Cinema 4D R19 Hair System Crash Course

Averell in today's video I'm gon na give you a crash course in cinemas, hair system. This is not going to be a full in-depth exploration of everything it does. This is going to be an introduction. It'S going to be a whole bunch of tips on how to make it look good how to make you render faster and how best to use it yeah. Let'S get going, shall we okay, so first things: first, you're gon na want to grow some hair onto a surface. Now, I'm gon na take a sphere and just a bit of advice here: don't grow hair on parametric objects unless you're, absolutely certain you finish with them. This object has a certain number of polygons here's the mesh. What you're gon na do is grow hair out of all of these vertices or all these polygons and the danger is if you grow hair into the surface and then for whatever reason, change how many polygons it has all hair falls out. So just a bit of advice where possible, although not strictly necessary, but where possible, grow hair on an editable surface. Okay, so we've got our surface. We'Re gon na grow hair into this thing. Nice big hairy ball. Let'S go add the hair. So let's go to our simulate menu and we've got a few menus. We'Ll come back into some of these and have a little look later. But let's first of all start off with just adding some hair so make sure your object is highlighted, because when you choose add hair, it will grow onto this particular object. Okay, pardon the bird outside. I think I think I've got a cuckoo here are what we call the guides all these spikes each one of these is not your hair. Each one of these is representing a certain number of hairs, so, for example, this blue line here this is representing a hundred hairs, and that goes for the same four of them. So don't think, oh, I need more of these because you don't we'll get into how we use these in a minute. But what these are? These are your guides, so basically sculpt these to the length the direction and the shape that you're after and the hair will broadly follow all these shapes. So how do we do this? How do we sculpt and brush this hair? Well, let's knit back up to our simulate menu, come down to hair tools and we'll rip the menu off, because there's a few things we want to have a look in here so hit the strip at the top, and here are our hair up. Petals first thing we're gon na do is brush it. Now, with the brush. You get this nice circle. You can resize it with the square brackets on your keyboard, like a brush in Photoshop, for example, and you basically just go - you just have at it. As you click and drag, you will pull and brush all of these hairs around. So you can use this to sort of style and sculpt and sort of brush it all in the direction you're after okay cache your brush tool, you've got the cut tool which is kind of like an electric buzzer. You know so trim all the hair off kind of job. You just hold down a mouse bun and anything which touches this circle will get trimmed off. So these hairs over the top. For example, when I hold down my mouse button as soon as it goes over, it trims and slices them down now just watch out at the minute when I try and cut this cutting tool can only cut the dots at the end, so I can sort of Buzz it down, but what I can't do is, I can't come over here and slice through the middle of these hairs. If I click and hold - and I drag through the middle - nothing happens. This is because of the mode we're working on. Let me just grab another menu for a second. If I go to simulate and we go to hair mode, I'm going to rip this one off as well. We are only working on the tips of the hair. If you want to be able to control everything, go for the guide, so let me just show you show you this with a brush tool and one we were using a second ago when I brush this hair. All I'm actually doing is grabbing the end of the hair, the tips and dragging these things around what I can't do I'll get a smaller brush. I can't actually brush any of this. All I can do is grab the ends. I can't get the middle. So if you go for guide mode, this will first of all not only allow you to brush the entire guide wherever you are, so I can smoothly brush these things from any point, but this should also work with our cut tool. So if I go for cut, I can now trim zip through the middle generally. I would actually suggest you, probably after guide mode. More than tip mode tip is nice that you can sort of grab the end of the hair and sort of move it around. But guides is nice in that most of the tools work a bit nicer, so maybe go for guide mode most of the time. Anyway. There'S our brush there's our cut tool. We'Ve also got straightened now at some point, you're going to probably screw these hairs up they're going to get pushed inside they're gon na get mangled up. The straighten tool basically allows you to click and drag your mouse and straighten them. It pretty much just puts them back where they started. When you began your sculpting, your your hair sculpting rather now, obviously you probably don't want to do this to absolutely everything. So what you're going to want to do is select certain hairs and only straighten those ones off. Well, that's another menu, hair selection. Now, just one thing you may look at this and think we'll hold on life selection, rectangle