Siggraph 2017 Interview - Cinema 4D & Tutorial Artist David Ariew from Eyedesyn.com Video Lecture | Create stunning 3D Graphics with Cinema 4D - 3D & Animation

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what up bros I'm here with the biggest
bro of them all where we David Arya he
just finished his presentation and all I
got to say is space space space so I
took copious notes okay not copious but
I took some notes we had to pull you
away from your schmoopy groupies in
order to get you over here and the
actual schmoopy to get you over here get
an interview because you're just you're
so famous now so I really liked your I
like the angle of your talk the digital
DP stuff I think you and I we were doing
an episode like Matt was out of town or
something one time and we kind of
started to have this conversation about
being a digital DP and so I really like
that you've like done a whole
presentation on it
your second talk is tomorrow
is that true yeah I thought you had a
second time Oh somebody had a second
talk I thought you had to for some
reason I could redo that talk we got the
mighty Tiger to because I'm good okay so
people had a second talk yeah has a
second talk and Jeremy Cox has to though
nearly it looks like Jeremy's are like
the same but twice I don't get it but
yeah Beagle has two different actual
talks with different content okay so
then okay I thought you had another one
so you're super relieved now because
you're done relieves I'm done yeah okay
awesome these moments are like some of
the most like anxiety inducing of my
life but they're also awesome and now
you can just go have a drink and relax I
can drink and eat and just party that's
like yeah it's like why do I do this to
myself it's because I like you guys and
I just want to hang out and party then I
have to do this stupid talk so we've
gone off of the tangent just like we do
on the show so let's talk about motion
graphics a little bit so let me pull my
notes back out here so the whole digital
DP thing
I wanted to talk about that you you got
into lighting which is really cool and
you also got into camera moves and and
like if you watch a lot of stuff online
when people are first starting out doing
camera moves in cinema 4d especially if
they don't have a background in anything
video maybe if they come from like some
sort of a print graphics background
their camera moves can be pretty bad so
I like that you've gotten in the camera
move yeah a lot of I see a lot of people
on Instagram have beautiful if you've
seen the second they go to animate it
it's like camera starts and stops you
know or just something like really weird
or like does some weird jiggle or I
don't know like it just doesn't often
look cinematic like they're able to
design a cinematic scheme even light it
nicely you know it's weird to me and
then like when they go to do the motion
there's a really big gap in knowledge
there so I'm hoping to kind of fill that
gap a little bit the linear Keys is one
of those is one of those things doing
linear keys so that your shot doesn't
start and stop within the shot it just
looks like it was a continuous camera
motion that had already started before
the cut I had a question for you because
you were talking about the stage object
and most people don't know about stage
hobs
objects so tell everybody about that a
little bit the stage object is a little
weird object from yielding times in
cinema 4d that lets you cut between two
cameras within the context of the same
shot so you don't have to render out
necessarily like a hardware render pass
and bring it into premiere and do that
it there it's a much quicker turnaround
to be able to check continuity of two
different you know like tight too wide
or you know pushing to pulling like you
know just edit point check how your
edits are working within the same scene
do you use the stage objects in the
actual render no I don't actually not
for a single scene in that music video
but it's really useful for demoing in
this case I was just curious mean ask
you something that weird that happens in
octane whenever you use a stage object
and motion blur at the same time the
first frame is there's no that's always
true with I didn't know that's true the
stage object but that makes sense
they're like often the first frame has
no motion blurring octane it's a weird
glitch that I don't get but it's the
opposite it's used to get like a crazy
motion blur
weird I haven't seen that you know done
that it's because the camera it thinks
the camera is going from over here to
way over here although that makes total
sense that's so crazy
Octane's like too smart for its own good
what Matt's just shaking his head I
forget what I was going to say about
that oh yeah so like I like to render
like a single thing like it's good for
checking continuity but I like to render
individual shots with handles a lot of
the time so that I have a little bit of
room and edit to play you know and so
it's not super locked you know I also
like that you talked about the what is
