Articles, Blog

NAB 2018 Rewind – Zachary Corzine: Learning Through Experimentation and Exploration with Cinema 4D


hello everyone my name is Zachary Corzine
I’m a freelance motion designer a visual designer currently based out of San
Francisco you may also be familiar with some of the work that I post on
Instagram as @zachdarren. I just want to give a huge thanks to everyone at Maxon
and all the incredible people within the community. I have a background in design
and transitioned to motion design a few years ago and since then I’ve been
freelancing with various advertising agencies and studios and some direct-to-client work and I think one of the greatest factors that facilitated that
transition was learning through like personal projects and personal
experiments so that’s what I’ll be talking about today but first let me
show my reel to give you a sense of my work and then we can jump right in thanks so much all right so I’ll be
talking about learning through experimentation and exploration and
experimentation is extremely valuable is at hands-on and more like visceral
approach to learning and it’s a great way to sharpen your problem-solving
skills which is really at the root of every project that you tackle both you
know client projects and personal projects as well and its really helped
me develop my own personal voice and vision that I can then you know express
on client projects and really get a sense of the work that I want to do
moving forward in the future so here’s some of the projects I’ll be kind of
running through today these are just experiments that came up with when
honestly just kind of playing around trying to learn and have fun in cinema4d
so we’ll jump into the first project here and I’ve a real put together of a
few different animations using this technique but it’s basically this kind
of this approach to shader driven dynamics so we’re able to have shaders
drive both the scale of the object as well as its transition across a color
spectrum right so we have a kind of gradient and it transitions as long as
as well as kind of scales up and there’s a bunch of different kind of use cases
for this and the first project I’ll be jumping into is this last one here of
this kind of undulating wave with these dynamic cylinders and the cool thing is
is I’m basically just using a noise to generate this now but you can use even
an image sequence or whatever you’d like I then also jump into let me jump back
to the beginning here the this project is well to kind of show some of the
techniques behind this so let’s jump in here and the way that kind of approached
experimentation right it’s just like building from the ground up so we kind
of lay down a foundation and then we can kind of layer on from there so for that
undulating wave we can just create a plane and I’ll just kind of scale it up
here and we’ll just use a displacer so I’ll grab a displacer and we’ll throw this
in and for the shading I’ll just use a noise here and I need to up the segments
because we just need basically need some more polygon resolution here so I’ll up
this and we need to just basically scale this up here so for global scale
I’ll just scale this up to something like
3000 and we need to introduce some animation so I’ll just use this
animation speed here we’ll set it to something like 1 and then we can under
the object increase the height as well so now we have our you know wave
animation here but we need some geometry to introduce and clone on to the surface
so I’ll just grab a cylinder here and we can quickly rescale it how we like it I
think that’s pretty good and I’ll grab I’ll add a fillet here just to give a
nice kind of edge for the light to catch onto as well and just set that there and
I’m gonna grab a cloner I’m just using shift C here which basically brings up
this dialog box this is super useful if you are familiar with After Effects
there’s a plug-in by video copilot called FX console it’s kind of same
thing so you can just type in whatever you’re looking for here so I’m gonna
grab that and we’ll throw in our cylinder and I want to set this to
object mode so then we can drag in our plane I’m gonna first turn on render
instances just to be nice to our viewport here and we’ll drag in our
plane here but right now it’s set to vertex you see we’re gonna wait too many
clones we don’t want that many but we can change this to surface mode and then
I can add some more clones so we’ll do maybe like 3000 here and we have the
wrong orientation we can just jump into our cylinder and change the orientation
to the Z and now if I press play we’re starting to get what we’re looking for
but this is a really kind of boring static effect right there just kind of
mapped to the surface so we want to I’m just going to increase our frames here we
want to introduce some dynamics as well right so I can just on the cloner I’ll
add a rigid body simulation tag and first things first we need to change the
individual elements to all just so all the individual cylinders are being
affected here and I’m actually just gonna drop out this bounce and friction
here you don’t need that and if I just press play now you’ll see that they
they’re dynamic but they’re all just falling right they just they just fall
off our plane and we want them to match what the plane while also being dynamic
