Cinema 4D and Octane - GeoBoil Effect

1. Introduction: Hey, it's stay from CG shortcuts. Welcome to our course. I'm a freelance three d and merchant graphics artist based in London, where I've been working in teaching in the industry for over 10 years. In this course, I'll show you how to create this G. O. Boyle effect in Cinema four D. This kind of effect is hugely popular at the moment, so it's going to look great on your portfolio or sure ill. And by the end of this course, you'll level up your cinema four D skills and be able to create your very earned gear. Boil affects Just like this. All you need is Mexican cinema 40 and obtain. Render. Don't worry if you don't have them, because you can download a free DeMarais to start learning straightaway will cover everything step by step so you can easily follow along, including particles, mo graph and the former's in cinema 40 and lighting materials and rendering in octane. And you'll also get access to the final project file so you can use it as a starting point for your own creations. That's it for now. Let's get started 2. 1 Bubbles with Mograph and Particles: Okay, so here we are in Cinema four D. This is version 21 but you should be able to follow along just Azizi in the older virgins. So let's kick things off by coming up here and taking a look at the render settings. So my scene is set to 1920 by 10 80 which is Haiti, and the only other thing we need to worry about for now is the frame rate. I'm just going with 24 frames per second, which is the standard for film, but feel free to choose any frame rate you like. Okay, let's close that female. So to begin with, we need to create an object that we can apply this geo boil effect, too. So let's come up here to our primitive objects menu, and you can use pretty much any object you want. The tourists is actually quite a good one to use for this effect, but for this example, we're going to use our trusty old friend the sphere. So let's bring that guy in, and we want to be able to see our spears polygons so we'll come up here to display and we'll just switch those lines on. Then, without sphere selected, we'll head over to the object tab, and we want to make this guy a little bit bigger than this. So we'll come over here to radius and will make this 230 centimeters. And I think that looks about right then to stop us getting confused later on. Let's just go and rename This Fear will call it something like shape. So now we want to create some bubbles. So we need to generate some random points on the surface of a sphere where l bubbles can appear. So we're going to use a bit of Margraff. So let's go up to the McGrath menu and we'll bring in a matrix. And The Matrix is basically a bunch of little points that are represented by these cubes, and we can probably get a better look at this if we just hide the sphere for a second. And now we can see all these little cue points are set in a grid, and that's because by default, the murder over here is set to grid array. But instead of a grid, we actually want these points to be distributed on the surface of a sphere. So we want to change the mode to object, and at first everything disappears here, and that's because it's asking which object you want to use. We want to use the sphere so we'll grab this guy and maybe just turn it back on again as well. Then we can drag it into this slot here and straight away. L matrix points are sticking to else fear, and that's because we've got our distribution over here set to surface. So they randomly distributed across the surface of a sphere, which is exactly what we want. And we do want a lot more of these points because we intend to have a lot of bubbles on here so we can adjust that down here with the count. So let's just add a one in front of this and bring accounts upto 120. So with this set up, we should be able to generate a bubble randomly on any one of these 120 points, and we can also randomized the placement of these points if we find some of them are a bit too close together. By changing the seed value down here so we'll just shift through these numbers until we get something that looks good, something like that. And then we can go and rename L Matrix. Let's call it bubble placement. And now that we know where our bubbles can appear, we need to figure out how to generate bubbles on each one of these points we want them to appear on and then disappear. So we get sort of a bubble popping effect. So to do that, we're going to use particles and you can find particles in cinema 40 21 up here in the simulate menu under particles. We want to bring in a particle and Mitya and here's our particle emitter and so we can get a better look at this. Let's just hide these guys and we can see we've got this square admitted here. And if we hit play, it's submitting some particles. So rather than emitting from a square, we want each one of these particles to admit if we just turn this back on from these points here in our bubble placement matrix. So we need to tell the particles in our particle emitter to inherit the position off these points and the way we can do that is actually with a monograph effect er called the Inheritance Defector. So let's bring that guy in and then, you know, inheritance defector Under the effect of TEM, we need to tell it which object to inherit data from and the data we want is all of these points stored in our matrix object the bubble placement. So let's grab that and put that down here in the objects Look, And now, if we hit play, we're still getting the same result. None of these particles are attaching themselves to these points yet, And that's because we haven't connected our Mitya up to this set up yet. And the way we're going to do that is actually with another matrix object. So if we grab our first matrix object the bubble placement and hold control and drag it up here to make a duplicate, and now we can use this one with the Alameda to generate the particles. So let's just rename this matrix subject to bubble generator and in this new metrics object , rather than using our shape in the object slot here. And remember that sell sphere here, we're going to pipe in our meter. So we'll grab that guy and put him into the slot down here instead. And you might have noticed a slight change in our particles here. If we rewind and play, you can see the matrix point, so veil bubble generator now sticking to the particles. So rather than being admitted out this way, we now want these particles to stick into these positions of our other matrix object, the one we've named Bubble Placement. So let's just rewind this. And now we want the inheritance affect er to be affecting the position of our new matrix object and you'll