Abstract Cloth Animation in Cinema4D

1. Intro: Hi everyone and welcome. My name is Yuri, and I'm professional Motion Designer and 3D Artist. In this course, you will learn how to create mesmerizing abstract Cloth Animation inside of Cinema 4D and Redshift render. I will guide you through the whole process of this renders from setting up your scene to Simulation, Lighting and texturing. This course is great source of knowledge and inspiration for both beginners because I'm gonna explain you a lot of small details that you can learn and professionals who can learn my workflow. In bonus section, I will show you how to composite final animation that we rendered from Cinema 4D with Redshift. And by the end of this course, you will learn how to create this type of animation and renders. And you will be able to create your own renders that you can use for your portfolio, for commercials, or just to share with their friends. So if you're ready, grab your computer, laptop, and see you in the Class. 2. Set up scene: Welcome to the class. I'm glad to see you here. And today I'm gonna show you all steps how to create this tiny animation. And we'll start with tighten up our scene without further ado. Let's jump inside of Cinema 4D and let's get started. Okay, I am in Cinema 4D and let's get started. Let's set up our scene for upcoming project. So first of all, let's start with set up our composition size. And to do this, who go to Render Settings, this button right here, and output, we need to set a width and height for our final image. Of course, we can set it up later, but at least I would like to set up aspect ratio that will evolve for future video. So right now I'm using this settings. It's for Instagram. It's gonna be vertical video. Might, if you want to use horizontal settings, you can go to resemble video and use one of these presets, all these settings that we are setting up, we can change later on, so no worries about this, but usually it's a good practice to start with the right aspect ratio. Okay? All other settings, I live as it is. And also make sure that in render we use Redshift. In Redshift will set up everything later on. Okay, The next important thing we need to go to Edit Project Settings. And here we have frames per second. In my case, I use 24, but if you want to make it for some commercial or something, you may be need to make 30 or 25 depends on the country where you add. But I use 24 as standard. Then we go to simulation scene. And as you can see as device, I use GPU. So I use GPU for all simulation that we will do in this course. It's much faster to use GPU. In gravity. I set up zero. I don't need any gravity in this scene. We'll customize it by ourselves. Make sure you set up to zero. Next important thing for us is Simulation sub-steps. I will reset to 20 as you have, because usually I work with 22, 23. And duration also will set up as one as default. And actually as it also, you may noticed that borders behind the frame are darker than your. If you want to make the scene, we can go to View kinda figure, save frame and I increase the opacity is 40, but we can make it even darker if you want. He's going to be easier to understand what's going on inside of our frame. Okay. Everything is set up and we can start. Okay. We set up our scene. Everything looks perfect. And if you want to change something, you can always go back and change some settings. But I think is really important to start with the right setups. And then we can run into all details how to create this animation 3. How to create and prepare object for future simulation: Now I'm going to show you how to create object, Cloth objects inside of Cinema 4D and how to prepare this object for our future simulation. First of all, we need to create a shape for the future rubber or for future Cloth. Let's use this rectangle tool right here. And let's change with 250 and height. Let's make it even longer. Let's make it 700 is fine. Then I want to make edges more round, nipple around in here. Let's make it smaller. I will believe you about ten, like this. Then I'm going to here and I need to add extrude. Let's add extrude to our objects. And let's place our rectangle as a child of our extrude right now while you is crazy here and we need to set up offset to zero, we don't need any depth here. And one important thing that in caps, we need to change caps type from N gun to something. For example, this one or a regular grids doesn't always this one. We need to add some polygons on the caps. And after this we need to apply remeasure. And let's place all of these as child of remeasure, like so. And remeasure did a great job. It turned our geometry into rectangular polygons. This is exactly what we need, but we didn't have enough polygons here says why we have these artifacts on the site. Let's help remeasure a bit with, let's enable symmetry. Our object is pretty symmetrical on the X in horizontal and white like this. And we need to increase the amount of polygons. Right now it's 100%. Let's make it 1,000. As you can see. Now, how much more polygons and everything looks much brighter. But if we go cloth or on the, this angle, on this side, we can see edges of each polygon and it's not exactly what we want. But honestly we can fix it later. And to be sure that we can fix it in the future, we can add subdivision surface and place this remains as a child of subdivision surface. As you can see now everything way more smooth and exactly what we want so we can make close-ups and let's remove subdivision surface for now. We will use Redshift tag to fix all these things and I will explain you why and bit later. So the good practice, Let's create a null object and let's rename it as a source by holding Control and drag and drop this effect, I place it as a child of source, and let's disable it. And in case we must up with Samsung here, we can always restore our mesh from our source folder at something like this. Easier understand that this is our folder. Also we can go to attributes, Basic icon. Let's expand it, change