so there’s a pretty straightforward way to do that I’m just gonna hide this
plane here so if we jump to the forces tab under our dynamics body tag we can
you’ll see there’s this follow position and follow rotation basically what that is is if we have keyframed animation or
animation that’s being driven by parameters like this you’re able to
blend between so it’ll follow the position of follow the rotation of
whatever you’re animating while also remaining dynamic so you kind of get to
blend and get the best of both worlds so I’ll just set this to something like
five for each and if I press play now you’ll see they’re dynamic but they’re
also following our wave right so we’re getting a blending in between the two
and the cool thing is is that you you can kind of once again drive this with
whatever you like while also getting dynamics so it’s not as apparent right
now because there’s not as many clones so you when you know kind of building
this out I’d do less clones and then before rendering kick it up so but once
you introduce some more clones you’ll see in some of these pockets here that
you start to get some jittering because there’s just too much energy and we need
to drain some of that energy out right because in a natural environment this
was playing out the there would just be some more energy drain there so how we
can do that is there’s this linear damping and angular damping and that’ll
just help us kind of drain that energy so we don’t get all the jittering in
the pockets where all the clones are kind of clumped up there so that’s our
kind of foundation right so now this is where the experimentation comes in this
is where the fun comes in of playing with the rest I’ll close this and open
up the next scene file I have prepared here opens up here and this is basically
the same build that we just created it’s just kind of dialed it in to my liking
here so we have our dynamic clones now when I was working with this I wanted to
(let me just restart this here) I wanted to actually map the height of the wave to
the scaling of the clones right so there’s a pretty straightforward way
that we can achieve that so if I grab our cloner and we grab a shader effector
right now everything turns white because color mode is on. we don’t need
color mode so we’ll just turn that off we’re just going to use these transform
modes here so we can set the scale maybe something to like one and then for
position I want them to as they grow to kind of move up as well so then you get
some of them that are kind of like crowd-surfing on the others right as they transition gonna do that so I’ll add a little bit
of Y transformation as well and to get the mapping of the height to the scaling
we can just grab that same noise that we used for the shader effector alright so
I’ll just copy that and paste that into our shader here and now you see they’re
all scaled up but we want to I want to target specifically just those one so we
can do that pretty pretty easily by this low clip and high clip so if I clip this
down we can up our contrast a little bit you see now we’re targeting just the
highest points in the displacer’s height field right so now we’re actually
getting as we kind of let this play out the the wave moves along and they all
kind of dynamically shift and you’ll see as they scale back down that the clones
will kind of fill in the place as well and you get these nice sections where
some of the clones get caught on top and there’s a ton of different ways that you
know you could you could drive this as well rather than just the noise here so
now that we have our our scaling being mapped to the height field I also wanted
to map the material as well to transition along the colors you’ve seen
saw in a lot of those examples right so I can open up the next scene file I have
prepared here as well and we’ll jump into also mapping the material so this
is the same build I just layered on some additional shader effectors just kind of
dial things in and to get the color that we’d like we can use another shader
effector so I’ll grab another one here and we can rename this so we know what
we’re doing to color and I’m gonna we’re not gonna use any transform modes we
don’t need any of that but we’ll keep that color mode on and we just need an
image to drive this so I’ll just create a standard cinema 4d material we’re
gonna turn off the reflectance because we don’t need that and then under color
I’m gonna grab an image here so I have jump in here I have this image of just
like an aerial topographic map in black and white which works pretty well but
you can use whatever you’d like and we’ll drag that on to our shader effector
and under the shading right now it’s set to custom shader we need to set that to
color because that’s the channel that we are using right so we’ll change that to
color and we can drag in our texture tag now I’m using octane a third-party
renderer so we’re gonna I’m gonna basically get that information into
octane so we can use it right so if I send this to render you can see it’s
just kind of standard set up here and we want to get that information into octane
so I’m just gonna make sure this is additive so I can just create a let’s create a standard
octane glossy material and we’ll open this up and we can jump into our node