see inside out matrix. We actually have a tab for effective. So what we need to do is grab this and drag that into here. But if we hit play, we're still not getting any change. And that's because we need to do one more step. We need to go back to our inheritance defector, and we need to tell these points to morph to the position of these points, and we can do that by just switching on the more motion object check box here, and you'll notice a soon as we do that, our boxes have disappeared from the particles here. And if we rewind and zoom out of it and we'll also hide our bubble placement matrix object And now when we hit play, we're generating particles only where we had matrix points on a sphere. So we no longer need to see this emitter in here. So we'll go and hide that as well. And now that we've got particles generating on each one of these points, the next step is to turn each particle into a bubble. So we'll rewind. And now we just need to model a bubble, which is super easy to do. We just need to come back up here and bring in another spear, and we want our bubble to be a bit smaller than this. So let's come down here and change the radius to something like 50 then will come up here and rename our new sphere. Let's cool it bubble. And now we want this bubble. If we hit play to replace all of these matrix points, so with our bubbles selected will come up to the McGrath menu, and this time, instead of using a matrix object, we're going to use a Kelowna and will hold old when we bring that in. So it's automatically applied and you can see it's become a parent of a house via and is now affecting it. And our Kelowna is giving us some bubble clones going off in this direction. And this is because if we go to the object tab of our Kelowna Thekla, earning, murdered is set to linear. But again, we want to change this to object. And the object we want to clone to is going to be our bubble generator matrix, which is all these points out here being generated by the emitter. So let's grab that and put it in here and now we've got a bubble on every one of those points. So now we also don't need to see our Matrix points anymore. So let's hide this and we'll go on, rewind this and see what we've got. We now have our bubbles appearing on the surface of a sphere, and we can probably get a better idea of how this will look if we turn our spear back on. And now we're starting to get somewhere. So the next thing we want to do to make this look a little bit more interesting is put some variation into the size of these bubbles. So with our cloners selected will come back up to the monograph menu, and we're going to use another defector. We want to randomly scale these bubbles. So let's use a random defector. And because we had our clearness selected when we brought that in, how random effect has been automatically applied to it. And we can check that if we grab our Klina and head of it to the effect is Tab, you can see our random effects is now in here and active, and we can actually double click on this to get into our random effects. Or we could just grab it up here. Let's go and take a look at the parameter tab, and you might have noticed when we brought this in, all of our bubbles have gone all over the place. They're no longer sticking to the surface of a sphere. And that's because by default, random effect er has random position values applied. So let's just turn that off. We only want to scale our bubbles randomly, so let's switch that on instead, and we can randomly scale these on any excess. So there's the X axis and the Y axis, but we'll undo that. We actually want to scale these uniformly, so we'll switch that on, and we want to scale these by half. So well, put 0.5 in here and now are bubbles are randomly half the size bigger or half the size smaller. So let's play this back and see how it's looking. I'm liking that, but we might need a few more frames in here, So let's bring this up to 250 were Just stretch that out and we'll just play that through one more time. How bubbles appear and they just sit there. We kind of want these two pop and disappear. So I think we need to adjust our particles. So let's go back up here and grab our particle limit up. And I think the stop admission down here is the issue. Currently, the particles stop emitting on frame 120 so when it gets to hear, no more particles are emitted and everything just freeze is more or less. But we want our particles to continue emitting throughout our entire scene. So let's just change this to the full scene length off 250 frames. And now, if we hit play, they carry on admitting. But we also want these particles to pop on white for a second and then pop off like there, a bubble bursting. And we can control that in our mirror as well with the particle lifetime. So right now our particles are living for 480 frames, which is beyond the entire length of our timeline here, so we only want them on screen for a fraction of that time. So let's change this to something like 40 frames. So a little under two seconds and we'll give that a play and we're getting close. But I also want the rate in which they're popping on and off to be a bit slower, and we can change the speed of this with the speed control. So let's bring that way down to something like three centimeters and we'll play that back, and that's about it. For the animation of air bubbles in the next lesson will look at merging this all together into a single, deformed mish 3. 2 Mesh Deformation: Okay, So before we convert all of this into a single deformed mesh, let's come over here and do some quick housekeeping. We want to grab our random effect, er, our inheritance, the emitter and our matrix objects anything that's affecting our bubbles and will hit old G to group them. And we just rename that to bubble set up and we'll move that down here, out of the way. And now we need to create a really high resolution mesh that weaken, deformed, and it needs to encompass all of these objects. And we can't use this sphere that we've already got in here because the resolution is way too low, but we can use it as a starting point. So let's grab out Sphere, which we rename to shape, and we'll hold controlling the keyboard and drag out a copy, and we'll just hide the original sphere. Then we're going to use our new sphere for the deformations. So let's rename that to deform mesh and because we're going to be deforming this mesh, we want to make sure our sphere has nice even geometry. And what we've currently got is not really ideal. You can see we've got these polls up here where we've got some triangles and overall, the polygons aren't very evenly spaced. So you want to come down to the object tab of our sphere