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Making a metallic material

From: Up and Running with CINEMA 4D Lite for After Effects

Video: Making a metallic material

So here we've made a, kind of plasticky, shiny surface. I'm in Chapter 8_02.c4d if you want to follow along you can open up that as well. Here you can see the material that I've created. What we want to do now is try and make it look more metallic, so I'm going to double-click it to open it up in the material editor. And in here the first thing I am going to do is go back into the, my specular settings just to point out how important the mode is. And its if I go from plastic to metal even with the same shape of specular highlight it gives me a very different result and you'll notice I can still adjust the width and the height and its still has the change an effect on my object.

Making a metallic material

So here we've made a, kind of plasticky, shiny surface. I'm in Chapter 8_02.c4d if you want to follow along you can open up that as well. Here you can see the material that I've created. What we want to do now is try and make it look more metallic, so I'm going to double-click it to open it up in the material editor. And in here the first thing I am going to do is go back into the, my specular settings just to point out how important the mode is. And its if I go from plastic to metal even with the same shape of specular highlight it gives me a very different result and you'll notice I can still adjust the width and the height and its still has the change an effect on my object.

But it's looking a lot more metallic, you just increase the area of preview here. Also the falloff will effect it as well. Increasing falloff will give us a kind of brighter result. But it tends to clip the values a little bit too much. So, just have a little play with those and come up with what you think is the right setting for your metallic material. Some gotta go for yup, we have got 40 and then may be 80 for the height.

So I just change that to 80 and then with your fall off of 10 and an inner width of 20 so. So it's looking fairly metallic, but a bit too clean. So how can we make it look a little bit more interesting? Well you can add diffusion, so you can adjust the diffusion, if you want to make it darker or lighter, and you can choose whether that effects the specular highlight, or not. We'll come back to diffusion, Let's switch off for now and have a look at some other things.

Luminance we really don't want to add because that illuminates the object. That would be good if you were doing neon lights or something. Transparency we don't really want to add, we don't really want our robot to be transparent. Reflection is something that we probably do want to add because we want metal to be reflective. Now the default value is probably a little bit too much so I'm going to bring it down a little bit so it's less reflective and at the moment it's just reflecting whatever is in the environment with it.

I actually want it to reflect the video layer. Though I'm using an After Effects. Now I already save a J-peg from one of the frames of that. And it's in the text folder which is in the project 8 folder. And it's this one here. Instrumental video 91280 by 720. So I'm going to open that and it loads it as a texture. To reflect onto my object. Now generally I want to increase the blurriness so let's just give it a little bit of bluriness.

We don't want it to be too perfect. In fact we're going to go up to a value of 20 there. And I'm also going to boost the reflective here a little bit higher. So we start to see the metallic surface reflecting this image as well as the other objects in the scene. At any time you can go back to the color and make adjustments to that as well. So if I want to lighten it up a little bit, I can just adjust the color, and that just lightens up the color of the object. Now there's all sorts of other elements that you can add to this.

You could have, add a glow to make it look like a, kind of sci-fi, glowing robot. Which is fantastic. I really like being able to add a glow. And you can choose a color if you deselect used material color. You could choose maybe a kind of sci fi bluey purpley color. Maybe not quite as deep as that. Something like that maybe. Gives them a kind of purple glow and you can adjust the slider. To decide how much of a glow you want to give them. Okay I quite like that.

I quite like having glow to my robots. But we're not going to do that because we're going to add a glow in After Effects. So let's switch that off just now. But what I what you to do is play around with the settings. The ones that you've already applied. So including color diffusion, reflection, and specular So I want you to press pause and go and play with those a little bit, and then come back and press play once you've had a play with the controls. I just want you to experiment, and see what you can come up with, and then I'll show you my settings.

