Class

In this class we`ll use Cinema 4D basic dynamic tools for creating soft body jumping effect. Final render will be done with help of Redshift.

Used Software: Cinema 4D (S22) (but this scene can be done with R19-R21 too) and Redshift for rendering

Transcripts

1. Overview: In this tutorial, I'll show you this so nobody jumping. In fact, we will use standard senior dynamic tools. And you'll see that sometimes tweaking and getting the final look of your simulation can take a lot of time. And in the last section, we build the materials and the loop you see on the screen in these Brahma. So let's dive in. 2. Building scene: We start to build our dynamic from creating background and all elements we need. We start with spheres. Let me show you a guru shading lines visualization. For soft body. We need regular grid. So we change type from standard may be to hexa Hedron or maybe ECOSOC headroom. I'll keep hexahedron. I like it, but let's check this one. Pretty dense. Up segments may be 224. Up once here. I holding control, drag with shift and one more element. Three spheres. We need a ground. For example, I will use one for visual background. Extend, add bend strength to 19, rotated to 90 degrees with holding Shift. And one more. For creating soft bending. We need to extend the number of segments in width. And we can decrease Hi segments because they're not used in Bend. Information. Put it there. Build camera, set, aspect, redshift. We can use render, this type of naming. Dollar sign BAG will create a folder I hit render called render. And with naming of our project file, we'll get our rendering. You can use TIF or maybe except then input these two aftereffects and render these to your social network or your portfolio. Keep Aspect log ratio. Everything is ready, great camera, or had one. Create. Long focal length. May be like this. And this will be our rendering point. 3. Soft Body Settings: We have spheres, we need to create a collider. For example, big polygon. Going to said collider body select our spheres simulation. Somebody, I use polygon collider because if we use these bending geometry, it will be more hardly to calculate in simulate. That's why I use polygon. I hide it. And we have proper dynamic simulation. We can extend it. And when it tried to restore the shape, we see that our pyramid start to fall to the side. And we don't need this, we need just up and down. Let me extend the size of our polygon. I will use tube. With higher auto radios. Maybe 10120 is inner and pretty high. To cover our sphere pyramid, our stack from spheres, maybe five hundred, eight hundred for sure. Simulation collider border. Be sure that shape is said to static mesh for proper dynamical collision, agreed, no. Collider. Go into basics, select visible in editor, visible in render, off, off, and put our colliders there. We don't need this in our scene to be visible. Now, if we start to play, we'll see that even after restoring of shape, we don't lose our spheres. Cause we have this kind of wall that will stick this geometry inside. We need to go to dynamic expert and maybe extend this step a frame to ten and maximum solver iteration per step to 20, because with default settings, we had our sphere almost intersecting and gathering through our lower flaw. We don't need this because it will create a lot of problems. Now, we're going to create our Western shape animation. Select our three dynamic decks, going to somebody. And we have two parameters we need to work with. The first one is deafness will keep it, may be 0.25, like this. And pressure, its inner pressure. When you brief out to balloon, you start to inflate. And this is effect we want to achieve. So I lock in 1360 frames, pressure to 0, and in between, maybe in 45, I add pressure may be to something like 16. Let's check what we get. We have bounds. And then we'll get our pressure started to walk, to push them one outside and other. And then they restore the shape because pressure is falling to 0. We need to add maybe a stiffness racing. For example, 23. And I will select this pressure keyframes and move it to 50. So it's easy for me to navigate. The left one is for stiffness and the right one is for pressure. Let's check. Deforming. Stiffness. Start to grow. Pressures start to grow and they are bouncing from each other. And then going down. I think we can up by selecting all three dynamic decks. Pressure, maybe 217, and stiffness maybe to seven. Let's check. This one. They grew up. And jumping effect, we get. What we have to do with this is going to select all our keyframes, control scene, control via will as one of the key frame. Once again, control C, control V form keyframes. Everything is great. And now we selecting all of them. Right-click on stiffness animation, show f curve. This is our curve of animation. And we can maybe check it. We see our curve when animation. And I would like to add a little bit over and dominance as select stiffness and move it up, down. The opposite. That