Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance |
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Combining Hair and MoGraph in Cineversity Brand ID: Moving a Hair System from one Object to Another
Learn how to recreate similar style of geometry to be able to move the hair system to another object. Now we have an animating play button that can be rendered with animation, we can now think about how to apply this as a system to another object. We’ll choose an object from the content browser. Add a poly reduction until we get something that feels right, not too many edges, less the better while still keeping the form. Add the newly created reduced polygon to the cloners and see what happens. The selections have numbers stored as to what is on or off. To art direct from the beginning, reset one of the selections, select some edges to turn off, copy the new selection to the alternate cloner, invert the selection and make sure it is applied to the Off effector. |
Ranger&Fox | Apr 19 2017 | 07:19 | 2989 | |
Blended Box Mapping with Flat Projections with the Falloff Shader
Learn how to use a technique called “Blended Mapping” to hide seams and stretching in your texture and grime maps without having to edit UV’s! Use the layer shader in the alpha channel to multiply a falloff shader over your grime map to hide seams and stretching in your non-UV mapped models. The look/type of the texture map and the PSR of your flat projections will make this technique more or less valuable depending on your chosen textures and sizes. |
Darrin Frankovitz | Apr 17 2017 | 08:34 | 6785 | |
Customize the Reflectance of Decal Maps to Integrate with the Environment
Use Fresnel, Layer Masks and Diffuse Reflectance Layers to improve the look of Decal Maps Learn how to set up Reflectance layers on Decal Maps in order to integrate product labels with the lighting, environment and reflections of other objects in the scene. You’ll learn how Fresnel maps are used to fade the reflection based on the angle to the camera. You’ll also learn how to make portions of the decal more reflective using additional layers and layer masks. Finally, you’ll learn how to incorporate the diffuse color into the reflectance, so that less-reflective areas also take into account HDRI maps and other environment lighting. |
Rick Barrett | Apr 10 2017 | 05:33 | 4566 | |
The Perception Guide to FUI: Series Introduction
An overview of what to expect in Perception’s Guide to FUI. Watch Perception’s award-winning team bring you a Perception’s Guide to FUI, a comprehensive tutorial series designed to help Cinema 4D users learn the technical aspects of creating futuristic motion graphics imagery for fictional and non-fictional use. |
Perception | Apr 04 2017 | 00:30 | 16284 | |
The Perception Guide to FUI: Roundtable Discussion - The World of Futuristic User Interfaces In Film
The Perception team discusses the background and history of Futuristic User Interfaces in Film and Beyond. In this roundtable discussion, the team from Perception discusses key films that have influenced the design of FUI (Futuristic / Fantasy / Fictional User Interfaces). FUI are on-screen graphics that help illustrate the story and move the plot along, often created in Cinema 4D either in pre-production for on-set playback or in post-production as a VFX shot. The team highlights some of the pioneering FUI designs from Star Wars: A New Hope, The Terminator, Hackers, Minority Report. They discuss favorite FUI designs from Star Trek: The Next Generation, Alien, Children of Men and Man of Steel. |
Perception | Apr 04 2017 | 17:58 | 11028 | |
The Perception Guide to FUI: Roundtable Discussion - Designing Futuristic User Interfaces in Film
The Perception team discusses the background and history of Futuristic User Interfaces in Film and Beyond. Artists from Perception discuss key concepts around design of FUI (Futuristic / Fantasy / Fictional User Interfaces). They discuss the key requirements of believability and conveying essential information. They discuss their approach to designing Futuristic User Interfaces for films including Ironman, Avengers and Men In Black. |
Perception | Apr 04 2017 | 17:58 | 4853 | |
The Perception Guide to FUI: Making Radial FUI Elements with Spline Wrap
John LePore (Chief Creative at Perception) covers several different ways to quickly and easily make radial forms utilizing the Spline Wrap deformer. Learn how easily you can create radial FUI graphics by taking advantage of Cinema 4D’s powerful MoGraph toolset and SplineWrap deformer. Simple primitives, a few Random Effectors, a lot of SplineWraps and a few Cloners come together in mintues to create a fictional user interface that ready for the big screen. |
Perception | Apr 04 2017 | 18:33 | 8775 | |
The Perception Guide to FUI: Creating Topographic Map Geometry
Russ Gautier (Art Director at Perception) discusses making geometry-based topographic maps in Cinema 4D. Topographic geometry can be created in Cinema 4D using texture maps or even Sketch & Toon’s Contour mode, but Russ Gautier from Perception outlines a simple and effective technique for generating actual geometry based on the topographic contours of an object. Combining the Cloner, Connect and Boolean Objects provides a foundation for the geometry, which can be rendered with ambient occlusion or extruded to create eye-catching topographic visual effects. |
