Create a Claymation in Cinema 4D

In this lesson we’ll be creating a very cool claymation look in Cinema 4D. Joey originally started messing around with this look to help out his good buddy, Kyle Predki, for a project that he was working on. He needed to achieve a claymation look for some characters and this is what they came up with. And now he's going to pass along what they learned about creating this look to you.

By the end of this lesson you’ll be know how to make a shader that looks like clay and animate something that looks like stop motion, all in Cinema 4D.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP. 

Claymation_C4D.zip

Check out Kyle Predik's Vimeo page.


vimeo.com/kylepredki

    00:00:00,183(dramatic music)
    00:00:05,451(object bouncing)
    00:00:08,918(upbeat music)
    00:00:16,184- Hey there,
    00:00:17,017Joey here for School of Motion,
    00:00:18,237and in this lesson,
    00:00:19,127we'll be creating a very cool Claymation look
    00:00:21,834in Cinema 4D.
    00:00:23,216I originally started messing around with this look
    00:00:25,209to help out my good buddy,
    00:00:26,326Kyle Predki,
    00:00:27,375for a project that he was working on.
    00:00:29,355He needed to achieve a Claymation look
    00:00:31,823for some characters,
    00:00:32,656and this is what we came up with.
    00:00:34,432And now, I'm gonna pass along what we learned
    00:00:36,312about creating this look to you.
    00:00:38,520By the end of this lesson,
    00:00:39,724you'll be able to texture
    00:00:41,022and animate something that looks like clay,
    00:00:43,205right out of Cinema 4D.
    00:00:44,838Pretty cool, right?
    00:00:45,844Don't forget to sign up
    00:00:46,677for our free student account,
    00:00:47,865so you can grab the project files
    00:00:49,462from this lesson.
    00:00:50,489As well as assets from any other lesson
    00:00:52,575on this site.
    00:00:53,637And now, let's jump in.
    00:00:56,303So, here we are,
    00:00:57,270I have cinema scene set up.
    00:00:59,356And I don't wanna walk you guys
    00:01:00,653through the whole process
    00:01:01,794'cause it would take too long.
    00:01:02,665I just kinda wanna show you guys
    00:01:03,837the Claymation part of it.
    00:01:05,803But, just to show you guys what's in the scene,
    00:01:07,283I have a camera.
    00:01:08,936I'm using the physical renderer for this scene,
    00:01:12,004because I want to feel realistic
    00:01:14,180and I want it to have Global Illumination
    00:01:16,559and Ambient Occlusion,
    00:01:17,523and depth of field and things like that,
    00:01:19,418and the physical rendered is much,
    00:01:20,875much faster at those things
    00:01:22,765than the standard renderer.
    00:01:24,446Also in this scene,
    00:01:25,447I have a lighting set-up.
    00:01:27,536These are just omni lights
    00:01:29,986with area shadows,
    00:01:31,830and I kind of have a three-point
    00:01:32,825lighting set-up here.
    00:01:34,992And then this guy,
    00:01:36,776that says "Psyche,"
    00:01:38,041this is actually a plug-in
    00:01:39,602that I have developed
    00:01:41,269to make seamless backgrounds.
    00:01:44,282Which is something
    00:01:45,115that we have to do constantly at Toil,
    00:01:47,506and there's many ways to do it.
    00:01:49,954But what I did was sort of create a rig
    00:01:53,550to give you tons of options.
    00:01:56,434So, you can pick color,
    00:01:58,132you can add gradients,
    00:01:59,442you can have a lot of options
    00:02:01,686with the way the floor looks.
    00:02:03,426If you look over here,
    00:02:04,851if I do a quick render,
    00:02:05,689you'll see that I have a pretty standard
    00:02:07,756white Psyche environment.
    00:02:09,615The lights are reflecting onto it.
    00:02:11,142And I've kinda put this noisy texture on it,
    00:02:13,087just to kinda give it
    00:02:14,118a little bit of a dirty look.
    00:02:16,316But there's a million options with Psyche
    00:02:17,916and I will be releasing it shortly.
    00:02:20,142So, watch out for that.
    00:02:22,318Let's get started with the Claymation look.
    00:02:24,206So, what I wanna do is create
    00:02:26,515a really simple animation,
    00:02:29,298where we have a ball
    00:02:32,226and it sort of drops into frame
    00:02:33,645and splits into two more balls.
    00:02:34,993And it looks kinda like clay.
    00:02:38,029So, there's a few keys to the Claymation look,
    00:02:41,786and it doesn't just have to be Claymation.
    00:02:43,458It could just be any kind of stop motion.
    00:02:46,482But, after having done a few stop motion projects,
    00:02:49,578it's clear to me that
    00:02:50,553there's a few things that specifically
    00:02:52,363give stop motion that look.
    00:02:54,732One of the things is animating
    00:02:57,506at a slower frame rate than you normally do.
    00:03:00,286Normally, we work at 24 frames a second
    00:03:02,929or 30 frames a second.
    00:03:04,834Or, if you're in Europe or somewhere else
    00:03:07,043it might be 25 frames a second.
    00:03:09,125For stop motion,
    00:03:09,988we use 12 frames a second.
    00:03:11,983So, half the number.
    00:03:13,475I'm gonna set my...
    00:03:15,042I'm gonna hit 'Command + D'
    00:03:16,902and I'm gonna set the frames per second, 12.
    00:03:20,347And I'm gonna go to my render settings
    00:03:23,146and I'm gonna set the frame rate to 12 here as well.
    00:03:26,737Alright, so that's step one.
    00:03:30,044Step two is;
    00:03:31,798instead of animating everything using key frames
    00:03:35,823that Cinema will automatically interpolate for you,
    00:03:38,979which is gonna give you a really smooth motion,
    00:03:41,447you're better off using a lot of key frames
    00:03:44,089and trying to hand animate every single frame.
    00:03:46,912Because, in real stop motion,
    00:03:48,031that's what you have to do.
    00:03:49,448Unless you're some amazing stop motion artist,
    00:03:54,574You're gonna have a lot of little imperfections
    00:03:56,557in your movement.
    00:03:58,066And this is gonna give it a hand-made look,
    00:04:00,749that is kinda of inherent in stop motion.
    00:04:05,542The last part is the texture,
    00:04:06,797which I'll spend some time explaining.
    00:04:08,571So, why don't we just start out
    00:04:10,493by making a sphere, alright?
    00:04:14,450And I'm just gonna lift it up,
    00:04:15,913so it's kinda resting on the floor.
    00:04:19,608And if I render this,
    00:04:21,048you'll see that on the surface,
    00:04:24,759with some lighting,
    00:04:25,974it doesn't look like clay at all.
    00:04:27,025It's very smooth.
    00:04:29,196It's too perfect,
    00:04:30,888and that's the main thing
    00:04:32,914that you have to kinda figure out.
    00:04:36,102When you're trying to come up with a material
    00:04:38,440or a shade that looks organic and looks real,
    00:04:42,819a lot of times what you're really doing
    00:04:44,275is making it look less perfect.
    00:04:45,756Kinda beating it up a little bit.
    00:04:47,471So, let me show you guys this shader here
    00:04:49,512that I've already made.
    00:04:53,110When I render it,
    00:04:53,950you'll see that it does...
    00:04:55,955a little bit,
    00:04:56,788it kinda adds a little bit
    00:04:57,621of bumpiness and noise to this sphere.
    00:05:00,221But, what I need to do is actually
    00:05:01,951make the sphere editable,
    00:05:03,191because this texture has a Displacement channel.
    00:05:06,635Displacement channels do not work
    00:05:08,860on objects that have not been made editable.
    00:05:12,171So, I'm gonna hit "C,"
    00:05:13,628make the sphere editable.
    00:05:15,121Now, when I render this,
    00:05:17,336it's gonna look a lot different.
    00:05:21,633So, you can see,
    00:05:22,466now it's kinda of getting a little bit irregular.
    00:05:25,834And it almost looks like someone's kind of mushed it.
