- [Donnie] All right. Welcome to the Maxon booth. My name is Donnie Bauer. I am a creative director at a company called Optimus Design. We're based in Chicago. Our team handles a wide variety of work but more often, we're doing a lot of motion graphic stuff. That motion graphic work spans from things that are, you know, After Effects animated, things that look maybe hand drawn, 2D cell animated. We also do some stop motion stuff and then most importantly I'm here because we use Cinema pretty much all the time. Whatever the project calls for there's usually a way to get Cinema integrated into your workflow. And hopefully what you'll see today is I'm going to show you two very different projects both of which we leaned heavily on Cinema 4D to complete. So the first thing I want to share with you guys is a short reel and this just kind of highlights, some of the best uses of Cinema 4D that we found. ♪ [music] ♪ All right, so as you can see there, there's a pretty good mix of stuff happening. We often are tasked with creating, you know, pitches, style frames, what have you. A lot of our client base are big agencies from the Midwest and they'll come to us with an initial, you know, like a rough sketch or just an AVO script or something. So I just want to kind of show you how we took an idea that was from Blue Cross Blue Shield, this is the first project I'm going to talk about. And we took that which was created in style frames first, all hand drawn and then we took it from the hand drawn kind of look through Cinema 4D, lots of Photoshop, put it back together in After Effects and then ultimately created this 60-second spot for TV. - [video] Life, it changes constantly. Most of the time the changes are small, but when there's a significant change, things change in a flash. And if you're facing one of those moments right now Blue Cross and Blue Shield of Illinois can help life move a little easier. If you're getting married, having a baby, moving to a new area, or transitioning off a health insurance plan sign up for health insurance right now, during a special enrollment period. Call 1-800-325-1200 or go to LifeChangeIL.com. Blue Cross and Blue Shield of Illinois understands life changes mean bigger things on your mind. So we make finding a health plan that fits any budget easier. A new addition to the family, a new place, or new responsibilities a special enrollment period for health insurance may be available for you. Call today because while life moves fast so will this special enrollment period. Call 1-800-325-1200. That's 1-800-325-1200. Blue Cross and Blue Shield of Illinois through it all. - So if you're just seeing that for the first time you may look at it and think like I don't know if that really speaks C4D right off the bat. So I just wanted to back up a step and show you guys the initial style frames for this. So I did all of these in Photoshop. This is just using Photoshop brushes, and some layering and things. So we presented them with multiple ideas. This is the one that they choose. And when thinking about like creating this of course we wanted to do some hand drawn artwork for this. We did some traditional cell animation stuff, but as you know, that is very time consuming, it's very taxing on some of the artists. So we wanted to lean on C4D as much as we could. So in the top left there that's essentially, what we determined as our key art piece. So that word "Life," the agency liked it, the client really liked it and that should be kind of the driving inspiration for all the other stuff that we're going to create. However, with that, it looks fantastic flat but if you have the ability to jump into Cinema, then you can start to flush it out, add some dimension to it. All right, so I'm going to just jump into Cinema here and hopefully what you could find is that it's extremely easy just to get going. That is one of my favorite things about Cinema 4D. The user interface is really easy to understand and if you're a newcomer to it, and you could just jump right in and start creating stuff. So what I want to do is just create that letter "L" for the word "Life" and essentially what you want to start with is a reference. So I'm just going to grab this reference image here, drop it in. It's as easy as that. You could just drag and drop right into your viewer. So the next thing you want to do is just grab this pen tool and we're essentially just going to spline out this entire letter "L." It's going to be a little hard to see what's happening. So I'm just going to pop over to the settings for the viewer here and let's increase the transparency essentially just knocking that back. All right, now you're ready to get in here and start creating your "L" shape. And I'm going to be fairly loose with how I create this because I'm going to essentially be going through here in iterations refining it. But what you want to do is just get this as close as possible because in the end, this is the reference. So you know this is the key piece of art that you want to retain the spirit and the look and feel of this. So getting this shape close is important. All right, so we splined everything out. We're only in the front view so this is only done on one axis here. It's going to be flat. There's nothing happening, so to add a little dimension into this, to just sort of loosen it up, we're going to make some selections. And I think maybe we'll just kind of randomly grab some of these and ultimately what we're going to do is just push these back in Z space and hopefully create a more elegant three-dimensional shape out of this. Okay, we've got some selections there and it's as easy as this. Now you just go in and just kind of pull this stuff back. Let's head over here to the