Maxon Cinema 4D Studio R15 manual

© 20 1 3 MA XON C omp uter G mbH • All r ight s rese rve d Ma x- Pla nck -Str. 20 • 613 81 F rie dri chs dor f • G erma ny T el . +49 -(0)61 72- 590 6- 0 • F ax +49 -(0)6 172- 590 6-30 MA XON is P ar t of th e N eme tsch ek Gro up www .max on. net Q uicks tar t Manual C INE MA 4 D REL EA SE 1 5 • Quick start Manual Cover_QS_DE_R15_2.indd[...]

I C I N EM A 4 D R el ea s e 15 Quickstart Manual The so ftwa re desc rib ed in th is do cume nt is su bjec t to a lice nse ag ree ment a nd may o nly be u sed i n accord ance wi th the reg ulation s thereof. Pro gra mmi ng Chr istia n Losc h, Ph ili p Losch , Rich ard Kur z, Al eksa nd er Stom pel , Til o Kühn , Per- Anders E dwards, Sv en Behne [...]

II Contents Prefa ce ________________________________________________________________________________________________________________________________________________ IV W elcome to C INEM A 4D R15 __________________________________________________________________________________________________ 2 1 . Introduc tion __________________________________[...]

III MoGraph ______________________________________________________________________________________________________________________________________________ 109 1 . Introduc tion _________________________________________________________________________________________________________________________________ 109 2. General Inf o rmat io n/ Interfac e [...]

IV Note : As a re sult of con tinue d pro duc t devel opm ent, d ifferen ces be tween t he cur rent an d pri nted do cume ntatio n with re gard to refere nced fil es ca n occur. The mos t cur rent vers ions c an be fo und o n the pro duc t DVD inc lud ed in you r orde r , or c an be d ownl oad ed from th e MAXON we bsite o r via the O nlin e Up da[...]

1 © Di mitri s Katsa fouro s[...]

2 Interf ace W el come t o C IN EM A 4D After yo u have worked th roug h this tutor ial you wi ll have a go od bas ic user k nowle dge w hich you c an ap ply to futu re proje cts . In thi s Quic kst art m anua l you will b e asked to o pen cer tai n files fo r demo nstra tion pu rpos es. The se can b e foun d on your G oo dies DVD or o n the MA XO[...]

3 Interf ace No m atter if yo u’re just ch ecki ng CIN EMA 4 D out or i f you alrea dy own you r own copy of CI NEMA 4 D, you alre ady kn ow abo ut the in credi ble thi ngs CI NEM A 4D can d o. We have be en work ing ver y clo sely wit h our cus tomer s for severa l years n ow in orde r to satisf y thei r nee ds and w ishes . Thi s has lea d to t[...]

4 Interf ace Clic king o n the lig ht blu e Cub e icon op ens th e para metri c obje ct gro up sel ec tion win dow, whic h contai ns all of CIN EMA 4 D’s availab le pa ramete ric ob jec ts . It conta ins all o f CINE MA 4D’s avai labl e pred efine d para metric objects. Icon P alette (m o de s) Material Manager Coordinates Manager Attribute Ma[...]

5 Interf ace Clic k on the s econd i con to create a cu be. Cl ick an d hol d to see all ava ilab le par ametr ic obj ect s. B efore we pro ceed we wi ll incre ase the c ube‘ s subd ivisio n. At the b otto m right of th e Attri butes Ma nag er you wil l find th e Se gmen ts X, Y a nd Z set ting s. In crease e ach val ue to 3 . Note : A f ter an [...]

6 Interf ace The a dvan tage s, esp ecia lly in m odel ing , are obvi ous . Since th e obje ct co ntain s few point s ( ed ges/po lygon s ) that c an be e dited it re main s very m anag eab le. Y o u can dr ag jus t one p oint of th e orig inal w ire frame a nd the Sub divis ion Sur faces m esh , with its fi ner su bdi visio n, will fo llow the p [...]

Sample Images 7 © Cle ment Vau celle © Jo e Y a n (Shan ghai I HDT) – w ww.i h-d t.tv © Erda l Ugu r – ww w.ap ache des ign .com[...]

Sample Images 8 © S oonyup Song – leonca fe1@gmail. com © Jo sh Gru ndm eie r – www.f usea nima tion .com[...]

9 Interf ace We will co ntinu e with navig ation i n CINE MA 4D. The fi rst s ymbo l ( clic k – hol d – move mou se ) moves th e view. The s econ d symb ol (foresh or tened d oub le arrow) let s you do lly in an d out a nd the thi rd ( c ur ved arrows w ith a dot in t he center) let s you rotate th e scen e. Sel ec ting the l ittle re cta ngl [...]

Sample Images 10 © Di mitri s Katsa fouro s © Kay T e nne man n – most yle .tv[...]

11 Materials 3. Q uick T utorial: Materials A w ell-modeled obje ct c an make a m edio cre imp ressi on if the r ight textu res aren’ t use d. T ex tures g ive a mod el colo r , hi ghli ghts , stru ctu re and oth er im por tant s urfa ce prop er ties. A tex ture pla ced into th e Bum p chan nel, for exam ple, g ives the o bjec t ’s sur face a n[...]

12 Materials We will n ow create ou r own materi al. Open the QS_ Materi al.c4d file. Y ou ca n see in th e Obj ect M ana ger to the rig ht that th e obje ct do es not ye t have a texture ap pli ed to it. Cl ick on CR EA T E/N EW MA TE RIAL in th e Mater ial Ma nage r at the lowe r left . A sta nda rd materia l has be en crea ted. If yo u click o [...]

13 Materials Clic k on the ma terial i n the Mate rial Ma nag er with the l eft m ouse b utton a nd dra g it onto th e E yeb all ob jec t in the O bjec t Ma nag er ( wh en you dra g the mate rial over th e obje ct yo u can let g o once th e arrow p oint s down). Alter natively yo u can d rag the m aterial o nto the de sired ob jec t (the eyeb all) [...]

14 Materials On ce you have sel ecte d it you wil l see it s para meters i n the Attri bute Ma nag er . Ado pt the set ting s you see i n the nex t scree nshot : We have jus t alig ned th e texture o n the eyeba ll mesh by c hang ing th e Length U a nd Len gth V pa ramete rs. T he off set set ting pu t the textu re in the cor rec t positi on. I f y[...]

