A Tutorial Of Night Illuminator Scene Production By Octane For C4D

A Tutorial Of Night Illuminator Scene Production By Octane For C4D

Octane for C4D is really powerful, especially in addition to the easy-to-use and high-quality rendering of the Octane renderer. Another important reason is speed. Today we use an existing C4D model file to share how to use Octane to make these beautiful night illuminator scene.

Preliminary idea

The first thing to do is to figure out the approximate effect to be presented and the position of the light source. I want to do something that glows on the stone in the night, and the objects are as transparent as glass. So there will be some illuminants and some auxiliary light sources. With these ideas, you can light it up.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 12

Lighting adjustment

What I want is the effect of the night, so first open the sky color and adjust it to black. The black sky will make us see more clearly. Then add a light, and in the rendered window we can see the effect of the real-time lighting.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 13

Rotate to adjust the light to achieve a desired effect. Then change the light to an effect that is not visible when rendering. Check camera visility in the Visbility of the light. Reduce Power to 5 and change the color to blue.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 1

Now that the main light source is available, start adjusting the auxiliary light source. The auxiliary light source does not need to be too strong, reducing its Power to 5 and changing the color to bluish. Two lights will give the scene model a corresponding feel. When adjusting, remember that the highlights of the objects on the stone should also be noticed. Throughout the process we have to constantly adjust the light to find the best results.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 2

After the rendering test, the highlights are still a bit bright, then we need to adjust the power of the lights again. After the test, the main light was not bright enough, and it lacked some contrast with the auxiliary light. I raised the main light source again. It now looks like contrast.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 3

Now I find that the lower right corner is darker, so I need to add another light to it. Lower Power to 5, change the color to bluish, render, and continue to adjust the light level.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 4

Material

First of all, the main body of this model is stone, and then there is some bright light on the stone. So first give the stone a black material, but don't be too dark. Don't make the reflection of the stone too strong, raise a little Float, and add a displacement map to the stone to make the bump. This effect can also be achieved by adding noise. Noise can look for a stone-like one, then change Amout to 3. For better results, you can also add noise Into Diffuse. Now we can see that the stones are already bumpy. In the process, we can adjust other values to make the noise produce some different changes.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 5

You can break the link to the texture before proceeding to the next step. Re-create a new diffuse material to make the light, remember to remove the DIFFUSE of the shader, just keep the light. Next, add an RPG to the shader. I hope the stone will emit a yellow spot, so change the shader to yellow. Now we can mix the two shaders. So create a shader and blend the noise with the two shaders. Adjust the size of the noise to control the yellow display to see the effect of the integrated rendering.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 6

Now that the stone's departmental effect is ready, we can hide it to adjust the part above the stone. Create a new glass ball, then give it blue and adjust the 3S to the shader. The part of the value needs to be fine-tuned. Modify the display of the Density control color and increase the specular depth of the glass to reduce the black portion. But the color is not enough, you need to add another color and change the Density to 100. But I need the position of the stone below the model to be more like glass, so I have to rebuild a glass material and blend it with the previous material and add a gradient. Look, the effect is now closer to my expectations.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 7

All models use clones, so we only need to modify the UV of a model. We need the model above is 3S below the glass, so we need to give the UV a gradient, adjust the gradient to achieve the effect we need.

A Tutorial Of Night Illuminator Scene Production By Octane For C4D 8

Finally adjustment

Adjust the final effect in the Octane Settings. Bloom power and Glare power directly affect the final result. But I found that the yellow part of the stone was a little less, so I changed its Power to 500. Well, it is now closer to the ideal state.

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To achieve the desired result is not a quick process and needs to be adjusted step by step. Keep trying other methods, maybe there will be good results. And, what matters is not the result, it is the process of learning.

