Cellular Division with Fields and the Volume Builder in Cinema 4D

1. Introduction: uh, hi and welcome to the three D motion biolab. My name's Travis Ver milia. I'm a medical animator, illustrator and visual artist. This class is about cellular division using Cinema four D. We'll be using some relatively new tools, such as Fields and the volume Builder, and we'll be creating an animation that goes from one cell and divides into eight. Let's take a quick look at what will be doing. This is a simple animation that focuses on a single cell that divides from 1 to 2 to four and then to eight. We'll be using, as I mentioned fields and volume builder to make this look the way that it does. This class is designed for intermediate users, but I think new users would be able to follow along. Justus. Well, if you have any questions or comments, please leave those in the comments section, and I look forward to seeing what you're doing. Let's get started 2. Models and Fields: let's get started with our cellular division animation For this project, we're gonna be using a few new features, or at least a couple of new features in cinema four D. One of them is going to be the volume builder and measure, and the other is going to be fields. And so to get started, I'm actually just gonna need a sphere, and we go up to our display and show lines. You can see that this is a standard sphere that has pinching at the polls. I typically like to use a hex, a huge ring, spheres that I get more of a quadrangular structure and have less of that pinching. I find it creates ah, more smooth animation and helps things just look better all along. So I want to add some polygon says, because I'm just gonna go up to 150 and create a Syria that has a good amount of polygons. This will help our help us in our progress progress as we go along. And so what I want to do is use the volume builder first, someone to go to the volume tab, and I'm gonna say volume builder and I will drag my sphere into that volume builder, and you could see what that's doing is it's creating a boxful grid out of the objects within that builder. So we're getting a lot of stair steps. So let's look at the settings inside the volume builder, and you can see that it is automatically coming in at 10 centimeters. How big was our spear? It's, Ah, 100 centimeters. So there are only 100 rectangles across or 100 box ALS across and each dimension making up this sphere. And so let's add some more detail. We'll put that down to two and hit. Enter. Now you can see the sphere looks a lot more smooth from here. What we want to do is go ahead and put this into a volume measure. So the volume measure takes something that's in the volume builder and then wraps a minute around that, and I'll go ahead and turn off lines shading. So I have toe slow down my window in the editor, and I'll leave the volume measure settings the way they are when it comes in. Um, from here, what I want to do is add in a cube, basically So I'll take a cube, and I'm gonna use this cube to subtract away on area. And for this, I'm gonna go and just make this cube eight centimeters wide and the sphere is 100 centimeters radius, so it's actually 200 centimeters across, so that means that it's exactly heading these edges. I'm not this to you to be slightly bigger, so I'm just gonna make thes 2 20 each dimension just so that it is surpassing the outer portion of the Cube of the Sphere. I'm gonna take this cube now and put it inside of the volume builder and you can see what that is doing is it's welding. These two together as a boxer, agreed. So if I turned that off, you can see the box will grid well, it together. And then our volume measure is wrapping a mesh around that entire object, depending on how many boxes we have, the smoother or sharper that's going to be. So if I turn this back up to 10 like it was when we started, you can see that it's, um, much less resolution in the great in it. But it's a softer object, so Let's put this back down to two. That just gives you hopefully an idea of how this is functioning. If we look inside the volume builder right now, you can see that it is set to union for the Cube. And I want that to be set to subtract. So now that cube is being subtracted that we're doing a Boolean operation removing that cube from the sphere and this is essentially going to be our division for ourselves. And so the next thing we need to dio to make this feel convincing is to go ahead and smooth it a little bit. So I'm gonna add a smooth layer on top of this and that will just smooth things out a little and, uh, turn it down just a little bit. So I'm clicking on the smooth later I can turn down this move. This was not quite so smooth. I think somewhere around 50% should work just fine. And then I'm going to go back to the Valium measure. Now the value measure has it setting here called The box will range threshold, and the smaller this is the basically going to shrink from the outer portion of the box so great, and the bigger it is, it's going to enlarge or dilate from the box. Agreed. And I just want to make it as big as I can make it without welding these two halves together. So just barely separated is what I'm looking for. So it feels like the cell has just divided into two pieces and they're not touching maybe 80%. Well, just inspect at a little bit, and I think that's looking nice. Next thing I want to do is just add a little bit of a natural appearance to this. And to do that, I'm going. Teoh use a Taper object. So a taker modifier put this taper modifier on my Cube. So what's that going to do? What's just for a moment? Turn off both of these so we can see all of the objects. So I'll take this Taper object. I'll say 50 parent. That's going to exactly match up to my cube now. And if