Realistic Ring Pops in Cinema 4D Using Random Color Nodes! | Patrick Foley | Skillshare
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Realistic Ring Pops in Cinema 4D Using Random Color Nodes!

teacher avatar Patrick Foley, 3D Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro

      0:40

    • 2.

      References

      1:30

    • 3.

      Modeling

      17:25

    • 4.

      Camera Settings & Scene Settings

      5:58

    • 5.

      Lighting

      2:01

    • 6.

      Texturing Pt.1

      18:20

    • 7.

      Texturing Pt.2

      8:52

    • 8.

      Rendering & Photoshop

      4:41

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About This Class

In this class, I'll break down how to create a beautiful assortment of photorealistic Ring Pops using nothing other than Cinema 4D and Octane to render. We'll go over the following processes.

  • Modeling
  • Lighting
  • Texturing
  • Composition and Assortment
  • Rendering
  • Post Processing

Follow along and gain the skills to make these on your own!

Meet Your Teacher

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Patrick Foley

3D Artist

Teacher

Hello, I'm Patrick. Many know me as Patrick4d. I've been creating photorealistic abstract renders in Cinema4d and Photoshop for awhile now and was overwhelmed at the support and buzz surrounding my social media. My work has been featured by Adobe, Photoshop, The Motion Designers Community,  and more.

So as a thank you, I've decided to share some of my knowledge. I will be releasing a new class every other month so hit the follow button and jump aboard!

