Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance | ||||||||||||||||||||||||||||||||
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New in Cinema 4D R20: Gradient Enhancements
Redesigned Gradient Interface in Cinema 4D R20 support multi-select, zoom and more In C4D Release 20, MAXON has redesigned the Gradient User Interface and has added more functionality to it, making it more powerful and more accurate. We can use the Viewport Navigation shortcuts to Zoom in and pan around a gradient, multi select and edit knots, copy - paste swatches, add Alpha channels, and much more. |
Cineversity | Aug 01 2018 | 06:44 | 9933 | |||||||||||||||||||||||||||||||||
New in Cinema 4D R20: Built-in Material Assets - Uber Material
Node-Based Material Assets offer the power of nodal materials to everyone. See Assets included in R20, including the Uber Material With Cinema 4D Release 20, MAXON has provided a number of pre-made Node Based material assets, with the most important parameters exposed so anyone can use them, without having to use the Nodal editor. A great example is the “Uber Material”. It resembles the standard material interface, but has somewhat different functionality. |
Cineversity | Aug 01 2018 | 02:17 | 13322 | |||||||||||||||||||||||||||||||||
New in Cinema 4D R20: Volumetric Workflow - VDB Introduction
New Volumetric Workflow based on OpenVDB In Cinema 4D Release 20, MAXON introduces a new Volumetric Workflow, that can be used for modeling and data transfer. It’s fully compatible with all other Cinema 4D core technologies, and is based on the OpenVDB library by Dreamworks Animation. |
Cineversity | Aug 01 2018 | 01:34 | 17389 | |||||||||||||||||||||||||||||||||
New in Cinema 4D R20: Create Chiseled Type using C4D’s Spline Field
Chisel Type Effect using the Spline Field as Mask in Cinema 4D R20 You can use Fields in Cinema 4D Release 20 to control the strength of deformation, and with the new Spline Field you can easily create chiseled type. The rig is totally parametric, and you can change the text or font at any time. |
Cineversity | Aug 01 2018 | 05:16 | 11468 | |||||||||||||||||||||||||||||||||
An Artist’s Guide to All Deformers: The Camera Deformer
Learn how to use the Camera deformer, which deforms an object based on a camera’s projection. This video shows how to use the Camera deformer to create a warped space for particles to move through. You can use the Brush or Magnet tool to move the points on the Camera deformer grid to create any distortion or shape you want. |
Edna Kruger | Jul 25 2018 | 04:40 | 4066 | |||||||||||||||||||||||||||||||||
An Artist’s Guide to All Deformers: The Collision Deformer
Learn how to use the Collision deformer, which deforms an object when another object intersects with it. This video shows how to use the Collision deformer to make little bacteria clones create dents in a larger host cell at the points where they collide. You will also learn how to use this deformer’s built-in caching system to create a cache file for faster playback. |
Edna Kruger | Jul 25 2018 | 07:47 | 5957 | |||||||||||||||||||||||||||||||||
An Artist’s Guide to All Deformers: The Displacer Deformer
Learn how to use the Displacer deformer, which uses shaders to deform an object. This video shows how to use the Displacer deformer to use the black-and-white information from a Noise shader to deform a plane to create waves. Cloned capsules generated on the plane move along with the waves. The deformer’s spherical Falloff is animated so the waves expand from the center outwards to the edges. This deformer is great for easily creating overall random movements. |
Edna Kruger | Jul 25 2018 | 07:00 | 6041 | |||||||||||||||||||||||||||||||||
Design it with Cineware: Layer Real 3D Shadows on 2D Imagery using Cinema 4D’s Shadow Catcher
When layering 3D elements on top of 2D imagery, shadows make a ton of difference. In this tutorial, you’ll learn how to render realistic 3D shadows for compositing and layer them in Photoshop, Illustrator, and After Effects. This is all possible via C4D’s Shadow Catcher Shader, which is only available in C4D Studio but can be rendered in Cineware for After Effects or Cineware for Illustrator. |
Rick Barrett | Jul 11 2018 | 08:37 | 3566 | |||||||||||||||||||||||||||||||||
An Artist’s Guide to All Deformers: The Spline Deformer