I turn up the strength you can see it's tapering that cube downtown Teoh point at the end, right? So at 100% I'm getting sort of this pyramid shape. Let's just turn off the spear for a moment. So it's creating this sort of pyramid slice from our object, and I'm gonna use this to my advantage so that when the cell divides, it feels a little bit more natural so that it goes from one side to the other versus just being an instant separation of both cells. And so let's go in, animate that I'll go in 10 frames in and I'm going to start off tapering at 100% key, frame it, move over to 20 frames, and then you turn it back down to zero and keep for a minute. And so now we have just had this happening. Now there is a little bit of a bend in that taper modifier that's not being affected. It's not affecting my cube reason being, My Cube only has one segment, Perseid. So let's just go ahead and give it a few more, so it feels more natural. Just say we don't need. I will just say two and the axe and will say 20 in each of the other dimensions, and that will give us something that actually matches the shape of our taper modifier as it's doing its job. It's just making sort of a blade are from a firm appointees out blade shape to that, and we'll see what that's doing in just a moment. So turn these objects back on. And so we just look at this view and I activate this animation so you can see it's actually splitting it in halves. And I feel like I want that to happen from the front to the back versus the bottom, to the back. So the couple ways I can change that, but I'm just gonna go ahead and rotate the modifier 90 degrees so that when it animates now it's gonna split from the front to the back. I'm changing my morning on the fly. I wanted to split from the top to the bottom. So here we go. Now it's splitting like that As it goes, anything I want to do is actually animate the width of that cube at that same point in time . So I'm gonna start my cube. I know I want to end it. Zero. So let's go up to 20 key frame. It ended at eight. I'm sorry. Key. Frame it at eight. Go back to 10 key from it at zero. And so now we should have a situation where that key of is getting whiter and tapering at the same time, and that's going to allow that split to feel a little bit more natural. Let's just look at it from a different angle. So it's fading through as its widening up. I'm like in the way that that looks. And I'm going to say that this looks sufficient for our first division. And so in the next segment, we're going to add in our other divisions, where we will go from one cell to two and then the next one we're gonna end up eight cells altogether. 3. Divisions 2 & 3: So here we are with our two cells divided and are seen so far. And from here, we want to add in the additional divisions so that we go from one cell 2 to 4 teat, and I'm actually going to reuse the same Cuban taper object over and over again. And so to do that, the first thing I want to do is just control. Drag up, make a copy and you'll see that that's automatically adding that cute back in now. So it's a union instead of us attraction. So if we look at our volume builder, you can see that it is That's a union versus attract. And I can just move this cute down in the hierarchy. So right now I have two cubes on top of each other. Um, obviously, when we want to rotate one of those, so I'm gonna rotate this one to the right and you can see that that's making your very even division. I feel I think it feels just a little bit artificial. I'm gonna move it up a little bit and you can see the way the box will. Grit is acting. You're sort of moving to this box ALS and the meshes wrapping around that. Just so you understand what's happening right now, Um, you can see those box was getting lighter and darker as I'm moving through. And so the meshes analyzing that. And it's basically trying to wrap things closer, closest to the more solid port portions of the division. So we see something like this where it looks nice and even and clean. That should be a very clean division. One attorney mesh builder back on. It's kind of important to take some time to understand. Alice is functioning. So there's my second division and let's do another one on this will be our third division. Actually, I'm gonna copy my first cube up, so be true to you, and I'm just going Teoh, rotate this one a couple of times, gonna rotate it around the X and around Z 90 degrees. And so we'll get that perfect split and we'll have mount eight cells developed when I turn on the subtraction and move this down. So here's where we wanted to get to. We've got eight cells or we've got a division of eight cells. If I rewind and play this, this is not gonna happen at the same time, which is not what we want to have occur. We wanna have these happen one at a time. And so let's just set that up quickly for this segment, and then we'll do some modifications and the next one. So I'm gonna look at my dope sheet, drag that down in my, um, workspace, make some quick arrangements adjustments so you can see all of the key frames are associated with each of these. And so if I open up Cuba to which coincides with this cute too, you can see my Taper object is in there. If I select any one of these, it selects all of the key firms underneath it. So, really, all I have to do is select this cube, drag this guy over. Let's give it a about 10 frames of space in between. We'll do that again here and drag this over. Give it about 10 frames of space in between. And now we should see the divisions happening a long time. So if we hit play, we'll see if the Center division happened. The horizontal division happened, and in the vertical division happened just a quick adjustment. I think I'm gonna rotate this guy around this direction 90 degrees. I want that to go from the top down. That's gonna be the extent of the division will do for this project. If you wanted to push it further, you could continue dividing and add more planes in. I think the more planes you get in here, the more complicated is going to be. So the intensive. This piece right now is just to have a quick representation of cellular division as it begins to occur. So the next segment I'm going Teoh work with making this feel a little bit more natural and smooth, and so we'll just get it feeling a little bit more lifelike. 