and change the type from standard to hex a hydro. And that gives us something like this And you can see all of our quads are nice and evenly spaced now, and this is going to be perfect for deformations. So now we need alert more of these chords in here. So we need to subdivide Amish. It needs to be nice and dense so it can deform around our bubbles. So let's come over here to the segments and we're going to crank this right up. Let's give it a value of 100 and this really depends on the mess you're going with. But I think for our sphere, that should be enough subdivision to get some pretty decent looking deformations. So now that we're going to deformed this, we actually have to convert our sphere into aesthetic mesh. At the moment, it's still a primitive sphere, as you can see here, which means it's still a parametric object that we can adjust, but we want to get rid of all that data and just have a simple mish. So we'll come up here to us feel and right click and we'll choose current state to object. And you can see that's made a simple mesh copy off sphere. And there's even a difference between the icons here. This one's the sphere, and this one is Amish. So rather than deleting this guy, I usually keep these around in case we need to come back to them. So let's just hit old G to put our old sphere into a group and we'll rename that assets. Then we'll just hide that and move it down here. Out of the way, just in case we find that we don't have enough subdivisions, we can easily come back to this one. So now we want a new mesh to be deformed by these bubbles, and we can do that with a two former. So let's just make sure we've got an you subdivided mish selected and will come up to the deforms menu, and we're going to bring in a collision d former and when we bring this in, we want to hold shift on the keyboard so it's automatically applied. We always want our performers to be Children off the objects we wanted to form, like so So let's see if that's having any effect will come down here and hit play. Nothing seems to have changed just yet, and that's because we need to set up some collisions for our collision d former. So let's head over to the colliders tab of our former, and we need to tell Amish what to collide with. In our case, we want collisions with the bubbles. Several grab al Kelowna, which is climbing the bubbles and just dragged that guy into our collision list down here and straight away. We're getting our collisions, and we're starting to deform this mesh. And this white bit here is actually where we can see intersecting geometry. These air the bubbles themselves, poking through our deformed mesh so we actually don't need to see our cloner anymore. So let's hide that. And now we can see these deformations a bit clearer. And now if we hit play, everything's starting to come together and we've got those bubbles affecting l'm ish. So let's just take a look at some of the other options over here in our colliders menu, you can see the silver is set to intersect at the moment, which basically means whenever something intersex this mesh, it's going to the form. And because we have our bubbles on the surface of the sphere, it's intersecting. This has pretty much the same effect as our next option down here, the inside option. This just means if the objects air inside the mesh, they will be able to deform outward. But due to the way we've set this up, it's pretty much the same as the Intersect. But we do have a pretty interesting option down here. If we switch this to outside, you'll notice we get quite a different effect, where basically the intersecting objects are pushing the mesh inside. This is actually a really cool effect if you want to dent or damage an object. But in this example, we want our bubbles to pop outside, so we need to set this to inside. So if we play this back, the animation is not looking very interesting. So the next step is to add some spring emotion into this and make out bubbly blub look a bit more organic. So we're going to add another D former to Al mesh over here, so we'll make sure we've got our collision to former selected and we'll head over to the Deforms menu again. And this time we want to bring in a jiggle two. Former and again, Let's hold shift when we bring that in and it becomes a child of our collision to former, but we don't really want it in here. We actually want our jiggled a former to effect a mesh after the collision. D former. So let's just pull it out of there and move it after the collision. And now, if we had play, we get something like this and everything's looking a lot more organic. And before we check out the settings in our jiggle two former, let's just go back to our Collision d former and we'll head over to the advanced tab. I think we might need to change how the collisions are happening because our bubbles are looking a bit soft at the moment. So if you've ever worked with soft body dynamics in Cinema four D, you might be used to some of these settings down here. So let's play this back and tweak. Some of these will stop by adjusting the stiffness, and it is a little bit subtle, but it has made things a little bit more rigid. Same deal with these structural, and we can also tweak the flex until we get something we like, although in this particular case, none of these air really having too much of an effect. So what has stopped this? Feel free to tweet these whoever you like but for this example will just leave these at the defaults. But the one thing that I will do is change the setting up here. He relaxed setting, and we can use that to relax our mesh so we can make our bubbles bit more defined. So let's just drop this down to one, and we might need to play this so we can see that change and we'll stop it there. You can now see that mesh is a little bit tighter on L bubble and the same over here, and we can make these bubbles even more pronounced by bringing the stretch down as well. Let's also make that one and again we might need to reward and play this and now I think these bubbles are looking a lot more like bubbles and less like little lumps. But one thing you might have noticed is if we play this again every now and then we get some pretty weird little artifacts going on in some of these bubbles where the mission is crumpling up a bit. And one way to fix that is to just bring up the steps over here. And this is how many times the collisions are calculated pair of frame. So we might just bring this up to to to get a more accurate result. And if we play that back, that should get rid of most of those out effects. But don't worry. If it's not completely perfect, we're going to fix that a bit later. Okay, so these were pretty much the settings