    00:05:28,471It's not a perfect sphere anymore.
    00:05:31,039And, just to amplify that,
    00:05:32,261let me go into the Displacement channel here,
    00:05:35,124and I can up the height to 10 centimeters.
    00:05:38,745So, it'll probably look funky
    00:05:39,800but it'll show you even more that this sphere
    00:05:44,292is being totally squished
    00:05:45,920and turned into a completely different shape,
    00:05:48,139when you render.
    00:05:49,182So, we have this nice sphere
    00:05:50,505that we can animate with,
    00:05:51,418but when we render,
    00:05:52,251it's kinda turned into this other thing.
    00:05:55,287So, what I'm gonna do now
    00:05:56,120is I'm gonna show you
    00:05:57,426how I created this texture.
    00:05:59,542And, were gonna try to dial in a look,
    00:06:01,772and then I'm gonna show you how to animate it.
    00:06:04,283Let's take this texture tag off.
    00:06:06,538So, when you...
    00:06:08,465Double click Make a New Texture.
    00:06:10,048When you work with textures in Cinema,
    00:06:12,916it's helpful to understand
    00:06:14,997what all the Texture channels do.
    00:06:17,259So, let's call this texture "Clay 2."
    00:06:20,448Because, once you really understand
    00:06:22,922what these channels are used for,
    00:06:27,455with some experimentation you can
    00:06:29,252pretty much get close to any real texture.
    00:06:33,259There are some textures that you may need V-Ray for.
    00:06:36,048You may need a plug in,
    00:06:38,320or you may need someone
    00:06:39,659who really knows what they're doing
    00:06:41,253to kind of help you out.
    00:06:44,236A lot of times,
    00:06:45,069all you have to do is think about
    00:06:46,125surface properties to help you with these channels.
    00:06:49,311So, let's start with the Color channel.
    00:06:51,375The Color channel is pretty obvious.
    00:06:53,266It dictates the color of the object.
    00:06:56,837I was kind of going for a "Silly Putty" look.
    00:06:59,319So, I picked this pink color.
    00:07:01,910Now, let's apply this,
    00:07:03,452so we can see what's going on.
    00:07:06,478So, that's step one,
    00:07:07,570Specular is one that I see a lot of people
    00:07:11,316have trouble with.
    00:07:12,789Specular is basically like the glossiness
    00:07:17,014or shininess of a surface.
    00:07:20,558Color is...
    00:07:22,064in other 3D packages it would be considered
    00:07:24,202the Diffuse channel.
    00:07:26,056It's, sort of, the overall lighting.
    00:07:28,993But, Specular is sort of like the hot spots you get
    00:07:32,239when you see a light sort of reflected in a shiny surface.
    00:07:37,091There's two main options for Specular;
    00:07:39,674there's width and height.
    00:07:41,733So, Height,
    00:07:42,637and you can see this little preview here,
    00:07:43,963it actually shows you pretty good what's goin' on.
    00:07:46,346Height is, sort of,
    00:07:47,666the intensity of this hot spot.
    00:07:49,647And you can even see up here, on our model,
    00:07:51,878that as I tweak the height,
    00:07:54,486it changes a little bit in the preview.
    00:07:56,540And then the width is,
    00:07:57,609sort of, how much that hot spot
    00:07:59,786spreads out over the surface, okay?
    00:08:03,330So, if you think about clay or Silly Putty,
    00:08:07,916it's a little bit glossy,
    00:08:09,651just a tiny bit.
    00:08:12,539But, not very much.
    00:08:14,452It's kind of like a big matte surface
    00:08:16,635with a tiny bit of glossiness.
    00:08:17,912So, the width of your specular
    00:08:20,495might be pretty big,
    00:08:21,328but the height's gonna be very, very small.
    00:08:23,778Okay, and let's just render what we have,
    00:08:26,018just so we can kinda see where we are.
    00:08:28,547So, this sort of looks like clay a little bit.
    00:08:32,104It's kind of got this matte surface
    00:08:36,122and the lighting's definitely helping,
    00:08:37,802and, just so you guys know,
    00:08:38,635I don't have Ambient Occlusion
    00:08:40,563or GI turned on yet,
    00:08:42,755or depth of field,
    00:08:43,588because that's something you save until you're rendering
    00:08:47,942because the renders will take much longer
    00:08:49,713as we're working here.
    00:08:51,549So, this specular feels pretty good to me.
    00:08:54,041Now, if we were trying to make this feel metallic,
    00:08:59,110like a metal ball,
    00:09:00,561or if it was something shiny,
    00:09:01,528like a marble,
    00:09:02,854then you would need probably a thinner width
    00:09:07,647but a bigger height,
    00:09:09,000so you get more of a sharp,
    00:09:11,297hard surface look.
    00:09:13,823So, those are the two...
    00:09:15,481Those are color and specular.
    00:09:17,886So, now let's kind of go through the rest of these.
    00:09:19,723So, Luminance.
    00:09:21,050If we turn Luminance on,
    00:09:22,047by default,
    00:09:22,880it turns this white.
    00:09:24,525Luminance is a channel that is not affected by light.
    00:09:27,478Okay?
    00:09:28,311So, if I make this ball have pink in the Luminance channel
    00:09:34,113and I render this,
    00:09:35,595you'll see that it almost appears to be glowing.
    00:09:39,646And, if I turn the Specular channel off,
    00:09:42,050and the Color channel off,
    00:09:43,400and use luminance,
    00:09:45,205there's no shading at all,
    00:09:46,137it's just a pink ball.
    00:09:48,501So, the Luminance channel can be used
    00:09:50,849for a few different things.
    00:09:53,413But, what I like to use it for sometimes,
    00:09:56,012it's kinda a cheap way of simulating
    00:09:59,577subsurface scattering.
    00:10:01,759And subsurface scattering
    00:10:02,961is kind of this technical thing that happens.
    00:10:05,802Think of if you hold a leaf up to the sun,
    00:10:09,921you kinda see the sun through it.
    00:10:12,404Certain kind of soft materials
    00:10:14,402actually absorb some of the light,
    00:10:16,661and it kinda wraps around
    00:10:17,925and you see it on the other side of the object.
    00:10:21,128You can simulate that in Cinema 4D,
    00:10:23,159but it takes a lot of render time.
    00:10:25,071So, any easy way just to,
    00:10:26,956kind of, flatten things out
    00:10:28,652and simulate that a little bit,
    00:10:30,326is to have the color and the Luminance channel
    00:10:32,624have the same texture or the same color in them.
    00:10:36,530And then, in the Luminance channel,
    00:10:37,880you can just adjust the brightness.
    00:10:39,524So, at zero,
    00:10:41,498it looks the same as with just the Color channel.
    00:10:45,134At 50%, we're getting some shading,
    00:10:48,212but you can see it's kinda washed it out a little bit.
    00:10:51,255So, I'm just gonna keep that at like 10.
    00:10:53,604What it's basically doing,
    00:10:54,957is it's just gonna brighten up these dark areas
    00:10:57,012a little bit.
    00:10:58,388I'm gonna go up to 20 and see what that looks like.
    00:11:00,942It's just kinda flattening it out a little bit more,
    00:11:03,742kinda like clay would be.
    00:11:06,257So, that's the Luminance channel.
    00:11:08,573Then, you've got the Reflection channel.
    00:11:11,764Which, by default,
    00:11:12,714in cinema 4D that allows you to see the reflections
    00:11:16,292of other objects in an object.
    00:11:18,814Silly Putty or clay is not reflective at all,
    00:11:21,092so we don't need that channel.
    00:11:24,014Fog, normal, glow,
    00:11:25,309these are ones that I don't use very often.
    00:11:29,433Diffusion is a channel that can help you
    00:11:32,972make parts of this clay shinier than others
    00:11:36,444or duller than others.
    00:11:39,251We may end up using that,
    00:11:41,349I'm not sure yet.
    00:11:43,307Transparency is pretty obvious,
    00:11:45,365Environment is sort of like the Reflection channel.
