Making Type with Particles in Cinema 4D

This tutorial IS CRAMMED full of goodness. Joey throw out as many tips and tricks along the way as he can while you're making a flurry of snowflakes that land and build on some type in Cinema 4D. He goes through every single step, including some steps that he tried which didn’t work out. He wants everyone to see that even artists with a lot of experience have no clue what we’re doing sometimes, and we have to fumble around until we find the right combination to get the desired result.

ParticleType.zip

Intro to Animation Curves in After Effects

Funky Spline Animation with MoGraph

Joey mentions this GreyscaleGorilla Tutorial - Random Movement with Mograph and Cloners 

Vector Snowflakes

Holiday Font

    00:00:00,369(sleigh bells ringing)
    00:00:14,369(soft knocking)
    00:00:20,592(bright electronic music)
    00:00:25,086- Hey there, Joey here, for School of Motion.
    00:00:26,721In this lesson, we're going to get lost
    00:00:28,743deep in Cinema 4D.
    00:00:30,447It's a long one.
    00:00:31,479And I throw out as many tips and tricks
    00:00:33,338along the way as I can.
    00:00:34,823The idea for this lesson actually came
    00:00:36,807from a freelance job that I did
    00:00:38,222where I needed to have some snowflakes
    00:00:39,881animate on some type, but I needed
    00:00:42,025full control of those snowflakes.
    00:00:44,380How they animated on and off, and where exactly
    00:00:46,580they landed.
    00:00:47,990I go through every single step,
    00:00:49,542including some steps that I tried which didn't work.
    00:00:51,654I wanted everyone to see that even artists
    00:00:54,883with a lot of experience have no clue
    00:00:56,746what we're doing, sometimes, and we have
    00:00:58,965to fumble around until we find the right combination
    00:01:00,750to get the desired result.
    00:01:02,738Don't forget, sign up for a free student account
    00:01:05,063so you can grab the project files
    00:01:06,638from this lesson, as well as assets
    00:01:08,585from any other lesson on the site.
    00:01:10,648Now, let's hop in and get started.
    00:01:13,783Alright, illustrator.
    00:01:15,643We haven't spent a lot of time in Illustrator
    00:01:17,669on School of Motion, but that might...
    00:01:19,408That might change.
    00:01:20,483So, the first thing I want to do
    00:01:22,494is lay out my type.
    00:01:24,694So, I'm just going to grab the type tool,
    00:01:26,604and I'm going to type in Happy Holidays,
    00:01:30,965and make it a little bigger.
    00:01:32,702And I found a font, and I'm going to...
    00:01:36,353I'm going to link to it, so you guys
    00:01:38,100can download the same font, if you want.
    00:01:39,929It's a free font off of Dafont,
    00:01:42,327which is an awesome website where you can download
    00:01:45,046hundreds, maybe thousands, of free fonts.
    00:01:47,900And not all of 'em are great, but some of them work,
    00:01:51,095and this particular font, I grabbed
    00:01:53,992because it's very thick, and if you're going
    00:01:56,921to be making type out of, you know,
    00:01:59,160a whole bunch of particles, or snowflakes,
    00:02:01,382you need that font to be pretty thick,
    00:02:03,608so that when you actually form it,
    00:02:05,584it's readable, still.
    00:02:06,862So, by typing it in, this is a type layer,
    00:02:10,500which Cinema 4D can't read.
    00:02:12,124So I need to convert this to outlines, first.
    00:02:14,609So, you do that by selecting the layer,
    00:02:16,429you go to Type, and you say Create Outlines.
    00:02:20,399You can see, now, it's created the outlines for that.
    00:02:22,462So, I'm just going to save this
    00:02:24,290in my demo folder.
    00:02:25,382And I'll just save over this, this is...
    00:02:27,327This is me preparing for this tutorial.
    00:02:29,835So, I'm going to save over this holiday type
    00:02:32,278Illustrator file.
    00:02:35,057Now replace it.
    00:02:36,226And when I save things in Illustrator
    00:02:37,864to go into Cinema 4D, I always set the version
    00:02:40,097to Illustrator 8.
    00:02:42,813And I've been doing that ever since I've had Cinema 4D.
    00:02:46,124I don't know if any of these later ones
    00:02:48,062will work with it, but Illustrator 8
    00:02:49,389definitely works, so that's what I pick.
    00:02:53,101Okay?
    00:02:54,097And that one's good to go.
    00:02:55,087So, now, the next thing I needed
    00:02:56,831was some snowflakes.
    00:02:59,224And I didn't want to have to make my own snowflakes,
    00:03:01,492I wanted to just kind of, you know, get some,
    00:03:04,336and, you know...
    00:03:05,567So, I Googled, Google is your friend
    00:03:07,472and I found some free snowflakes at this website.
    00:03:10,387All-silhouettes.com, I'll link to that
    00:03:13,146in the notes for this tutorial.
    00:03:15,952And so I just wanted to grab three or four
    00:03:18,604that I could then use MoGraph to kind of randomly assign
    00:03:21,517and create a Cloner with them.
    00:03:24,539So why don't we pick four snowflakes?
    00:03:28,044So, let's take this one, I'm just gonna copy it,
    00:03:31,437and in a new Illustrator file I'm gonna paste that one.
    00:03:35,137One quick note is,
    00:03:38,437if you do this, if you don't use the same snowflakes
    00:03:41,417as me or if you use something else,
    00:03:43,112make sure, open up the layer and make sure
    00:03:45,974that all of these compound shapes
    00:03:48,081have been grouped together,
    00:03:50,395it'll make it a lot easier and Cinema 4D
    00:03:53,230can act a little funky if you have
    00:03:55,136too many splines that haven't been grouped.
    00:03:57,659So, and I'm gonna rename this layer SF01,
    00:04:01,117so snowflake 01.
    00:04:03,227Alright, so we've selected that one,
    00:04:05,127maybe we can take this one too, so copy.
    00:04:07,397And I'm gonna make a new layer, and paste into that layer,
    00:04:14,029so that'll be SF02.
    00:04:18,083Alright, let's grab a couple more,
    00:04:20,250why don't we take this silly one here, we'll copy that.
    00:04:26,621Paste, and this is SF03.
    00:04:31,541And then one more, maybe this one, we'll copy.
    00:04:36,760New layer, paste, and SF04.
    00:04:42,046Great, okay, so now I'm gonna Save As,
    00:04:45,975and let's put this in my Demo folder,
    00:04:48,129and I'm gonna save over this SnowflakesAI file.
    00:04:52,130And I'm going to make this an Illustrator eight file.
    00:04:56,171Alright, so that's all you need to do in Illustrator,
    00:04:58,408the Illustrator work is done.
    00:05:00,650So let's hide Illustrator and let's hop into Cinema 4D,
    00:05:05,209and let me resize this window so you guys
    00:05:07,497can see the whole thing, there we go.
    00:05:10,808Alright cool.
    00:05:12,387So, the first thing I wanna do is bring in that type
    00:05:16,187that I just made in Illustrator,
    00:05:19,158so I'm gonna open up Holiday Type,
    00:05:22,857make sure that you don't have Connect Splines on,
    00:05:24,804make sure you don't have Group Splines on, just hit OK.
    00:05:26,808And, the reason that I have those turned off
    00:05:31,450is because I will end up grouping these splines
    00:05:34,547and making them into one spline,
    00:05:37,440but I like to do that manually just so I can make sure
    00:05:39,909there's no problems and nothing gets messed up.
    00:05:43,181So you can see when I brought this in,
    00:05:44,996it kind of brought it in in a weird place,
    00:05:47,061it's not right in the center of the world,
    00:05:48,673which is where I like.
    00:05:50,196So I'm just gonna click on it,
    00:05:51,399and I'm gonna zero out X and Y.
    00:05:54,747Alright, there we go, cool.
    00:05:56,735So if you look under this null you'll see
    00:05:59,132there's a whole bunch of groups and splines for each group
    00:06:01,678and there's just a whole bunch of things in here,
    00:06:03,702so I need to select everything and then
    00:06:05,897combine them into one spline.
    00:06:07,956And there's an easy trick to do that,
    00:06:09,530if you just select the root null here,
    00:06:11,932and you right click and say Select Children,
    00:06:14,838it will select absolutely everything underneath it.
    00:06:17,531Then you can go up to Objects right here,
    00:06:20,883and say, Connect Objects and Delete,
    00:06:24,498and it will combine all those things into one spline,
    00:06:28,144so super simple.
    00:06:29,680So this is our type spline.
