Cinema 4d X Particles Crack 19l

Hey there, Joey, here for school of motion in this lesson, we're going to get lost deep in cinema 4d. It's a long one. And I throw out as many tips and tricks along the way as I can. The idea for this lesson actually came from a freelance job that I did, where I needed to have some snowflakes animate on some type, but I needed full control of those snowflakes, how the animated on and off and where exactly they landed. I go through every single step, including some steps that I tried, which didn't work. I want everyone to see that even artists with a lot of experience have no clue what we're doing sometimes. And we have to fumble around until we find the right combination to get the desired result. Don't forget, sign up for a free student account. So you can grab the project files from this lesson, as well as assets from any other lesson on the site.

Now let's hop in and get started. All right, illustrator. Uh, we haven't spent a lot of time in illustrator on school of motion, but that might, that might change. So the first thing I want to do is lay out my type. Um, so I'm just going to grab the type tool and I'm going to type in happy holidays and make it a little bigger. Um, and I found a font and I'm going to, um, I'm going to link to it. So you guys can download the same font if you want. It's a free font off of deaf font, which is an awesome website where you can download hundreds, maybe thousands of free fonts, um, and not all of them are great, but some of them work in this particular font I grabbed because it's very thick. And if you're going to be making type out of, you know, a whole bunch of particles or snowflakes, you need that font to be pretty thick so that when you actually form it, it's readable stope.

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So by typing it in, this is a type layer, which cinema 4d can't read. So I need to convert this to outlines first. So you do that by selecting the layer, you go up to type and you say, create outlines. You can see now it's created the outlines for that. So I'm just going to save this in my demo folder. And I'll just save over this. This is, this is me, uh, preparing for this tutorial. So I'm going to save over this holiday type illustrator file now, replace it. And when I save things in illustrator to go into cinema 4d, I always set the version to illustrator eight. Um, and I've been doing that ever since I've had cinema 4d. I don't know if any of these later ones will work with it, but illustrator eight definitely works. So that's what I pick. Okay. And that one's good to go.

Um, it'll make it a lot easier. And cinema 4d can act a little funky if you have too many splines that haven't been grouped. Okay. So a and I'm going to rename this layer SF. Oh one. So snowflake oh one. All right. So we've selected that one. Um, maybe we can take this one too, so copy. And I'm going to make a new layer and paste into that layer. So that'll be SF oh two. All right. Let's grab a couple more. Why don't we take a, this silly one here? We'll copy that paste. And this is SFO three. And then one more, maybe this one we'll copy.

New layer paste and S F O four. Great. Okay. So now I'm going to save as, uh, and let's put this in my demo folder and I'm going to save over the snowflakes AI file, and I'm going to make this an illustrator aid file. All right. So that's all you need to do in illustrator. The illustrator work is done, so let's hide illustrator and let's hop into cinema 4d. And let me resize this window so you guys can see the whole thing. There we go. All right. Cool. So, uh, the first thing I want to do is bring in that type that I just made in illustrator. So I'm going to open up holiday type, make sure that you don't have connects blinds on, make sure you don't have group splines on just hit. Okay. All right. And the reason that I have those turned off is because I will end up grouping these splines and making them into one spline, but I like to do that manually just so I can make sure there's no problems and nothing gets messed up.

Um, the next thing is that you can see the, uh, the snowflakes are aligned along that spline, which in this case is not what we want. So I'm going to go into the cloner. And once you drag an object down here, you get a lot of options based on what type of object you're cloning on to. So, because it's a spline, it shows you spline related options. Um, so I'm going to turn off a line clone, first of all. All right. And so now those snowflakes are aligned the way they were modeled. So they're, they're just sort of facing outwards on Z. Um, one other thing I'm gonna do really fast is I'm going to click on this render instances, checkbox. And what that does is it changes the way, um, cinema 4d manages the memory in relation to these clones. And, you know, there's like some fancy math under the hood, but basically what it does is it makes everything work a lot faster.

