# 7 - Deformadores

https://www.youtube.com/watch?v=eI1I1aXUPmc

[00:00] Greetings!
[00:03] This is a new Cinema 4D lesson focused on 3D design.
[00:06] In today's lesson, I'm going to teach you about reshapers.
[00:11] Reshapers are primarily objects that deform the geometry of other objects.
[00:16] You can use primitive objects, generator objects, polygonal objects, and plants as reshapers.
[00:22] The reshaper will affect its parent object and that parent's hierarchy.
[00:27] This means that a reshaper will affect any object at that same level of the hierarchy and any object below the reshaper in the hierarchy.
[00:39] However, a reshaper will have no effect if it's positioned at the top of the object manager's hierarchy because it doesn't have a parent.
[00:49] If the object to be deformed is selected and you hold down the key above the reshaper object, the reshaper object will have its origin, size, and orientation changed.
[00:57] An important point to
[01:00] Keep in mind when using our reshapers is that we need to have the necessary number of segments.
[01:05] I'll show you a common error that occurs: we choose our reshaper object—any object in this case—and when we run it, we get this error.
[01:20] This is because our object is missing segments.
[01:22] So, what we're going to do is go to our Objects panel, select our primitive object, and increase the number of segments by holding down the Shift key.
[01:35] We'll increase it by 10s.
[01:41] Okay, this way our shapers will work correctly.
[01:44] Now, with this short explanation, let's start using each of the shapers.
[01:51] The first shaper I'm going to show you is the Bend shaper.
[01:56] Go to the Create menu, hold down the Shift key, and select.
[02:01] Bend.
[02:04] Once selected, it will appear in our Objects panel.
[02:07] Now, let's position it towards our cube.
[02:09] Grab it and drag it towards our cube, and when this down arrow appears, it means we've released it, and it will become a child of our cube object.
[02:21] Okay, once there, we go to the attributes panel of our Bend object.
[02:27] Remember, if we don't have it selected, the attributes won't appear, so we have to select our shaper.
[02:36] Therefore, we'll find measurements like x and y, and we see that this small box has increased.
[02:47] This small box indicates the boundary that our shaper will have an effect on.
[02:53] Therefore, let's return it.
[02:55] We'll leave it as the default, like some wines, and that's it.
[03:01] The next attribute we're going to look at is the mode attribute.
[03:06] In the mode attribute, we'll find three options: limited, wildbox, and unlimited.
[03:15] In the next tag called "phallus," we'll find everything that will affect our deformer's space.
[03:23] Very well, the first thing we'll find is the shape.
[03:26] In this case, it will be set to infinite, which means it will affect the entire small box that appears at the beginning.
[03:35] However, we can change the shape to a predefined one, such as box, capsule, cone, or cylinder.
[03:40] Okay, that's it.
[03:44] Let's choose one, since despite having different names, they all have the same function.
[03:51] As we can see, it seems to have stopped having an effect, but we see some small pivots here that we can modify.
[03:59] If we lengthen them, as we can see, it
[04:02] Begins to deform.
[04:06] So we have to lengthen these points so that it actually has an effect.
[04:15] And as we can see, it has had a complete effect within our primitive object.
[04:23] This whole box is the space where our deformer will have an effect.
[04:30] They all have the same...
[04:33] The function, however, only has different forms, whether it's a capsule or not.
[04:41] They all have the same function, so we'll leave it at infinity.
[04:47] Okay, the next thing is to invert.
[04:52] Inverting normally works on shapes.
[04:58] So, if we see that the shapes are so, the more they expand, the greater the.
[05:03] Effect.
[05:05] If we invert it, it will obviously be the opposite: the more shape, the more space, the less effect.
[05:12] So, if we reduce it, our shaper will have its own effect this time, and we return to infinity.
[05:24] And the next thing we're going to find is weight.
[05:26] Weight determines how much power our shaper will have on our object.
[05:33] So, we go and close it.
[05:43] Having inverted activated means that it will also affect the weight.
[05:48] Therefore, we deactivate invert, and again we return to 100% 0%.
[05:56] Remember that all the shapers work with any type of object, whether it's a primitive object, an editable object, or an explain object.
[06:03] Therefore, no matter what.
[06:06] Object you choose, it will always have its own effect.
[06:10] To make accessing our shapers easier, we're going to go to the create menu, keep it selected, and select this small.
[06:17] From here, we release the click and a floating window will appear containing all our formators.
[06:26] The next object I'm going to show you is the Bulls formator.
[06:31] Now that we have our floating window here, all we're going to do is click on Bulls.
[06:36] This links it.
[06:39] Okay, now what does this Bulls formator generate?
[06:43] It creates a small bump inside the bounding box of our formator.
[06:47] As we can see, it generates this bump, and in terms of curvature, it will create an extra deformation on top of the curvature.
[07:00] Now, where it says "Philip," it will create a small decay in the curve of the bump.
[07:03] As
[07:06] You can see, the axes now look all square.
[07:09] This is due to our polygon count, which is low.
[07:14] To make it look better, we can either increase the number of polygons or increase the size of the axis.
[07:24] And we go back and remove "Filet," and as you can see, the difference is noticeable.
[07:30] Now we go to the "Fall Of" tab in the attributes panel, and we find the same weight and scale.
[07:39] Normally, formators have a very similar amount of...
[07:45] Therefore, we will be encountering the same attributes in each of the shapers, whether it be measure, mode, strength, curvature, or size.
[07:53] So, let's continue with our next shaper, the next shaper, paper.
[08:00] We selected paper, made it a child, and we'll see what effect it has.
[08:09] As we can see in the image below, it doesn't generate any movement.
[08:14] However, in the image above, it sharpens the object itself.
[08:19] That's what happens when we modify the strength.
[08:22] As for the curvature, it creates a small bulge in our object, and we already have a kind of bottle.
[08:33] The same applies if we were to create a small decay, and we have something similar to a perfume bottle.
[08:42] Again, in the "form" tab, we find the same: weight, shapes, invert weight, and scale.
[08:54] Very good.
[08:56] Let's continue with the next object, the "screw" object.
[09:00] We selected "screw" and made it a child.
[09:08] We went to the attributes panel, to the
[09:10] Tab to the "objects" label.
[09:13] And in this case, we only have size, mode, and angle.
[09:16] We changed the angle, and as we can see, it creates a screw on our object.
[09:22] Inside our object, we snap the parent, and we have what would be a kind of...
[09:30] Let's go to the fault tag tab and again with the same thing, the next object is the former.
[09:42] We select the former, we make it a child, and now this is what the former actually does.
[09:52] You can modify the various points we see here, and it will modify our primitive object.
[10:07] It's a free-form former.
[10:07] What we're going to do is select the former of our object in.
[10:12] Our object panel and go to point selection mode.
[10:17] Therefore, from here we can modify what we see being modified.
[10:25] Now, what are we going to do if we want a greater number of points?
[10:27] What we're going to do is select our former object in our object panel and go to the attributes panel.
[10:35] As we see here, the three axes are there, and we can increase the number of vertices that will be in our object.
[10:43] We increase it.
[10:47] It's best not to have too many points since it will be much more difficult to handle our object.
[10:52] Our former object, the next former that I'm going to show you is the former in Maya, this one here.
[11:02] But first, let's create an object that we're going to deform.
[11:07] The first thing we'll do is go to the Objects panel, and here on the far right, there are several labels.
[11:11] We'll go to the one.
[11:14] Below that says "Count in Browser," click it, and type the following word.
[11:21] Then we'll click "People," and it will show us various materials that Cinema 4D contains.
[11:31] We have to remember that these objects are normally for the Studio version of Cinema 4D; you need to have the full Studio version to be able to use this material.
[11:45] Therefore, we choose any of them by double-clicking, and it will appear.
