Manuel d'utilisation / d'entretien du produit Cinema 4D Studio R15 du fabricant Maxon
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© 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.
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.
II Contents Prefa ce ________________________________________________________________________________________________________________________________________________ IV W elcome to C INEM A 4D R15 __________________________________________________________________________________________________ 2 1 .
III MoGraph ______________________________________________________________________________________________________________________________________________ 109 1 . Introduc tion _________________________________________________________________________________________________________________________________ 109 2.
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.
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.
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 .
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.
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.
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.
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.
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.
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 .
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).
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.
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 .
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 .
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.
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).
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.
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.
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 .
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.
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 .
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 ne.
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.
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.
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.
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.
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 .
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 .
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).
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 .
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.
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 .
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 .
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 .
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 .
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.
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.
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 .
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.
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.
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 .
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 .
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.
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.
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.
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 .
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 .
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).
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 .
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).
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?).
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 .
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.
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 .
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.
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.
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 .
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.
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.
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.
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 .
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 .
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.
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+ ).
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 .
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 .
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 .
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 .
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 .
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.
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.
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.
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.
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.
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.
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 .
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.
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 .
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 .
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).
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 .
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 .
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).
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 ).
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 .
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 .
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.
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.
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 .
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 .
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 .
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 .
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 .
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.
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.
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 .
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.
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.
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.
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) .
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.
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 .
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 .
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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 .
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 .
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 .
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 .
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).
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 .
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 %.
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.
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 .
Sample Images 136 © T oni Ramon Sanchez © Jo sh Gru ndm eie r – www.f usea nima tion .com.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Maxon Cinema 4D Studio R15 c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Maxon Cinema 4D Studio R15 - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Maxon Cinema 4D Studio R15, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Maxon Cinema 4D Studio R15 va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Maxon Cinema 4D Studio R15, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Maxon Cinema 4D Studio R15.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Maxon Cinema 4D Studio R15. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Maxon Cinema 4D Studio R15 ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
