Latest Tutorials
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NAB 2017 Rewind - Dave Koss: Time-Saving Project Management in Cinema 4D
Dave Koss of Brograph and Nexus Motion shows project management techniques used in the creation of an Emmy-nominated Christmas commercial for HaynesBoone and concert visuals for Deadmau5. Dave shows how deformers and Xpresso combine to create a simple Dove animation rig, and talks about how Xrefs and Instancing enhance workflow on a large multi-artist project.You’ll see how Displacement and R18’s Viewport Tesselation aid in creating a landscape. Dave shows how the Luminous Light Kit available from Brograph.com can aid in creating Octane-compatible lights, and talks about his collaboration with Deadmau5. Finally, Dave shows a project for InTouch Ministries, where he used CV-ArtSmart to quickly import and extrude Illustrator artwork and World Machine to create an Octane-friendly displacement map for the landscape.
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Cineversity | May 30 2017 | 48:29 | 8909 | |||||||||||||||||||||||||||||||||||||||
3 C4D MoGraph Techniques that Create Stepped Rows
Use Step Gap, Linear Falloff or the Formula Effector to adjust Cloner rows & columns. Learn 3 different MoGraph Effector techniques to incrementally adjust rows & columns of clones. You’ll see how these techniques work to create raked or stepped seating for a lecture hall, theater or auditorium, but these techniques are also great for product visualization of a point-of-sale display. You’ll see how to use Step Effector’s Step Gap option, a Plain Effector with Linear Falloff, or a very simple Formula Effector to achieve the desired result. All 3 techniques work equally well with Cloner Grid Array or Honeycomb Array modes. |
Rick Barrett | May 30 2017 | 05:37 | 5529 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Barton Damer: Nike: Anamorphic Artwork & Camera Projection for Print and Animation
Barton Damer , Lead Artist and Founder of Alreadybeenchewed, takes us through a look at two different shoe campaigns his company has recently worked on, both utilizing camera projection techniques. The first being a set of commercials for Vans shoes’ 50th anniversary utilizing anamorphic views for elaborate reveals. The second being with Nike for their Equality campaign where his team recreated head sculptures in 3D for Nike’s athletes. For the Vans shoe commercials, Barton demonstrates the camera and texturing techniques used to create the anamorphic effects. He goes through the setup and design process for both commercials showing the common techniques applied in both. In the Nike Equality campaign, Barton and his team recreated 16 Nike athlete portraits within 48 hours using a base human head found in the Content Browser, the Sculpt tools, and Camera Projection. He uses Octane Renderer for real-time render results, to create a dynamic light mood on the original portrait that would not be achievable to do in 2D. Barton also shares his secrets for creating realistic facial textures using photoshop effects and layers.
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Cineversity | May 25 2017 | 46:35 | 8510 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Andy Needham: Projection Mapping and VFX techniques for Motion Designers
Andy Needham shows several techniques used in creating a Halloween-themed basketball court projection for the Sacremento Kings. You’ll learn several character animation techniques using the PoseMorph tag, deformers and the restriction tag. You’ll also see how R18’s Voronoi Fracture can be used to easily break and crumble the floor. Next you’ll see how Camera Calibration and Projection Mapping helped bring old photographs to life in a project for Sotheby’s. Finally, Andy gives an overview of Cinema 4D’s Motion Tracker.
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Cineversity | May 25 2017 | 52:35 | 8627 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Mike Schaeffer: Cinema 4D, From Design and Concept through Final Renders
The Mill artist Mike Schaeffer guides us through a tour of The Mill’s concept and design process to create high-end visuals. First Mike introduces us to the Blackbird; A custom virtual car The Mill created to use during film production shoots to create live motion tracks and realistic HDR maps for cars to be seemlessly composited in later in post. Mike then goes into what he calls the “Brain Setup” for designing with 3D, which is making a clear choice between concept development based on clients predetermined expectations versus experimental 3D, which is more of a iterative design approach. Mike then guides us into some projects he’s done with The Mill, showing the original inspirations and references, and how they were incorporated throughout the project designs. First Mike shows off a piece he helped make for Ad Council, and demonstating how to model a desk chair using basic modeling and the sculpting tools. He then goes into the process for creating textures for objects that appear reems of paper used in the same piece. Mike then goes into a modeling discussion on the advantages of modeling things by hand versus using mesh generators, and the factors to weigh in when making these decisions. From here Mike shows us how to model a shield by hand within 3 minutes rather than using a traditional Extrude NURB. Mike then follows up with another project for a muesum, and shows how to quickly create support columns using the Sculpting tools and basic MoGraph. Finally Mike finished up with showing off a sports package piece The Mill created for the Hearthstone videogame, and demonstrates how he modeled some of it’s logo elements.