    00:11:49,079It actually let's you have
    00:11:51,357global reflections in every object,
    00:11:54,256based on an HDRI or another image.
    00:11:58,535The Bump Map is interesting,
    00:12:00,138and we are gonna use that.
    00:12:01,332So, when we start using that,
    00:12:02,407I'll explain what it does.
    00:12:04,062An Alpha channel is used
    00:12:05,714to cut out parts of an object with a matte.
    00:12:09,112Specular color works with the Specular channel,
    00:12:12,565and you can change the color of these highlights
    00:12:14,909that are falling onto this object if you want to.
    00:12:17,163We don't need to,
    00:12:17,996in this case.
    00:12:18,829Now, displacement is the key to this whole "clay" thing.
    00:12:21,919So, let me show what the Displacement channel does.
    00:12:26,478If we add a Displacement channel,
    00:12:32,329first we need to assign a texture to that channel.
    00:12:36,323What the Displacement channel does,
    00:12:38,139is it literally reshapes the geometry of the object,
    00:12:41,871when you render.
    00:12:43,841What I usually use in the Displacement channel is noise.
    00:12:49,274If I just render this,
    00:12:50,180you'll see it's gonna look really weird.
    00:12:52,632Let me crank this up,
    00:12:53,651so you can really see what's going on.
    00:12:56,735So, you see how it's kinda made a mess out of this thing.
    00:12:59,776By default, what it's doing
    00:13:02,546is it's taking all of the points of this sphere
    00:13:06,951and moving them out from the object,
    00:13:10,056based on this noise right here.
    00:13:13,061Things that are black don't really move.
    00:13:16,868Things that are white move outward.
    00:13:19,842However, it's kind of limited
    00:13:21,260by the number of points in the object.
    00:13:23,326So, it's not very smooth.
    00:13:25,066If you click this button right here,
    00:13:26,427sub polygon displacement,
    00:13:28,574and now we render...
    00:13:29,608And it's gonna take much longer now,
    00:13:31,774but you'll see it actually creates new geometry and renders.
    00:13:39,249So, you can get some really funky results with this.
    00:13:43,476And, what's great about this,
    00:13:44,349is if you have this object as a model,
    00:13:48,561it would have a ton of polygons.
    00:13:50,189It would be kinda a pain to work with.
    00:13:54,001But instead, you have this sphere.
    00:13:55,980And when you render it,
    00:13:56,813it kind of looks like what you want it to look like.
    00:14:00,472It's a nice way to work
    00:14:01,768and you can get a lot of cool results
    00:14:03,193without a lot of processor while you're working.
    00:14:06,276So, what I wanna first use this Noise channel for,
    00:14:09,340is I wanna just have it generally mush this sphere
    00:14:13,372out of shape a little bit.
    00:14:16,894We can use just your normal noise for this,
    00:14:20,139but obviously, right now,
    00:14:22,245this noise is too small.
    00:14:25,105Even if I take the height way down,
    00:14:26,991let's say to 20 or something,
    00:14:29,312you'll see that it's just too...
    00:14:32,188There's little pits in it.
    00:14:33,320What I need is for it to look like a big fist
    00:14:36,050took it and squeezed it,
    00:14:37,671and it just didn't quite make a perfect circle.
    00:14:40,632So, what I'm gonna do is go into this noise share,
    00:14:43,191and I'm gonna turn the global scale up.
    00:14:45,549Let's try 500.
    00:14:47,829That basically scales the noise up over all.
    00:14:51,551You can see that now we're kinda gettin' this cool result.
    00:14:54,803Now, we're getting a lot of these little faucets here
    00:14:58,796because of the faces of this sphere.
    00:15:03,259So, what we need to do is turn on round geometry.
    00:15:08,326Now, you'll get a smoother result.
    00:15:10,726This kinda looks like a lump of Silly Putty,
    00:15:13,257and you're kinda there.
    00:15:14,845But, it's still very,
    00:15:16,773very smooth, okay?
    00:15:18,301This may be a little harsh,
    00:15:19,937we may not really need that much displacement.
    00:15:23,752Now we're gettin' somewhere,
    00:15:24,585this is kinda like a little lumpy ball of clay.
    00:15:29,076The next thing I wanted to do was,
    00:15:30,538in addition to this overall lumpiness,
    00:15:32,655I wanted some little divots and grooves in it.
    00:15:38,079The Silly Putty's in different pieces
    00:15:39,619and you squish 'em back together,
    00:15:40,953but there's these seams and these weird little bits.
    00:15:44,101What I wanna do is have some different noise affecting this.
    00:15:47,917This is where the layer shader comes in.
    00:15:50,599If you never used it,
    00:15:51,432it's super duper powerful.
    00:15:53,941It's sort of like a little mini Photoshop
    00:15:56,200inside of Cinema.
    00:15:57,868The way it works is this;
    00:15:59,256we already have a noise shader in our Texture channel here,
    00:16:04,859so, since that's already in there,
    00:16:06,496if I click this arrow,
    00:16:08,151and I go up to layer and click that,
    00:16:10,684you'll see now it's changed the noise shader
    00:16:14,752into a layer shader.
    00:16:16,039If you click that,
    00:16:17,470you can see what we have now,
    00:16:18,427is our noise shader inside the layer shader.
    00:16:22,112It sort of copies what you already had
    00:16:23,502into a layer shader,
    00:16:25,027but now you can add more things to it.
    00:16:27,679You can add effects,
    00:16:29,327you can brighten,
    00:16:31,872adjust hue saturation,
    00:16:33,241colorize things.
    00:16:34,727But, you can also add more layers.
    00:16:36,341So, let's say I wanna add another noise layer.
    00:16:39,699Now I have two noise layers;
    00:16:42,033The one that I've scaled up,
    00:16:43,824and now I have another one.
    00:16:45,530If I change this from normal to screen,
    00:16:48,979I can mix between the two
    00:16:51,157and create kind of a mishmash of them.
    00:16:54,208So, what I'm gonna do,
    00:16:55,466is I'm gonna click this little icon here,
    00:16:57,316to go into the new Noise shader.
    00:16:59,683Now, the default noise doesn't really look the way I want.
    00:17:03,120I'm kinda looking for something a little gritty,
    00:17:05,607almost like your finger nails kinda dug into the clay.
    00:17:11,115When you're working on the noise shader,
    00:17:13,087there's a million options here.
    00:17:15,102It can be a little confusing,
    00:17:16,195but really,
    00:17:17,585the only one's we're really gonna be messing with
    00:17:19,448are the type of noise,
    00:17:21,839the global scale,
    00:17:23,174and then, down here,
    00:17:24,007we're gonna adjust the brightness and contrast.
    00:17:25,640All this other stuff can be useful,
    00:17:26,831but, in this case,
    00:17:28,042you don't even have to worry about it.
    00:17:30,929I wanna find a dirty looking noise,
    00:17:33,034so, over here you can see,
    00:17:35,017if you click on this noise,
    00:17:36,533there's a lot of different noises
    00:17:37,366and you won't know what they are.
    00:17:38,564However, if you click this little arrow
    00:17:41,482that they've hidden over here,
    00:17:43,226you get this nice little browser
    00:17:44,980that shows you what they look like.
    00:17:47,160They're tiny little thumbnails,
    00:17:48,453but once you click 'em,
    00:17:49,630it kinda gives you a preview up here.
    00:17:50,900So, I clicked on this guy down here,
    00:17:54,028which is called "Poxo,"
    00:17:56,119and I'd love to know where these names came from.
    00:17:58,286Because there's some really silly ones.
    00:18:00,415Gaseous, come on.
    00:18:03,902Poxo kinda looks a little bit dirty,
    00:18:08,781and what it kinda looks like to me,
    00:18:13,025is black dirt with little white specs in it,
    00:18:17,390which is kinda cool.
    00:18:18,256So, what I'm gonna do,
    00:18:19,317is I'm gonna hit this back arrow here,
    00:18:21,339to go back to the layer shader.
    00:18:23,314And I'm gonna set this to screen.