perspective view and you can sort of check your work. It's looking kind of gnarly so not ideal. So there's always going to be a little bit of fine tuning going on here but the important thing is that you're starting to loosen that shape up just a little bit. And of course check your work in this view. Straighten these elements out here. Okay. When we start to add some actual geometry to this, I just want to make sure that when that geometry starts to cross over each other it's not getting all nasty and the geo isn't poking into itself. So it may seem like I'm taking maybe too much time like pushing and pulling these things around. You can always update this stuff later but in the design process, this is really going to help us out. That looks pretty good. All these handles are easy to kind of manipulate, just want to have some nice curves going on. In the end, we want a really nice elegant shape out of this. Okay, that's pretty cool. It looks good. We just have a spline though. So how do we create this kind of like thick to thin "breaststrokey" sort of effect? It's as easy as grabbing this tool, the sweep. Okay. And how the sweep works is essentially you could define a path, and then take another shape and then sort of feed it along that path. So in this case we have our path. We have our "L" shape. That's happening right here. Now we need a shape to sort of feed through it, so let's give it some thickness. Just pop up here. Grab the circle, circle's huge. Let's make that much smaller, even smaller. It's pretty good. All right, and just simply drop it on in. Okay, so now we've added some dimension to it. It's a big tube. It's not very fun. It certainly doesn't look like this brushstroke and before we move on to actually optimizing that stuff, let's grab the circle and let's give it that, more of a Photoshop kind of looking brush to it, you know, more of a skinny brush. And to do that just simply turn that into an ellipse. That looks insane but if you just knock down one side of the size on the radius here, then you start to get more of a tapered ribbon-like kind of "strokey" effect and I want to make this just a little bit thicker, maybe four. And one thing that you're going to want to do anytime that you apply a sweep your geometry is going to default to...Your points are divided up under this adaptive parameter. So one thing I like to do just to kind of even things out, switch that to uniform and what happens is it uniformly subdivides your points in between every point that you've made. So now, your geo just looks a little bit better here. You know, rule of thumb is you just kind of, as you're animating you want to work through this stuff like just try to clean it up as you go. And I'm actually going to make this a little...Go four, and I'm going to bump this down to four here. The spline, eight looks pretty good. We'll just leave it there. All right, so we've got some thickness going on. We've got at least like, you know, in perspective it looks kind of skinny in some areas. That's working sort of nicely and I'm going to just, kind of like, beef that up a little bit so we have some more geo to play with. All right, so in the sweep something that's going to really help you out is getting comfortable inside of the, you know, manipulating these values in scale and rotation. So I want to just start with rotation and if we scroll down here you could just right click on the window. Okay, and just plot some points down on this guy. And what's happening here is this is a graph that shows you the rotation of the sweep from the beginning, right here and then you can manipulate the rotational values by every point that you plot over here all the way through the end. So I just randomly place them and I'm just going to sort of see what happens here but knowing that we want to start a little bit thicker, go thinner, that's the goal. So already just by kind of simply rotating that, that's starting to look pretty good. Continue to, you know, just march down the way here and keep rotating all along. I'm trying to match the original shape of that stroke effect but, you know, because we're artists we want to take some liberties sometimes, you know. So if something just starts to look better to your eye then, you know, you can kind of roll with it. That looks kind of nice and as you can see here, I've got some geo that's crossing over each other. So it's as simple as going in, you grab that point, and just kind of walk that away from the thing that it was intersecting with. So let's keep walking that back. Maybe we'll go forward with it. That looks better. And just by doing that, you can see it sort of updated the rotation for us and you're getting a more elegant shape. It looks pretty nice. Another thing that you want to do is go into scale, same drill, this is the scale of that sweep over time, and just by going in here plotting some points you can kind of thin that out and now it's starting to look pretty cool. It doesn't look like something right out of the box in Cinema. It's just a matter of moments you can start to get pretty interesting effects here. All right, I'm just going to drop a shader on this so it's nice and easy to see. And let's go back to our view settings and I'm just going to turn off the image. So now, our shape is here, it's built. It's looking pretty good. It doesn't do anything. So easy way to get some motion going is to draw this on here. So it's as simple as adding a growth parameter here and let's say it goes for the entirety of 48 frames. So it's at the end. Let's bring this back to zero. Okay, so now you've got your stroke effect. It's drawn on. It looks incredibly frozen. It doesn't look that fun. So next step is to actually bring some life to this. You