mere maximize frame, all frame, all frame O. And we see that we don't have proper Control-C, Control-V. That strange. We select our all, our dynamic techs. Did it. This keyframes. Select, once again, all of them. We have 80 elements be selected. Control-c, Control-V. Select all this 80 elements. Now everything is properly copied animation, show track. If curve, yes, we have a lot of values here. So select stiffness, up, down, select up, up a little bit of random, random like this, like this. And the same with pressure, may be a bit higher, bit lower, a bit higher, bit higher. Let's check this quash phase. Then this start blow out bounds one. And the second phase, stretching, bouncing once again to the beige shape and stiffness and inflating. I would like to move these keyframes and much closer to each other, going to these dynamic text right-click. And now I go into short track. And I will create and upset over these keyframes, maybe few frames. Let's check what we get. And we have step-by-step inflating. And this effect, I do like more. But the first one is the top sphere. So we reverse their order, going to dope sheet, select and rearrange the first and the last one. Now, I go to mode, project, dynamic, general, cache, bake, everything is baked. We see that it takes one megabyte memory, play, squash bounds, and change the pressure. And this is the basic emission. In next video, we'll start to improve this thing. Two more smoother. One. 4. Tweaking Soft Body: Now we have our nation. And the first phase is almost normal shrink animation a bit. So inside we have different phase of stiffness, but at the end, I will use the same and our inflating, I decrease the animation to 74 timeline, going to control the clear cache play. And we'll see what we get. Question. Then. Inflating. Very good. Maybe put it to here. And now we can extend our animation to a 100 frames. And I think the second phase of these pressure manipulation should be much more further in the timeline. I will click this frame all button to see all of them. Maybe you're doing something like this. And play. Bass. Deformation is good. Then we'd start to raise the pressure, the stiffness, going down, deforming, and start to restore the shape and powers back. I think this is almost what I want to get. I just like to shorten the phase of our racing values like this and go into Control D, make chicken the animation bounds. Almost, almost. I would like to shrink down the first phase. Maybe two, this one. Gather the value. We get. 95 to nine, pressure, 70, maybe to 85. And there is random control d, clear cache, bake, hitting play. And now we don't get the proper effect too fast, lowering the stiffness. And we don't have proper value to Bush all elements from each other. Whereas in 20, rising to 100. Pushing here, pushing their control D, Clair cash. Make checking. Play. Great. Everything is working great. But we need a lot more smoothing. Maybe we combine this, saying. Maybe we delete this 0 frame because the duplicating, something like this one. Control D, Clear, cash ME. Pretty smooth. The second phase is much better than the first one. Let's combine the long face. And I think this will be one of the last baking procedure, inflating and inflating. And now we have problem, that value is not propagated. Go into stiffness. This one, this one, this one. And raising to 15, maybe n here, have already 20. So up to two x value, clear bake, play bounds. Yes, this value will get the result I want to achieve. And now we can start to play with lighting and rendering. 5. Setting Materials: Now we start build their materials. And I will create AM flight and redshift rendered view docket to decide. Going to my redshift settings. They are set by default. We have default plight of eigen on it. Play. I need to create aerial light. Log the camera. Put my light to the side, 90 degrees. Just big soft light with lower intensity may be five. Up it of course. And move it far. Bm. So we don't see this line of irrelevant, maybe like this. So we have smooth sphere rendering. And I need to create the opposite one eye height plane. Just to see our spheres control c control v, rotate. Move to opposite value. May be like this. Up to ten. This will be the right, the left. And I will add maybe one bounce of global illumination. Now to our spheres, I add, let me select them. Redshift, object tag, geometry change wherever, right, tessellation, it's like smoothing. So I decrease minimum edge length 22. And I think three subdivision should be okay. Yes, very smooth geometry. I would like to add more value to write light intensity, maybe May 20 be extended to the front of it. Playing with this one. And now we'll start building texture, create a redshift material. I have download free textures from CC 0 texture. And I would like to create wood background. So I drop the wood texture to the color roughness with gamma override because this is like a white image to overall bump it would. But I forgot that we