The SIGGRAPH 2017, thanks for coming by the MAXON booth.
I want to thank all of you for being here. We got a big crowd here.
We also have a big crowd online. Hi to you, guys. And a big thanks to MAXON U.S.
for having me here to talk to you guys about Cinema 4D. I've been using this
program for over 10 years now and they just announced a new version,
R19. Now, I wanted to show you some of my favorite new features in the new version.
Again, if you're not familiar with me, I'm Nick Campbell. I'm the founder of
Greyscalegorilla. And we've been helping motion designers for over eight years now,
learning Cinema 4D and other software to help you do your best work.
So, check us out online if you haven't seen us before. But, today,
like I said, I wanted to show you some new features in Cinema 4D R19 which is just
released. Now, last year, about this time, they announced R18.
And in R18, they announced Fracture Voronoi. Anybody use Fracture out there?
All right. So, when that came out, one of the biggest things when I got into Cinema
4D was dynamics, right? The ability to smash stuff and throw things around.
And Fracture gave me the ability to do dynamics but also break stuff.
So, that was super fun. So, we started playing around and experimenting with this
new technology. And as I was playing with it, I run into a few things that I wanted
it to do that it just couldn't do yet. And for a first version it was a great
start, but R19 brought even more features to Fracture Voronoi which allow you as an
artist to really create things that you couldn't before. So, I figured today,
what I would do is give you a brief overview of what Fracture does,
how I use it in production, and then show you some of the new features that allow
you to really take it a lot further. So, last year, when I was getting started
with this stuff...let me pull up our finder here. I was playing around with the
Fracture and here's an example of what it does. So, it breaks apart your objects in
a bunch of pieces, right? You feed it any piece of geometry and this is a really
high poly model. You feed it a ton of geometry. It breaks it apart. And what's
really great, like I talked about last year, is it's all procedural which
means...and it's all non-destructive, which means you can change it and interact
with your breaking off pieces without having to re-break it every time,
just like other parts of Cinema. So, this stuff was great. As soon as we started
playing with it though, we realized you really couldn't throw stuff on the ground.
And if you're me, you want to throw stuff on the ground. And so today,
I wanted to show you some of the new things they added in Fracture Voronoi R19
that allow you to be a little bit more creative with this stuff.
So, let's get started. For those of you who haven't used Fracture,
this is all a part of R18, everything I'm going to show you right now and then we're
going to get into the new stuff. So, as always, we're going to start with the
sphere, the core element of Cinema 4D. And then we're going to add Fracture Voronoi
as a parent of the object. You could do this by holding down Alt when you select
it, and that's going to make a parent-child relationship over here,
and instantly break apart this object. They also add the coloring of each
individual objects, so you can quickly see how many pieces you have.
In your sources, it automatically broke it apart here into 20 pieces.
And if I turn this up, you could see I can make more pieces and you can really
crank this up. We've had renders up to 10,000 chunks that render and look
beautiful, right? So, this is all pretty straightforward. To show you the inside,
I'm going to go ahead in our Effector and use the Push Apart Effector.
I'm going to turn down our radius and here's what I'm trying to do.
I'm trying to show you all the pieces individually.
So, let's turn this down, so we could talk about some of the basic pieces and where
the things that I wanted to change that I couldn't before that I can now.
So, let's talk about, first of all, the look of Voronoi Fracture.
It goes in and it makes a piece and with all the smart math, it breaks it into
different pieces. But you always get these really clean edges.
And what I've always wanted was I wanted when things break apart,
I wanted the inside to be very rough and jagged.
So, if you think of something like a geo'd if you break that open, it's all jagged
inside. Or even like a rock, when you see a rock that is like polished on the inside
but broken, the inside is all craggly and rough. And there wasn't really an easy way
to do that in R18 Fracture. And so, what they've added...I'll get to one of the
first new things I wanted to show you which is detailing. So, let's go ahead in
our Fracture and maybe turn down our sources, just so we can get really basic.
