Latest Tutorials
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Getting Started with Octane: Octane Shaders
While Octane materials may look simple, they are incredibly powerful, let’s learn how. Octane offers its users a simple yet powerful way to create unique and realistic materials. Using the futuristic car model as a our hero, we can create a variety of materials easily which will deeply enhance our knowledge of Octane. |
Ranger&Fox | Jun 02 2016 | 08:05 | 7569 | |||||||||||||||||||||||||||||||||||
Getting Started with Octane: Environment and Lighting
Lighting in Octane is a familiar process, yet allows you the artist to push your skills further by working in an interactive environment. In this video we will add an environment, lights and start to bring out scene to life. We will start to see why the interactive nature of Octane allows for the process to be so fast and fluid. |
Ranger&Fox | Jun 02 2016 | 07:40 | 6302 | |||||||||||||||||||||||||||||||||||
Getting Started with Octane: Octane Camera
Learn how a Octane camera operates inside of Cinema and what it is capable of. Octane cameras operate similarly to traditional physical cameras and allow render features like depth of field and post processing to increase production value without sacrificing render times. |
Ranger&Fox | Jun 02 2016 | 03:24 | 16119 | |||||||||||||||||||||||||||||||||||
Getting Started with Octane: Advanced Shader Technique: Mixed Materials
The mix material will combine two materials into a single material, we will show how to use Octane’s dirt shader to mix between. While the idea of mixing between two materials might sound simplistic, in Octane we are giving the tools to unlock possibilities which have not been present before. Using the Octane Dirt shader we can easily locate the edges of an object and let octane mix between two materials based on the edges distance of the applied object. |
Ranger&Fox | Jun 02 2016 | 09:04 | 6724 | |||||||||||||||||||||||||||||||||||
Getting Started with Octane: Final Adjustments
Let’s bring it all together for our final render, adjusting lights, shaders and render settings in a live rendering scene is incredibly powerful for an artist. Bringing everything we have learned together, we can now look at our scene and make visually informed decisions to push our render further. The interactive nature of Octane gives you the artist a greater sense of what you want with photo-realistic results at lighting fast speeds. |
Ranger&Fox | Jun 02 2016 | 06:34 | 3058 | |||||||||||||||||||||||||||||||||||
Animate MoGraph Clones without Keyframes using Rate
Spline-based Cloner or Matrix objects offer no-keyframe Rate animation When cloning onto a spline, Cinema 4D’s Cloner and Matrix objects offer a Rate attribute that animates along the spline without the need for keyframes. You can vary the rate, and even cause clones to move backward. We’ll apply the Rate attribute to create a simple setup that will trace the edges of a text or logo spline so lens flares can be applied. |
Rick Barrett | May 31 2016 | 02:18 | 3468 | |||||||||||||||||||||||||||||||||||
CV-Import Image As: Overview
Create 3D objects from your images in just a couple clicks. Create 3D objects from your images in no time at all. Auto-detects Alpha Channels, video files, and image sequences. Hold down Alt/Option as you call a command to load an entire directory and create: Materials, Decals, Planes, Sprites, Skies, Backgrounds, Foregrounds, and Gobos Documentation & Support |
Donovan Keith | May 25 2016 | 04:29 | 12061 | |||||||||||||||||||||||||||||||||||
Affect Deformation and Texturing of Spline-based Objects with Caps Options
Cap and Fillet options added in Cinema 4D R16 to generate a single connected object and control UV coordinates for fillets. Two options were added in Release 16 to the Caps tab of spline-based objects like Extrude, Lathe, Loft and Sweep. The Create Single Object option welds the extrusion, rounding and cap portions of the object into a single object that can be more easily deformed. This eliminates many cases where you might otherwise need to put the object into a Connect object in order to weld the faces. With the Rounding UVW Keep Shape option, you can modify the UV map used for the fillet of the object so that it follows the contour and aspect of the Cap UV rather than that of the extrusion. |
Rick Barrett | May 23 2016 | 03:27 | 3204 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Athanasios Pozantzis: Re-topology, Modeling & the Perfect Planet Earth
Thanassis Pozantsis (aka noseman) demonstrates a plethora of Cinema 4D tips and techniques. Thanassis Pozantsis (aka noseman) demonstrates a plethora of Cinema 4D tips and techniques in the context of two projects: an advertisement for Ford and a visualization of Earth. In the project for Ford, Thanassis projected final car illustrations onto purchased models, using Cinema 4D’s modeling and sculpting tools to prepare the models for camera mapping. Thanassis also shows how to retopologize a model with the help of the Polygon Pen and Shrink Wrap Deformer, and how to model tire rims using MoGraph, Symmetry and Cinema 4D’s polygon modeling tools. Learn how to create a simplified car suspension rig using Xpresso, and how to layer freely-available earth images from NASA using Cinema 4D’s material system.
