IntroductionWelcome| 00:04 | Hi I'm Rob Garrott.
| | 00:05 | Welcome to CINEMA 4D Essentials:
Materials, Textures, and Lights.
| | 00:09 | Creating and animating 3D objects is really
only part of the process. How you light and
| | 00:13 | texture your objects has a huge impact on
how your audience perceives the objects in
| | 00:17 | your scene and how they feel
when they look at your images.
| | 00:20 | First, we'll create materials in the Material
Editor, examine the components of materials,
| | 00:25 | and look at how to apply them
to the objects in your scene.
| | 00:29 | Then we'll look at how light behaves in the
3D world and how different light types give
| | 00:32 | you control over your scene.
| | 00:34 | Lastly, we'll see how the C4D Module
BodyPaint can be used to paint color directly on the
| | 00:39 | surfaces of your objects.
| | 00:41 | So let's get started with CINEMA 4D
Essentials: Materials, Textures, and Lights.
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| Using the exercise files| 00:00 | If you're a Premium member of lynda.com, then you've
got access to the exercise files for this course.
| | 00:05 | I'm working with them on my desktop, and the
files are organized into subfolders that
| | 00:08 | go with each chapter.
| | 00:10 | Inside each subfolder will be
the files used in that chapter.
| | 00:12 | Note that the files in each chapters folder are
different based on the needs of that particular chapter.
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1. Creating Color and Texture with MaterialsUnderstanding material channels| 00:00 | In the real world, every object has a surface,
and we perceive that surface not by the surface
| | 00:06 | itself, but by the light
that bounces off of it.
| | 00:08 | Different surfaces refract different
wavelengths of light, and so that allows us to perceive
| | 00:13 | the color based on the
wavelength of light that it reflects.
| | 00:17 | In the 3D world, you have the ability to
create your surfaces independent of the light.
| | 00:22 | That gives you tremendous control.
| | 00:24 | You also have to understand a few
things about the way materials work.
| | 00:28 | I'm going to create a material by double-
clicking here in the Material Manager down at the bottom
| | 00:33 | left of the interface.
| | 00:35 | You could also go to Create
menu and select New Material.
| | 00:38 | So I'll just double-click and
now I've created a new material.
| | 00:42 | The properties for this material
show up here in the Attribute Manager.
| | 00:47 | Now a material object is one of the few things
that you can have in your scene and not have
| | 00:51 | in the Object Manager.
| | 00:53 | You notice that I have nothing in my Object Manager,
my scene is empty, and yet I still have a material.
| | 00:58 | In order to be able to see what material does,
I need to have an object to apply it to,
| | 01:02 | so let's click on the Primitive
objects and add a sphere to the scene.
| | 01:07 | So I'll take the material from the Material Editor
and drag it on to the sphere in the Object Manager.
| | 01:13 | When I let go, my sphere
turns a different color.
| | 01:16 | It turns to default color,
which in this case is a white.
| | 01:20 | In order to see the properties of the material
again, I need to click on the material here.
| | 01:25 | I could also double-click on this tag.
| | 01:27 | You notice that I now have something
called a Texture Tag applied to my sphere.
| | 01:32 | This Texture Tag represents how the
material is applied to the 3D object.
| | 01:38 | In the material, there are some properties; the
Basic properties, Color, Specular, Illumination,
| | 01:43 | Editor, and Assign.
| | 01:45 | We're going to start off with the Basic
properties, because it's the Basic properties that tell
| | 01:49 | us the most about how materials behave.
| | 01:52 | Whenever you're creating materials in CINEMA
4D, or any other 3D program, you should first
| | 01:56 | ask yourself some important questions about
the object that you're going to apply it to.
| | 02:00 | What is it that I want the viewer to
know about this object? Is it bumpy?
| | 02:04 | Is it smooth? Is it transparent? Is it opaque?
| | 02:08 | What color is it? Is it shiny or reflective?
| | 02:11 | Those answers will tell you which of
these material channels you want to turn on.
| | 02:17 | Each of these checkboxes
represents a different material channel.
| | 02:21 | The defaults are Color and Specular, but
we've got others: Luminance, Reflection, Fog.
| | 02:27 | As I click on these checkboxes, you'll see
more properties will appear at the top here.
| | 02:32 | I'm going to turn Luminance off now.
| | 02:34 | Within each of the properties,
there are some attributes that you can change.
| | 02:37 | So, for example, in the Color, I have a Color section
here and I have a Brightness and I have a Texture.
| | 02:42 | The Color section allows me to change the color of
the object, and I have several ways I can do that.
| | 02:47 | I can change the sliders.
| | 02:49 | I could also click on the swatch
and bring up the color picker.
| | 02:52 | If I wanted to get to the system color picker,
I can click on this swatch right here and
| | 02:56 | that will take up the Apple color picker and you
would see the PC color picker if you were on a PC.
| | 03:01 | I can cancel that out.
| | 03:03 | I can also change the model that's being used.
| | 03:05 | Right now I'm using the RGB model.
| | 03:07 | I can click on this and I
can use several other models.
| | 03:10 | I can use HSV or Color Table.
| | 03:12 | I'm going to use HSV for now.
| | 03:14 | And within this, I can now slide the
Hue to change the hue of the color.
| | 03:19 | I can change the Saturation level of that hue.
| | 03:21 | I could also change the
Brightness value of that.
| | 03:23 | When I do that, you'll see the material update
here in the Material Preview, and you'll see
| | 03:27 | it also update on the object.
| | 03:30 | One thing about making materials is that you
should never trust the Editor window when
| | 03:34 | you're making materials.
| | 03:36 | The view that you see here in the Editor window
is an approximation based on the capabilities
| | 03:40 | of your video card.
| | 03:42 | In order to actually see what's
going on, we need to render our scene.
| | 03:45 | There is two ways we can do that.
| | 03:47 | We could click on the Render in Active View
button, but each time we make a change, if
| | 03:52 | I change the color here and shift the hue,
that redraws the frame and I have to click
| | 03:56 | that button again.
| | 03:57 | A better way to work is to use something
called the Interactive Render Region.
| | 04:02 | If I click and hold on this icon here in the
middle, this has several different render
| | 04:06 | options under it.
| | 04:07 | At the very bottom is
Interactive Render Region.
| | 04:10 | When I let go, I get the
Interactive Render Region on my document.
| | 04:14 | The quality level for the Interactive
Render Region is over here on the side.
| | 04:18 | By moving this Quality slider up to the top,
I can improve the quality of my rendering.
| | 04:23 | Now, this is the situation where it looks
like really nothing change; that's because I
| | 04:26 | don't have much going on in this material.
| | 04:28 | Now let's deselect the sphere and we
can see what happens in the window.
| | 04:32 | Every time I make a change here, the
Interactive Render Region will automatically update.
| | 04:37 | The Brightness slider controls
the brightness of the material.
| | 04:40 | I can darken it down.
| | 04:42 | The Texture area allows me to
add texture to a given channel.
| | 04:46 | In this case, I'll add
texture to the Color channel.
| | 04:49 | I can click and hold on this button right
here and I've got a bunch of different options
| | 04:53 | for different shaders.
| | 04:56 | The shader that I'll use is something called Noise,
and Noise is a shader that's generated by the software.
| | 05:02 | That is, it's a procedural shader.
| | 05:04 | Anything that's generated by the
software is considered to be procedural.
| | 05:08 | The great thing about Noise is it has a
ton of parameters that you can change.
| | 05:12 | In order to see those parameters,
I have to click on this swatch here.
| | 05:15 | This represents the Noise Parameter.
| | 05:18 | It's also represented by this bar here.
| | 05:21 | If I click on the swatch, that takes
me into the parameters for the Noise.
| | 05:24 | If I change, for example, the type of noise
I'm using by clicking on this pulldown, these
| | 05:28 | are all the different types of Noise.
| | 05:31 | I can change it to this Noise pattern.
| | 05:33 | You see that it automatically updates.
| | 05:35 | A lot of times within the Shaders
themselves, there's a lot of hidden gems.
| | 05:40 | One of the hidden gems about the Noise Shader
is that if you click on this little button
| | 05:44 | right here, it shows you a pictorial
representation of all of the different Noise types, and this
| | 05:48 | is a much better way to choose them.
| | 05:50 | Each of these noise pattern represents a different
sort of situation in nature, and you can create
| | 05:55 | a lot of interesting effects
by combining them together.
| | 05:59 | So to get back to my Material properties,
I could either click on the material here
| | 06:02 | or I could use this up arrow.
| | 06:04 | If I click the up arrow, I'm not out of the
Noise parameters, back to the Color channel.
| | 06:09 | The Mix mode becomes available when
you add a texture to your channel.
| | 06:13 | The default is Normal, but I can select, for
example, Multiply, and that will multiply this
| | 06:17 | texture into the color that you have here.
| | 06:20 | The Mix Strength controls how much of
that texture mixes back into the color.
| | 06:24 | So if I adjust the Mix Strength down,
then I get less of that multiplying in.
| | 06:30 | So those are the basics of
the material properties.
| | 06:33 | In the next movies we'll take a look at how
materials are applied, and then look at some
| | 06:37 | specific examples of the
material channels in action.
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| Applying materials with projection methods| 00:00 | In the 3D world, when you apply material to
an object, you have to use something called
| | 00:04 | a projection method.
| | 00:06 | The material that you apply to an object is
expressed in terms of a two-dimensional rectangle.
| | 00:11 | That rectangle has to be wrapped
around the three-dimensional object.
| | 00:15 | In order for the software to understand that
process, the programmers have come up with
| | 00:19 | some things that's called projection methods.
| | 00:22 | These projection methods tell the software
how to wrap that two-dimensional rectangle
| | 00:26 | around your three-dimensional object.
| | 00:28 | And I've got a very simple scene here: a sphere and
I've got a cube and I've a got a type object.
| | 00:34 | With those objects I want
to start a new material.
| | 00:37 | Here in the Material Manager, I'm going to
double-click to create a new material, and
| | 00:41 | in that material, in the Color
channel, I'm going to apply a texture.
| | 00:45 | And the texture that I'm
going to use is an image.
| | 00:48 | Now, there are some very important rules to
understand about applying images in CINEMA 4D.
| | 00:53 | The most important rule is that CINEMA 4D
only looks for your image in three locations.
| | 01:00 | First, it looks for the image in a folder called
tex, in the same location as your project file.
| | 01:07 | And what I mean by that is I'm
going to move out to the Finder here.
| | 01:10 | And in the Finder, I've got my Exercise
Files and I'm in the materials folder.
| | 01:15 | And you can see I've got my
Projection-START file highlighted.
| | 01:18 | In that same location is a
little folder called tex.
| | 01:22 | Inside that tex folder is textureGrid.
| | 01:25 | This is the image that I'm going to be using.
| | 01:28 | CINEMA 4D will know where that image
is because it's in this tex folder.
| | 01:32 | If it doesn't find the tex folder, the next place
it looks is loose here in the Project folder.
| | 01:39 | If it doesn't find it in the Project folder,
then it looks in the Application text folder,
| | 01:42 | which is in Applications, in the Maxon subfolder, in your
CINEMA 4D install, and there's a text folder in there.
| | 01:49 | If it doesn't find it there, then it will
throw up its hand and say, "Hey, I can't find
| | 01:53 | the texture," and you'll get a render error.
| | 01:56 | Render errors are bad and they
can really disrupt your workflow,
| | 01:59 | so it's very important to keep your
textures in a predictable location.
| | 02:02 | I always keep my textures in this tex folder.
| | 02:06 | So let's go back to CINEMA 4D, and the way we
load in that image is by clicking on this
| | 02:11 | icon right here. This is
the Load Image button.
| | 02:14 | When I click on the Load Image icon, it takes
me to a Finder window, and it's asking me, what
| | 02:19 | image do you want to load in?
| | 02:21 | Now I've navigated to the desktop to the Exercise Files
folder, and I'm going to go to my material subfolder.
| | 02:26 | This is for this particular chapter.
| | 02:28 | And then in the tex folder, I'm going to grab
that textureGrid_1k.jpg. Double-click on that
| | 02:34 | and it loaded in.
| | 02:35 | Now, this textureGrid_1k is simply a grid of numbers
and letters that are eight across and eight down.
| | 02:43 | The reason I created it is it allows me to visualize
how my materials are being applied to my objects.
| | 02:49 | Let's apply this material to the objects in our
scene and see what kinds of results we get.
| | 02:53 | So let's drag it onto the sphere,
and let's drag it onto the cube.
| | 02:59 | Drag it onto the Extrude NURBS.
| | 03:03 | I'll twirl that closed.
| | 03:04 | Now that I've got those dragged on, I can
see that I've got very different projections.
| | 03:11 | The material has been wrapped around
the objects in very different ways.
| | 03:14 | How did it know that?
| | 03:15 | I didn't tell CINEMA 4D anything; all I did
was drag and drop the material on the object.
| | 03:20 | That's because the objects are programmed
in a specific way, to behave in a specific
| | 03:24 | way to materials.
| | 03:26 | On a sphere, you get something
called a spherical projection.
| | 03:29 | On a cube, we get a cubic projection, and
on a type, it doesn't know what to do and
| | 03:33 | so it just lumps it on there.
| | 03:35 | Now, all these projections, if you click on the
tag in the Tag column of the Object Manager,
| | 03:41 | you look at the Tag
Properties, in the Projection field,
| | 03:44 | you'll see a pulldown,
| | 03:45 | and this pulldown shows you the
projection methods that's being currently used.
| | 03:50 | In each of these tags,
it's exactly the same thing.
| | 03:53 | You can see that on the Sphere tag, it's
using UVW, the cube is using UVW, and the tag for
| | 03:59 | the TAG NAMES is using UVW.
| | 04:02 | Each of these objects has been
programmed with a different UVW.
| | 04:06 | That begs a question: What does UVW mean?
| | 04:08 | UVW is the same as XYZ except that it relates to
the texture space on the surface of an object.
| | 04:15 | The programmers needed to have three letters.
| | 04:17 | They couldn't use XYZ because they
were already used for the workspace.
| | 04:21 | So they said let's use UVW, and so that's the
convention that's been adopted all over 3D software.
| | 04:27 | The sphere has a UVW projection that's being
calculated ahead of time--same with the cube.
| | 04:32 | But the type does not.
| | 04:34 | So we need to change the projection method.
| | 04:37 | Before we change the projection method,
let's see how it's being applied.
| | 04:40 | We can do that by clicking
on this icon right here.
| | 04:43 | It happens to look like a grid,
just like the grid that I used here.
| | 04:47 | Let's click on that and then click on the
TAG NAMES object in the Object Manager.
| | 04:52 | We get this yellow grid across the window.
| | 04:55 | This yellow grid represents the projection
method and the projection method for UVW is
| | 05:00 | taking all of the polygons of your object
and smushing them out flat onto a rectangle,
| | 05:07 | and so you're seeing this
rectangle represented by the yellow grid.
| | 05:12 | If we click on the cube and select
that, you see the exact same thing.
| | 05:16 | Same thing for the sphere.
| | 05:17 | It doesn't look any different.
| | 05:19 | So let's go back to the tag for the Extrude
NURBS and click on the Extrude NURBS, and now
| | 05:23 | we'll be changing that.
| | 05:25 | In this tag, we're going to go to the projection
method, and let's change it to Flat to start with.
| | 05:31 | When I change it to Flat, we now see the
projection has changed and we have this new rectangle
| | 05:36 | that's being flatly projected onto the
object, and let's zoom in on there.
| | 05:40 | I'll use the 1 and 2 keys to dolly in.
And you could see that that this rectangle now
| | 05:46 | is showing up on the very front of my object.
| | 05:49 | The other thing you'll notice is that it's
projecting all the way through. If I look
| | 05:53 | at the back side of the objects,
the letters are backwards over there.
| | 05:57 | You can see, it's smearing on the sides.
| | 06:00 | A good rule of thumb is you should never
trust the Editor window for your texture.
| | 06:04 | You should always render.
| | 06:04 | So I'll hit Command+R or Ctrl+R on the
keyboard, and now I'm rendering that type.
| | 06:08 | And you can see in fact, that
it is smearing on the sides.
| | 06:12 | And that's what the Flat projection does.
| | 06:13 | It projects all the way through your
object, unless you tell it otherwise.
| | 06:17 | And one of the questions you might be asking
is, how does a texture repeat itself across
| | 06:22 | the surface of the type?
| | 06:23 | You'll notice that I've got A1 through A8;
that represents the entire grid, and then it
| | 06:29 | starts A1 again right there.
| | 06:31 | So there's an A1. There's an A1.
| | 06:33 | There's another A1 somewhere over here.
| | 06:35 | CINEMA 4D is repeating that
texture across the surface of the type.
| | 06:39 | The reason it's doing that is
because of this checkbox here, the Tile.
| | 06:42 | When I turn that off and then I redraw, Command+R
or Ctrl+R, you'll see that it's only projecting
| | 06:48 | the texture in this one area and
it's not repeating across the surface.
| | 06:51 | If I turn that tile back on, when I hit
Command+R or Ctrl+R, it repeats it again.
| | 06:58 | In order to fix the projection on this type,
to get something that's a little bit more
| | 07:01 | usable and predictable, we need to
change it to a different projection method.
| | 07:04 | Let's choose Cubic.
| | 07:06 | Go to the Tag for the TAG NAMES object
and click on Projection and select Cubic.
| | 07:12 | And when we do that, the tag is now repeating the
texture, but in a cubic fashion, around the object.
| | 07:18 | You can see, now we have a cage that
represents how the texture is being applied.
| | 07:22 | The tag is being applied
on the tops and the sides.
| | 07:26 | If we go to the back side, we can see the texture
is also being applied on the back side as well.
| | 07:32 | When you're creating type with the Extrude
NURBS object, a cubic projection is often
| | 07:35 | times the best way to go.
| | 07:37 | Let's hit Command+R or Ctrl+R on the keyboard
to see what that looks like when it renders.
| | 07:40 | You can see, that's a much
more usable projection.
| | 07:43 | Some of the other projections that you
have are Cylindrical, and I'll redraw that.
| | 07:49 | And you can see that's projecting it around
in a cylindrical fashion. Not very usable
| | 07:52 | for the type object.
| | 07:54 | We can also do the Cubic we saw.
| | 07:56 | The Frontal is based on
the camera's point of view.
| | 07:58 | You can see that as I rotate around,
the texture looked like it's blocked in place.
| | 08:02 | That's because it's being projected from
the camera's point of view onto the object.
| | 08:06 | And when I render that, you can see
that the type shows up perfectly flat.
| | 08:09 | It really changes the
perception of the object shape.
| | 08:12 | It can be very useful in design.
| | 08:15 | Another method is Shrink Wrapping.
| | 08:17 | Shrink Wrapping is much more
easily seen on the sphere object,
| | 08:21 | so let's undo that for a
second, Command+R or Ctrl+R.
| | 08:24 | Let's navigate over to the
sphere and zoom in on that.
| | 08:27 | And then I'll click on the sphere and grab
its Texture Tag, and let's change that one
| | 08:31 | to Shrink Wrapping.
| | 08:33 | What you can see on the sphere is the way
Shrink Wrapping works is it wraps it from
| | 08:36 | the top, from the Y axis down and pinches it at
the bottom, a lot like a balloon being stretched.
| | 08:43 | Last up is Camera Mapping.
| | 08:44 | Camera Mapping is a really cool technique
that's used a lot in visual effects, and it
| | 08:49 | relies on an actual camera projection.
| | 08:51 | I don't have a camera in the scene
right now, so it's not working correctly.
| | 08:54 | I'll undo that to get back to
the UVW Mapping for the sphere.
| | 08:58 | So those are the different projection methods.
| | 09:00 | The most important thing to remember is that
you're not limited to the default projection
| | 09:05 | that you get when you apply it to an object.
| | 09:08 | By adjusting the settings in the Texture tag,
you have a lot of control over how your object looks.