See full profile

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Transcripts

1. Intro: [MUSIC] What's up, guys? It's Patrick here. Welcome to another Skillshare premium class. We're going to be making really highly requested class today. Photorealistic candy and specifically ring pops. This one's very fun one and very simple and we're only going to be using Cinema 4D and little bit of Octane as well. Then we're going to put it into a great still-life which will be good for ads and social media, all that stuff. We're going to go over the whole ideation process. References are integral to the modeling, camera settings, lighting, rendering, photoshop, composition, and then making some cool stuff like that as well. It's been a while, but I think this class is for sure going to be useful for a lot of people. I can't wait to jump in with you guys. So let's do it. 2. References: What's up, guys. Now we're in the preliminary phase where typically I would be picking a reference photo or something of that nature. Usually, I just go to Google images because if you're trying to make things that are super realistic looking, you're going to want at least some decent proportions and just seeing close-ups of the texture, see how it all works. We're going to go here and pick some of this stuff. I like this one, gives you a lot of variety. To mark these down and place them in an area we can see, I usually have this tiny program called PRF, and it's free, I believe. At least when I got it was free and it's super dope. You can just drag images to it. You can scale them however you want to, always stays on the top layer. Very nice tool. Let's see, let's grab a couple more. This one is cool, let's drag it, they all come in different sizes depending on how big they actually are but super-helpful. You can arrange them how you want. You can even if you have a bunch of pictures and you're just dragging stuff around, you highlight them all. You can right-click images, arrange in optimal and it gives you a really cool collage. Super dope, super useful. I may have mentioned it in other programs, I'm not sure or other classes of mine. But I'm going to delete these two, I don't think I need them. I'm just going to keep maybe these two because you can get a couple different angles like this and they're all on white. Easy to see and I'm going to minimize that. The next step will just be starting these things. 3. Modeling: We have our references here. We can place them anywhere. We can even place them in a different monitor if we have. I may keep them here for now and then just work off, then move this panel as I would need to. But in any case, I think it's a good time to start modeling. This is the old standard workspace or layout, I should say. I use a completely different one for a lot of my dailies just to speed up the process, but I guess for this I'll just be using the old layout. Since our 25 or 26, I can't remember, they've switched up the layout to a newer one which I'm less familiar of, and so we're just going to be using this. Without further ado, I think we can start creating some cool shapes here, and I believe if you look at the amount of sides on these things, let's start with a very simple shape. How many sides? I think it's eight, 1, 2, 3, 4,5, 6, 7, yeah, eight sides to these things. Pretty much the whole thing has eight sides, it just changes in the scale of them. I think what we're going to start with is let's go start with a cylinder. I think I want to start this on there. There we go. See I'm already moving this thing. Maybe we can make it smaller just to see and have this one up. But we start with the cylinder here and if you go to the attributes panel here, we see the amount of sides or the rotation segments are 16. Let's change that to eight. [NOISE] That should be good. I think we're going to want one split here. Let's go here, and rotation segments eight, that's good. Let's take the height down to one, I believe. Then if you go to Display shading lines or quick shading lines might help. You can see the segments there pretty nicely. We may need two segments actually. There we go. This doesn't look like a ring pop yet, but it will in a second. What we need to do now is I believe just click "C" or this guy here, make it editable. Now we can take these polygons by going to the face, edges, or point mode and start manipulating these things just like this. That's the key here. We're not going to want to move them with the faces, we're going to want to move them with the lines. If you're in any of these modes like the move mode, you can just double-click one of these guys and it'll select the whole circumference, I believe that's the word. If you click T, you can just scale these things up like this and make them smaller depending on which side you're at. You can see pretty quickly here if we go to the front view here, it'll be easier to see. All we're trying to do is make this shape. Very simple. Let's leave. Actually, just make this one a little bit smaller. Let's bring this guy up a little bit. I'm using key commands. Usually, I'm just clicking E, T, or R, for E being move, R rotate, and T scale. That's all you pretty much need to know. Then double-clicking here, let's go ahead and E, and you'll see we're moving these edges but not the bottom. I might just want to go here and select the faces instead, just for this one because it's at the very bottom. We can go U, L and it'll be selecting the loop mode, so I'll just select this whole bottom part here, [NOISE] E again for the move tool and then go back to this mode. Bring this up. Somewhere around that. You can always bring reference images in the back, which can help. But I think for this it doesn't really matter as long as we're getting the general shape. Maybe this one. Let's move this line a little bit smaller, and I think that's honestly good; the shape. We're looking good there. That's honestly as crazy as it gets for the modeling of that piece, and yeah, we can go ahead and I believe create another cylinder. This will be for this base part here. Before we do that, I'm just going to hide this cylinder. Let's call this the diamond and let's call this the easiest way to pop to the top. The cylinder will be base. Bring that underneath. Make it active