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Join Rob Garrott in CINEMA 4D: Designing a Promo as he demonstrates how to create a 15-second promotional video that looks and feels like a professional advertisement. Learn how to use a combination of CINEMA 4D, After Effects, Photoshop and Illustrator to go from concept to script to screen, creating sketches, adding animation, and rendering the final promo. This course focuses on real-world techniques, culminating in a finished, usable product. Exercise files accompany the course.
Our Diffusion channel added a lot of character to the surface of our shark, but the skin still feels really smooth. Now, shark skin from a distance doesn't really have a bump or roughness to it, but when you are up close you can really see the rough pattern in the shark's skin. It's made up of little tiny teeth. Almost like a little serrated edge that runs all along the length of the shark. So we want to make sure that our shark kind of catches light the same way that a real shark skin would. So we are going to add bump to the material and that bump is going to break up the light as it falls across the surface of our shark.
I'm still in the BodyPaint 3-D Paint layout. Let's select the Brush. This time for the brushes, we are going to go to the Brush, and we're still going to use one of the Dubtastic brushes, but we are going to use Dumpster 2 this time. Let's click on Dumpster 2. Dumpster 2 you can see has a finer pattern to it and it's still going to give us I think a really nice look for our object. You can see as we move over, we are not in Projection mode, but it has a very fine pattern to it that is fairly random. Before we switch to Projection Painting, always double check your layers. Let's switch to the Layers palette and right now I am looking at the Diffusion.
So let's go to Colors, and make the Diffusion layer inactive, and enable the Bump channel by clicking on the pencil. So now that we have got the Bump channel active, we can go back to the Layers option and in the Bump material, we are going to add a new layer. So we go to Function > New Layer, and the same way that we did in the Diffusion channel we will call one of the layer Sides and we will make a Top and a Bottom layer as well as we go along. So now in the sides, let's orbit around to a nice side view of the shark and then enable Projection Painting.
Then in the Projection Painting mode, I am just going to click one time, boom! You can see that it added a very rough surface and never believe what you see in the Editor view. Let's always do a render. You can see the surface of the shark it's now got a very tiny bump roughness to it. It's not a super fine pattern. It's just enough to give the shark some character and some personality. So it looks like the skin has been aged and weathered over the years. So let's switch now to the other side. I will hit A on the keyboard to redraw the screen and orbit around to the other side of the shark.
Just get the side like that and then click one time with the brush again and now we can add our Top and Bottom layers. So let's disable Projection Painting and then in the Layers palette, let's go to Function > New Layer. Let's do a Top layer first, Top. And then enable Projection Painting and orbit around. Just like we did for the Diffusion, I am going to skip the tail and just get the top of the shark. Pow.
Now, we can disable Projection Painting. Let's add a new layer. Function > New Layer and call this one Bottom, and orbit around to the underside of the shark and then enable Projection Painting and then click one time to skip the tail again, boom! Now, let's just take a quick tour around our shark. We will disable Projection Painting and let's switch to the Selection tool, so that we don't get this crazy brush overlay every time we orbit around our object.
So I am going to orbit around here and let's just do a rendering from each of the side to check our texture and that looks very, very realistic. You can see that the Bump pattern really breaks up the surface of our shark and just gives it a much more realistic look. Now, there is some smearing like right on the fin there. But I am not going to be too concerned about that because our shark isn't going to be getting too close to the camera with relation to its fin. So I am not going to obsess over subtle details like that. A lot of times the goal in motion graphics is to get the shark to look basically just cool enough from one angle, so that it can pass.
If this were a hero shark, if I were doing a very budget-oriented special effects movie, I would do a much more accurate UV unwrap of the shark and be much more particular about how I painted the different channels. Check the underside. I think it looks pretty good. So the texturing process for the shark's skin is complete. We still need to add a texture for the eyes, teeth, and gums.
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