Learn how to use the Spline deformer, which uses two splines to deform an object between them. This video shows how to apply the Spline deformer to a landscape to make a crater, and how to create a rig to use the Spline deformer to create simple wave or “mouse under the rug” effects. This rig uses two sets of nulls and the MoGraph Tracer object to create splines that are deformed with the Spline deformer. Thanks to yader on Vimeo for the rig design. |
Edna Kruger | Jun 20 2018 | 08:25 | 8271 | |||||||||||||||||||||||||||||||||
An Artist’s Guide to All Deformers: The Spline Rail Deformer
Learn how to use the Spline Rail deformer, which uses multiple splines to deform an object. This video shows how to apply the Spline Rail deformer to two splines and a sphere to make a fun little lava lamp! The key to making this deformer work is the direction of the reference object and the direction of the splines. |
Edna Kruger | Jun 20 2018 | 06:03 | 5362 | |||||||||||||||||||||||||||||||||
An Artist’s Guide to All Deformers: The Spline Wrap Deformer
Learn how to use the Spline Wrap deformer, which deforms objects along a spline. This video shows how to use the Spline Wrap deformer to animate cloned, primitive shapes along a spline to create a double-helix DNA strand. The results are probably not human. |
Edna Kruger | Jun 20 2018 | 09:56 | 7709 | |||||||||||||||||||||||||||||||||
CV-AR: Setup, Capture, Import, and Rig an Animji-style Facial Performance
Download the app from the iOS App store CV-AR makes use of the front facing True Depth camera, in the iPhoneX, to capture your face structure, facial movement, images and also your voice. It requires access to the front facing camera and microphone. This data is stored locally on your iPhone within the App itself. You can manage your captures and transfer them to Cinema 4D to use your own likeness in 3D scenes, or to drive the animation of other characters. The data can be deleted from your phone at any time via the captures tab. The data is not transmitted anywhere else, other than to Cinema 4D, which is completely under your control. When the data is sent to Cinema 4D it is stored in a folder of your choosing, and the data can be deleted at any time. If you are experiencing any issues with CV-AR, you can Report Bug here. |
Donovan Keith | Jun 06 2018 | 28:05 | 21880 | |||||||||||||||||||||||||||||||||
CV-AR: Download and Install
Learn how to download and install CV-AR Kit using CV-Toolbox. If you don’t already have CV-Toolbox installed, please watch this video for instructions: CV Toolbox Download & Install Download the app from the iOS App store To Install CV-AR Kit Manually: If you are experiencing any issues with CV-AR, you can Report Bug here. |
Cineversity | Jun 06 2018 | 02:02 | 15182 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Series Overview
In this tutorial series, Vic Garcia shows you how to use the the Hardware OpenGL Renderer in Cinema 4D to render out a product promo animation of a sleek shaver. |
Vic Garcia | May 23 2018 | 01:15 | 5320 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Setting up Scene Scale and PBR Materials
Set up Scene Scale and PBR Materials Set up scene scale and use CV - Convert to PBR to convert standard materials to PBR material. |
Vic Garcia | May 23 2018 | 04:51 | 2652 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Setting up PBR Lights and Environment
Set up Environment and PBR Lights Set up Environment with a Black Background, HDRI Sky and PBR lights. |
Vic Garcia | May 23 2018 | 09:12 | 2161 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Settings and Preferences for PBR Real-Time Rendering
Use Cleanmode plugin to clean up viewport filters and set up Hardware OGL anti-aliasing settings Use the Cleanmode plugin to create a workflow for OGL rendering that will quickly toggle on/off all viewport filter to quickly render clean OGL scenes. Adjust anti-aliasing settings in the OpenGl preferences to clean up aliasing in the viewport. |
Vic Garcia | May 23 2018 | 04:15 | 2005 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Texture Shaver model using Reflectance channel
Texture Shaver Model via Reflection channel In this lesson, we will texture the Shaver model by adding fine detailed textures and scratches via the Reflectance channel. |
Vic Garcia | May 23 2018 | 14:03 | 2023 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Camera Animation using Camera Morph, & Motion Camera
Camera animation using Camera Morph, Motion Camera and Stage Object Add multiple cameras to our scene and create camera animation using the Morph Camera, Motion Camera and Stage Object. |