This is only five pieces. I'm using, again, the Push Apart Effector
to kind of grow out, so we could look inside of our rock. So, the first thing I
want to show you is this. By the way, I do a lot of sides, a lot of parenthesis here
while we're here. I want you guys to look at the screen and see everything yellow.
Everybody see all these yellow pieces up on the top and on the side,
and in the actual manager over here? Everything yellow on the screen is
something new in R19. And this is a new feature they added in the new release.
So, when you open your new version you're like what's new? Like what are the new
buttons I could play with. Well, they actually give you a little
breadcrumb to go find it. And you could see over here, that detailing is one of
those new yellow things and everything in this menu is bright yellow,
which means this is an entirely new menu. And as soon as you turn on Enable
Detailing, you can see now we have that rough inside, just like you would expect
if you broke a rock apart. Now, you have a lot of options in here.
You have some basic turbulence here, but you could use all the noises here
in Cinema 4D to get different looks, more craggly stuff here.
My DJ name is Luca, so, you know, we're going to do that one. And my hip hop name
is Ober, so let's try that one. And so, that looks interesting and you can,
of course, control the noise strength, make it really subtle or really crazy as
you play around with it. So, that's one way that you could detail the inside of
your pieces. And we're going to get to dynamics eventually but I wanted to tell
you guys now, that this is not calculated in dynamics by default.
Which means you can get all these nice details and still break things apart very
quickly without having to calculate all those intricate details. Okay. So let's
turn off Enable Detailing. So, that's one way to make the inside of your object
a little bit more visually interesting, but what about that geo'd look?
What about when you break apart some sort of rock formation and it has like all
these little craggly bits inside? That really wasn't the right look for that.
How do you get that other look? Well, for that, it's called Geometry Glue,
another big, yellow tab here in the Fracture.
And what Geometry Glue does is it basically breaks your object apart in
however many pieces you want, and then Geometry Glue will glue parts of them back
together, so that you end up with more interesting shapes. So, let me show you
what this looks like. First of all, we need to break this apart into something
more interesting. So, let's go into our distribution and say break apart into a
hundred pieces. Okay. So there we go. Let's shrink down our Push Apart.
And you can see now we have all these pieces all around our object.
And what glue does is literally take clumps of these and kind of digitally glue
them back together, so we have more interesting shapes. So, let's go ahead
into Geometry Glue, turn it on. By default, it won't do anything.
You have to tell it which way you want it to glue things back together.
Now, I'll show you falloff in a second, but the most simple one is cluster.
Cluster will literally just take objects that are close by and make five objects
total. It's kind of like re-breaking it. So, right now, we have five total chunks
that were made up by the original 100. So, now if I zoom in and look inside,
see that interesting geometry now that we have, this kind of geo'd based geometry?
Now, your breaks will look a lot more intricate. And you could change this
either way. You could say less clusters, so they're bigger pieces,
or you can go into your original source and break more of them apart, so you have
more detail. So, I'm going to go to 500 and instantly
you're going to see much more detail. So, imagine that now breaking off. You have
your...let's remove the Push Apart and let's also...see all those dots going on
right there? Those dots are each individual piece. And while that's really
nice to see right now during this demo, I don't want to see it.
So, if you ever want to get rid of that, you can come into your Sources, in your
Source and just turn off the eyeball here. That actually closes its eye.
It's really cute. And as soon as you do that, it's still breaking but it won't
show all those dots. So, now let's do our Push Apart and you
could see all that nice detail inside. So, already I'm thinking like,
"Okay, this is much better than the last Fracture. They give me much more
interesting detail." You could always texture the inside separately.
They've always had that but now you get much more nice geometry and all these nice
detail as well. Okay. So where do we go from here? Well, let's look at what else
is green or yellow inside of this stuff here. So, we have Detailing and we have
Sorting. We have this new one called Connectors.
Now, this is really, really fun. We've been experimenting with this at our booth
in the back here for the last couple days and you get some really powerful
results. So, what Connectors does is it takes your broken objects and any of them
that are touching, it will make a connector link between the two.
