The Explosion Deformer + Bonus Mograph | Absolute Beginner Cinema 4D | Travis Vermilye | Skillshare

The Explosion Deformer + Bonus Mograph | Absolute Beginner Cinema 4D

Travis Vermilye, Digital Media Artist

The Explosion Deformer + Bonus Mograph | Absolute Beginner Cinema 4D

Travis Vermilye, Digital Media Artist

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4 Lessons (23m)
    • 1. Introduction

      0:23
    • 2. Explosion Deformer Settings

      6:26
    • 3. Refining the Settings - And Your Project

      8:22
    • 4. Bonus - Mograph Virus Construction

      8:18
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About This Class

I hope you are all doing well and staying safe out there! In this special Coronavirus edition of ABC4D, we will take a close look at the Explosion Deformer! What will we be blowing up you ask? Why, viruses of course!

In addition to blowing up the virus, we'll go step by step into making a simple virus model using Mograph. 

AND THEN WE'LL BLOW IT UP!

You will learn:

  • What all the settings mean and how to adjust them
  • How to use refine the settings to go from severe explosions to simple dissolves
  • How to animate the settings for best effect
  • Bonus - Mograph techniques!

Let's go!

Meet Your Teacher

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Travis Vermilye

Digital Media Artist

Teacher

Hello! I’m a digital media artist, professor of design and illustration, biomedical illustrator and animator, coffee enthusiast, fly fisherman, hiker, biker, and a bunch of other things - but I digress.

I’ve gone through some different phases on Skillshare to try and figure out just what kind of classes I want to make for y’all. I focused on biomedical animation (3D Motion BioLab), beginner classes in Cinema 4D (ABC4D) and now I’m creating more general motion design and art-related classes. This may seem a little fractured to some, but I’ve decided it fits me perfectly. I’m always trying something new, growing tired of it after a bit, and learning new techniques to get me energized again.

I am a Gemini after all. 