editor here and down at the bottom there is a
mograph color shader so we can utilize that and let me move these out of the
way so we can see a little clearer and I’ll just pipe that into our diffuse for
now and if I drag this material now onto our cloner with our clones you see we’re
getting that black and white data from the shader effector – the cloners into
octane but we don’t want just you know black and white color that’s kind of
boring so we can introduce some color as well so I’ll just grab I don’t want that
gradient let’s see we can grab a gradient node and I’ll just pipe that in
here and we can start to select some of our colors just reposition this here so
I can maybe grab like a darker purple here just quickly grab some colors like
a blue and like golden yellow as well so you can see it’s directly correlated to
our clones and the same way that we kind of low clipped and I clipped the noise
to target the clones we wanted we can you know move along this gradient to
target specifically those so if we wanted just the largest clones to be
affected we can reposition these however we’d like so now you can see we’re
getting that color data from the color shader in to octane and it’s all dynamic
and all mapped to essentially the same height field as well so that’s kind of
the basic build behind a lot of those techniques and this is really where the
experimentation comes in this is kind of just the path that I went down with when
exploring and running to you know some different dead ends and
I ended on this one as well but I’ll jump I’m gonna pause this and close
these down just to be nice to our demo machine here but we can open up this
next setup which is the the first render here right of rather than map you them
to a surface they’re all left purely dynamic and left to play out so what we
can do here is I just have a kind of stripped down version here we just have
basically the same setup but they’re all kind of left dynamic but if I let this
play let me send this render real quick and if I let this play out you’ll see
like the the clones are too uniform like we’re not getting enough variation these
all kind of lay out the same way it’s not it’s not really natural or organic
or what we’re looking for so we could you know introduce some turbulence if we
wanted to so I can add in a turbulence here and we can crank this up to
something like 150 but if I press play again you’ll see like yeah we’re getting
some turbulence here but it’s affecting all the clones and I wanted to you know
have some of the clones that are being unaffected so you get some more
variation of the clones pushing against each other so what we can use here is if
I press pause under the falloff rather than infinite we can use new to R19
the noise falloff which is amazing I’ve been using a ton so let me grab that
here and one of the great things about the noise fall-off is the display
options right so if I I’ll turn off the X I’ll turn on the Y and we’ll just
scale this up here to like a thousand and ten and another zero here
and you can see we’re actually getting visualization of our fall-off in the
viewport which is super powerful so now I can dial this in I’ll scale it up a
little bit will change our noise here I’ll use like a wavy turbulence and I’ll
just use that clipping again just to basically add some more contrast between
just to kind of exaggerate the effect as well so super powerful being able to you
know have a very one-to-one hands-on understanding of how the fall-off is
being applied and if I press play now you’ll see like some of these clones are
being unaffected by the turbulence some of them are getting the full amount of
turbulence and you could even if you wanted to
introduced some animation speed to the noise falloff as well so then the its
animating and you get some even more interesting variation so I’ll just open
up this next scene file here which is basically that final render just with
less clones just to be nice to our viewport here and let me send this to
render really quickly and basically what I did here is layer on some additional
turbulences I’m using an attractor with some negative values to basically repel
from that central color blast and you see we get just this much more
interesting variation so like I really love this corner here that kind of lays
out flat these are twisting around you can see some of these are you know being
unaffected and kind of being pushed out as well so just much more natural much
more organic way to get some variation between the clones and how they’re being
affected so that’s the basic kind of run through of the shader-driven dynamics I’ll
just quickly kind of show some of these projects again but once again this was
just kind of quickly put together using various noises but there’s ton of
potential you could use with driving it with other shaders and even an image
sequence if you wanted to as well so I’ll cut this short a little bit we can
jump into the next project I want to talk about is this approach for
effectors triggering dynamics so you can see here we have this stack of cubes and
they transition both in their material and their color their form and their
dynamic state as well so I put together a few different renders to kind of show
off this technique and this is all being powered by a single plain effector so