And the Connectors have been around in Cinema for a long time,
but this tab here allows you to instantly add a connector that will connect all the
pieces that are touching. And you used to have to do that kind of
manually or write a script or figure it out. Literally, it's built in.
You hit a button and now your pieces are together. So, what does this mean?
First of all, let me show you how to set it up and then I'll show you what it means
in production. So let's turn off Glue for now. We have all of our individual
pieces. I'm going to turn it down a little bit just so we could see it more clearly,
50 pieces. I'm going to turn off our Push Apart and here's our object.
Now, in the past, if you were to want to, let's say, drop this object on the floor,
and then when it hits the floor shatter apart, you're going to have a couple
problems. The main one is that all the pieces would
be instantly dynamic as soon as you dropped it. And what that means is all the
little pieces will slowly drift apart as it falls. Has anybody tried this before?
Try to throw something against the wall, and you've seen this,
right? Before it even hits the wall, it starts cracking because it's already
broken, right? This solves that problem by connecting all of your objects together
and then allowing you to set a force to tell the object when to break apart.
So, let's stop talking. Stop talking, Nick, show them. You got the software
right here. So, all these pieces are touching. They're all together. And all
you...literally, all you have to do is go into Connectors and say Create Fixed
Connector. Now, it adds it to the hierarchy and it does more than just add
one Connector. It's literally adding a Connector with all the touching pieces.
And one way you can know that is if you go into the Connector,
go to Display, turn on Always Visible. You could see all the connectors inside of
there creating essentially a little hug. They're like all hugging right now and
they all want to stay together. Even if you move the object around,
they're all going to try to stay connected until they get hit or they hit something,
or another object crashes into it. So, for that, in your object,
you're going to see that there's...down here in the corner, you're going to see
there's force and there's torque. These settings allow you to say how hard does
something need to hit this object before it breaks apart. Okay.
So now we have some more control. This allows us to add some floors here.
We could just bring this down. Let's add a really simple scene here.
I'm going to add some really simple dynamics to this. And if you're new to
Cinema, you haven't seen how easy dynamics is to add. We've been doing it for a long
time but I always, whenever I show people that are new to Cinema they're like,
"That's it?" You add collider body to the floor and you add a rigid body to the
object. Now, we got to make sure that it's ...you know, it hits all the individual
elements and we're done. So, now what do we have? Let's turn off
our Connector. You could see the Connectors are showing even when it breaks
apart. But let's turn that off for now, so we could see what's going on.
First of all, we've got to turn up our friction, right? We got some slidy rocks
that aren't looking great but this was very, very difficult to do in the past.
There's a couple things that are new happening. One is this entire object is
falling without breaking apart right away. And when it hits the floor,
the whole thing does not explode out. That was the other problem.
As soon as it would hit or something would hit an object, everything would just kind
of shatter at once, and it was a little tough to control. With these new
Connectors and these other things that they've added, you now have control of how
much of this breaks when it hits. So, how do we control how much of this object
breaks when it hits the floor? Well, these forces. So, if you want it to break more,
you reduce the force down to a lower number. So, let's just drop this to one,
10,000 actually, and now you're going to see it all breaks apart.
So, somewhere between one and four will allow like maybe half of it to break.
There we go, a couple more pieces. And if you add more dynamics on top of it,
it's actually tracking it all the time. So, if you have a bullet come by and hit
your object or you have two objects crash together, it just calculates in
real-time, not in real-time but, you know, without having to reset all of it.
So, torque is really similar, but it's the torsion, the rotation of the object.
So, if something hits it and tries to move it, it eventually will just pop out of
place and fall. So, again, this allows us to be a little
bit more creative with our objects, with our scenes, and set this kind of stuff up.
So, just to show you, you can really crank this stuff up and it calculates very
quickly. So, let's start with 500. Let's drop this. And, again,
our object is staying together until it hits the floor, and then it will crash
apart. But did you see how I changed the amount of pieces like that and we didn't
have to redo anything? We didn't have to re-establish our object.