[11:51] Once it appears, having obtained what we want, we go back to the Objects label to find the Objects panel.
[12:01] Now, what are we going to do?
[12:03] We're going to apply a subdivision, but not before we see its lines.
[12:11] We go to "Display," then "Wave," and
[12:15] There we get the lines view.
[12:18] Now we'll apply this subdivision.
[12:21] We click on the subdivision, then "Hello,"
[12:24] and that's it.
[12:27] Once done, the next thing we're going to do is select both, right-click, select "Corner Outs," then "Delete."
[12:36] Once that's done, the next thing we're going to do is create some boxes so that these will serve as a mesh for our object deformation.
[12:43] Therefore, what we're going to do is create a cube.
[12:49] We see that it's large, so we scale it down.
[12:55] With the scroll wheel pressed, we go to the different views.
[12:57] Therefore, we're going to adjust this box so that it fits our body perfectly.
[13:15] Once our head is covered,
[13:17] We're going to make the bottom part.
[13:21] We copy this cube and what we're going to do is the same thing: we're going to make it cover the entire space.
[13:26] We have to remember that it has to cover the entire space and not leave these small pieces here.
[13:31] Therefore, we're going to make it a little bigger.
[13:33] Okay, now let's work on the bottom part to our liking.
[13:47] Very good.
[13:47] Once the cubes are created, the next thing we're going to do is create a few subdivisions.
[13:54] We select the two cubes and create 1, 1, and 1, a total of 2 subdivisions for each one.
[14:02] Now, the next thing we're going to do is select our cubes.
[14:08] They're already selected.
[14:08] Right-click, select the Leeds exploit connection.
[14:14] Okay, we go to the mesh.
[14:19] Command and optimal tab.
[14:26] Okay, once that's done, we're going to choose our...
[14:37] Once we have our cubes arranged to our liking, we'll assign them names so we don't get confused.
[14:45] We'll name the cubes "Mesh" and the subdivision "Surface."
[14:57] Once the names are assigned, we go to the Create menu and select our Maya Shaper.
[15:07] Once our Maya Shaper is in the Object panel, we're going to parent the Maya Shaper to the Liking, not to the mesh, but to the cubes.
[15:21] So, we parent it and go to the Attributes panel.
[15:28] In the Attributes panel, we'll find the "Case" menu.
[15:33] In this menu, in this box, we'll select "Mesh" and, without releasing the click, drag it here.
[15:43] Once that's done, we click the Initialize button, and that's it!
[15:48] We've obtained the complete mesh to deform our object.
[15:51] Now, how does this shaper actually work?
[15:56] This shaper allows us to deform this mesh, and therefore it will have an effect on our polygonal object in the background, which has a large number of...
[16:08] Therefore, we'll have to vary between different selection methods, whether it's points, edges, or polygons.
[16:21] We select our mesh and proceed.
[16:25] To change it.
[16:28] As we can see, the selection is changing.
[16:33] We select the edges, and the edges also vary.
[16:38] We select the points, and likewise, the points vary.
[16:41] We go back and back with Control-Z.
[16:48] Remember that we can also make loop selections.
[16:53] We select what we scale up with and what we scale down with to better see how we're doing it.
[17:04] We select Display and Ground Zero.
[17:08] That's it!
[17:10] This way, we'll obtain quick deformations on any object with too many polygons.
[17:15] That's all for the mesh shaper.
[17:22] Now we continue with the next shaper, the Squish and.
[17:27] Stretch shaper.
[17:27] It's one of the most used effects in traditional 2D animation.
[17:33] For example, the shape of a bouncing ball will narrow when it hits the ground or another surface and lengthen when it bounces.
[17:41] This makes the animation more dynamic.
[17:44] The Squish and Stretch shaper allows you to easily add this effect to objects in Cinema 4D.
[17:52] The shaper works like any other shaper in Cinema 4D.
[17:57] Now I'll show you how this shaper works.
[18:00] The first thing we're going to do is go to the Create menu and select a primitive object, in this case, a sphere.
[18:07] We go to the Attribute panel and increase its segment, leaving it at 34.
[18:12] We go back to the Create menu and select Squats & Stretch.
[18:16] This relates it to the shaper.
[18:25] Now we go to the Attributes panel.
[18:28] And look at each of the attributes.
[18:30] The first attribute I'm going to show you is the Factor attribute, which determines the power our shaper will have on our primitive object.
[18:39] Once you understand that, let's go back to the Stop or Top attribute.
[18:42] This determines the power it will have on the axis, on the top part (redundancy intended), of our primitive object.
[18:56] Therefore, if we lower it to zero, it will mean that it won't have any effect on the top of the primitive object.
[19:13] The Center attribute indicates the same thing, only obviously on the center part of our primitive object.
[19:21] The Button attribute is exactly the same, except that, apart from doing the complete opposite of the one.
[19:31] Above, because if we increase it to 100 it will lose all effect on the bottom part of our primitive object in terms of appearance, the radius it will have in the central part of our object, therefore the lower the percentage, the flatter it will look.
[19:54] We return to expansion, it is the central radius that our former will exert on our primitive object; the smaller it is, the wider it will look; the lower it is, the thinner it will look.
[20:17] It is my starting mold; it is very important to be aware of the smoothness with which it will begin in the head part of our primitive object.
[20:29] This smoothness is noticeable when.
[20:31] increasing or decreasing the
[20:34] percentage, and it is very good. It is the same,
[20:37] only it will exert its effect on the bottom part
[20:41] of our primitive object
[20:47] in terms of the types of shapes that
[20:50] our former will have
[20:53] on our primitive object,
[20:55] whether cubic, all those we see here,
[21:02] and that's it. That's all for
[21:04] coaches 3. Now we continue with the
[21:07] next former, the one of... The
[21:11] withdrawal former has no imitator box. The
[21:14] receiving object melts radially. It is
[21:16] the origin of the former.
[21:18] Drag the orange handle to
[21:21] control the
[21:23] melted state interactively in the
[21:25] view panel. The receiver withdraws
[21:28] over the plane and from the origin of the
[21:30] former. Consequently, the
[21:33] melt former is normally placed below
[21:35] the receiving object. Any part of the
[21:39] original object that remains below the
[21:41] xz plane of the former will be truncated.
[21:46] Now I will show you how
[21:49] our former actually works. The first thing we are going to
[21:52] do is have our cube already with its
[21:54] segments enlarged and we go to the
[21:57] create menu and select the
[22:00] withdrawal former.
[22:03] We drag it, we
[22:05] make it old and as we can see, it has already
[22:07] given us a deformation. It
[22:10] simulates a kind of yield
[22:13] on our primitive object. Now in
[22:15] this small orange point that we see
[22:17] here, if we drag it, we see that it is
[22:21] losing effect. However, we have
[22:23] noticed something: the cube box is
[22:25] much smaller than it was at the
[22:27] beginning. Therefore, that indicates that in
[22:30] our melt object it is too high. What
[22:33] we are going to do is select the
[22:36] object From the Objects panel,
[22:38] we'll scroll down until our entire cube appears.
[22:43] At this point, our entire cube is visible.
[22:46] Now we drag the
[22:48] orange point and see how it
[22:52] deforms our primitive object.
[22:56] That's essentially what this
[23:00] deformer does to any type of object.
[23:02] Now
[23:04] we select it again and go to the
[23:06] Attributes panel. Here we'll
[23:08] find "Force," which indicates
[23:11] the exact force that will be applied
[23:14] to our primitive; "
[23:16] Radius,"
[23:19] which indicates the circumference of the effect
[23:23] on our primitive object; and "Vertical Random,"
[23:25] which indicates the
[23:28] vertical randomness of our object.
[23:30] Because the radius is very high, it's
[23:33] not very noticeable, so we'll
[23:35] lower the radius.