invert. Is that this exactly the same as just the regular selection menu? The answer is, unfortunately, no the hair tools, the hair selections and so on, although they may have exactly the same names. Unfortunately, they are just fundamentally different tools. This is just purely from how it was made, how it's programmed you got to keep in mind the hair system. At this point, oh god, history lesson erm ten years old, 15 years old, it's quite an old system. It'S still really good at the SI. It'S one of the best hair systems in sort of most 3d software, but it is, it is a little bit older, so it's not quite as modern as perhaps it could be. Anyway. Let'S rip off our hair selection menu and in here for example, we've got live selection, so I could select. I could select some hairs and now, when I go for my straighten tool again, it will only affect those particular ones and that of course works with the brushing and the cutting and everything else, the last too long and mission just for now. So there are others in here, but another video, perhaps the last two longer mission for now, though, is scale. We just deselect these hairs, okay, so with scale. Let'S get rid of these just often when you start your hair style. The first thing you'll want to do is just say universally. I want much much longer hair or I want much much much shorter hair with the scale tool. You can really quickly just click and drag to scale, hair up or shorten it down much much shorter. So usually start off with a scale tool, and then this will give you a sort of rough starting point for your hairstyle, but, broadly speaking, between scale brush cuts and maybe a little bit straightening. These are actually most of the tools you tend to need, whilst sculpting your hair style. Okay. So let's call that a bit there done. Let'S have a look at our actual objects. When we added our hair system, cinema gave us two objects. One of them is this: hair object up over here and the other one. Is this hair material down at the bottom now the best way to describe the difference between these? What they're for the hair object, is your technical settings, how many hairs? What render quality? What physics sort of all the nitty-gritty geeky bits, the hair material, is your artistic choices. What color is it, how shiny, how frizzy, how curly so there that hair styling side thing if you like now we'll come back to this? Let'S, let's give a look at our hair object? First now we have a lot of settings. There are tabs after tab after tab. Now again we don't need to get into too many of these. But what I'm gon na do is a big starting point is show you just how to get the hair looking good, because it's all very well and good choosing colors and brushing the hair, how you want it, but if it doesn't look good when you render it This is all a little bit pointless and just before I go any further with this, just in case you happen to have different default settings. Please make sure your render engine is set to standard. If you happen to be using physical, please just switch back to standard for now I'll explain why a little bit later in the video, but for now this is kind of essential, okay. So, first of all how to get it looking good. If I hit my render button here, the way we go there's our hair looks now I mean their hair's sure, but it doesn't look very good in order for the hair system to look decent there's a few certain things you've got to do so, regardless of what Your intention is, there's certain things I would always get out of the way before I really start trying to style and sculpt my hair and the first thing is more hair. You can see we have very very few hairs here. This head is kind of bold, so the first thing I would suggest is go to your hair object, go to the hairs tab, and in here you can see how many hairs you've got five thousand. You know what five thousand is. Maybe a beard or a big fluffy mustache at best you are not doing a full head of hair with five thousand hairs. So to begin with as a sort of minimum requirement, I would say: stick a zero on the end and go for fifty thousand hairs. As a starting point, this will add a couple of seconds to your end at home, but will still be pretty quick and there we go so this is now much fuller, this far more hairs in there. It still doesn't look very good, but we don't have such an issue with it. Going bold in terms of final numbers, don't be afraid of using hundreds of thousands of hairs and in the case of maybe a Yeti or an abominable snowman millions of hairs. Okay, so 50,000 is just what I'd really consider sort of your minimum of getting anything decent. Looking right, so that's more hair, but it still looks enough. So how else do we get it? Looking good? Well, one of the key things is for hair is it needs to get darker the further into the hairstyle? You go, so it's gon na be sort of nice and light around the outside and then let's make use of the camp. Shall we it's gon na get darker and darker as you go into the hairstyle? So let's do this? Basically we're talking about shadows so add a light sauce. Just a plain old, boring, omni light is fine and raise it up over to the side and maybe pull it sort of tours the camera a little bit so sort of sitting roughly in front we're sort of shining down from the front