it’s a super light rig super light build and you get a lot of control over a
bunch of different parameters as well which is really cool so this one you can
see it’s kind of transitions up into this flower structure and then
transitions back to its previous state and collapses
this one’s similar to the first it’s just introducing you know different
materials and different forms as well so we can jump in on how to build this out
and once again it’s it’s easier to tackle these things just kind of
building from the ground up right so we’ll start with the most basic let me
just close this down real quick open this up I just have a simple scene
set up with some lights and an environment and to start off we’ll just
start with our foundation right so the kind of base thing is we want to
transition from that cube to that sphere so we can do that by I’ll just grab a
cube here and we can resize a little bit I’ll add a fillet again just to you
know give some more natural edge to catch on to there and then we’re gonna
utilize a cloner to get that transition so if I grab a cloner again and we throw
in our cube I can just tweak these settings a little bit will kind of move
them out here I can set this to a bit more clones and kind of reposition this
here and I just have a pretty basic metal material I’ll just throw on top as
well and so for us to kind of blend between those two we can utilize in the
cloner right now it’s set to iterate we can change this to the blend mode which
is super powerful so if we want to transition from this cube to a sphere I
can’t just go into the objects and grab a sphere because the cloner needs to
understand these have the same base geometry to understand how it’s blending
between the two so we need to keep the same cube but we can just copy it out
I’m gonna do that here you can copy this out and I’ll set this one maybe to be a
little bit bigger I’m gonna do like 300 by 300 and you can see there it’s
already blending between the two one to get our sphere we can basically just
crank up this fillet so if I crank it up all the way we essentially get a
sphere and I’ll add some more subdivisions just to kind of smooth it
out a little bit as well so we’re getting our blending between the two
right and but we don’t want the cloner to drive the blending we want to drive
it through a plain effector so how we can do that is you’ll see that this
first one here is basically being unaffected it’s not it’s not blending
between the two so if I set this count to one we this will be our kind of child
cloner that’s driving the blend and then I can grab another cloner throw this
inside here and this will be our parent that’s that’s actually populating all
the clones of the blend right so I can just I’ll just set this up quickly the
same way you can drag this out and if I select a
make sure to select the blend cloner here cuz that’s the one we want to have
the plain effector drive I’ll add in a plain effector under the parameters we
don’t want to use any transform mode so I’m just going to turn off position but
we do want to use at the bottom here you see this modify clone and that’ll
basically allow the plain effector to modify the the clone that’s being used
so it allow it to drive the blend so if I turn that to 100% you see they all
change to our spheres and then I can set that to a linear falloff and it will
just kind of reposition it a little bit and you’ll see now we’re blending
between we’re allowing the plain effector to control the blending between
the objects and one of the cool things that I found out when playing around
with this is that not only can you drive you know the form you can also drive
deformers which another project after this I’ll be going through briefly but
you can even drive the dynamic states so if I grab both these cubes will add
rigid body tag to them both and this first one here I just want to basically
make it static I don’t I don’t want it to have dynamics but once again I can’t
just delete this tag because the cloner needs to understand how its interpolating between the two how it’s blending so we can basically just use the damping
again to make this one static so if I set this to a hundred percent on both
here it’s essentially you know draining out all the energy it’s it’s it’s static
right so if I press play on these and we start dragging this across you’ll see
we’re we’re transitioning to the form and then also the dynamic state as well
which is which is really cool when you you know I’m just using a simple linear
falloff here but you can use whatever you like and if I kind of let this play
out you can see that as you drag back and forth these becomes dynamic again
they pop up you can freeze them back in time and do whatever you’d like but so
now we have the plain effector driving the shape of the object the dynamic
state but we also want to drive the material so how I’ll do that is similar
to the to the last project but I’ll just I’m gonna use an octane mix material and
if I open this up you’ll see they it gives us two channels added materials
and then this float texture and I’ll just have a pretty simple glass and
metal material here just add those in and the float is basically it’s just a
value from zero to one or black to white and telling telling the inputting the
