 What's up everybody, EJ here and in this tutorial I'm going to show you how to create this really cool shrink wrap effect inside of Cinema 4D. I'll start by showing how to set up your objects for a faster sim, how to dial in your dynamic settings, and finally I'm going to show you some tips for how to get a nice plastic wrap material in Redshift. And if you want to follow along with me, you can download the project files I'm using in this tutorial. You can find the link for those project files in the description right down there. Are you ready to get started? Let's jump right in. Alright, so let's prep all this up. I've got all these objects and what we're going to do is just bunch them together. So I'm just going to manually and painstakingly move all these objects together. And yes, you're going to watch me place every single one of these. Got to make sure you don't innocent too. I'm just kidding. No, we're not going to do that. We're going to do this a much faster way, clump all these objects together. So I'm just going to select all the objects here and then go over to the dynamic placement tool. It's very aptly named because what it allows you to do if I just go and grab this little purple arrow here and move this out, you can see if I bring this in, we're going to use dynamics to kind of shrink everything down and have everything kind of collide into each other, not intersect but collide and respect the dynamics. And you can see that we can place objects just like this, which is really awesome that we can dynamically place objects like this. You can even select individual objects, move these around and dynamics will be applied to it. So we won't have any intersections and there we go. We just saved ourselves 20 minutes of watching me place these by hand. So great. Go us for not wasting each other's time. Okay, so now we've got everything dynamically placed. Let's go to our move tools. We're not dynamically placing anything anymore. And what we're going to do is kind of talk about how we can make a less dense mesh than this because with simulations, the denser the mesh, sometimes it'll slow everything down. So what we can do is since all of these objects are going to be as a collider, that's going to collide with the shrink wrap object. It's probably our best interest to make a low poly version of this because the denser the mesh, the slower the viewport performance could be. So what we're going to do to do that is I'm going to first create a connect object. I'm going to drag and drop this top level null object that has all of our other objects underneath it into that connect object. And what this is going to do is basically create a duplicate of all these objects, but they're going to be treated as a single mesh. So what we're going to do now is place that connect object inside of a volume builder. We've got some voxels there. I'm just going to bring down the voxel size to about 0.5. And I'm going to bring this in to a volume mesh so we can mesh that. And then you can see if I turn all these off, they're kind of right on top of each other. But what we can do is give a little bit of breathing room and kind of expand this mesh a little bit so we won't have any intersections. And to do that, we're just going to grab a SDF dilate in erode. You can see that if we have a positive offset, we're kind of thickening that mesh. But if we subtract and go to a negative number, we're kind of shrinking everything. But all we need to do is just give this a little bit of breathing room, maybe 0.5. Let's turn these off and on. So just a little bit of thickness so we can prevent any intersections there. And I think that's looking good. Now at the end of the day, if I hit NB to get our shading with lines, you can see that's still a dense mesh and the mesh looks pretty ugly. So what's going to fix that? It's the most magical new object in Cinema 4D and that is the remesher. So here's our janky old mesh. If we place this in the remesher, what we can do is not only remesh everything to a nicer object, but we can actually change the mesh density. So if we want a quarter of the mesh density, we can put in 25%. You can see in the lower left here, this is going to be working its thing. But I'm just going to leave this up here and we can see the difference between the pre-remeshed and the post-remesh. Oh yeah. And just look how beautiful that looks. So here's our low res proxy object that we can use as a collider. Thank you, remesher. Thank you, ZBrush. Thank you, Maxon. And what we're going to do is we're going to make this object editable. So we're just going to right click current state to object and that will create this polygonal object. And we can turn off all these objects and leave them there, though, because if we decide we want to change any of these underlying objects underneath, we can just go ahead and quickly remesh and create a new polygonal object, a new collider if we so need to. You know, client changes and all that good stuff. So now let's create our plastic object that will be the shrink wrap. And we're just going to use a sphere for that. This is a very big sphere. So we're going to shrink that down and let's change the type to hexahedron. So it'll be more evenly subdivided. And let's crank the segments up to 100. Let's go to basic and turn on x-ray. And what we're going to do is make sure that we don't have any intersections from the start because once we apply dynamics to these objects, if you have any intersections from the get go, it's