    00:06:32,281Next thing I need to do is set up the snowflakes
    00:06:35,195to use for the Cloner, so I'm gonna open up
    00:06:37,720the snowflakes Illustrator file,
    00:06:41,820leave these settings the same,
    00:06:43,469and you'll see that we've got all of our snowflakes
    00:06:46,480kind of overlapping here.
    00:06:48,713So first thing I'm gonna do,
    00:06:49,687I'm gonna zero out X and Y, put them in the center.
    00:06:52,628By the way, I keep hitting the H key.
    00:06:54,941What H does, if your editor camera's way over here,
    00:06:58,033if you hit H it will frame up your entire scene for you
    00:07:02,446really quickly, super simple.
    00:07:04,917Alright, so under this main snowflakes null
    00:07:07,137I've got these other snowflakes,
    00:07:09,270and just to center everything,
    00:07:11,710I'm gonna zero those out as well.
    00:07:14,152And I'm gonna take these snowflakes
    00:07:15,973out of this snowflakes null, delete that,
    00:07:18,805and so then I need to do that same little trick
    00:07:22,075on each of these, let me hide these.
    00:07:25,753By the way, this is another neat trick if you don't know it.
    00:07:28,199Normally, if you just click these lights,
    00:07:32,759these little traffic lights here,
    00:07:34,246you can only select one at a time.
    00:07:35,657If you hold Option, you can select them both,
    00:07:37,520and if you hold Option and click and drag,
    00:07:41,042you can actually just kind of paint groups of them
    00:07:44,728different colors, so pretty handy.
    00:07:47,360So I'm gonna turn off these bottom three,
    00:07:49,730and I'm just gonna look at this one.
    00:07:51,505And you can see that this one's composed up of
    00:07:53,327a whole bunch of different splines,
    00:07:55,099so I'm just gonna right click, Select Children,
    00:07:59,273Objects, Connect Objects and Delete,
    00:08:04,351and this'll be Snowflake01,
    00:08:05,754and then I can hide it for a minute and turn on this one.
    00:08:09,078Same thing, Select Children, Connect and Delete.
    00:08:12,390And this'll be SF02.
    00:08:16,102Okay, and there seems to be something a little strange
    00:08:19,046going on here and I'm not sure what.
    00:08:21,452So we're gonna see if that gives us any problems,
    00:08:23,151hopefully it doesn't.
    00:08:25,098Oh, I know what's going on, I must've selected
    00:08:27,522the wrong thing, I didn't delete the original group,
    00:08:29,169so I'm gonna delete that.
    00:08:30,947Okay now we're good, so turn that off,
    00:08:33,013turn the next one on, Select Children,
    00:08:35,507Connect Objects and Delete.
    00:08:39,116This is SF03.
    00:08:41,939And then the last one, so right click,
    00:08:45,169Select Children, Connect Objects and Delete.
    00:08:49,623Great, there we go.
    00:08:51,300So, now we've got all of our snowflake pattern set up,
    00:08:57,935and now we need to just extrude them
    00:09:01,213to create 3D snowflakes.
    00:09:02,413So I'm gonna grab an Extrude Nurbs, and I'm gonna put
    00:09:05,933the first snowflake in there,
    00:09:07,423and that's a little thick for a snowflake,
    00:09:09,895so I'm gonna click on the Extrude Nurbs,
    00:09:12,906go to Object, and change the movement,
    00:09:15,559the movement is how you decide what direction
    00:09:18,759and how far it's extruded,
    00:09:20,004and I'm just gonna extrude it just a little bit.
    00:09:22,601Maybe like that.
    00:09:23,922Just enough so that if we light these
    00:09:25,787we might get a little bit of a cool edge to the snowflake.
    00:09:32,724And that might even be too much,
    00:09:33,801I think I'm gonna do half of that, let's do 1.5.
    00:09:36,346That's great, okay.
    00:09:37,340So this is SF01, and that one's good to go.
    00:09:41,067So now what I'm gonna do, is I'm gonna duplicate this
    00:09:43,595three more times, and I'm gonna rename all of these.
    00:09:49,735And then, I'm gonna open up all the other three,
    00:09:52,410delete the splines out of them,
    00:09:55,629turn these splines on, and then I'm just gonna
    00:09:57,355one by one drop the splines into the Extrude Nurbs,
    00:10:00,773and we're good to go.
    00:10:01,979So now let's just check them one by one
    00:10:03,388and make sure they look okay.
    00:10:04,920So here's one.
    00:10:06,524Looks good to me.
    00:10:07,933Here's two.
    00:10:10,294Here's three.
    00:10:12,615And here is four.
    00:10:14,568So we have our four snowflakes, they look great, wonderful.
    00:10:17,752So I'm gonna save this project, as snowflakes,
    00:10:20,739I'm gonna save over this old one here.
    00:10:23,520Alright, and I just like to have a copy of it
    00:10:25,381just in case I need it.
    00:10:27,452So now I can copy these.
    00:10:29,673I can put them in this project, so I'll just paste them in,
    00:10:34,834and now I'm actually ready to make a Cloner
    00:10:36,869and clone those onto my spline.
    00:10:40,773Alright, so let's grab MoGraph Cloner,
    00:10:44,270and let's drop all four of these in there, just like that.
    00:10:47,749By default, it's gonna clone them linearly.
    00:10:50,625If you click on the Cloner, go to Object,
    00:10:53,119you can see the mode is set to Linear
    00:10:54,732and that's the default.
    00:10:55,958And if I just add clones it just kind of
    00:10:57,551makes them go in a straight line,
    00:10:59,326and that's not what I want.
    00:11:00,706What I want is to clone them onto the spline,
    00:11:02,988so I need to change the mode from Linear to Object.
    00:11:06,949And it's gonna ask my what Object would you like
    00:11:09,015to clone onto, and I need to tell it, the type spline,
    00:11:12,614that is the Object.
    00:11:13,650Now as soon as I do that it puts snowflakes
    00:11:17,849on the spline, and it does it,
    00:11:20,599I mean, this is kind of interesting,
    00:11:22,659and I don't know, maybe there's something cool
    00:11:23,968you could do with that, but that is not readable.
    00:11:25,993So that doesn't work.
    00:11:27,989So what I need to do is a couple of things.
    00:11:30,441First of all, you can tell that the snowflakes
    00:11:32,100are way too big.
    00:11:33,889So with the Cloner selected, I'm gonna add a Plain Effector.
    00:11:39,359And right now by default it's affecting the position
    00:11:42,339of the clones, I'm gonna turn that off,
    00:11:44,580and have it affect the scale of the clones.
    00:11:47,467I'm gonna turn on uniform scale,
    00:11:49,945cos I want them to scale equally in X, Y and Z,
    00:11:52,878and then I'm just gonna shrink them.
    00:11:55,368And I don't know exactly how small I want them yet
    00:11:58,105but that's probably a good start.
    00:12:00,384And one thing I like to do with Effectors
    00:12:03,129is I like to name them a certain way,
    00:12:04,868so I'm gonna call this Plain.scale,
    00:12:08,161that way I know if I have multiple Plain Effectors,
    00:12:10,274I know what this is doing.
    00:12:12,627The next thing is that you can see the snowflakes
    00:12:16,053are aligned along that spline,
    00:12:18,651which in this case is not what we want.
    00:12:20,429So I'm gonna go into the Cloner,
    00:12:22,663and once you drag an Object down here,
    00:12:25,060you get a lot of options based on what type of Object
    00:12:29,241you're cloning onto.
    00:12:30,529So because it's a spline,
    00:12:31,888it shows you spline-related options.
    00:12:34,078So I'm gonna turn off Align Clone first of all,
    00:12:38,280and so now those snowflakes are aligned
    00:12:40,641the way they were modeled, so they're just
    00:12:43,126sort of facing outwards on Z.
    00:12:47,059One other thing I'm gonna do really fast
    00:12:49,082is I'm gonna click on this Render Instances checkbox,
    00:12:51,613and what that does is it changes the way
    00:12:55,079Cinema 4D manages the memory in relation to these clones.
    00:13:01,482And there's some fancy math under the hood,
    00:13:04,916but basically what it does is it makes everything work
    00:13:07,733a lot faster.
    00:13:09,271The only downside to this is that certain features
    00:13:12,962of MoGraph don't work when Render Instances is turned on,
    00:13:16,568but for this example, it's not gonna affect anything,
    00:13:20,194it's gonna make things work a lot faster,
    00:13:23,548which is gonna be very important
    00:13:25,030because very quickly we're gonna have hundreds and hundreds
    00:13:28,014and maybe thousands of clones to fill in these letters.
    00:13:31,847So now that I've got the clones facing the right way,
    00:13:35,198there's not enough of them and they seem to be
    00:13:38,263kind of bunched in random places.
    00:13:40,501So I need to look at these Cloner options here.