4. Make Adjustments: okay for this segment, we're gonna take our divided surfaces or a cellular division set up, and we're gonna make it feel a little bit more lifelike. And what I notice is right now it feels very mechanical. So as I scrubbed through it divides the division itself. Feels kind of believable, but because the cells not moving, everything's kind of stagnant, stagnant. The sphere is anything at all. It doesn't really feel very lively, very lifelike. And so what I'm going to do is, uh, had a displaced or object to this sphere. And before I do that, I'm just gonna go ahead and turn everything off so that all I'm looking at is the sphere. I don't see any more of the animation happening. Um, also, if seeing these modifiers bothers you like it bothers me, you can turn these off in the editor just by double clicking this first little top radio button. And now we no longer have to look at those. Let's get a display, sir, modifier and make that a child of this year. And right now it's not gonna do anything until I put a shader in there. So I'm gonna go into the shading tab and I'm going to set that noise and you can see right away that's going to modify that surface. I just want something more subtle that moves. And so I'm gonna increase the scale of this to about, well, 700. So I get this sort of lump or bumpiness feels like chewing gum or something. If I play through right now and do my turn, everything back on, it's not going to look all that much different, right? Our divisions are still gonna happen, and nothing's moving right and self still feels. Although it feels a little bit more natural and shape, it's still not moving, Um, and so I want to turn these back off for a moment and modify the Shader inside of this display sir object so that it moves. And did you that all I really need to do is turn up the animation speed. Let's set it to something like five and see how that looks. Let's go ahead and have it loop every 100 frames, so that's a little bit too jiggly. I think. Let's increase the scale slightly and let's turn down animations, be to something like I feel like to lose even too much. Let's do one. So now things are moving a little bit. So if we turn on the cellular divisions now and let this play through, we can see the divisions happen. And then the cell seems to be moving in reaction to that division a little bit. So we just feel this sort of soft jiggle that continues to happen. And so I think that feels much more realistic and lifelike. Um, next I want to try to clean up. You can sort of slightly see these division lines in here before they occur. And so I want to clean that up a little bit if I can. And I'm gonna do that by adjusting the smooth where so maybe just a little bit more smoothing. It's okay if you're not completely gone, because I can hide a bit of that with the texture and I'm going to use later on. But I think adjusting that smooth earlier will help a little. Let's just see how our divisions look after that. They still look pretty good. None of them are actually touching, which is great. Last thing I'm gonna dio before I start thinking about texture, ring and rendering is create a out earlier, so this feels more like it's an egg or an embryo inside of an egg. So let's give it a surrounding we're inside of a case. Um, let's just give it, give it that out outer surrounding. And to do that, I'm going to actually just duplicate this entire thing. And I'm going Teoh, get rid of all of the division cubes. I'm going to look at the volume measure, Open that up a little bit mawr in terms of the smoothing. And then I'm going to look at the volume builder. Reshape layer is what we want to do. We want to add a reshape player. We're gonna add that in underneath are smooth layer, and basically this offset is going to determine how big it is in relationship to our dividing cells. So if we just had an offset in there and then keep this moving as it waas, we're gonna have a really nice little outer shell. And so let's look at our volume measure and I'll turn this on X ray just so we can see through it. It's now we have this surrounding around ourselves that will remain hold the entire time. But because it has the same settings in the same displaced or object applied to it, it's going to move and jiggle along with the cells as they're dividing. I think the last thing I'm gonna do before we move on Teoh Visual Style has this. Select both of these display sirs. Click in the Shader. Then, when I increased the speed of the animation just a little bit and I won't increase the scale just a little bit. So as I'm watching this play through, I'm just looking to see how I feel about the way things were moving. Does it feel natural? And I think that now the division does feel quite a bit more natural to give that a last test. I might viewed at a sort of different angle, like a 3/4 angle and go ahead and do an animation preview. So let's just hit Make preview. Well, dio well, just dio Harper preview and we'll do it at home. 12. 