Siggraph 2017 Rewind - Jeremy Cox: Improvisational C4D in Production: Euro Cup coverage on ESPN

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Jeremy illustrates the improvisational creative process he and his team at Imaginary Forces went through to create the ESPN UEFA Euro 2016 package.

In the first section, he walks you through creating a European map with animated border lines using displacement, shaders, noise, reflectance and bump. Jeremy then walks through the process of creating the animated paint strokes that define each of the countries. Using real, physically painted textures as a starting point and manipulating them with the Free Form Defomer (FFD), Smooth Deformer, Bend Deformer, Buldge Deformer, Displacers, and a Spline Wrap to define the actions of the paint strokes. Lastly, he shows how the pencil-sketched team crests were executed using layered Sketch and Toon materials with animation. Includes a brief overview of how using the Take System saved tons of time in production.

00:41Demo Reel
02:47What is Improvisational C4D?
05:42A Montage of the ESPN UEFA Package
08:28Style Frames for the Opening Sequence
10:23Creating the Animated European Map
20:48Creating the Animated Paint Strokes Effect
34:35Creating the Pencil-Sketched Team Crests

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Transcript

Thank you. The title of this is Improvisational C4D, and I'm taking a couple projects that I've done and sort of exploring what that means. And I'll get into that in a moment, but first, a little bit about myself. I'm a Creative Director at Imaginary Forces. We are a creative studio. We're located in both New York and Los Angeles. I'm located in the New York office. If you're here, or if you're watching this, I'm guessing you probably know who we are, but if not, I've got a little reel of our work. And I'm sure you'll recognize some things in there, and then we can get into the fun stuff. ♪ [music] ♪ So, as you can see, we do a pretty broad range of different kinds of work, and honestly, that's why I've been there for over 10 years is because there's never a dull moment. We're always doing something new. There's always some new challenge to explore, and yeah, it's really just a lot of fun to make this stuff. So, like I said, today I'm going to be talking about this idea of kind of Improvisational C4D, and this is a little bit of kind of an oxymoron that I'm up here presenting something that I've, like, prepared a thing to show you. Yet I'm talking about improvisation. So it'll be a little hard to convey that, but the idea is that so much of us watch tutorials online. Everything feels like there's, like, a set of instructions on here is how you do it. But in my experience, when you're actually working on these projects, you have this very vague idea of what you're trying to achieve, and then it's a much more organic process to end up at the end product. So what I'm going to try and convey is sort of some of that process and some of how you go down all of these different paths and end up on one that hopefully works. But it's really about that exploration. That's, honestly, what I really enjoy about is the not knowing how to do it and figuring it out along the way and really just playing with the different tools in Cinema 4D and just trying things until something clicks, something works. And you end up with a path that does solve the problem that you're trying to achieve. So to show this, today I'm going to be showing work we did with ESPN for their Euro Cup coverage last year. It was a collaboration with ESPN, and that's…I mean, it's easy to say about a lot of projects, but I think this in particular really was a direct collaboration. It wasn't as much a kind of client-vendor relationship. Like, we actually very much were partners on the same level with them in creating this package. And that became really important because we were both creating elements for them. They were then creating elements with those. We were handing assets back and forth. And even in critiques and reviews, we would send them things to review that we had done and vice versa. They would send us things that they were creating for us to critique and sort of give feedback on what we thought about it. So when they came to us, approached us through with this project, I think it was really looking for us to lend a sense of…I mean, I guess when you look at our work I don't think the kind of flashy sports graphics are probably the first thing that come to mind, and I think that's actually what they were looking for. They were looking for a slightly more, at least when it comes the idea of sports graphics, a naïve perspective. But really it was more that kind of artistic, cinematic quality that we bring to projects that I think they were looking for. So we saw our task as almost pulling ESPN out of their comfort zone. Like, here's what they would naturally do, and here's what we would naturally do. And we're here sort of trying to, like, ease them a little bit away from what they would do and vice versa. We did a lot of explorations that were way too far and kind of this, like, artsy direction that they then said, "No, we need to go a little bit because we're not quite comfortable with that, and I don't think that will actually work for our purposes. We need to come back this direction." Yeah, so, very much a collaboration, and I as I go through this, I'll talk a little about kind of that process where it was a lot of passing assets back and forth and the guys at ESPN creating elements that we used and vice versa. So this is a montage of some of the work that we created for this package. ♪ [music] ♪ Thanks. Yeah, so the first element that we created that I'm going to talk about is the open, and this is something that they played at the start of the broadcast coverage every day and so yeah. I'll show it to you and then talk a little bit about it, but yeah, I'll just show it. ♪ [music] ♪ So, the specific element I want to talk about