- [Mitch Myers] Thank you. All right, cool. Yeah, so my name is Mitch Myers,
I'm a freelance Motion Designer and Art Director based out of St.
Louis, Missouri. I wanted to thank, obviously, MAXON for bringing me out here
and let me present to you all. And we're going to look at some pretty cool stuff
today. But first, I'll let you take a look at my MOTIONREEL, just to see what kind of
work that I actually do and we'll move from there.
♪ [music] ♪
Thanks. All right, so jump back in here. What we're going to be looking at today is
building some cinematic scenes using Cinema 4D. And we're also going to be
utilizing some volumetrics in those scenes too. First, we're going to look at just
some basic tips for scene building in a cinematic fashion with some basic film and
scene building theory, setting up your lights for cinematic scenes,
and integrating a little bit of Octane Fog in our scenes. And then,
we're going to move on to building a space scene. We're going to be recreating the
black hole from interstellar, which is pretty rad and then, building an
atmospheric moon next to that black hole. We're going to make it look like it's kind
of getting ripped apart. We're going to put some cool kind of like atmospheric
effects along with the moon and then maybe some octane glowing basics mixed in there
too. And if time allows, we will look at VDB's Inside Octane Render,
looking at what VDB's actually are, importing some VDB sequences,
in case you work in programs like Houdini. And then, just some cool things you can do
with some lighting and VDB's.
So let's jump into the first scene. So right here, we just have these two
figures, these soldiers in our scene. It's super basic, not a whole lot going on.
But I mean, when we're trying to build the cinematic scene, like what do we have to
think of first? Has anybody heard of Hitchcock's rule? No one?
Cool, okay. So Hitchcock's rule basically states that every object in your scene
carries a certain weight with it, whether it be color, the position,
the size of your objects, the framing, all that kind of stuff and each of those
weights can alter your audience's perception of what they're actually like
feeling from the composition. So before we even like start to make the scene look
sexy, we needed to actually like put in kind of like a story arc in our scene,
just by, first off, framing our figures here.
And since we have these two soldiers, we have this one guy that's kind of like
tilted off, looks like he's watching this dude's back. It looks like they're on like
an intense op or something like that. And we have this soldier here,
that's turning to his left. So just looking at what we have here,
we can, obviously, kind of like think that we have two figures that are going to be
moving to the right of our scene. So let me grab just a normal camera here,
we'll jump into it. And so, first things first, since we have this kind of like
movement that might be happening, we're going to need to frame this for movement.
So framing for movement basically is giving your scene a little bit of
breathing room on whatever side that your figures will be moving into.
So since we have these figures moving to the the right, or I guess his left here,
we can see that we need to frame these guys off to the left. And so,
this space over here will be kind of like give our audience an idea of where the
actual scene will be moving, so there's nothing jarring to the audience.
It feels a little bit more natural to the eye as well. So there's step one.
Maybe these guys are like the good guys, they're like, you know,
they're like the heroes in the scene and we want to make them feel like the heroes
to our audience.
So what we can do with the camera is just put our camera at like a lower angle here.
And this will give like the audience a feeling that these guys have a little bit
more to like dominance in the scene, like they have control of the situation like,
you know, they are like the powerful figures, the main figures in the scene.
So that's looking pretty good right there. And so, since we have a scene that maybe
we want a little bit more of like an anxiety-inducing effect for audience as
well. What we can do is also add like a Dutch angle to our camera.
A Dutch angle is actually...all you have to do is just rotate the banking just a
bit on your Cinema 4D camera. And as you can see, as we do that,
our horizon line starts to get tweaked a little bit. And this is a little bit more
like unnatural to our viewer but it's going to kind of, like, since we get that
little bit of an unnatural feeling, it's also going to give that kind of an anxiety
feeling to our audience. So from what we have here, we have our objects frame for
movement, we have a low angle which is creating dominants for those objects,
and we have a Dutch, so it's an uneasy situation.