15 Materials If you own C INE MA 4D Vis ualize or C INEM A 4D Studi o, you ca n rend er hum an skin re alis ticall y usin g Subsur face Sca tteri ng. B y plac ing thi s shad er in the Lu mina nce cha nnel (click o n the sma ll arrow n ext to T ex ture an d sel ect S ubsur face S catte ring fro m the Effec ts m enu) the ef fect is c reated wh en ray[...]

16 Materials Danel: V er y go od for si mulati ng hig h-g loss fi nish . Banzi : Lets you d epic t var ious t ype s of wood .[...]

17 Materials Banji: Calc ulates co mplex l ighti ng situa tions wi th glas s and even m akes rear-p rojec tion (sh adow ca stin g) on pa rtia lly trans paren t materia ls such a s rice- o r canva s pap er pos sibl e. © Marco D attilo – w ww.ma rcodat tilo .com[...]

18 Lighting © Enr ique R ued a – www. amsce nes .com 4. Q uick T utorial: Lighting If you a re alrea dy famil iar with l ightin g a scen e in the rea l world th en you wil l feel rig ht at ho me with th e CIN EMA 4D l ight o bjec ts . They c an do ever y thing re al lig hts ca n do – an d quite a bi t more. I n this tuto rial we will s et up a[...]

19 Lighting A 3-p oint l ighti ng arra nge ment b egi ns with se ttin g a key light . As the na me su gges ts , this lig ht emit s the ma in lig hting fo r the scen e and wi ll cas t the mai n shad ows. Cre ate a light o bje ct (Create/Li ght/ Light). Na me it Ma in Lig ht ( do uble -cl ick on th e name) in the O bje ct Ma nag er . CIN EMA 4D h as [...]

20 Lighting Now o ur lig ht sou rce has be en tran sform ed to a spot . A spot a ct s like a flas hligh t. CIN EMA 4D o ffers sp ots with s quare a nd roun d cone s of ligh t. This co ne is vi sible i n the ed itor an d can b e manip ulate d. Now we w ill aim th e spot a t our fig ure. Posi tion the l ight at th e follow ing coo rdina tes in the [...]

21 Lighting CIN EMA 4D o ffers th ree typ es of sha dows : Raytra ced (Ha rd) – a sha dow with sh arp ed ges , Sha dow Map s (Soft) – a sha dow with s oft ed ges a nd Area – a sh adow tha t beco mes sof ter the fu rth er it ’s away from the o bjec t, resul ting in th e mos t realis tic sha dow effec t. T r y the oth er two sha dow t ypes . [...]

22 Lighting Y o u will se e the resul t in the ed itor ri ght away. Y ou ca n also e dit the l ight ’s cone by dr aggi ng the o rang e han dles . If you r grap hic s card wil l supp or t it you ca n set the e ditor ’s display m ode to En han ced Op enG L with ac tivated sh adows . (V iewp ort : OP TION S/ENH ANCED O PEN GL) Ge nera lly spe akin[...]

23 Lighting Since t he bri ghtne ss of the li ghts i n the sce ne is ad ditive, we m ust di m the br ighten er a lit tle. Red uce the I ntensit y in the G ene ral men u to 40 %. Thi s area lig ht illu mina tes the fig ure from a di fferent a ngl e and sof tens th e contras t som ewhat. I t won’t c ast a sha dow sin ce this woul d cau se crossi n[...]

24 Lighting That co mpl etes our c lassic 3 -po int lig hting a rran gem ent. N ow the rea l work st ar ts. If t he scen e has a ba ckgroun d, wh ich is of ten the ca se, it wi ll have to be lit a s well. W ith the p rope r use of om ni lig hts de tails i n the sce ne ca n be bro ught to li ght ver y nice ly . Bu t don’ t overdo it . With go od l[...]

Sample Images 25 © ww w.king coma .com[...]

26 Lighting 5. Tips and T ricks © Uli S taiger – www .dielichtgestalt en.de • CI NEMA 4 D has b een a ble to bu ild a larg e comm unit y of user s arou nd it wh o are more th an hap py to help newco mers i n any way pos sible , be it thro ugh th e use of h ome -mad e tutori als , direc tly in o ne of the ma ny foru ms or by of ferin g free mo [...]

27 Lighting • T extu res are all ove r the Inte rnet as we ll. N ote that alm ost a ll ima ge are copy right p rotec ted an d cann ot be use d comm ercial ly . T aki ng you r cam era and p hotog raph ing tex tures you rself is eve n bet ter . In spirati on is ever ywh ere. Y o u can b uild yo ur own textu re archive s in no tim e. • T r y to ge[...]

28 BodyP aint 3D Bo dyP a int 3D Thi s is the Bo dyPa int 3D tu torial . In thi s tutoria l we will expl ain the m ost i mpo rta nt func tion s in ord er to give you a r unn ing st ar t in the wor ld of 3D p aintin g. Ev en if B ody Paint 3 D app ear s to be dif ficul t at firs t, you will s oon n otice how in tuitive B odyPa int 3D re ally is . [...]

29 BodyP aint 3D Usin g the UV-too ls you ca n relax an d stretch you r UV-me sh, no m atter h ow comp lex it is . Put sim ply, a UV- mes h is a seco nd im pressi on of a po lygon m esh that p rojec ts th e texture o nto a polyg on ob jec t. The d ays of 2D textu ring a re over and yo u can fi nally co ncentra te on what ’s imp or tant in tex tu[...]

30 BodyP aint 3D He re you see o ne of the t wo sta ndard l ayouts : BP UV Ed it. Th e secon d layout ( BP 3D P aint) is set u p in a sim ilar fashi on, o nly wit hout th e UV-mes h edito r wind ow which g ives you mo re room i n the edi tor win dow to pai nt. 1 . View po rt He re you can s ee the o bjec t you wil l be pa intin g. Y o u can rota te[...]

Sample Images 31 © Stefan Tsvetkov – ren der3 .cgh ub.c om © V ale ntino S zeme re – www. apa xcreati vi.c h © Vic tor M . Jim énez – a lvi3 d. blo gsp ot.co m[...]

32 BodyP aint 3D Now we’l l get to the h ear t of this tuto rial . Ope n the fil e QS _B P3 D_ Star t. c4d. S ay hell o to Claud e, ou r guin ea pig fo r the day. In the cou rse of thi s tutoria l we will al ter the col or of his r ight eyeli d a lit tle and a ppl y a Bum p layer to gi ve a more el epha nt -li ke look to h is skin . Sel ec t the[...]