    00:18:25,631And you can see that,
    00:18:26,638if I adjust the opacity,
    00:18:28,533I'm bringing those little white flecks up
    00:18:31,644along with my noise.
    00:18:34,158So, if I render this now,
    00:18:36,403you'll see that I've got my overall "smushed" effect.
    00:18:40,090But, now I've also got all these little bumps in it,
    00:18:42,209and those are way too heavy.
    00:18:43,759So, I'm gonna turn those way down.
    00:18:45,910And I think they might also be a little big.
    00:18:50,025I may want them to be a little bit smaller.
    00:18:53,050So, I'm gonna go into this Noise channel,
    00:18:54,492I'm gonna change the global scale to 50.
    00:19:01,672Alright, now we're getting' somewhere.
    00:19:02,994And these bumps,
    00:19:04,270I don't know,
    00:19:05,103it's not quite looking like I wanted.
    00:19:06,676I'm gonna look for a different shader.
    00:19:09,409Maybe the specs are a little much.
    00:19:11,319Maybe we need things
    00:19:12,164that are a little bit more connected to each other.
    00:19:14,320So, I'm gonna try this Buya one.
    00:19:16,660That is great,
    00:19:17,493that it's called Buya.
    00:19:20,780That's not too bad,
    00:19:22,482let me look at one more
    00:19:23,977and see if I like anything better than that.
    00:19:28,329What about this one?
    00:19:29,422This one's funny,
    00:19:30,255wavy turbulence.
    00:19:32,713That's kinda interesting,
    00:19:33,616see, that feels a little bit better to me.
    00:19:35,116I just need to tone it down a little bit.
    00:19:36,662It almost feels like someone was touching the clay,
    00:19:39,590or they rolled it on a surface and it kinda
    00:19:42,544picked up the properties of that surface.
    00:19:45,051So, now I can actually just adjust
    00:19:47,191the influence of this noise, okay?
    00:19:52,953So, now we're getting kind of a clay texture.
    00:19:55,724Let's say I also wanted to find something
    00:19:58,545that maybe felt almost like finger prints or something.
    00:20:02,522I'll click shader again,
    00:20:03,561add another noise shader.
    00:20:05,680And go in and try to find something
    00:20:07,183that's a little bit wavy like fingerprints.
    00:20:10,943There's a few different ones.
    00:20:13,797This one, Verona,
    00:20:16,170it doesn't really look like fingerprints.
    00:20:18,219But, if we manipulate it,
    00:20:19,978it might feel like fingerprints overlapping.
    00:20:24,769Why don't we try that?
    00:20:32,562Because what you'll see when I render this,
    00:20:33,987the white areas
    00:20:38,722come out of the clay, right?
    00:20:42,901And the black areas stay where they are.
    00:20:44,836So, what I actually want
    00:20:45,841is these wavy white parts to be indented into the clay.
    00:20:50,191So, what I'm gonna do is actually swap Color 1 and Color 2.
    00:20:53,679I'm gonna set Color 1 to white,
    00:20:55,447Color 2 to black.
    00:20:57,596So, now the wavy parts a white.
    00:20:59,249Then I'm gonna come here,
    00:21:00,082set this to screen,
    00:21:01,619and I'm gonna turn this way down.
    00:21:05,189Let's see where we're gettin' now.
    00:21:09,902Okay, so you can see we're mixing all of these things.
    00:21:11,494We're getting this really interesting noise.
    00:21:17,021As I turn up this new one,
    00:21:20,572I can see that the scale of it feels way too small.
    00:21:23,859So, I'm gonna turn this scale up to 500,
    00:21:27,726see what that does for me.
    00:21:31,907Okay, just adds a little bit more of a "ridginess" to it.
    00:21:36,593And this feels pretty good.
    00:21:37,545So, in terms of the overall shape,
    00:21:40,576I'm happy with what the Displacement channel's doing.
    00:21:43,523Now, the surface still feels very, very sooth.
    00:21:47,203One thing I like to do if I use the Displacement channel
    00:21:50,498is just copy the channel,
    00:21:53,489and I just click this little arrow,
    00:21:55,740next to layer,
    00:21:56,573to copy that.
    00:21:57,472And it copies the whole layer set-up.
    00:22:00,063If I come to basic and now turn on the Bump channel,
    00:22:03,099and click this arrow and hit "paste channel,"
    00:22:06,236It pastes the whole set-up into the Bump channel.
    00:22:09,163What the Bump channel does,
    00:22:11,627is it affects the brightness of the surface,
    00:22:18,907based on a gradient.
    00:22:21,053It's basically simulating the Displacement channel,
    00:22:24,998but it doesn't actually change the geometry at all.
    00:22:27,231So, it renders a lot faster,
    00:22:28,688and a lot of times that's all you need,
    00:22:30,413is a Bump channel.
    00:22:31,631In our case,
    00:22:32,464we really do wanna change the shape of the object,
    00:22:34,539so, use the Displacement channel.
    00:22:36,490However, if you have the same texture
    00:22:38,043in the displacement and the bump,
    00:22:40,211it sort of amplifies the light
    00:22:43,634on pieces where the displacement
    00:22:48,257is expanding the object
    00:22:50,642and it keeps them a little bit darker
    00:22:53,013where they're not being expanded.
    00:22:54,606If we render this now,
    00:22:55,967with the Displacement and the Bump channel,
    00:22:58,942it just gives us a little bit more contrast.
    00:23:01,388You can kinda see, over here,
    00:23:02,560you're startin' to get some nice highlights here.
    00:23:07,160If I crank this up a little bit,
    00:23:13,510you'll see it darkens this area a little bit,
    00:23:15,531brightens this area.
    00:23:17,083What I wanna do in that Bump channel,
    00:23:19,727is I wanna lessen the influence of the big,
    00:23:22,991overall noise.
    00:23:25,150Because that's really manipulating
    00:23:28,592the shape of the object a lot.
    00:23:30,267So, it's changing what the light's doing to it.
    00:23:32,996But, these little textures that we've added,
    00:23:36,745these could actually just help
    00:23:38,863add a little bit of grit to the surface.
    00:23:43,240You can see now it's sort of getting this lumpier,
    00:23:48,076dirty look.
    00:23:50,038What I'm gonna do, actually,
    00:23:52,196is I'm gonna get rid of this fingerprint noise, here,
    00:23:55,925and I'm gonna change it to something
    00:23:57,294that's a little bit more grainy.
    00:24:02,529Let's try this,
    00:24:03,362this Luka, alright?
    00:24:05,184And see what this looks like.
    00:24:06,621And I'm gonna turn the strength of this bump down
    00:24:08,415because it's a little bit heavy.
    00:24:15,861That's feelin' good,
    00:24:17,125I may wanna scale down these textures a little bit.
    00:24:21,411They're feelin' a little bit big.
    00:24:24,511That one's fine.
    00:24:26,514This one I've turned all the way off.
    00:24:31,560Let's check this.
    00:24:34,115Okay, so this is pretty decent.
    00:24:37,602It might be a little bit irregular,
    00:24:40,910I could keep messing with the Displacement channel
    00:24:43,134and get this perfect if I wanted to.
    00:24:45,860But for now, I'm actually pretty happy with this.
    00:24:48,554So, now we have all of our channels
    00:24:52,720that we're gonna need.
    00:24:55,064Just to see what happens,
    00:24:56,361I'm gonna take the Bump channel,
    00:24:58,495and I'm gonna copy my setup there,
    00:25:01,114and put it in the Diffusion channel.
    00:25:03,816And I wanna show you guys what it does.
    00:25:04,765If it looks cool,
    00:25:05,598we'll keep it.
    00:25:06,431And if it doesn't,
    00:25:07,264we'll toss it.
    00:25:08,200So, what is it does,
    00:25:10,080is it keeps areas that are white,
    00:25:12,806and it keeps them shiny.
    00:25:14,815Areas that are black,
    00:25:16,141it kinda makes them dull.
    00:25:18,065So, you can see it kinda has the effect
    00:25:19,935of making the object feel dirty a little bit.