it called attract before and after which
I have seen a million times and I've
never really clicked on it to see what
it does and I'm like oh well that's nice
I bought them yeah there's track before
and after which just extends whatever
you know interpolation you got going I
wish this existed in After Effects
because what I'll do in After Effects is
they'll have a linear two keyframes and
I want to extend a shot right and then I
have to like drag the keyframe up and
match the angle of the previous two and
then delete the middle keyframe does
that make sense yeah yeah so in this
case it just creates this infinite you
know extension of your keyframe you know
and you can just drag your keyframes
anywhere and you'll see it continue
whether it's a rotation or a position
keyframe anything there's also an
oscillate before and after that'll let
you just continuously like loop
animation I've used that yeah yeah yeah
well that could have saved me a lot of
time I would have known about that
totally fog clogged and I'm saying is
something that's really hard to master
and it seems like you have spent the
hard work and time trying to figure that
out have you done a tutorial on that yet
yes I have there okay I need to watch
all of your tutorials then okay cool
yeah the future cities tutorial has a
long segment on volumetric screening
clouds and then also creating the fog
and showing you how you can even combine
those two systems into one to create
like fog plus clouds but just don't
combine 2vd bees together
yeah don't mash 2vd bees together
because then they get this bizarre
artifacting that pisses me off and the
world will explode yep the computers
don't explode and Ahmed will be mad at
you and Ahmet will come down from Turkey
and punch you in the face
oh man okay so talk can you talk about
what you were working on now and in the
future this year right now I am so I
just finished up a weird fluid sim
project that was all these X particle
bubbles and fruit splashing and that was
really fun to get my head around though
I hate doing those intense Sims the
caching takes forever but the look was
cool ultimately I'm currently this month
focused on moving my ass from Sandy or
from Charlottesville San Diego as well
as the rest of your body rest of my body
to my stuff's not really my stuff
actually I'm just going to sell
everything and clear the slate but I'm
teaching two VFX classes and I'm going
to integrate VR so this is two kids and
Charles fields can be really fun element
3d and then one on cinema 4d like light
and then I'm also doing the intro to
Katy Perry I don't really talk much more
about that but it involves more space
space space and mitch myers vgb packs
and his a planet pack and i'm creating
planets and you know nebulae and
satellites and stuff you know so i'm
creating some fun stuff there and you're
working with I'm working with Frederick
- Kent of Slovak render yeah I love that
guy and then though we're kind of
working a little bit more independently
but yeah so we might there might be more
crossover there but there's that and
then I'm also doing this music video for
this dude that I've worked for before
that involves like viral fluid sins like
crawling over people's bodies and all
this weirdness but I've got too much
going on right now and I need to like
pass off one of these projects or get
one of my friends to you know but you
guys are booked so maybe in October I
don't know we'll see yeah I don't know
the deadlines before that but you know
well thanks yeah we'll work together
soon yeah cool now people want to find
you online where can they find you at
David or if or you can go to Aria of
visual comm which is a RIE Vivi is you
ALS comm and you're also on your
tutorials and I design yeah all my
tutorials are on I design I'm going to
keep pumping those out the next one is
going to be on more octane scatter and
recreating that kind of look that Chris
Smith did a while back there's
topographic maps so the little cubes but
creating that with some extra
displacement we're showing how you get
this interesting sliced look but that
just breaks down how you do it
octane with like way more settings and
Achtung scatter like driving all of the
all the scatter based on textures and
also creating multiple instances to
create interesting strips of color in
there random color shader stuff like
that and also how you can use that same
technique to create like a porous like
just a Bashara that kind of like scales
down towards the center with like a
radial gradient so got some ideas there
I also want to do tutorials on like
light tunnels on all sorts of crazy
yeah cool well and you can also be heard
sometimes on the bro draft podcast just
sometimes yeah I just once in a while I
think I've been on like 20 of them
it was jerks jerks so I think that about
wraps it up we're coming to you from the
show floor at SIGGRAPH 2017 David thank
you so much and we'll see you for beers
later awesome sounds great I can't wait
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