So I'm just getting a little bit of a taper and you can, you know, you can control how much, uh, you know, how much it tapers and when it tapers.Īnd I also want some rotation on this. So I'm just holding command and clicking to add a point, and then I'm going to basically taper the shape of this using this little graph. Um, I'm going to go into my details here and for the scale, um, you know, I'm going to want the scale to kind of taper off a little bit at the end. Uh, so what I want to do a couple of things really quickly just to make this look a little nicer. So here's our spline and we can easily animate it using and growth. It has to be at least one degree and now I get that nice low poly look on the end. Um, and so I need to make sure that my Fong angle is set all the way down to zero. Um, and then you'll also notice here that even though we don't have a Fong tag, we're still getting that smoothing happening on the end here. If you hit constrain, it actually makes sure that your, uh, your spline doesn't get any bigger at the end. Now I have to make sure I don't make this too big. And maybe I'll add another step and expand the radius in your, you know, what you'll notice is by default, when you add a fill it cap, uh, it expands and kind of makes the end bigger.
Uh, I do want to add a filot cap to the end, um, so that I can have a little bit of a point on the end of my vine. So we have that nice kind of low poly look, let me turn online so I can see our geometry here. Um, now I want to get rid of the Fong tags.
And this can be our vine, and now we can animate the vine really easily just using the end growth. Um, so let me grab a sweep and I want to sweep this spline through this one. So we're going to start by just drawing a spline shape like this, and then I'm going to grab an incited spline, and we're just going to use a sweep nerves, your standard cinema, 4d sweep nerves. Uh, and it's, it's a lot simpler and you have a lot more control. So the first technique I'm going to show you is what we'll use on the easier shots. So let's start by rigging a simple vine setup. And I want to make sure I don't break my computer. I may have to tone the detailed down a little bit in these shots since there's going to be a pretty insane amount of geometry. So my plan is to use X particles beginning with this shot, the last couple of shots we'll definitely be done with X particles due to the just sheer number of vines and leaves that are going to be on screen. And I don't really want to have to manually draw, you know, 50 to a hundred splines by hand all over this building. So the detail's going to need to reflect that this is also the first shot where we really see that the building is getting swarmed by the vines. Now in this shot, we're very close to some of the vines and the leads.
Cinema 4d random effector regular pulse manual#
So there's not so much manual labor, and we're not hand placing dozens and dozens of pieces. And, uh, so it's probably gonna, you know, need some particles to help us start to fill this out a little bit. Now this shot is farther away and we're going to need a lot more leaves. I'll probably do this one by hand or with a really simple vine rig. For example, in this shot, we're just seeing a few vines start to grow, and it's such a short and simple shot. Now, when I have to figure out some complex effect, it's usually way easier to approach the problem when I know exactly how the effect will be seen in the context of the piece. Welcome back here comes the part of this series, where I show you something kind of cool and geeky, something that normally would just be its own tutorial with a title like growing low poly vines with X particles in cinema 4d.
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