again. Let's just start making this a little bit more finite and small. Bring it down. Again, we don't want to be too crazy. We're making an approximate. Something like this. You see it's pretty thin. We're going to get decently thin with it like that. Then if you notice, I don't know if you can really see in any of these, but there is a clear thing that sticks out here that we want to be attentive to. What I'm going to do is essentially, let's take out some of these segments here, just like that and I already click C, so we can edit this thing. If you'll notice it looks pretty low poly now. But right now we're going to take the pop and go to x-ray mode so we can see in-between it. We're going to want to extrude a piece out here. Easiest way to do that, let's go to the face mode and then remember U, L to loop-select this whole area. Let's go ahead and inset, which will give you another segment just going inside of it. We want to pretty much match that shape in there, so let's go over there and then holding down Control or Command, I believe if you're on a Mac, just bring it up which will extrude one of these faces out. I think that's about how much you want to do. Nothing too crazy. Depending on the reference photos you're using, you might be able to see the ridges in here like this, and that doesn't have to be too exact because it's literally being covered by so much candy. We're just going to create those ridges here. But something to keep in mind is that we want to smooth these things out, and to smooth those out, we're going to put those into a subdivision surface, which is this guy here. Just clear one of those guys. Just move it underneath the pop and then create the base, take that and make it a child of the subdivision surface, and that's going to make this thing really smooth. However, it doesn't exactly have any hard edges because we need to add a bunch of loops to it; edge loops. Let's press "Q" and just disable the subdivision surface. That's an easy trick right there. Just clicking Q will allow you to do that. Let's make some loop cuts here. We need to make it sharper on the edges, so I'm going to go to Command A. I usually just select everything, go to Loop, Path Cut, and then here, I'm sure to click and drag until I have an area here. You'll see right away if I were to just add one here, press "Q", you can see we're getting a little bit more detail towards the edge here. But it's not really going to be showing until we add enough, so let's add one to the bottom now. Now if we click Q, we're actually getting some stiffness there. I'm probably going to want even more stiffness because it's a pretty sharp edge. To add a little bit more stiffness there we'll just add a quick loop cut here, and a loop cut here. Again, this doesn't have to be too exact. You could go as to be as exact as you want to make sure it's right in the middle. Great two of them, and then while you have maybe one of these faces selected, you can just do something like this. There's many ways to make it exact, but for something this small, it doesn't really matter. Then when you click Q, you've got these nice clean shapes here. Of course, this needs to be cleaned up. We're going to do the same to that base area here. [NOISE] What I'm going to do is select all of them Command A, and let's go Loop Path Cut. I'm going to go somewhere to make it like a clean edge. The farther away you put it towards the edge, the more flow it's going to have. If I put it here, let's see. Pretty sharp edge there versus here. Much more gradual edge. That is pretty much what you got to do there. Looks good. I'm going to go here and make it pretty sharp here. Now we've got a sharp edge. I'm going to do the same with this guy, so you can do this mode if you want with subdivisions surface activated so you can see what you're doing in real-time. I think that might be the easiest. Sometimes I just like to make it very simple. Now that we have this edge and this edge, let's create one in the middle, make it centered, and create more of these guys. Maybe like that. So not that we have approximate amount of segments here, around two, with the faces selectives UL, and select a bunch of these guys like this, and then we can go bevel, and we can bevel these guys out a little bit. If you want, insert it so they'll be a little bit sharper. Now subdivision surface it, and solo this guy. Oops, let's solo. There you go. You can see what we're working with here. Pretty simple, but it gets the job done. I believe this is the biggest portion at the top. It's hard to tell. I guess what we made could be good. Looks like the top one is a little bit bigger. What we can do [NOISE] is here let's take this one. Actually, it's taking this edge loop right here, move it down. Let's loop select this edge, bring it up a little bit. Because these points are where they are, let's select the faces move that up a little bit. Then loop select this guy, and bevel it out a little bit further. If you want this area to be sharper [NOISE], let's select, and inset. Now this should be a decent model for this thing, so now we go. A little bit bigger on the top, still gets the job done. Let's un-solo that part. We're looking pretty good. It looks like a ring pops up are maybe a little bit high. If we want, we can take the pot part, and maybe bring it up a little bit, and then just move the whole thing down, going into model mood, bring it down. An easy way to snap these things. If you go to this guy, enable axis, and click "Enable snap". In snap, just open to the bottom, disable axis, and snap it to the top there. Now we're perfectly on that part of the mesh, and then just disable that. Now everything's good. We just need to make the ring part. I was trying to figure out the best way to do this. I think the best way if I remember correctly was just to make, I believe it's tube. We're going to make it going on the z-axis like this. You can see where I'm going with here. Let's move it all the way down. Actually, let's T scale it down till we have the approximate size. This part you can do by yourself. Just imagine this was a cut ring shape instead of just a full ring. Let's make it pretty. There you go. Just like that. We get the idea here. Just seeing how much we want to go behind on this. If