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This course introduces the many advanced features of the CINEMA 4D rendering and lighting toolsets. Discover how to better simulate real-world surfaces, photography, and lighting scenarios. Author Donovan Keith shows how to add realistic shallow depth-of-field effects with the physical renderer, use blurry reflections to create a type treatment, and light scenes with HDRI photographs and global illumination. Plus, learn tricks for achieving similar effects under tight deadlines.
Thank you so much for joining me for Production Rendering Techniques in CINEMA 4D. I really enjoyed making this course, and I hope it's going to help you out as you start making more images in CINEMA 4D. If you're looking for things to do after finishing this course, might I recommend Design in Motion by Rob Garrott. It's a really fantastic introduction to the world of motion graphics, and each and every week he talks about a different part of motion graphics, and many times he's using CINEMA 4D. What I love about this course is that he's often talking about concepts instead of just the technical aspects.
Most advanced 3D programs these days have fairly similar feature sets. Features might have different names, but they have similar functionalities. So you might, for example, take a course in Photorealistic Lighting with Maya, or if you're feeling comfortable enough to change 3D programs, you're probably feeling good enough to even leave your computer, and for that I recommend a course on photography. Ben Long's Foundations of Photography Exposure is a wonderful introduction to the technical aspects of using a camera. And many of the settings that you've seen in CINEMA 4D's physical camera will be mirrored in his course and might perhaps make better sense after you watch it.
But really, the most important part of working in 3D is not the technical, it's about the end result. Can you make an image that looks good? And for that I recommend just a plain photography course. Douglas Kirkland's on Photography: Studio Portraiture is a really wonderful introduction to a couple methodologies for how to light a portrait. Or you might even go and take a look at Shooting with Wireless Flash by Jim Sugar. This course and courses like this will help you to figure out where to place your lights in scenes, and when you see how a person lights a product in the real world, you'll be better able to get photorealistic results in your 3D package.
Thank you so much for taking the time to follow this course, and best of luck with your future projects.
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