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CINEMA 4D: Designing a Promo
Illustration by John Hersey

Adding eyes using the Symmetry object


From:

CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Adding eyes using the Symmetry object

Now that we've got the shark mouth pretty well roughed in, we need to start adding the eyes. A shark is symmetrical from left to right, meaning that there is an eye on each side of its head and there's also a nostril on each side of its head. Same thing for the gills and some of the fins. There's a great tool in CINEMA 4D called the Symmetry object that allows you to work on one side of your model and automatically duplicate the geometry onto the other side. I'm going to add a Symmetry object to the scene. It's underneath the modeling objects and it looks like an egg split in half.
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  1. 5m 8s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 24s
    3. Overview of the project template
      2m 37s
  2. 11m 12s
    1. Creative brief
      1m 57s
    2. Sketches and script
      3m 8s
    3. Understanding the graphic animation process
      6m 7s
  3. 25m 5s
    1. Understanding the animatic process
      2m 15s
    2. Importing sketches into After Effects
      6m 20s
    3. Timing out the animation
      10m 4s
    4. Adding onscreen timecode for reference
      6m 26s
  4. 40m 2s
    1. Creating text and logo elements in Adobe Illustrator
      6m 44s
    2. Importing Illustrator elements into Cinema 4D
      8m 24s
    3. Creating guide planes for modeling a rough shark
      6m 13s
    4. Creating a rough shark model
      12m 14s
    5. Preparing a dummy rig using a Spline Wrap object
      6m 27s
  5. 53m 17s
    1. Setting up a project file for the cameramatic
      6m 15s
    2. Animating the rough shark using the Spline Wrap object
      5m 14s
    3. Animating the camera
      6m 8s
    4. Duplicating an animated rough model to create a school of sharks
      11m 4s
    5. Creating a preview movie and importing it into After Effects
      5m 45s
    6. Assembling the cameramatic
      8m 34s
    7. Fine-tuning the cameramatic timing
      10m 17s
  6. 1h 9m
    1. Preparing for the modeling process
      6m 7s
    2. Outlining the shapes using the Knife tool
      9m 50s
    3. Creating the mouth using the Extrude tool
      10m 40s
    4. Adding eyes using the Symmetry object
      9m 57s
    5. Creating fins using the Extrude tool
      7m 11s
    6. Creating the tail and dorsal fins using the Extrude tool
      10m 38s
    7. Creating gums using the Symmetry object
      6m 45s
    8. Creating teeth and finalizing the model
      8m 6s
  7. 15m 5s
    1. Understanding the rigging process
      2m 0s
    2. Opening the shark mouth using the Morph tag
      5m 9s
    3. Using XPresso to link the jaw to the Morph animation
      7m 56s
  8. 33m 25s
    1. Using BodyPaint to prepare the model for texturing
      8m 22s
    2. Applying color to the shark using BodyPaint
      6m 45s
    3. Giving the shark character by painting in the diffusion channel
      5m 29s
    4. Roughing the surface using the bump channel
      4m 34s
    5. Texturing the eyes
      3m 51s
    6. Texturing the teeth and gums
      4m 24s
  9. 21m 24s
    1. Replacing the rough shark model in the intro shot with the finished model
      6m 47s
    2. Replacing the rough shark model in the transition shot
      3m 43s
    3. Replacing the rough shark model in the hero shot
      4m 28s
    4. Replacing the rough shark model in the end page shot
      3m 42s
    5. Updating the cameramatic with the final animation
      2m 44s
  10. 50m 27s
    1. Creating an underwater look using Global Illumination and atmosphere
      9m 47s
    2. Lighting the objects and creating shadows
      6m 54s
    3. Shading the text using materials
      6m 28s
    4. Creating a reflective floor for the underwater scene
      3m 58s
    5. Lighting shot 1: Copying and pasting a lighting setup from another project
      5m 49s
    6. Lighting shot 2: Pasting a lighting setup and making adjustments
      3m 57s
    7. Lighting shot 4: Separate elements in a shot (the shark)
      3m 13s
    8. Lighting shot 4: Separate elements in a shot (the text)
      10m 21s
  11. 22m 7s
    1. Preparing shot 1 for rendering to After Effects
      6m 20s
    2. Preparing shot 2 for rendering by saving and using render presets
      4m 45s
    3. Preparing shot 3 for rendering
      2m 37s
    4. Setting up shot 4 to render in two passes
      4m 4s
    5. Performing a preflight check to ensure clips are ready to render
      2m 9s
    6. Batch-rendering
      2m 12s
  12. 1h 13m
    1. Importing assets and setting up the After Effects project for final compositing
      6m 5s
    2. The intro shot: Using Photoshop elements and noise effects to add atmosphere
      8m 38s
    3. The intro shot: Compositing in stock video footage to add character
      4m 51s
    4. The intro shot: Adding text elements to the composite
      8m 32s
    5. The hero shot: Controlling the look using precomps
      7m 59s
    6. The hero shot: Using stock video footage to add character
      7m 19s
    7. The end page shot: Combining multiple passes to form a final composite shot
      2m 41s
    8. The end page shot: Adding text elements to the composite
      7m 44s
    9. Compositing the transition shots
      3m 47s
    10. Assembling the final composition
      9m 2s
    11. Adding the final audio to the composition and rendering
      7m 10s
  13. 21s
    1. Goodbye
      21s

