Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance | ||||||||||||||||||||||||||||||||
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Biped Rigging for Games, Part 10: Weight Symmetry
In this video we’ll apply symmetry to our smoothed weights. In this video we’ll make our weights symmetrical using the ‘Auto Mirror’ function in the Weights Manager. We will then need to normalize the weights, as the auto weights symmetry function may cause joints to have more than 100% weighting. |
Andy H Runyon | Nov 19 2014 | 01:57 | 4062 | |||||||||||||||||||||||||||||||||
Modeling & Texturing Game Assets, Part 01: Box Modeling a Radio
This tutorial shows the box modeling process for a radio using Cinema 4D and Unity 3D. In this tutorial we will be using Cinema 4D to teach you how to box model a game asset for use in Unity 3D or your choice of game engine when building a video game. We will go over the basic modeling tools and general game modeling practices. The video will be a time lapse of the entire modeling process but I will slow down and explain key areas of the process as well as my thinking when modeling certain things. |
John Bair | Nov 12 2014 | 13:35 | 9412 | |||||||||||||||||||||||||||||||||
Modeling & Texturing Game Assets, Part 02: UV Unwrapping a Prop
This tutorial shows how to unwrap the UVWs of our radio model. In this tutorial we will be using Cinema 4D and BodyPaint3D to show how we can unwrap the UVWs of our radio and layout a texture page. First we will breakdown the model into its unique elements so we do not have to spend extra time unwrapping duplicated geometry. Then we will be using the box projection method to get a basic unwrap of our geometry. Using this we can move our flattened geometry into better positions and start creating our texture page. Once we have unwrapped everything we can use the paint tool in BP3D to outline our unwrapped geometry to make painting textures easier. |
John Bair | Nov 12 2014 | 09:36 | 11375 | |||||||||||||||||||||||||||||||||
Modeling & Texturing Game Assets, Part 03: Painting Textures in Photoshop
This tutorial shows the texturing process for the radio using Cinema 4D and Adobe Photoshop. Painting textures for your unwrapped model can seem overwhelming but in this tutorial we will be using Adobe Photoshop and Cinema 4D to teach you how to paint your textures with no stress. We will be using images found from the internet and PS to create a unique texture for our radio. Using layer styles and layer blend modes to create brass and plastic as well as alpha channels to create transparency within Cinema 4D. |
John Bair | Nov 12 2014 | 15:03 | 6409 | |||||||||||||||||||||||||||||||||
IBC 2014 Rewind: Günter Nikodim: The secret strengths of Cinema 4D in VFX
Cybertime’s Günter Nikodim demonstrates practical VFX case studies using Cinema 4D Release 16, as well as handy workflow optimization tips. Cybertime’s Günter Nikodim demonstrates practical VFX case studies using Cinema 4D Release 16, as well as handy workflow optimization tips.
Günter first shows how Motion Tracking was used to extend a balloon shot for the German film Clara Immerwahr. You’ll see how camera projection can be utilized with tracked footage to create and render a new stabilized shot. As part of the stabilization process, Günter also shows how to use FCurve Snapshots. Continuing with the same shot, Günter utilzes MoGraph Cloner and the Spherify deformer to create the model for the hot air balloon. He also shows how the Connect object can be used to optimize viewport performance. Next, Günter demonstrates how Cinema 4D was used in a shot for the Austrian film centered on the village named Bad Fucking. The shot recreates a landslide using dynamics which are controlled via the Follow Position attribute. You’ll also see how Subsurface Scattering was used to render water in a fluid simulation as well as eel skin. Günter also demonstrates how the Matrix object can be used to optimize MoGraph scenes and apply effectors and deformers to particle simulations. He also shows how the Reprojection option of the Polygon Pen makes it easy to paint clones onto a surface. Recorded live at IBC 2014 in Amsterdam. |
Cineversity | Nov 07 2014 | 45:38 | 6310 | |||||||||||||||||||||||||||||||||
IBC 2014 Rewind: Lars Scholten: Cinema 4D R16 in Real Motion Graphics Projects
Lars Scholten demonstrates features of Cinema 4D Release 16 in the context of real motion graphics projects. Lars Scholten demonstrates features of Cinema 4D Release 16 in the context of real motion graphics projects.