    00:13:44,169So, just kinda looking down here,
    00:13:46,889and I'm gonna try and give you a little bit of insight
    00:13:48,988into what I was thinking when I did this.
    00:13:50,817I didn't know exactly how to do this,
    00:13:53,667I just had a rough idea, I figured,
    00:13:55,315well I know a Cloner can clone Objects onto a spline,
    00:13:59,847and so there's gotta be some way to tell Cinema 4D
    00:14:04,238how to distribute those clones, so down here,
    00:14:08,868lo and behold, there's a distribution option,
    00:14:11,270and right now it's set to Count,
    00:14:13,574and the Count is set to 10,
    00:14:15,228so if I change that, a lot of times when I wanna know
    00:14:18,496what a button does, I just change it
    00:14:20,607and start playing around with it.
    00:14:22,236And that obviously adds more clones,
    00:14:24,385but it still does it in kind of this strange way.
    00:14:27,068So I thought maybe this count wasn't the right way to do it.
    00:14:30,162So then I did Step.
    00:14:33,002And Step, lo and behold, seems to be a more even way
    00:14:37,957of distributing these things,
    00:14:39,320and you can see that this option changed
    00:14:41,474from number of clones to now a distance
    00:14:45,099that I can set, and this distance is how far between
    00:14:49,181each clone do we wanna space things out.
    00:14:53,064So if I shrink this number,
    00:14:55,599you can see that, whoa, I went way too small.
    00:14:57,961If I shrink this number very quickly you can see
    00:15:00,194that we're now getting an even distribution of clones
    00:15:02,847along the spline.
    00:15:04,044Alright, and I can hold options,
    00:15:06,932so I can really be precise here when I drag this.
    00:15:09,122And get these snowflakes very close together.
    00:15:13,507They also still feel a little big to me,
    00:15:15,593so I'm gonna go to my Plain Effector,
    00:15:18,010and I'm just gonna shrink 'em down even more,
    00:15:20,231and then go back to my Cloner, and lower the step.
    00:15:23,677And so now, we've got something like this.
    00:15:27,688And if I do a quick render, you can see
    00:15:29,714that you can actually read this, this is fantastic.
    00:15:32,767So, very quickly I was able to get something that,
    00:15:35,431if you had to lay this out by hand in Illustrator
    00:15:38,409or Photoshop it would take you forever,
    00:15:40,289but in Cinema you've got these really cool options.
    00:15:43,102And there's some weird overlapping snowflakes
    00:15:46,133here and there, but I don't think you're gonna see those
    00:15:47,872so I'm not gonna worry about those.
    00:15:50,063Alright, so we're starting to get somewhere with this,
    00:15:52,727and so what I wanna do now is put a texture on these,
    00:15:55,674so they're not all the same color.
    00:15:57,443So to do that, we're gonna use something called
    00:15:59,895the MultiShader, which is a cool way
    00:16:02,088of getting some very easy randomness to your textures.
    00:16:05,775So here's how we do that.
    00:16:07,670We double click down here to make a material,
    00:16:10,582and I'm gonna call this Outline,
    00:16:12,359because these are the clones on the outline of this type.
    00:16:15,013And for the color of these clones,
    00:16:19,144I'm gonna go into this little texture box,
    00:16:21,913and I'm gonna add down in the MoGraph,
    00:16:25,168and you probably can't see that,
    00:16:26,701because I'm only recording part of my screen.
    00:16:30,560Alright, so texture, I'm gonna add in this MoGraph section
    00:16:34,479a multishader.
    00:16:36,188So now I'm gonna click on the multishader,
    00:16:38,783and this is what you're gonna get.
    00:16:40,135You can basically add as many shaders as you want,
    00:16:44,478and then there's this mode option
    00:16:48,108which basically lets you tell Cinema
    00:16:49,924how it should choose which shader goes on which clone.
    00:16:54,256So first let's set up some shaders,
    00:16:56,157and shaders can be anything.
    00:16:58,222They can be bitmaps, they can be noise gradients, frenells.
    00:17:01,077For this I'm just gonna use the color shader,
    00:17:05,017and I'm just gonna pick, kind of like a light blue color,
    00:17:10,149maybe something like this, great.
    00:17:13,611Alright, these arrows up here,
    00:17:15,218if you didn't know it, you can click the back arrow
    00:17:16,864and it takes you back one level.
    00:17:18,848So if you're working on a shader
    00:17:20,177you don't have to keep going all the way back through
    00:17:23,242the material and doing it that way,
    00:17:25,242just click the back arrow.
    00:17:26,732So now we have texture one set up.
    00:17:29,056Now texture two is also gonna be a color,
    00:17:30,874and maybe that one,
    00:17:34,273is a little darker.
    00:17:37,574Alright, so you've got a lighter one, a darker one,
    00:17:39,287and maybe this one could be even a little bit darker.
    00:17:43,998Cool.
    00:17:44,996And now I want another one, so I just click the Add button,
    00:17:47,585make another color.
    00:17:49,740This one can be white, just leave it white.
    00:17:51,951And let's add one more, and let's make it
    00:17:55,082a really dark rich blue.
    00:18:00,385Cool, alright.
    00:18:02,331So we've got these four colors and the mode right now
    00:18:05,539is set to color brightness,
    00:18:08,203and this isn't gonna be very useful for us.
    00:18:11,207What we basically want is just for one of these colors
    00:18:14,551to be randomly assigned to every color.
    00:18:17,857Color brightness is gonna use the brightness
    00:18:20,473of the clone to dictate how,
    00:18:24,268what color's gonna be chosen, so that's not useful,
    00:18:27,163what we wanna change this to is index ratio.
    00:18:31,762So that's step one, change that to index ratio.
    00:18:34,890And what that's gonna do is it's gonna assign
    00:18:37,783a color or whatever shader's in here,
    00:18:40,638based on the index of each clone.
    00:18:43,096So every clone has a number, sort of like counting up
    00:18:45,600to however many clones there are.
    00:18:47,381And so that number is what's gonna be used to,
    00:18:50,601to dictate which color it gets.
    00:18:54,625So if I put this shader, or this material,
    00:18:57,551onto the Cloner, and I render this,
    00:19:00,719it looks really strange, it actually looks kinda neat
    00:19:03,196but that's not what we want.
    00:19:04,475You can see what's happening here
    00:19:06,208is those four colors are basically being distributed
    00:19:08,918evenly along the clones per letter,
    00:19:13,045which is very interesting.
    00:19:14,364And so, what's happening is basically for each letter
    00:19:17,587it's figuring out how many clones there are,
    00:19:19,481and it's dividing that into four,
    00:19:21,101and giving one fourth this color,
    00:19:23,230then the next fourth this color.
    00:19:24,597So what we actually need to do is randomize
    00:19:26,903the index of the clones, and I had to look up
    00:19:30,791how to do this, because it's not obvious.
    00:19:34,020Like, a lot of things in Cinema 4D are not obvious,
    00:19:37,116but this is one of those things.
    00:19:38,364So, I knew that I needed the Random Effector,
    00:19:43,487so clicked Cloner, add a Random Effector,
    00:19:47,499turn off position, and let's rename this random.color.
    00:19:52,716Alright, and at first I thought that I would have
    00:19:55,640to turn on color mode, but that doesn't really do anything.
    00:19:59,463And after doing some Googling and looking in the manual
    00:20:03,569I discovered that if you use this U transform here,
    00:20:08,327this actually affects the index of the clone.
    00:20:11,988So now if I render this, look at this,
    00:20:14,348you get sort of random distribution of these colors,
    00:20:16,800it's very cool.
    00:20:17,977And if you don't like the way it looks,
    00:20:19,344just change the random seed.
    00:20:22,076And you get a different result every time you do that.
    00:20:24,596Cool, alright?
    00:20:26,198So that looks pretty good to me,
    00:20:27,637and if you want, at this point you can just
    00:20:30,244go into your material, and you can just add more colors,
    00:20:34,913if you want to.
    00:20:36,317Like if I wanted to add a color that was like,
    00:20:39,556I don't know, a little bit, had a little bit more red in it,
    00:20:42,245so maybe pick a blue color like this,
    00:20:46,822but then push it a little bit,
    00:20:49,653more towards the purple range.
    00:20:52,455You can start to add as many colors as you want,
    00:20:55,016and it's all kind of set up now for you
    00:20:57,911and that's what I love about MoGraph,
    00:20:59,561once it's set up, it's just cake to change it.
    00:21:02,990So now we've got our snowflakes, they're on the type,
    00:21:09,243everything's working so far.
    00:21:10,825So now, why don't we try to animate some of these?
