15 Essential Cinema 4D Plugins
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Cinema 4D is a 3D drawing software developed by the German company Maxon, which is widely used in movie visual effects and industrial design. And the operation interface is simple, it is to get started quickly for novice users. Fox Renderfarm, a powerful but affordable Cinema 4D render farm**, introduces several useful plugins to you.
Signal is a programmatic animation plug-in for Cinema 4D produced by GSG. It can easily control the parameters of materials, deformers, motion graphics, dynamics, PSR and other parameters using a label, eliminating the need to manually set the Key and the work of XP expression binding to quickly achieve great animations for objects!
CineCAT provides a fully automatic camera tracking and powerful solution for MAXON Cinema 4D. CineCAT estimates the camera parameters and reconstructed 3D points of the live image sequence. The estimated parameters can be directly integrated into the Cinema 4D scene.
it can align to the ground and target object. Also, it supports work plane offset and subdivision. The checkbox indicator can mark the DROP and target objects for the process.
This is a simple "repeat" generator. It moves cloned objects in a fixed direction and can also rotate them around their own y-axis.
Ivy Grower plugin allows you to create ivy plant growth effects in C4D. we can set the plant leaf style and growth direction, and also create animation effects of vine blossoms. It is recommended to download and use.
This is a must-have tool for using Cinema 4d. It can not only quickly put the center of an object or multiple objects, but also be used to select vertices, edges or faces of components. This plugin is very helpful for project production.
Magicpreview allows artists to preview the content of their work in real-time and is suitable for testing the sawtooth of lighting materials and others. Meanwhile, it fully supports GI and can adjust the display quality.
Many objects will appear in more complicated scenes. At this time, when editing an object alone, the surrounding objects will not only block the line of sight but also slow down the view rotation; although there is a way to make them not displayed, you still want to do it with one click.
MeshBoolean plugin is a model Boolean plugin that supports C4D. This plugin changes the way Boolean objects work in Cinema 4D, making it easier and faster to do Boolean operations between models in C4D.
RealFlow is a fluid dynamics simulation plugin for C4D developed by NextLimit. RealFlow provides smooth simulation effects directly in Cinema 4D. High-end simulation can be achieved with a simpler workflow.
Using this plugin, it is easy to generate various hollow or solid pipes.
PointCollapse is very useful in terms of bonding points, as long as selecting the points we want to weld, it is simple to combine them.
Redshift is a biased renderer. With a smaller number of samples, it uses approximation and interpolation techniques to achieve noise-free rendering results, making it much faster than the unbiased renderer. It seamlessly transforms geometry, cameras, lights, materials and other related attributes of the main program to minimize the learning curve. A flexible node-based rendering system is also used to support complex shader networks. With the support of surfaces, photons, environments, lights and lens shaders, and various BRDF lighting models, it provides you with powerful, flexible, realistic effects and stylized rendering effects.
Vonc Perceuse is a practical plugin for C4D, which allows you to quickly cut circles and form holes on the surface of the geometry, without the use of more complicated tools such as Boolean.
X-Particles is an incredibly powerful particle system that allows users to create fluids, particle paint and others. X-Particles supports precise control of particle usage issues and actions for almost all parameters.
Quick Tips For Cinema 4D
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Fox Renderfarm, a powerful but affordable Cinema 4D render farm, bring you some quick tips for Cinema 4D this time, we hope that helps you. Cinema 4D was developed by the German company Maxon. It has functions such as modeling, materials, lighting, rigging, animation, render**ing, and so on. The production interface module is more user-friendly and the graphics are easier to produce. Cinema 4D provides a large number of pre-built Set material lights and models, suitable for advertising video, video packaging, industrial video and others.
Works in Cinema 4D
Here list three methods for making Cinema 4D simple. These techniques do not use complicated operations so that it’s easy to learn for beginners.
Table of Contents
- Atom Array
- Matrix Extrude
Atom Array is a simple parameter array modifier, which works similar to the function of the array. It can obtain some unique effects on parameter adjustment and can be applied to any grid and line.