there. And the key thing is: give it some shadow - and I do just have to say there are some technical, I'm not going to say limitations, but there are some technical considerations. You should keep in mind the best quickest, nicest looking shadow type 4. Hair is absolutely a soft shadow map. If you go for one of the other shadow types, hard, raytrace shadows, you're gon na get these really overly crisp detailed shadows, it's not gon na look great and airy shadows will take quite a long time to render. So with that in mind, if you can get a get away with a soft shadow map, absolutely do this it'll, look better! Ok! So there's one and just because we've got this big dark area over on the other side, let's copy and paste there's another one and we'll just sort of shove it over there. On the other side, maybe put it a little bit further into the background, so we've just got a couple of lights, one on either side shining down on the object. Now this will add a little bit of render time, because it's now got to work out the shadows, but immediately you should see we now. We now have a bit of depth. It actually looks like it might be: a 3d object. Okay, so the last thing, the last vital thing we have to have on our scene is going to be some imperfection these hairs, even though we may have brushed them and sculpted them and snipped them and everything else, they're gon na be too perfect. Each hair is sort of gon na run completely parallel with the one next to it, there's not really going to be any Criss crossing or frizziness sort of spiraled curls. We need some imperfection for this hair to look nice so have a look down at your material. In this, material will properly cover this in a moment, but have a look down at frizz. Freeze is just a sort of zigzag diseases left and rights. Kinky imperfection for your hairstyle turn this on, but do turn down how strong the frizz is 50 %. We'Re. Basically, talking pubes at this point, so let's tone this thing down to about maybe five ten fifteen percent something around there and give it another render, and there we go right. We now have what I would consider a decent starting point. It looks okay, we've got shadow, we've got some imperfection and it's not going bold so this for me, if I'm gon na do any sort of hairstyle. This would be my kind of starting point. Add more hair boost it up to fifty thousand add some shadows for the light sources, so it gets darker in the middle and add some frizz, otherwise it's all just a little bit too perfect and too pristine. So, let's dive in and actually start really properly styling. This thing shall we so if I go down into my material okay, so this is a special hair material and there's a lot of channels down the side, but don't worry most of them are actually just one or two numbers, they're actually really quite basic things, but We'Re gon na start the top work our way down and I'll show you. The big, important bits, you're gon na, want to know all right color. So in the color settings we have this gradient running along the top. This is the color from the root of the hair up to the tip, so we have really dark brown going to a sort of medium, lighter brown, if you want to throw other colors in here, go for it. You'Ve used a gradient before this is exactly the same, so let's say I'll. Have some hot pink at the halfway point? Do keep in mind by the way most of the hair below the halfway point is probably going to be so far down into the hair style. You won't really see it much so most of the colors. You want to see, keep them over to the right hand, side or this gradient, because that's the outside, where you're actually going to notice it the most. So let's say we start off with some pink. We could then maybe make it turn green, then perhaps a bit of orange and then we'll finish off the tips of the hair with a nice bright red. So you can get you see you little preview there, but when I hit render give it a couple of seconds and there we go nice sort of reggae color scheme, hair style so throw in whatever colors. You need that's one of your choices, but the other thing you might want to do is put some artwork in there, and this is one of the things which makes the hair system much much more usable usable for other things if you're thinking. Ah, I don't do characters. I don't need hairstyles well. What about a Formula? One race course track where the grass has a corporate sponsors logo sprayed into the grass or the same sort of thing for a football or a rugby match or maybe you're doing an architectural interior, and you want a nice custom. Zebra print pattern. Rug on the floor. That'S the hair system, so you've got a couple of choices for doing this. You can either just directly choose the image or you can try and position it yourself now. The one thing I will say is you see this texture slots, don't use it. The texture slot is only for putting a texture onto a hair and mean a single hair. This is almost entirely useless and pointless. Do not use this. What you're, after is the root setting. This allows you to put a bit of artwork onto the root of the hair, so let's go load an image and what I've got laying around textures I'm going to place. Let'S go for this picture of a merry-go-round horse, probably a bit too detailed birth. I think you should