Beginning with a project for Radio Veronica, Lars shows how Polygon Pen can be used to quickly create geometry for projection mapping. He also shows how to create a basic IK rig and adjust weights to animate the projected mesh. In a project for Volkswagen, Lars utilized MoGraph’s Cloner object in Surface mode to quickly create a city, then applied dynamics with Follow Position to a proxy cube with basic animation to create a reactive first-person view. Lars demonstrates three ways in which the Interaction Tag can be used in conjunction with Xpresso to create flexible animation rigs. He also demonstrates the new Cogwheel spline primitive, and the Mesh Checker tool which can aid in preparing objects for 3D printing. Finally, Lars creates a luggage carousel, using a cloner, an emitter object and rigid-body dynamics. Lars shows how the bevel deformer can add rounding to a simple suitcase model, as well as at the intersections of Boolean objects. Lars also demonstrates how to use Camera Morph to create a simple but effective camera animation. Recorded live at IBC 2014 in Amsterdam. |
Cineversity | Nov 07 2014 | 42:16 | 4566 | |||||||||||||||||||||||||||||||||
IBC 2014 Rewind: Marc Potocnik: Real World Shading & Lighting
Marc Potocnik explains in depth the theory behind reflectance, providing a glimpse of how he uses reflections in Cinema 4D to achieve outstanding renders for Audi. Marc Potocnik explains in depth the theory behind reflectance, providing a glimpse of how he uses reflections in Cinema 4D to achieve outstanding renders for Audi.
Marc first discusses some theoretical concepts to consider when creating metallic car paint materials. Next, he outlines how to apply these principles via the Lumas shader in Release 15. Then Marc demonstrates how the techniques apply using Reflectance in Release 16. Marc provides an overview of the Reflectance channel, diffuse models and masking & fresnel, followed by his recipe for metallic car paint using R16 Reflectance. Demonstrating another project for Audi, Marc shows how he set up the lighting and reflections to achieve a realistic render. Recorded live at IBC 2014 in Amsterdam |
Cineversity | Nov 07 2014 | 50:50 | 5520 | |||||||||||||||||||||||||||||||||
IBC 2014 Rewind: Simon Holmedal: Animated Displacement with Python and Shaders
Simon Holmedal demonstrates several techniques he used to create animated displacement in an ident for Industry Workshops. Simon Holmedal demonstrates several techniques he used to create animated displacement in an ident for Industry Workshops.
Simon utilized Cinema 4D Python tags to generate vertex weight maps based on distance from nulls or by combining several vertex maps. He’s then able to use those animated vertex maps to limit the effect of Jiggle and Displacer deformers. Simon also demonstrates how noise shaders and gradients with turbulence can be animated to generate displacement maps for use with Sub-Polygon Displacement or the Displacer. Simon uses the Layer and Distorter shaders to further break up and add variance to the displacement. Simon also shows how the shaders can be utilized in conjunction with a Matrix Object and Shader Effector to add cloned elements in the areas being displaced. Recorded live at IBC 2014 in Amsterdam. |
Cineversity | Nov 07 2014 | 32:25 | 5166 | |||||||||||||||||||||||||||||||||
IBC 2014 Rewind: Robert Hranitzky: Anatomy of Motion Graphics Projects
In this presentation, Robert Hranitzky demonstrates the power of Cineware with Adobe After Effects CC to quickly adapt to client changes, as well as projects showcasing the Mission Aero speaker, Arnold for Cinema 4D and the Wacom Intuous 5. In this presentation, Robert Hranitzky demonstrates the power of Cineware 2.0 with Adobe After Effects CC 2014.1 to quickly adapt to client changes, as well as projects showcasing the Mission Aero speaker, Arnold for Cinema 4D and the Wacom Intuous 5.
Following a complete overview of the Cineware workflow, Robert shows the production process used by colleagues Daniel Hennies and Phil Amelung to create the Windowlicker imagery that accompanied the announcement of Arnold for Cinema 4D. Finally, he shows how Doodle was used to previsualize the Intuous 5 trailer, which was then simulated and rendered with the help of Turbulence FD and Arnold for Cinema 4D. Recorded live at IBC 2014 in Amsterdam. |
Cineversity | Nov 07 2014 | 48:48 | 4834 | |||||||||||||||||||||||||||||||||
IBC 2014 Rewind: Helge Maus: Cinema 4D and the VFX Pipeline
Helge Maus demonstrates a complete workflow for compositing VFX using Cinema 4D and Nuke. Helge Maus demonstrates a complete workflow for compositing VFX using Cinema 4D and Nuke.
