New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Roughing the surface using the bump channel

From: CINEMA 4D: Designing a Promo

Video: Roughing the surface using the bump channel

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.

Roughing the surface using the bump channel

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.

Show transcript

This video is part of

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

70 video lessons · 13368 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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold

Are you sure you want to delete this note?

No

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.