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| Creating reflective or shiny surfaces| 00:00 | Reflections can be a beautiful component of
your renderings, but they can have a dramatic
| | 00:03 | impact on your render times.
| | 00:05 | I have got a very simple scene here, and I've got a
ball and the word SHINY, all sitting on a floor.
| | 00:12 | I've also got some environment
objects here that I've put under a null.
| | 00:15 | I've got a Sky object, which is
causing this gray background back here.
| | 00:19 | I've got a very simple light pointing at the
light target that's at the center of the world.
| | 00:23 | We're not going to focus on
the light at all right now.
| | 00:25 | I want to just concentrate
on the materials themselves.
| | 00:28 | We'll leave the light alone.
| | 00:30 | The Reflection component of your materials
can be activated in the material channels.
| | 00:34 | So let's make a new material.
| | 00:36 | I'm going to create a material by double-
clicking here in the Material Manager, down in the bottom
| | 00:41 | left of the interface. And let's
apply it first to the sphere.
| | 00:45 | I'm going to name this material Sphere.
| | 00:49 | Let's take it across and add it to the sphere.
| | 00:52 | Let's click on the material down here and
then go to the Basic properties, and in the
| | 00:55 | material channels I'm
going to activate Reflection.
| | 00:58 | Now when I do that, I get a
perfectly mirrored ball.
| | 01:02 | Let's see what that looks
like here in CINEMA 4D.
| | 01:04 | Let's go Command+R or Ctrl+R on the keyboard.
| | 01:07 | That renders the scene.
| | 01:07 | Now you can see I've got a mirror ball that
is reflecting the horizon, the sky above it,
| | 01:13 | even the shiny type right behind it.
| | 01:15 | It's a perfect mirror.
| | 01:16 | I've also got the specular highlight, which is
something you wouldn't normally see on a mirror.
| | 01:21 | What you'd see instead is the
reflection of the light source in the scene,
| | 01:26 | and that's an interesting thing about CINEMA 4D
renderings is that the lights don't normally
| | 01:30 | by default show up in the renderings,
which is unlike the real world.
| | 01:34 | In the real world, lights
always show up in everything.
| | 01:38 | Let's talk a little bit more
about the reflections themselves.
| | 01:40 | Let's add a reflection to the floor, and let's
double-click in here to make a new material.
| | 01:44 | Let's call it Floor. And then in the Basic
properties, we're going to activate Reflection,
| | 01:51 | and then we're going to drag
the floor onto the Floor object.
| | 01:55 | Now let's do a Command+R or Ctrl+R, and you
could see that the floor is now reflecting
| | 02:01 | the entire environment.
| | 02:01 | In fact, it's reflecting the word SHINY.
| | 02:04 | One important thing to notice is that the
word SHINY in the reflection is brighter than
| | 02:09 | it is outside the reflection, the actual word.
| | 02:12 | The reason for that is that
the reflections are additive.
| | 02:16 | They add into whatever
material they're applied to.
| | 02:20 | So this reflection of the word SHINY is
being compounded by the gray of the sky.
| | 02:26 | So the light gray of the sky is
influencing the color of the reflection down here.
| | 02:32 | So let's take a look at
the Reflection properties.
| | 02:34 | Let's click on the floor itself
and go to the Reflection settings.
| | 02:39 | When you first add a reflection that
reflection shows up at 100% brightness.
| | 02:44 | So if we raise this window up here
a bit we can see what's going on,
| | 02:47 | the brightness with reflection is controlled
by the Brightness setting and if I dial that
| | 02:51 | down to, say, 18% or so--and
let's do another rendering.
| | 02:56 | But rather than hitting Command+R or Ctrl+R
on the keyboard, it would be great if I could
| | 02:59 | just have a window that
automatically updated. Well, you do.
| | 03:02 | It's called the Interactive Renderer.
| | 03:04 | So if we click-and-hold on that and go to
the Interactive Render Region, down at the
| | 03:08 | very bottom, when we let go, we're going to
get a new Interactive Render Region. And we
| | 03:12 | can take that slider and
slide it all the way up.
| | 03:15 | Now that we've got the quality all the
way up, I can see what's going on here.
| | 03:19 | The reflections are dialed down so
much I can no longer see them in here,
| | 03:22 | so let's crank them up a bit.
| | 03:23 | Let's make them about 30% or so.
| | 03:25 | We should be able to
start to see the reflection.
| | 03:27 | Let's crank it up just a little bit
more, maybe 48%. There we go.
| | 03:32 | Another component of the real world is that all
surfaces have some sort of texture associated with them.
| | 03:38 | Even the finest mirror, at a certain
level, has a roughness to its surface.
| | 03:43 | That roughness affects how reflections
show up on the surface of your object.
| | 03:47 | To simulate that look, there's a
great setting called Blurriness.
| | 03:51 | Now, this is where the deadly
part of reflections come in.
| | 03:54 | This Blurriness setting is a huge render hit.
| | 03:57 | We don't have a lot going on the scene, so
it's not going to seem like a big render hit,
| | 04:01 | but it can dramatically
affect your render time.
| | 04:04 | Notice that the last time it
rendered, it took less than a second.
| | 04:07 | Let's change the Blurriness up to something
like 10%, and you can see that it still took
| | 04:12 | only less than a second.
| | 04:14 | Let's go ahead and raise that up and
make it kind of big. There we go.
| | 04:19 | And let's take the Blurriness
up to, say, 25%. There you go.
| | 04:23 | It took quite a bit longer.
| | 04:25 | So as you increase that Blurriness amount,
the scene becomes more and more blurry, the
| | 04:29 | reflections become more and more blurry,
but the scene takes a lot longer to render.
| | 04:33 | So let's bring that blurriness down to say, 5%.
| | 04:35 | You can see a little bit of blur in there.
| | 04:38 | You can see it's very tight reflection
here, and as it fades off, it gets blurry.
| | 04:42 | That's just what we want to happen.
| | 04:44 | Let's take a look at the sphere now, and on
the sphere let's go to the Reflection property
| | 04:49 | and let's change the
Blurriness to 10% there as well.
| | 04:53 | We'll see something quite a bit different.
| | 04:55 | You see that now the ball appears to get a
little bit smoother. A lot of times when I
| | 05:00 | see artists adding reflections to their objects,
they will leave the color on the default white.
| | 05:05 | What that does is it tends to
wash out the color of your object.
| | 05:08 | So let's go to the color channel
of the material on the sphere.
| | 05:11 | So we select sphere in the Material Manager
and then go to the Color option, and in the
| | 05:15 | Color option, let's change it to green.
That sounds good.
| | 05:19 | So I'll put the Hue right there, crank up the
Saturation, and it looks like nothing has happened.
| | 05:24 | That's because the reflection is
overpowering our color underneath.
| | 05:27 | So let's go to Reflection
property and dial down the Brightness.
| | 05:30 | As we dial down the Brightness,
more of that green shows through.
| | 05:33 | The reflections themselves are affecting
the hue of the ball, the feel of the ball.
| | 05:37 | It feels a little bit washed out.
| | 05:39 | Let's go to the Reflection property and
make it the same color as the color channel.
| | 05:44 | So a really easy way to do that is to hold
down the Shift key and click on the word Color
| | 05:48 | up here, and now we can
see both swatches at once.
| | 05:50 | Now I can take this green and just
simply drag it down onto Reflection.
| | 05:55 | The little highlight that was here on this
outside of the ball, that's the highlight
| | 05:59 | based on Specular Highlight, the bright point
source that is showing up on the surface of
| | 06:04 | the ball because of the
relative angle to the camera.
| | 06:07 | So now that we've added that color in,
you can see that the ball got richer in color.
| | 06:11 | Let's dolly in on this ball
here and take a look at that.
| | 06:14 | The next thing that we want to do is adjust
something called the specular highlight.
| | 06:17 | The specular highlight is this bright point
source that shows up on all objects that are
| | 06:22 | opposite a light source.
| | 06:24 | So let's go to the Specular channel.
| | 06:27 | The Specular channel allows you to control the color,
shape, and intensity of your specular highlight.
| | 06:32 | So let's start off with the color.
| | 06:34 | I want it to be not the same color
green, but someplace in that range.
| | 06:38 | So let's drag it over about here and
then a nice brighter green version of it.
| | 06:45 | Then you can see that it
doesn't look like much has changed.
| | 06:47 | Well, let's go and crank up that specular
highlight and then change the Width from Height
| | 06:53 | 51, roughly, all the way to 100.
| | 06:57 | Now, you can see that it's
gotten much, much brighter.
| | 07:00 | The shape of that can be
controlled with the Width.
| | 07:02 | A super-wide will spread out farther across
the object; a super-tight one gives the object
| | 07:09 | a more metallic feel to it; and the Falloff
allows you to adjust the transition from the
| | 07:14 | very peak to the sides.
| | 07:17 | That shape made the object appear to have
sort of an 8-ball spot on the side of it.
| | 07:23 | Let's dial that Falloff back down to 0,
and that's going to give us a nice tight spot.
| | 07:28 | I can adjust the Width down a little bit more.
| | 07:31 | That's going to give us an even tighter spot.
| | 07:34 | Let's go to the floor material and take a
look at the Reflection property and see that
| | 07:38 | I've got my Brightness
down around to 48 range.
| | 07:40 | Let's crank that up a bit so
we can see a bit more of that.
| | 07:45 | You'll see that, based on the color of the
sphere, my reflection is being colored, and
| | 07:51 | you can see that not only is my reflection being
colored, but it's being blurred out as well.
| | 07:55 | Here, near the base of the ball where it
touches the floor, it's nice and crisp, and it fades
| | 07:59 | out the farther the object gets away
from that plane that it's hitting.
| | 08:05 | Reflections always do that.
| | 08:06 | They start out very sharp and they kind of
fade out, depending on the surface of the material
| | 08:09 | that they are applied to.
| | 08:11 | The render settings can give you something
great results, and with the right control they
| | 08:15 | won't affect your render times too much.
| | Collapse this transcript |
| Creating rough or bumpy surfaces| 00:00 | Nearly everything that you probably can see
right now has some sort of texture on it.
| | 00:05 | Even something as simple as a mirror,
at the finest level, it has bumps.
| | 00:10 | In CINEMA 4D, the programmers have given
us the ability to make rough surfaces.
| | 00:14 | In fact, they've divided that
into two different techniques.
| | 00:18 | One is called the Bump channel and
the other is called displacement.
| | 00:21 | The Bump channel simulates indentations on
the surface of an object, and the Displacement
| | 00:26 | channel actually creates
indentations on the surface of an object.
| | 00:30 | Let's see what that means.
| | 00:31 | I've got a very simple scene
that I'm starting with here.
| | 00:33 | I'm going to make a new material by
double-clicking in the Material Manager.
| | 00:38 | In this material I'm going to go to the Basic
properties and I'm going to activate Bump.
| | 00:43 | Nothing happened.
| | 00:44 | The reason that nothing happened is that the
Bump channel needs information in order to
| | 00:48 | generate bumps, and what it
needs is a grayscale map.
| | 00:53 | You can put a color image in there, but it's only ever
going to need to look at the light and dark values.
| | 00:57 | Now I've created a special texture that's got a
good illustration of how this property works.
| | 01:01 | So I'm going to go to the Bump channel and
click on that load image button, and in my
| | 01:06 | texture folder I'm going to
navigate to the Bump-Displacement.psd.
| | 01:10 | This is a simple Photoshop file.
| | 01:13 | It's got 50% gray, with a
white type and a black type.
| | 01:17 | The reason I've done that is because of the
way that the Bump channel works, and the same
| | 01:22 | is true for the Displacement channel.
| | 01:24 | 50% gray does not move.
| | 01:26 | White goes up and black goes down.
| | 01:29 | So this image gives us the perfect
illustration of those three states.
| | 01:33 | So I'm going to hit Open.
| | 01:35 | It looks like nothing's happened here on our
projection sphere, but I don't want to start
| | 01:39 | off by applying it to this plane.
| | 01:41 | So when I take the material and drag it onto the
plane object, I can now see an indentation there.
| | 01:48 | You can see a preview of that here in the
Editor window, but if I hit Command+R or Ctrl+R
| | 01:52 | on the keyboard, I can now
see a better representation.
| | 01:55 | It's a little bit hard to see
at the angle that we have,
| | 01:58 | so let's go back to the material and crank up
strength of the bump. And I'll really crank
| | 02:03 | that up, and let's zoom in on this and then
hit Command+R or Ctrl+R on that keyboard.
| | 02:10 | Now you can see that we've got that.
| | 02:12 | The white is going up, the black is
going down, and the 50% gray hasn't moved.
| | 02:17 | You'll notice that's a little bit chunky on the edges
of this, and that's because of the anti-aliasing,
| | 02:22 | but it's also because the Bump channel
is just simulating those indentations.
| | 02:28 | The best example of that simulation I can show you
is on the cube that we have here in the scene.
| | 02:33 | Let's go over here to the
cube and take a look at that.
| | 02:37 | I'm going to make a new material.
| | 02:39 | Let's call it cube.
| | 02:41 | In that cube material, I'll go to the
Basic properties and activate Bump again,
| | 02:45 | but this time instead of the
image, let's load in Noise.
| | 02:48 | So I'll add noise to the scene, and you can see that
I've now got this wrinkly kind of sphere here.
| | 02:53 | Let's apply this material to the cube and
then let's do a rendering. Command+R or Ctrl+R.
| | 03:00 | It looks like my cube is a little
bit bumpy, until you see the edges.
| | 03:04 | If you look at the edge here, the edge is completely
straight, and that's where the simulation breaks down.
| | 03:10 | Let's apply that same material to the sphere.
| | 03:13 | I'll make a copy of the cube material by
holding down the Ctrl key and dragging to the right.
| | 03:18 | Let's rename this sphere.
| | 03:21 | Let's take that material and apply it to the
sphere and let's render. Command+R or Ctrl+R.
| | 03:26 | And you'll see that we have
the same issue on the sphere.
| | 03:29 | At the outer edges that
sphere is completely smooth.
| | 03:33 | Bump simulates surface indentations.
| | 03:36 | Now let's take a look at
displacement, which is the counterpart to bump.
| | 03:39 | Displacement actually
creates surface indentations.
| | 03:42 | So let's go back to our plane object.
| | 03:44 | Let's navigate over so we can see that, and
I'll dolly out a bit. And now on the original
| | 03:50 | material that we have applied to our plane,
which is this one in the middle here--
| | 03:52 | in fact, let's name it and call it plane.
| | 03:56 | In that one, let's disable the Bump
channel and activate the Displacement channel.
| | 04:00 | So we'll go to the Basic properties and disable
the Bump and then we'll turn on Displacement,
| | 04:05 | which is right here.
| | 04:07 | Now in the Displacement channel we
need the same sort of information.
| | 04:10 | There's quite a few more options here for the
displacement, but we still need to load in an image.
| | 04:15 | Now we could use the noise pattern before,
but let's load in that Photoshop file.
| | 04:18 | So let's navigate out to the Finder and
go Bump and Displacement and hit Open.
| | 04:24 | You can see that our previous sphere looks
quite a bit different, but it doesn't really
| | 04:26 | look like anything's changed on our plane.
| | 04:29 | Let's render that. Command+R or Ctrl+R.
| | 04:32 | You can see that we've got some
bumps showing up on this surface.
| | 04:34 | One of the things to remember about
displacement is that it's resolution-dependent.
| | 04:39 | It's dependent on two resolutions: the
resolution of the object--how many polygons it's made
| | 04:44 | up of--and the resolution of the
material--how many pixels it's made of.
| | 04:48 | When you're using a procedural shader like
Noise, it is mathematically generated, so it
| | 04:52 | has no pixel values, and so you can zoom in on
it or blow it up to any size and it's always
| | 04:57 | going to render great.
| | 04:58 | Photoshop files, on the other
hand, are resolution-dependent.
| | 05:01 | They're pixel-based, so you
have to be very careful.
| | 05:03 | There's only so far that you can push those.
| | 05:06 | In order for me to get this displacement
map to show up so I can read the white
| | 05:10 | up here and the black down here,
| | 05:11 | I have to increase the
resolution of the plane.
| | 05:14 | Let's go to the plane object and on its Object
Properties, let's change the Width and Height segments.
| | 05:21 | Let's start of by making them 100 x 100,
and let's hit Command+R or Ctrl+R in the keyboard.
| | 05:28 | Now you can see it starts to
give us enough resolution.
| | 05:30 | It's a little bit chunky in areas, but it's
actually indenting and extruding that type.
| | 05:37 | Let's actually look at it
from the side as well.
| | 05:39 | I'll look at it from this angle.
| | 05:40 | Let's kind of go to edge on
and hit Command+R or Ctrl+R.
| | 05:43 | You can see there it is going
down; there it is going up.
| | 05:47 | Let's orbit back around over here, and let's
crank up the Width and Height segments to,
| | 05:52 | say, 300 x 300, and now let's
hit Command+R or Ctrl+R.
| | 05:57 | You can see I have a much
better representation.
| | 06:00 | Now we're getting into the range where we're
seeing the limitations of the Photoshop document
| | 06:03 | that we're using as this material.
| | 06:05 | We can actually see the pixels
that make up that in the object.
| | 06:10 | It can be very problematic when you
add additional polygons to your models.
| | 06:16 | Polygons are very heavy to
drag around in the Editor view.
| | 06:18 | Because of that, the programmers have given
us an additional tool for displacement called
| | 06:22 | Sub-Polygon Displacement.
| | 06:25 | Sub-Polygon Displacement allows you to have
a really clean displacement on your object
| | 06:28 | without having to add so
many polygons to the surface.
| | 06:31 | So let's take our plane and make the width
segments back down to 20 x 20, which was the
| | 06:36 | default, and hit Command+R or Ctrl+R.
| | 06:39 | You can see we're back to vague lumpiness.
| | 06:42 | Now we can go back to our plane material and
in the Displacement channel, we can activate
| | 06:47 | Sub-Polygon Displacement.
| | 06:49 | Now what we're getting is
a subdivision level of 4.
| | 06:52 | That's the default.
| | 06:53 | When we render--Command+R or Ctrl+R--you
could see that we're back to where we were when
| | 06:57 | we had cranked up the
resolution on the plane itself.
| | 07:01 | Round geometry can be very useful when you're
working on certain types of organic shapes.
| | 07:05 | In the case of this plane, it's not going to
do very much, so I'll just turn it off again.
| | 07:11 | Something to keep in mind when working with
Sub-Polygon Displacement is that the subdivision
| | 07:14 | level does affect your render time,
| | 07:16 | so you have to be very
careful with cranking that up.
| | 07:19 | The more dense your object is to start with,
the fewer subdivision levels you should need
| | 07:23 | in order to get a good clean displacement.
| | 07:26 | One last thing to talk about with
displacement in general is on spheres.
| | 07:30 | Let's move over to the sphere object and take a look
at the material that we have applied to the sphere.
| | 07:36 | I'll leave the Bump channel turned on and then go to
the Basic properties and activate Displacement.
| | 07:41 | Let's go into the Displacement
channel and then let's load in the Noise.
| | 07:47 | We've got the exact same Noise
values in the Bump and the Displacement.
| | 07:51 | Let's render it and see what happens, Command+R.
| | 07:53 | It looks like nothing.
| | 07:55 | The reason that nothing happened is because
of a very important property of the sphere
| | 07:59 | object that's different than all
the other parametric objects.
| | 08:03 | If I select the sphere, the sphere has something
called Render Perfect under its Object properties.
| | 08:09 | That forces the sphere to render the
same way no matter what the segments are.
| | 08:13 | If I change these segments down to 3,
here in the Editor window it looks like a diamond
| | 08:17 | or something like that, but when I render--
Command+R or Ctrl+R--it still renders as a sphere.
| | 08:24 | Let's undo that and get back
to the default 24 segments.
| | 08:27 | When we uncheck Render Perfect, now the
sphere can be affected by the displacement map.
| | 08:32 | Let's hit that Command+R or Ctrl+R.
| | 08:33 | You can see that it's
starting to lump out those guys.
| | 08:38 | Let's go to the sphere and turn on the Sub-Polygon
Displacement now and then hit Command+R or Ctrl+R.
| | 08:44 | Now we start to see a truly lumpy sphere.
| | 08:47 | Now that you understand the components of
rough or bumpy surfaces, there's probably
| | 08:50 | some great examples around your office.
| | 08:52 | A good way to practice is to pick something
and try to recreate it right there in the software.
| | Collapse this transcript |
| Creating transparent surfaces| 00:00 | Transparent objects are really about three
things: what you can see through the glass,
| | 00:05 | how you can see through the glass, and
then what you see reflected in the glass.
| | 00:10 | When you answer those three questions, you'll end
up with a really decent-looking glass material.
| | 00:15 | I've got a very simple scene here.
| | 00:16 | I've got a Sky object that surrounds it, and
the sky has this gradient material on it.
| | 00:21 | It's just a series of bands.
| | 00:23 | That's going to give us a nice
reflective pattern on our objects.
| | 00:26 | I've got these different spheres.
| | 00:28 | Now, the ones that have stripes on them,
we're going to leave them alone,
| | 00:30 | we're not going to touch.
| | 00:31 | We're going to focus on the gray ones.
| | 00:32 | The reason I have the striped ones in there is
to give our objects something to see through,
| | 00:37 | because remember, glass is about
what you can see through it.
| | 00:41 | Let's create a new material by double-clicking in the
Material Manager, and let's call this material Glass.
| | 00:49 | Let's take that Glass material and apply it to the
empty cube and then apply it to the empty sphere.
| | 00:56 | The reason I have both a sphere and a cube
is that glass looks very different based on
| | 01:01 | the shape of the object
that it's being applied to.
| | 01:04 | Let's take a look at our Glass properties,
and I'll select the Glass in the Material Manager
| | 01:07 | and take a look at its attributes.
| | 01:09 | If we look at the Basic properties
here, we've got Color already on.
| | 01:13 | We know we're going to need that.
| | 01:15 | We're going to turn on Transparency, and let's
focus on just the transparency for a moment
| | 01:19 | to take a look at the properties.
| | 01:20 | Then we'll come back to the
Reflective and the Shiny bits.
| | 01:23 | So let's start off by making it transparent.
| | 01:26 | Here in the Editor window, let's hit
Command+R or Ctrl+R and render our scene.
| | 01:29 | You can see that both our
sphere and our cube are gone.
| | 01:34 | So we don't have to keep
hitting Command+R or Ctrl+R.
| | 01:36 | Let's bring up the Interactive Render Region.
| | 01:38 | The keyboard shortcut is Option+R.