A Download file for Thanassis’ Earth is also available in this tutorial. Simply press the “File” button under the Information Tab. Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 19 2016 | 97:46 | 17755 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Chris Schmidt: Deep Dive into UV Texturing and Anisotropic Metals
Chris Schmidt of GreyscaleGorilla offers a deep dive into UV mapping in Cinema 4D, using Relax UV to generate LSCM and ABF unwraps, and manually moving the UV coordinates to match a specific texture. Chris Schmidt of GreyscaleGorilla.com offers a deep dive into UV mapping in Cinema 4D, using Relax UV to generate LSCM and ABF unwraps, and manually moving the UV coordinates to match a specific texture. Chris also shows how vertex maps and the Proximal shader can be used to mask textures in order to add damage or rust in specific portions of a model. Finally, Chris offers a peek at the latest version of TopCoat, the GreyscaleGorilla plugin to quickly and easily create multiple Reflectance layers in Cinema 4D.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 19 2016 | 48:44 | 12716 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Graham Johnson: Advanced Scientific Visualization with C4D
Graham Johnson of Vessel Studios demonstrates the many ways molecular data can be visualized in Cinema 4D with the help of the Embeddded Python Molecular Viewer (ePMV). Graham Johnson of the Allen Institute for Cell Science, UCSF, and Vessel Studios demonstrates the many ways molecular data can be visualized in Cinema 4D with the help of the Embedded Python Molecular Viewer (ePMV). Graham shows how molecular dynamics can be achieved, and how DNA can be visualized. Using ePMV’s live connection to the Protien Data Bank, Graham loads the molecular structure for the Zika virus, and shows how Cinema 4D’s sculpting tools can be used to create a low-poly representation of the virus. Finally, Graham simulates a walking molecule using Cinema 4D’s Character Object and Cmotion tool.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 19 2016 | 49:55 | 16615 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Thomas Brown: Cellular Cinema 4D
Learn how Cinema 4D’s MoGraph and Simulation tools are used in medical illustration in this presentation by Thomas Brown of Vessel. Learn how Cinema 4D’s MoGraph and Simulation tools are used in medical illustration in this presentation by Thomas Brown of Vessel Studios. Thomas uses layered Displacer Deformers and MoGraph to create T-Cells and C4D’s Hair to simulate Dendritic Cells. See how to simulate cell death (apoptosis) using cloth tearing, and how soft-body dynamics can be used to simulate rolling immune cells.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 19 2016 | 41:49 | 15179 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Joshua Michie: Designing for VR with Cinema 4D
Joshua Michie of Apiary discusses the creation of a GearVR experience “Antum” using Cinema 4D and Unity. Joshua Michie of Apiary discusses the creation of a GearVR experience “Antum” using Cinema 4D and Unity. Joshua explains many of the limitations and challenges of VR development, and the plugins and workflow he used to develop a VR experience. Joshua used Cinema 4D’s MoGraph tools to create the cave-like environment for Antum, and
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 17 2016 | 38:17 | 12233 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - David Ariew: One-Man VFX Workflow - Holistic & Harry Star Potter - Tips & Tricks
David Ariew shows a number of Cinema 4D techniques in this double-feature presentation. David Ariew shows a number of Cinema 4D techniques in this double-feature presentation. In the first half, David shows how he completed several VFX shots for the music video ‘A Bad Think,’ including helicopter shots around a cruise ship, people diving off a cruise ship and a massive sci-fi orb. Next David shows texturing and modeling techniques he used to create a fan film combining Harry Potter and Star Wars. David also shows a process for manually tracking arms to add 3D gauntlets, for creating a projection map from a mushroom timelapse using point-level-animation, and for creating a VFX shot that loops through a trophy case.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 17 2016 | 106:50 | 15626 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Robert Whiting: NVidia Iray and C4D for Architecture
Robert Whiting of Hawthorne demonstrates how he uses Nvidia’s Iray Render Engine for Cinema 4D to previsualize events. Robert Whiting of Hawthorne demonstrates how he uses Nvidia’s Iray Render Engine for Cinema 4D to previsualize events. You’ll see the basic Iray workflow and get tips for managing large projects, simulating volumetric lighting and generating depth-of-field blur.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 17 2016 | 49:18 | 6695 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Pixar: Renderman for Cinema 4D
Brian Savery of Pixar previews the development of Renderman integration with Cinema 4D, highlighting many features of RenderMan 21. Brian Savery of Pixar previews the development of Renderman integration with Cinema 4D, highlighting many features of RenderMan 21. You’ll see the PxrSurface Shader and Interactive Rendering within Cinema 4D. You’ll see the implementation of Light Types, Light Filters, Interactive Lighting and Holdouts. Brian shows the benefits of Pixar’s Marschner Hair and Denoiser, which will be available thru RenderMan’s Cinema 4D integration.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 17 2016 | 20:01 | 16948 | |||||||||||||||||||||||||||||||||||
Individually Texture Caps and Fillets with Hidden Selections C1, C2, R1 and R2