[23:39] Now,
[23:42] as we can see, the
[23:45] vertical randomness is noticeable. "
[23:50] Radiant Random" indicates the same thing:
[23:53] randomness, but in this case, it's in
[23:57] the radius of our primitive object.
[24:01] Therefore, we can only perceive this
[24:03] if our primitive object
[24:05] is completely melted.
[24:07] In this case,
[24:14] 6 represents
[24:16] the final performance measurement of
[24:19] our primitive object, so we
[24:26] remove the force. And
[24:28] we see how they melt to this point.
[24:32] If you increase it, it
[24:35] will reach a point where it
[24:39] can no longer rise. Therefore,
[24:42] 1000% is the highest melting point.
[24:46] [Music] There is
[24:50] no fiscal, it's not fiscal, it's
[24:55] the noise that will be made on the
[24:58] surface of the melting of our
[25:00] primitive object.
[25:03] If you overcome some small
[25:05] noises on the surface,
[25:16] and that's it, that would be all. No, sorry,
[25:20] now we lower everything to zero
[25:29] and go to the skirt tab. In the
[25:33] skirt tab, we find the
[25:34] same as always: a way to invert
[25:36] visible weight and scale. So, we do the
[25:41] same as always. We are going to continue with
[25:43] the next
[25:44] object explosion former. The
[25:47] explosion former explodes an object in the
[25:49] polygons that construct it. The
[25:52] receiving object explodes from the origin of the
[25:54] former.
[25:55] Drag the orange handle to be able to
[25:59] control the explosion state
[26:00] interactively in the view panel.
[26:02] To animate the explosion, animate a
[26:04] force parameter for a
[26:07] full explosion. Set the force in the
[26:10] first key to 0% and the force in the
[26:13] second key to 100%. Now let's see how it
[26:16] works with the same We already
[26:18] have the cube with its various segments.
[26:21] Let's go to the create menu and select
[26:27] our explosion shaper. We
[26:31] parent it,
[26:35] and now we go to the attributes panel and
[26:37] see how it works. "
[26:43] Force" is exactly the force
[26:46] it will exert on our
[26:49] primitive object. As you can see, it generates a
[26:51] kind of fictitious explosion on
[26:53] our primitive object. "
[26:57] Velocity" is the
[26:59] expansion speed it will have on our
[27:01] object; this is more for animation. "
[27:08] Angle Speed" indicates how many
[27:12] rotations each
[27:16] of these
[27:17] small polygons will exert until the end of
[27:21] its life, at the moment the explosion ends. "
[27:29] End" at 6 indicates the size they will
[27:35] have at the end of the entire
[27:37] explosion. In this case, 0. If we
[27:39] increase it to 1, it will end up
[27:41] very differently.
[27:43] If you see, there are small squares
[27:45] floating there. If we increase it, we
[27:48] realize that they are polygons.
[27:50] Therefore, we leave it at zero, and as we see,
[27:53] everything has disappeared. We return the force to
[27:55] zero,
[27:57] and the great gift is the randomness
[28:00] that will be exerted on the explosion in
[28:02] our primitive object. So, we are going to
[28:05] give it a little force and
[28:09] remove the
[28:12] randomness. Therefore, as we see, it doesn't
[28:15] form.
[28:19] We see that it still maintains the shape of the
[28:21] primitive object itself; the only thing is that
[28:23] its polygons are separated. Now, if we
[28:26] put them together, we realize that they are still
[28:29] the same and hardly vary at all.
[28:32] Now, as we see, this doesn't have a
[28:35] FADOS tag. Therefore, we are going to
[28:38] continue with the next
[28:40] object shaper: explosion effects. With the
[28:43] explosion effects object, you can quickly create and animate
[28:47] realistic explosion effects. Now, let's see how
[28:51] the explosion effects object works with
[28:54] our already created cube. What we are going to
[28:57] do is go to the create menu and
[28:59] select explosion effects.
[29:02] Very good. Now we apply it, and as we
[29:05] see, it has not generated a change.
[29:08] Therefore, we select and go to the
[29:11] attributes panel and select the
[29:13] object tab. In the tab, we will
[29:14] find time. Time is
[29:18] more or less the diameter that
[29:20] the explosion will exert,
[29:22] the diameter in terms of time that the
[29:25] explosion itself will exert.
[29:29] Therefore, we will leave it there to
[29:31] understand more or less how the
[29:32] other parameters work. We go to the explosion tab
[29:36] and choose force.
[29:40] As we see, force is the separation
[29:42] that one object will have from another within
[29:45] that explosion. We leave it there again. Decay
[29:51] is very similar to
[29:53] force, only it generates a smoothness at the
[29:56] end of the explosion. It is
[30:00] like the phallus of the
[30:06] other
[30:08] formants.
[30:10] Decay is a final smoothness
[30:12] towards the explosion.
[30:15] Variation
[30:17] is exactly what it says:
[30:22] how the separation between each
[30:25] of the objects within the
[30:28] explosion varies.
[30:29] Direction determines
[30:32] where we want the explosion to go. In
[30:34] this case, we will leave it on. If
[30:36] you want to see only x, it will only
[30:39] explode in the direction x. Exceeds x means
[30:42] all directions except x. And
[30:45] likewise, on Andy White, the software,
[30:48] although yes, and XXI
[30:56] The variation here is the radial variation
[30:59] or circumference of
[31:01] each of the small cubes that
[31:04] are exploding.
[31:12] Blast time is the explosion radius in
[31:16] terms of time and force that
[31:19] this small square will exert.
[31:23] This small green circle
[31:26] will have power,
[31:33] explosion speed, as we see, it
[31:35] modifies the square itself of our
[31:39] explosion. [
[31:40] Music]
[31:41] The circle of our explosion,
[31:43] decay, again the same, is a
[31:47] small burst at the end of the explosion
[31:51] that we have.
[31:53] Variation:
[31:56] we move, it
[31:58] varies the separation between the cubes,
[32:01] explosion range.
[32:05] As we see, in explosion range,
[32:07] this red cube, this small
[32:11] red circle, which is all of this, increases. This
[32:15] means that it is the raw explosion
[32:17] of what we are going to have. Therefore, if
[32:19] we increase the
[32:22] explosion speed, we see that everything breaks,
[32:26] but if we reduce the explosion range,
[32:29] we see that it will only explode within
[32:33] this red circle, within this
[32:35] red circle,
[32:36] and everything that exploded with the
[32:38] red circle and fell,
[32:42] now we increase it.
[32:45] Let's go to class
[32:49] and select English fitness, which is,
[32:54] let's zoom in a little to understand the
[33:01] width that each one will have. of these
[33:03] polygons, therefore, if we leave it at
[33:06] zero, it will be completely flat,
[33:08] so we'll leave it as it
[33:11] was, with 7
[33:17] variations.
[33:21] As already mentioned, the variation will be that
[33:24] instead of being square polygons,
[33:28] each one will have a
[33:29] unique deformation between the small cubes that
[33:34] emerge.
[33:40] The density is the accumulation of the
[33:42] small cubes that have exploded,
[33:44] that have flown out of the explosion
[33:47] of our explosion effect.
[33:51] Minimum
[33:55] and maximum number of polygons:
[33:58] now remember that if we set a
[34:00] maximum number, the minimum number
[34:03] cannot increase
[34:06] beyond that. Therefore, if we have a
[34:09] maximum of
[34:10] 2021 polygons, we won't increase beyond 21.
[34:14] But if we increase it, the maximum and minimum will
[34:17] also increase. But to generate
[34:19] greater variability, we'll reduce the
[34:22] number of polygons from 124.