And let's take the Quality level up to 100%.
| | 01:45 | Let's also enlarge the
Interactive Render Region.
| | 01:47 | It's a little bit hard to see the
corner of the Interactive Render Region.
| | 01:51 | In order to do that,
let's turn off the Sky object.
| | 01:54 | I'll double-click on the top gray dot.
| | 01:57 | Now I could see my Interactive Render
Region, and let's drag that down just a bit.
| | 02:01 | It makes it much easier.
| | 02:03 | The top gray dot refers to whether or not
the object is visible in the Editor window.
| | 02:08 | The bottom gray dot is whether or not the
object is visible in the render engine.
| | 02:11 | So, by leaving the bottom gray dot on, we now
see our object in the render, but we don't
| | 02:17 | see it out here in the Editor window.
| | 02:19 | Now that we've got our
Interactive Render Region set,
| | 02:22 | we can focus on the materials again.
| | 02:24 | Let's deselect the Sky
object by clicking over here.
| | 02:27 | Let's go back to our Glass material.
| | 02:28 | The only type of glass that really is
completely transparent is window glass, and most other
| | 02:35 | types of glass have a shape to it, and that shape
creates something called an index of refraction.
| | 02:41 | The index of refraction is how much an
object bends light as it passes through.
| | 02:46 | Window glass has a very low index of refraction,
plus it's perfectly flat so that it does not bend light.
| | 02:53 | The lenses on your eyeglass bend light in a very
specific way, because of the shape of the lens.
| | 03:00 | In order to create that index of refraction,
we have to turn on the Refraction Index in
| | 03:05 | the Transparency option.
| | 03:07 | So in the Transparency settings, the Brightness option
controls whether or not the object is transparent.
| | 03:13 | If we dial this back a little bit,
you'll see that our objects become more opaque.
| | 03:17 | 0 is fully opaque and 100%
is completely transparent.
| | 03:23 | Right below that is the Refraction Index.
| | 03:25 | 1 completely passes light
without bending it at all.
| | 03:30 | 1.2 is standard glass.
| | 03:32 | Let's go 1.2. And watch
what happens when I do that.
| | 03:35 | You'll see that now we have a very
different reaction from our glass shapes out here.
| | 03:41 | The sphere is bending
light all the way through it.
| | 03:44 | The cube is bending so much light we
can't even see the sphere behind it anymore.
| | 03:49 | I'll take the Refraction
Index from 1.2 down to 1.01.
| | 03:55 | That index of refraction is
bending it every so slightly.
| | 03:59 | Let's crank it up just a
little bit more, to like 1.04.
| | 04:04 | Now we've got a nice refraction
on the cube and on the spheres.
| | 04:08 | It's a nice balance between those two shapes.
| | 04:11 | The next component of transparency is what
you can see on the surface of the glass.
| | 04:16 | So, glass is reflective. Unless you were to
hit it with the bead blast or something like
| | 04:21 | that to change to surface property,
it's always going to be reflective.
| | 04:24 | So let's go to the Basic
properties and turn on Reflection.
| | 04:28 | When we do that we're going to get
a perfectly reflective surface.
| | 04:34 | Because our object is 100% transparent,
we can't see any of those reflections.
| | 04:38 | So in order to get the reflections to show up,
we have to start to dial back the transparency a bit.
| | 04:44 | So in the Transparency option, let's bring it from
100% brightness on the transparency, let's try 95%.
| | 04:50 | As soon as we do that, we
start to see the reflection.
| | 04:53 | You can see them here in the preview.
| | 04:54 | We can also see them here in
the surface of our objects.
| | 04:59 | They got a little bit frosty-looking because of
the gray environment that they're sitting in.
| | 05:03 | They reflect that gray environment.
| | 05:06 | If I were to change the environment to
something a little more obvious--let's go to the Sky
| | 05:11 | material and instead of this gradient
that we have in the Luminance channel,
| | 05:15 | let's add something that's
a little more obnoxious.
| | 05:17 | I'm going to go to the pulldown and in
the Surfaces option, I'll add in Earth.
| | 05:23 | Earth is just a model blue and green texture.
| | 05:26 | When I add that in there, you'll see that we've
got now this blue and green going all through
| | 05:31 | our object in the background, and it creates
a very different impression on the surface.
| | 05:36 | I am going to undo that--Command+Z or
Ctrl+Z--to get back to our nice gradient.
| | 05:42 | Glass is a really subtle effect in 3D.
| | 05:44 | Take a look in your cupboard and look
at some of the glasses that you see there
| | 05:47 | and try re-creating some of them for practice.
| | Collapse this transcript |
| Applying decals with alpha channels| 00:00 | An important component in the transparency
toolbox is the idea of the alpha channel.
| | 00:06 | Transparency allows you to see
all the way through an object.
| | 00:08 | The alpha channel allows you to cut
through an object through another material:
| | 00:13 | for example, if you wanted to put a label
on a bottle, for example, or in this case,
| | 00:17 | we're going to put a little
star on the wing of the plane.
| | 00:20 | Let's start off by creating material that's
going to contain the star element, and I'm
| | 00:24 | going to go to the Material Manager
and go to Create > New Material.
| | 00:27 | I could also double-click down here.
| | 00:29 | Let's rename this material and call it Star.
| | 00:32 | So let's make a red star on here.
| | 00:34 | So let's go to the color
property and change it.
| | 00:36 | I've got my values here set to HSV.
| | 00:39 | If yours is set to RGB, you can do that as
well, or you can change yours to HSV by clicking
| | 00:44 | on this pulldown and selecting HSV.
| | 00:48 | If I go to the Hue, it's already set on red,
| | 00:50 | so let's bring that up into the red.
And I want it to be not quite so bright.
| | 00:53 | I'm going to have it be a little more
deep, and let's add a little bit of blue.
| | 00:58 | We'll go down to this range, so we can add
some blue into it, so it's a little bit, maybe
| | 01:02 | not quite so purple. There we go.
It's feeling better.
| | 01:06 | Now that we've got our red,
we're ready to add the alpha channel,
| | 01:08 | so go to the Basic
properties and turn on Alpha.
| | 01:11 | Now nothing happens.
| | 01:12 | That's because the Alpha
property needs some alpha information.
| | 01:16 | Just like in Photoshop, it uses the grayscale
values of an image to cut holes in an image.
| | 01:22 | We go to the Alpha channel and we can load in.
| | 01:24 | Now, I have a prepared Alpha that's a star
shape, and I've got that star shape already
| | 01:29 | in the texture folders.
| | 01:30 | So let's click the load image button, and out
here in the tex folder for the materials I've
| | 01:35 | got the Star.psd, and that's
just a simple star shape.
| | 01:38 | I started off in the Illustrator and made a
start shape and converted it into Photoshop.
| | 01:42 | When I hit Open, we now get a
star shape cut out of our sphere.
| | 01:48 | Now I'm ready to apply
that star to the plane.
| | 01:50 | Let's go to the star material and drag it
across and apply it to the body of the plane,
| | 01:55 | which is this cube object here.
| | 01:58 | Now, when I do that, I get a
very strange projection.
| | 02:00 | It actually looks kind of cool.
| | 02:02 | If we render--Command+R or Ctrl+R in the keyboard--
| | 02:04 | you can see that the star is
being applied all over the plane.
| | 02:08 | The default projection method in this case,
under the Tag properties of the Texture tag,
| | 02:13 | is set to UVW Mapping.
| | 02:15 | Now, I started with a cube when I made this
plane, but by slicing and dicing on it to
| | 02:19 | get the shape of the plane built out,
I completely messed up the UV map.
| | 02:23 | Now, we don't need UVW mapping to get
our star to look right on the plane.
| | 02:26 | What we need is flat mapping.
| | 02:28 | So let's go to the
Projection Method and select Flat.
| | 02:31 | When we do that, we now get flat mapping.
| | 02:34 | To see how that's being projected, let's click
on the Texture mode icon right here, and let's
| | 02:39 | click on that and then click on the cube.
| | 02:42 | Now we can see that
projection of that flat texture.
| | 02:44 | It's being projected right
through the nose and out the tail.
| | 02:47 | It's also being repeated
everywhere on the plane.
| | 02:50 | That also looks pretty cool.
| | 02:51 | Let's render that. Command+R or Ctrl+R.
| | 02:54 | Not exactly what we want though.
| | 02:55 | So let's hit the letter A on the
keyboard to redraw the screen.
| | 02:59 | Now what we want to do is to start to
move this texture around on the object.
| | 03:03 | In order to do that, we're going to hit the
letter E on the keyboard and get us the Move tool.
| | 03:09 | Now I can move that texture over.
| | 03:11 | So I'm going to drag it on its X axis and as
I move it, you'll see that it moves across
| | 03:16 | the surface of the plane.
| | 03:17 | That's a pretty cool effect, and
you can animate that, by the way.
| | 03:20 | The way you would animate it is by clicking
on the Texture tag and under the Coordinate
| | 03:24 | Properties, you could scrub these values
or you can animate the Offset U or V.
| | 03:30 | I want to get it out here at the tip of
the wing, and now I want to rotate it.
| | 03:34 | So I'll hit R on the keyboard to get the Rotate
tool up, and I'm going to hold down the Shift
| | 03:38 | key so that it goes to even increments,
and then I'm going to go to 90 degrees.
| | 03:43 | Now I've got this star being
projected all over the plane.
| | 03:46 | It's still a little too big,
and it's in the wrong place.
| | 03:48 | The other thing that's happening
is it's repeating everywhere.
| | 03:51 | So the way I fix that is by clicking on the
Texture tag and unchecking the Tile option.
| | 03:56 | Now it's only going to show
up right there in that area.
| | 04:00 | Now I can switch back to the
Move tool and reposition it.
| | 04:03 | So I hit the letter E on the keyboard,
and now I can drag that up on its local Y axis
| | 04:09 | to get it into the wing where I want it.
| | 04:11 | Now I want to change the size.
| | 04:14 | If I go to the Texture tag, the way I change
the size is by updating the Length U and V.
| | 04:20 | If I go to the Length U-- and let's just make
it about 75% of its current size, 75, and
| | 04:26 | I'll tab over and hit 75 there.
| | 04:29 | And now I've got a decent-sized star.
| | 04:31 | I can now move it with the Texture tool and put it
right in the wing where I need it to. There we go.
| | 04:37 | When we render this--Command+R or Ctrl+R--
you'll see that every place where the texture
| | 04:43 | is not repeating I get the default gray material,
but right around that texture I have this cutout.
| | 04:49 | That's because what an alpha channel does is if
it does not detect the material underneath
| | 04:53 | it, it cuts all the way through the object.
| | 04:55 | If it detects the material, it cuts
through to that material and stops.
| | 04:59 | So what we need is a base material on our plane
to stop that from cutting all the way through.
| | 05:04 | So let's make a new material. Double-click
in the Material Editor, boom, boom, and call
| | 05:08 | that material Plane Base.
| | 05:12 | Let's take that Plane Base and
drag it onto the cube object.
| | 05:16 | CINEMA 4D evaluates the material
tags from the right to the left,
| | 05:21 | so what's happening is our Plane Base is overriding
the star material, so we need to reverse these tags.
| | 05:27 | If we take this tag and drag it to the left,
| | 05:30 | now we've got our star showing
up on top of the Plane Base.
| | 05:33 | When we render--Command+R or Ctrl+R--you can
see that now it's just cutting through to
| | 05:38 | that material below and stopping.
| | 05:40 | It's not quite in the right place again,
| | 05:42 | so let's switch back to
the Move tool on the star.
| | 05:45 | So select the Star material, hit the letter E
on the keyboard to get the Move tool going,
| | 05:48 | and let's move that back on the local Y axis just a
little bit to get it more centered on the wing.
| | 05:54 | There we go.
| | 05:56 | Now what I can do to flap that over is I can
duplicate this tag and then move it on its local X axis.
| | 06:03 | Let's orbit around here a bit and
then drag that all the way across.
| | 06:07 | Now let's look at it in the top view.
| | 06:09 | If I switch to the top view, I want to
change my display from Lines to Gouraud Shading.
| | 06:16 | Now I can see that material applied on the
top view, and I think I've actually got it
| | 06:20 | lined up pretty well.
| | 06:22 | Drag that across. Yes, it's
not bad, right about there.
| | 06:27 | Switch back to the Perspective view.
| | 06:28 | When we render, we've got a great little
plane with some nice red stars on it.
| | 06:34 | One of the things you'll notice about it,
if you orbit around, is that the stars are
| | 06:37 | projecting all the way through.
| | 06:40 | Now, what would happen if I didn't
want the stars to show up on there?
| | 06:43 | There's an important technique for doing
that and we're going to talk about that in the next movie.
| | Collapse this transcript |
| Limiting materials with selection tags| 00:00 | In the previous movie we applied this star
to the wing of our MiG fighter here, but I
| | 00:06 | only want the star to
show up on top of the wing.
| | 00:08 | I'd like to have a different
material on the underside.
| | 00:10 | So, in order to limit that material to just
showing up on the top of the wing, I have
| | 00:14 | to use a technique called a Selection tag.
| | 00:17 | The way the selection tag works is that
you first need to select some polygons.
| | 00:22 | Then, once you've selected those polygons,
you can identify them using a special tag
| | 00:26 | that then gets used in the material tag
to limit where the selection shows up.
| | 00:30 | To begin our selection process,
we have to go into Polygon mode,
| | 00:33 | so I'm going to select Polygon mode here
over in the left and then click on my cube.
| | 00:39 | We're looking at the underside of the plane right
now, and this is where we don't want it to show up,
| | 00:42 | so we're going to select the polygons that
are associated with the top side of the wings.
| | 00:46 | Let's go over to the top of the wing.
| | 00:50 | Now I've got a feature turned on called
Isoline Editing, and Isoline Editing is causing the
| | 00:54 | polygons to be deformed in the
shape of the HyperNURB object.
| | 00:57 | That makes it very confusing to see
where the polygons actually are,
| | 01:00 | so I'm going to go to the Options menu
and uncheck Isoline Editing right here.
| | 01:05 | Now I can see just my plane shape, and this
is the low-poly plane that's underneath the
| | 01:09 | HyperNURB that's getting smoothed.
| | 01:11 | I can also turn off my HyperNURB so I can
just see the polygons that make up the wing.
| | 01:16 | So what I'm going to do is use the Selection
tool and grab just these polygons for the
| | 01:21 | wing and I'm going to name them.
| | 01:24 | Actually, I'll grab all these polygons that
make up the top of the wing, and I'm going
| | 01:28 | to call those polygons Top left wing.
| | 01:30 | Anytime you name something right or left,
it should always be from the object's point of view.
| | 01:33 | When you're sitting in the plane as a
pilot, this would be the left wing.
| | 01:38 | To get the Selection tag, now that I've got
the polygons selected, I go to the Select
| | 01:41 | menu, and right near the
bottom is Set Selection.
| | 01:44 | When I let go of that, I get this red triangle on
the cube object, and this is the Selection tag.
| | 01:51 | This stores that information right there.
| | 01:53 | I can deselect those polygons.
| | 01:55 | I'll click anyplace and deselect them.
| | 01:56 | I can always restore the
selection by clicking on it right there.
| | 02:01 | I can name that selection.
| | 02:02 | We'll call it Left wing top.
| | 02:07 | Now I want to do the same
thing for the right wing.
| | 02:09 | But before I do that,
I have to be very careful.
| | 02:11 | If do another Set Selection while I have that
tag selected right there, it will overwrite
| | 02:16 | the contents of that tag.
| | 02:17 | I don't want to do that.
| | 02:18 | So let's deselect that tag, click on the cube
again, and then select the polygons that are
| | 02:23 | on the right-hand side of the plane.
| | 02:26 | So let's go to those polygons right there,
and we've just got those polygons selected
| | 02:29 | on the top of the wing on the right-hand side.
| | 02:33 | Now I'll go back to the Selection menu and
do a Set Selection, and then I can call that
| | 02:38 | selection Right wing top.
| | 02:42 | Now, the way we use these is we have to
identify which tag is which for the textures.
| | 02:47 | Which one of these star textures is the one that's
on the left and which is the one that's on the right?
| | 02:51 | To do that, I can switch to the
Texture tool and then click on a tag.
| | 02:55 | So this is the one that's on the left-hand side,
so it's going to get the left selection tag.
| | 03:00 | So I go to my tags and
this is the left selection.
| | 03:04 | That's my left star.
| | 03:05 | Sometimes people will take these and
order them so they're right next to it.
| | 03:09 | So there is my left tag for the texture.
There is my left selection right next to it.
| | 03:13 | Now I can take this texture and in the
Selection field that's on the Tag properties, I can
| | 03:17 | drag that triangle right down, and there it is.
| | 03:20 | When I let go of that and orbit around, you can
see that the star is gone from the underside.
| | 03:25 | Let's watch this as we do the
same thing on the other texture.
| | 03:28 | Click on that Star texture there, drag
the triangle in, and there it goes.
| | 03:33 | The star is now limited to
just the top of the wing.
| | 03:36 | When we orbit around, we could see that our
stars still show up in the top, but they don't
| | 03:40 | show up underneath.
| | 03:42 | This technique is incredibly valuable and
it can be used in all kinds of situations:
| | 03:46 | putting labels on bottles or cans,
| | 03:48 | in this case putting decals on models of
objects, but it's a really valuable technique
| | 03:52 | and one that you've got
to keep in your toolbox.
| | Collapse this transcript |
| Texturing type with multiple materials| 00:00 | Texturing type is something that every MoGraph
artist has to do, and there are some very special
| | 00:06 | techniques that allow you to create some
great legibility on the surface of your type;
| | 00:10 | but there is some invisible codes built into
the Extrude NURB object that make this possible
| | 00:15 | and it's crucial that you,
memorize them and then use them.
| | 00:19 | What I've got here is a simple Text object
underneath an Extrude NURB, and the text object
| | 00:23 | just has the C1, R1, C2, R2.
| | 00:26 | Now, these numbers and
letters are very important.
| | 00:29 | They are those invisible
codes that you need to memorize.
| | 00:34 | These codes are built-in Selection tags.
| | 00:36 | In the previous movie, I showed you
how to make a Selection tag manually.
| | 00:39 | The Extrude NURB object has Selection tags
built into it, and you can use these letters
| | 00:45 | and numbers in combination to limit where
materials show up on that Extrude NURB.
| | 00:50 | So let's make a base material for our type.
| | 00:52 | I'm going to double-click in the Material
Manager, and let's call this material Base.
| | 00:58 | And I'm going to make it a
nice dark-bluish color.
| | 01:03 | That's good. Crank the
value down somewhere in there.
| | 01:07 | Let's drag that onto the Extrude NURB.
| | 01:10 | So that we can see what's going on,
let's bring up the Interactive Render Region and
| | 01:13 | let's zoom in our type a little bit.
| | 01:15 | We don't need to see those
letters and numbers right now.
| | 01:18 | And I'll bring up the Interactive Render Region,
Option+R on the keyboard. And let's bring the
| | 01:22 | Quality slider up and then enlarge the
Interactive Render Region so we're seeing more of our
| | 01:27 | scene being rendered.
| | 01:29 | This type looks okay, but it would be much
better, from a legibility standpoint, if I could
| | 01:33 | isolate the face of the type
and the edges from the sides.
| | 01:37 | That way I can have a nice dark side and nice
light edge and face so that my type will really
| | 01:43 | pop off the screen.
| | 01:45 | I want to create a new material that's just
going to show up on the face of the type.
| | 01:50 | Let's do it based on the base material.
| | 01:52 | So, I'll hold down the Ctrl key and
drag the base material to the right.
| | 01:55 | Let's call this one face.
| | 01:58 | Now, the face material I want to be
lighter than the base material,
| | 02:02 | so let's take the value and move it up.
| | 02:05 | Now, I'm working in HSV.
| | 02:07 | If you're working on RGB and you want to see
the same thing that I have here, you can click
| | 02:10 | and hold on this pulldown and
change that from RGB to HSV.
| | 02:14 | I'm going to leave mine on HSV.
| | 02:16 | So let's take that value and bring it up
nice and bright. And now we could take this and
| | 02:20 | apply it to the Extrude NURB.
| | 02:23 | When we do that, our type gets brighter.
All of it gets brighter.
| | 02:27 | The reason for that is that CINEMA 4D
evaluates these tags from right to left.
| | 02:31 | This new tag is overriding the base material.
| | 02:34 | We only want this material to show up on the faces,
and that's where these numbers and letters come in.
| | 02:39 | C1 refers to the face of
the Extrude NURB object.
| | 02:43 | That's the face that we're seeing.
| | 02:44 | R1 refers to beveled edge of
the Extrude NURB on this side.
| | 02:48 | C2 is the face that's on
the back side of the object.
| | 02:51 | And R2 is the edge that's on
the back side of the object.
| | 02:56 | So if we go to this Texture tag that we want
to have show up on the front face and in the
| | 03:00 | Selection field we type in C1--
| | 03:05 | it is case sensitive;
it has to be a capital C and the number 1--
| | 03:08 | when I hit Return, watch
what happens to my type.
| | 03:11 | I've got a dark side and a light face,
and that really makes the type pop off more, and
| | 03:17 | it makes it much more interesting.
| | 03:18 | Let's do the same thing for the edges.
| | 03:21 | Let's select the Face material,
| | 03:22 | hold down the Ctrl key, and
drag a copy to the right.
| | 03:24 | Let's name it Edges.
| | 03:26 | And in that edge material,
let's go to the Basic properties.
| | 03:30 | We want to make the edge
material much brighter than the face.
| | 03:32 | Now, I could go to the Color
property and crank up the value,
| | 03:35 | but that's really not that much brighter.
| | 03:38 | If I go to the Basic property and turn on the
Luminance, that's going to make it incredibly bright.
| | 03:42 | Now, it's too bright.
| | 03:43 | Now it's gone full white, but if I select
the Color channel, hold down the Shift key
| | 03:47 | and click on the Luminance channel, I can now
see both of those properties at the same time.
| | 03:52 | I can take this swatch right here, drag it
down onto this swatch, and then the Luminance
| | 03:57 | channel will become the same
color as the Color channel.
| | 04:01 | That gives me a much brighter version of the same
material that now won't be affected by light.
| | 04:07 | It's going to really pop off those edges.
| | 04:09 | So let's take the edge material now
and apply it to the Extrude NURB.
| | 04:13 | Now, when I apply that material to the
object, it's overriding the other materials.
| | 04:18 | You can see now the type
feels like it's glowing.
| | 04:20 | That's the Luminance channel.
| | 04:22 | We want to have that glowing
sort of feel only in the edges.
| | 04:26 | And so now we need to use the same Selection
tag, so I'm in the Tag properties for the tag that's
| | 04:31 | going to be on the edges.
| | 04:33 | And I go into the Selection field and
I type in capital R and the number 1.
| | 04:37 | And when I do that, I now have
that material only on the edges.
| | 04:40 | And you could see that when I orbit around--
let's look at the type from the back side--
| | 04:44 | my type on the back is
still dark all the way around.
| | 04:47 | And when we orbit around to the front, we
have a nice pop on the face and a strong edge.
| | 04:51 | When we back out from the type nice and far--
bring that all the way back here and make it small--
| | 04:56 | you see you have a great
legibility, even at a small size.
| | 04:59 | This is a really important technique for
texturing type, and I recommend that everybody commit
| | 05:03 | these codes to memory.
| | Collapse this transcript |
|
|
2. Lighting Objects and ScenesWorking with lights in the 3D world| 00:00 | When the first computer programmers were
developing 3D software they quickly realize that they
| | 00:04 | did not have the computing resources to
accurately describe how light behaves in the real world.