33 BodyP aint 3D 3. Qu ic k T u t orial: First Painting Les son At the bo ttom lef t of the M aterial M ana ger (i n the Mate rials t ab) you wi ll find th e texture s we just cre ated, rig ht nex t to Mat. Thi s is the defa ult nam e for a new ma terial . Of cou rse you c an rena me the ma terial if yo u like. Th e firs t texture is the co lor l[...]

34 BodyP aint 3D The i ndiv idua l UV-mes h polyg ons of th ese eyeli d edg es take up l ess textu re area tha n the res t of the po lygon s. That ’s why a texture p lace d into the B ump ch anne l app ears l arger i n these p laces ( photo grap h of elep hant skin , for exam ple). We can do w ithou t this , thoug h, si nce we are pa intin g our [...]

35 BodyP aint 3D Now s elec t Br ush T o ol for Pai nting T ext ures for ap plyi ng the co lor . Set th e size to 25 and th e Pres sure to 40 in the b rus h’ s Attri bute Ma nag er … …a nd se lec t a pink co lor i n the Col or Ma nage r . If nec essar y , inc rease the Subdiv ision Surfaces subdivi sion for th e Viewp or t bec ause th e eye i[...]

36 BodyP aint 3D Pai nt alo ng the e dge of th e eyelid . The eyeli d will p robab ly end u p loo king l ike this: If you m ove/ rotate th e figu re now or cli ck on the A pply th e Conte nt of Proje cti on Pain t Plan e ( c lick an d hol d on t he A ctiva te /Deactiv ate Projection Paint ing button ) you wil l see how th e colo r was app lied to [...]

37 BodyP aint 3D Rotate th e view so yo u can se e the eyeli d from the top . Activate th e Raybr ush Ren der Vi ew for RayBr ush Pai nting m ode a nd set th e brus h size to 10. Switch to th e color l ayer’s Col or men u and s et the col or to a me dium g ray which wi ll be th e base co lor for o ur eyelid . Now g o to the Bu mp layer ’s color[...]

38 BodyP aint 3D • Avoid UV-m esh p olygo ns that me et to a poi nt whe n appl ying a n oise tex ture to a Bum p layer . T he nar rower a 3-s ided p olyg on be comes , the co arse r the bum p nois e chan nel wil l be ren dered . Of cou rse su ch a pol ygon has m uch le ss area fo r the noi se stru ctu re at its tip th an it do es at it s center w[...]

39 BodyP aint 3D[...]

40 CINEMA 4D Render er © Marco D attilo – w ww.ma rcodat tilo .com C INE MA 4D R en der er Thi s is the Qu icks tar t T uto rial for th e CIN EMA 4D ren dere r . It wi ll show you m any of the CI NEMA 4 D rend erer ’s ty pica l app licati ons an d covers so me the oretic al physic s be hind th e effec ts . 1. General Inform ation/ Int erface A[...]

41 CINEMA 4D Render er Ca ustic s (a vai labl e in CIN EMA 4D V isual ize and Stud io ) ac ts in a s imila r fashio n. Th e glo bal set ting s can b e foun d und er rend er set ting s. He re you ca n acti vate or dea ctiv ate surfa ce and vo lume c aus tics se para tely . In ad ditio n, ca ustic s als o offers a th ird setti ng . Y ou wil l find t[...]

42 CINEMA 4D Render er © Alb er to “Thi rdEye” Blasi 2 . Quic k T utorial: R endering Y o u’ve bee n a bus y bee. You have created a s cene, s et up the l ightin g, a nimate d obje ct s and as sign ed mater ials to them . Now we wa nt to see th e result of al l this wor k. Wha t you have to do is to tra nsform th is 3-d imen sion al scen e i[...]

43 CINEMA 4D Render er Use th e metho d with wh ich you fee l most co mfor tabl e. Of ten we don’ t nece ssar ily want to re nder th e comp lete edi tor view b ut onl y a small p ar t of it. Thi s is also n o prob lem . Select Render /Render R egion. The cursor wi ll be tra nsfor med i nto a cross . Drag a f rame a round th e regi on you wis h to[...]

44 CINEMA 4D Render er Only t he selected objects wil l be r endered. Ren deri ng the e ditor vi ew gives us a q uick over view o f the scen e but it d oes n ot offer th e poss ibili ty to proce ss this i mage f urth er , to s ave it to the hard d rive, for exa mple . T o save you r rend ers or re nder a f ull ani matio n, sel ect R ende r /Re nde [...]

45 CINEMA 4D Render er Y o u use the Re nde r Setti ngs (mai n menu : Rend er /E dit Ren der Se ttin gs. ..) to deter mine w hat ou r final i mage will l ook l ike. Size, qua lit y , si ngle i mag e or ani mation c an be s et here . If you r rende red ob jec ts ap pea r pixelate d at their e dge s, thi s is a result of th e anti-a liasin g set tin[...]

46 CINEMA 4D Render er If, for exam ple, yo u rende r a sing le ima ge that wi ll be p rinted wi th a resol ution of 3 00 dpi o n an 8 .5 x 11 i nch pa ge you sh ould re nde r the ima ge with a re soluti on of at le ast 2 550 x 330 0. If yo u want to pri nt the im age i n a pic ture size of 3 x 5 i nche s, a ren der res oluti on of 90 0 x 15 00 wil[...]

Sample Images 47 © Ba stie n Grive t – www.g rivet art .com © Ol ivie r Jall ard[...]

Sample Images 48 © Cre ativeD irec tio n Din ko Lacic – M TV Pro duc tion A ixSpo nza Gm bH © S oonyup Song – leonca fe1@gmail. com[...]

49 CINEMA 4D Render er 3. Qu ic k T u t orial: Globa l I llumination Lig ht as we know i t in the rea l world s prea ds on it s own. It i s reflec ted by the o bje cts i t hits . This d iffer s de pen ding o n an ob jec t’s sur face ch arac teris tics . Ima gine a ro om with a wi ndow o n one wa ll. Li ght is b eing cas t throu gh the wi ndow o [...]

