Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance | ||||||||||||||||||||||
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Understanding the Color Chooser Swatch Palette
How to manage R17 Color Chooser Swatches. The Color Chooser Swatch Palette offers quick access to colors you use frequently. The Swatches are stored within the document, but you can also save selected swatches as a Content Browser Preset. In this tutorial you’ll learn how to manage swatches, save a preset swatch group, load and append swatch presets, and activate a color swatch. |
Rick Barrett | Sep 17 2015 | 04:06 | 2890 | |||||||||||||||||||||||
Artistic and Value-based Color Chooser Color Wheel Modes
Switch the Color Chooser Wheel Mode between Accurate and Artistic Views, Saturation or Value, and Lock Radius. The Color Chooser’s Color Wheel has several special modes accessible via the context menu. These allow you to change the wheel between Accurate (RGB) and Artistic (RYB) models, and between Saturation and Value radius. You can also lock the radius to adjust the Hue without affecting the Saturation. |
Rick Barrett | Sep 16 2015 | 01:08 | 3145 | |||||||||||||||||||||||
Creating a Seamless Looping Flag Animation: Introduction
Introduction on how to create a seamless looping animation using a Cloth Flag, Point Cache Tags, and Point Cache Deformers. Introduction on how to create a seamless looping animation using a Cloth Flag, Point Cache Tags, and Point Cache Deformers. |
Kevin Aguirre | Sep 16 2015 | 00:24 | 3129 | |||||||||||||||||||||||
Creating a Seamless Looping Flag Animation
Create a seamless looping animation using a Cloth Flag, Point Cache Tags, and Point Cache Deformers. Create a Flag in the wind using the Cloth tools and then store your simulation into a Point Cache Tag. Learn how to offset and blend your Point Caches with the Point Cache Deformers to create a simulation that will seamlessly loop to give you an endless animation. |
Kevin Aguirre | Sep 16 2015 | 14:57 | 6165 | |||||||||||||||||||||||
Set the Default Layout and Behavior Preferences for the Color Chooser
Set Preferences for default layout and sizing of the R17 Color Chooser. In this tutorial, you’ll learn how to set the default layout, size and behavior of the R17 Color Chooser, using the options in the Units tab of the C4D Preferences. |
Rick Barrett | Sep 15 2015 | 03:43 | 3969 | |||||||||||||||||||||||
How to Adjust the Layout of the R17 Color Chooser
Activate Tabs and Adjust Sizing in the R17 Color Chooser The new Color Chooser in Release 17 offers a lot of options for managing color. In this tutorial, you’ll learn how to display the tabs or modes you want and also how to adjust the size of various elements. |
Rick Barrett | Sep 14 2015 | 02:52 | 4843 | |||||||||||||||||||||||
Recreate the T1000 Prison Bar Effect from Terminator 2 with Metaballs
Use the updated Metaball object to recreate the T1000 liquid metal effect from Terminator 2. Use the updated Metaball object to recreate the T1000 liquid metal effect from Terminator 2. Prison bars are modeled with primitives and the “lines” and “triangle” modes of the Metaball Tag. The effect of the figure being repelled by the bars is achieved with a Negative influence setting. Finally an HDRI image is loaded into the environment channel of a material in order to get a realtime reflection preview. |
Donovan Keith | Sep 09 2015 | 08:07 | 9083 | |||||||||||||||||||||||
Team Render Server Enhancements in R17.032
Monitor tab enhancements and option to disable user management. The first service pack for Release 17 (R17.032) includes a few nice tweaks to Team Render Server. There’s now an option to disable user management, so you don’t need to login each time you access the web interface. Also, the Monitor tab is now displayed first, and includes a more complete overview of both Jobs and Clients. Within the Clients view, you can see what job is currently rendering on each client, and which frames are assigned. |
Rick Barrett | Sep 04 2015 | 03:18 | 11707 | |||||||||||||||||||||||
4 Things to Do When You Get Cinema 4D Release 17
Install Updates, CV-Toolbox, Register, and Get Up to Speed at Cineversity.com. It’s release day for Cinema 4D Release 17, and there’s 4 important things you should do once you download and install your new software. (1) Make sure to install any updates. |
Rick Barrett | Sep 02 2015 | 02:02 | 7296 | |||||||||||||||||||||||
Use Xpresso to Get the Current Take Name as a Text Object
Take System Override Node provides Current Take Name as an Output If you’d like to include the current take name as a Text Object in a scene, this can be easily accomplished via the Override node in Xpresso. Learn how to connect the dots and add text labels in your scene based on the current take name. |
Rick Barrett | Sep 01 2015 | 01:36 | 4169 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Tim Clapham: Unleashing Creative Possibilities with C4D
Advanced MoGraph Animation and Blending Techniques. Learn advanced MoGraph techniques from Tim Clapham of HelloLuxx. You’ll learn how to blend clones and transition between various objects and clone states, and how to trigger animations. You’ll also see how to create an undulating cloth-like effect by combining the Displacer and Jiggle deformers.