here that we created in this were those maps. And that's something that we've done a lot. You can see here in the original style frames that we created for this open, they represented very abstractly, and specifically at the beginning. Like, if you remember the open I just showed you. It actually had this very detailed topographical map with these lines kinds of flowing over it. And when you're designing these things, often you just do very rough approximations. When they're small, they look great, and they kind of get the idea across. But ultimately, when you're creating it you need to actually flesh it out and really bring it to life. But even behind our sculptures here, our statues, just getting this kind of relief of this map behind them to give this sense of place, really put it in Europe, being the Euro Cup. So here's some more frames. You can see this idea kind of flying over the map and seeing the topography of it. And then the final reveal pulling out of logo to the Paris skyline behind. And, again, talking about collaboration, this was an instance where ESPN had actually…they were doing most of the sort of metal mechanization elements in the package. So the logo itself is something they created and they passed along to us, and that was a Cinema 4D and v-ray element that we were then integrating into our process and vice versa. The maps that we're creating here is something that we passed along to them that they then used in various elements they were creating. So here, again, you can see what I'm talking about with these maps. And there's a surprising amount of…or it's surprisingly difficult to get or look like this. And I'm going to show you a little bit of it. But to start out, like, obviously, the lines we're writing on, we started them in After Effects just creating textures. So animated textures of these lines running along the surface. And then for the actual displacement, you'd probably expect something like this, like a depth map of the earth, which you can get from various sources. But the problem with doing something like this is that…Well, I'll jump right into Cinema 4D now and show you how we dealt with some issues that we run into creating a map like this. So, the first thing I'm going to is actually just make my texture real quick. So just add the color, which will be just something we built in Photoshop that would be animated. I was showing you that first shot where it's actually crawling along. But just for a speed of showing you how I'm doing it, you know, I'm going to do it as a single texture, a single frame. So, as you might expect, the main element actually giving that depth is displacement, and here you're going to see where the problems start to rise. But I'm just going to add displacement to it, and then this right here is my…All right, of course, I'm going to put this on a plane. Let's make the plane quite a bit denser just so we have more geometry to work with here. And then I'm going to add some sub-polygon displacement, add even a little bit more. And if I render here, you'll see the problems that we were starting to face with making a dimensional map. So it doesn't look great. And the problem is once we were starting to get the detail we wanted. So if I upped the subdivision level even more to really show off the detail in this, you can see it really turns into just turns into this kind of, like, spiky mess, which isn't the look that we wanted. Like, it almost becomes like a bunch of pins sticking out of the ground. And we wanted something much smoother. We wanted the Alps to stick out of…to kind of really have some dimension up here, but at the same time, we don't want every single peak to really stick high up. Because we were exaggerating that height so much that that's just inherently a problem with it. It's looking better. I'm going to turn up the resolution of my textures, and that'll make it a little more clear what we're looking at here. So, like I said, we have to figure out a way of getting around this. So, really what the solution we came up with is almost think of it as two levels of displacement. One is taking this relatively low-res plane we have here. You can see there, my polygons, and using the displacement on that to add most of the dimension that we want to add into the map. So, if I add a displacer object, put it under my plane, and then, again, I want to grab my height map and stick that in the shading of the displacer. Now we're going to start to see actually here in the viewport previewing that displacement, and, of course, this is too much. And we're also breaking our edges with the Phong tags. So I'm going to turn off this angle limit so it stays looking smooth. The other thing I want to do is actually turn off or turn down the specular because it gets a little too shiny looking, and I want to keep a little less of that. So that's good. It's still too extreme. I'm also going to turn off my grid so I can see a little better. So just going into the displacer and changing the height here. I can dial it into something that's maybe a little bit more reasonable, which, for my taste, is probably something like this where you're definitely getting some overall definitions of the terrain, but you aren't getting that spikiness that you were getting before. But the thing is, remember, I still have that material on here that has displacement. So what I'm doing is I am doing this overall deformation of the train. Then with the second level of displacement that's in the material that's where I'm going to add in all those little fine-grain details of the little mountain ranges and things rather than sort of "Oh, there are the Alps. There is the edge of Italy, cost of Italy, going down into the ocean and all of that. So, of course, if I render right now…I'm going to turn down the subdivision a little just for speed. Of course, I haven't changed my height yet so it's still going to look like a pincushion, still going to be a little extreme. But really because I have that