Firstly import an arbitrary model, then adjust it to a suitable size.
Add a reduced surface layer， then place it in the project sublayer.
Add Atom Array to put the project layer into the sublayer.
Now the line’s effects emerge, but the edges look too sharp. It’s better to add a Subdivision Surface to make the model look smooth.
Make a red heart in the same way, and finish it in the grid of the dinosaur model.
Create a studio and make some simple lighting and rendering settings. And the rest is simply toning and adding some elements.
PS: There is another way to do it. X-Particles is used to complete this process. Please refer to https://vimeo.com/172986776. And this method is also very simple. XPresso finishes storage that can be directly read next time.
Create a new sphere and adjust the size and cell. And it is vital to reduce the number of cell faces.
Select the sphere, press the wheel on the sphere or select Select Children from the right-click menu; then right-click and select Connect Objects + Delete; press Ctrl + a to select all or select the cell face you want to change; press Ctrl + a to select all or select the cell face you want to change.
Right-click and select Extrude Inner, uncheck Preserve Groups in the parameters. Then drag the mouse to the left.
Press M + X or right-click to select Matrix Extrude.
Drag the surface to pull out those tentacles. Then adjust the parameters to a satisfactory angle at will.
Add a Subdivision Surface to make the tentacles smooth.
Add materials to the model, then add lights and adjust rendering settings, finally render output.
Take the sphere as an example, create a new sphere to adjust the size, and add new material to the sphere.
Make material settings, check Displacement, and then add effects to Texture, taking noise as an example. Check Sub Polygon Displacement and round geometry to adjust the subdivision level.
Test rendering to see the effect, the reason why BG is colored is that there are several lights of different colors placed next to it.
Now it’s time to adjust the displacement parameter to control the height of the protrusion.
After briefly introducing the basic usage of displacement, let's look at other different effects. For example, check Alpha in the material settings, add materials, and adjust various values.
Add a new material, add it to the sphere, and adjust the order of the materials to put the alpha material behind. Two materials will appear on the sphere.
Let’s have a look at another effect. It's the same sphere material. Check Color and Displacement, and delete the Noise that was added before. Loading an image material, a starry sky image is added this time, into the Color material, we can get the following image effect.
In this process, we can also try different values, adjust various parameters, and change the material picture, the result would be different.
Finally, knead the three effects mentioned earlier to see what effect will be combined.
Each tool has its own functions. But the combination of tools will show various effects, which are full of possibilities.
Poster Analysis And Production in Cinema 4D Colors
This article is organized by Fox Renderfarm, the TPN-Accredited cloud render farm. And the content is about a poster analysis and production in C4D** colors shared by Han Yilang.
Han Yilang is a UI artist, who likes poster design a lot. Recently he saw some amazing works while browsing the website, Behance. He really liked these dense little grids and began to think about how to make them.
Before start, he thought that these small grids were randomly placed by countless clones, but this process had very high requirements on the hardware of the computer. Finally, it was found to be hair, and then he created the effect in the above picture in his own way.
This production method makes full use of a free plug-in Magic Solo, which can be downloaded at https://nitro4d.com/product/magic-solo/.
The production steps are as follows. Wish it could help.
Prepare a material picture before making, and the final effect will generate content based on the material picture.
Create a new Plane layer setting data, then split the plane into independent small individuals.
Implement the simulate-hair objects-add hair command and set it.
After adding hair, the computer may crash at any time so that it’s vital to adjust those values carefully. We use magic solo to separate the hair layer.
It’s necessary to set various values of hair; count should be set according to the size of the plane and the individual size of the segment; The segments are set to 1, and the root mode is the polygon center.
The root mode chooses the as guides to make all hair grow in the grid.
Type chooses square or other shapes such as circle and triangle. But other shapes could make the computer crash at any time. selecting the angle limit in the Phong tag settings, it will change the shape of the hair into BOX.
Setting hair material root
The value should also be set according to the size of the individual. It can be set to the setting of the individual size so that each hair is completely fit.