Okay. So I'm presuming you've had a little bit of time to experiment to see what all these things do. Basically, my color settings are 203, 203, 203. I've taken off diffusion. I don't think I need diffusion here. My specular settings, I've adjusted. So I have a metal preset, and then I've adjusted it to a width of 40. Height of 82, no falloff and in a width of 16 and that gives me a nice effect and then just to top it off, I just want to show you what each of these adds.

You'll see that that's what specular adds, it adds that kind of gradation between highlights and shadows if you like. And then I've added on top of that That a reflection, and the reflection, you'll see, just gives us a little bit more definition as well. What I've done with the texture is rather than just applying it using the normal compositing mode, is by applying it using the Add mode, we get a little bit more contrast and a bit more definition. It starts to look more metallic. And I've given that a mix strength of 70.

A brightness of 90, and I've left minimum and maximum samples, and accuracy, at their default settings. Now you'll notice, there is a little bit of greeness in here, but we'll talk about how we can get rid of that, a little bit later. But that gives you a little idea about how you can make a material look more metallic by using reflection and specular. Specular makes it look more shiny Reflection makes it look more reflective. So lets close that and rename it. We can double click the name here and just call it metal ball one.

Okay and that's updated so our main robot has a metallic texture.

Show transcript

This video is part of

Image for Up and Running with CINEMA 4D Lite for After Effects
Up and Running with CINEMA 4D Lite for After Effects