80. We don't need to do all frames. We can just go to frame 70 so I will say Previ range from 0 to 70 and OK, I should go pretty quick. So now we've got our finished quick renders through the make preview, and this just helps me figure out timing and to see how everything's working. This is obviously moving way too fast. I'm gonna make some adjustments overall, and to do that I'm going to increase my range to 180. Slow everything down by about two. So let's go ahead and drag. We select all these objects and we're looking at everything that's been animated. It's very simple for me to distract us out 150 and go ahead and save this and I'll make another preview and see how that feels. I will say 1 60 All right now that are previews finished. Let's go ahead and take a look at the timing now, and you see that the jiggle timing is a little fast. But the seller Cellular division timing actually looks pretty good. So I think if I slow down this jiggle and the noise display, sir by about half, so let's just go 0.75 on. We'll do one more previous. See how that looks. Hopefully, this will be the final revision on our Uh, yeah. Look, look at the way that division feels like the It feels like that the motion of the division is tying him really closely to the division lines. So the to the jiggle. So that's what I was looking for. And I think I might even slow down just a little bit or have it taper off at the end by key framing that. So in the next segment we're gonna look at setting up are seen on our lighting and getting ready to render. 5. Materials and Render Settings: in this segment, we're gonna set our materials up and start preparing for rendering out our animation. And so the first thing I want to do is set up to the material for our, um, sort of their cells. And I think I'm gonna try to mimic a little bit the look of that National Geographic video that we reference That's a beginning. And so to start with, I'm just gonna turn off this outer shell. And I want to create a PVR material physically based Orender material. And I'll drag that on our volume measure that'll just give us a white object right off the bat and let's go ahead and set up our scene for the pro render. That's the render injuring I'm going to use And so go and set up for pro render. I like to use shallow depth of field, and I usually turned my adoration, count down to 50 to get started and see how that looks. So we'll turn depths of field on for that and that output we're gonna dio uh, 19 20 by 10 80 and for saving. Let's go ahead and we'll just save out J peg frame. So go ahead and set that up. Um, under my skills are folder We'll just have a file called Friends are folder Coltrane's and we'll say Cell division, Go ahead and say about J pegs. Okay, so are set up pretty good. Now we wanna have a preview window set up for our render engine. And so let's go ahead and make a new, um, few panel and this will be our window, our render display. And I'm gonna make another few panel This one's really Justin accessory panel. Take up some room and want me to work a little bit smaller with this preview render so I could turn on my per render right now just to see what's gonna happen. And you can see we've got some default lighting turned on and still need to work with our lighting set up and figure out something that works better for us. Let's just go and turn that off for now and set up this material. I'll make this a little bit bigger for us so we can see what's going on. And since this is a physically based to render material, all of our modifications for the color and reflective surfaces and all that are going to happen inside this reflect ins tab. And so instead of a color, I'm going to use a noise, and that noise is going to be sort of orange and a yellow combination. It's one of the Yoki yellow and, uh, darker reddish orange. And I'm actually gonna turn on this program there momentarily so I can see what that textures looking like. And we're not seeing anything right now. Why is that? That is because we have a volume measure that is Thea Outer Layer turned on. I need to turn this off in the render. Okay, So I can see that my preview window here is giving me something that is really close to what I'm gonna get on my render view on. So I know I can modify my scale down quite a bit. Let's say 10% and I just want to step through this a little bit so I can see what's gonna happen with that texture. I think it looks pretty good. So I might, um, make it just a tiny, bit smaller se Hey. And I think I might make these colors just slightly closer together, okay? And Now I'm going to go back to my reflections tab and I'm going to go ahead and go down to this for Nell Section and turn on Di Electric. Um, and I want to invert it. We're getting a little bit darker edge and let's set it to I don't know, milk from here. Let's just give it a little bit more shiny nous. So I'm gonna go into my default reflection up here and turn their roughness up so it has sort of a ruffins layer. Then the adul air that layers of Mia Beckman. So not only have a chrome cells, and I just want to turn this layer down. So it's about 15%. Maybe less than that, Maybe five. Yeah, so we're getting a little bit of that surface and I'll go ahead and add the roughness to this as well, just a little bit more so it's not quite so shiny. So let's just given us a nice, um, nice appearance and let's go ahead and put in another material for this outer mash and this one we're going to work with, uh, for now on the Alfa or the transparency, you will see which one works better. So I'm gonna create another PVR material, and we'll drag that on this volume measure. It's gonna save quickly, so we've got a white layer on right now. Let's go ahead and add some transparency. Do that. So I opened up this material and so we could see it in the background. I'm going to add a little bit of transparency on there, and now it's completely transparent and in the texture tab, I'm going to add a for no