color to costume, and we can change this icon to something else. Go to load a preset. And let's say, let's stop with this. Hand. It's gonna be our source. Let's bake this room meshed object by holding see and make it editable. So right now we held bunch of polygons and everything should be fine. And one important thing, always save your project. Alright, we're done with all boring stuff. Right now. We are going to simulation 4. How to make Simulation: Alright, we are going to Simulation. And I have to mention that there is no such thing as correct numbers. When you deal with simulation, you have to experiment and try different, set up different values and different forces to achieve desired result. Okay, perfect. Then we can go to Romesh and go to assimilate and at Cloth. And right now, if we start playing our animation, nothing really happens because we didn't have any forces in our scene. And let's fix it. So let's go to simulate forces. And I will start with turbulence. This is one of my favorite Force. Go to object and we need to increase scale. Let's say 15. And let's try. Okay, yeah, it looks already awesome. I really like new cloth in Cinema 4D. It looks so gorgeous. But we don't have enough frames to calculate this Animation. Let's increase up to 300. I think this shouldn't be fine. And see what we got here. So we have this beautiful animation. The problem here, the turbulence is way too strong. Let's make it three N blade one more time. Because you can see we have dense of the Cloth. Everything is so smooth. I like it. Okay? The next thing I want to add is simulate force and rotation. Honestly, it's really annoying to use rotation because we didn't have any visual appearance. How it will rotate. We have to figure it out though right now, it works counterclockwise. And let's change it, Let's rotate it. And 90-degree here, I holding Shift key to change values every five per cent and rotated -60. Let's see what happens now. This is not what we want. Let's change. This one will rotate this way. And you can play with those settings to find the best rotation moment here. And right now I see that rotation is way too strong. Let's make it say No five. And see what do we got here, okay? Okay. Here. This is, this is nice. This is what I was looking for. And with combination of rotation, turbulence will have this interesting thing. But anyway, I think rotations way too strong. Let's make it three gets thrown at the beginning. And then, and honestly, with simulation is really hard to understand what speed is it because we didn't work in real time. And let's enable a visual representation of how many frames we can see. In particular moment, Let's go to View. Configure doesn't go too hot. And here we have frames per second. And here we can see representational how many frames we see per second. Whereas it's really fast as 45. So it's, it's actually faster than realtime. For my taste, it's way too fast. But if you're going to use only steel frame, not the whole animation, you can skip this part. But I'm going to change rotation. Now it's much better. Smooth. And it works. Okay, yeah, perfect. We'll set up this little bit later on. But you have to keep in mind that the bigger objects you have, the bigger values you have to use in forces 5. Cloner Object and Cloth tag: Alright, We are continuing with Simulation, and now I'm gonna show you how to use multiple objects and how to simulate them altogether. And for this, we're going to use Cloner Object. And I'm gonna show you how to use cloner objects with Cloth dynamic. Let's jump inside of Cinema 4D and let's continue. Let's create Cloner Object. And let's place this Ramesh objects inside of Cloner. Let's rename it Cloth 01. Okay, Let's go to first frame and we need to change Cloner type from grid to linear and count. Let's start with the three. The more clones you have, the longer will be render time. So we can start with three and then we can increase up to ten or 12 mucin. Then why I set to zero and I'm going to spread them z-space. Like so. Let's play it. Nothing happens because we need to place this Cloth tag on our Cloner. Let's Play and see what we got here. Okay, we have pretty nice animation. As you can see, we're on like 15 frames per second, which is not so bad. And this is our animation. So let's increase probability rotation bit more to three. Okay? Yeah, it looks nice. I have this nice bands. Let's disabled cloner for now, and let's add cloth surface. And let's place this Cloth under cloth surface. And immediately cloth surface gives us more subdivisions here. We don't need this, at least for now, but what we need here is thickness. Let's change the thickness 0-3. And now we have depth in our Cloth, and now it looks more realistic. We can increase up to 0.4, for example, like this. And it's more, it's gonna be more interesting when we will render this out. Now, let's place cloth surface inside of Cloner. And in Cloth tag, we need to change surface thickness to, let's make it 0.5. And here we have 0.4, 0.5 here, and we'll be safe from intersections. Let's play it. Okay, I need to enable Cloner. Let's play it. Okay, the beginning is way too fast, but I do need first frames. I will use only something in the middle. And let's try to find some interesting patterns here. Well, honestly, I don't really like how it looks now. And let's change something here. So first of all, I want to dissemble Cloth just for now to make this animation run faster. And in cloner, I want to increase the amount of clans and I want to reduce distance between them. Let's make it 12. And also what I want to do with cloner is go to Effects. And I want to add random effector. And now we have random order of our stripes. But make sure that you don't have any intersections here. You can use the side view to make sure that we're safe. Okay, so let's make this five, like salt. And let's also play with the rotation just a little bit. Add some randomness. Like so, way too much back. Okay, Let's leave it like this and we can change something here. Really important to avoid any intersections here. Otherwise, Animation can both. And let's play it. Now we see some randomness here. And here it's way more interesting right now. We have like different patterns here Different folds, way, way much brighter. And how many cloners we have five. Honestly, I think it's way too fast. And let's change some values. For example, at frame 100, we can reduce the rotation. Let's set first keyframe here. Let's move forward like five frames, and let's make it one and place second keyframe. So after 100 frames are where animation will be slower. And let's do the same with turbulence. 