# Creating the tail and dorsal fins using the Extrude tool

## Video: Creating the tail and dorsal fins using the Extrude tool

With the symmetrical elements out of the way we can now focus on the fins that run right down the center of the shark. So, the dorsal fin, which is the fin that goes across to his back and it's the most recognizable of all the shark fins, is going to come right about of this region of the shark. But making an element in the center line of the shark is really difficult with the Symmetry object in place. So, we need to make the Symmetry object of one whole shark again. So, that's a drastic change. So, let's take the Symmetry object and Ctrl+Drag a copy of it down into the hider. Then we are going to come back to the original symmetry.

## Creating the tail and dorsal fins using the Extrude tool

With the symmetrical elements out of the way we can now focus on the fins that run right down the center of the shark. So, the dorsal fin, which is the fin that goes across to his back and it's the most recognizable of all the shark fins, is going to come right about of this region of the shark. But making an element in the center line of the shark is really difficult with the Symmetry object in place. So, we need to make the Symmetry object of one whole shark again. So, that's a drastic change. So, let's take the Symmetry object and Ctrl+Drag a copy of it down into the hider. Then we are going to come back to the original symmetry.

With the Symmetry object selected I am going to hit the Make Object Editable button. I can also hit the letter C on the keyboard. If I click on that, now I get a cube that has all the points on both sides of the axis. Now, it's going to be really easy to make that dorsal fin. So, let's go back to the side view and make sure that I have the right polygon selected. So, let's go into polygon mode and get the Selection tool and I am going to grab these two polygons here. You can see they line up very well with the dorsal fin.

Now, let's switch to the full- screen of the Perspective view. We are going to use the same kind of technique that we did for the pectoral fins. We are going to simply do an Extrude Inner and then Extrude Upward and then moving some points around to make things look nice. So, I'll right-click and do an Extrude Inner tool. Let's extrude inward and we'll go quite a ways in. We are going to be moving these points around a bit. I want to make sure they are well off the side of the shark. Then I am going to use the Scale tool to scale these guys together. I can go on the Z-axis and then on the X- axis let's make them really long this way.

There we go! Using the Scale tool again. Now, I have those guys selected already. So now I am ready to do my first extrusion. So, I'll right-click and do an Extrude. I am going to extrude upward just a bit and that gives me the first indentation of that. Now, I can extrude up one more time and that's going to give me a control point about halfway up. Then I can extrude one more time after that and that's going to be basically the top of the fin. I might need to make a cut with my Knife tool, but that's going to be really easy to do.

So, now I don't want to have this wide. It looks like a radar bulge or something like that on top of the shark. I want this to be really thin. So, let's grab the Scale tool and scale it on the Z-axis and bring these points together. Then I'll flat them out a bit on the Y-axis. It makes them nice and round. I can scale them together even more to have a nice cut to that. Now, I want to do the same thing along the length of the object. So, I am going to grab my Selection tool and I am going to grab all of these polygons now and orbit around and grab the polygons that are on the back side as well.

Then use my Scale tool once again. The letter T on the keyboard and just scale those guys in. By doing that I'm making my fin nice and slender. Now, I can go in the Point mode and grab this point right here and this point on the front side. I want those guys to line up. I can just use the Move tool and move them down so that everything lines up nice and neat. Now, I can just grab these points on the back here and adjust them.

Let's go in the side view to do that so we get things to line up nicely. I'll grab my Rectangular Selection tool and make sure that Only Select Visible Elements is unchecked. Now, I can quickly line up this. I am going to need to make another cut I can already tell. But I am going to grab and put these points at the top. I put this point along the leading edge. I put this point along the trailing edge about halfway up. Now, I need to make another cut so I will get my Knife tool out and make sure that it's set to Loop mode and make a cut right about there.

Then grab the trailing edge points and move them out here a bit. Let's go back to the Perspective view and see which points we are about to grab. Actually, I think I need to make one more cut. If I grab this point right here and this point right here, Command+Z, and this point right here, you can see I've got just those two points selected. I am going to move them up just a bit so that they are right about there. I need to have this little indentation right here.

So, I am going to make one more cut with a Knife tool. Then that's going to give me exactly what I need to make that little extrusion right there. So, I go back and enter the side view and grab just those points. I want to make sure I only have those points selected. I don't want this point right here so I am going to Ctrl+Drag and deselect it. Now, I can take these points and move them back on the Z-axis. You can see that gives me a nice little extrusion there, a little dip.