104 video lessons · 8855 viewers

Angie Taylor
Author

 
Expand all | Collapse all
  1. 2m 22s
    1. Welcome
      2m 22s
  2. 38m 14s
    1. What is CINEMA 4D Lite?
      4m 23s
    2. What CINEMA 4D Lite can't do
      6m 54s
    3. Opening CINEMA 4D Lite in After Effects
      2m 38s
    4. Quick interface tour
      8m 46s
    5. Navigation tips for CINEMA 4D Lite
      8m 5s
    6. CINEMA 4D Lite preferences and settings
      7m 28s
  3. 22m 34s
    1. Importing CINEMA 4D files in After Effects
      1m 5s
    2. The CINEWARE plugin settings
      4m 42s
    3. CINEMA 4D Lite render settings
      6m 15s
    4. After Effects project settings
      1m 23s
    5. After Effects previewing tips
      3m 50s
    6. Using the Picture Viewer in CINEMA 4D
      5m 19s
  4. 1h 14m
    1. Editing primitive objects
      5m 18s
    2. The Move and Scale tools
      7m 18s
    3. The Rotate tool
      4m 24s
    4. Axis limitations
      1m 46s
    5. Working cylinders
      7m 15s
    6. Linking body parts using object hierarchy
      9m 49s
    7. Spline modeling with Sweep NURBS
      7m 22s
    8. Adjusting NURBS settings
      4m 6s
    9. Using nulls as controllers
      3m 33s
    10. Creating copies with the Instance array
      6m 44s
    11. Carving shapes with the Boole array
      10m 28s
    12. Reshaping objects with deformers
      3m 14s
    13. Adding surface detail with a Relief object
      2m 55s
  5. 55m 41s
    1. Understanding coordinates
      5m 0s
    2. Understanding rotation
      2m 39s
    3. Timeline shortcuts
      3m 1s
    4. Basic keyframing of properties
      4m 31s
    5. Copying keyframes
      2m 3s
    6. Keyframe interpolation
      5m 20s
    7. Adjusting F-Curves
      5m 45s
    8. Holding values
      5m 8s
    9. Using XPresso to link properties: Part one
      4m 17s
    10. Using XPresso to link properties: Part two
      2m 27s
    11. Importing existing animations into CINEMA 4D Lite
      6m 21s
    12. Animating cameras in CINEMA 4D Lite
      4m 37s
    13. Animating using presets
      4m 32s
  6. 46m 30s
    1. Importing music and soundtracks
      4m 12s
    2. Customizing commands and shortcuts
      6m 7s
    3. Adding markers
      4m 25s
    4. Creating multiple cameras in CINEMA 4D Lite
      8m 17s
    5. Cutting between CINEMA 4D cameras with CINEWARE
      4m 23s
    6. Creating cameras in After Effects
      5m 30s
    7. Merging 3D camera data into CINEMA 4D Lite
      3m 10s
    8. Animating cameras with Stage objects
      4m 27s
    9. Extracting cameras from CINEMA 4D files
      5m 59s
  7. 43m 49s
    1. Adding CINEMA 4D text to After Effects comps
      5m 4s
    2. Formatting text in CINEMA 4D
      5m 47s
    3. Creating CINEMA 4D text or logos in Illustrator
      6m 9s
    4. Importing Illustrator text into CINEMA 4D Lite
      4m 38s
    5. Applying material presets to text
      7m 51s
    6. Merging CINEMA 4D files
      5m 51s
    7. Registering CINEMA 4D Lite for MoGraph features
      1m 8s
    8. Using MoGraph Fracture on text
      3m 25s
    9. The MoGraph Random Effector
      3m 56s
  8. 12m 8s
    1. Creating a wiggle expression
      7m 49s
    2. The Reset Position script
      4m 19s
  9. 30m 56s
    1. Applying a custom material
      6m 32s
    2. Making a metallic material
      6m 15s
    3. Adding an environment channel
      2m 20s
    4. Adding texture with shaders
      4m 21s
    5. Built-in material presets
      3m 52s
    6. Combining materials
      2m 41s
    7. Using selection sets to isolate surfaces
      4m 55s
  10. 27m 42s
    1. 3D camera tracking in After Effects
      6m 3s
    2. Creating nulls from tracking points
      2m 40s
    3. Adjusting the Shadow Catcher for CINEMA 4D
      3m 31s
    4. Importing a CINEMA 4D file into a scene
      4m 21s
    5. Exporting CINEMA 4D files from After Effects comps
      3m 42s
    6. Merging objects from CINEMA 4D files
      3m 23s
    7. Manually adjusting scenes between apps
      4m 2s
  11. 19m 18s
    1. Setting up layers in CINEMA 4D
      6m 11s
    2. Compositing CINEMA 4D layers in After Effects
      3m 28s
    3. Casting shadows on layers in CINEWARE
      4m 56s
    4. Adding reflections in CINEMA 4D
      4m 43s
  12. 36m 10s
    1. Using preset lighting setups
      6m 24s
    2. Light types in CINEMA 4D Lite
      6m 38s
    3. Creating visible lights
      7m 56s
    4. Adding ambient occlusion effects
      6m 55s
    5. Optimizing your CINEMA 4D scenes
      8m 17s
  13. 34m 39s
    1. Multipass compositing explained
      2m 28s
    2. Adding passes to render settings
      2m 8s
    3. Viewing passes in the Picture Viewer
      2m 35s
    4. Adding object buffers
      4m 51s
    5. External compositing tags in CINEMA 4D Lite
      3m 8s
    6. Previewing and experimenting with passes
      4m 30s
    7. CINEWARE multipass options
      7m 8s
    8. Adjusting reflections
      3m 2s
    9. Isolating elements with object buffers
      4m 49s
  14. 53m 2s
    1. Extracting 3D scene data
      8m 11s
    2. Adding video elements to a CINEMA 4D scene
      5m 49s
    3. Working with proxies
      10m 2s
    4. Color correction of shadows
      4m 10s
    5. Layer styles
      3m 50s
    6. Adjustment layers
      4m 58s
    7. Setting up depth of field in CINEMA 4D Lite
      3m 10s
    8. Adding depth of field with camera lens blur
      4m 4s
    9. Speed ramps with time remapping
      4m 14s
    10. Motion blur with the Pixel Motion Blur effect
      4m 34s
  15. 13m 59s
    1. Rendering with the After Effects Render Queue
      5m 39s
    2. Background rendering with Adobe Media Encoder
      4m 6s
    3. The BG Renderer script
      4m 14s

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