I think that framing could work pretty good right there. So I'm going to go into
Objects, actually our tags, and grab a protection tag and I'll make this camera
just like our main cam, just so I know to go back to it. So now,
that we have our framing set up, let's take a look at how we can light this for a
dramatic effect. And one film medium that I absolutely adore is Film Noir.
It's like super simple lighting, it's called low-key lighting.
Basically with Film Noir, you just have usually just one key light and then either
a reflector for bounce, or a fill light in the scene just to kind of like even things
out. But as you can see, we're getting like these nice harsh shadows on the other
side of the figures' nose here, it's super dramatic. And you can watch like a Film
Noir film without like any sound on and just you know exactly how you're supposed
to be feeling in that scene. And it's really organic and I think that might be a
cool look for what we're trying to go with here.
Also, Robert Richardson, if you haven't heard of him, he's a DP.
He works a lot with Quentin Tarantino like on "the Hateful Eight" and "Django." He
does a light set up that I think is kind of like his own thing which is either a
hot back or a top light and with a low bounce. And you can see it in these two
images here, that we have. On the left image, we can see that there's a like a
hot top light coming from the top of the scene. This is actually just a
behind-the-scenes, that's actually him right there in the white hair,
that's Robert Richardson.
So we got this top light shining down, and they're actually using the table as a
bounce and that's bouncing back up into our actors. And on the right picture,
you can see it pretty effectively where you can see there's a little like
highlights on his hat and it looks like he's leaning down on the table,
that table's being the bounce and you get this cool kind of reflection up on his
face. But it gives these like really weird dramatic shadows on his face too.
So maybe we can kind of mix the two and like create a cool weird scene with our
soldiers. Because I think, both of those light set ups kind of work with the
feeling that we're trying to go with.
So let's first grab just a normal area, like here. And this thing is like massive
in my scene right now and there's a reason behind that and I'll get to that in a bit.
So let's position this. This will be our key but we're probably going to use this
more as like a rim light. So I'll just name that "Rim." And what a rim light is
going to do, we're just going to move this back in our frame and we can just rotate
this towards our soldiers. And so, what I'm trying to get with this rim light,
is this kind of like really awesome highlight on the edges of our figures.
And one thing to keep in mind when you're putting your lights in your scene is what
kind of shadows you want to put on your figures as well. The smaller the light
source, the harsher the shadows are going to be. The larger, the more like evened
out the shadows. We're going with the dramatic effect here, let's make them like
tall and skinny because I want to get those highlights far down our object but I
want a good harsh shadow on his nose here and on the other side of his body.
And so this should work pretty good. And let's leave it at that,
that's our rim.
And then, let's make a fill lights and we'll kind of use this as a fake bounce
too. So what I'm going to do is hold on CTRL, you can either click and drag to
copy or you can just go into the Viewport, click, drag, release and there you go,
you have an exact copy of the same light you just created. And since we are going
to use this as kind of like a fake bounce, we can make this pretty low in our scene,
angle it up and this might give us a little bit of this effect too.
So we can make this a little bit tinier here and widen it out.
Still want those harsh shadows, I want a little bit skinny. And let's just keep it
there for now. And what I'm going to be doing is using Octane Render just because
we have that Live Viewer and Octane is going to be easier just to see the results
that we're getting. So with my lights selected, I'm...let me rename this
"Bounce." Cool. So I'm going to go into my C4D Octane tags and just put some light
tags on these, so I can mess with the settings for both of these lights.
And I'm going to go ahead and open up the Live Viewer as well.
And I'm going to make this a wee bit smaller, so we can still see our scene and
just see what we got so far. So we'll let this thing populate real quick.
Cool. So right now, we got kind of this like gray background. And that's just kind
of like right off the bat, if you don't have any other HDRI or anything in your
scene, you're just going to get kind of this basic like gray background.