information of what material to use right so if I if I drag this all the way
the right you’ll see it’s the metal left it’s the glass but we want this to be
not driven by a float you want it to be driven by the plain effector so what we
can use is I’ll go back to mograph and drop in a color shader here and under
the plain effector right now the parameters were only using the modify
clone right but we can turn on this color mode to start getting some of that
color data in and I’ll delete this material that I have right now and add
in our mix material here so now you can see that let me reset this here oh one
more thing I need to actually under the transform you’ll see right now the color
is white we need actually to change it to black so it gives the cloner is
giving some color data and if we change this to black it’ll basically drop out
all the color data so now you see it’s working so that’s one thing to be aware
of is the cloner was by default set to white and so it’s gonna input some color
data make sure to set that to black so then the plain effector is the only
thing driving color data here so now if i let me drag this back out I actually
want to switch these materials I kind of like it the other way there we go and if
I press play we can drag our plain effector and you can see now we’re
controlling all these parameters as before but now we have material as well
which is super cool so I’ll jump into the next scene file or I can quickly
show as well some techniques for basically introducing some more forces
as well and I think actually I’ll just jump into the next one here because
it’ll be easier to demonstrate let me close these down I’ll throw this in here
so this is a similar build to the last one I just kind of set up a grid array
with a bunch of different clones and under this plain effector
I nested in some wind and some turbulence and set their falloffs the
same as the plain effector so now all we have to do is animate this single plain
effector and we get these all transition in their dynamic state their form their
material and you know they’re also receiving the forces as it travels along
so they all get blown away and once again the cool part is just for demoing
purposes I’m just using a linear effect effector but you can or sorry linear
falloff you can use whatever you’d like and get some much more interesting
effects and another use case for this that I’ve actually used in a client
project is to kind of get this freeze in time right so it’s like if you have some
dynamics that you need to have play out you can easily let them play and then
get them kind of frozen in time as you like them and if you drag this out
you’ll get more of a sense of you know some of these are starting to like but
grudgingly come to life and move and you get a really cool transition as well so
that’s the kind of base build of this technique and I will jump into a
stripped down version of the first animation here which one other thing
that I want to call out is you can see we’re kind of getting some like soft
body look here on some of these spheres they’re being deformed and you know kind
of changing their shape and how I approach that is rather than having all
the heavy simulation of soft body is I just utilized open this up here I just
utilize a displacer in set to world mode so I have a displacer with a noise
applied and you can see this world space right so I wanted to nest it with the
plain effector so we can have the single plain effector driving the forces
driving the material driving all these parameters and then also driving this
displacer but I needed it in this stack right so the displacer needs to be in
the stack of the objects to actually displace so I just used a simple
constraint tag to constrain it to the plain effector and then send this
quickly to render and so as the plain effector travels along it also
pulls the displacer along so you kind of get this pseudo soft body looking effect
without all the heavy sim I turned it off for this because it does
slow down your viewport a bit as well and then the cool part about this is you
can see we’re getting you know a bunch of different materials and it’s because
this parent this like master cloner here is the one that’s populating all the
objects but these blends you can just copy those out create different material
set so I just created a few different materials and you can also you know
create a bunch of different forms so maybe this one you just reset this here
maybe this one I scale up a bit like 400 and we can let this play out now and you
know then you can get introduced some different varying objects as well so
you’ll see this big one kind of finally pops out there as well and the you can
have some control over how they’re populated with this parent right so
under here it’s set to iterate you could set this to random so it’s completely
randomized how the clones are being populated in that stack but ton of
potential for this technique and superlight build super light rig just
being driven by a single effector so the close this out here so as I mentioned
before not only can you drive all the parameters that we’ve run through but
you can also drive deformers using the same blend as well right so I have this
example here of clones kind of reacting to a target so you can see we have this