[34:29] We go to the gravity tab,
[34:34] and as we see, the acceleration due to gravity
[34:36] on Earth. Therefore, if we
[34:39] increase it, the gravity
[34:42] that will be exerted in our
[34:44] explosion will increase. Therefore, we
[34:46] leave it at 981.
[34:49] Variation
[34:52] again:
[34:56] direction
[35:00] As we can see, if we modify the
[35:02] directions, it's very similar to the
[35:05] other parameters, indicating
[35:07] where each cube will go
[35:08] in terms of the explosion.
[35:14] The gravity range is essentially
[35:19] how our objects will fall. This
[35:22] small box defines the gravity
[35:25] that will be exerted on these small
[35:27] squares. This green box limits
[35:30] the time it took for the explosion, and
[35:32] this red box defines the explosion itself.
[35:38] We go to the rotation tab, where
[35:42] we see the speed. This is
[35:45] the
[35:47] rotation speed that we see will be exerted
[35:50] on these small squares. Decay is
[35:52] a slight
[35:55] smoothing of the final rotation. Variation: rotation
[36:15] angle,
[36:17] rotation anchor,
[36:21] center of gravity, rotation in x,
[36:23] rotations here, and rotation on ice.
[36:25] We'll leave the center of gravity as is.
[36:28] As for variation, as we've seen
[36:30] throughout, it's the
[36:36] same as always: the variable is the
[36:39] variation in terms of the rotations of each
[36:43] of these squares that have
[36:45] exploded.
[36:46] We go to the special tab, and here it
[36:50] gives us some slightly different parameters:
[36:54] wind,
[36:57] rotation,
[37:00] and each one has its respective
[37:03] variation.
[37:05] So that's all for the
[37:08] explosion effect. Now it's
[37:10] your turn to experiment with this formatter and
[37:13] see and generate any kind of animation you
[37:16] want. The next formatter I'm
[37:18] going to show you is the "
[37:20] break" formatter. The receiver object breaks into
[37:23] individual polygons which fall
[37:25] to the ground. The broken polygons will fall
[37:27] parallel to the formatter's y-axis.
[37:30] Consequently, the "break" formatter is
[37:32] normally placed below the
[37:35] receiver object. Once that little
[37:38] explanation is given, I'm going to show you how
[37:39] our formatter works. We
[37:42] go to the "create formatter" menu
[37:44] and choose the "shutter" or "break" formatter. Okay, it's parented. Let's
[37:53] go down here to the attributes section.
[37:56] We're going to see its different attributes, which
[37:58] are strength.
[38:01] Okay, we have the same error again.
[38:03] So the next thing we're going to do
[38:05] is select our formatter and
[38:08] lower it to the base of our
[38:11] primitive object.
[38:13] Okay, again we go back to strength, and as we can
[38:16] see, the same error no longer occurs.
[38:19] Now let's leave it there for a bit
[38:22] to better understand the other
[38:24] parameters.
[38:27] Angle velocity
[38:31] is the speed... something to end the
[38:32] redundancy. The speed of the angle in
[38:35] the direction of the fall of our
[38:37] polygons, the
[38:40] completion of the object,
[38:43] is at the moment of completion. For example, if it
[38:46] reaches 100%, it's at zero,
[38:49] which means it will disappear.
[38:51] However, if we increase it,
[38:54] this will be 0%.
[39:02] And finally, "random" means the
[39:06] randomness with which our object will fall.
[39:08] For example, right now it's at one hundred
[39:10] percent, so it will be
[39:12] totally random when it
[39:14] goes from one hundred to zero. However, if
[39:17] we set it to zero, it
[39:19] will have a completely
[39:22] uniform structure at the moment of its break.
[39:27] To understand a little better how it
[39:28] works, let's create a small
[39:30] animation
[39:32] with this little button here.
[39:34] We select it, and as we see, it has turned
[39:37] red. That means it has added a
[39:40] frame to
[39:42] our timeline.
[39:45] As we see, it's here.
[39:50] We go back to the timeline, set the measurement of
[39:53] our timeline back to 0,
[39:56] and select "speed angle." You might
[40:04] think we can leave it there, but
[40:07] we activate "no speed,"
[40:11] and that's it.
[40:15] Once we've determined that this is what we
[40:17] want, we move forward on the timeline
[40:20] and assign other values,
[40:24] and as we see... Okay, or rather, let's see,
[40:27] here we have this red circle,
[40:29] which means we're not within
[40:32] the
[40:33] frame where we placed the animation.
[40:36] However, since the values ​​haven't changed, it
[40:38] means that all we've done
[40:42] is move. So, if we
[40:45] add 100%
[40:49] angle, speed,
[40:54] and 1000 degrees, it will turn yellow, which
[40:56] means that all the variables have
[40:58] been changed. Therefore, all we
[41:00] have to do once we've
[41:02] moved is change the measurements and
[41:05] press this button again, and it will
[41:08] turn red again, which
[41:10] will give us another
[41:14] frame in our timeline.
[41:15] We go back to the
[41:17] larger values ​​and increase them to
[41:21] 100%. These two that aren't
[41:23] marked mean that they will no longer be
[41:25] variables; they will be a constant from the
[41:27] beginning to the end of the animation.
[41:30] So, we go back and
[41:34] press play with this button,
[41:37] and that's it again.
[41:43] And that's the correct way
[41:45] our "break" object works. Now,
[41:48] let's continue with the next "
[41:50] form of forms" correction. The
[41:52] real purpose of this "form of forms" is to
[41:54] provide the user with a
[41:56] real deformed editing capability. What it
[41:59] wants This means that the
[42:01] shaper allows you to access points
[42:03] in their shape state 2 so you can
[42:05] modify their position from this
[42:08] shaped state. Having given this
[42:10] brief explanation, I'm
[42:13] going to give you an example of how it works.
[42:15] Okay, we have our object again.
[42:17] Remember, this object isn't editable, so that's what this
[42:22] shaper makes so easy. We have our cube
[42:25] with the different sections. Let's go to the
[42:27] shaper creation menu and choose
[42:30] correction. It's parented.
[42:38] Once parented, what we're going to do
[42:40] is select correction, and with the
[42:43] different selection models, we go
[42:46] between the points.
[42:48] We can move the points, we can
[42:57] see the edges,
[43:08] and we can move the polygons.
[43:14] So, you're probably
[43:17] thinking that this could be
[43:20] done normally by
[43:22] making the object editable, and yes, it could, but
[43:26] this helps you so that if you don't like
[43:29] how it looks, all you
[43:32] have to do is unclip or
[43:34] deactivate our shaper, and it will
[43:37] no longer have any effect on it without
[43:40] having to go back so much with
[43:42] Ctrl+Z. So, that's what
[43:45] this shaper is for. Now we activate it
[43:49] again and
[43:50] go down to the attributes panel. And as
[43:54] we see there, the different attributes it
[43:56] gives us are for blocking,
[43:58] which means we can no longer
[44:00] move. We can no longer move this.
[44:07] We unlock it again
[44:12] in the map, and we're not going to leave it in the nearby areas.
[44:16] We find strength, the usual
[44:18] force that the reformer exerts on
[44:20] our object.
[44:22] Update,
[44:24] freeze, and reset.
[44:31] Again, we find
[44:34] the scale and weight,
[44:37] and that's it.
[44:40] That's the most functional way it serves
[44:43] to give us our reformer.
[44:46] Correction: Now we're going to continue with
[44:48] the next reformer.
[44:50] This reformer serves to create
[44:54] a secondary movement for the points
[44:56] that correspond to the movement of a
[44:58] character.
[44:59] Although this object is currently a
[45:02] reformer, there are certain differences that we have to
[45:04] remember.
