Re: Free Cinema 4d Tutorials Pdf Download
Mazie Wingeier
The best Cinema 4D tutorials can help you to create brilliant digital artwork. Whether you're a beginner or a seasoned pro, these lessons will advance your skills and give you fresh ideas for your 3D projects.
Kerrie Hughes is a frequent contributor to Creative Bloq, and was once its editor. One of the original CB crew, Kerrie joined the team back in 2013 after moving from her role as staff writer on 3D World. Since then she's written regularly for other creative publications such as ImagineFX, Computer Arts and Digital Camera World. After a stint working for the police, Kerrie is back reviewing creative tech for creative professionals. ","contributorText":"With contributions from","contributors":["name":"Tom May","link":"href":"https:\/\/www.creativebloq.com\/author\/tom-may"]}), " -0-9/js/authorBio.js"); } else console.error('%c FTE ','background: #9306F9; color: #ffffff','no lazy slice hydration function available'); Kerrie HughesSocial Links NavigationFreelance writerKerrie Hughes is a frequent contributor to Creative Bloq, and was once its editor. One of the original CB crew, Kerrie joined the team back in 2013 after moving from her role as staff writer on 3D World. Since then she's written regularly for other creative publications such as ImagineFX, Computer Arts and Digital Camera World. After a stint working for the police, Kerrie is back reviewing creative tech for creative professionals.
Hey there, Joey here for School of Motion. And in this lesson, we'll be creating a very cool Claymation look in Cinema 4d. I originally started messing around with this look to help out my good buddy Kyle pred key for a project that he was working on. He needed to achieve a Claymation look for some characters, and this is what we came up with. And now I'm going to pass along what we learned about creating this look to you. By the end of this lesson, you'll be able to texture and animate something that looks like clay right out of Cinema 4d. Pretty cool. Right. Don't forget to sign up for a free student account. So you can grab the project files from this lesson as well as assets from any other lesson on this site. And now let's jump in.
So here we are, I have a cinema scene set up, um, and I don't want to walk you guys through the whole process because it would take too long. I just kind of want to show you guys the Claymation part of it. Um, but just to show you guys, what's in the scene, I have a camera, um, I'm using the physical renderer for this scene, um, because I want it to feel realistic and I want to have global illumination and ambient inclusion and depth of field and things like that. And the physical render is much, much faster at those things than the standard renderer. Um, also in the scene, I have a lighting set up. These are, uh, these are just Omni lights with, um, area shadows. And I kind of have a three point lighting set up here. Um, and then this guy, uh, that says psych, this is actually a plugin that I have developed, um, to make seamless backgrounds, um, which is something that we have to do constantly at toil and, um, you know, there's many ways to do it, but what I did was sort of create a rig to, to give you tons of options.
Um, so you can pick color, you can add gradients, you can, uh, have you have a lot of options with the way the floor looks. Um, if you look over here, if I do a quick render, you'll see, I have a pretty standard white psych environment. The lights are reflecting onto it, and I've kind of put this noisy texture on it, just to kind of give it like a little bit of a dirty look. Um, but there's a million options with psych and I will be releasing it shortly. Um, so watch out for that. Um, so anyways, so let's get started with the Claymation looks. So what I want to do is create a really simple animation, um, where maybe, you know, we have a ball and it sort of drops into frame and splits into two more balls and it looks kind of like clay.
Um, so there's a few keys to the Claymation look and it doesn't have to just be Claymation. It could just be any kind of stop motion. Um, but after having done a few stop motion projects, uh, it's clear to me that there's a few things that specifically give stop motion that look. So one of the things is animating at a slower frame rate than normally do. Um, normally we work at 24 frames, a second or 30 frames a second, or if you're, um, you know, in Europe or somewhere else, it might be 25 frames, a second for stop motion. We use 12 frames a second. So half the number. Um, so I'm going to set my, uh, I'm going to hit command D and I'm going to set the frames per second 12. Then I'm going to go to my render settings and I'm going to set the frame rates 12 here as well.
All right. So that's step one. Um, step two is, um, instead of animating everything using key frames, that cinema will automatically interpolate for you, which is going to give you a really smooth motion. You're better off using a lot of key frames and trying to hand animate every single frame because in real stop motion, that's what you have to do. And unless you're Leica or some amazing stop motion artists, um, you're going to have a lot of little imperfections in your movement, and this is going to give it a handmade look that is kind of inherent in stop motion. Um, and then, uh, and then the last part is the texture, which I'll spend some time explaining. So why don't we just start out by making a sphere? All right. Um, and I'm just going to lift it up. So it's kinda resting on the floor.