All we had to do is go back to frame zero, type in a new number,
and see the result. And that's the power of Cinema 4D for me is that ability to
experiment as an artist, as a designer and say, "What if we do this?" And don't have
to worry about the technical side. So, as this breaks, you're going to see some of
the pieces hold together. This one here ...I'm pointing at the screen for those of
you at home, you know, here, here, here. Those are staying together because of
those connectors. So, very, very powerful stuff. Okay. So
where do we go from here? Well, let me show you another way to do this.
There's a new setting in here I wanted to show you. You could see it's bright
yellow, brand new in R19 called Scale Cells. And this is really important.
I didn't understand what this did until just recently. And now it's like a setting
I use all the time. So, let me show you in a new scene how to set this up and what
that means. So, we're going to use a cube. It's the second element of 3D.
Sphere is the first, then the cube. Now, in the cube here, I'm going to use our
Fracture Voronoi, go to MoGraph, hold down Alt, make it apparent.
And I'm going to scale our cube a little bit wider. And I wanted to show you
another setting that I've been using a lot more recently. Down here,
Transformation. Now, this was in the original version but I just learned about
this today actually. So, down here in Transformation, you could tell your object
where you want your pieces to break apart, and there's a lot of ways to do that.
We can get into that if we have time, but here's a fun way to do it. On your X axis,
go ahead and put something like point three. And you could see all of your
points are now scaled in the middle. All of the points are in the...
excuse me, whoa, good catch. All of the pieces are now in the middle of our object
and what I'm trying to set up is a bunch of basically wood pieces.
So that when your object gets hit, it's not a bunch of little rocks that fall off.
I want it to look like a piece of wood, so that it kind of splinters off into the
distance. So how do you do that? Well, first of all, you kind of put all your
pieces in the middle because that's where I'm going to throw a rock at it.
And second of all, you define the scale of your cells. Now, let me show you really
quickly. Our scale cells in the X axis ...that's where I want it to kind of
fracture. I'm going to turn this up to something like five. Now,
you could see now we have longer pieces. We need way more pieces.
So let's go ahead and do that. So just basically pre-breaking this.
Let's go ahead and put a hundred, more than that, 500. Okay. Now we're talking.
So, now when this breaks, it's going to be shatters of wood and we could turn this up
obviously and make it look even more like wood. But this shape...
I'm just going to shrink this down. This shape will break much more realistically
like wood than those little rocks that we had before.
So, how do we set that up really quickly? We set up our sphere.
We move it, scale it down, move it back, and we're going to bust this wall up.
So, let's go ahead and set this up. We're going to go to our simulation tag,
say rigid body on the Fracture, on our sphere. We're going to also say rigid body
and we're going to fling it at the wall. Now, this is Custom Initial Velocity under
Dynamics. Now, I'm going a little fast and if you guys are new to Dynamics or you
want to review any of these, we also have tons of tutorials about Dynamics on our
site at Greyscalegorilla. And, of course, they're going to be
recording this and putting this out later as well if you want to follow along with
us. Okay. So, we turn on our Custom Initial Velocity and we're looking at our
X, Y, and Z, and we want this sphere, our bullet let's call it,
to go in positive Z space right there. So, let's go to Z and say 2,000.
And now, let's hit play. Let's see what happens. Well, our wall is a little bit
too large and so let's shrink that down. And there's no floor for it to sit on,
right? So, it's just kind of like hanging out or
it's just falling when we hit play. So, let's go to floor. Let's bring this down.
Make a nice floor here. Add another Dynamics tag, collider body,
bingo. And you could see now, if we don't add the Connectors, the whole object just
kind of falls apart, right? That's not what we want.
We want it to sit there and then fracture when the sphere hits it.
So, let's go ahead and set that up. In our Fracture, we can go to Connectors.
And, by the way, we need to turn this thing up. We need to make this sphere go
much faster. Let's just add another two in there and let's add our Connectors.