:)<... See full profile

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Transcripts

1. Introduction: Hi, everybody. Travis Familia Here in this edition of Absolute Beginners Cinema four D. We're going to be looking at the explosion. Did former. And because we're all mad at this virus, we're gonna blow some virus. 2. Explosion Deformer Settings: Welcome to another absolute beginner cinema four D class. This time we're looking at the explosion D former. Is that a get started? We're gonna need an object to explode. So I'm gonna bring in a sphere. I'm also going to paste in something that we created that I created earlier. And I've saved a special bonus class about creating the virus in McGrath. So I created this virus model. So if you look at the bottom of this class, you'll see that video listed, and that's an extra special bonus for you guys. See, you could figure out how to make something like this on your own. So I've got a virus based it, and I'm going to go ahead and hide that for a little bit. I've got the sphere. I'm gonna turn on my display lines just so we can see what's going on. Um, and we'll work at first just with this fear. So let's go into our D formers and go ahead and create our explosion two former and that comes in and it works very much the same way as the other two formers. Do you have to drag it in as a child? of the object you wanted to effect. And so I'm going to drag that in as a child with my spear. And right now you'll see that nothing's happening. If I played my timeline, nothing's happening on the way this happened. This works is that it's not automatic. You have two key frame, everything for it to function appropriately. And so right now you can see the strength on this object is zero. The speed is set to 100 centimeters. The angle speed is set to 100 degrees. The end sizes zero in the right rammed it. I'm sorry. Randomness is set to 100. What are all those things mean? Let's find out so strength right now. If I move this up, you'll see the farther up the strength goes, the more this is being exploded. Now it's very important to understand how this functions. What the explosion modifier actually does is it takes each individual polygon oven object and basically moves it in space and makes it smaller based on this end size. And so right now, if I were to do something like come out a few frames, see 10 frames and give myself a key frame at zero and then go out a few more friends, Let's say 40 and turn it up to 100 and keep from that, what we're going to get is an animation that simply blows apart. That's polygon structure over and over. Uh, and so you can see that the polygons are shrinking as they go farther away, and they are flying away in sort of a random rotation from the original. So let's take. We'll just go ahead and let that keep playing and will take some time to just sort of make some adjustments to this so we can see what it's actually doing. And so, you know, if we take this down the speed Lett's cut it in half to start with, do 50 and let's try 25. I'm gonna zoom apple busy. You can see what's actually happening so you could see that these aren't going as far away as they were before. So it 50 they're going much farther away from each other, right? So the speed being at 100 versus 50 is throwing those polygons way out versus throwing them really nearby and very, very nearby. The smallest number gets so if we didn't want to move it all, we could type in zero. And what's gonna happen is the polygons or simply going to start to disappear where they're at, right? So this rotation setting right underneath that speed or the angle speed is causing that rotation that happen. We changed that 3 60 They're going to rotate around completely as they disappear, potential to zero. Nothing's gonna happen. They're simply going to shrink down to nothing. And so hopefully you're saying that this explosion modifier can be used for more than just exploding things? We could change this end size to be 50. Now that is obviously not a percentage. We change the insides to be one. What happens? It doesn't change it all. 0.5, they're just going to shrink down 2.5 over that time 0.1, the shrink down, the very barely visible. So zero is the default, and randomness is going to you talk about their movements. So in order for us to understand that we need to put this sort of back to where it was a little bit, Let's put it back to 25 100 right now, you can see. They're sort of randomly moving around in space versus just moving away. If I put this down to zero, they're moving from their original normal position and then moving outward in space directly from where they began. So this randomness, we just had a slight bit of randomness. You're not gonna notice a whole lot of change, all right, A little bit versus 100% randomness. And now they're going to be flying out all over the place. So now this is a primitive object and its parametric, meaning that I can make modifications to it. And so that's important to understand, because I can now because that still is Parametric come in and I can add segments. So let's say I wanted to have ah, 50 segments here. Now I've got something that feels more like an explosion because my sphere has more segments and I can also come in here and change the type of sphere I fired to choose something like a hex A hadron. It's gonna feel more like a standard. It's going to feel like the polygons air distributed more evenly. So now that we've got a better understanding for how this is functioning and what is actually doing. Let's take some time in the next video to do some refinements, and we'll look at how this explosion modifier would affect different objects. 3. Refining the Settings - And Your Project: Welcome back. Let's take a look at now how the explosion to former affects different types of objects. So I've gone ahead and I've copied this one from our previous video and I've pasted it on each of these. And then I have repositioned it in the center of each of the objects. So the explosion for the virus isn't center and the explosion for the figures in the center just doing a brief bit of testing. It does make some slight difference if depending on where you place these. So if I were to grab holding down command and selecting all of these, I'm Drew dragged these all down towards the bottom. There's some slight difference, You Seymour explosion of things happening towards the top, versus if I drug him up here, you see things blowing slightly downward a little bit more. But I would say the effects were definitely not dramatic. And so I just undid that hit on, do a couple times, and so let's take a look at refining our technique, and before we do that, sort of zoom in to each these objects a little bit so you can see what's going on. So because it's determined by the type