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Cineversity | May 23 2017 | 46:23 | 6628 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Nick Campbell & Chris Schmidt: Ask GSG
Nick Campbell and Chris Schmidt of GreyScaleGorilla host an NAB C4DLive version of their popular live “Ask GSG.” In this presentation they take two live questions from the NAB audience. In the first, Nick and Chris figure out on the fly how to create organic tesselated growth using the C4D basic particle system, PolyFX, Tracers, Deflectors and Displacement. ThGorilla Pin using cloth, dynamics and HDRI.
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Cineversity | May 23 2017 | 43:10 | 4700 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Lorcan O’Shanahan: Brief Explorations into Parametric Workflows
Lorcan O’Shanahan takes the concept of keeping his scenes fully procedural to the extreme. In this video he breaks down how he created a sci-fi animation of the Cineversity Logo, specifically focusing on how he created complex nesting parts based on a simple triangle spline. He follows this up by showing a technique for creating art-directible explosions with debris using the Push Apart Effector and the Tracer object. He closes by making use of the Correction Deformer, Morph Tag, and Morph Deformer in order to create a complex origami-style folding animation that is controlled by effector falloff. You’re guaranteed to pick up some new techniques and a different way of approaching complex effects.
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Cineversity | May 23 2017 | 42:37 | 5911 | |||||||||||||||||||||||||||||||||||||||
Projector Shader Streaks Workaround
Remove projector shader streaking. Use the gradient as a layer mask to remove or hide streaks created by your projector shader. |
Darrin Frankovitz | May 22 2017 | 02:02 | 3552 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Nick Campbell: 20 Speed Hacks Every New C4D User Should Know
GreyScaleGorilla.com founder Nick Campbell shows how to quickly create a dynamic text reveal using a MoGraph cloner, MoDynamics, the Variation shader, and the Physical Renderer. During the process Nick demonstrates a number of tips and techniques aimed towards improving your speed and workflow. Topics will include how to customize your workspace, using Render Instances and baking dynamics for faster playback, how to create fast “render blasts” for previz, the benefits of using Team Render, and also how to best use the Physical Renderer in conjunction with the Interactive Render Region for the fastest render results. In the end Nick closes with a fantastic optimization trick on how to save almost 50% of your render time when using the Physical Renderer by replacing the Color Channel with a Diffuse layer in Reflectance.
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Cineversity | May 18 2017 | 48:26 | 6575 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Eran Stern: Combining C4D and After Effects for 3D Title Creation
In this presentation Eran Stern shows you how to take your Cinema 4D renders and get the most out of them in After Effects. Eran begins by showing how to bake Dynamic Animations for accurate previews when using Cineware. He then goes on to show how to integrate 3D elements into live footage. He follows this up with a breakdown of an entirely dynamic animation created using Xpresso. He closes out his presentation by showing how you can create a station identity package using downloaded models and clever editing.
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Cineversity | May 18 2017 | 49:59 | 6582 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Al Heck: Create a Fantastic Freelance Career Using C4D
Freelance artist Al Heck goes over a variety of professional projects he’s produced, showing how he used Cinema 4D in each one to quickly deliver results to the clients. First Al goes over a motion graphics piece made for CUNA, featuring Arianna Huffington and the Huffington Post. Al shows how he created the scene primarily using MoGraph Cloners and MoText objects, and then used External Compositing tags for creating overlays in After Effects. Next Al shows off a pinball piece he created for Facebook utilizing the Projection Man plugin for projection painting. Al shows how to quickly paint textures in Photoshop and then project them onto the models in Cinema 4D for quick and flexible results. Al then shows how you can use projection painting in BodyPaint 3D to quickly texture buildings for use in either films or video games. Towards the end Al discusses the advantages of using Team Render to speed up rendering, and how to build a PC render farm on a budget. He then finishes up with promoting new users to try out the free trial version of Cinema 4D/BodyPaint 3D.