still work right when this texture is loaded into the root of the hair. Those colors will grow up out from the root through the hair and to the outside. So if this hair was short enough and it weren't quite so long and intermingling all over the place, you would be able to sort of quite clearly see that artwork generally. If you want to see the artwork more clearly, you can have to choose your hair shorten it bring that down getting a lot closer. Now I might need more hairs because short hair tends to show bald spots more prominently, but basically that artwork is projecting onto the hairs and sort of showing on the surface. So you do need quite short hairs or you need a lot more of them for it to show up, but you can essentially just put your own custom artwork on there. So if I had some sort of bumblebee texture, I think ownest. Let'S just give that a shot, shall we web browser, I know, or was it maybe a leopard print leopard print texture images? Did you do something quite chunky? Let'S go for this right if I just chuck this on my desktop yes and I load that into cinema drag and drop on it goes. This would, in theory, give me brilliant, perfect, a nice leopard print finished to the surface. You can use this for clothing. You can use it for rugs, you can use it for sort of custom, spray-painted grass fields or, if you just want some, really fancy hairstyle. Yes, you'll load an image in there that works fine. But the question is here: how do i position the texture and, if I'm honest to the best of my ability you don't, this is simply going to use the UV data of your object. So if that's okay, fine it'll work, but it means otherwise. Generally, I can't actually position the texture, so let me just show you an alternative for doing this. Let me clear this out, rather than texturing the root of the hair, so it grows up out. Consider using surface mode surface mode will pick up the texture on the surface of the object it grew from and then that will be used for the colors. So if I make your regular material put my artwork into the color settings, so we'll just put our leopard prints up in here, and I then texture the underlying sphere that the hair grew from in the first place, and course keep in mind. This will allow me to choose whatever projection and size and scale I like so maybe I'll make it twice as large and oops at a zero. So I want this nice big chunky, leopard print because I've textured the underlying object. I can now go into my hair turn on surface mode and by the way, these next settings will change slightly depending on which version of cinema you're using they changed about a year ago, around version 18. I believe so. Basically, these next few settings determine when the hair grows from the surface, should it consider how bright or dark the shading on the surface was now. The answer for this is almost always no just use the artwork we've applied. So tell cinema ignore the shadows on the underlying surface and ignore the illumination. We just want to know what color was the hair, so these your settings may be slightly different if using an old version of cinemates. What I'm saying anyway, get rid of these two and hit render, and now the artwork you see here. That is what will go right into your hairstyle okay. So that's the color moralist, taken care of and thick you my bulb. Eight! You can actually blend between the two, so you notice, my leopard print has completely overtaken my sort of a pink green Rastafarians game. Here you can actually mix between the two. If I go 50/50 I'll have half leopard prints and half fancy colors or you've got a few other mix modes. Again, you will use Photoshop. You know how this stuff works. If you don't go with someone else's video, okay, so there's the color. Let'S go down this list and I will skip over a few because some of these things aren't massively useful or at least they're, not the kind of everyday things most people are going to need. So let's skip a few. Let'S skip the backlit color, that's just a more advanced thing for another day specular. This is how shiny the hair is. You see these sort of a highlights, this shiny glossiness on the surface like on any material you can choose. The specular highlights for the hair material. The primary specular is a really bright highlight in the center of the hair, and then the secondary highlight is this sort of smooth satin gloss finish for the rest of the object, so just choose the strength for both of those and the sharpness. If you want to again I'm not going to get into this too much, it chooses the highlights on the surface transparency again gon na skip over this. Most people are not into the hair system because I want to make it transparent that can I can wait for another video. What I will go into first here, though its thickness. Now you know - and I know cinema has really awful default sizes. You add a sphere. This thing is two meters wide. I can't even do a two meter pair of hands. This is a fifty centimeters imagine for time, bigger than this. This, this head of hair of God, is about absolutely gigantic. It'S the size of the room, I'm in so in order to compensate for this you'll notice, the thickness of the hair. There are a centimetre these hairs of this thick. These are the thickest hairs ever and I've had a German