Check the Length to add texture.
After unchecking the hair, the picture below comes out.
Creating a new material and adding a material image
Only check Color and make a link on texture to the previously selected material image; click the arrow next to texture, and add a pixel effect to the texture; click the image to set the pixel parameters.
Before applying the new material to the hair, it’s essential to adjust the size first. The texture tag sets the Projection mode to flat.
Firstly, apply the material to the plane, and select the plane and texture tag, then select the texture mode to modify the texture size and position.
After adjusting the values, applying the material to the plane and hair, and the initial effect is almost presented.
Adding lights or loading presets to add various lights As we can see from the picture, the final result is not good. It should be the problem of the material picture. The material image is replaced with a more unreal cosmic image, and the material images in both materials should be replaced.
Add a cube as a plane and add a material to the cube.
Adjust the position of the picture to render again. Before rendering, it’s better to select the preset Physical and add the depth of field to the camera.
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
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.
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.
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.
- 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.
Add a "FFD" to the face model to adjust the position of the point.
Second, production of body
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.
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.
Now make the bell and add HyperNURBS to it. Then resize and position.
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
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.
Use the "brush" tool to draw the mouth of Doraemon, the effect is shown below.
- Use the ring to create your mouth and nose. Use the sphere to create the tail, remember to modify all layer names.
Adjust the position of all parts.
- 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.
Using Octane for C4D to make a natural scenes (1)
Octane for C4D
As the leading Cinema 4D render farm in the CG industry, Fox Render**farm will always gather some tutorial about 3D software, renderers. In this article, we will teach you how to make a natural scene in Octane for C4D**. In terms of scenes, there are many types, like sci-fi scenes, realistic natural scenes, cartoon scenes, and so on. Different scenarios have different ways of creating them.
We will use one of the production methods to explain the process and ideas of the creation of realistic natural scenes.
Realistic natural scene reference
Taking the reference picture as an example, the scene ground is mainly divided into two materials, the middle is the road, and the two sides are the muddy mountains.
According to the reference picture, the middle ground is a long road, so first create a ground in the C4D according to the reference picture, then use an ‘Octane Daylight’ to properly adjust the angle of the light to simulate the sunset.
Firstly, creating a standard shader to make the land, in the mountains you can turn off some unwanted reflections, just use diffuse reflection, then add color, AO, Normal map, and adjust the UV mapping.
The next step is to add plants using Cinema 4D’s Forester Tree and modify the tree type in the Tree Library. Before the modification, you can look at the trees in the reference picture and modify the size, height, color of the leaves, length of the branches, etc. according to the reference trees. After modifying the parameters,
Before using cloning, you need to make several different shapes of trees. Adjust the height and shape of the tree to use as a cloning template to avoid being too repetitive in the final use.
Here we use the Octane’s Clone. First, create an ‘Octane Scatter_Tree’ group and drag the three trees you just made below the ‘Octane Scatter_Tree’. Then use ‘Octane Scatter’ to clone the tree onto the ground of the well-prepared land.
Changing the way of generated trees by Distribution to clone in the Surface.
Add a layer of Noise in the Distribution under ‘’Octane Scatter to find the appropriate Noise type. Adjust the size of the tree and the direction of rotation.
Now adjust the material of the leaf, first convert the material to the material of Octane, and then adjust. Copy a copy of Diffuse to the Transmission to increase the transparency of the leaves and look closer to the real feeling.
Then adjust the trunk to achieve the final effect.
Next, use Multiflora under Forester to select a suitable grass for adjustment.
Use Multiflora to add some other plants.
Continue to add other plants, adjust the size and position of the plants, make the grass look diverse, and adjust the plant material.
The big environment has been built, and we will publish the part 2 next time.
Article written by 3d artist Qixi.
C4d Tips - Set Your Own Custom Preset
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This article is organized from the leading cloud rendering services provider in the CG industry, Fox Renderfarm. This is a Cinema 4D tips, I hope it can help you. First of all, let's ask you the following questions first.