    00:25:23,526So, if I turn the brightness of this down a little bit.
    00:25:28,426There we go.
    00:25:29,259When you have a texture in here,
    00:25:31,968you actually have to change the Mix strength.
    00:25:35,221Let's change that down to 50,
    00:25:37,914and see if it's just gonna help us get a little bit...
    00:25:41,057And even that's too heavy.
    00:25:43,168We just want a little bit of grit on this thing.
    00:25:48,940I actually like that.
    00:25:50,083It makes it feel like these grooves
    00:25:54,540are actually kinda blocking the light.
    00:25:56,440Maybe they're a little dirty.
    00:25:58,362And that feels pretty real.
    00:26:01,056This will take a minute to render,
    00:26:02,914but just to show you guys,
    00:26:04,336if I turn on Ambient Occlusion,
    00:26:07,814turn on Indirect Illumination on the physical renderer.
    00:26:11,040As this is rendering,
    00:26:11,926when you have pretty detailed,
    00:26:17,103really nuanced textures,
    00:26:19,592and you have decent a lighting set-up,
    00:26:21,680and then you let the renderer use all of the tricks
    00:26:24,834it has up it's sleeves,
    00:26:27,235you can get a pretty photo-realistic result.
    00:26:30,881Without doing any compositing or anything,
    00:26:32,810and there's also no depth of field on here.
    00:26:35,305You look at that...
    00:26:38,926I could nitpick some things,
    00:26:40,276but I bet that if you showed that to somebody
    00:26:42,187and said "Look, I took a picture of a ball of Play Doh."
    00:26:45,460They would believe that that was real, okay?
    00:26:48,705So, now we're gonna use this as our texture.
    00:26:50,976I'm gonna show you guys how to animate
    00:26:53,569a quick little animation.
    00:26:55,043Then we're gonna set it up to render
    00:26:56,708and fire off that render,
    00:26:58,259and we're gonna check out what it looks like.
    00:27:00,761We have our textures,
    00:27:01,914we're happy with that.
    00:27:03,633So, what we're gonna animate is this sphere.
    00:27:07,343What I thought would be cool is if it
    00:27:10,175fell into the frame and splatted outwards.
    00:27:14,517And then split in to two balls.
    00:27:17,794So, a pretty simple animation,
    00:27:19,903but it'll give you an idea of the work flow you can use.
    00:27:23,521You can definitely go crazy with this technique,
    00:27:28,279and make full on Claymation movies,
    00:27:30,813if you wanted to.
    00:27:34,588In order to make this feel like stop motion,
    00:27:38,527we're gonna need to animate pretty much every frame.
    00:27:42,427We can have Cinema help us every once in a while.
    00:27:45,927But to get that imperfect look,
    00:27:47,983we really want to do
    00:27:48,924as much of the work ourselves as possible.
    00:27:51,555In order to do that,
    00:27:53,526especially when we are deforming the ball,
    00:27:55,668we want to use Point Level Animation.
    00:27:58,402Point Level Animation means we literally
    00:27:59,947go into point mode or polygon mode
    00:28:04,371and we use a tool...
    00:28:06,434By the way,
    00:28:07,267I'm bringing this modeling menu up
    00:28:08,842by hitting "M" and then looking at the options it gives me
    00:28:12,323and deciding I want the brush,
    00:28:14,751which has the "C" next to it.
    00:28:15,764So, I hit "C" and it switches to the brush tool.
    00:28:18,659Literally coming in here and manipulating this mesh
    00:28:22,524with the brush tool.
    00:28:26,089I want Cinema to put key frames
    00:28:27,461on the actual shape of the mesh.
    00:28:30,177By default, Point Level Animation is turned off.
    00:28:34,165The way you turn it on is down here
    00:28:36,152in your standard layout.
    00:28:38,423You see position, scale and rotation are on.
    00:28:42,812This "P" is for parameter.
    00:28:45,255These little dots here,
    00:28:47,497these are for point level.
    00:28:49,863So, what you wanna do is turn this on,
    00:28:52,097and you wanna turn on automatic key framing.
    00:28:55,809Then you need to actually add a point level animation track
    00:29:00,801to your object in the timeline.
    00:29:03,995Before we do that,
    00:29:05,346why don't we first animate the dropping of the ball, okay?
    00:29:13,208When you're doing stop motion animation,
    00:29:14,960and this is one of the things
    00:29:16,144that is really cool about it,
    00:29:17,719is that it doesn't really let you cheat very easily.
    00:29:20,605You have to plan out your moves ahead of time.
    00:29:24,739Now, in Cinema,
    00:29:25,700the beauty is that we can always go back
    00:29:27,113and fix things real easily.
    00:29:28,972In real stop motion,
    00:29:29,805you can't do it very easily.
    00:29:31,220So, you really have to be precise
    00:29:32,973and think about what you're doing when you're animating
    00:29:35,133and use animation principles and things like that.
    00:29:38,067I want this to feel pretty quick and pretty bouncy.
    00:29:41,188I'm thinkin' this ball is gonna drop into frame pretty fast.
    00:29:44,292Like, this quick.
    00:29:47,348If we're animating at 12 frames a second,
    00:29:49,871it's gonna fall probably in two frames,
    00:29:52,805maybe three.
    00:29:55,017Probably three,
    00:29:57,328just so we can actually do something here,
    00:29:59,738in this tutorial.
    00:30:01,298What we're gonna do,
    00:30:02,243is we are going to start with this ball out of frame.
    00:30:07,957I'm gonna actually put a protection tag on this camera,
    00:30:12,980because we are gonna have to switch
    00:30:17,301between our editor camera
    00:30:19,613and our actual render camera quite a bit.
    00:30:24,460I can see now,
    00:30:25,293I wasn't actually looking through my render camera.
    00:30:29,511So, let's bring the ball back down
    00:30:31,329and let's line up this camera where we want it.
    00:30:36,781So, now I'm going to put the protection tag
    00:30:38,337back on the camera,
    00:30:41,557so we don't accidentally move it.
    00:30:43,885If you've never used one of those,
    00:30:45,086it's very handy because now I can't move the camera.
    00:30:47,721It literally won't let me move it.
    00:30:50,057But, if I click here and go to the editor camera,
    00:30:52,233I can move around.
    00:30:53,358So, when I start modeling the ball
    00:30:55,439and sculpting it like clay,
    00:30:58,057I can see what I'm doing.
    00:31:00,009So, we're gonna start with the sphere up here,
    00:31:02,464out of frame.
    00:31:04,036Alright?
    00:31:04,869We're gonna set a key frame.
    00:31:05,829So, then we're gonna go to the next frame.
    00:31:07,951Here I'm gonna turn on automatic key frame.
    00:31:11,834I want the ball to fall pretty far into the frame.
    00:31:16,212So, this is the floor.
    00:31:18,250I don't want it to quite hit the floor yet, okay?
    00:31:20,685And maybe what we do
    00:31:21,518is we just have it enter the frame here.
    00:31:24,748We'll go to the next frame,
    00:31:26,389and it falls almost all the way to the floor.
    00:31:30,435Then on the next frame,
    00:31:32,086it's on the floor.
    00:31:32,919But, it's gonna be really smushed and flattened.
    00:31:37,680So, if we just do a quick preview,
    00:31:41,442that's pretty quick.
    00:31:42,281Splat.
    00:31:45,051And we're gonna have to
    00:31:45,884add some good sound effects here too.
    00:31:49,228You can see it feels a little jerky.
    00:31:50,641It doesn't feel perfect because I kinda hand-did those.
    00:31:54,012Decided I want this to be fast,
    00:31:55,588it's gonna be a certain number of frames.
    00:31:57,924The beauty of Cinema, though,
    00:31:59,873is that you can always change it.
    00:32:01,186So, if I decide that this move to this move
    00:32:04,801feels a little too much,
    00:32:06,087I can just come up here and fix it.
    00:32:09,652Now, because this ball is moving fast at the beginning,
    00:32:13,701it should also be a little stretched out, vertically.