50 CINEMA 4D Render er Create a nothe r materia l and g ive it your favo rite colo r . Dra g this col or on to the torus . The Lu mina nce cha nnel tu rns th e sky mate rial into a l ight so urce. Sin ce the sk y obje ct sp her icall y encl oses th e enti re scene, i t ac ts as a hu ge lam p whic h light s the tor us from al l sides . This ef fec t[...]

51 CINEMA 4D Render er CIN EMA 4D w ill auto matica lly tur n on Auto Lig ht in a scen e if there a re no lig ht obj ect s pres ent. Wh en usi ng Gl obal I llum inatio n, thi s automa tic func tion i s exclude d since i t would m ake the sce ne muc h too bri ght. Create a s phere (Crea te/ Ob jec t/Sph ere). Move the sp here al ong th e X -axi s a [...]

52 CINEMA 4D Render er Y o u will se e that a blu e ligh t is bei ng cas t on the to rus an d the flo or . T he blu e sph ere is not re nde red be caus e we have ma de it invi sible u sing th e cam era’s Com positi ng tag . 4. Tips and T ricks • Re nder ing of ten requ ires you to ma ke a choi ce betwe en spe ed an d qua lity. Esp ecia lly sce[...]

53 ProjectionMan 5. ProjectionMa n On ce you have comp leted th is tutori al you wil l be ab le to save a grea t amou nt of work ing tim e and m aybe even create s cenes yo u never wou ld have be en abl e to witho ut this too l. Thi s tutoria l is pri mari ly gea red towards mat te painte rs but c an als o be us ed by any 3D a rtis t to keep from h[...]

54 ProjectionMan Thi s is a very s impl ified ve rsion of a c ity sce ne in wh ich a cam era is a nimate d to move in slig htly to the bui ldin gs . Play the a nimati on once (sm all gre en arrow b elow th e Viewp or t) . Y o u can se e how the a ngl e of view cha nges . In tra ditio nal mat te pain ting we wou ld have a sim ple zoo m in whi ch th[...]

55 ProjectionMan CIN EMA 4D w ill now a utomati cally s tar t Pho toshop a nd wil l open t he rend ered P rojec tion Man i mage . Y ou c an eith er sta rt p aintin g in Ph otosho p right away o r create a new l ayer and c reate your m atte pa inting . In o rder to get to kn ow how Proj ec tionM an wor ks, e dit you r own ima ge to loo k like the o [...]

56 ProjectionMan Play th e anim ation . As you c an see , Proje ctio nMa n proje ct s the textu re correc tly on to all three b uild ing s throu gho ut the a nimati on – an d that witho ut havi ng to texture e ach in divi dual o bjec t. Now we wi ll take Pro jec tion Man a s tep fur ther a nd ad d a few window s to the side o f our bu ildi ngs . [...]

57 ProjectionMan We will p oint th is cam era front ally at th e ligh t blue su rfa ces (side vi ew ). T o crea te the cam era , switch the View por t to the Ri ght view ( View por t men u: Ca mera s/Righ t) and cente r the view if n eed ed . Create a new ca mera (mai n menu : Create/Cam era/Ca mera). Ren ame th e came ra Ca mera ri ght in th e Obj[...]

Sample Images 58 © www.meusch.com © www .segnopr ogett o.it[...]

Sample Images 59 © Vic tor M . Jim énez – a lvi3 d. blo gsp ot.co m[...]

60 Ske tch and T oon Sk et c h and T oon Thi s is CIN EMA 4D’s Q uick sta rt T u torial fo r Sketch and T oo n. Sketch a nd T o on is in clud ed in CI NEMA 4 D Visu alize an d Studio . This tu torial wi ll intro duce you to so me of thi s rende rer’s fant astic c reative po ssibi lities . © Seb asti an Stor z – s. stor z@b latt form .org 1 .[...]

61 Ske tch and T oon 2 . Gener al Infor mation/ Int erface Sketch an d T oo n is a rend er effe ct. A s you wou ld expe ct you c an fin d its se ttin gs in the Re nde r Setti ngs (Ren der/Edit Ren der S ettin gs). As soo n as you have se lec ted Sketch an d T oo n from the Ef fect b utto n’ s me nu a wid e array of se ttin gs is pu t at your di [...]

62 Ske tch and T oon Keep th is gen eral ru le in mi nd: Th e sketch at tribu tes in the Re nder S ettin gs dete rmin e WHA T wil l be ren dere d ( con tours? Hid den li nes?) , an d the mate rial at tribu tes deter mine h ow som ething w ill be re ndere d (Lin e width? Lin e color?). O f cours e not ever y obj ect h as to be ren dere d in the sa m[...]

Sample Images 63 © Ma rco Weis s – www. blac k-gra phic s .de © Pavel Zoc h © P. Hofma nn, M . Hi lker t – pexe l@3d up. com © Gl enn Frey[...]

Sample Images 64 © ww w.areyo up lann ing .de © Jo han- Be rnd Zwever ink[...]

65 Ske tch and T oon © Mi chae l Stehle D esi gn 3. Qu ic k T u t orial: Shaders an d T ags In thi s tutoria l we will com bin e an obj ec t rende red in th e sketch mod e with an o bje ct ren dere d in the no rmal mo de in th e same s cene. We w ill als o examin e the Cel sh ade r , on e of four sp ecia l sketch shad ers . Our g oal will b e to a[...]

66 Ske tch and T oon Create a n ew materia l in the M aterial M ana ger (Create/N ew Mater ial). D eac tivate the Co lor a nd Spe cula r cha nnel s in the B asic ta b of the Attri bute Ma nag er . Ac tivate Lumi nance a nd swi tch to the Lumin ance ta b. Cli ck on th e small a rrow to the ri ght of the wo rd T extu re. Sel ect S ketch/Cel. Tip : A [...]

67 Ske tch and T oon Ou r Sketch and T oo n figu re is sta ndin g bet ween t wo norm al rend ered fi gures . It is n ot neces sar y, thoug h, to ac tivate the S ketch and T o on ren der ef fect s in ord er to use a sketch s hade r . Now we w ill be autif y the rear fig ure with a con tour . Acti vate the Sketch an d T oo n effec t in the Re nde [...]

68 Ske tch and T oon E ve n thou gh all fi gures h ave the corre ct fil ling e ach of th e two front fi gures h as assu med th e contou r styl e of the fi gure b ehin d it. We will d eac tivate the co ntour re nder ing for th ese two o bje cts co mpl etely. Select Whimp_ front a nd Whi mp_ mid dle i n the Ob jec t Mana ger a nd sel ec t T ags/S[...]

