R13 Interface Tweaks. The Advanced Tab. The Culling Tab. The Partings Tab. The Cache Tab. The Generate Tab: Type. The Editor Tab. The Fill Hairs Tab. The Hairs Tab: Interpolation. The Hairs Tab: Cloning. The Hairs Tab: Growth. The Hairs Tab: Roots. The Hairs Tab: Count and Segments. The Guides Tab: Symmerty. The Guides Tab: Editing.
Search tutorials Search playlists. Tutorial Length. Close Register an Account Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Upgrade Account. Last Page. Browse latest View live. Introduction in Cinema 4D. The author tried as detailed as possible and practical to describe the what and why the program is done so that you will ever love a wonderful visualization system in Cinema 4D.
Brand new character animation tools, support for stereo and 3D-rendering of the physical help artists around the world quickly and easily create high quality images and animations for various industries. The procedure for treatment: A. And of course, what course Studios F3D without raisins? The final lesson will reveal the mystery of multi-pass rendering Multipass. Contents: Section 1 Introduction What is the course Interactive rendering area IRR Images manager Configuring the Renderer.
Part One Part Two Crown Splashes on DemandCreate and customize crown splashes easily. C4D Mate. Training 5 or more people? Get your team access to Udemy's top 2, courses anytime, anywhere. Try Udemy for Business. What Will I Learn? Learn how to create special effects with Cinema 4D. PC or Mac. This Cinema 4D training course from Infinite Skills introduces you to some of the more. In this in-depth, 86 step tutorial, you will learn how to create a stylish liquid looking logo using Next Limit's Realflow.
Using Cinema 4D as the main 3D package, you will learn how to integrate Illustrator and After Effects to efficiently design, simulate, export, and render your final animation.
The new version of RealFlow C4D 2. I've seen it's possible to use the weight vertex maps from an imported RealFlow mesh to mix colours of different emitters. This tutorial shows He specializes in Cinema 4D, RealFlow, and Syntheyes, and with this tutorial, he shows you how to make a sweet looking liquid logo using RealFlow inside.
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Originally posted on 14 July Scroll down for news of the commercial release. Adopt the settings you see in the next screenshot:. We have just aligned the texture on the eyeball mesh by changing the Length U and Length V parameters. The offset setting put the texture in the correct position.
If you rotate your view again you will see that the iris texture is positioned correctly. This function is useful if you have inadvertently rotated the perspective view instead of the editor view. The texture will complete our model.
Experiment with the parameters of the individual channels to find out how they affect the material. At this point we would like to offer you a few additional tips.
By placing this shader in the Luminance channel click on the small arrow next to Texture and select Subsurface Scattering from the Effects menu the effect is created when rays of light meet a slightly transparent object. Some rays infiltrate the object further and are dispersed, others are directly absorbed or bounce off. Further possible uses for this effect would be for materials such as plastic, milk, candle wax or figurines made of jade.
As the texture becomes brighter the transparency is reduced accordingly. The advantage of these shaders is that you dont have to worry about mapping your texture or seams in your texture because a 3D shader will be calculated for the 3D space. Here are a couple described in detail:. Banji: Calculates complex lighting situations with glass and even makes rear-projection shadow casting on partially transparent materials such as rice- or canvas paper possible.
They can do everything real lights can do and quite a bit more. In this tutorial we will set up a 3-point lighting arrangement. This type of arrangement is used often in portrait photography to achieve an even lighting and is an excellent method for lighting an object quickly and professionally in the 3D world.
We want to light up our little character. A 3-point lighting arrangement begins with setting a key light. As the name suggests, this light emits the main lighting for the scene and will cast the main shadows.
Name it Main Light double-click on the name in the Object Manager. The Omni light will always be created by default. An Omni light emits from its center in all directions.
For our key light we will need a spot light which we can aim directly at the object. To make the key light a spot simply go to the Attribute Manager and switch the light from Omni to Spot. Now our light source has been transformed to a spot.
A spot acts like a flashlight. This cone is visible in the editor and can be manipulated. Now we will aim the spot at our figure. The light now falls at an angle onto our object If this is not visible in the Editor it may be due to the fact that your display mode is set to Quick Shading uses a single default light source instead of Gouraud Shading uses all scene lights. Of course the exact position of the light is strongly dependent upon the cameras angle.
Unfortunately the light is not casting a shadow, letting the figure look like its floating. CINEMA 4Ds lights have an advantage over real light in that you can choose which kind of shadow, if any, they should cast - a plus for any studio photographer. We dont want the shadow to be completely black so well make it a little transparent. Select x as the shadow map. Render the scene. CINEMA 4D offers three types of shadows: Raytraced Hard a shadow with sharp edges, Shadow Maps Soft a shadow with soft edges and Area a shadow that becomes softer the further its away from the object, resulting in the most realistic shadow effect.