We can just go into the Objects tab and grab an HDRI environment and just take the
power all the way down. And that'll fix that. So I already have an Octane Camera
Tag set up, I want to bring that up into our main cam, so when we go into our scene
here, we can start to see what we're getting. And we're getting this huge kind
of like haze effect right here. And that's just because our light is visible to the
camera. So we can go back into our light tag, go to Visibility and just check both
of those off, so we don't have to worry about seeing those in our scene.
Okay, cool. So we're getting something pretty sweet here. I'm going to go into
just this camera, so I can move around here. And so, we are getting sort of the
shadows that we want here on the nose and stuff like that. I think we can tweak the
lighting just a little bit. Due to time, we're not going to mess with the lighting
too much as far as just tweaking the power and all that. But I'm going to do a little
bit of that here just so we can get a little bit more of what we're looking for.
So I'll turn my fill down just a wee bit, just so we can get a little bit of
information but we don't want too much, since we're going for that kind of a dark
dramatic effect. I'm going to leave it there. I kind of like this like cool glow
that we're getting. I could push this rim a little bit backward,
just to get a little more of highlight but I kind of like what we're getting there.
So we can also do some more stuff to make this a little more interesting.
Like I said, with Hitchcock's rule, color is one of the things that can change your
audience's perception of the actual composition too. So we can go into both of
our lights and change the color around. With our rim light, we are going to go
with some like contrasting colors. And since we're in kind of like this military
kind of theme here, maybe we can do some reds, maybe there's a fire off in the
distance or something like that. So we can easily do that with our Octane tag and
take down the temperature. And we can start to get kind of this reddish,
orange hue here. That looks pretty cool. And then, with our bounce,
we can go with the cooler color. And we can either up the temperature or we can go
to this texture node here and go into our C4D Octane tab and grab a RGB spectrum.
Go into that, and from here, we can choose any color we want to.
So let's just get like a deep blue and see how that works. So now,
with that deep blue, it's taken away a little bit more of the information that I
actually want, so we can raise the power on our bounce just a wee bit.
And now, we're getting something pretty intense looking. And if we go back into
our framing, it's looking pretty rad.
So another thing that we can also add to the scene is some leading lines.
And leading lines is basically just going to direct your audience's eye to the
object that you want them to basically pay attention to. So if you have like a main
character and they are kind of like the star of the shot, if you have some leading
lines directing your audience's eye, it's going to be way more effective for the
storytelling aspect of it. But how are we going to do that because we just have
these two dudes and nothing else in the scene? An easy way that we can do that is
maybe they are running through like a hail of gunfire. So let's create some bullet
tracers kind of in the scene. Easy, super easy way we can do that is grab just a
normal Cube Mesh, again, this thing is huge. So we can then just take this down a
little bit, just down to like 0.5., and we can go...let's see,
0.5 on that. Let's see which direction we want this thing moving.
There we go. So let's go 10 on the Y. And what we're getting from that is just this
itty-bitty rectangle. We can also make it a little bit skinnier too.
Cool. Let's go with that.
So we got this, this is going to be our bullet tracer. Go into MoGraph,
grab a Cloner, make the tracer a child of our cloner. And right now,
it's just cloning like in a linear fashion. So we can go in our cloner,
grab a Grid Array. And now, we have these tracers kind of like moving around in our
scene in a grid fashion. We can up the count just a wee bit. And then,
probably bring these in just a little bit too, we don't need this to be spread
out super far. But now, they're a little bit too...just uniform.
So we can go into Effectors and grab a Random Effector. And basically,
right there, we're kind of getting the effect that we want.
We can go back into our framing. And so, we can start to frame these bullet traces
to kind of be like mock leading lines to our subjects. So if we can get these
tracers, we have them kind of like coming in from like the left side of our screen.
