Cinema 4D: Rainbow Light Effect Splitting | Alexey Brin | Skillshare

Cinema 4D: Rainbow Light Effect Splitting

Alexey Brin, Motion designer

Cinema 4D: Rainbow Light Effect Splitting

Alexey Brin, Motion designer

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5 Lessons (21m)
    • 1. Overview

      0:28
    • 2. Build of Geometry

      3:41
    • 3. Base Lighting

      6:14
    • 4. Light Tweaking

      7:39
    • 5. Bonus: Final Project Nuances

      2:56
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About This Class

In this class we`ll use Cinema 4D and Redshift renderer (you can use any render engine that allows to change Light color) to create rainbow splitting light effect.Final render will be done with help of Redshift.

Used Software: Cinema 4D (R23) (but this scene can be done with R19-R21 too) and Redshift for rendering

Meet Your Teacher

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Alexey Brin

Motion designer

Teacher

I`m motion designer with about 8+ years work expierence. I like create both simple and complex scenes with technology scene. Now i`m a Shutterstock contributor and post cinema 4d and after effects tutorials in russian in my blog.

I got a lot of messages from english speaking audience about my tutorials, so i`d like to try (even my English is not very good) to share my knowledges via Skillshare.

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Transcripts

1. Overview: In this class, I'll show you how to create rainbow spreading effect that you can watch and maybe see in different logos or maybe film interests. We will be using Redshift render, but these effects can be recreated in standard physical octane render or any render that support change color of light emission. So on screen you see the result of this class, if you like it. Let's start to investigate the techniques. 2. Build of Geometry: In this class, we start to build our scene. From geometry level. I create more text, Light, middle, and I'll keep the default font is okay. Then I rotate it said the camera going to the camera view 0000 and maybe minus 1500 up the camera on maybe create a semi ring. Now the orientation holding t are going to settings. Outer radius, for example, 300 to 80. Extend. Rotation segments may be 21 to eight. Now I have to put light in the center like this, moving to front view and be sure that h line or these dots intersect with this red line at depth going from our camera. So our light should be thicker. Then 2b decrease the height. Ab 15, going to slice. And from ten, maybe 5.2.1, 75. Now I duplicate this control C control V, rotate to 180 degrees, going to tube of an object, fill it, add small Philip naught. This big to create plane. Extended with holding t. Like maybe 500. Going to our more text. Shrink down. One small maybe 216. Just to place in the center. I think this looks good. And put it into front. Then I select more text going to monograph and add the random factor going to perimeter. And I would like to add small variance in Z axis like this, and maybe a few more degrees in rotation, just to add a little bit. Organic and randomness, maybe one to three, very subtle. So from the front view, we have to be sure that these looks pretty straight, going back to 50 to 500. And this is our base geometry. Now we're going to set the light. 3. Base Lighting: Now we create simple trick. This trick is available in any render engine, but I'll show you how this effect would be recreated in redshift. Wet taking era late. And I start viewport IPR. Like this. I rotate 90 degrees. Lower the strength, maybe to ten, it's okay. Monograph cloner and set not to read array, but to radio. Now we have to pause. Going to relate, going to preview and disable illumination. Now we find proper axis, head radius, and maybe rotate area lights like this and like this. So they all look to the center of our sin. Decrease. The size may be to something really small. And at the top view, I put light above the plane. The plane did not cut it play. And we see how every light work. Now I can extend intensity multiplier. I have few things to fix. First of all, it's great way of using irrelevant, but it has be spread. Our light start to spread at the beginning of each mission, going to lowering this print. So it's like point white. Maybe 0.3 or maybe 25. They're point-like, looks great. Then I would like to extend radius. So all our elements should be out of the screen. Or we can change maybe to like Instagram. Aspect ratio, 1024. Paws. Zoom in, of course. And all our lights outside the screen, I would like to set very simple animation and angle to 0, maybe 150, going to 100, set to 360. At the last frame, start angle to 360 minus 1000. What we have here, we have spreading of our lights and then gather to the 0.1 more thing is adding animation of our intensity, for example, ikea. And at 0 to 011315 and last frame to 0, let's play. And we have these type of animation. We can extend. Radius may be too big one. Add highlights. And now we see the effect that our projectors are spreading. Generating a lot of rays, then gathering into the point, lowering its intensity to 0 in, fade out, fade in, fade out. Now we're going to settings, redshift and adding primary jet engine or may be secondary to have these bounds of lights. You see I disabling. And we have only direct light with no bouncing. So we're going to add brute-force, maybe one or two. And now it starts to look more interesting. I go and input more texts, even more to the front. Be sure it doesn't popping from their plane. So like this, maybe I find some more bold font. Let me go into set Arial Black. Decrease scale, extent tube. In tubes we add thickness, for example, 300. For the inner zooming. Maybe add more depth, 16 that allows us to put our text even more. Front. Add more variation into the Z. Random. And it looks nice. We have a lot of bouncing shades, lights. And I stick to these variant. A next chapter, we set the color of lights. 