can go in by hand and actually manipulate all of the points on here, you can move them around, you can set point level animation on all this stuff to like sort of loosen up the letter but I want to show you kind of a fast track just to help this to feel less frozen. So on the spline itself go up to tags and under the hair tags, there's this fun tag called "spline dynamics" and if you add that...Okay, you're going to notice here when I press "Play," your "L" just like falls right out of the frame. That's because by default like any of the dynamics tags that you're going to add in Cinema they will default to having a force of gravity here. So I'm just going to zero that out. Let's go back to one here, hit "Play." Now we're back to having it frozen, still nothing's happening. So with the dynamics tag you need to give it something to react to and in this case, we're going to grab a force. So in simulate particles all of these forces in here are pretty much fair game, when you're dealing with dynamics. So in this case I'm just going to reach for turbulence. Okay, you need to make sure that turbulence is talking to this tag so just drag it in. I'm going to go to the beginning here and if I hit "Play" already you can start to see that, you know, that shape, although it's very subtle, it's starting to look kind of interesting, at least way more interesting than just having just a simple draw-on effect. All right, inside the tag of course you've got some fun parameters to play around with. Drag, if you bring that down to one, maybe even zero and basically the turbulence will affect this even more. All right, and that's looking kind of nice. Just be careful with some of like the features like rubber for instance. If you crank that up, it's just going to, you know, the thing's going to get really loose and pretty elastic feeling. Deform is pretty nice. Let's crank that up to 50. It just adds a little bit more randomness to your shape. You know, if you feel like it's too intense you could always just back off. So that's already feeling pretty good but for now, I'm going to turn this off. I'm going to disable it. Because what you really want to do is just kind of diversify your scene and your technique right? So we've got the spline effect going, we've got the stroke effect animating on, you've got your dynamics tag kind of adding some looseness to it. But then you want to get in there and actually add some like hand done animation. Maybe you want like the beginning part of the "L" to like bounce in and have some flexes like the initial stroke starts to take over and then the same with the end. Like the bottom of the L shape, you know, as that last curl is drawing on maybe it does some flexing too. Really difficult to do any of that kind of stuff with dynamics because there's an element of like, you know, set it up and let real world kind of forces and things run its course. So in this case we're going to reach for the bend tool. The bend tool is a favorite of mine. It's got many, many fantastic applications, really easy to control. So I'm going to just sort of line this up with the beginning part here and kind of rotate this around where you see this little point. That means that's basically like the direction this is going to bend. So if I just pop over to the settings and I increase the strength you could do it here. I'm going to "Undo." But you can also just grab this guy and kind of go back and forth with it. So you can see how it's rotating there. Now we want to apply this to the whole sweep shape. If you just "Alt+G," you can put this inside of a group and then you move down the deformer underneath that, grab the deformer, toggle that around. Looks pretty good. Check your work on the top here just to make sure you're affecting the areas that you want to. Looks pretty nice. Back to the front view. Okay, so let's add some animation to it. At the beginning, maybe we want this to start maybe kind of bent downwards and set a key frame, and then it's going to quickly sort of, you know, kind of bounce upwards just like that. Want to make that a positive 20. We're going to essentially create kind of this like up and down secondary kind of wobble effect motion. I'm going to just clean that up and make that a clean 30. Pardon me, -30. That's going to work a lot better. Okay, so we're going to start negative, go positive and then ultimately this should maybe settle down. I don't know somewhere around here. Just make that a zero. Okay, and then one of my favorite things to do is go into the curb editor here. And we're going to bring some interest to this animation that right now it just kind of moves, you know, it starts from a negative goes positive and then just like does this like super crazy ease into zero. So I'm going to add just a little bit more wobble to it, a little bit more flex. Plop a couple key frames down, maybe bring this down south of zero, this up just a little bit. Maybe we can move this one back. Oop, excuse me, here we go. So unlock these. All right. Curious to see how this is shaping up. Okay, pretty wobbly. Easy thing to do is if that's feeling too aggressive, too fast go over to the dope sheet now and grab all of these and you could just actually uniformly just stretch them out just like that. Okay, it's also feeling pretty aggressive, because you're going to notice that as this stretches, the bend tool by default will stretch this in the direction that you want it to, but it's basically not retaining the uniform scale of Y. And if you activate this box here, and just so we could kind of make this look a little prettier without the box wobbling around. There you go. So you got some animation happening on one side and like I said maybe you want that animation