Try the other two shadow types. Careful, the area shadow can take a long time to render! The larger shadow map allows the shadow to be rendered more accurately. The lights cone is a little too small. We will change this as follows: Switch to the details menu in the Attribute Manager and set the Inner Angle to 30 degrees and the Outer Angle to degrees.
You will see the result in the editor right away. You can also edit the lights cone by dragging the orange handles. If your graphics card will support it you can set the editors display mode to Enhanced OpenGL with activated shadows. Now were happy with our key light. Next we will create a more even lighting by brightening our figure a little from the other side.
Create another light source in the scene and name it Brightener. Select Area as the type of light. Since the brightness of the lights in the scene is additive, we must dim the brightener a little. This area light illuminates the figure from a different angle and softens the contrast somewhat. It wont cast a shadow since this would cause crossing of the shadows and make the object look bad. The scene is now pretty evenly lit, but we want to give it a little more pep.
Create another light source, name it Color and, in the Attribute Manager, set its type to Infinite. Set its color to turquoise and set its H angle to The position of an infinite light is irrelevant since it always lights your scene in the direction of the Z axis.
This is why we will leave it at the point at which it was created. It gives our Amphibian an interesting color edge and sets him off of the background a little. Your scenes mood can be changed by simply changing the color of some of the lights used. That completes our classic 3-point lighting arrangement. Now the real work starts. If the scene has a background, which is often the case, it will have to be lit as well.
With the proper use of omni lights details in the scene can be brought to light very nicely. But dont overdo it. With good lighting, less is often more. Only add lights when necessary and if the scene can actually benefit from them.
Two more tips before we end: If you have several lights in a scene and are not sure which light is lighting what, simply turn off green check mark all other lights in the Object Manager. The light which remains will be the only one visible.
One trick you can use while aiming lights is to view the scene from the perspective of the light. Selecting this option lets you view the scene from the point of view of an active object, in our case the light. Moving the editor view will automatically change the position of the light when in this mode. This way you can see how the change of position of the light affects the lighting of the object in real-time Gouraud Shading must be active in the editor view.
CINEMA 4D has been able to build a large community of users around it who are more than happy to help newcomers in any way possible, be it through the use of home-made tutorials, directly in one of the many forums or by offering free models, plugins, expressions or textures. Flipping through books which dont have anything to do with computer graphics can also be helpful.
Books about photography, lighting, direction, acting, image creation and painting should be part of every serious 3D artists library.
In addition, you will find a wealth of information on all of these topics online. The Internet is a good source for finding models. Through its special image search function you can find photos or drawings of practically any object. Even mail order catalogs can be a great source of information on how an object is supposed to look. Textures are all over the Internet as well. Note that almost all image are copyright protected and cannot be used commercially.
Taking your camera and photographing textures yourself is even better. Inspiration is everywhere. You can build your own texture archives in no time. Try to get away from the technical point of view. Learning a software is only a matter of time.
A good 3D artist has the ability to use software as a tool that helps him realize his ideas. The real creativity lies with the idea, not the software. So when you create your next scene dont worry so much about creating the perfect object. Concentrate rather on how you can make a harmonious composition with this object with a fitting theme and proper lighting.
Also, think about the message you are trying to send to the viewer. The same goes for animators. A technically perfect animation is a great achievement but it will put your audience to sleep if the concept is bad.
Its not so bad, on the other hand, if your animation is a little bumpy and imperfect but your story touches the viewer. We hope this manual will help you master the technical part of 3D graphics. What you do with what youve learned is in your hands. In this tutorial we will explain the most important functions in order to give you a running start in the world of 3D painting.
In this tutorial we have also put an emphasis on a fast learning curve and a high degree of user friendliness for this application. Lets start with its structure. Introduction BodyPaint 3D will revolutionize the way you work with textures in such a way you will wonder how you ever got along without it! With BodyPaint 3D you can paint your models as they are: in 3D.
This is what BodyPaint 3D, the revolutionary way to texture objects, is all about. In addition, BodyPaint 3D lets you paint in several texture channels at once, and thanks to RayBrush even directly on the rendered image itself. Projection Painting is a tool we have integrated that makes it possible to paint on complex objects without distortion.
Using the UV-tools you can relax and stretch your UV-mesh, no matter how complex it is. Put simply, a UVmesh is a second impression of a polygon mesh that projects the texture onto a polygon object.