target object that passes over all the clones and they’re all reacting to it
being deformed and kind of reaching up towards it and there’s different use
cases you can use for this and we’re you know driving the material as well and
this one here you can see they’re all kind of orienting themselves deforming
and changing their shape so this is using the blend as well so we can jump
in real quick on how to tackle this so I’ll just open this scene file here I’m
actually gonna close my live viewer I don’t need it for now so to get that
blend between the two objects and to have them you know react to a target
will just grab a cube again really quick I’ll set this to maybe 800 on the Y will
crank up the fill it here I’ll add some more subdivisions and
what I want to do is introduce some deformers and you can use whatever
deformers you like for this example I just you know used a taper to kind of
get a teardrop effect so I can make that a child of my cube make sure to hit fit
to parent and then we can introduce strength as well so I’m starting to get
you know the shape that I’m looking for and we can add in a bend make sure that
goes after there also fits a parent and we’ll add some strength here but right
now you can see it’s not actually matching that bend shape and that’s
because we just don’t have enough segments on the Y so I can add some more
segments here and now you see we’re actually matching that curvature
properly I’m just gonna make these two deformers invisible in the viewport just
to clear up our space here and we’ll grab a cloner again this is going to be
kind of basic run-through as the technique on the last one as well so we
can copy out our cube and this cloner will set up kind of similarly I’ll drag
this out you can add some more and for this first cube I want it to you know we
basically have those flat stacks of cubes and then they reaches up towards
the target as they travel along and so for these this first one I want to
basically make these mute but once again we can’t just delete them because it the
cloner needs to understand how it’s interpolating so we can we basically
just turn this off but we need to keep them in our stack so we can turn these
off here and I’m gonna re make these like a little bit shorter and right now
it’s set to iterate so it’s just iterating you know between our two
clones so we’ll set this to our blend mode and now we’re getting our blend
between the non deformed object and the deformed object and right now they’re
they’re transforming from the center we want to transform from the base so I can
just quickly group these to basically give us a null to work with and just
kind of reposition these here jump into my side view we can quickly reposition it that’s
pretty good so now they’re transforming from the base as we like right so once
again we don’t want this to be driven we don’t want the cloner to just be
blending between the two we want to drive this with a effector so I’ll set
this back to one as we did before this will be our cloning that’s driving the
blend in between the two objects and then we need a a parent cloner to
actually populate that grid array that we’re using for all the clones right so
then right now it’s set to linear I’ll change this to grid array mode and we
don’t want any on the Y I’ll just set it one on the Y and I’m gonna just scale
these out a little bit and I’m gonna change this mode to per step so that
when I add more to our count they’re spaced properly how I’d like them right
so now we have our kind of setup here and we want to introduce a target for
the clones to react to so I’m gonna use a plain effector again similar to last
time and under the parameter I’m a turn off position we’re gonna turn 100% on
that modify clone and this time for the falloff we are going to use this source
so this will basically allow us to have a source link that within a certain
sample distance the clones will react to so I’m gonna just use a sphere similar
to the test render we’ll add in our sphere and under the plain effector
falloff we’ll drag in our sphere into that source link you’ll see nothing
happens right now because we need to set the sample distance it needs to know how
far it’s going to sample so if I set this to a thousand now you see that the
clones are only reacting within the sample distance here and this is
starting to get what we want but in the first example you see they’re actually
kind of reaching towards it so we need them to reorient towards the target as
well so how we can do that is i’ll select our blend again and i’m actually
just going to use a target effector and under the effector we can drag in a target
object so we’ll use our sphere again right now pitch is on we don’t want pitch
we’ll turn that off and they’re actually you know not angled properly so i’ll
just have to jump into my cube here and change this angle I think it’s 90 yeah
so now they’re there reaching properly towards our target but
right now they’re all you know universally reacting even when it’s
outside the sample distance they’re all orienting themselves towards the target
and we want it just to be within that sample distance right so we can just set
up the fall-off on the target effector similar to the plain effector so I’ll