and you see that immediately is going to make it feel transparent on the edges and solid in the middle. So I need to look at this and invert ingredients. We also need to bring these much closer together, and that's giving us this nice little shell so I can drag this so it feels a bit like a membrane. I'm actually gonna click another one and drag it out slightly. So it has even mawr of, ah, remembering appearance and will make this one feel not 100% white, but just a little bit less. Um, we'll pick. So the closer that is toe white, um, more completely transparent. It's going to be and having this thickness here is going to make that membrane feel like it has, I think nice to it. And so I can click here and dragging another one over wanting this up. And what that should give me is almost ah, a double layer. Get this a little closer to black so you can see that really hard edge now because I drop that closer. But I don't want it to be quite that close to the middle. So let's pull this in. So it's just important date, you know, spend some time playing around to try to get the look that you want. And now I can go back to my reflections tab and maybe add on some another layer of reflection in here. So now this feels very, very metallic, and they could turn that down the reflective so that it feels somewhat reflective. So it feels like it's reflecting. Its environment. Feels more like it's in a subversive environment. I think I'm gonna start with that, um, making new camera. Make sure I'm looking through that. I'll set up my pro render view to be using the same camera. That way, if I make any adjustments here, it's reflected in my pro interview. For now, it's just a matter of setting up the view that we want and you can scrub through your animation. At this point different locations. See how things you're feeling. Maybe what we'll do is set up a camera that as things slowly begin to divide, it zooms in and rotates up. So we get to see that last division happening from this sort of like this point of view. Let's do that. Well, that will be our last modification on this particular segment. So I'm actually gonna taken no object, and that's gonna be my camera controller. I'm gonna put my camera in that when I was a child and that way I'm controlling my view or of my rotation, at least with the camera controller. And so we're gonna start off kind of close up, and we're gonna pull back and rotate around. So let's first start off with our close up segment. So let's go, Teoh, where we wanna be at this first division, Megan feels kind of powerful will start off with this sphere right in the middle. I'm watching that. So I'm gonna start here. Um, take my camera, Go ahead and, uh, key fragments. And then I'll move slowly back so that at 180 I'm not gonna worry about rotating my camera , I'm just gonna do the pull back at this point. And so let's say at 180 we want a full pull back view of the entire thing. And so now our camera animation is doing this as our divisions air happening. And so we've got all the divisions happening at that point. Now let's set up the rotation. I think I want to keep the rotation of same until we're about halfway through this second division and then I'm gonna animate the position of this controller object. It's a little key. Frame it there and I want to make sure that by the time we are halfway through this division, we can see this other division as well. So I'm rotating the no object that's holding the camera so that we can get this a little bit nicer view of the lateral divisions, and I'll key frame that. So we're going from this close up sort of you on the surface to this division where we're starting to see the side division happen and, as that's happening, were rotating around to a 3/4 view where we can see that lateral divisions, uh, happening as well. I feel like those air probably too close together. It's a little beat that will be our framed animation, our key frame animation. And then in the next segment, I'm gonna go ahead and set up some better lighting and then we'll get Regnery. 6. Final Adjustments and Rendering: All right, let's set up our final modifications and so we can get ready to render. And the first thing I would do in this segment is to go ahead and bring in ah, sky object in the sky. Object when you're using a HDR, lighting is going toe creates a really nice lighting effects and the parental er comes in default using this lighting, Um, and so you don't really have to do anything to it in order to be ableto see this image back there. It comes in with his default image, which is great. So if we look at our animation, obviously we don't wanna have it functioning are taking place on the over superimposed over this background. But you can see if you had a background image in there that she did one of superimposed over it could make a really nice effect. So what I want to do is put some compositing tags on here, and so the compositing tag I'm going to use or the semi gonna gonna put a cinema four d tag on and the cinema four d tag unwilling to uses a compositing tech. And what I want to do is on Chek, seen by camera. And it's a simple is that. And so now we're using the lighting from the sky object, the light are seen. And so what will happen is if we put a different light on our different HDR set up on there , it will be live with that instead of the one it's currently using. Let's see what we have available. I'm gonna just go ahead and search what already exists in cinema forties. So if we just search HDR, we should come up with a bunch of images that are default installed. And so, depending on what kind of ah environment you wanna have reflected in your scene, you could decide if you want it to feel like it's outside or in a lab. There are a number of, um, nice