The C4D R21 Version Was Officially Released On September 3

The C4D R21 Version Was Officially Released On September 3



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As early as SIGGRAPH 2019, Maxon announced that it will launch a new generation of 3D animation software— Cinema 4D R21. On September 3, 2019, the C4D R21 version was officially released.

According to Maxon's demonstration on Siggraph 2019, the new C4D R21 adds new Caps and Bevels systems, a Field Forces object for motion graphics, and better support for Mixamo animations. It also announced the abandonment of the previous four low-end editions, unified product pricing, and a new subscription plan.

Modelling: New Caps and Bevels systems for modeling, more updates to core architecture and volume tools

New modeling features in Cinema 4D R21 include Caps and Bevels, a self-descriptive new system for adding user-customisable caps and bevels to spline objects.

The form of the Bevel can be selected from presets, controlled parametrically, or by editing a profile graph.

Caps and Bevels are created as a single object, with additional selections sets for the shells and edges; and there is the option to link the start and end Caps on the spline.

Maxon’s marketing material pitches it primarily as a toolset for 3D typography, but it can be used with a wide range of other models, as the video above demonstrates.

The ongoing work updating Cinema 4D’s core architecture continues, with a “dramatic” – if unquantified – speed boost for the latest commands to be ported to the new modelling core, including Extrude and Split.

There are also some nice small workflow improvements, such as the option to copy and paste components, including both points and polygons.

The volume modelling system introduced in Cinema 4D R20 also gets an update, including a new curve-based UI to define the thickness of a spline-based volume at every point along that spline.

When meshing a volume, it is also now possible to generate a curvature map from the resulting surface, which can be used to drive effects created with Cinema 4D’s MoGraph and Fields toolsets.

UVs: a new UV Transform tool and UV snapping, but no major changes

The update doesn’t bring major changes to Cinema 4D’s UV toolset – a cause of complaint in the previous release – although version 21 is described as “laying the groundwork for future UV enhancements”.

The texture view has been migrated to OpenGL, which should improve interactivity and anti-aliasing of UV lines; and snapping has been introduced for UV points and edges.

There is also a new UV Transform tool, for moving, rotating, scaling or distorting UV islands, shown in the video above; and a new UV ruler display.

Materials and Rendering: Updates to node material and ProRender, support for Open Image Denoise

The node-based material system introduced in Cinema 4D R20 gets a new drag-and-drop workflow for duplicating nodes, or rearranging the input and output ports within a node.

There are also a number of new node types.

Radeon ProRender, AMD's hardware-independent GPU rendering engine, added in Cinema 4D R19, has been further integrated to render node-based materials and volumes.

ProRender now supports interactive tone mapping and external HDRI sky, and it is possible to render with HDR images larger than the available GPU memory. The renderer can also generate a series of new multipliers, including AO, albedo, refraction and volume, as well as direct and indirect illumination and reflection.

In addition, Cinema 4D now integrates Open Image Denoise, Intel's open source CPU rendering noise reducer. It is currently only available for albedo delivery, but it can be used with native Physical Render and ProRender engines, or with third-party rendering, including Redshift, which Maxon acquired this year.

Animation: new Field Force object, udpates for auto-weighting, and support for Mixamo console rig.

Animators and animators have acquired a new Field Force object that can be used to control the forces in the scene using the Fields system added in the R20.

These can then be used to drive the motion of a particle or rigid body dynamics object.

The field itself gets some updates, including the option to use one field to mask another field; the data is converted between values, colors, and directions so that the effect can be modulated by color or direction.

Fields can now also be used to modify normal labels; or as normal labels for fields.

For role binding, the automatic skin weighting algorithm used by the software has been improved to support Bone Glow; and there are new volume and heat map modes.

Cinema 4D now also integrates the Mixamo control to edit ready-to-play character animations generated using Adobe's Mixamo platform directly in the software.

Other changes: the new Asset Inspector, and a series of UI and UX updates

Other changes include support for HiDPI display, as well as some UI changes, especially on macOS and improved interface performance, especially when using the timeline.

There is also a new asset inspector designed to make it easier to manage the external assets used in the Cinema 4D project, including the option to identify lost assets and automatically collect assets.