So, Connectors, Create Fixed Connector, and we may have to play around
a little bit with the dynamics of it. But already, we're a little bit better.
We're going to have to tweak a few things. It's collapsing on its own right away.
But you can see, we have all these little shards of pieces busting through instead
of these little rocks. It's just going to look a little better when you start adding
wood textures and all that. So, let's see if we could add maybe a little bit more
strength to our Connector. And here's something, I literally just learned this
like an hour ago. Mathias was showing me this, so thanks, Mathias.
If you add friction to your pieces, they will actually stay together.
And as soon as he said it I was like, "Of course that makes sense but I didn't think
of it that way." So, in your actual Dynamics, you can go to Collision,
go to your Friction and say, "All right. I want you to be a little less slippery.
I want you to like have some friction against the other pieces around you." And
this actually keeps pieces from busting apart. So, okay. So, we need a little bit
more strength there. They're falling and collapsing.
We're going to have to turn that up and also turn this up as well.
It could be the force and it could also be the floor that is just too far away from
our object that just needs to be moved up a little bit. So, let's go ahead and hit
play. Our wall is a little wobbly, but you could see, if we thicken the wall
a little bit, it should help from falling over. But now, you can imagine this
animation and so let's just create a new material.
So, we're not seeing all the individual pieces. It kind of ruins the effect when
you see all those individual colors. So, if you go into our Sources and we go to
our Object, sorry about that, and then go to Colorized Fragments,
now we could hit play and see what this does. And, again, if you want to play
around with the amount of segments, you could just go back to frame zero,
restart this right away. So, the scale is at five. Let's go ahead
and turn that up to something like seven and make more pieces as well.
And every time, of course, you add more pieces, you know, the calculation takes a
little bit longer to do, but it's really not so bad. You're going to see...
let me click off, so you could see it. So, much more realistic.
We're going to have to try to stick things together a little bit more here.
But I think you guys get the point of that time as far as making interesting shapes.
So, speaking of interesting shapes, there's another setting inside of Fracture
Voronoi that I don't even know why it's there.
I'm just glad they put it there because as soon as you click this button,
you make these really interesting shapes that are just something new that you can
make in Cinema that I've never really seen. So, let's go ahead and do that,
start fresh. We like to start fresh a lot of at Greyscalegorilla because we know
some people don't know how to set up a scene and get it going.
So, we tend to start from scratch just so anybody following along
could follow along at home. But the tools are so fast that it won't take long
to set this stuff back up again. So, let's go ahead into our MoGraph, Voronoi
Fracture, start again, and let's talk about some of these new features inside
of our object. Now, first of all, if I offset fragments, you could see that it's
just kind of pulling apart our pieces. Not like the Push Apart Effector but more
about reducing the space around them, so that you could see through your object.
And this has been there in the past but this Invert checkbox has not been there.
So, watch what happens when I hit Invert. It fills in all the gaps that were
separated before. So, you know, we get this weird object, right?
So, now we're getting basically the opposite of our Fracture. We could come in
here and add more pieces and get this kind of like honeycomb inverted effect.
And, you know, I'm just experimenting with this stuff but imagine if you did
something like this and then you also inverted it and now you have kind of this
like shape that is a little bit honeycomb, a little bit Push Apart.
And then maybe you use the Push Apart to like have this fly out,
like this kind of an interesting little effect that you couldn't do easily before.
So, you know, I'm thinking like typography, some sort of way of like
having things fly out. But, again, not necessarily super fractury but really
interesting shapes that come out of some of these new tools.
So, what else can you do with this? Well, you can also say, "Hull only."
And the "Hull only" will just make it a shell.
And so without the Invert, if you've ever wanted to do a shell of an object but not
make it just a Hull or not just a one pixel thin shell, they actually have
thickness now. So, you could turn up your thickness and get like an egg shell or
like a chocolate covered kind of like coating on top of something and create
those shapes very easily with the new Fracture. So, that's thickness and then
again, with Invert, you get these really interesting shapes. And when you put this
stuff on more detailed models, you get these really curvy things.