Maybe we can get these pointing a little bit towards our dudes here,
that can be a good way to kind of like see our viewers looking from left,
go right to our actual talent. And then, we're kind of getting more of the effect
that we want. And we can easily just texture these things right now,
we have our texture built for it. Just go into the Emission, grab a Blackbody
Emission and just take down the temperature again to get kind of this like
reddish, orange effect. Drag that onto our cloner, and then we can open up this Live
Viewer again. Let's see if it wants to open up for me.
There we go, it already opened. Cool. And let's see what we got so far.
Cool. So those bullets are a little hot, so we can bring down the power a little
bit, it's a little overpowering. Sweet. So we're getting a pretty like dramatic scene
here. One other thing that we can add is a little bit of atmosphere to our scene.
Super easy way to do that is just go into the Objects. We can either grab an Octane
VDB which we can go into a little bit later, or an Octane Fog.
And an Octane Fog is going to give you...just get out of there.
We got to stop this Live Viewer. My camera...there we go.
So this rectangle with these weird little planes in them. And so,
the rectangle is basically our bounding box for our fog and these little
rectangles going down I guess this X-axis here is going to be the voxels that
contain our actual fog. So the reason that I made my scene so small is because the
larger you make this bounding box, the more voxels are going to be in the
bounding box and it's going to slow down the computer a bit. So since the scene is
small, we can go into our Volume, go into Generate and kind of like up the size,
so it covers our entire scene, and there you go. And then, we can go either into
our Texture and grab a noise. Or you can just click this Cloud1,
this gives you kind of like a basic noise to use. And you can see what's happening
here is it's using the noise as kind of like an alpha for our volume.
And you can go into these noises and choose whatever noises you want and create
some different effects. But just for time, I'm just going to leave it on the
standalone basic one.
And it's looking a little blocky right now. As you can see, like we have these
voxels and these little squares here. And if they're a little too large,
you can get kind of these weird banding effects and like a lower quality volume.
So we can go into this Voxel Size Editor here. And you need to be careful with this
because if you go too low, you could crash your computer pretty easily just because
of all the voxels that are in that box. But we can go down to one pretty easy.
And as you can see, once this reupdates here, how much smaller those voxes are.
So that's going to give us a lot more detail in our actual volume.
And so, we can go back into here, we can hide the volume from our viewport,
so we can see our framing. And then, go back into our Live Viewer and,
hopefully, Octane can handle this one on this computer, but we'll see.
Cool. So now we are getting more volume in our scene. You can see this little
rectangle here, this is actually our rim light in the scene. And even though,
it's hidden from our camera, the volume is actually still being affected by it.
So we can just move this around in our scene, just to kind of get it out of the
way. It might affect our lighting just a little bit but I think we're going to
still get the same effect that we're wanting. And the volume is still,
like it's sucking up a little more of our light than I actually want it to.
And we're not getting really any of the detail in our scene anymore.
So we can go back into our Volume into our Medium tab. Go into Volume Medium and we
can mess around with the density and volume step length. Density is pretty
self-explanatory, we can bring that down just a little bit. Now we're getting a bit
more of the effect that we want, because we just want a little bit of haze and a
little bit more of like fall off from our light. And we can take down this volume
step length. And what the volume step length is going to do is allow a lot more
detail in our actual volume. It's going to basically determine the amount of like
light that can actually escape the volume back into the camera.
And so, if we like take this down a bit...the lower this number,
the heavier the render is going to be, so you got to kind of have to determine what
you're trying to like get out of it with your render time. And so,
you're just like moving around these sliders one by one until you kind of get
the right effect that you're looking for. It's looking pretty cool,
we can like up our bounce powers a little bit, just to get a little bit more of that
in our scene.
And so, yeah. That's looking sick. You can always go back into this and you can like
tweak different settings, you can move your lights around. But as long as you
have that kind of like right into your scene building and like building a
composition, you have a storyline or like a story arc in mind for what you're trying
to create with the scene, and you use that to build your light set-ups and your
camera set-ups. You can create something that's way more effective for your
audience. And like usually the best compositions that you see start out with
that storytelling in mind.