Unified version, pricing changes

In fact, the biggest difference between C4D R21 and the previous version is not a change in the function of the software itself, but a change in its pricing and licensing model.

The update canceled the previous four low-priced versions, the $995 Prime and BodyPaint 3D versions, the $1,695 broadcast version, and the $2,295 Visualize version.

The remaining version of Cinema 4D Studio's perpetual license, now referred to as "Cinema 4D", is priced at $200 and is priced at $3,495. Maxon also eliminates the often cumbersome upgrades, side-level and short-term rental options that come with each version, which is good for new subscription prices.

Subscription fees for C4D alone are $94.99 or $719.88 per year; Cinema 4D plus Redshift is $116.99 per month or $983.88 per year.

Compared to Autodesk's two software, Autodesk's new 3ds Max and Maya Indie deals are about twice as expensive as C4D. However, it is slightly higher than the maintenance subscription price of the old MSA Maxon. Obviously, there are far more than other versions.

Users with current MSA will receive a permanent license for Cinema 4D R21 upon shipment. The MSA with the low-end version gets a "permanent authorization" or can switch to the subscription before then.

With the demise of MSA, users of perpetual licenses are no longer able to automatically access Cineversity, Maxon's video training portal or upgrade. According to Maxon's FAQ: "Some future Cinema 4D upgrades may only be available to subscribers, while others may be offered to permanent license users at an upgrade price."

Differences between Cinema 4D users

Unsurprisingly, changes in licensing have led to heated debate among community forum users. The main points of disagreement are between those who oppose the subscription-only license. And those who see new subscriptions as an affordable way to access people who previously used only the old Cinema 4D Studio users.

C4D Tutorial: To Create A Fat Rat Hero

C4D Tutorial: To Create A Fat Rat Hero



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This work is a tribute to Stan Lee and Overwatch, especially for Stan Lee. I had this idea after watching Avengers: Endgame. I wanted to make a hero about mice, a fat rat hero. The human being constantly expanding the city, making it harder and harder for animals to get food, this superhero might can not fight against the Thanos, but in the eyes of all the animals who are wandering in the streets and sewers, the fat rat who sent food to them every day is the greatest hero.

This work is using Cinema 4D R20, rendering in its built-in ProRender renderer, synthesize in Photoshop (barrel distortion, color correction, halo and flare). I hope everyone likes this C4D tutorial.

The following is the entire breakdown of the production process. I hope it can help everyone's creation. 1. Reference materials: Before I made it, I looked for references in Google Picture. I used the mouse Jerry and The Flash as a reference.

  1. Character production

I first built up the general feeling with geometry, and adjusted the composition to determine the ratio between the character and the scene. At this time I have already met my final picture.

I connected the characters of the cube and the ball into a whole, and then converted them into geometry. But I think there is still something missing, this role is not enough cute. So, I used my waist and stomach as reference to adjust the model.

In order to see the structure of the character and the refined model, I first removed the VDB Mesher, and used the color blocks to distinguish the approximate color blocks directly on the model, and then carved the details on this basis. Especially the part of the expression, the depiction here is very important.

The next step is to deal with the chaotic VDB model in order to make other parts such as clothing accessories. Here I am not in a hurry to do a fine topology. I used Instant-meshes to do the automatic topology. The result is not very good, but the production speed is very fast. It is enough to use the split model. After re-topology, return the completed model back to C4D and continue.

I split the new model out of the part of the garment and the mask. The mask is relatively simple. I re-topped it and made the thickness with the fabric generator. Now we can see the expression of the character.

The re-topology of the clothes is more troublesome. I used the same method as the eye mask to make the jumpsuit. Gloves are made in the same way as the body. The geometry is then stitched together, then the VDB is meshed and finally engraved.

3.UV and texture The model has reached this precision, and I am slightly refining the texture of the body. And after the re-topology and finishing of the UV, I added some texture to it, and also used the Body Paint to make a fine drawing.

  1. Rendering test I added a mousetrap to the background and tested the rendering. I made the background of the pure green sky, took two photos of the outdoor and the indoors, put them on the PS and stacked them to see the general feeling. But I feel that I need to add an angry chef behind the scenes.

Ok, now re-create a chef model, I only made a big model structure and expression. Output the rendering of the chef, synthesizes it.

