Cineversity

In this video, we’ll demonstrate how versatile Bend deformers are for animating objects.  We’ll be adding follow through and overlapping animation by layering up multiple bend deformers to breath life into our acorn character.

In this video, we’ll again demonstrate how versatile Bend deformers are for animating objects.  We’ll be adding follow through and overlapping animation by layering up multiple bend deformers to animate our dizzy leaf character.

In this video, we’ll demonstrate how we can combine multiple deformers like Bend, Twist, and Squash and Stretch Deformers to playfully animate our flower character.  We’ll finish by adding follow through and overlapping animation procedurally using the powerful and fun to use Jiggle Deformer which allows you to add generative animation based on existing object movements.

In this Quick Tip, Jonas Pilz shows you how to use the new UV Transform tool in Cinema 4D Release 21. Besides that, you will learn a few useful shortcuts that will help you speed up the workflow.

Recorded in Cinema 4D Release 21.

Perception is a New York Based Design Lab, mostly known, amongst others, for their magnificent work on the Marvel Universe Feature films. Their website is: experienceperception.com
Perception was tasked to create a motion graphics piece for the Maxon 3D Motion Tour 2019 (http://www.3dmotiontour.com)
It’s called SENSES and was made entirely in Cinema 4D and rendered using Maxon’s Redshift.
In this series, we will do a breakdown and take a look at the fundamental techniques used to put it together.

In this Video we will use Procedural Modeling techniques, including spline compounding and spline masks, to model a fifth of a pentagonal structure, that has a lot of detail, but is fairly simple to put together.
It illustrates the simplicity and Artist Friendly nature of Cinema 4D’s modeling pipeline is, and how easy you can create very complex looking objects.

In this Video, we will see how to combine MoGraph, deformers, Keyframes and procedural animation in Cinema 4D, to create a stylized eyeball, that looks both mechanical and very organic, at the same time.

In this video, we will look at different ways to make objects look as if they have soft body and rigid body dynamics, when in fact everything is deterministic and art-directable. Using the Collision Deformer instead of Soft Body Dynamics, and Mograph with Fields instead of Rigid Body Dynamics, allows for that.

In this video, we will see how to use a Sound-Controlled Displacer Deformer and a Spherical Field to bring a Sphere to life, and make it react to Music. We will also use the same Effects to apply different materials to each area. The final effect, although easy to achieve, is quite impressive.

In this video, we will create a simple Particle simulation, and emit Spheres that react dynamically within their contained structure. We will see how to model the interior using Mograph and Booleans, how to emit dynamic spheres, affect Gravity, and also how to create interaction and get feedback from particles colliding with our surfaces.

In this video, we will create a growing flower petal using Deformers and some keyframes, and then use Mograph to multiply this single petal into a complex, living flower. We will also add more complexity by using the Golden Angle and a simple Mograph setup. Finally, we will also see how easy it is to modify the timing of keyframes in the Timeline.

In Part 7, you’ll focus on making the landscape. This needs to be unique with varying features - a golf course, a beach area, perhaps?
It won’t be possible to repeat it as much as with the accommodation. Therefore, quite a large base section is required as the starting point. You’ll use a plane object and fit it to the ring.
Next, you’ll transform the plane into complex terrain using the sculpting tools. You’ll create hills and a river using tools such as Inflate, Smooth and Pull. To model rocky terrain on the hills, you’ll use the Pull tool with a stone texture.
Next up, it’s time to add some base textures.

In Part 8, Adam shows you some great techniques for texturing landscapes in Cinema 4D. You’ll create realistic rock faces, grass, sand and water.
You’ll use shaders in the alpha channel to control where the textures appear. For example, to restrict the rock face texture to the steep sides of the hills, you’ll use the Falloff shader in the alpha channel. Adam also shows you some very useful techniques for getting small, seamless textures to work well over large areas. You’ll use Noise shaders and the Layer shader in the Diffusion channel to help break up the colour and have more variation in the texture.
Once the textures are looking great, the next step in Part 9 will be to bake them!