These kind of shapes have been showing up more and more lately.
I don't know where they're coming from, maybe Houdini or something like that.
But now, I could finally get these shapes inside of Cinema, so it's really fun.
Okay. So those objects...and, of course, you could use these all with scale
cells and all that stuff. Okay. So, now that we have all of these new settings,
these new things to play with, what kind of stuff can we do? Well,
what I've always wanted to do was do a slow motion fall of some statue or some
object that's just slowly falling toward the ground.
Here's my Creative Director hands coming out. Let me get ready.
It's falling to the ground real slow and then it's kind of tipping,
and then maybe we zoom in and we see it fall. We go pass the face and then we
zoom back out. It's in this black void. And then as soon as it hits the floor,
it starts crumbling just a little bit, starts flying out. And that was difficult
before because it would shatter right away, all those things we talked about.
So, how would you set something like that up? Well, first of all,
we need an object, so let's go ahead and let's look around in our scene file here,
and let's drop this in here. And I think what I'm going to do is just take this
model out, make a new scene file, paste it in. And we're going to do a PSR,
reset PSR, it's going to hit the ground. So, now we have our Hurk model.
You saw the fracture that I did before but now what we want to do is have them fall
to the floor, and when he hits, breaks apart. What you guys saw that we already
did that with the sphere but it's going to be really the same way with any model.
So, here we go. Let's set it up. One thing I want to do in our Sources is instead of
having all the pieces be very uniform, I want more breaking to happen
where it hits and less breaking to happen where it doesn't.
And not just more breaking but smaller pieces. If you've ever wanted that,
this is the setting right here that you should check out. It's called Exponential.
You turn on Exponential and they've redone the interface a little bit.
It's a little bit more intuitive now in R19. But it essentially crams all of the
pieces to one side or the other of your object. So, let's go ahead and set that
up. I'm going to say 100 pieces and you could see now, most of the pieces are on
the right side of the screen. What I want them to be in on the bottom.
So, I'm going to turn off our X and turn on our Y. So, let's go ahead and there it
is. Positive Y, more pieces at the bottom, less at the top. And so now,
we just have to position our object. Let's kind of rotate them a little bit, so it's
not falling straight. And kind of move them up in the air, and really quickly set
this up. Now, we're going to have to kind of fake some cameras and all that stuff,
and we might not have time for that but we have our floor very quickly, collider
object, fracture, rigid body. And let's go ahead and hit play and see
what we get. This is what we got before which is every piece broke apart.
Now, while we're here, we have to fix that it's a shell right now.
There are settings inside of Fracture that allow you to do that.
Let's go to our object, and I get confused sometimes on which ones but you just feel
free to click any three of these and one of them will fix it. Usually,
optimize and close holes will do the good work.
So, there...start with that one because that one tends to work the most.
Optimize and close holes, and now you see our problem. This is where we ended up...
if you were in R18, this is kind of where you end up. All your pieces are there,
it's all good, but as soon as you try to throw them on the floor,
he breaks before he gets there. And now with R19 and with the Connectors,
you can say, "Yo hug." Hug the pieces while you fall, and then when you hit the
ground, break apart. So, let's set that up. Okay. We're going to go to Connectors,
Create Fixed Connector, boom, and then we're going to hit play. So,
now, a couple of them actually fell, did you guys see that? There's a couple of
them are separating so right away, there's a little bit of torsion or something
that's making that one piece move away. So, sometimes you have to come in and kind
of tweak these numbers, right? They're all here to change, so let's turn that up a
little bit, maybe 6,000. Sometimes a weird piece of geometry kind of flings out.
So, let's go ahead and just go to our Sources and say let's get a new fracture
seed, and maybe that will fix it. So, let's see what happens. Let's back up,
hit play. There it is. Okay. So now we're getting what I've wanted,
what I've always wanted which is fall to the ground, boom, and then break apart,
and the whole thing doesn't break. And you can also, by the way,
animate these...let me go to the setting here. You can animate your connector force
and torque. So, if you wanted it to stay together and
then eventually fall to the ground, you could do that as well.