So from here, let's move on to our next scene. Close, get out of here.
Make sure I have that off, cool. So now, we are going to make that black hole.
So right now, we have this blank scene already set up, some framing for what
we're going to be doing and that's why that light is there. But let's just start
building this black hole. So if you look at this thing, this is the previous
version that I built already, we have this Center kind of sphere and that's the very
center of our black hole. And then, we have this kind of dust around the edges
and we're getting this like gravitational lensing effect around the black hole.
And you can even see like the stars behind it are also getting like warped around the
edges and it looks pretty dang similar to the actual film. And it's super easy.
So let's grab a sphere to start out with, we'll go into Gouraud Shading lines,
just so I can see how many segments we got. And let's take this down to like 50,
as far as the size goes, and we'll up the Segments in here just because Render
Perfect doesn't work with Octanes, so we got to make sure we have enough segments
for this thing. It's a little too much for this thing to be smooth enough.
So this will be like the center of our black hole. But how are we going to get
that like warpy gravitational lensing effect with this black hole?
Super easy way to do that is to grab a torus and we'll bring down the size of
this to make it on the Z-axis. And so, we'll just bring it down until it just
about hits our edge of the center of our black hole and we will up the segments in
this. Let's just do like 50 by 50, maybe a little bit more. Cool.
So we'll do that. And then, next, we just have to make our disk which is super easy.
Just grab a disk.
And then, we need to make this thing touch just the edge of our torus because we
don't want dust from our disk going outside and not giving that kind of like
warp effect. And then, let's just give this enough segments too.
Let's go 100 by like 40. Cool. So this is actually our black hole.
So all we got to do now is texture this thing. I already have some textures built
but I'll go into a little bit of the texture build here. Just grab an Octane
material for our center of the black hole, all we need is something like 100% black.
So just diffuse material type, check off Diffuse. And then boom,
100% black. For our torus, it's going to create our gravitational lensing.
Grab another octane material, make sure it's set on the Glossy and take off
Diffuse again because we don't want any color coming from this.
Go into Index and just crank this up.
And this is just going to give us basically a mirror effect. And drag that.
And then, with our disk, we can just go back in and grab another material.
Go into our Emission and I'm just going to grab a Blackbody Emission go into there.
In this texture node here, we are going to get an image texture go into there.
And from here, I have a couple of textures that we can use. Let's see...there we go.
So right now, we just have these two like galaxy textures and this is actually going
to create that dust effect. We can grab one of these and load that into our image
texture. And if we take down this power a little bit, you can start to see like this
is actually going to take the colors that are in this image and use that as our
emission. And we can just copy that shader, go into our Opacity and just paste
that out. And then, we get a little bit more of like an Alpha Effect for our art
dust, you can see it right there.
So in case you have any like stars or galaxies in the background,
you can actually see through those rings. So leave it at that and we will take that
into our disk. And now, all we got to do is go back into our Live Viewer,
start it render and then we should start to see this thing getting there.
There it goes.
Cool, okay. So we can't really see it right now but that's just because we got
to boost up our Blackbody Emission. And boom, we got a black hole.
Let me go into this free cam that I built here. So back out. We're getting this cool
kind of disk effect with this gravitational lensing and all that kind of
stuff. But we're not getting anything on the underside which is not going to work
for us if we're trying to create something pretty accurate. Easy way to fix that,
make sure our disk selected, we can go into a Simulate, Cloth and grab a Cloth
Surface, make it a child of that cloth surface and just grab a little bit of
thickness to it. And there we go, it's projecting from the top and bottom and we
have a black hole.
So now, we can just go and start creating that moon that we need to do.