not fun. It's not a fun time. I've seen it. It's not enjoyable. So just make sure there's no intersections from the get go. And that's looking good. Now let's apply dynamic. So we're going to go ahead, we're going to right click on the sphere, change that to a cloth. And then this remesh is going to be our collider. It's going to be our proxy object collider. So we'll just go and change that to collider. Now we actually don't need to see this remesh in our scene, nor do we need to see it in the render. So I'm just going to double click the stop lights here till they're red. And so all you'll see is the underlying objects underneath there. And let's hit N to remove those lines. And let's just hit play. And we got the floppy bag. This is not a floppy bag tutorial. So we need to work this a little bit more. So we have gravity affecting our scene. So let's turn off gravity altogether by hitting controller command D. Go to simulation scene and let's just zero out gravity. And now we just got a floaty ball in space. And I saw a little pop there from the get go. So I think maybe our sphere is intersecting just a little bit. Maybe our remesh object here. So let's see if this is okay. That fix it. So we don't want any intersections from the get go. Good. So now what we have is just a floaty ball. And what we need to do is have this sphere, this plastic wrap. We need this to get sucked in and attracted to our objects. So what we're going to need for that is some forces that are going to attract the plastic wrap to our objects. And so how we're going to generate forces is by going to the simulate menu forces. We're going to use a field force. And what a field force allows you to do, if I go to the object tab, is allows you to use fields as forces, some very aptly named things in Cinema 4D. And so the great thing about a field force is you can use pretty much anything as a force. So I can even drag this remesh object into our field force and let's just crank the radius up. And this is basically how far out from the original points of this object the remesh object is the force going to be kind of being generated from. So we don't need this to go that far from the points of the initial surface. And if I hit play, you can see nothing's really happening. But if I increase the strength, you can see that it's just getting pushed away because this is more as a repellent than an attracting. So if we want to attract, we need a negative force to kind of suck this in. So let's go negative 88, what up. And let's go rewind. And now you can see suction sound effects are free with this tutorial, by the way. And you can just see this gets suctioned in. And if we turn off x-ray on this object, let's actually just drag and drop and talk this here. Show always. And so now we can just quickly click that on and off whenever we need to. So if I turn that off, we can see these nice little wrinkles. This will be even nicer if we throw this sphere into a subdivision surface. Look at that. Very nice. But this doesn't look very plastic-wrappy. It just looks like a crumpled plastic bag. Again, that's not the tutorial we're doing here. So we need to have this suction even more. So just the surface suction here is not enough. So what we can do is we can combine multiple fields together. And the one that's going to work really well for us is a spherical field. And what a spherical field is going to do, you can see all these vectors pointing inwards. What this is going to do is create a attracting force towards the center of the axis center of this spherical field here. Accidentally move the field force. So let's just reset transform there and move this down. So now we'll have a force that's going to attract our sphere towards the center point. And so what we can do is mix this force, set this blending mode to normal. So you can think of these as just like blending modes on layers and Photoshop. And so I just want like a 50% strength of this spherical field and 50% of the remesh layer underneath. And so you see all these vectors. Let's hit play. And so what we should see is everything just getting repelled again. So what's going on? Well, there's a thing that's going on in the spherical field where if we go to direction by default, the directions inverted. So whatever this direction is, it's going to do the inverse and we don't want that. We want this to also go inwards. So we're just going to uncheck invert direction. Very important step. And now we should have this suction force inside. And because of this spherical field, we'll have even more suction going inside than we had before. So if you turn this off, you can see plastic bag turn this on. We get even more suction there. So what we can do to make this look even more like some plastic wrap is number one, add more detail. We need more wrinkles. Let's up the segments here to 250. Let's go crazy and let's hit play again. So now you can see a lot more wrinkles getting some really nice suction going on there. Let's turn off the x-ray. So a lot of nice wrinkles. We can push this even further and make this even more wrinkly. So how we can do that is by going to our field force. Let's add a random field here and we'll leave that at max blending mode there. And we'll go to the field and let's change this noise type to wavy turbulence. And we can't see what this is looking like just yet. Let's go to view settings and turn on the view plane and let's turn on. Let's up this view plane resolution. You can see this is the noise that's going