3-5. Make it, for example, two. And for scale, I think I want to make it bigger like at, because I want to have this Cloth more like stiff. You can see it looks beautiful. And don't forget to save this project. Let's increase up to 12, for example. And be careful with this. And always check intersections. And be careful with this amount. Because you can crash your Cinema and always save your project before run any simulation. It's, uh, 65 frames per second. Now it's much slower because we have a lot of intersections here. And probably we have now it is politically in here. Then after 100 frames, it will be slower, more smooth because they seal that, have a lot of movement right now. Okay, yeah, it looks nice. Let's say we're happy with this result, what we're gonna do next. So let's enable cloth surface. One more important thing. If we have an intersection during our, During our animation, we can go to Edit Project Settings and in Simulation tab will go to simulation and we can increase amount of sub-steps. This will slow down your computer and your simulation, but you will have more cleaner result. So I will increase, make it 22. And see you. I can see immediately that we're animation is way slower. I have only three frames per second. One trick here that I don't want to run this simulation all the time. Therefore, I'm going to Cloth, we're going to cash. And cash scene by pressing could see in our simulation is running in background and we will have baked animation. So now I'm going to use magic of editing and soon the future. Alright, so our simulation is done. This is what we have here. Okay, it's not so bad. Actually, it's pretty good. And what's cool about this, that it's baked. So which means that we can rotate it and find the perfect angle for us. So to do this, I want to make Alt G to place this cloner inside of null object. And let's rename it to Cloth. And here we can rotate it to find perfect spot, something like this. But honestly it's really difficult to find a good angle without camera. That's why we need to create new camera. Just press this button here and we have Redshift camera. Select this camera. Let's enable the thing here, our coordinates and we need to press reset, transform, and all our parameters set to zero. And we can move our camera back. Something like this. Let's enable and see how this camera, this camera sees. And in object, I want to change focal length from three-five to something longer. For example, at it's more like wide-angle lens. I like this more. And now we can find something better here, some better angle. But I don't like these gaps here. That's why I want to rotate it. More, something like this. And let's make this focal length even more like 120, like so. And I prefer to move objects instead of camera. Okay, let's move it here. And let's run. The animation. Needs. The beginning. Might probably from some, from this point looks pretty good. And yeah, actually, simulation takes a lot of time and sometimes you have to Rakesh where render everything out to play with the turbulence rotation. And it's not 100 per cent ideal result. Now, probably, if I do this for some commercial, I would spend more time to run this simulation. But for this course, I think it's fine. I don't want to waste your time. You I hope you got the idea and now we can focus on lightning texturing and all this stuff. This method is great if you want to achieve some abstract or solid Texturing with this course dynamic. But if you want to have each side individually and you want to control phase and backside. To do that, we have some limitations here. And in the next video I'm going to show you how to avoid these limitations and see you next video. 6. [Extra] How to prepare object for complex texturing: Because previous metal has some limitations. Now I'm going to show you how we can achieve and color each side individually. And it's really helpful. For example, if you have some texture with text and you want to have texts on the front side and on the back. This might that will help you to achieve this result. And now I'm going to show you the issue with this method. I have this pre-made scene and now if we go in Cloth or two, our Cloth, you shift that. I have a text here. And the problem here is that we have two sides, like phase and back. And everything that on the face side looks fine. As you can see, we have this this is text to show. If we take a look from backside, we can see that our text is reversed. Like here. You can see I didn't find any way how to fix it, except to create new geometry here. And I'm gonna show you how to avoid the thin, but this doesn't work. If you want to apply something like texts. If you want to apply textures like cloth material, it's going to work fine, but with the titles, it doesn't work. So I'm going to show you how to deal with titles. Let's create new scene. I'm going to start up view. And we're going to do the same steps as we did at the beginning of this course. Let's make it smaller. For example, 50, like so, make it round like this. Then we're going to add extrude. But this time we're going to make offset instead of zero, we are going to make it 0.5. And let's see what the **** here. We have a depth and our object is not flat anymore and we have depth. And right now you have to find the perfect depth for you. Can you have to do this now? So let's make it 0.6. For example. I'm happy with this result. And