| | 00:10 | Because of that, they subdivided how lights
behave and gave us a variety of tools to simulate
| | 00:15 | how light behaves in the real world.
| | 00:17 | What light does in the real world is that
it bounces, and in 3D software, by default,
| | 00:21 | lights do not bounce.
| | 00:23 | And that's true for just
about every piece of software.
| | 00:25 | There's only a very few special instances where light
does bounce, and even that bounce is a simulation.
| | 00:30 | What I have here is a very simple scene that
we're going to use to illustrate two important
| | 00:34 | concepts with lights in CINEMA 4D.
| | 00:37 | First is the idea that lights don't bounce.
| | 00:39 | Second is the idea that
lights pass through your objects.
| | 00:42 | So let me show you something.
| | 00:43 | I'm going to add a new light to the scene,
and the light type that I'm going to add is
| | 00:46 | something called a spot light.
| | 00:48 | A spot light is a directional light
source that's contained within a cone.
| | 00:52 | Anything that falls outside
that cone won't be illuminated.
| | 00:54 | So let's add a spot light to the scene.
| | 00:56 | By default, the spot light shines along the Z
axis, and you can see that if I hit Command+R
| | 01:01 | or Ctrl+R on the keyboard that my light
source is there, embedded in the ground.
| | 01:05 | It's not really illuminating anything.
| | 01:07 | So let's take the light source and move it.
| | 01:09 | I'm going to hit A on the keyboard to redraw
the frame, and then I'm going to raise the
| | 01:13 | light up and point it at this
white card that I have in the scene.
| | 01:16 | And let's bring the light source up.
| | 01:18 | I'm going to hit E to get the Move
tool, and let's move the light up.
| | 01:21 | I'm going to drag it up on its Y axis,
and then I'm going to orbit it around.
| | 01:26 | So let's take the light and hit R on the keyboard and
grab the Y handle and point it right at that card.
| | 01:32 | You can see as I orbit it
around this way, it hits the card.
| | 01:35 | Now using a white card like this is a common
technique in photography, and photographers
| | 01:40 | will shine a light onto a white card to
give a much softer effect on their subject.
| | 01:46 | Now, if I hit Command+R or Ctrl+R, when I render my
scene, you can see that the light is not bouncing.
| | 01:50 | The light is not coming off
that card and hitting my word.
| | 01:54 | The other thing you'll notice is that the
light is coming out the backside of the card.
| | 01:57 | It's passing through the card on the way.
| | 01:59 | Let's move over a little bit so
you can see that more clearly.
| | 02:02 | I'm going to orbit up like this
and hit Command+R or Ctrl+R.
| | 02:05 | You can see, there is my light source passing out of the
backside of the card and continuing on to infinity.
| | 02:10 | Now let's get back to our scene.
| | 02:12 | I'm going to orbit around and drag with
the 1 and 3 keys to get back to our scene.
| | 02:17 | And that gives you a really good
illustration of those first two concepts.
| | 02:21 | Light passes through your
objects and light does not bounce.
| | 02:24 | So that begs a question: How
do you simulate those effects?
| | 02:26 | Well, to simulate those effects, you need
to use multiple light sources, and you also
| | 02:30 | need to adjust some settings on the lights.
| | 02:32 | So let's deal with the light bounce first.
| | 02:35 | Now, normally, if I were to shine a spotlight
onto a white card like this, you would expect
| | 02:38 | it to bounce off that card and
illuminate the other objects in the scene.
| | 02:42 | So, in order to simulate that light bounce,
we need to have a light source that's right
| | 02:45 | here in the same location as the card,
pointing the same direction as the card.
| | 02:49 | So let's add a new light to the scene, and
this time I'm going to add an area light.
| | 02:52 | An area light is
essentially a rectangle of light.
| | 02:54 | Now you can make an area light any shape
you want, but it defaults to be a rectangle.
| | 02:58 | So let's add that area light to the scene.
| | 03:00 | So when I added the area light to the scene,
it's in the center of the world, and you can
| | 03:04 | see the white rectangle that
represents the area light.
| | 03:06 | Now, I want to get this area light
in the same location as my card,
| | 03:09 | so in order to do that, I'm going to take
the area light and parent it to the plane.
| | 03:14 | Then I'm going to go to the
Coordinate properties and zero them out.
| | 03:17 | So I'll select that and go 0, 0, 0 and then
tab all the way through and then 0 out the
| | 03:23 | rotation for the light.
| | 03:26 | You can see that it goes to
the same location as the card.
| | 03:29 | And the other thing is that it's about the
same size as the light circle that's hitting
| | 03:33 | the card, so that's pretty good as well.
| | 03:35 | Let's render our scene and see what
that looks like. Command+R or Ctrl+R.
| | 03:38 | So now you can see that we've
simulated light bouncing off that card.
| | 03:43 | It's spread out a little bit too far.
| | 03:44 | You can see that it's got a spread on it that sends it
off in too far on the left and right of the card.
| | 03:51 | The other thing you'll notice though, is that
that light is shining all the way through
| | 03:53 | the card and passing out the other side,
and that's what's causing this black line here.
| | 03:58 | The way the area light works is that it's a
light that shines in both directions along
| | 04:02 | its Z axis, and right underneath the
light you always get this dark line.
| | 04:06 | Well there's a really cool button on the area
light that we can adjust to correct that behavior.
| | 04:11 | So let's go to the area light, and then
underneath the Details tab, at the very bottom, is this
| | 04:17 | little button right here, Z Direction Only.
| | 04:19 | And that's going to have it shoot in the
positive Z direction, right along this axis.
| | 04:23 | Let's turn that on and
hit Command+R or Ctrl+R.
| | 04:26 | And now you can see that we're
getting a much better behavior.
| | 04:29 | We still have our light from the spot light
passing out the backside, but the light coming
| | 04:33 | off the card is being bounced
in a much more predictable way.
| | 04:36 | So, how do we correct this light
coming out the backside of the card?
| | 04:39 | Well, the way we do that is by going to
the spot light and turning on shadows.
| | 04:43 | In CINEMA 4D, light passes through
objects until you turn on shadows.
| | 04:47 | So, let's go to the General properties of the
light and I'm going to go to the Shadow pull-
| | 04:51 | down and activate Area Shadows.
| | 04:55 | When I do that--let's render again, Command+R
or Ctrl+R--and now you'll see that the light
| | 04:59 | no longer passes out the back side.
| | 05:02 | Now our light is still bouncing off the card
at too wide an angle, so we can go back to
| | 05:06 | the area light and adjust the
barn doors on the area light.
| | 05:10 | So if I click on the Light and go to the Details
tab, there is something called a Falloff Angle.
| | 05:16 | The Falloff Angle is like a
virtual set of barn doors.
| | 05:18 | If you've ever seen lighting from a studio,
you'll know that they have these things called
| | 05:22 | barn doors, and barn doors sit on a spotlight
and they control how the light falls off.
| | 05:27 | So this falloff angle is what's
causing the light to spread out so much.
| | 05:30 | By adjusting the falloff angle, we can
tighten up the direction of the light.
| | 05:34 | So I'm going to take the falloff angle from
180 degrees and let's bring it down, and let's
| | 05:38 | bring it down, probably we'll start off with
about 90 degrees, and then we'll render again,
| | 05:42 | Command+R or Ctrl+R.
| | 05:43 | And you can see, now it's behaving
in a much more predictable way.
| | 05:47 | We've got our light bouncing off the card,
hitting the ground, and illuminating other subjects.
| | 05:51 | And you can see, it's a little bit probably
too strong, so I can just go back through
| | 05:55 | and adjust that light.
| | 05:56 | If I go to the area light and then I'll go to
the General properties and adjust the Intensity,
| | 06:01 | the Intensity controls how
bright the light is getting.
| | 06:04 | Now, a very important rule is that you should
never trust what you see here in the Editor
| | 06:08 | window until you render.
| | 06:10 | You notice that when I bring this down,
you can see that the light is simulating,
| | 06:13 | that it's going up and down here, but I
really shouldn't trust that Intensity level.
| | 06:17 | I'm going to go up to the Render icon, and at the
very bottom is the Interactive Render Region.
| | 06:21 | When I activate that, you can see I now get
this rectangle around my objects, and this
| | 06:25 | rectangle will update
every time I make a change.
| | 06:27 | Let's enlarge it just a bit, so
it's covering our whole scene.
| | 06:31 | And I'm going to raise the quality level up to
100%, so I get a better representation of the scene.
| | 06:35 | And you can see that it looks very different
inside this window than it does outside the window,
| | 06:39 | so let's take the
intensity and dial it down a bit.
| | 06:42 | You can see that now we
have a better representation.
| | 06:44 | The light would normally, in the real world,
lose quite a bit of intensity as it bounces
| | 06:48 | off of this card and spreads out.
| | 06:50 | We can also go to the light
source and open it up a bit.
| | 06:52 | Let's go to the Details and adjust the Falloff
Angle, and we're going to adjust the falloff
| | 06:57 | by upwards, to let's
call it 120. There we go.
| | 07:01 | And that gives us a little bit better spread.
| | 07:03 | So now we've got our light kind of simulating that
bounce, and that's really what this is all about
| | 07:08 | is simulating that bounce.
| | 07:09 | The last component of
this simulation is shadows.
| | 07:12 | You notice that we don't have any
shadows down here in this area.
| | 07:16 | You'd expect this light bouncing off the card to
cast a shadow off the ball and off the type itself.
| | 07:22 | So the way we do that is
by activating shadows.
| | 07:24 | The programmers gave us that ability because
a lot of times you only want your shadow to
| | 07:28 | come from a single source, and so
you can turn the shadows off and on.
| | 07:31 | So let's go to our Plane Light, the light
that's bouncing off of our plane, and then
| | 07:35 | underneath the General properties, we're
going to activate the shadow type to be Area.
| | 07:40 | Area is the most accurate type of shadow you
can draw, and so we'll turn that on right now.
| | 07:45 | When we do that, you'll see that now our
light starts to behave more correctly.
| | 07:48 | And you can see we've got
some issues with our shadow.
| | 07:51 | First and foremost, we've got
this kind of line passing here.
| | 07:53 | Now, a very important thing: because we've
got our light in exactly the same position
| | 07:57 | as the plane, it is intersecting with the
plane and CINEMA 4D does not like intersections.
| | 08:02 | Most 3D softwares don't.
| | 08:04 | When some two things are in exactly the same
location, the software doesn't know how to resolve it,
| | 08:08 | so what we need to do is to
move this light out of the plane.
| | 08:12 | It's in exactly the same location,
| | 08:13 | so let's hit E on the keyboard to get
the Move tool and let's grab that light.
| | 08:17 | So we'll take it and drag it out
just a hair, outside the light source.
| | 08:20 | And you can see, that fixed those horizontal
lines that we were seeing down here, and now
| | 08:25 | our light is casting those shadows.
| | 08:27 | Now, normally light bouncing off a card
wouldn't cast quite such strong shadows, so now we
| | 08:31 | can dial the shadow intensity down.
| | 08:32 | The way we do that is by going back to the
light source and going under the Shadow properties
| | 08:37 | and adjusting the Density of the shadow down.
| | 08:39 | So let's take the density down from
100 to, say, about 50%. There we go.
| | 08:43 | And that's starting to
feel a little bit better.
| | 08:45 | So you can see, this process that we went
through will give you an idea of the kind
| | 08:48 | of process that you'll have to go
through when creating lights in your scene.
| | 08:52 | The idea is to keep in mind
those two important factors:
| | 08:56 | number one, light does not bounce, and number two,
light passes through your objects until
| | 09:00 | you turn on shadows.
| | Collapse this transcript |
| Understanding light types| 00:00 | In CINEMA 4D, there are several different
types of lights, and they're all designed to
| | 00:03 | be used in different situations to help you
get just the lighting look that you need.
| | 00:08 | I've got a very simple scene here with a sphere
and a floor, and let's add a light to the scene.
| | 00:13 | So underneath the light icon here are the
different types of light that you can add,
| | 00:16 | and so let's tear this off.
| | 00:18 | I'm going to highlight this little double line and
tear off this menu and have it float as a palette,
| | 00:23 | and that's going to allow me to add the
different lights without having to go back to this.
| | 00:26 | I could always close this up and
then tear it off again by doing that.
| | 00:30 | So let's bring that over here to
the left-hand side of the window.
| | 00:33 | So the very first type of light we want to
add is something called a basic light and
| | 00:37 | it's an omni light.
| | 00:39 | And so if I click that, I get a
dark scene. Now, why is that?
| | 00:42 | The reason I get a dark scene is because when
CINEMA 4D adds objects, it adds them to the
| | 00:46 | center of the world.
| | 00:48 | The center of the world in this case is in
the floor and below the sphere, and so it's
| | 00:52 | not illuminating anything.
| | 00:53 | So let's hit Command+R or Ctrl+R on the keyboard
and you'll see that in fact our scene is dark.
| | 00:58 | So I'll hit A on the
keyboard to redraw the frame.
| | 01:01 | So let's hit E on the keyboard to get the
Move tool and then drag it up on the Y axis,
| | 01:06 | up above the sphere.
| | 01:07 | Now, when we drag it up, let's use
the 1 key and pan down a little bit.
| | 01:11 | You could see that the icon for this light is
a little star that has little lines pointing
| | 01:15 | in all directions. That's because the Omni light
shines equally in all directions.
| | 01:19 | When I hit Command+R or Ctrl+R to render,
you could see that my light is shining in
| | 01:23 | a spherical area, all around
my sphere, just above it.
| | 01:27 | And you could see that I've got this falloff
region of light where it transitions from
| | 01:31 | bright to dark, down below.
| | 01:33 | I don't have shadows; that's
because shadows are off by default.
| | 01:36 | The other thing you'll notice is that the light
is passing through the sphere and illuminating
| | 01:40 | the floor, and that is one of the most important
characteristics: light passes through objects
| | 01:44 | and it does not bounce.
| | 01:46 | To illustrate how the omni light is shining
in all directions, I'm going to hold down
| | 01:49 | the Control key and drag
a copy of the sphere up.
| | 01:52 | So let's first select the sphere.
| | 01:53 | I'll click on it in the Object Manager.
| | 01:55 | And then I'm going to hold down the
Control key and drag up on the Y axis handle.
| | 02:00 | When I do that, I'm making a copy of the
sphere, and I'm going to drag it up above.
| | 02:03 | And let's bring it down just a bit, so we can
see both of these, and you'll see that when
| | 02:08 | we render--Command+R or Ctrl+R--you can see
that the light is exactly the same above the
| | 02:12 | sphere as it is below the sphere.
| | 02:14 | That is an omni light, and an omni
light shines equally in all directions.
| | 02:17 | I don't normally use it.
| | 02:18 | There are a few very special instances where
I do, but most of the time I prefer to use
| | 02:22 | the area lights or spot lights.
| | 02:24 | So let's take a look at those next.
| | 02:25 | I'm going to delete both the
upper sphere and the light source,
| | 02:28 | so I'll hold down the Shift key to
grab both of those and hit Delete.
| | 02:31 | And now we're back to our original scene.
| | 02:33 | And if I add a spot Light to the scene, you
can see that a spot light is this cone, and
| | 02:40 | when I hit Command+R or Ctrl+R, I get nothing.
| | 02:42 | And that's because our light is at the center of the
world and there is nothing inside the cone right now.
| | 02:46 | So let's hit A on the keyboard to redraw it,
| | 02:48 | and let's drag up on the Y axis, and then on the Z axis
we'll drag until our light is hitting the sphere.
| | 02:54 | Then let's also rotate it down just a bit.
| | 02:57 | Hit R on the keyboard and grab the red axis band
and point it down until it's hitting your sphere.
| | 03:03 | Now, don't worry about
matching my angle exactly.
| | 03:05 | That's not really important. Let's hit Command+R
or Ctrl+R to render the scene.
| | 03:08 | And you can see that our spot light is
indeed a cone of light that's hitting the sphere,
| | 03:12 | and nothing outside the cone
of light is being illuminated.
| | 03:16 | So this is a directional light
source contained within a cone.
| | 03:18 | One of the cool things about that light is
that if you click on the light and look at
| | 03:22 | its attributes, under the Details property,
there is an Inner and Outer Angle, and the
| | 03:27 | Inner and Outer Angle, along with the Aspect Ratio,
allow you to control the shape of that cone.
| | 03:32 | So I can take the outer angle--
| | 03:34 | the outer angle is this white line here and
the inner angle is going to be an inner zone
| | 03:39 | that's based on this light gray line.
| | 03:40 | So, right now the inner angle is 0.
| | 03:42 | If I take the inner angle from 0 and drag it outward,
you could see I get a second cone on the inside.
| | 03:48 | And look what happens to my shape.
| | 03:49 | Let's hit Command+R or Ctrl+R on the keyboard.
| | 03:51 | You will see the region of falloff, the transition from
the dark area to the light area, has gotten a lot sharper.
| | 03:57 | Let's take the inner angle and bring it all
the way up to the outer angle, and you can
| | 04:00 | see, I've got a very hard falloff region now.
| | 04:02 | In fact, it's given me a choppiness here.
And that's not really good, so I'm going to
| | 04:06 | bring that back down, but that gives you an
illustration of what that inner angle does.
| | 04:09 | Let's bring that back down to 0.
| | 04:11 | The next thing is the Aspect Ratio.
| | 04:12 | The aspect ratio controls the
relationship of this circle.
| | 04:16 | How high is it related to how wide it is?
| | 04:18 | And so we can adjust the aspect ratio and
make it an oval this way, or we can flatten
| | 04:22 | it out and make it an oval that way.
| | 04:25 | And if we make it too small this way, we can
always adjust the outer angle to make that
| | 04:28 | cone of light spread out.
| | 04:31 | I'm going to delete this light source
again to get back to our basic scene.
| | 04:34 | The next thing we're going
to add is an area light.
| | 04:36 | Now, I don't need to click and hold on this
light button over here, because I've got the
| | 04:39 | light tab pulled off over here and floating,
| | 04:41 | so I'll add an area light to the scene.
| | 04:43 | And you can see, an area light
comes in to the center of the world.
| | 04:45 | Let's move it on its Z axis
and see. It's a rectangle.
| | 04:49 | And this rectangle of light is used to simulate things
like windows and doorways and that sort of thing.
| | 04:55 | It's also used like a
soft light in photography.
| | 04:57 | It becomes a big rectangle of light that really
softens out the way that light hits your objects.
| | 05:03 | When I hit Command+R or Ctrl+R on the keyboard,
you can see that that rectangle of light shines
| | 05:07 | in two directions along its Z axis,
| | 05:09 | and that's what's giving me this dark line.
| | 05:11 | Because it's a plane that's infinitely thin, you get
no light emitting from the edges of that plane.
| | 05:17 | And so if I go to the Light and look at the Details
tab, at the very bottom is a Z Direction Only.
| | 05:21 | And I click on that and now my light is
only going to shine along the +Z axis.
| | 05:26 | And I'll hit Command+R or Ctrl+R,
and again render that frame.
| | 05:29 | You can see that there is our
light shine only on the Z axis.
| | 05:32 | So the area light can be used to great effect.
| | 05:34 | I really use the area light most often.
| | 05:37 | Let's delete our area and
then add a target light.
| | 05:39 | The Target Light is one of the few objects
that doesn't come into the center of the world.
| | 05:42 | When I click it, I'm going to get a
spot light that is automatically shining down at the
| | 05:46 | center of the world.
| | 05:47 | Let's back up a little bit so we
can see what's going on here.
| | 05:49 | On our light source, we have this little target
tag, and the tag is telling the light to always
| | 05:54 | point at this light target null object.
| | 05:57 | If I move that that light target null, you
could see that the light always follows it.
| | 06:02 | And if I grab the light and move it around,
the light always tries to point at that light target.
| | 06:07 | No matter where I drag it around,
it will always orient towards that light.
| | 06:11 | Now the target light comes in as a
spot light, and I don't use spot lights very often.
| | 06:15 | I prefer to use area lights.
| | 06:16 | And so, one of the great things about lights
in C4D is that you can change them from one
| | 06:19 | light type to another.
| | 06:21 | Let's go to the light object and then under
the General properties, I can change the Type
| | 06:26 | from Spot and change it to Area light,
and so now I've got a target area.
| | 06:31 | And if I want to make this area bigger,
I can drag on these handles and make it larger,
| | 06:35 | and that works for all the
light types except for the Omni.
| | 06:37 | I can make that light much larger and now
when I render, you can see I've got a much
| | 06:41 | better illumination.
| | 06:42 | Of course, there's that problem.
| | 06:43 | I can always go back to the Details
tab and turn off that Z Direction.
| | 06:48 | So now it's only going to shine along the +Z.