to be applied here. And I really like how this noise is kind of looking because if we go to the remap here and maybe crush this a little bit. So we're getting a little more contrast. This is going to be used to kind of randomize the vectors and the way that the force is going to be applied here. So if we go to this random field here, maybe bring down the scale a little bit. And let's go to the view settings. Let's turn that off. Let's actually turn off the field force. We don't have all these vectors there. So we're going to use that noise on top of everything else. And you can see how we're getting all these really nice wrinkles because of that random field. Now that's looking really nice. If I turn off the random field, you can see how everything's just kind of more straight. The wrinkles are more straight. But if we turn on the random field, it's looking a little bit nicer. So just some subtle stuff we're stacking on top of one another here. Let's go to the cloth tag and kind of dial in the cloth properties of this to act more like a plasticky. All right, before we get any further, if you're really digging this tutorial so far and you don't think it sucks, actually, if you think it sucks, it's actually not that bad because we're talking about suction here, right? Shrink, wrap. Okay, if you like this tutorial, despite my really terrible jokes, I would really appreciate it if you would hit the like and subscribe buttons. I mean that subscribe button, the new one, so nice and shiny. Also, alert you anytime I drop new content on my channel and I could use all the support I can get because I don't use free software. So the first thing we're going to do is we want more bendiness to this. So I'm going to hit play and let's crank the bendiness up to like 9999. And this is just going to allow our cloth to fold amongst itself a lot more. And you can just see all these nice little wrinkles. Another thing we can do is have the cloth have a little bit more stretchiness. So if I put this to 3333, you can see this is going to allow a little bit more stretch to it. And now you're really seeing that suction happening. And this is looking really, really nice. Now another thing that we can have added to this cloth simulation to have it act more like plastic is plastic. It's got, you know, stickiness to it and it's got some friction involved. So what we can do is up the friction here and we can put 250 for that and stickiness at 500. Because Maxon kind of in the help section, if I go to show help here, they even say that, you know, you should use like a 2 to 1 kind of thing. So where is that? So yeah, for best results, friction is applied at half the value of stickiness. So that's what we got right there. I'm just listening to Maxon. Maxon knows what they're doing. And then target length. This is either going to shrink or expand your cloth beyond its initial size. So when you heat up plastic in a shrink wrap situation, you know, that that plastic is going to shrink a little bit. So we'll give this a target length of 90. And then for mass, you know, plastic super light. So let's give this a lower mass. And because we changed the mass, we want that to be taken into account with our field force. So to do that, we need to make sure that consider mass is turned on. Otherwise, it's just going to totally disregard any changes in mass that we make. So now let's rewind. And so we made our changes to the bendiness, the stretchiness, the mass. That's getting that's getting shrink wrap pretty nicely there. But you can see we got all this popping going on. You might see some intersections as well on your end. So let's kind of mitigate that and fix that. So commander control D and we'll go to the simulation tab, simulation tab in the simulation tab. Anyways, and what we can do is let's make this even more wrinkly and sub steps. The lower this number is, the less accurate, the more floppy your cloth will be, the higher this number, the more accurate, but the more stiff your cloth. But to kind of counteract that you're putting in lower sub steps or lower accuracy, we can up the smoothing iterations and what the smoothing iteration is going to do as well is if you have popping in your simulation, it's going to mitigate that. Another thing we can do is this get, you know, it gets sucked in pretty quick. So what we can do is add a little bit of damping, say 50%. And this is going to help our particles that are driving the simulation to come to rest a little bit faster because the higher the dampening, the more energy loss increases going to happen over time. So this is looking really nice like this. And then if you're having any intersections with geometry intersecting itself or other objects, you can up the passes here, the collision passes as well as the extra iteration. So that should help that. And so this is looking really, really nice. What we can do is have this get to a point that we like and then hit escape to pause the simulation, turn on that subdivision surface and kind of just see how that's looking. That's looking really, really nice. Of course, when you're working with your own scene, it's always helpful to build to real world scale. So the values I'm using here for say the random field, even the values of the strength of this field force is all dependent on building stuff to real world scale. So again, let's get Bob the Scaly guy in here who is built to a six foot human. So you can get a sense of the size of this clump of objects and the plastic by the size