HDR images available that comes stock with Cinema four D. I'm just gonna pick one that feels kind of endure. We're lab like, Let's try this one out. Eso hdr 25 so what? All I need to do is make a new material. So I make a new PBR material, and for this material, we don't need reflections at all. We just need limits. And in the Luminant Channel I'm going Teoh Lodin, This image simply drag it down and then the last step will be to place this on top of our sky Object. Now you can see that's completely changed the lighting scenario. And so just temporarily, I'm going. Teoh, turn that off or remove this compositing tag so that we can see what's going on in terms of our lighting. So now that image is actually showing up in our scene. And I'm gonna stop looking to the camera here just so I get a better understanding of how this image is being used in my scene. I feel like right now it's just kind of blowing my scene out way too much. And I wanna have the lighting beam or from the side. And so right now I've got a light is coming from behind and I think what I want to do is just rotate this sky object a little bit and let's try and just rotating it a few degrees in either direction and see what happens. The next thing I'll probably Dio is reduced the brightness of this by double clicking on this image going into the exposure section. It was the same minus someone in here that will turn down the lights a little bit. So it's not quite so crazy. Yeah, just 1.5. I feel like I'm liking that a little bit more. I'm liking the way that those reflections air looking and so like anything when you're working in three D space. It's really about just tweaking and continuing to make changes until you're happy. Let's run through our entire set of frames and see how it feels. I'm gonna go to this back. This last shot that's kind of pulled back and keep rotating my lighting scenario. I think I'm happy with this, So I'm gonna go ahead and leave that where it's at. We'll go ahead and make sure I'm looking through my camera and set up my render output to be, uh, the entire all frames that is going to go to 180 frames. My output name has already set up a cell division. We're saving out J pegs, and so I just need to save my file and go ahead and hit. Render. Actually, one final note I wanted to make before we do the render is to set up our depth to field something I didn't work with. And so the way I like to use depth of field is to use an object to focus on. So I usually make a no object, and we'll call that focus, call it whatever you want to. And then I'm gonna select my camera, go to the object tab, and I'm gonna put the focus object in that In that focus, no object in the focus object slot right here. Right now, we can't really tell. But much is happening on this because our dimensions on her camera or attributes on our camera are set with the F stop eight. Put that back down at one. You should see a little bit more softness if we put it at 0.1. You should see a lot of softness and these dimensions air not really like the real world. It's going to depend on, uh, how what the scale of your scene is, how close your camera is, what what sort of ah focused up, their cameras set up. And so it's setting. What's happening right now is it's focusing on this focus object at all times. I'm gonna use this frame right now or this view port and just want to pull this up. So it's kind of focused on that front division, and everything else is a little bit blurry on. I don't wanna have this particular animation be quite that blurry, so I'll put that at one. And what that will do is give us a nice, sharp focus right here with a little bit of softness in the background, which I think just adds a little something nice. And I may need to keep frame this focus object. So let's start with it really close here, key from its coordinates and see where I wanted to end up. I think it still feels all right being focused where it is, s all just go ahead and leave it where Attack. I think one last thing I might do is just adjust my pan on my camera. So instead of ending up in the middle, it ends up kind of over here. Yeah, I like that. All right, so in the next video, we will check out our final product and we'll talk about what your projects are gonna be 7. The Project: Okay, so let's see what we've come up with. Let's just take a look at the final Render and here's what it looks like. I just got it in after effects right now. I think it looks pretty good if I were to go back and work on this a little bit more. I think one thing I do is probably reduce the noise a little bit by increasing the sample rate in the Pro Render, and I'd also probably add a little bit more depth of field so it's less and focus. I think that would make it feel more authentic. But that's what we've got. And thank you so much for watching. I hope you've had a good time, and I hope you've learned something for your own project. I'd like to see you all trying to make your own version of cellular division, so apply your own color choices in your own rendering style in length number of divisions. And if you decide, you divide something besides a cell or, you know, work on something that's your own one thing that's great. I'll be looking for your projects in the project section on skill share, and please do let me know if you have any questions. I can't wait to see what you do 8. Final Thoughts: Thank you so much again for watching this help. You've had a good time and learn something that will be able to apply it a future projects . If you've liked what you've seen here, please follow me on skill share and please go ahead and leave comments on the comment section. I've got a bunch of other classes lined up in on the way, so check back often and I'll see you in another class.