I can just shape that down a little bit and then grab all the points along the back and move them down into position. There we go! Then I can grab all of these points and then just tuck them right on in there. You can see it makes it really easy to line that up. Now, there is two more fins that I have to do along the dorsal line, which is the second dorsal fin right here, and then the tail.

Now that I've got my dorsal fin done, I can do the second dorsal fin, which is right here in this area. Let's switch back to Polygon mode and this is going to be exactly the same technique that I used before. Except a little bit easier because I don't have that little indentation to worry about. So, I will grab both of these polygons right here, do an Extrude Inner, and then do an extrusion. Drag it upward, then scale those in, and move the points around to make it look pretty.

Let's do that in the side view. I get my Rectangular Selection tool and grab that one and move it up right here. I will grab both of these points. Actually, let's move these point up out of the way a little bit and these points here and move up to make that nice sort of leading edge. Everything on the shark there is a leading edge and a trailing edge. They are very hydrodynamic which means they flow through the water nicely.

So, you want to make sure there are no abrupt angles on your shark. You want to scale this together. It's kind of wide for a fin. So if I grab this point and this point and this one and this one, I can now use my Scale tool on the Z- axis only and squish those guys together. Then I can grab all these points and squish them altogether to make that nice and thin.

So, there is that point. Now I can do the tail in exactly the same manner. So, if I grab this point here, this polygon here. I am going to first do an extrusion for the tail. I'll do an actual extrusion. Actually, let's do an Extrude Inner. Extrude Inner. That gives us a little more control and then do an extrusion. I'll do one extrusion up. Then in the side view just drag the polygon. So, I am going to switch to my Move tool and drag those polygons up a bit.

Let's go up to about here. Then we'll take the Scale tool and scale them down. You can see I am scaling those polygons so they are just about flat. Now, I'm going to do another extrusion, Before I do that extrusion I am going to scale that tail very thin. Now, I can do one more extrusion. D on the keyboard, extrude upward, and then more extrusion after that. That's going to give me the ability to put this little notch in the tail. Every shark has a different type of notch and this one is particular to the great white shark.

In Point mode, I can start to move things around really easy. So, I am going to grab these points here and move them up here and then up here and take these and move them right along here and create that leading edge again. I grab those and move them around this way. I'll need to make one more cut right about there to create that trailing edge to get this leading edge nice and smooth and there is the top half of the shark tail.

The bottom half of the shark tail is done in exactly the same way, which will take a little bit less time, because it doesn't have that little notch in it. So, if I go to Polygon mode, switch to the Live Selection tool, grab these two polygons right there, do another Extrude Inner, and then do an extrusion. D on the keyboard and extrude downward. Then use the Scale tool to scale the polygons together and scale them flat.

Dragging to the left to do that and then scale them together some more. Now, I can go to the side view and move these polygons in the position. Then switch to Point mode and grab my Rectangular Selection tool and move them into position, make two cuts with the Knife tool, one, two. Grab the points and move them into position, and my shark tail is done.

So, the most important thing to remember about this process is that you want to do everything in a particular order. We waited until the last minute to remove the Symmetry object from the scene, because it made it easy for us to create the symmetrical fins down the length of our shark. As soon we didn't need it, when we needed to create single elements down the center of line of the shark, we got rid of that Symmetry object and that made the modeling process a lot more straightforward, a lot more easy to manage.

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#### This video is part of

CINEMA 4D: Designing a Promo

70 video lessons · 13457 viewers

Author

Expand all | Collapse all
1. ### Introduction

5m 8s
1. Welcome
1m 7s
2. Using the exercise files
1m 24s
3. Overview of the project template
2m 37s
2. ### 1. Planning a Project

11m 12s
1. Creative brief
1m 57s
2. Sketches and script
3m 8s
3. Understanding the graphic animation process
6m 7s
3. ### 2. Animatics: Timing Out an Animation

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. ### 3. Creating Cameramatic Elements for Rough Placement

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. ### 4. Cameramatics: Blocking in Rough Animation

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. ### 5. Modeling a Shark

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. ### 6. Rigging the Model for Animation

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. ### 7. Texturing the Model

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. ### 8. Creating the Final Animation

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. ### 9. Lighting and Shading

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. ### 10. Rendering for After Effects

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. ### 11. Compositing in After Effects

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

21s
1. Goodbye
21s

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