    00:21:17,289So the way we're gonna do this,
    00:21:19,481first I'm gonna show you what I thought
    00:21:22,123was gonna be the way to do this,
    00:21:24,596which I thought would be using a Plain Effector.
    00:21:27,616So, I clicked the Cloner, I added the Plain Effector,
    00:21:32,038and I'm just gonna leave it
    00:21:33,658on the default setting like this,
    00:21:35,438so right now it's just raising these clones up 100cm
    00:21:40,777and we can push them a little bit further
    00:21:42,097so they're off-screen, and what I thought I would do
    00:21:44,996is use this fall-off tab, set it to linear,
    00:21:50,905and then align the fall-off with the type.
    00:21:54,009And then I thought I could just basically
    00:21:55,781animate the fall-off like this.
    00:21:58,843So they would sort of just animate into place.
    00:22:02,871And the problem with this is that,
    00:22:06,286this could work for some things,
    00:22:08,333but snowflakes don't just move in a straight line,
    00:22:10,938they kind of have these nice curving soft motion paths,
    00:22:16,262and with a Plain Effector, you can't get that.
    00:22:18,616You can do some interesting things
    00:22:21,308messing with this spline option here,
    00:22:23,794but playing around with this for a little while,
    00:22:26,688I was really unable to get these things
    00:22:28,667to feel like snowflakes.
    00:22:30,642Especially what I wanted them to do was like
    00:22:32,336speed up, slow down, speed up, slow down,
    00:22:34,320and then slow down at the end and feel really good,
    00:22:37,829and so it wasn't working.
    00:22:39,024So I realized the Plain Effector wasn't gonna work for me,
    00:22:42,947I needed a way to keyframe a snowflake,
    00:22:46,298hand-animate the thing, and then apply that animation
    00:22:49,131to all these clones.
    00:22:50,620Turns out, there is an Effector in here
    00:22:53,643called the Inheritance Effector,
    00:22:56,986and it's very very cool.
    00:22:59,910So first, what we needed to do,
    00:23:02,097first let me save this project,
    00:23:04,321so I don't lose it in case my computer crashes.
    00:23:07,447So we're gonna call this Holiday.c4d.
    00:23:11,138So first thing I needed to do was keyframe a snowflake.
    00:23:15,309Well, what do I want these snowflakes to do?
    00:23:18,592And so, I opened a new Cinema project,
    00:23:23,756and I just took a null, and I tried just keyframing it
    00:23:26,240at first, and what I found was,
    00:23:28,082it's actually kinda tricky.
    00:23:30,549The type of motion, I'm just gonna draw it with my mouse
    00:23:32,687so that you guys can see,
    00:23:33,684but the type of motion I was looking for
    00:23:35,337was kind of like floating and (whooshing)
    00:23:37,371and little swishes, like it kind of speeds up
    00:23:39,795and slows up, speeds up and slows down.
    00:23:41,280And it was really tricky to get that,
    00:23:44,504and I was having trouble figuring out
    00:23:46,411how to get my animation curves to do what I wanted.
    00:23:49,112So I came up with this interesting way of helping me.
    00:23:52,299And this is the type of thing that I love showing people
    00:23:56,198because probably the biggest asset you can have
    00:24:02,517as a motion graphics artist, is ingenuity.
    00:24:06,012And coming up with creative ways of solving problems.
    00:24:09,359So I opened up Aftereffects.
    00:24:11,964And I made a new comp, I added a null,
    00:24:15,675and Aftereffects has this really cool feature
    00:24:19,399that I don't think I've ever used even one time
    00:24:22,174on a real job, but for this, it made perfect sense.
    00:24:26,019And this is just one of those things,
    00:24:27,990everything you learn, try to remember,
    00:24:30,423keep in the back of your head,
    00:24:31,753because one day it will be useful.
    00:24:33,025There's a feature called Motion Sketch,
    00:24:36,125and I've already got the window open down here,
    00:24:37,912so let me close it just to show you how to get to it.
    00:24:40,228If you go to Window, and just find Motion Sketch,
    00:24:42,799and it'll pop up somewhere.
    00:24:44,697And, as long as you have the settings,
    00:24:48,276capture speed at 100%,
    00:24:49,807smoothing I'm just gonna leave at one,
    00:24:53,532and that's it!
    00:24:54,532Then you hit Start Capture, and watch this.
    00:24:57,632So I just basically mimic the motion that I want,
    00:25:00,779so I'm gonna click, and I'm gonna go, swoop,
    00:25:03,453swoop, swoop, swoop, okay?
    00:25:05,995So that's the motion I want,
    00:25:08,332and now, I'm gonna separate the dimensions,
    00:25:11,510and I can just go in and look at what
    00:25:14,450the animation curve looks like for that motion.
    00:25:17,561What does the X curve look like?
    00:25:19,097Okay, well it's basically a straight line,
    00:25:20,749but there's these little humps in it like this,
    00:25:24,148and then the Y position looks like,
    00:25:26,177it actually looks upside down in Aftereffects,
    00:25:29,232which is kind of annoying.
    00:25:31,455But it essentially is mimicking what's going on here,
    00:25:35,500so what I started to realize was that the Y curve
    00:25:40,481is pretty intuitive,
    00:25:43,095you've got these big swoops at that bottom,
    00:25:47,584these sort of harder swoops,
    00:25:49,909and you've got these broader swoops at the top.
    00:25:52,417Because when a snowflake is going down it's going fast,
    00:25:56,113and then when it's going up it slows down.
    00:25:58,765So I sort of used this to help myself realize
    00:26:01,262what is the shape of the animation curve I'm going for?
    00:26:05,536And then on the X position,
    00:26:07,117it's really simple, let me maximize this
    00:26:10,180so you guys can see it.
    00:26:11,587By the way, if you guys didn't know this,
    00:26:13,030the tilde key is the key directly to the left
    00:26:17,587of the number one on the top row of your keyboard.
    00:26:20,967If you hold your mouse over any window in Aftereffects
    00:26:23,694and hit that tilde, it maximizes it.
    00:26:25,850So if you wanna see your motion graph really quick,
    00:26:28,123you can do that.
    00:26:29,528So it's almost, if you draw a straight line
    00:26:33,522from here down to this keyframe here,
    00:26:36,769it's really just a series of gentle little hills,
    00:26:40,864going down there.
    00:26:42,268So I left this up as reference,
    00:26:45,157because this is invaluable to me,
    00:26:47,896and I'm gonna use this trick over and over again,
    00:26:50,125because I really like it.
    00:26:52,068So what I'm gonna do is I'm going to,
    00:26:56,333I'm gonna put a keyframe in Cinema
    00:26:59,723at the end of my timeline, X and Y.
    00:27:05,238And then I'm gonna go the beginning
    00:27:07,568and I'm just gonna put my null up here, keyframe that,
    00:27:12,215and I'm gonna turn automatic keyframing on,
    00:27:14,199just for a minute, just so I can make it easy
    00:27:18,417as I adjust this, so I'm just gonna kind of move forward
    00:27:21,154and have a keyframe down here,
    00:27:24,736move forward, have a keyframe up here.
    00:27:27,356Have a keyframe down here, and that's kind of it.
    00:27:30,646So that's the basic shape, right,
    00:27:33,090and if we go back into Aftereffects and look,
    00:27:34,787I had maybe one extra little hump here.
    00:27:36,822But it's okay, for Cinema I'm just gonna do it like this.
    00:27:40,951And now, I'm gonna open up my animation layout
    00:27:44,147so we can get our timeline.
    00:27:46,781And I'm just gonna go through, my X and Y position,
    00:27:52,136I'm gonna delete Z cos I don't need it.
    00:27:54,613Turn off automatic keyframing,
    00:27:56,812and now, let's look at our X curve.
    00:27:59,457So we've got, it's easing out,
    00:28:03,503and then it's easing in, and if you remember,
    00:28:06,044looking at Aftereffects, you've just got
    00:28:08,650these gentle hills like this.
    00:28:10,496And you need to be really observant
    00:28:12,441and work out where those hills are.
    00:28:16,872The hills, they sort of, they happen right before
    00:28:18,971the bottom of the motion path.
    00:28:24,031And then when you get to the top, it's more flat.
    00:28:26,720And then when you get back to the bottom,
    00:28:28,369it's steeper again.
    00:28:29,686So the steepest parts of that motion curve
    00:28:32,125need to happen when that snowflake hits the bottom,
    00:28:35,135cos that's when it's moving the fastest.
    00:28:37,157So what that means is, it needs to be steeper there,
    00:28:41,452like that.
    00:28:44,889So then we move to the next one,
    00:28:46,383so at the top here, it needs to be a little flatter,
    00:28:49,652but then at the bottom, it needs to be a little steeper.