[45:05] As with any reformer, this one
[45:08] can be made a child of an object to be
[45:11] able to deform it. It differs from the
[45:13] other reformers in that it does not affect
[45:15] all the objects that it is
[45:17] grouped under a parent object. This is because it
[45:20] must trace the
[45:24] movement of all the points it
[45:26] affects. If you want the reformer to
[45:28] affect several objects, all
[45:31] the objects must have their
[45:32] own reformer assigned. Very well, once
[45:35] this small explanation is given I'm going to
[45:37] show you how our shape shaper works.
[45:39] We have to keep in mind that
[45:41] our shape shaper performs
[45:44] a much larger function as long as it's
[45:46] animated. Therefore, it only works
[45:50] when an animation has been created.
[45:52] So, what are we going to do here? We're going
[45:55] to do the following:
[45:57] we go to the Create menu,
[45:59] select our shapers, and
[46:01] choose the shape shaper.
[46:04] We go
[46:07] down to the Objects panel, to the Attributes panel,
[46:13] and go to the Objects tab. Here
[46:16] we can find the different
[46:17] attributes of the object itself, which are
[46:19] strength, stiffness, and structure.
[46:23] Stiffness is the basic rigidity that
[46:26] our object has, and structure is
[46:29] how it resolves redundancy in the
[46:32] structure of each of the polygons, that
[46:34] is, how each of the polygons are connected
[46:37] for this shaper. So,
[46:39] now to put it into practice,
[46:42] what we're going to do is proceed to
[46:45] animate it. So, the first thing we're going
[46:48] to do is assign a frame here,
[46:55] and we have to keep in mind that
[46:57] we must assign the frame to
[47:00] our cube. I made a
[47:02] mistake here, so we delete this
[47:04] frame.
[47:05] We select the cube again, and what we're going to
[47:08] do now is assign it a frame,
[47:16] but we advance in time,
[47:20] move our object,
[47:24] and assign another frame. Therefore,
[47:30] as we can see, it
[47:33] gives us a smoothness to the animal's movement.
[47:37] Now, what else does it allow us to do?
[47:40] We can manage the rigidity
[47:43] and structure, as I already mentioned, but
[47:46] to make that more noticeable, we
[47:48] select the cube again, and after this
[47:51] frame, we advance to frame
[47:54] 30 and, with the rotate key, we rotate it
[47:58] 180 degrees.
[48:01] Once rotated, we assign it another
[48:03] frame. Therefore, we return to the
[48:06] beginning and press play,
[48:08] and as we can see, it has given us that animation. You see?
[48:14] Okay, we
[48:17] select the cube again and lower the
[48:20] rigidity.
[48:22] We return. Okay,
[48:25] that's all for our
[48:28] formatter. From here, you're going to have to
[48:30] experiment a bit to
[48:33] improve the types of animations that
[48:35] this formatter can give you. Now
[48:38] we're going to continue with the next
[48:40] formatter. The next formatter I'm
[48:41] going to show you is the
[48:43] happy formatter. It's a way of creating,
[48:46] as its name indicates, it serves
[48:49] to sterilize another The object
[48:52] will depend on the force we're going to
[48:54] apply. Therefore, the first thing we're going
[48:56] to do is go to the Create menu of
[48:58] formers and select Sphere.
[49:00] Now, the next thing we're going to do is apply
[49:02] it, and that's it. As we can see, it's already
[49:05] applying a small force. Therefore, we
[49:07] select our
[49:09] formers, Perform in the
[49:11] Objects panel, and go down to the
[49:13] Attributes panel. As we can see,
[49:17] in its Objects tab, it has
[49:19] different attributes such as Radius, which
[49:22] increases the radius of the former,
[49:25] well, of our object,
[49:28] and Force, which obviously indicates the
[49:30] force that will be applied, either 0 or
[49:34] 100. Therefore, we're going to leave it
[49:37] there. Now, if we adjust it to the parent, it will,
[49:41] like the other formers,
[49:45] adjust it directly to our
[49:47] primitive object that we have.
[49:50] Therefore, we perform it, and it gives us a
[49:52] complete sphere. However, normally we have
[49:56] the sphere object, so what we're going
[49:57] to do is sterilize it
[49:59] enough, like a swelling. Now
[50:02] we go to the Penis tab, and we
[50:04] find the same as always:
[50:10] the force that is applied by
[50:13] our So that's
[50:16] all for our deformers.
[50:18] Happy to continue with the next
[50:20] deformer. The next one is the
[50:22] surface deformer. It's used to make the shape of
[50:25] an object follow the
[50:27] surface deformations of another object. Now
[50:29] applying it to the example, what we're going to
[50:31] do this time is use the
[50:34] cube. We're going to use a plane. Ready?
[50:38] We increase the plane's measurements
[50:42] in the attributes panel and increase
[50:44] its segments.
[50:47] Very good. Now we're going to create. We go to the
[50:52] create menu and select Launch
[50:54] Cake, which will give us a surface. We
[50:59] increase it a little, and as we can see, it already
[51:02] gave us a surface. We increase it a
[51:04] little, we scale it.
[51:08] Very good. Now what we're
[51:12] going to do is increase the
[51:14] different parameters in the
[51:16] attributes panel of our landscape object.
[51:26] Once we have our two objects in
[51:29] the CNS, which is on our plane, the next thing we're
[51:31] going to do is go to the create menu
[51:34] of deformers and select
[51:37] Surfaces. We select it, and
[51:40] now we're going to apply it to the
[51:43] object we want to deform, not to the object
[51:46] that will be projected.
[51:47] Therefore, drag the parent. We drag
[51:49] Surface to the plane. Once
[51:53] parented, what we're going to do is... To do this,
[51:55] we select Surface in our
[51:57] Objects panel and go down to the
[51:59] Attributes panel. In the Objects tab, you'll
[52:02] find the different attributes.
[52:04] Where it says Type, we'll always choose
[52:06] either of these two: Vertical Mapping, Horizontal Mapping,
[52:09] or Vertical Mapping,
[52:12] Horizontal Mapping. We won't
[52:14] use Projection because it doesn't apply; it leaves
[52:16] our model static.
[52:19] Therefore, either of these two works
[52:21] perfectly for this purpose. Now,
[52:23] we're focusing on where it says Surface, and
[52:27] this is the projection we're going to
[52:29] apply. So, we select
[52:32] our Landscape object and, without releasing it,
[52:36] drag it back. As you can see, it seems to have
[52:39] disappeared, but if we look
[52:40] a little closer, what's happening is that our
[52:44] plane has been projected directly
[52:47] onto our surface. To see a
[52:48] little better, we select Landscape, go
[52:51] to Basic, and apply X-Ray.
[52:55] Therefore, we can now see a little better how
[52:58] our object has been projected. Or even
[53:00] better, what we're going to do is
[53:02] the Lance Cake. These small buttons, with the
[53:05] key pressed, turn green when clicked; they
[53:09] turn red when clicked again. This means that they haven't been
[53:12] deleted, but are simply
[53:14] not projected; they're not visible.
[53:18] Okay,
[53:22] although they clarify the parameters: Horizontal,
[53:26] Vertical,
[53:29] and Scale (12), and
[53:38] the Offset (12). This gives us that
[53:41] usual smoothing effect, but we don't
[53:45] need it here. What it does is create a
[53:48] bulge once it reaches a certain point.
[53:49] The polygons are deformed
[53:52] by the force, obviously the usual thing—the
[53:55] force applied to
[53:58] our plane. And that's it, that's all for
[54:01] the surface shaper. Now
[54:03] we continue with the next shaper.
[54:05] The next shaper is the
[54:07] envelope shaper. This shaper will
[54:10] apply a cylindrical
[54:12] and spherical shape to another object. Now, to
[54:16] see how it works, we'll
[54:18] go to the primitive objects menu
[54:21] and select a cylinder.