Cinema 4D is 3D animation software that is used for all kinds of artwork. It is regarded as one of the easiest to use professional 3D applications that can handle any 3D task. Magic Preview plugin: https://nitro4d.com/product/magic-preview/

In Part 9, first you’ll bake the textures for the terrain.
Next, you’ll use the Cloner object to clone trees over the terrain. To follow along with this part, you’ll need some tree models. You can use your own trees, and/or trees from Cinema 4D’s Content Browser.
The trees available in the Content Browser depend on which version of Cinema 4D you are using. A quick way to find trees is to go to the Content Browser and type “tree” into the Search bar (to show the Search bar, click the Magnifying Glass icon). To control where the trees appear, you’ll restrict the cloning area to selected polygons on the terrain. To make the tree clones look more varied and to avoid an obvious repeating pattern, you’ll use Random Effectors to vary the size and angle of trees.

In Part 10, the next major thing to do is to add some texture to the grass lawns alongside the apartments as well as some blossoming trees and ornamental plants.
Once again, you’ll use Cinema 4D’s Cloner Object to clone the plants. Along the way, Adam resolves various issues. For example, the fog is not in the right place, the terrain needs to be extended, and the UVs for the main walls need to be fixed.

In Part 11, you’ll give the space colony a holiday resort feel.
You’ll add swimming pools next to the walkways, and you’ll add bridges to connect the two accomodation sides together. To create the bridges, you’ll use a Sweep object, an Arc spline and a u-shaped Profile spline. There are a few areas left to refine: you’ll make the vents look more interesting, you’ll give a look of panels to the ring’s support arms that will break up the highlights, and you’ll add wooden decking to the balconies.

In Part 12, you’ll add the final touches to the space colony.
Mainly, you’ll add people to bring everything to life and give a sense of scale. For the holiday resort concept, there’ll be people chilling out by the pool, lazing on the beaches, taking a boat trip, and what exotic resort would be complete without someone selling timeshares? To add the people, Adam dives into Cinema 4D’s Content Browser and makes use of some great models available from https://renderpeople.com.
Congratulations on making it to the end of this 16-hour tutorial! We hope you’ve learned some useful tips and feel inspired to create your own epic renders! Check out Adam’s final renders here: https://kromekat.net/portfolio/space-resortcolony-personal-concept-video-training-project/

In this Cinema 4D Quick Tip, Jonas Pilz shows you how to swap the colors of two color chips with ease. You will also learn that colors can be swapped between all sorts of objects, shaders, etc.

Create your own stunning ring-shaped space colony in Cinema 4D with this epic, 16-hour tutorial by Adam Benton (http://kromekat.com).
Adam is an award-winning creative artist based in the UK who has been fascinated by the idea of space colonies ever since he saw the first NASA concepts of these ideas as a child. This 11-part tutorial gives you a rare insight into creating stunning sci-fi images. By the end of the tutorial, you’ll be able to create your own renders of these astounding worlds where the horizon bends up and away from you. You’ll be in good shape to tackle other epic Cinema 4D images.
Modelling, sculpting, materials, lighting, rendering, and an escape pod full of tips and tricks await you on this voyage of Cinema 4D discovery. Join Adam in Part 1 as you construct the basic ring shape of the colony.

Create your own stunning ring-shaped space colony in Cinema 4D with this epic, 16-hour tutorial by Adam Benton (http://kromekat.com).
In Part 2, you’ll create the basic ring structure of the space colony. First, you’ll create a cross-section of the ring. To do this, you’ll use the Pen and Spline Arc Tool, and you’ll turn on grid point snapping to help place the points precisely. You’ll create the cross-section as two splines, which you’ll then join together using the Spline Mask tool. To help soften some of the edges, you’ll bevel them using Chamfer.
You’ll then generate the ring from the cross-section using a Sweep object and a Circle. To make life easier on yourself, you’ll then delete most of the ring to leave just one section. You’ll then rebuild the ring using the Cloner to replicate this section. Now any changes you make to this section will be replicated around the ring automatically. This saves you from having to do the same work multiple times around the ring.