    00:28:53,160So I'm just gently creating these curves.
    00:28:56,991And then, what you can do, which is kinda cool,
    00:28:59,428is next to position X and position Y
    00:29:01,874you've got these little film strips,
    00:29:03,647I can turn off Y, just temporarily,
    00:29:06,134and play my animation with F8, so I can see.
    00:29:09,697And you can see the null up there,
    00:29:12,507and let's just see does it feel okay.
    00:29:14,516Feels a little jerky there, like it's jerking.
    00:29:17,034So it might be too steep there,
    00:29:19,550so I'm just gonna even that out a little bit,
    00:29:21,732I'm gonna flatten that.
    00:29:23,958And now it's moving a little smoother.
    00:29:26,968It feels like it's moving a little bit slow,
    00:29:28,905so I may wanna actually pull this one down
    00:29:31,253so it starts off a little faster.
    00:29:34,621And, I'm just gonna keep tweaking this
    00:29:37,723until that feels good to me.
    00:29:40,502And there's really, there's no formula to this,
    00:29:43,486this is something that just takes a lot of practice
    00:29:45,924and is very hard.
    00:29:47,623So now I turned X off for a minute,
    00:29:50,267and we're just gonna deal with Y.
    00:29:52,746So with Y selected, I'm gonna hit H.
    00:29:54,489H, by the way, is a great hotkey.
    00:29:56,855If you have your mouse over the graph
    00:29:58,719and you hit H, it will frame up the graph,
    00:30:02,030it will sort of maximize it for you.
    00:30:03,840So, when we are,
    00:30:06,876let me actually turn on that X and the Y for a minute,
    00:30:09,073just so we can see this.
    00:30:10,516So when we're at the bottom here,
    00:30:12,758let's go back to Aftereffects and just double check this.
    00:30:15,582When we're at the bottom,
    00:30:20,464we're at the bottom of the motion path,
    00:30:23,270the X is steep, and the Y has these
    00:30:28,316really kind of sharp peaks.
    00:30:31,249And then when we get to the top,
    00:30:32,944it doesn't have a sharp peak,
    00:30:34,018it has kind of a broader peak.
    00:30:36,906So let's come back here, so at the bottom,
    00:30:40,916it looks like I may have a keyframe off,
    00:30:43,426let's move that back.
    00:30:44,911So at the bottom this needs to be a little sharper.
    00:30:48,633So I might grab this bezier handle with shift
    00:30:52,705and break it a little bit like that,
    00:30:55,587but then here, because now we're at the top,
    00:30:58,450I might actually pull the handles out a little bit.
    00:31:01,095And then at the bottom here,
    00:31:03,986I might break 'em a little bit, like this.
    00:31:07,583I'm gonna turn X off for a minute,
    00:31:09,614I'm gonna play just the Y,
    00:31:11,395and you can see what it does.
    00:31:13,253And so to me what it feels like,
    00:31:16,397is it's not falling fast enough at the beginning,
    00:31:18,821so what I'm gonna do, and what's great about Cinema
    00:31:21,094is you can usually do this while it's playing,
    00:31:22,826I'm gonna pull this this way,
    00:31:25,597and I'm gonna pull this out a little bit more.
    00:31:30,153And so, I feel like it's still falling too slowly,
    00:31:33,410so I'm actually gonna grab all these keyframes
    00:31:35,329and I'm just gonna scoot them forward a little bit,
    00:31:38,397there we go.
    00:31:40,307Alright, so it's a fall, and then another fall.
    00:31:43,588And now I'm gonna add in the X position,
    00:31:46,686we're gonna see what that looks like.
    00:31:48,894So you can see that it kind of swoops through there,
    00:31:52,171and swoops down there.
    00:31:53,322Now this first swoop feels little quick to me.
    00:31:57,721And it feels quick on X, on Y it feels okay.
    00:32:00,901So what I'm gonna do is just kind of
    00:32:04,055flatten that out a little bit,
    00:32:06,511flatten that out a little bit,
    00:32:09,029and it doesn't take a lot.
    00:32:10,219A lot of times, just tiny little tweaks is all it needs.
    00:32:15,908And then another thing to watch out for too
    00:32:18,550is whenever you have bezier handles
    00:32:21,979and they're almost flat like this,
    00:32:23,554sometimes it can make your Object feel
    00:32:26,614kinda like it stops.
    00:32:28,351So sometimes it's good to never have it be flat,
    00:32:31,911to always have it be kind of leaning one way or the other.
    00:32:35,754So you can see how these are not parallel to each other,
    00:32:39,562but they're sort of leaning this way.
    00:32:43,140And we can do the same thing here,
    00:32:44,642we can kind of lean back the other way,
    00:32:47,208and then these can maybe lean a little bit this way.
    00:32:51,725And we can see if that gives us a little,
    00:32:54,074yeah, that gives it a little bit more
    00:32:55,400of a natural kind of flow to it.
    00:32:57,511Now let's look at X again.
    00:33:00,734So this is feeling a little weird in here.
    00:33:03,437It almost feels like it slows down,
    00:33:07,521and I don't want it to slow down,
    00:33:09,142I want it to actually be going fast there.
    00:33:11,467So I'm gonna move this keyframe down a little bit,
    00:33:14,864and I'm gonna try and make a little bit of an S curve
    00:33:19,081here if I can, an S curve is easing out
    00:33:22,197and then speeding up and then easing in.
    00:33:26,826And this is very subtle, but if you kind of squint your eyes
    00:33:29,769you can almost see a backwards S here.
    00:33:33,290Alright, and let's see if that feels better,
    00:33:34,858and you know honestly, this is something
    00:33:37,609that you would probably take 30, 40 minutes,
    00:33:40,427and really just massage the heck out of it,
    00:33:43,492and make it feel good.
    00:33:44,694So it feels pretty good to me.
    00:33:47,179I'm just gonna mess with it a little bit more,
    00:33:51,654I'm gonna kinda scale it and see if I can get
    00:33:53,438a better idea what's going on,
    00:33:55,557because it still feels a little bit off to me.
    00:33:58,895And, I'm not sure if it's X or Y at this point.
    00:34:04,262So I just wanna take another minute,
    00:34:05,999because this is what the clones are going to be doing,
    00:34:09,506so it's very important that I'm happy with that.
    00:34:13,597So let's see here.
    00:34:14,767Oh, here's another cool thing that I discovered
    00:34:16,258while doing this.
    00:34:18,663If you go into the F curve menu here,
    00:34:20,766there's an option to show a velocity curve.
    00:34:23,081And so this little faded curve down here,
    00:34:25,855this is actually showing you the velocity.
    00:34:28,131So here the velocity's zero, and then it speeds up,
    00:34:31,189and then it goes back to zero.
    00:34:34,201And you can see here that there's kind of a break
    00:34:37,837in the velocity.
    00:34:39,281And so that's gonna give me a little bit of a hitch
    00:34:41,527in the motion and so I can just sort of interactively
    00:34:43,592adjust these curves, and try to fix these
    00:34:47,853little weird hitches.
    00:34:50,324So anytime you see a little hitch like that,
    00:34:52,558you can just adjust this curve
    00:34:56,936to try and connect it back together.
    00:34:59,988It's pretty handy, and actually I never knew about it
    00:35:02,131until I started working on this.
    00:35:04,933Alright, so that's starting to feel pretty good.
    00:35:07,323It feels a little bit slow in here,
    00:35:09,814so I think there might be too many frames
    00:35:11,549between these two keyframes, so I can just grab these
    00:35:15,159and move them a little closer together.
    00:35:18,319Let's play that.
    00:35:21,127Alright, now I'm feeling pretty good about that.
    00:35:24,262Not 100%, but I think for the purposes of this tutorial
    00:35:28,081that feels pretty good, and hopefully you guys
    00:35:29,823at least saw the workflow.
    00:35:32,472I used the motion sketch to just point myself
    00:35:35,417in the right direction, and then I just
    00:35:37,440really really just watched it a whole bunch of times.
    00:35:40,823You can see that you've got some nice kind of organic
    00:35:44,007animation, it's not linear, things are speeding up
    00:35:46,895and slowing down and it's really cool.
    00:35:49,578So I'm gonna call this my motion null.
    00:35:53,178And I'm gonna copy it.
    00:35:55,451And now I'm gonna go back into my holiday project,
    00:35:58,067and I'm gonna paste it in there.
    00:35:59,755Alright, so let's go back to our standard layout here.
    00:36:06,597I told you guys this would be a long tutorial.
    00:36:11,541So now we are ready to add the Inheritance Effector.
    00:36:14,030So click on the Cloner, go up to MoGraph, Effector,
    00:36:18,330Inheritance Effector.