and number of polygons. You're gonna have a different effect for each object that you create. So I feel like that the explosion isn't all that convincing on the figure and even my sphere that we created in the last video I still feel needs something like, I feel like it needs more polygons to really work. So if I were to try to create a real animation out of this that I was going to use, I'd probably up this quite a bit and give it lots of polygons. And then now it feels more like it's something that's blowing apart in the tiny little bits and the virus itself, because it's already made of, ah, lot of polygons on because of the way it was constructed. It does feel a little bit like it's more explosive. And so I think what I'll do is I'll just go ahead and use the virus and get rid of these other two things. You know. Go ahead and reposition my virus batch of the center so it's in the middle, and that will bring with it the explosion two former and what I want to talk about now. I was just looking at our key framing. So right now I feel the speed is identical all of the time. So we're starting at zero. We're going to 100 for the explosion, and it doesn't feel very realistic. So I feel like an explosion. You'd have a huge impact at the beginning where things would be rapidly moving. And then toward the end, things would be moving, maybe a little. It's a little slower as they start a shrink in size. And so let's see how we can do that. So I'm gonna look at the explosion and I'm gonna bring in my tracks. They're a bunch of different ways. I could do this. I could change my space layout and go to animate. And that would show me all of my tracks, right? Or let's put it back into standard. One of the things I like to do a lot of times just bring the window up separately so I might go under my window and say Timeline dope sheet. And then if I want to keep this out, I could just drag it down and make it a part of my scene are part of my layout by putting it down here, and this allows me to still have a big viewing space in my editor window. They're in my project window view port and get to the settings down here pretty easily. So let's look a taking a closer look at what's being key frame. So I've got this explosion selected. Uh, and I'm gonna open that up so you can see that the strength is the only thing that's key framed right now. And as we slide through the timeline in here, we can see the strength being going from 0 to 100 and you'll notice you can actually actually drop this down even more and you can get a curve. And so what I want to do is mess with these curves, and what this is is easy, and Andy's out right now. So you see a handle coming out is pulling this alone, and it's making it start off slow, uh, zero, and then gradually move up towards 100 slow down and ease into 100. And that's creating this effect that makes it feel really fake, like we're getting slow start slow end, which is not how real explosions happen. So what we can do is just simply drag up this handle so that it rapidly moves up towards the zero point. But I don't want it to be too rapid. So now you'll notice that the explosion starts off immediately and then it slows down pretty quickly. I think this is looking a lot better on, So that's what I would do to manipulate that. If you wanted to go in further, you could just drag this handle up, make it more rapid, be careful if he really distantly might go up too high. It's actually going toe just explode out of your seen before you even do it, see it? But I could drag it up pretty high right here that it's getting to zero pretty rapidly. It's getting to zero before to 100% before my actual 100% mark. But that's OK. I think it feels more explosive. Let's take a look now at a couple different scenarios, Let's say, for one virus I wanted to blow it up, Uh, because I'm mad a Corona virus, and I just want to explode it. I think this situation we have right now is doing that. So it's exploding. It feels pretty satisfying. Let's make a copy of this virus. Let's say instead of making it explode, I wanted to look like it died, like, sort of like it was being destroyed inside the body because the vaccine is finally here and we're all getting better. So here we are. We're gonna make it change a little bit, so I'm gonna select the explosion here. It's set up right now, automatically select the right one down here. And for this particular instance, all I'm gonna change is the speed. So if we look at it, if you watch videos, animations about how cells die and how things might disintegrate inside the body, you see, it's not gonna be this. Explosive events could be more subtle. All right. Something to do a couple things. I'm gonna drag down the handle, undo that. You're gonna drag this handle just by selecting that one note kind of back down to where it was. But I wanted to be a little more linear, so it starts off going straight uphill. Um, and you'll see what the differences in these two if I play through, So it's just a little slower, but it still feels better than the original version where it was easing in. And then the next thing I'm gonna do is I'm gonna come into the explosion settings, and I'm just gonna turn this speed way down. All right? So I make that something like one, and we zoom out and look at this. This difference between these two, what we see now is, but it feels more like those viruses dissolving away. I feel like it's not quite enough. So I'm gonna pump it up to something like three, maybe five. It's now I feel like that viruses just sort of dissolving away into the environment in you know, the particles are just disappearing basically very gently. That's a two different completely two completely different looks using the same explosion. Mott, the former within Cinema 40. Now, for your project, I'd like you to take what you've learned about the explosion. Did former here and apply it to any object that you like, maybe applied to a couple different objects and come up with something unique that you would like to explode. You can post your screenshots. You could post renderings, uh, inside the project area. And once again, I thank you for watching another absolute beginner cinema four D. If you'd like the video, please. Or if you like this class, please go ahead and share it. And I appreciate you. Stay safe. Stay healthy. Stay well. I'll see in another absolutely beginner cinema four D class soon. 4. Bonus - Mograph Virus Construction: welcome to the special bonus section inside this class where we're going to use mo graph inside cinema 40 to construct our virus. So to get started, we basically want to create something. I'm gonna create something that looks similar to the Corona virus. We're not gonna be exactly just wants something like you saw in the intro video for this class. And so