In Part 3, you’ll add doors and windows to the basic ring structure you created in Part 1. But before you do that, you’ll separate the ring section into three separate meshes for the different parts so they can be treated differently: Habitat Section, Glass, and Hub Section.
Here you’ll use Selection tools, including Loop Selection and Fill Selection, to select the polygons for the different parts. You’ll use the Split command to split the selected polygons off into new mesh objects. One issue you’ll run into is that the polygons are facing the wrong way. You’ll correct this using the Reverse Normals command. You’ll also delete unused points that were left over when you used the Split command. You’ll wipe these out using Optimize.
It’s then onto the doors and windows, which you’ll create using Loop/Path Cut, Extrude and Extrude Inner. You’ll learn how to change the number of cuts and how to place them accurately. In case you need them later, you’ll add some basic rooms behind the windows. To make it easy to reselect polygons for areas such as windows, you’ll create Polygon Selection tags to store those selections.
You’ll also use these tags with materials to apply materials to those areas. For example, you’ll apply a glass material to the tag selections for the upper and lower windows.

In Part 4, you’ll create a framework to support the ring structure, railings to keep your colonists safe, and you’ll help them to feel more at home with lawn areas and funky balconies.
You’ll use Loop/Path Cut to create sections where grass should appear. To create the railings, you’ll first select edges of the Habitat Section where the railing should go, then generate a spline from these edges using Edge to Spline.
You’ll use this spline with a Sweep object and Rectangle to create the railing. To create the structs of the framework, you’ll again use Sweep. This time, you’ll use two Sweeps.
To create the main splines for the Sweeps, you’ll edit a cylinder and convert some of its edges to splines. And finally, for the balconies, you’ll move parts of the buildings outwards, then round the edges of these parts using the Bevel tool.

In Part 5, now that you’ve created the basic model, you’ll work on materials, lights and render settings. You’ll do a few test renders, and get more of a feel for how the final renders might look.
Some artists like to do all of the modelling first before adding materials and lights. But for a big project like this, Adam finds it very encouraging to see things taking shape early on. To start with, you’ll add colour bands to the accommodation. Each accommodation block will eventually have a different colour band (and different number, perhaps) so that residents will be able to tell which block or section they are at. Next, you’ll create a material for the white walls of the accommodation.
You’ll use Mod Noise to give the impression of panels, and Wavy Turbulence to make the walls look weathered. You’ll make the material for the accommodation windows more realistic, by layering a few Noise shaders to give the impression of lighting and details behind the windows. For the main glass structure, you’ll create a material that uses a Hexagonal pattern in the Tiles shader.
It’s then onto lighting. You’ll add an Infinite light to simulate the Sun, and an Omni light for blue light bounced from good old (out of shot) planet Earth. You’ll render some test shots using Physical Render and Global Illumination. Adam will then share a tip with you on how he simulates atmospheric perspective inside difficult shapes (you can’t use regular Environment Fog for this, as the atmosphere is only inside the ring).
Objects seen in the distance in the ring colony will pick up a blue tint from the atmosphere, adding realism and sense of depth. Things are really shaping up now!

n Part 6, you’ll increase the detail of the model. You’ll flesh out the framework and spine, and build a new transport section.
First, you’ll redo the framework to make it easier to edit. Then, you’ll make the rods in the framework much more detailed, using tools like Loop/Path Cut and Extrude. Next, you’ll edit the spine that runs above the roof. You’ll cut out areas of the spine and raise sections to increase the detail. Following this, it’s time to change plans for the transport system. It probably doesn’t make sense to have this located in the roof. The colonists would have to be whizzed up and down. Perhaps more logical is to build an underground system just below the accommodation.
You’ll use Colin the Colonist to help you get it the right height. On the way, you’ll tweak materials, add water vents to the ceiling, and make some changes that will make it easier to add landscape in the next video!

In this Quick Tip, Jonas Pilz shows you how to use the new Cache layer in the Volume Builder to speedup the volume workflow in Cinema 4D Release 21. This technique is especially useful when you use volume filters in your setup.