I used for my final render, anyway. So let's leave these female and we'll go and take a look at our jiggled a former so under the object have we've got some similar settings here to control their simulation. So let's just go and hit play again and will tweak some of these. If we bring down the stiffness now, deformations will take a bit longer to get back into their initial shape. Then lowering the structural will make things look a bit more jiggly, as if it was more like liquid, which I think is pretty cool. And finally, if we bring the drag up, it's going to slow everything down because there's Mawr air resistance. So it's really just a case of trial and error and playing with a combination of these to get a look that you're happy with. But for the example, I just ended up resetting these to the default settings. And before we move on to the next step, I'll just mention we've also got these advanced settings down here in the jiggled a former . And if you can't see this, just pop it open here. This just allows us to make our simulation even more springy. So we're going hit play and check this out. Let's just double this value to eight and see what that gives us again. It's quite subtle, but it is a little bit more jiggly, so you may or may not want to use that again. In my simulation, I just left this at the default. Okay, so the final thing we want to do before we move on. It's fixed. Some of this crumpling that's going on inside out bubbles here, and the way I fix that was with yet another D former. This time we're going to use the smoothing the former. So without jiggled, a former selected will come back to the Deformities menu and will grab the smoothing the former and remembering toe hold shift when we bring it in it then becomes a child of our jiggle diploma. And we want this to affect everything at the very end. So we need to put this guy at the bottom here and now that started smoothing things out straight away. So let's come down here and go back to the first frame. And before we started messing around with settings here under the object tab of our smoothing the former, it's always a good idea to hit initialize back on frame zero so we can store the initial state of our object, and that should stop us getting any issues later on. All right, let's go and hit. Play again and you can see at the moment it's looking probably a bit too smooth for my liking and That's because we've got the strength set way up to 100% so we can start by just bringing this back down and dialing in the amount of smoothing we want. And I think that's looking pretty good. Let's do a before and after, so that's before And this is without smoothing, and you can see this area down here is looking a lot better. And I think we've gotten rid of most of those crumpled areas now, and it might be easier to see this if we go and turn those lines off again and we'll play again. And generally speaking, it's looking pretty good. There's still a couple of little Crumpley bits in there still, but when we're ready to render this, we're going to subdivide it again, and that should fix the problem. So in the next lesson, we're going to start lighting else seen with octane 4. 3 Camera and HDRI Lighting with Octane: all right, so we'll be doing our lighting and texture Ring in octane, but you can use any render you like. The concept should be pretty much the same. So we've got out obtained. Live you a doctor in over here. And if you're really new to the plug in, you confined this up in the octane menu here, and I'm using Obtained version 2019.1 point three. But you should be able to follow along with any version of obtain OK before we start lighting. Let's also come up to the render settings, and we want to change the renderers from standard to obtain, and that should bring up our obtain render options down here. We don't need to look at these just yet, so let's close this off. And before we fire up our live you on, let's just bring in a camera and set up our shot so we'll come up to our octane Objects menu here and we'll bring in an octane camera and we can see that camera here. Then we just need to click on this box to look through that camera, and it's adopted the view that we had in here so we can just pan around and position this however we want. But to get this nice and precise, let's go to our camera and we'll head over to the coordinates tab and we'll just zero out all the positional values here. And rather than manually doing this, we can just come up here. If we're using version 21 above and click on this button, this is the reset PSR button. And now all these values have been reset to zero. So the camera is now at the very center of all seen. And now we just want to pull back in the zed direction. So we'll bring this value down and out. Camera should stop backing away, and we just want this guy right in the middle here. Then we could head over to the object tab of our camera and pick whichever lends we want to use. But I think in this case will just stick to the 36 milk and now we can fire up our octane live. You are pan straightaway. Things aren't looking too great. We can see how blood here in the middle, and it's looking very flat, but we can also see light in our scene, which is quite strange because we don't actually have any lights in here. And that's because we're actually seeing obtained a default environment light. If we come up here and click on the octane settings and head over to the settings tab, then in the sub menus here will go to environment and you can see down here we've got this default environment color and this defaults toe white, which is why are saying looks like this, but I'd always recommend starting from black when you're doing your lighting. So let's go back here and we'll just change this to black. And sometimes you're live you're wearing update straight away. So we just need to refresh this. And now I have seen is nice and dark, ready to be lit. So let's bring in some of our own lighting will come up here to the object tab, and we're going to use a HDR image to light are seen. So we want to bring in a HDR I environment, and that's coming over here. And if we take a look at the main tab of our environment tag, you can see it's currently just black because we actually need to import HDR map. So that's quick in here. And you can use any HDR map you like and find loads of these guys on the Internet. But we come up here to the content browser. I've included one in the course, which looks exactly like this so we can just drag this guy into the slut here and now we've got some lighting housing, so let's go back to our objects. And before we start messing around with the settings of our HDR environment, let's