Command+R or Ctrl+R, and there's a much
| | 06:52 | better illumination of my scene.
| | 06:54 | The last light type that I want to talk
about in detail is the Infinite Light.
| | 06:57 | These other two light sources I
don't really use very often.
| | 07:00 | I'll explain what they do.
| | 07:02 | The infinite light, when you add it to the
scene, is a directional light source that is
| | 07:07 | an infinite wall of lights.
| | 07:08 | Let's delete our main light, which is
this Light here and the Light Target.
| | 07:13 | I'll delete those out of the scene.
| | 07:14 | And the way the infinite light works is that
it's an infinite wall of light that shines
| | 07:19 | in all directions.
| | 07:19 | Now, this is really intended to
simulate how we perceive the sun.
| | 07:24 | The sun is millions of millions of miles away,
but the light coming off the sun is effectively
| | 07:28 | parallel to us, because we're so
small compared to that light source.
| | 07:32 | And we perceive that parallel light as an
infinite wall of light shining down on us.
| | 07:36 | Now, if I render the scene--Command+R or Ctrl+R--what
you'll notice is that it's not illuminating the floor.
| | 07:41 | That's because the light is moving
parallel to the Z axis of this light source.
| | 07:45 | And because the plane is parallel to
that Z axis, it's not being illuminated,
| | 07:49 | so I need to rotate this light.
| | 07:50 | I'll hit R on the keyboard and select the
light source and then I'll rotate it around.
| | 07:56 | And as I rotate, you'll see that
the floor becomes illuminated.
| | 07:59 | And now let's hit Command+R or Ctrl+R again.
| | 08:02 | When I do that, you could see that my plane,
the floor object, goes off to infinity, to the
| | 08:06 | horizon, but so does the light; it
travels off to infinity in all directions.
| | 08:11 | And so this is a really great light to use
when you're illuminating outdoor scenes.
| | 08:14 | If you're building a model of a city or if
you're doing an architectural rending where
| | 08:18 | you're putting a house on a work site, then
the infinite light is a great way to start
| | 08:22 | the lightning in your scene, because
it behaves a lot like the sun does.
| | 08:26 | And of course that begs a
questions: What is this Sun Light here?
| | 08:28 | The Sun Light is something
I don't normally ever use.
| | 08:30 | If I click and hold on it and add it to the
scene, the sun light has this special tag
| | 08:35 | on it that allows you to simulate different
locations on the Earth at times of the year.
| | 08:40 | So it's got a Calendar function and a Time
function and a Longitude and Latitude function.
| | 08:45 | This light was added for architects who have
to be a very specific about the location and
| | 08:49 | time of day that they're trying to simulate.
| | 08:52 | So they've given us this tag that allows you to
correct how that light looks at that location
| | 08:57 | in space and time.
| | 08:59 | Now I don't normally use it because I try to
stylize my light more, but it's there if you need it.
| | 09:03 | The last type of light is this IES light.
| | 09:05 | And I'll delete the sun light from the scene
and delete the other light source, the infinite
| | 09:09 | light, and let's add an IES light.
| | 09:11 | Now, when I add an IES light, what it's asking
for is an IES file, and I don't have any IES
| | 09:17 | files on my machine, so I'll just cancel this out.
| | 09:20 | What that relates to is a special codebook for
lights that all lightning designers refer to.
| | 09:26 | And so if you're working on a set, you're
building a set for a reference, or if you're
| | 09:30 | doing an architectural rendering where your
client specified very specific types of lights,
| | 09:34 | these lights can be looked up in the IES
table and the properties of those lights can be
| | 09:38 | simulated here in C4D.
| | 09:40 | So that's--once again that's something I
normally do, because I'm a motion graphics
| | 09:43 | artist, but if you're doing architectural
renderings, it's a really valuable technique.
| | 09:47 | That's a quick summary of the different
types of lights that you have in C4D.
| | 09:50 | The most important thing to remember about
them is that you're not limited to having
| | 09:53 | just one type of light in the scene.
| | 09:55 | You can have any number of lights in the scene,
and you can use those light types to simulate
| | 09:58 | all kinds of different light behavior.
| | Collapse this transcript |
| Using Falloff to limit the effects of light| 00:00 | So far in this chapter we've been talking
about the idea that the lights in CINEMA 4D
| | 00:05 | don't behave quite like
they do in the real world.
| | 00:07 | And right now we're going to talk about
another aspect of light that is not like the real
| | 00:11 | world, but that you can make a little bit more like
the real world, and that's something called falloff.
| | 00:17 | In a real light source, light diminishes in
intensity as it travels away from that light
| | 00:22 | source, and that effect is called falloff.
| | 00:25 | And you'll hear the word falloff
a lot used in 3D applications.
| | 00:28 | Really what it means is a transition, and in
this case it's a transition from 100% intensity
| | 00:33 | down to 0% intensity, or from
whatever intensity you have set.
| | 00:37 | The key is that it's always a
transition from one state to another.
| | 00:41 | Now when I add a light in C4D--I'm going to add an
omni light and I'll click once on the light source.
| | 00:46 | And let's render that. Command+R or Ctrl+R.
| | 00:48 | You can see that our light is doing what
lights do, which is pass through objects, and it's
| | 00:53 | illuminating the objects.
| | 00:54 | The reason we're not seeing these objects
behind us is because those polygons are facing
| | 00:58 | the other directions.
| | 00:59 | So you can see all these other cubes around
us in this grid, but you'll notice that the
| | 01:03 | light is the same intensity.
| | 01:04 | It appears to be diminishing in intensity here,
but that's because of the angle of these
| | 01:09 | planes to the light source.
| | 01:11 | Let's do something different here.
Let's raise the light up on its Y axis.
| | 01:15 | I'll hit the E on the keyboard and then drag
up. And exact height doesn't matter, but let's
| | 01:20 | hit Command+R or Ctrl+R on the keyboard.
| | 01:22 | Now, you can see that now the light is
illuminating all the objects in the scene equally from
| | 01:27 | that point of origin.
| | 01:28 | Now the light appears to be
diminishing in intensity in the distance.
| | 01:31 | You can see that we have this
sort of dark region out here.
| | 01:33 | But really, what's happening is
the angle of light is changing.
| | 01:36 | The omni light radiates light outward from
a point source, and as the light becomes
| | 01:40 | more parallel to the surface of the
plane--that is the infinite floor--
| | 01:45 | it no longer strikes the floor, and that
gives us the illusion that the light is falling
| | 01:49 | off with intensity.
| | 01:50 | But these cubes tell us otherwise.
| | 01:52 | You can see that they're
the same illumination.
| | 01:54 | The angle is changing and creating different
levels of intensity, but the illumination
| | 01:58 | level really is the same.
| | 01:59 | So that begs a question: How do we
change it? By adjusting the falloff.
| | 02:03 | Now on your Light source, when you select it,
under the Details property is the Falloff
| | 02:08 | option, and the Falloff
option is defaulted to None.
| | 02:11 | And so when I click on that, I get some
really sort of confusing technical options here.
| | 02:16 | Rather than trying to explain these, because
I'm not a light scientist, I'm going to show
| | 02:19 | you a very important thing in
CINEMA 4D, which is the Help system.
| | 02:23 | If I right-click on the word Falloff and go to
Show Help, I get an example in the interface.
| | 02:29 | And this is the Help menu inside of C4D.
| | 02:32 | It's an HTML-based system that you can right-
click on just about anything in the interface and
| | 02:37 | get a reference for.
| | 02:38 | And for the reference for Falloff, it has a great
explanation of Falloff. It also has a visual
| | 02:42 | explanation of the different types.
| | 02:44 | And if I click on this it makes it larger.
| | 02:47 | Let's expand this window out a bit
so we can see those light types.
| | 02:50 | Let's bring that over here and scroll down a bit,
and let's make the window larger too. There we go.
| | 02:57 | And we'll scroll to see them.
| | 02:58 | So you can see, these are the
different light Falloff types.
| | 03:01 | The default is None. Linear, Inverse Square, Step,
and then down here is Inverse Square Limited.
| | 03:07 | Now I prefer to use Linear.
| | 03:10 | It feels the most realistic to me, but there
may be times where you need to change these
| | 03:14 | to suit your taste.
| | 03:15 | So let's close up the Help window and
turn our Falloff from None to Linear.
| | 03:21 | Now, as soon as we turn it to Linear, you'll
notice that we now have this set of rings
| | 03:25 | around our light, and let's hit Command+R or
Ctrl+R on the keyboard. And now you can see
| | 03:30 | that our light actually looks a
little bit like a spot light.
| | 03:33 | That's because the light is now being limited.
| | 03:36 | It's diminishing in intensity in a
spherical radius around our omni light.
| | 03:39 | Remember, the omni light radiates outward in
all directions, which is basically a sphere,
| | 03:44 | and because it's being limited, we see only
the places where our objects intersect with
| | 03:48 | that sphere of influence.
| | 03:50 | Now if I hit A on the keyboard, these white
rings represent that sphere of influence.
| | 03:54 | So there is a zone from the center of the
light out to the outer edge, and this is the
| | 03:59 | falloff region for the light.
| | 04:00 | So it's 100% intensity here,
and then it's 0% intensity here.
| | 04:04 | So if I want to include more of these cubes,
I have to take this little orange dot and
| | 04:10 | drag outward until more of
my cubes are illuminated.
| | 04:13 | And now if we hit Command+R or Ctrl+R on the
keyboard, you could see that our light looks
| | 04:17 | a lot more interesting.
| | 04:18 | It behaves in a much more accurate way.
| | 04:21 | Falloff is probably the most important tool
you can use in getting realism in your scene.
| | 04:26 | Turning on Falloff for your light will up
the production value every single time.
| | 04:30 | It does require you though, to start thinking
about light much more like a lighting designer,
| | 04:34 | and that's always a good thing.
| | Collapse this transcript |
| Creating and adjusting shadows| 00:00 | By default, lights in CINEMA 4D don't
cast shadows, but real lights always do.
| | 00:05 | There are a lot of times where you want to
have shadows off, but when you're working
| | 00:08 | with objects that are going to be in close
proximity to one another, then you usually
| | 00:11 | want to have some sort of shadow being cast.
| | 00:14 | CINEMA 4D has different types of shadows,
and they all come with different pluses or minuses.
| | 00:19 | So, let's take a look at them.
| | 00:20 | I have a very simple scene here.
| | 00:22 | Let's back out just a bit,
so you can see what's going on.
| | 00:24 | I've got a spot light and that spot light
is shining down on this word SHADOW.
| | 00:28 | So let's zoom back in so we can see.
| | 00:30 | We don't need to see the light right now.
| | 00:31 | We just need to see the effect
that the light is going to generate.
| | 00:35 | So let's look at the word and how it's
going to cast a shadow on the ground.
| | 00:39 | Before I do anything else, I'm going
to turn on Interactive Render Region.
| | 00:42 | The Interactive Render Region
is accessed by one of two ways:
| | 00:45 | I can hit Option+R or Alt+R on the keyboard
or I can click and hold on this middle Render
| | 00:51 | icon and grab Interactive Render Region.
| | 00:54 | And when it shows up, it's got a
Quality slider here in the middle.
| | 00:57 | I'm going to turn that Quality slider all
the way up and then enlarge the Interactive
| | 01:01 | Render Region so we're seeing
more of our scene being rendered.
| | 01:04 | I don't really care about
this area of the window.
| | 01:06 | I'm going to just bring it over here
where the shadows are going to be cast.
| | 01:11 | Now I can select my Light source and under
the General properties, I can activate Shadow.
| | 01:16 | I could also go to the Shadow
parameter and then turn on shadows here.
| | 01:19 | It's the same difference.
| | 01:21 | So I'll stay here in the Shadows and click and
hold on that so you can see the different types.
| | 01:26 | There are three types of
shadows that lights cast.
| | 01:29 | They have the None option, which is no shadow, and then
they have Shadow Maps (Soft), Raytraced (Hard), and Area.
| | 01:35 | Let's start off with Raytraced (Hard).
| | 01:37 | Raytraced (Hard) are the most simple type of
shadow that you can cast, and I'll activate that now.
| | 01:42 | When you hit the Render button, CINEMA 4D
sends out these little mathematical statements
| | 01:46 | called rays from the point of view of the light,
as well as the point of view of the camera.
| | 01:51 | Those rays travel out and they strike your
objects, and those rays are looking at the
| | 01:55 | shapes of the objects. And in the case of
shadows, basically everywhere where a ray does
| | 02:00 | not strike through, another
object behind it gets a shadow.
| | 02:05 | The accuracy of those rays
determines the accuracy of the shadow.
| | 02:08 | Now this is a huge oversimplification,
but it's a good way to understand what's happening.
| | 02:13 | With the Raytraced (Hard) Shadows, you really
have no control over the accuracy of the shadow.
| | 02:17 | It's just going to create an
occlusion of your object.
| | 02:21 | This edging here that you see, the chunkiness of
those edges, that's being caused by something
| | 02:25 | called anti-aliasing, and I can change the anti-
aliasing settings in the Render settings of my scene.
| | 02:31 | If I click on the Render Settings button here,
under the Anti-Aliasing option, I can change that.
| | 02:37 | So let's move over here so
we can see our scene file.
| | 02:41 | So there's our shadow right here.
| | 02:42 | I'm going to change the Anti-
Aliasing from Geometry to Best,
| | 02:45 | and when I do that, you'll see
that those lines smooth up.
| | 02:49 | So I'll leave the Anti-Aliasing on Best for
now, so we can get a better look at our scene.
| | 02:53 | Let's close up the Render Settings.
| | 02:56 | And that's pretty much all there
is to Raytraced (Hard) Shadows.
| | 02:58 | You can control the color.
| | 02:59 | I can click on that,
and let's make the shadows red.
| | 03:03 | Now that is not a natural behavior, but there
may be a valid design reason why you'd want
| | 03:06 | to do that, and so they give you
the ability to change color there.
| | 03:10 | I can also change the density.
| | 03:12 | I can bring the density down from 100 to, say,
50, so the shadow is not quite as strong.
| | 03:17 | That is pretty much all there is
to the Raytraced (Hard) Shadows.
| | 03:20 | So let's take a look at the next
type, which is Shadow Maps (Soft).
| | 03:24 | Now, this is the next level of intensity in
shadows, and when I add Shadow Maps (Soft),
| | 03:28 | you can see the Color is still set to red.
| | 03:30 | It picked that up from the last Shadow type.
| | 03:32 | So let's change it back to black, so let's
click on this swatch and drag down and hit OK.
| | 03:37 | Let's also bring the Intensity up to 100%.
| | 03:41 | Now, our shadows look a little bit more realistic,
and I say a little bit more realistic because
| | 03:45 | there are some faults with these shadows.
| | 03:48 | The first thing you should notice
about them is that the shadows bleed.
| | 03:50 | You can see that the shadow is bleeding
underneath the word SHADOW, in the front, and that's not
| | 03:55 | a natural behavior at all.
| | 03:57 | The other thing you'll notice about the
shadows is that they don't quite join up with the
| | 04:00 | object, and that's a natural
characteristic of Shadow Maps (Soft).
| | 04:05 | Shadow Maps (Soft) takes a rectangle from
the point of view of the light source and
| | 04:09 | projects it through your scene.
| | 04:11 | Every place where that rectangle
strikes an object it casts a shadow.
| | 04:15 | The resolution of that rectangle
determines the accuracy of the shadow.
| | 04:20 | The Shadow Map pulldown here
controls the resolution of that shadow map.
| | 04:24 | If I up this Shadow Map resolution--let's
go all the way up to 1000 to start with--
| | 04:28 | you're going to see that our
shadows become much more realistic.
| | 04:31 | There is a lot less bleeding here on the front
of it, and you could see that the shadow joins
| | 04:36 | up with our word in a much better way.
| | 04:40 | Now, one thing you should notice about the
shadow is that it also got more crisp, and
| | 04:44 | that's because of something
called the Sample Radius.
| | 04:46 | The Sample Radius controls the transition
from the darkest part of the shadow to where
| | 04:50 | the shadow doesn't exist, and by increasing the
Sample Radius now, we can soften that shadow back up.
| | 04:55 | So let's take that up to 10.
| | 04:58 | You can see that now we get that bleeding
back on the front, but our shadow is much
| | 05:02 | softer out at the outer edges.
| | 05:05 | As a general rule, I don't use Shadow Maps
(Soft) when I have an object that needs to
| | 05:08 | sit on a ground plane like this,
| | 05:10 | for just this reason; you can
see it doesn't look that good.
| | 05:13 | I'll use Shadow Maps (Soft) when I have a
logo that's floating in a design space, because
| | 05:17 | objects that don't touch look really pretty
good with Shadow Maps (Soft) and they save
| | 05:21 | you a lot of render time.
| | 05:23 | The last type of shadow I want
to talk about is an Area shadow.
| | 05:25 | So let's go back to the Shadow pulldown
and go from Shadow Maps (Soft) to Area.
| | 05:31 | Area is the most accurate type of shadow.
| | 05:34 | It's also the most difficult
for the computer to render.
| | 05:37 | So you should be careful
how you use Area shadows.
| | 05:39 | If I have an object that I know is going to
be touching on the floor then I will always
| | 05:44 | use Area shadows.
Area shadows come with some downsides.
| | 05:48 | First and foremost is that
they take longer to render.
| | 05:51 | The second downside is that they have a lot
of noise in them, and that noise is designed
| | 05:55 | to help the shadow render more quickly.
| | 05:57 | In order to get rid of that noise, we have to
turn up some sample settings that are going
| | 06:01 | to make this scene render even longer.
| | 06:04 | Most of the time it's worth it, because the quality
that you get from the shadows is really very good.
| | 06:10 | We've got three settings here for the Shadow.
| | 06:12 | We've got Accuracy, Minimum
Samples, and Maximum Samples.
| | 06:16 | The Accuracy controls how
accurately the shadow is drawn.
| | 06:19 | Let's bring it down to zero.
| | 06:20 | You can see that the
shadow got a lot more grainy.
| | 06:24 | If we bring the Accuracy up to 100%, you can see
that the shadow didn't get nearly as un-grainy
| | 06:30 | as we thought it would.
| | 06:32 | The accuracy level is something I usually
always leave at the default value of 75%.
| | 06:38 | In order to get rid of this noise, we have to
increase something called the Maximum Samples.
| | 06:43 | Minimum Samples affect areas where objects
come in close proximity with one another.
| | 06:48 | The Maximum Samples control the
graininess of the shadow in big flat areas.
| | 06:54 | So if we go to the Maximum Samples and
change it from 100--let's go up to 500.
| | 06:58 | Now it's going to take quite a bit longer
for the shadow to render, but look how much
| | 07:02 | less noise we have.
| | 07:05 | You can see that the shadow took almost two
seconds, compared to almost no seconds before.
| | 07:10 | We've gotten rid of nearly all of the noise,
but let's crank the Shadow Samples up just
| | 07:14 | a little bit more, so you can see
how it affects the render time.
| | 07:17 | Let's go up to 800.
| | 07:21 | So that took a little bit longer than two
seconds, but it's rounding down for us.
| | 07:25 | But you can see that the shadows really
don't look any different than they did before.
| | 07:28 | So the point I'm trying to make is that you
want to be careful with your Maximum Samples.
| | 07:33 | There is a point of diminishing returns on them,
and it's going to be different for each scene.
| | 07:37 | I can probably get away with the
scene, of going down all the way to 300.
| | 07:41 | I'd say that looks pretty good.
| | 07:44 | I've got a little bit of noise in the shadow,
some in those areas there, but let's say I
| | 07:48 | was going to be looking at my
type from this angle here.
| | 07:50 | When I let it render, you'll see that my shadow
looks really good from this angle, it renders
| | 07:55 | fast, and I've got just a
few samples going here.
| | 08:00 | That's a quick summary of the
different types of shadows in CINEMA 4D.
| | 08:03 | The most important rule of thumb is that you don't
normally want to have all your lights casting shadows.
| | 08:09 | When you're lightning and working with
shadows in CINEMA 4D the goal is to simulate what
| | 08:13 | happens in the real world.
| | 08:14 | This is going to save you on render time and
allow you to stylize your image in a really creative way.
| | 08:18 |
| | Collapse this transcript |
| Working with visible or volumetric light| 00:00 | Have you ever been to a theater and looked
up at a spotlight that was shining down on
| | 00:04 | an actor on the stage and been able to see that
cone of light coming out of the light source?
| | 00:11 | Normally, you are not able to see light photons,
but in a spotlight like that, you're actually
| | 00:16 | not seeing the light itself, but you're seeing
the light bouncing off of little dust particles
| | 00:20 | and moisture and smoke and things
like that that are in the air.
| | 00:23 | That visible light is another component that
the programmers have given us to work with.
| | 00:28 | I've got a very simple scene opened here.
| | 00:30 | Before we look at this specific example though,
let's take a look at some of the settings.
| | 00:33 | I'm going to make a new document by hitting Command+N
or Ctrl+N, and let's add a spot light to the scene.
| | 00:39 | I'll click on the Light
object and go to Spot Light.
| | 00:43 | Now on the Light, under the General properties,
I'm going to click and hold on Visible Light.
| | 00:47 | There are four options here: None, which is
the default and then Visible; Volumetric;
| | 00:52 | and Inverse Volumetric.
| | 00:53 | Visible Light is the least intensive of the
three options, and if I add that, you can
| | 00:58 | see that my cone has changed.
| | 01:00 | Let's render. Command+R or Ctrl+R.
| | 01:02 | I can now see that cone of light.
| | 01:04 | Let's undo for a second and
render again. Command+R or Ctrl+R.
| | 01:07 | You can see that I don't see anything.
| | 01:09 | Now to keep myself from having to hit Command+R
or Ctrl+R again, let's bring up the Interactive
| | 01:13 | Render Region, which is Option+R or Alt+R.
| | 01:17 | There's a Quality slider on the right-hand
side here, so let's drag that all the way up
| | 01:20 | to the top so we have full
quality on this preview render.
| | 01:24 | Now let's go back to the Light source and change
the Visible Light back to Visible from None.
| | 01:28 | Now we can see our light source, and every time we make
a change it will get updated automatically here.
| | 01:33 | Now that we have the visible light active,
let's go to the Visible Light options.
| | 01:37 | Under the Visibility options, we've got
Falloff, and Falloff affects the shape of the cone
| | 01:42 | of visible light.
| | 01:44 | If I uncheck Use Edge Falloff, for example,
you can see that now the cone of light no
| | 01:48 | longer diminishes with intensity towards the
edges of the cone, and it's very much more
| | 01:53 | conically shaped, and you can
see that it's much more defined.
| | 01:57 | And if we turn off that Falloff, you can see that
the cone of light is really specifically defined.
| | 02:03 | Now, what's causing the end of this cone?
| | 02:06 | The end of the cone is being caused by the
Outer Distance, and the Outer Distance is this
| | 02:11 | little guy right here.
| | 02:12 | And as we move that Outer Distance out,
you can see that our cone extends outward.
| | 02:17 | Let's turn the Falloff back on for both of those
guys, and now we can see that we have a softer cone.
| | 02:21 | When we activated the Falloff again,
we now have access to the Inner Distance,
| | 02:26 | and the Inner Distance controls the
density on the inside of the cone.
| | 02:30 | If we make the Inner Distance closer in value
to the Outer Distance, what's going to happen
| | 02:35 | is that the Falloff region for our cone
is going to get shorter and shorter.