girlfriend if you're doing something to scale. You will absolutely need to thin down these hairs. They look ok on these default object, but on a real world scale thing they're, ridiculously chunky, so choose how thick the hair is at the roots and at the tip so Kim. Won'T they all taper towards the end of the hair, if you're trying to make your hair look more realistic, this is one of the most important things. So let me just zoom in a bit, let me add a few more hair, so fifty-thousand. Let me bump this up to a hundred thousand and I'm gon na turn down the number of segments. I'Ll explain why later, but just very quickly, for now, this makes it render a bit quicker. Okay. So when I render this these hairs, which I will also scale up a little bit by the way scale do here, we go okay. These hairs will be quite thick, big chunky hairs. If you want things to look more realistic - and I will also just say softer, like a thinner softer hair - reduce the thickness of the root. Let'S go all the way down to maybe point one of a centimeter which is still quite thick in real terms and that's also thin down the tip of the hair. So, let's go to 0.03, so just sort of a third as thick. The hair will now look much softer there we go so it can make quite a big difference to the style of hair you're going for do keep in mind. This also works. Conversely, if you're trying to do a sort of cartoon, manga style, hair bump it up go for a much higher number look: let's go, maybe four centimeters down 2.2. This will now give us a much chunkier, cartoony kind of style, hair but yeah. Basically, a much thinner hair will give you a much lighter softer finish to your hairstyle. It will also take a bit longer to render because to be realistic if your hairs are thinner, you're gon na need more of them to stop the hair head. Looking bold so keep that in mind as well to think of the hair, the fewer hairs you need, the faster rendering gets anyway useful thing to know about down the list we go now. I'M gon na skip a few, but I will come back to them. What I want to do first, are the style channels, and by that I mean frizziness kink curled twist. What am I looking at in here wave things which sort of determine how it looks now you might be thinking a whole hold on. We'Ve got a hairbrush. Surely, if we want curly hair we're getting our hair brush and brushing it round into a circle know what you got to keep in mind is that these guides should only generally, there will be exceptions. Don'T write in to complain. These guides generally are just there to choose how long the hair is, what direction it goes in and sort of what rough shape it has. If I want a frizzy zigzag, spiky hair or something which curls round into a really tight curl, that hair will use these settings and it will sort of zigzag across that line or if I turn on the cold setting, it will come out in the direction of This hair this guide and it will then curl around into a tight little spiral, so you're better off using these, because it means you haven't, got to sit there, brushing and combing and sculpting each and every individual hair one by one say. For example, if I go for curl, you can choose how far the hair curls, let's give this a render see where we're starting from so this is the default 70 degrees of curl, but you can see there's now a bit of sort of curl on there. This is, this is curled round 17 degrees, if you want tighten it even further, but this is where the segment's come in. My hair has six segments, so you know how normal objects they're made of polygons little flat segments. Well, the hairs also made of flat segments, and if I'm trying to curl, hair round and round, you need enough segments for it to do that actual curvature around to make the shape. So if I want a hair which goes up and spirals around into a tight curl, I'm gon na need sort of one two, three, four, five, six, seven, eight nine ten, twenty thirty forty you're going to need quite a few segments in order to get that shape. So if I really really curl this hair, let's say three hundred and sixty degrees. When I render this it's gon na look all sort of straight and faceted and naff. In fact, let's make the thickness thick again just so it's easier to see, and let's zoom in so this is with six segments, and you can see it's just made of lots of ridiculous straight segments. This is not. This is not curly hair. I'M gon na need. I'M gon na need a lot more segments, so if I bump this up to sixty segments ten times as many, it will take quite a bit longer to render so it's preparing the render system it's working at the shadows, but at least now you can see there's Some sort of curvature on there, I probably have made the hairs too thick, let's just thin those back down again make them a bit thinner and zoom in, but at least with these 60 segments cube where'd that come from at least with these 60 segments. It will at least start to do something now they're fast rate than I thought did I whoops hey, miss clicked the dangers of using 1 2 & 3 to navigate occasionally typing in a wrong number into a numerical setting. We'Ve all been there. Don'T pretend like you haven't done that before anyway, here's our 60 segments here with the curl turned on and there we go. We'Ve now actually got curled, spiraled, hair coming