So just grab a sphere. We can take this down a little bit, this thing's pretty
big. Maybe like 150 or something. And we'll bring this back to around where I
think we need it for our framing. Let's see. Let's go into our main cam,
just frame this up just a wee bit. So I think that might be pretty sweet,
it's a pretty spacey cinematic kind of look there. Make sure we have enough
Cool. Maybe up that a little more because what I'm going to do,
just because for timing's sake and so we can see what's happening a little bit
easier, I'm going to...we'll name this "Moon." I'm going to grab a Displacer
Deformer, just so we can see the displacement that we're going to do for
the moon surface right in our Live Viewer or our viewboard. Go into the Shading tab,
and we're just going to grab a noise. And instantly, you can see the feedback.
And let's grab a Wavy Turbulence and let's mess with the scale here.
We can boost the scale up to maybe 800.
And now we're getting kind of this funky looking moon. We don't need to make
something with craters or anything like that because, one, we're going to put some
atmosphere on it, so it's going to be hidden anyway. And I want to try to get a
little bit of like a stretchy effect without having to do any deforms,
we can just do it with this Displacer Deformer, so we can go into the X here and
boost the scale a little bit too. And now, that's looking kind of neat and we can go
back out into our object and then like increase the height a little bit.
And so, this is at least going to kind of give us a little bit of a warpy effect on
our moon. It's almost looking more like an asteroid but with these like weird peaks
and valleys, this could also give us a cool effect once we put
the atmosphere to it.
And let's go back to our main cam, make sure we're getting still something cool
that we want. I think we're going to bring the noise, as far as the Global Scale,
down just a little bit. And then, we can take that height down just a little bit
too. Cool, let's stick with that. So now we have the base of our moon,
so let's create the atmosphere for it. Again, we can go back into our Live
Viewer. And we can see where our moon is right now, it's looking really hot,
as far as light that's on is concerned. But, since we're going to put an
atmosphere on it, I'm going to make this thing pretty thick, so we would need
enough light to kind of like penetrate a little bit of it and still see some of
that detail. But I'm going to grab another Octane Fog and minimize that.
I'm just keeping the Live Viewer going just because it took so long to populate
and, hopefully, that speeds things up a little bit.
So we'll bring this fog volume back to where our moon is. And we need to make
sure that this volume covers our entire like mesh of our moon,
so I'll mess with the sizing a little bit. And then, we will go back into our moon,
grab that, make it a child, and then...okay, so now we're getting what we
want. So basically, you see this thing disappear and that's just because we have
our sphere the same size of our moon. We can go ahead and hide that atmosphere
sphere from our Viewboard and all we got to do is start to increase the radius.
And then, we start to see the voxels kind of like populate out and we're getting
that spherical effect that we actually want. Cool.
And again, we can go up into our volume, go in to Generate, we can bring down this
voxel size a little bit, bring that like two, maybe uno. Cool.
And I think we are not getting any displacement in our moon, so I'll just go
and grab a quick Displacer. And we'll just leave it. It's kind of like the default on
the Displacer just so we can catch back up here. It's crazy. There we go.
Okay. So now, we can go back in, pop in our volume. I'll probably bring down the
size a little bit on it too. And let's go back and do another test
and see what we get.
Cool. So, since we went to this finished version, I actually added some like lava
fields to this. And this was basically done by just going into our Emission again
and getting a Blackbody Emission and grabbing an image texture.
And this image texture is basically just a black and white image of like ocean
caustics which I use a lot for ocean effects and stuff like that but it worked
really well for the effect for these lava fields. So we're getting kind of a volume
that we're looking for, I think we can take down the radius a little bit still.
And then, we can go into our volume, into our medium, and mess with this volume step
length and you'll really get to see kind of the effects from from doing this.
So if we take this down maybe to about 0.4, we're going to get like something
really thick and then we can start to raise up this radius just a little bit
too. We can probably boost our density up just a little bit too.
Cool. So that's looking pretty sweet. If I zoom in here, you can see like we're
getting these little peaks of our moon popping out of the atmosphere which
creates these really neat effects.
But we're not really getting any like light fall-off from our lava.