[54:23] Remember that this cylinder will only
[54:26] serve as a reference
[54:27] because we won't be applying
[54:30] any shaper to it. Now, the
[54:33] next thing we'll do is go to
[54:35] the Moura tab and select the one that
[54:38] says "Mou Text." In Mount EX, we go to the
[54:41] Attributes panel menu and where it says "
[54:44] Text," we change the text. We
[54:49] click outside, and that's it,
[54:53] the text will have changed.
[54:55] Now, we'll
[54:58] select our Text mode here in
[55:00] the Objects panel. Let's go to the
[55:03] create menu and, pressing the button, select
[55:07] our Word formatter. That's it! It will have been
[55:11] applied. The next thing we're
[55:13] going to do is place it on the
[55:16] cylinder. So, we take
[55:18] our text mode. Remember, we have to
[55:21] move the text mode, not the Word file, because if
[55:24] we move the Word file, it will get damaged.
[55:26] The text mouse and we apply it,
[55:39] ready. Now if we want to modify this,
[55:42] we can move these
[55:46] pivots, so we
[55:53] reduce it
[56:01] here. There has been an error,
[56:14] okay,
[56:19] very good. Now
[56:23] in our
[56:24] world object, we will find in the
[56:27] attributes panel the different measurements,
[56:29] since we changed the measurements here with
[56:31] these small orange dots. These are the
[56:34] same points that we will find here.
[56:36] Now, if we go down further, we
[56:39] find the word parameter, which is
[56:41] the shape that our deformer will obtain,
[56:44] and we will only find two
[56:46] blocks: spherical.
[56:48] We see that it has changed to
[56:53] something more round, more spherical (
[56:56] redundancy intended), and cylindrical.
[56:59] The starting length,
[57:01] as we see how it moves, and the ending length, where
[57:10] the movement ends, will generate a bias, either
[57:13] positive or negative, so we will
[57:16] leave it at 0. Scale in z, the
[57:19] depth in depth,
[57:23] and attention,
[57:27] and that's it.
[57:28] That's all for our
[57:30] work deformer. We continue with the next
[57:32] deformer. The next
[57:34] deformer is the explain reid deformer.
[57:36] It is planar. It deforms
[57:39] polygonal objects using up to 4 splines that
[57:41] define its target shape. Okay,
[57:47] now we're going to see how the object itself works. What we're going to do is, with
[57:50] our already created cube,
[57:53] we go to the create menu and select
[57:55] our
[57:58] Paint Reid shaper from the list of shapers. We'll parent it,
[58:02] and that's it. Now, how does it work? To
[58:05] make this shaper work, the
[58:08] first thing we have to do is
[58:10] create the rails that will deform
[58:13] our primitive object. So, what we're going
[58:15] to do is...
[58:26] Okay,
[58:28] now we're going to see how
[58:30] our shaper itself works. The first thing we
[58:32] have to do, once we have
[58:33] our cube, is to generate the rails
[58:36] that will guide our shaper.
[58:39] Therefore, we change to the view types
[58:41] and generate some spline
[59:04] views. Once done, we realize that they are
[59:08] cut incorrectly, so
[59:10] with the rotation tool, we
[59:13] change their orientation.
[59:16] Okay, once that's done, we go back and now
[59:20] we go to the create menu and select
[59:24] our
[59:27] Spline Reid shaper. Now, we're going to
[59:30] orient the object itself to
[59:33] our cube object because that's the one we
[59:35] want to deform. Another thing
[59:38] we have to do is... We need to change the names
[59:40] of our splines so we can
[59:43] easily identify them. So,
[59:45] double-click this one here and change it
[59:49] to "right,"
[59:52] and
[59:54] double-click this one again and change it to "
[59:57] left."
[01:00:00] Once that's done, the next thing we're going to
[01:00:02] do is select our
[01:00:04] object panel. It's the "real plane" panel, and we go down to
[01:00:07] the attributes panel where we'll find "
[01:00:10] plan left" and "spam right." So, without
[01:00:13] releasing the mouse button,
[01:00:15] we select the "plan left" and
[01:00:17] set it to "spline let." We do the same
[01:00:21] with the "spray right" spline;
[01:00:24] we select it and set it to "spline right."
[01:00:27] Therefore, we see that it has already
[01:00:30] generated a rail, and our
[01:00:32] primitive object has been deformed according to
[01:00:36] the splines we've already created.
[01:00:40] Now we continue with the next
[01:00:42] shaper. The next shaper I'm going
[01:00:45] to show you is the "shaper
[01:00:47] to spline" shaper. This shaper
[01:00:50] works very similarly to the "spam
[01:00:53] rail," except that this one only works with a
[01:00:56] single spline.
[01:00:58] Now let's see how our
[01:01:00] shaper works. So, we're going to use
[01:01:02] the same objects we used in the
[01:01:05] previous shaper and go to the "
[01:01:08] create shaper" menu. We selected
[01:01:10] our spline warp shaper. Now, we're going to
[01:01:13] parent the
[01:01:16] spline warp to the object we want to
[01:01:18] deform. In this case, it's the cube. So,
[01:01:21] once that's done, we select
[01:01:24] our warp plan in the
[01:01:26] Objects panel and go down to the Attributes panel.
[01:01:28] The first attribute we'll
[01:01:30] find is
[01:01:32] the spline attribute. So, what we're going to
[01:01:35] do is
[01:01:37] select our plan,
[01:01:39] which we already had done, and without
[01:01:42] releasing the mouse button, we drag it here. As we can see, it
[01:01:45] has already acquired our shape. The next
[01:01:47] parameter is the axis parameter. This
[01:01:51] modifies the
[01:01:53] direction in which it will be located. As
[01:01:56] we see in this small arrow, all we
[01:01:58] do is change the axis, and
[01:02:00] the direction will change.
[01:02:02] Now, once the axis is changed, we see
[01:02:04] that our
[01:02:08] primitive object hasn't changed either. The offset is the offset
[01:02:11] that our warp shaper will have,
[01:02:14] and in short, it's the
[01:02:20] amount of force that our warp shaper will have, the
[01:02:23] amount of travel that
[01:02:26] our
[01:02:27] shaping object will have towards our
[01:02:30] primitive object. And it's the same, only
[01:02:33] inverted. And that's it.
[01:02:36] Once we're finished with that. Let's move on to
[01:02:39] the next shaper.
[01:02:42] This shaper is used to deform an
[01:02:44] object based on a grid
[01:02:46] superimposed on the
[01:02:49] camera view. This is very useful for creating
[01:02:52] static free deformations
[01:02:54] compared to the
[01:02:56] camera view. Think of it as a
[01:02:58] shaper tool, although it doesn't
[01:03:00] create the volume of objects. Now,
[01:03:02] to understand how our
[01:03:04] shaper works, the first thing we have to do is
[01:03:06] go to the Objects panel. On the
[01:03:09] far right, we go to where it says
[01:03:12] Stanton Browser, and in this search bar,
[01:03:15] we type "ve" and "st," and click
[01:03:21] the small button that says "
[01:03:23] Search." We then select
[01:03:26] any of the three shapes.
[01:03:30] We zoom in or
[01:03:33] focus on the object we have
[01:03:35] selected. Once we have the shape we
[01:03:38] want, the next thing we're going to do is
[01:03:40] apply the shaper. We go to the
[01:03:42] Create Shapers menu and
[01:03:44] select Cameras.
[01:03:47] As I already mentioned, the Camera shaper
[01:03:50] works to deform
[01:03:53] everything we're seeing. Therefore,
[01:03:55] with the different selection modes, whether
[01:03:58] points, edges, or polygons, we can
[01:04:01] see that they move with the points.
[01:04:05] With the edges
[01:04:08] and polygons,
[01:04:13] we now select our camera and
[01:04:15] go down to the attributes panel to see
[01:04:17] its different attributes.