set up our obtain render Colonel first. So head back over here to the octane settings and we'll click on the colonel's tab. And here's where we can choose which Colonel we'd like to use. And this is basically the different rendering murders you have in obtain. I almost always use path tracing because it's nice and fast, and it gives you really accurate results. So let's just switch this to that. And at first l render Colonel sittings are set way too high, so let's bring these down. We'll start with the Mex. Samples will bring that way down to 300. Then we'll bring that a few steps down to eight and the speculate depth down to aid as well . And then we've got the G I clamp down here, which you'd never once set this high. This is to do with the amount of times light is able to bounce around in your scene. So what I usually do with this is bring it down to the point where you can see a change in the render. Maybe about their it's that's getting a bit dark off, so you can probably just round this up. Let's just give it a value of one, and these settings should speed up a renda pretty dramatically. We can also speed things up if we come down here and turn on the adept Gibbs sampling. So these air the settings are usually used when I'm doing my lighting, and you can always crank these up later when you go to do your final renders. So it's closed that for now. I also like to have my live viewer rendering at the correct resolution, and to do that, we just need to hit the lock button here to lock it to the output resolution that we set up earlier, which in our case is 1920 by 10 80 which is full HD, and that's why this is much bigger. We want to keep this ratio, but shrink it down into this window so we can see the whole scene. So what we need to do is bring this value down if we try 0.4 now images now 40% the size of PhD, and that's fitting in there nicely. And you might have noticed that this HDR map is actually showing up he now seen here in the background, and we don't want to see that. We just wanted to light out scene, and there's loads of different ways to fix this. But I think the easiest way would just be to bring in a plane and use that as a backdrop. So let's do that. We'll come up here and grab a plane and that planes come in flat, so we just need to change the orientation. So it's going up this way. So we're just come down here and set this to positive Zed, and now we can see that plane in here. So we just need to come up here and grab our scale, tool and well scale that up to the edges of our view. Then we also want to bring this back a bit in the zed access because it's intersecting al blob. If we switch the camera for a second, you can see that. So let's just push that back behind our blob to somewhere about there, and we can switch your camera back on, and it looks like we'll have to scale up our plane again. Let's also come up to our display settings here and turn on the lines. You can see. We've got a lot of subdivisions here on our plane, which we really don't need. We can keep this as simple as possible, so we'll go over to the object tab and we'll bring the width and height segments all the way back to one, and we can also scale up the width of airplane to fill in those gaps, said the sides. Okay, that looks good. That's also rename l plane. Let's just call it backdrop and we'll take a look at what we've got here. You might have noticed this weird little diamond thing we've got going on here, which in this window, if we just turn those lines off. It looks more like a dent here. So what's going on? Let's try hiding out of four Mission. See if we can figure this out. Okay, there's the problem. We can see this spear in Orender, but not in our view. Port. And if we take a look at that sphere over here, which we've renamed to shape, you can see we've got this red dot here which hides it from the View port. But we don't have a dark down here, which means it's going to stay visible in Al. Brenda. So we need to do is make that red as well by clicking it twice. And now we don't see that sphere in either window so we can turn our mesh back on again, and we're looking good. So let's have a quick tweak over lighting here before we move on to the next lesson. Let's grab our environment tag again, and we've got some controls down here to tweak the positioning off our HDR map. Just imagine this texture is wrapped to a big sphere that goes all the way around, are seen so tweaking these will just rotate that sphere and we can quickly and easily get some different looks just by rotating this around. So let's just tweak this until we're happy with the placement of the light. And I'm liking how that's looking. It's looking nice and dramatic, I think, and it's really lifting off that background. So we'll go with this look for now. But things are looking a little bit too dark for my liking and weaken. Brighten this up directly in our environment, tag down here by bringing up the power like so. But let's just reset that back to one, actually prefer to do this directly in my camera. So if we grab out obtained camera tag here, we've got a load of settings down here that we can use to tweak our image. But the one we want now is the camera image off. And if we enable that we get even more options, but right at the top of the list here, we've got an option for exposure, so let's just make a bit more space here and we can use this is kind of a filter after the render to increase that exposure, and the best thing about doing it this way is that we don't have to recalculate our Rendah , and I think I'm pretty happy with that letting set up for now. We can always come back and tweet this later once we've got our materials in here, and that is exactly what we're going to do in the next lesson. 5. 