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Cineversity | Sep 01 2015 | 35:55 | 20128 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Tim Clapham: Character and Simulation Tools in Motion Graphics
Character rigging, cloth and posemorph in a Motion Graphics context. Tim Clapham of HelloLuxx demonstrates how Cinema 4D’s “character” tools work in a motion graphics context. You’ll see how joints and spline IK can be used to create a flexible page-turn rig. You’ll also see how Cloth and other dynamic effects can be merged with PoseMorph. You’ll also see how the Mesh Deformer can improve Dynamic simulations, and how to use proxy geometry when calculating MoGraph dynamics.
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Cineversity | Sep 01 2015 | 46:08 | 13172 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Sekani Solomon: Cheating Dynamics with MoGraph and Thinking Particles
Thinking Particles and MoGraph combine for artistic dynamics. Sekani Solomon of Imaginary Forces shows how he animated a dandelion for Dolby using Thinking Particles and MoGraph. Sekani chose to combine these two in order to create an animation they might appear dynamic but offerred him a higher degree of artistic control. Learn how to generate Thinking Particles from a MoGraph Matrix object, and control those particles both through Thinking Particles’ nodal interface and with MoGraph effectors.
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Cineversity | Sep 01 2015 | 41:33 | 12523 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Sekani Solomon: Cinema 4D Production Workflow Techniques
Maya to C4D for Game Cinematics. Sekani Solomon of Imaginary Forces demonstrates how he and Jason Diaz helped create a piece introducing the characters of the Fates Forever
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Cineversity | Sep 01 2015 | 37:23 | 9715 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Nick Campbell: 3D Lighting and Product Visualization
X-Particles and Reflectance in Product Visualization Renders. Nick Campbell of GreyscaleGorilla demonstrates how to do a beer can product visualization, complete with condensation. You’ll see how to set up Reflectance with the help of HDRI Studio Pack, and then add water droplets on the surface of the can with X-Particles.
Nick also previews an upcoming plugin from GreyscaleGorilla called TopCoat. This plugin simplifies the process of creating and working with Reflectance layers by offering simple presets and making it possible to quickly modify the reflectance parameters of multiple materials at the same time. |
Cineversity | Sep 01 2015 | 44:10 | 16915 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Chris Schmidt: Advanced and Unusual ways of using C4D’s HAIR
Using Hair to render grass, splines, particles, flames, frost and abstract geometry. Learn outstanding techniques for (mis-)using Hair in Cinema 4D from Chris Schmidt of GreyscaleGorilla. Chris shows how hair can be used as a flexible instancing engine to render grass, splines, particles, flames, frost, and abstract geometry.
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Cineversity | Sep 01 2015 | 48:04 | 17283 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Lucas-James Schumacher: High-end Projection Mapping with Cinema 4D
C4D MoGraph Techniques for Live Projection. Lucas-James Schumacher demonstrates how Moment Factory uses Cinema 4D in the creation of live projections. You’ll see how Moment Factory achieved three specific looks in a project for Beijing’s Emporium shopping district.