you look at the thickness here, let's just make it a little bit thinner. Something like that, cool. It being cut at the bottom, we're looking good. Now we could Boolean it. We could do all that stuff. But I think that more simple option that I came up with was putting it into a subdivision surface, and just slicing it. Let's go slice just like that. We don't want that, we want that reverse this. Let's go 360-180, something like that. That gives us half. Then I was just playing around with here we need more of this. Maybe you want this at like 120. This can be 420. It looks right, 420, and 120. That looks good. If you were to put this into a subdivision surface, I like to use one subdivision surface for both objects. But you can't plug two things at a time into a subdivision surface. But you can if you select both of them, and put them in a null so that anything that's in the null is applied. We look at this, and it looks pretty decent. It's getting us where we need, and then messing with the segments here. You can see depending on the cap settings, you can make it really sharp or not sharp at all. The rotation segments, we can dim down. You can see what happens. I feel like these aren't perfectly circle, so something like that's good. Then height segments, depending on how sharp we want the ring. I think something like that might be nice [NOISE]. To me, that looks good. Then we can always go back to the scale of these things, and the inner side of how tall they are. But I think I want to keep it here. This is pretty much our finished ring pop. We can if you want take one of the these guys down. But I think I like it like that. We're going to be using instances. By no means this is a very heavy or dense polygonal shape by any means, but that is pretty much the modeling of the candy there. You can do some stuff that you really want to rough it up. You can make these guys, the pop, a little bit more dynamic if you want. But we're going to be doing a lot of that in the texturing. We can really hunker down with such a very simple base model here. Then going forward, we can have a bunch of imperfections, and all that stuff to make it realistic. Right now it looks pretty simple. But this is going to get very complex soon, not really as far as skill level but as far as the look of it. Just looking at it now, I might want to increase the size of this guy real quick. What we can do is, let's go T for the scale, and increase. I believe we want to lock the height, and just increase the depth and the X if that makes sense. That looks good. Unlock the Y, and we should be good. I think we're ready to light, and texture this thing. We'll do that in the next section. 4. Camera Settings & Scene Settings: Hi guys, we're back here and we have this finished model here. I think we're ready to get this scene set up. We're going to set up a camera real quick. To do that, I'm trying to do Shift C. I'm just going to type an octane. Should go Octane camera. Should be good. Then hop inside that camera by going to click this little square here. I'm going to cancel all these coordinates out here and just move this Z back so you can see what's going on here. I like to have a pretty impactful camera, a longer lens. I'm going to go scale more back on the Z and go to the object tab instead of classic, let's go to like telephoto. That may seem like nothing really happened, but you'll be able to see once we start rendering. I'm also going to look into the Render Settings here. I have it set to Octane Render. May start making classes soon on Redshift, I need to get more into that. I know Cinema 4D comes with it, but I've just been Octane for so long and I appreciate you guys rolling with me here. I'm going to go to output. We really just have to worry about the width and height. I think I'm actually going to keep that at 1500 by 1500. Lock that there. Depending on if you want to go like 1920 by 1080 or 1500 by 1500 up to you guys. I'm going to keep it square for the time being. That's really all we have to worry about here, as long as it's set to Octane, we're good. I want to be able to see the borders here now. If I just click into the viewport and go Shift V, go to Safe Frames, take the opacity to 100. Now we can see our aspect ratio and if you really want some details go Octane camera composition, grid. Now we can see, this isn't really centered. What we're going to do is, let's tilt the camera up a little bit. In fact, let's move the ring pop down. Let's collapse these into a group. We have the tube here. Let's call that ringing base. Collapse that, and then put these all into a null together. I'll name this ringpop. That should be good. Depending on what your use cases, maybe you'd want to bring the axis down. Remember we have to click "Enable Axis" here. Depending on, if you're going to have you stand up on the ground, you might want to have them there, but I want these guys to be dead center. I'm going to switch camera view, make sure there's galaxy key centered here. Just somewhere in the middle because once we clone these, it'll be better to have it like that. That looks good there, and then once we disable the axis, we can go back to the coordinates, move it down, it should look pretty centered, which it does. Then when we want to rotate it and stuff, it's easy to just boom like this. That should be good. Notice how the ring and the base here aren't really attached. We could be doing some volume [inaudible] all that stuff, but we don't need to mess with that many segments. We'll be doing this in the texturing. There's a way you can blend those a little bit together. Let's center this out again. Actually, we can, let's zero, zero, zero, zero and we move it on a cool axis like this just while we get everything set up. We have the ringpop and the camera. Doesn't really matter the order these are in. We have the ringpop and the camera. Let's go ahead and start rendering this stuff. Let's go and grab an Octane live viewer window. Let's go to Octane, live view window, and pretty big. Let's bring this down here and grabbing these three gold bars, host these next door here so we can see what's going on, as well as maybe grabbing Octane settings here. This part, I think it's pretty important just getting some basic settings so we can