Helge begins by tracking the camera and blocking scene elements in NukeX, then imports the tracked scene via FBX into Cinema 4D. Next he adds additional elements in Cinema 4D, and utilizes Physical Sky and Global Illumination to match the lighting in the original plate. Helge provides a basic introduction to the Turbulence FD plugin for Cinema 4D, which he uses to add exhaust flames to the spaceship in the shot. Finally, you’ll see how the RenderElements plugin for Cinema 4D is used to output multiple separate render layers or takes, which are then composited back onto the original plate in Nuke. Recorded live at IBC 2014 in Amsterdam. |
Cineversity | Nov 07 2014 | 58:51 | 3510 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 01: Series Overview
Introduction to the Polygon Pen Tool Reference Series. Get an overview of the content of the Polygon Pen Tool Reference Series. Watch and get a sense of which of the videos in the series are most useful to you. |
Donovan Keith | Nov 05 2014 | 00:38 | 7628 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 02: Tweaking Existing Geometry
Learn how to use the Polygon Pen tool to manipulate the points, edges, and polygons of an existing model. In this video you’ll use the Polygon Pen tool to manipulate the points, edges, and polygons of an existing model. You’ll explore the tweak tools available in each mode, as well as the built-in snapping system that allows you to easily merge points and edges. |
Donovan Keith | Nov 05 2014 | 03:16 | 3200 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 03: Drawing Polygons
Create new polygons from scratch using the Polygon Pen tool. Learn how to draw n-gons, quad strips, edge patches, and how to paint polygon strips using the Polygon Pen Tool. |
Donovan Keith | Nov 05 2014 | 05:08 | 3143 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 04: Adding and Removing Detail in Existing Geometry
Use the Polygon Pen tool to add additional add and remove detail from existing geometry. Learn how to add points to polygons and edges with the Polygon Pen Tool. Cut through existing edges in knife mode, and add semi-circles to your edges with Arc Mode. In addition, learn how to remove excess detail by melting points, edges, and polygons. |
Donovan Keith | Nov 05 2014 | 03:30 | 2588 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 05: Extruding Points, Edges, and Polygons
Draw out an eye and the surrounding topology by extruding points and edges with the Polygon Pen tool. Learn how to extrude points, edges, and polygons with the Polygon Pen tool. With these techniques you can quickly build out solid edge flow in your mesh. |
Donovan Keith | Nov 05 2014 | 04:00 | 2921 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 06: Technical Drafting
Use the polygon pen in combination with Cinema 4D’s snapping tools in order to do technical drafting. Use the Polygon Pen Tool, along with point, guide, & auto-guide snapping to draw out the floorplan of a house. |
Donovan Keith | Nov 05 2014 | 06:26 | 2045 | |||||||||||||||||||||||||||||||||
Polygon Pen, Part 07: Retopologizing
Simplify a high-polygon mesh with the Polygon Pen Tool. Use the Polygon Pen Tool’s reproject mode to retopologize a high-resolution sculpt of an Owl by Patrick Goski. Watch a time-lapse of a longer retopology process to get a sense of workflow. |
Donovan Keith | Nov 05 2014 | 08:24 | 5434 | |||||||||||||||||||||||||||||||||
Motion Tracking: Adding Text to Footage, Part 01: Series Introduction
Introduction that explains how to use the new 3D motion tracker in CINEMA 4D R16. This introductory video contains the finished four shots that will be created during this series, namely the patch of grass in the park (3D manual tracking), Manhattan rooftops (3D track full solve), motorcycle street scene (nodal pan track) and the brick wall (2D planar track). |
Joseph Herman | Oct 29 2014 | 01:11 | 6816 | |||||||||||||||||||||||||||||||||
Motion Tracking: Adding Text to Footage, Part 02: Tracking on a patch of grass
In this video, we’ll demonstrate how to manually 3D track a shot of a patch of grass. You start our series on motion tracking with a shot of a patch of grass in Washington Square Park. In this example of a full 3D tracking shot, where the camera moves freely in three dimensions, you’ll take the manual approach to the tracking process which offers the most control. Also covered in the video are how to use the various motion tracking constraints such as the planar constraint, vector constraint and position constraint as well as how to clean up errant track points. You’ll finish the scene in the following video. |
Joseph Herman | Oct 29 2014 | 11:54 | 3537 | |||||||||||||||||||||||||||||||||