back in again and frankly, most of these settings in the bottom. Half of this all do exactly what the name suggests. So fries will give you a tight little zigzag back and forth. Kink will just make the hair sort of change direction every now and then, like sort of broken bent straw Bend we'll just make it lean to the side curl. This makes it spiral around into a tight little curl twist will give you a spiral going around and around and wave will give you this wave, which goes back and forth back and forth. So a lot of these things are just really obvious as to what they do and all you've really got to do. For these, things is just type in the very first number to choose how much it waves, how much it curls about the only fancy thing really is that they will have this variation setting, which so you can choose how much difference there is in these effects. So, for example, if I have curl their curling 306 degrees plus or minus 10 %, so some will be curling 400 and some will be curling 300. If you want them all to curl. The exact same amount just knock that down to zero or if you want them to sort of have more variation. So it's a bit more random. Well just bump. This number up and you'll get far more variation in there. So I'll leave you to experiment with those in your own time, but let me mention a couple of these, which maybe aren't quite so obvious as to polities they do. One of these is kink. No one were to amass density density is how much hair there is. So you might think will hold and surely to choose how many hairs I have I'm just choosing my hair object and typing in the number over here yeah, but the density channel lets you control it with a picture. So let me just speed up my rendering for a second, let me knock down the number of segments turn off the curl and go back to density. Okay. So my hair at the moment looks like this. What you can do is in the density Channel. You can load in a grayscale, black-and-white image and on that image, where the picture is white, you will have the full amount of hair and where the image is black, you will have no hair and any shade of grey in between will ramp up how much hair You get there so on the screen. Now I'm gon na I'm going to throw a really really old product. I did using a bit of hair. This thing is like 10-15 years old in order to get this path weaving through the forest. I'Ve drawn a black of one image where the whole thing is white, but I've drawn a black squiggly path running through, and this is what stops the hair from growing on the pathway to show you here on this actual project. If I just load in a grayscale image, which I probably should have prepared before, I started recording this in this video. Oh, whatever got laying around any alphas, no okay, fine, we'll nip on to a web browser and find something so black and whites logo. We'Ve got image is: do tell you what let's go for this Wi-Fi logo here, you'll do fine! Okay! So if I load that black/white Wi-Fi image into my density Channel, how do we go? This will now have no hair growing in the black areas. So it will probably be easy to see if I just shrink the hair down a bit. So it's not quite so long ignore the ignore the leopard print. I think we're. I think, we're done with our leopard print now surface mode off lose that texture, okay. So I've placed a Wi-Fi logo into my density, so you can clearly see where the the black text is. Let'S get our density back up where the black text is that has now trimmed off the hair. So it's basically just useful for trimming off hair in certain places. So if you want your character to go bold or you want your hair to sort of just fade out in certain areas, throw in a grayscale image and use the density settings and that will determine where the hair goes. You can, by the way, do the same thing with the length. So, if you're trying to control how long the hair is but you'd rather do it with a picture, put a grayscale image in the length settings and that will now be used to control. How long the hair is right? Okay, what else we've got in here really! The last thing I think I want to mention is clumping. Clump is a way for you to get hairs to stick together. So in a real hair system, you have a certain amount of grease and moisture and it causes they use on camera. Here now go it causes certain hairs to stick together. So my hair is not just this volumous fluffy thing: it's a certain number of hairs, sticking to one another sort of forming various clumps of hair and that's what clumping is gon na do for us. So let's just hit render let's see our base state. So nice, big fluffy hair. If we turn on our clumping, we have two numbers: how much it clumps and what size the clumps are so radius. This is how much hair is going to end up clumped together from the from the scalp of your hairstyle. So let me just bump this all up to sort of a really strong value - let's say, let's say, do all of the hair 100 %, so I will now have 40 centimeter slabs coming out two points. This naturally works a lot better with longer hair styles. So let's grow our hair considerably, but if I have 100 % clumping to do this is 100 percent of combat hair, so very sort of Japanese II manga kind of hairstyles there. But naturally, of course, you don't have to do quite so much if you just want to