The days of 2D texturing are over and you can finally concentrate on whats important in texturing: creativity. Everything that took up so much time with 2D texturing is now done by BodyPaint 3D and you can deliver your projects faster. The second layout BP 3D Paint is set up in a similar fashion, only without the UV-mesh editor window which gives you more room in the editor window to paint.
Viewport Here you can see the object you will be painting. You can rotate, move and zoom the window as needed. The RayBrush mode lets you paint directly onto the object in the rendered version of the view.
This gives you control over the amount of color applied and can see right away how a new color looks on the object. You can relax and restore your UV-mesh. You can also watch the color application process in this window, which will then be visible in the editor window right away. It recognizes layered polygons and attempts to relax the UV-mesh for optimal placement over the entire surface and, if necessary, new placement.
All remaining relaxation can be adjusted manually. As in the standard layout, the Object Manager displays all the objects in your scene. The Material Manager in this layout has expanded functionality, allowing you to manipulate individual material layers and paint on multiple channels at once. Within the Color Manager, you can set up the color or texture that youd like to paint within each channel.
Icon Palettes The command palette contains the Paint Wizard, the Projection Painting and many other tools that youre probably used to using with 2D paint programs.
It also calculates the texture size and channels. Without these bothersome preparations you can begin painting right away. Sample Images Weve reached a part of the tutorial for which words are not necessarily needed. Simply take a look at the following images. Now well get to the heart of this tutorial. Say hello to Claude, our guinea pig for the day. In the course of this tutorial we will alter the color of his right eyelid a little and apply a Bump layer to give a more elephant-like look to his skin.
Click on the BodyPaint 3D Wizard Icon so we can make the necessary preparations to the texture brush symbol with white stars. Click on Deselect All in the window you just opened and apply a white check mark to the eyelid right object only. We have just determined that a texture should be created only for the right eyelid object. Click on Next. Leave the settings in the next window the way they are.
The selection Single Material Mode would create a texture for each object individually. If the box is checked all objects will share one texture surface. Click on Next again. In the next window check the Bump channel. The Color channel is selected by default.
You can double click the little gray boxes next to each texture channel and assign each channel a base color. Since Claude likes elephant gray we will leave the boxes the way they are. Leave the rest of the settings the way they are and click on Finish, then on Close in the next window.
The basic textures have been created and we can start painting. If you have experience with earlier texturing methods and the time it took to even get started BodyPaint 3D will seem like a blessing to you. BodyPaint 3D saves you a lot of time. Now lets move to the second part of the tutorial: the UV-meshes and the first brush stroke. This is the default name for a new material. Of course you can rename the material if you like.
The first texture is the color layer and the second is the Bump layer at the top of the window you will see the abbreviations which refer to these layers C for color and B for bump. Once you have selected the corresponding texture in the Color channel the UV-mesh should become visible in the texture window at the upper right. Luck is on our side! Fortunately, the default UV mesh looks pretty good. The only problem is that the UVs corresponding to the eyelids highlighted in orange in the next image are too small.
The individual UV-mesh polygons of these eyelid edges take up less texture area than the rest of the polygons. Thats why a texture placed into the Bump channel appears larger in these places photograph of elephant skin, for example. We can do without this, though, since we are painting our own skin structures onto the surfaces and not using an existing texture.
We can counter any distortion we encounter when painting manually by using Projection Painting. The stroke will maintain its width no matter how the polygon is spread over the mesh. Move and zoom the editor window view until Claudes right eyelid fills the view. Now select Brush Tool for Painting Textures for applying the color. Set the size to 25 and the Pressure to 40 in the brushs Attribute Manager.
This will render the view and makes it possible for you to control the color application and the look of the strokes for the final rendering. Activate Projection Painting so you can paint without distortion and across any UV seams and start painting. Painting objects with a pressure sensitive pen on a graphic tablet is much easier than painting with a mouse. You can take the same steps for the Bump layer. We will take you one step further, though, in order to be able to explain an important function.
We will paint both layers at the same time! Select the texture in the Color channel of the Material Manager. Select the pencil icon next to the B of the Bump channel as well. You have now told BodyPaint 3D that you want to paint in both layers at the same time.
This gives you more room to work in the editor window. Rotate the view so you can see the eyelid from the top. Switch to the color layers Color menu and set the color to a medium gray which will be the base color for our eyelid. When you paint on the object you will notice that both colors are being applied to the object the gray base color and the black to indicate indentations. If white were the color of the Bump channel it would raise the brush stroke instead of indicating indentations.