Motion Tracking: Adding Text to Footage, Part 03: Adding 3D Text, Lighting, and Compositing
In this video, we’ll add 3D text to the scene, match the lighting with the background, create reflections, add shadows, render and composite in After Effects. You will start our series on motion tracking with a shot of a patch of grass in Washington Square Park.You’ll also create reflections by applying a panoramic image of a park to a sky object, create lighting to match the background, add shadows, and set up multipasses for rendering. When it’s all done you’ll composite it all in After Effects where you’ll also matte out the pole in the beginning of the shot. |
Joseph Herman | Oct 29 2014 | 13:44 | 3122 | |||||||||||||||||||||||||||||||||
Motion Tracking: Adding Text to Footage, Part 04: 3D Track Full Solve: On Top of a Building
This video uses C4D’s automatic 3D tracking ability, the Full Solve, to track a shot of buildings in Manhattan. We’ll then add 3D text, lighting, shadows and composite the scene in After Effects. In this video, you 3D track a shot of Manhattan buildings automatically using CINEMA 4D’s automatic method, the Full Solve. You then use the motion tracking tracking constraints to align the track in the viewport. Next, 3D text that sits on a support is added on top of a building and lighting is added to match the scene. Global Illumination emanating from a sky object is used to brighten up the dark areas and an object buffer is created for the text and support. When it’s all rendered, the scene is composited in After Effects where a building is matted out to cover the support beams. |
Joseph Herman | Oct 29 2014 | 14:24 | 2515 | |||||||||||||||||||||||||||||||||
Motion Tracking: Adding Text to Footage, Part 05: Nodal Pan: 3D Logo on the Sidewalk
In this video, we track a scene that was shot with a camera mounted on a tripod with a nodal pan track. After tracking we align the track in the viewport, add a 3D logo, light it, add shadows, and composite the entire thing in After Effects. When footage is shot on a tripod, it does not contain the parallax that is found in footage shot with a free moving camera (as in the previous two examples). In this case, a different option to tracking is employed than the 3D track in CINEMA 4D, namely nodal pan tracking. In this shot of a motorcycle parked on the street, you’ll do a nodal pan track. You’ll also add and animate a 3D logo and create a brushed metal appearance for it. Lighting, reflections and shadows are added to the scene and final compositing is done in After Effects. |
Joseph Herman | Oct 29 2014 | 16:47 | 3182 | |||||||||||||||||||||||||||||||||
Motion Tracking: Adding Text to Footage, Part 06: Planar Tracking: On the Side of a Building
In this video, we track a shot of a brick wall using planar tracking, add 3D text, lighting, shadows and composite it all in After Effects. Another example of a shot that lacks parallax is of a 2D planar surface. In this case, you use yet another method of tracking in CINEMA 4D, the planar track, which you’ll use in this video to track footage of a brick wall shot with a shaky hand-held camera. You’ll then add 3D text, lighting, reflections, and shadows. For rendering, you’ll add an object buffer for the text as well a shadow pass. Finally you’ll composite the shot together in After Effects. |
Joseph Herman | Oct 29 2014 | 09:59 | 3442 | |||||||||||||||||||||||||||||||||
The Reflectance Channel, Part 01: Reflectance Theory
Getting familiarized with the basic function of the reflectance channel. The Reflectance channel in Cinema 4D combines reflection and specular properties to define how light and the environment interact with the material. In this video, you’ll be introduced to the inner workings of the Reflectance channel. You’ll learn about the Reflection Strength & Specular Strength. You learn how Attenuation and Layer Mask control how each Reflectance layer interacts with other layers and with the Color channel. This theoretical introduction lays a groundwork for more specific instruction that follows. |
Patrick Goski | Oct 22 2014 | 07:04 | 13701 | |||||||||||||||||||||||||||||||||
The Reflectance Channel, Part 02: Basic Material Setup Using the Default Specular
Setting up a material that has both specular and reflective properties using the default specular. In this video you will walk through the steps to create a material that has both a specular layer and a reflective layer, starting with the Default Specular layer. This includes setting up the basic scene objects, adding a new reflectance layer, adjusting the Specular and Reflection strengths, using the layer blending and adjusting the layer hierarchy, using the Layer Mask Amount and adding fresnel to the reflection layer. |
Patrick Goski | Oct 22 2014 | 09:39 | 6585 |