Sample Images 69 © ww w.st ation -nul lzwei .de f ür Conze I nform atik G mbH[...]

70 Char acter T ools © T a kagi Le on Cha rac te r T oo ls Thi s is the Qu icks tar t T uto rial for th e CIN EMA 4D ch arac ter tool s, a col lec tion of too ls esp ecia lly for cha rac ter ani matio n. CIN EMA 4 D inclu des a co mple te t oo lset for c harac ter an imatio n. M any of thes e tools a re availab le in al l packa ges a nd so me are [...]

71 Char acter T ools So b efore we explo re the cha rac ter tools t hems elves we wou ld like to qu ickly g o over the 12 p rinc iple s of cha rac ter anim ation . Thes e 12 rul es were d evelop ed ba ck in the 1 930s by D isney a nimato rs and c an alm ost b e ap plie d 1 : 1 t o mo der n 3D ani mation . Th ey are usefu l not on ly for cha racte r[...]

72 Char acter T ools 2 . General Information Fi rst, we wi ll expla in a few basi cs ab out ch arac ter rig gin g in CIN EMA 4D. C INEM A 4D wor ks with a J oint sys tem. Si mply p ut, thi s system l ets you a ssign j oint s and ap prop riate lo catio ns that wi ll in tur n be lin ked to the m esh an d used to rot ate and m ove y ou r chara cter. T[...]

73 Char acter T ools Y o u can wei ght joi nts by se lec ting th em and p ainti ng dire ctly o nto the me sh usin g the Weig ht tool . Whil e the Weig ht tool is a ctive, th e mes h is disp layed bla ck an d the cur rently pa inted wei ghtin g is shown i n white. T he joi nt now kn ows it sho uld af fect th e white pa inted p art s of the m esh onl[...]

74 Aut oRigger and CMotion 3. Working with the A uto Rigger a nd CMoti on Creatin g the Basi c Rig Cha rac ter rigg ing for 3 D ani mation i s one of th e most co mpl ex and dif ficu lt disc ipli nes in th e field of 3 D gra phic s. T here is s till no o ne- stop so lutio n availab le bu t with CIN EMA 4 D R1 5, rig gin g and a nimati ng cha rac [...]

75 Aut oRigger and CMotion In th e Attrib ute Man ager yo u will se e the Cha rac ter obj ect ’s initi al set tings . Num erou s para meters a re availab le here . When a C harac ter ob jec t is crea ted, it s Obj ect t ab is ac tive by defa ult. T his tab co ntain s 4 menu s: Bu ild , Adju st, B indi ng, A nimate a nd repre sent th e 4 steps re [...]

76 Aut oRigger and CMotion Befo re we continu e, let s take a lo ok at ou r mod el in the p ersp ec tive view. Th e par ts of th e rig that we h ave create d are not s cale d in lin e with the c harac ter mo del . They are fa r too sma ll. Th is is not a p roble m at this sta ge b ecau se the a djus tment a nd re- posi tionin g of the ri g’s ind [...]

77 Aut oRigger and CMotion Fi rst we wil l positi on the ri g relative to the m esh . Sele ct th e Root ob jec t in the O bje ct Ma nag er an d use the Move too l to move it upwa rds until is ce ntered o n the cha rac ter’s pel vis. D on ’t f orget to chec k the position in th e side vi ew to make sure the R oot ob jec t is centere d there as w[...]

78 Aut oRigger and CMotion Posi tion the w rist n ext to the cu ffli nks . Six joi nts are l ocate d bec ause th is is whe re the fin gers w ill be ge nerate d later . T o lo cate the ri ght jo int, ri ght-clic k on the wr ist an d sele ct th e righ t joint fro m the lis t that ap pea rs (…H and _ con+ ). Now we ju st have to ad just th e fing[...]

79 Aut oRigger and CMotion Creating a Simple W alk Animation We have now p repare d our ch arac ter so it c an be a nimate d. Select the Char acter obj ect in t he Object Ma nager an d switch to the O bje ct ta b’s Animate m enu in th e Attrib ute Man age r . Clic k on the Ad d Walk but ton at th e rig ht. Th is will as sign a CM otio n obje ct t[...]

80 Aut oRigger and CMotion Set th e Stride va lue to 6 0cm . Now tur n your at tention to th e list of o bje cts i n the Ob jec ts me nu be low and sel ect o ne of th e legs ( L_ Le g or R _ Leg) in th e list . CINE MA 4D wil l autom atical ly assi gne a Lif t (P . Y ) ac tion to the le gs in a ccordan ce with the p revious ly sele cte d templa te.[...]

81 Aut oRigger and CMotion The Finishing T ouches Play th e anim ation a gain a nd obs er ve how the ar ms swi ng ba ck and for th . We have created a si mpl e walk cycl e ani matio n, whi ch of cour se can s till be fi ne- tune d quite a bi t. Copy a nd pa ste the Pu sh (P . Z) a ctio n to the othe r arm . T o ton e down th e moveme nt we have to[...]

82 Pos e Morph 4. Q uick T utorial: Pos e Morph The P ose M orph to ol is a powe rfu l tool for mi xing J oints , po ints , UVs, pa rame ters, U ser Dat a and mu ch mo re by mo rphi ng bet ween s tates (e.g . size, posi tion , rotation) usi ng sli ders . Usin g Pose M orp h is as ea sily as it i s logical. Op en the fi le QS _ Maxon _ H ead _ sta [...]

83 Pos e Morph The p re- defin ed po ints wi ll autom atica lly be s elec ted an d CIN EMA 4D wi ll auto matica lly be s witche d to Point mo de. In o ur exam ple, th e poin ts that af fec t the eyebrows w ill be s elec ted . Move thes e poin ts downwa rd, slig htly to the rea r and ro tate them sl ightly ( T o d rag the eyeb rows far ther d own f[...]

84 Pos e Morph On ce all po ses have b een de fined we c an be gin mi xing th e pose s. In th e Attrib ute Man age r , set th e Mod e optio n from Ed it to Anim ate (T a g tab). The Pos e Mor ph ta g’s optio ns will ch ang e autom atical ly and yo u can d efine the s trength w ith whic h the pos es will b e mixed us ing the Stre ngth va lue. Al[...]