    00:32:18,231Now, I could sculpt that,
    00:32:19,936and that's probably what I would do.
    00:32:23,191But it would just take longer.
    00:32:24,236So, in this case,
    00:32:25,174I'm gonna just use the "Y" scale.
    00:32:28,207So, I'm gonna start on a frame where I can tell...
    00:32:31,096It should be like this,
    00:32:32,868and it should be a little bit smaller on "X" too.
    00:32:36,364"Z" should match.
    00:32:39,639Now, that's really elongated.
    00:32:41,124It's pretty cartoony but it's funny.
    00:32:44,085As it's falling,
    00:32:45,026it's accelerating,
    00:32:45,866so it's a little bit,
    00:32:47,155if we step backwards,
    00:32:48,235it should be a little bit less elongated here.
    00:32:58,189Then, as it hits,
    00:32:59,684it's gonna totally flatten out very quickly.
    00:33:04,722So the "Y" is gonna flatten out like this,
    00:33:07,863and then the "X" is gonna be like this.
    00:33:12,231Now that we've done that,
    00:33:13,566we're gonna have to move it down again
    00:33:15,061'cause now it's not on the floor.
    00:33:16,579So, now it is.
    00:33:17,459So, what we've go so far is this kind of animation.
    00:33:22,103Great.
    00:33:23,608Now, what you could do at this point
    00:33:27,980is go into point level animation mode
    00:33:30,522and start making this feel like someone hand did this.
    00:33:33,842And we can even go in and tweak,
    00:33:35,864and just kinda mush around some things here,
    00:33:37,483so it feels a little less perfect.
    00:33:41,550I'm gonna switch my layout to animation,
    00:33:43,448so it's a little easier to work with.
    00:33:47,057I'm going to take my sphere,
    00:33:49,712drag it onto my timeline.
    00:33:51,870You can see I've got some position
    00:33:53,778and scale key frames on there.
    00:33:55,746So, with sphere selected,
    00:33:57,004what I want to do is say "create"
    00:34:01,143and add a special track, PLA.
    00:34:05,153Then, with PLA on,
    00:34:08,070auto key framing on,
    00:34:09,078I can go to a frame like this,
    00:34:11,294hit "M" and then "C" for brush.
    00:34:13,979And I can mush some of these points around,
    00:34:17,280kinda mess it up a little.
    00:34:19,429You can see it added key frame point level.
    00:34:22,437So, I can do that same on this frame.
    00:34:24,419Then, on this frame,
    00:34:26,046I want it out of frame.
    00:34:27,798When it lands here,
    00:34:33,217What's gonna happen,
    00:34:34,050is it's gonna land and split into two balls.
    00:34:38,087The center is gonna kinda drop down, like this.
    00:34:41,992These ends are gonna split out like this.
    00:34:44,557So, it's gonna start like this.
    00:34:48,492Then, it's just gonna keep spreading out fairly quickly.
    00:34:53,612I think I wanna try and make it feel
    00:34:55,930like it splats and splits.
    00:34:58,959It almost snaps back,
    00:35:01,305it kinda hangs for a second,
    00:35:03,764like it's gonna return to normal shape.
    00:35:05,191Then it pops into two different balls.
    00:35:08,814So, it's gonna,
    00:35:10,008basically, very quickly,
    00:35:12,127splat.
    00:35:13,502So, on the next frame here,
    00:35:14,758this part's gonna be a little lower.
    00:35:17,095These parts are gonna be a little bit more stretched out.
    00:35:21,330You can see,
    00:35:22,163I'm really not trying very hard to make this perfect.
    00:35:26,290I'm gonna scrub back and forth,
    00:35:28,900a few frames at a time.
    00:35:32,900Just try and get this to feel good.
    00:35:38,953That feels good,
    00:35:40,055and we'll go to the next frame.
    00:35:41,974I should probably have the bottom of this come up too.
    00:35:46,371One thing I do want to be careful of,
    00:35:48,068'cause what I'm noticing is that the bottom of this,
    00:35:52,486it may not be intersecting the floor anymore
    00:35:55,372once I move these.
    00:35:56,205So, I just need to make sure
    00:35:57,038that it's always intersecting the floor.
    00:36:03,266If I do a quick little preview of this,
    00:36:08,736it's feelin' pretty good.
    00:36:10,793Splat.
    00:36:13,120Splat!
    00:36:15,190Now, it feels like it probably
    00:36:18,433needs to come out a little bit further there.
    00:36:20,782You wanna start elongating these too,
    00:36:23,299because the mass of this clay is sort of splitting, here.
    00:36:32,680Here's a good example of why Cinema
    00:36:35,052is actually a lot easier than Claymation.
    00:36:37,050From this frame to this frame,
    00:36:38,836feels like a little bit of a big move.
    00:36:41,614All I have to do is take this PLA,
    00:36:44,276and move it one frame.
    00:36:45,323I will now get two frames,
    00:36:47,181it will interpolate that for me.
    00:36:48,648As long as you don't do that very often,
    00:36:50,677you can get away with it.
    00:36:54,495In stop motion,
    00:36:56,676you would have to go back
    00:37:00,433and try and make this frame,
    00:37:02,263and put it in the middle,
    00:37:03,096and it's a pain.
    00:37:04,276You really don't wanna have to do that.
    00:37:06,172So, once I played it back,
    00:37:07,112it actually felt pretty good.
    00:37:09,190Let's see here.
    00:37:12,807I think I may actually want to get rid of that frame.
    00:37:18,303There we go, yeah.
    00:37:20,806It needs to feel fast.
    00:37:22,425So, it splits.
    00:37:23,867Alright, now at this point,
    00:37:26,197this move is gonna start decelerating,
    00:37:28,847because, basically,
    00:37:30,816the tension wants to pull this back together.
    00:37:33,433So, it starts to decelerate.
    00:37:34,884It's still moving a little bit.
    00:37:38,600It's gonna hang there for a second,
    00:37:40,121but it wants to pull back.
    00:37:44,759And I think it'll probably hang
    00:37:45,785for maybe another frame or two.
    00:37:53,391Really start to stretch,
    00:37:55,300like it's reaching.
    00:38:00,564Let's see what we got.
    00:38:07,831I think I want it to be a little more extreme,
    00:38:13,734so, I might just realize that I'm having too many frames.
    00:38:18,068There we go.
    00:38:24,342I may wanna actually speed things up
    00:38:28,180after I animate a couple of frames.
    00:38:32,389So, let's have one more frame here,
    00:38:35,041where it starts to even...
    00:38:36,971it almost starts to pull back a little bit.
    00:38:38,980The top starts to pull back,
    00:38:40,238the bottom is still kinda movin' away.
    00:38:43,797And here's where we're gonna have a big pop.
    00:38:47,080What I'm actually gonna do,
    00:38:48,749is replace this model with two spheres.
    00:38:53,977The easy way to do that...
    00:38:54,992First let me name this Sphere 1.
    00:38:59,170I'm gonna put a display tag on this.
    00:39:04,364I'm going to say "use the visibility setting."
    00:39:08,993And at this frame,
    00:39:10,151it's 100.
    00:39:11,797I'm gonna go forward one frame,
    00:39:12,897and set it to zero.
    00:39:17,040This is what the animation looks like so far.
    00:39:21,430Boing, there you go.
    00:39:23,301(mimics splattering)
    00:39:25,937It's quick,
    00:39:27,196and there's some things that I don't love about it.
    00:39:29,890I think it's really just this frame to this frame.
    00:39:41,410I think this frame might be a little extreme,
    00:39:43,780I may wanna pull that back a little bit.
    00:39:47,831There we go.
    00:39:48,664So that, now,
    00:39:49,497it feels like it's still moving outwards a little bit.
    00:39:52,484Then, I feel like these need to move in a little bit.
    00:39:56,339So, now what I'm gonna do,
    00:39:58,126is I'm gonna make,
    00:39:59,224on this frame,
    00:40:00,374I'm gonna turn off automatic key frame
    00:40:01,568for a second.
    00:40:02,957I'm gonna make a new sphere,
    00:40:07,546and I am going to apply.