Super easy way to fix that is just to go into our render kernels and grab Path
Tracing instead of Direct Light. And what that's going to do is just allow the light
from our emissions to kind of like flow through our atmosphere a little bit
easier. And once that updates, we'll be able to see that a little bit clearer.
Let's go into Octane settings and make sure [inaudible]. Cool.
All right, so we're getting a little bit of that like fall off on edges here.
Not really getting as much as I wanted from the edges, so let's just see if just
boosting the power helps just a little bit. We could also just rerender this
thing out but with the time that it's taking, I'm not going to do that.
But there you go, atmospheric moon looks super rad.
And let's go to the last part and go grab that project file again.
Cool. So this is a super simple scene. We just have two lights in the background,
we got this like nice reflective floor. And let's add some VDB's to this thing.
What a VDB is is just a volumetric database. It would basically give you like
a bounding box and the information inside of that box will determine kind of what
densities populate it. And you can create some in Houdini, stuff like that.
I created a whole pack that you guys can go online and check out,
if you want to. But let's go ahead and pop one in. We can do an Octane VDB volume,
go into that. I brought some of the volumes that I made with me,
so we'll just grab one of those. And let's see, we'll do probably the nebula pack
with me. So let's try this guy out, add him to this scene, make sure I grab the
right one. Yeah.
Okay. So right now, you're not seeing much. You see this little yellow box here,
that's just because our size, our import unit, is really small.
So we can take this up to decameters, see what kind of size that gives us.
So you can see, it's a little bit bigger there. Boost it up to hectometers,
see what that gives us. Now it's a lot larger. We'll move this up in our scene.
And so, we're getting something here. It's a bit hard to see, so we can go into our
Medium tab again and mess with these settings once more. We'll take this down
to maybe 0.5 and you'll start to see a lot more detail. And so,
we're getting like this wispiness that's in the VDB.
You can create a lot of cool effects. See if I have enough time.
Yeah, let's just grab like an area light and we will make sure our VDB is selected
and we'll just grab like a targeted area light to our VDB, bring the size down
quite a bit. Yeah, let's make sure where this thing is. So bring this behind our
VDB, maybe angle it up just a little bit. Go back into our camera.
And then, we can maybe like change the color, make sure it's not visible to the
camera. And then, well, let's mess with the settings a little bit.
We'll take the temperature down, boost the power a little bit.
So we're now getting a little bit of like this orange fall-off.
And I use this kind of like effect if I'm creating like nebulas where I want a bunch
of different colors around a galaxy, something like that. We can also go into
our VDB volume and go into our absorption and scattering. This is basically just to
determine the absorption color and the scattering color of our volume.
And we could go and then just grab like a random color, boost that thing up.
Now we're getting kind of this like blue-green mesh between our area light and
our little key light over here. And we can also go back into the Scattering here,
make this maybe this pink color and just see what kind of effect it gives us.
The cool thing about these VDB's is like, since you don't have to mess with like the
volume looks since it's already predetermined, you can focus more on how
this thing is actually going to look, as far as lighting and scattering color and
all that kind of stuff, and create some really cool effects with it too.
And one last thing that I think I can get to actually really quickly is just
importing a VDB sequence. So if you would render out like a VDB sequence from
Houdini, you can actually import those into C4D. So let's just grab a fresh VDB
volume and go into our VDB. And I have a sequence already. And what you would
actually start out with if you had a sequence straight out of Houdini,
whatever you named it, it would be like the name and then like a number next to
it, name, number next to it and they're all kind of like separate VDB's.
But if you were to go in and just like click and select all your VDB's,
go into Properties...actually not Properties, go into Rename and just like
rename, let's say, the first one to like two. And it'll rename all of them to two
but then you have these like parentheses with the numbers and this basically makes
this thing a full sequence that the Octane will actually recognize.
And so, when you go into Octane, we have 37 VDB's, and we go to the Volume,
we can start with 1 and end on 37 and then go and add our VDB sequence here quickly.
So all I have to do is grab the first one and it'll automatically understand what