Siggraph 2017 Rewind - Mitch Myers: Creating C4D Cinematic Scenes with Volumetrics

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Learn how Octane Fog and VDBs can be used to add cinematic quality to 3D environments.

In this live presentation from Siggraph 2017, Mitch Myers shows how Octane volumetric effects can help to create cinematic environments. Mitch shows how to achieve dramatic lighting through the placement and color of lights, then creates volumetric tracers and uses Octane Fog to fill out the scene. Next Mitch shows how he simply recreates the visualization of a black hole from the movie Interstellar, and creates a planetary atmosphere with Octane volumes. Finally Mitch shows how to utilize VDBs in Octane like the ones available for sale on his website.

03:11Dramatic Framing
07:23Dramatic Lighting
15:43Adding Leading Lines - Volumetric Tracers
19:30Octane Fog Environment
25:08Black Hole
30:26Moon with Volumetric Atmosphere
38:05Rendering VDB Volumes in Octane



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