    00:40:10,608Let me go back to standard layout for a second.
    00:40:14,688What I wanna do is add one sphere here and one here,
    00:40:18,509and kinda match the position as closely as I can.
    00:40:21,605So, I'm going to make that sphere smaller.
    00:40:27,107Go into object mode and try and...
    00:40:30,463I'm gonna use some of these views here,
    00:40:32,506to help me figure out how big that sphere should be.
    00:40:35,105It probably wants to be about that big.
    00:40:38,802It needs to be on the floor.
    00:40:45,624Let's see,
    00:40:46,457I must have moved my floor.
    00:40:47,418It's actually at nine centimeters.
    00:40:48,853So, that's a mistake,
    00:40:51,479but we'll work with that.
    00:40:53,707So, that is now on the floor,
    00:40:55,508and we're gonna scoot it over here.
    00:41:01,123You can see that because of the way I've been using
    00:41:06,516my mush tool, my brush tool,
    00:41:08,183I haven't actually shaped this object that correctly.
    00:41:13,337But, from the viewpoint of the camera,
    00:41:15,000it's working fine.
    00:41:17,324That's really all we need to do.
    00:41:18,433We're just faking this whole thing anyway.
    00:41:19,679So, I'm just gonna make this look correct.
    00:41:23,097So, that ball's there.
    00:41:25,335Alright, I need to make it editable.
    00:41:27,914This would be "Sphere L"
    00:41:31,393I'm going to take this other sphere,
    00:41:33,422name it "Sphere R,"
    00:41:34,862and I'm gonna move it over here.
    00:41:42,708I'm gonna apply the clay material to both.
    00:41:47,514Then, I'm going to put a display tag
    00:41:51,987on both of these, as well.
    00:41:54,929And, I'm going to have the opposite happen to them.
    00:41:57,508I'm gonna have them be invisible,
    00:41:58,947until this frame.
    00:42:00,386Invisible in this frame,
    00:42:02,603visible in this frame.
    00:42:05,326If I say "use visibility,"
    00:42:07,788on this frame it's 100%,
    00:42:09,340on the previous frame it's a zero.
    00:42:13,045Then, I can just copy that display tag onto this sphere.
    00:42:18,741So, now I've got this,
    00:42:21,038and then it turns into spheres.
    00:42:23,249I must have done something wrong,
    00:42:24,798because...
    00:42:26,149Let's see what I did.
    00:42:28,798100, there we go.
    00:42:40,008Oh, I know what I did.
    00:42:42,414Sorry, folks.
    00:42:43,247Let me do this one more time.
    00:42:46,156This always confused me,
    00:42:47,084the visibility tag has two things you can key frame.
    00:42:50,972You can key frame this "Use,"
    00:42:52,957or you can key frame the visibility.
    00:42:54,594What I want to key frame is the visibility.
    00:42:57,293So, visibility: 100,
    00:42:59,547visibility: zero.
    00:43:01,410There we go.
    00:43:02,365Now, copy that onto here,
    00:43:04,314so now, when we go to this frame,
    00:43:06,097it switches to these two spheres.
    00:43:08,422Now, these two spheres are
    00:43:10,040too perfect right now, for sure.
    00:43:12,169So, what I'm going to do,
    00:43:13,742is I'm going to select them both
    00:43:15,133and I'm gonna use the brush tool again.
    00:43:18,176I want them to feel a little bit stretched at the beginning,
    00:43:21,758like they are kind of pulling away from each other.
    00:43:27,149What I'm gonna do,
    00:43:32,484is have them start...
    00:43:37,606And I just kinda go back and forth, like this.
    00:43:44,489Until it feels like a good match.
    00:43:48,897I'm also going to animate the position of them.
    00:43:53,062I'm going to turn on automatic key framing now.
    00:43:55,731I'm gonna move them,
    00:43:58,743so let me switch back to animation here.
    00:44:04,237And, I want a position key frame on them,
    00:44:08,315on "X" and "Z."
    00:44:10,172So, I'm going to select both of these,
    00:44:11,090and then I'm gonna put key frames on "X" and "Z."
    00:44:15,441Now, I want them to basically
    00:44:20,467move away from each other pretty quickly,
    00:44:22,774then decelerate and come to a stop a little bit slowly.
    00:44:31,280I'm going to go into my overhead view here,
    00:44:34,019because it will be a little easier,
    00:44:35,096because we're kinda looking at them at an angle.
    00:44:39,290On the first frame,
    00:44:40,123after the pop,
    00:44:42,281I actually want them a little bit further apart.
    00:44:50,627On the next frame,
    00:44:56,460even further apart.
    00:44:58,767Like, really far apart there.
    00:45:08,020I think I put it on the wrong key frame.
    00:45:13,816There we go.
    00:45:16,534The reason it's not showing up in my timeline,
    00:45:18,583is probably because my view is set up wrong.
    00:45:21,577If I go "view, show animated,"
    00:45:24,508then turn on automatic mode.
    00:45:29,989Now it's actually gonna show me Sphere L and Sphere R.
    00:45:37,322So, we have this splitting into two,
    00:45:41,616they fly apart.
    00:45:44,490They need to be a little further apart in this frame,
    00:45:49,822be a little further apart in this one.
    00:46:03,892They're moving where they're kinda framed weird
    00:46:08,441in the camera now,
    00:46:09,661so I can always move the camera.
    00:46:12,443Maybe we'll do a stop motion camera move too,
    00:46:14,597that'd be kinda cool.
    00:46:19,209They break apart 1, 2, 3.
    00:46:21,654Let's do one more move,
    00:46:23,300but they're already starting to slow down now.
    00:46:28,529Then, on the next frame,
    00:46:29,713they move a little bit more.
    00:46:32,816Just a tiny bit.
    00:46:35,680Then one more frame where they move a little bit.
    00:46:43,167If we preview this,
    00:46:47,391you can see there's a little hitch in the movement.
    00:46:50,280If we figure out what frame it is,
    00:46:51,437it's this frame here,
    00:46:53,500where this object doesn't move very much.
    00:46:57,367So, let's fix that frame.
    00:47:00,992If we come in here,
    00:47:02,046you can actually see...
    00:47:04,368It's kinda tough to see,
    00:47:05,201but you can actually see where the key frames are.
    00:47:09,797You can kinda see the line it's creating.
    00:47:12,670What's more important is you can see the space between them.
    00:47:17,964So, you can imagine your curve.
    00:47:20,640Like, do you have this quick move,
    00:47:22,659then a little slower,
    00:47:23,492then a little slower,
    00:47:24,799then a little slower,
    00:47:25,686and then this last one should be even slower.
    00:47:28,763So, if we go to this last frame...
    00:47:33,919Here we go, even slower.
    00:47:35,604Let's do the same thing with the other sphere.
    00:47:39,287I'm hitting an object and hitting "S,"
    00:47:41,959which will zoom this view to the selected object.
    00:47:45,336So, we have a big move,
    00:47:46,354a little smaller move,
    00:47:47,187a little smaller,
    00:47:48,020little smaller.
    00:47:49,762Actually, this one I animated much better
    00:47:51,539than the other one.
    00:47:53,533Now, let's preview this.
    00:47:59,483Okay.
    00:48:01,441It's workin' okay,
    00:48:02,891obviously we still need to do
    00:48:03,800a little bit of sculpting on these.
    00:48:07,221Now, we can do the point level animation on these guys.
    00:48:10,541They start out flattened, like this.
    00:48:13,589I'm gonna go into my modeling brush tool.
    00:48:16,718As they decelerate,
    00:48:19,814they will slowly form back into spheres.
    00:48:28,269I'm gonna go ahead and just go into my editor camera, here,
    00:48:31,336so I can actually see what's happening.
    00:48:35,673What I wanna do,
    00:48:36,953is make it feel like right,
    00:48:38,913at this moment here,
    00:48:40,544they're really still pretty stretched.
    00:48:49,068Then, it snaps back,
    00:48:52,165and it snaps back pretty quick.
