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Creating the mouth using the Extrude tool

From: CINEMA 4D: Designing a Promo

Video: Creating the mouth using the Extrude tool

The next step in the process is going to be to create the polygons that will become the mouth of the shark. If I select my cube object here, I have one extra step that I did in between these movies and I just want to tell you about it. It's really simple step, but it's crucial to understand why I did it. I added another cut using the Knife tool right along the length of the shark and then in the Front view, I expanded out the sides of the shark to match the edges of the outline in the front view and the way I did that was by selecting a point in the side view. In this case it's the Front actual Orthographic view but at the side of the shark.

Creating the mouth using the Extrude tool

The next step in the process is going to be to create the polygons that will become the mouth of the shark. If I select my cube object here, I have one extra step that I did in between these movies and I just want to tell you about it. It's really simple step, but it's crucial to understand why I did it. I added another cut using the Knife tool right along the length of the shark and then in the Front view, I expanded out the sides of the shark to match the edges of the outline in the front view and the way I did that was by selecting a point in the side view. In this case it's the Front actual Orthographic view but at the side of the shark.

And then using the Scale tool in the Perspective view to scale those points out. So I hit T on the keyboard or grab the Scale tool up here in the toolbar and then use just the Z-axis to move those points out and you can see as I move those points out, my shark gets wider, but only in one spot. And so I work my way down the shark and gave it a nice, pleasing shape along the length of the shark, making a little tummy area and a nice rounded side to the shark.

So that's the only difference between that and the previous version of the file. Now, I can start to focus on the mouth area. Let's switch back to the side view of the shark, which is actually the front view in Orthographic mode, and now the technique for making the mouth is I want to have a set of polygons that I can extrude outward to make the mouth area. So I need to move some points around. I'm going to switch to my Selection tool and grab this point here and move it up.

This is going to become sort of his cheek region. And then take these points and move them up here. You'll notice what that does. That gives me a curvature here and opens up this area and this area is going to become extruded out to make the mouth, the lower jaw of the shark. So, let's push this up just a little bit more and bring these down just a little more, and then we'll make another cut right in this area to give us a little bit more control. So if I right-click and go to my Knife tool and then I'll make a cut right about here and you can see how that tightens up this jaw area. And then if I move these points around just to kind of open them up, you never want to have points pushing too close together, unless they're actually in a region where geometry needs to come together, and I push these points around, to cleanup that region and you can see how every time I push and pull, I open up this region just a little bit more.

So now I can do my first extrusion. I'll switch to the Perspective view, and now for this next move I want to be in Polygon mode. I'm going to use something called the Extrude tool and the Extrude tool works in Polygon mode. It actually works in Edge mode also but it does not work in Point mode. So, I want to be in Polygon mode, which allows me to select the individual polygons of the object. If I click and hold down my Selection tool and get back to my Live Selection tool, the arrow inside the circle, it makes it much easier to switch and select polygons.

I do that quite a bit. I switch between Selection tools, depending on which mode I'm working in. I use the Rectangle Selection tool for points and I use the Live Selection tool for polygons. So now I can grab these polygons and I can right-click in the interface and do the Extrude tool. The Extrude tool allows me to create polygons in a particular direction, based on the original direction of the selected polygons. So if I have these polygons selected and I click and drag. And now it's very important with the Extrude tool, do not grab the arrows. I want to click away from the arrows and drag to the right.

Look what happens. I create geometry out to the side. Now, I haven't let go off my mouse yet. I just want to extrude out one time and then do a second extrusion, about halfway like this, and then I'm going to switch back to my Selection tool by hitting the spacebar, and I do that because I don't want to accidentally make any more extrusions. Now I can grab the axis band for these selected polygons to just move them up into place and look what I have. I have this little lip here for my shark, and that allows me to position that around.

That makes it really easy to position the mouth polygons. Now, you'll notice that the shark lip is kind of rounded. it really doesn't look like a shark yet. So we're going to use the Knife tool one more time to make another cut. So I hit K on the keyboard, which is this shortcut for grabbing the Knife. I could also have right-clicked and gone to the Knife tool here. This time we're going to make a cut right around the mouth region. Now, this may be hard to see because of the X-ray on, so I'm going to turn off my HyperNURB by clicking on the green checkmark. You can also use the keyboard shortcut letter Q and that will turn off the HyperNURB.