make sure you didn't have any subdivisions. We didn't want to break this side and add more polygons. Otherwise, this will blow and expand with the Cloth tag. Let's go to CAPSA. And here we need to change caps type to something different to see some, to add more polygons here. Okay, perfect, This one is fine. And we're going to add 3D mesh tool. Let's place it under Romesh. And as we did before, let's increase it to something like this. And it's, it works perfect. Let's hit C to make it editable. And let's apply Simulation forces, blends. Let's check how it works. And in Romesh, I'm going to add Cloth. And let's take a look. What do we got here? Okay, so everything works fine. It looks like a ribbon. Turbulence. Let's increase scale. And everything works fine. This method works with slower than previous one. But if you want to have text on this surface, you have to use this method. And one important thing that we need to do more is to switch from our standard or startup view to UV edit and we need to unwrap this object is not so difficult just for my steps. Okay, so we can select this object. Let's select UV tag. We have automatic. Let's use cubic and hit Apply. And this will break down your geometry into pieces and unwrap your model automatically. So everything looks fine, exactly what I want to have. And now if I go to Redshift and I will create new material texture. Let's connect this texture here based color, and let's apply some texture. Now we can clearly read our texts on the one side and under back. So basically we fix this issue and keep in mind if you want to have Design was taxed on it. You have to use this method. Also, everything works the same. You are going to put this into cloner and follow the steps from previous example. And now we're moving to the most consuming. And the most interesting part of this course is texturing and lightning 7. Lightning. How to set up lights in a scene: Texturing, enlightening, of course, Amount and sources of light really depends on what kind of design you want to achieve. But I'm gonna give you my advices and my vision of how to create perfect light scene. And it works for me for many years, and I hope it will works for you. Okay, let's start with lightning. Actually lightning and Texturing. It's pretty much the same thing we have to do this simultaneously depends on the light. We need to adjust our textures, and we need to adjust our textures depends on our light. Okay, let's set up, let's make basic setup. Usually I start with the dome light. And inside of dome light will go to object. And in texture, I usually use HDRI maps. So let's load some map and let's grab something from here. For example, I will use TV studio. You can find bunch of free HDRI is on this website. Just download them and place inside of texture here. Let's jump inside of camera. Sometimes when you work on the project, if forget to leave this camera and sometimes you trying to find something, some different angles and you must stop with the position. That's why you can use Control Shift Z to reset position of the camera. And also it's good practice is to use protection tag. To do this, we make right-click on the camera, Reagan and protection tag. And right now we can not move this camera. That's why we're always going to leave this camera from here. Okay, in HDRI, I want to remove the background to make it invisible and intensity. Let's start with 0.5. I don't need a lot of intensity and saturation also, let's remove situation because my image, this is way too saturated. Therefore, I want to make it ten. Okay, let's leave our camera for now. Next thing I want to add. Our key light is gonna be our first slide. Let's create new area light. This guy right here, you may ask why I'm not using Redshift RenderView because for this setup, I don't need to really see what's going on inside of the frame. What I'm doing now is pretty basic setup. And I will tweak it. When we will use Redshift viewer. Then I need to create new null object is gonna be our center, where our light will targets as go to Redshift area light, right-click Animation tag, and let's set up target. And in target, we need to use this null. And let's rename it as target. Then we can go to shape and change it to locator, for example. It doesn't really matter. And now if I move this area light anywhere I want, this will target on this light target spot. And it's really, really cool thing. It's really useful. Then I'm going to Redshift camera and I see that my area light is targeting straight on this this Cloth. Okay, then I want to duplicate this area light. I'm holding Control key and just move on the other side. And let's rename this as a rim light. And this one is key light. So here's our camera, our key light, and then be light from top on the left side, about 45-degree compared to camera. And this one, rim light, I want to place behind our stripes and on the right side, something like this. I know that they're way too strong, but we'll fix it in the next step. First of all, let's organize everything here. So let's create new null, and let's call this geometry and place our cloth there. Okay, and let's create, and let's please this source into geometry as well, like so. And then I need another one and let's call it lights. And then you'd donkey room and my target and place it here. And let's create another one, and let's call it effector. And let's play those guys here. And let's reorganize everything here. So lights. We can change color from costume lined going to be yellow, and we can change the icon. Do we have any lights here? Not really. Let's use this circle and geometry. Let's also change to, for example, purple. Let's make it star. Change color I can taste and that's fine. Okay. Now I have dedicated Redshift layout. So basically we have a node graph, shader graph here. And the Redshift viewer to enable Redshift you are will go to Redshift and Redshift renderer. You just enable it and you can place it wherever you want. Anywhere in the scene, like so. And also we can go to Redshift