Spline Dynamics

Spline Dynamics

Spline Dynamics

Spline Dynamics

Spline Dynamics

A series of personal color studies and physical tests deforming splines and geometry within Cinema 4D's dynamics engine.

A series of personal color studies and physical tests deforming splines and geometry within Cinema 4D's dynamics engine.

A series of personal color studies and physical tests deforming splines and geometry within Cinema 4D's dynamics engine.

A series of personal color studies and physical tests deforming splines and geometry within Cinema 4D's dynamics engine.

A series of personal color studies and physical tests deforming splines and geometry within Cinema 4D's dynamics engine.

Year
-
2019

Year
-
2019

Year
-
2019

Year
-
2019

Year
-
2019

Software
-
C4D
Adobe CC

Software
-
C4D
Adobe CC

Software
-
C4D
Adobe CC

Software
-
C4D
Adobe CC

Software
-
C4D
Adobe CC

01—

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01—

This experiment above was a result of combining several deformers onto planes with very dense geometry. The planes were put into cloth objects to create thickness and ran through a cloth dynamics simulation with a hefty amount of turbulence.

The shader was based off of the default Octane Metallic material. It was simply a matter of adjusting the film IOR and roughness parameters. The result is a nifty pearlescent look that changes depending on the angle in which you view it.

This experiment above was a result of combining several deformers onto planes with very dense geometry. The planes were put into cloth objects to create thickness and ran through a cloth dynamics simulation with a hefty amount of turbulence.

The shader was based off of the default Octane Metallic material. It was simply a matter of adjusting the film IOR and roughness parameters. The result is a nifty pearlescent look that changes depending on the angle in which you view it.

This experiment above was a result of combining several deformers onto planes with very dense geometry. The planes were put into cloth objects to create thickness and ran through a cloth dynamics simulation with a hefty amount of turbulence.

The shader was based off of the default Octane Metallic material. It was simply a matter of adjusting the film IOR and roughness parameters. The result is a nifty pearlescent look that changes depending on the angle in which you view it.

This experiment above was a result of combining several deformers onto planes with very dense geometry. The planes were put into cloth objects to create thickness and ran through a cloth dynamics simulation with a hefty amount of turbulence.

The shader was based off of the default Octane Metallic material. It was simply a matter of adjusting the film IOR and roughness parameters. The result is a nifty pearlescent look that changes depending on the angle in which you view it.

This experiment above was a result of combining several deformers onto planes with very dense geometry. The planes were put into cloth objects to create thickness and ran through a cloth dynamics simulation with a hefty amount of turbulence.

The shader was based off of the default Octane Metallic material. It was simply a matter of adjusting the film IOR and roughness parameters. The result is a nifty pearlescent look that changes depending on the angle in which you view it.

02—

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02—

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This second exercise made use of a plugin from the guys over at Valkaari. It's a plugin that acts as a standard deformer within C4D, this one altering geometry to mimick the movement of ocean water. I went on to use the same plugin for the Tycho Outer Sunset visualizer. Most of the effects were created with in-camera trickery like super high or low focal lengths.

Like the previous experiment, the materials in this exercise were mostly iridescent with altered metallic roughness values. The colors are also altered by a custom HDRI map that I animated. You can kind of see this in the reflections.

This second exercise made use of a plugin from the guys over at Valkaari. It's a plugin that acts as a standard deformer within C4D, this one altering geometry to mimick the movement of ocean water. I went on to use the same plugin for the Tycho Outer Sunset visualizer. Most of the effects were created with in-camera trickery like super high or low focal lengths.

Like the previous experiment, the materials in this exercise were mostly iridescent with altered metallic roughness values. The colors are also altered by a custom HDRI map that I animated. You can kind of see this in the reflections.

This second exercise made use of a plugin from the guys over at Valkaari. It's a plugin that acts as a standard deformer within C4D, this one altering geometry to mimick the movement of ocean water. I went on to use the same plugin for the Tycho Outer Sunset visualizer. Most of the effects were created with in-camera trickery like super high or low focal lengths.

Like the previous experiment, the materials in this exercise were mostly iridescent with altered metallic roughness values. The colors are also altered by a custom HDRI map that I animated. You can kind of see this in the reflections.

This second exercise made use of a plugin from the guys over at Valkaari. It's a plugin that acts as a standard deformer within C4D, this one altering geometry to mimick the movement of ocean water. I went on to use the same plugin for the Tycho Outer Sunset visualizer. Most of the effects were created with in-camera trickery like super high or low focal lengths.

Like the previous experiment, the materials in this exercise were mostly iridescent with altered metallic roughness values. The colors are also altered by a custom HDRI map that I animated. You can kind of see this in the reflections.

This second exercise made use of a plugin from the guys over at Valkaari. It's a plugin that acts as a standard deformer within C4D, this one altering geometry to mimick the movement of ocean water. I went on to use the same plugin for the Tycho Outer Sunset visualizer. Most of the effects were created with in-camera trickery like super high or low focal lengths.

Like the previous experiment, the materials in this exercise were mostly iridescent with altered metallic roughness values. The colors are also altered by a custom HDRI map that I animated. You can kind of see this in the reflections.

03—

03—

03—

03—

03—

This experiment was essentialy my intro to Octane Render. The entire scene is monochromatic because it was much easier for me to keep all of the materials basically identical.

The entire movement is a rig comprised of loft nurbs animating over a spherify deformer. The odd repetitive movement looked so neat to me that I rendered out 5 or 6 different angles and edited them later after compositing.

This experiment was essentialy my intro to Octane Render. The entire scene is monochromatic because it was much easier for me to keep all of the materials basically identical.

The entire movement is a rig comprised of loft nurbs animating over a spherify deformer. The odd repetitive movement looked so neat to me that I rendered out 5 or 6 different angles and edited them later after compositing.

This experiment was essentialy my intro to Octane Render. The entire scene is monochromatic because it was much easier for me to keep all of the materials basically identical.

The entire movement is a rig comprised of loft nurbs animating over a spherify deformer. The odd repetitive movement looked so neat to me that I rendered out 5 or 6 different angles and edited them later after compositing.

This experiment was essentialy my intro to Octane Render. The entire scene is monochromatic because it was much easier for me to keep all of the materials basically identical.

The entire movement is a rig comprised of loft nurbs animating over a spherify deformer. The odd repetitive movement looked so neat to me that I rendered out 5 or 6 different angles and edited them later after compositing.

This experiment was essentialy my intro to Octane Render. The entire scene is monochromatic because it was much easier for me to keep all of the materials basically identical.

The entire movement is a rig comprised of loft nurbs animating over a spherify deformer. The odd repetitive movement looked so neat to me that I rendered out 5 or 6 different angles and edited them later after compositing.