get some smaller little pinched bits, you can definitely do that with some lower values. So if I reduce this down to maybe 25 and 25 so again, this is how many hairs clump - and this is by how much they do it. So if I go for just sort of 25, 25 I'll, just generally get the hair sort of vaguely coming into areas, some of them start sticking together. You can see there's sort of a the odd gap here and there with yeah. If the hairs come together, there has to be a gap somewhere else, so think of the clumping as moisture and grease within a hair. That'S really the best way to think about this. Okay right! Well, that probably about does it for the material. I think that's all. We really need to know in there such let's go, investigate the hair object, so I've already kind of mentioned the two big important bits, the hair page, how many hairs and how many segments in terms of render time, I will just say, multiply the numbers together and That gives you an idea about your render time. So what I mean with that is, if you double the number of hairs, double your render time. If you double up the number of segments, double your rents home. Basically, cinema is just drawing a series of small straight segments and how many you have is really a very good indication of how long this all takes to process. So if you're doing really short hair, maybe a big football pitch go for a low number you're, not on a whole football pitch with a million hairs you're, not gon na notice how curly and bendy all these hairs are. So just save yourself a lot of time and go from maybe sort of three or four segments unless you're gon na get really close to it, you're never really gon na notice it. Let'S see what other settings do we care abouts that can wait for another video dynamics. Okay, this stuff has physics. If I grab the sphere and I'll get my movement tool. When I press play the hair roll falls down which is kind of nice. It'S a nice system. You are free to move the the object around and the physics will react. Accordingly. Rotation works quite nicely because it will suffer slings it out with a bit of g-force. You might not want this, though, so on your hair system. You can either just turn the physics off entirely just disable the physics. If you just want your hair to stay where it is, you know, get rid of the physics you don't want to waste computational power. Doing that or another choice you've got. Is this rigid checkbox? This, which is cinemas physics system, into an alternative mode where it tries to keep the hairs roughly in place, but it does still have physics to it. So when I turn this on you'll watch the hairs fall down, but when I enable the rigid checkbox it'll sinan go, but don't you know you do need the sound effect and anything I do to the object. The hairs will bounce back and forth. Accordingly. If I move it, so that's that's quite a nice system because it allows you to actually scope the hair, keep it in the right shape, but still have some movement in there. If you're thinking, that's that's nice, but it's a bit too rigid. Can I blend between the two you're? In luck, you certainly can. If you come down to properties, you have where's, it go on the stiffness. This is basically how rigid the hairs gon na be. So if I knock this down to 50 %, let's go a bit lower, maybe 30 Louis still it's a bit of a stir, so change this okay. So this is now 15 % stiffness. You can see there's a lot more bounce in there. If I move the object, it keeps bouncing and moving for much much longer so turn on rigid, but have a play around with that stiffness setting and you can sort of blend as to how rigid the hair goes, don't go down too low. Otherwise, you can see here it starts going a little bit mental as the hairs don't have enough stiffness to hold up, but they have enough stiffness that they want to try and get up. Basically, they just go a bit mad. So don't go too low on the stiffness setting; otherwise it all goes. A bit goes a bit wrong. Maybe 15 is probably the minimum. I would actually go with this. Okay, there's your physics now forces you don't really particularly need to come into this tab, but I just want to mention you know: you're old, tacky, old particle system, which maybe you don't really use that much anymore. All these effects work with hair. So if I go for some wind - and I add some turbulence to the wind system, I can let me just turn off the rigid setting, so they're more freely flows. I can actually take this particle system wind object and if I crank up the strength I can actually blow there. So that's that's kind of nice. Actually, you can use these. These wind objects to move and rotate and blow the hair. They work quite nicely with fall-off. If you enable the fall-off setting on the wind just give it a shape like a box, this is now a box of wind, so anything which goes inside this box will be blown. So it's quite nice because you can now sort of keyframe this and blow the so I can blow it over to the sides blow the hair turn it off. Here comes a gust of wind over to the side, so yeah that kind of nice, and you can pretty much use most of these particle effects. So wind turbulence, rotation gravity does work, but it's kind of pointless because the hair has gravity anyway. Friction if you want to slow it down, this is like air