[01:04:20] Here we find the first attribute, which
[01:04:23] means "camera." Here we can parent
[01:04:26] a camera that we have created.
[01:04:28] So we create a camera, and what we're
[01:04:32] going to do again is select
[01:04:34] our camera formatter in the objects panel,
[01:04:36] and now, without releasing it, we
[01:04:39] drag and parent it. So,
[01:04:43] simply put, every time we activate
[01:04:45] our camera, our mesh will be displayed in the
[01:04:51] usual strength settings: strength,
[01:04:53] grid, number of grids in XY,
[01:04:56] number of grids in 10. So that's
[01:04:59] all for our
[01:05:02] camera formatter. We continue with the
[01:05:04] next formatter. The next
[01:05:07] formatter I'm going to show you is the
[01:05:09] collision formatter. This formatter is used
[01:05:12] to emulate the interaction between objects
[01:05:14] deformed by a mesh physically
[01:05:16] interacting with another defined object.
[01:05:18] Very well, to show you how
[01:05:21] this formatter works, what we're going to do is
[01:05:23] have two objects. In
[01:05:25] this case, I'm going to use a plane and a
[01:05:28] sphere object. So we go to the
[01:05:30] create menu, select, and choose
[01:05:33] our formatter. The collision former now links it
[01:05:36] to our plane, which
[01:05:38] is the one we want to deform, and that's it.
[01:05:40] Now we go down to the attributes panel
[01:05:43] and select our tab that says "
[01:05:46] callers." In this tab, it will
[01:05:49] ask us for the objects that will
[01:05:52] interact
[01:06:08] with our collider. So what we're going to do is select our sphere and drag it to this small box that has appeared here, and that's it. Now if we drag the sphere down, we see that it has already started interacting with our plane.
[01:06:12] Okay, we go back to the attributes
[01:06:15] of our collider.
[01:06:19] We go to the
[01:06:21] tab that has been advanced, and these two
[01:06:24] tabs with the different settings are the ones that
[01:06:26] serve to indicate how
[01:06:27] our collider works best.
[01:06:31] So the first thing we're going to
[01:06:33] find is the parameter that says "
[01:06:36] size," which indicates a
[01:06:39] fictitious distance that will exist between the
[01:06:41] collider and our
[01:06:43] collided object. We move the timeline so that it takes
[01:06:46] effect because this
[01:06:50] collider works best for
[01:06:52] animation, as we see in 62, it has
[01:06:55] generated a field like... Who would have thought that
[01:06:57] gravity, for the one that acts on
[01:06:59] our plane, we leave it at zero. In
[01:07:02] steps, it's the amount that
[01:07:05] our computer will calculate at the
[01:07:07] time of the animation to give
[01:07:10] a greater sense of smoothness. In
[01:07:12] stretch, it's the smoothness itself of the
[01:07:16] collision animation between our object and the
[01:07:21] colliding object, between our
[01:07:24] sphere object and our colliding object. In
[01:07:26] relaxation, relaxation is a little
[01:07:29] more complicated since you can
[01:07:30] confuse it with this smoothness here, but
[01:07:33] relaxation serves to apply
[01:07:35] some folds or
[01:07:41] resistance force to our forming object.
[01:07:44] Now what are we going to do next
[01:07:47] to understand it better?
[01:07:49] We're going to create a small animation at
[01:07:51] this point. Here we lower it and
[01:07:54] create a frame. Here
[01:07:57] we go to frame 50,
[01:08:02] move it,
[01:08:05] and generate another frame. Therefore, we will already
[01:08:08] have a small animation.
[01:08:11] Ready?
[01:08:14] Now, as we see, it already
[01:08:16] interacts. Now we're going to
[01:08:18] go back to the attributes panel in
[01:08:21] our collision object and return
[01:08:23] to explain each one.
[01:08:29] We increase the relaxation to 300; it's
[01:08:37] still not very noticeable,
[01:08:41] so we're going to increase it to 600.
[01:08:49] Maybe you don't notice it, but it has...
[01:08:52] To improve it a
[01:08:55] bit, we're going to
[01:08:56] increase the polygon count
[01:08:59] slightly and raise the plane a
[01:09:03] little so it interacts better with
[01:09:06] our
[01:09:08] back. So, we go back
[01:09:13] there; you can see some folds. Now we
[01:09:17] set it to zero,
[01:09:19] go back, and as we can see, it
[01:09:23] sinks directly, unlike if we set it to 300.
[01:09:30] We see how those folds are generated, and that's it.
[01:09:32] Stephen Earl, this is the roughness, the
[01:09:36] hardness of our object.
[01:09:38] As we can see, the higher this value, the less
[01:09:42] hardness it will have.
[01:09:46] We zoomed in to appreciate it better. You
[01:09:49] see, this structure is obviously the
[01:09:53] structure of our object itself. It's
[01:09:58] how the edges connect to each other
[01:10:02] to maintain its deformation,
[01:10:04] to preserve the shape of our
[01:10:07] object. The structure is so that our
[01:10:10] flat object doesn't lose its
[01:10:14] structure.
[01:10:16] Therefore, the higher the value, the greater the
[01:10:19] softness, and the lower the value, the more rigid it
[01:10:22] becomes.
[01:10:24] As for flexibility, the
[01:10:26] flexibility of our object is almost the same; the
[01:10:29] more flexible,
[01:10:32] the more softness will be noticeable. Therefore,
[01:10:35] in these three... The three parameters
[01:10:36] we see here will need to be
[01:10:39] manipulated to obtain
[01:10:41] a quality animation. So, let's
[01:10:44] continue with the next
[01:10:45] shaper. The next shaper I'm going
[01:10:48] to show you is the
[01:10:50] displaced shaper. The displaced shaper
[01:10:53] shows the displacement of an object
[01:10:55] with the deformation of the object in the
[01:10:57] viewport, the editor, without having to render or raise it
[01:10:59] to make it visible. Okay, the
[01:11:02] first thing we're going to do to understand
[01:11:03] our shaper is create a sphere
[01:11:05] with a lot of segments. But it's more to
[01:11:08] understand how our
[01:11:10] shaper works. Let's go to the shaper creation menu
[01:11:12] and select displaysearch.
[01:11:14] Now, let's go to our
[01:11:16] sphere and go down to the
[01:11:20] attributes panel of our
[01:11:21] shaper. We select Hayden, and where it
[01:11:24] says channels, we select custom shader.
[01:11:27] This custom shader allows
[01:11:30] us to modify the shape that
[01:11:32] our displacement will have, and so on,
[01:11:34] whether by any alpha channel. Now, how do we do it
[01:11:37] here? Where it says shader,
[01:11:39] we select this button here and
[01:11:42] choose where it says noise. This will
[01:11:47] generate noise and therefore create
[01:11:49] a displacement. Everything that is
[01:11:51] black will sink, and everything that is white
[01:11:53] will rise. Now, if you want, we have
[01:11:56] some kind From the black and white alpha channel
[01:12:00] that we want to apply from
[01:12:03] our computer, we select this
[01:12:05] button here. It will open
[01:12:07] directly on our computer to
[01:12:10] a location we have, and we
[01:12:12] can place it there. In this case, we're only going to
[01:12:15] use noise. Now, as we can see, it has
[01:12:18] deformed us, but not as we want,
[01:12:21] so we go to the
[01:12:24] object tab and find the
[01:12:27] same thing as always: force. The force that will be
[01:12:29] exerted on
[01:12:31] our object is called height.
[01:12:35] In height, yes, the height
[01:12:38] of the force that is exerted, so we
[01:12:41] raise it a little so that it is perceptible.
[01:12:44] As for type, we have to leave it in
[01:12:47] either of these two: intensity or
[01:12:49] input intensity.