4 Materials with Octane: okay, lets start text during our scene, and we're going to start by adding a material to the background. So just make sure you've got your live, you're fired up and we'll right click over the background and will create a new material. And we'll just keep this one nice and simple. We'll just go with a diffuse material and he is our new diffuse material, and we'll just rename this. Let's cool it war and you could say that's been applied to our background. So let's go and double click on that material and open it up and we'll head over to the Diffuse Channel and we're just going to pick a color. I think we'll go with a nice, warm, creamy looking color. Something like that. I don't want to brighten this up a bit, so let's head back to our camera tag and we're just come down here and bump up that exposure. And I think a value of two looks pretty good for nail. We can always come back later and tweak this again if we need to. So we're gonna close this material up, and next we want to make a material for L Blob and I want this guy to look organic and maybe a little bit slimy, and I want the light to be able to pass through certain parts of the object. So we're going to create a material that has subsurface scattering and uses the medium node . So let's right click over this going and we'll create a new material. And this time we're going to go with a speculum material. And now Al Blob looks like it's made off glass, which is the default. Look off the speculum material, and we can see that's also been applied to our Mecir. So let's come down here and we'll rename this. Let's call it thick slime and then we'll open that up. And because this material is going to be a little bit more complex, we're going to use the obtain node editor. So that's fire that up by clicking this button. Then we can close this window and we'll start working on our speculum material here, and the first thing I like to do when I'm working with a speculum material is make sure I've got the Iowa Apple index of refraction looking correct, and that's to do with the angle the light is refracted inside the surface of our material, sir, if we head over to the index tab, you can see by default. Our index is set to 1.3 in a speculum material, and if you do a Google, you'll find that that's the index of refraction for water or very close to it. And that's where our material looks a lot like water. But if we were to change this and let's make it something crazy, the light starts to bend and refract insider material in different ways, and you can get some pretty interesting looks. But because we're going for slime, we don't want to stray too far away from water as they're going to have pretty similar Iowa's. So let's just make this 1.33 and I think this is going to work for us. So the next thing you want to do is give this material a bit of thickness or density, so it's not so transparent. We want to give it a nice, organic, slimy look, so it needs to be a bit murkier. So to do that, we're going to create a subsurface scattering effect so we can control how deep the light is able to penetrate our material, and we do this in obtain over in the medium tab. And we've got two types of medium the absorption medium and the scattering medium. And let's just make a bit more space so you can see that. And the only difference between these two is that the scattering medium has more options. So I personally always use this one. So let's bring that in by clicking this button, and that automatically hooks up the scattering medium node for us. But we could also grab it from the list here and hook it up manually if we wanted to. But the medium has now made our material look very doc, and that's because it's become super dense and the light is no longer able to pass through anymore. And that's actually controlled by this density slider here. But if we bring this value down closer to zero, the material gets less dense and allows more light to pass through, and we're getting that more transparent Galassi look again. So before we picked the right density, we want some color to be absorbed into this as well. So we content this with an RGB spectrum node. So let's plug that into the absorption in our scattering medium and we don't have much room here, so let's just move these around of it. So by default, RGB spectrum is white, which is why nothing's changed over here. But if we pick a color and we're going to use a pinkish slime color, so we'll bring this back towards the pinks and add a bit of saturation. We can start to see that color coming into it now, and the amount of color we see is going to be tired back here to the density. As we bring this back up, material becomes more dense and we see more of that color. But we're starting to look a bit purple now, so let's go back to our RGB spectrum and will make this pink. But you will notice that we've picked a pink color in here. But this is now looking closer to read than pink. And again, this is tied back to our density. If we bring this down again, we go back towards the pink. So just keep in mind that these two work in tandem. So now that we've tend to this. We want to make this look a bit more organic, so we want the light to pass through our material and scatter around inside. We want a subsurface scattering effect, so to do that, we need to add some scattering. So let's plug out pink RGB spectrum into the scattering as well, and we're starting to see more of that pink in there now. So if we were to bring the density back up, we're now getting that subsurface scattering effect, and we can probably see this clearer if we use a different color in our scattering. So let's grab our RGB spectrum and holding control will drag out a copy. Then we'll plug this new one into the scattering instead, and we'll pick a color that's going to stand out. We'll go with a nice green, and now we can see that green skittering around just below the surface of our object. And again we can see how changing the density affects this. And obviously we want this effect to be a bit more subtle than this. So let's change our scattering color back toward the pink, but we want to make this one a bit brighter so we'll lighten this up by bringing it toward the white. And now you can see that different shade of pink just below the surface here. And then we can head back to the density and darling of value. Were happy with something like that is starting to look a bit more like pink slime. And I actually think I want this to look a bit thicker. So I think the value of eight looks good and again, it's a subtle effect, but it's those little details that are going to make your materials look more realistic. So there's one final thing to do before we finish up this. Listen, I just want to roughen up these reflections a bit so it doesn't look quite so shiny. So we'll head back here to the roughness tab, and if we bring this right up, we can get a more diffuse looking material. But I want this to still look a bit slimey, so I think we'll bring this back down and go for a value of about 0.15 and I think that's looking nice and organic now. So in the next lesson will add the finishing touches 6. 