Richard, Redshift graph editor. Also, we can place whatever we want. I place it here. I can use unlock. And I place it. Just drag and drop here. Let's move inside of our camera and let's run the simulation. Right now. It looks terrible. And let's start with lightning. Let's remove room and key light. And let's see what our dome light. Thus, we can rotate it. Let's go to cardinals and we can rotate to find some biter lightning. Okay, So I'm filming this. And also I want to in environment to uncheck background. I don't need it. And make it less drawn to 0.3. Just to give us some little bit of randomness in our lightning. Okay, Then let's start with key light. Let's enable it. It's way, way too strong. Probably shouldn't be around five. And let's leave our camera. And one important thing that I wanna do now in Redshift view that change render to Redshift camera that we have here, this one, and lock it. So this means that we can fly around our scene. And Redshift viewer will show us only view from this camera. Key light. Let's make it bigger. I want to make it through real big. And also we can change intensity to, for an, without any textures. It looks not so great, but at least we can understand what's going on with our shadows. Then I want to enable rim light. Let's also make it around five and let's make it smaller. So I like to use room light as the bridge, a small light source, but more intense. So let's make it 2.6. So I don't really see the difference with rim light and without. But maybe we'll see this over here. So we definitely see the result of key light. And right now we don't see rim light. Let's turn it off for now. And we'll set up a little bit later. So let's start with materials. Alright, we've done pretty basic setup of our lights. And as you can see, we add some HDRI map that used as fill light. Also we have key lights that help us to emphasize texture of our materials. And also we have rim light that we will use later on. Because this light works the best when we have subsurface scattering. And this slide will give us some depth with our image 8. How to texture objects and combine materials: Hundreds of ways how to deal with textures. There are hundreds ways how you can combine them, but I'm going to give you a few examples how you can combine different types of textures in one scene. Let's get started. First of all, we need to create new material. All materials are located here. Just double click on this panel and we'll have new material. Let's rename it as Main. All we have to do now is apply on our cloner. Now we need to activate view shift viewer and to do that we go to render view. I have dedicated red shift layout here and you can simply drag drop this window to some of the sides of this panel like this. And you will have everything stick together like I have. First of all, I want to add red shift object tech. To do that we go to right click on the Cloner Render Red shift object. In this tech we can activate geometry and displacement map. Make sure you enable everything here. What it does, it will make everything more smooth. Let's run the preview. Let's see what we've got here. We have gray material and everything looks smooth. All edges are smooth. We didn't see any polygons if I disable it. And we can see edges on the ribbon like edges here, it's not that perfect. By enabling geometry, we can make everything more smooth. But for now, while I'm working with materials, I like to turn it off because it takes some time to calculate and make everything smooth. Therefore, I will enable it before rendering. All right, we have our standard material double click on it, we can adjust it here. Let's start with the color and let's make it, for example, red. Like this, we see immediately the result, the problem right now, that if I change color here, it impacts on the whole scene. All ribbons going to be the same color as we sat here. But there is one cool thing, we can avoid it by using user color data node. Let's add this node to the scene number. Click here and let's type color User data, dug it into a node field. Let's swallow it. Immediately, our geometry got black. We need to set attribution name here. Let's go to presets Object geometry ID color. As you can see, each of the geometry has different color. This is exactly what we need to have to work with this scene. To control colors that each of the object will have, we can use ramp. Let's add ramp. Let's connect you color user data to ramp old input and ramp straight to the color. Let's disselect solo mode. Now we have gradient from black to white. And some of the objects are white, while the other are gray and black. Let's fix it. I will change black color to something different. I have this yellow color that I want to use in this scene. We have this white color as well. By adjusting this curve and the handles, we can play with distribution of these colors. And also we can switch mode type to step here and here. Now we have only two colors that can be applied on this geometry. It's going to be either yellow or white, but I want to make everything more colorful, and to do that I simply double click on this, on this. Then we can change color here. There are a few ways how we can apply colors based on color theory. One is to use color palettes websites, Just copy color there. Or we can use built in tool inside of Cinema Ford. Just simply click on this circle Here we have different color combinations. Here I'm going to use this one. The first color I want to set yellow. This pellet gives me a few options, contrast colors that I can use. I like this combination and I'm going to stick to this color combination. Okay, now we need to save this palette by clicking on this been icon. And let's create ribbon colors. Okay, we have our colors here. Okay, now if I select this ramp. We can go to another color, Another not click here, then we go to our pets, and let's add blue. Just double click on this color. Let's create another one. Click here, go to Pete, this one. By adjusting the notes, we can control