[01:12:51] Now we go to the fall-off tab and
[01:12:54] find the same thing.
[01:12:58] In short, that's what our
[01:13:01] displacement object is for: to apply any
[01:13:03] alpha channel to a physical object without
[01:13:06] having to
[01:13:09] create it ourselves. We can simply model it physically
[01:13:12] with an alpha channel.
[01:13:15] Now we continue with the next
[01:13:16] shaper. The next shaper is the
[01:13:19] formula shaper. In the formula shaper,
[01:13:23] mathematical formulas are used to apply a
[01:13:25] deformation. Regarding any object, the
[01:13:28] first thing we need to do is have
[01:13:29] two objects, it doesn't matter which ones, since it
[01:13:32] will be applied separately.
[01:13:34] Just to see how the
[01:13:37] formatter works on two different objects, we
[01:13:39] go to the create menu, select
[01:13:41] our formatter formula, and
[01:13:44] then we parent it to
[01:13:46] our sphere. As we can see, it hasn't been
[01:13:49] applied yet. Now we create
[01:13:54] another formatter formula and
[01:13:56] apply it to our plane.
[01:14:00] There's something wrong here:
[01:14:03] our formatter box
[01:14:06] should be focused on our
[01:14:08] planes, so we move it, and that's it.
[01:14:11] This is the shape that the formatter formula will give us.
[01:14:18] So now we'll see:
[01:14:21] we select the sphere formula, go down
[01:14:23] to the attributes panel, and
[01:14:27] in the objects tab, we'll find
[01:14:30] the mathematical formula it uses. The only thing
[01:14:33] recommended to change here are these
[01:14:36] several
[01:14:38] numerical variables. But you
[01:14:41] have to vary these numerical variables
[01:14:42] little by little because if you vary them too
[01:14:44] much, it
[01:14:46] won't give us something very
[01:14:49] smooth; it will give us something more
[01:14:51] rustic. Here it looks like a turbine. The
[01:14:53] same goes for the... We change the shaper here to
[01:14:59] 58, and as we can see, it gives us a
[01:15:04] rather unpleasant shape. So, that's how this
[01:15:08] works. If you know math, it
[01:15:11] really helps a lot. Therefore,
[01:15:15] another thing you have to consider is the
[01:15:18] effect. You'll
[01:15:19] usually have to leave it
[01:15:22] on radial 10 since that's the
[01:15:24] directional focus of our effect.
[01:15:26] If we leave it on spherical, you see how it
[01:15:29] varies: cylindrical, radial x, radial y,
[01:15:34] radial z.
[01:15:36] So, we leave it on radial.
[01:15:39] We make this formula here,
[01:15:42] we delete it, we
[01:15:45] understand, and that's it. That's what
[01:15:47] our deformer formula works for. It generates
[01:15:50] a ripple with a
[01:15:52] mathematical formula on any object, on
[01:15:56] our primitive or editable objects.
[01:15:59] Okay, so we continue with the
[01:16:02] next shaper. The next shaper
[01:16:04] is the wind shaper. This
[01:16:06] shaper generates waves on an object, and
[01:16:09] normally the wind blows in the
[01:16:11] positive x direction. Once you click on the
[01:16:14] animation, the generator, well, the
[01:16:16] wind shaper, animates automatically.
[01:16:18] Now let's see how it works.
[01:16:21] To understand how our
[01:16:23] shaper works, the first thing we're going to do
[01:16:25] is go to the Create Primitive menu and
[01:16:28] select a plane, regardless of the model.
[01:16:32] Any object we use will be affected because
[01:16:34] our shaper will be applied
[01:16:37] to that object. Now, what we need to
[01:16:39] change in this case, in the case of the
[01:16:41] plane, is its orientation to positive x.
[01:16:44] This is because, as I already mentioned, the
[01:16:47] wind blows in that direction.
[01:16:50] Therefore, we go to the wind shaper creation menu and select "
[01:16:52] Wind White."
[01:16:55] Now, what we will do is parent it.
[01:16:58] Once parented, we animate it.
[01:17:02] As we can see, it hasn't animated.
[01:17:03] This is because
[01:17:07] our shaper is incorrectly positioned.
[01:17:10] Therefore, with the "r" key, we will
[01:17:12] change its rotation on
[01:17:17] its y-axis.
[01:17:19] And as we can see, the animation already exists,
[01:17:23] but since it's not what we
[01:17:25] want,
[01:17:26] we select our shaper and in
[01:17:29] the attributes panel, we see the amplitude, which
[01:17:31] is the amplitude of the
[01:17:33] ripple distance; the
[01:17:37] size, which is the size of the
[01:17:41] wind; the
[01:17:46] frequency, which is the
[01:17:55] amount of wind; the
[01:17:58] turbulence, which is how erratic the wind will be;
[01:18:04] and finally, fx and ff, which are
[01:18:07] the wind directions.
[01:18:10] For example, fx in the x-direction and ff in the ephemeral direction.
[01:18:13] And in direction, and now if
[01:18:17] we select this small parameter, which is the
[01:18:21] flag, it will change it; it will
[01:18:24] look more like a simple
[01:18:27] ripple. Therefore, we leave it
[01:18:28] activated in flag. Now we reduce
[01:18:31] [Music]
[01:18:32] the frequency and reduce the turbulence,
[01:18:38] and as we see, we have a
[01:18:40] flag animation without any difficulty. And that's what
[01:18:44] the wind animation is for, that's what
[01:18:50] our wind shaper is for. Now
[01:18:53] we continue with the next shaper, the
[01:18:55] smooth shaper. This shaper is
[01:18:58] used to smooth the surface
[01:19:00] it affects. It can simply smooth the
[01:19:02] geometry as the
[01:19:04] brush tool would, or in smooth mode, or it can make
[01:19:08] the mesh behave almost like a
[01:19:10] fabric. Very well, to see how
[01:19:12] our shaper works, the first thing we have to do
[01:19:14] is set our style. In fact,
[01:19:17] now we're going to go to
[01:19:19] Create Shapers and
[01:19:22] select Multi. Now what we'll do
[01:19:25] is parent it, and
[01:19:27] as you can see, Moyano has smoothed this.
[01:19:30] So the next thing we're going to do
[01:19:32] is select [it's very useful], and we're going to
[01:19:35] set the attribute to strength, which is the
[01:19:38] force it will exert on our
[01:19:40] object. We see, we'll
[01:19:46] leave it at "smooth
[01:19:50] interactions." This is the number of steps
[01:19:54] our
[01:19:58] formatter will take with our object.
[01:20:01] So, as we can see, we leave it at one
[01:20:04] thread, smooth it to the maximum, and we won't get
[01:20:07] that error we had before. If we increase it,
[01:20:11] as we can see, there are many more steps to follow.
[01:20:15] Okay, and the next thing is "Steve Mes," which is the
[01:20:20] rigidity of our object. The more
[01:20:22] rigid it is, the harder it will be to apply
[01:20:24] smoothing. We go to the "Tail" tab and
[01:20:27] find the same things as always:
[01:20:29] the scale strength, the inverting method, and that's it. So, that's what
[01:20:35] our "smooth" object is for. It
[01:20:37] simply smooths. It's not very similar to
[01:20:41] our "surface subdivision" object,
[01:20:43] since all it does is smooth things
[01:20:46] and doesn't generate more polygons like
[01:20:48] our "
[01:20:50] surface subdivision." Well, that's all for
[01:20:53] today's class. In today's class, we've
[01:20:55] learned all about
[01:20:56] formatters. Therefore, we've
[01:20:59] realized that formatters are more
[01:21:01] functional in animation, although we
[01:21:03] can use them quite a bit for
[01:21:05] 3D design modeling. I hope you liked it. I'll say goodbye
[01:21:08] until the next class.