    00:36:20,284Now, the Inheritance Effector,
    00:36:22,193it allows clones to inherit the motion,
    00:36:27,840either the absolute motion or the relative motion
    00:36:31,530of any other Object.
    00:36:34,220And maybe that's not super clear,
    00:36:36,456but it will be in two seconds.
    00:36:38,035So when you add the Inheritance Effector,
    00:36:40,927then you go to the Effector tab,
    00:36:42,924you have to tell it which Object to inherit from.
    00:36:46,108So I want it to inherit from the motion null.
    00:36:49,942Now by default, this inheritance is set to direct,
    00:36:55,551and you'll see what this does,
    00:36:56,755I'm gonna zoom out so you can see it.
    00:36:59,816Right?
    00:37:00,936It literally takes the null,
    00:37:04,728and it puts every clone kind of,
    00:37:06,586it almost looks like I've parented the clones to that null.
    00:37:10,136And it's using, the scale of that motion is just enormous.
    00:37:16,839So if you go into the Inheritance Effector
    00:37:19,355and you change the inheritance mode from direct
    00:37:21,133to animation.
    00:37:25,982So one, it just sort of, it sort of scales the animation
    00:37:31,180a little bit more appropriately to clone,
    00:37:34,193but the best thing about it is that now
    00:37:37,141it opens up this option.
    00:37:38,762Fall-off base, when you're in direct mode,
    00:37:40,126that's not an option.
    00:37:41,498When you're in animation mode, this fall-off base option
    00:37:45,874appears and this is the key to the whole thing.
    00:37:48,768If you turn this on, then now you can use the fall-off tab
    00:37:52,673of your Inheritance Effector,
    00:37:54,375and I'm just gonna rename this for a minute.
    00:37:55,901This is gonna be inheritance, I'm just gonna call this
    00:37:58,629outline, because these are the clones on the outline
    00:38:01,649of the type.
    00:38:03,058I'm gonna change my fall-off to linear,
    00:38:06,149set the orientation to X,
    00:38:08,385and now look what we can do.
    00:38:11,185These things can float in, and form the type.
    00:38:15,931Extremely cool, and if I widen this
    00:38:17,377you can kind of have more of 'em come on at a time.
    00:38:21,508So now you've got this cool stream of particles
    00:38:26,648that are kind of coming in and blowing up
    00:38:28,436and forming the type, and it's gorgeous.
    00:38:30,258So let's come over, let's put a keyframe on the X position,
    00:38:37,163move that keyframe to zero, there we go.
    00:38:39,475And I'm gonna add some more frames to this,
    00:38:41,104let's just say 200 frames.
    00:38:44,533So let's go forward to like 150,
    00:38:46,229and let's move this Inheritance Effector
    00:38:48,138all the way over like this, and add another keyframe.
    00:38:54,006One very important thing,
    00:38:55,212I'm gonna bring up the timeline,
    00:38:56,986shift-F3 brings up the timeline,
    00:38:58,803it's very important if you want the motion
    00:39:01,992of the snowflakes to be,
    00:39:05,672to have the speed changes and all those things
    00:39:08,358remain the same, make sure that you don't have
    00:39:11,214any easing on the motion of the Inheritance Effector.
    00:39:13,985By default, it's gonna be easing out and easing in.
    00:39:18,787And I don't want that, so I'm just gonna select
    00:39:21,269the position keyframes, set them all to linear,
    00:39:24,575with that button, or you can hit Option-L,
    00:39:26,558does the same thing.
    00:39:29,457Alright, so now if I hit F8 and I play this,
    00:39:34,167I've got snowflakes flying in, fantastic.
    00:39:38,010Now, that's actually pretty cool,
    00:39:40,226and maybe that's all you want,
    00:39:42,286but what I didn't like about it
    00:39:44,029was that it is so orderly.
    00:39:48,072Like it's just one right after the other after the other,
    00:39:50,964and I wanted some variation to this.
    00:39:53,825I wanted some to come in before
    00:39:55,688and some to come in a little later.
    00:39:58,114So this is where I pulled out my trusty trick
    00:40:02,384that I learned on greyscalegorilla,
    00:40:04,042and I cannot thank Nick Campbell enough
    00:40:06,398for making a tutorial about this,
    00:40:08,679because it's, I don't know, it's changed my life.
    00:40:12,269Not really, but a little.
    00:40:13,964Alright, so what you need to do is randomize
    00:40:17,226the weight of the clones so that
    00:40:19,581they are affected at different times.
    00:40:22,272And I have another tutorial I've done
    00:40:24,751where I go into a lot more detail,
    00:40:26,194and I actually link to Nick's tutorial,
    00:40:28,390which does an amazing job of explaining it.
    00:40:31,584So if you haven't seen that one,
    00:40:32,807check that one out,
    00:40:33,964I'm just gonna kind of fly through that part.
    00:40:36,774So I'm gonna click on the Cloner,
    00:40:38,592I'm gonna add another Random Effector,
    00:40:42,739and I'm gonna call this random.weght.
    00:40:46,049And I'm gonna turn off position,
    00:40:49,478and here's the key, this is the key to this whole trick,
    00:40:52,295is you have to make sure that this random weight
    00:40:55,528happens before the inheritance.
    00:40:59,567If it doesn't, this won't work.
    00:41:01,718So you randomize the weights,
    00:41:03,698and then the Inheritance Effector happens,
    00:41:05,782so you have to go to the Effectors tab,
    00:41:07,485and change the order a little bit.
    00:41:10,262So now,
    00:41:12,496my random weight Effector, I'm gonna change
    00:41:15,179the weight transform and watch what happens as I do this,
    00:41:19,393you can see it's starting to get a lot more random.
    00:41:21,840So if I go all the way up to random 100,
    00:41:24,614and I'm gonna turn off the visibility
    00:41:28,942of my Inheritance Effector,
    00:41:30,313so we can actually see this.
    00:41:31,645I'm gonna hit F8 and play this,
    00:41:34,206and you can see they're now all coming in
    00:41:36,363totally randomly, so that's a little too random for me.
    00:41:39,415I only want a little bit of randomness,
    00:41:41,399so I'm gonna change the weight transform to like 30.
    00:41:45,450So now it's still coming in more or less left to right,
    00:41:48,674but they're kind of coming in in bunches,
    00:41:51,490which is really cool.
    00:41:54,476And so because I changed the weights
    00:41:57,088of some of these clones,
    00:41:58,240you can see that now this Inheritance Effector
    00:41:59,854isn't far enough to the left when it starts out,
    00:42:03,534so I'm gonna have to adjust the position of that,
    00:42:06,446and then go to the end, and adjust the position
    00:42:09,651to make sure that all of the clones have landed.
    00:42:12,943And then I gotta go back in the timeline,
    00:42:15,113and make sure that those position keyframes are linear.
    00:42:19,077And so now this is the animation we have.
    00:42:24,053And so now when you see this in motion,
    00:42:27,199it's almost like they start too high
    00:42:30,961and they dip too low,
    00:42:32,415so once you kind of see what it's doing
    00:42:34,985you may wanna tweak your motion null.
    00:42:37,813So really quickly, we'll go back to the animation layout,
    00:42:40,140and I'll show you just the kind of quick way to do this.
    00:42:44,319I'm gonna go to my motion null, and my Y curve.
    00:42:49,038And it starts off too high,
    00:42:50,577so I'm just gonna grab this dotted green line here,
    00:42:53,425and it will scale all of the Y motion down.
    00:42:58,320And then it also, right here, it dips too low,
    00:43:01,260so I'm just gonna grab that keyframe,
    00:43:02,709and I'm just gonna move it up a little bit,
    00:43:06,237just a little bit, maybe like that.
    00:43:07,970And now, let's see how that feels.
    00:43:12,857Much better.
    00:43:14,632Much better.
    00:43:16,740And you know, maybe it's getting a little bit steep here,
    00:43:19,963I may wanna tweak, I may wanna tweak
    00:43:22,735a couple of things, maybe pull this one back,
    00:43:25,927this is where I tend to get pretty tweaky
    00:43:28,852and try to make everything perfect.
    00:43:32,648But for now, let's say that we like this.
    00:43:34,552Let's go back to standard layout,
    00:43:37,230come back up here, excellent.
    00:43:39,926And, basically, that is one set of snowflakes,
    00:43:46,216and that is how we build on the outline of the type!
    00:43:52,210So now how do we fill in the rest?
    00:43:54,312Well, so the first thing I wanna do
    00:43:55,639is I wanna kind of group everything together,
    00:44:00,529so I'm gonna grab everything except this motion null,
    00:44:04,803and I'm gonna hit Option-G and group them,
    00:44:07,070and this is gonna be my outline particles.