have something we like. If you want to just copy these settings, I only really messed with maybe the max samples. Bring those 250 or 100 depending on your computer's needs, but that is not too bad. Maybe I'll go to 60 to get a very quick clean render and make sure you are on path tracing instead of direct lighting, and then can't remember juror keep everything the way it is. That should be good. Let's render right here. This is what we're getting and typically I'll click this lock icon here because it'll allow us to move these frames and give us our actual aspect ratio here and not just fit it to this box. I think what I'm going to do is subtract this a little bit, and that should be good. Very fast runner, if I were to render this, redo the runner, extremely fast. Again, I'm working with a couple of 30, 90, so there is that. Then some quick camera settings before we get started here to make this thing really look better in the long run. Let's click this camera tag here. Camera Imager, Enable Camera Imager , highlight, compression, take that all the way up, and to you right now it may look like I just made it really flat. That's what we want because then we'll have more latitude, dynamic range to work with more of a camera guy thing. But then we can take the exposure up to compensate a little bit, maybe to 1.7. I do this for every one of my renders, just to give it a little bit of a punch with more detail. I think we can probably move this little bit down. It's not outside of it, it's colliding with it. That looks good. I believe we can start lighting this thing. 5. Lighting: First thing we want to do is create for your two objects, HDRI environment. Now, this is what we want here. It's pretty much empty sky. We want to bring in an HDRI in there. I'm probably for the HDRIs, I'm going to grab, let's see if I can bring that in here. HDRIs. Got you. Let me bring this in here. These are just some HDRIs from my one of my packs, and one of these I do use a lot. You can actually get these on my Padgett 4D.store website. I use parking deck 1, so I'll grab the HDRI and our HDRI file and just put it in there. I can click "No" for now. You can see already we're getting a pretty nice lighting and I can rotate this guy however I want it, but I don't really want to be able to see the background. I'm going to create another HDRI environment. It's overriding this other one here. I'm going to rename this BG for background and just go from primary environment to visible. Now, if we go back to this one, let me just rotate, that's all I really need. Even that's looking pretty good, and I usually bumped the power up a bit, something like that, something that'll give us a nice immediate lighting. Far, we're still going to just blink geometry here. But at least it's in a lighting scenario that we can start off with and see what texture start to look like. I boost this to 10, something like that. That's good. We're at a good spot here. Let's say we're done for lighting until we want to add another area, light usually set a baseline image lighting there. If I think it needs some punch or kick from a different direction, I'll add that. We're good there. 6. Texturing Pt.1: The next thing we want to do is start messing with textures. This is where it gets pretty fun. I'm going to go Shift C and octane node editor. This is going to give us exactly what we need here. Sometimes I replace what's going on here and sometimes I leave it there. I'm going to select one of these. Bring props here. Maybe I'll do the, I don't know which one I like more. Maybe the green one will try to replicate first. I want that pretty small in the frame. Maybe there. Then I could replace maybe the live viewer window. Now we can switch between the view and the octane node or sometimes when you do it this way it won't update correctly. But we'll see how this works. Let's go ahead and create a composite material. Just like that. I usually start every material with a composite material. I guess you guys can see it, but it's below my picture here. But either way, let's grab the composite material and put it on the base and ring. We have that there. Hopefully, you guys can understood what just happened there underneath my face where you can see me. There is the material. As long as you know that we should be good. We have the material here which is applied to the base and the ring. The first thing I want to do is grab Material 1 and create some material which should make it glossy. Now we're getting some nice highlights, perfect. The next thing we want to do is I believe, no, I think we don't need to smooth out any edges now with this ring, so we're good there. Let me zoom in here a little bit. Then we'll want to create some color here. I guess the reference here is blue and it almost looks like it's translucent a little bit. I'm not sure if I want to do that or if I want to just keep it. Like plasticky because some of them are plastic. But if you do want to, let's go ahead and create a specular. Then let's go ahead and go. Common fake shadows. That'll let light pass through these things a little bit more realistically. Then we can go to the median and scatter. Now it's going to get darker a little bit in certain places where the light is hitting. We'll drag something into the absorption, maybe a color RGB spectrum. We can bring this to HSV. Let me select the colors here. Let's go get this blue color here. We just select something like that and increase the brightness here. Then the important part, scattering. Now can see what's going on here, but we're letting the light be very roughed up as it hits inside of this thing, then we can adjust the density here. Let's see what happens if we don't have a lot of density versus a lot more. Something like that looks good. We're going to definitely want to tone down that blue color though that's very, like that. Looks more purple then increase the color. If anything, that looks a little bit more mess we're not getting complete shines. Let's go ahead and graph it up a little bit. Maybe not that much. Something like that, I believe looks good. We also have to start rotating this and seeing what's really going on with this lights and how it's interacting with stuff. To me, it needs to be a little bit darker. Let's go back