| | 02:40 | Another important option to
look at is the Gradient.
| | 02:42 | The Gradient object allows us to control the
color of this cone of light over the length
| | 02:47 | of the light source.
| | 02:49 | So if we turn on the gradient,
we now have access to the color.
| | 02:53 | And it defaults to a single
color, and we can change those.
| | 02:56 | So let's click on one of these knots here,
and when we double-click on that, it brings
| | 03:00 | up the color picker.
| | 03:01 | So I'll change it to red and hit OK.
| | 03:03 | You can see that that changed
the start of the light source.
| | 03:07 | Now my Inner Distance is set really high,
which is what's causing it to be red all the way
| | 03:11 | up to this point.
| | 03:12 | So let's bring that back down to zero.
| | 03:14 | And now you can see that we
have a much longer gradient.
| | 03:18 | We can take that Midpoint slider and adjust
it so that we have a little bit more pink
| | 03:22 | light source, and then we can go back here.
| | 03:25 | Now if we click on this last knot, we can
adjust it, make it a little more pink, and
| | 03:28 | you can see that we have a little bit more
realistic representation of that red cone of light.
| | 03:33 | I want to be very careful here.
| | 03:35 | This Gradient color that I'm adjusting
does not affect the color of the light;
| | 03:39 | it only affects the
color of the visible light.
| | 03:42 | So to illustrate that, I'm going to add a
sphere to the scene and then drag that sphere
| | 03:46 | on the Z axis and so that it's shining.
| | 03:49 | You can see that even though have a red cone of
light, the light hitting our sphere is still white.
| | 03:55 | If I go back to the Light properties and go
to the General tab, if I change the color
| | 03:59 | of the light source--
watch, I'll make it more of a fuchsia--
| | 04:02 | you can see that we have a red
cone and a fuchsia light source.
| | 04:06 | Let's bring it to red as well, and now we
can see we have got a red cone and red light.
| | 04:11 | So those are pretty much the
settings for the Visible Light.
| | 04:13 | In order to see Volumetric, let's take a
look at that scene we had opened earlier.
| | 04:17 | So I'll go to the Window menu and go
back to the Visible-Volumetric-START.
| | 04:20 | And what I have here is a simple grid of
cubes, and you can see that it's just a grid.
| | 04:25 | At the very center of the grid, it's
opened at the center of the world.
| | 04:28 | I'm going to add an omni light to the scene.
| | 04:30 | Before I do, let's navigate around so
that we can see the cube from a distance.
| | 04:35 | And let's add an omni light.
| | 04:36 | I'll click once on the Light
object and that comes in the scene.
| | 04:39 | Let's bring up the Interactive Render Region,
Option+R or Alt+R, and let's change the size
| | 04:44 | of that so that it's
encompassing our entire frame here.
| | 04:48 | Let's bring it out on the
sides as well. There we go.
| | 04:51 | Now we'll crank the
Quality slider up to the top.
| | 04:54 | So, you can see that our cube is looking pretty
interesting, but we want to activate Volumetric Light.
| | 04:59 | You can see that's going to have
a much more interesting effect.
| | 05:01 | So, we go to the Visible Light pulldown under
the General properties of the Light source,
| | 05:05 | and we're going to add Volumetric.
| | 05:07 | So when we add Volumetric
it's going to redraw the scene.
| | 05:09 | And you can see now we start to see
these little edge rays out here.
| | 05:13 | Now, these orange dots that you're seeing represent the
outer region of the extent of that volumetric light.
| | 05:20 | And if I hit Option+R or Alt+R on the keyboard
to get rid of the Interactive Render Region,
| | 05:24 | you'll see that we now can see the
rings that are surrounding our light.
| | 05:28 | Let's drag those outward to
get a more strong effect.
| | 05:31 | Remember, this represents a Falloff region,
so it's 100% at the center and 0% out here,
| | 05:37 | with a very strong falloff and intensity.
| | 05:40 | Let's hit Option+R or Alt+R.
| | 05:41 | That region is going to come back at
the same size and fill our screen.
| | 05:44 | And you can see now we have a much
more strong effect on those edge rays.
| | 05:49 | The difference between Volumetric and Visible is that
Visible light does not interact with the objects.
| | 05:54 | Volumetric light does interact with the
objects, and what it does is it creates striations,
| | 06:00 | or visible lines, in the visible light based on the
edges of the objects that it's interacting with.
| | 06:07 | Now, I don't normally use Visible or
Volumetric light in my CINEMA 4D files.
| | 06:11 | I wanted to show it to you here today because
there may come a time where you'll need it.
| | 06:14 | Let's take a look now at the Visibility option
again, and you can see that we've got our same
| | 06:19 | settings here as before, so nothing really
changed between the Visible or Volumetric settings.
| | 06:23 | Now let's take a look at Inverse Volumetric.
| | 06:26 | So I'm going to go back to the General
properties and go to the Volumetric pulldown and select
| | 06:31 | Inverse Volumetric.
| | 06:32 | And the thing I want you to pay attention to are the
edge rays that are extending out from our cube.
| | 06:37 | Now what's happening is we're
getting the inverse of those edge rays.
| | 06:42 | Before, the edge rays were being occluded by the
cubes; now we're getting the opposite of that.
| | 06:46 | The cubes are being occluded by the edge rays,
and you can see that it's not nearly as distinct
| | 06:50 | an effect, but it gives us this really
interesting sort of interaction with the cubes
| | 06:54 | that has a much more glowy feel to it.
| | 06:57 | But there's a great plug-in called Shine for
After Effects that creates a Volumetric light
| | 07:02 | effect that you can use in your projects.
| | 07:05 | It renders much faster than CINEMA 4D's
Volumetric Light effect, and it has the added advantage
| | 07:09 | of being able to customize it right in After
Effects without having to come back and re-render
| | 07:13 | your entire scene.
| | 07:15 | There are some disadvantages to it, in that
you don't have quite as much flexibility on
| | 07:20 | interacting with the objects as you would
within CINEMA 4D, but you don't have to re-render
| | 07:24 | a scene each time you want to make a change.
| | 07:26 | The Visible and Volumetric Light settings in
CINEMA 4D can give you some really interesting
| | 07:31 | effects, but remember, you're not limited
to doing those right here in CINEMA 4D.
| | 07:35 | You can choose to do them in post in other
applications like After Effects or Photoshop.
| | Collapse this transcript |
| Creating a basic three-point light setup| 00:00 | Illuminating objects in a convincing and
stylized way involves working with multiple lights.
| | 00:05 | In this example, we're going to create a
basic three-point light setup for this number 3
| | 00:08 | that's sitting on the floor.
| | 00:09 | Let's hit Command+R or Ctrl+R on the
keyboard to see what we've got here.
| | 00:13 | We have a basic floor object that's
travelling off to infinity, and it's number 3 that's
| | 00:17 | touching the floor.
| | 00:19 | And it looks okay, but
it's kind of flat and drab.
| | 00:21 | We're going to add some lights here to
stylize this render just a little bit more.
| | 00:25 | The first light we're going to work
with is something called the key light.
| | 00:28 | The key light provides the main
source of illumination for your scene.
| | 00:32 | The type of light I'm going to use
for my key light is an area light,
| | 00:36 | but I want to have an area
light with a target on it.
| | 00:39 | So, rather than add just a basic area light in the
scene, I'm going to start with the target light.
| | 00:43 | The target light comes in as a spotlight.
| | 00:46 | Let's back out in our scene.
| | 00:47 | Before we back out in our scene,
we have to uncheck something on the camera.
| | 00:51 | Now, I'm looking through the camera right
now, but I have this special tag on it.
| | 00:55 | This tag is called a Protection tag.
| | 00:58 | It keeps me from moving the camera.
| | 00:59 | If I try navigating the scene by holding down
the 1, 2, and 3 keys, you see that I can't do it.
| | 01:04 | When I try to move something, nothing happens.
| | 01:07 | So let's first uncheck the Look Through
Camera option and then back out from our scene a
| | 01:11 | little bit so we can see what's going on.
| | 01:13 | So, there's our target light.
| | 01:14 | It comes in as a spot.
| | 01:15 | So, if I select the light and go to the General
Properties, I can change the light type from Spot to Area.
| | 01:22 | Now, I've got a
rectangular source for my light.
| | 01:25 | Let's go back to our camera and take
a look at that. Command+R or Ctrl+R.
| | 01:29 | You can see that this area light gives us a
much softer light source, and that's going
| | 01:33 | to be really nice in this situation.
| | 01:36 | Let's hit A on the keyboard to redraw the
frame and uncheck the Active Camera icon.
| | 01:39 | I want to make this light source
much larger relative to my subject.
| | 01:43 | The larger the light source is relative to
your subject, the softer the light will be.
| | 01:47 | So let's take this and drag it out.
| | 01:49 | By making this light source larger, we're
changing its size relative to the object, and
| | 01:54 | we're going to get a much
softer effect, and there we go!
| | 01:57 | I think that's a pretty good size.
| | 01:59 | Now, the cool thing about working with a
target light like this and having it be an area is
| | 02:03 | that no matter where I move it, it always
points back at the center of our scene.
| | 02:08 | So I'll leave it right about there.
I think that's a good location.
| | 02:12 | The key light, as a general rule, should be at a
roughly 45-degree angle to your main light source.
| | 02:17 | Now, of course there's no
hard-and-fast rule for this.
| | 02:20 | You can put it wherever you want based on the
stylizing that you're trying to get in your render.
| | 02:24 | In this case, for a basic
setup, this is a good angle.
| | 02:27 | Now that I've got my key light set,
I want to add a new light to the scene,
| | 02:31 | and the light that we're going to add
is going to be called a fill light.
| | 02:35 | Rather than add another light by hand, I'm
going to make a copy of our main light source.
| | 02:39 | And before I do that, let's
rename this and call it Key light.
| | 02:45 | Let's look through the camera
and see what's happening here.
| | 02:48 | I'm going to bring up the Interactive Render
Region--Option or Alt+R on the keyboard--and
| | 02:52 | let's take the Quality slider and move it
all the way up and then we can increase the
| | 02:56 | size of this region, so we're
seeing our scene a little bit better.
| | 02:59 | You can see I have a really
great soft light on our subject.
| | 03:03 | Now, we can take the key light and hold
down the Ctrl key and drag a copy of it.
| | 03:07 | Now, our scene is going to get brighter.
| | 03:09 | That's because we've duplicated the light.
| | 03:11 | Let's go and change this new light and
change the name to Fill Light. There we go!
| | 03:18 | Now, let's switch to the four-way view
so that we can see our light sources.
| | 03:23 | I'm going to take the fill light, and move
it to the opposite side from the key light,
| | 03:27 | and I'll do that by switching to the Move tool,
hit E on the keyboard, and then drag over.
| | 03:32 | You notice I didn't click on the handles.
| | 03:34 | I'm just clicking anyplace in the gray
area and moving that light source around.
| | 03:38 | I'll repeat that process in the front.
| | 03:40 | I want to bring this down a
bit relative to the key light.
| | 03:43 | And you see that that light
source flattens out our object.
| | 03:47 | Let's switch to the perspective view full
screen, and I'm going to turn the fill light
| | 03:51 | off for a second so you can see
how that flattens the object out.
| | 03:55 | Notice how we have a nice little
falloff between the face and the sides.
| | 03:58 | When I add the fill light at 100%,
it tends to flatten the object out.
| | 04:03 | What we want to do is adjust the brightness
intensity on the fill light compared to the key light.
| | 04:07 | A really good photographer friend of mine
once told me that a good ratio is about 0.25:1.
| | 04:12 | So, if we go to our Fill Light and go to the
General Properties and bring the Intensity
| | 04:18 | down to 25%, that's going to give us a
pretty good starting point for our fill.
| | 04:21 | Now, of course, once again, there
is no hard or fast rule for that.
| | 04:25 | That's just a good starting point.
| | 04:27 | Next we want to add
something called a back light.
| | 04:31 | This is also called rim light
or hair light in photography.
| | 04:34 | And what we want to create is a little bit
more lighting on the back side of the object.
| | 04:38 | In this case, the back side of the object is
going to be this area right in here and here.
| | 04:43 | Where you put that back light is going to
be entirely dependent on the camera angle
| | 04:46 | that you're looking at your objects from.
| | 04:49 | The back light position in one image may not be the
same as a back light position in another image.
| | 04:54 | In this case, because I want to hit these
portions of the object, the place I'm going
| | 04:57 | to put the backlight is over in this
area shining back at my object this way.
| | 05:02 | So, let's switch to the four-way view and
then I'm going to switch my Move tool, and
| | 05:07 | I've got my fill light selected.
| | 05:08 | So, I switch to the Move tool, and if I hold
down the Ctrl key and drag, I'm making a copy
| | 05:12 | of that light without making a
copy here in the Object Manager. That's another great tip:
| | 05:16 | you can hold down the Ctrl key and drag in the
Editor window to make copies of your objects.
| | 05:21 | Let's change the name of this new light,
and call it Back light. There we go!
| | 05:25 | Now, the back light, I want to make sure
that it's hitting the back of my object,
| | 05:30 | so let's zoom in here a bit, and I'm going to
use the Move tool and bring it in a little
| | 05:36 | bit closer and adjust
the angle. There we go!
| | 05:38 | I think it's pretty good right about in there.
| | 05:40 | I want to make sure that that is going to
hit the back side of those edges, and I think
| | 05:44 | it's going to do that.
| | 05:45 | If we zoom in, you can see that
it's pointed right at that back.
| | 05:49 | So, let's go to the full screen now and then turn
this back light off and on and see what it's doing.
| | 05:54 | You can see that when I turn the back light off,
the back edge of the object gets a little bit darker.
| | 05:59 | And when we turn it on, it gets a little bit
lighter, and that provides a little bit more
| | 06:03 | information for us, from a shape standpoint.
| | 06:05 | The next thing we want to
do is adjust the falloff.
| | 06:08 | By adjusting the falloff of the light, we'll
create a much more realistic behavior in the
| | 06:11 | light sources and give our
scene a much more stylized look.
| | 06:15 | So, let's go to each of the lights, and I'm
going to select all three of them at once.
| | 06:19 | And under the Details property, I'm going to
go to the Falloff option and change them
| | 06:24 | from None to Linear.
| | 06:26 | When I do that, you can see, my
scene changed dramatically.
| | 06:31 | That's because my falloff
regions are not intense enough.
| | 06:35 | Let's back out to the four-way view and
back out a little bit more in the top view.
| | 06:39 | You can see that when we added the falloff
we got these big circular areas surrounding
| | 06:43 | our scene, and they're just barely
touching our subject here in the center.
| | 06:47 | That's why our scene got much darker.
| | 06:49 | So, what we need to do is adjust
the radius of this falloff region.
| | 06:53 | So, we can go here to the Radius, and by scrubbing
it outward--I'm doing this for all three lights
| | 06:58 | at the same time.
| | 06:59 | I'm going to bring that out to
about maybe the 1,500 range.
| | 07:04 | I don't want to have them out too far.
| | 07:06 | You can see that now our scene starts to
raise in the level of intensity that it is.
| | 07:11 | Let's actually bring that up a bit more.
| | 07:13 | Let's go up to about 1,800.
| | 07:14 | I think that's going to give us a
better illumination. Yeah, nice!
| | 07:18 | Let's switch to the full screen here and you can
see that our scene feels a lot more interesting
| | 07:22 | than it did before.
| | 07:23 | I'll turn the Linear off for a second.
| | 07:25 | Let's go to None here and go back
to our scene before it was lit.
| | 07:29 | By bringing that down to Linear, we get a much
better representation of the light sources.
| | 07:34 | One additional component I
want to change is the shadows.
| | 07:37 | Now, I don't want to have all three of these
lights casting shadows at the same time. I could.
| | 07:41 | That would be much more
realistic if I did it that way.
| | 07:44 | But I want to stylize this render,
| | 07:45 | so I want to have just one shadow source.
| | 07:47 | So, let's go to the Key light and go to the Shadow
option and change the shadows from None to Area.
| | 07:55 | When we do that, you'll see
we get a nice area shadow.
| | 07:57 | I'm going to up the samples
in the maximum sample area.
| | 08:02 | That's going to give us much
less noise out in this zone here.
| | 08:04 | So let's bring the
samples from 100 to, say, 300.
| | 08:07 | That's going to make the render time a little
bit longer, but I think it's worth it, to clean
| | 08:11 | up that sample area.
| | 08:13 | The last thing I want to do this render is have
these lights visible in the surface of my object.
| | 08:18 | One of the things about photographing objects
in the real world is that the light sources
| | 08:22 | that you use in your scene are visible in
the surfaces of those objects, and that's
| | 08:26 | what creates those interesting specular
highlights and shapes on the surface.
| | 08:30 | When you do car photography, for example,
they position the lights specifically to define
| | 08:35 | the shapes of the car.
| | 08:36 | In the case of this 3, I'm going to go to
each of the lights, and I'll select all three
| | 08:40 | of them again at the same time.
| | 08:42 | And under the Details tab, there is a really
great button here that's called Show in Reflection.
| | 08:48 | I don't want to turn on Show in Render.
| | 08:49 | If I turn on Show in Render, I'd actually
be able to see the lights in the rendering
| | 08:53 | when my camera could see
the light source itself.
| | 08:55 | I don't care about that right now,
so I'm going to go to Show in Reflection.
| | 08:58 | When I turn that on, you notice how
I now have a little bit more pop.
| | 09:03 | See how I've got these nice
highlight edges on my subject?
| | 09:05 | Let's turn that off for a
second so you can see it.
| | 09:08 | Here it comes off, and when I turn it
off, watch these edges right here.
| | 09:13 | See how those got just a little bit dimmer?
| | 09:15 | What you're seeing there is not a specular highlight,
but a reflection of the light source in the subject.
| | 09:20 | So, let's turn that on, and it
really makes the 3 pop out for us.
| | 09:25 | So those are the basics of
a three-point light setup.
| | 09:27 | One of the great things is, once you've built
one of these setups, you don't have to keep
| | 09:30 | building it over and over again;
| | 09:31 | you can save that file as a starting point
and use it in a lot of your other projects.
| | Collapse this transcript |
|
|
3. Texturing with BodyPaintWhat is BodyPaint?| 00:00 | BodyPaint is a 3D painting application
that's actually built right into CINEMA 4D.
| | 00:06 | It can also be purchased as a standalone
application, but you get it for free when you purchase
| | 00:10 | CINEMA 4D, and every version
of the application has it.
| | 00:14 | I've got this character model here, and
there's a texture applied to it, and the texture is
| | 00:18 | called Spacedude.
| | 00:19 | And the Spacedude material, if you look at the
Basic Properties, has the Color and Specular.
| | 00:24 | If I go to the Color property, there is a TIF file
here, and this TIF file was created using BodyPaint.
| | 00:30 | When you're texturing objects and you apply
textures to the object, CINEMA 4D needs to
| | 00:34 | look at something called a UVW map in
order to determine where the textures show up.
| | 00:39 | Now, UVW Map is simply a way of describing the
texture space on the surface of your model.
| | 00:44 | When the programmers were making the application,
they needed another way to describe the texture space.
| | 00:49 | X, Y, Z was already taken, because they were
using that for the world space, and so they
| | 00:53 | decided to use the letters U, V, W.
| | 00:55 | Anytime you hear UVW it's relating to the
texture space on the surface of the object.
| | 01:01 | So, what BodyPaint gives you the ability to
do is to arrange the polygons on the surface
| | 01:05 | of an object in a way that's
very favorable to painting.
| | 01:08 | Now, you can do this manually or
you can use a Paint Setup wizard.
| | 01:12 | I'm currently in the startup layout, which is the normal
layout you see when you're working with CINEMA 4D.
| | 01:16 | I'm going to go to my Layout menu
and select BodyPaint 3D Paint.
| | 01:20 | Now, the layout interface refreshes
itself, and now I'm inside of BodyPaint.
| | 01:25 | If you're opening this file for the first
time, you may see different colors on
| | 01:29 | the Colors tab, and the
texture may have an X through it.
| | 01:32 | That's because I was painting on a file earlier with
BodyPaint before I started doing the recording.
| | 01:37 | So, don't worry about those slight differences in the
interface; the file will behave exactly the same.
| | 01:42 | Unlike the other layouts, the BodyPaint 3D
Paint layout and the BodyPaint UV Edit layout
| | 01:48 | change not only the arrangement of the windows,
but they also change the menu structure as well.
| | 01:52 | You can see that we have a very different
arrangement of menus across the top here.
| | 01:56 | All of these menus are oriented around
painting and manipulating the UVs of your model.
| | 02:01 | Now, what exactly are UVs?