    00:44:12,957So, now what I can do, is just copy that.
    00:44:16,917And now I've got that whole MoGraph setup,
    00:44:20,663duplicated and ready to tweak.
    00:44:22,396I can turn this one off, and I can go in
    00:44:26,410and I can start messing with the scale
    00:44:28,768of this new set of particles, and do different things.
    00:44:32,135So, let me first very quickly show you
    00:44:35,000the first thing I tried, which failed horribly.
    00:44:38,445So I thought, well, for my next set of snowflakes,
    00:44:42,584instead of cloning them around the spline,
    00:44:45,818because I already have snowflakes doing that,
    00:44:48,019I'll create some geometry for the letters,
    00:44:51,742I'll extrude them, and I'll put clones all over them.
    00:44:56,039And so here's what happened when I did that.
    00:44:58,766So what I'm gonna do, is just grab an Extrude Nurbs,
    00:45:02,822and I'm gonna put the type spline in the Extrude Nurbs,
    00:45:06,006and I'm gonna extrude it by zero,
    00:45:08,534so all I'm doing is creating polygons for it,
    00:45:11,759so now I can tell my Cloner,
    00:45:14,540instead of cloning onto the spline,
    00:45:16,727clone onto the Extrude Nurbs.
    00:45:19,615And then, I have to set some options for that,
    00:45:23,308right now it's distributing clones on the vertexes,
    00:45:27,568or the points of that geometry,
    00:45:29,505and I want it to be on the surface.
    00:45:31,785So I tell it surface, and then I can really crank up
    00:45:34,225the number of particles here,
    00:45:35,972and you gotta go really high.
    00:45:37,425So here's what's going on.
    00:45:39,818If I make it so that my Extrude Nurbs is invisible,
    00:45:44,005and we do a quick render, here's the problem I was having.
    00:45:48,422You can, you really have to crank up the number of clones
    00:45:51,569to be able to see this,
    00:45:53,840and it also gets kinda tough to read.
    00:45:57,325For certain things this technique
    00:45:59,315might be really really cool,
    00:46:02,294you get a lot of overlapping things,
    00:46:04,447it looks really nice, I kinda dig that,
    00:46:06,390however, it feels sloppy.
    00:46:10,391Especially if I turn on the outline particles
    00:46:13,722and I render this again.
    00:46:16,410It just starts to get muddy and it's hard to read,
    00:46:19,091and it's hard to control,
    00:46:20,575and you get these little patchy places like here
    00:46:22,358in the D, there's not enough there.
    00:46:24,374And then there's way too many in this little part of the A.
    00:46:28,137So what I didn't like about it was that
    00:46:29,919it just wasn't as controllable,
    00:46:31,691and you have to have so many,
    00:46:33,629I have like 2000 clones here and you can see
    00:46:35,886it's starting to chug a little bit,
    00:46:38,897because I have so many.
    00:46:41,085So, I figured out that that wasn't what I wanted to do.
    00:46:45,183So what I did, and let me just delete
    00:46:49,331this whole setup for a minute.
    00:46:51,540So we've got our outline particles,
    00:46:52,829what I'm gonna do, is duplicate my type spline,
    00:46:56,444I'm gonna turn this whole thing off.
    00:46:58,276And I was gonna do this in Illustrator,
    00:47:01,318but I figured out that there must be some way to do this
    00:47:04,425in Cinema.
    00:47:05,739What I wanted to do in Illustrator,
    00:47:07,976there's a cool thing called Offset Path,
    00:47:10,626and what it does is it lets you basically
    00:47:12,365shrink or grow a spline.
    00:47:15,247And Cinema 4D has the same thing.
    00:47:18,604If you select a spline, and you go to Mesh, Spline,
    00:47:23,868and it's Create Outline, and this distance here,
    00:47:28,624this is how far you wanna grow or shrink your spline,
    00:47:32,847and I wanna shrink my spline,
    00:47:34,619so I'm gonna say -1, and I'm gonna hit Apply,
    00:47:37,645and you see what it did, it created this copy of the spline.
    00:47:41,887Now that's not, I didn't shrink it enough,
    00:47:44,665so I'm gonna change this to -2.
    00:47:47,396So that's pretty good.
    00:47:49,839So this is type spline 02.
    00:47:53,058So now what I can do...
    00:47:57,777Let's see here.
    00:47:59,114Oh, one other thing I forgot to mention,
    00:48:00,812you can see how this actually,
    00:48:03,829it didn't create, it didn't really shrink the spline,
    00:48:07,307it created a copy and now that spline
    00:48:09,533is connected to the original spline,
    00:48:11,320that's not gonna work, so I need to undo this,
    00:48:14,264and set one more option.
    00:48:17,892I need to create a new Object.
    00:48:20,002So now when I apply, I can delete the original one,
    00:48:23,142and now I just have this smaller one.
    00:48:26,271So this will be type spline 02.
    00:48:30,975So now what I can do, is I can copy my outline particles,
    00:48:34,285and call this outline particles 02,
    00:48:39,652I can turn this one on,
    00:48:41,998and then come in here, delete this type spline,
    00:48:44,848and tell the Cloner to use the new type spline.
    00:48:48,280Now when I turn on my outline,
    00:48:50,260and I have this other outline, you can see now
    00:48:52,784I'm starting to get, I'm starting to fill it in
    00:48:57,334but it's in a controllable way.
    00:48:59,237And what I can do now is I can come into my Cloner,
    00:49:02,057and I can, I can change the step of this inner spline,
    00:49:08,671so it's a little bit different,
    00:49:10,370things are a little bit offset.
    00:49:12,680And you can actually adjust the offset here,
    00:49:14,786so you can try and get things to be
    00:49:16,728a little bit less lined up.
    00:49:19,541I can use this Plain Effector,
    00:49:22,354and I can make these maybe a little bit smaller.
    00:49:26,033So that it feels a little bit more random.
    00:49:28,929And speaking of random, the other thing I could do,
    00:49:30,786is I could add another Random Effector here,
    00:49:36,806so I'm gonna click that Cloner, random.
    00:49:40,022And I'll call this random scale.
    00:49:43,289Turn off position, turn scale on,
    00:49:45,282turn on uniform scale, and now,
    00:49:47,060I can actually have some of those inner,
    00:49:49,508those inner snowflakes be different sizes.
    00:49:55,491So let's render this, and you can see that I'm starting
    00:49:57,266to fill that in.
    00:50:00,573And what's cool, is because I already have
    00:50:02,755the Inheritance Effector and everything all set up
    00:50:05,080and ready to go, all of those particles
    00:50:07,802are going to fly in.
    00:50:10,779And so now we can basically just keep doing this.
    00:50:12,472So let's make another copy.
    00:50:17,467This'll be outline particles 03.
    00:50:20,729And we can come in, select this type spline,
    00:50:24,293make sure that we're on our create outline,
    00:50:26,980and do another -2.
    00:50:31,652So we'll delete that one,
    00:50:32,812I'll tell the Cloner to use this.
    00:50:36,286And then we'll come in, and we can,
    00:50:40,588we can make those even a little bit smaller,
    00:50:44,272and we can adjust the step so there's more of them
    00:50:46,296and they fill in,
    00:50:49,229and then we step back and we see what we have.
    00:50:54,275Right, we've got a lot of particles going on here
    00:50:56,301but it's still fairly responsive,
    00:50:59,108and I'm on a newer iMac,
    00:51:00,466if you're on a Mac Pro for work, even better.
    00:51:02,582And you can see that this is still pretty readable,
    00:51:05,568and it's totally controllable.
    00:51:07,552We're starting to get a little bit of a weird,
    00:51:11,274render it up close here.
    00:51:13,258It's starting to look a little too perfect here
    00:51:15,654in the middle, so what I might wanna do
    00:51:18,823is have a little bit large of a step,
    00:51:23,842and maybe scale those up a little bit.
    00:51:28,971And then maybe have the randomness be even
    00:51:31,553a little bit bigger, okay,
    00:51:34,337so now let's do a quick render of this.
    00:51:36,985Alright, and so now,
    00:51:41,127it's basically up to you.
    00:51:42,747If you think that you need another set of splines
    00:51:46,794in the middle to really fill in,
    00:51:50,590then you can do that as well.
    00:51:54,723But I'm pretty happy with that,
    00:51:56,787the only thing I might do is shrink down
    00:51:59,847my initial outline particles just a little bit more.
    00:52:05,905Because what happens is,
    00:52:08,393if you look at the edge of your spline,
    00:52:10,543this is where the original letter ended,
    00:52:12,661but these snowflakes, they actually go outside
    00:52:15,104the boundaries of that a little bit,
    00:52:17,128which is okay, but if they go too far out
    00:52:19,114it kind of makes that hard to read.