Next is the Logo of The Flash, "M" for maxon & Mouse, the same applies to the geometry to make a VDB grid and then a simple topology, split the UV, and then import BodyPaint to make metal. But when synthesizing, I felt it was a bit empty on the chest, so I added a spatio-temporal engine like the Overwatch, add some tentacles, lightning, broken pieces, and tested the rendering again.

  1. Hair After adding hair to the character, I turned the hair into a solid model, but the exposed part was not very large. Part of the costume adds some structure and outer protective gear, and refines the space-time engine on the chest.
  1. Final rendering After rendering, perform simple toning and glow in the PS, and then increase the radial blur.

By: Ge Yan

C4D Tutorial: To Making A Cool Service Robot

C4D Tutorial: To Making A Cool Service Robot



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I suddenly had an idea to make a robot with C4D. But this is just a rough idea, I need to find some reference pictures. But in the beginning, I don't have to worry about making it first. The idea is very important. I want to do what I want first, what does the robot look like? What is its purpose?

What I want to do is a service robot, which has a very cute shape. So I plan to use rounded corners to construct the overall shape. So I am looking for a reference picture on this basis.

Initial sketch

After looking for a lot of reference pictures, I already have a rough sketch in my mind. I draw down the sketch, and this sketch is used in the process of making the model.

Probably, you can enrich the details on this basis.

C4D production

You can import the sketch into C4D in JPG format and then create a robot model based on the sketch. I first created the body of the cylinder making a robot and then added some details to the body.

The production of the lamp in the middle of the body is relatively simple. I recreated a cylinder and turned it into a subdivision, adding details to make the body's lights. Then, according to the same production method, the place where the robot shoulders move and the body link are made with a sphere.

The shoulders are also made with new spheres, then add subdivisions and details, and the arm is made in the same way. The details that need to be paid attention to are made in particular, especially the spacing of the slits that must be squeezed in.

The part of the finger is very simple. I remove the faces on both sides of the cylinder, then squeeze all the faces out of thickness and then copy an adjustment direction and node. After the three knuckles are finished, a new sphere is added to the middle part to make the joint.

Next, make a device on the arm, you can create a new cube, drag the node to modify the overall shape. The two raised parts on the device are randomly added, which can be played at will. Copy one arm after one arm is done.

Now the part that makes the robot to connect the waist is made in a very simple way. However, there is a buffer bearing in the place where the wheel is linked. This size can be grasped by itself. The wheel is made using a disc and then made according to a realistic tire model.

Making a wheel cover is very simple.

The model of the robot head is very simple, that is, the semicircular sphere plus the C4D's own sphere is used as the eye, and then the tire and the previous part are spliced.

Now that the robot is missing something, I want it to be placed on the plate with one hand and a towel. And there is one less thing in the place where the hands and arms are connected. Just add it up now.

Post-production adjustment

Be sure to adjust later in the rendering. The robot uses C4D's default renderer to make the final rendering results, and then adjusts the effects of light and shadow in a later way.

An Artwork Production Sharing By Octane For C4D

An Artwork Production Sharing By Octane For C4D



Octane Render

The software used are C4D, Megascans, Zbrush, Substance painter, Octane renderer Collecting material The early data collection is also necessary. I usually look for good ideas on Painterest and then find out what these things look like on Google. This method is not limited to this one. Making a model In the ZBrush engraving model, I am not very good at ZBrush, but fortunately my model does not require too much delicate engraving, as long as it produces a large shape. UV I import the model into Unfold3D and expand the UV. The UV parts are kept as continuous and do not overlap, but multi-stretching is good. Material and details I use Substance painter to make the material and use the material to make up for the details without engraving. (I don't have a ZBrush topology. In order to keep the model number is not too big, I also saved a lot of small details. So I used bump in the Substance painter to make small details. C4D environment construction I picked the right trees and stones and fungal models in megascans, then put them into C4D and built the environment and lighting. (At first I thought that only three lights could be used, but during the production process I added more lights to outline the gold coins. Rendering I used the octane renderer for rendering, which has accurate spectral calculations. There are many ways to achieve the desired effect in post-production, and you can choose what you are good at. The color of the original image is too saturated, I lowered the saturation and added a little dirty stain, and then adjusted to increase the blurring of the vignetting and the edge, making the lens feel stronger. This production process is shared here, and some processes may not be the best. But there are many ways to make a picture. The software is just a tool. How to use it is depending on the person who uses it. I hope everyone can like it. My other works, By: Xclucis