to happen down here as well. So it's as easy as, just kind of like copy and pasting this, grab the box move it down to the bottom. We know the direction we want that to bend and flex and we'll rotate that into place. Make sure that you're working in the proper Z space. Make sure your geo is inside of it. So since we copy and pasted that we're going to notice that, that animation is happening obviously at the heads of the clip. Go back to the dope sheet, grab your second bend. Kind of move this into place so we could see what we're doing here. And as the stroke is kind of drawing on you want that to dip down and then have a little flex and a little wobble to it. And you can see there it doesn't take too long, you know, you're starting to get some pretty interesting animation effects happening. I'm going to hit "Pause," we'll go back into our tag. Enable it, start at zero. And now you've loosened that whole spline up, you know. Again, we're handling a lot of motion graphics usually for clients that have some pretty high demands. They want their work done well, they want it done with some finesse and they want it done really quickly. And this is the kind of thing that we do all the time. We apply the same kind of techniques, you know, in a lot of jobs that we work on and all this stuff is super easy to update when you have revisions, which you will. So I'm going to turn on, go in through the magic of layers here and just reveal the actual build from our project. So now, you can see it applied to the rest of the word "Life" and then furthermore you're going to see the rest of the scene kind of build in around it. Show you the whole sequence. So with the camera move, a little bit more time put into, you know, adjusting your dynamics, getting all your bends right, you can see that they're still bounding boxes for where the bends are. Here's the second word "Life" when that shows up if you remember the spot we actually go into there's a stork that comes out. That was all rigged, designed, and modeled, rendered through Cinema as well. And just as a little reminder this is what the final look like. - Life. It changes constantly. Most of the time the changes are small but when there's a significant change, things change in a flash. And if you're facing one of those moments right now Blue Cross and Blue Shield of Illinois can help life move a little easier. If you're... - And there's our stork. All right, so for a very different project I want to talk about FITC. And how many people know what FITC is? You guys familiar with them? Okay, they're a fantastic organization. I think they're based out of Toronto but they hold two-day events focused on... Well, it stands for Future Innovation Technology Creativity. So they have some of the industry's leading technologists and artists show up and they have very inspiring conversations over two days. So they started in Toronto. They've then taken their event to Los Angeles, to Tokyo, to Amsterdam and then they brought it to my fair city of Chicago just this last fall. It was a fantastic experience getting to partner with those guys. So with myself as director, a very small team of artists at Optimus and with also the addition of Trevor Kerr which actually just gave a presentation before me. He was our lead lighting TD and he did all the render specs for that as well but I'm going to just show you guys what that looked like. ♪ [music] ♪ So I want to start sort of at the beginning here before I jump right into Cinema. Very different project than the one that I just showed you guys, where we're doing more motion graphic work. Of course, we're tasked with doing a lot of CGI as well. This was entirely a Cinema 4D exploration. All of the modeling, all the deformations, all of that stuff, all the animation camera work, all that was done inside of Cinema. These were the initial style frames that I had proposed to them and really it's an exploration of form at the very basic kind of sense. Really every time I thought about it I was trying to get to the root, you know, the kind of foundation of where certain forms come from. So really this is like taking this journey and watching something being created from nothing, a lot of basically what all of us do, you know, when we are tasked with a project, if you have an open creative, then you start very loose. You start very wide and broad. You look at lots of references. You kind of think very general about what you want to go after and over time with a lot of like effort and brain energy put into it you shape your idea, you refine it and eventually it becomes something that's inspired and something that's very motivated. Here we're going from like a very soft, organic even landscape-like elements. This transitioning becoming tighter, becoming more geometric, ultimately becoming architectural. So after we started to lay out sketches for the job we went through an entire sketch process. After that, we started to essentially do sketches like inside of Cinema 4D. So these are just like some rough geo frames. So you guys can kind of see like, you know, if you remember the spot like what we had started with we stayed pretty true to it. Of course, like with multiple, multiple iterations, you know, things got like more refined, they got more elegant, but having everything inside of Cinema sculpted there we were able to have open complete flexibility in bringing the stuff to life in animation. We leaned on a lot of techniques to actually animate this thing. So one of which was using Pose Morphs. We used Pose Morphs, we used a lot of spline animation, and then we actually we love using deformers. So we stacked up tons of deformers and one in particular was the correction deformer and we literally just like