    00:52:20,972So I'm just gonna adjust the step on that Cloner,
    00:52:25,854get them a little bit closer together,
    00:52:27,683zoom back out.
    00:52:31,524And do a quick render.
    00:52:33,803Alright, and this is fairly easy to read,
    00:52:36,968it's totally random, it's totally controllable,
    00:52:39,700and the animation is already happening.
    00:52:43,931And so what we could do now,
    00:52:47,368is we could go back to our animation view,
    00:52:52,245like this, and you'll see now,
    00:52:55,354we have three Inheritance Effectors,
    00:52:58,618all doing the same thing.
    00:53:01,129And the name that you see here in the timeline,
    00:53:04,481that comes from however it's named here.
    00:53:06,877So if I wanna be able to tell which one's which
    00:53:09,817I need to rename them up here in my Object manager.
    00:53:12,802So I'm gonna rename this Inheritance Outline two,
    00:53:15,610and this is gonna be Inheritance Outline three,
    00:53:18,751so now down here in the timeline
    00:53:20,894I can see which one's which.
    00:53:22,101And let's say that I want those inner snowflakes
    00:53:23,960to fly in first, and have the outer ones fly in last,
    00:53:28,261maybe delayed by a second or something.
    00:53:31,374So I can just sort of grab all these keyframes
    00:53:34,104and I can adjust them, and so now,
    00:53:35,835you get kind of, the letters start to build on, like this,
    00:53:43,955and then,
    00:53:46,689the outline is the last piece of the letter to come in.
    00:53:53,446Cool cool.
    00:53:54,731Alright, so you could stop there.
    00:53:57,746That's a pretty cool effect, and I tend to have trouble,
    00:54:03,300being done with stuff.
    00:54:06,234So the last thing I wanted to do was be able
    00:54:09,848to have these snowflakes rotate a little bit
    00:54:13,082as they fly in, but then stop rotating once they land.
    00:54:17,702And so, I had to figure out how in the world to do that.
    00:54:25,067So I'll show you the solution I came up,
    00:54:27,172and it works okay.
    00:54:29,862I guess the easy way to do it would be
    00:54:34,410to actually have your motion null rotate.
    00:54:37,880But if you want them all to rotate
    00:54:39,573a little bit randomly, then here's what you can do.
    00:54:43,440I'm gonna select all three Cloners at the same time,
    00:54:47,053and I'm gonna add a Random Effector,
    00:54:49,958and this Random Effector is gonna affect
    00:54:51,655every single clone in the scene.
    00:54:54,760So let me turn off position.
    00:54:57,528And instead turn on rotation,
    00:54:59,845and I'm gonna use the bank rotation,
    00:55:01,702if you zoom in, you can see what that's doing,
    00:55:05,837as I move this bank, you can see that they all rotate,
    00:55:08,942and they're all rotating in different directions,
    00:55:11,566and I'm gonna give them about a rotation and a half,
    00:55:14,373which would be, that would be 480 degrees.
    00:55:20,646Nope, that's not right, 540.
    00:55:22,622You could tell I don't skateboard because I don't know that.
    00:55:25,678Alright, so 540 degrees of random rotation,
    00:55:28,279and what I'm gonna do, is turn,
    00:55:30,967let me first rename this random rotate,
    00:55:33,653I'm gonna turn fall-off on, for this Effector,
    00:55:36,626and I'm gonna set it to box.
    00:55:39,057And so basically what I can set up is
    00:55:42,770a box in which there is no rotation,
    00:55:46,003but outside of that box there is rotation.
    00:55:50,256So, what I need to do is first figure out
    00:55:52,122how far away these particles start.
    00:55:54,986So these start pretty far away,
    00:55:57,858so this box needs to at least be big enough
    00:56:00,508to contain them.
    00:56:02,325So I'm just grabbing these little orange points,
    00:56:05,645stretching the box up,
    00:56:07,843making sure that my particles are contained
    00:56:09,498within this box.
    00:56:12,184So the outer yellow box is where this effect begins,
    00:56:18,128and then this inner box, this red box, is where it ends.
    00:56:21,236And I want it to end when they land.
    00:56:24,969So they will rotate from here,
    00:56:27,112and then once they get inside that box they should stop.
    00:56:31,552And this is a cool way to use the fall-off,
    00:56:33,655is to have things kind of rotate.
    00:56:35,016Now, it's almost impossible to tell
    00:56:36,750because they're moving so fast,
    00:56:37,993are they actually rotating?
    00:56:40,431Let's just see if we can see any of them.
    00:56:44,656Yeah, this is one of those things,
    00:56:45,950there's a saying, it's a sound only a dog could hear,
    00:56:50,692and I think that's what this is.
    00:56:52,521They are rotating, but they're moving so fast
    00:56:54,877you can't even tell, but I know they're rotating.
    00:56:57,946I know, and I will know.
    00:56:59,724Cool, so I think that's about it,
    00:57:03,445I think we've covered everything.
    00:57:04,482So, you can use this technique,
    00:57:07,042it doesn't just have to be type.
    00:57:09,954I actually used this on vector images
    00:57:13,298to create these kind of iconic scenes,
    00:57:15,529and it looked really cool.
    00:57:17,975One thing about doing this, is that sometimes,
    00:57:20,333as an animator, you tend to speed things up a little bit,
    00:57:24,847and you may wanna do a software preview.
    00:57:29,524Like if I wanted to see how this felt,
    00:57:30,836what I would do is maybe set my,
    00:57:34,603my comp size to half HD, and then go to Save,
    00:57:41,555make sure I'm not actually saving a file anywhere,
    00:57:44,366set my output to all frames,
    00:57:48,137and then just to do a very quick preview,
    00:57:50,655you can set your rendered standard to software.
    00:57:56,315And then you can hit Shift-R,
    00:57:58,516send it to your picture view,
    00:58:00,658and you can see how quickly
    00:58:01,645it'll kind of blast through that,
    00:58:02,718and this'll just give you a good idea
    00:58:03,915of how fast they're gonna feel.
    00:58:07,818And that actually feels pretty good to me.
    00:58:09,430I'm not unhappy with that.
    00:58:12,972Cool?
    00:58:14,461So there you go guys,
    00:58:16,075that was a whole lot of information
    00:58:18,525and I hope some of it, any of it was useful to you.
    00:58:23,156And I guess the things that I really hope
    00:58:24,905you got out of this are,
    00:58:27,643some workflow ideas about how to go about
    00:58:29,829animating things if you're not sure how to use the curves,
    00:58:32,760maybe try using Motion Sketch and give yourself a reference.
    00:58:36,091And then using the Inheritance Effector in animation mode,
    00:58:40,008with fall-off based animation turned on,
    00:58:42,457to be able to literally have complete control
    00:58:45,842over what all your clones are doing
    00:58:47,408and building on anything you want, using the splines.
    00:58:51,519And again, it's just about having complete control,
    00:58:56,281because when you're in a client situation,
    00:58:58,562and they say, I love it, but I wish that particle
    00:59:01,127didn't dip down so far.
    00:59:03,445If this was a dynamics based thing or you were using
    00:59:06,123a wind affect or something like that,
    00:59:08,557it would be really hard to control.
    00:59:09,841In this case, these are all controlled by this one null,
    00:59:13,846all I have to do is change what that null does
    00:59:15,460and it changes the whole thing.
    00:59:17,037So there you go, thank you guys so much,
    00:59:19,236and I will talk to you soon.
    00:59:21,763Thanks so much for watching,
    00:59:23,167I hope you learned a ton of new tricks
    00:59:24,777to add to your Cinema 4D toolkit.
    00:59:26,681I also hope that you learned that it's okay
    00:59:28,869if things don't work out exactly as planned,
    00:59:31,398and that if you keep messing around and experimenting,
    00:59:33,722with a little persistence,
    00:59:35,166you'll find a solution that works.
    00:59:36,900If you have any questions or thoughts, let us know
    00:59:39,014and we'd love, love to hear from you
    00:59:41,376if you use this technique on a project.
    00:59:43,602So give us a shout on Twitter @schoolofmotion
    00:59:45,879and show us your work.
    00:59:47,076And if you learned something valuable from this,
    00:59:48,897please share it around, it really helps us
    00:59:51,498spread the word, and we totally appreciate it.
    00:59:53,852Don't forget, you can sign up for a free student account
    00:59:56,248to access the project files for the lesson
    00:59:58,519you just watched,
    00:59:59,545plus a whole bunch of other really good stuff.
    01:00:02,149Thanks again, and I'll see you on the next one.
    01:00:05,577(friendly music)