overall displacement already, I can turn this height down to something much more reasonable, like maybe one, or it might even be smaller than that. But let's see how…yeah, I think that's even too much. The other thing that you'll see here is I'm getting these jagged edges along the coastline. And that's because, by default, displacement doesn't round the geometry like a subdivision surface or something would. It actually keeps the polygons whole and just sort of subdivides them evenly. So if I would do round geometry, and I render, you'll see it actually gets a smooth edge along there. It's a much more pleasant or pleasing look. So, honestly, this is most of the way there. There are bunch of material or shader additions that I would do to this. So, for example, the displacement still isn't that detailed. So another thing I would do is just add a bump to it, and I can just take the same image I was using for the height and just put that in the bump channel as well, and that should work pretty well. So I'm going to copy the shader and put it with the bump. But if you've ever listened to any of my talks before, you know that I'm going to use noise in here somewhere. So, of course, I'm going to put that texture into a layer and add some additional noise in there as well. So I just want a little bit of kind of fine-grain detail in there and almost give the map a texture. When I was actually making one of the looks I was almost going for is almost, like, a carved look. I almost feel like someone was using a chisel to kind of construct this thing. And that's not necessarily what we need to do, but it's something just gives it. So when you get up really close to the map there's some detail in there to really catch the highlights. So I'm going to do shader and noise, and then you can either just mix it in with the opacity, or you can use a blending mode since it's mostly a pretty dark map. I'm maybe going to screen this on top of it and figure out an opacity that I think will have a good amount detail. Of course, the default noise is not very interesting, so I like to go in and kind of maybe find something more interesting in here. I've actually been liking Pezzo a lot recently, and this kind of gives some of that little pitted look. Like, if you invert it, by default, you can see all the little dots in it are white, so everything would stick up, and it'd be these little, like, peaks like I was actually trying to avoid earlier. But if you invert it and make the white black and the black white... I think I got it right there. Nope, wrong. Black white and then black. Yeah, you can see now it's going to do the invert, and it's going to have all these pockmarks in it, and that sometimes gives a really nice little bit of detail. So the scale is probably way off now but I'm just going to maybe render, do a test render and see…yeah. So I think we're seeing a little bit of the noise here, but it's actually really big. So I'm going into here and just go to the global scale of the noise and make it much smaller, maybe 5%. Even that's looking a little big, like I was trying to get this kind of chunky bits here, but at this point this is really what I was talking about with the improvisation where it's you're just reacting to what you're seeing. It's like as you make changes, as you do renders, you're just sort of using your gut instinct and kind of, like, going in different directions and seeing which one is starting to feel right to you. So really that's it. I mean, again, there a couple of things I would do. One thing that we played with in this is actually using the reflectance to make these gold lines actually more reflective or have more of a specular to it. So an example of doing that would be…I think we just used an old legacy specular like that. But essentially, just taking a specular, giving it kind of a gold color. And then using the masking to make it so that this layer of specular is only applied on these lines. So I can do that in the layer mask down here. And this outline is…that's all the outlines of the country. It probably won't show up very well in the viewport, but when you're actually animating the camera around and seeing it rendered you actually see a little bit of a glint kind of follow along those lines. It makes it feel much more metallic which is the look we were going for with these kind of gilded lines around the map. So, again, just so you can see what we just did, again, rendered in context with compositing…there were a lot of other elements we were putting in here. One is we're adding these light rays to give it a little bit more of a volumetric feel. We're adding dust in there just to give it…again, make it feel a little more physical and less like we're in this sort of CG world. And whenever I'm doing work like this using takes is always extremely important for me. And that was introduced a couple versions ago, and I started using them everywhere. But an example of that is here is the final product that actually…this is what we rendered that out of, so it looks pretty similar to what we just made. But if we go into the takes here, you can see I've broken it up into the master which…that renders pretty quickly. So that's essentially what we just created, but then I have all these other passes that I'm rendering out to use in compositing. So a line's passed, and this is just taking the same geometry but sticking a different texture on it. So just swapping out the texture here for lines instead of the color and just doing extremely fast render just to get that as a compositing element that I can use to color correct those lines separately from everything else. The light rays I was talking about. So this we actually made using kind of like a gobo, where if you use volumetric lights in Cinema 4D, you can actually create this shape. And then it doesn't look that much here, but when I render it, you can actually see it's shining light through all these holes and creating this nice volumetric light. So as we