85 Pos e Morph 5. Tips and T ricks • T o create J oint p oses wi th Pose M orp h all you have to do i s add a P ose Mo rph ta g to the top -mos t Joi nt and ena ble th e Rotatio n and H ierarc hy option s. Y o u can th en rotate the P ose T arg et’s J oint s withou t mod ifyi ng the Joints’ original pos iti on. • Th e join ts of the fi nge[...]

Sample Images 86 © Ki Y on g Sim – si m413 0@ naver.com[...]

87 Cloth 6. Q uick T utorial: Cloth CIN EMA 4D co ntai ns a ver y power ful Cl oth engi ne. Y ou c an use th is tool to let a fl ag fla p in the bre eze or to give you r chara cter a s nappy T-shir t. Th is is exac tly what we wa nt to put o n Clau de. What ’s nice ab out th e Cloth e ngin e is that it ’s not ne cess ar y to go throu gh the t[...]

88 Cloth The s hir t nee ds to be su bdiv ided a l ittle m ore so yo u can defo rm it be tter late r . Switch to Use P olygo n T oo l mo de an d sele ct the p olyg ons on th e front a nd ba ck side of th e shir t. S elec t Mes h/Comm ands /Subdi vide fro m the ma in me nu. M ake sure you d on’t su bdi vide th e polyg ons o n the sid e (the on es [...]

89 Cloth The se po lygon s will se rve as th e T -sh irt ’s sea m. Th e Cloth en gin e will do th is for us as we ll. Selec t Seam Polys in th e Dress er men u and s et it to Set. T he sea m is stil l a littl e too wide . Click o n Dres s-O -M atic an d look w hat hap pen s with the T -s hir t. The s eam wi ll be pu lled to gethe r in acco rdance[...]

90 Cloth Cloth S urfa ce ac ts simi lar to a Sub divis ion Sur faces o bje ct: i t smoo ths the ge ome try wh ich was su bordi nated to it bu t with a slig htly dif ferent al gor ithm whi ch work s bet ter for clot h obje ct s. Add itiona lly, a thickn ess ca n be speci fied f or Cl oth Surfac e f abric ob jects. Set th e Thick ness to 1 o r 2 in [...]

Sample Images 91 © S . Scato la – ww w.box y .co .uk © Cre atives : Nico Co rtin ove & Vin iciu s Pego raro (Le o Bur net t Brazi l) – 3D Ar tist : Beto P rado[...]

92 HAIR © Ma rcelo B iscol a – www. ar tnetd igita l.co m. br HAIR CIN EMA 4D Stu dio fea tures a hai r rend erin g and si mulati on sys tem that you c an use to ea sily crea te hair , fur an d feather s. Th is tutori al will sh ow you how. 1 . Introd uc tion HAI R is a power ful too l for creati ng var ious t ype s of hair an d fur . E ven feat[...]

93 HAIR HAI R’s on ly limi tation i s your fant asy, whethe r it’s crea ting fu r for a rode nt, feath ers for a r uffle d chic ken, the p erfe ct En glish l awn or the n ewest ha irs tyle s. An d, HAI R is fast – wh at else h ave you come to exp ec t from CIN EMA 4D? H AIR ren ders i mme nse am ount s of hair wi th unma tched sp ee d. Th e [...]

94 HAIR 2 . Gener al Infor mation/ Int erface HAI R work s with so -cal led gu ide s that ser ve as pl aceho lde rs for the re nde red hair. The n umb er of gu ides d isplaye d in the ed itor view i s far les s than the a ctu al num ber of h airs tha t will b e rend ered . The n umb er of gui des di splayed c an al so be in creas ed. T he mis sing [...]

Sample Images 95 © Jo han- Be rnd Zwever ink[...]

96 HAIR 3. Qu ic k T u t orial: Fur © Kaan Ö zsoy – ww w.id api ctur es. com[...]

97 HAIR Ou r volunte er , H airb er t, is on ly a few mous e click s away from b ecomi ng his wa rm winter f ur . H e may loo k a lit tle pitif ul witho ut his fu r but hi s simp le cons truc tion wi ll make ou r work th at much e asier. Fi rst, o pen th e file QS _ Ha ir .c4 d. HAI R can b e app lied to eit her an e ntire ob jec t or a po lygon s[...]

98 HAIR The g uid es all p rotrud e per pen dicul arly fro m each su rface a nd have a d efault le ngth of 1 00 . Go ah ead an d Ren der th e scene to se e what p oor H airb er t loo ks like (Re nde r /Re nde r View or th e far-left re nde r icon). If Ha irb ert we re a porcu pin e or had j ust com e out of th e spin c ycle at 9 0° we cou ld fini[...]

99 HAIR Whe n hair is a dde d, a co rrespo ndi ng mater ial wil l be create d autom atical ly in the M ateria ls Man ager. The H AIR ob jec t is lo cated at th e top of the o bjec t lis t in the O bjec t Ma nage r . Befo re we star t ed iting th e HAIR m aterial a nd the H AIR ob jec t, we will s hor ten the g uide s a littl e ( whi ch will als o s[...]

100 HAIR If you p lay the an imatio n now you wi ll see h ow the hai r is pull ed dow n by the gravi ty (to make th e anima tion of the G uid es visib le, ma ke sure that th e Hair o bjec t is se lec ted in the O bje ct M anag er). Stop the a nimati on befo re it reach es fram e 10 0 to prevent th e calcu latio n from sta rti ng an ew . Al tern ate[...]

101 HAIR T o p revent this fro m happ enin g sel ect Si mula te/Hair Ed it/Set A s Dyn amic s in the m ain me nu. N ow we can c ut an d styl e Hai rber t ’s fur . Switch to the l eft view ( by pressi ng F 3 ) in th e edito r wind ow and a ctivate th e Cut too l (Simula te/Hair T oo ls/ Cut). Nex t, de acti vate Visib le On ly in the At tribu te M[...]

102 HAIR After yo u’ve had yo ur fun wi th Hair ber t’s ha ir an d it has the l ook yo u want swi tch to the per spe ctive vi ew in the e ditor wi ndow a nd pos ition H airb er t so you ca n take a go od lo ok at him . Ren der th e view an d see wh at Hairbert looks like ( main menu: Render /Render Vie w ). It se ems tha t Hair ber t is suf fer[...]