can use texture direct in their bump input. We need to create a bump note adapter. So in texture input, then bump input, and now it looks great. We have this roughness. Would I would like to add one more trick. And if you want, for example, to change the angle of texture, you can select both of them, go to rotate and he had to 90 degrees. You can title it. But I prefer to select our object and tile it here. Don't forget, we have square shape. So we need to proper tiling for view, envy. Too much, maybe five. And dislike the color of this thing. I would like to go adjust and may be upset color to create it more brighter. Like this. I dislike how roughness walk. Too much glossary for me. So I connect our roughness mapped to reflection because bump doesn't affect much to the speckled stirring. Going to bump, maybe up it too much one. Now we're going to ramp connect our texture. And I would like to add and much more glossy to it. And I decreasing the strength of white point maybe to 80. Yeah, we have a little bit of refraction and the bottom 9080 should look better. Put our Marcus closer to each other to have high contrast of our texture. Bump is good. There are displacement map there and normal Lab by i prefer to stick with this simple setup. Now I create new material, redshift. This will be the wood. And I create 1-1. The same logic. I have this crocodile either color and I will get roughness. And maybe normal map setting enable gamma override and epidemic override. Select three of them, connect to diffuse o displacement. But we need roughness. This is invented collusion, this scholar, displacement, normal roughness, enable reflection, roughness, bump, input. Set two, tangent space normal. I think this should looks. Okay. Let's check overall bump input. Yes, let's check object space normal. Now the good thing and space normal walks, great heights scale 0.05. and I tired. Maybe to, to we time to rendering three. Yes, I like it. The Creed and new redshift material. Let me duplicate with control drag. So holding control. And duplicate. I will use a fabric. One. Fabric. Normal roughness, rearrange. Select reference and normal set gamma, operate. Color, roughness, bump, bump, bump, input. Changing from height map to normal, decreasing the strength. And we should have fabric sphere first extent telling too much, maybe too. I would like to change the color. That's why I use ramp. Or we can use color correct? Double-click on empty ports to clean them. And now we have fused iteration. I would like to have maybe a more orange look. Going to bomb, maybe check their highest strength. Much 05. And the last one for the bottom is another lever. We have crocodile and then we have red leather, roughness leather. And maybe we can check the displacement, color to diffuse color. Roughness, gamma over eight, loading to overall bump input. O, roughness to the roughness, normal with bump map to overall bumping put. Don't forget to enable Gmb over it. Overall bump input, dysplasia, texture map to displacement. Then override, going to object. And now we need to own our displacement. And now we're starting to see the effect of our looking of displacement. The last tweak is that we're putting our focus distance to middle of this yellow one. Going to redshift camera, mocha, focus distance, even 15. So this is our micro shot. We can, going back here, maybe put it below where peak focus point, we have some blurriness or the background may be too much. Seven. And I would like to introduce. And to check that would displacement texture for our background. Connecting to the port, going to our plane. And now we need to add signals going to redshift, tax, redshift, object. Geometry. Distillation decrease the strength because we have already too much polygons going to displacement enable it. Let's crank up the value. Yes, it's too much. But now we see the relief. Phase, bumping. Going to rude and adding maybe bump here. Not very great working, but with displacement. Looks pretty interesting for and for now we need to put our plane a little bit beneath because displacement add thickness to geometry. So we need to compensate it. Going to y minus one, minus three. If we hit too much, will get. Here is space, extra space we don't need. So minus four. Looks good. Now, we can go and to use maybe optimization, we need less, more reflection or refraction, almost no transparency, maybe two or 30. And now we can go and pick some settings may be like this. And for brute force the same. We have our resolution. All frames. I don't think we need all frames. This pushing this one. And yeah, I think offerings, we can use maybe 1980 from the start. Redshift system by kit rendering to a 156, you can check their Optimization tutorial for fighting proper balance, but now I don't want to play with it. So everything is set. I'll hit render and we get the sequence that we can then export in, import in After Effects. And when did to format to your socials do portfolio and for your client.