5 Finishing Touches: all right, we're almost there were now ready to put the finishing touches on to our Gerry Boyle blob and render it out. But first, let's just tidy this up a bit. We'll come over here and bring in a no. Then we'll rename this guy. Let's cool it, Gerry Boyle. Then we'll grab our Kelowna and our deform mesh and put those into their the more make sure we've got our live. You are fired up. And now that we're adding the finishing touches, I might just zoom in here a bit as well. If we bring this value up 2.6, this might be a bit easier to see. Then, to make this look a bit more interesting. I want the areas that are bulging out toe look a bit thinner because these parts are bubbles. We should be able to see through them a bit more, So we want to create a material that's based on this one but looks a bit more see through. So let's grab our original fixed line material. Then holding control will click and drag it here to create a copy. Then we'll rename that we're going to call this guy thin slime. Then we'll apply that to our mesh over the original material. And now we can open the nerd editor and here's our nuthin slime shadow. So to make this look thinner or we need to do is go into our scattering medium. Then it's just a matter of bringing down our density. If we take it right back toward zero, it's looking much thinner already, and we can come back and find soon this a bit later. But first, I don't want our Finn slime to be is rough is out fixed line. So let's head over to the roughness tab, and we'll just bring this value down as well. Okay, let's go with something like this. Female. So then we want to mix these materials together but restrict elfin material to only appear in the bubbled parts of our model. So we need to create a mask for the deformed parts of the mish. So let's pause our live viewer for a second and minimize our note editor. We can actually use one of cinema forties rigging tools to do exactly this. So without before mesh selected will come up to tags and down to rigging tags and will bring in a tension tag. And at first nothing really happens because we just need to set up a few things back in our tag. And it's a good idea to do this back on the first frame of the animation, so we'll reward in this to frame zero. We just want to set this to its non deformed state, So we'll also disabled the smoothing and the jiggled reformers. So now we get our original, non deformed sphere, and the tension tagged works by creating a mosque on the area of the mesh that's been deformed from its original state. But first we need to tell it that this is the original state. So we just need to click fix tension to store this as the original sphere shape. And then what we need to do is have our attention tag. Generate a map of the areas that are deformed or stretched, so we need to generate a stretch map So we'll click on make map, and now we can see it's put a stretch map in here and also generated a Vertex map tag up here on Amish. And if we click this going, how mesh turns red. But when we hit play, the areas of our mesh that deform away from the original shape turned yellow, and we can use this as our mosque. So let's rewind and we'll turn now jiggle and smoothing back on and hit play again. And now we're getting something like this. But there's a lot of yellow in there now, so we might need to dial down the sensitivity so it's more contained to the bubbled areas only so we'll grab our attention tag again. But when we do, we lose those colors. But we want to be able to adjust this while keeping an eye on what's happening back in our very text tag. So what we can do is hit this little plus button here to detach this window. They will move that over here, and if we go back to our veritext map, we can now see our red and yellow map again. And we can find you in this in here by tweaking the amount slider. So by bringing this up, we can restrict that, too. Just those bubbled areas of Amish and I found a value of about 10 works pretty good for this mish, so we can close this now and then. We need to figure out a way to bring this data into our octane materials. So let's fire up alive. You're again and will create a test material and see if we can figure this out. Let's right click over Amish and will create a new material, and we'll just go with a diffuse material and that's now replaced the thin slime material we had on there before. Then we'll go back to our note editor and load in our new diffuse material. And now we want to bring your Vertex map into our node graph here, sir, if we scroll right down to the cinema 40 nodes at the bottom of their list, we confined a Vertex map node. And if we plug that into the diffuse channel, for example, we don't get anything at first. And that's because we need to get into this and tell it which veritext met it needs to use . And we can actually just grab veritext map here and dragged that straight in. And now that red and yellow Vertex map is now a black and white map we can use as a mask in our material, and we can even refine this map further if we want to directly in our node graph. If we were to make a bit of space here and bring a color correction node in, for example, we could then find shooting this by tweaking the contrast, and that's tighten that up. We could also change the gamma for use a combination of these until you get something that works for you'll mish. I think we'll just reset the Gamma and bring this back down a bit. Something like that. One thing you might notice, though, is that the blending between black and white isn't very smooth at the moment, especially down here. So to fix that, it might be a good time to add some more subdivision to our mesh. And we can do that directly with, obtained by selecting Amish and going up to the tags, cinema 40 octane tags and adding an octane object tag. Then, down here under the Subdivision group tab, we can add some subdivision right here, and this is a bit more memory efficient than using the standard Cinema 40 subdivision surface, and it should render a bit faster force as well, so let's just bring this up to one. And now not only is our mesh smoother, we've also smoothed out that mask now. So now we want to use this mask to mask our two materials together. So let's just grab this set up out of our diffuse material and will hit Control C to copy it. Then we'll go down here and grab our original fixed line material, and we're going to mix this with the thin material. So let's just zoom out here and back at the top of our nodes will bring in a mixed material . Then we'll zoom back in and play Gothic slime into the material one slot of our mixed material. Then we want to grab our thin slime and bring that into here as well, and we'll plug this guy into the material to slut. Then we can come down here and rename our new mixed material. Let's call it something like slime mix and will apply that to our mesh over the test material. And what we're getting now is just a simple 50 50 mix of both materials, because if we look at our mix material by default, this mix amount is set to 0.5. So we're getting an equal blend of both of these materials, which is what we see here. But instead