103 HAIR The p rop erti es of Her ber t ’s hair sti ll have to be ed ited exte nsively s o let’s s tar t by dou ble -cli cking th e HAIR mater ial in t he Mat erials Manager . This wil l ope n the mater ial’s di alog w indow w ith all it s optio ns an d chan nels . F oll ow these s teps: • Sp ecu lar : Set Pri mar y Streng th to 34% and S e[...]

104 HAIR Ren der th e scene o nce aga in. T he resul t shou ld lo ok like the n ext im age: As yo u can se e, Hai rbe rt ’s bad ha ir day is sl owly but s urely com ing to an e nd . His fur i s star tin g to look m uch mo re reali stic . We’ll remove so me of it s smo othnes s and s hine by a ddin g a lit tle frizz . Sele ct th e F riz z chan n[...]

105 HAIR Ren der th e scene a gain . The re sult sho uld l ook li ke this: So wh at’s lef t to do ? Rig ht, Ha irb ert ’s face stil l nee ds som e hair. As men tione d at the b egin ning o f this tutor ial, we will a ppl y a differe nt typ e of fur to Ha irb ert ’s face. Th is time i t will be eve n easie r to appl y! Again , we have pre -sel[...]

106 HAIR Fi rst, m ake sure the U se Polyg on T o ol is ac tive an d sele ct th e Bea r _ me sh obj ec t in the Ob jec t Man age r . The po lygon s to which we ju st ap plie d Hair ber t ’ s lo ng fur w ill be h ighli ghted i n red. S elec t the s econ d of the five tria ngle s with the re d bord er nex t to Bear_ mesh i n the Ob jec t Mana ger [...]

107 HAIR Y o u may have to tweak t he colo rs a lit tle but yo ur resul t shou ld bas icall y loo k like this : Con gratu lation s! Y ou h ave just co mplete d your fi rst HAI R proje ct . It’s tha t simpl e! Now t ake what you h ave lea rne d here an d expe rime nt with ad din g hair to oth er obj ect s, tra nsitio ning fro m lon g hair to sh o[...]

108 HAIR 4. Tips and T ricks • Y ou c an save a lot of ti me by op timizin g your HAI R setti ngs . Make su re your ob jec t reall y need s those 50 0 0 00 i ndiv idua l hair s – maybe h alf as ma ny will suf fice with out sa crifi cing rea lism . • A g reater nu mbe r of indi vidu al hair s are req uired wh en crea ting sh or t hair (as wa[...]

109 MoGr aph MoGr aph CIN EMA 4D ’s MoG raph fe atures ma ke it easy to a chieve com plex-l ooki ng effe cts . Mo Grap h is avail able i n CINEMA 4D Broadcast and S tudio. © Cre ativeD irec tio n Din ko Lacic – M TV Pro duc tion A ixSpo nza Gm bH 1 . Introd uc tion Mo Gra ph is de signe d to clon e just a bou t any geo metri c prim itive or o [...]

110 MoGr aph 2 . Gener al Infor mation/ Int erface Mo Gra ph can b e acces sed in th e CIN EMA 4D ma in me nu. In m ost ca ses, a C lon er obj ect w ill be re quire d in ord er to create a M oGra ph sce ne. Th e Clon er obj ec t contai ns all fu nc tions re quire d for the cre ation a nd dep icti on of clo nes . The Cl one r obje ct is th en au gme[...]

111 MoGr aph Spline E ffector Y o u can us e the Spl ine Effe ctor to li nk spli ne- bas ed sha pes or o bje cts to th e Clon er ob jec t. Clo nes ca n be ali gne d to create text or m orp hed i nto text or oth er shap es . The im age b elow sh ows how a Spl ine Effe ctor, with F a lloff s et to Linea r , (moved i n the dire ctio n of its ow n Z -a[...]

112 MoGr aph T arget Effec tor The T arg et Effec tor let s clon es be al igne d to a targe t obje ct . The clo nes wi ll follow th e movem ent of the ta rget ob jec t accordi ngly. In the i mag e below, a b all was us ed as th e target o bje ct, to wh ich a T arg et Effec tor , w ith its Rep el set ting ac tivate d, was as sign ed. Thi s is also t[...]

Sample Images 113 © Vin cent – www. vincen tlondon.c om © Kay T e nne man n – most yle .tv[...]

114 MoGr aph 3. T arget Effector In thi s tutoria l we will sh ow you how to ach ieve fanta stic resu lts with j ust a few cli cks of the m ous e. Mo Grap h has b een d esign ed to qui ckly ma ster ta sks that , until n ow , eith er too k hour s to compl ete or sim ply were n ot pos sible. F or exa mple , the T arg et Effec tor: H ow woul d you ani[...]

115 MoGr aph Ou r sur face is tak ing sha pe ni cely. Only th e numb er of cl ones n eed s to be inc rease d. Set th e Clon er ob jec t’s X an d Z count to 25 e ach . In ord er to incre ase the d ensit y of the su rface , the clo nes ne ed to be c loser to gethe r . T o d o this, c hang e the Clo ner o bjec t ’ s Size X an d Z value s from 20 0[...]

116 MoGr aph Y o ur scen e shou ld now lo ok like th is: Nex t we will a dd a sph ere to ser ve as a T arg et Ob jec t. It rea lly is no t neces sar y to ad d this sph ere bu t we will ad d it on he re in ord er to bet ter dem onstr ate ( visu ally) how thi s effec t work s. Create a s phere a nd set i ts rad ius from 1 00 cm to 5 cm i n the Attr i[...]

117 MoGr aph That b asic ally com plete s our tuto rial , exc ep t for the fac t that we wa nted to simu late the effe ct sh own in the screenshots . T o a chieve this ef fec t we will have to ad d an ad ditio nal fun ctio n: F all off. Pla ce the sph ere at the ce nter of an d slig htly be low the cl one fi eld .[...]

118 MoGr aph Op en the T a rget Effe ctor ’s F a llof f tab in th e Attrib ute Man ager. Set Shap e from In finite to Sp here an d set Sc ale to 20 %. T his wil l defin e a small er rad ius with in whic h our Effe ctor wi ll affec t the cl one s. Ou r clon es are s till be ing rep elle d much to o far away from th e sphe re. T o cha nge th is, [...]

