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Texturing the teeth and gums

From: CINEMA 4D: Designing a Promo

Video: Texturing the teeth and gums

Our shark skin is great. Now we can add some more touches like the teeth and gums. These are much more simple than the body, so we can just use the default texturing tools in C4D to get this done, just like we did for the eyes. So, let's in the Material Manager go to the File menu and do a New Material. Double-click on the word Mat and let's call this one gums. The gums are going to be kind of a dark red material, and let's go to the Color channel and click on the color swatch and in the color picker we're going to scroll over to a nice, dark sort of red material, right about like that, and hit OK.

Texturing the teeth and gums

Our shark skin is great. Now we can add some more touches like the teeth and gums. These are much more simple than the body, so we can just use the default texturing tools in C4D to get this done, just like we did for the eyes. So, let's in the Material Manager go to the File menu and do a New Material. Double-click on the word Mat and let's call this one gums. The gums are going to be kind of a dark red material, and let's go to the Color channel and click on the color swatch and in the color picker we're going to scroll over to a nice, dark sort of red material, right about like that, and hit OK.

That's pretty much all we need to do to them. Now we want to apply this to the gums geometry. So, you notice in our shark hierarchy here we have the gums symmetry object, and then we have the gum geometry right below it. When I apply this to the Gums Lower, let's zoom in on this area so we can see what happens. Right now, our teeth are all default gray and so are our gums. So, if I select this gum material and drag it right onto the gums symmetry, everything below it turns red. That's okay for now, because we're going to add a new material for the teeth.

I don't really want this to sit on the symmetry object though. I'd really rather have it sit on the actual gums object. So, I'll move this tag down one level. Then I can use the same technique to apply it to the Gums Upper. So, I'll hold down the Ctrl key. There are two ways to do this. I could take this gums material and drag it from the Material Manager all the way across to Gums Upper, or I could just hold down the Ctrl key and drag a copy of this material up onto the Gums Upper object. You see that all the upper teeth turn red too, actually kind o -- ugh! Gets kind of gross looking! So, let's make these teeth look white now.

So, let's make a new material in the Material Manager. I did that by double-clicking, by the way. I could also go to the File menu and choose New Material. Now let's double-click on the word Mat and call this TEETH. Now with the TEETH material active, let's go to the Color channel and it's going to be a basic white, but let's add a little bit of modeling in that Color channel. I'm going to go to the Texture and do a noise pattern. You can see the noise pattern, by default, kind of makes it almost look like a speckled egg, and that's way too intense in noise pattern. So let's pick something different.

I'm going to click on the swatch down here for the Noise and that takes me into the Noise options. Now, there is a really cool button. I want to enlarge my layout here a little bit. The Noise names don't necessarily make sense. They are named after a couple of things, in some cases the person that invented the noise pattern or something that the noise pattern reminded the programmer of. So, rather than do that, there is a really great icon here. If I click on this little triangle, that shows me a picture of all the noise patterns. So, if I click on-- let's use I think VL Noise, and we click on that.

This pattern is still too dense. So I want to make it really large and call it, let's make it 500% for now. That just enlarges our noise pattern. It's almost like zooming in on it. I'm going to click on the up level arrow and that's going to take me up one level to the Basic properties for the Color channel. Now, in the Color channel, I'm going to just dial down the noise pattern. Let's raise this up a bit, so we can see it better. By dialing down the Noise Mix Strength, I can limit how intense that noise pattern is.

Now I can take this TEETH material and apply it to the teeth. So, here in the Object Manager, I'm going to drag my TEETH material and I'm going to put it right on to the Null object that contains all my teeth. Then I'll twirl-open the Gums Upper, and then twirl-close that upper teeth and hold down the Ctrl key and drag a copy of that TEETH material up. You can see now my teeth turned back to more of a white gray. You can see now when we render our shark, we have red gums which blend nicely into the jawline and then white teeth, which stand out great.

One more tweak I'm going to make and while we're here in the shark, when I render this, I think my Bump pattern is a little bit too strong. So I'm going to go into the shark skin and in the shark skin I'm going to change the intensity of the Bump from 20% down to about 10%. Now, when I render, Command+R, you can see the bump pattern is still there, but it's just not quite as intense as it was before. Our shark has really come together and the skin is looking fantastic. We've got texture for the eyes, teeth, and gums now, and our shark is ready to animate.

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This video is part of

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

70 video lessons · 13810 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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