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CINEMA 4D Essentials with Rob Garrott is a graduated introduction to this complex 3D modeling, rendering, and animation program, which breaks down into installments that can be completed within 2 hours. This edition introduces two modeling techniques: HyperNURBS, or subdivision modeling, for creating smooth rounded objects, and sculpting. Rob explains how to set up for each workflow, and how to create basic shapes and then refine them with more detailed tools. The course provides a solid foundation for designers starting to shape their creations in CINEMA 4D.
Once your model is all sculpted, and you're happy with the result, the very last thing you should do is prepare the geometry for rendering. Now, if you're working in a workflow where you have to produce results that are low polygon based, or you need to have an image map as a result, then you're going to do something called baking. Now, I'm not going to cover that in this course. For my workflow, I need to have the geometry, and I want to focus on what the result of the sculpting layers is. Let's switch our Layout back to the Standard Layout. If you're already there, you can stay in that Layout.
The result of all the sculpting layers is stored in the sculpting tag. If I select that tag, and delete it, my object goes right back to where it was before the sculpting layers were even done. Let's undo that, and when I undo, it's going to take a moment to put the tag back on. There are two ways I can handle this sculpting layer. I could put the texture right on this object. For example, I could make a new material, and apply that material right to the merged object. The thing I've noticed, though, is that it takes a bit longer to render these objects when they are stored like this.
There are two things we can do. We can make the object editable by doing a Current State to Object; that will commit the layers to actual geometry. Right now, all of the actual geometry is stored inside the tag, and it has to pull the geometry out of that tag, and display it to us onscreen every time we want to do something with it. The second thing we can do is to freeze the tag. So let's take a look at both ways. If I know I'm not going to need the tag anymore, and I just want to commit the geometry, then I'm going to right-click on the geometry, and do a Current State to Object.
What that does is that commits the tag to the object. You notice that it put it under this null object. Let's hide the original. Hold down the Option or Alt key, and then click twice on the status dots here, and you can see now here's our object. And it's got a second material tag on it; let's delete that, and take a look at the geometry. If I select the object, not the null, and go to Display, and change it to Gouraud Shading (Lines), you can see it's a very dense model.
Zoom in on there. But it's all super clean geometry. It's all quadrangles. It looks really, really nice. So let's hide that result. So that's one way you can do it. Let's reveal the original object. Now, the original object has the exact same geometry, but this geometry is stored in the tag. So what we can do for this one is click on the Sculpt Tag, and there's a little button called Freeze here. What the Freeze button does is that it locks the state of the object in memory, so that it doesn't have to keep going back to the tag, and pulling it out of the tag every time you need to do something.
The nice thing about the Freeze button is it allows you to interact with the geometry. So, for example, you could put deformers on this geometry. If you don't click the Freeze button, then the geometry won't respond to deformers. So let's click that Freeze button, and you can see the sculpt tag turns gray, and now the object is ready to go. And there's also the Allow Deformations option. I want to turn that on, so that in case I want to put a bend deformer on this, I would be able to. Let's change our Display back from Gouraud Shading (Lines) back to Gouraud Shading, and that's it.
So that's the last step in the process for creating models with the sculpting engine. Hopefully this gives you a really good idea of what the power of the Sculpting tool is. Keep in mind that it's incredibly deep, and we're really just scratching the surface here.
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