119 MoGr aph 4. Q uickstart T utorial: MoDynamics Sim ply lin king a ny given o bjec t with a Cl one r obje ct in co njun ctio n with a sin gle D ynami cs B ody ta g is eno ugh to create an i nteres ting , dynam ic movem ent. I t‘s e asy to get c aug ht up in exp erim entin g with the va riou s pa rameter s to see how th e movem ent is af fecte d[...]

120 MoGr aph We‘ve ma de a few mo dific ation s to our scen e but i t‘s s till not fi nish ed. B ut we are o nly two cl icks away fro m doing so! Righ t - click o n the Clo ner o bjec t an d the bowl o bje ct, re spec tivel y , a nd assi gn ea ch a Rigi d Bod y tag (S imulation T ags/Rigid Body) . Note : The wor kflow in C INEM A 4D Stud io [...]

121 MoGr aph • N ote: that u sing M oGr aph in co njun ctio n with HAI R has it s limi tation s. HAI R dyna mic s reference th e orig inal clo ne an d will not b e cal culate d anew for e ach clo ned o bje ct. T his me ans that h air on a cl one th at is ori ented ho rizonta lly will n ot fall to the si de whe n the or igin al obj ect i s orie nt[...]

122 Dynamics © Kaan Ö zsoy – ww w.id api ctur es. com Dynamics In thi s tutoria l we will sh ow you a few of the CI NEMA 4 D Dyna mics f unc tions . CIN EMA 4D D ynam ics a re a powe rful a nd mu lti-faceted to ol for the c reation o f all ty pes of dy nami c calc ulatio ns, o bje ct coll ision s and the g enera l prop ulsio n of obj ect s, in [...]

123 Dynamics Open the file QS_ Dynami cs _star t.c 4d. The s cene co ntain s an old timer, which we wi ll equ ip with a mo tor usin g only a few o bjec ts a nd by mo dify ing a coup le of set ting s, whi ch will c ause th e car to dr ive. As yo u can se e, a po lygon o bjec t was us ed to create th e car b ody an d the wh eels . We coul d have cre[...]

[...]

125 Dynamics Agai n, ma ke a multip le sel ec tion an d sele ct al l of the po lygon o bje cts : whe els _fro nt, whe els _ bac k, ca r and grou nd . Right-cli ck on o ne of the se lec ted ob jec ts an d sele ct Si mulati on T ag s/Rigi d Bo dy from the m enu that a ppe ars . Next , sele ct th e groun d obj ect ’s Dyna mic s Bod y tag a nd set th[...]

126 Sculpting Sculpting Welco me to the Q uick star t scu lptin g tutoria l. Wi th the intro duc tion of CI NEM A 4D R 14, a p ower ful new sc ulptin g tool wa s mad e availab le to use rs and of fers com preh ensive o rgani c mod elin g features . In this tu torial we w ill show yo u how to get s tar ted with th e CINE MA 4D scu lptin g tool . We [...]

127 Sculpting © A ugenpulver – http:/ /www .augenpulver -design.de/[...]

128 Sculpting Open the file ‘Sculpting_T urtle.c4d’ . At the top r ight of you r inter face, se lec t Scul pting fro m the Layo ut drop -d own men u. T o b egin s culpti ng we mu st firs t sele ct a nd sub divi de the o bjec t. If yo u beg in by creati ng a pa rametr ic pri mitive ( cu be, tor us, etc .) you mus t make it e ditab le befo re p[...]

129 Sculpting Thi s will dis abl e the wire fra me dis play. Any brus h stroke we ma ke can be u ndo ne by sim ply se lec ting U ndo. Ge nera lly spe akin g, a gr aphi cs ta blet is b etter s uited for s culpti ng than a m ous e bec ause it l ets you co ntrol your strok es mor e pr ecisely . We will n ow add a S culpt L ayer to our b ase ob jec t. [...]

130 Sculpting The Ste ncil you j ust se lec ted will a ppe ar in th e Viewp or t. Y ou c an ad just i ts trans paren cy in th e Attrib ute- Ma nage r as you se e fit but a va lue of 0. 5 is a g ood va lue wit h which to st ar t. Enab le the T ile X an d Tile Y opti ons in th e Attrib ute Ma nage r (St en cil tab). This e nsures th at the Stenc il [...]

131 Sculpting Nex t, switc h to the side v iew in the V iewpo rt , make sure tha t you are on L ayer 1 in the S culp ting Laye rs tab, an d paint a cross th e tur tle’s hea d with the b rush . App ly the Sten cil usin g dif ferent pe rsp ecti ve views an d make su re that you o nly cha nge th e cam era’s ang le of view to th e obje ct a nd not [...]

132 Sculpting Red uce the b rush size to 1 0 and p aint over th e lip an d eye lid reg ions . The res ult sho uld l ook li ke this: In th e next s tep we will a pply a M ask . Click o n the Mas k but ton at the b ottom of th e Scul pt Pal ette. Add a n ew Layer a s you did b efore, le ave the Size valu e set to 10 a nd set P ressure to 5 %. Ma ke s[...]

133 Sculpting Nex t, clic k on the I nvert M ask bu tton in th e Scul pt Pale tte an d then se lec t the Pu ll bru sh. S et the br ush’s Size to 50 an d its P ressure to 5 %. P aint a cross th e surfa ce of the he ad as you d id before . Y ou wi ll notice th at only thos e regio ns not af fec ted by the Ma sk are mo difie d by the Pu ll br ush. [...]

134 Sculpting The fi nal resu lt sho uld lo ok sim ilar to the i mag e below : We will a pply o ne ad ditio nal b rush to com plete o ur tur tle’s hea d: Th e Knife br ush . Delete th e Mask by c licki ng on th e Clea r Mask b utton i n the Scu lpt Pal ette. Al ternati vely you ca n simp ly hid e the Mas k in the Sc ulptin g Layer s tab, wh ich [...]

135 Sculpting Thi s compl etes our tu rtl e’s sculp ted hea d! Ba king a n obj ect th at conta ins ob jec ts with m illio ns of po lygon s ca n reduce th e num ber of p olygo ns to a mana gea ble a moun t and wi ll prod uce exac tly the s ame res ult for rend eri ng! B akin g gen erates Di spla cemen t and N orma l textures th at, sim ply pu t, s[...]

Sample Images 136 © T oni Ramon Sanchez © Jo sh Gru ndm eie r – www.f usea nima tion .com[...]