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

A Doraemon Modeling And Rendering Tutorial In C4D

A Doraemon Modeling And Rendering Tutorial In C4D



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This is a cartoon model of Doraemon production process, the main software used is Cinema 4D, the specific production steps are as follows,

First, head production

  1. In the front view mode, press the shift+V key to select the background and place the material "Doraemon" into the front view. Set the horizontal offset to "-10" to align it with the reference line for easy operation.

  2. Create a new "sphere", press the E key to adjust the position, press the T key to resize it to match the position of the head in the reference image, and then convert the "Sphere" into an editable object. In online mode, use the box tool to select the bottom edge and press the Delete key to delete it. Then adjust the size of the sphere so that it is the same size as the head in the reference image. Create a new "HyperNURBS" and make "Sphere" a subset of "HyperNURBS", making its edges more rounded and natural.

  1. In the front view mode, create a new "sphere". Use the same method to adjust the position of the line segment layer by layer to make it exactly coincide with the position of the face in the reference picture. Create a new "HyperNURBS" for the sphere to make its edges more rounded and natural. Rename the two "HyperNURBS" to "Face" and "Head" respectively.

  1. Create two new shaders to adjust the color to blue and white, giving the "head" and "face" respectively for easy viewing. Use "Booleans" to cut the appropriate size in the "head". Results as shown below.
  1. Add a "FFD" to the face model to adjust the position of the point.

    Second, production of body

  2. Create a new "sphere", resize it so that it matches the position of the body in the reference image, and rename the "sphere" to "body". Then use the method of making the head to create a "belly", remember to add HyperNURBS. Then adjust the size of your body and stomach.

  1. Create a new "Tube" to make the collar, resize and position and assign a red shader. Then use 2 cylinders to make your feet. Remember to change the names of all parts.

  2. Now make the bell and add HyperNURBS to it. Then resize and position.

  1. Use the sphere to make the exit pocket using Booleans to resize and position. The arms and hands are also made using a sphere.

Third, the production of eyes, mouth, noise

  1. Create a new "Disc" and adjust the position and size to match the position of the eye in the reference image. Then adjust the position of the point in point mode and pull out a little thickness, then use Close Polygon Hole. Make a copy and make your eyes. Remember to change the naming. Create a new eye shader.

  2. Use the "brush" tool to draw the mouth of Doraemon, the effect is shown below.

  1. Use the ring to create your mouth and nose. Use the sphere to create the tail, remember to modify all layer names.
  1. Adjust the position of all parts.

Fourth, rendering

  1. Blue shader

Create a new shader and set the texture to "gradient" in the color channel. Modify the color parameters to set the gradient to dark blue and light blue. In the bump channel, set the texture to "Simple Noise" to give the head and body a blue material. Copy a blue shader, set the color to white, leave the other parameters unchanged, and then give the face and body and hands. Also need to create a new gold shader, modify the color parameters, set H to "35.866%", set S to "100%", and set V to "70.196%". Add a "GGX" to the reflection channel and set the roughness to "15%". In the layer Fresnel, set Fresnel to "conductor", preset to "gold", and assign it to the bell.

Set up a simple scene, the effect after rendering is shown below.

Design by An Qi.

Advanced Material Rendering Case of C4D Rendering

Advanced Material Rendering Case of C4D Rendering



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In order to **render** the real effect, you need to understand the **render**ing principle, the principle of lighting, the physical rules, and the need to observe life. This article is to share the realistic **render**ing case of **C4D** **render**ing, and to analysis the photo-level advanced **render**ing case . 