Perception | Apr 04 2017 | 10:03 | 8976 | |
The Perception Guide to FUI: Using Takes and Tokens to Help Organize Large Renders
See how Cinema 4D’s Takes and Tokens can be used to generate special passes and organize FUI scenes In this tutorial, Doug Appleton (VFX Director at Perception) walks through the takes and tokens system and goes over workflow best practices to help you organize your renders when dealing with more complex FUI elements. You’ll learn how to set up basic Takes in Cinema 4D (R18+) and a special technique using Override Groups to generate a custom RGB matte pass. An RGB pass containing Fresnel, Ambient Occlusion and Noise comes in handy in compositing. You’ll also learn how to render multiple takes, with automatic naming via Tokens. |
Perception | Apr 04 2017 | 10:14 | 4043 | |
The Perception Guide to FUI: Setting Up a Wrist Mounted Interface, Part 1
Tracking the Camera and an Object in Cinema 4D for a VFX FUI shot Justin Molush (Senior Designer at Perception) breaks down analyzing and tracking complex shots with C4Ds Camera and Object tracker. You’ll learn how to generate and refine an automatic track for the Camera, as well as add manual tracking markers to track a specific object. |
Perception | Apr 04 2017 | 11:34 | 3122 | |
The Perception Guide to FUI: Setting Up a Wrist Mounted Interface, Part 2
Using Proxy Geometry in Cinema 4D’s Object Tracker to inform the track Justin Molush (Senior Designer at Perception) provides further insight into tracking concerns and choosing appropriate proxy geometry to use when tracking objects in Cinema 4D. |
Perception | Apr 04 2017 | 04:42 | 2030 | |
The Perception Guide to FUI: Setting Up a Wrist Mounted Interface, Part 3
Creating a Hexagonal FUI with C4D’s Cloner attached via Object Tracking Justin Molush (Senior Designer at Perception) discusses using a complex object track to attach a futuristic wrist mounted UI. You’ll see how to create the basis for a hexagonal FUI using Cinema 4D’s Cloner object, and animate it via keyframes and effectors to match the motion indicated by the actor. |
Perception | Apr 04 2017 | 10:24 | 2341 | |
The Perception Guide to FUI: Using Simple Animations to Add Complexity To Design
Create an Intricate Spherical FUI in C4D with Simple Primitive Animation and the MoGraph toolset In this tutorial, Doug Appleton (VFX Director at Perception) talks about simple techniques for using effectors and minimal keyframe animation to add an extra layer of complexity and interest to your FUI designs. You’ll see how to add basic looping animation to primitives, create wireframe geometry with the Atom Array object, and clone elements in a radial fashion to create a global, planetary fictional user interface. |
Perception | Apr 04 2017 | 21:25 | 2507 | |
The Perception Guide to FUI: Animating HUD elements with Expresso using Object Transformation data
Creating a fighter-jet HUD rig using Cinema 4D’s Xpresso and Contraints Russ Gautier (Art Director at Perception) builds and animates a fighter jet-style HUD (Heads Up Display) using camera movement data with Expresso and Constraints. |
Perception | Apr 04 2017 | 19:07 | 2383 | |
Apply Decal Maps to the Front and Back of C4D Objects using the Side Option
Learn how Normals and the Side Attribute of C4D Texture Tags affect Decal Maps. To apply separate decal maps to the front and back of Cinema 4D objects, you need to use the Side option. The Side option works with the polygon normals of the object to project the texture on the Front, Back or Both sides of the polygon. With Front and Spatial mapping, the Front Side also only projects the texture on polygons with normals pointing at the Z-axis of the texture. By using the Front side option and rotating the texture tag appropriately, you can apply separate decal maps on the front and back of the object. |
Rick Barrett | Apr 03 2017 | 04:52 | 14531 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Series Introduction
In this series we will be looking into the process of converting the Warm Winter project by Handel Eugene to work with Octane. In this series we will be looking into the process of converting the Warm Winter project by Handel Eugene to work with Octane. While this series is focused on Octane, much of the information in the Optimization section will apply to any GPU based render, and can result in better performance with the Standard and Physical Renderers as well. The series is split into several sections: Optimization of the project and geometry, setting up the materials, and setting the camera and render settings. |
Patrick Goski | Mar 29 2017 | 01:05 | 3877 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Optimizing the Project for GPU Rendering
In this video you will learn the ins and outs of optimizing the geometry in the project (This includes converted geometry and that created by generators) for use with a GPU based rendering solution. In this video you will learn the ins and outs of optimizing the geometry in the project (This includes converted geometry and that created by generators) for use with a GPU based rendering solution. While Octane is the focus of this series, the information in this section is useful for just about any render engine. Note: There may be texture errors with the scene files, but all textures required for the conversion to octane are included. |
