Sometimes, a Non-Everyday progress to perfection.
Through experimentation and improvement, this approach can let me spend more time on things in order to try out animations and materials or to build and explore the possibilities of a new setup or to try out something completely new managing to fit it into my workflow.
All renders are made with Physical Render in Cinema 4D.
Testing materials with vertex maps generated by cloth deformations.
Testing hair-driven deformation and vertex maps.
Testing deformers driven by vertex map in combination with materials.
Based on Greyscale Gorilla tutorial "Goo"; testing vertex map behavior with materials for this kind of deformations.
Testing Turbulence FD simulation and compositing in combination with weight map growth driven by phyton. The map was also applied to a cloth surface with tear enabled for the burning shell's falling pieces.
Testing the new feather system in C4D and it's compositing process.
Testing dynamic waxy/fleshy deformation driven by cluster. This isn't parametrical but dynamic-driven so nothing was sculpted.
Trying to recreate the setup by Eugenio Herrera (https://vimeo.com/107498491) with X-Particles and Krakatoa.
Testing pose morph deformation with jiggle deformer. Not parametric nor dynamic. 3D MODEL SCAN by Jotero @Jotero.com
Testing pyrocluster and python generated thunders. The goal was to kill pyrocluster's render time without loosing details (2 min per fr.) and to test their usability with motion... a bit blocky. The compositing process with those lightnings was also very interesting, I've tested a lot of ways to keep their luminance coming out from the clouds.
This one is finally completing the 10 series and was very very challenging, I've learned a lot from this spinning Head.
The goal was to lit entirely the scene using only the tungsten from the lamps with the support of G.I. and physical render and furthermore testing x-presso driven simulation with collision deformer in order to make the head boil.
I've found some obstacles with the depth of field and transparency because a depth map can't contain both transparency informations and depth (a pixel can't have two values) so I've founded a workaround with Z-Blur plugin for Cinema 4d combined with the glass dome's object buffer.
Compositing this stuff was also very fun, there was a fresco in the back that's nearly completely gone with the compositing.... keeping everything physical has it's twist in the tale... also I've founded out that Cinema 4d0s Color Mapping effect isn't calculated in the passes so I've had to recreate it with levels in AE.
Apart from some issues with the G.I. (flickering here and there) I'm overall very satisfied with the result.
TECH INFOS: frames were rendered in 960x540 and upscaled because a single one took about 30 mins.
G.I. setup was Irradiance Cache for primary method and Light Mapping for the second, with samples set to Low.
Multichannel-Exr for export and linear workflow tested with ACES color profile.
3D model scan by JOTERO @Jotero.com