Use Hidden Selections to Texture Extrude, Lathe, Loft, Sweep, MoText and ArtSmart Caps & Fillets. The Cap and Fillet (Rounding) of any of Cinema 4D’s Spline-based objects can be individually textured using hidden selection sets. Using these selections, you’re able to keep extrude, lathe, loft and sweep objects parametric but fully control the materials on the caps and fillets. The special hidden selection sets are: C1 (Front Cap), C2 (Rear Cap), R1 (Front Rounding), R2 (Rear Rounding). |
Rick Barrett | May 16 2016 | 02:50 | 19352 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Jeremy Cox: 3D for Game of Thrones and National Geographic
Jeremy Cox of Imaginary Forces explains the process of creating the National Geographic Under London cover using Cinema 4D’s Sculpting and Character tools. Jeremy Cox of Imaginary Forces explains the process of creating the National Geographic Under London
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 12 2016 | 47:49 | 10773 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Donnie Bauer: C4D for Every Part of Your Workflow
Donnie Bauer of Optimus Design shows Cinema 4D techniques for typography and motion graphics. Donnie Bauer of Optimus Design shows Cinema 4D techniques for typography and motion graphics. Donnie first shows how to create typography using the Sweep object and animate it using Spline Dynamics and deformers. Next Donnie shows how soft selection and sculpting can be used to mold objects using the Correction Deformer, and multiple Correction Deformers can be animated to morph the shape.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 12 2016 | 42:16 | 6287 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Jesse Vartanian: Cineware 3.0 Enhancements for After Effects
Jesse Vartanian shows the power of Cineware for After Effects in a 3D compositing pipeline. In a promo for the MLB network, Jesse placed keyed greenscreen footage in a 3D warehouse environment. Jesse Vartanian shows the power of Cineware for After Effects in a 3D compositing pipeline. In a promo for the MLB network, Jesse placed keyed greenscreen footage in a 3D warehouse environment. Using Cineware made it easy to composite the footage into the final environment. In a project promoting the release of Cineware 3, Jesse used Cinema 4D’s Takes system to manage multiple variations of the same promo. Jesse shows how individual takes can be referenced while compositing the final animation in After Effects using the Cineware Live 3D pipeline.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 12 2016 | 39:19 | 4975 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Steve Teeple: Next Gen Concert Visuals with C4D
Steve Teeple shows how he creates motion design for concert visuals in Cinema 4D. Steve Teeple shows how he creates motion design for concert visuals in Cinema 4D. Steve shows how complex effects can be created by layering Spline Wrap and Cloner elements, animating with GSG Signal and animating the UV offsets within the texture tags. He then shows how to create great looking renders in Octane using emissive textures and roughness maps.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 10 2016 | 45:34 | 12340 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Dan Pierse: Epic Title Creation from Scratch
Dan Pierse shows how Fox used Cinema 4D’s Motion Tracker, Modeling and UV tools to create the most recent Fox brand identity. Dan Pierse shows how Fox used Cinema 4D’s Motion Tracker, Modeling and UV tools to create the most recent Fox brand identity. Animations were created on top of the Cinema 4D UV map and mapped back onto the geometry using Revision:FX Re:Map in After Effects. Dan shows techniques for hand-modeling type using the Polygon Pen, Sculpting Tools and Bevel Deformer to create rounded, chiseled and distressed type treatments.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 10 2016 | 46:17 | 9376 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Jeremy Cox: SXSW Gaming Titles with Cinema 4D
Jeremy Cox outlines several aspects on the workflow behind the title sequence for the SXSW Gaming Awards. Jeremy Cox outlines several aspects on the workflow behind the title sequence for the SXSW Gaming Awards. Jeremy shows how Imaginary Forces created and controlled the distinct look of the piece through world-space gradients and an Xpresso-based rig which made it easy to change the color palette.
Jeremy shows a trick for creating volumetric rays using cloned cubes, and how to use the Terrain Mask to apply texture based on the slope of an object. The Follow Position option in Cinema 4D’s Rigid Body Dynamics allowed the team to precisely control the animation of the Icosahedron hero object, and layer dynamic rotation on top. Finally Jeremy shows how a Cloth Sim and a Mesh Deformer can be combined to collapse a powerline. Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 10 2016 | 47:45 | 10291 | |||||||||||||||||||||||||||||||||||
NAB 2016 Rewind - Nick Campbell: DIY HDRI for VFX and Motion Graphics
Nick Campbell of GreyscaleGorilla demonstrates how to create an HDR image easily using a Ricoh Theta and the Simple HDR iPhone app. Nick Campbell of GreyscaleGorilla.com demonstrates how to create an HDR images easily using a Ricoh Theta and the Simple HDR iPhone app. After shooting an HDR and a background plate, Nick uses Cinema 4D’s Motion Tracker to track the background plate and adds mylar balloons into the scene. The HDR shot at the same time integrates the CG elements perfectly with the environment. Nick also shows examples from GSG’s HDR Collection.
Recorded Live from NAB 2016 in Las Vegas. |
Cineversity | May 10 2016 | 42:55 | 6222 | |||||||||||||||||||||||||||||||||||
Use Effectors to Trigger MoGraph Clone Animation
Trigger Animation Playback with Falloff using Adam Heslop’s Trigger Animation Python Effector. Gain even more control over the keyframed animation of MoGraph clones using Adam Heslop’s Trigger Animation Effector. This Python Effector works with the Cloner Fixed Animation Mode to trigger animation playback based on effector falloff. |
Rick Barrett | May 09 2016 | 04:42 | 6211 |