Let's take a look at those.
| | 02:04 | On the Texture palette here,
I've got this large gray area.
| | 02:08 | What I need to do is go to the Material Manager, and you
can see the Material Manager has changed dramatically.
| | 02:13 | It now shows me a list of my materials.
| | 02:15 | I've only got one in the scene, but then it also
shows the channels listed out here horizontally.
| | 02:20 | I've only got one channel as well.
| | 02:22 | When I click on that channel, I now see the
material displayed in the Texture window.
| | 02:26 | Now, I'm seeing these lines
here, and these are the UVs.
| | 02:30 | If you cannot see them, go to the UV
Mesh menu and tell it to Show UV Mesh.
| | 02:33 | When you do that, now you can see
the UVs, and that's what the UVs are.
| | 02:39 | As you can see, I've done quite a bit of
painting on this model, big blocks of color, and those
| | 02:44 | blocks of color are associated
with different parts of my model.
| | 02:48 | If I go and look at the Layers palette, you can
see that I've broken my texture up into layers.
| | 02:53 | And these layers I can turn off and on,
just like I would inside of Photoshop.
| | 02:57 | I also have blending modes for the layers.
| | 02:58 | I can adjust the opacity just
like I would in Photoshop.
| | 03:02 | I've also got brushes like I have in
Photoshop, and I can paint on this layer.
| | 03:07 | If I grab something like, say, a chalk brush,
I can come in to my window here and I can paint.
| | 03:13 | Now, I'm painting with the red color now,
| | 03:15 | so let's pick a color that's not the
same as the color in the background.
| | 03:18 | I'll go ahead and grab a nice white here.
| | 03:20 | And now I can paint inside here.
| | 03:23 | Because I painted outside the UVs,
nothing on my model changed.
| | 03:26 | You can see that it hasn't shown up here.
| | 03:29 | If I go back to the window--and I'm going
to paint something right on his leg. Let's
| | 03:32 | paint right down his leg here
and then go back to the model.
| | 03:35 | You can see that on the side of
his leg, I now have a paint mark.
| | 03:38 | Let's hit Command+R or Ctrl+R.
| | 03:40 | You can see that I painted a
chalk mark right on his leg.
| | 03:44 | I can also paint right
here in the Editor view.
| | 03:46 | Let's redraw the window by hitting A on the keyboard,
and I can paint right on the surface of the model.
| | 03:52 | If I orbit around--let's paint
something right here on his waist.
| | 03:57 | I need to put my window into 3D Painting
mode, and I'll click on this button here.
| | 04:01 | And when I put the window into 3D Painting
mode, I can paint right on the surface.
| | 04:05 | And you can see, I'm making this brushstroke,
and I'm painting right on the surface of the model.
| | 04:09 | One of the limitations of painting right on
the surface is the way the UVs are laid out.
| | 04:14 | There's a lot of seams in the UV layout on
this model, and there's going to be places
| | 04:17 | where those seams are problematic.
| | 04:18 | One of the spots is on his hand.
| | 04:20 | Let's orbit around here
and take a look at that.
| | 04:22 | When I orbit into his hand, as I paint
through here, you're going to see the brush start
| | 04:27 | to create a straight line there.
| | 04:29 | Even though this is a chalk, you can
see that it's making a straight line.
| | 04:32 | That's because I'm trying to
paint across a seam in the UV mesh.
| | 04:36 | If we go back to the Texture window and look
at the hand, you can see I was painting on
| | 04:40 | his thumb, which is right there. There's a little
bit of it there, and there's a little bit of it there.
| | 04:45 | We can use something called
Projection Painting to correct that.
| | 04:48 | Now, all of the movies in this chapter are
oriented around getting you up and running
| | 04:52 | quickly, but keep in mind that BodyPaint
is a complete application built into it.
| | 04:57 | It has got a lot of the functionality of
Photoshop, plus a lot of additional functionality for
| | 05:01 | manipulating the UV mesh.
| | 05:02 | It is incredibly deep and way beyond what we
can cover in an Essential Training course.
| | 05:07 | But don't get discouraged. Play around with
it, and you're going to have a lot of fun,
| | 05:10 | and you'll have total control over the
textures that you create for your models.
| | Collapse this transcript |
| Starting with the Paint Setup Wizard| 00:00 | The first step in the process of working with
BodyPaint is to optimize the UV mesh of the
| | 00:04 | object you want to paint on.
| | 00:06 | This can be a very time-consuming process,
but fortunately, BodyPaint has a great Paint
| | 00:10 | Setup Wizard that will automate a lot of the
process for you and give you pretty decent results.
| | 00:15 | I've got the Spacedude character here and I
want to optimize his mesh and create materials
| | 00:20 | that I can paint on.
| | 00:21 | Now, before I run the Paint Setup Wizard,
the first thing I want to do is to create
| | 00:25 | a new material that's going to hold the
textures that are created when I actually execute the
| | 00:29 | Paint Setup Wizard.
| | 00:30 | So in the Material Manager, I'm going to
double-click to make a new material, and let's call this
| | 00:34 | material Spacedude.
| | 00:38 | Let's apply the Spacedude
material to the Spacedude mesh.
| | 00:42 | Now that we have our material applied,
let's switch our layout over to BodyPaint 3D Paint.
| | 00:46 | Now, if you're already in the BodyPaint 3D
Paint layout, then you don't need to do this
| | 00:50 | step, but I'm going to
switch over to that layout.
| | 00:52 | Now that I'm in the BodyPaint layout, there is this
great button right here, the Paint Setup Wizard.
| | 00:56 | Let's go ahead and click that.
| | 00:58 | We're presented with a dialog box, and it's
asking us, what objects and materials would
| | 01:02 | we like to work on?
| | 01:03 | You can see it's listed
out all of the objects.
| | 01:05 | And if I uncheck one,
then it unchecks all of them.
| | 01:08 | So, I'll leave the Spacedude Mesh checked.
| | 01:11 | And then in the Materials, you can see,
there's my Spacedude material checked as well.
| | 01:15 | If you have multiple object hierarchies in
your scene, then you're going to want to turn
| | 01:19 | off the ones you don't want to paint on and only
create materials for the ones that you want to.
| | 01:23 | Now, because I only have the Spacedude
in here, I can leave everything checked.
| | 01:28 | Now that I've got all my checkboxes taken
care of, I'll hit the Next button, and this
| | 01:32 | is going to ask me what
type of UV Setup I'd like.
| | 01:35 | For most of the things that I do,
Optimal Cubic Mapping is just fine,
| | 01:38 | so I'm going to leave those
defaults alone. Let's hit Next.
| | 01:41 | Now it's asking me, what material channels
would I like to create, and how large would
| | 01:45 | I like to create them?
| | 01:46 | I'm going to leave it on Color for
now, and I'll leave the color gray.
| | 01:50 | If I click on this swatch, I can be presented
with a base color to make everything, and I'll
| | 01:53 | leave it on gray for now, and I'll hit OK.
| | 01:55 | For now, I'm just going to create the color
channel, but just know that I could come back
| | 01:59 | and create more channels anytime I wanted.
| | 02:02 | You're not limited to just working with
color if all you created was color here.
| | 02:06 | Over on the right-hand side of the window, it is
asking me, how large would I like to make my texture?
| | 02:10 | BodyPaint is a bitmap
application, just like Photoshop.
| | 02:13 | You're going to be creating a TIF file from
the end of this process, and that TIF file
| | 02:17 | is resolution-dependent.
| | 02:19 | The best advice I can give you is to create
the texture as large as you can stand, based
| | 02:23 | on the resolution that your
finished output is going to be.
| | 02:26 | The last thing you want to do is
to make your material too small.
| | 02:30 | It's much better to have too
much resolution than too little.
| | 02:33 | For the purposes of today, I'm going to create
a TIF that's going to be a maximum width or
| | 02:37 | height of 3,000 pixels.
| | 02:40 | Once I click Finish, the Paint Setup Wizard
quickly runs through its process and presents
| | 02:44 | me with this dialog box, giving
me a summary of what it did.
| | 02:46 | You can see it created a texture called
Spacedude, Color, and it's 2741 x 3000.
| | 02:53 | There's that maximum value.
| | 02:54 | Now, I'll hit Close, and
here I am, in my document.
| | 02:57 | Now, what has actually happened here?
| | 02:59 | What's actually happened is that in the
materials--let's go to the Material Manager here, and
| | 03:04 | click on the materials to
look at the Material options.
| | 03:07 | In the Color channel of this material,
Spacedude, it's created the Spacedude_Color.tif.
| | 03:12 | Now that I've run the wizard, this
Spacedude_Color.tif file is being stored in memory.
| | 03:17 | Before we do anything else,
we need to save our document.
| | 03:20 | I'm going to go to the File menu and do a
Save As, and then I'll navigate to the Wizard
| | 03:27 | subfolder in the exercise files, and I'm going
to call this one wizard-WORKING and hit Save.
| | 03:34 | And it's going to ask me, do you want to
save the changes to the textures as well?
| | 03:38 | And I say yes, I do.
| | 03:40 | And now my images are saved.
| | 03:42 | Now, let's hide CINEMA 4D and take a
look at what happened out in the Finder.
| | 03:47 | Now, here I am in the exercise files folder,
and you can see I've got, in my Wizard subfolder,
| | 03:52 | there is my Spacedude_Color.tif
file that got saved out.
| | 03:56 | That wasn't there until I just saved.
| | 03:58 | So, let's move back to CINEMA 4D.
| | 04:00 | Now, the next thing we want to do
is take a look at the UV mesh.
| | 04:04 | Up here in the interface is the Texture tab.
| | 04:07 | Let's click on that.
And we've got this large gray area here.
| | 04:10 | What we want to do is first select the
material in the Material Manager and then go to the
| | 04:16 | UV Mesh menu and tell it to show UV mesh.
| | 04:19 | When we do that, we see some lines that
correspond to the polygons on the surface of our object.
| | 04:24 | And you can see they've been
arranged in a very specific way.
| | 04:27 | And this enables us to paint on our model.
| | 04:29 | Now, it's left me with the Brush tool active.
I can actually click and paint anywhere in
| | 04:35 | this layer, and I just drew
a line across my object,
| | 04:37 | and look what happened. In the Editor window,
| | 04:40 | you can see that I actually drew a
line across my object here too.
| | 04:44 | Any painting that I make in this window here shows
up on my model in the Texture window as well.
| | 04:49 | You can see, there are those
white lines that I painted.
| | 04:52 | Now, in the Layers palette, I've
been painting on the background.
| | 04:54 | I'm going to undo those changes, Undo, and Command+Z
or Ctrl+Z until we get rid of all that stuff.
| | 05:00 | So you can see the Paint Setup Wizard has done a
pretty decent job of arranging the UVs on our object.
| | 05:05 | If I were doing a super-high resolution mesh
that was going to be for film quality, I would
| | 05:10 | normally want to do the
layouts myself manually.
| | 05:13 | But for most purposes, especially in motion
graphics, the UV Paint Setup Wizard will give you a great result.
| | 05:18 |
| | Collapse this transcript |
| Working with material layers| 00:00 | BodyPaint is a full-fledged image editing
application, and it works on a concept of layers
| | 00:05 | just like Photoshop.
| | 00:06 | In fact, you'll see a lot of the same types
of commands in the menus that you would see
| | 00:10 | in Photoshop, and it has
full Photoshop integration.
| | 00:13 | You can import your files from Photoshop right
here in BodyPaint, and you can save your files
| | 00:17 | out for Photoshop from inside the BodyPaint.
| | 00:19 | Now, I'm in the BodyPaint 3D layout, so if
you're not there, go ahead and get there already
| | 00:23 | by going to the Layout menu and
selecting BodyPaint 3D Layout.
| | 00:27 | I've got my layer start file open.
| | 00:30 | Let's take a look at the Layers palette.
| | 00:33 | Right now, we don't have
anything showing in there.
| | 00:35 | That's because I need to select my material.
| | 00:37 | So go to Material Manager and click on Spacedude,
and this little icon right here shows us what
| | 00:43 | channel we're going to be painting in.
| | 00:44 | And in this case, it's the Color channel, and
it's showing me the state of the Color channel,
| | 00:48 | which right now is just gray.
| | 00:49 | Now when we go back to the Layers menu, you
can see that there's our background layer.
| | 00:53 | If I click on the Texture window,
I want to select my layer again.
| | 00:58 | So I go back to Materials, click on that, and
then it's going to show me my layer here in
| | 01:03 | the Texture window.
| | 01:04 | Then I also want to show the UV mesh.
| | 01:06 | Let's click on that and go show UV Mesh.
| | 01:08 | Now, the UV mesh is great to have because
it shows you a reference of what it is that
| | 01:13 | you're going to be painting on.
| | 01:15 | All of these polygons correspond to
polygons on the surface of our object.
| | 01:19 | Before I do anything, I'm going to
create a new layer to paint on.
| | 01:22 | In Photoshop, I don't normally ever paint on
the background; I like to paint on layers.
| | 01:25 | That gives me a lot of flexibility if I want to go
backwards and adjust things, and BodyPaint is no different.
| | 01:31 | Let's go to Layers palette
and in the Functions menu,
| | 01:34 | let's go to New Layer.
| | 01:36 | Once we've run that, you'll
see we have a brand new layer.
| | 01:39 | Let's call this layer Eye bar.
| | 01:43 | This area of polygons right here
corresponds to the face of our guy.
| | 01:48 | Now, how can I tell that?
| | 01:50 | If I go back to the perspective view, then I
orbit around my object and select my Paintbrush
| | 01:56 | tool, and I'd paint right here on his face--
| | 01:59 | just do a little squiggle there.
| | 02:01 | Let's go back to the Texture menu.
| | 02:03 | You can see that that squiggle
drew right there on those polygons.
| | 02:06 | That's how I can tell that these polygons
are associated with the face of my model.
| | 02:09 | I'll undo that. Command+Z or Ctrl+Z.
| | 02:12 | Now that I know where I'm going to put the pixels
that I need to create, I'll zoom in on that area.
| | 02:16 | I'm holding down the 2 key and dragging.
| | 02:18 | And let's hold on the 1 key to pan over, and
you can use the same controls that you'd use
| | 02:23 | in the orthographic views.
| | 02:25 | You can zoom in there.
| | 02:27 | Now, I get my Rectangular Selection tool.
| | 02:29 | And let's draw a rectangle, and you notice
that we're in the Eye bar layer. And I'm going
| | 02:33 | to draw a rectangle and rough it out.
| | 02:37 | I want to try and get it pretty close to
centered up on this middle line here, and drag that
| | 02:42 | selection over just a bit.
| | 02:44 | Now, if you click over to the perspective
view, you can see that you have marching ants
| | 02:48 | here, just like you have
marching ants in the texture view.
| | 02:51 | Let's go back to the Texture window, and I'm going
to go to the Edit menu and set it to Fill Layer.
| | 02:56 | And when it does, it's going to fill layer
with whatever color is here in the foreground
| | 03:01 | of the color chips.
| | 03:02 | If I click on that it's going
to bring up the Colors palette.
| | 03:05 | It was selected with white right now,
and I think that's going to be okay for now.
| | 03:09 | I know I can always come back and change it,
but I think let's change it to black.
| | 03:16 | Our superhero is going to have a red base
with yellow accents, and I think a black bar
| | 03:20 | for his eyes will look pretty cool.
| | 03:22 | So let's select black here and go
back to Edit and then Fill Layer.
| | 03:25 | And now we've got our layer filled with black,
I can deselect that just by clicking anywhere.
| | 03:30 | So we've got our Eye bar in place, and when we
go back to the view menu, you can see there's
| | 03:34 | our Eye bar in position here.
| | 03:36 | Now, this is a pretty low-res preview based
on the Editor window, and you should never
| | 03:39 | really trust that.
| | 03:40 | So I'm going to hit Command+R or Ctrl+R,
and you can see that it renders out just nicely.
| | 03:45 | Let's hit A on the keyboard and redraw
the frame and orbit around just a bit.
| | 03:50 | Now we can go back to the Layers palette.
| | 03:51 | Let's create one more layer.
| | 03:53 | And this layer is going to contain the color that's
going to be the base for our superhero's costume.
| | 03:58 | So I'll go into the Layers palette and go
to the Function menu and do a new layer and
| | 04:02 | I'll call this one layer Color base.
| | 04:06 | Let's drag it down below the
Eye bar. Oops, not to the right.
| | 04:09 | It's made that a layer mask.
| | 04:10 | I'll undo that--Command+Z or Ctrl+Z--and I
want to drag it all the way down underneath.
| | 04:16 | Let's make one more new layer
here and call that layer Accents.
| | 04:23 | And that's going to be for all the accent
color, the color that's going to be on his
| | 04:26 | gloves, in his boots, and his pants.
| | 04:29 | Let's drag that accent color
down above the color base.
| | 04:33 | Oops, I put it
accidentally below the color base.
| | 04:35 | Let's move it up one layer.
| | 04:37 | By dividing all the colors up into different
layers, that gives us a lot of control when
| | 04:41 | we want to go back and
change those colors later on.
| | 04:43 | So you can see, BodyPaint is a full-fledged
imaging application, and it gives you tons
| | 04:48 | of flexibility.
| | 04:49 | Now that we've got our layer
set up, we're ready to paint.
| | Collapse this transcript |
| Painting on objects and textures with brushes| 00:00 | BodyPaint is a complete image painting program,
and it's got a great set of brushes and controls
| | 00:05 | for painting on the surface of your object,
and that's just what we're going to do right now.
| | 00:10 | I've got the Painting Start File open,
and this is where we left off in the last movie.
| | 00:14 | Let's take a look at the layers.
| | 00:15 | If I go to Materials palette and select the
material and go back to the layers, you can
| | 00:20 | see that we've got several different layers
here based on the elements that we're going
| | 00:24 | to be painting in our scene.
| | 00:27 | And right now these layers are all empty, but
we're going to start filling them up with paint.
| | 00:31 | Let's go to the Accents layer.
Make sure you highlight that right now.
| | 00:35 | And there's a couple different
ways to paint in BodyPaint.
| | 00:37 | I'm going to select the brush.
| | 00:39 | And then I'm going to choose a brush.
| | 00:42 | Under the Brushes palette,
there are a bunch of presets.
| | 00:45 | If I twirl open the BodyPaint 3D folder,
| | 00:48 | there's a BodyPaint Presets folder and a Brushes
folder and then a whole bunch of subfolders underneath.
| | 00:54 | All these brushes are there for you to use.
The hardest part is choosing which one.
| | 00:58 | Our hero is going to have flat blocks of
color on his arms and torso and legs that blend
| | 01:03 | into his base color with a
little bit of a chalk-brush pattern.
| | 01:05 | So, to start off by painting, we're going to
paint the accents in with a large block
| | 01:09 | of color so, we just
need a really basic brush.
| | 01:12 | Underneath the standard tools, I can get just
the regular Airbrush and I can go the Airbrush
| | 01:16 | Properties and adjust them.
| | 01:18 | Let's bring that window open here.
| | 01:19 | I'm going to enlarge that
up just a bit as well.
| | 01:23 | I'm going to change the
Hardness and bring that up, Intensity.
| | 01:27 | I'm also going to adjust the Spacing.
| | 01:28 | You may have noticed that these controls are very
similar to what you'd see inside of Photoshop.
| | 01:31 | I'm going to bring the Spacing down to
1 so that I have a nice smooth brush.
| | 01:35 | Now, I can go in and start painting.
| | 01:37 | Now, I could paint right on
the surface of my object.
| | 01:39 | You can see that my brush
is a little bit small.
| | 01:42 | There's a great keyboard shortcut for adjusting the
size of your brush, and that's the middle mouse button.
| | 01:46 | If you click and hold the middle mouse button and drag
to the left or right, you'll be adjusting the size.
| | 01:52 | Up and down adjusts the pressure.
| | 01:55 | But for now, I'm going to drag to the
right and enlarge my brush quite a bit.
| | 01:59 | Next, I want to choose a color to paint with,
and the accents on our hero are going to be
| | 02:03 | yellow, so let's go to the Colors
palette and just raise that up a bit.
| | 02:07 | And let's choose a nice yellow
that has a little bit of red in it.
| | 02:11 | That's pretty good and a very fully saturated.
| | 02:14 | Pull some of that red out there. There we go.
| | 02:17 | And now I'm ready to start painting.
| | 02:19 | If I paint on my object in
this window, watch what happens.
| | 02:22 | You notice that there's some lines
happening, and it stopped right there in the thumb.
| | 02:26 | You can see as I was painting across
that I've got this hard edge right here.
| | 02:31 | That hard edge is caused by
the seams in the UV mesh.
| | 02:34 | Let's click over to the Texture window
and see what happened when we paint it.
| | 02:37 | Now, you notice, even though I painted in
one spot on my model, the paintbrush painted
| | 02:42 | in three spots over here in the Texture window.
That's because all of these polygons that
| | 02:46 | I have represented here were
in the view that I painted on,
| | 02:49 | and so it re-created those brush strokes here.
| | 02:52 | That hard edge that I spoke about
is actually right here on my model.
| | 02:56 | There's that spot on his hand
that created that hard edge.
| | 02:59 | You notice there are no adjoining polygons
out here, and so it didn't know what to do,
| | 03:03 | how to display them, so it
doesn't display anything.
| | 03:05 | One of the problems with using the UV Paint
Wizard is that it doesn't always give you
| | 03:09 | a super-clean mesh to work with
when you're done with the UV Layout.
| | 03:14 | You can do a lot of great things with this
UV Layout, but it does create some problems
| | 03:17 | when you're painting directly on the model.
| | 03:19 | Now, you can solve a lot of that with
something called Projection Painting, and we'll talk
| | 03:22 | about that later.
We'll use that to clean up our seams.
| | 03:24 | But for now, instead of painting on the model,
we're going to paint here inside the Texture
| | 03:28 | window and then check our work on the model.
| | 03:30 | So, I'm going to undo, Command+Z or
Ctrl+Z to get rid of those brushstrokes.
| | 03:35 | And then what I'm going to do is
start to paint my blocks of color.
| | 03:37 | I know that my hero is
going to have some shorts on,
| | 03:40 | so let's go in here and
zoom in on the texture.
| | 03:43 | I'm using the 1 and 2 keys to navigate in.
| | 03:46 | And I'm going to paint
something on his torso here.
| | 03:48 | So, let's go ahead and paint right
across here and then give him some shorts.
| | 03:54 | Let's check our work in the texture view.
| | 03:56 | You can see that I've got a good
start on his short right there.
| | 04:01 | Rather than having to click back and forth
between the texture view and the View panel,
| | 04:04 | what I can do is undock the View panel
and dock it next to the texture view.
| | 04:09 | The way I'm going to do that is by right-
clicking on this little gray grid and going Undock.
| | 04:14 | That undocks my view panel.
| | 04:16 | And now I can take it and
park it next to this window.
| | 04:18 | I'll take the same little grid of dots
and drag to the right of the texture view.
| | 04:23 | When I let go, I now have both
of these views side by side.
| | 04:27 | Now, I can paint here and see the
result here in the Editor window.
| | 04:31 | So, now I can see that these
polygons represent the side of my guy.
| | 04:35 | And you notice that
there's a series of lines here.
| | 04:38 | Those lines correspond to the lines that wrap around
my object, and I'm going to paint right about here.
| | 04:45 | That's going to line up with that guy.
| | 04:47 | And I'm not going to worry about that
I've got an offset here.
| | 04:49 | You notice if I zoom in, you'll see
I've got that little offset right there.
| | 04:52 | That's because there's a difference in the
height between the polygons here and over here.
| | 04:56 | And that's okay.
| | 04:57 | I'm going to go down and paint just a
little bit on his leg too, and go down.
| | 05:02 | That's pretty good.
| | 05:03 | I'll do the same thing over here, and paint
down about the same distance on this leg.
| | 05:08 | And that's on the outside.
| | 05:10 | Now, I can do the inside of the leg, which is
this area here, and I'll paint down on the
| | 05:14 | inside of his leg and paint there. Not bad!
| | 05:18 | I'm not going to worry too much about
whether or not to get the areas even or not.
| | 05:21 | This is going to be a very organic sort of
costume, and they don't have to be super precise.
| | 05:26 | Then I'll paint on his leg this way.
| | 05:29 | Here's another one right there.
| | 05:32 | Let's get that one right there.