4. Light Tweaking: Now I switch on retrofit IPR. And I change, the color, will create maybe a red one. Going to the zero-point. Then, like in rainbow, orange, then maybe yellow and green, pure green, or maybe a directive blue, then purple one, and light purple. And now what we get in first frame, all lights are gathered and they produce almost white collar. When they start to spread. We get this rainbow effect. They gather together and blend into white one. So we have fair rainbow color split. The intensity is not good enough. It's too low. We select all our they realized going to right-click to dense multiplier animation and show track. Then we select these two because they're similar and they're 15 and try to set maybe to 100 or maybe 150. And now we have almost white. Then we have these spectres spreading of color. It start to rotate. And then together it gathered to white one. To see the white one. We can manage one thing, but going to more text and mean cloner, starting angle, entangle animation showed drag and move to the side with the start point and maybe end point. So they gathered together to one for the light start to pop. Like this. If we have some problems with our colors, we can tweak it. For example, we can decrease some saturation to get more white color. And it's up to you how to play with it. I can work like this. For example, I can go to RGB, red, green, and then blue. And now we get pure white. What create redshift material and applied to the plane, to the tube. And two more text. We set color to white one. Now we'll start to see these bloom effect of global illumination. And we can decrease or maybe add roughness into reflection section, it's up to you how effect you want to achieve when we have weight to one and high roughness, we have the specular. If we decrease it, we don't have specular their infection of lighting, but we have clear diffuse surveys to see pure gradation of color. And when colors became more separately from each other, we see through rainbow mix of all colors bring different tones. And we can add to HSV, for example, additional tones like inbetween. And it more, signing, it more brighter. And then you get to the white one with maybe small tint because of these additional lines. Red, green, blue. Of course, you can disable these tubes and all bounces start to going directly from light. Play with more text. We see all adders to be light up in different phases. And the thickness of radius and height will bring different effects. For example, if our tube is too high, it blocks all rays from lights. So we have to find the value that doesn't log. We can set different heights. For example, lowering the tub and more high at the bottom. We can rotate it like this. And it produced another effect. So this is the base settings and how we can render it. You can check my redshift, optimize tutorial. But if you don't want to play with it, to dig it. Let me disable these preview. Yeah, elimination set to off going to system experimental option and enable automatic sampling. Then they're lower adaptive threshold. The high-quality you'll get, for example, the default layer's default settings brings us to this kind of quality. I think it's a bit noisy, but it's k. Or we can use denoise for example, optics. And I think we have to. It is not available for view port renders. Yeah, see, we don't see the result here, but if we hit Render to picture view, you see the result of denoising and it's much cleaner. Then here, then you can play with settings. I can disabled, for example, noise. Denoising decrease adaptive earth result into twice. And now we get longer but much cleaner result. So thank you for watching this tutorial and have a nice day. 5. Bonus: Final Project Nuances: This is a small bonus video where I show what exactly I tweak in final composition. Let's hit Play. And now we see that our tube is like Belt. It's not the flat surface. We go into our tubes and select these two phone texts and decrease font angle till we get these surveys being shown as flat. 15 works great. And it tries smooth normals which have angle below 15. If we set 40, it start to smooth normals with angle lower than 40. I think these works like this. So setting from angle really low, we get properly visualization of flat surface. Then I use render and these cold dx o tokens. We can go here, and this is their pre-made presets. For example, I want to create a folder near Cinema 4D file render. And inside we will have the sequence with name of our project 02. Also, we can add frame rate, may be current camera and all that system information. This is the great thing. If you're change or receive this project and name or the file will change, you will get immediately New File render output directory. This is a very handy and useful option. Then in output, I said with 2 eight hundred, ten hundred in height, all frames redshift system bucket rendering is set to 256. And experimental option I have are TX and video card soil on these option. And it increase the speed of rendering. That's all I want to tell you about final tweaking of the result composition of the result file. And I really appreciate if you watch this video after the course.