    00:48:56,006It maybe even kinda overshoots and pushes him a little bit,
    00:49:01,381and then comes back out.
    00:49:08,470Let's see what that's lookin' like.
    00:49:11,213That's actually kinda what I had in mind.
    00:49:14,360Now, it feels a little slow,
    00:49:15,539that move at the end.
    00:49:17,627So, what I could do,
    00:49:18,874is speed that move up,
    00:49:20,663or I could slow this move down in the beginning,
    00:49:23,874because, the speed that they split apart,
    00:49:26,457I kinda like.
    00:49:28,707The beginning now feels a little fast to me,
    00:49:31,776so, what I'm gonna try to do,
    00:49:33,455is just slow down up to there.
    00:49:39,448I gonna take all these key frames,
    00:49:42,164move 'em down,
    00:49:44,152take all these key frames,
    00:49:45,673and just stretch 'em out three or four frames.
    00:49:49,176Then, move this back.
    00:49:52,420Let's see what we get now.
    00:49:54,619Yep, there we go.
    00:49:57,401So, we get this nice little splat.
    00:49:59,067Now let's deal with this camera.
    00:50:02,774At the beginning, here,
    00:50:04,629the camera's in a good spot.
    00:50:07,046At the end,
    00:50:07,879it's not in a good spot.
    00:50:09,034This is a really short animation, I'm realizing.
    00:50:11,770But that's okay,
    00:50:12,603it's really okay.
    00:50:16,372Let's take off the protection tag.
    00:50:18,061Turn off automatic key framing,
    00:50:19,590'cause we've got the animation in a pretty good spot.
    00:50:24,131Our camera, here,
    00:50:26,454I like where it starts.
    00:50:27,810So, I'm gonna put a key frame on it.
    00:50:29,482I'm just gonna hit "F9" and have the key frame on.
    00:50:37,436By the time it ends,
    00:50:39,431here, frame 20,
    00:50:41,422I actually want it to be looking that way.
    00:50:47,209Which is kinda weird, it's very imperfect.
    00:50:49,951The beauty of stop motion.
    00:50:55,447What I just did there,
    00:50:57,509putting a key frame here and a key frame here on the camera,
    00:51:00,660you could actually do that now,
    00:51:02,014if you have software like Dragonframe.
    00:51:03,893You can have motion control systems that will
    00:51:05,536smoothly move your camera.
    00:51:07,800We're not going for that look,
    00:51:08,972we're going for the imperfect look.
    00:51:11,248What I wanna do,
    00:51:12,427is come into my curve editor.
    00:51:14,197I just hit space bar over the timeline,
    00:51:17,214bring up my camera curves.
    00:51:18,286I don't need the scale key frame,
    00:51:20,306so I'm gonna delete those.
    00:51:21,874Rotation I do,
    00:51:23,598but I really only need,
    00:51:25,652I believe...
    00:51:27,932Let's see here.
    00:51:36,518Oh, I think I just erased my camera key frames,
    00:51:38,658let's undo this.
    00:51:45,086There we go.
    00:51:48,372Let's try this one more time,
    00:51:49,519delete the scale key frames.
    00:51:51,296There we go.
    00:51:52,583So, we're gonna go into the curves,
    00:51:54,494check out the position curves, here.
    00:51:57,522You can see that there's an "Ease out" and an "Ease in."
    00:52:01,530I don't want that,
    00:52:02,672because that's too computer generated.
    00:52:06,794So, I'm gonna hit option "L,"
    00:52:08,890I actually need to go back into key frame mode,
    00:52:10,394select all the key frames,
    00:52:11,622hit option "L,"
    00:52:13,539and then do the same on rotation.
    00:52:15,826What that will do,
    00:52:16,659if I go back to the curve editor,
    00:52:17,814is it makes linear moves,
    00:52:20,419instead of ease in, ease out.
    00:52:25,240I'm gonna go back to my key frame editor, here.
    00:52:29,734And I'm just go every so often,
    00:52:33,418and I'm gonna select position rotation.
    00:52:35,218I'm going to add keys, like this.
    00:52:42,114I'm just going to create by hitting "Add Key At."
    00:52:49,509Then, I'm just gonna move these around a little bit.
    00:52:51,265What I'm doing is I'm, overall,
    00:52:52,688keeping the same move.
    00:52:54,985But, I'm adjusting the speed that the move happens at.
    00:53:00,142So, instead of this perfect move,
    00:53:02,345it's gonna be a little bit jerky.
    00:53:07,880Then, maybe what I can do...
    00:53:10,569Let's take all of the action,
    00:53:13,114the balls dropping and splitting,
    00:53:16,016and let's delay them half a second,
    00:53:18,948six frames.
    00:53:21,584Let's spread out this camera move,
    00:53:23,697so it lasts another few frames afterwards.
    00:53:28,509Let's make this 30 frames.
    00:53:32,676Here's our animation.
    00:53:33,741(mimics "splat")
    00:53:35,979Again, we're gonna need a good "splat" noise here.
    00:53:39,680Let me do a quick render here,
    00:53:42,100and let's see what this is gonna end up like.
    00:53:44,364I think I still have Ambient Occlusion
    00:53:46,681and Indirect Illumination turned on.
    00:53:49,388So, this will give you a pretty good idea
    00:53:50,996of what this is gonna look like when it renders.
    00:53:55,211For the final render,
    00:53:56,347all I'm gonna do is turn on Depth of Field
    00:53:59,373and make sure that we're following focus,
    00:54:02,309so that we get a little bit of depth of field.
    00:54:04,176And just kinda help soften things up a little bit.
    00:54:07,219I'm not really gonna do any post-compositing
    00:54:12,117or anything on this,
    00:54:13,548because this tutorial was really all about
    00:54:15,517how you can get this look in Cinema.
    00:54:18,039There's other things you could do
    00:54:19,196in After Effects or Nuke.
    00:54:20,995You could simulate a little bit of light flicker.
    00:54:25,732If you don't have a very tightly controlled studio,
    00:54:27,818it's pretty hard to get rid of flicker
    00:54:31,422when you're shooting stop motion,
    00:54:32,654that's one of the things you have to avoid.
    00:54:34,625You could add that,
    00:54:35,807you could add film grain,
    00:54:37,078which always makes things look
    00:54:38,357a little bit more like they were shot.
    00:54:40,934Especially if you have depth of field
    00:54:42,438and you're sort of selling the idea
    00:54:44,365that you shot this on your 5D or something.
    00:54:49,750Well, who am I kidding?
    00:54:50,889Most people don't have 5D, 7D.
    00:54:54,895I really hope this was helpful,
    00:54:56,710I hope you guys learned about a few different ways
    00:55:00,013to key frame,
    00:55:01,080some point level animation,
    00:55:06,470the texturing system,
    00:55:08,026how you can use displacement and bump
    00:55:09,645to get things to look realistic.
    00:55:11,265Thank you guys so much for watching this,
    00:55:13,239I really appreciate it and I will see you guys next time.
    00:55:16,084Thank you.
    00:55:16,986Thank you for watching.
    00:55:18,076I hope you learned a lot
    00:55:18,974and enjoyed making this Claymation style animation
    00:55:21,736in Cinema 4D.
    00:55:22,919If you have any questions or thoughts,
    00:55:24,401definitely let us know.
    00:55:25,766And, we would love to hear from you
    00:55:27,775if you use this technique on a project.
    00:55:30,118So, give us a shout on Twitter @SchoolofMotion
    00:55:32,494and show us your work.
    00:55:33,903And if you learned something valuable from this video,
    00:55:35,856please share it around.
    00:55:36,855It totally helps us spread the word
    00:55:38,767about School of Motion and we appreciate it a lot.
    00:55:41,736Don't forget to sign up for our free student account
    00:55:43,848to access the project files
    00:55:45,324for lesson that you just watched.
    00:55:46,966Plus, a whole bunch of other awesome stuff.
    00:55:49,353Thanks again and I'll see you on the next one.
    00:55:52,635(object bouncing)
    00:55:55,521(techno music)