And now I can easily see this mouth region without the X-ray mode on. So I'm going to make a cut right about here, and if I turn the hyperNURB back on, the letter Q on the keyboard, you can see that every time I make a cut there my mouth gets a little bit tighter, and that's just what I want. I think I've got enough polygons to work with. I want to go into Point mode and start moving things around, so that my mouth will flatten out a bit. So let's go to Point mode and then switch to our Selection tool.

That is rectangular shaped and that's the one I like to use when I'm in Point mode,. And I'm going to grab points and now I'm going to do this in the Perspective view and I'm going to be very careful about which points I'm selecting. I want to grab this one here and this one here and that gives me the ability to move this, oops! If I actually deselect something, I can undo that deselection by hitting Command+Z or Ctrl+Z on the PC. Now I want to grab the axis band and move those points around just a bit, just kind of tuck them up in here and then scale them inward.

If I hit the letter T on the keyboard or grab the Scale tool, I can use that same technique I used for the side and just scale the mouth in and then look what happens. It gets nice and tight right in that region. Let's scale those points down just a bit on the Y-axis and then flatten that region out. Now I want to grab all of these points along the bottom here and sort of tuck his jaw up a bit. So let's hit the spacebar to get back to the Selection tool, grab these points, and then move them up. Now you notice I'm using the axis band here. You want to always be careful about what axis you're moving your points on. It's a really crucial observation to make.

Now I hit T to get the Scale tool back and scale these points in and take a look at my mouth from several angles. Now the mouth shape is kind of bulbous in this region here and I want to get rid of that sort of lump there in his lower jaw. So, I take these points and let's grab the Selection tool again, and I'm going to grab just these points here. You notice every time I select some points, I always was orbit around to double-check which points I have selected. And move these guys up into position here.

See how when I do that it gets rid of that sort of gullet that he had going on there. Now I got one more section to cleanup, which is this area here, and you see this tight row of points here? Remember you don't have points coming together like that unless there's a specific reason for it. The bottom of his jaw really is not a good place for that. I want to deselect that point I accidentally selected. I hold down the Control key and deselect it right there. Now I take these points just move them back and see how that opens up his lower jaw as I do that. Oops! I accidentally deselected. I can Control or Command+Z to reselect those polygons.

Let's move those down and see how I moved that down to smooth things out right in there? And the mouth starts to get a little more shapely. And now I can grab this region here and the points that are on the other side and I'll switch to the side view and that's going to make it a little bit easier to grab those points, and I'll grab all those guys right there. And you can see that I have the right points selected by orbiting around this way.

Let's turn the HyperNURB off for a second and see what I'm about to do here. I want to expand these points outward and I think actually what I want to do is grab all these points in this region and expand them outward to kind of open up his mouth a little bit more. So I hit T on the keyboard to bring up the Scale tool and now I'll scale these guys outward and I'm probably going to need to make another cut in his upper jaw as well to give myself a little more control. So hit Q on the keyboard to turn the HyperNURB back on and you can see that, if I render this, Command+R, Ctrl+R in the PC, that his mouth is looking not too bad.

It needs to be tighter in this region here, but it's got the basic jaw shape pretty good. So now let's go back to the side view and move a few more points around. Grab my Selection tool and just move these guys and open up this region. I want to make sure I don't have a lot of tight points coming together. Let's now move that down there, move that down here, and I think it's starting to look really good.

It's going to take some time to refine this mouth region a little bit. We'll be using the same techniques that we've done all along, but we'll skip ahead in time a little bit so we can get to the end. Now you can see that we've done quite a bit of refinement on the mouth region and we've got it to a pretty good state using all the same techniques that we had done before. So I'm finished about as much refinement on the mouth as I really want to do right now. I'm going to turn the X-ray mode off on the HyperNURB so that I can see the actual geometry that makes up the HyperNURB and you can see it has a nice flow to the polygons as they travel along the length of the object and everything is still quadrangles, which is really important. It makes that model animate much more smoothly inside the Spline Wrap object.

So, if I select my low res mesh, you can see I've refined the mouth area and done my extrusion for the jaw and just about got the shape right on here. There's still a little bit of tweaking left to do but we're going to do that at a later stage in the process. So there's still more work to be done but I think the mouth is at a pretty good stage.

Show transcript

This video is part of

Image for CINEMA 4D: Designing a Promo
CINEMA 4D: Designing a Promo

70 video lessons · 13460 viewers

Rob Garrott
Author

 
Expand all | Collapse all
  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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