how many colors will be applied on our material. For example, like this. Also I want to copy the blue one I hold in control control key. By adjusting these values, we can achieve different color combinations here. Something like this. Okay. I would like to make this color a little bit brighter, because right now it's way too dominant. If we want to imitate ribbons here, there are a few options that we need to play with. First is roughness. I would like to make it more rough. Right now it's 0.2 let's make it 0.35 And this material going to be more rough and we'll have less reflections. The next thing we need to activate subsurface scattering. Open this panel here and we can increase weight. For example, like this. As you can see, a thin part of this material are become more translucence. And we can see that light is penetrating here and vanished the color a little bit. I like how it looks. Maybe it's way too much. Now let's make it smaller, like 0.1 okay? And also, we can play with the radius, So we can make radius bigger. Let's add some color here. Let's make it just a little bit of orange, something like this. You can play with those settings to see which one is better for you. Let's make 1.1 Everything looks pretty nice. All right. One thing I forgot to mention that I add background here. And background is simple plan that I placed in minus z space. I. I place it behind the ribbons and let's make it bigger. I use this just for demonstration purpose to see how this ribbons interact with background. And let's create new material for our background. Let's call it B, G. Apply on our plane. Let's open this material. And we need to create new material called incandescent material. Just drag and drop it here and let's connect it to the surface. This material is simply fill the background and it won't have any reflections or interactions with our main geometry. It's just for demonstration purpose, let's change color to something different. This material we can delete. Okay? It's easier to understand what's going on in our scene. Okay, next thing I want to show you how to combine different materials here. As you can see right now, everything is pretty much the same. We have the same material on all our geometry, and let's make some variations here. Standard material, let's place it here. Okay, for this material, I want to add some textures that I have simply dragon drop textures here. We need only three textures. Here is normal, roughness and height. Let's connect roughness to roughness channel. To use normal, we need to add bump, bump map dug, and drop it here. Let's connect this normal material to bump input and bump map. Let's connect to bump map. Okay, let's make this material solo. We can preview what's going on with our geometry here. Okay? Height. I will leave it for now. We will connect it later on straight to displacement map. Okay. As you can see, our material is way too big. We need to make it smaller. Let's select all our textures, and in Map we need to change scale 1-5 and five in red shift, everything works in the opposite way. If you want to make something smaller, you need to increase this number. Okay, maybe even more like 8.8 Okay, Now it's much better what we can do, we can simply use this ramp, these colors and connect them straight to this material. To do that, we need to drag and drop this peak whip and connect it to color. We'll see that the same colors will apply to our geometry. All right, so we have pretty much the same colors but with different patterns. Here we have this cloth material on top. But I would like to combine these two types of materials. And to do that, we're going to use Material B***der at this node. Material B***der, Drag and drop it here and let's connect. Let's rename this material to plastic. And this one to cloth. I would like to make plastic as base material and this one is going to be material color in layer one. Now I want to use this color data node one more time and b***d everything out with this color user data. To do that, I need to add ramp. Let's connect color user data to ramp al input. We can connect it to b***d color. Let's swallow this ramp node. As you can see, we have variation from white to black. We need to avoid it, we need to have only black or white. Black is going to be one material and white is going to be different. To do that, we need to switch tie from smooth to step as we did before. Step by adjusting these values, we can decide which color going to be our plastic texture and which one. With class, let's make it a little bit random here, for example, like this. Let's turn it off and let's pre what we have here. Okay, We need to connect material b***der to the surface. Let's see what we've got here. As you can see, we have texture here and some texture here. These two has texture as well? Yeah, it's pretty nice. This is exactly what I want to have. You can play with these settings to identify where each material will be applied. Now, I would like to connect displacement map here. To do that, I need to use this height material. Let's create displacement map. Displacement node. Let's connect height to displacement. Now if I connect this displacement to displacement, we will have the problem that all our materials going to be with this displacement texture. But I would like to apply displacement only on materials with cloth. To do that, I need to use displacement b***der. Let's drag and drop this node here. Let's connect this node to base. Now I would like to connect this ramp to b***d weight. Okay, now we can connect this b***der to displacement. To make a preview, we need to enable displacement in reshift object tech. As you can see, this texture applied on opposite materials. And we need to fix it. To do that we need to apply one more ramp node here. Let's place it here. And simply invert white and black. Now everything works fine. Let's displacement little bit smaller, so now it's one. Let's make it 0.2 Let's refresh APR okay, and we see really nice result here. Okay, I will turn off one more time our