Cinema 4D Project Text Reflect Intro
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EJ Hassenfratz (00:00): EJ here. And in this short video, I'm going to show you a few simple tools you can use to start modeling almost anything you want inside of cinema 4d Cinema four D is the industry standard 3d software in motion design, and being able to use it is a massive advantage in your career. In cinema 4d base camp, we take you from total beginner to confidence, C 4d artists in 12 weeks. So check that out. If you really want to learn this amazing tool, also, you can download the project files I'm using in this video, plus a modeling hotkeys cheat sheet to follow along with me or to practice with after you're done watching details or in the description
EJ Hassenfratz (18:31): Let's rename this eye and there we go. We've got the basis of our pigeon. So we're just going to go ahead and fast forward making this pigeon tail, because we already know how we did this. We just extrude doing those loop selections, moving stuff around modeling basics. Objects is actually pretty easily and fun, and it's an incredibly useful skill. Now, should we go? We got our nice little handsome looking pigeon all fully lit and textured here. So I hope you learned a ton and feel way more confident about getting started modeling in cinema 4d. It's not that hard, right? Hit subscribe. If you want more tips like this one and make sure to check the description so you can download the handsome little pigeon project file from this video to see how I lit and textured it. Plus a modeling hockey's cheat sheet for you to go ahead and practice with before I become very proficient in cinema 4d with the help of industry pros and fun real-world challenges, check out cinema 4d base camp from score motion. And thank you for watching.
As alle the other request I would really love to see a tutorial on both the candy texture and the balloon texture on the thumbnail of this video. It would be huge help if you shared the project file in order to let us investigate your techniques! :)Thanks for great tutorials!
The glTF Transmission Format is a royalty-free specification for efficient transmission and loading of 3d scenes, models, textures/materials and animations. The format is introduced by the Khronos Group. It defines a streamlined authoring workflow and enables the interoperable use of the content across different software packages and platforms. The importer itself supports the glTF2 standards like:
The COLLADA Digital Asset Exchange format was introduced by Sony Computer Entertainment and is now maintained by the Khronos Group. Collada defines an open XML-based database scheme that enables 3-D authoring applications to freely exchange digital assets without loss of information, enabling multiple software packages to be combined into extremely powerful tool chains. Currently, all of the important DCC tools have either built-in exporters for the Collada format or there exist third-party plug-ins. Collada is a very powerful and flexible 3D format which seems to be evolving to an industry standard. In addition to common 3D features, the Collada specification supports, amongst others, animations, shaders and physics. In the current version of the Collada importer, Ventuz supports the import of geometry, materials and textures. All other Collada features are not supported yet. Currently we support also the .zae extension, which is basically a zipped dae file including textures.
The OBJ file format was introduced by Alias/Wavefront and is similar in status to the 3DS format, in that it is somewhat antiquated and unreliable. The OBJ file only stores geometry information. The material and texture properties are stored in a separate file, it is the .MTL file. This file is referenced from the OBJ file. If your imported model is missing materials and textures, check if the according .MTL file exists.
19 title animations for Premiere Pro will full text, color, and duration control. There's a link included to the free font used in the demonstration. This is one of the top fast typography intro Premiere Pro templates.
Unfolding Titles gives text or logos a cool, unfolding effect designed to add interest and elegance to your project. The Adobe Premiere Pro template free is simple, well-organized and comes in both 4k and full HD versions.
- We're going to have a look at how we can cast shadows from one layer to another using CINEWARE. You'll notice that in this composition, which is within chapter 10 03R16AEP that we have the robots standing on top of the building but the shadows aren't being cast from the robots onto the building and that's for a very good reason. If I select the floor layer and hit command D to open up the project in CINEMA 4D Lite you'll see that the floor, text, and robots are all on separate layers, which is great because it means I can isolate elements, but in CINEWARE the thing that's casting the shadow has to be on the same layer that the shadow is being cast onto. So in other words, because my robots are on a separate layer from the floor layer, we're not getting the shadows being cast. Now there is a workaround for this and that's what I'm going to show you now. What we're going to do is open up my robots now up here in the objects manager and I'm going to select the main robot, which is this big robot in the middle. What I'm going to do is make an instance of that robot. So an instance is kind of like a clone of that robot that we're going to use as a shadow caster. Okay, now once we've created that instance I like to go to the attributes and say render instance. That's just going to speed up rendering a little bit. Then we're also going to go back down here to my robots now and choose the array, which is the circle of robots. I created that using an array and I'm going to make an instance of that. So we've got the array instance. Again, I'm going to say render instance just to keep things fast. So I'm now going to select both of these and I'm going to add them to the floor layer, okay? Now if we save the project and then jump back to after effects, you should see that we're now getting the shadows being cast onto the floor, which is great. Now the only thing is if I solo this layer in after effects by clicking the solo button here, you'll see that not only do I have the shadows being cast onto the layer, but I can also see all of those elements as well, which is not what I want. If you jump back to CINEMA 4D, what we can do is we can keep these inside the floor layer, but stop them from rendering and we do that be selecting them both and giving them both a compositing tag. So we go to tag CINEMA 4D tags compositing and a compositing tag gives you options for how layers or elements or objects are composited with each other. So let's apply it and then I'll talk to you a little bit about compositing tags. Okay, this is how a compositing tag appears. It appears here next to each of the layers and if I double click one of them basically the tag gives you options for switching off things like shadows, deciding whether backgrounds are composited, whether it's seen by transparency, refraction, reflection, ambient occlusion, so really, really useful. So, for example, you might have a scene where the things in the background aren't that important and you can switch off it being seen by ambient occlusion for example so that it speeds up rendering and global illumination as well because you might only want global illumination and an ambient occlusion on things that are prominent in the foreground that are going to be really noticed. But what we're using it for here is for switching it off so it's not seen by the camera. So I want this to be there, but I don't want it to be seen by the camera so I'll switch that off and then we'll do the same for this one, switch that off and now if I save it, and we'll jump back to after effects and you should see the floor with the shadows casting onto them. So we've got the floor with the shadows on it, then we've got the text and then we've got the robots all on individual layers, which means they can all be treated differently in terms of color correction and effects. It makes things a lot more flexible as far as working in after effects. Of course, having the shadows casting onto the floor just makes things more flexible. Now there are various ways you can use those shadows. We could use something like multiply or color burn to burn the shadows onto the layer below. Something like multiply might be better there, but obviously this is quite dark so we can't see the shadows very well. So what we're going to do is we're going to make the surface slightly different. We're going to get a reflective surface so that we can see the reflections and the shadows without seeing these edges of the layer. So that's how you can get shadows casting from one layer onto another using individual layers and CINEWARE.
C4D SetupFirst thing is I set up my blank cinema project so it shares the same units and scaling as the disguise environment, hit CTRL+E to bring up a preferences windows and set the units to meters after selecting the Units options so all dimensions are displayed in meters
And, finally, to save these as the defaults for each time you open cinema. click on the Window menu, along to customisation and then hit save as default layout. This is really useful as if you find yourself using the same setup each time, this includes 3D objects in the scene and textures you can build what you use most commonly and save as startup layout.
Updates include improved handling of 3D models from Maxon Cinema 4D with support for more C4D shaders and materials. A new Texture Composite shader, which can be used to add material textures 3D objects with procedural generators, gradients, images, EPS files or even video clips from the filtered host timeline. A new Procedural Noise shader, which includes over a dozen texture types and 15 blending modes, can be used to generate custom materials that can be applied to any 3D element in Title Studio. These custom textures can be saved as new material assets in your Title Studio custom library for easy and quick retrieval in any Title Studio project. 2b1af7f3a8