NAB Toolfarm Brand ID 2019 + Interview with Teddy Gage
Have you seen our new Toolfarm Brand ID ad, created by Teddy Gage of Shotgun Post? The ad played during the Maxon C4D Live broadcast at NAB 2019. We posted this video a couple of weeks ago, after NAB but we’ve added a short interview with Mr. Gage about working on the piece.
Missed the C4Dlive stream? Catch it here!
An Interview with Teddy Gage about working on the Toolfarm Brand ID
Toolfarm: What were some of the inspirations for the overall candy theme?
Teddy Gage: My wife is Swedish and the candy is sort of embedded in the culture. Saturday is called “lördagsgodis” which just means “Saturday Candy”. It’s a time for the family to hang out and kids get to pick their favorites. And, of course, they bring their awesome design sensibilities into a dizzying array of forms and shapes. I’ve always thought would be neat to fly through a world populated with those designs. It also helped bring a fun, playful creative vibe to the spot that synced well with the range of creative software Toolfarm provides.
TF: Did you find any techniques or tools used that were new to you with this project?
TG: While I’ve been using X-particles for a long time, designing the motion of the flocks took a lot of research and development into new modifiers. Likewise, using particle advection with xplosia fx was new to me, and I was excited to explore that technique for the color-changing coral. I also explored new ways to light and render Turbulence FD in Redshift and getting the magical, colorful smoke was a lot of fun.
Toolfarm: How did you approach caustics and lighting for underwater? Was RealFlow used for some of the water effects?
TG: Well, actually, despite the whole piece taking place underwater I didn’t use RealFlow at all! The caustics were all done with Redshift tricks and compositing to create the “feel. Unfortunately, there wasn’t time to go deep into simulation iterations, meshing and lighting fluid sims. [I] Would love to work on another piece dedicated exclusively to showing off RealFlow’s blazing fast GPU simulations. I use it heavily for table-top production/beauty product and highly detailed liquid motion graphics shots. Really, there’s nothing on the market as fast for look development right now.
TF: Any tricks in Cinema 4D to assist with populating items like the corals, schooling fish, and bubbles?
TG: There were so many tricks, cheats, and hacks – mostly involving X-particles. But I was especially proud of the trail of bubbles from the submarine. That was a neat combination of X-Particles and Redshift. X-Particles can easily emit a steady stream of spheres controlled by dynamics, but what’s more difficult is to give each bubble a slightly different shape and wobble. So, by giving every particle a unique color from a gradient in X-Particles, Redshift could apply a unique value and type of displacement using that color as a data map to drive the wobble. It’s a great example of what X-Particles, Cinema 4D, and Redshift can do together.
For the fish flocking, in the beginning, I couldn’t keep the fish apart without using actual, physically correct, per-particle collisions. This increased simulation times exponentially. I eventually discovered by using a simple repulsion force between particles with constraints I could achieve the look I wanted with much less time. This project would not have been possible in the 3 weeks I had for actual production without these kinds of techniques. Not to mention being able to grab textures from the Everyday Materials Collection and lit with my own HDRI pack in conjunction with Greyscalegorilla HDRI Link.
NAB 2019: A Whirlwind Week in Pictures
See photos from the Maxon Booth at NAB 2019, and much more!
View our NAB 2019 Photo Gallery
TF: You used a lot of tools in this production! Can you give us a quick list of third-party tools you used?
- Maxon Cinema 4D R20
- Insydium X-Particles
- Jawset Turbulence FD
- Greyscalegorilla Everyday Materials Collection
- Greyscalegorilla HDRI Link
- Boris Sapphire
- Blackmagic Design Davinci Resolve and Fusion
- Adobe After Effects & Premiere
- HB Modelingbundle
- Quadspinner Gaea (terrain)
- Greyscalegorilla Happy Toolbox Collection
Toolfarm Brand ID Credits:
3D/Animation: Teddy Gage
Color Grade: Michele Terpstra
Music: Jacob Edelstein
Voiceover: Michele & Dan Terpstra
Sound Effects: Ric Viers
News: Maxon Acquires Redshift Rendering Technologies
There was some big news at NAB from Maxon. Maxon was nominated for the product of the year at NAB 2019. Furthermore, Maxon also announced the acquisition of Redshift Rendering Technologies, Inc., developers of the Redshift rendering engine.
Some new features in R20
Offer unprecedented content creation possibilities to the procedural animation toolset in MoGraph. The Fields feature in Cinema 4D R20 makes it possible to efficiently control the strength of the effect using any combination of falloffs – from simple geometric shapes to shaders and sounds to objects and mathematical formulas. In addition, fields can be mixed and combined with one another in a layer list. Effects can be re-mapped and grouped in multiple Fields to control Effectors, Deformers, weights and more.
The OpenVDB-based Volume Builder and Mesher in Cinema 4D R20 offer an entirely new procedural modeling workflow. Any primitive or polygon object (including the new Fields objects) can be combined to create complex objects using Boolean operations. Volumes created in R20 can be exported sequentially in OpenVDB format and can be used in any application or render engine that supports OpenVDB.
Node-based material system
More than 150 different node-based shaders offer customers a new and streamlined workflow to quickly and conveniently create shading effects from simple reference materials to highly complex shaders. The existing standard material system’s interface can be used to get started with the new node-based workflow. Node-based materials can be made available as parametric assets with a reduced interface.
Cinema 4D R20 offers seamless drag and drop import for common CAD file formats such as Solidworks, STEP, Catia, JT, and IGES. The scale-based tessellation feature of the import function offers individual control of the level of detail for impressive visualizations.
The GPU-based ProRender in Cinema 4D lets customers utilize the power of the GPU to create physically accurate renders. In R20, key features such as Subsurface Scattering, motion blur, and multi-passes are now available. Other enhancements in ProRender include updated code, support for Apple’s Metal2 graphics technology and the use of out-of-core textures.
The modernization efforts of the Cinema 4D core architecture and foundational technologies MAXON announced in 2017 are now more tangible and mature in Release 20. This is marked by a series of significant API adaptations, the new node system, and the modeling and UI framework.
Posted by Michele Yamazaki