Patrick Goski | Mar 29 2017 | 15:17 | 2427 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Simplifying the Number of Materials
In this video you will learn how to simplify the number of materials in the scene to make the conversion process easier. In this video you will learn how to simplify the number of materials in the scene to make the conversion process easier. The real secret of this video is being able to use Alt/Opt in the Material Manager to quickly replace materials. |
Patrick Goski | Mar 29 2017 | 07:11 | 1390 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Creating the Mountain Material
In this video you will learn how to recreate the textures used for the mountains in Octane. In this video you will learn how to recreate the textures used for the mountains in Octane. This video also introduces the Octane node editor, this will let you see how to translate C4D’s “Channels” into Nodes. Including setting up a diffuse color, using a normal map, and controlling the roughness of a material with a texture map. |
Patrick Goski | Mar 29 2017 | 08:20 | 2413 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Creating the Crystal Material
In this video you will learn how to recreate the crystal material in Octane. In this video you will learn how to recreate the crystal material in Octane. This includes setting up a Specular material (Transparency), using the falloff node to simulate the fresnel effect, the gradient node which can function like the Colorizer, a Scattering Medium to simulate the Absorption attribute, and finally, setting up a Texture Emission to simulate Luminance. |
Patrick Goski | Mar 29 2017 | 10:38 | 2022 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Creating the Snow Material
In this video you will learn how to recreate the snow material in Octane. In this video you will learn how to recreate the snow material in Octane. This will introduce the Octane Mix Material as a way to blend 2 materials together. This is needed to create a material that has SSS and a glossy surface. The highlights of this video include using a Falloff node to control the mix between the Glossy material (reflective) and the Diffuse, and using a Scattering Medium node to create SSS in the snow. |
Patrick Goski | Mar 29 2017 | 08:39 | 3152 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Creating the Flower Materials
In this video you will create the materials for the flower in Octane. In this video you will create the materials for the flower in Octane. This includes: The petals, The stem, and the Stamen. Many of the nodes used here have been used in the previous videos, but one of the new concepts introduced in this video is how to create a linear gradient in Octane, heavy use of the Multiply node, as well as setting up a Blackbody Emission node to create the glowing center of the flower. |
Patrick Goski | Mar 29 2017 | 21:47 | 2780 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Setting up the Lights and Environment
In this video you will learn how to setup the lights in the scene to work with Octane. In this video you will learn how to setup the lights in the scene to work with Octane. This will start by showing some handy tips for making the Scene easier to interact with, including: Object Manager filters to make seeing lights in the OM easier and Selection filters. The main focus of the video is setting up the Light object to work with the Octane Light tag, translating the Physical sky to the Octane Daylight, and finally how to setup an environment to simulate atmospheric fog. |
Patrick Goski | Mar 29 2017 | 12:39 | 1934 | |
Cinema 4D Roadshow 2016 - Adapting Warm Winter for Octane: Setting up the Camera and Render Settings
In this video you will learn the basics of setting up your render in Octane. In this video you will learn the basics of setting up your render in Octane. This will include setting up the Octane Camera tag, as well as setting up the Octane render settings. The first section focuses on setting up the Octane Camera tag. There are a few things that are important to know, including setting the response curve to render linear (closest to C4D) and setting up the DoF to use the Focus Object. After that you learn the basics of setting up the render for offline rendering (Rendering to Picture Viewer) including using a render region to help determine sample settings. |
Patrick Goski | Mar 29 2017 | 12:39 | 2513 | |
Eliminate Jagged Outlines in Decal Maps using Layersets
Use specific layers and remove premultiplied backgrounds with C4D’s Layersets option. You might notice a thin white line around the edges of decal maps, which appears because the artwork is premultiplied on a white background. Eliminating this jagged line is easy - just use Cinema 4D’s Layersets option. With layered formats like PSD and TIFF you can choose which layers of the artwork should be used in the texture - and easily eliminate the premultiplied background. You’ll also learn about SAT mapping, which is a great choice for getting crisp renders of detailed artwork. |
Rick Barrett | Mar 27 2017 | 02:56 | 6664 |