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CINEMA 4D: Designing a Promo
7h 0m Intermediate Jun 30, 2010

Viewers: in countries Watching now:

Join Rob Garrott in CINEMA 4D: Designing a Promo as he demonstrates how to create a 15-second promotional video that looks and feels like a professional advertisement. Learn how to use a combination of CINEMA 4D, After Effects, Photoshop and Illustrator to go from concept to script to screen, creating sketches, adding animation, and rendering the final promo. This course focuses on real-world techniques, culminating in a finished, usable product. Exercise files accompany the course.

Topics include:
  • Project planning, covering the scripting and initial drawings
  • Using hand-drawn artwork in After Effects to time the animation
  • Creating text and logo elements
  • Animating the camera
  • Organic modeling techniques
  • Rigging models for animating
  • Fine-tuning animation timing
  • Adding realistic textures
  • Lighting and shading techniques
  • Rendering and compositing a finished animation
Subjects:
3D + Animation Video Compositing Projects Visual Effects
Software:
CINEMA 4D
Author:
Rob Garrott

Adding eyes using the Symmetry object

Now that we've got the shark mouth pretty well roughed in, we need to start adding the eyes. A shark is symmetrical from left to right, meaning that there is an eye on each side of its head and there's also a nostril on each side of its head. Same thing for the gills and some of the fins. There's a great tool in CINEMA 4D called the Symmetry object that allows you to work on one side of your model and automatically duplicate the geometry onto the other side. I'm going to add a Symmetry object to the scene. It's underneath the modeling objects and it looks like an egg split in half.

The Symmetry object is a generator, but it's very important to put it in the hierarchy in the right way. Before I do add it to the hierarchy though, I need to delete half of my model. So if I go to my cube object here, I'm going to delete all the points that are on this side of the shark. So let's go to our Selection tool and get into the Front view and I'm going to draw rectangle around all these points, all the way up right up until the edge of the axis. Now, you noticed I didn't select the points that are right along this axis here.

I only grabbed the ones to the right-hand side of it. Let's double-check and make sure that we have all those points selected and if I look down the shark model, I can see at the tail especially that I don't have anything selected that I don't want and that's very important to do first. So, now that I've got those selected, I'll simply hit the Delete key. Now this is a drastic change I'm about to make. So before I do that, let's make a copy down here in the hider and call that 004, and now I'll go back to this model and then delete those points. And the reason I can still see my shark is that I accidentally left on the green status dots.

That makes it show up even though the parent is still invisible. So let's make those both back to gray and now I'll see just half a fish here. Now this is where the Symmetry object comes in. I'm going to take the Symmetry object and place it into the hierarchy underneath the HyperNURBS and that's going to kill the effect of the HyperNURBS, because it tries to only smooth the first thing it finds. Then I'll take the cube and drag it underneath the Symmetry object. Now, the Symmetry object by default mirrors across the ZY plane. Now of course that it flops our shark over, so we have two mouth and that's not what we want.

We really want to have a flop on this side of the axis. So let's go to the Symmetry and go to the Object Properties and change the Mirror Plane to be the XY plane and that's going to flip our shark over on one side of the axis. Now, the Symmetry object makes it very easy to work only on one side of the axis. So if I select my cube, you can see that I have all my points on one side of the shark and if I grab a point here and I move it out, look what happens on the other side of the model, which is great. It means I only have to do one eye and I'll automatically get the other eye on the other side of the shark.

So let's take a look at where the eyes are going to go. Let's switch the X-ray mode back on on the HyperNURB and then switch to the Front view so we can see our shark from the side. Now I'm just using the middle mouse button just now to move back and forth between these views here. It's lot easier than clicking up and clicking on the view icon in the upper right-hand corner. So now we can zoom in on our model here in just the head area. Select the cube and take a look at where the eyes are going to go. I want to make the eye in the same location as the drawing, but I want to make sure that it's right in the center of the polygon.