Have you ever tried to customize the UI layout in Cinema 4D and want to use the same layout on other machines?
Have you tried changing the settings of the shortcut keys in c4d and want this setting to follow you in the other machines?
Do you want Cinema 4D to have a special set of its own, and this setting can be used with which machine you go to? When you don't use this machine, there is no trace of the machine you used.
When someone uses your Cinema 4D software, it shows the default settings, and when you use it yourself, it shows your own unique settings.
One day, when you want to make major changes to the settings of the c4d software, but are afraid of problems after the changes, is there a good way to restore the settings back to the beginning?
Have you ever thought about the Cinema R19 on the same machine, can be installed several versions of Arnold?
Ok, the following little tips can help you to solve the above questions.
The tips are to change the preset position of c4d, pointing to a different location in different situations.
In the normal situation, we open Ctrl+e in c4d to open the preset window. In the bottom "open preference folder", the default preset path of c4d is opened.
In this directory, the plugin can be placed in the plugins directory, like some lighting presets or scene presets you can put in the library directory. Let's change the preset position to customize our own presets.
- Create a folder to place your preset. We tested it and put it in D:\Temp**C4d**_R20.
- Create a bat file, the name can be a word or use that makes sense to you. Our test is called C4d_test.bat.
Open the C4d_test.bat. Enter:"C:\Program Files\MAXON\CINEMA 4D R20\CINEMA 4D.exe" -g_prefspath="d:\temp**C4d**_R20".
Double-click it and run the C4d_test.bat.
Open the software, Cinema 4D R20, then use ‘Ctrl+e’, to open the preset window, you can see that the default folder path has been pointed to the d:\temp**C4d**_R20 directory, which we created.
Open the directory to see the same directory structure as the default directory.
- Let's understand the meaning of this sentence in bat:
"C:\Program Files\MAXON\CINEMA 4D R20\CINEMA 4D.exe" -g_prefspath="d:\temp**C4d**_R20"
Among them: "C:\Program Files\MAXON\CINEMA 4D R20\CINEMA 4D.exe". This is the installation directory of Cinema 4D, you can change to your own Cinema 4D version and installation directory.
This is a c4d command that specifies a default directory for R16, R17, R18, R19, and R20.
The specified default directory can be replaced with the location you want to set the preset. This directory must exist.
It should be noted that,
- All punctuation marks in the command line are English symbols.
The ‘=’ there must be no spaces on both sides of the equal sign.
- Versions prior to C4d R15 include R15, R14, and R13, the ‘-g_prefspath’ is replaced with ‘-homedir’ and there is no ‘=’, it should be as follow,
"C:\Program Files\MAXON\CINEMA 4D R15\CINEMA 4D.exe" -homedir "d:\temp**C4d**_R15"
Tutorial: Cinema 4d Mograph Effectors Correct Rendering Method
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This tutorial is made by the artist from the leading cloud render farm provider, Fox Render**farm. It is about Cinema 4d Mograph Effectors correct render**ing method.
Not only in using cloud rendering platform like Fox Render**farm, but also in using Cinema 4d's own online rendering tool locally or using c4d's command line rendering, the Mograph effectors used in c4d all need to generate an effectors buffer. This will ensure that the rendering in a render** farm is consistent with the local machine when rendering.
The specific steps are as follows,
On the object to which the Mograph Effectors is added, click on the ‘Mograph cache’.
Set the number of frames you need to render, and the storage location of the output buffer (recommended to select non-B, C, D drive letter directory)
Click the ‘bake’. If the output is successful, there will be a memory used below the panel, indicating that there is already a cache size, and the Mograph icon will turn green.
Click on ‘playback’ to check if caching is enabled, as well as the path.
You can turn off the Mograph Effectors and check if the cache is correct. If the dynamic is consistent with the local machine. That is mean that the rendering output successfully.
- Package the assets, then upload and submit it to the cloud render farm.
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
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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.
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.
- 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.
- 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.
- 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
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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.
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.
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.
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
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
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.
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