I'm gonna start off with this fear, and then I'm going to change my display to be lines so that I can actually see the way the sphere is constructed. Next thing I'm gonna do is come down and change my sphere. So if you're not aware you can change these spheres, Two different types. I'm gonna use ICoast a hydrant because a cozy hadron eyes made out of triangles, and they're very even. So it'll have even distribution around the entire sphere. And basically, we're gonna use either the polygons or the vergis ease where the edges to produce are proteins that represent on the surface of this spear. I'm just gonna make us a little bit bigger 150 and then I'm going to hide it by checking this button, but from here. I've got an idea for what that scale wasn't gonna go ahead and create just a simple cylinder and the simple platonic object. And this will be the construction for the protein. Now, I want to make all these quite a bit smaller, so I'm gonna scale these down. Then I'll go ahead and scale with cylinder down as well and making a lot shorter. And so these would be like proteins that extend from the surface of our, um, virus surface. And one of the things we'd like to die and we need to do is make sure of it. When this is put together, it will have a center point or an axis that is down on the bottom of this cylinder. That way, when the virus presents on the surface, it will be extending from here. Right now, the way this is constructed, it would actually extend from the center. And so what I want to do is actually put these in a null object. Come to do that, I'm going to create a new no object, and I label this protein and I'm going to put both of these objects inside that as a child So I'm just hovering over and dropping the men as a child so I can see that my no object has an access point that is right, dead center in my world and then visually. Now I can just grab both the platonic and the cylinder, and I'll bring them up so that they're barely just below that access point. What this will do is allow us to produce proteins on the surface and they'll generate from this section. And so let's go ahead and make our Margraff object so you can see how this is done. It's gonna go on Dermagraft, and I'm gonna create a cloner Now the McGrath cloner. I'm not going to be going into a whole bunch of detail with us because this is sort of a click Quick bonus example. But what I want to do is change the way the cloners producing things from linear to object . And so it's asking, What object do we want to clone things onto? We want to clone things onto our sphere. Okay, Now what objects that were going to clone the way you clone objects is to actually drop them inside the cloner. So as soon as I dropped my protein inside As a child of the cloner, it's going to be gin producing copies of that on the surface. Now we have to look at how this is producing the clones, and you can see that the cloner is set to produce these clones. On the surface, we can change that to Vertex. So it's every single Vertex We can change it to Polygon Center. We can change it to EJ. We can change it. The volume, um, volumes actually filling up the inside. I'm going to use polygon center Now you can probably see there's a problem. Um, although the center of the hot point is in the center of each polygon, Uh, for whatever reason, this happens with McGrath. If it rotates things 90 degrees in the pitch. And so basically, we just had the same minus 90 here, and that's automatically going to rotate things out So you can see it was it started here and we can rotate things out now. The interesting thing about this for other applications is that you can actually animate thes features, right, so you can animate rotations in the transform section and get some interesting results. We're just gonna keep this at minus 90. It's now I've got something that feels very much, you know, like a virus that we're seeing in the news media today. If you wanted to add more proteins, you can simply change the number of segments on your spear. So I'm gonna clip this up until it gives me more segments. No, it did not update. And that's just because of a lag on. And I can uncheck the cloner and then check it again. And now we'll update. It's now. I have proteins on each and every polygon is being produced. If you decide, for example, that maybe they feel a little too big and I feel like they kind of Do you have two options ? One is you can change the radius of your spear and make it larger than the um, the associated proteins will feel smaller. It's gonna hit, undo, and on check and check my Kloner. The other thing I could do is actually go in here and change the scale off my protein by hitting T or using the scale command and just scaling those down individually and keep my spear size to either one of those techniques will work. Ah, and you get a nice result. So this is gonna be the final model that I'm gonna use in my video and actually is one more thing I'm gonna do is I'm going to you make this an edible object. The reason I'm doing that is I'm gonna combine all these together right now because my sphere is set to render perfect. It's actually going to run to really, really well, right? So it's gonna feel like a perfect sphere. But if I make it creditable, it's no longer going to do that. We're gonna start to see some edges, right? So I made it edible, and then I'm gonna put it in the subdivision surface. So I'm holding down option on my keyboard clicking of subdivision surface. It's gonna put it inside of that. Now I'm getting a really nice subdivision on my sphere model with the polygons placed, um, which is great. And what I can do now is Aiken actually make a single model out of these that I will then use in my animation. The reason I want to do that is this is very complicated at the moment. and trying to explode. This could produce them unfavourable results. And so I was like to make my model and then get it exactly the way I want it and then create a combined version that I'll use in my work. And so one thing I'm not when I dio is safe this project at this point, we'll just call, make a new folder and say models for a project and we'll call this virus starter that way of gotta virus nominal. Select all of this information, right? Click it and I'm gonna say connect objects and delete and amazingly, that deletes everything and that combines us into a single model for me, the polygons air not welded together. They're still overlapping edges and all of that. But I can now use this copy and paste it into another application and, uh, begin creating my animation with this model. And so this is the model that I used in this class. So I hope you've learned something about McGrath and how to create a quick virus model in here and look forward to seeing you in another class soon