sculpted right on top of that. So I'm going to show you a little bit of that process. All right. So again, the point of what I'm trying to show you guys is like how easy it is to just jump in and you can get some pretty awesome effects in a relatively short amount of time. So looking at that finished product, you may not think of how simple it could be to create some of those deformations. So what I have here is just a simple parametric plane. I've subdivided it 150, 150. The point here is that you can go further with this but for ease of workflow, you want to keep this like relatively low mesh knowing that maybe we could smooth it out, add some geo to it down the road, but the goal here is to keep this parametric, to keep all the objects editable. And the first thing I'm going to start with is the correction. So you drop that underneath and what it's going to do is allow you to actually go in and make selections on these points without collapsing this to geometry. So this is still a live element you can edit it. You can, you know, grab this correction, you could throw it on another plane as long as it's got the same subdivisions. So what I'm going to do is just start just with some soft selections here. Okay, you can see here that like it's got the soft selection, it's probably set to a bell shape and it's got some nice like fall-off going. I'm going to start even wider with that fall-off too. Okay, wider radius, how about even wider? Okay, that's kind of cool. Now it may not be clear what I'm trying to go for just yet, but we want to build up a really complex looking deformation animation using just kind of like broad strokes and then getting kind of more and more detailed as we go. So I'm going to just kind of like stretch this thing out to about there. And I'm simply going to grab this and just copy it and put it underneath the stack. Of course, I've got the strength cranked up pretty high and it's respecting that same selection that I had previously made so I'm just going to reset that. And what we're doing is we're basically going to make another deformation on top of our previous correction there. So this time around, I'm going to go into the selection tool. And I'm going to make this radius much tighter. Yeah, that's kind of cool. All right, so let's just keep pulling this out in one direction. Maybe we could kind of move it down a little bit. Let's pull this one out. Let's grab another shape here. How about something underneath, something lower. Let's keep going, make it obvious, you know, that we've done some new work on this deformer. Same drill, I'm going to take this put it underneath itself and since we were doing kind of like broad stroke kind of selections there, you know, making this thing nice and loose and sort of lofty. Now we actually want to add a little bit more detail into it. And this is where it's pretty cool because you could actually just grab the same sculpting brush tools that you typically used to do your sculpting, just going to put this over on the side so it's easy to grab and right now, I've got a selection going here. I'm going to deselect all because otherwise if you just have one point selected then whatever brush you grab it's only going to try to paint that one point. All right, so this is our third correction now. I reset everything. There's no deformations happening. There's no updates to the geo and if any of you were here when Trevor was giving his presentation he was showing you how quickly you just jump into these tools and start to work with them. If you've never played with them, I'd ask you to go do so. They're incredibly fun and especially quick turn around situations, tight budgets maybe you don't have a ZBrush artist waiting in the wings for you, maybe you can't afford one and I found that you can get some pretty fantastic results even being inexperienced at this kind of stuff. All right, so how about the pull tool. We'll just start with that. I'm going to adjust the radius just by kind of clicking and dragging the middle mouse click here. And what I'm going to do is just sort of add some like some wrinkles, some like striations going on in here, just try to make this thing look a little bit more detailed, a little bit more interesting. And I'm doing this pretty fast here. I mean, if you've got a Wacom stylus, you know, and you can get in there with a little bit more detail. Obviously if you got a nice, fast computer, you can crank up the subdivisions as well, work a little bit more high resolution but in this case, even at low resolution here and with a mouse, you can see how easy it is to start to create some pretty interesting looking stuff. All right, I'm just going to keep adding some more and more kind of drippy, gooey, kind of wrinkly elements. Okay, and maybe some of this stuff should, you know, if we're going for like more of a melted wax kind of vibe you can use the grab tool. Pop back over here, grab tool, oops. Okay, increase the size and grab tool is very touchy. It's pretty delicate. A little goes a long way, so just be careful when you start to pull things down. Increase the radius here. Okay, and now you're kind of like getting some more melty kind of waxy stuff going on. It's pretty wild looking. Let's keep going. All right. So that's deformation number three. So let's add another one. Reset it. Grab a different tool. How about the knife tool? You know, if we're going for like kind of a wrinkly look, let's increase that, drop this down to like 0.6 again. Some of the pressure areas of this are pretty touchy. This one again a little bit goes a long way, so you can see there it's really doing a lot of work on that geo. So I'm going to bring down the pressure even more. Let's keep going, add some more