Ok, now let's get to know the principle of "rendering". First, the rendering principle

  1. Rendering principle analysis As long as you master the physical rules, you will find that the C4D default renderer and render plugin are similar. According to the law of conservation of energy, for light, it only does three things on the surface of the object: absorption, reflection, and transmission (refraction: the phenomenon that light passes through the inside of the object). For example, the light that is not reflected is refracted into the sub-surface layer of the jade, and after entering the layers, the light is partially absorbed to obtain color and scattering, and then emitted from the exit point near the incident point in the jade. This process produces subsurface scattering effects. Microstructure refers to the surface detail of an object observed with a microscope, and all microstructures constitute the entire surface of the object. The computer does not directly compute these microstructures when rendering, but only renders the structure as a whole. Real object materials have a variety of properties, they are combined with each other, and these properties form the basis of the real world, real objects.

Diffuse is a phenomenon in which light projected on a rough surface is reflected in various directions. Simply put, photons bounce back into our eyes because our eye cones recognize light of different wavelengths. Different wavelengths represent different colors, which is equivalent to setting the diffusion on the reflective layer of C4D. Fresnel means that the intensity of the reflection changes with the angle of the line of sight. There are two types of three-dimensional (software) worlds and real world objects - conductors and insulators. Fresnel is generally pre-set, divided into conductors (conducting, such as metal) and insulators (non-conducting, such as ice). The insulator supports reflection, absorption, transmission (refraction) and the conductor only supports reflection and absorption (cancel the color layer). For example, metal, its reflection is very high, but if the metal surface is colored, such as car paint, it is an insulator, you need to add diffuse reflection (diffuse). 100% absorption in the real world does not exist (so pure black does not exist), in simple terms, the energy of reflection + absorption + refraction can not exceed 100% (so pure white does not exist), generally set black and The brightness of white is about 80%. Of course, if you are doing some product visual design, we can set pure black and pure white for visual effects. After you understand the physical rules, you can try to break it.

  1. The principle of lighting analysis In 3D software, light is emitted from the camera instead of light. Why? We know that in the real world, light is emitted by a light source. In 3D software, the camera emits photons and then searches for the light source. For a light source, there are actually very few photons coming into our eyes, so the renderer actually does a lot of useless calculations. So some smart people use a kind of reverse thinking to make photons from the camera, and then search for the light source, thus reducing the amount of calculation, and only let the computer calculate the photons entering the eye. In C4D, the lights are mainly divided into three types, namely the default lighting (three ways: traditional lighting, lighting material, sky with HDRI), lighting presets, plug-ins. There is no GI (global illumination) in reality, and GI is used to simulate real photon transfer effects. If the light source is sufficient, the GI is not necessary to turn it on. In the real world, these are naturally occurring. Second, the actual case analysis To explain in advance, I will tell you the idea of creation, but will not provide a complete description of the parameters, please pay attention. By analyzing the rendering principle, we can use the sphere to do a simple rendering test.
  2. Case analysis (sphere)

Sphere case final effect

Light: Sky HDRI + left main light + right sub light (direct use of lighting material instead of light) Material Analysis: Cancel the color layer and use the diffuse in the reflective layer instead of the color layer Join late - use PS to process after exporting PSD

Light: Sky HDRI + Left Main Light + Right Sub Light + Top Light (Directly use illuminating material instead of light) Material Analysis: Cancel the color layer and use the diffuse in the reflective layer instead of the color layer Join late - use PS to process after exporting PSD 3. Bicycle case analysis

Bicycle case final effect

Light: Sky HDRI Material Analysis: Cancel the color layer, use the diffuse in the reflective layer instead of the color layer; the ground uses the normal layer, add normal to generate, simulate the real ground. Join late - use PS to process after exporting PSD Third, summary Finally, summarize the four key points in real-life rendering, photo-level advanced rendering: · Lighting - must be familiar with the principle of lighting, that is, three-point lighting method; · Material - When making a material, it must be based on physical rules, based on the rendering principles described above; · Lighting and materials – the two are mutually supportive and mutually successful. Taking the case of “Jade” as an example, you can give the jade a greenish light to make the transmission of jade more obvious. When making ice cubes, you can also give the ice a cyan light, and then match the cyan highlights to make the ice. More aura. In addition, it is recommended to observe the reflection behavior of the physical object when viewing the product visual design, that is, observe the physical object or search for related pictures. · The importance of the later stage - as a designer to join the appropriate typesetting, organize into a collection, all works, and do everything possible to expand your design influence and gain more opportunities than others. BY:Tommy


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