into the node editor. Honestly, I think go to the transmission tab, add a color node. Bring that down just a little bit. We add some color in there. Just like that. That looks pretty good from now we can keep that there how it is. Now it's time for the fun part. The specular material that will be on this main ring pop thing. We're going to create another material. The material create octane composite material again and drag that onto the pop. Go back to the note editor with the pop-selected sub-material. Got you. You can see what's going on here. We have the glossy material affecting this thing. I don't think we need this song tag. Yeah, so that was distorting our mesh a little bit. We don't need that. But for this, you'll be able to see what's going on here. Before I even get to the specular part, where we're going to do is go to basic and click round edges. Now we're going to have this other tab here. Drag that out. Let's go round edges, Name, Fast, to accurate. Now watch what happens when we increase this radius. We're going to see, we're going to take these unrealistic sharp edges. See in this reference we have little bit of a double there. We could double the actual geometry, but it's nicer to be able to do that on the actual ring pop. Let's click consider others and bring this guy out. You can see we're actually getting a much more doubled thing right there. That's what we're looking for. Just like that. That'll look much nicer, more realistic when we start adding stuff there. We've got that there. Let's start with the specular materials. Let's go through some material. You can go glossy to specular. Now you can see what's going on, perfect. We can see the stuff hitting the areas on the inside. Let's go ahead and common fake shadows checked. Same thing. We're going to go to the medium tab, scattering, absorption, RGB color, scattering, at a float. The flow we're going to want to take down almost all the way. We want a little bit of roughness going on in there. Very slight. It's like 0.006579, I guess. Then create a greenish texture here, or like a yellow. Then I think the scattering we can tone down a bit. Maybe increase that guy looking good. This, we're going to add some bump here. I believe and I can't remember if we want to do a normal or the roughness or what have you, but we're going to create a flakes tab, flakes, and apply this to I think the bump or I think normal first maybe. Let's try that. Took the base color down to black. Now we're replacing, see what it's doing here is, going to show us the solid probably should at glitches on that. Oh, that's what it's doing. It's projecting a bunch of randomized flakes on there flakes size, flake variants, increase the variance. Then we're going to go ahead and take the blend factor, I believe, all the way down and add a transform node and bring this guy down. This looks like bubbles and stuff. It doesn't look fully realistic now. But you can take something like a color correction node in place that in-between and lower that was going on there. From afar, it actually looks like a little bit more roughed up and stuff like that. We can take the size variance, bump that up a little bit more. You see we bump up the flakes sides. What that does? Yeah, something like that, I believe isn't too bad. Take the brightness down. That's looking much more roughed up, much more realistic. [NOISE] We can actually add it with some other elements. If we go to add an Octane noise, let's take out the normal there, like these spots real quick and just work with the noise. If we saw the noise, we can see what we're working with here. We want something a little bit bigger. Let's see, Turbulence might work a little bit better. Create a Transform node. As a matter of fact, actually a Projection node as well. Let's go to Box and just increase the size, something like this. We don't want this too harsh at all. If anything, that's not what we want. Maybe something like that, really toned down, disable the node. See how this looks. Got it. We are getting something cool. It's hard to see maybe on your screen so we can maybe bump up the power a little bit. Yeah, it looks good. Perfect. Maybe even a little bit more. Then we just drag this into the Bump again. We can mix both of those together. I think those two mix looks great. We got the round edges. We've got everything working together. It's hard to see what's going on. We add in the Normal, the flakes and then the Bump, the Noise, and I think combined that makes for a really realistic looking ring pop. I think the only thing we do left is increase the saturation of the green here. That's the color, and this is where it gets really easy to change the color to whatever you're vibing with. Have more of a yellowish color here, which I believe is fine. Now when you rotate this thing, say it again. You will rotate this whole thing, we have this really ring pop going here. To me, I think that fits the bill for the most part to what we want. I think I might want to change this. I might want to make this base material a little bit more plasticky and less translucent because I'm just not a fan of that at the moment. I'm going to go back to this Composite material. I'll just take this from Specular to Glossy, [NOISE] and detach these guys here. Takee color to the diffuse maybe. Shader. Something like that. If we want to copy the flakes texture from this node or this material to this material, and maybe bring that onto the roughness. You're going to get some really nice material here, and I believe we can just then take the one factor and bring that up until we don't really need it anymore. Actually, let's create a mixed node here. Instead of this being in the Amount, let's bring that to a Texture here. This will be full flakes, this will be full roughness, I guess. We're going to want to find somewhere in-between, maybe like that. Then just take this color a little bit fuller. To me that looks pretty good. It looks like a r ring pop. That's how you make one ring pop. Now I'm going to show you pretty much how you create a clone of these, and then we're going to make another texture that will randomize pretty much everything. Let's do that now. With this guy, we have the ring pop here. We have this guy. Let's copy and paste this and