of this, we're going to use the mask we created to drive our mix. So let's make a bit more space and then we'll just paste in those nodes we copied earlier by hitting Control V on the keyboard. Then all we need to do is plug this into the amount slot instead. But we're still not quite getting what we want here. There's actually a little glitch that sometimes happens when you copy and paste notes in the note editor. If we take a look. Beckett, our very text map, you can see that we've lost the map we put in here before. So we need to do is bring your stretch map back into here, and now we're kind of getting what were often. But we just have the materials around the wrong way, and we could fix this by just switching these around down here. But an easier option bacchanal Vertex map node is to just hit the invert switch, and now we've got our thin slime material on our bubbles and are fixed line material everywhere else. So let's just tidy this up a bit. We'll grab all of these nodes and right click. Then we'll just quarter arrange these selected, and that should straighten out of node graph of it. And I'm not just tweak the thinner material I can. I want to bring some more of this color into it, so I think it might be a bit too thin. So we'll grab the scattering medium of our Finn's sly Mia, and we'll bring up the density. I think a value of 0.85 should work for us, and now the bubbles look thin, but the overall effect is a bit more subtle. So we're done with the noted. It's a female, so let's just close that. And we don't need our test material anymore, so we can delete that, too. And now we've got our materials. So did out. So before we render this, I might just brighten this up a bit. Let's head back to our camera tag and down on that camera imager will bring up the exposure . Let's try a value of 3.5, and I think that's looking a bit better. You've also got a bunch of other options down here so you could do a lot of your post effects directly in octane, which is pretty cool. As you can see, you've got your standard color controls like gamma. You can also add some vignette ing or maybe a bit of saturation. Or you could just render this out and handle all of your post effects and something like after effects or nuke. One thing that I like to do sometimes is back up the top here under the spectral a I D noise. Oh, this handy little feature can speed up your renders like crazy. Rather than going into your obtain settings and cranking up the Mex samples which can really slow down your renders. We can just turn this on by hitting enable. And now, when it's finished rendering the 300 samples that we had set, it adds a Denoix zing effect and smooths out the grain in the renda. And a lot of the time it does a really good job of this, and you can occasionally get away with using this in your final renders, depending on your scene. But if you look closely you might lose some of the finer details in your materials, but it's always worth checking out if you want to speed things up anyway, and you can see the difference it's made. If we switch back to the normal render and this is 300 samples and you can see the grain in here, then we'll click here and switch to the D noise version, which I have to say is pretty impressive. Okay, just a few more things you want to check before you render this out. Let's just close this, and we might pause our live you as well. It's always a good idea to cash your animations before you render, especially for using effective zor dynamics that need to be calculated on the fly. So let's catch these guys one at a time, well disabled, the smoothing and the jiggled a former and start with the collision to former. So we'll rewind back to the start and head over to the cash tab over here, and all we need to do is hit, calculate, and that'll cash that into memory. So now if we play that back, it no longer needs to calculate, so it should play back nice and fast. So now we can turn the jiggle two former back on, and it also has a cash tab, so we'll calculate that as well. And that'll Cashel that jiggly motion on top of the collision to former. And we'll just check that as well. And that's playing back that jiggle nice and fast as well. And finally, we can turn our smoothing back on, and that's going to smear the all about cash to fix. Okay, let's hit play, and we'll fire up the live you one last time to make sure everything's looking good. And I think I'm pretty happy with that. So we'll stop the lie viewer, and you can add any camera animation you like or tweak any of these things you've seen so far. And when we're finally ready, we can open up the render settings up here, and we've already set this to render HD, but we want to render all 250 of our frames, so we'll switch this from manual to all frames. Then we've got our usual Cinema 40 save section here, which we don't need when we're using octane, we can turn that off and use the settings down here in the obtained Render a menu. We don't need to worry about the main settings, so we'll head over to the Render passes tab. And if there's any fancy render passes you want to set up, you can do that in here. You just need to enable this and set a path to output on your computer. Then I always output b E X are format, and I don't like to use the multi layered file option because I like to keep all of my passes separate. So we'll untech that. And you can also choose to put your passes in a folder if you like. And if you've done any post corrections back in the camera images of your camera tag like we have and you want those effects backed into your rendered sequence, you'll just need to change. These as well will change the profile color to S RGB and the tone map. Type two tone mapped and turn Mapping is a fancy way of saying your post to fix. So now when you render this out, it should look exactly like what you're seeing in the live viewer. And finally, if you'd like to export this nice clean. The noise version that we set up over here. We just need to export that as a separate render pass. So will pop this open. And we just need to turn on the Denoix, the beauty pass, and with this set up, you should be good together. So fire off a renda and you've now created a gear boil effect. And you can use many of the concepts from the Siri's to create all kinds of cool affects. 7. Thank you!: Thanks for watching. Don't forget, supposed to a final project to our Facebook group. And if you share your creations on social media, you can tag us at C G short cuts. It'd be amazing if you could leave us a review. And if you need help with anything or you have an idea for a future course, please get in touch. You can find us at all of these places. Catch you next time.