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Octane for Cinema 4D Tutorials: Making Cups and Grapes (2)
Octane for Cinema 4D Tutorials: Making Cups and Grapes (2)
Fox Renderfarm, a powerful but affordable cloud render farm, shared this article from 3D artist Qixi is a cup and grape made by Octane for Cinema 4D. We have already talked about the glass making process in the previous article, and the next is grapes production and rendering analysis. The grape model is very simple, you can make one first, then put it in Unfold3D to place the UV, and then copy and place it. The texture of the grape is made in Substance Painter. It should be noted that the surface of the grape will have a layer of dust-like texture. After testing some materials, 5 textures are output to simulate the effect of that layer. Since the grape is a translucent object, it can be adjusted based on the 3S material. And increase the diffusion and roughness, after adjusting the effect is as follows, Once the texture of the grape is satisfactory, you can then copy it and place it on the plate. To save time, you can create a cylinder as the emission range of the particles and a circular patch as the base. After adding random size changes to the grapes, use dynamic simulation to place the grapes on the plate. In order to make the effect look more natural, I copied some grapes and placed them on the table next to the cup. Now I can test the rendering. After the test, I feel that the glass is a bit too smooth, and a little roughness needs to be added. Then added a roughness texture to the glass. After testing the rendering again, I feel that the picture is bright, which may be due to HDR problems. Finally, replace an indoor HDR texture and turn the power down. The current display looks better, but the background part is still a bit far away. Now add a wall to the back of the glass. Does the effect of the glass material look better? The overall picture still lacks some details, you can add an older texture to the wall, and test the rendering again (note that the texture is proportional to the size). In order to enrich the lighting details, a flat can be added to the top of the cup to make the roof. Change the focal length so that the focus is on the cup and increase the environmental fog. The color of the fog changes to yellow.
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2020-04-28
Octane for Cinema 4D Tutorials: Making Cups and Grapes (1)
Octane for Cinema 4D Tutorials: Making Cups and Grapes (1)
Fox Renderfarm, a powerful but affordable cloud render farm, shared this article from 3D artist Qixi is a cup and grape made by Octane for Cinema 4D. This article analyzes the scene's modeling and rendering. First of all, this is not an original project. The 3D artist refers to the conceptual diagram above, and he wants to restore the glass in the picture. Then we shared how to make them work with Cinema 4D and Octane renderer, and shared the production process of the glass filled with grapes in the concept map. Reference The difficulty of the glass in the concept map is divided into three points: 1. Round glass notch 2. The middle of the cup handle is a six-diamond structure 3. Rendering of the diamond-shaped bump material of the cup body Modeling First, put the concept map into Cinema 4D as a reference. Use the cylinder to create the part of the glass cup handle. You can adjust the overall shape first and then add the subdivision adjustment. To adjust the details of the bottom of the cup, you need to first seal the bottom of the cup to make a slightly convex shape. The glass is transparent, but its structure is very complicated. In particular, there will be some subtle changes in the shape of the interface, and it is necessary to constantly subdivide and observe the structural changes and continuous modifications. The structure of the model itself must be achieved, and the final effect will be more realistic. Next, the part of the cup body is made in the same way as above. Special attention should be paid to the position where the cup mouth is recessed. If you want a sharper edge, you need to add a line to the edge to ensure that the shape is maintained after subdivision. In order to make the structure of the six diamonds more obvious, the position of the handle is increased by adding lines on both sides of the rhomboid to maintain the shape. The other lines need to be treated with this additional line. The diamond-shaped convex surface of the cup body is not well controlled if the model is made directly. So prepare to use the texture to make the diamond convex surface, you need to do UV before texture. UV uses another production called Unfold3D, which is very fast and convenient and can improve work efficiency. However, if the diamond-shaped convex surface is simply drawn using Photoshop, the effect will not be too good. So I decided to make a model of the diamond-shaped convex surface and then baked the bump texture to use in the diamond-shaped texture part. The rhombus gives a white material and adjusts the effect after adding lights. The white areas are convex and the black areas are concave. Export this texture to Photoshop. The next step is to use the glass texture of the Octane renderer to link the previous map to the Displacement Maps and put it on the cup for testing. The effect is closer to the concept map. Create a flat surface to place the cup on, and use the basic texture of the Octane renderer to add wood grain material. But now the background light is excessive, but the reflection of the cup body is not strong enough. Add an area light to make the reflection brighter, and change a slightly darker HDIR to highlight the main body of the cup. After adjustment, it is already closer to the concept map.
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2020-04-20
Octane for Cinema 4D: To Make A Fantasy Forest Scene
Octane for Cinema 4D: To Make A Fantasy Forest Scene
Fox Renderfarm, your TPN-accredited cloud render farm, organizes this sharing experience comes from the 3D artist Luren4796 for you. The main software used is Octane and Cinema 4d. Luren4796 share us the entire production process about this fantasy forest scene. I hope you can learn something. This fantasy forest scene was inspired by the artwork of other artists. Luren4796 took inspiration from it and wanted to make a fantasy forest with a metal altar in the middle of the forest. So he combined the two works of art to conceive a unique artwork. The reference artworks Modeling The modeling of the main body ball is very simple. It mainly uses a plug-in called Trypogen. This plug-in is very good. It can easily change the basic sphere of Cinema 4D into other arbitrary shapes. I suggest you try it. The ring around the sphere is also very simple. It is also modified using the circle that comes with Cinema 4D. The more convenient point is that the UV of the built-in model is already split, and you can use it with a slight modification. UV uses a software called RizomUV, which can quickly place the UV in the way you want. If the model of the altar is split, it is also quite simple. The only trouble is the edge wear on the base. This is a deliberate use of a broken plug-in, which can quickly create broken edges on the cylinder. Scene making First, a displacement map was used on the ground, and then, the AO discover, replace, bump and specular map was used. Then add an HDIR to the scene, and a blue fill light on the right, and an increase on the left. An orange fill light. An orange light was added directly in front of it to add color to the subject. Textures for ground use Light source position The tree in the scene is made of Forester Tree Library. In order to have a better final effect, you can place the camera first, and make some optimizations and adjustments according to the foreground in the lens. The foreground looks relatively empty. After consideration, some stones and stumps made in the previous project were added as decoration. Add some decorative flowers and trees according to the lens again, still made with Forester Tree Library. Now you can see that the background and the sphere and some models of the altar are all made. The texture of the ground looks good. In order to better integrate the ground and the altar, you can try adding texture to the altar to test the effect. But the foreground still looked a bit monotonous, so some water elements were added to the grass, and the prominent part of the altar was modified into a gem. And add water and gem materials to self-illumination to make the dream effect look more prominent. Particles and fog The particles use the default particles, which increases the number and reduces the speed, and adds a dry wave to increase the randomness of the particles. Change the shape to a sphere and add a glowing material. Create a random color node connected to the gradient (color setting: same as the scene orange and blue) to make the rendering look more natural. Added a layer of fog behind the bushes to make the scene feel more volume. Texturing The texture in the middle of the sphere uses a sub-surface scattering associated with the metal layer. The color of the Transmission is adjusted to blue, which increases self-illumination and adds a layer of scratches on the bumps. The outer ring part is painted by hand. Increasing roughness increases bumps and specular reflection. The general effect is as follows: After testing the rendering, I felt that the picture was not rich enough, so I added 2 butterflies below the ring. Adjusted reflection, refraction, and saturation and color temperature in PS after layered output. And here is the final rendering,
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2020-03-23
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