fly the camera through it, you actually do see parallax, and it actually feels like these rays of light are dimensional and in space, and you're actually flying though them. I mean, the others aren't that interesting. Light spots, that's actually the light rays. It's just only the spots on the ground. So that, again, in compositing we can control how bright these spots are and not be baked into what we're doing in the final render but actually be able to combine them in a way that we're happy with. And then some other shadow passes and things that we were doing as tests of kind of different layers of shadowing to give interest to the maps. So another main element that you probably saw on that montage of the work we did were these paint strokes. And this came about in the conceptual process of this package. We were focused on kind of the idea of the art history of Europe and France in particular, who were the hosts of the Euro Cup last year. And the different elements we were using, so, you saw the sculpture in the open and then these sort of nice paint strokes that we're using here. And then even at the end of the element, this element here you'll see we're actually using, like, a sketch material as well that gives this nice sort of hand-drawn artistic feel. So it was really trying to embrace all of these different aesthetics of the art history of Europe and France. So these are some of the original style frames that we created when we were sort of coming up with ideas for this package, and everyone really latched onto this, this, like, Eiffel tower made of the paint strokes, and that was just an early image that we created that became a jumping off point for a lot of the other things that we created. But even with something like this, like, this is, again, you just saw the final result of this, but this is called the crest transition is every team has a crest. So I was using that crest as a transitional element that when they're talking about a team they would use these as transitional pieces. Or something like this where we're actually making flags out of the paint, so using strokes. And when you look at a lot of flags you realize most of them are actually just stripes, so it's pretty easy to make those out of these paint strokes. But it was one thing to sort of design these things, but was an entirely separate problem to figure out how to actually make them in motion and actually make them something dimensional that you can fly the camera around and animate them so they're actually right on. And the challenge here that I really wanted to tackle was when you think of painting something, the easiest thing to do would just be to kind of mask it on take an alpha channel and just kind of draw it one from the backside of the stroke to the front side of stroke. And that's pretty simple, but the problem is it doesn't really feel like it's dynamic. It doesn't feel like it actually has the physics of paint. It doesn't feel like it's sort of squeezing like paint. It doesn't feel at all fluid. And that's something that we really want to capture is that fluidity of the paint. So if you think about how you actually paint something, like a brush dabbed in paint and spread across the surface, it's that blob of paint is sort of being deposited as you go, and it's almost like you're shaving off a little bit at a time that's being left behind on the paper or whatever the surface is. That sound obvious, but that was sort of the genesis of coming up with a way of actually showing that, and that was almost think of it in reverse. So we have our final paint stroke. We have a line of paint. Can we squash that back together and then slowly reveal it or slowly kind of leave it behind as we move it along a surface. So, again, it's kind of thinking of it a little bit in reverse. But the first step, and this is really…well, let's make some real paint strokes. So we got a bunch of paint, just kind of went crazy, made probably dozens of this just sort of smears of paint, kind of combining colors and making these elements that we could use as textures for the CG paint. And I think that's one of the most important parts is, like, you need a great texture to work from. Like, usually when you're doing CG textures you would try to light it as flatly as possible. But in this case, we were actually trying to get specular highlights and things into it so we could actually…you can see here. Here's the texture I'm about to use. Like, it actually has specular highlights in there. It has this really…it already has a dimensional feel to it, and that gave us a huge leg up when it came to actually making the paint feel dimensional and feel like it was wet and had that really nice tactile quality to it. So I'm going to take you really quickly through how I came up with this method of creating these paint strokes, and I think this is maybe the best example I have of that idea of improvisation. Because really it's almost using, like, accidental…I wouldn't call them bugs, but it's using ways that Cinema 4D isn't intended to be used. But it's just through this experimentation and through this kind of trial and error that come you across these things. So, again, I'm going to start out with making a material and giving it that texture of the paint stroke. And let's just apply it to the planes so we at least know what direction it's going. And just start to make what looks like sort of a nice sort of plane for a paint stroke to exist upon. So, of course, we also want the alpha channel in here. This is a Photoshop file that hasn't included alpha, so I'm just going to copy the shader and put in the alpha channel as well. All right, so, that's not very dimensional yet. It's not very interesting. It's just a flat plane with a texture on it. But you can see it already has just through the texture itself and through, like, bump mapping and displacement, that we'll eventually do using just the luminance of this texture. It'll already look not terrible just because we're