of this character. If these objects were way bigger, we would have differing results. So size and scale matters when it comes to simulation. So just keep that in mind. That's your regular PSA when using dynamics. Here's another PSA. If you're really digging all the dynamic tips here and you want to learn more about dynamics and cinematography in general, then head on over to schoolofmotion.com I've got a couple of Cinema 4D courses and if you use the promo code iDesign100, you can save $100 on either of my Cinema 4D courses. All right, let's go ahead and dive right back in. So let's go ahead and I got a bunch of materials here. Again, you can download this project file with the materials. You can find the link in the description. And we're just going to apply this plastic wrap on top of this subdivision surface here. And so let's go ahead and now let's go and get our redshift render view here. Let's dock it to the side. Let's see what's going on here. Let's press play. Oh yeah, that's looking pretty good. But one thing we can do is, you know, this plastic is so super thin. This is like saran wrap. What I like to do is maybe give a little bit more thickness to this object. And what that's going to do is add a little bit of distortion to the transparency of that material. So to do that and add a little thickness, let's go and grab a cloth surface. And let's just first change the subdivision to zero and let's place this underneath the subdivision surface. Place the sphere underneath the cloth surface. And now nothing's changed this yet. But if we change this thickness to, say, 0.2, watch this update. Boom. You can see we have a little bit of blurriness coming from that material. And again, you can check out the material and what's going on in there if you download the project file. But what I have going on here is I got some transmission, which is basically transparency. And then some extra roughness, which is, it's just extra roughness to the material. Everything is aptly named. So if I turn this off, you can see that our plastic is going to be a little bit more clear to see through. And you might like that look. You might not. I mean, art direct it as much as you want. But I like just that little bit of extra roughness, as they say, just to make everything a little bit more frosted. Maybe this is a little too much. Just point, you know, put 0.5 in there. So I really like that frosted little bit there, frosted plastic. And then you can go in here and, you know, adjust all the different stuff like subsurface. I had a little subsurface scattering there, the random walk chef's kiss, you know, you can check out all the materials in that project file, as I mentioned before. But just wanted to show that that cloth surface is pretty big. As far as, you know, adding that thickness to the cloth, you can just see how that look changes depending on the thickness value you put in there. So now at this point, if you just want to render a still, you could totally just, you know, right click on this object and go to current state to object. Or if you wanted to animate this and maybe have this be a plastic wrap animation, you can see that if I just remove this plastic wrap here by just hitting X and then that'll just disable that. If I keep hitting play here, you're going to see that our plastic is going to continue moving around here. So one thing that I found that helps mitigate that is I'm just going to open up a finished project here. I'm just going to show you the things that I key frame to calm down the simulation. So number one is this field force strength overall. So here is my field force. Basically what I did is I just key frame the strength from 80 to negative five. So over time we'll have less force acting upon that cloth. And so we'll get less movement of that cloth. And then what I also did is over time I cranked up the damping value, which is in your command and control D project settings. Now I just key frame the dampening. And again, what damping does is removes energy from the particles. So when I key frame the damping from 50 to 100% over 15 frames, what that did is help the particles to calm down. Like they had too much sugar you need to calm down or taking those particles, putting them in time out. And the result is a nice little plastic shrink wrap animation that if I turn off the subdivision surface and cloth surface, you can see over time get that nice suction in there and then everything kind of comes to a nice rest and voila. Now one last bonus tip for you. If you want to create a less wrinkly type of shrink wrap effect, all you got to do is simply just bring down the bendiness, bring down the stretchiness and then adjust the target length to something even smaller. And that will give you a less wrinkly shrink wrap effect. And this actually looks a lot closer to the shrink wrap effect tutorial result that I did years ago using the old cloth dynamic system. R.I.P. And that's a wrap. Get it? Shrink wrap? Now I made this tutorial because of the many requests to update my older ones. So thank you comment section people for that request. And despite my best judgment, I do read the comment section. So drop a comment. Let me know how you like this tutorial. Just let me know what you're doing. It's been a while. You know, we should really hang out more. I miss you comment section person. All right, I'm out of here. Thank you so much for watching until next time. Go out and make something. Do this at home, kids. They can't breathe very well.