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CINEMA 4D: Designing a Promo
Illustration by John Hersey

Creating guide planes for modeling a rough shark


From:

CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Creating guide planes for modeling a rough shark

The shark is really the star of the entire animation, but for this cameramatic, we only need a very rough model of the shark, just enough detail to give us the impression of the shape. We're going to use an outline of the shark to create this rough shape using polygonal modeling tools and something called a HyperNURB object. So, the first step in modeling is to save the file. Let's go to the File menu and do a Save as. We're going to save this in the Chapter 03 folder. We'll call this one roughshark, and then I like to put a version number in case I save out an additional version.
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  1. 5m 8s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 24s
    3. Overview of the project template
      2m 37s
  2. 11m 12s
    1. Creative brief
      1m 57s
    2. Sketches and script
      3m 8s
    3. Understanding the graphic animation process
      6m 7s
  3. 25m 5s
    1. Understanding the animatic process
      2m 15s
    2. Importing sketches into After Effects
      6m 20s
    3. Timing out the animation
      10m 4s
    4. Adding onscreen timecode for reference
      6m 26s
  4. 40m 2s
    1. Creating text and logo elements in Adobe Illustrator
      6m 44s
    2. Importing Illustrator elements into Cinema 4D
      8m 24s
    3. Creating guide planes for modeling a rough shark
      6m 13s
    4. Creating a rough shark model
      12m 14s
    5. Preparing a dummy rig using a Spline Wrap object
      6m 27s
  5. 53m 17s
    1. Setting up a project file for the cameramatic
      6m 15s
    2. Animating the rough shark using the Spline Wrap object
      5m 14s
    3. Animating the camera
      6m 8s
    4. Duplicating an animated rough model to create a school of sharks
      11m 4s
    5. Creating a preview movie and importing it into After Effects
      5m 45s
    6. Assembling the cameramatic
      8m 34s
    7. Fine-tuning the cameramatic timing
      10m 17s
  6. 1h 9m
    1. Preparing for the modeling process
      6m 7s
    2. Outlining the shapes using the Knife tool
      9m 50s
    3. Creating the mouth using the Extrude tool
      10m 40s
    4. Adding eyes using the Symmetry object
      9m 57s
    5. Creating fins using the Extrude tool
      7m 11s
    6. Creating the tail and dorsal fins using the Extrude tool
      10m 38s
    7. Creating gums using the Symmetry object
      6m 45s
    8. Creating teeth and finalizing the model
      8m 6s
  7. 15m 5s
    1. Understanding the rigging process
      2m 0s
    2. Opening the shark mouth using the Morph tag
      5m 9s
    3. Using XPresso to link the jaw to the Morph animation
      7m 56s
  8. 33m 25s
    1. Using BodyPaint to prepare the model for texturing
      8m 22s
    2. Applying color to the shark using BodyPaint
      6m 45s
    3. Giving the shark character by painting in the diffusion channel
      5m 29s
    4. Roughing the surface using the bump channel
      4m 34s
    5. Texturing the eyes
      3m 51s
    6. Texturing the teeth and gums
      4m 24s
  9. 21m 24s
    1. Replacing the rough shark model in the intro shot with the finished model
      6m 47s
    2. Replacing the rough shark model in the transition shot
      3m 43s
    3. Replacing the rough shark model in the hero shot
      4m 28s
    4. Replacing the rough shark model in the end page shot
      3m 42s
    5. Updating the cameramatic with the final animation
      2m 44s
  10. 50m 27s
    1. Creating an underwater look using Global Illumination and atmosphere
      9m 47s
    2. Lighting the objects and creating shadows
      6m 54s
    3. Shading the text using materials
      6m 28s
    4. Creating a reflective floor for the underwater scene
      3m 58s
    5. Lighting shot 1: Copying and pasting a lighting setup from another project
      5m 49s
    6. Lighting shot 2: Pasting a lighting setup and making adjustments
      3m 57s
    7. Lighting shot 4: Separate elements in a shot (the shark)
      3m 13s
    8. Lighting shot 4: Separate elements in a shot (the text)
      10m 21s
  11. 22m 7s
    1. Preparing shot 1 for rendering to After Effects
      6m 20s
    2. Preparing shot 2 for rendering by saving and using render presets
      4m 45s
    3. Preparing shot 3 for rendering
      2m 37s
    4. Setting up shot 4 to render in two passes
      4m 4s
    5. Performing a preflight check to ensure clips are ready to render
      2m 9s
    6. Batch-rendering
      2m 12s
  12. 1h 13m
    1. Importing assets and setting up the After Effects project for final compositing
      6m 5s
    2. The intro shot: Using Photoshop elements and noise effects to add atmosphere
      8m 38s
    3. The intro shot: Compositing in stock video footage to add character
      4m 51s
    4. The intro shot: Adding text elements to the composite
      8m 32s
    5. The hero shot: Controlling the look using precomps
      7m 59s
    6. The hero shot: Using stock video footage to add character
      7m 19s
    7. The end page shot: Combining multiple passes to form a final composite shot
      2m 41s
    8. The end page shot: Adding text elements to the composite
      7m 44s
    9. Compositing the transition shots
      3m 47s
    10. Assembling the final composition
      9m 2s
    11. Adding the final audio to the composition and rendering
      7m 10s
  13. 21s
    1. Goodbye
      21s

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

Viewers: in countries Watching now:

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

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

Creating guide planes for modeling a rough shark

The shark is really the star of the entire animation, but for this cameramatic, we only need a very rough model of the shark, just enough detail to give us the impression of the shape. We're going to use an outline of the shark to create this rough shape using polygonal modeling tools and something called a HyperNURB object. So, the first step in modeling is to save the file. Let's go to the File menu and do a Save as. We're going to save this in the Chapter 03 folder. We'll call this one roughshark, and then I like to put a version number in case I save out an additional version.