starting with at a decent texture. But, as I said, the main thing I was trying to achieve here was that kind of unfurling of the paint, sort of the way of spreading it out from a blob at the front end of it. And whenever I'm doing something like that, I would start out just kind of, like, I don't know, playing with all these deformers. There's so many interesting deformers in here I thought maybe…I don't know. I just tried things. Like, maybe there's a way I can use displacer to kind of, like, shove everything together and then use a fall off on that to kind of leave it behind. But the way I ended up figuring out how to do it is using a Free Form Deformer or FFD, and we don't really need any extra points in here. We can just set it to two on all dimensions, and then we don't really need any height, because we just need to encompass it. And then I'm just going to actually turn on the wireframes, make sure I'm including the entire plane in this. It really just needs to encapsulate the entire plane that I have here. Now, the next step was just to…well, let's see what we can do with this. Would help if it were actually parented correctly. So, once it's in there…okay. So, like, I can do that. I can kind of, like, squash and stretch it, but that's not really what I want. And the random thing that I just stumbled upon was, well, this would work perfectly if the Free Form Deformer had a falloff, and a lot of effectors have falloff. So you can set, like, where it actually takes effect. So you can kind of run through it, and as the falloff goes it would either start or stop affecting it, and okay that would work, but it doesn't have it. So I thought, "Well, maybe this won't work at all." But I took the FFD and actually started dragging it around. And that gets kind of interesting. Like, it's actually doing what I want, weirdly enough, because the Free Form Deformer only works within its bounds. So if something is out of its bounds, it doesn't have any effect on it. So if you drag it through something, it actually squashes it when it's within it but then doesn't squash it when it's not in it, if that make sense. So really, by doing this kind of work around where, again, I don't think anyone intentionally does this, but I kind of ended up with this crazy technique where if you use this FFD and drag it through geometry, it does this kind of, like, depositing behind or kind of it takes this really squashed version of that texture. But then as it moves through it, it leaves it. All right, I mean, that's an interesting start. Still doesn't look like much, so there's a lot more to do to layer on some other deformers on here to actually make it look like paint. So this was kind of a proven concept. It's purely technical, and I was like, "Okay, if I can technically achieve this, now I can make it look good." So the first thing is, well, I should probably add some more geometry to my plane. I think that would certainly help it to just have a little more fidelity. So something like this, I think, will be a little better. But one of the main things is that you'll see as I drag this…well, the first thing that's really frustrating is because of just sort of the quirk of how it works, my handle to drag this is way over here. So a way to solve that is actually to control it with another null. But because it's a deformer, I can't actually parent it, but I can use a character tag and a constraint to parent it. So it's not actually parented in the traditional sense, but if I apply the null into the target here, now I've got a null right here on the spot. And as I drag it, you can see now this handle is controlling that. So that from now on is just going to make this easier so I don't need to, like, zoom out and go all the way over to that far end to drag this handle. Ultimately, when we're creating this, we had all these sliders and Xpresso-driven things that we did. But for our purposes right now, this is a nice interactive way of showing it. So, as I mentioned, of course, the problem here is it does just pop from one to the others, so it goes immediately from squashed to un-squashed. An interesting way to kind of smooth that out is, funny enough, the smoothing deformer, and it does pretty much exactly what it says. It's going to smooth things out a bit. It's going to kind of average the squashed polygons and non-squashed polygons. And I don't know. I think at this point, you just kind of start playing with the numbers here and see when it starts feeling good and when it's not. But that kind of fading between the two is what really starts to give it a slight stretch and really gives it a slightly more physical quality. So, now as I move it around, you can see it actually feels like a smearing a little bit. This is probably too much. This almost feels like taffy or something, so it doesn't quite have that…it really feels like it's actually sticking to the surface, but, again, for our purposes right now, I think that's a good demonstration of how it feels, and I'm going to turn off the lines so you can see a little better. So this is kind of the point where I'm like, "Okay, I'm really onto something here. Like, now this is within spitting distance of what I'm looking for." And this is the kind of thing that took a few minutes to actually set up, but in reality, it took probably an hour of kind of trying random things to get to this point to actually feel like I was confident that, "Okay, I have something that's working here." And that was kind of all the random wrong turns I made along the way and all the different experiments that I did. From here, it's pretty straightforward. It's just combing a bunch of other deformers in here. And I'm going to pop open the final result because I think that'll be easier to see than me kind of tediously going through and doing every single one of them, but it's using a bunch of, like, bend deformers to make the whole thing bend a bit that way. It's using a bunch displacers to give the whole thing a little more