Just animate these settings going down over time, and basically your connections
will get weaker and weaker and weaker, and then you could fall.
So, you get these secondary breaks and all of the stuff. So, very,
very cool stuff. I'll show you an extreme example of this at the end.
Now, while we're here, I get this question a lot. "Hey, I like this break.
This break looks great, but it looks too fast.
So, how are ways that you can slow this down, so it looks super slow mo,
right?" I just described this thing coming down and then we zoom in,
how do you do that? Well, one way is to just change the frame rate of your scene
and then you can actually see more stuff. So, if you ever want to do that...
Does anyone own a Go Pro? Everyone's got a Go Pro, right? We just got to do more
interesting stuff to make those cameras look better. So, everyone's got the Go
Pro. You guys know you could change the frame rates and all that stuff.
That setting basically is inside of Cinema 4D to allow you to change the frame rate
of how fast you capture. Basically, there's two ways to do it but this is the
way to do it in the interface. So, if you go to your frames per second,
you could do something more like... let me go to frame zero here.
Try to highlight it, and just do from 90 frames. And instantly,
you're going to see there's way more frames down there and the object now goes
much slower.So let me rewind, make sure everything is okay here.
We may have to do...change a couple settings in our Dynamics.
But every time you change that, your Dynamics will change. But you could see,
it does fall much, much slower. So, we may have to turn up our connections and all
that stuff. But the main thing I wanted to show you was if you've ever wanted to do
slow mo dynamics, don't change your animation if it's looking good.
Don't raise it higher or bring it closer to the ground. If it's working the way you
want, use the project settings instead. And, in fact, if it breaks like that,
let's go back to 30 because it was working just fine at 30.
That's actually breaking a little bit but that's okay. We could add more strength.
The other way to do that is in here on your output settings, you have your frame
rate here as well. And this will keep your viewport the same but then when you
render out it will basically slot more frames on the inside of your animation.
Okay. So keep all that in mind as we kind of get to this final project.
Now, before I show you the kind of the dream that I've always had.
It's a little teaser they call that. I'll show the dream here in a minute.
This one is something again I just learned.
I'm just now playing with this stuff from Cinema 4D R19. And, again,
surprised by some of the new things that it does. So, let me show you this.
This is pretty fun. So, let's go ahead and say it's...we're going to make bricks,
30 centimeters by 15, by 15. Okay. So here's a brick. I want to make this
smaller, 10, there we go. Okay. There's a brick. So, really quickly,
we're going to add...basically build a brick wall with our Cloner.
Now, also new, I want to say R18 or 17 is the honeycomb array which lets you build
offset geometry. You can click the honeycomb array and then kind of shrink
this down. And you could see, you could really quickly build a brick wall.
Okay. So there's the basics of our brick wall. Because we know our numbers,
we can actually make this perfect and say, okay, 15 wide. Okay,
15 wide and what was it, 10? Is that right, or is it going to be 20?
Yeah, right there. So, you do want them to touch because that's going to help us when
we connect this together. Now, here's what I'm getting at. Maybe I should have
done the punch line upfront. You can connect objects with that Connector that I
showed you that are not fracture objects. So, they don't have to be fractures for
you to use this Connector technology. All you have to do is bring in an object that
has touching parts and it will do the exact same thing.
So, in this case, let me say...show our pieces here. You hit N and then B,
and that will show your outlines here. And now you could see our brick wall,
and what I want to do is bring this into the Fracture Voronoi and then use that
Connector technology to kind of put the cement between the bricks,
right, put the mortar in between. And so then when you throw objects at it,
it will, again, stick together like a wall. So, how do you set that up?
Well, you have your Cloner and you bring in...you make the Fracture Voronoi
apparent of that, so I'm going to hold down Alt.
And you could see, it takes the geometry and then tries to break it apart.
And that could work. That could be a part of our sce