resistance. The wrist, maybe not quite so, much use but yeah. Definitely, wind rotation turbulence, they're, quite useful, but still speaking about physics, we can also apply physics, collision detection to these objects. So goodbye wind, hello, cube now, obviously it won't do anything to begin with. If you ever use, if you've ever used, cinema's physics before you'll know, you need to add these rigid body tags and it's kind of the same here. If I choose an object - and I add on a tag simulation no sorry tags hair see, even though hair is considered the simulate menu - it's not over here for some reason anyway, hair tags, hair, collider cinema can now use this to collide with the hair. So I am free to use this to brush the hair out of the way or it can just sort of rest down on top of it and sort of dangle off the edge there yeah. You can now use any other object to control hair good for putting footprints into the grass as someone's boots squashes, some hair, maybe or if you want to sort of brush it out the way. If someone brushes their hand through the hair, you could do that quite effectively. All you got to do is choose how much friction there is how much sort of the object drags the hair out of the way and bounce. So when the object hits the hair, does it just sort of push it out of the way or does the object hitting the hair, make it go between you and sort of drag itself out there? You probably want to turn the bounce down quite low. You don't really want bouncy that'd be a bit silly. Anyway, they go. There'S your physics, papa papa bomb cache. Now, maybe you've got a lot of hair and it's really slowing the system down cash. It tell cinema. Could you pre calculate the physics and there you go? You can now scrub, through your animation, to see where the physics make it move and the playback will be faster, because cinema no longer has to keep calculating the physics of the object so much the same as the rigidbody system or the particle baking or any other Cloth physics in the software just hit calculate, and if you decide you know what I don't like that delete it empty the cash okay um that will do down here for now again, this is not an end of the video. I just want to skim through the important bits I just want to mention. Render settings have a look in your render settings and you will find there is a hair render section in your render settings now. It'S not so much that I really want you to change anything in here. There'S nothing particularly too exciting. Now it's really! I just need to quickly mention the render engine. A lot of you are probably using cinemas physical render engine, which is fine. It'S great! It'S a good render engine, but you got to keep one thing in mind when it comes to the hair system. Cinemas hair renderer is not actually making 3d geometry. When I hit this render button - and I render this out it's like it might a cube. I guess all of this hair that you see this is not actually a 3d object. This is actually just being drawn onto the rendered image after its rendered. Now it looks good the lights and shadows can affect it. It will sharpen reflections and refractions it's quite nice. In that way, but it is a fake, it's a really fast rendering nice looking fake, but it's a fake. Nonetheless, this fake only works with the standard render engine. If you ever use cinemas physical render engine. What will happen is all of these hairs. All 100,000 of them will get converted to real 3d geometry, so the benefit is that it will cast proper real shadows. You can use global illumination and light will bounce back and forth between the hairs. So you can potentially get a better looking image, but obviously there's going to be a massive gigantic. Honking downside and the downside is your render times will go astronomically through the roof, because you've suddenly added millions upon millions of polygons to your project. And if there's one thing you don't want to have to do with global illumination, its have millions and millions of polygons. So just keep that in mind you may wish to consider doing the hair renders with a standard render and then maybe composite them back over the top of your final image. If you really want to use this a different engine for the rest, but yeah hair is a lot faster and a lot smoother and better rendering in standard than isn't physical. So do bear that in mind. If I'm doing a project with lots of hair in it, I will to be honest, consider most of the time just switching back to the old standard hair. The old standard render system, because physical just makes the render times go really silly right. I think that might be about it, so we've done the hair system, we've done the materials within the render settings yeah. I think that'll do us for this video right 50 minutes right. I hope that's been useful, so were once again. This is mash from 3d fluff feel free to go. Have a look at the website: 3d fluff dot-com. I'Ve got some other videos up there. You can take a look at and why, if you need to ask any questions, i'm on twitter, you can email me contact at 3d, fluff comm, I'm on Facebook. You know if you need to have a chat. If you want asking any questions, please do feel free to so yeah. Once again, this is mushroom. 3D fluff I'll, see you again in the future. You you