of undulation. Then, ultimately, it's applying a spline wrap to actually have it flow over a spline and rather than just sort of right now it's a straight line. But, actually, I feel like it's swooping and doing all the specific actions that we want it to do. So let me pop up that project open. So, here you can see I've animated. I'm going to turn off all frames to play it a little faster. So, the base of what we did here is the same. It's a FFD, and then here's the smoothing I did. But then, in addition to that, there are things like a bend here that's making the kind of tip of the blob of paint. Add a little bit…it kinds of comes in so it actually feels like there's more dimension there and then a bulge overall, so it kind of gives a little bit more of a…it feels like the blob of paint is bigger at the front end. And then just a bunch of displacers, like, an overall one that kind of gives it just a little more kind of large undulations and then kind of unevenness in there in the front end. Yeah, so it really was just trying things until I was happy with it. And, ultimately, we were extremely happy with how this worked for our purposes. So, at the very end, it's then a spline wrap, and that spline wrap takes what we saw here, which is essentially we just created with a few other bells and whistles added to it. And then makes it actually flow around in space. And so I'm using a helix here, so as you can see it's following in the spline, but I can make any spline I want. So I could just take the pen and just draw something random. I'm going to set it to the B-spline. And then, so, if I want to go over that spline instead, all I need is to take the spline wrap and replace the helix with this new spline I just created. Some of the other things we added here, we gave everything a little bit more momentum. So rather than just being left behind, it actually feels like the whole thing kind of, like, drifts a little bit. So it feels like…it's actually a physical object that has weight to it. So rather than just sort of static, floating in midair, everything kind of flows and continues to go in the direction that was it originally left. Which I think, again, helps give it weight and the physicality that we really wanted this paint to have. So, here, again, you can see a bunch of these final paint strokes. Yeah, I think this was really a turning point. We were really happy. This is something that we then passed on to ESPN. They then integrated into a lot elements they were creating, and yeah. So I think this is really kind of the most important piece this package that we really feel like we nailed and that really brought it to life. The next thing I'm going to talk about is at the very end of your…so this is the crest transition. You see the crest. I talked about that being kind of sketchy and adding that kind of almost hand-drawn feel to it. So, here's that element specifically. Even in the beginning we're using these sort of slightly architectural lines to give a little bit of structure to the ground plane, but then the drawn maps and then the crest itself feeling like it was actually hand-drawn in kind of this schematic way. And this is something that we use, sketch and tune in Cinema 4D4. And if any of you have used sketch and tune before, it has certain limitations and certain issues that we had to overcome. But the basics were pretty straightforward. So I'm just going to open up…this is actually the final project again just so you can see what we're ending up with. And if I render on this, it will take a moment to generate all the lines. It is rather complex. We have a lot of sketch and tune shaders here that we're applying to it, but as it's rendering here, you can see we do get this really nice kind of organic feeling diagrammatic sketch of this crest. And I'm going to set one up for you real quick. The other thing, again, I mentioned takes earlier. When we're dealing with 24 different teams in a tournament like this it becomes extremely beneficial to be organized in how you're setting these things up. So it's one thing to make one of them, but suddenly they approve it, and you need to make 23 more of them. So being able to set iy up in a way that it's modular and you can update things quickly and kind of be working in a way that is organized is helpful. So in the take system, we actually have it set up so that every single team, you can just hit render, and it's going to render ever single of one of them. It uses the same materials and everything. So it's a very quick way of propagating through multiple versions when you need to do that. So I'm going to take the Germany crest here and put it in a new scene, just so I can show you quickly how we would set up the sketch and tune. We could go from scratch, and just to begin with sketch and tune, really all you have to do is add a sketch and tune effect. It is a post effect, so it's almost doing it after the fact, which is…I'll talk about it in a moment, because that's actually one of the downsides and one of the problems that occur when we're actually trying to animate it. So let's add sketch and tune. The first thing I know we want to do if I render it, you'll see it's shading the inside, and really all I want is the lines, so I want to fill in the inside with white. So if I go into the shading tab of the sketch and tune render settings, I can set the object to custom color, and it'll default to white. So when I render it now it'll be as if it's transparent or if it's white, so you'll just get the lines, which is really all that I want. I mean, it's not bad out of the box like this. Like, it certainly doesn't look sketched, but it almost looks maybe a very well done sort of pen outline or something. So how do we add a little bit more variation in there? And you can certainly dive immediately into the actual sketch material down here that it added, so there are all these things you can do that sort of add a lot of
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