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Creating teeth and finalizing the model

From: CINEMA 4D: Designing a Promo

Video: Creating teeth and finalizing the model

With our shark gums built, we can now focus on the teeth. We're going to create a master tooth that we can then copy in a position all along the gums. When I'm working on a complex model like this and I'm going to create a small element for it, I usually like to do that in an empty document. That makes it lot easier to focus on just that one small element. So I'm going to make a new document, Command or Ctrl+N, and the tooth is a really simple object. Its going to be made from the cube, just like all the other parts. So I will add a cube to this scene. Now this cube needs to be kind of small and thin and we're going to make a few cuts on it, because we want to make it kind of shark tooth shaped and I think that's a good starting point.

Creating teeth and finalizing the model

With our shark gums built, we can now focus on the teeth. We're going to create a master tooth that we can then copy in a position all along the gums. When I'm working on a complex model like this and I'm going to create a small element for it, I usually like to do that in an empty document. That makes it lot easier to focus on just that one small element. So I'm going to make a new document, Command or Ctrl+N, and the tooth is a really simple object. Its going to be made from the cube, just like all the other parts. So I will add a cube to this scene. Now this cube needs to be kind of small and thin and we're going to make a few cuts on it, because we want to make it kind of shark tooth shaped and I think that's a good starting point.

So I'll make this cube editable. Then using my Knife tool in Point mode, I'll right-click in the interface and go to Knife. Now because I'm in a new document, my Knife tool reverts back to the defaults. So I'll switch this to Loop mode and then uncheck all of the elements just like I did before and make a couple of cuts. Make a cut down the center, make a cut here near the bottom, and make in a third cut right there. That's pretty much all I need to do. Let's switch to the Rectangular Selection tool and uncheck Only Select Visible Elements.

In the Front view, we're going to shape this into something that's kind of shaped like a shark tooth, kind of a diamond with a fat bottom on it, and we don't have to be really precise about it because it doesn't need to be completely symmetrical. It just needs to have kind of a shark toothy shape. Do it, so I can quickly move these under position here. And there we go and it doesn't even have to be straight.

Great! Now I'll select all of these points and I want to get them flush with the ground plane so that my axis for the tooth is right at the base. That's going to make it really easy to rotate the tooth. Now let's make them really thin by using the Scale tool on the z-axis. That's going to thin my tooth out. Now I can grab just the points that are in the center of the tooth and drag them out just a bit. That's going to give my tooth a little bit of indentation, some curvature. See that when I do that, that makes the tooth curved on one side.

So this will be the back side of the tooth here. This will be the front side of the tooth here that you see out of the shark's mouth. Let's make it just a little more pointy at the top and I think we'll be in a good shape. I will just use the Scale tool there, and just bring those guys in. I think that's a great place to stop with the tooth. So let's rename this and call it Tooth, and copy it and move back to our shark file and paste it down, Command+V. Now that tooth is really big. Oviously it's too big.

So I'm going to switch to Model mode and use the Scale tool to scale it down. Scale that tooth way down and let's move it in position, here inside the shark mouth. So I'll get it to about in position here in the center of the shark mouth. We're going to be using the symmetry that we have built with the gums to only have to build one-half of the shark mouth. So let's rotate that into position here and move it over just a bit.

Then scale it down. We're going to start with the bottom row of teeth and then move it into position. Now I'm not going to worry about whether or not the tooth overlaps. I'm just going to move it up and kind of embed it in the gum and just rotate it just a bit. It's okay if it sticks out. One of the cool things about a shark mouth is the teeth are just everywhere and that's what makes it so scary, is there is so many teeth and they're pointing in all directions, but generally kind of arranged so that they can pull their prey inward towards the back of the throat and that's what makes it so scary.

So we can do our teeth in kind of the same fashion. So now I'll take this tooth and move it into the lower gums hierarchy and make it child of the Cube. And because I put it in there, you see that it becomes affected by the HyperNURBS now and gets smooth and it looks a lot more like a shark tooth than it did before. So I can take this and move it up. Now, I can start making copies of this. I'm going to Control+Drag a copy of this tooth and move it over here and then move it down this way in and then just rotate it just a bit. Now I can repeat that process over and over again and I'm going to be filling up his mouth with teeth.

I'm just going to do that a few times here and kind of work my way around. You can see that great thing about having that symmetry object in position is each time I do this I want to rotate these guys so they are not all exactly lined up. They're kind of generally lined up, but they don't all have to match exactly. Each time I Control+drag, I want to move that tooth a little bit farther around the gum.

We'll come back and we can add an extra tooth in there. The letter S on the keyboard allows me to focus on a single object or single selected element, in this case just the tooth. I can move that in position, rotate, and let's do one more tooth here, there we go, great. So the process of creating the teeth is really time consuming and I think you get the gist of it. Well it's basically repeating the same procedure over and over again.

You copy the tooth, move it into position, copy the tooth, move it into position. So in order to speed things up here, I've created a final_shark model that has all the teeth and gums placed in position. And along with some extra touches. Let me go ahead and open that file up so you can see what it looks like. I'm going to go open up the file and go to the final_shark model. Now here in the final_shark it's got those extra touches I mentioned and you could see I created gills among other things and just kind off tweaked the shape of the geometry a little bit, just to smooth things out from our earlier modeling.

The way I created the gills was to make a series of slices right here on the neck just behind the head. I made six slices in the geometry using the Knife tool. Then use that same extrude inner technique that I used to create the eyes and just about everything else on the model. Instead of extruding outward, I extruded inward and then scale the polygons in, to create the gill shapes. So the six cuts gave me five gills by extruding their polygons that were in between the cuts. If you look around the other side, you can see that the gills are looking pretty good.

I've zoomed in on the teeth area and you can see that the teeth are in position with the gums and if I twirl open the hierarchy, you can see I've got a Lower Teeth and I've parented those lower teeth to a Null object. And there underneath the symmetry object you can see that the Symmetry object is only creating one half the teeth. You can see I turned off the symmetry and now half of the gums are gone and half of the teeth are gone. I can turn that back on in anytime. So that gives me a great-looking set of teeth inside of a great-looking shark. So this shark modeling process is a really complex one.

But by breaking it down into manageable chunks, we really were able to create a great looking shark in a relatively short amount of time. Just remember one simple rule. If it's going to take you more than a certain amount of time to do it and you have the budget to buy a model, sometimes its okay to do that. There's nothing wrong with that. There's some great-looking shark models online and you don't have to go through all of hassle of building one from scratch. But if you do, just make sure to follow these simple steps and you'll be in great shape.

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This video is part of

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

70 video lessons · 13453 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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