kind of definition, some more kind of wrinkly elements inside here. Okay, if you get some areas that start getting kind of crunchy and kind of wild looking, you can always go back to smooth or even the erase helps you basically go back to zero with this stuff, but you smooth that out and then it kind of unpinches those problem areas. Okay, maybe that was just like a little too intense for us. They actually do have a pinch brush. This is really great. It does sort of the same thing but with a little bit more kind of ease here. It's looking pretty nice, just add some more separation between some of these shapes. Okay, very last thing I'm going to do is just add one more layer and for dramatic effect I want to kind of show you just by making some selections here we're going to make some kind of spiky elements. Maybe this is the last step, you know. Your animation is drawing on and just for dramatic effect here I want to give you something to really...Looks pretty exciting when we're all done animating this. So you go and I'll add another one down here, just grab one here and pull that out. Okay, that's the last one. Done with those. Now it's time to animate them. If you've done your work right, you kind of stage this properly with an eye on kind of the end goal of revealing these things in stages. So I'm going to start with frame one, drop a key frame down 0% strength and maybe over the course of this whole sequence, it's growing on to frame 52. So 100% plop a key frame down. Okay, deformation number two here. Let's bring the strength down and what you want to do is just sort of stagger this in time. So let's move ahead in the timeline. So as deformation number one is happening your correction number two is going to start to take over so...And maybe that goes to about there. Crank it up. Looks pretty cool. All right, let's go to the next one down, strength at zero, stagger it even more in time, frame 21, key frame. Okay and already you can see this is, you know, it's not just happening at once. You don't just have one parameter to play with now. You actually have you have several, and these are pretty fun because you can go below zero and you can go above zero with the strength too. So if you need a little extra oomph out of one of these distortions then you can really ratchet up the intensity fast. All right, let's just keep going down the line. Strength, let's go back here. Let's make that zero, okay. And one last one and this is going to be the big bang finish here, maybe somewhere around here. Activate this zero and it punches on pretty darn quick. Maybe it goes to 80 and then through the end finishes at 100%. Okay, let's rewind, we'll give it a playback. All right, that looks pretty interesting. Those are all of your scopes. You can go back in there and you can kind of massage those as you need. You could even turn them off if you're not liking something. Everything's like fully editable. So the last thing that we're going to want to do is in an effort to add a little bit of randomness in the same way that we reach for dynamics in the first project I showed you. I'm going to go up here and call on the jiggle deformer. Throw that at the very bottom of your stack. Go back to zero, hit "Play" and what this is going to do is hopefully add a little bit of secondary animation for us and just in general kind of loosen up this whole thing. So you can see it doesn't really do too much until you have some pretty intense animation to give it. So our spiky elements that we animated towards the end of the sequence, because they have such a short amount of time that they're actually animating, they cause a lot of wobble and a lot of ripple. So let's go back to zero. Maybe want to start off with a little bit more intensity in the animation as well. So at zero here let's go to maybe frame eight. Actually, let's do this in the second correction. So number two kind of takes over somewhere in here, but I'm going to move this key frame back in time, forward in time rather, and then how about we crank up that intensity quickly. All right, let's see what happens now. And if you remember the finished FITC piece there was a lot of this kind of stuff going on and it was as simple as this. Again, we called on a lot of other tools. There was 28 shots total so we had a pretty diverse like mix of tools that we reached for but this is a pretty wild look that, you know, with a plane, and correction deformers, and a little bit of jiggle you can get some pretty wild results. So this thing has its own set of parameters inside here. I want to just play with the springs and you can just let this run. You can adjust the parameters. Easy to review your work to kind of just check in on the updates that you're making here. If you bring the stiffness down to 30, it's going to get even more wobbly. And one of the more awesome parameters here is drag and you're going to see what happens if you crank this up. Now it's almost like it's in slow motion or most like, I don't know, like a latex balloon or something that's kind of shriveled. I don't know. Some pretty interesting effects that you can get here. So what I wanted to show you next is basically the final result here. The magic of layers I'm going to just reveal a scene that was actually used in production for this. And all of this was created in the exact same way. Same exact technique. So there's no magic or wizardry, you know, to create this kind of thing so you kind of get the idea with that. And again just as a little reminder this is a finished element here. That is the kind of flexibility that Cinema 4D can offer you. So I hope you guys learned a little something today. Just want to say, "Thanks," to Maxon for inviting me to be here. Thank you.