set this to source as well we’ll drag in our sphere and we’ll add a sample
distance the same as before a thousand so now we’re getting what we’re looking
for only the clones within the sample
distance are orienting as the object travels over and you get these clones to
react to the target what we’re looking for so just to wrap up on this I just
threw together a really quick fun scene file so what I’ve setup here is two sets
of clones on either side and they both have dynamics tags with this sphere in
the middle and they are basically both reacting to these same targets we
basically get this procedural game of ping pong
all we have to do is serve up the ball and then let it play out as it will so
you can have multiple sets of clones reacting to the same target you can use
it however you’d like and as before using that blend effector is super
powerful you can you know control so many different parameters both the
deformers the material within octane its form and anything else as well so I’ll
just quickly show the final look with this with you know additional clones
added on a delay to kind of get some more interesting bounce between all the
different clones as well and a ton of different uses to kind of allow your
clones to react to a target and to utilize the blend deformer in a variety
of different ways to drive different parameters so just to wrap up here I
just wanted to touch on why I hold experimentation and exploration so power
so closely to my heart and it really has helped me you know teach me so much
about both myself and my work and like myself as a designer right so just some
closing points in that regard problem solving really is at the root of every
project that you’ll do and it’s it’s the one skill that you
know I really hold the most valuable and doing personal projects doing work
outside the the you know the nine-to-five client work really helps
you strengthen that muscle and and really develop it further and further so
I think spending time to you know kind of problem-solve and try to either
recreate both effects that you’ve seen or just dive in to cinema 4d and play
around really helps you strengthen that muscle that translates beautifully to
other client projects that you work on or other personal projects as well it’s
really important to kind of get a visceral understanding of the tools it’s
kind of like the age-old story of the engineer that really wants to understand
how the toaster works so he takes it apart and puts it back together right I
feel like that applies both also in like the digital space and if you spend a lot
of time you know if if you’re working on a project and you’re not sure that what
you’re doing is gonna work you’re probably going in the right direction
because that’s where the really big discoveries come and kind of getting a
sense of where the boundaries are where things kind of break allows you to
adjust from there and really come up with you know some big discoveries in
that regard you hear this a lot but it really is true do the work you want to
do before you’re paid to do it I wouldn’t have any of the opportunities
that I have today if I didn’t you know spend so much time doing these personal
projects and really you know spending time to show your own personal vision
and your own personal passion for the work so hustle in your off hours you know
do the work especially if you know there’s a realm of work that you’re
interested in and client projects aren’t getting you there then you know it’s
it’s really important to spend that time outside of the normal kind of projects
to to develop into those new spaces so thank you so much to maxon and everyone
else within the Cinema 4D community if you want to check out my work you can
check it out at zacharycorzine.com I also post a lot of personal work and
some client work as well on Instagram as @ZachDarren so thank you so much it’s
been amazing

38 Comments

  1. John Paul Francisco Author

    Awesome presentation. on 25:59 does all the forces and displacer need to have a linear falloff too? Or it's all set to infinite? Thanks

    Reply
  2. Anders Hattne Author

    ….I'm trying to figure out how that changing colour thing works too. Never liked the shader effector. Maybe I should become a street sweeper instead

    Reply
  3. Piotr Karbowski Author

    Is there anyone who tried to repeat the same technique but driven by 2 plains/cloners which one will be used for dynamics and another for blending?
    Any tips?

    Reply
  4. Austin Pinilla Author

    I have the constraint effector and the displacer on the correct spot, but when I hit play and allow for the dynamics to happen and the object hits the floor, the sphere doesn't appear like a soft body, Help.

    Reply
  5. Stephen Kemmy Author

    With the shader effector driven dynamics there are some intersections between the cylinders… regardless of how you adjust the settings of the dynamics tag…probably a more effective method might be to use spline dynamics and hair to place the cylinders on the plane animated by the displacement deformer. However this is experimentation and exploration and that is about ideas which may not have technical exactitude ! Using the fillet setting of the cube object to form a sphere is ingenious ! Thanks

    Reply

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