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Cineversity | May 18 2017 | 40:57 | 4809 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Patrick Longstreth: Visual Effects for Adam Ruins Everything
Patrick Longstreth, VFX Supervisor for truTV’s Adam Ruins Everything, demonstrates how Cinema 4D is used to quickly and easily create three specific VFX shots from the show. You’ll see how C4D’s Motion Tracker is used to track a greenscreen shot and place Adam into a virtual news set. For the Adam Ruins Malls episode, Patrick needed to place Adam and Emily in a pile of Vitamin Supplements, which he quickly models from a Capsule primitvie, places and animates with the aid of Rigid Body Dynamics and then composites from a quick foreground and background plate generate via C4D’s Layer system. Finally Patrick shows how easy it is to destroy a shopping mall with the help of the Voronoi Fracture object in Cinema 4D R18.
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Cineversity | May 16 2017 | 54:29 | 5773 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Perry Harovas: C4D Is My Secret VFX Weapon: Confessions of a Former Maya User
Perry Harovas has been doing 3D animation and VFX work for decades, and in that time he’s used a ton of different software. A former Maya and Softimage user, he’s adopted Cinema 4D because it allows him to work quickly and flexibly. In this presentation, he shares a history of his work with 3D software and gives us a peek into a selection projects. He uses the Cloner object and C4D’s simple materials system to quickly build a video store stocked with some of your favorite films. After that he creates an incredibly detailed fire simulation with the TurbulenceFD plugin. He wraps up his presentation by showing how to quickly create and place rubble in your scene - all while using the Takes system to ensure he can make changes with clients in the room.
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Cineversity | May 16 2017 | 47:02 | 7471 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Matt Milstead: Motion Tracking with Cinema 4D
Matt Milstead from BroGraph explains the best ways to using the Motion Tracker in Cinema 4D. Through a variety of different projects, Matt will guide you through the techniques he’s used for creating physically accurate measurements to use in the Motion Tracker, as well as how to create a proper HDR on set for realistic lighting and reflections to achieve maximum realism. In addition use of the Position and Vector Constraint tags, as well as the Motion Tracker Graph, will be explained to help you in achieving rock solid tracking results. At the end, Matt will show you how to combine techniques using the motion tracker and camera projection to create an anamorphic logo reveal.
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Cineversity | May 16 2017 | 48:29 | 8248 | |||||||||||||||||||||||||||||||||||||||
Create a Hexagonal Mesh with the Honeycomb Array Cloner
Create a Hexagon Grid with the Mograph Cloner’s Honeycomb mode. Need a grid of hexagonal polygons for a project? In this quicktip, you’ll learn how to make a lightweight polygonal mesh made entirely of hexagons. |
Donovan Keith | May 15 2017 | 04:41 | 7343 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Devon Ko: 3D: A Visual Playground for Artists and Designers
3DforDesigners.com founder Devon Ko shows just how approachable 3D can be for 2D designers if they use their existing knowledge of form, repetition, and color. In the first section of her presentation Devon shows how to use primitive shapes like Cubes, Cones, and Spheres along with a gradient shader to create a clean and pleasing design. She then adds in some turbulence and gradient maps the colors in Photoshop for a grungier aesthetic.
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Cineversity | May 11 2017 | 42:55 | 8390 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - EJ Hassenfratz: 3D: How to Make Cinema 4D an Invaluable Part of Your 2D Workflow
EJ Hassenfratz, host of the motion graphics training site, Eyedesyn.com, demonstrates the many ways Cinema 4D’s diverse tools can be an invaluable asset in a 2D workflow. EJ breaks down some of his favorite tools and techniques that allow him to create 2D illustrative style animations in 3D. Topics covered are Sketch & Toon, Variation Shader, Squash and Stretch Deformer, Pose Morph and more.
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Cineversity | May 11 2017 | 48:32 | 10193 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Angie Feret: 3D: Cinema 4D for Designers - Making the Transition
Angie takes you through the basic techniques for adding some 3D flare to your 2D projects. You’ll learn how to quickly create simple product packaging, basic logos and animation, as well as add some fun motion graphics elements with MoGraph and Dynamics. Angie demonstrates how to work seamlessly using Cinema 4D Lite / Cineware and After Effects for quick project turnarounds.