That's on the backside of one of his legs.
| | 05:36 | Be careful that you don't
accidentally paint into an area right there.
| | 05:39 | I'm going to undo that, Command+Z or Ctrl+Z,
and paint just in that area right there.
| | 05:45 | Let's back out a little bit and see if there
are any other parts of his leg that we missed.
| | 05:49 | And I think that I've got them all here, but now
you can see that if I orbit around, underneath,
| | 05:54 | in his crotch area, that I
don't have anything painted there.
| | 05:57 | So, what I'm going to do is
paint right in this area.
| | 05:59 | Let's zoom in and I'm going to use my
middle mouse button to get a smaller brush.
| | 06:05 | And now I can paint right here on his crotch.
| | 06:09 | And let's go ahead and fill in
all this detail. There we go.
| | 06:16 | You can orbit around a bit.
| | 06:20 | Yeah, that's pretty good right there.
| | 06:21 | And we can paint these polygons here.
| | 06:23 | I want to be careful about where I paint.
| | 06:26 | Now when I paint something here, let's paint
something right on his bottom, and see where
| | 06:29 | it made that mark.
| | 06:31 | And so you can see, there are the polygons
that are associated with both the crotch and
| | 06:34 | the butt area, and so let's zoom in on that.
| | 06:38 | And now I can paint this block of color as well,
and I'll be filling that in nicely. There we go.
| | 06:43 | Let's see where this area is.
| | 06:45 | I'm going to put a dot right there. Boom!
| | 06:48 | Let's back out and see where that dot is.
| | 06:51 | There it is, over there.
| | 06:52 | So, you can see that this area here goes right
up from his bottom all the way up his back.
| | 06:58 | I want to be careful about where I paint, so
let's paint right across his back right here.
| | 07:02 | That's a little too high.
| | 07:03 | Let's go down a level--there we go--
| | 07:06 | and then fill in all that
color right there. Nice!
| | 07:09 | And you can see I am missing some polygons right
there, so let's go in and paint right on that.
| | 07:16 | There we go, nice!
| | 07:20 | Let's back out a bit and see what's next.
| | 07:23 | Next up is the legs, and before we go
any further, let's do a quick Save As.
| | 07:28 | I'm going to do a File > Save As, and we're
going to call this one painting-working.
| | 07:33 | Now, when we do this, it's going to overwrite the
Spacedude_Color tiff file that's already in our folder.
| | 07:41 | Don't forget that you can go back to the
previous movie's exercise files to get the starting
| | 07:44 | point for this file, in case you mess this up.
| | 07:47 | So let's type in WORKING here.
| | 07:51 | It's going to ask me, Do you want to save
the changes to the textures? Yes, I do.
| | 07:56 | Now, I can go in and start painting again.
| | 07:58 | Let's figure out his legs next, and let's go
in and grab the blocks of color on his leg.
| | 08:04 | And I'm going to paint a little bit low.
| | 08:05 | Let's go right here and see
where that showed up at.
| | 08:08 | That's probably on the inside of
that leg, and that's pretty good.
| | 08:11 | I'm going to paint across his leg that way.
| | 08:14 | That's probably on the
backside of that same leg.
| | 08:17 | And now I can fill in those
blocks of color right there.
| | 08:20 | Let's just go in and paint
and then get that going.
| | 08:23 | I want to be very careful about
accidentally painting on other areas.
| | 08:27 | And let's do the same thing
right here. Let's go there.
| | 08:31 | I could use the Selection tool and do a rectangular
selection around that area too, but painting works just fine.
| | 08:37 | Now, I'm going to go on this leg and paint down up a
little bit lower and fill in that block of color.
| | 08:45 | Let's grab that.
| | 08:47 | In fact, I think I will use my Selection tool.
| | 08:49 | Let's go back to the Rectangular Selection
tool and grab a rectangular selection there
| | 08:53 | and then we'll do a fill layer.
| | 08:55 | So, go to the Texture View Edit menu and
do Fill Layer and that's going to fill it.
| | 09:00 | And we will do the same thing over here.
| | 09:02 | Let's draw a rectangular
selection around that right there.
| | 09:05 | And then let's move that down
just a bit and over. There we go!
| | 09:09 | And do Edit > Fill Layer again,
and you can see that's working just fine.
| | 09:13 | Don't worry that they're offset a little bit.
| | 09:15 | I'm going to do the same thing over here and
grab those polygons right there and do an
| | 09:22 | Edit > Fill Layer. Nice!
| | 09:24 | Let's see what that did.
| | 09:26 | That should have done on the front, and it did.
| | 09:28 | And now I can go over and
find those polygons on his leg.
| | 09:32 | There they are, over there.
I'll draw a rectangle on that one.
| | 09:35 | And then I'll hold down the Shift
key and draw another rectangle
| | 09:39 | that right about there, on that one.
| | 09:41 | Let's grab it a little bit more, holding
down the Shift key to add to the selection.
| | 09:44 | Let's go to Edit > Fill Layer one more time.
| | 09:47 | I got that going.
| | 09:49 | Now, I need to figure out
where these polygons are,
| | 09:52 | so let's get the Brush tool
again and put a dot right there.
| | 09:55 | Now, when I painted, nothing happened,
and that's because I still have my Selection going.
| | 09:59 | I can't paint anyplace
except inside the marching ants.
| | 10:02 | Let's go to do the Select
menu and Deselect All.
| | 10:05 | And then let's paint a little dot there and
see where that dot is, and you can see it showed
| | 10:08 | up right there, so I can
get my Selection tool again.
| | 10:11 | And let's also paint a dot on this one right
here, and then a dot right there, and then
| | 10:17 | a dot right there.
| | 10:19 | Okay, we're good to go with those.
| | 10:22 | So let's make a selection.
| | 10:24 | We'll fill all of that with color.
| | 10:26 | And then go to the Edit > Fill Layer.
| | 10:32 | I think that's pretty good.
| | 10:36 | Last up are the hands.
| | 10:38 | The hands are going to be a little bit tricky,
because they're much more broken up than the
| | 10:42 | rest of the object.
| | 10:43 | So, what we'll do is start off by grabbing
blocks of color for these parts of the hands.
| | 10:48 | We know these are the hands here.
| | 10:50 | So, let's grab those. Let's grab this one
right here. And I'm going just with the second
| | 10:57 | line, just about there.
| | 10:59 | And let's do another one for that right there.
| | 11:04 | Pretty good, and then let's do
another one for that one right there.
| | 11:08 | And notice as I make my selections here,
I get selections on my object here in the Editor window as well.
| | 11:15 | And I'm going to draw a selection
around this part of his hand as well.
| | 11:20 | That's going to be on his other hand, probably.
| | 11:22 | Oh no, it is on that hand.
| | 11:25 | And I can draw a rectangle
around that area right there.
| | 11:28 | I know that's part of it.
And I'll do the same thing right here.
| | 11:33 | And every place I draw, I can see that it's
filling those in with marching ants as well.
| | 11:40 | Now, I'm not sure where
these other polygons are.
| | 11:43 | Now, I'm going to
accidentally screw this up on purpose.
| | 11:46 | You want to be really careful.
| | 11:47 | If I try and draw a rectangular selection
here inside the viewport, you'll notice it's
| | 11:51 | going to completely screw up my marching ants.
| | 11:54 | And if I try and undo that selection, then it
really doesn't redo the selection correctly,
| | 11:59 | so be very careful.
| | 12:00 | Now what I need to do is go back in and
fill those marching ants in over here.
| | 12:04 | And I know that these are all hands over here,
| | 12:05 | so I can just hold down the Shift
key and grab all those polygons.
| | 12:09 | Let's undo that. Command+Z or Ctrl+Z.
| | 12:11 | I want to grab just these guys.
| | 12:13 | And so, I'm going to hold the Shift key down
and grab those polygons right there. Very good!
| | 12:21 | And then grab those polygons right
there and then these polygons here.
| | 12:26 | Let's arrow over, grab those
guys, since they're missing.
| | 12:31 | And then I think we're good.
| | 12:35 | I think also I need to have
those polygons right there.
| | 12:39 | And before I go on any
further, I think that's good.
| | 12:41 | Let's go ahead and fill this section.
| | 12:43 | So, I'll go Edit menu, Fill Layer, and
now I've got that color blocked in.
| | 12:47 | Now, I can figure out where
these polygons are on his hand.
| | 12:51 | And actually, the easier thing to do is just
to go zoom in on this area and then grab the
| | 12:57 | Brush tool and just start painting.
| | 12:58 | Let's deselect, so go to the Select menu
in the texture view and Deselect All
| | 13:02 | and then just paint in that
texture. There we go. Nice!
| | 13:09 | That fills in nicely.
| | 13:11 | You want to be very careful, when
you're painting in a viewport like this.
| | 13:16 | I don't want to accidentally paint on his head.
| | 13:18 | So, I'll just go here and paint like that,
and then let's orbit over to his other hand.
| | 13:25 | Oh, it looks like I missed a spot right there.
| | 13:30 | I can see that, most likely, these polygons
are with his hand, and you can see, as I hover my
| | 13:34 | brush over, I can see that they are in fact
part of his hands, so I'll just go ahead and
| | 13:37 | paint those guys right there.
| | 13:39 | And I think those are his hand as well.
| | 13:41 | Yup, they are, so I can
paint right in there as well.
| | 13:49 | And let's get the last little bit.
| | 13:51 | It's probably that area right there.
| | 13:57 | I think that last little bit is some
other place on his body. In fact, let's fill
| | 14:03 | that with yellow and see
where that shows up at.
| | 14:05 | You can see there, that's the tip of his shoulder right
there, so let's Undo. Command+Z or Ctrl+Z on that one.
| | 14:11 | Looks like also I accidentally bled over
on his shoulder a little bit. Oh, no I didn't. I'm good to go.
| | 14:18 | There we go!
| | 14:19 | As you can see, this process is a lot like
working in Photoshop, with the added benefit
| | 14:23 | of being able to see a real-time
representation of what's happening on your model.
| | 14:28 | Now that we've got our blocks of color in place,
we can go back and fine-tune with Projection Painting.
| | Collapse this transcript |
| Hiding seams with projection painting| 00:00 | With the color accents on our superhero
blocked in, you can see that we've got some uneven
| | 00:04 | spots where the UV Map didn't quite
line up with the selections that we made.
| | 00:09 | We're going to fix that with
something called Projection Painting.
| | 00:11 | Normally, when you paint on the surface of
a 3D object, BodyPaint is creating a one-
| | 00:15 | to-one relationship between
the brush and the texture view.
| | 00:18 | Now, this works fine until you get to the point on
the model where there's a seam in the UV mesh.
| | 00:24 | What Projection Painting does is allow you to
paint from a particular point of view onto
| | 00:29 | your model, and CINEMA 4D automatically
adjusts for the camera of angle in the UV mesh.
| | 00:35 | Let's see an example of that.
I'm going to switch to my Brush tool.
| | 00:39 | Then I'm going to go to my Layers.
| | 00:40 | I can't see any layers here.
| | 00:43 | That means I don't have a material selected.
| | 00:44 | So let's go to the Material Manager, click on
our material, and then go back to the layers.
| | 00:48 | And you can see that we're going to be
painting in the Eye bar layer, and that's not where
| | 00:51 | we want to paint. Let's click on the Accents layer and
we're going to paint in the Accents layer.
| | 00:56 | Now, we can go out into our
viewport and do some painting.
| | 01:00 | So, let's dolly in a
particular area of our model.
| | 01:03 | Let's go in on his left arm
here and zoom in on that area.
| | 01:06 | Now you can see that there is a
gap in the brush as I arrow over. That's where a seam appears.
| | 01:12 | You can see how the Brush gets cut off, and
then it magically jumps to the other side.
| | 01:17 | That's what the problem with
painting directly on the model entails.
| | 01:19 | Unless you get a truly good layout of your
UVs, you're always going to get this problem
| | 01:24 | where there's seams.
| | 01:25 | And so Projection Painting corrects for those
seams by allowing you to paint directly on
| | 01:30 | the model from a particular angle, and then
it automatically adjusts inside the texture.
| | 01:35 | So, the way you activate Projection
Painting is by clicking on this icon right here.
| | 01:40 | Let's enable that.
| | 01:41 | Now, when we did that, notice
what happened to our layers.
| | 01:43 | You see that it turned all of our layers into
this one master layer called PP layer; that
| | 01:48 | sounds for Projection Painting layer.
| | 01:50 | When I uncheck Projection
Painting, it goes back to our layers.
| | 01:53 | Whatever Projection Painting that you've
done will get mushed back onto the layer that
| | 01:57 | you had selected before you started painting.
| | 01:59 | So it's crucial that you select the correct
layer before you start your Projection Painting.
| | 02:04 | So, I'm in the Accents layer,
so I'm good to go there.
| | 02:07 | Let's switch over to Projection
Painting and let's try a paintbrush.
| | 02:10 | Notice how my paintbrush is no
longer jumping across the scene.
| | 02:13 | Now, when I click and drag across my object, you
see it's going to make a brushstroke on there.
| | 02:18 | And look what happened.
It made a perfectly smooth brushstroke.
| | 02:21 | Now, let's see what
happened inside the texture.
| | 02:23 | Let's go to the Texture window, and in your
Materials, if you click on the material, it's
| | 02:27 | going to bring that up here.
| | 02:28 | Now, in case your UV mesh isn't showing, you
can go to the Show UV Mesh command right there.
| | 02:33 | And it painted on our object, and there's
the mark that it made right down there.
| | 02:37 | Let's go and take a look at that.
| | 02:40 | And you can see, it actually made the
mark here and it made the mark here.
| | 02:44 | But notice on this one, it's not quite the
same round brushstroke that it is down here.
| | 02:49 | That's because the projection
smeared it across this edge.
| | 02:52 | Let's take a look at what that
means in a more extreme example.
| | 02:55 | I'm still in Projection Painting mode.
| | 02:57 | I'm going to paint right across the top here.
| | 02:59 | Now, watch what happens.
| | 03:00 | When I paint a brushstroke across the top
edge, everything looks fine until we orbit
| | 03:05 | around to right here.
Look what happened.
| | 03:08 | It stopped that brushstroke on the top edge where the
projection passed beyond the view of the viewport.
| | 03:14 | Let's do it one more time. I'm going to projection-paint
right here, and you're going to see a little bit of smearing as well.
| | 03:21 | Let's orbit around here.
| | 03:22 | You can see that as I orbit around, I've got
a little bit of smearing on that edge too,
| | 03:26 | and so that's another
gotcha with projection painting.
| | 03:29 | If you've got a really large brush and you're
painting a rounded object, you're going to
| | 03:32 | get smearing on the edges,
| | 03:33 | so you want to be very
careful about where you paint.
| | 03:35 | Let's undo. Command or Ctrl+Z a few times.
| | 03:39 | We get back to before we
made any brushstrokes.
| | 03:44 | So now we're ready to actually do our painting,
and the brush that we're going to use is not
| | 03:47 | this regular brush, we're going to use a
nice chalk brush to kind of give a really cool
| | 03:52 | gritted edge to these.
| | 03:54 | So, let's go to the Brushes palette.
| | 03:57 | And inside the Body Paint Presets folder,
in the Brushes, under the Standard tools, is
| | 04:02 | this Chalk Brush right here.
| | 04:05 | We're going to grab that Chalk Brush, and
when we go to the Brushes option, you can
| | 04:11 | see, that's the image that we're going to be
painting on our object, and it's going to
| | 04:14 | give us a really nice gritty texture.
| | 04:16 | You can see that Projection Painting has
given me a really, not a bad brush size I think
| | 04:21 | for that. If I wanted to, I could adjust the
size a little bit, but I think that's going
| | 04:24 | to work out nicely.
| | 04:25 | So what I want to do now is work my way
around this seam and just brush in a nice uneven
| | 04:31 | chalk line to create a transition
from the glove to the character's arm.
| | 04:36 | Let's go back in and just start
to paint a little bit on here.
| | 04:39 | And it doesn't really matter.
That's one of the nice things about here.
| | 04:41 | The one thing I want to do is cover up that
straight line, but keeping everything else
| | 04:45 | in line really doesn't matter.
| | 04:46 | And in fact, the less even it is, the
more interesting it's going to look.
| | 04:52 | I'm doing an orbit around.
| | 04:59 | Now, if you want to check your work, a great
thing to do is to do this button right here,
| | 05:04 | which is the Raybrush Render View.
| | 05:06 | When I click that, it's still in Projection
Painting mode, but it's rendered the view
| | 05:11 | so that I can paint on a rendered
image, as opposed to the viewport.
| | 05:14 | Now, watch how I actually get
to see what I'm painting here. That's really great!
| | 05:19 | One of the downsides of this is that when
I get to a point where I need to turn, as
| | 05:24 | I orbit around, it doesn't automatically
Raybrush again, so I've got to click that button.
| | 05:28 | And now, I'm painting in the Ray Render View.
| | 05:34 | Let's orbit around again.
| | 05:36 | Let's do a little click
and then paint some more.
| | 05:40 | I want to be careful about
painting with too large a brush,
| | 05:46 | so I think I'll stick to this brush size.
| | 05:47 | I think I've done a good job on that arm.
| | 05:49 | Let's back out a little bit.
| | 05:51 | And now we can move over to the other side.
| | 05:55 | Let's work on this arm here,
and we'll go and do a Raybrush Render View.
| | 06:00 | Let's do a little orbit
around and then Ray Render.
| | 06:06 | I think that looks pretty good on his arm.
| | 06:09 | Now, we can transition down to his torso
and start fixing that seam down there.
| | 06:15 | Remember, there's no
right or wrong answer here.
| | 06:21 | The only thing you want to do is make
sure that I cover up that hard edge.
| | 06:27 | You notice that I'm clicking and dragging in one
direction, as opposed to wiggling my paintbrush.
| | 06:31 | That way, I end up with nice straight
brushstrokes, as opposed to any curvature in them.
| | 06:36 | That's going to give, I think, a better look.
| | 06:40 | Let me undo those two last two brushstrokes for
a second. Command+Z or Ctrl+Z on the keyboard.
| | 06:48 | You can see, this is a great example of
that smearing that I was talking about.
| | 06:52 | One of the brushstrokes that I made on the
other side was at a curvature point, and it
| | 06:55 | smeared all the way across.
| | 06:56 | So I've got to fix this for sure.
| | 06:58 | I'll fix that by just painting in,
and I'll create a nice little transition there.
| | 07:03 | I can erase that, but I don't think it's
necessary because once again, I'm not trying to create
| | 07:08 | a nice even line.
I'm trying to create some unevenness.
| | 07:12 | I'm going to get rid of that line there and then do
some straightness in there. There we go!
| | 07:19 | I think that's pretty good.
| | 07:21 | Let's back out a bit and take a
look at our handy work. Not bad.
| | 07:25 | Now, we can focus on his legs.
| | 07:28 | We're going to do the same process down here.
| | 07:33 | Let's just keep on projection painting.
| | 07:36 | Let's move on to his other leg.
| | 07:38 | Now, I think we're ready
to move on to his feet.
| | 07:42 | Let's start with his left foot.
| | 07:45 | I think now we can move on to the last leg.
| | 07:50 | Be very careful about smearing on these legs;
they're very round objects, and this is a
| | 07:55 | place where you can get a lot of
smearing if you're not careful.
| | 07:58 | I will paint right there.
| | 08:00 | You can see I did get a bit of smearing
on that spot, so I'll just cover that up.
| | 08:03 | If you see any spots that you missed in the model,
you can always touch those up at this point too.
| | 08:08 | There we go! I think we've just about got
all the seams covered up.
| | 08:12 | And you can see, we've got some really nice
uneven transitions from the yellow of the
| | 08:16 | accent part of its costume
into the rest of his body.
| | 08:19 | Now, we can fill the layer that's going to be
the rest of the base color for his costume.
| | 08:22 | So, we go to the Layers menu, and you can
see it's still in Projection Painting mode,
| | 08:27 | so let's go ahead and commit the Projection Painting
by unclicking this object right here. When we click that,
| | 08:32 | now all of our Projection Painting got
committed and burned into this Accents layer.
| | 08:38 | Now we can go to the Color base layer and
fill it with the red color that's going to
| | 08:41 | be the underlying color of his costume.
| | 08:44 | Let's go to the color palette,
and let's pick a nice red color.
| | 08:47 | I want a good deep red.
| | 08:49 | Let's bring it down into
more of the vermillion range.
| | 08:54 | I think that's pretty good right there.
| | 08:56 | Now, we can go back into the Texture view
and go to the Edit menu and do a Fill Layer.
| | 09:02 | That's going to fill our layer with that deep
red color, and then when we go back, you can
| | 09:05 | see there we've got those great yellow
accents on top of that red texture.
| | 09:09 | Body Paint is a complete application inside
of CINEMA 4D, and it's really the best way
| | 09:15 | to get total control over your textures.
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ConclusionExploring what comes next| 00:00 | That's it for CINEMA 4D Essentials:
Materials, Texturing, and Lights.
| | 00:04 | In the next course, CINEMA 4D Essentials:
Rendering and Compositing, we'll explore how
| | 00:08 | to get your images out of CINEMA 4D and into
a compositing program like Photoshop or After Effects.
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