just hide that one right there. For this one, we're going to pretty much start from scratch on the materials. We can keep the materials how they are now. But let's go and hop this into a Cloner, which is this guy right here. Let's bring these guys above the background, HDRIs. Let's go ahead and take the ring pop and drag it on top of the Cloner. Make the Cloner a Render Instance. Everything is going to load much faster if we keep it that way. What I like to do is scale these guys down, and let's go Cloner, Grid, Objects. They're all going to disappear. We need to clone them on an object. I like grabbing like a sphere, something like this that you saw on maybe my Instagram when I posted about it, and you can see we have like faces here and stuff. Let's go from Standard to Octahedron. Change these segments from 16 to 12, and go Cloner, drag the sphere on top here. Now by default it's going to randomly assort them in places. That is cool if you want to just hide the sphere and have them all be randomized there, that's also very cool, but let's go to the Cloner, and from Surface, let's go to Vertex, then hide the sphere. Then we go to the Transform, and I believe it's the rotation. Let's go negative 90, just like that, and now we get a very cool looking assortment here. When we rotate the sphere, everything rotates together. That's cool. Again, we're still just using the, what do we call it? What is the word I was thinking of? Oh, the HDRI to light this thing. At this stage, you can say, oh, how does this work with like different HDRI rotation values and stuff like that? You can start messing with this, and sometimes it just hits on me like, that looks great. Let's keep it there. Let's go something like this. I like these ones on the edges for sure. I'm happy that, a little bit darker on that side. But everything is too uniform, so we want to randomize these colors. The way to do that, we don't have to do that and make like five different types of models and texture them differently. We can do that with a randomizer, essentially, an octane. Before we do that, let's randomize the size a little bit. Let's go. Shift C, random. Make sure it's the random MoGraph, this purple guy. By default, they're going to go everywhere. Let's go Parameter, tick the Position. We've done there, and then take the Uniform Scale and start messing with this guy. That will create some smaller ones, bigger ones. If you want, you can rotate them like this. If you want to just have that extra bit of realism there. That should be good. Something that looks realistic, not too [inaudible]. If you have some that are running into each other, that's not that big of a deal. You can add a Push Apart. Change the iterations to 68 or something like that, and change this to Scale Apart, and take this down and we'll see just increasing this value here, I'm going to start. Something like that. That should be good. Hopefully, you guys understood that. I wasn't rambling too much, and we're going to get into randomizing the color now. I think we had a great still life at this point. Now we just need to randomize stuff. 7. Texturing Pt.2: Let's go and delete this material here. We can keep the materials of the bases, but let's just work on the material. I'm going to duplicate the compile. This original texture we have, let's call it pop 1, and then we'll duplicate it, call this random pop. We're going to drag this onto the cloner this time. Far it should look how it was before. Let's go to the Node Editor, and we call this random pop. You can see it titled here. It's going to get cool. The color is being derived from the medium here, the shader, and we want to randomize that. Let's remember this color here, and before anything changes here, let's add a random color. This is going to be our randomizer here. But we need to drag this into something like a gradient, and that's going to be driving all this stuff. Let's go ahead and honestly kill this color here. We should have some random color here. That's the default there. The gradient, this is where we're going to craft our colors that we want. We can highlight both of these. Let's go, interpolation of all knots, step. Now, they're going to be a pretty harsh decline here. One was going to be white and one was going to be, let's say red, I believe. Just drag this gradient into the absorption. Got you. Now, we've got some red ones and some white ones and a nice random assortment of colors, and that's dub. We can change maybe this red one that might be too intense, or if you'd like that, that's totally fine. Let's go red. Maybe make these, the greenish ones we had just like that, and the white, let's maybe make these, what are the other colors? Purple is cool. Going a little bit like that, and this flow texture make them a little bit foggy around the inside. That looks good. Now, we have two separate colors. At least in my past experience, it gets a little dicey when you start adding a bunch of colors for some reason, they start blending together. Actually, I'm going to command copy this one. If we were to make this one, maybe green one or blue one, they start getting a little bit fuzzy for whatever reason. Let's go here and go, maybe red. That looks pretty good. If you don't like the way they're mapping together, you can take the random color and just change the seed, just like that, and you see you've got some that are like this weird off-white color. That might be something you have to deal with a little bit, but the most part we're looking good. I was actually happy with the first seed, so we can keep it there. That's for the most part. You do that. Again, if you change the density, it will apply it for all of them. Cool. These might be a little bit more saturation on some of these. Purple. Cool. That's actually pretty dope. It looks pretty realistic. You can change these colors as many times as you want, and that's good. The next thing we have to do is just change the stuff for the color of the base and ring. Let's just copy these two nodes here. Go to octane composite. Let's go, that's random base and drag it onto the base ring. Now, we are here and where we have the color here, just delete that, gradient into the diffuse, and pretty much immediately we should see if you're not. Base ring. Wait. This