I'll call this 001. I'll hit Save. The first part of the modeling process is to import images that we're going to be using as references. Let's go out to the Finder here and explain something for just a moment. Here in the Chapter 3 folder, I have something called a tex folder. This tex folder contains two PSD files, a shark front and a shark side. Now, these are just Illustrator outlines that I converted into PSD files and I traced the images that I found of sharks online and used those as a basis for creating the shark outline.

I want to be able to import these into CINEMA 4D. The way CINEMA 4D works is that it looks in a very specific place for these texture images. The place it looks for the images is in a folder called tex. That folder has to be at the same level as the project file. So you can see, here's my roughshark- 001.c4d file and then here is the tex folder and they are in the same level of the folder. That makes it really easy for CINEMA 4D to find these images. If you were to have these in a different location, you'd get an error message inside of C4D, prompting you to copy those elements into the tex folder.

If you hadn't had a tex folder there already, you would copy them into that location just loose and that would be kind of weird. So, it's much better to be organized ahead of time and have this tex folder with the images setup for you already. Now, here in C4D, I've got my roughshark file opened. We're going to make a new material. I created that new material by double- clicking here in the Material Manager. You can also go to the File menu and do a New Material that way. But I like to double- click, as it's a lot faster. I'm going to double-click on the word Mat and call this one front, as in the front of the shark.

In the Basic properties for the material, I'm going to turn off the Color channel and turn off the Specular channel and turn on the Luminance channel. Now, the Luminance channel allows us to place images into the material that will not be affected by any light source in the scene. So, if I click on the Add Texture button right here, which has a series of three dots on it, if I click on that, that presents me with the Finder window, and I can now navigate to my Desktop/Exercise Files/Chapter 3, and then to the tex folder. Let's add the shark front file, and hit Open.

That shows up in the Luminance channel, just the way I wanted. Now let's make another new material, and let's change the name of this material and call it side. The side material, I'm going to do the same thing. Go to the Color properties, turn off Color, turn off Specular, turn on Luminance. Then in the Luminance channel, I'm going to load in that image once again. So I click on the Load Image button and add the shark side.psd and hit Open. Now, the materials are going to be showing up here in the Editor window.

In order to do that, I have to place them on a plane. If I select the side material and look at the dimensions of the actual image and if I go to the Luminance channel, it shows you the resolution of the actual image that's being used in that channel. I can see it's 982x389. I'm going to create a plane here in the Editor window and make it exactly that resolution, 982x389. So, if I go to the Primitive Objects and add a plane to the scene, under the Plane Properties, I'm going to change the Orientation to be -Z.

The reason I do that is that it makes the images that I drag onto that plane show up right-reading, meaning they'll show up with the top up here at the top of the plane and the right-hand side on the right-hand side of the plane, just the way I wanted. So now, I'm going to make this plane the same width. If I go to the side material and look at it. See it's 982x389. So if I select the plane and make the Width 982, and the Height 389, and then the Segments determine how subdivided the polygon is.

How many polygons are making up this thing? We only need one polygon. So I'll change the Width Segments and the Height Segments to 1x1. Now when I drag my side material from the Material Manager onto the plane in the Object Manager, when I let go, my shark shows up exactly on the plane, just the way I want it. Let's make another plane. And we're going to repeat this process for the front. If I add a plane to the scene-- and let's name our plane so that they make sense. I'll call this plane side, and then I'll call this plane front.

On the front plane, I want to change the Orientation once again to -Z. They're in the same location right now. Let's turn the side plane off for just a moment and go to the front material and take a look at the resolution. You can see the resolution of my front is 305x389. So, let's take the front and make the Width 305 and the Height 389 and then the segments one-by-one just like we did on the side plane.

Now, if we take the front material and apply it to the front plane, you see our shark shows up right there. Now, I want to have the front of the shark show up along the x-axis. So if I just take the front plane object and go to the Coordinate properties, and the rotation value that I want to change is the heading, and if I scrub that value around to 90 degrees over here, I've got to put 90 degrees in numerically, then my shark is now facing down the x-axis. If I turn on my side now, you can see that they intersect perfectly. Now I can use that to identify the front of the shark and I can use the side panel to identify the side of the shark.

This is going to make our modeling process really easy. The purpose of all this has been to prep our cells for modeling and the image planes that we have here in the scene are going to be used as guidelines for modeling our rough shark. So, now that we have our planes, we're ready to begin the process of actually modeling.

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