Vic Garcia | May 23 2018 | 18:53 | 2539 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Adding Light Sweeps and a Background Image
Add light sweeps and supporting background element In this lesson, we will work on adding light sweeps by rotating our lights in the scene. We will also add a supporting background element to add a little more depth to the scene which helps with the overall look. |
Vic Garcia | May 23 2018 | 10:58 | 1672 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Final Rendering with Hardware Renderer
Dial in Hardware OGL render settings for final rendering Dial in Hardware renderer settings to output the final render sequence. Anti-Aliasing and Supersampling settings will be adjusted to get our final render to deliver to client. |
Vic Garcia | May 23 2018 | 08:11 | 1903 | |||||||||||||||||||||||||||||||||
Product Promos with Hardware OpenGL Rendering: Workarounds for Hardware OGL Rendering Limitations
Hardware OGL Renderer limitations Limitations with Hardware OpenGl for this project, and some workarounds you can use work around them. |
Vic Garcia | May 23 2018 | 07:11 | 1904 | |||||||||||||||||||||||||||||||||
NAB 2018 Rewind - Phil Roberts: Pitch to Final Product using Cinema 4D
Phil Roberts outlines three projects he created while working for London-based marketing firm Taylor James. In the Heart Island project, Phil made use of C4D’s Polygon Reduction generator to simplify a complex sculpt and added foliage via the Scatter feature of Octane. Phil needed to create a scanline laser effect in a project for Superdry Shoe, and demonstrates two different techniques for achieving the effect within Octane. Finally, Phil shows a project for Bombay Sapphire and explains the role Index of Refraction plays in photorealistic rendering.
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Cineversity | May 10 2018 | 33:04 | 13137 | |||||||||||||||||||||||||||||||||
NAB 2018 Rewind - Dan Pierse: C4D in a Broadcast Environment: Sci-Fi and Thriller Promo Production
In this NAB 2018 Rewind, Dan Pierse demonstrates several techniques he uses while creating promos as Motion Graphics Design Director for Fox Broadcasting. Especially for NAB 2018, Dan created four stylized promos for the fictional channel Flux. In this presentation you’ll see several techniques he used in creation of the Sci-Fi and Thriller promos. In the Sci-Fi promo, Dan quickly models interesting wall and floor designs using Cinema 4D’s Knife tools. With improvements added in Cinema 4D R18, it’s easy to cut various loops and also cut spline shapes into geometry. Dan quickly models an articulated arm and shows how to animate it via Inverse Kinematics (IK). He also creates hanging wires using Cinema 4D’s Spline Dynamics. For the Thriller promo, Dan creates a procedural landscape by layering noises and gradients within a Displace Deformer. Dan uses MoGraph’s Cloner object to populate the landscape with trees, and applies MoGraph Selections and the Hide Selected command to art-direct the location of the trees. He also uses the Spline Defomer to add a roadway, and animates a car along the road via the Align to Spline tag. Finally, Dan discusses how Cinema 4D’s Take System and After Effects integration are invaluable when creating multiple versions of similar promos. Make sure to check out Dan’s first presentation from NAB 2018, where he demonstrates techniques used in creating Action and Comedy promos.
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Cineversity | May 10 2018 | 50:54 | 6416 | |||||||||||||||||||||||||||||||||
NAB 2018 Rewind - Caitlin Cadieux: Cinema 4D in Editorial Animation
In this C4D Live presentation from NAB 2018, motion designer Caitlin Cadieux shows how she produces 2D-style animations for The Atlantic in Cinema 4D. Cadieux presents some simple techniques that allow her to create and animate 3D elements for long animations with short deadlines. Over the course of her presentation, Cadieux breaks down shots she created to illustrate an interview with author and humorist David Sedaris. She begins by modeling and texturing a pencil. After this, she creates (and rigs!) a setting of floating eyes that serve as an abstract stand-in for Sedaris. She follows this with her efficient and effective strategy for animating books whose pages are flipping. After Effects artists interested in making the jump to 3D would do well to watch this inspiring presentation!
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Cineversity | May 10 2018 | 46:20 | 6162 |