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Giving the shark character by painting in the diffusion channel

From: CINEMA 4D: Designing a Promo

Video: Giving the shark character by painting in the diffusion channel

With the Color channel complete we can move onto the Diffusion channel. The Diffusion channel is often called the dirt channel in a lot of 3D circles and the reason for that is it's the place where you give your objects character and add dirt to your materials. Now for our shark, we are going to be adding things that basically just look like modeling on the surface of the shark and scratches and just general texture that sort of breaks up the flatness of the gray on the shark, so that it's not just a perfect flat color all the way around. So we are using the Diffusion channel for that.

Giving the shark character by painting in the diffusion channel

With the Color channel complete we can move onto the Diffusion channel. The Diffusion channel is often called the dirt channel in a lot of 3D circles and the reason for that is it's the place where you give your objects character and add dirt to your materials. Now for our shark, we are going to be adding things that basically just look like modeling on the surface of the shark and scratches and just general texture that sort of breaks up the flatness of the gray on the shark, so that it's not just a perfect flat color all the way around. So we are using the Diffusion channel for that.

So here in my layout, I'm going to select a brush and I am going to be working in Projection Painting just like I was before, but I want to be careful about which channel I am painting in. So let's start off by selecting the right brush. I will go to the Brush tab and scrub down. I will close up Long Weekend and scrub all the way down to the BodyPaint 3-D Artist Brushes, and these are some excellent presets that are included with CINEMA 4D. We are going to go to the Dubtastic collection. For the Diffusion channel we are going to use Dumpster 05 and the Dumpster 05 is really just a grunge pattern and that's going to be perfect for just adding a sort of mottling to the surface of our shark.

Before we switch to Projection Painting mode, we have to double check our layers and go to the Colors option, and then remember the Colors is where you determine what channel you are painting in. So I am going to turn off Color by clicking on the pencil there and then click on the Diffusion channel and make sure that its pencil is active. So now the D stands for Diffusion, so I am painting in the Diffusion channel and I am going to be painting a color. Now I can go to the Layers palette and let's add a new layer to our diffusion. So I will go to the Function menu > New Layer, and I don't need to name this layer because it's really going to be the only layer that we have in the Diffusion channel.

So now, I can go back to Colors and check what color I am painting and let's paint a fairly dark gray pattern. Now when you move your brush over the surface of your object when you're not in Projection Painting, you really get to see that breakup of the UVs and so Projection Painting fixes all that, so it's always a good idea to paint in Projection Painting. So I am going to switch to Projection Painting and now when I paint across the surface of my shark, it's going to paint a single pattern. So let's switch to a more side-on view and then just click one time with the brush, boom! Now, our shark looks like it is a crack sidewalk now, but that's okay because we are going to be cleaning up this material a little bit and really just adjusting the Opacity on everything so that it blends a little bit better with our other channels.

So let's orbit around to the other side and do the same thing. I orbit to another kind of side-on view, and then just click one time, boom! And then just check the top. You can see that there's a little bit of a seam there on the top and this time I'll need to add a new layer. So I am going to disable Projection Painting, go to my Layers palette, and then let's add a new layer. This one we are going to call Top. Then we'll switchback to Projection Painting mode and we are going to just click one time.

I don't want to paint in here on the tail. I am just going to click right in this area, so you can see my brush is not overlapping the tail area at all. So I will click one time right on that, and then we can do the same thing for the underside. So let's disable Projection Painting and then go to the Layers and let's go Function > New Layer and let's call this one Bottom. Then go back to Projection Painting. We will orbit around all the way to the underside of our shark and then with Projection Painting active, I am going to click one time, bam! Now I have got this sort of mottled pattern all over the surface of my shark, but it's overwhelming everything.

So I just need to adjust the opacities of these layers now. So let's get out of Projection Painting mode so that we can see our layers. Now we can adjust the opacities on them. So on the bottom layer, by moving the slider to the left, I can adjust that. So let's switch around in orbit, so we can see the underside of our shark. And I'll just drag that down to about I don't know. Let's call it to about 17% or so. Let's do that for the top and the sides as well. So I will click on the top, let's orbit around so we can see the top, and bring that down a little bit as well. There we go.

It's always a good idea-- You should never really trust what's happening-in in the Editor view. I always like to do a Command+ R, so I can see my material. Now, we still haven't done the sides yet, so let's go to the sides which are in this layer here, and let's rename this layer so we know what we are looking at, and then call this Sides. In the Sides layer, let's drag this down to about 17% or so. There we go, and actually a little bit less. That's quite a bit of mottling on our shark. So now when we orbit around, we can see that these layers blend together quite a bit better.

Now, you know 17% when I render is still a little bit heavy I think, but it's not too bad. I am just going to dial them down just a little bit more. I am going to take them all to 10%. So the Sides is already at 10, and let's bring this down to 10, and this one down to 10 as well. Then just do another render in Command+ R. You can see that just smooth things out a little bit better. So the great thing about working in the Diffusion channel is that it allows you to keep these scratch marks and dirty sort of modeling on the surface of your shark separate from the Color channel, and it really allows you to subdivide the texturing process in some manageable chunks.

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This video is part of

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

70 video lessons · 13715 viewers

Rob Garrott
Author

 
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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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