geometry, right? Because it takes a lot of time to calculate everything out and my computer is getting super slow because I'm recording this video now and at the same time everything is rendering out. Okay. The next thing I want to show you is we can add more materials if we want. Let's organize everything here. I want to add glass material here. And to do that, let's add standard material. Let's slow it in. This material, I want to make roughness 0.1 I want to make it really reflective, almost like a glass like this. I want to increase transmission a lot, and now we see that we have this glass effect because we have a depth. Everything looks really nice. I like this reflections here. Yeah, it's really nice. In reflections, I want to play with AR and by adjusting these values, we can get really interesting result, something like this. And also we can increase dispersion to add some random colors here. It takes a lot of time to calculate everything out if you have a glass in this scene. So be careful with this. Let's connect this material to material b***der layer two, Material color. Okay, let's create new ramp. Let's connect this color user data to this ramp. This ramp we need to connect to material b***der layer one, layer two, and b***d color. We simply mix all these colors together with this material b***der. Let's allow this node, let's decide what material is going to be black and which one going to be white. Sometimes you need to refresh your IP R to see the result of it. Sometimes it can be buggy. Let's switch type to step step. I'm going to leave it like this, for example. And let's pre what we have. Now let's disable Solon mode. We have this nice glass and different materials effect. Looks really cool. Honestly, you can spend many hours by tweaking the light materials and all this stuff. But let's say we're happy with the result and let's go to renders. 9. Rendering: Alright, now I'm gonna guide you through the most important steps that we need to set up before Rendering. And I'm going to use Redshift to render everything out. And I'm gonna show you what exactly we need to set up before Rendering. And I liked this result and I'm ready to render everything out. So first of all, I want to make alpha channel here. And to do that, I will add Redshift tag on this plane. So let's add render Redshift object tag. And we go to Visibility tab overwrite. And let's disabled primary visible. And now we have Alpha channel here so we can, we can add our color inside of After Effects later on. And here we are ready to go. So let's go back to our Redshift tag on our cloner in geometry. I'm going to stop preview. Now let's enable overwrite like this. And now we need to open, and now we need to open render settings here. Than in all put, we set our output size like this. I will make render from 152200. Let's go to Save, and we need to decide where we wanted to save this images. I use PNG form lane render, and we need to enable multi-pass. And I use the same folder, but I'm going to add multi-pass MPI and MPI and project name. Hit Save. And now I'm going to use Open XR 32-bits. Now let's go to Redshift and switch type from basic to advanced. And we need to adjust threshold. The lower number is here. The more cleaner result it will help but render time will increase significantly. So I'm going to use 0.5 like this. And you can try with different settings, just adjust this value and hit render and see how long it takes. So ideally is gonna be about 1 min. If it takes longer, probably you can increase this value 2.6, 0.7. By playing with the settings, you can increase your renders, your render time. And also we can use denoising. Let's enable it. So let's make it 0.1. And with denoising, our image will be more clear. Let's go next. Motion Blur. I don't need any. Okay, and let's go to AOV, show AOV manager. And here we have different settings. I have added to this project first is reflections. So let's see reflections. We have reflections map than refractions. It's mainly glass. Then I add subsurface scattering, shadows, specular lighting, and depth. I don't need depth here. And crypto made. So with krypton wait, does, it helps us to separate all geometry later on in After Effects so we can adjust the specific ribbon that we want. Later on. For example, we can adjust only this blue or this yellow and so on. Okay, so we're ready to render everything out. And all we need to do now is to hit render and see you in After Effects. 10. [BONUS] Compositing animation in After Effects: Bonus material, I want to show you how to composite our final render inside of After Effects. Honestly, I always use After Effects even if I deal with animation and static image. Because After Effects is more convenient for me. And I will show you my experience and my way how to compose everything that we rendered in After Effects. First of all, I would like to adjust some settings inside of After Effects. And let's go to File and let's open projects settings. And if you use the latest version of After Effects, you will have color tab. And here you can change from Adobe color management to show color management. This is exactly what we want to use and check if you have the same settings as I have and hit Okay. One. Notice if you run an older version than me, for example, 2023 without any updates, you probably you don't have this color transformation options. So I recommend you to download free plugin from the website. Link will be in a description, just downloaded and installed it. And then you need to download libraries that will be connected to this plugin. And I'm going to live links in the description as well. So you can download for free and use almost the same technique that I'm going to show you now. Alright, and the next thing, let's import our renders. So I will import PNG first in part as PNG sequence and create competition had input, alright, and immediately we see that our colors are different that we had in preview. And to fix this, let's change type from aces sRGB to none. And this color is