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Cineversity | Sep 01 2015 | 43:52 | 11070 | |||||||||||||||||||||||
Blending Take Overrides with a Python Script
Extend Takes via Python to quickly blend between Override Values. The Take System in Cinema 4D Release 17 includes an extensive C++ and Python API. In this tutorial, you’ll see how the Python API can be used to create a script that blends between the override values of two takes. This is useful especially when experimenting between different values for dynamics simulations. |
Rick Barrett | Aug 31 2015 | 04:17 | 2941 | |||||||||||||||||||||||
Use Lock Overrides to Affect Global Attributes from within a Take
Lock Overrides inverts the Take System so you can quickly modify global values The Lock Overrides option in the Cinema 4D Release 17 Take System allows you to quickly modify global values. This toggle inverts the Take System so you can modify global values without switching to the Main take. Add a shortcut to quickly toggle this mode and optimize your Take creation workflow. |
Rick Barrett | Aug 28 2015 | 01:54 | 4254 | |||||||||||||||||||||||
Different Ways to View Takes and Overrides
Take Tree, Override Tree and Dual Tree View Options plus Take-specific Attributes. Learn about Take Manager View options, including the Take Tree mode, Override Tree mode and Dual Tree mode. See how to open the Take-specific Attributes section, and use it to quickly modify override values. Discover the best combination of Take view options for your workflow and task. |
Rick Barrett | Aug 27 2015 | 01:40 | 2788 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Eric Demeusy: Previz to Final Shot with Cinema 4D and Octane
Sculpting, Character Object & Animation, Subsurface Scattering in short film VFX. See how Eric Demeusy used Cinema 4D Sculpting and Character Animation tools in his short film “Video”. Eric used the sculpting tools to adapt a preset mesh and create an alien character, then rigged the alien using the Character Object. He then used Subsurface Scattering in the lighting and shading of the alien. Eric also shows a domino animation he worked on for a Toyota commercial, and demonstrates how simple it is to create a domino simulation in Cinema 4D’s Rigid-Body dynamics engine.
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Cineversity | Aug 27 2015 | 49:59 | 7984 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Josh Johnson: VFX for Indie Films
Motion tracking with lens distortion and visual effects for One and Two. Josh Johnson demonstrates how he used Cinema 4D to achieve the visual effects in the film One and Two. Josh used C4D in conjunction with X-Particles, Turbulence FD, SpeedTree and Nuke to create teleportation effects and set extensions. Josh also demonstrates the Lens Distortion toolset in Cinema 4D R17, and how he utilized it to add an airplane fly-by to casual iPhone footage.
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Cineversity | Aug 27 2015 | 40:27 | 9253 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Andy Lefton: Breakdown of “Two Worlds” Animated Short
Simple simulations bring life to short film Two Worlds. Andy Lefton demonstrates how simple simulation effects in Cinema 4D helped to bring life to his short film Two Worlds. Andy used Cloth, Hair and Rigid Body Dynamics to create simple simulations to add secondary animation within the environments of the short. He also used PoseMorph for simple animation, and demonstrates how multipass rendering aided in the compositing process.
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Cineversity | Aug 27 2015 | 44:23 | 6172 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Cantina Creative: Cinema 4D VFX for Avengers: Age of Ultron & Need for Speed
Cinema 4D visual effects in Avengers: Age of Ultron and Need for Speed. Alan Torres and Stephen Morton demonstrate how Cantina Creative used Cinema 4D in visual effects for Avengers: Age of Ultron and Need for Speed.
Alan begins by showing some of the simple techniques used in Ironman’s HUD, using PolyFX and animated booleans to dissolve the helmet. He also breaks down two shots that visualize Ultron’s Church Key. Stephen shows how C4D and Vray combine to perform photoreal visual effects in Need for Speed. Stephen used C4D to selectively replace kit cars used in practical stunts with CG models that precisely match the car being represented. He also shows how he used ProjectionMan to create a timelapse shot of the Marshall Motors garage to transition between timeframes in the movie. |
Cineversity | Aug 27 2015 | 37:17 | 20869 | |||||||||||||||||||||||
Siggraph 2015 Rewind - Patrick Longstreth: Hellyfish VFX Breakdown in Cinema 4D
C4D Deformers, Projections and Hair in an outrageous Sci-Fi short. See how Patrick Longstreth used Cinema 4D to achieve the visual effects in his short film Hellyfish.
Patrick used Cinema 4D in pre-production to visualize shots, and then turned to the application again after shooting the film to accomplish the visual effects. Patrick shows a simple jellyfish rig and animation techniques using C4D deformers. He shows how C4D’s Hair helped to surface the jellyfish tentacles, and a C4D preset to emit Thinking Particles from Hair tips helped to simulate water splashing from the hairs. Patrick shows projection mapping used both in the visual effects of the film (pier sequence) and also to provide some depth and motion in an otherwise flat end-credits sequence. Finally, you’ll see some of the compositing process, and how Realflow was used to create liquid simulations in the main title. |
Cineversity | Aug 27 2015 | 49:08 | 6952 |