I already have one here that will work out nicely. So I'll take these points and I'm going to move them back just a bit. Now, it's very important that you not move things with the Symmetry object. If I accidentally move these guys this way, you see I get a hole that opens up in my model. Let's undo that by hitting Command+Z or Ctrl+Z on the PC and I want to be careful not to do that. So, I'm always going to double-check my movement. So I'll move these points back a bit so that my eye is now more centrally located inside that polygon.

I can do the same thing for these points and just move this back a little bit and get my eye right into the center there. There we go. And as I move these points around, I am keeping an eye on where that eye is going to be. So now I've got that eye lined up and now the process for making the eye is really straightforward. But we're going to use a new tool though. something called the Extrude Inner to do that. Now let's turn the HyperNURB X-Ray mode off and then go back to our cube and select Polygon mode and then switch my Selection tool back to the Live Selection.

I'm going to grab this polygon here and what the Extrude Inner tool does is it creates an inset of the polygon that you have selected and we want to use that inset to make our eyeball. So, I'll right-click and do an Extrude Inner and then I'll extrude inward on this polygon. You can see when I drag that to the left it creates an inset version of the polygon without actually changing the shape of the polygons around it. And that's very useful because now I have the starting point for my eye. Let's switch back to the side view and go into point mode and reposition these objects.

I'm going to grab my Selection tool and grab this point here and just move it around a little bit, and grab this point here and just move it around a bit and see as I move those points around, they start to form a little circle area. Now let's turn our HyperNURB X-Ray back on so that we can see where our eye is and you can see as I move these points around, I'm framing up the eye and the drawing and I don't have to be real super careful with it as long as it's about in the right region.

Now I can go back to Perspective view and you can see that my eye is not in the right shape at all. So let's grab these two points and just move them straight out, so that they're lined up with the side of the shark and move these guys out just a bit more. So now we're going to use a combination of the Extrude and the Extrude Inner tool to make the eye. So let's start off by doing a little extrusion inward. I'm going to go to Polygon mode first and then right-click and grab the Extrude Inner tool.

With the Extrude Inner tool active, I'm going to extrude in once just a bit and then I'll right-click and do the Extrude tool and the Extrude tool allows me to extrude in and you see here when I do that, if I drag that right it extrudes outward. If I drag to the left, that extrudes inward based on the normal direction. As I move that in, I now have a little indentation here. Now if I use the Extrude Inner tool one more time, I will create an inset polygon and now when I use the Extrude tool again and extrude back out again, I have a nice round eyeball that comes up right in this position.

You can see that it's on both sides of the shark, right where it needs to be. So now, we've got our eyeball done and we can use the same technique to create the nostril. So let's go to the side view and the nostril's going to go right about in this area here. I need to add another cut so that I have a little more detail to work with. So let's go to our Knife tool and switch back to Point mode, right-click and grab the Knife tool, and I'm going to make a cut right around here. It's very important when you're working in the Symmetry object to cut right on this edge here so that you know you're cutting all the way around your object and so that gives me I think the detail that I need for my nostril.

So if I switch back to the side view, then I can grab just these points in the center here and open them up just a bit to give myself a little more room for the nostril. And now I'm going to create the nostril right in this region here using the exact same technique I did for the eyeball. So let's switch to Polygon mode and grab these two polygons right here. We're going to start off by doing an Extrude Inner. An Extrude Inner will create an inset of those polygons and then let's move these points around a bit.

I'm going to scale them using the Scale tool. So hit T on the keyboard to grab the Scale tool. I'm going to scale on just on the X-axis here. That's going to squish them together and then I'm going to scale them on the Z-axis, which is going to squish them together this way. You can see that it makes the polygons a lot more friendly for moving them around and makes our nostril not quite so wide. So let's squish them on Z-axis and then I think that's not a bad place. Let's move them out just a little bit to smooth things out a little.

Now we can do an Extrude Inner. So we go to Extrude Inner and extrude inward by dragging to the left and then we're going to simply move these polygons in and that's going to create an inset for our nostril and then we can move those polygons forward just a bit, but the nose on a shark is actually set so that water doesn't come in as it's swimming forward. It sort of gets gathered up and pushed into this opening. So now I can smooth that out a little bit by just grabbing the points and switching to the Selection tool and just moving things around a bit.

I'm being very careful about where I put my points at. I think that's just about got it. I just cleaned up that one little spot right there and moved this point out a little bit to get rid of that ridge. What I like to do is always look at the other side of the shark and you can see from this side I've got a nice little nostril going. I want to do a little bit of refinement here, but I think it's pretty darn close. Now that I've got my nostril in position and I've got my eyes in position, I think we're just about done with the head.

We're in pretty good shape now to move on with rest of our shark. We're going to leave the Symmetry object in place because it's going to make things a lot easier in the modeling process for creating other symmetrical elements like the pectoral fins and the gills.

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