much cloth or that we had in preview. And also we can go to right-click on the file, Interpret Footage Main, pre-multiplied Alpha. Then we go to color and we interchange to work in space and hit Okay, so this is exactly what we had in our preview in Cinema 4D. And today thin, we want to do is to add all our AOVs that we had, reflections, shadows, and so on. And to do the double-click on this area in the project, then go to multi-pass and select the first frame. Then create composition, open the XOR sequence and hit Import. Now have a Import Options. Let's change diaphragm footage decomposition and hit. Okay. Now we have all our multi-pass here and all our colors are super dark right now. And this happened because all our files are rendered as a SSN. We need to set up our working space here to Acis. And to do that, we need to change diaphragm non to aces SRGB. And we see that everything looks fine. Let's increase depth here. So right now we have eight bits. Let's increase it to a 32 by holding Alt and click here. And now we are working in 32-bits, so full range of color information here. And as you can see, we are pretty close to this PNG sequence in term of colors. And this composition has much more color information and much more ability to adjust and control all settings here, we can work with this footage, but I prefer to work with as-is because we rendered everything in Ace's, all our UVs. And let's work with aces. So I'm going to work in this sequence. So we have RGB, which means it's our main beauty pass. And let's place it down below here. And let's turn off all other layers and let's enable them one-by-one. Some depth. I don't need depth here, so I'm simply hit Delete reflections. Let's enable reflections and reflections. Let's switch die from normal to head. Can we add in more details into our image? It's way too much. So let's change your opacity to 25, I guess. Something like this as a go-to refractions. Let's enable it. And this is our earth refractions of glass materials. And switch type to add. It's way too much. Let's make it smaller, more transparent. Let's make it 30, for example. If you feel that it's way too much for you, can switch diaphragm add to screen. Screen is a little bit more polite like so then subsurface scattering SSS, change type to screen as well Let's reduce the opacity. You can see the more we add subsurface, the more whitish color we get. So I'm gonna make it like 25, and let's switch type to add shadows. So to use shadows, we need to create new adjustment layer. And let's add to this adjustment layer levels. And simply we need to reduce the white spots here, make everything darker. And let's rename this layer to shadows. Alright, and let's connect track mate here to shadows. So attach This tag mater shadow, and let's make it luminance, switch to luma. And as you can see, you have some shadows now. And by adjusting these values, we can add more shadows or we can reduce them. I'm going to add just a little bit to make this image more contrast like so. And we have specular. Let's enable it, and let's switch type to add as well. And let's make it more transparent to 45, okay, we can solve this RGB image here to see the difference, how it was and how it looks. Now, now I see like we have more interesting result. Also we can create new adjustment layer and place it after RGB. Let's add levels here. And we can make everything more contrast by Justin these values. For example, ladies. And if I place this adjustment layer on top, we will have a little bit different result, okay, but I will do it for now. And I want to add background here. So let's create new background, new solid. You can use any color you want. I will start with the gray. Let's add R&amp Gradient Ramp. Let's place it here. And let's place this layer down below. And let's add some colors here. So let's start with some following days and maybe purple ligand days. We can swap colors. Let's make this a little bit more saturated. Like so. And yeah, everything looks fine. For example, we are happy with this result and we want to render everything out. And to do that, we need to transform everything here. And from aces back to sRGB. For example, if I set to none color transformation here, and you see that we have really strange result here. And to fix this, we need to create new adjustment layer. And we need to add effect called OCR color space transform. Just apply this effect here. Then we're going to input, everything is correct. And Output, Output we need to set as RGB. We are bringing back our original colors and color mode. And now we're ready to render everything out. And to do that, we go to Composition, add to render queue. And we can use some preset and render everything out. Right guys, I'm really happy that you've watched my course. I hope you find this course useful and you will notice some interesting stuff for yourself and you can use it in your commercials or personal works. Let me know. What do you think about this course if you find it useful and so on. Thank you guys for watching and see you in the next classes. Based 11. Outro: Alright, that's it guys. I really appreciate your time and effort and I'm glad that you attended my class and I hope you find it useful. Through this class. We just covered a lot of new stuff and new information that you can use in your new upcoming projects. And now you know how to simulate cloth inside of Cinema 4D, how to render it with the Redshift and how to composite inside of After Effects. I hope you got some new knowledge and insights from this class. And if you do so, don't hesitate to live comments and let me know what do you think about this class? I would like to ask you to share your final result, what you achieved after watching this course. Because remember, sharing is caring. And every time we share our works, we grow as professionals, as creatives. And it's really important to have some exchange. And this will help us to grow. Thank you guys for being part of this course and this community. See you in the next glasses.