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Cineversity | May 11 2017 | 44:15 | 5141 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - John Lepore: 5 “Wrong” Ways To Use Cinema 4D
Perception’s Creative Director John LePore shows 5 “Wrong” Ways to use Cinema 4D. In this presentation you’ll learn the quick and dirty techniques that a “lazy” C4D artist employs to create outstanding motion graphics and Fantasy User Interfaces for films, as well as real-world UI for the Ford GT and Microsoft Hololens. John details a process for creating 2D textures from 3D elements, add reflections in a dashboard element for the Ford GT, and use Spline Dynamics to create a FUI spiderweb element for Dr. Strange. Finally John outlines how Perception used Cinema 4D’s Camera Mapping options to create dynamic camera moves around concept art and to solve a tricky workflow issue when creating the new Marvel Studio logo.
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Cineversity | May 09 2017 | 48:59 | 10767 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Russ Gautier: Blockbuster FUI techniques in Cinema 4D
Russ Gautier details the camera mapping workflow Perception used to map footage on the inside of the Marvel Studios logo. Russ shows a script to quickly create Object Buffers from individual objects (see the attached version of CV-Add to Object Buffer within the CV-OM Tools package). The object buffers are combined with 3D data from C4D within After Effects, and after the footage is aligned the After Effects output is reprojected within Cinema 4D to add reflections and global illumination. Russ next shows a technique used in a FUI element for Batman v Superman - combining multiple C4D renders in After Effects with a Colorama effect animated via a modulo expression.
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Cineversity | May 09 2017 | 50:35 | 11058 | |||||||||||||||||||||||||||||||||||||||
NAB 2017 Rewind - Robyn Haddow: Cinema 4D FUI in a Flash
In this live presentation from NAB 2017, freelance FUI designer Robyn Haddow breaks down her techniques for two projects. The first is a visualization of a “Data Cube” which stores all of the information about a person in a style inspired by DNA sequencing. The second project is a futuristic semi-mechanical interpretation of the DNA molecule.
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Cineversity | May 09 2017 | 55:18 | 7253 | |||||||||||||||||||||||||||||||||||||||
Invert your Texture Maps
Invert your Texture Maps. The fastest way to invert your B&W textures to use them as masks or bump normal etc. is to change the black point and white point from 0/1 to 1/0! The layer shader is also great for this and if you’re using a color texture then you will see the fastest way to desaturate it and invert it. |
Darrin Frankovitz | May 08 2017 | 02:47 | 6580 | |||||||||||||||||||||||||||||||||||||||
Packaging Design: Introduction
Creating three dimensional renders of Packaging Designs and Products, can be very simple or very complex, depending on the Design, the medium, the polish and a multitude of other factors. This series, aims to bring a variety of processes and workflows to light, from which you can pick and chose, to create your own, very personal, workflow, for achieving the best possible result in the shortest amount of time. If you wish to follow along, please download the scene files from the “Files” button above. |
Athanasios Pozantzis | May 03 2017 | 01:02 | 9730 | |||||||||||||||||||||||||||||||||||||||
Packaging Design: Resources for Packaging Designers
A common starting point for any 3D packaging visualization, is a Vector file that has all the structural and artistic elements included. For the purpose of this series, I am going to refer to resources from two places: http://www.templatemaker.nl |
Athanasios Pozantzis | May 03 2017 | 01:33 | 7922 | |||||||||||||||||||||||||||||||||||||||
Packaging Design: Importing Paths from Adobe Illustrator
Although importing Adobe Illustrator Vector Paths is common knowledge for a lot of Cinema 4D users, I decided to do a quick tutorial, to make your lives easier, just in case you don’t possess that knowledge. There are two ways of importing Vector Paths into Cinema 4D, the “traditional” built in method, which I will explain in this video, OR you can use a very powerful Cineversity Plugin, called CV-ArtSmart, for which there’s a series of tutorials, right here on Cineversity. If you wish to follow along, please download the scene files from the “Files” button above. |
Athanasios Pozantzis | May 03 2017 | 08:06 | 6938 |