I just had a rough idea. I figured, well, I know a cloner can clone, you know, objects onto a spline. Um, and so there's gotta be some way to, to tell cinema 4d how to distribute those clones. You know, so down here, lo and behold, there's a distribution option. And right now it's set to count and the count is set to 10. So if I change that right, a lot of times when I want to know what, what a button does, I just change it and start playing around with it. Um, and that obviously adds more clones, but it still does it in kind of the strange way. All right. So I thought maybe this count wasn't the right way to do it. So then I did step all right. And step low and behold seems to be a more even way of distributing these things.

And if I do a quick render, you can see that you can actually read this. This is fantastic. So very quickly I was able to get something that, you know, if you had to lay this out by hand and illustrator or Photoshop, it would take you forever. But in cinema, you've got these really cool options. And there's like some weird overlapping, you know, snowflakes here and there, but I don't think you're going to see those. So I'm not going to worry about those. All right. So we're starting to get somewhere with this. And so what I want to do now is put a texture on these. So they're not all the same color. So to do that, we're going to use something called the multi shader, which is a cool way of getting some very easy randomness to your textures. So here's how we do that.

We double click down here to make a material, and I'm going to call this outline because these are the clones on the outline of this type. All right. And for the color of these clones, I'm going to go into a, this little texture box. And I'm going to add down in the, um, in the MoGraph and you probably can't see that because I'm only recording part of my screen. All right. So texture, I'm going to add in this MoGraph section a multi shader. All right. So now I'm going to click on the multi shader, and this is what you're going to get. You can basically add as many shaders as you want, and then there's this mode, uh, option, which basically lets you tell cinema how it should choose, which shader goes on, which clone. So first let's set up some shaders and shaders can be anything they can be bitmaps it can be noise gradients for Nels.

So every clone has a number it's sort of like counting up to however many clones there are. Um, and so that number is what's going to be used to, um, to, to dictate which color it gets. So if I put this shader or this material onto the cloner and I render this, it looks really strange. It actually looks kind of neat, but that's not what we want. And you can see what's happening here is those four colors are basically being distributed evenly along the clones per letter, which is very interesting. And so, um, what's happening is basically for each letter, it's figuring out how many clones there are, and it's dividing that into four and giving one fourth this color, then the next fourth, this color. Um, so what we actually need to do is randomize the index of the clones. Um, and I had to look up how to do this because it's not obvious, like a lot of things in cinema 4d are not obvious, but this is one of those things.

Um, so first what we needed to do, um, first let me save this project. So I don't lose it in case my computer crashes. So we're going to call this a holiday that's C4 D so first thing I needed to do was key frame a snowflake w what do I want these snowflakes to do? Um, and so, you know, I, I opened a new cinema project and I just took a Knoll and I tried just key framing it at first. And what I found was it's actually kind of tricky, um, the type of motion, I'm just going to draw it with my mouse. So you guys can see, but the type of motion I was looking for was kind of like float. And then in little swishes, you know, like it kind of speeds up and slows down, speeds up and slows down. Um, and it was really tricky to get that.

Um, if you hold your mouse over any window and after effects and hit that Tilda, it maximizes it. Okay. So if you want to see your motion graph really quick, you can do that. Um, so it's almost, you know, if you draw a straight line from here down to this key, this key frame here, it's really just a series of gentle little Hills going down there. Okay. So I left this up as reference because this is invaluable to me. Um, and I'm going to use this trick over and over again because I really like it. All right. So what I'm going to do is I'm going to, um, I'm going to put a key frame and cinema, uh, at the end of my timeline, all right. X and Y. And then I'm going to go to the beginning and I'm just going to put my NOLA up here, key frame that, and I'm going to turn automatic key framing on just for a minute, just so I can, um, just so I can make it easy as I sort of adjust this.

So I'm just going to kind of move forward and have key frame down here. Move forward, have a key frame up here, key frame down here, and that's kind of it. Okay. So that's the basic shape, right? And if we go back into after effects and look, I had maybe one extra little hump here, um, but it's okay for cinema. I'm just going to do it like this, and now I'm going to open up my animation layout so we can get our timeline. Okay. Um, and I'm just going to go through my X and Y position. I'm going to delete Z. I don't need it turn off automatic key framing. And now let's look at our X curve. Okay. So we've got, it's easing out and then it's easing in. And if you remember looking at after effects, you've just got these gentle Hills like this. be457b7860