The result could look like the following image. Here are some everyday tips with which you can achieve great results quickly and easily. In the BodyPaint 3D menu you will find the function Project On Invisible Parts, which, when activated, allows you to paint on both sides of an object in projection paint mode. Lets assume you want to color the arm of a figure or sprinkle color on the entire figure. With this function deactivated you would have to apply the color with this function deactivated, rotate the arm, apply the color, rotate the arm and, well, you get the idea.
When this function is activated you apply the color in the front view and the color is applied to all surfaces lying behind this surface at the same time.
Just make sure you dont apply color to objects you dont want to color when this function has been activated. Avoid UV-mesh polygons that meet to a point when applying a noise texture to a Bump layer.
The narrower a 3-sided polygon becomes, the coarser the bump noise channel will be rendered. Of course such a polygon has much less area for the noise structure at its tip than it does at its center which results in a magnification effect of the noise structure.
Try to set up each side of a triangulated polygon as an isosceles. This also goes for 4-point polygons when they converge into a trapezoid.
The more square the polygon the more even the structure will be. It goes without saying that you need different brushes for different texture looks. Just select the tab Attributes and click on the small arrow on the brush preview. Here you will find a wide variety of preset brushes corresponding to natural media and detail effects.
You can also load preset brushes from Adobe Photoshop, and save your own brushes. Just make the changes you want and click on the Save Brush button. Now that youve gotten a brief introduction to BodyPaint 3Ds painting tools, you can experiment and practice adding details to your own models. If Global Illumination is enabled, other options will be made available, which allow you to create custom settings for radiosity.
A materials illumination settings are closely associated with the render settings. These settings let you determine if a particular material should be rendered with Global Illumination. Further settings can be applied to individual objects using the Compositing tag.
The global settings can be found under render settings. Here you can activate or deactivate surface and volume caustics separately. Options relating to specific materials can be set in the Luminance channel. In addition, caustics also offers a third setting. You will find this in the light object. The use of caustics requires at least one light object.
Within a lights caustics menu it is possible to determine whether the light source should generate surface or volume caustics. You will find them in the Render Settings under Effect. Further settings for depth of field can be made in each cameras attribute settings.
A post effect will first be calculated after an image has been completely rendered. You can imagine it as a layer which is placed on top of the image after it has been rendered. Quick Tutorial Rendering Youve been a busy bee. You have created a scene, set up the lighting, animated objects and assigned materials to them. Now we want to see the result of all this work.
What you have to do is to transform this 3-dimensional scene into a 2-dimensional image in the case of an animation it would be an entire series of images. We will render the images. Using the main menu 2. By clicking on the icon in the editor window the clapboard farthest to the left. Use the method with which you feel most comfortable. Often we dont necessarily want to render the complete editor view but only a small part of it. This is also no problem. The cursor will be transformed into a cross.
Drag a frame around the region you wish to render. The second possibility is to render only a single object. Select the object Master in the Object Manager. Only the selected objects will be rendered. Rendering the editor view gives us a quick overview of the scene but it does not offer the possibility to process this image further, to save it to the hard drive, for example. The picture viewer will open in a separate window in which the scene will be rendered.
A further window will open. Select the appropriate format and confirm with OK. Of course you can also save a series of images as an animation. Rendering to the Picture Viewer has the additional advantage that you can continue working on your scene if the image should take a while to render.
Size, quality, single image or animation can be set here. If your rendered objects appear pixelated at their edges, this is a result of the anti-aliasing settings. This term refers to how smoothly an edge is rendered. In the Render Settings menu, set anti-aliasing to None and render the scene.
You can plainly see pixelation along the wire now as well. Now set anti-aliasing to Best and render the scene again. All edges have been rendered much smoother without losing clarity. To quickly check the scene you can leave the anti-aliasing set to None or Geometry. None renders the edges without anti-aliasing and very quickly.
Geometry renders the image with sufficient smoothing and offers a good compromise between quality and speed. You can select the best quality when you render the final image. The Filter menu lets you select the type of anti-aliasing filter. If, for example, you render a single image that will be printed with a resolution of dpi on a 8. If you want to print the image in a picture size of 3x5, a render resolution of x will be more than enough.
Animation is a different story. The frame rate, which is also editable in the Output menu of the Render Settings, plays an important role in animation. The frame rate is the speed at which the animation plays. A frame rate of 25 means that 25 images per second will be played. If you produce an animation for the European market you will have to adhere to the PAL standard which uses an output size of x pixels and a frame rate of If you produce a film the frame rate must be set to 24 and a much higher resolution than for television.
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