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CINEMA 4D: Designing a Promo
Illustration by John Hersey

Creating gums using the Symmetry object


From:

CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Creating gums using the Symmetry object

Our shark buddy is just about done, but now our shark needs the most important and scariest part of all, the teeth. But before we can create the teeth, we need some gums for the teeth to sit in. We are going to be using the Symmetry object again to reduce our modeling and make both sides of the gums at once. So here in my shark, I don't really need these profile images anymore. So I am going to hide the image planes from view, and that's going to make our scene lot less confusing to look at. So here in the mouth region, I want to create a simple shape that the teeth can sit in that's going to be lined up with the bottom portion and the upper portion of the jaw line.
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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 gums using the Symmetry object

Our shark buddy is just about done, but now our shark needs the most important and scariest part of all, the teeth. But before we can create the teeth, we need some gums for the teeth to sit in. We are going to be using the Symmetry object again to reduce our modeling and make both sides of the gums at once. So here in my shark, I don't really need these profile images anymore. So I am going to hide the image planes from view, and that's going to make our scene lot less confusing to look at. So here in the mouth region, I want to create a simple shape that the teeth can sit in that's going to be lined up with the bottom portion and the upper portion of the jaw line.

So let's add a new cube to the scene, and with that cube I am going to parent it into this hierarchy here. Now this Null object is called Symmetry, but it really isn't a symmetry anymore. So let's rename it and call it a shark. Now this HyperNURBS is way here in the middle. It looks kind of like as extra stomach here. We are going to move that up to the head region and then just start to change the size on it. Let's start with the Y and just squish it down really far and then on the Z.

I basically want to make a little tube that I am going to cut up. So that tube is going to sit right about at the start of the mouth. Let's move it down into position, right about there. I can take this little tube object now and make it editable. C on the keyboard. In Point mode what I want to be able to do is use a Symmetry object to only have to model one half of the gums. My shark is pretty well identical from left to right.

So by using a Symmetry object that'll give me the ability to only model one half of the gums and have it immediately flop over to the other side. The way this Symmetry object works is it's going to mirror everything across the Z-axis in this case. So I want to take these points that are on this side of the object and I want to get them to stick right to the exact center line of my shark. So if I take my cube here and select these points and in the Coordinate Manager, I can switch my mode to World mode.

I am going to use the Coordinate Manager to move these points into position. So I want to move them on the Z-axis. So I'll select the Z position, make sure that my mode is set to World mode, and then change this value in this field to be 0. You're going to see those points snap immediately to the centerline of my shark. Now I have a polygon here. If I go in to Polygon mode, I can see that I have a polygon here on the end and I don't want that polygon there, because that's going to be problems when I use the Symmetry object. So I'll delete that and that opens up a little hole.

So now I can add a Symmetry object to this scene. Now this is a great little trick. I am going to hold down the Option key and click on my Modeling tools and add a Symmetry object to the scene. When I do that, holding down the Option key, because I have my cube selected, it automatically made the Symmetry object a parent of the cube in the same location as the cube. Remember, the Symmetry object by default creates symmetry across the Z and Y plane. We want to switch that over to the X and Y plane so that it will flop it across this axis right here.

So we switch that to X and Y and now we get a tube that's on both sides of the axis. Now I can take this Cube object and so I'd like to push and pull those points around and I probably want to do this in the Top view. So let's go into the Top view and zoom in on this region here. You could see that this line of polygons are the ones I want to keep track of. I probably should just change the display to Gouraud Shading and that will make it a little bit easier to see my cube. I lost that line, but I can always get it back.

So I am going to switch over to point mode, right-click to get my Knife tool, I make sure I am in Loop mode, always, and just add a few extra cuts right here. Now I can take these cuts and simply move them around in space and I am going to move these guys on the Z-axis and then just rotate them in the Top view to make that a little bit larger and then just kind of move them out. I will repeat that process, creating sort of a horseshoe shape as I go.

Now I am just using the Spacebar to get back and forth between the Selection tool and the Move tool. Now let's double-check our work here in the Perspective view. So now what we really need to do is I am going to hit Command+A or Ctrl+A and drag that down until it lines up and then work my way along the jaw, moving this up into position. So I'll start at the back of the jaw and move that up like that.

I am using the Y axis only to move those up into position. Then do the same thing for this one. There we go. And now they're sticking out a little bit far. So let's select all the points and move them on the X-axis only, right into position, kind of tuck them in there. All I really need is just the gums to be sticking out just a bit. So I am going to make them a little bit thinner. So in the Top view, zoom in just a bit here and grab this point and move that in.

Then grab this one and move it in. You can see I am moving it in the Top view, but looking at in the Perspective view to see what the effect is, and using that Spacebar command to move back and forth between those. Now on this last point, I want to be really careful and only grab the X-axis and move it into position. Now I have got a gum object in position. Let's grab these last points and move them out a bit and then raise them up and then tuck them in this way, there we go.

We want them to follow the line of the jaw. You don't have to follow it exactly, just enough to stick up a bit. There we go! I think that's about it. So now you can see if I hit Command+R and render that, I have got a jaw element or a gum element that is sticking right to the jawline. It's got a little bit more lip here than I want. So let's grab these guys and move them forward just a bit. There we go! I think that's looking pretty good.

Our lower gums are complete and I am going to be using the exact same process to create the upper gums and you'll see those show up if you continue on in the next movie.

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