is confusing. Let me see what's going on here. Which color is it coming from? I think we have a little bit of a glitch or something. There we go. Actually, there was no human error there. When you have the octane node selected, sometimes it takes a while to update. Let's go random base to the basic ring. Perfect. There we go. We can just change these to make them different colors if you want. Let's go ahead and this one, teal. That's on maybe orange, and this one maybe a yellow. This is looking good. We just have to randomize the seed of the random color to our liking. Something like that looks dope. That's pretty much how you do it, guys. If you want to add some finishing touches, you can go to the camera tab here, go to post-processing, enable bloom. There you can get some cool looking dreamlike glows here, a little bit of glare, then cut it off a little bit so it's only affecting the really bright areas. You can see it a little bit more there. But typically I want to keep that tone down a little bit. But for the most part, that's good guys. I just have to go in and mess with this on Photoshop. I'm going to go ahead and make sure all the settings are good. I usually take the samples after this to something a little bit higher like 800, and we could have added an area light if we wanted to, or even randomized the rotation on some of the other axes here if you wanted less of a reclining this on a ball here. But for the most part, we got the job done. Now, you can just change the size of the ball to randomize this thing even more, or just straight up, rotate the ball to get more angles of this thing. But for the most part, I'm pretty happy with this. I think that's good and I think we'll start and render this. We're getting a lot of yellow here, maybe you'll change the random base a little bit. Changing the seed up. Let's go in here and increase. There you go. A little bit less yellow. Well, that looks good. I think that is good to render. Let me just mess with the lighting a little bit maybe. This is just assuming you want to stick with a black background. If you wanted to change the background color, you just go to the background and add a color. Something like that. You can choose whatever color your heart desires. Maybe something like that you wanted to go with. A little bit darker. But I like the bright pop of blue or something like that. That's pretty cool. We can stick with something like that. 8. Rendering & Photoshop: Let's go ahead and render this out. If you wanted to have the blue shine in the background, I think you'd want to go to Visible Environment and Refractions. Now that is technically what you'd be seeing in the background. Anytime we change the background color, we're going to get realistic bleed through these things. This might give you a better idea of what color you want to go with. Something like that or you could just stick with black. Totally up to you. But to me, the yellow looks pretty good. I'm actually going to disable that because I want a little bit of the brighter reflections hanging through even if it's technically unrealistic. But that looks good. Let's save that and render it. Now this might not take as long for me to render. It's pretty much almost done at this point. I'm using technically four graphics cards to render this out. But by all means, take your time. Let it finish, maybe even pause the class and we'll get this thing going. I'm going to right-click "Save" as a 16-bit tiff. I'll just save it wherever. I'll share tutorials, premium, ring pop, boom. That is saved for me. I'm going to just open it up real quick in Photoshop. This is where we're going to be doing the second half of this or not second half. We're pretty much almost done. Let's go and grab the file here. It looks like that. Now we've got this thing open in Photoshop, 1500 by 1500. Looking nice. You can start editing this thing. I usually Command J. Just copy the background layer. I convert for smart filters so we can always edit the Camera Raw Filter. We can just start adjusting these colors real quick. Right off the bat, I think sitting the black, we do have some stuff peaking the highlights, which is probably these white areas right here. But I like increasing the exposure, maybe taking the whites up a little bit. Something like this. This is like a candy render, so you want it to pop a little bit. Maybe increase the vibrance a little bit. That's with the shadows. Actually maybe take the shadows up and the black value down a little bit. I'm going to create some nice contrast here. For stuff like this, I typically don't go too crazy with some of these other sliders because I think it's good as is. Maybe adding a little bit of a yellow should be good. I think for something like this you just want it to look really playful, friendly, even childlike. The more saturated the color, sometimes that even looks cooler. Then you can see the before and after here. A dark render we started with and then we end with a nice bright poppy render. Honestly that looks pretty good. I think that's for the most part good. There's so many other tabs you can mess with like the color grading. I have other classes where I'm doing more stylized work and so I'll using these tabs a little bit more. But if it's not broken don't fix it if it's already looking pretty decent. It's already looking pretty decent. Maybe I'll add a little bit of grain here. Like a tiny bit and then that should be good. Then save your preset. Click this guy right here, save it. Let's go call this Ring Pop Tutorial. I wanted that so you can to know it's picked from the Presets, save, boom. There's our render and that's pretty much it. Guys, I appreciate you checking out this class, especially you guys who are subscribed on IG. I think that was promised for this class and then we'll be back with the next one pretty soon. I'm trying to get on this a little bit more as we keep going. I've been learning a lot in ZBrush, I've been learning a lot in Nomad or the iPad. Once I get the stuff ready, I'll be releasing these things hopefully much more frequently. If you did like it, let me know, comment on my post on IG when I do post about this stuff and then future classes you would want to see. Appreciate you guys and we'll see you guys in the next class.