All right. And if I render this, you'll see that, you know, just, we know on the surface with some lighting, it doesn't look like clay at all. It's very smooth. Um, it's too perfect. All right. And that's the main thing that you have to kind of figure out, um, you know, when you're trying to come up with a material or a shader that looks organic and looks real, a lot of times what you're really doing is making it less perfect. Kind of beating it up a little bit. So let me show you guys this shader here that I, that I've already made. All right. And when I render it, you'll see, um, that it does a little bit, it kind of adds a little bit of bumpiness and noise to this fear. Um, but the, but what I need to do is actually make the sphere editable because this texture has, it is placement channel displacement channels do not work on, um, on objects that have not been made editable. So I'm hit see, make the sphere editable. Now, when I render this, it's gonna look a lot different. All right.
So you can see now it's kind of getting a little bit a regular, um, and it almost looks like someone's kind of mushed it. It's not a perfect sphere anymore. Um, and just to amplify that, let me go into the displacement channel here. Um, and I can up the height to 10 centimeters. This will probably look funky, but, um, it'll show you even more that this sphere is being totally squished and turned into a completely different shape when you render. So we have this nice fear that we can animate with, but when we render, it's kind of turned into this other thing. Um, so what I'm going to do now is I'm going to show you how I created this texture. Um, and we're going to kind of try and dial in a look and then I'm going to show you how to animate it.
All right. So let's take this texture tag off. So when you, um, double click make a new texture, when you work with textures and cinema, um, it's helpful to understand what all the texture channels do. So let's call this texture clay too. Um, because, you know, once you really understand what these channels are used for, um, you know, you can, with some experimentation, you can pretty much, you know, get close to any real texture. There are some textures that you may need V-Ray for, you may need a plugin, um, or you may need someone who really knows what they're doing to, um, to kind of help you out. Um, but a lot of times, all you have to do is think about surface properties to help you with these channels. All right. So let's start with the color channel. Um, the color channel is pretty obvious.
It, it dictates the color of the object. All right. So I was kind of going for a silly putty look. So I picked this pink color. All right, now let's apply this so we can see what's going on. Um, all right. So that's that one, specular is one that I see a lot of people have trouble with. So specular is, is basically like the glossiness or shininess of a surface, um, color is, you know, in other 3d packages, it would be considered the diffuse channel. Um, it's sort of the overall lighting, but specular is sort of like the hotspots you get when you see a light sort of reflected in a shiny surface. Um, and there's two main options for specular there's width and height, so height, and you can see this little preview here. It actually shows you pretty good. What's going on. Um, height is sort of the, the intensity of this hotspot.
And you can even see up here on our model that as I tweak the height, it changes a little bit in the preview. Um, and then the width is sort of how much that hotspot spreads out over the surface. Okay. So if you think about clay or silly putty, it's a little bit glossy, just a tiny bit. Um, but not very much. Um, it's kind of like a big matte surface with a tiny bit of glossiness. So, um, the width of your specular might be pretty big, but the height is going to be very, very small. Okay. And let's just render what we have just so we can kind of see where we are. All right. So, you know, this, this sort of looks like clay a little bit. It's, it's kind of got this, this matte surface, um, and the lighting's definitely helping. And just so you guys know, I don't have ambient inclusion or GI turned on yet, um, or depth of field because that's sort of, you know, something you save until you're rendering, um, because the renders will take much longer as we're working here.
Um, all right. So this specular feels pretty good to me. Now, if we were trying to make this feel metallic, like it was, you know, a marble, like a, you know, like a metal ball, or if it was something shiny, like a marble, then you would need probably a, um, a thinner width, but a bigger height. So you'd get more of like a, a sharp, hard surface look. Um, all right. So, so those are the two, those are color and specular. Um, so now let's kind of go through the rest of these. So luminance, if we turn luminance on, by default, it turns this white luminance is a channel that is not affected by lights. Okay. So if I make this, if I make this ball have pink in the luminance channel, and I render this, you'll see that it almost appears to be glowing.
b1e95dc632